Materials of Decoration Flashcards

1
Q

known as fabric or cloth is a flexible artificial material made up of a network of natural or artificial fibres formed by weaving or knitting or pressed into felt.

A

Textile

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2
Q

refer to a finished piece of fabric that can be used for varying purposes such as a bedcover etc.

A

Cloth

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3
Q

any material made through various processes such as weaving, knitting, crocheting or bonding

A

fabric

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4
Q

it is fabrics from 500 BC have been discovered in Egypt

A

Linen fabrics

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5
Q

related to flexibility

A

Durability

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6
Q

refer to tensile strength

A

Tenacity

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7
Q

refer to the fabrics elasticity

A

Resiliency

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8
Q

fabric absorbs moisture without feeling wet

A

Hygroscopic

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9
Q

water loving; meaning fabric has special affinity for water, thus absorb moisture readily

A

Hydrophilic

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10
Q

a fabric’s stretching ability

A

Elongation

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11
Q

how well will the fabric absorb and/ or retain moisture

A

Absorbency

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12
Q

basic element of the textile

A

fiber

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13
Q

is the fine, hair like strand that forms the basis of a yarn

A

Fiber

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14
Q

long and continuous fibers, usually measured in meter or yards, laid parallel to one another and tightly twisted to produce smooth, strong yarns.

A

Filament Fibers

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15
Q

short fibers, randomly arranged and loosely twisted, resulting in softer yarns

A

Staple Fibers

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16
Q

formed by twisting fibers together to create a continuous strand.

A

Yarn

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17
Q

composed of staple fiber twisted together

A

spun yarns

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18
Q

composed of continuous strands made from either a spinneret generated synthetic fiber or from silk.

A

Filament yarns

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19
Q

This is classification of fibers that from animal,plant or mineral sources. Plant and animal based fiber are produced seasonally and are susceptible to the forces of nature, wounds, insects and too much eater or lack of it.

A

Natural

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20
Q

This is classification of fiber that man made and thoroughly modern, and developed twentieth century.

A

Synthetic

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21
Q

it is most widely used plant fiber

A

Cotton

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22
Q

This is a processed version of the fiber made into cloth that resembles satin. And has hydrophobic nature thus making it unfit for towels

A

Shinny cotton

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23
Q

This term applied on how plant is grown and cultivated. And must meet certain standard and it has to be grown with no presence of synthetic or chemical pesticides and fertilizers

A

Organic cotton

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24
Q

This term applied to how the fibers are processed. it is only washed with mild soap and must not be bleached. Although they can be dyed.

A

Green Cotton

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25
Q

This cotton that has undergone carding, a step in the refinement process of the fiber.

A

Carded cotton

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26
Q

This is a process for further refinement of the fibers and is done after the carding process, thus it is a higher form than carded cotton

A

Combed cotton

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27
Q

Also known as Mexican cotton, it is most widely planted species of cotton in the world

A

Unpland Cotton

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28
Q

It is kind of cotton product, and known to be superior to other products.

A

Long staple cotton

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29
Q

originated in Peru, but now mainly grown in Peru, Australia and United states.

A

Pima cotton

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30
Q

what is the well known term of the trademarked brand of this Pima cotton

A

Supima

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31
Q

Ability to absorb liquids, giving fabrics deeper, brighter and more resistant colors

A

Egyptian Cotton

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32
Q

It is derived from a seed

A

kapok

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33
Q

oldest fiber ever woven into fabric.

A

Flax

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34
Q

a fabric made from flax, is less soft and absorbent than cotton but more resistant to mildew

A

Linen

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35
Q

fiber which resembles flax, but is made from the stem and stalk of the jute plant which primarily grows in india.

A

Jute

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36
Q

A fabrics that is often made from jute. It is excellent resistance to microorganism and insects

A

Burlap

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37
Q

comes from the plant located in the temperate zone. it is a coarse fiber originally used in ropes and sacks, but is now being used by designers in clothing.

A

Hemp

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38
Q

known as Abaca, derived from Musa textilis plant. It is mainly grown in the Philippines but also found in smaller amounts in Africa, malaysia, indonesia and costa rica

A

Manila Hemp

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39
Q

East asia plant, it can be spun or woven into a fabrics. Sometimes called china grass or grass linen, ramie is produced from a perennial shrub.

A

Ramie

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40
Q

1920s Rubber, discovered that latex could be extruded into fiber.

A

Natural Rubber

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41
Q

originally made from abaca, and even banana fibers but modern ones may also be made with a mix of pina and silk fiber

A

Jusi

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42
Q

made from the leaves of the Pineapple plant, this fabric is commonly used in the Philippines.

A

Pina

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43
Q

it is a sheared from domesticated animals, primarily sheep.

A

wool

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44
Q

This comes from the Merino sheep, mostly found in Australia and New Zealand

A

Merino Wool

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45
Q

originally found in the Shetland islands in Scotland

A

Shetland Wool

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46
Q

This is the finest and softest fleece and it comes from a lamb’s first shearing, usually when it is six or seven months old

A

Lambwool

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47
Q

Term is used for wool that has not yet been previously processed

A

Virgin wool

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48
Q

This is the regular type of wool and may include reclaimed scraps from knits, broken threads and other source

A

ordinary wool

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49
Q

New wool or felted scraps shredded and then reused

A

Recycled wool

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50
Q

it is a high quality type of wool yarn and named after the small English village of worstead which was the center for its manufacturing in the 12th century

A

Worsted wool

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51
Q

from caramel, goat,mohair,alpaca,illama, the vicuna and horsehair

A

Hair

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52
Q

it is fine type of cashmere and actually is shorn from the undercoat of Himalayan Mountain Goats.

A

Pashmina

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53
Q

is a Persia word meaning “king of wools”

A

Shahtoosh

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54
Q

it is a sild-like fabric or yarn, made from the hair of the Angora Goat. it is durable and resilient and notable for its high luster and sheen

A

Mohair

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55
Q

This is considered the most beautiful of all fibers due to its marvelous, natural luster.

A

Silk

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56
Q

is the finest cultured silk yarn and is made from the longest filament

A

Organzine or Thrown silk

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57
Q

uses shorter strands and have less luster and sheen

A

Tram, spunsilk or Bourette

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58
Q

naturally tan in color, cannot be bleached and has a rougher texture than cultivated silk.

A

Tussah

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59
Q

silk that comes from the fiber formed by two silk worms that spun their cocoons together in an interlocking manner.

A

Duppion/Dupiopi

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60
Q

Produced from the cocoons of thai silkworms. And considered one of the finest fabrics in the world and it is a product of a unique manufacturing process with the end product coming out with unique patterns and colors

A

Thai Silk

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61
Q

first synthetic fiber, derived from the pithy sections of plant stalks and in refining, remains almost pure cellulose.

A

Rayon

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62
Q

called “ poor man’s silk” or “artificial silk” when spun and woven on the silk system

A

Rayon

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63
Q

both developed by the Celanese corp,. they have similar chemical compositions but they behave differently as fibers

A

Acetate and Triacetate

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64
Q

compound of cellulose acetate developed by the Celanese Corp in 1924.

A

Acetate

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65
Q

pure cellulose acetate developed by the Celanese corp in 1954

A

Tri-acetate

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66
Q

Developed by E.I Dupont de Numours and Co. in 1939

A

Nylon

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67
Q

Developed by the DuPont Co. in 1950

A

Acrylic

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68
Q

Developed by the Union Carbide in 1949

A

Modacrylic

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69
Q

Developed by Hercules Inc in 1961

A

Olefins

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70
Q

first olefin fiber to reach commercial importance, being used as upholstery for airplane seats for many years

A

Polyethylene

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71
Q

it is a derivative of coal, air water and petroleum

A

Polyester

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72
Q

Although glass has been used for centuries, it was not until the mid-1800s that it was first produced in fiber form

A

Glass-Fiber

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73
Q

Chemical fiber with make up similar to nylon. This fiber outperforms existing synthetics in wash ability,wrinkle resistance and ease of care

A

Polynude Nylon

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74
Q

used for outdoor furniture upholstery and screening. When it is woven with other material, it can be used in curtains drapery fabrics and wall covering

A

Saran

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75
Q

A manufactured elastomeric fiber that can be repeatedly starched over 500% without breaking and will still recover to its original length.

A

Spandex

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76
Q

are marketed under the trade names Nomex and Kevlar

A

Aramids

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77
Q

a high temperature resistant fiber and is incredibly strong, stronger than comparably sized steel

A

Kevlar

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78
Q

a synthetic fiber that is very fine, smaller than the diameter of a strand of silk

A

Microfiber

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79
Q

the matting together of fibers to form a web by moisture, pressure and heat.

A

Felting

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80
Q

produced originally in sheet forms through extrusion through a wide die, forming in molds or rolling between rollers

A

Felting

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81
Q

now utilizes machinery wherein blunt rods or needles are used to form a single continuous yarn into a series of interlocking loops

A

knitting

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82
Q

what is the old English word of knitting

A

cnytton

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83
Q

produce a smooth face material; they used in making fine, thin or sheer fabrics

A

Plain Stitches

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84
Q

produce lines of wales on both sides of the fabric causing the fabric to be very elastic

A

Rip Stitches

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85
Q

formed by holding one loop on a needle while taking on one or more additional loops and then casting all of them onto another needle

A

Tuck Stitches

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86
Q

have successive course of stitches drawn to opposite side of the fabric, thereby making it very elastic in the lengthwise direction and quite elastic in the crosswise direction

A

Purl Stitches

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87
Q

made on a circular machine and produces a tubular fabric without seams

A

Circular Knit

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88
Q

made with two sets of needle to give a ribbed or corrugated surface to the fabric

A

Ribbed fabric

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89
Q

fabric is made by having the needle arranged in a straight line

A

Flat outerwear

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90
Q

fabric is made on a machine with only one set of needle

A

Flat Underwear

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91
Q

is a fabric knitted with a double stitch on a double needle frame to provide a double thickness that is the same on both sides

A

Double knit

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92
Q

is a special type of eight lock knit cloth that has a smooth surface on both side

A

interlock knit

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93
Q

is a plain stitch knitted fabric

A

knit pile

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94
Q

fabric is known for its high gauge,lightweight,fine texture and appeal in hand

A

Milanese Knitted

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95
Q

is a knit fabric that has one kind of yarn on the face while another type is found on the back of the goods

A

Plated

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96
Q

fabric is a versatile fabric that can be made from every type of yarn of any type or fiber in any form

A

Rachel Knit

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97
Q

is a fabric knitted on a single needle machine

A

Single Knit

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98
Q

is a type of warp knitted fabric that has a thin texture since it is made from fine yarn

A

Tricot

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99
Q

is a popular knit fabric with properties that are similar to woven velour

A

Velour

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100
Q

the interweaving or intertwinning of three or more strands of yarn or other material so that the strand pass over and under one another

A

Braiding

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101
Q

a fine lightweight expensive straw with a dull finish

A

Baku

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102
Q

a fine lightweight, glossy straw obtained from unopened palm leaf syems

A

Balibuntal

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103
Q

a fine braided straw made from special wheat grown in Tuscany that has been cut bleached and worked by hand

A

Leghorn

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104
Q

a fine closely braided straw

A

Milan

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105
Q

a fine hand braided, creamy colored Toquilla straw made primarily in Ecuador

A

Panama

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106
Q

a fine yellow straw woven from the tops of bleached wheat stalks grown in Tuscany

A

Tuscan

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107
Q

interwinning and sometimes knotting of yarns that run in two or more directions

A

Twisting

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108
Q

the interlacing of wrap or float and filling or weft yarns usually at right angles on the loom, then turning them into cloth

A

Weaving

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109
Q

a device used to weave cloth

A

loom

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110
Q

a type of floor loom that controls the wrap threads using a device called a dobby

A

Dobby loom

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111
Q

a mechanical loom, invented by Joseph Marie Jacquard in 1801

A

Jacquard Loom

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112
Q

made by the simple interweaving of warp and weft threads, when each warp yarn passes over then under the weft yarns

A

Plain Weave

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113
Q

one weft thread passes over each warp thread

A

Plain single weave

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114
Q

known as a tabby or taffeta weave

A

Regular Weave

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115
Q

when the warp and weft differ because of the different weight and textures of the yarn due to the fact that novelty yarns vary in appearance

A

Irregular Weave

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116
Q

two or more weft threads are interlaced into the same number of warp threads

A

Plain Double or Basket Weave

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117
Q

the weft yarn is heavier than the yarn with the result of a diagonal texture becoming more apparent

A

Rib Weave

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118
Q

the long threads of floats pass over and under the same number of yarns

A

Regular twill

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119
Q

the float pass over and under a different number of threads

A

Irregular

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120
Q

is a weave that emphasizes the continuous weft yarn; with as few interruptions of warp as possible

A

Satin Weave

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121
Q

a variation made of mercerized cotton.

A

Sateen

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122
Q

this refer to fabrics that are woven in such a way as to create loops or piles that stand out from the surface of the fabric

A

Pile Weaves

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123
Q

created by weaving one of the two sets of warp yarns into a plain weave to create a solid back, while lifting the second set of warp yarns by means of a hook to form a loop slightly higher than the backing weave

A

Velvet Pile

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124
Q

same process used as in the velvet pile, except that the lifted yarns remain uncut

A

Frise

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125
Q

a decorative fabric made by weaving colored weft threads alternatively over and under the warp threads to form a pictorial or ornamental design

A

Tapestry

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126
Q

what is the first tapestries (after ancient word for carpets , tapis) a thick heavy texture

A

Rugs

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127
Q

known in the Western Hemisphere prior to the arrival of the Spanish

A

The art of tapestry weaving

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128
Q

perfected by Vaucanson in 1757

A

Swinging loom

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129
Q

was a well known art in Ancient Egypt, china, the near East and Peru

A

Inlay-Pattern

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130
Q

yarns are added to the fabric during the weaving

A

Extra Warp and weft pattern Weaves

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131
Q

known to the Peruvians

A

Double-Cloth Weave

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132
Q

a loose weave in which the warp threads are wound in half twists around each other and around a filter yarn,alternating in position on each row to form a knot to keep the yarn from slipping

A

Leno

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133
Q

warp threads maintain the same position in relation to the weft

A

Gauze

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134
Q

are weaves in which uneven tension in either weft or warp yarns produces an uneven surface effect

A

Tension and Texture related weaves

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135
Q

What is fabrics that are still rough, full of blemishes and impurities. They have to undergo different finishing processes before they can be ready for consumer use.

A

Grey of greige goods

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136
Q

defined as a process done to fabrics, sometimes to fibers and yarns, causing them to change in appearance,texture and performance

A

Finish

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137
Q

the kind of finish that lasts until the fabric is washed or dry cleaned

A

Temporary Finish

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138
Q

this lasts long than temporary but it may become unsatisfactory with the passing of time

A

Durable Finish

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139
Q

lasts until the garment is of service

A

Permanent Finish

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140
Q

include those finishes that affect the texture an appearance of the cloth

A

General Finish

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141
Q

include those finishes that affect the performance of the cloth

A

Special Finishes

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142
Q

this is common finishing process for linen

A

Beetling

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143
Q

an example of a fabric from abaca which has undergone beetling

A

Pinukpok

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144
Q

before the dyeing or printing processes fabrics are require to be what?

A

Bleached

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145
Q

a finishing process which makes the fabrics smooth and glossy

A

Calendering

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146
Q

a wool finishing process to prevent creases of other forms or uneven shrinkage in latter stages of finishing

A

Crabbing

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147
Q

this is finishing process improves the appearance enhance luster and hand of the material

A

Decating or Decatizing

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148
Q

is usually done on cotton rayon or silk the cloth is wound on a perforated drum, between layers of a blanket, than steam passes through from the inside to the outside layers

A

Dry Decating Process

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149
Q

the cloth is wound on a roller and treated in a hot water or steam boiler which is also has vacuum system

A

Wet Decating Process

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150
Q

important finish applied to wool fabrics

A

Fulling

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151
Q

discovered by John Mercer

A

Mercerizing

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152
Q

purpose of removing the fuzz of protruding fibers

A

Singeing or Gassing

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153
Q

other term for starching

A

Sizeing or Dressing

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154
Q

The cloth is filled with starch to increase strength , smoothness,stiffness or weight of the fabrics

A

Sizeing or Dressing

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155
Q

This process straightens and restores the cloth to its proper dimensions

A

Tentering,stentering or Heat-setting

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156
Q

Chemical treatment designed to make a fabric bacteria resistant

A

Antiseptic Finish

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157
Q

is a familiar trade name in the market today for an antiseptic finish and ready to wear clothing items

A

Sanitized of Sanitized, Inc

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158
Q

chemical treatment applied to synthetic fabrics to prevent the accumulation of static electricity

A

Anti-Static Fabric

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159
Q

applied mostly on fabrics from such fibers as cotton,linen,ramie, and rayon.

A

crease resistant finishes

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160
Q

Only mineral, asbestos, glass, or metal substances are really fireproof. Textile fabrics cannot be made absolutely fireproof.

A

Flame Retardant Finish

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161
Q

Glazed surface may be obtained through chemical and mechanical means. Resin-treated fabrics have greater durability than mechanically achieved glazed surfaces.

A

Glazed Finish

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162
Q

This is also called Insulated Finish

A

Heat-Reflectant Finish

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163
Q

This type of finish makes a fabric suitable for either hot or cold weather. Metallic particles are bonded to a drapery or garment lining fabrics of various types of construction.

A

Heat-Reflectant Finish

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164
Q

This is a chemical finish given mostly to rayon, cotton and linen fabrics which are mostly susceptible to attack by mildew in moist and humid conditions or climates. The finish is applied to a fabric to prevent the growth of mildew and mold.

A

Mildew-Resistant Finish

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165
Q

Sometimes referred to as moth-proofing finish. It is a chemical finish especially for wool fabrics to make them resistant to attack by moths and carpet beetles.

A

Moth-Resistant Finish

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166
Q

It is a mechanical finish of subjecting the surface of a fabric to a brushing process to raise the fiber ends thus creating a surface fuzziness.

A

Napping

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167
Q

It is a typical example of a napped fabric. Fabrics may be napped on one side only or on both sides which gives greater surface density, increased firmness and greater warmth,

A

Flannelette

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168
Q

In the textile mill, relaxation shrinkage is eliminated by overfeeding a fabric onto a dyeing frame and applying stretch in the crosswise direction of the fabric or applying controlled compression forces parallel to the surface of the fabric, pushing together the warp yarns, thus releasing the weaving strains.

A

Shrink-Resistant Finish (Mechanical Method)

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169
Q

label or mark applied to cotton or linen fabrics indicates a mechanical shrink-resistant finish that has met standard of less than 1% shrinkage

A

Sanforized

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170
Q

This finish is given to loosely constructed fabrics or fabrics with low thread count, It prevents the warp yarns from slipping along the filling yarns.

A

Slip-Resistant Finish

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171
Q

These are chemical finishes usually given to rug and upholstery fabrics to repel soil and stain.

A

Soil- and Stain-Resistant Finish

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172
Q

It is the compound used for this type of this soil and resistant finish.

A

Silicone

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173
Q

A group of repellents were developed to repel not only water-borne but also oil-borne stains.

A

Fluorocarbon compounds

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174
Q

This finish is also referred to as the drip-dry finish. It is of the same type as the crease-resistant finish.

A

Wash and Wear of Minicare Finish

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175
Q

A chemical finish which makes a fabric resistant to wetting but not waterproof.

A

Water-Repellent Finish

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176
Q

Unlike repellency, waterproofing totally coats the fabric thus closing the pores and enabling it to shed water under all pressures.

A

Waterproof Finish

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177
Q

are soluble substances which penetrate into the fabric and are fixed by a chemical action, heat or other treatment.

A

Dyes

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178
Q

are insoluble color particles which are held on the surface of a fabric by a binding agent.

A

Pigment

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179
Q

colored water-soluble organic compounds, mainly salts of sulphuric acid.

A

Acid Dyes

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180
Q

are the oldest among the artificial dyes and they differ from acid dyes in that they are basic in character and have the power of neutralizing acid.

A

Basic Dyes

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181
Q

These dyes form a very important group of coloring matters since they will color both protein and cellulosic fibers.

A

Direct of Salt Dyes

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182
Q

Direct dyes for cotton, linen, viscose and cuprammonium rayon are known as

A

Direct cotton dyes

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183
Q

formerly called acetate dyes. they were originally developed for acetate fibers.

A

Disperse Dyes

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184
Q

used for cotton, linen and viscose rayon.

A

Developed Dyes

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185
Q

The color is developed by additional treatment, which also makes the dye fast to washing. But developed dyes are not fast to light. As these dyes do not bleed, they are called

A

Tub-Fast Colors

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186
Q

These are water-soluble organic dyes which have affinity for cellulose in an alkaline bath.

A

Reactive Dyes

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187
Q

are used for cotton and viscose rayon.

A

Sulphur Dyes

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188
Q

are the fastest dyes for cotton, linen and viscose and cuprammonium rayon.

