Showing posts with label Jewelry. Show all posts
Showing posts with label Jewelry. Show all posts

Bead | Understanding and definition of the Bead

A bead is a small, decorative object that is usually pierced for threading or stringing. Beads range in size from under 1 millimetre (0.039 in) to over 1 centimetre (0.39 in) in diameter. A pair of beads made from Nassarius sea snail shells, approximately 100,000 years old, are thought to be the earliest known examples of jewellery. Beadwork is the art or craft of making things with beads. Beads can be woven together with specialized thread, strung onto thread or soft, flexible wire, or adhered to a surface (e.g. fabric, clay).

Beads may be divided into several types of overlapping categories, based on different criteria such as component materials, manufacturing process, place or period of origin, surface patterning, or general shape. In some cases, such as millefiori and cloisonné beads, multiple categories may overlap in an inseparably interdependent fashion.

Beads can be made of many types of materials. The earliest beads were made of convenient natural materials; when found, these could be readily drilled and shaped. As human technology became capable of obtaining or working with more difficult natural materials, those were added to the range of available substances. The same was true of new synthetic materials when created.

In modern manufacturing, the most common bead materials are wood, plastic, glass, metal, and stone.

Beads are still made from many naturally-occurring materials, both organic (i.e., of animal- or plant-based origin) and inorganic (purely mineral origin). However, some of these materials now routinely undergo some extra human processing beyond mere shaping and drilling, such as color enhancement via dyes or irradiation. Beads can also be made from chocolate. These types of beads are edible, and commonly found in Indonesia and central Mexico.

The natural organics include bone, coral, horn, ivory, seeds (such as tagua nuts), animal shell, and wood. For most of human history, pearls were the ultimate precious beads of natural origin because of their rarity, although the pearl-culturing process has now made them far more common. Amber and jet are also of natural organic origin, although both materials have undergone partial geologic fossilization.

The natural inorganics include various types of stones (from gemstones to common minerals) and metals. Of the latter, only a few precious metals occur in pure forms, but other purified base metals may as well be placed in this category along with certain naturally-occurring alloys such as electrum.

The oldest-surviving synthetic materials used for beadmaking have generally been ceramics: pottery and glass. Beads were also made from the ancient alloys such as bronze and brass, but as those were more vulnerable to oxidation, those have generally been less well-preserved at archaeological sites.

Many different subtypes of glass are now used for beadmaking, some of which have their own component-specific names. Lead crystal beads have a high percentage of lead oxide in the glass formula, increasing the refractive index. Most of the other named glass types have their formulations and patterns inseparable from the manufacturing process.

Plastic fusible beads are also known as Perler Beads, or called "melty beads" by young children. These small colorful beads can be placed on a solid plastic-backed peg array to form designs and then melted together with a clothes iron; alternatively, they can be strung into necklaces or bracelets, or woven into keychains. Fusible beads come in many colors and degrees of transparency/opacity, including varieties that glow in the dark or have internal glitter; peg boards come in various shapes and several geometric patterns.

Modern mass-produced beads are generally shaped by carving or casting, depending on the material and desired effect. In some cases, more specialized metalworking or glassworking techniques may be employed, or a combination of multiple techniques and materials such as cloisonné.

Most glass beads are pressed glass, mass-produced by preparing a molten batch of glass of the desired color and pouring it into molds to form the desired shape. This is also true of most plastic beads.

A smaller and more expensive subset of glass and lead crystal beads are cut into precise faceted shapes on an individual basis. This was once done by hand, but has largely been taken over by precision machinery.

"Fire-polished" faceted beads are a less expensive alternative to hand-cut faceted glass or crystal. They derive their name from the second half of a two-part process: first, the glass batch is poured into round bead molds, then they are faceted with a grinding wheel. The faceted beads are then poured onto a tray and briefly reheated just long enough to melt the surface, "polishing" out any minor surface irregularities from the mold.

There are several specialized glassworking techniques that create a distinctive appearance throughout the body of the resulting beads, which are then primarily referred to by the glass type.

If the glass batch is used to create a large massive block instead of pre-shaping it as it cools, the result may then be carved into smaller items in the same manner as stone. Conversely, glass artisans may make beads by lampworking the glass on an individual basis; once formed, the beads undergo little or no further shaping after the layers have been properly annealed.

