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Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Forest Products Industry is the property of China Forest Products Industry Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aiming at the trend of denim yarn and the deficiencies of the current dyeing, characteristics of denim colored yarn were simulated and a multi-colored yarn by vortex spinning was developed. Traditional ring spinning and air-jet vortex core-spun technology were combined. Short staple fibers were taken as core yarn instead of filament to achieve the color of core yarn, the thickness and twist direction could be adjusted. The twisting stress of the fibers was counteracted by combining the core yarn with the opposite twist direction of the outer layer fibers and selecting the corresponding twist coefficients during the spinning process. The use of uneven wrapping effect of the air-jet vortex spinning could highlight the unique exposed core effect, inner and outer layers could be used in different colors and ratios. The multi-colored yarn by vortex spinning coud be used for knitting and weaving, the rich color variation of multi-colored yarn by vortex spinning was suitable for the production of dye-free denim production. [ABSTRACT FROM AUTHOR]

In order to study the influence of fabric structure design elements and weaving process elements on the glossiness of polyethylene terephthalate (PET) large glossy fabric, 83.3 dtex/36f PET circular cross-section large glossy fully drawn yarn (FDY) was selected as the base material, double-ply twisted yarn was selected as warp yarn. The fabric specimens were prepared by derivative weaves value, weft density, weft twist alignment, amount and position of drafting, quantity of ends etc. o measure the comparative glossiness (GC)of the fabric. The results show that the GC value of the fabric is relatively large, when the floating length of the fabric weave is long and the interlacing points are regularly distributed. Within a certain upper limit, the GC value of the fabric increases with the increase of the weft density. The collocation of plied yarns with different twist directions in warp and weft direction has no obvious effect on the GC value of the fabric. The GC value of the same fabric prepared with different amount of heddles or different positions of heddles is not obvious. The GC value of the fabric was not significantly affected by the fabric prepared by using small reed counts with more ends or large reed counts with less ends. [ABSTRACT FROM AUTHOR]

In response to the problem of static electricity generated during the production, processing, and wearing of wool/polyester tweed, the production process and anti-static properties of wool/polyester/silk tweed was explored from the selection and proportion of raw materials in this paper. By selecting the optimal amount of conductive fibers, configuring the fiber fineness of each component of blended warp yarn, designing a reasonable fabric structure, optimizing the main process parameters of each spinning and weaving process, the anti-static performance of the fabric is further optimized and improved. Practice has shown that when the warp yarn is composed of 70% wool, 29% polyester, and 1% conductive fibers, the wool/polyester/silk tweed made by interweaving with pure spun silk and weft yarns has a warp and weft charge density of 3.400 µC/m² and 3.708 µC/m², respectively, all lower than the indicator 7 µC/m² specified in the national standard GB/T 12703. 2-2009 "Textil--Evaluation for Electrostatic Properties--Part2: Electric Charge Density" with good anti-static properties and meets the style requirements of smoothness, sagging, wrinkle resistance, and moisture absorption, providing experience for the production of anti-static textiles. [ABSTRACT FROM AUTHOR]

Copyright of Basic Sciences Journal of Textile Universities / Fangzhi Gaoxiao Jichu Kexue Xuebao is the property of Basic Sciences Journal of Textile Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Basic Sciences Journal of Textile Universities / Fangzhi Gaoxiao Jichu Kexue Xuebao is the property of Basic Sciences Journal of Textile Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In order to improve wearing performance of 3D printing fabric, the relationship between the structure and mechanical properties of 3D printing fabric was explored, the flexible polylactic acid was used as the material, three kinds of 3D printing fabrics with mesh structure were prepared by fused deposition molding technology, The tensile property, tearing property and bursting property of the printing fabric were tested and characterized, The results showed that the surface of three kinds of 3D printing fabrics with mesh structure was flat and free-defect, the mesh effect was obvious, the surface had no browning phenomenon and no dispersion phenomenon, The tensile property, tearing property and bursting property of three kinds of 3D printing fabrics with mesh structure were proportional to the mesh width, When the mesh width was the same, for the longitudinal breaking strength, the diamond weave was the smallest and the imitation weft plain weave was the largest, For the transverse breaking strength, imitation weft plain weave was the smallest and the imitation plain weave was the largest, For longitudinal tearing strength, diamond weave was the smallest, imitation plain weave was the largest, For the transverse tearing strength, the diamond weave was the smallest and the imitation weft plain weave was the largest, For the bursting strength, the diamond weave was the smallest and the imitation weft plain weave was the largest, [ABSTRACT FROM AUTHOR]

