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Materials of Decoration (BOARD PURPOSES) > Carpets and Rugs > Flashcards

Carpets and Rugs Flashcards

1
Q

Fabric used as floor covering. Provides floor with both visual and textural softness, resilience and warmth in the range of colors an patterns.

A

Carpet

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2
Q

Meaning “to pluck”

A

Carpire

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3
Q

Used for centuries in manufacturing carpet. Generally the most expensive fiber and the basis of carpet standards.

A

Wool

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4
Q

Wool absorbs dye easily, colors with great clarity and uniformity., color is almost white.

A

New Zealand Wool

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5
Q

Noted for its gloss and sheen with natural resistance to soiling.

A

Argentinean Wool

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6
Q

Crush-resistant wool.

A

Indian Wool

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7
Q

Among the most luxurious and costly of wool, high abrasion resistance and durability.

A

Iraqi Wool

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8
Q

Black face sheep bear finest of all carpet staples as long as 15 inches.

A

Scottish Wool

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9
Q

Natural product that grows like grass, light cream or oatmeal in color. A strong, woody fiber produced from the leaves of the agave plant.

A

Sisal

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10
Q

Another term for Sisal.

A

Scratch Rush

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11
Q

Carpet whose fibers are obtained from corn husk.

A

Maize

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12
Q

A strong flexible hair like fiber from coconut shells, highly resistant and proven to be unfriendly to insects.

A

Coir

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13
Q

Another term for Coir.

A

Coconut Plush

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14
Q

The softest of all natural fibers. It may fade or darken in color when exposed to sunlight.

A

Jute

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15
Q

The most popular carpet fiber. It is the most widely used man-made fiber. It is often combined with wool for durability.

A

Nylon

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16
Q

One of the first synthetic fiber ever made for a carpet. It is always used as a staple fiber and has many of the characteristics of wool and has the lowest static build-up factor. Mostly used for bath mats and rugs.

A

Acrylic

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17
Q

Also known as modified acrylic. It has better heat retention and is flame retardant as compared to acrylic.

A

Modacrylic

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18
Q

Soft and luxurious, strong and durable with high abrasion to resistance. It has low static build-up factor and most commonly used for residential carpet. Mainly used as shags and random sheared carpet.

A

Polyester

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19
Q

Newest and one of the most economical material for carpet. It is the lightest commercial carpet fiber and almost completely free of static build-up. It is commonly used as outdoor carpeting.

A

Polypropelene Olefins

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20
Q

Combinations of two or more fibers into a single carpet yarn with each yarn lending to the other its dominant characteristic.

A

Blends

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21
Q

Composed of pile which is the upright ends of yarn whether cut or looped. It forms the wearing surface of carpets or rugs.

A

Face

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22
Q

The yarns need a “ground” on which to “hook” themselves. A canvas foundation on which the yarns are woven.

A

Primary Backing

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23
Q

To glue on the “roots” of the yarns onto the cotton canvas backing on which they are woven, a mixed synthetic natural rubber compound is used for the carpets.

A

Latex

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24
Q

Can be made of jute, cotton or polypropylene. It is bonded to the primary backing in the latexing stage and gives the carpet dimensional stability, added protection and gives additional binding characteristic.

A

Secondary Backing

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25
Q

Far less expensive and faster to produce than woven carpet. It is constructed by punching tufts of yarn into a backing.

A

Tufting

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26
Q

Traditional way of making carpet on a loom. it is a slower, more labor-intensive process.

A

Weaving

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27
Q

A type of weaved carpet with least complex weaving method and most inexpensive. All the yarn on this type of construction appears on the back of the carpet.

A

Velvet

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28
Q

Carpet weaving process named after a town in England. It is constructed in a modified Jacquard loom. It is thick and heavy because yarn of every color used is carried beneath the pile surface.

A

Wilton

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29
Q

Capet named after a town in England but was invented and developed in the United States. The designs are often inspired by European and Oriental patterns that are weaved intricately and has multi-colored patterns resulting to a heavily-ribbed backing.

A

Axminster

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30
Q

A type of carpet construction that uses three sets of needles to loop the pile backing yarn and the stitching yarns together. It is known for their plush piles and it is difficult to seam during installation.

A

Knitting

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31
Q

Method of carpet construction where fibers, usually polypropylene or acrylic are punched into a web of synthetic fiber. It is then put under heavy compression to form the characteristic of fiber.

A

Needlepunched

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32
Q

Type of carpet making that uses electrostatic method. Fibers are held by an adhesive in upright position with approximately 17,000 ends of fiber per square inch. Designs are usually print-dyed.

A

Flocked

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33
Q

The weight of a pile yarn in a given volume of carpet face. It is an important determinant of carpet performance especially for high traffic environments.

A

Pile Density

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34
Q

The distance between the needles of tufted carpets. Measured in fractions or in inch.