Most of these glass subtypes are some form of fused glass, although goldstone is created by controlling the reductive atmosphere of the glass batch rather than by fusing separate components together.

Dichroic glass beads incorporate a semitransparent microlayer of metal between two or more layers. Fibre optic glass beads have an eyecatching chatoyant effect across the grain.

There are also several ways to fuse many small glass canes together into a multicolored pattern, resulting in millefiori beads or chevron beads (sometimes called "trade beads"). "Furnace glass" beads encase a multicolored core in a transparent exterior layer which is then annealed in a furnace.

More economically, millefiori beads can also be made by limiting the patterning process to long, narrow canes or rods known as murrine. Thin cross-sections, or "decals", can then be cut from the murrine and fused into the surface of a plain glass bead.

After shaping, glass and crystal beads can have their surface appearance enhanced by etching a translucent frosted layer, applying an additional color layer, or both. Aurora Borealis, or AB, is a surface coating that diffuses light into a rainbow. Other surface coatings are vitrail, moonlight, dorado, satin, star shine, heliotrope.

Faux beads are beads that are made to look like a more expensive original material, especially in the case of fake pearls and simulated rocks, minerals and gemstones. Precious metals and ivory are also imitated.

Tagua nuts from South America are used as an ivory substitute since the natural ivory trade has been restricted worldwide.

Textile | Understanding and definition of Textile

A textile or cloth is a flexible material consisting of a network of natural or artificial fibres often referred to as thread or yarn. Yarn is produced by spinning raw fibres of wool, flax, cotton, or other material to produce long strands. Textiles are formed by weaving, knitting, crocheting, knotting, or pressing fibres together (felt).

The words fabric and cloth are used in textile assembly trades (such as tailoring and dressmaking) as synonyms for textile. However, there are subtle differences in these terms in specialized usage. Textile refers to any material made of interlacing fibres. Fabric refers to any material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods (garments, etc.). Cloth may be used synonymously with fabric but often refers to a finished piece of fabric used for a specific purpose (e.g., table cloth).

The production of textiles is a craft whose speed and scale of production has been altered almost beyond recognition by industrialization and the introduction of modern manufacturing techniques. However, for the main types of textiles, plain weave, twill, or satin weave, there is little difference between the ancient and modern methods.

Incas have been crafting quipus (or khipus) made of fibres either from a protein, such as spun and plied thread like wool or hair from camelids such as alpacas, llamas, and camels or from a cellulose like cotton for thousands of years. Khipus are a series of knots along pieces of string. They have been believed to only have acted as a form of accounting, although new evidence conducted by Harvard professor, Gary Urton, indicates there may be more to the khipu than just numbers. Preservation of khipus found in museum and archive collections follow general textile preservation principles and practice.

Textiles have an assortment of uses, the most common of which are for clothing and containers such as bags and baskets. In the household, they are used in carpeting, upholstered furnishings, window shades, towels, covering for tables, beds, and other flat surfaces, and in art. In the workplace, they are used in industrial and scientific processes such as filtering. Miscellaneous uses include flags, backpacks, tents, nets, cleaning devices such as handkerchiefs and rags, transportation devices such as balloons, kites, sails, and parachutes, in addition to strengthening in composite materials such as fibreglass and industrial geotextiles. Children can learn using textiles to make collages, sew, quilt, and toys.

Textiles used for industrial purposes, and chosen for characteristics other than their appearance, are commonly referred to as technical textiles. Technical textiles include textile structures for automotive applications, medical textiles (e.g. implants), geotextiles (reinforcement of embankments), agrotextiles (textiles for crop protection), protective clothing (e.g. against heat and radiation for fire fighter clothing, against molten metals for welders, stab protection, and bullet proof vests). In all these applications stringent performance requirements must be met. Woven of threads coated with zinc oxide nanowires, laboratory fabric has been shown capable of "self-powering nanosystems" using vibrations created by everyday actions like wind or body movements.

Fashion designers commonly rely on textile designs to set their fashion collections apart from others. Armani, Nicole Miller, Lilly Pulitzer, the late Gianni Versace, and Emilio Pucci can be easily recognized by their signature print driven designs.