A

Vat Dyes

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189
Q

some of the man-made fibers may be dyed in a solution before filament is formed. This process results in excellent colorfastness, but it does not leave the manufacturer the same flexibility for the final design if the final choice of color or design is made later in the manufacturing process.

A

Solution Dye

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190
Q

are dyed before the yarns are spun and woven into a fabric.

A

Fiber Dye (or Stock Dye)

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191
Q

are dyed before they are woven into checks, plaids, stripes or herringbone designs.

A

Yarn Dye

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192
Q

Cloth is dyed after fabrication. Also known as dip-dyeing.

A

Piece Dye

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193
Q

the open fabric passes back and forth through a stationary dye bath.

A

Jig Dyeing

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194
Q

the fabric is continuously immersed without strain to the fabric.

A

Winch, Reel or Beck Dyeing

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195
Q

the fabric is run through the dye bath and then between rollers which squeeze the dye deeper into the yarns of the fabric.

A

Pad Dyeing

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196
Q

Fabric of two or more fibers is placed in a dye bath containing two or more different dyes. Each fiber will be dyed by the dye for which it has an affinity.

A

Cross Dye

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197
Q

Fabric from one fiber is dyed one color.

A

Solid Dye

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198
Q

This technique mixes dyes for fabrics made from two or more fibers so that the fibers will dye the same color.

A

Union Dye

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199
Q

produced in the process of making the fabric.

A

Structural Designs

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200
Q

placed on the fabrics after they have been made.

A

Applied Designs

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201
Q

is done to add colors and designs to the fabric surface, making the fabric more appealing to the consumers

A

Printing

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202
Q

this is the oldest method of printing design in fabrics

A

Block Printing

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203
Q

the design is cut on a cardboard,wood or metal, color id then applied

A

Stencil Printing

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204
Q

acid is use for this printing. It is one of the fiber used in the fabric is burned, leaving a lacy or shear and heavy design

A

Burn-Out Printing

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205
Q

the color is discharged or removed from the fabric , thus creating a design

A

Discharge or Extract Printing

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206
Q

also known as Cylinder Printing

A

Roller Printing

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207
Q

machine counterpart of hand-block printing

A

Roller Printing

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208
Q

a design which appears on the face and back of the fabric, simulating a woven pattern

A

Duplex Printing

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209
Q

a resinous substance cannot be penetrated when the fabric is immersed in a dye bath

A

Resist Printing

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210
Q

is stamped on the fabric creating a design

A

Resist Printing

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211
Q

First used in Indonesia and an example of Resist Printing

A

Batik Printing

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212
Q

The fabric to be printed is covered with chemicals that are sensitive to light

A

Photo Printing

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213
Q

The fabric passes between rollers which permit a caustic solution to contract certain areas of the fabric

A

Plisse Printing

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214
Q

usually use with the use of roller before they are woven into a fabric

A

Warp Printing

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215
Q

it can create large design with elaborate effect and variety in color

A

Screen Printing

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216
Q

The screen is put on top of the fabric to be printed and the dye or printing paste is sprayed, painted or rubbed back and forth with a rubber paddle called?

A

squeegee

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217
Q

it uses a cylindrical screen that rotates in a fixed position

A

Rotary Printing

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218
Q

is the process of transferring prints from pre-printed release papers to fabrics

A

Transfer Printing

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219
Q

is simplest method of fabric designing. It is by painting color directly to the cloth with the use of a brush

A

Free-Hand Printing

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220
Q

This is applying one piece of fabric to a larger piece of material

A

Applique’

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221
Q

are raised design found on the surface of the fabric

A

Embossed Design

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222
Q

what do you called a tiny piece of fiber?

A

Flock

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223
Q

made to stick to the fabric

A

Flocked Design

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224
Q

are cut out design held to the fabric surface by the use of glue or an adhesive

A

Glued or Pasted Design

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225
Q

often referred to as having a “watered appearance”

A

Moire Design

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226
Q

is processed animal skin, mostly that of cattle

A

Leather

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227
Q

the skin of a fully grown cow.Such skin are large hides, ranging from 46.6sq m to 5.5sq m

A

Cattle Hide

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228
Q

the center portion of the hide is called?

A

Bend

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229
Q

is the hide of a young animal and is considerably smaller, about 2.3sq m to 3.2sq m

A

Calfskin

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230
Q

sometimes called full-top-grain leather

A

Full-Grain leather

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231
Q

Kind of leather where surface has not been sanded, buffed, snuffed,embossed or altered in

A

Full-Grain leather

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232
Q

This is the second highest quality. Where the split is layer is separated away

A

Top-Grain Leather

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233
Q

The imperfections are sanded off and an artificial grain is then impressed into the surface and dressed with stain and dyes

A

Corrected-Grain Leather

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234
Q

this is created from the fibrous part of the hide that is left, once the top-grain has been separated

A

Split Leather

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235
Q

refer to the leather that has undergone a type of tanning process that uses animal brains or other fatty material to alter it.

A

Buckskin or Brained leather

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236
Q

is a type of leather that has been given a high gloss finish

A

Patent Leather

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237
Q

known as stingray skin/leather. Used in furniture production, since the art deco periods

A

Shagreen

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238
Q

this is leather from the skin of unborn calves. Particularly soft and is highly valued

A

Slink

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239
Q

known as “reconstituted leather” composed of 90% to 100% leather fiber,bonded together with latex binder to create a look and feel similar to that leather but only a fraction of the cost

A

Bonded Leather

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240
Q

a split leather with a layer of polyurethane applied to the surface and then embossed

A

Bycast leather

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241
Q

used to preserve the hide. It puts the life back into the leather hid by replacing the natural gelatinous material found in the skin

A

Tanning

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242
Q

Tanning solution based on chromium salts

A

Mineral tanning

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243
Q

tree bark, typically oak and water form the basis of this tanning solution

A

Vegetable tanning

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244
Q

a hide that is quite supple with a limited acceptance of dyes

A

Combination tanning

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245
Q

can color the leather and help to protect it from hard wear

A

Finishing

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246
Q

They are translucent and comparable to stains for wood that do not contain opaque pigments

A

Aniline Dyes

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247
Q

This contain some pigments and use of this help to ensure uniformly in color

A

Semi-Aniline Dyes

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248
Q

a natural textile made from the pulp of the bamboo grass

A

Bamboo Fabric

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249
Q

cotton fabric with a printed design of white and a contrasting color

A

Bandana

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250
Q

a rib weave usually done in a minute brick fashion, giving a pebbly appearance

A

Barathea

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251
Q

fabric made from or created to stimulate the bark of trees

A

Bark Cloth

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252
Q

a cord cotton like fabric with raised ridges in the lengthwise direction

A

Bedford cord

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253
Q

a sturdy warp faced fabric with pronounced cross wise ribs formed by bulky and coarse pile yarns or rubber thread

A

Bengaline

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254
Q

this is made when the yarn that is knitted into fabric is brushed with wire brushes to pull the material together and to fluff it up

A

Berber Fleece

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255
Q

has a small geometric pattern with a center do resembling a bird’s eye

A

Birdseye

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256
Q

two or more fabric layers held together with adhesive or fusible layer

A

Bonded

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257
Q

is the french word for “buckled”, ringed or curled

A

Bouncle

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258
Q

a twill weave that originated in France. The yarns are interspersed with nubs giving the material a dull rubbed surface effect

A

Bourette

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259
Q

a tightly woven plain weave with crosswise rib

A

Broadcloth

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260
Q

a rich Jacquard woven fabric of an all over interwoven design of raised figures of flowers with the pattern emphasized by contrasting surfaces or colors all are done in low relief

A

Brocade

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261
Q

a tightly woven jacquard fabric with a warp effect in the figure which is raised to give a puffed appearance

A

Brocatelle

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262
Q

a ply yarn scrim fabric with a stiff finish

A

Buckram

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263
Q

a twill weave cotton denim fabric that is soft but tough as nails

A

Bull Denim

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264
Q

a plain weave coarse fabric usually made from jute or hemp

A

Burlap or Gunny

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265
Q

a plain closely woven inexpensive cloth with an all over print usually of a small floral pattern which is discharge or resist printed onto a white or contrasting background color

A

Calico

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266
Q

a soft white closely woven cotton fabric calendered on the right side to produce a slight gloss

A

Cambric

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267
Q

The face is twill with a soft and loosely twisted filling yarn which is later brushed to produce a soft nap at the back

A

Canton Flannel

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268
Q

has a even weave that is heavy and firm for industrial or heavy duty purposes

A

Canvas

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269
Q

one of the softest fabric made

A

Challis

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270
Q

a plain weave fabric most commonly made from cotton fiber with colored warp often blue and white filling that gives a mottled colored surface

A

Chambray

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271
Q

a fabric woven from chenille yarns and has a fuzzy pile. it is named from french word meaning “caterpillar”

A

Chenille

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272
Q

broken twill or herringbone weave giving a chevron effect creating a design of wide V’s across the width of the fabric

A

Chevron

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273
Q

a thin diaphanous or gauzelike soft flimsy fabric but is strong despite its filmy look

A

Chiffon

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274
Q

a glazed cotton fabric often printed with bright figures and large flower designs

A

Chintz

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275
Q

It was named from Hindu word meaning Spotted

A

Chintz

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276
Q

an unglazed chintz is called?

A

Cretonne

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277
Q

fabric with a lacquer,varnish,rubber,plastic resin of polyvinyl chloride or polyethylene or other substance to make them longer lasting or impervious to water or other liquids

A

Coated

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278
Q

a cut pile cloth with narrow to wide wale that run in the warp direction of the goods

A

Corduroy

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279
Q

a lightweight fabric characterized by a crinkly surface produced by hard twist yarns chemical treatment, weave or embossing

A

Crepe

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280
Q

chain stitch embroidery made with a fine loosely twisted two-ply worsted yarn on a plain weave cotton fabric

A

Crewel

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281
Q

a fabric with an uneven surface created by use of caustic soda that causes it to shrink unevenly

A

Crinkle

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282
Q

is an example of crinkle crepe fabric

A

Plisse

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283
Q

a lightweight , plain weave stiffened fabric with a low yarn count

A

Crinoline

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284
Q

any fabric that has treated so as to have a permanently crinkled, crushed or rumpled appearance

A

Crushed

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285
Q

any velvet with an irregular pattern or nap going in different direction

A

Crushed velvet

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286
Q

appearance looks very lustrous

A

Crushed or rumpled

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287
Q

a firm glossy jacquard patterned fabric similar to brocade but flatter and reversible

A

Damask

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288
Q

a rugged serviceable, staple cotton cloth recognized by left hand twill on the surface

A

Denim

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289
Q

a thin sheer cloth in which cords or stripes may be woven into the fabric

A

Dimity

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290
Q

a sheer fabric embellished with small dot motifs that may vary in color

A

Dotted swiss

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291
Q

a closely woven heavy material and the most durable fabric made, according to the textile industry

A

Duck

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292
Q

a ribbed cloth with a crosswise rib effect

A

Faille

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293
Q

a compact matted woolen material.

A

Felt

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294
Q

The name derived from the Anglo-Saxon word meaning to filter

A

Felt

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295
Q

printed or woven fabric featuring a jagged undulating, flame like, multi-colored pattern

A

Flame Stitch

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296
Q

a medium weight, plain or twill weave fabric that is typically made from cotton, a cotton blend or wool

A

Flannel

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297
Q

a medium weight, plain weave fabric with a soft hand usually made from cotton

A

Flannelette

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298
Q

a type of raised decoration applied to the surface of the fabric on which an adhesive is printed on the fabric in a specific pattern

A

Flocked

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299
Q

is a high gloss mylar usually in metallic colors that pulls away from the clear backing

A

Foil

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300
Q

a lightweight cloth noted for its soft finish and feel

A

Foulard

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301
Q

generally made with uncut loops but is sometimes styled by sheering the loops at varying heights

A

Frieze

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302
Q

is a firm durable compactly woven cloth which shows a diagonal line on the face of the goods

A

Gabardine

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303
Q

a thin sheer fabric constructed with plain, leno or dobby weave used for curtains

A

Gauze

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304
Q

has dyed yarns introduced at given intervals in both warp and filling to achieved a block or check effect

A

Gingham

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305
Q

Name is derived from italian “Ging-gang” meaning “striped”

A

Gingham

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306
Q

a fine loosely woven fabric in leno weave and well known for its stiffness

A

Grenadine

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307
Q

a strong closely woven corded fabric usually of silk or rayon and often with cotton fiber, it is a heavy rather prominent ribbed fabric made from plain or rib weave

A

Grossgrain

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308
Q

from the Japanese for soft as down. It is a lightweight, plain weave silk fabric. Lighter than shantung

A

Habotal

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309
Q

woven, multi-colored effect created by blending fibers of different colors

A

Heather

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310
Q

a very stiff, wiry cloth made with a single horsehair filling usually on a cotton warp

A

Haircloth

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311
Q

broken twill weave composed of vertical sections that are alternately right hand in direction

A

Herringbone

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312
Q

herringbone is also called as?

A

Arrowhead weave

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313
Q

broken twill weave forming four pointed star. it always comes in a duotone pattern , and often comes in black and white

A

Houndstooth

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314
Q

a style of weaving that uses a resist dyeing process similar to tie-dye on either the warp or weft before the threads are woven to create pattern or design

A

Ikat

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315
Q

fabric woven with yarn of one color in the warp and another color in the filling so that the fabric seems to change color as the light strikes it

A

Irridescent

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316
Q

a fabric which has a series of faint stripes formed by light,medium or dark yarns

A

Jaspe

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317
Q

a fabric in which metallic threads or yarns are interspersed throughout or used in the base construction

A

Lame’

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318
Q

The term comes from french for “worked with gold and silver wire”

A

Lame’

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319
Q

a term used to describe fabrics which have been joined together through the use of a high-strength reinforcing scrim or base fabrics between two piles of flexible thermoplastic film

A

Laminated

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320
Q

a light, thin cloth of plain weave with a crisp and crease-resistant finish

A

Lawn

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321
Q

known its semi transparency , ranging from gauzy or sheer to an almost opaque effect

A

Lawn

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322
Q

Name is derived from loan, a city in France

A

Lawn

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323
Q

a jacquard stripe fabric simulating silk and embroidery

A

Lisserie

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324
Q

a fine firm cotton cloth with plain weave background. it usually striped or plaid in color

A

Madras

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325
Q

a soft double cloth which has a quilted surface effect and is woven on Jacquard looms

A

Matelasse

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326
Q

term is derived from the french word meaning “cushioned or padded”

A

Matelasse

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327
Q

a heavily felted, hard, plain face-finished cloth.It is napped and very closely sheared

A

Melton

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328
Q

Characterized by its net like open appearance and the spaces between the yarns.

A

Mesh

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329
Q

is available in a variety of construction including woven,knits,laces or crocheted fabric

A

Mesh

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330
Q

made of very coarse yarn and is rough, substantial rather bulky fabric with a tendency to sag

A

Monk’s Cloth

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331
Q

a generic term for a variety of cotton fabric. French term is mousseline and is actually a smooth,delicately woven cotton fabric

A

Muslin

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332
Q

a fine soft fabric with a plain weave with a strip and often mercerized to produce luster

A

Nainsook

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333
Q

a smooth transparent, high textured fabric made in plain or novelty weaves

A

Ninon

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334
Q

Ninon described as very delicate and lightweight and sometimes referred to as?

A

French Tergal

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335
Q

a soft white,closely woven cotton fabric . It is the sheerest and crispest cotton cloth made and when made from silk it is called “organza”

A

Organdie

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336
Q

a tough medium to heavyweight coarsely woven plain weave fabric usually made of a cotton or cotton/poly blend

A

Osnaburg

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337
Q

a tightly woven plain weave ribbed fabric with a hard slightly lustered surface

A

Ottoman

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338
Q

a soft somewhat porous , rather stout fabric with a silk-like luster finish.it launders very well but it known to soil easily

A

Oxford

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339
Q

named from french word for “plush” and is a satin faced material made with a high luster by a roller-pressure treatment during finishing

A

Panne

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340
Q

a medium weight, plain weave, low to medium count cotton like fabric. End uses include sheets, blouses and dresses

A

Percale

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341
Q

a medium weight or heavy fabric with raised cords that run in the warp direction

A

Pique

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342
Q

Used in many polo shirts and is generally distinguished as a?

A

Waffle weave

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343
Q

a fabric treated in a stripped motif or in spot formation with a caustic soda solution that shrinks parts of the goods to provide the crinkled or pleated effect

A

Plisse’

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344
Q

mainly cotton sometimes silk a leno, gauze, knotted or mesh woven fabric. it is made in France in 1834

A

Point D’esprit

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345
Q

a warp pile cloth covered with a surface of cut-pile yarns

A

Plush

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346
Q

combed and carded fabric in a satin construction which has been calendared to produce a high luster surface finish

A

Polished Cotton

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347
Q

was originally thin, natural , tan colored silk fabric made of wild chinese silk with a knotty rough weave

A

Pongee

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348
Q

Named from Chinese, pun-ki meaning “woven at home on one’s own loom”

A

Pongee

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349
Q

identified by a fine rib effect in the filling direction from selvage to selvage .

A

Poplin

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350
Q

Term is derived from the obsolete French term “papeline”

A

Poplin

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351
Q

is similar to poplin but has a more distinctive cross-rib cord. Used for upholstery and drapery

A

Rep

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352
Q

plain weave fabric where the majority of the fabric face is composed of warp threads

A

sail cloth

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353
Q

fabric made from yarns with low luster such as cotton or other staple length fibers

A

sateen

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354
Q

has a very smooth, lustrous face effect while the back of the material is dull

A

Satin

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355
Q

The name is originated in Zayfun, China ; it was termed after the latin “Seta” meaning Silk

A

Satin

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356
Q

originally a high grade coating fabric made from wool of Merino sheep raised in Saxony, Germany

A

Saxony

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357
Q

an open mesh , plain weave cloth in several construction and weights and usually used in buckram

A

Scrim

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358
Q

a lightweight cloth in which a base lies flat and a second warp becomes crinkled because of chemical treatment

A

Seersucker

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359
Q

woven cloth with errors of flaws

A

seconds

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360
Q

one of the oldest basic terms in textile. It has diagonal lines or ridges on both side

A

Serge

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361
Q

it uses raw silk made from Tussah. a silk fabric made of several fibers but designated by an elongated slub filling yarn. It was named for the city of Shantung, China

A

Shantung

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362
Q

made from a small twill weave and has a smooth compact surface resembling the skin of a shark

A

Sharkskin

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363
Q

a plain weave corded or combed cloth which comes in light,medium or heavy weights

A

Sheeting

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364
Q

a lightweight fabric made of two different colored yarns. The fabric has an iridescent look and a crisp but not stiff hand

A

Shimmer

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365
Q

fabric originated in Germany and Austria and were developed to provide greater freedom of body movement for the athlete

A

Stretch Woven

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366
Q

a soft,twill woven silk or rayon fabric often made in plaid effects. It is soft and flexible, lightweight and lustrous

A

Surah

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367
Q

a fine sheer, crisp stiff cloth which may be plain dotted or figured

A

swiss

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368
Q

a fine plain weave fabric, smooth on both sides and usually with sheen on its surface

A

Taffeta

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369
Q

a cloth made in plain weave or in a two up down twill weave. This multicolored fabric may be conventional or exceptional when made in variations of color effects

A

Tartan

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370
Q

This fabric is originated in Spain and called tiritana

A

Tartan

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371
Q

has uncut loops on both side of the fabric. It is very absorbent; the longer the loops, the greater the absorbency

A

Terry Cloth

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372
Q

broad term for extremely strong woven fabric which are used as a covering for pillows mattresses and box springs, home furnishings and for clothes and sports clothes

A

Ticking

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373
Q

made from 100% micro fiber polyester and cotton. It is also considered a utility cloth and used for table cloths, chair cloth, uniform and flags/banners

A

Trigger

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374
Q

a rough,irregular, soft and flexible,unfinished, shaggy cloth. Named for the Tweed River which separates England from Scotland

A

Tweed

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375
Q

is worlds first ultra microfiber. It feels like natural suede, but is is resistant to stains and discoloration; it can be machine washed and because it is non-woven fabric

A

Ultrasuede

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376
Q

a term loosely applied to cut pile cloths in general. a Fine raised finish fabrics

A

Velour

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377
Q

Term is from french meaning velvet and although it resemble velvet it has a lower cut pile

A

Velour

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378
Q

a warp pile cloth in which a succession of rows short cut pile stand so close together as to give a uniform, even surface

A

Velvet

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379
Q

when pile is more than 1/8 it is already called what?

