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ID REVIEW for Boards > MAT - Floor Coverings > Flashcards

MAT - Floor Coverings Flashcards

1
Q

comes from the Old Italian word “carpita,” or “carpire” meaning to “pluck;” it often use interchangeably with “rug”

A

Carpet

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2
Q

used for centuries in manufacturing carpets; the standard against which other carpet fibers are judged; naturally flame resistant; the most expensive carpet fiber and is commonly used in woven carpets

A

Wool

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3
Q

wool that accepts dye easily; colors with great clarity and uniformity; staples are lustrous and tough, color is almost white

A

New Zealand Wool

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4
Q

wool that is noted for its gloss and sheen, with natural resistance to soiling

A

Argentinean Wool

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5
Q

a crush-resistant wool

A

Indian Wool

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6
Q

wool that is the most luxurious and costly of wool; has high abrasion resistance, and durability

A

Iraqi Wool

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7
Q

wool from a Scottish black face sheep; finest of all carpet wool with staples as long as 15in

A

Scottish Wool

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8
Q

a natural product that grows like grass, light cream, or oatmeal in color; strong, woody fiber produced from the leaves of the agave plant; tends to stain and crush easily but it’s still stronger and more durable than any natural fiber

A

Sisal (Scratch Rush)

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9
Q

made from corn husks; natural, organic, and eco-friendly, and its incredibly stain resistant

A

Maize

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10
Q

strong and flexible hair-like fiber from coconut shells; pale yellow fibers are spun into yarn; it is tough, does not pill, and can withstand a great deal of abrasion; highly resistant and is proven to be unfriendly to insects

A

Coir (Coconut Plush)

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11
Q

softer than woold but is less durable; does not resist stains and also absorbs moisture

A

Cotton

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12
Q

the softest of all fibers; absorbent but it may deteriorate; may fade or darken in color when exposed to sunlight; disintegrates with prolonged exposure to moisture

A

Jute

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13
Q

the most popular carpet fiber used today; versatile, easy to maintain and clean, and withstands heavy foot traffic; often combined with wool for durability

A

Nylon

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14
Q

one of the first synthetic fibers used successfully in the production of carpets; used as a staple fiber and has the lowest static build-up factor; highly resistant to sunlight, stains, and mildew; found mostly in bath mats, and rugs

A

Acrylic

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15
Q

aka “modified acrylic;” better heat retention and is flame retardant as compared to acrylic

A

Modacrylic

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16
Q

soft and luxurious; strong, durable with high abrasion resistance; dyes wells producing clear colors which resist fading; has low static build-up factor

A

Polyester

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17
Q

newest and one of the most economical; lightest commercial carpet fiber; absorbs moisture, resists stains, cleans well, and is almost completely free of static build-up; commonly used for outdoor carpeting

A

Polypropylene Olefins

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18
Q

a part of a carpet that is composed of the pile, which is the upright ends of yarn whether cut or looped

A

Face

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19
Q

a part of a carpet that is considered the foundation of the carpet where the yarns are woven; yarns need a “ground” on which to “hook” themselves

A

Primary Backing

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20
Q

a mixed synthetic natural rubber compound used to glue on the “roots” of the yarns onto the cotton canvas backing to which they are woven

A

Latex

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21
Q

aka “carpet pad;” bonded to the primary backing in the latex stage; designed to add dimensional stability, provide added protection, and ensure that the latex adhesive gives proper binding

A

Secondary Backing

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22
Q

far less expensive and faster to produce than woven carpet; this enabled the mass production of an affordably priced textile floor covering; constructed by punching tufts of yarn into a backing

A

Tufting

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23
Q

the traditional way of making a carpet on a loom; produced by intertwining the surface pile and the backing simultaneously into an integrated whole

A

Weaving

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24
Q

the least complex weaving method and the most inexpensive; used primarily to produce sold color carpet; similar to Wilton looms but without the jacquard mechanism

