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HID1 > fmr quiz about carpets > Flashcards

fmr quiz about carpets Flashcards

1
Q

the general designation for fabric used as floor covering.

A

CARPET

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2
Q

used for centuries in the manufacturing of carpet, it is still the standard against which other carpet fibers are judged. It is generally the most expensive carpet fiber and is commonly used in woven carpets.

A

WOOL

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3
Q

wool absorbs dye easily, colors with great clarity and uniformity, staple are lustrous and tough, and color is almost white.

A

NEW ZEALAND WOOL

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4
Q

noted for its gloss and sheen with natural resistance to soiling. Not as white as new zealand wool.

A

ARGENTINEAN WOOL

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5
Q

crush resistant wool.

A

INDIAN WOOL

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6
Q

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

A

IRAQI WOOL

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7
Q

________ black face sheep bear finest of all carpet wool with staples as long as 15 inches.

A

SCOTTISH WOOL

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8
Q

natural product that grows like grass, it is light cream or oatmeal in color,_____ is a strong, woody fiber produced from the leaves of the agave plant.

A

SISAL

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9
Q

made from corn husks

A

MAIZE

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10
Q

a strong and flexible hair like fiber from coconut shells, its pale yellow fibers are spun into a yarn which is finally woven into either flat weave carpeting or cut pile rugs and mats.

A

COIR

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11
Q

softer than wool but is less durable

A

COTTON

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12
Q

the softest of all natural fibers, it may fade or darken in color when exposed to sunlight, and its fiber disintegrates with prolonged exposure to moisture.

A

JUTE

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13
Q

is the most popular carpet fiber used today, many types of _____ are available, each with its own performance attributes.

A

NYLON

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14
Q

it is one of the first synthetic fibers to be used successfully in the production of carpet, and was once very popular.

A

ACRYLIC

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15
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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16
Q

soft and luxurious, it is strong, durable with high abrasion resistance, dyes well producing clear colors which resist fading.

A

POLYESTER

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17
Q

newest and one of the most economical, it is comparable to nylon in durability, strength and wear resistance. Is the lightest commercial carpet fiber. Most commonly used in outdoor carpeting.

A

POLYPROPYLENE OLEFINS

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18
Q

brand names like AVISCO, CELAIRE, CROMSPUN, ESTRON.

A

ACETATES

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19
Q

brand name like VICARA.

A

AZLONS

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20
Q

brands like AVICOLOR, AVICRON, AVSLO, CORVAL, FIBRO, KOLORBON, SKYBLOOM, SKYLOFT, SOLURAN, SPUNVIS, STAYLUX, TUFTON

A

RAYONS

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21
Q

brand names like ROVANA, SARAN.

A

SARANS

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22
Q

brand names like AMEL.

A

TRIACETATE

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23
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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24
Q

this is composed of the pile, which is the upright ends of yarn whether cut or looped. This forms the wearing surface of carpet or rugs.

A

FACE

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25
Q

the yarns need a ‘‘ground’’ on which to ‘‘hook’’ themselves. That foundation is the canvas on which the yarns are woven(tufted).

A

PRIMARY BACKING

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26
Q

to glue on the ‘‘roots’’ of the yarns onto the cotton canvas backing on which they are woven, a mixed synthetic natural rubber latex compound is used for the carpet.

A

(SYNTHETIC) LATEX

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27
Q

also known as a carpet pad, quality carpets use cotton mesh clothes. It is bonded to the primary backing in the latexing stage.

A

SECONDARY BACKING

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28
Q

it is far less expensive and faster to produce than woven carpet. This process has enabled the mass production of an affordably priced textile floor covering.

A

TUFTING

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29
Q

traditional way of making carpet on a loom, this is produced by intertwining the surface pile and the backing simultaneously into an integrated whole. Most woven carpet is heavy, dimensionally stable, and strong.

is a slower, more labor intensive process than tufting.

A

WEAVING

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30
Q

the least complex weaving method and the most inexpensive, it is used primarily to produce solid color carpets, but variations in color and pattern are possible.