Design and development key points of integrated weaving forming covering blanket fabrics with flocculus were summarized. Design concept, pattern design and fabric weave were introduced. According to the characteristics of untwisted yarn, the process optimization and related technology measures in spinning, weaving and dyeing & finishing were summarized, finally the successful development of integrated weaving forming covering blanket fabrics with flocculus was realized. It is considered that the technology can develop different types of home textile blankets to meet the market's demand for personalized and differentiated products. [ABSTRACT FROM AUTHOR]

The latest technological advance in weaving machinery and preparation at 2022 China International Textile Machinery Exhibition & ITMA Asia were summarized. The structure and performance of weaving machinery were continuously optimized, the development was closer to the market demand. The manufacturing level of domestic rapier, air jet and water jet looms had developed rapidly, which improving the core competitiveness of household equipment. With the explosive growth of artificial intelligence, the digital transformation of weaving machinery was accelerated, the application of advanced information technology and automation tools were making the weaving machinery present a new trend of personalized, intelligent, green development. It is considered that weaving machinery has made remarkable progress in high speed, automation and greening in recent years. [ABSTRACT FROM AUTHOR]

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Synthetic Fiber Industry is the property of Sinopec Baling Petrochemical Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In order to produce art textiles with visual, embossed and wrinkled effects, as well as tassel decoration, based on limited 16 pages heald of regular dobby loom, the warp and weft patterning weave, wrinkling and pad weaving technology, and cutting process were multiple composited. The warp patterning weave and symmetrical threading method were used to configure the weave points, weft cycle was extended to increase the number of patterns, large jacquard loom was replaced to produce visual fabrics. Bubble warp was connected through the linkage cable at the lower end of the 16th heald, relaxation or tension of the bubble warp was controlled through the lifting and lowering of the heald, the change of bubble warp tension and weaving wrinkled effect were achieved. Wrinkle amplitude was controlled by controlling the number of warp and weft weave points of the pattern of the heald, wave bubble wrinkle effect was formed. Pad weaving multiple weft yarns into the same shed, embossed effect was created. Cuting after weaving with weft fabric, tassel decorative effect was formed and finally multiple composite art textiles was produced. [ABSTRACT FROM AUTHOR]

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In order to better analyze and design the fabric structure, a layering overlay method is proposed for the fabrics with the layering relationship of backed weave, sandwich and double layers. According to the spatial relationship between the upper and lower layers of the fabric, the warp and weft yarns of different fabric layers are represented by the dark and light color groups of different shade, and the layers are drawn successively from the lower layer, the interlayer to the upper layer. The drawing method of layering overlay method is introduced with fabric CAD and Photoshop (PS) as application conditions, and the application of this method in fabric structure analysis and design is illustrated. When fabric CAD is used, the inner yarn and its interweaving law, the connecting yarn, the surface yarn and its interweaving law are superimposed from bottom to top. When drawing with PS, each layer of yarn and its interweaving rule are drawn on different layers respectively, and the upper and lower positions of the layers are adjusted according to the relationship between the layers in the fabric surface. Layering and superposition method makes the process of fabric drawing more intuitive, clear and convenient. It is helpful for designers to analyze, understand and innovate fabrics. [ABSTRACT FROM AUTHOR]