A

Velvet

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25
Q

carpet weaving process named after a town in England; constructed on a modified jacquard loom; used to produce carpet of more than one color, with as many as five color possible

A

Wilton

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26
Q

similar to woven carpet because pile and backing are made in a single operation; uses three sets of needles to loop the pile backing tarn and the stitching yarns together

A

Knitting

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27
Q

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

A

Needle-Punched Carpet

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28
Q

uses an electrostatic method; dyed short ends of the 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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29
Q

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

A

Cut Pile

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30
Q

a smooth cut pile; the cut ends of the yarn blend with each other for a consistent surface appearance; has a luxurious look and feel

A

Cut Pile Plush

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31
Q

the texture between cut pile plush and cut pile shag; has twisted yarn, which gives definition to each tuft; made with heat-set yarn, usually dench, low-pile construction

A

Saxony Plush

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32
Q

a multi-directional, high pile twist, giving an attractive informal look; heavily textured surface created by the long, twisting yarns

A

Shag

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33
Q

created by weaving, tufting, or knitting the pile yarn into loops; left uncut, and is sometimes referred to as “round wire” in woven carpets; tougher and more easily maintained than cut pile

A

Loop Pile

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34
Q

the entire surface is made of uniform uncut loops, which are of the same height; very sturdy, and offers a little textural variation; has pebbled surface texture that conceals soilage and hides footprints and other indentations such as chair caster and furniture marks

A

Level Loop Pile

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35
Q

the surface is made of different pile heights; all uncut loops, which tend to give a dimensional character to the carpet; this loop is capable of producing sculptured patterns

A

Multilevel Loop

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36
Q

adds a degree of warmth to an all-loop pile; can be produced in tufted and woven constructions

A

Combination Loop and Cut Pile

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37
Q

in the loop surface, some of the loops are cut and some remain uncut; adds interest to colors and vied a desirable pattern effect

A

Level Type Shear

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38
Q

loops are sheared to different heights, forming a pattern that can be definite or irregular; produces tonal contrast between the cut and uncut loops of varying heights

A

Random Shear

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39
Q

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

A

Carving

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40
Q

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

A

Hairline Carving

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41
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

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42
Q

is the process of weaving a design in a higher level

A

Embossing

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43
Q

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

A

Beveling

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44
Q

accomplished by pre-dyeing the carpet fibers before the carpet is manufactured; most carpet undergoes this process because this process allows manufacturers to respond quickly

A

Dyeing

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45
Q

simulates the intricate patterns of woven carpet at a much lower cost; patterns are applied to the carpet after it is manufactured

A

Printing

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46
Q

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

A

Screen Printing

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47
Q

an electrostatic charge forces the pre-metallized dyes used in this process deep into the pile; it puts down all the colors in the design at the same time

A

Deep-dye Printing

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48
Q

employs embossed cylinders to deposit the design on the face of the carpet; each cylinder paints a different color

A

Roller Printing

49
Q

utilizes rows of very closely spaced jets that spray the carpet with color as it passes by; this process does not crush the carpet pile

A

Jet Printing

50
Q

a traditional method of installation; referred to as “lining” or “cushioning;” increases wearability, gives added insulation, helps deaden sound, and provides comfort underfoot

A

Carpet Cushion or Underlay

51
Q

made by needle-punching natural fiber, synthetic fiber, or a combination of the two, into a felt-like pad; antimicrobial treatments are recommended for natural fiber pads due to being susceptible to mold and mildew

A

Fiber Cushions

52
Q

are flat sponge, ripple (waffle) sponge, or reinforced foam rubber; flat sponge provides a firm feel, ripple sponge provides a softer feel

A

Sponge Rubber Cushions

53
Q

manufactured from scraps of foam bonded together through an adhesive and heat fusion process; types include bonded, modified prime, and densified prime urethane foam

A

Polyurethane Foam Cushion

54
Q

aka “stretch-in installation;” a traditional installation whereby pre-tacked thin strips of plywood are fastened all around the perimeter of the space to be carpeted, the carpet is stretched up to these strips and then edge attached to the stripping