A

Gauge

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35
Q

The number of ends in a 27-inch width of carpet for woven carpets.

A

Pitch

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36
Q

The number of times a individual needle inserts a tuft into the primary backing as the primary backing moves one inch through the tufting machine.

A

Stitch Rate

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37
Q

Refer to the number of ends per inch in lengthwise for an Axminster carpet.

A

Rows

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38
Q

Refer to the number of ends per inch lengthwise for a Wilton and velvet carpet.

A

Wires

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39
Q

The length of the tuft from the primary backing to the tip.

A

Pile Height

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40
Q

The height of the steel blades in the 100m on which the tufts are formed in a woven carpet.

A

Wire Height

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41
Q

Also referred to as pile weight or yarn weight. The weight of the pile yarn above and below the backing.

A

Face Weight

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42
Q

Another term for face weight.

A

Pile Weight or Yarn Weight

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43
Q

Include face weight and the backing materials, finishes and coatings.

A

Total Weight

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44
Q

Another term for total weight.

A

Finished Weight

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45
Q

Expressed as count, which indicated the fineness or coarseness of the finished yarn.

A

Yarn Weight

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46
Q

Number of running yarns in one ounce of finished yarns

A

Woolen Count

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47
Q

Measurement of weight in grams of a standard 9000 meter length of yarn.

A

Denier

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48
Q

The number of strands per single yarn twisted together to form one pile yarn.

A

Ply

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49
Q

Rarely examined by consumers and salespeople with regard to the performance of a carpet. Intermingling of yarns happen if not speculated carefully and resulting to “blossom” and “wet poodle” look.

A

Twist Level

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50
Q

The prime visual characteristic of a carpet after color.

A

Texture

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51
Q

Created by cutting each loop of pile. It produces a wide range of textures.

A

Cut Pile

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52
Q

It is a smooth cut pile where the cut ends of the yarn blend with each other.

A

Cut Pile Plush

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53
Q

Texture of carpet when dense pile is cut closely.

A

Velvet Plush

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54
Q

Texture between cut pile plush and cut pile shag. It makes use of thicker yarns It has twisted yarn which gives definition to each tuft.

A

Saxony Plush

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55
Q

An all cut pile surface made from yarns that have been tightly twisted and and the twist set by a special heating treatment.

A

Twist/Frieze

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56
Q

A multi-directional, high pile twist, giving an attractive informal look. It has heavily textured surface created by the long, twisting yarns.

A

Shag

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57
Q

Created by weaving, tufting or knitting the pile yarns into loops. It is left uncut, tougher and more easily to maintain that cut pile.

A

Loop Pile

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58
Q

Entire surface is made of uniform uncut loops, which are of the same height.

A

Level Loop Pile

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59
Q

Surface is made of different pile heights, all uncut loops. This loop is capable of producing sculptured patterns.

A

Multilevel Loop

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60
Q

Adds a degree of warmth to an all loop pile. It can be produced in tufted and woven constructions.

A

Combination Loop and Cut Pile

61
Q

In the loop surface, some of the loops are cut and some remain uncut.

A

Level Type Shear

62
Q

Loops are sheared to different heights, forming a pattern that can be definite or irregular.

A

Random Shear

63
Q

Process of incising a design into a carpet or rug which has already been woven.

A

Carving

64
Q

Used between colors in a multicolor design rug in order to accentuate and give a design some dimension.

A

Hairline Carving

65
Q

Process of actually weaving a design into a low level rather than shearing down or carving it into the carpet.

A

Recessing

66
Q

Process of weaving a design in a higher level.

A

Embossing

67
Q

Rounding off those parts of a carpet that have already been carved, recessed or embossed.

A

Beveling

68
Q

Carpet coloring is accomplished by pre-dyeing the carpet fibers before the carpet is manufactured or post dyeing the finished piece of carpet.

A

Dyeing

69
Q

Patterns are applied or printed to carpets after it is manufactured.

A

Printing

70
Q

Employs flat templates or screens, through which dyes are forced to form the finished pattern on the carpet pile.

A

Screen Printing

71
Q

An electrostatic charge forces the pre-metallized dyes in this process deep into the pile.

A

Deep-dye Printing

72
Q

Employs embossed cylinders to deposit the design on the face of the carpet. Each cylinder contains a different color.

A

Roller Printing

73
Q

Utilizes rows of very closely spaced jets which spray the carpet with color as it passes by.

A

Jet Printing

74
Q

A separate foundation of the carpet. It increases weatherability, gives aded insulation, helps deaden sound and provides comfort underfoot. It also prolongs life of the carpet by 70%.

A

Lining

75
Q

Another term use for carpet lining.

A

Cushioning

76
Q

Made by needlepunching natural fiber, synthetic fiber or a combination of the two into a felt like pad.

