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.
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Carpet
2
Q
Meaning “to pluck”
A
Carpire
3
Q
Used for centuries in manufacturing carpet. Generally the most expensive fiber and the basis of carpet standards.
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Wool
4
Q
Wool absorbs dye easily, colors with great clarity and uniformity., color is almost white.
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New Zealand Wool
5
Q
Noted for its gloss and sheen with natural resistance to soiling.
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Argentinean Wool
6
Q
Crush-resistant wool.
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Indian Wool
7
Q
Among the most luxurious and costly of wool, high abrasion resistance and durability.
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Iraqi Wool
8
Q
Black face sheep bear finest of all carpet staples as long as 15 inches.
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Scottish Wool
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.
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Sisal
10
Q
Another term for Sisal.
A
Scratch Rush
11
Q
Carpet whose fibers are obtained from corn husk.
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Maize
12
Q
A strong flexible hair like fiber from coconut shells, highly resistant and proven to be unfriendly to insects.
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Coir
13
Q
Another term for Coir.
A
Coconut Plush
14
Q
The softest of all natural fibers. It may fade or darken in color when exposed to sunlight.
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Jute
15
Q
The most popular carpet fiber. It is the most widely used man-made fiber. It is often combined with wool for durability.
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Nylon
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
17
Q
Also known as modified acrylic. It has better heat retention and is flame retardant as compared to acrylic.
A
Modacrylic
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
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.
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Polypropelene Olefins
20
Q
Combinations of two or more fibers into a single carpet yarn with each yarn lending to the other its dominant characteristic.
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Blends
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.
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Face
22
Q
The yarns need a “ground” on which to “hook” themselves. A canvas foundation on which the yarns are woven.
A
Primary Backing
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
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
25
Far less expensive and faster to produce than woven carpet. It is constructed by punching tufts of yarn into a backing.
Tufting
26
Traditional way of making carpet on a loom. it is a slower, more labor-intensive process.
Weaving
27
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.
Velvet
28
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.
Wilton
29
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.
Axminster
30
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.
Knitting
31
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.
Needlepunched
32
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.
Flocked
33
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.
Pile Density
34
The distance between the needles of tufted carpets. Measured in fractions or in inch.
Gauge
35
The number of ends in a 27-inch width of carpet for woven carpets.
Pitch
36
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.
Stitch Rate
37
Refer to the number of ends per inch in lengthwise for an Axminster carpet.
Rows
38
Refer to the number of ends per inch lengthwise for a Wilton and velvet carpet.
Wires
39
The length of the tuft from the primary backing to the tip.
Pile Height
40
The height of the steel blades in the 100m on which the tufts are formed in a woven carpet.
Wire Height
41
Also referred to as pile weight or yarn weight. The weight of the pile yarn above and below the backing.
Face Weight
42
Another term for face weight.
Pile Weight or Yarn Weight
43
Include face weight and the backing materials, finishes and coatings.
Total Weight
44
Another term for total weight.
Finished Weight
45
Expressed as count, which indicated the fineness or coarseness of the finished yarn.
Yarn Weight
46
Number of running yarns in one ounce of finished yarns
Woolen Count
47
Measurement of weight in grams of a standard 9000 meter length of yarn.
Denier
48
The number of strands per single yarn twisted together to form one pile yarn.
Ply
49
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.
Twist Level
50
The prime visual characteristic of a carpet after color.
Texture
51
Created by cutting each loop of pile. It produces a wide range of textures.
Cut Pile
52
It is a smooth cut pile where the cut ends of the yarn blend with each other.
Cut Pile Plush
53
Texture of carpet when dense pile is cut closely.
Velvet Plush
54
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.
Saxony Plush
55
An all cut pile surface made from yarns that have been tightly twisted and and the twist set by a special heating treatment.
Twist/Frieze
56
A multi-directional, high pile twist, giving an attractive informal look. It has heavily textured surface created by the long, twisting yarns.
Shag
57
Created by weaving, tufting or knitting the pile yarns into loops. It is left uncut, tougher and more easily to maintain that cut pile.
Loop Pile
58
Entire surface is made of uniform uncut loops, which are of the same height.
Level Loop Pile
59
Surface is made of different pile heights, all uncut loops. This loop is capable of producing sculptured patterns.
Multilevel Loop
60
Adds a degree of warmth to an all loop pile. It can be produced in tufted and woven constructions.
Combination Loop and Cut Pile
61
In the loop surface, some of the loops are cut and some remain uncut.
Level Type Shear
62
Loops are sheared to different heights, forming a pattern that can be definite or irregular.
Random Shear
63
Process of incising a design into a carpet or rug which has already been woven.
Carving
64
Used between colors in a multicolor design rug in order to accentuate and give a design some dimension.
Hairline Carving
65
Process of actually weaving a design into a low level rather than shearing down or carving it into the carpet.
Recessing
66
Process of weaving a design in a higher level.
Embossing
67
Rounding off those parts of a carpet that have already been carved, recessed or embossed.
Beveling
68
Carpet coloring is accomplished by pre-dyeing the carpet fibers before the carpet is manufactured or post dyeing the finished piece of carpet.
Dyeing
69
Patterns are applied or printed to carpets after it is manufactured.
Printing
70
Employs flat templates or screens, through which dyes are forced to form the finished pattern on the carpet pile.
Screen Printing
71
An electrostatic charge forces the pre-metallized dyes in this process deep into the pile.
Deep-dye Printing
72
Employs embossed cylinders to deposit the design on the face of the carpet. Each cylinder contains a different color.
Roller Printing
73
Utilizes rows of very closely spaced jets which spray the carpet with color as it passes by.
Jet Printing
74
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%.