A

Tackless Stripping

55
Q

usually employed with a bonded carpet; highly density foam rubber is used as the secondary backing and is cemented directly to the floor

A

Glue-Down Method

56
Q

the most common method of commercial installation; economical, and practical; the most dimensionally stable installation and is often required for stair or ramp applications

A

Direct Glue-down

57
Q

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 the carper is then glued to the cushion

A

Double Glue-down

58
Q

the latest developemt in carpet installation; flexible adhesive layer is applied to the carpet backing and covered with a protective plastic film

A

Self-Stick

59
Q

a single piece compact, woven, knitted, or tufted fabric, has borders, and is intended as a floor covering; manufactured of natural or man-made fibers and produced in various shapes and sizes

A

Rugs

60
Q

rugs that are 100 years old or more

A

Antique

61
Q

rugs that are between 50 to 100 years old

A

Semi-Antique or Old

62
Q

a value in oriental rugs that depends entirely on the durability of the fabric as a floor covering

A

Utility Value

63
Q

a value in oriental rugs that depends upon the color and design rather than upon the texture

A

Art Value

64
Q

a value in oriental rugs that depends upon the rarity of the art value

A

Collector’s Value

65
Q

the parallel strings stretched from loom beam to loom beam; stationary threads on the loom; the strongest part of the rug

A

Warps

66
Q

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

A

Wefts

67
Q

the surface of the yarn that makes up the face of the rug

A

Pile

68
Q

these are tied by looping yarn around pairs of warps and cutting off the standing end

A

Knots

69
Q

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

A

Edge Bindings

70
Q

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

A

End Finishes

71
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

72
Q

the background of the rug inside the borders; may be solid color or patterned

A

Field

73
Q

composed of decorative designs repeated in one direction around the outside of the rug

A

Border

74
Q

the widest decorative design around the outside of the rug

A

Main Border

75
Q

the narrow decorative designs flanking the main border

A

Ground Borders

76
Q

the round, oval polygonal design element that sometimes occupies the center of the field

A

The Medallion

77
Q

these are designs which sometimes fill the corners of the field

A

Corner Bracket or Spandrels

78
Q

the pile is woven between two backings and then split down the middle, so you get two separate rugs

A

Wilton Loom

79
Q

originated in Glasgow, Scotland; known to be the most expensive rug-weaving method as 2 loom operations are required; a dense pile with a wide range of designs, colors, widths, and depths

A

Chenille

80
Q

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

A

Hand Hooked

81
Q

an inked-on foundation cloth is stretched over a loom; it pushes the yarn through the back of the cloth

A

Hand Tufted

82
Q

each knot is individually tied by hand; this is known to be the best kind of rug construction

A

Hand Knotted

83
Q

an asymmetric knot invented by the Persians, who developed the art of rug making; a short piece of thread is laid across the warps (twi) but one end is carried down outside and up between the 2 warp threads; aka “Sehna Knot,” or “Senneh Knot”

A

Persian Knot

84
Q

a symmetrical knot structure; a short piece of thread is laid across two warps, and the ends are carried down outside and up between them and pulled tight; aka “Ghiordes Knot”

A

Turkish Knot

85
Q

a rug type that is woven without knots; constructed without a pile, but colored weft yarns are woven through the warps to create the pattern, like Kilims, Soumaks, or Cashmere

A

Flat Weave

86
Q

rugs of the tribal and primitive village people of Persia; each tribe is distinguished by its own rug style

A

Geometric Rugs

87
Q

woven with sharp reds, blues, and off whites

A

Kazakh

88
Q

woven with bright yellows, greens, ad red predominate

A

Bachtiari

89
Q

woven rugs usually in some shade of red and until today, some in ivory

A

Boukara

90
Q

made by educated urban people; usually made of fine quality wool, intricate flowing patterns indicate a sophisticated lifestyle; named after the cities in the past