A

Plush

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380
Q

a filling pile cloth in which the pile is made by cutting an extra set of filling yarns, usually made of cotton

A

Velveteen

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381
Q

a crisp, lightweight, plain weave cotton like fabric made with high twist yarns in a high yarn count construction

A

voile

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382
Q

a fabric with a characteristic honeycomb weave. When made in cotton it is called “waffle pique”

A

waffle

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383
Q

refer to fabric that have been laundered before shipping. Done to reduce shrinkage, soften the hand, wash down the color or to give the fabric a used, launched look

A

washed

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384
Q

is a cloth made from cross bred yarns and the fabric is strongly colored

A

Zibeline

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385
Q

ability of a fabric to take in moisture

A

Absorbency

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386
Q

a design featuring interlinking diamond shapes of varying colors, in a diagonal checkerboard pattern

A

Argyle

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387
Q

a small cloth placed over the backs or arms of chairs or the head or cushions of a sofa to prevent soiling of the permanent fabric

A

antimacassar

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388
Q

thin layer of natural or synthetic cloth used to line cushion,pillow,quilts or crafts

A

Batting

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389
Q

custom handmade or manufactured material used on a bed for utilitarian or decorative purpose

A

Bedding

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390
Q

square panel of fabric with or without elastic edge used to encase the top mattress on a bed

A

Bed Sheet

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391
Q

fabric bedding treatment, which spans between the upper and lower mattress beginning beneath a comforter to touch the floor

A

Bed skirt

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392
Q

fabric bedding treatment, which covers a top mattress

A

Bedspread

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393
Q

cut from one corner of a fabric to the opposite, diagonal corner. Some fabric will drape differently when cut on the bias and this treatment can require substantially more yardage

A

Bias-Cut

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394
Q

The removal of excess knots,bumps,loose threads and slubs from a fabric before the finishing process, by means of a burling iron or tweezers

A

Burling

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395
Q

quilt made of many, many small patches where each piece is a different fabric

A

Charm Quilt

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396
Q

painted linens that originated in Chita in 17th century

A

Chite

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397
Q

series of clipping attached to a purchase sample to show the color line

A

Color Mag

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398
Q

refer to the complete color range of a given series

A

Color Line

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399
Q

individual color of a particular style or pattern

A

Color way

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400
Q

waviness or curvature of fiber or yarn. Can be found naturally, as with wool, or can be mechanically produced.

A

Crimp

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401
Q

rubbing off of color from woven or printed fabric

A

Crocking

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402
Q

tightly woven or coated fabric used to prevent down feathers from penetrating surface

A

Down proof

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403
Q

Fabric with patterned cut-outs

A

eyelet

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404
Q

refer to the ability of a fiber or fabric to return to its original length, shape,size immediately after the removal of stress

A

Elasticity

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405
Q

calendering process, in which the fabric engraved with the use of heated rollers under pressure to produce a raised design on the fabric surface

A

Embossing

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406
Q

embellisment of a fabric or garment in which colored threads are sewn on the fabric to create design

A

Embroidery

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407
Q

a thin piece of material put under another material to add color or brilliance

A

Foil

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408
Q

is a layer of fabric inserted between the face and the lining of a garment,drapery or quilt. It is similar to batting, a thick layer of fiber designed to provide insulation,loft and body to quilt,pillow toppers and heavy winter jackets

A

Interlining

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409
Q

originally a type of English embroidery with a strong oriental influence of the first type done during the Restoration period

A

Jacobean

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410
Q

fabric made in the same shape as the outer fabric, a lining supports and protects the outer fabric and hides seams as well

A

Lining

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411
Q

fabric construction created in weft yarns with graduated or shaded tone or color pattern

A

Ombre

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412
Q

continuous filament rayon yarn with entangled slubs

A

Ondelette

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413
Q

hand quilting technique where stitches follow printed motifs on fabric

A

Outline Quilting

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414
Q

fabric or material used to provide additional cushioning

A

Padding

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415
Q

Intricate interlocking curvilinear pattern originating in India, it is a tear-drop shaped,fancy printed pattern

A

Paisley

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416
Q

fine silk fabric

A

Peau De Soie

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417
Q

fine hand stitched needlepoint design on canvas created with only one foundation thread, rather than multiple threads

A

Petit Point

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418
Q

the number of filling yarns per inch of fabric

A

Pick Count

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419
Q

to form undesirable clumps of loose fiber of fabric

A

Pill

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420
Q

fiber filament that break in yarn due to friction leaving small undesirable clumps of loose fibers on the surface of fabric

A

Pilling

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421
Q

fabric cover designed to protect pillow from soiling,utilitarian or decorative

A

Pillow Sham

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422
Q

combed and carded fabric in a satin construction which has been calendared to to produce a high-luster surface finish

A

Polished cotton

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423
Q

is a fabric construction in which a layer of down or fiberfill is placed between two layers of fabric and then held in place by stitching or sealing in a regular consistent all over pattern on the goods

A

Quilt

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424
Q

to turn fabric where selvages run horizontally rather than vertically often used when fabric are non-directional to avoid unwanted seams

A

Railroaded

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425
Q

dye-resistant product are applied which results in only the background or a fabric being dyed

A

Reverse Printing

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426
Q

decorative covering for bed pillow

A

Sham

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427
Q

french word for “Monkey Trick”, Decorative using monkeys in human costume,generally in humorous situation popular in Rococo ornamentation

A

Singeries

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428
Q

large panel of fabric usually in pairs used on top or bed

A

Sheet

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429
Q

cloth having a fine, irregular streaked pattern

A

Strie

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430
Q

slender , decorative cloth typically used in lengthwise down the center of a dining table, for surface protection and embellishment

A

Table Runner

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431
Q

small decorative spread or coverlet often woven with fringe

A

Throw

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432
Q

cotton or linen woven or printed documentary fabric, typically printed in monotone color on an off-white or white background, originally made in France

A

Toile

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433
Q

fabrics printed in one color with 18th and century scenes

A

Toile de Jouy

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434
Q

blended yarns of twisted linen and cotton yarns in the filler creating a textured surface finish

A

Union Cloth

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435
Q

material used to make soft seating including wood or metal frames eight way hand-tied spring, foam, batting, fabrics and cording

A

Upholstery

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436
Q

rayon fiber of superior quality used in many decorative fabrics, often used to imitate silk

A

Viscose

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437
Q

a tapestry, needlepoint or bound fabric panel hung on the wall, typically suspended from an iron drapery rod and adorned with cording and tassels

A

Wall Hanging

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438
Q

fabric procedure using commercial washing machines to mimic a worn effect

A

Washed Goods

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439
Q

Derived from the Old Norse word for wind, ‘vindr’ combined with the word for eye ‘auga’ to make “vindauga” literally translated to the eye of the house through which wind entered

A

Window

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440
Q

Four vital functions of windows

A

To admit light, admit air/ ventilation, to protect from outside elements, to frame or admit visual beauty of the exterior

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441
Q

Window with two sashes, one or both slide up and down

A

Double Hung window

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442
Q

Window with one or more sashes hinged on a vertical edge. The kind which opens from the side

A

Casement window

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443
Q

Most often, a wide window set high off the floor. Usually has sliding sashes and common to ranch type houses

A

Ranch or Strip windows

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444
Q

Has wide, horizontal sashes that open outward to any angle, can be left open when its raining

A

Awning window

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445
Q

Identified by narrow, horizontal strips of glass that open by means of a crank to any desired angle

A

Jalousie window

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446
Q

Window designed to frame the outside view. Fixed or may have movable sections

A

Picture Window

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447
Q

Usually a small window projecting from the house in an alcove-like extension of the room

A

Dormer window

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448
Q

Often called “cathedral” window. Main characteristic is the angle at top where the window follows the line of a slanting roof

A

Slanting window

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449
Q

Three or more windows set at an angle to each other in a recessed area

A

Bay window

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450
Q

A curved window sometimes called a circular bay

A

Bow window

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451
Q

Side by side windows; if more than one, often called multiple windows

A

Double windows

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452
Q

Come in pairs and often open into a porch or patio

A

French doors/ French windows

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453
Q

Any window that comes together in the corner of a room

A

Corner windows

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454
Q

Functional version of french doors.

A

Sliding glass doors

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455
Q

Shallow window set near the ceiling

A

Clerestory window

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456
Q

Arched top window with straight panes below the arch

A

Palladian window

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457
Q

Usually a group of basic window units made to fit together forming a veritable “wall” of windows

A

Glass wall

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458
Q

Six benefits of using window treatments

A

Privacy, energy conservation, light control, view enhancement, acoustics and noise control, aesthetics

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459
Q

Used to accent open, airy feeling in today’s homes. Made of very thin fabric and nearest to glass when at least two sets of curtains are used. Provide maximum amount of light but least amount of privacy

A

Sheers

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460
Q

Treatments that diffuse light for little privacy. During the day, people will not be able to see in the room but at night, when interior lights are open, they will be able to do so.

A

Semi-sheers

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461
Q

Provide partial blockage of light when curtains are closed. At night, you can only see shadows on the inside from outside

A

Semi-opaque

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462
Q

For the person who needs privacy and maximum light blocking. Include most hard window treatments and lined curtain

A

Opaque

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463
Q

Term which includes draperies, curtains and shades that are purely made of fabric

A

Soft window treatments

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464
Q

Uses a thick kind of fabric and is made with pleats. Decorative, for privacy and elimination of light. Usually lined.

A

Draperies

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465
Q

Stationary draperies used on either side of the window with other window treatments between them. Can be left straight or tied back

A

Overdrapes

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466
Q

Pleated panels that can be pulled across window. Uses a traverse rod, master carrier and pull cords. Operate or draw by opening and closing with a cord or hand. Generally hung straight to the floor and tied back

A

Draw draperies

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467
Q

Generally shirred or smocked and have headings attached to rods. Usually a term for informal window treatments

A

Curtains

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468
Q

Impart a homey, country feel to a room. Short in length, each about 1/2 height of the window in which they are hung. For kitchens or bathrooms.

A

Tiers

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469
Q

Invention of a French Restaurer. Used to allow seated patrons privacy beside window while allowing passerby a glimpse of within. Only lower portion is covered

A

Cafe curtain

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470
Q

Sometimes known as brise-bise which means “wind screen”. Curtain is gathered and hung with two rods top and bottom, cannot be drawn or traversed. Usually installed in casement windows or French doors

A

Stretch or sash curtains

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471
Q

Similar to stretch curtains but permanently tied with a tie back in the middle. Generally sheer.

A

Hourglass curtain

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472
Q

Curtains designed to be gathered at the side of the window and held by a decorative tieback, sleeve or cord

A

Tieback curtains

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473
Q

Aka Casement Curtains. Top, usually shirred forms a pocket through which fabric is then threaded onto a pole or rod

A

Rod pocket curtains

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474
Q

Rod pocket curtains with extra length so that sides can be gathered with tiebacks to create multiple poufs and often puddle on the ground

A

Bishop’s sleeve

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475
Q

Curtains that hang behind main curtains

A

Under curtains

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476
Q

Window treatment generally drawn up from the bottom

A

Fabric shades

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477
Q

Fabric covered shades of horizontal panels with wooden slats inserted horizontally at intervals down its entire length. Raised and lowered by pull cords while gathering soft folds while it does so

A

Roman shades

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478
Q

Vertical shirring that forms soft draping scallops generally made of sheer or lightweight fabrics

A

Austrian shade

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479
Q

Made of soft fabric with cords placed vertically along the shade to hold the fabric. With deep inverted pleats that cause the shade to billow out into puffs along the bottom edge

A

Balloon shade

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480
Q

Aka panel track blinds. Mounted on wall or ceiling. Large fabric panels that slide back and forth on a track with the ability to stack completely.

A

Sliding Panels

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481
Q

Finished bottom edges of the drapery. Usually the 4” of double fabric, however some have 5-6” to weigh them down.

A

Hems

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482
Q

At top of draperies

A

Header

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483
Q

Highlight the decorative hardware used to hang them. Loops of separate fabric sewn onto unpleated, flat drapery while a round rod slides through the loops.

A

Looped/ tab-top headers

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484
Q

Small strips of fabric attached to the head of the fabric and are used to tie over a curtain rod

A

Tie top curtains

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485
Q

Aka grommets. Similar to tab tops but have metal grommets fixed onto the head of the curtain at regular intervals.

A

Eyelets

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486
Q

Created by a row of gatherings on a pole or rod

A

Shirring

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487
Q

Curtains with shirred heading

A

Cased (slot) or gathered curtains

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488
Q

Uses double or triple rows of puckers which form x or diamond patterns

A

Smocking

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489
Q

Folds of cloth sewn or taped into place to create fullness

A

Pleats

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490
Q

Flat, symmetrical pleats formed by folding fabric to the back at each side of the pleat. Fabric folds in opposite directions

A

Box pleat

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491
Q

Box pleat in reverse. Fabric folds facing each other

A

Inverted Pleat

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492
Q

Round, 2” to 2 1/2” pleats filled with cotton or paper to hold shape. Generally spaced 2-3” apart.

A

Cartridge pleat

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493
Q

Aka Pinch Pleats. Three folds made by dividing one fat pleat into three smaller ones but not creasing them

A

French pleat

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494
Q

Similar to French pleats but instead of 3 folds, only two

A

Butterfly pleat

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495
Q

Aka Straight Pleats. Fabric folds all facing the same direction

A

Knife pleat

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496
Q

Curtain heading formed by a tape which when drawn up creates a row of narrow, densely packed folds

A

Pencil pleat

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497
Q

Neat, even folds that snap on and off a traverse track without hooks. Simulate look of accordion folds

A

Accordion pleat

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498
Q

Secure only the base by forming a short cup then stuffed with a rolled-up piece of interlining or Dacron to pad out the full shape

A

Goblet

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499
Q

Goblet pleats linked along their base by a hand-sewn cord

A

Flemish headings

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500
Q

Term that include blinds, shades and screens that are made of wood or strong fabric

A

Hard window treatments

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501
Q

Consist of horizontal panels that open and close at right angles

A

Horizontal blinds

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502
Q

Usually made of lightweight metal usually aluminum, coated with paint. 2” wide slats held together by 1” cotton braid ladder or nylon cord

A

Venetian blinds

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503
Q

Same as venetian blinds only that it has 1” wide slats

A

Miniblinds

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504
Q

Has slats that are 1/2” in size

A

Microminiblinds

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505
Q

Venetian blinds with strips made of wood

A

Wood blinds

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506
Q

Vertically aligned vanes. Made of PVC, fabric, wood, painted aluminum or polycarbonate plastic.

A

Vertical blinds

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507
Q

Made of fabric approx. 4” wide. When closed, these woven strips fold one in back of the other creating a look of a macrame panel on either side of window

A

Vertical woven blinds

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508
Q

Roll of material attached to a spring-wound tube or roller mechanism. Usually comes in 36, 45, 54, 72”

A

Roller blinds

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509
Q

Usually made of narrow horizontal strips connected with thread woven on both sides. Made of bamboo, tortoise shells or woven wood

A

Wooden shades

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510
Q

More like a blind than it is a shade. Made of accordion-pleated fabric which is raised and lowered with cords like a blind. Permanently pleated.

A

Pleated shades

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511
Q

Aka honeycomb shades. Consists of two or more sheets of accordion-pleated reinforced fabric that are bonded together.

A

Cellular shades

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512
Q

Wooden hinged and solid panels that may be folded across a window to diffuse light or add privacy

A

Shutters

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513
Q

Bigger than ordinary shutters. With wider louvers and offer more ventilation and clearer view

A

Plantation shutter

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514
Q

Type of freestanding furniture with several frames or panels often connected by hinges

A

Screens

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515
Q

Chinese wooden folding screen coated in dark lacquer

A

Coromandel screem

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516
Q

Traditional Japanese designed panel screens made of paper

A

Shoji screen

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517
Q

Has open framework with criss-crossed pattern of overlapping strips of building material

A

Lattice screen

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518
Q

Ornately carved screen with pinholes

A

Pierced screen

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519
Q

Used to protect draperies, adding to their durability and longetivity

A

Drapery Liners

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520
Q

Either in white or gray/ silver in color; eliminates inter-lining but is twice the cost of sateen

A

Milium Sateen

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521
Q

Most draperies are lined with this. May have to be interlined

A

Sateen

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522
Q

Used for lining but is generally interlined with white flannel

A

Glosheen or colored sateen

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523
Q

Used to change or enhance properties of draperies; generally not durable enough to withstand exposure to UV light, abrasion, moisture, and other environmental conditions, therefore they are inserted between the lining and drapery fabrics

A

Interlining

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524
Q

Lend a nice, airy feeling to a room with drapery hanging just below the pole with rings or with drapery fabric fully gathered on the pole. Usually 1 1/2” diameter for brass and 1 3/8” diameter for wood (with 2” rings)

A

Pole treatment

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525
Q

Soft horizontal treatments mounted across the tops of window and are always made entirely of fabric

A

Valances

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526
Q

Valance treatment that is arched along the lower edge

A

Arched valance

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527
Q

Valance constructed like the box pleats but the pleats are spaced further part

A

Kick pleated valance

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528
Q

Valance includes triangularly cut fabric pieces that overlap together

A

Banner valance

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529
Q

A long piece of fabric, usually designed to drape across the top of window and hang to the floor on either side

A

Scarf

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530
Q

Stiff paneled headings to curtains. Also valances made out of wood with edges cut either straight or curved. Depth usually varies from 4”-8”.

A

Pelmet or Corniceboard

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531
Q

Extends all the way down, either side of the window as well as across the top framing the window on three sides. Usually plywood covered with fabric.

A

Lambrequin

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532
Q

Aka festoon. Single or double draping fabric across top of the window. Hung from a foundation cornice.

A

Swag

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533
Q

French term which means bird’s crop. Pleated or draped lengths of fabric hanging down the side of the window.

A

Jabots

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534
Q

Can be the same fabric as the drapery itself, or in a contrasting fabric or may have a border or may be shirred or may use ornamental pieces or accessories

A

Tie-backs

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535
Q

Simple, ornamental knobs or hooks where you attach the tie-backs or use them by themselves

A

Hold backs

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536
Q

Defined as decorative cording, braids or fringes applied to edges or hems of draperies

A

Trim

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537
Q

Trim that may be silk, cotton, wood and crystal

A

Balls

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538
Q

Trim sewn onto the edges and hems of curtain panels. Also used to decorate pillows, lampshades and rugs

A

Fringes

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539
Q

Four types of fringes

A

Cut, looped, beaded and eyelash fringes

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540
Q

1/2” to 8” long bell shaped trims constructed entirely from yarns and are tied together at the neck. May be braided, looped or scalloped.

A

Tassels

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541
Q

Consists of round or elongated wooden turnings that are wound with one or more of a variety of yarns

A

Molded fringes

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542
Q

Formed of twisted loops of rope

A

Bullion fringe

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543
Q

A woven ribbon used as edging or trimming

A

Braid

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544
Q

A narrow close-woven band or braid used for trimming draperies and upholstery and commonly made of lace, metallic thread or embroidery. It is a heavy Gimpe.

A

Galloon

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545
Q

A narrow flat braid or rounded cord of fabric used for trimming

A

Gimpe/ Gimp

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546
Q

It is a length of cord covered with bias binding and used as a decorative edging

A

Piping

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547
Q

Strips of material sewn between upholstery seams or drapery

A

Welting

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548
Q

Four types of edging

A

Piping, welting, ruffles and pleats

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549
Q

Adjustable rods usually hung by brackets to the wall or window frame. Drawn manually and curtains may be shirred onto the rod or hung by hooks.

A

Flat Curtain Rods

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550
Q

Designed for double curtain treatments. Outside is longer than inside.

A

Double Flat Rods

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551
Q

Two or three piece adjustable rods, hinged for use on corner-meeting windows and angled bays

A

Corner and Bay Window Rods

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552
Q

Small, round, decorative rod which comes in white, brass or woodgrain finish; used to mount cafe curtains that do not have a rod pocket

A

Cafe Rods

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553
Q

Rods mainly used for decorative purposes. Curtains are attached to rings then to this rod.