Woven gold brocade in the Yuan Dynasty, as a combination of northern and southern elements in Chinese history, and embodiment of material culture of integration of China and the West, is unique and creative. In recent years, with the rise of the national tide in cultural and creative field, ancient traditional clothing has gradually entered the public eye, and more and more classic elements of clothing have been applied to modern design. The woven gold brocade in the Yuan Dynasty experienced origin, development and decline, but related research has stagnated in recent years. Commissioned by Changzhou Hongyang Textile Museum, we developed a standardized restoration process through literature review, and proceeded technical restoration of “Square Diamond Dark Flower Silk with Plum Blossom and Finch Patterns” unearthed from Li Yu’an Tomb of Zou county in the Yuan Dynasty.First of all, the unearthed fabric was defined according to the characteristics of Nasich and Jinduanzi. Nasich is mostly made by officials, the output is small, and the layout is also mostly exposed to the surface of the gold thread flower part. Its pattern style retains a strong Western style, such as birds, beasts, dragons, fishes, even Arabic characters, which are symmetrical, orderly and complex, and highly patterned, reflecting the admiration of the Mongolian royal family for Islamic civilization. Jinduanzi is mainly combined with Chinese characteristics, and the pattern theme reflects the combination of Han and nomadic civilization, such as bird pattern, flower pattern and ancient traditional auspicious pattern. Considering the description that “the padded robe with a plum pattern seems to be a civil servant robe”, we inferred that Li Yu’an was probably an official in Zou county, with a low rank in terms of county education and teaching instruction. In the meanwhile, the “plum blossom” and “finch” in “Square Diamond Dark Flower Silk with Plum Blossom and Finch Patterns” are typical elements of Han culture. Combined with the identity of the tomb owner, the unearthed fabric is preliminarily determined as “Jinduanzi”.The specific restoration process refers to the graphic cross-proof method, literature reference method and physical inspection method, including color verification, pattern verification, material verification and technical verification. After color determination, drawing, material selection and weaving, the restoration process is completed. Based on the color research and the description of ancient literature, it is inferred that the pattern is a basic two-yarn-dyed woven gold brocade in the Yuan Dynasty. The background is brown, while the plum blossoms, branches and finches are bright gold. According to the original size of the real pattern, the pattern was restored in equal proportion. Combined with the relevant requirements of weaving, the pattern was determined to be of a square continuous cycle with a size of 22.5 cm×22.5 cm. Photoshop was used to describe the pattern and make the pattern cycle. By comparing the difference between the “twisting gold method” and the “slice gold method” in material research, it is concluded that the pattern is more likely to be made of gold thread by twisting gold method. Due to the limitations of gold thread production at that time, the thinness requirements could not be met technically, so fineness of the weft of the woven gold brocade was generally thicker than that of the warp. In the process research, the weave of the restored fabric is “satin”. As a chest coat, it not only guarantees high durability, but also reflects its luxurious style. In addition, the pattern is arranged in full width, and the pattern on the surface with gold is obvious, indicating typical shuttle picking method. Fabric restoration has gone through warping, warp threading, weaving and other processes, and attention should be paid to the adjustment of process-related parameters in the practice. We then used fuzzy evaluation method to complete the restoration evaluation. The results showed that 30% of the evaluators believed that the restoration effect was “average”, 57% believed that the restoration effect was “good” and 13% held that the restoration effect was “very good”. According to the principle of maximum membership, the recovery effect of woven gold brocade is considered to be “good”. The practice shows that the visual object of woven gold brocade can be made by the combination of traditional archaeological perspective with modern textile technology. In this study, we restore woven gold brocade in the Yuan Dynasty by combining cultural research with modern textile technology, which can deeply analyze its historical connotation, artistic characteristics, textile technology and other aspects, contribute to the full understanding of the integration and evolution of this special cultural heritage with the changes of the times, and exploring the mutual relationship between traditional archaeology and contemporary science and technology, so as to provide a new research perspective for the carrier transmission of woven gold brocade culture. [ABSTRACT FROM AUTHOR]

Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is an anthropological ethnography that investigates and constructs the life history of a Truku artisan as well as her accumulated craft knowledge. It combines narrative research and the research of life history as methods. From the perspective of the anthropological study of knowledge, knowledge is a process of growing. A person grows from the inside in the process of education and corresponds to the surrounding world. Knowledge is learning and knowing by doing, and it leads to improvisation and movements of life. In terms of the difference between knowledges, there are not different kinds of knowledge. Rather, knowing is the movement of a person from one context to another. Knowledge grows in certain times and places, along with the gradual development of bodily techniques. People tend to constantly improve their own knowledge in different contexts. It is argued that problem solving lies at the heart of learning and knowing. Crafts not only refer to handmade objects, but are also associated with certain concepts, attitudes, and ways of thinking and practicing. Due to their multiple characteristics, crafts are flexible and able to absorb new qualities and transform. For Taiwanese indigenous people, facing assimilation through formal education and rapid social transformation, weaving becomes a way in which they can stay with their own culture and maintain sovereignty. Since the development of Taiwan’s indigenous movements in the 1980s, through contemporary cultural revitalization practices, some indigenous people have sought to reconnect with their own cultural traditions. Learning crafts becomes a common route by which people consider the future and directions for the development of ethnic cultures. Young people enjoy learning crafts from the elders. More often than not, when people are engaging in cultural revitalization and start to learn traditional crafts in a cultural context, they try to replicate the way in which it was done before. It often serves as an important approach or necessary process, if not an eternal goal. Compared with the younger generation, however, a Truku artisan, Hana, who has been weaving since she was young, keeps weaving in her seventies and tends to do things differently. She has moved between various contexts, both in terms of living and weaving. In the process of her life, she has always been interested in knowing and learning new ways of weaving, and does not hesitate or refuse to change when it is necessary. She does not just repeat what she did or give up easily when she confronts difficulties, but always tries to move forward and go beyond the desires and accomplishments of her elders. It may be due to the fact that she has always accumulated her knowledge based on what she was taught in the context of Truku culture. Starting with the discussion and perspectives on knowledge from anthropology and then the dialogue with an artisan’s craft production, this article shows the knowledge of a Truku artisan who has been weaving throughout her life and understands how such knowledge guides her life. We can see the transformation and continuity of culture in crafts. [ABSTRACT FROM AUTHOR]

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Materiae Compositae Sinica is the property of Acta Materiea Compositae Sinica Editorial Department and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Donghua University (Natural Science Edition) is the property of Journal of Donghua University (Natural Science) Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Railway Science & Engineering is the property of Journal of Railway Science & Engineering Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In order to study the textile with arc-shaped picture sense, a fabric with the appearance of arc-shaped curve was developed through changing the weft shrinkage force by the position of the elastic weft float line and the density, as well as matching the flowery structure and arc-shaped curve structure. It is necessary to avoid distortion and crimping of fabric caused by uneven weft force during trial weaving. The mixing ratio of elastic weft and ordinary weft should be appropriate to prevent the large shrinkage rate. The weaving process requires the evenness of the warping yarn tension, the increase of the hairiness cover rate of the sizing yarn and the guarantee of clear opening; Multi-arm rapier loom is biaxial weaving, which can increase the stretching effect of side brace, adjust opening time and insertion tension to avoid breaking edge and shrinking edge weft. The longitudinal curved fabric developed by multi-arm loom has a sense of flow, beautiful rhythm, giving consideration to aesthetics and balanced force, combined with the warp floral organization and gradually changing yarn arrangement, the fabric has an artistic conception, to achieve the integration of art and technology, suitable for hotel supplies and women's fabrics. [ABSTRACT FROM AUTHOR]