A

Fiber Cushions

77
Q

Flat sponge, ripple (waffle) sponge or reinforced foam rubber. Highly compresible and has smaller cell structure thus, providing more uniform support.

A

Sponge Rubber Cushions

78
Q

Manufactured from scraps of foam bonded together through an adhesive and heat fusion process.

A

Polyurethane Foam Cushion

79
Q

The traditional installation whereby pre-tacked thin strips of plywood are fastened all around the perimeter of the space to be carpeted. Most common installation for residential and luxury required area like hotel lobbies.

A

Tackless Stripping

80
Q

Another term for Tackless Stripping.

A

Stretch-In Installation

81
Q

Usually employed with a bonded carpet. High density foam rubber is used as the secondary backing and is cemented directly to the floor.

A

Glue-down Method

82
Q

The most common method of commercial installation, economical and practical way of installing carpets. The carpet is glued directly to the floor without a cushion. Usually applied on stairs and stair ramp.

A

Direct Glue-down

83
Q

Installation method combines underfoot comfort of stretch-in installation with the stability of the direct glue-down method.

A

Double Glue-down

84
Q

The latest development in carpet installation technique. A flexible adhesive layer is applied to the carpet backing and covered with a protective plastic film.

A

Self-stick

85
Q

A single piece of compact, woven, knitted or tufted fabric, has borders and intended as floor coverings. Manufactured or natural or man-made fibers and is produced in various lengths and widths as well as a number of shapes. A separate unit and is meant to cover only a portion of the floor area and not the whole floor.

A

Rugs

86
Q

Earliest surviving pile rug which dates from 4th-5th Century BC. It was excavated by Sergei Voinovich Rudenko in 1949.

A

Pazyryk Carpet

87
Q

Size of Pazyryk Carpet.

A

200 x 183cm (6’6” x 6’0”)

88
Q

The Pazyryk Carpet is bordered with this creature.

A

Griffins

89
Q

100 years or more. Purists believe that Oriental rugs if dated prior to 1856 before synthetic dyes were used are classified to be in his category.

A

Antique

90
Q

Rugs dating between 50 and 100 years old.

A

Semi-Antique or Old

91
Q

Depends entirely of the durability of the fabric as floor covering.

A

Utility Value

92
Q

Depends upon the color and design rather than the texture of the rug.

A

Art Value

93
Q

Depends upon the rarity of the art value.

A

Collector’s Value

94
Q

The parallel strings stretched from loom beam to loom beam upon which rows of knots are tied. They are the stationary threads on the loom. These fibers are the strongest part of the rug.

A

Warps

95
Q

The filling yarn that are woven through the warps, they run across the width of the rug, over and under the warp strings and between the rows of knots.

A

Wefts

96
Q

Tied by looping yarn around the pairs of warps and cutting off the standing end. The ends of the knot become the pile or nap of the rug.

A

Knots

97
Q

Made by wrapping several warps at the edge of the rug with yarn to reinforce this part of the rug.

A

Edge Bindings

98
Q

Hold knots and wefts from working off the rug’s warp strings.

A

End Finishes

99
Q

Formed by gathering and knotting together bundles of warp strings at both ends of the rug after the rug has been cut from the loom.

A

Fringes

100
Q

The background of the rug inside the borders. It may be solid color or patterned.

A

Field

101
Q

Composed of decorative designs repeated in one direction around the outside of the rug.

A

Border

102
Q

The widest decorative design around the outside of the rug.

A

Main Border

103
Q

Are the narrow decorative designs flanking the main border.

A

Guard Borders

104
Q

Round, oval or polygonal design element that sometimes occupied the center of the field.

A

Medallion

105
Q

Designs which sometimes fill the corners of the field.

A

Corner Brackets or Spandrels

106
Q

Originated in Glasgow, Scotland and patented in 1839, Known to be the most expensive rug-weaving method as 2-loom operation are required.

A

Chenille

107
Q

The weaver pushes a hooking tool through through the foundation cloth to the front of the rug, the pulls the yarn to the back, leaving a loop on the surface.

A

Hand Hooked

108
Q

An inked-on foundation cloth is stretched over a loom. Then a manually operated hand-tufted gun pushes the yarn through the back of the cloth.

A

Hand Tufted

109
Q

Each knot is individually tied by hand. This is known to be the best kind of rug construction.

A

Hand Knotted

110
Q

An asymmetrical knot invented by the Persians who developed the art of rug making.

A

Persian Knot

111
Q

Another term for Persian Knot.

A

Sehna / Senneh Knot

112
Q

A type of rug knotting that has a symmetrical structure.

A

Turkish Knot

113
Q

Another term for Turkish Knot.

A

Ghiordes Knot

114
Q

A type of rug that is woven without knots.

A

Flat Weave

115
Q

Rugs of the tribal and primitive village people of Persia.