A

Wood Poles

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554
Q

Small rod, usually mounted inside a window frame on the sash

A

Sash rods

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555
Q

Rods which stay in place inside the window frame through spring tension

A

Tension rods

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556
Q

Rods for use on windows with curves; may come in brass but usually aluminum is used

A

Custom Bent

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557
Q

Adjustable drapery rods that allow opening and closing of window treatment by means of cord and pulley that are actually track glides

A

Traverse rods

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558
Q

Type of traverse rod wherein curtains and draperies are drawn on both sides

A

Conventional Two Way

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559
Q

Type of traverse rod wherein only one panel moves in one direction; often used for sliding glass doors

A

Conventional One Way

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560
Q

Traverse rods meant to be exposed

A

Decorative Traverse Rods

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561
Q

Attachment placed at each end of curtain rod, originally to stop curtain rings from falling off but now used decoratively

A

Finial

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562
Q

Attached to ordinary brackets to extend the length of rod return. For multiple tier curtains to hang freely

A

Extension brackets

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563
Q

Used to mount brackets beyond window frame

A

Extension Plates

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564
Q

Usually lead or chain; inserted on hems or tacked in lower corners to make treatments hang crisply

A

Weights

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565
Q

Sewn in vertical seams and each corner of drapery panel

A

Lead weights

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566
Q

Small beads strung in a line along bottom hemline of sheers to insure even hemline and straight hanging

A

Chain weights

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567
Q

Type of ring that grip the curtain with spring-tension prongs. Easily attaches and detaches from curtains

A

Clip-on rings

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568
Q

Rings that are hand stitched to the top of the curtain and slid onto the rods

A

Plain rings

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569
Q

Rings that have additional smaller ring on the bottom which may be sewn directly to curtains or hooks that have been sawn on headers could be made to slip through

A

Eyelet Rings

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570
Q

Pinned directly onto drapery or curtain headings

A

Hooks or Pin-on hooks

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571
Q

Hooks that have prongs that fit into the slats of a pleater tape and creates a simple pinched pleat

A

Pleater hooks

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572
Q

Hooks that are easier to use because they are just slipped inside a heading

A

Slip-in hooks

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573
Q

Wood facing below the sill on windows

A

Apron

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574
Q

Type of bed with canopy suspended from the ceiling. Aka angle bed

A

A La Duchesse

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575
Q

Canopy resting on columns usually built over an altar

A

Baldachino

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576
Q

Used to frame or border a piece of work to add interest to the finished work

A

Banding

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577
Q

A line or cut across a fabric that is not at right angles to a side of the fabric

A

Bias

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578
Q

Strips of fabric cut on the bias

A

Bias binding

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579
Q

Happens when two fabrics are used in layers and darker color of the bottom gets seen from the top

A

Bleed through

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580
Q

Stitch frequently used for attaching applique pieces or binding; hidden under the top

A

Blind stitch

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581
Q

Draped covering over a piece of furniture

A

Canopy

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582
Q

Curtain heading consisting of a simple hemmed top through which a rod or narrow pole could be slotted

A

Cased heading or slot heading

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583
Q

Two or three drapery rods sharing one set of brackets

A

Combination rods

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584
Q

Colored fabric used as lining when parts of it will show from the front

A

Contrast Lining

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585
Q

Pair of draperies which open and close from the center of windows

A

Center Draw

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586
Q

Stiffening material similar to buckram in drapery headings

A

Crinoline

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587
Q

Coiled wire with plastic coating; slightly expandable and is fixed by eyelets screwed into the wire at each end

A

Curtain wire

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588
Q

Linings that hang by special heading tape; not actually stitched to the curtain fabric

A

Detachable linings

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589
Q

Distance from the top of the object to where you want the fabric to end

A

Drop Length

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590
Q

Wood board at top of the top treatments, cornices or valances; purpose is to prevent dust from settling

A

Dust cap

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591
Q

Casual curtains that do not pull back; bottom inside corners are hooked back to let light in

A

Envelope curtains

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592
Q

Similar to fan shade but used on half-circle windows with fan facing up

A

Fan curtain

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593
Q

Vertical fold of accordion action of the fabric that creates folds and helps hold the drapery

A

Fan Floded

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594
Q

Arcs of fabric pulled together in center by rings and cords that are fastened to the back; arc or fan facing down

A

Fan shades

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595
Q

Main fabric that faces the interior

A

Face fabric

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596
Q

Actual width after treatment is finished

A

Finished width

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597
Q

Place where the curtain stops

A

Finished drop line

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598
Q

Exact vertical measurement for draperies or curtains

A

Finished length

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599
Q

Ratio of the total fabric used to the finished width of a drapery; the greater = smaller spaces between pleats

A

Fullness

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600
Q

Rectangular canopy above a bed extending only partway from the bed

A

Half-tester

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601
Q

Extra fabric added to measurements to create hems

A

Hem Allowance

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602
Q

Installation of window covering inside window frame

A

Inside mount

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603
Q

Thin cords threaded through each slat that hold a blind together

A

Ladder cord

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604
Q

Inner vertical edges of the curtain that meets its pair at the center of the window

A

Leading edge

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605
Q

The control, typically a cord which raises or lowers blinds or shades

A

Lift

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606
Q

Gap on the side or in the center of window treatment through which light penetrates

A

Light strike

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607
Q

Trim that sets off smaller panes of glass in a window

A

Mullion

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608
Q

Installation of window covering beyond window frame

A

Outside mount

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609
Q

Fancy decorative trimmings such as tassels, tiebacks and ribbons

A

Passementerie

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610
Q

Random pattern repeats are matched vertically at selvage edge so pattern lines up horizontally at leading edge of fabric

A

Pattern Match

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611
Q

Interval between repetitions of the same pattern

A

Pattern repeat

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612
Q

Pre-made and evenly spaced fabric tape sewn onto a drapery heading for stiffness to receive and conceal drapery hooks

A

Pleating tape

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613
Q

Bed set lengthwise against wall and supported by small dome

A

Polonnaise

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614
Q

Term used to describe long draperies that are lying on the floor in a puddle fashion

A

Puddle

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615
Q

Refers to using fabric horizontally

A

Railroading

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616
Q

Distance from front of the window treatment to the wall

A

Return

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617
Q

Printed side of the fabric used as the finished side

A

Right side

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618
Q

Area required and used by pleated curtains when they are open

A

Stackback

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619
Q

Panel of fabric mounted on a board and attached to the inside frame of a narrow window

A

Stagecoach valance

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620
Q

Canopy framework over a four-poster bed

A

Tester

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621
Q

1-2” of extra fabric beyond what’s needed to reach the floor; more contemporary option for puddling

A

Trouser beak

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622
Q

Narrow bed with draped recess

A

Turkish bed

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623
Q

Hook and loop tape for attaching fabric to a mounting board

A

Velcro

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624
Q

Rolled fabric boarder stuffed to create a sausage shape

A

Wadded edge

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625
Q

Soft, bulky material for stuffing shapes as in like a goblet heading

A

Wadding

626
Q

Back side of the fabric; least finished side; rougher look

A

Wrong side

627
Q

Space between the finished ceiling and the structure above provided for HVAC, fire suppression layout and lighting system; may also be under a raised flooring or inside walls

A

Plenum

628
Q

Type of flooring that resemble elements found in nature such as wood, stone or clay and establish a sense of permanence which may last the life of the building

A

Hard Flooring

629
Q

Type of flooring that combines the comfort underfoot and quietness associated with textile floor coverings with imperviousness of hard flooring

A

Resilient flooring

630
Q

Type of flooring that is relatively easy to maintain such as carpet which is unmatched among all floor coverings for a luxurious feel underfoot

A

Soft floor covering

631
Q

Type of flooring that is impervious to most household liquids; waterproof and are usually most durable. Examples include slate, ceramic and quarry tiles.

A

Nonporous flooring

632
Q

Waterproof and resistant but not impervious to oil and grease and they tend to react badly to spirit solvents such as petrol. Examples include marble, terrazzo, rubber, most linoleums, vinyl, vinyl asbestos and thermoplastics.

A

Semi-porous flooring

633
Q

Type of flooring that is not waterproof or greaseproof and are likely to stain. When sealed, this becomes a nonporous surface. Examples include unsealed wood, cork, concrete, chipboard and some older linoleum.

A

Porous flooring

634
Q

Natural building material made from sand, clay and water with some kind of fibrous or organic material shaped into bricks. Stores and releases heat very slowly.

A

Adobe

635
Q

Block of ceramic material used in masonry construction; commonly made from clay.

A

Brick

636
Q

Oldest bricklaying pattern wherein bricks are laid in alternate courses of headers and stretchers

A

English Bond

637
Q

Type of bricklaying pattern where headers and stretchers are laid alternately in one layer

A

Flemish bond

638
Q

Type of bricklaying pattern where only stretchers are laid each layer

A

Stretcher bond

639
Q

Type of bricklaying pattern where bricks of different colors are used to make a regular pattern

A

Diapering

640
Q

1/2 size of normal brick

A

Queen closer

641
Q

3/4 size of normal brick

A

King closer

642
Q

Made from clay or a mixture of clay and ceramic materials pressed into tiles and fired at high temperature. Natural clay is most commonly used but porcelain is also available

A

Ceramic tile

643
Q

Composition of ceramic tile where it is usually clay with high bonding power and some fluxing ability

A

The Plastic

644
Q

Composition of ceramic tile which reduces shrinkage in drying and firing and imparts to the body a certain rigidity which prevents deformation under heat

A

The Filler

645
Q

Composition of ceramic tile which melts under intense heat and fuses the heat restraining elements into one solid mass

A

The Flux or Solvent

646
Q

Type of tile with lowest absorption level

A

Impervious

647
Q

Meaning glasslike which describes a tile that is slightly more absorptive than impervious tile but still at a very low rate

A

Vitreous

648
Q

Tile which has an absorption level of more than 3% but not more than 7%

A

Semivitreous

649
Q

Most absorptive tile at a rate more than 7%

A

Non-vitreous

650
Q

Italian term for “double fired” meaning the tile is made to go through the kiln twice, one for the body and another for the body with glaze.

A

Biocottura

651
Q

Italian term for “single fired” where the tile passes through the kiln only once with a temperature of 2200 degrees Celsius

A

Monocottura

652
Q

Type of ceramic tile which after firing, a thin coat of liquefied glass is applied over top surface which makes the tiles so highly moisture and stain resistance and what gives it color

A

Glazed interior tile

653
Q

Type of ceramic tile that is usually 6mm to 20mm (1/4” to 2/5”) thick. Refers to small size of tile with common sizes: 25mm x 25mm or 50mm x 50mm

A

Ceramic Mosaic Tiles

654
Q

Essentially large ceramic mosaic tiles which are generally weatherproof and are especially suitable for heavy floor service

A

Paver Tiles

655
Q

Type of ceramic tile that are unglazed, extruded and made from either natural clay or shale. Similar to bricks. Very durable, impervious to moisture, stains and dirt and are resistant to abrasion.

A

Quarry Tiles

656
Q

Type of ceramic tile typically made with specific kinds of clays that have very specific properties and are fired at very high temperatures. Generally dense and are impervious, thus have a more superior chip resistance. Many offer appearance of natural stone without maintenance.

A

Porcelain Tiles

657
Q

Type of ceramic tile which can be made of any kind of material and category is applied to the fact that its color is solid throughout

A

Homogenous

658
Q

Type of ceramic tile finish composed of same ingredients throughout and derive their color and texture from the materials of which the body is made

A

Unglazed tiles

659
Q

Type of ceramic tile finish with glassy surface that is impervious to moisture

A

Glazed tiles

660
Q

Type of glazed tile having a highly polished surface and reflects an image clearly

A

Bright Glazes

661
Q

Type of glazed tile which do not reflect an image or are entirely without sheen

A

Matte Glazes

662
Q

Tiles made from cement and aggregate

A

Concrete tiles

663
Q

Basically concrete that is patterned, textured or embossed. Used for patios, sidewalks, driveways, pool decks and interior flooring.

A

Stamped Concrete

664
Q

Type of resilient flooring with the outer layer of the cork oak tree which is grown in Mediterranean regions

A

Cork

665
Q

Cork tile with laminated top layer of vinyl

A

Vinyl Cork Tile

666
Q

Composed of granulated cork and natural or synthetic resins which are then compressed and baked

A

Cork Tile

667
Q

Oldest wallcovering

A

Fabric

668
Q

Type of fabric where a laminated paper is adhered to the reverse side of the textile which stiffens the textile and hides defects in wall.

A

Paper-backed fabrics

669
Q

Type of fabric which involves a process stretching the textile in a frame and applying a latex compound. Less dimensionally stable than paper-backed textiles. Can improve ravel resistance and eam slippage

A

Latex-coated fabrics

670
Q

Pre-treated fabrics suitable for sticking to the wall

A

Unbacked fabrics

671
Q

Usually used for floors. Superior and less porous kind of concrete made from cement, granite chippings and granite dust. Most often used in factories than homes.

A

Granolithic

672
Q

Placing something in between layers of plastic and gluing them with heat, pressure and an adhesive

A

Lamination

673
Q

Produced with kraft papers and decorative papers with a layer of overlay on top of the decorative paper; set before they are heated and pressed together

A

Plastic Laminate

674
Q

Molded and cured at pressures not lower than 1,000 lbs per sq. in. (70kg per sq cm), more commonly in the range of 1,200 to 2,000 lbs per sq. in. (84 to 140kg per sq cm)

A

High-pressure laminate

675
Q

Plastic laminate molded and cured at pressures in general of 400 pounds per sq. in.

A

Low-pressure laminate

676
Q

Multi-layer synthetic flooring fused together with a lamination process which simulates wood or stone with a photographic applique layer under a clear protective layer

A

Laminated Flooring

677
Q

Resilient flooring produced mainly with natural materials from sustainable crops and its waste is biodegradable. Composed of oxidized linseed oil, or other resins mixed with ground cork or wood flour, mineral filler and color pigments.

A

Linoleum

678
Q

Man-made material usually composed of marble dust, bauxite, acrylic or polyester resins and pigments. Most frequently used in seamless countertop installations. Nonporous

A

Solid surface

679
Q

Type of rock formed by deposition of sediments

A

Sedimentary

680
Q

Rocks that have undergone a change in structure, texture or composition

A

Metamorphic

681
Q

Rocks formed by crystallization of molten magma

A

Igenous

682
Q

Loose, unfinished stones found on surface or in the soil/ Architectural stone.

A

Fieldstone

683
Q

Consists of quarried stone having irregular mortar joints

A

Rubble stone

684
Q

Quarried and squared stones, cut into specific sizes, squared to dimensions and of specific thicknesses

A

Dimension stone

685
Q

Hard, durable, low maintenance stone. Grainy igneous rock with visual strength. Extremely durable, highly resistant to stains, weathering and corrosion, Not as porous as other cladding stones.

A

Granite

686
Q

Any stone consisting of crystalline and compact varieties of carbonate of lime or sometimes carbonate of magnesia with high polish. Metamorphic rock which is softer and more brittle than granite

A

Marble

687
Q

Type of white or blue-grey marble with high quality and smaller and finer linear veining

A

Carrara Marble

688
Q

Bolder and more dramatic veining than carrara and rarer

A

Calacatta Marble

689
Q

Sedimentary rock formed by accumulation of organic materials like shells and corals. Most commonly used for exterior cladding. Susceptible to staining and should not be exposed to excessive soil.

A

Limestone

690
Q

Fine grained homogenous metamorphic rock derived from an original shale-type sedimentary rock. Used as contemporary interior floor or wall finish. Dense, non-porous stone with two lines of breakability, cleavage and grain.

A

Slate

691
Q

Sedimentary rock; a natural precipitate of carbonate minerals typically argonite. When pure, it is white but usually brown to yellow due to impurities. Characterized by pitted holes and trough in its surface.

A

Travertine

692
Q

Sedimentary rock composed mainly of sand-size mineral rock grains. Resistant to weathering and easy to work with. Excellent material for making grindstones for sharpening blades and other implements.

A

Sandstone

693
Q

Cryptocrystalline form of Quartz. Made up of crystals.

A

Onyx

694
Q

Onyx with reddish brown with white and lighter reddish brands used for lighting fixtures, furniture and as inlays

A

Sardonyx

695
Q

Crystal that is glossy to vitreous and waxy to dull. Comes in transparent, translucent and opaque forms with very good workability. For sculpture, flooring, wall, countertops and furniture.

A

Quartz

696
Q

Composite material made of crushed stone bound together by polymer resin. Made in slabs.

A

Engineered stone

697
Q

Engineered stone with 93% quartz, 7% polyester resin and pigment. Nonporous and resists stains

A

Quartz stone surface

698
Q

Minerals and stone particles like the ones found in natural stones are carefully selected then subject to extreme heat and pressure which bonds them together permanently without using resins or bonding agents.

A

Sintered stone

699
Q

From Italian word “terrassa” which means terrace. Flooring material. Very low maintenance, seamless and luxurious look, as durable as concrete.

A

Terrazzo

700
Q

Composed of natural rubber or synthetic rubber (styrene butadiene) or both combined with mineral fillers and pigments. Highly resistant to wide variety of chemicals and solvents. Good for high traffic areas.

A

Rubber flooring

701
Q

Most important and most expensive ingredient in vinyl flooring which gives it its wear resistance and durability

A

Polyvinylchloride (PVC) resin

702
Q

Ingredient in vinyl flooring that provide color permanence and stabilize pigments against heat and light deterioration

A

Stabilizers

703
Q

Ingredient in vinyl flooring that increase flexibility of the flooring so that it can be rolled without breaking or cracking

A

Plasticizers

704
Q

Type of vinyl that allows for a continuous floor surface. It is popular for applications where spills, dirt or bacterial growth is a concern such as in hospitals.

A

Sheet Vinyl

705
Q

Most popular and economical type of resilient flooring which is more brittle than vinyl sheet flooring

A

Vinyl Composition Tile (VCT)

706
Q

Second to paint as the most popular choice for commercial interior wall surfaces because it is durable, easy to maintain and provides a wide variety of decorative effects in a myriad of patterns, textures and colors. Never need refinishing, can withstand stains, acid, food, lint and grease. Resist marking, scuffing, dents, scratches and peeling.

A

Vinyl wallcovering

707
Q

Term most commonly used to distinguish between ordinary lumber and engineered wood, but also refers to structures that do not have hollow spaces. Naturally porous, thus moisture is often cause for failure.

A

Solid wood

708
Q

Widest of all types of wood, about 75mm to 250mm (3”-10”) wide.

A

Planks

709
Q

Most popular choice of wood which is about 40mm to 60mm (1 1/2”-2 1/2”) wide.

A

Wood strip flooring

710
Q

Consists of small lengths of wood strips, either individual slats or preconfigured into tiles that are arranged to form patterns.

A

Parquet flooring

711
Q

Composed of square units preassembled at the mill, usually installed with a sealant, adhesive or protective coating.

A

Block flooring

712
Q

Type of block flooring made by joining short lengths of strip flooring edgewise

A

Unit block

713
Q

Type of block flooring made by assembling narrow slats into larger units

A

Slat block

714
Q

Thin slices of wood, usually thinner than 3mm obtained either by “peeling” the trunk of a tree or by slicing large rectangular blocks; also used in marquetry.

A

Wood veneer

715
Q

When alternating pieces of veneer are flipped over so they face each other as do the pages within the book. This creates a pleasing, symmetrical pattern

A

Bookmatching

716
Q

Veneer pieces are joined in sequence without flipping the pattern. If grain is straight, joints will not be obvious.

A

Slipmatching

717
Q

Knotty veneers are often laid this way; done to disperse characteristics such as clusters of knots more evenly across the sheet

A

Random match

718
Q

Where pattern formed is diamond shaped

A

Diamond match

719
Q

Manufactured wood panel made from thin sheets of wood veneer. One of the most widely used wood products. Flexible, inexpensive, workable and reusable

A

Plywood

720
Q

Engineered wood product from wood particles such as wood chips, sawmill shavings or even saw dust and a synthetic resin or other suitable binder which is pressed and extruded. It is a composite material that is cheaper, denser and more uniform than conventional wood and plywood and is used as substitute to them when appearance and strength are less important than cost.

A

Particle board or chipboard

721
Q

Engineered wood product formed by breaking down hardwood or softwood residuals into wood fibers, often in a defibrator, combining it with wax and a resin binder. and forming panels by high temperature and pressure.

A

Medium density fiberboard

722
Q

Can almost be described as cheap vinyl; can be washed or gently scrubbed but not with abrasives; usually hung with a paste containing anti fugicide due to its impervious surface thus making it harder to remove than standard papers

A

Washable wallpaper

723
Q

Kind of vinyl wallpaper that has a fabric substrate laminated with a solid vinyl decorative surface

A

True vinyl

724
Q

Most common type of wallpaper, made of paper but with a protective coat of vinyl, making it ideal for kitchens or bathrooms. Has better resistance to grease and moisture than plain paper and is scrubbable and strippable.

A

Vinyl Coated

725
Q

Wallpaper designed for the do-it-yourself market. Backed with an adhesive coating and supplied with a plastic trough. Must be soaked in water immediately before hanging to activate the paste.

A

Ready-pasted or pre-pasted

726
Q

Has a raised texture that you can feel

A

Relief

727
Q

Recognized under the name “Woodchip”. Papers which contain small chips of wood.

A

Ingrain papers

728
Q

Made from heavy white paper backed with another layer of ordinary wood pulp and embossed while damp so pronounced relief patterns remain when hung. Normally painted over.

A

Anaglypta

729
Q

More rigid material made from a solid paper backing, coated with putty-like mixture of linseed oil and filler. Low-relief material that is pressed while still soft into patterns and textures.

A

Lincrusta

730
Q

Papers that have relief patter which are often colored and gold/silver leafed.

A

Embossed

731
Q

Wallcoverings made from and made to look like many materials other than paper

A

Fakes and Fantasies

732
Q

One of the oldest forms of wallpaper; usually ornate and considered “old-fashioned” which includes a raised pattern in felt, fibre, powdered silk or wool which looks and feels like the alternate raise and flat pile pattern of velvet.