Lining
75
Another term use for carpet lining.
Cushioning
76
Made by needlepunching natural fiber, synthetic fiber or a combination of the two into a felt like pad.
Fiber Cushions
77
Flat sponge, ripple (waffle) sponge or reinforced foam rubber. Highly compresible and has smaller cell structure thus, providing more uniform support.
Sponge Rubber Cushions
78
Manufactured from scraps of foam bonded together through an adhesive and heat fusion process.
Polyurethane Foam Cushion
79
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.
Tackless Stripping
80
Another term for Tackless Stripping.
Stretch-In Installation
81
Usually employed with a bonded carpet. High density foam rubber is used as the secondary backing and is cemented directly to the floor.
Glue-down Method
82
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.
Direct Glue-down
83
Installation method combines underfoot comfort of stretch-in installation with the stability of the direct glue-down method.
Double Glue-down
84
The latest development in carpet installation technique. A flexible adhesive layer is applied to the carpet backing and covered with a protective plastic film.
Self-stick
85
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.
Rugs
86
Earliest surviving pile rug which dates from 4th-5th Century BC. It was excavated by Sergei Voinovich Rudenko in 1949.
Pazyryk Carpet
87
Size of Pazyryk Carpet.
200 x 183cm (6'6" x 6'0")
88
The Pazyryk Carpet is bordered with this creature.
Griffins
89
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.
Antique
90
Rugs dating between 50 and 100 years old.
Semi-Antique or Old
91
Depends entirely of the durability of the fabric as floor covering.
Utility Value
92
Depends upon the color and design rather than the texture of the rug.
Art Value
93
Depends upon the rarity of the art value.
Collector's Value
94
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.
Warps
95
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.
Wefts
96
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.
Knots
97
Made by wrapping several warps at the edge of the rug with yarn to reinforce this part of the rug.
Edge Bindings
98
Hold knots and wefts from working off the rug's warp strings.
End Finishes
99
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.
Fringes
100
The background of the rug inside the borders. It may be solid color or patterned.
Field
101
Composed of decorative designs repeated in one direction around the outside of the rug.
Border
102
The widest decorative design around the outside of the rug.
Main Border
103
Are the narrow decorative designs flanking the main border.
Guard Borders
104
Round, oval or polygonal design element that sometimes occupied the center of the field.
Medallion
105
Designs which sometimes fill the corners of the field.
Corner Brackets or Spandrels
106
Originated in Glasgow, Scotland and patented in 1839, Known to be the most expensive rug-weaving method as 2-loom operation are required.
Chenille
107
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.
Hand Hooked
108
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.
Hand Tufted
109
Each knot is individually tied by hand. This is known to be the best kind of rug construction.
Hand Knotted
110
An asymmetrical knot invented by the Persians who developed the art of rug making.
Persian Knot
111
Another term for Persian Knot.
Sehna / Senneh Knot
112
A type of rug knotting that has a symmetrical structure.
Turkish Knot
113
Another term for Turkish Knot.
Ghiordes Knot
114
A type of rug that is woven without knots.
Flat Weave
115
Rugs of the tribal and primitive village people of Persia.
Geometric Rugs
116
Woven rugs usually in some shade of red and until recently, some in ivory.
Boukara
117
Made by educated urban people, sometimes philosophers and poets and leaders in Oriental art and handwork.
Floral Rugs
118
Made by townspeople who make their living weaving during their winter months.
Conventional Rugs
119
Carpet that is either knotted with pile or woven without pile; Rugs that come from the Orient.
Oriental Rug
120
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.
Persian Rug
121
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.
Indian Rug
122
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.
Turkoman Rug
123
Small rugs with contrasting, strong colors woven by nomadic tribes with geometric designs, often incorporating stylized people and animals.
Caucasian Rug
124
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.
Turkish Rug
125
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.
Chinese Rug
126
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.
American Indian Rug
127
Coarse, heavy rugs originally meant as bedspreads, hand-loomed by peasants since the 15th Century.
Alpujira Rug
128
Portugese hand-embroidered accent rugs made in either bright or pastel colors.
Arraiolo Rug
129
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.
Aubusson Rug
130
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.
Braided Rug
131
A Tibetan carpet of Kelim weave, a flat-woven reversible rug.
Dhurrie Rug
132
Shaggy wool area rugs made in Greece, in solid colors as well as natural off white shade.
Flokati Rug
133
Hand-woven rugs with over-all geometric patterns with a center motif. Very durable.
Kelim / Kilim/ Kelem Rug
134
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.
Moroccan Rug
135
Tapestry stitch embroidery worked with wool yarns on a canvas mesh backing. Tightness of the backing determine the tightness of the needlepoint.
Needlework (Needlepoint or Gros Point) Rug
136
Scandinavian rugs of hand-knotted shaggy weave with alternating short and long pile. In abstract or contemporary peasant designs.
Rya Rug
137
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.
Savonnerie Rug
138
Grass-like product is twisted together into strands and sewn into squares.
Sisal Rug
139
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.
Saraband
140
coarse pile weaving intricately done on claret ground using turkish knot.
Ishapan Herat
141
Camel's hair rug with a coarse weave in light brown, reds and blues.
Hamadan
142
Fine pile in soft cream, rose, light blue, and other pastel colors.
Kerman and Kermanshah
143
Fine pile on dark reds and blues mixed with lighter colors.
Sarouk
144
As thick as two or three ordinary rugs
Bijar
145
delicately colored antique silk rug.
Polonnaise
146
Close woven small rug with minute pattern.
Sehna
147
Small all over design of flowers or conventional forms arrayed in rows.
Feraghan
148
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.
Gabbeh