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As the reinforcing phase of the composites, the preform determines the performance of the composites. The performance of the precast often depends on the spatial structure of the yarn. To reflect the spatial configuration and micro-geometric structure of the yarn inside the fabric, through the discretization of the yarn, the weaving process is simulated by numerical simulation and simulation methods. We review the progress on digital element method simulation of the weaving process of composite preforms. In terms of micro-geometric structure, this paper details the development process of digital element method research from theory to application and introduces the advanced digital element modeling method. It points out that the current model is idealized for the digital element method to simulate the textile process, and does not consider the bending stiffness of the fiber, the air damping effect and the energy loss caused by lateral compression, etc. This paper also points out that the digital element method can be further optimized in future research and parametric modeling can be realized, and that the deformation mechanism of the fiber bundle is studied to obtain a more realistic micro-geometric structure model. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Materials Science & Engineering (1673-2812) is the property of Journal of Materials Science & Engineering Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To solve the problem that the appearance of knitted clothing was not crisp enough compared with that of woven clothing, an " imitation woven" style knitted clothing were proposed to develop. Therefore, in this paper, the blended yarn (bio based filament and nylon DTY) and transparent nylon yarn were used as raw materials to knit tuck with laying in knitted fabric on SVR 123SP flat knitting machine produced by Shimadzu company in Japan. The bending rigidity of woven fabric, ordinary knitted fabric and imitation woven style knitted fabric were tested and compared. Finally, the design method of "imitation woven" style knitted fabric was put forward, and a kind of imitation woven style knitted coat was designed and developed. The finished product is flat and straight. And the test results show that the bending rigidity of the developed knitted fabric is obviously better than that of the ordinary knitted fabric, which is closer to that of the woven fabric. It indicates that it has imitation woven style. This research provides a new perspective and ideas for the design and research of knitted clothing. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì is the property of Shih Ho-Cheng Folk Culture Foundation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Along with the decline of the feudal rule, the art of making Beijing Palace carpet flowed into the folk. As an intangible cultural heritage integrating traditional Chinese painting, brocade, embroidery and architectural decoration, the art has been declining. In this paper, the history of Beijing Palace carpet weaving techniques was summarized, the weaving equipment and craft process was outlined through literature review and field survey, and based on the present intangible skills live condition protection concepts, Beijing Palace carpet survival development was considered, and the reason of Beijing Palace carpet weaving skills get into difficulty was deduced, and the reasonable countermeasures were put forwarded. It is believed that increasing publicity, using digital technology and improving innovation consciousness can help to expand the path of Palace blanket weaving technology and product communication, optimize the storage mode of technology and improve the modern attributes of products. [ABSTRACT FROM AUTHOR]

In order to enrich the variety of fabrics, aiming at the shortcomings that the weft-net fabrics pattern is too monotonous, a special method of weaving the three-dimensional concave-convex curved fabric was proposed and developed through unique organizational structure design. The factors affecting the formation of the three-dimensional concave-convex curve effect of the fabric were studied from several aspects and the optimized design was carried out through the comparative analysis of the trial weaving samples. Finally, the weave structure of the net weft, the core layer structure of the net weft between ground warp and figure warp, and the weave structure that enhances the three-dimensional concave-convex curve effect of fabric appearance were determined. The result shows that optimized process obtains obvious, constant and natural concave-convex three-dimensional fabrics with net curved effect. The grid is beautiful, the weave pattern is delicate, the hand feels soft, thick, three-dimensional, and the heat retention is good. It can be used for weaving scarves, tea towels, bedspreads, sofa cushions and other medium and thick fabrics. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Beijing University of Civil Engineering & Architecture is the property of Journal of Beijing University of Civil Engineering & Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Materiae Compositae Sinica is the property of Acta Materiea Compositae Sinica Editorial Department and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Shenzhen University Science & Engineering is the property of Editorial Department of Journal of Shenzhen University Science & Engineering and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