A

Flock

733
Q

Clean textured fakes and fantasies wallcovering, Scandinavian feeling

A

Hessian

734
Q

Paper is subtly shaded to look like watered silk or “shot” taffeta

A

Moire

735
Q

Suedes and some very sophisticated reptile skin effects

A

Fake Leathers

736
Q

Has a thin metal coating and is highly reflective under the brand name “Mylar”.

A

Foil paper

737
Q

Photographically printed to resemble a variety of wood types

A

Woodgrain papers

738
Q

Same process as woodgrain papers made to resemble marble; sometimes handmade

A

Marble papers

739
Q

Natural material wallcovering which is extremely fragile and difficult to clean but easy to work with because they stay stiff when pasting to the wall. Dried grass is woven together before being stuck to a paper backing. One of the most expensive and exclusive. Requires felt-roller.

A

Grasscloth/ burlap

740
Q

Type of paper used to prepare walls and ceilings for painting or papering. Should be hung in the opposite direction to the top paper.

A

Lining

741
Q

Generally untrimmed and come from small exclusive outlets. Not recommended for amateurs as the surface is easily damaged.

A

Hand-printed

742
Q

Cheapest type of machine for design production because design is printed directly onto the raw paper

A

Pulp

743
Q

Accounts for the largest volume of printed papers. Originally done with wooden rollers but now done with engraved metal rollers.

A

Surface printing

744
Q

Uses copper-covered steel rollers. photographically engraved to produce rotogravure patterns.

A

Rotogravure printing

745
Q

Purely mechanized or partly by hand type of design production which was originally meant as a substitute to Block Printing. Designs are applied by individual screens; one screen for each color.

A

Silk-screen printing

746
Q

Domestic ones usually oil-resinous containing oil and slower to dry or polyurethane in one-can or two-can form.

A

Sealer

747
Q

Type of sealer that partly soaks into grain or surface

A

Oil-resinous

748
Q

Type of sealer that forms a hard skin on top of surface

A

Polyurethane seal

749
Q

Not really used as a finish but provides a very good base for various finishes. Seals and protects wood. Fills the pores and hardens the fine ends of grain so it can be sanded away smoothly

A

Sanding sealer

750
Q

Makes material resistant to moisture, chemicals and corrosion which is noted for its flexibility.

A

Polyurethane

751
Q

Used for wood to cover holes, cracks and other imperfections

A

Fillers

752
Q

Composed of silex (stone dust), japan-drier, linseed oil, turpentine and sometimes colors ground in oil.

A

Paste filler

753
Q

Plastic wood putty, stick shellac etc. Used for filling nail holes, cracks and dents

A

Crack filler

754
Q

Comes in either spirit-based (liquid or solid wax) or in emulsion (suspended in water form)

A

Polishes

755
Q

Pigments derived from various earth clays. After they are dissolved in linseed oil, the coloring particles remain suspended between the oil molecules. For spreading, ground oil color is thinned with turpentine.

A

Oil wood stains

756
Q

Made from aniline dyes and mineral extracts which have been dissolved in hot water; safest to use since it can be sealed without any chemical reaction. Raises grain of wood.

A

Water stains

757
Q

Type of stain mixed with alcohol solution anilyne powders and warmed alcohol.

A

Spirit or alcohol stain

758
Q

Made by refining seed lac and denatured alcohol. Natural color is orange. It is an under or preparatory coat for varnish and wax finishes. Used to cover wood knots before a priming lead and oil coat is applied because it kills the resin in the knot and prevents discoloration.

A

Shellac

759
Q

Resolution of resin in drying oil (oil varnish) or in a volatile solvent such as alcohol or turpentine (spirit varnish); contains no pigment; hardens into a smooth, hard and glossy coat.

A

Varnish

760
Q

Usually contain polyurethane, acrylic or epoxy resin and come in a fairly wide range of colors

A

Paint

761
Q

Quickest, easiest and most versatile of all faux painting techniques

A

Spongeing

762
Q

Faux painting technique that produces a delicate, fabric-like texture with a soft variegated appearance; perfect way to create intimate mood

A

Ragging

763
Q

Faux painting technique that creates a feeling of elegant silk fabric or wallpaper; pulling dry brush or combing device through wet paint

A

Dragging

764
Q

Faux painting technique that has a rustic, country look and works best with earthy colors

A

Colorwashing

765
Q

Faux painting technique that creates a striated effect producing vertical lines that mimic sheen of opulent silk. Can be used to create waves, horizontal strips or checkered patterns.

A

Combing

766
Q

Faux painting technique that is very messy to execute thus used on smaller surfaces. Can be made to look like granite.

A

Spattering

767
Q

Faux painting technique that simulates the grains of woods.

A

Woodgraining

768
Q

Faux painting technique that serves as an alternative solution to costly, genuine, marble.

A

Marbling

769
Q

Faux painting technique that uses stencils to add texture, prints, designs to the wall

A

Stenciling

770
Q

Basically a painting on any large surface

A

Mural

771
Q

Type of mural painting which makes use of water soluble paints and damp lime wash

A

Fresco

772
Q

Basically means “Trick the Eye” in French and also called illusionism. Give the appearance of three-dimensional or photographic realism.

A

Trompe l’oeil

773
Q

Type of paint sheen that has a non-reflective porous surface with a powdery feel. Hides surface imperfections and creates a formal feel. Easily attracts dirt.

A

Flat paint finish

774
Q

Type of paint sheen that has the barest hint of luster and a little bit of reflectivity. More maintenance friendly than flat finish.

A

Eggshell/ Satin

775
Q

Type of paint sheen that provides harder and glossier finish than eggshell/satin, thus more stain and wear resistant. Preferred for kitchen or bathroom, woodwork and cabinets.

A

Semi-gloss

776
Q

Type of paint sheen that is very hard and shiny. It has the highest stain and wear resistance thus a good choice for cabinets, woodwork and railings.

A

High gloss

777
Q

Type of ceiling system that is hung from the structure above

A

Suspended ceiling system

778
Q

Can be attached to the suspended furring channels in the ceiling

A

Gypsum board or metal lath with plaster

779
Q

High strength, high density gypsum reinforced with continuous glass fibers or chopped glass fiber strands

A

Glass reinforced gypsum

780
Q

Suspended square or rectilinear frames that hold attached or loose laid panels where channel or angle-shaped sections are attached to the wall to support perimeter panel edges. Panels can be pushed up and temporarily moved out of place.

A

Exposed grid system

781
Q

Provide traditional look of uniform ceiling along with increased acoustic performance. Ceiling tiles have a kerfed edge that slides into a T or NT shaped bar.

A

Concealed grid/ concealed spline system

782
Q

Aka access flooring. Elevated flooring system comprised of panels which can be removed. Used in commercial applications.

A

Raised flooring

783
Q

Stains that appear on paper face caused by bad pasting methods or poor paper handling

A

Adhesive stains

784
Q

Floral foliage or scroll patterns covering the entire paper

A

Allovers

785
Q

Applied or laid on as figures cut from paper and laid on to another paper

A

Appliques

786
Q

Appearance of one color to another

A

Bleeding

787
Q

Means that the paper is not flat on the substrate and has pockets of air trapped behind; caused by under soaking or not evenly brushing paste or insufficient smoothing while handling

A

Blisters or bubbles

788
Q

Amount of rolls produced of a single color combination at one time

A

Color run

789
Q

Designs that memorialize a historic event

A

Commemorative

790
Q

Set of designs and colors to be used together in the same or adjacent areas

A

Companion papers

791
Q

Design based on a document, an old paper, or a fabric dating from an earlier century

A

Documentary

792
Q

Installation technique where two strips of paper are overlapped while a cut is made through the center of the overlapped seam and the excess paper is removed

A

Double-cut wallpaper seam

793
Q

Printing surface is made of rubber, cut in relief

A

Flexography

794
Q

Finely powdered silk, wool or other fibers glued onto paper

A

Flocks

795
Q

Thin sheet of flexible metal on paper

A

Foils

796
Q

Paper printed from copper plates, leaving the design slightly impressed

A

Gaufranes

797
Q

Achieved by printing an adhesive to the areas that are to take the metal dust

A

Gilding

798
Q

Other term for gilding

A

Silvering

799
Q

Raw stock in which a coat of pigment is applied before the top colors are put on

A

Ground

800
Q

Process of printing with blocks in which a separate block is needed for each color

A

Hand-blocked

801
Q

Produced by hand-screening

A

Handprints

802
Q

Trade name designating imported Chinese painted papers

A

India

803
Q

Powdered over with ground up paints or having a thin metallic glaze

A

Lusters

804
Q

Any kind of wall painting printed on paper

A

Mural

805
Q

Wallpaper pattern matches

A

Matching

806
Q

Where one length encroaches on the next; caused by poor workmanship, insufficient soaking or missing patches while pasting which makes the paper swell unevenly

A

Overlapping

807
Q

Where the paper is poorly matched, creased, polished (shiny) or embossed papers are flattened; caused by bad paper handling and over brushing

A

Overstretch

808
Q

Series of papers with a comprehensive presentation of a subject or area in every direction

A

Panoramas

809
Q

Process of photographic separation using copper or steel cylinders

A

Photogravure

810
Q

An enlarged photograph used as a mural on the wall

A

Photomural

811
Q

Pictorial design continuing over several strips of paper

A

Scenic

812
Q

Produced by the silkscreen process

A

Screen print

813
Q

Having scenes spaced at intervals

A

Semi-scenic

814
Q

Containing 36 sq.ft. of surface after trimming

A

Single roll

815
Q

Made from maize, corn, potato or wheat; in powdered form, made to paste by adding water; has fungicide added during manufacture

A

Starch paste

816
Q

Sealer used to prepare the wall before paper is applied

A

Size

817
Q

Paper fused or coated with vinyl plastic, rendering it impervious to steam and damp

A

Vinyl

818
Q

Wallpaper repeat where design elements run diagonally between 3 strips to complete the design

A

Wallpaper half-drop match

819
Q

Wallpaper pattern repeat refers to the vertical distance between one point to another identical point on the wallpaper roll

A

Wallpaper pattern match

820
Q

Wallpaper pattern will match from roll to roll regardless of how it is position

A

Wallpaper random match

821
Q

Wallpaper design will match at the same position on each strip of paper

A

Wallpaper straight match

822
Q

Ability of a surface to resist being worn away by rubbing and friction

A

Abrasion resistance

823
Q

Substance which when added to concrete, mortar or grout increases the rate of hydration of hydraulic cement, shortens the time of setting or increases the rate of hardening of strength, development or both

A

Accelerator

824
Q

Term frequently used as synonym for addition or admixture

A

Additive

825
Q

State in which two surfaces are held together

A

Adhesion

826
Q

Material other than water, aggregates and hydraulic cement used as an ingredient of concrete or mortar, added to concrete immediately before or during its mixing

A

Admixture

827
Q

Granular material used with a cementing medium to form a hydraulic-cement, concrete or mortar

A

Agglomerate

828
Q

Pre-casting of stone, slag, sand and gravel bonded together into an integrated mass; major component of plaster, concrete and asphalt

A

Aggregate

829
Q

Chemical substance which effectively neutralizes acid material so as to form neutral salts

A

Alkali

830
Q

Pliant material used as wall covering

A

Applied

831
Q

Masonry constructed of flat-surfaced stones with straight, clean-cut jointing

A

Ashlar

832
Q

Any material used as a base over which finish material is to be installed

A

Backing

833
Q

Narrow wood strip used to cover joints between boards and panels

A

Batten

834
Q

Wall that slopes backward; also walls that may gently sloped inward

A

Battered

835
Q

Any fractures in the body of a tile visible both on the face and back

A

Bisque cracks

836
Q

Adherence of one material to another

A

Bond

837
Q

Substance applied to a suitable substrate to create a bond

A

Bonding agent

838
Q

Ceramic tile installation featuring each row offset for half its length

A

Broken joint

839
Q

French term designating a plain or carved wood-paneled wall

A

Boiserie

840
Q

Projecting ornament placed at the intersection of beams or moldings; often a carved head of an angel, flower or foliage motif

A

Boss

841
Q

To polish or grind down to a smooth finish

A

Buff

842
Q

Wall or partition that supports the portion of a building above it in addition to its own weight

A

Bearing partition

843
Q

Plain square joint between two members

A

Butt joint

844
Q

Tiles that have projections on bondable side; many of these projections are round

A

Buttonback tile

845
Q

A copolymer of about 98% isobutylene and 2% isoprene; has the poorest resistance to petroleum oils and gasolines of any rubber; excellent resistance to vegetable and mineral oils; to solvents, water and gas absorption; heat resistance is above average; excellent sunlight resistance; low permeability to gases

A

Butyl rubber

846
Q

Any substance which markedly speeds up the cure of an adhesive

A

Catalyst

847
Q

Soft, plastic material consisting of a pigment and vehicle, used for seating joints in buildings

A

Caulking compound

848
Q

Any material fixed as “clothing” to walls and roofs; weathering surface that protects a building

A

Cladding

849
Q

Thin wall supported by structural frame and not dependent on load-bearing capacity of the wall below it

A

Curtain wall

850
Q

Constant load in structures due to mass of the members

A

Dead load

851
Q

Partitions that can be removed from its mounted position

A

Demountable

852
Q

Screen or partition

A

Divider

853
Q

Tile decorated with colored clays inlaid and fired

A

Encaustic

854
Q

Prints from a copper plate upon which a drawing or design has been made by a metal tool or by “biting” with acid

A

Etching

855
Q

Area of tile covering a wall or floor; bordered by a tile trim

A

Field tile

856
Q

Partitions with joined sections that can be folded together together

A

Folding

857
Q

Hollow brick of glass that is translucent but not transparent, used mainly in conjunction with brick

A

Glass brick/ glass block

858
Q

Lattice or trellis openwork screen or wall

A

Grille

859
Q

Wood strip or metal mesh which acts as a background or reinforcing agent for the scratch coat or mortar coat

A

Lath

860
Q

Moving load or variable weight

A

Live load

861
Q

Force provided by weight or mass

A

Force

862
Q

Opening in a wall or ceiling protected from the rain by slats placed at an angle

A

Louver

863
Q

Organic tile adhesive

A

Mastic

864
Q

Can be replaced in storage

A

Movable/ Portable

865
Q

Projecting shelf surmounting the fireplace

A

Mantel

866
Q

Recess in a wall for a statue or ornament

A

Niche

867
Q

Wall or partition that supports its own weight

A

Non-bearing

868
Q

Front dividing line of a step where the top or a riser joins the front of a tread

A

Nosing

869
Q

Movable wall that is hinged or slides serving as room divider

A

Operative

870
Q

Flat surface, raised or recessed

A

Panel

871
Q

Interior partial wall

A

Partition

872
Q

To last indefinitely, fixed and changeless

A

Permanent

873
Q

Rectangular shaft built into wall and projecting slightly from it

A

Pilaster

874
Q

Traditionally a mixture of lime, sand and water, sometimes with hair or other fiber added used for coating walls and ceilings

A

Plaster

875
Q

Material that increases plasticity of a cement paste, mortar or concrete mixture

A

Plasticizer

876
Q

Made up of thin layers of plies of timber that get bonded together

A

Plywood

877
Q

Easily movable

A

Portable

878
Q

Rock composed of crystals or white or red feldspar in a red ground mass

A

Porphyry

879
Q

Prominent or accent wall

A

Prestige wall

880
Q

In panelling, any horizontal strip forming a portion of the frame

A

Rail

881
Q

In panelling, any vertical strip forming a portion of the frame

A

Stile

882
Q

Small receptacle designed to hold a sacred relic

A

Reliquary

883
Q

Aggregate, ceramics, glass, marble, metal, plaster, plastics, slate, terrazzo or wood used as finishing surface for a wall

A

Rigid materials

884
Q

Mixture of Portland cement, sand and water

A

Scratch

885
Q

First coat of plaster or stucco

A

Scratch coat

886
Q

Movable partition intended to divide, conceal, or protect part of a room

A

Screen

887
Q

Condition reached by a cement paste, mortar or concrete when it has lost plasticity

A

Set

888
Q

Maximum interval during which a material may be stored and remain in usable condition

A

Shelf life

889
Q

Fine plaster or cement made of Portland cement, sand and lime applied to a structure used as ornamentation

A

Stucco

890
Q

Underlying support for ceramic tile installation

A

Substrate

891
Q

Small cube of stone, glass or marble used in making mosaics

A

Tessera

892
Q

Term used to describe bonding of tile with suitable materials applied approximately 1/8” thick

A

Thin-set

893
Q

Decorative treatment of the space over a mantel, door or window; over-the-mantel panel treatment

A

Trumeau

894
Q

Patterns created by placing thin slices of wood together featuring the grain in various combinations

A

Veneer match

895
Q

Pierced lattice effect in woof

A

Treillage

896
Q

Stylized leaf motif; classical architecture

A

Acanthus leaves

897
Q

Motif resembling a conventionalized fanlike arrangement of petals; used especially in ancient Greek and Roman eras

A

Anthemion

898
Q

Anthemion in ancient Egypt

A

Palmette

899
Q

Other word for anthemion

A

Honeysuckle ornament

900
Q

Moorish design or scrollwork, leaves, flowers and interlaced branches; based on Assyrian Tree of Life; usually a symmetrical horizontal composition

A

Arabesque

901
Q

Other term for Arabesque

A

Rinceau

902
Q

Full or half male figure used instead of a column or in place of a furniture leg

A

Atlantes

903
Q

Board placed at base of a wall and rests on the floor; usually treated with moldings

A

Baseboard

904
Q

Decorative strip or molding that resembles a string of beads

A

Beading

905
Q

Edge of any flat surface that has been cut at a slant to the main area

A

Bevel

906
Q

Tortoiseshell, ivory, mother-of-pearl and metals of various colors used as inlay

A

Boulle

907
Q

Rounding of an edge or aris

A

Bullnose

908
Q

Form of an unrolled scroll with an oval center; conventionalized shield or ovoid form

A

Cartouche

909
Q

Column carved in human form

A

Caryatid

910
Q

Molding of concave form approximating a quarter circle

A

Cavetto

911
Q

Generally made of plaster, circular, decorative molding fixed to the ceiling; often has a pendant light fitting suspended from it

A

Ceiling rose

912
Q

Topmost molding of a dado; placed at height of a chairback to protect wall finish

A

Chair rail

913
Q

Other term for chair rail

A

Dado cap

914
Q

Bevel or slope made by pairing off the edge of anything originally right angled

A

Chamfer

915
Q

Pattern consisting of alternating light and dark squares

A

Checkerboard

916
Q

Square block used to form a junction between sides and head strip of door and window trim

A

Corner block

917
Q

Ornament used on the sides of pinnacles, usually leaf or bud shaped; commonly seen in Gothic art

A

Crocket

918
Q

French term meaning “five leaves”; pattern resembling five-leaved clover

A

Cinquefoil

919
Q

Ornament sunken panel in a ceiling, vault or the lower surface of an arch, beam or other architectural feature

A

Coffer

920
Q

Formalized bunch of leaves carved at intervals on the edge of wood mouldings prevalent during Gothic period

A

Crocket

921
Q

Molded projection that crowns a wall or divides it horizontally

A

Cornice

922
Q

Decorative molding at junction between a wall and ceiling of a room or the uppermost horizontal molding of a classical entablature

A

Crown molding

923
Q

S shape curve which begins and ends horizontally

A

Cyma recta

924
Q

Curve starts and end vertically

A

Cyma reversa

925
Q

Lower portion of a wall; when treated differently from the surface above it; usually has a base, shaft and cap molding and often paneled or ornamented

A

Dado

926
Q

All over or repeating pattern without definite limits

A

Diaper pattern

927
Q

Small square projecting block in a cornice

A

Dentil

928
Q

Ovoid shaped molding forming part of a classical capital; just under the abacus

A

Echinus

929
Q

Classical motif; repeated and alternate dart and oval shapes

A

Egg and dart molding

930
Q

Female head and bust used at top of a volute; also term for locking device for doors

A

Espagnolette

931
Q

String of many kinds of material hanging in a curve between two points

A

Festoon

932
Q

Divider with an openwork design; produced by twisting and curling wire together or the open work in porcelain

A

Filigree

933
Q

Narrow flat molding or area; raised and sunk to separate larger moldings or areas

A

Fillet

934
Q

Stylized three-petaled iris flower tied by an encircling band; used as heraldic bearing of the royal family of France

A

Fleur-de-lis

935
Q

Channels in a vertical position used to embellish columns, pilasters or furniture legs; parallel concave grooves

A

Flutes

936
Q

Greek geometric band or border motif; consisting of interlacing or interlocking lines

A

Fret

937
Q

Other term for Fret

A

Meander or key pattern

938
Q

Elongated ovoid forms placed in a parallel series and projecting beyond the surface they enrich

A

Gadroon

939
Q

Pilaster that narrows toward the bottom and is capped with a topless female half figure

A

Gaine

940
Q

Grotesque animal or human form used as water spout

A

Gargoyle

941
Q

Prepared plaster of chalk and white lead which may be cast to make repeating ornamental forms in relief to apply to wood panels, plaster surfaces etc.