Textiles can be made from many materials. These materials come from four main sources: animal (wool, silk), plant (cotton, flax, jute), mineral (asbestos, glass fiber), and synthetic (nylon, polyester, acrylic). In the past, all textiles were made from natural fibres, including plant, animal, and mineral sources. In the 20th century, these were supplemented by artificial fibres made from petroleum.

Textiles are made in various strengths and degrees of durability, from the finest gossamer to the sturdiest canvas. The relative thickness of fibres in cloth is measured in deniers. Microfibre refers to fibres made of strands thinner than one denier.

Weaving is a textile production method which involves interlacing a set of longer threads (called the warp) with a set of crossing threads (called the weft). This is done on a frame or machine known as a loom, of which there are a number of types. Some weaving is still done by hand, but the vast majority is mechanised.

Knitting and crocheting involve interlacing loops of yarn, which are formed either on a knitting needle or on a crochet hook, together in a line. The two processes are different in that knitting has several active loops at one time, on the knitting needle waiting to interlock with another loop, while crocheting never has more than one active loop on the needle.

Spread Tow is a production method where the yarn are spread into thin tapes, and then the tapes are woven as warp and weft. This method is mostly used for composite materials; Spread Tow Fabrics can be made in carbon, aramide, etc.

Braiding or plaiting involves twisting threads together into cloth. Knotting involves tying threads together and is used in making macrame.

Lace is made by interlocking threads together independently, using a backing and any of the methods described above, to create a fine fabric with open holes in the work. Lace can be made by either hand or machine.

Carpets, rugs, velvet, velour, and velveteen are made by interlacing a secondary yarn through woven cloth, creating a tufted layer known as a nap or pile.

Felting involves pressing a mat of fibres together, and working them together until they become tangled. A liquid, such as soapy water, is usually added to lubricate the fibres, and to open up the microscopic scales on strands of wool.

Nonwoven textiles are manufactured by the bonding of fibres to make fabric. Bonding may be thermal or mechanical, or adhesives can be used.

Textiles are often dyed, with fabrics available in almost every colour. The dying process often requires several dozen gallons of water for each pound of clothing. Coloured designs in textiles can be created by weaving together fibres of different colours (tartan or Uzbek Ikat), adding coloured stitches to finished fabric (embroidery), creating patterns by resist dyeing methods, tying off areas of cloth and dyeing the rest (tie-dyeing), or drawing wax designs on cloth and dyeing in between them (batik), or using various printing processes on finished fabric. Woodblock printing, still used in India and elsewhere today, is the oldest of these dating back to at least 220CE in China. Textiles are also sometimes bleached, making the textile pale or white.

Textiles are sometimes finished by chemical processes to change their characteristics. In the 19th century and early 20th century starching was commonly used to make clothing more resistant to stains and wrinkles. Since the 1990s, with advances in technologies such as permanent press process, finishing agents have been used to strengthen fabrics and make them wrinkle free. More recently, nanomaterials research has led to additional advancements, with companies such as Nano-Tex and NanoHorizons developing permanent treatments based on metallic nanoparticles for making textiles more resistant to things such as water, stains, wrinkles, and pathogens such as bacteria and fungi.

More so today than ever before, textiles receive a range of treatments before they reach the end-user. From formaldehyde finishes (to improve crease-resistance) to biocidic finishes and from flame retardants to dyeing of many types of fabric, the possibilities are almost endless. However, many of these finishes may also have detrimental effects on the end user. A number of disperse, acid and reactive dyes (for example) have been shown to be allergenic to sensitive individuals. Further to this, specific dyes within this group have also been shown to induce purpuric contact dermatitis.

Although formaldehyde levels in clothing are unlikely to be at levels high enough to cause an allergic reaction, due to the presence of such a chemical, quality control and testing are of utmost importance. Flame retardants (mainly in the brominated form) are also of concern where the environment, and their potential toxicity, are concerned. Testing for these additives is possible at a number of commercial laboratories, it is also possible to have textiles tested for according to the Oeko-tex Certification Standard which contains limits levels for the use of certain chemicals in textiles products.
 
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