A

VELVET

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31
Q

carpet weaving process named after a town in england. This is constructed on a modified jacquard loom, perforated cards control the creation of the pattern.
Is usually used to produce carpet of more than one color, with as many as five colors possible.

A

WILTON

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32
Q

named after axminster, england, where it was first made but was actually invented and developed in the US.

A

AXMINSTER

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33
Q

similar to woven carpet because pile and backing are made in a single operation. A ________ machine uses 3 sets of needles to loop the pile backing yarn and the stitching yarns together.

A

KNITTING

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34
Q

fibers, usually acrylic or polypropylene are punched into a web of synthetic fiber to form a homogenized layer of fiber. hundreds of barbed needles punch through the support fabric, compressing and entangling the fibers.

A

NEEDLE PUNCHED CARPET

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35
Q

uses an electrostatic method. Dyed short ends of fiber are electro statically treated and sprayed onto an electrically charged backing sheet which has been treated with adhesive.

A

FLOCKED CARPET

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36
Q

is one of the most important and often most misunderstood, factors of carpet construction. It is simply the weight of pile yarn in a given volume of carpet face.

A

PILE DENSITY

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37
Q

for tufted carpets, it is the distance between the needles. It is measured in fractions of an inch.

A

GAUGE

38
Q

for woven carpets, is the number ends in a 27in width of carpet. A yarn loop in the surface of the carpet is referred to as an end. The _____ can be divided by 27 to compare widthwise density with that of a tufted carpet.

A

PITCH

39
Q

for tufted carpets, also referred to as stitches per inch, defines the number of times per inch a stitch occurs.

A

STITCH RATE

40
Q

the terms ____ in axminster, and _____ in wilton and velvet carpets, refer to the number of ends per inch lengthwise.

A

ROWS AND WIRES

41
Q

is the length of the tuft from the primary backing to the tip. All factors being equal

A

PILE HEIGHT

42
Q

also referred to as pile weight or yarn weight, is the weight of the pile yarn stated in ounces per sq yard of carpet.

A

FACE WEIGHT

43
Q

or finished weight, includes the face weight and the weight of backing materials, finishes and coatings.

A

THE TOTAL WEIGHT

44
Q

expressed as count, which indicates the fineness or coarseness of the finished yarn

A

YARN WEIGHT

45
Q

number of running yards in one ounce of finished yarn, refers to any yarn, whether woolen or not. Example is ‘‘2 ply 50’’ count indicates 50 yards of 2 ply yarn per ounce.

A

WOOLEN COUNT

46
Q

measurement of weight in grams of a standard 9000 m length of yarn. Example is a 2500 ______ yarn which means that yarn of 9000 meters weight 2500 grams.

A

DENIER

47
Q

this affects color, surface, texture and feet underfoot. It is the number of strands of a single yarn twisted together to form one pile yarn.

A

PLY

48
Q

rarely examined by consumers or salespeople with regard to performance, but can have an enourmous impact on performance.

A

TWIST LEVEL

49
Q

the prime visual characteristics of a carpet after color.

A

TEXTURE

50
Q

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

A

CUT PILE

51
Q

it is a smooth cut pile, sometimes the cut ends of the yarn blend with each other for a consistent surface appearance.

A

CUT PILE PLUSH

52
Q

it is the texture between cut pile plush and cut pile shag. It also makes use of thicker yarns

A

SAXONY PLUSH

53
Q

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

A

TWIST/FRIEZE

54
Q

a multi-directional, high pile twist giving an attractive, informal look.

A

SHAG

55
Q

created by weaving, tufting, or knitting the pile yarn into loops. It is left uncut and is sometimes referred to as ‘‘round wire’’ in woven carpets.

A

LOOP PILE

56
Q

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

A

LEVEL LOOP PILE

57
Q

surface is made of different pile heights, all uncut loops which tend to give a dimensional character to the carpet.

A

MULTILEVEL LOOP

58
Q

adds a degree of warmth to an all-loop pile

A

COMBINATION LOOP AND CUT PILE

59
Q

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

A

LEVEL TYPE SHEAR

60
Q

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

A

RANDOM SHEAR

61
Q

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

A

CARVING

62
Q

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

A

RECESSING

63
Q

is the process of weaving a design in a higher level.