A

Gesso

942
Q

Monster with body of a lion and head of and wings of an eagle

A

Griffin

943
Q

Combination of a monstrous animal and human forms

A

Grotesque

944
Q

Band or border running pattern having the appearance of overlapping or interlacing circular forms

A

Guilloche

945
Q

Squared stone pillar tapering inward from top to bottom bearing a male head or bust usually of Hermes; used in ancient Greece as boundary marker or signpost

A

Herm

946
Q

Panel resembling folded cloth; prevalent in Gothic period

A

Linenfold

947
Q

Alternate name for conventional diamond-shaped motif

A

Lozenge

948
Q

Form resembling a crescent or half moon

A

Lunette

949
Q

Grotesque head or mask

A

Mascaron

950
Q

Highly ornamented turning in two sections

A

Melon bulb

951
Q

Overall pattern of stylized flowers and plants

A

Millefleur

952
Q

Leading or prominent edge of a molding or drip

A

Nosing

953
Q

Two opposing cyma curves whose convex sides meet at a point; forming an s but somewhat elongated compared to a cyma

A

Ogee or Ogive

954
Q

Variety of brass made to imitate gold or bronze

A

Ormolu

955
Q

Convex molding used in classical architecture; usually an exact quarter of a circle but in Grecian it is flatter and quirked on top

A

Ovolo

956
Q

Using veneers cut as cross sections to resemble the irregular concentric rings in oyster shells

A

Oystering

957
Q

Flat circle or oval containing acanthus leaves in a rosette arrangement

A

Patera

958
Q

Boss elongated so that it hangs down from the intersection of coffers in ceilings or from tables

A

Pendant

959
Q

Compound of paper pulp or shreds of paper mixed with paste or glue to be molded into various shapes

A

Papier-mache

960
Q

Round or oval shaped disk often enriched by a rosette or other ornament

A

Patera

961
Q

Horizontal molding near a ceiling which pictures can be suspended

A

Picture Mold/ Picture rail

962
Q

Rail of narrow shelf fixed along a wall and grooved to hold plates especially for ornaments or display

A

Plate rail

963
Q

Four lobed ornamentation

A

Quatrefoil

964
Q

Long, semi-cylindrical, stem-like form or a grouping of such used to enrich moldings

A

Reeding

965
Q

Ornamental motif formed by a series of leaves arranged around a central point

A

Rosette

966
Q

X-pattern

A

Saltier

967
Q

Semi-circular shell with ridges; common in furniture design during Queen Anne and Georgian periods in England and US; also extensively used in early Spanish Renaissance

A

Scallop shell

968
Q

Parchment roll used as an ornament

A

Scroll

969
Q

Broken pediment with each half shaped in the form of a reverse curve and ending in an ornament scroll; usually a finial or some sort is placed in the center

A

Scroll pediment

970
Q

Used as marquetry in furniture panes

A

Seaweed

971
Q

Other term for seaweed

A

Endive

972
Q

Figure having head and breasts of a woman, wings of an eagle and body of a lion

A

Sphinx

973
Q

Consisting of enriched interlacing flat bands and forms similar to fretwork

A

Strapwork

974
Q

Stonework formed in the head of a Gothic window; applied to surface on door or wood panel

A

Tracery

975
Q

Pattern resembling tree or vine; originating in ancient Assyria, borrowed by the Persians, East Indians and early English Renaissance

A

Tree of life pattern

976
Q

Three lobed ornamentation like a clover

A

Trefoil

977
Q

Millwork around openings

A

Trim

978
Q

Other term for trim

A

Casing

979
Q

Convex semi-circular molding

A

Torus

980
Q

Ornamental motifs, patterns, or portraits centered on a large field

A

Vignettes

981
Q

Series of breaking wave crests

A

Vitruvian scroll

982
Q

Other term for vitruvian scroll

A

Wave pattern

983
Q

Spiral scroll forming principal characteristics of the ionic capital

A

Volute

984
Q

Wooden lining for interior walls, usually paneled

A

Wainscot

985
Q

Conventionalized leaf pattern of classical origin used to enrich a cyma reversa molding

A

Waterleaf

986
Q

Other term for waterleaf

A

Leaf and dart pattern

987
Q

Decorative band core garland of flowers, foliage or other ornamental material

A

Wreath

988
Q

General class of resinous polymers derived from esters, amides or other acid derivatives

A

Acrylic

989
Q

Paint used on new plaster which is durable in contact with lime

A

Alkali resistant

990
Q

Mechanical bonding of a coating to a rough surface

A

Anchoring

991
Q

Metal paint designed to inhibit corrosion

A

Anti-corrosive paint

992
Q

Paints with toxic compounds which kill any fungi attempting to feed from it; do not last the duration of the paint films life

A

Anti-fungus paints

993
Q

Paint that contains a grit that forms a grippable surface that breaks the tension of the water

A

Anti-slip paint

994
Q

Process of artificially ageing paint; rubbing over new paint with a darker glaze or color wash

A

Antiquing

995
Q

Imitation of bamboo

A

Bambooing

996
Q

Undercoat staining through the topcoat

A

Bleeding

997
Q

Bubbles or blisters on paint film

A

Blistering

998
Q

Milky opalescence in lacquer usually caused by lack of compatibility in the paint or being applied in cold or wet weather

A

Blushing

999
Q

Powdery deposit being formed on a dry paint film surface; caused by painting over surfaces that haven’t been sealed sufficiently or paint is deficient in binder caused by over-thinning; can also occur when using interior paints on exterior surfaces

A

Chalking

1000
Q

Splits that appear in the film of the surface coating; caused by use of excessive dryers or recoating before the undercoat is dry

A

Checking, cracking, crocodiling, alligatoring

1001
Q

Diluted layer of paint; often used in country homes

A

Colorwash

1002
Q

Imitates old peeling paint and provides a cobweb look; applied between two water based coats of differing colors

A

Crackle-glaze paint

1003
Q

Process imitating the crazing of very old varnish; achieved when applying two varnishes that dry at different rates

A

Craquelure

1004
Q

Scratching plaster to prepare the surface for the next coat

A

Deviling

1005
Q

Type of paint made by mixing pigment with glue or size; now largely superseded by emulsion paints

A

Distemper

1006
Q

Making a finish look older making it time worn and rugged

A

Distressing

1007
Q

Chemical preparation added to paint causing it to dry quickly

A

Drier

1008
Q

White fluffy surface deposit caused by salts in plaster being drawn to the surface

A

Efflorescence

1009
Q

Aka semi-gloss paint; finish between matt and gloss

A

Eggshell paint

1010
Q

Final color and gloss level; protection layer; aesthetic layer

A

Finishing coat

1011
Q

Paint or varnish lifting away from surface in flakes because of a breakdown of the adhesion; occurs when painting damp surfaces

A

Flaking

1012
Q

Method of painting on wet plaster with tempera colors; plaster absorbs the pigment and when dry, painting becomes hard and durable and a part of the plaster

A

Fresco

1013
Q

Application of gold finish; applying gold leaf or by using metallic powder

A

Gilding

1014
Q

Putty used to set glass in window frames and to fill nail holes and cracks

A

Glazing compound

1015
Q

Painted imitation of the fiber lines of wood

A

Graining

1016
Q

Swelling and standing up of the wood grain caused by absorbed water and solvents

A

Grain rising

1017
Q

Type of varnishing; used to imitate the lacquering work from east; 1660s; using heat hardened spirit based varnishes now oil

A

Japanning

1018
Q

Glossy type of paint finish; usually applied by spraying

A

Lacquier

1019
Q

Layering of numerous coats of varnish, sanding in between coats; creates smooth lustrous effect

A

Lacquering/ Japanning

1020
Q

Paint is passed through voids that surround the design

A

Negative stencil

1021
Q

First coat of paint; used to “stick” to the substrate and provide adhesion; provides a smooth, stable surface

A

Primer

1022
Q

Wrinkles occurring in paint film as it dries; happens because paint has been applied too thickly

A

Revelling

1023
Q

Solvents used to thin coatings

A

Thinners

1024
Q

General designation for fabric used as floor covering; absorb sound, reduce impact noise and provide a comfortable and safe surface

A

Carpet

1025
Q

Term carpet came from Old Italian “carpire” meaning ________

A

to pluck

1026
Q

Standard against which other carpet fibers are judged

A

Wool

1027
Q

Wool that absorbs dyes easily, colors with great clarity and uniformity, staple are lustrous and tough and color is almost white

A

New Zealand wool

1028
Q

Noted for its gloss and sheen with natural resistance to soiling; not as white as New Zealand wool

A

Argentinean wool

1029
Q

Crush resistant wool

A

Indian wool

1030
Q

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

A

Iraqi wool

1031
Q

Scottish black face sheep bear finest of all carpet wool with staples as long as 15”

A

Scottish wool

1032
Q

Natural product that grows like a grass; strong woody fiber from leaves of agave plant; color fast and static free; used mostly in twine, rugs, floor mats and rope

A

Sisal (Scratch rush)

1033
Q

From corn husks; natural, organic, and eco-friendly as well as incredibly stain resistant

A

Maize

1034
Q

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

A

Coir (coconut plush)

1035
Q

Softer than wool but less durable; does not resist stains and also absorbs moisture

A

Cotton

1036
Q

Softest of all natural fibers; fiber is absorbent so it may deteriorate; may fade or darken in color when exposed to sunlight and its fiber disintegrates with prolonged exposure to moisture

A

Jute

1037
Q

Most popular manmade carpet fiber used today; versatile and easy to maintain; withstands heavy foot traffic; often combined with wool for durability

A

Nylon

1038
Q

One of the first synthetic fibers to be used successfully in the production of carpet; lowest static build up; highly resistant to sunlight, stains and mildew; mostly used in bath mats and rugs

A

Acrylic

1039
Q

Aka modified acrylic; better heat retention and is flame retardant as compared to acrylic

A

Modacrylic

1040
Q

Soft and luxurious; strong, durable with high abrasion resistance; dyes well producing clear colors which resist fading; low static build up factor; more popularly used in residential carpet application

A

Polyester

1041
Q

Lightest commercial carpet fiber; fibers are solution dyed; absorbs little moisture, resists stains, cleans well and almost completely free of static build up; most resistant synthetic fiber

A

Poplypropylene Olefin

1042
Q

Synthetic fiber with brand names like Avisco, Celaire, Cromspun, Estron

A

Acetate

1043
Q

Synthetic fiber with brand name like Vicara

A

Azlon

1044
Q

Avicolor, Avicron, Avsio, Corval, Fibro, Kolorbon, Skybloom, Skyloft, Soluran, Spunvis, Staylux, Tufton

A

Rayons

1045
Q

Brand names like Rovana, Saran

A

Sarans

1046
Q

Brand names like Arnel

A

Triacetate

1047
Q

Combination of two or more fibers into a single carpet yarn

A

Blends

1048
Q

Part of carpet composed of the Pile; forms wearing surface of carpet

A

Face

1049
Q

Part of carpet where “ground” hook themselves; canvas on which yarns are woven (handtufted)

A

Primary Backing

1050
Q

To glue on the roots of the yarns onto the cotton canvas backing; to provide superior tuft lock and resilience in stretching

A

Latex

1051
Q

Aka carpet pad; bonded to primary backing in latexing stage

A

Secondary backing

1052
Q

Usual secondary backing materials

A

Jute

Polypropylene

1053
Q

Dimensionally stable and heat resistant backing; when wet, tends to shrink and can stain

A

Jute

1054
Q

More popular backing material; moisture resistant

A

Polypropylene

1055
Q

Method of manufacturing carpet which is far less expensive and faster to produce than woven carpet; process which enabled mass production

A

Tufting

1056
Q

Traditional way of making carpet on a loom; intertwining the surface pile and bracing simultaneously into an integrated whole; does not require secondary backing

A

Weaving

1057
Q

Least complex weaving method and most inexpensive; produce solid color carpets; made on looms similar to Wilton looms but without Jacquard mechanism; all the yarn in this type appears on back of carpet

A

Velvet

1058
Q

Carpet weaving process named after a town in England; constructed on a modified Jacquard loom; perforated cards control the creation of the pattern; carpet of more than one color as many as five

A

Wilton

1059
Q

Named after town in England where it was first made but was actually developed in US in the 18th century; inspired by European and Oriental patterns; each tuft is inserted separately; emulates hand weaving process; closest in versatility to a hand woven carpet

A

Axminster

1060
Q

Similar to woven carpet because pile and backing are made in single operation; uses 3 sets of needles to loop the pile backing yarn and the stitching yarns together; known for their plush piles because it has more yarn in the wear surface; has a tendency to stretch on the diagonal and is difficult to seam during installation

A

Knitting

1061
Q

Fibers punched into a web of synthetic fiber to form a homogenized layer of fiber

A

Needlepunched carpet

1062
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; designs are usually print-dyed

A

Flocked carpet

1063
Q

Weight of pile yarn in a given volume of carpet face; larger the density value, the more compact the pile, the less weight each individual tuft has to support which yields a firm walking surface

A

Pile density

1064
Q

Widthwise density measurement; for tufted carpets; it is the distance between the needles; measured in fractions of an inch; frequency of tufts across width

A

Gauge

1065
Q

Widthwise density measurement; for woven carpets, it is the number of ends in a 27” (685mm) width of carpet; can be divided by 27 to compare widthwise density with that of a tufted carpet

A

Pitch

1066
Q

Lengthwise density measurement; for tufted carpets, also referred to as stitches per inch, defines number of times per inch a stitch occurs

A

Stitch rate

1067
Q

Term in Axminster which refer to number of ends per inch lengthwise

A

Rows

1068
Q

Term in Wilton and velvet carpets which refer to number of ends per inch lengthwise

A

Wires

1069
Q

Length of the tuft from the primary backing to the tip; with all other factors being equal, higher height, more yarn on the wearing surface, more durable

A

Pile height

1070
Q

In woven carpet, term for pile height; height of steel blades in the 100m on which the tufts are formed; decimals of an inch

A

Wire height

1071
Q

Aka pile weight or yarn weight; weight of pile yarn; ounces per square yard of carpet; describes amount of yarn in the wear surface of the carpet

A

Face weight

1072
Q

Aka finished weight; includes the face weight and weight of backing, materials, finishes and coatings; ounces per square yard of carpet

A

Total weight

1073
Q

Expressed as count; fineness or coarseness

A

Yarn weight

1074
Q

Number of running yards in one ounce of finished yarn

A

Woolen count

1075
Q

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

A

Denier

1076
Q

Affects color, surface texture and feel underfoot; number of strands of a single yarn twisted together to form one pile yarn

A

Ply

1077
Q

Rarely examined; enormous impact on performance; the higher this is, the longer the tendency to hold their original appearance

A

Twist level

1078
Q

Prime visual characteristic of a carpet after color; result of pile construction, pile height, and manner with which carpet is cut

A

Texture

1079
Q

Created by cutting each loop of pile

A

Cut pile

1080
Q

Smooth cut pile; subject to shading and shoes footmarks

A

Cut pile plush

1081
Q

When the dense pile is cut closely; luxurious look and feel

A

Velvet plush

1082
Q

Texture between cut pile plush and cut pile shag; makes use of thicker yarns; has a twisted yarn; made with heat-set yarn usually in a dense, low-pile construction

A

Saxony plush

1083
Q

All cut pile surface made from yarns that have been lightly twisted and twist set by a special heating treatments that imparts a grainy appearance; has a heavier, rougher texture than cut pile plush; hides dirt well

A

Twist/Frieze

1084
Q

Multi-directional, high pile twist with an attractive; has heavily textured surfaces created by long twisting yarns

A

Shag

1085
Q

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

A

Loop pile

1086
Q

Entire surface is made of uniform uncut loops which are of the same height; has pebbled surface that conceals soliage and hides footprints; recommended for heavy traffic areas and commercial installations

A

Level loop pile

1087
Q

Surface made of different pile heights. uncut loops producing sculptured patterns

A

Multilevel loop

1088
Q

Adds a degree of warmth to an all-loop pile; tufted/woven

A

Combination Loop and Cut Pile

1089
Q

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

A

Level type shear

1090
Q

Loops are sheared to different heights, forming a pattern that can be definite or irregular; produces tonal contrast

A

Random shear

1091
Q

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

A

Carving

1092
Q

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

A

Harline carving

1093
Q

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

A

Recessing

1094
Q

Process of weaving a design in a higher level

A

Embossing

1095
Q

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

A

Beveling

1096
Q

3 types of predyeing methods of coloring carpets

A

Stock Dyeing
Skein or Yarn Dyeing
Solution Dyeing

1097
Q

Most common post dyeing method of coloring carpets

A

Piece dyeing

1098
Q

Type of dyeing where the carpet ends are attached to form a large loop; submerged in dye vat

A

Open Beck Dyeing

1099
Q

Achieves a very consistent level of color; carpet is sewn together end to end forming a continuous loop placed in large circular tubes

A

Jet Beck Dyeing

1100
Q

Process whereby different colors are “printed” along the length of the yarn before it is manufactured in to carpet

A

Space Dyeing

1101
Q

Opposite of differential dyeing; yarn is treated to resist additional dyes; used for shading only

A

Resist Dyeing

1102
Q

Process of dyeing carpet in a continuous production line

A

Continuous Dyeing

1103
Q

Under heat or pressure, dyes are forced through the perforation and onto the yarns

A

Package Dyeing

1104
Q

Achieved with a random dye application or a TAK random pattern machine which disperses regulated amounts of dye on carpet that is already dyed

A

Random Multicolor Dyeing

1105
Q

Simulates intricate patterns of woven carpet at a much lower cost

A

Printed carpet

1106
Q

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

A

Screen printing

1107
Q

Similar to screening; an electrostatic charge forces the pre-metallized dyes used in this process deep into the pile

A

Deep-dye printing

1108
Q

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

A

Roller printing

1109
Q

Utilizes rows of very closely spaced jets which spray the carpet with color as it passes by; texture often preferred

A

Jet printing

1110
Q

Separated foundation for traditional method of carpet installation

A

Lining/ Cushioning

1111
Q

Made by needlepunching natural fiber, synthetic fiber or both; tend to have a firm feel underfoot

A

Fiber cushion

1112
Q

Flat sponge, ripple (waffle) sponge, or reinforced foam rubber

A

Sponge rubber cushion

1113
Q

Include bonded, modified prime and densified prime urethane foam

A

Polyurethane foam cushion

1114
Q

Aka stretch-in installation; traditional method; pre-tacked thin strips of plywood fastened all around perimeter then carpet is stretched up to these strips and then edge attached

A

Tackless stripping

1115
Q

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

A

Glue-down method

1116
Q

Most common method of commercial installation; carpet glued directly to the floor; economical and practical

A

Direct Glue-down

1117
Q

Installation method that combines underfoot comfort and stability; carpet cushion is adhered to the floor and carpet is then glued to the cushion

A

Double Glue-down

1118
Q

Flexible adhesive layer applied to the carpet backing and covered with a protective plastic film

A

Self-stick

1119
Q

Single piece of compact, woven, knitted or tufted fabric; has borders and intended as a floor covering; meant to cover only a portion of the floor area

A

Rugs

1120
Q

Earliest surviving pile carpet; 5th-4th century BC; excavated by Sergei Voinovich Rudenko in 194 from a burial mound in Altai Mountains Siberia; richly colored carpet framed by a border of griffins`

A

Pazyryk carpet

1121
Q

100 years or more

A

Antique

1122
Q

Purists believe that Oriental rugs are antique only if it dates prior to ______ before synthetic dyes were used

A

1856

1123
Q

Between 50 and 100 years old

A

Semi-antique or old

1124
Q

Value of oriental rugs based on durability

A

Utility value

1125
Q

Value of oriental rugs based on color and design

A

Art value

1126
Q

Value of oriental rugs based on rarity

A

Collector’s value

1127
Q

Parallel strings upon which rows of knots are tied; strongest part of rugs

A

Warp

1128
Q

Filling yarn that are woven through warps; run across the width

A

Weft

1129
Q

Surface yarn that makes up face of the rug

A

Pile

1130
Q

Tied by looping yarn around pairs of warps and cutting off the standing end; its ends become the pile or nap

A

Knot

1131
Q

Made by wrapping several wraps at the edge of the rug with yarn to reinforce

A

Edge bindings

1132
Q

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

A

End finishes

1133
Q

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

A

Fringes

1134
Q

Background of the rug inside the borders

A

Field

1135
Q

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

A

Border

1136
Q

Widest decorative design around the outside of rug

A

Main border

1137
Q

Narrow decorative design around outside of rug

A

Guard border

1138
Q

Round, oval or polygonal design element that occupies center of field

A

Medallion

1139
Q

Fill corners of field

A

Corner brackets or spandrels

1140
Q

Most expensive rug weaving method as two loom operations are required; woven then cut into strips to make filling for the second loom

A

Chenille

1141
Q

Type of hand woven rug weaving method where weaver pushes a hooking tool through the foundation cloth to the front of the rug then pulls yarn to the back leaving a loop

A

Hand hooked

1142
Q

Inked-on foundation cloth stretched over a loom then a manually operated hand-tufting gun pushes the yarn through the back of the cloth; when the rug is taken off the loom, a scrim and layer of latex is placed on the back; back cloth is then sewed

A

Hand tufted

1143
Q

Each knot is individually tied by hand; best kind of rug construction

A

Hand knotted

1144
Q

Asymmetric knot invented by Persians

A

Persian knot

1145
Q

Other term for Persian knot

A

Sehna/ Senneh

1146
Q

Has a symmetrical structure; short piece of thread is laid across two warps and ends are carried down outside and up between them and pulled tight

A

Turkish knot

1147
Q

Other term for Turkish knot

A

Ghiordes knot

1148
Q

Rug type that is woven without knots; constructed without a pile but colored weft yarns are woven through warps to create a pattern

A

Flat weave

1149
Q

It is widely known that almost all rugs woven in Turkey are ________.