A

Geometric Rugs

116
Q

Woven rugs usually in some shade of red and until recently, some in ivory.

A

Boukara

117
Q

Made by educated urban people, sometimes philosophers and poets and leaders in Oriental art and handwork.

A

Floral Rugs

118
Q

Made by townspeople who make their living weaving during their winter months.

A

Conventional Rugs

119
Q

Carpet that is either knotted with pile or woven without pile; Rugs that come from the Orient.

A

Oriental Rug

120
Q

Generally have a delicately colored all-over pattern of flowers, vines or leaves which start from a center medallion and almost completely cover the background color.

A

Persian Rug

121
Q

Decorated with motifs of flowers, vines and animals. Characterized by more brilliant colors and more naturalistic style. Associated with the place like Agra, Lahore, Kashmir and Srinagar.

A

Indian Rug

122
Q

Closely woven with short, firm pile, predominantly red with designs including squares, diamonds, octagons and other simpler angular motifs. It is woven by nomadic tribes of Boukara, Afghanistan, Belouchistan and Turkestan.

A

Turkoman Rug

123
Q

Small rugs with contrasting, strong colors woven by nomadic tribes with geometric designs, often incorporating stylized people and animals.

A

Caucasian Rug

124
Q

Sometimes called Asia-Minor, woven in both geometric and floral designs but with smaller patterns than the Persian or Indian and brighter, sharper colors than the Turkoman and Caucasian.

A

Turkish Rug

125
Q

Recognizable by their soft ground colors of yellow, rose, salmon-red, beige and browns with the use of silk dyes. Pattern in one blue color and designs are religious symbols.

A

Chinese Rug

126
Q

Colorful hand woven rugs (Navajo) of wool in the indian reservations of the southwest. Weave is flat and patterns are primitive geometric patterns, struipes and borders.

A

American Indian Rug

127
Q

Coarse, heavy rugs originally meant as bedspreads, hand-loomed by peasants since the 15th Century.

A

Alpujira Rug

128
Q

Portugese hand-embroidered accent rugs made in either bright or pastel colors.

A

Arraiolo Rug

129
Q

Named after a French town, made of wool, linen and cotton. Weave resembles needlepoint and usually has a pale cream ground with floral designs and arabesques.

A

Aubusson Rug

130
Q

Hand made rugs by Americans in the late 18th Century, consisting of many fabric scraps and sewn together into colorful round or oval rugs of various sizes.

A

Braided Rug

131
Q

A Tibetan carpet of Kelim weave, a flat-woven reversible rug.

A

Dhurrie Rug

132
Q

Shaggy wool area rugs made in Greece, in solid colors as well as natural off white shade.

A

Flokati Rug

133
Q

Hand-woven rugs with over-all geometric patterns with a center motif. Very durable.

A

Kelim / Kilim/ Kelem Rug

134
Q

Hand woven rugs with thick, shaggy pile and fringed edges. Dominant geometric patterns with string contrasting colors like black and rust brown, white or bright orange on red grounds.

A

Moroccan Rug

135
Q

Tapestry stitch embroidery worked with wool yarns on a canvas mesh backing. Tightness of the backing determine the tightness of the needlepoint.

A

Needlework (Needlepoint or Gros Point) Rug

136
Q

Scandinavian rugs of hand-knotted shaggy weave with alternating short and long pile. In abstract or contemporary peasant designs.

A

Rya Rug

137
Q

Hand-woven rug with a high pile, in pastel colors and floral and scroll patterns. Produced in the rug and tapestry factory at the former soap works outside Paris.

A

Savonnerie Rug

138
Q

Grass-like product is twisted together into strands and sewn into squares.

A

Sisal Rug

139
Q

Entire field covered wi a repeating pattern of palm leaves with rose and blue ground. Mir is the name of village in this district where design had its source.

A

Saraband

140
Q

coarse pile weaving intricately done on claret ground using turkish knot.

A

Ishapan Herat

141
Q

Camel’s hair rug with a coarse weave in light brown, reds and blues.

A

Hamadan

142
Q

Fine pile in soft cream, rose, light blue, and other pastel colors.

A

Kerman and Kermanshah

143
Q

Fine pile on dark reds and blues mixed with lighter colors.

A

Sarouk

144
Q

As thick as two or three ordinary rugs

A

Bijar

145
Q

delicately colored antique silk rug.

A

Polonnaise

146
Q

Close woven small rug with minute pattern.

A

Sehna

147
Q

Small all over design of flowers or conventional forms arrayed in rows.

A

Feraghan

148
Q

hand woven pile rug of coarse quality, abstract design relies upon open fields of color and playfullness geometry, usually bright colors such as yellow, red.

A

Gabbeh

Materials of Decoration (BOARD PURPOSES) (10 decks)

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