A

EMBOSSING

64
Q

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

A

BEVELING

65
Q

carpet coloring is accomplished by predyeing the carpet fibers before the carpet is manufactured.

A

DYEING

66
Q

process whereby different colors are ‘‘printed’’ along the length of the yarn before it is manufactured into carpet, with different color baths for each of the yarn.

A

SPACE DYEING

67
Q

opposite of differential dyeing, yarn is treated to resist additional dyes , it produces no discernible pattern.

A

RESIST DYEING

68
Q

process of dyeing carpet in a continuous production line, rather than piece-dyeing separate lots, most often done on kusters continuous dyeing.

A

CONTINUOUS DYEING

69
Q

spun yarns are wound on a large perforated forms. Under heat or pressure, dyes are forced through the perforation and onto the yarn.

A

PACKAGE DYEING

70
Q

achieved with a random dye application or a TAK , random pattern machine.

A

RANDOM MULTICOLOR DYEING

71
Q

in some cases, patterns are applied to carpet after it is manufactured

A

PRINTING

72
Q

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

A

SCREEN PRINTING

73
Q

similar to screening, an electrostatic charge forces the pre-materialized dyes used in this process deep into the pile.

A

DEEP-DYE PRINTING

74
Q

employs embossed cylinders to deposit the design on the face of the carpet. Each cylinders paint a different color.

A

ROLLER PRINTING

75
Q

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

A

JET PRINTING

76
Q

traditional method of installation requires the use of separated foundation, it is otherwise referred to as ‘‘lining’’ or ‘‘cushioning’’.

A

CARPET CUSHION / UNDERLAY

77
Q

are made by needle punching natural fiber, synthetic fiber or a combination of two, into a felt like pad.

A

FIBER CUSHIONS

78
Q

are flat sponge, ripple sponge, or reinforced foam rubber.

A

SPONGE RUBBER CUSHIONS

79
Q

types include bonded, modified prime, and densified prime urethane foam.

A

POLYURETHANE FOAM CUSHION

80
Q

also known as stretch-in installation. It is the traditional installation whereby pre-tacked thin strips of plywood are fastened all around the perimeter of the space to be carpeted.

A

TACKLESS STRIPPING

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, is economical and practical. The carpet is glued directly to the floor without a cushion.

A

DIRECT GLUE-DOWN

83
Q

the installation method combines the underfoot comfort of stretch in installation with the stability of the direct-glue down method. The carpet cushion is adhered to the floor and the carpet is then glued to the cushion.

A

DOUBLE GLUE-DOWN

84
Q

this is the latest development in carpet installation techniques, a flexible adhesive layer is applied to the carpet backing and covered with a protective plastic film.

A

SELF STICK

85
Q

6 NATURAL FIBERS

A

WOOL
SISAL
MAIZE
COIR
COTTON
JUTE

86
Q

10 SYNTHETIC FIBERS

A

NYLON
ACRYLIC
MODACRYLIC
POLYESTER
POLYPROPYLENE OLEFINS
ACETATES
AZLONS
RAYONS
SARANS
TRIACETATE

87
Q

4 PARTS OF CARPET

A

FACE
PRIMARY BACKING
SYNTHETIC LATEX
SECONDARY BACKING

88
Q

5 METHODS OF MANUFACTURING CARPETS

A

TUFTING
WEAVING
KNITTING
NEEDLEPUNCHED CARPET
FLOCKED CARPET

89
Q

3 TEXTURES OF CARPETS

A

CUT PILE
LOOP PILE
COMBINATION LOOP AND CUT PILE

90
Q

4 SCULPTURED TEXTURES

A

CARVING
RECESSING
EMBOSSING
BEVELING

91
Q

2 METHODS OF COLORING

A

DYEING
PRINTING

92
Q

3 CARPET CUSHIONS OR UNDERLAY

A

FIBER CUSHIONS
SPONGE RUBBER CUSHIONS
POLYURETHANE FOAM CUSHION

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