A

geometric

1150
Q

Rugs of the tribal and primitive people of Persia

A

Geometric Rugs

1151
Q

Geometric rug woven with sharp reds, blues and off whites

A

Kazakh

1152
Q

Bright yellows, greens and reds predominate

A

Bachtiari

1153
Q

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

A

Boukara

1154
Q

Made by educated urban people in Oriental art and handwork; usually made of fine quality wool; intricate flowing patterns show sophisticated lifestyle

A

Floral rugs

1155
Q

Rugs made by townspeople who make their living weaving during the winter months; tend to use repetitive, stylized, conventionalized rugs

A

Conventional rugs

1156
Q

An authentic ________ rug is a handmade carpet that is either knotted with pile or woven without pile

A

oriental

1157
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

1158
Q

Persian rug with entire field covered with a repeating pattern of palm leaves with rose or blue ground; sourced in Mir village

A

Saraband

1159
Q

Coarse pile weaving intricately done and stately design on claret ground Ispahan (modern) using Turkish knot

A

Ispahan Herat

1160
Q

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

A

Hamadan

1161
Q

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

A

Kerman and Kermanshah

1162
Q

Fine pile in dark reds and blues mixed with lighter colors

A

Sarouk

1163
Q

As thick as two or three ordinary rugs

A

Bijar

1164
Q

Delicately colored antique silk rug

A

Polonnaise

1165
Q

Close woven small rug with minute pattern

A

Sehna

1166
Q

Usually produced with a small all-over design of flowers or conventional forms arrayed in rows

A

Feraghan

1167
Q

A hand woven pile rug of coarse quality with abstract design that relies upon open fields of color and playfulness with geometry; much thicker and coarser than other Persian carpets

A

Gabbeh

1168
Q

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

A

Indian

1169
Q

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

A

Turkoman

1170
Q

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

A

Caucasian

1171
Q

Woven in both geometric and floral designs but with smaller patterns than the Persian or Indian and brightly sharper colors than the Turkoman or Caucasian

A

Turkish

1172
Q

Recognizable by their soft ground colors of yellow, rose, salmon-red beige, browns; designs are religious symbols

A

Chinese

1173
Q

Colorful hand woven rug of wool; motifs are primitive geometric patterns, stripes and borders; weave is flat

A

American Indian

1174
Q

Coarse, heavy rugs originally meant as bedspreads, hand-loomed by peasants in Spain since 15th century

A

Alpijarra

1175
Q

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

A

Arraiolo

1176
Q

Name for the French town; made of wool, linen, and cotton; weave resembles needlepoint; usually has a pale cream ground with floral designs and arabesques in pastel shades of rose, blue, lavander, green and beige

A

Aubusson

1177
Q

Handmade by Americans in late 18th century consisting of many fabric scraps braided and sewn together into colorful round or oval rugs

A

Braided

1178
Q

Tibetan carpet of Kelim weave; flat woven and reversible rug

A

Dhurrie

1179
Q

Shaggy wool area rugs made in Greece in solid colors and natural off-white shade

A

Flokati

1180
Q

From Turkey, Italy, Romania, Persian Gulf States, Morocco or Hungary; hand woven rugs with all-over geometric patterns with a center motif; strong colors like deep red or blue; very durable

A

Kelim/Kilim/Kelem

1181
Q

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

A

Moroccan

1182
Q

Tapestry-stitch embroidery worked with wool yarns on a canvas mesh backing

A

Needlework (Needlepoint or Gros-point)

1183
Q

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

A

Rya

1184
Q

Handwoven rug with with a high pile in pastel colors and floral and scroll patterns; designed for the 18th and 19th century houses and palaces ; very much in demand; command high prices

A

Savonnerie

1185
Q

Grass-like product twisted together into strands and sewn into squares; squares attached together; contemporary settings and country homes

A

Sisal

1186
Q

Variation or striation of color in a rug

A

Abrash

1187
Q

Chemical treatment added to carpet to reduce the growth of common bacteria

A

Antimicrobial

1188
Q

Carpet’s ability to dissipate an electrostatic charge before it reaches a level that a person can feel

A

Antistatic

1189
Q

Fiber fuzz on level loop pile carpets

A

Bearding

1190
Q

Modern style of carpet distinguished by loop pile construction type and with small flecks of dark color on lighter shades of background colors; typically plain color mix with no pattern and are relatively cheap and durable; for heavy use

A

Berber

1191
Q

Traditional handwoven carpet of people from North Africa; used a distinct knot but are brightly colored

A

Berber rugs

1192
Q

Handmade fabric edge applied to soft floor coverings to prevent fraying

A

Binding

1193
Q

Opening and untwisting of pile yarns; very common and desired trait with tightly woven wool products

A

Blooming

1194
Q

Often a narrow width product to enhance aesthetic ; 3, 6, 9, 13”

A

Border carpet

1195
Q

Refers to the span across the weft and generally used when several sections are seamed together

A

Breadth

1196
Q

Padding used as underneath carpet or area rugs; made of felt, polyurethane foam, rubber; provide comfort and durability

A

Carpet cushion

1197
Q

Seams created by joining carpet end to end

A

Cross seams

1198
Q

Separation of the secondary backing or attached cushion

A

Delamination

1199
Q

Pattern that drops down to create a diagonal repeat

A

Drop match

1200
Q

Expected on any type of carpet in high traffic areas

A

Flattening

1201
Q

Multicolor effect provided by blending fibers of different colors prior to spinning carpet yarn

A

Heather

1202
Q

Historic “reversible” weave that is a double faced pile-less carpet of colored filling yarns; when reversed, design and colors are often opposite from the other side commonly referred to as summer/winter

A

Ingrain Carpet

1203
Q

Aligning of the pattern

A

Pattern match

1204
Q

Distance traveled within the materials to arrive at the same location on the next pattern

A

Pattern repeat

1205
Q

Carpet installation tool used to stretch carpet for installation; prevent wrinkles and ripples

A

Power stretcher

1206
Q

Carpet seam flaw due to poor layout or stretching

A

Puckering

1207
Q

Ability of carpet fibers to spring back to original shape after being crushed

A

Resilience

1208
Q

Wavy or puckering around the perimeter of a room for improper stretching angles

A

Scalloping

1209
Q

Pulling apart of a sewn seam

A

Seam slippage

1210
Q

Patterns that match straight across; of particular relevance when working with narrow width goods

A

Set match

1211
Q

Irregular light and dark patches; similar to tracking but it is not temporary

A

Shading

1212
Q

Basic term for coatings applied to the back of woven products to enhance stiffness and reduce raveling

A

Sizing

1213
Q

Chemical finish which inhibits attachment of soil

A

Soil retardant

1214
Q

Afghanistan rug originating in the decade of Soviet occupation from 1979

A

War rug

1215
Q

Deliberate use of light to achieve a practical or aesthetic effect

A

Illumination and Lighting

1216
Q

Refers to daylight; achieved using windows, skylights or light shelves

A

Natural light

1217
Q

Light from electrical sources and is man-made; can be turned on and off

A

Artificial light

1218
Q

Also known as background lighting or ambient lighting; direct replacement of natural light; uniform level of illumination

A

General lighting

1219
Q

Lighting designed to provide a relatively high level of illumination over a small area; employs lamps at definite points where light is especially needed

A

Local lighting

1220
Q

Lighting for users to perform specific tasks; provides localized light in certain areas where work is typically done

A

Task lighting

1221
Q

Key element of creative lighting; reveals color, texture and form; pure aesthetic; creates point of interest for viewer by highlighting and painting specific objects around us

A

Accent lighting

1222
Q

Used to emphasize an object by illuminating with a strong light

A

Highlight

1223
Q

Illuminates something from behind in order to enhance depth or to separate the subject from its background

A

Backlight

1224
Q

Light coming or produced from the side

A

Sidelight

1225
Q

Diffused light that produces little contrast and poorly defined shadows on the subject

A

Soft light

1226
Q

Direct light that produces high contrast and distinct shadows on the subject

A

Hard light

1227
Q

Aka orientation or utility lighting; provides visual information for our safety and comfort; based in areas of total blackness

A

Information Lighting

1228
Q

90% to 100% of light output directed towards the ceiling and upper walls

A

Indirect

1229
Q

60% to 90% light directed upwards, 40% to 10% downwards

A

Semi-indirect

1230
Q

Provides approximately equal distribution of light upwards and downwards

A

Direct-indirect

1231
Q

60% to 90% light directed downwards, 40% to 10% upwards

A

Semi-direct

1232
Q

90% to 100% of light directed downwards

A

Direct

1233
Q

Light distributed on all sides

A

General

1234
Q

System where light sources are shielded by a panel parallel to the wall and attached to the ceiling to distribute light downwards over the wall

A

Cornice lighting

1235
Q

System where light sources are shielded by a ledge to distribute light upwards over the ceiling and upper wall; form of indirect lighting

A

Cove lighting

1236
Q

System where light sources are shielded by a panel parallel to the wall usually across the top of a window; provides light both upwards and downwards

A

Valance lighting

1237
Q

Defined as any of various devices for producing light; source of light in a fixture

A

Lamp

1238
Q

Colloquial term for lamp

A

Light bulb

1239
Q

Source of artificial light that works by incandescence; first type of modern electric lamp introduced in early 19th century

A

Incandescent lamp

1240
Q

Threadlike conductor of an electric lamp that is heated to an incandescence by the passage of an electric current

A

Filament

1241
Q

Glass housing of a lamp

A

Bulb

1242
Q

Part of bulb that connects to a lamp holder

A

Lamp base

1243
Q

Standard rounded shape for the bulbs of general service incandescent lamps

A

A bulb

1244
Q

Flame-shaped bulb for low wattage, decorative incandescent lamps

A

B bulb

1245
Q

Cone-shaped bulb for low wattage, decorative incandescent lamp

A

C bulb

1246
Q

Candle-shaped bulb for low wattage, decorative incandescent lamp

A

CA bulb

1247
Q

Reflector bulb of blown glass for incandescent and high intensity discharge lamps, having an internal reflective coating and either a clear or frosted glass front to provide the desired beam spread

A

R bulb

1248
Q

A parabolic aluminized reflector bulb cast glass for incandescent and high intensity discharge lamps having a precisely formed internal reflector and a lensed front to provide the desired beam spead

A

PAR bulb

1249
Q

Ellipsoidal reflector bulb for incandescent lamps having a precisely formed internal reflector that collects light and redirects it into a dispersed pattern at some distance in front of the light source

A

ER bulb

1250
Q

A-bulb having a hemispherical reflective silver bowl opposite the lamp base to decrease glare

A

A/SB bulb

1251
Q

Globe-shaped bulb for incandescent lamps, having low brightness for exposed use

A

G bulb

1252
Q

Pear-shaped bulb for large incandescent lamps

A

PS bulb

1253
Q

Straight sided bulb for low wattage decorative incandescent lamps

A

S bulb

1254
Q

Disadvantages of incandescent lamp

A
  • Low efficacy
  • Shorter life
  • Sensitive and critical to voltage changes or fluctuations
  • high maintenance cost
  • produces more heat than light
1255
Q

Aka quartz or quartz-iodine lamps; uses halogen gas cycle to prevent rapid depreciation of the lamp filament and darkening of the transparent envelop

A

Tungsten-Halogen

1256
Q

Broad-beamed, intensity bulb; used to illuminate outdoor playing fields or stage lighting

A

Floodlight

1257
Q

Type of floodlight that looks like average incandescent bulb labeled as R or BR; for indoor use only

A

Soft glass

1258
Q

Type of floodlight labeled as PAR; made using an aluminized reflector that is parabolic in shape; can be used indoors or outdoors; only halogen bulb style covered with glass thick enough to withstand harsh weather conditions

A

Heavy glass

1259
Q

Double ended and commonly used as security lighting; when handling, it should not touch bare skin because natural oils of human skin can reduce the life of the bulb

A

J type bulb

1260
Q

Low voltage bulb commonly found under counters, in desk lamps or as accent light; come in capsule shape with 2 pins at base; shouldn’t come in bare contact with skin

A

JC type bulb

1261
Q

Commonly used in under-counter lighting, desk lamps, accent lights or pendant light; similar to JC type but use higher voltage; 3 diff sizes- G6.35, G8, G9

A

JCD type

1262
Q

Generally used in food service industry; have halogen filament enclosed in glass and surrounded by overall glass jacket

A

JDD type

1263
Q

Small reflector floodlights commonly used in range hoods or as track lighting

A

JDR type

1264
Q

Multifaceted reflector bulb for tungsten-halogen lamps with highly polished reflectors arranged in discrete segments; originally used for slide projectors; can be used for residential and retail lighting

A

MR bulb

1265
Q

Comprises a cylindrical glass tube, sealed at both ends containing a mixture of an inert gas usually argon and mercury; requires a ballast

A

Fluorescent lamp

1266
Q

Emission of radiation especially of visible light by a substance when exposed to external radiation

A

Fluorescence

1267
Q

Emit light when energized by radiation

A

Phosphor

1268
Q

Fluorescent light known as T-bulb; tubular in form

A

Standard

1269
Q

Fluorescent light

T12, T8, T5, T4 where the number indicates ___________ with units of _______ of an inch

A

bulb’s diameter

eights

1270
Q

Fluorescent light that does not require a starter, have single pin bases; comes in diameters 3/4”, 1” and 1 1/2” and in lengths 42” to 96”

A

Slim-line

1271
Q

Fluorescent light that is doughnut shaped for circular luminaires

A

Circline

1272
Q

Fluorescent light that is U-shaped and used for square or rectangular luminaires

A

U-bent

1273
Q

Fluorescent light that requires a starter which preheats the cathodes so that less voltage is required to strike an arc; 2-5 second delay in the start of lamp

A

Pre-heat/ Switch-start/ Starter-start lamp

1274
Q

Pre-heat lamp where the starter can be eliminated

A

Trigger-start ballast

1275
Q

Fluorescent light where when the lamp is first switched on, a sufficient voltage is applied between the electrodes to strike the arc without preheating them; start as soon as current is turned on

A

Instant start

1276
Q

Fluorescent light that is most widely used; use low-resistance electrodes which can be heated continuously with low current loses; only fluorescent lamps that can be electrically dimmed or flashed; start quickly; require no external starters and smaller ballast

A

Rapid start

1277
Q

Control device or an auxiliary for fluorescent lamp located in the metal base; serves to supply the high voltage necessary to start the arc and limiting the current in the arc after it is formed

A

Choke coil or ballast

1278
Q

Self contained in a small tubular jacket inserted in the fixture body and is a replaceable part; ordinarily closed but when the lamp is turned on, the starter opens a second or so after the current starts to flow and then stays open until lamp is turned off again

A

Automatic switch or starter

1279
Q

Type of lamp designed to fit into roughly the same space as an incandescent lamp but with advantages of fluorescent lamp; longer rated life and use less energy; costs more

A

Compact Fluorescent Lamps

1280
Q

Most popular type of CFL which can be used anywhere that a traditional incandescent light bulb works

A

Spiral

1281
Q

CFL that is basically an A-shaped bulb; gives a good approximation of more traditional lighting because it’s nearly impossible to tell that it’s a CFL at first glance

A

Incandescent shaped

1282
Q

CFL meant to be on display such as in a bathroom vanity fixture or a pendant light; great choice for more retro look

A

Globe

1283
Q

Some of the first CFL bulbs; come in quad tubes, twin tubes and F types

A

Tube

1284
Q

CFL shaped like an incandescent candle light bulb; smaller, sleeker and more appropriate for decorative lighting tasks

A

Candle shaped

1285
Q

Basically spiral CFLs on the inside with a durable cover on top that is sealed to withstand wind, rain and snow; designed for long life in outdoor conditions

A

Post

1286
Q

CFL used in place of incandescent floodlights because they provide directional light; can be used in recessed or track lighting

A

Reflector

1287
Q

Cold-cathode fluorescent lamp emitting a glow when a high voltage is applied across two electrons in gas filled glass tube

A

Neon vapor lamp

1288
Q

Discharge lamp having cathodes that emits electrons without having to be heated

A

Cold cathode lamp

1289
Q

CCFL with tube diameter less than 15mm

A

Neon lamp

1290
Q

Members of electric discharge family of light sources; light produced when a high-pressure electric arc is passed through a gas vapor; used when high levels of light over large areas are required; gymnasiums, large public areas, warehouses, movie theater etc.

A

High-Intensity discharge lamps

1291
Q

Contains mercury vapor in a clear quartz arc tube; blue-green color; suitable only for limited industrial areas, general outdoor applications and street lighting

A

Mercury vapor lamp

1292
Q

In addition to mercury, the arc tube contains metallic vapors such as indium iodide, thallium iodide or sodium iodide; increased light output, improved color rendition without use of phosphors and small source size

A

Metal halide lamps

1293
Q

Arc tube made of high density polycrystalline alumina and contains a mixture of primarily sodium

A

High Pressure Sodium Lamps

1294
Q

Type of lighting that utilizes light-emitting diodes (LEDs); light emitted from a solid object; creates visible light with reduced heat generation

A

Solid-state lighting

1295
Q

Complete lighting unit

A

Luminaire/ lighting fixture

1296
Q

Surface for reflecting light heat; controlling the distribution of light emitted by a lamp

A

Reflector

1297
Q

Piece of transparent material; used to focus, disperse or collimate the emitted light; designed to control the light being emitted and direct it

A

Lens

1298
Q

Any of a variety of translucent materials for filtering glare and distributing the light; purpose is to create a lit environment with minimal shadows

A

Diffuser

1299
Q

Grid type of optical assembly used to control light distribution

A

Louver

1300
Q

Most common type of light fixture offering the greatest variety of designs; tends to flatten shadows and look obtrusive when used as the sole light source

A

Suspended ceiling lights

1301
Q

Decorative lighting usually having branched supports for a number of lamps

A

Chandelier

1302
Q

Lighting fixture suspended by a flexible cord by which it can be raised or lowered

A

Droplight

1303
Q

Like a droplight but is fixed and suspended by a cord, wire or chains

A

Pendant

1304
Q

Wall mounted light fixture that diffuses light into room, usually through translucent housing

A

Wall lights

1305
Q

Decorative wall bracket for candles or other lights

A

Sconce

1306
Q

Used to bathe a wall in an even stream of light usually ceiling mounted, recessed into the ceiling or mounted on a lighting track

A

Wall washers

1307
Q

Ceiling mounted lighting that is not recessed, provides general lighting

A

Ceiling lights

1308
Q

Provides directional light in a downward stream

A

Downlights

1309
Q

Rectangular light fixture that fits into a modular dropped ceiling grid

A

Troffer lights

1310
Q

Type of troffer light that uses prismatic lens; the lenses take glare off; uneven light distribution

A

Prismatic

1311
Q

Type of troffer light to address the uneven distribution of light of prismatic fixture; popular for ability to reduce brightness and glare

A

Parabolic louvered

1312
Q

Type of fixture that sens light upward

A

Uplights

1313
Q

Flexible, adjustable luminaire that directs light a controlled beam; most effective for accent lighting and track; originally for commercial use

A

Spotlights

1314
Q

Light fixtures that are freestanding

A

Floor lamps

1315
Q

Gives a soft glow; general and accent light; can be used as bedside reading light

A

Table lamp

1316
Q

Essential to provide task lighting; gives a concentrated directional light to a specific area

A

Desk lamp

1317
Q

Right flexible tape with exposed low voltage light source

A

Strip lighting

1318
Q

Used to illuminate spaces with high ceilings usually above 20 ft in height; powerful light source which can brighten up a large area

A

High-bay light

1319
Q

Usually designed for visual impact rather than the way they distribute light; provide aesthetic stimulation and amusement

A

Visual Oddities

1320
Q

Intensity of light per unit area; man-made lighting

A

Illumination

1321
Q

Essential to provide task lighting giving a concentrated directional light to a specific area

A

Electric Illumination

1322
Q

Light emanating from the object being viewed

A

Brightness

1323
Q

Difference in brightness between an object and its background

A

Contrast

1324
Q

Excessive luminance ration in the field of vision; strong, steady, dazzling light or reflection