A

Floral Rugs

91
Q

made by townspeople who make their living weaving during the winter; tends to use repetitive, stylized rugs; small motifs are repeated again and again

A

Conventional Rugs

92
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; soft and delicate colors blending with one another

A

Persian

93
Q

the entire field is covered with a repeating pattern of palm leaves with rose or blue ground; came from Mir, and the finest of these rugs are called “Mir-_________”

A

Saraband

94
Q

coarse pule weaving is intricately done and stately designed on the claret ground; uses Turkish Knot

A

Ispahan Herat

95
Q

camel’s hair rug with a coarse weave in light browns, reds and blues

A

Hamadan

96
Q

fine pile is soft cream, rose, light blue and other pastel colors

A

Kerman and Kermanshah

97
Q

fine pile in dark reds and blues mixed with lighter colors

A

Sarouk

98
Q

as thick as two or three ordinary rugs

A

Bijar

99
Q

delicately colored antique silk rug

A

Polonnaise

100
Q

close woven small rough with minute pattern

A

Sehna

101
Q

usually produced with a small all-over deisng of florwers or conventional forms arrayed in rows

A

Feraghan

102
Q

a hand-woven pile rug of coarse quality characterized by an abstract design that relies upon an open field of color and playfulness with geometry; thicker and coarser than other Persian carpets

A

Gabbeh

103
Q

decorated with motifs of flowers, vines, and animals; characterized by more brilliant colors and a more naturalistic style

A

Indian

104
Q

closely woven with short, firm piles, predominantly red with designs including squares, diamonds, octagons, and other simple angular motifs

A

Turkoman

105
Q

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

A

Caucasian

106
Q

aka “Asia-Manor;” woven in both geometric, and floral designs but with smaller patterns than the Persian or Indian, brighter sharper colors than the Turkoman or Caucasian

A

Turkish

107
Q

recognizable by their soft ground colors of yellow, rose, salmon-red, beige, and brown; the designs are ________ religious symbols

A

Chinese

108
Q

colorful hand-woven rugs of wool in Indian reservations; motifs are primitive geometric patterns, stripes, and borders; weave is flat

A

American Indian

109
Q

coarse, heavy rugs originally meant as bedspreads, hand-loomed by peasants; bold designs are woven in 2 to 10 colors, including tree of life patterns, flowers, leaves, and grapes

A

Alpujira

110
Q

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

A

Aubusson

111
Q

hand-made by Americans consisting of many fabric scraps braided and sewn together into colorful round or oval rugs of various sizes; found in the Appalachians

A

Braided

112
Q

a Tibetan carpet of Kelim weave; a flat-woven and reversible rug; made of cotton, and wool, and this is extremely practical

A

Dhurrie

113
Q

shaggy wool area rugs made in Greece; in solid colors as well as natural off-white shade

A

Flokati

114
Q

from Turkey, Rumania, Morocco, or Hungary; hand-woven rugs with all-over geometric patterns with a center motif; colors are strong usually deep red or blue; very durable

A

Kelim or Kilim or Kelem

115
Q

hand-woven from Morocco with a thick, shaggy pile, and fringed edges; dominant geometric patterns with strong contrasting colors like black & rust-brown, white or bright orange on red grounds

A

Moroccan

116
Q

tapestry-stitched embroidery worked with wool yarns on a canvas mesh backing; the tightness of the backing determines the tightness of the needlepoint; designs and colors depending on where it is produced

A

Needlework

117
Q

Scandinavian rugs of hand-knotted shaggy weave with alternating short and long piles in abstract or contemporary peasant designs; colors are varied and vivid

A

Rya

118
Q

hand-woven rug with a high pile, in pastel colors and floral and scroll patterns; produced in the rug and tapestry factory; very much in demand and command high prices

A

Savonnerie

119
Q

grass-like product is twisted together into strands and sewn into squares; squares attached together in any given number make up the finished rug; very suitable for contemporary settings and country homes

A

Sisal

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