According to the forming conditions of local welt tubular woven fabrics, a unique series of tubular fabric structures wore designed. The main points of fabric design and trial weaving worth introduced from the aspects of design inspiration source, yarn design, fabric weave design, weaving process parameters and key measures of machine trial weaving, etc. The local weft tubular fabrics were innovatively developed on the semi-automatic weaving prototype by using the plain basic weave, double-layer weave and plain weave of the zonal welt tubular part. The fabrics have harmonious color matching, novel and unique appearance, undulating raised tube three-dimensional full, good shape. They are mainly used in home textile decorative textiles, which provide a certain reference for the development of now- textile products. [ABSTRACT FROM AUTHOR]

In order to reduce the cost of production, the integrated weaving production mode was applied to produce short skirts. In view of the long production process and complex process of traditional short skirt, the short skirt fabric was designed as follows: the production method of short skirt formed by one weaving process was studied. In terms of weave structure, the fabric weave selected for the short skirt in one weaving process was summarized, and the combination of single and double weave was selected, and the weave was redesigned on this basis; in terms of yarn selection, polyester filaments were used as warp yarns, while the polyester and ammonia core-spun yarns were used as the weft yarns, and the arrangement ratio of the warp yarn and the weft yarn in the double-layer part was 1 : 1. In the aspect of pattern design, the wave pattern continuous on four sides was used as the unit pattern; and the pattern was designed by CAD software. The jacquard skirt in one weaving process can be woven and produced on a rapier loom. The results show that the short skirt produced in one weaving process method gets the production mode of directly producing yarn into short skirts, saves the cutting and sewing processes, reduces the waste of resources, and provides a new idea for the production method of short skirts. [ABSTRACT FROM AUTHOR]

In order to develop synthetic fiber women's wear fabrics with composite wearing properties, flax like elastic fabrics were designed and woven using CEY elastic composite filament to has the flexibility and bone style of wool fabric with the drape ability of silk fabric. Both warp and weft yarns were made of elastic composite yarn with the high linear density of 20 tex, 150 twist/(10cm) strong twist, with excellent moisture conductivity, dry and elastic feeling. Then it was combined with alkali soluble DTY polyester low elastic yarn. Next, the double elastic structure of warp and welt was fabricated based on hollow structure, which was full of body bone feeling as well as obvious effect of imitating flax. The research shows that tension of warp and filling control is the key. Increase the take up tension, reduce the over feeding rate in winding process, after winding, the inner slow-resilient-elasticity accumulated is necessary to bo released. Warping tension should be controlled properly, the unwinding tension of different warp beams should bo controlled respectively on warp roboarriirig machine. When picking in weaving, weft kink should be prevented. The uniform weft tension device is adopted, late shedding time and late picking time, as well as high tension is adopted to ensure the hollow effect and the flax texture while maintaining moderate elastic force and stiff feeling. [ABSTRACT FROM AUTHOR]

In order to solve the tension fluctuation of long warp yarn during loom weaving, a control method of differential separation I-RBF-PID let-off system based on online identification transfer function was proposed. It is difficult to establish an accurate mathematical model because of the nonlinear, time-varying and complex coupling characteristics of the let-off system caused by the clearance of the transmission system and the change of the reel diameter of the weaving shaft. LMS algorithm was used to identify the time-varying and high-order transfer function of loom, and the PID parameters were set by RBF neural network optimized by improved PSO. Step size optimizer and differential separation PID control strategy were introduced to improve the convergence accuracy and reduce overshoot of RBF-PID. The time-varying transfer function was applied to the I-RBF-PID control system by designing the transfer function updating formula. The results are compared with those of conventional PID controller and RBF-PID controller under the performance conditions of overshoot, arrival time and response speed. The effectiveness of the proposed high-precision tension control scheme was verified by experiments. [ABSTRACT FROM AUTHOR]

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)