A

Glare

1325
Q

Annoying brightness of light in the normal field of vision

A

Direct glare

1326
Q

Excessive brightness, either binding, disabling or discomforting from reflective surfaces

A

Indirect glare

1327
Q

Control of shadows cast by light; degree to which light is shadowless

A

Diffuseness

1328
Q

Amount of illumination or luminous flux per unit area; can be measured and easily handled; number of light fixtures required for certain area

A

Quantity of light

1329
Q

Distribution of brightness in the lighting installation

A

Quality of light

1330
Q

Basic method by which light is measured; equal to amount a candle throws on an object at a distance of one foot

A

Foot candle

1331
Q

SI derived unit of illuminance; measures intensity of light hitting the surface

A

Lux

1332
Q

Measures brightness of the light source; SI derived unit of luminous flux

A

Lumens

1333
Q

Amount of energy it takes to produce a certain amount of light; the higher, the brighter and uses more power

A

Watts

1334
Q

Way to describe the light appearance provided by a light bulb; measured in Kelvin (K)

A

Color temperature

1335
Q

Color temperature 2000K to 3000K

A

Warm white

1336
Q

Color temperature 3100K to 4500K

A

Cool white/ bright white

1337
Q

Color temperature above 4500K

A

Daylight

1338
Q

Lamp invented by a Swiss named Argand in 1783; has round wick with provision for the introduction of air inside the wick as well as around the outside

A

Argand lamp

1339
Q

Oil lamp with swinging tubular arms; generally furnished with an Argand burner; used in early 19th century

A

Astral lamp

1340
Q

Process by which eye adjusts to a change in light level

A

Adaptation

1341
Q

General light, often indirect or entering a room from an adjacent space

A

Ambient light

1342
Q

Opaque or translucent element used to shield a lamp from view or to absorb unwanted light

A

Baffle

1343
Q

Unshielded light source

A

Bare lamp

1344
Q

Glare so intense that you cannot see for a short period of time

A

Blinding glare

1345
Q

Any artificial light source, concealed behind a decorative facing which allows the light to diffuse over its edges and through it if facing is translucent

A

Concealed light

1346
Q

An optical filter that selectively reflects some wavelengths while transmitting others

A

Dichroic mirror

1347
Q

One that appears scattered either in reflection or transmission

A

Diffuse reflection

1348
Q

Device used to regulate the intensity of light from a lamp

A

Dimmer

1349
Q

Light focused and forced to travel in a particular direction

A

Directional light

1350
Q

Glare that reduces visibility and visual performance

A

Disabling glare

1351
Q

Annoying glare that does not reduce visibility and visual performance

A

Discomfort glare

1352
Q

Recessed or semi-recessed lighting unit with a rotating spherical element that may be turned to project light in any direction

A

Eyeball

1353
Q

Way of transmitting light through long flexible glass or plastic fibers using principle of total intern refraction

A

Fiber optics

1354
Q

Device to change, in transmission, the quality of light affecting the magnitude and/or spectral make-up

A

Filter

1355
Q

Emission of light, only during the absorption of radiation

A

Fluorescence

1356
Q

Density of light on a surface

A

Illuminance

1357
Q

Lighting unit which by means of lenses and mirrors, concentrates light in a limited angle and intensifies it

A

Projector

1358
Q

Describe devices that block, diffuse or redirect light such as a louver or lampshade

A

Shielding

1359
Q

Term applied to any stray light outside the main concentration of the beam

A

Spill light

1360
Q

Glare where reflection reduces contrast and prevents detail being discerned

A

Veiling reflection

1361
Q

Usually the horizontal surface at which a task is performed and at which light levels are specified and measured

A

Work plane

1362
Q

3D art of fashioning figures of wood, clay, plastics, metal, stones etc.; carved, cut or molded

A

Sculpture

1363
Q

Process in art of sculpting where material is added again and again to build up the form as in clay

A

Additive process

1364
Q

Process in art of sculpting where removal or subtracting of materials to create form as in carving

A

Subtractive process

1365
Q

Process where artist subtracts or cuts away superfluous material until desired form is reached; resulting image is hard, weighty and compact

A

Carving

1366
Q

Process in art of sculpting consisting of addition to or building up of form; materials are soft and yielding and can be easily shaped, enabling rapid execution

A

Modeling

1367
Q

Process in art of sculpting where liquid material is usually poured into a mold which contains a hollow cavity of the desired shape, then allowed to solidify

A

Casting

1368
Q

Oldest surviving casting is _________ from 3200 BC

A

Copper frog

1369
Q

Lost-wax process

A

Cire perdue

1370
Q

Process in art of sculpting which originated from collage- painting technique devised by Picasso and Braque

A

Construction and Assemblage

1371
Q

Raised form of sculpture that projects from a background

A

Relief sculpture

1372
Q

Aka bas relief or basso-relievo; projecting figure is closer to the surface and no part is entirely detached from background

A

Low-relief

1373
Q

Aka haut relief or alto-relievo; figure may almost be detached from surface

A

Half-relief

1374
Q

Aka relievo sticciato; lowest degree or relief in which the projection barely exceeds the thickness of sheet of paper

A

Crushed relief

1375
Q

Aka cavo-relievo; relief in reverse in which all the carving lies within a hollowed-out area below the surface plane

A

Hollow plane

1376
Q

Freestanding sculpture and is often on a pedestal or base; meant to be seen from many directions and angles

A

Sculpture in the round

1377
Q

Representational sculpture depicting a specific entity, usually a person, event, animal or object

A

Statue

1378
Q

Representation of a person from chest up

A

Bust

1379
Q

Typically showing a significant person on horseback

A

Equestrian statue

1380
Q

Sculpture constructed from found objects; typically does not disguise the original objects used

A

Assemblage

1381
Q

Mere 11.5cm high and had bulbous proportions; painted red to resemble blood signifying life; primitive sculpture

A

Venus of Wilendorf

1382
Q

Human-headed winged lion from 883-859 BC; excavated in Nimrud

A

Lamassu

1383
Q

Egyptian sculpture in which design is made prominent by raising it from the background

A

Bas relief

1384
Q

Egyptian sculpture where the inside of the outline is the one that is carved out

A

Incised

1385
Q

Decrees that the body of the figure in the round must not be twisted in any way; face must look ahead and each side must be exactly like the ther

A

Law of Frontality

1386
Q

Clay mold technique mainly for frontal figures; front facing ahead, flat and triangular in outline and possesses long formless bodies

A

Daedalic style

1387
Q

Only sign of life in archaic sculpture

A

Archaic smile

1388
Q

Monumental archaic sculpture in male form

A

Kouros

1389
Q

Monumental archaic sculpture in female form

A

Kore

1390
Q

Sculptural pose where weight mainly rests on one leg

A

Contrapposto

1391
Q

One of the important sculptors who revised the ideal proportions of High Classical works by making heads of his statues smaller in relation to body; broke with frontal traditional and conceived his statue in the round

A

Lyssipus

1392
Q

Great monument of the Late Classical period similar to Great Pyramids because it was the burial place for an ancient King and was also one of the Seven Wonders of the ancient world

A

Mausoleum at Halicarnassus

1393
Q

Sculptor famous for the boldness of which he fixed moments of violent action in bronze; e.g. Discobolus the discus thrower

A

Myron

1394
Q

Greatest name in Greek sculpture; designed and directed Parthenon and statues of gods which initiated Greek Classical Style of Art

A

Phidias

1395
Q

One of the most admired sculptors of the Classical Period; aim was to depict people as they were; used scale of proportions

A

Polycleitus

1396
Q

Scale of proportions which states that the palm of the hand is 4x the breadth of the finger, length of foot is 4x breadth of the palm, breadth of shoulders is 4x breadth of head and height of figure 7x length of head

A

Canon

1397
Q

Pose during late Hellenic period exhibiting exaggerated contrapposto, a sensuous, even erotic, modeling of the body and a serene countenance with an unmistakable gaze

A

Praxitelian curve

1398
Q

Golden Age of Roman sculpture was during the reign of _________

A

Harden

1399
Q

Technique introduced by Romans; undercutting with a drill around the figure rather than modelling them in rounded form

A

Negative relief

1400
Q

Ancient writing table with two hinged leaves and waxed inner sides

A

Diptych

1401
Q

Byzantine period was period of ________- rejection of images

A

Iconography

1402
Q

Two prominent sculptors during Gothic period (father and son)

A

Nicola Pisano

Giovanni Pisano

1403
Q

Renaissance sculptor who gave a practical and theoretical lead to painters and sculptors; gave them principles of style

A

Leon Battista Alberti

1404
Q

Developed Renaissance sculpture from its previous Gothic styles; most notable of his works was the Gates of Paradise in the Baptistry of Florence

A

Lorenzo Gihberti

1405
Q

Said to be the greatest sculptor of Early Renaissance; maser stonecutter

A

Donatello

1406
Q

First major work of Renaissance sculpture and at the time of its creation, was the first free-standing nude stature since ancient times; by Donatello

A

David

1407
Q

Influential sculptor, goldsmith and painter; created a version of David which was underage and modestly clad/clothed

A

Andrea del Verrochio

1408
Q

Said to be the towering genius in sculpture; carved first monumental sculptures of Renaissance era, Pieta and David

A

Michelangelo

1409
Q

Artist of genius known to have terrible character; carried out works inspired by drawings of Leonardo, Michelangelo, Rafaello among others

A

Bienvenido Cellini

1410
Q

Created his own personal style around an elegant and carefully studied formalism with refined and dynamically balanced figures; Mannerist sculptor

A

Giambologna (Giovanni de Bologna)

1411
Q

Work: Ecstasy of St. Teresa

A

Giovanni Lorenzo Bernini

1412
Q

Said to be the greatest of the Rococo sculptors; worked mostly in terra-cotta; work: arc de triomphe du carrousel relief; had apparent unwillingness to be seriously monumental

A

Clodion (Claude Michel)

1413
Q

Belonged to first generation of artists born in 18th century; active under Louis XV; became director of sculpture at Sevres porcelain factory; forte was gentle erotic figures such as the Bather

A

Etienne Maurice Falconet

1414
Q

Said to be the greatest Italian sculptor of modern times; famous for his marble sculptures that delicately rendered nude flesh; e.g. Cupid and Psyche

A

Antonio Canova

1415
Q

Works inspired by the antique; so famous in his day that a special museum was built in Copenhagen as a memorial to him; first internationally acclaimed Danish artist

A

Bertel Thorvaldesen

1416
Q

Foremostly a French painter; most famous works consisted of ballet dancers, women bathing and racehorses; aimed to catch action of the moment; disliked painting directly from nature

A

Hillaire Germaine Edgar Degas

1417
Q

Known as towering sculptor of 19th century; centered on anatomy; reveal inner life of human being through gestures and attitudes of body

A

Auguste Rodin

1418
Q

Revolutionized art of sculpture when he began creating his constructions fashioned by combining disparate objects and materials into one constructed piece of sculpture

A

Pablo Picasso

1419
Q

Revolutionary mode of sculpture- truth to materials; aimed to give viewer pure joy

A

Constantin Brancusi

1420
Q

Widely known by 1930s; won Sculpture Prize in 1948 at Venice; English sculptor known for scale abstract bronzes

A

Henry Moore

1421
Q

Created a personal mythology; works were found shocking; traditional anatomies savaged or decomposed in places

A

Germaine Richier

1422
Q

Worked on human figure from life then from memory

A

Albert Giacommetti

1423
Q

Conceived as a sculpture, as a colossal monolith encrusted with extraordinary wealth of sculptured forms

A

The Kandarya Mahadeva Temple

1424
Q

Terracotta army was from what Chinese dynasty?

A

Han Dynasty

1425
Q

Deep relief done in plaster or stucco introduced by Islam/ Moorish sculpture

A

Yesseria

1426
Q

Motif; serpentine writing of lines that represent Arabic tree of life

A

Arabesque

1427
Q

Father of Philippine sculpture; created oblation in UP; Bonifacio monument in Caloocan

A

Guillermo Tolentino

1428
Q

First modern Filipino sculptor; Father of Modern Philippine sculpture; stylization bordering on the abstract

A

Napoleon Abueva

1429
Q

Said to be one of Asia’s most progressive and original sculptors; started as jewelry designer but now specializes in embossed copper, constructed and welded brass; People power monument

A

Eduardo Castrillo

1430
Q

Used blowtorch to weld strips of metal together; best known for tikbalang series; GOMBURZA in front of Manila cathedral

A

Solomon Saprid

1431
Q

Foremost glass sculptor of Philippines

A

Ramon Orlina

1432
Q

Best known for her Benevolent Force Exhibition

A

Impy Pilapil

1433
Q

Fine-grained stone with smooth milk-white surface for ornaments and statuary; slightly translucent

A

Alabaster

1434
Q

Framework of metal wire or tubing used in fashioning a work in clay, wax or plaster of Paris

A

Armature

1435
Q

Small terracotta sketch of a sculpture, Italian

A

Bozzetto

1436
Q

Mechanical process of finishing metal surface

A

Chasing

1437
Q

Type of dark-colored, hard stone much used in Egyptian sculpture

A

Diorite

1438
Q

Small moulded statuette

A

Figurine

1439
Q

Form of incised relief; design sunk below surface

A

Intaglio

1440
Q

Small scale model for finished sculpture used to visualise and test shapes and ideas

A

Maquette

1441
Q

Oil-based clay for modelling sculptures

A

Plasticene

1442
Q

Inorganic, non-metallic solid made up of either metal or non-metal compounds that have been shaped and hardened by heating to high temperatures; hard, corrosion-resistant and brittle

A

Ceramics

1443
Q

Greek word meaning pottery

A

Keramicos

1444
Q

Greek word meaning potter’s clay

A

Keramos

1445
Q

Process of forming vessels and other artifacts with clay and other ceramic materials fired at high temperatures to give them a hard, durable form

A

Pottery

1446
Q

Stage wherein ware is formed but hasn’t gone under firing; very brittle and fragile but can be handled with care; most plastic form

A

Clay state or Greenware

1447
Q

Refers to a specific sage during the drying of the object; clay is still visibly damp but has dried enough to be able to be handled without deformation; where trimming and handle attachment is done

A

Leather hard

1448
Q

Greenware pottery that has dried as much as possible before it has gone through it first firing; when held, feels to be at room temperature; extremely brittle and will break apart very easily

A

Bone dry

1449
Q

Means “half-baked”; when ware has undergone a preliminary low range firing; any pottery that has been fired without a ceramic glaze

A

Biscuit state/ Bisque

1450
Q

Nonporous ware even without glazing

A

Vitreous wares

1451
Q

Unglazed white porcelain that is treated as a final product, with a matte appearance and texture to the touch; mainly for sculptural and decorative objects

A

Bisquit Porcelain/ Bisque Porcelain

1452
Q

19th century type of bisquit

A

Parian ware

1453
Q

Mixture of chemicals, mostly silica, clay, a melting agent, water, colorants and a suspension agent; may be applied by dusting the unfired composition or by spraying, dipping, trailing or brushing on a thin slurry

A

Glaze

1454
Q

Glaze firing is more formally known ____________.

A

Glost firing

1455
Q

Chinese potters used two kinds of glazes

A

One composed of feldspar and another produced by fusing silica or sand by means of a flux, generally of lead oxide

1456
Q

4 traditional glazes

A
  • Salt
  • Lead
  • Tin
  • Feldspathic glaze
1457
Q

Traditional glaze, high firing and usually used on stoneware; where common salt is introduced to the kiln during the firing process; now process is obsolete

A

Salt glaze

1458
Q

Ash from the combustion of plant matter has been used as flux

A

Ash glaze

1459
Q

Low-high firing depending on the alkaline flux, such as borax, potash or soda ash; although frequently transparent, this can produce brilliant colors using low temperature firing

A

Alkaline glaze

1460
Q

Another traditional type of glaze used for low-firing on earthenware; shiny and transparent after firing; gives a smooth glass like finish that allows bright colors and decorative patterns to show through

A

Lead glaze

1461
Q

Basically lead glaze with added tin oxide, making it white, shin and opaque; provides background for brightly painted decoration; used on earthenware

A

Tin glaze

1462
Q

Tin-glazed pottery from Muslim Spain

A

Hispano Mauresque

1463
Q

Tin-glazed pottery from Renaissance Italy

A

Maiolica or majolica

1464
Q

Tin-glazed pottery from Netherlands

A

Delftware

1465
Q

Tin-glazed pottery from England

A

English Delftware

1466
Q

Tin-glazed pottery from France

A

Faience

1467
Q

High-firing glaze which uses feldspars as base, more often than not, Petuntse

A

Feldspathic Glaze

1468
Q

Oxides used to create colored glazes

A

Coloring

1469
Q

Color of tin oxide

A

White

1470
Q

Color of cobalt oxide

A

Grayish blue to pure sapphire

1471
Q

Color of cupric oxide

A

Distinctive series of blue

1472
Q

Color of cupric oxide with excess carbon monoxide

A

Bluish red or reduced copper

1473
Q

Color of cuprous oxide

A

Series of green

1474
Q

Color of ferric iron oxide

A
  • Pale yellow to black

- Most important being a slightly orange red known as Iron Red

1475
Q

Color of ferrous iron oxide

A

Green best seen on Chinese Celadon ware

1476
Q

Color of manganese oxide

A

Varying from bright red purple to a dark purplish brown, almost black

1477
Q

Color of Chinese wares

A

Aubergine Purple

1478
Q

Color of antimony oxide

A

Yellow

1479
Q

Soft pottery; probably the oldest and most universal; natural clays fired at temperatures from 900° to 1200° C or 1652° to 2192° F; porous and permeable to liquids; opaque and color varies from pale tan to red and brown; has a tendency to chip and break

A

Earthenware

1480
Q

Clays containing higher percentage of sand when fired from 1200° to 1280° C or 2191° to 2336° F; body is extremely hard, vitrified and impermeable to water; naturally non-porous

A

Stoneware

1481
Q

Chinese invention that appeared when feldspathic material in a fusible state that was incorporated in a stoneware composition; aristocrat of the potter’s wheel using kaolin as base plus decayed granite and fired at very high temperatures

A

Porcelain

1482
Q

Less decayed, more fusible feldspathic material; also used in Chinese porcelain; forms white cement that binds together the particles of less fusible kaolin

A

Petuntse or china stone

1483
Q

Common name for porcelain

A

China

1484
Q

Early vitreous wares produced by Chinese before they developed their white vitreous ware (true porcelain) later admired by Europeans

A

Protoporcelain

1485
Q

Fired between 2390° to 2570° F; best kind of porcelain; usually called “true porcelain”; made of kaolin with feldspathic glaze

A

Hard porcelain

1486
Q

Fired below 2300° F which is really imitation porcelain; more translucent, not as white in color nor does it have clear ringing tone of porcelain

A

Soft porcelain

1487
Q

Mixture of white clay and a ground glassy substance; glaze added on second firing

A

Soft paste

1488
Q

White hard translucent ceramic ware, usually glazed; invented mid-18th century by English potters; harder ware that gained whiteness, translucency and stability through inclusion of calcium phosphate in the form of calcined ox bones; opaque but not as hard as porcelain; somewhere between soft paste and hard paste in whiteness and tone

A

Bone China

1489
Q

Thick semi-solid fluid composed of clay, water and other minerals such as quartz, feldspar and mica into which ware was dipped

A

Slip

1490
Q

Slip which uses less clay

A

Engobe

1491
Q

Ware that has been dipped in slip

A

Slip ware

1492
Q

Ware where slip creates patterns or images

A

Slipware

1493
Q

Means “sealed earth”; comes from name of Roman pottery that was mass produced around 1st century AD; have glossy surface slips; decorated with impressed or stamped forms; coated with slip used by Greek potters for hundreds of years

A

Terra sigillata

1494
Q

Art of transferring designs from specially prepared paper to a wood or glass or metal surface; special design-bearing sheet is first applied to a piece of ware; upon removal of said paper, the design or decoration on the sheet is transferred to the body and subsequent firing makes it permanent

A

Decalcomania

1495
Q

Printing process based on principle that oil and water do not mix; systematically treats the surface so the image areas will accept oily ink, while non image or blank areas are treated to repel ink

A

Lithographed

1496
Q

Term from Italian graffiare meaning to scratch; designs are drawn with a pointed tool that scratches through the slip to reveal the body

A

Sgrafitto

1497
Q

Colored decoration applied over a fired transparent glaze then fired third time to set the decoration at lower temperature

A

Overglaze

1498
Q

Commonly used in tin-glaze earthenware, colored decoration applied over a dried but unfired opaque glaze

A

In-glaze

1499
Q

Colored decoration applied to an unglazed body covered with a transparent glaze

A

Underglaze

1500
Q

Colors that can withstand high heat of glost firing

A

Grand feu colors

1501
Q

Greek figures painted black on red background

A

Black figure ware

1502
Q

Greek figures painted red on black background

A

Red figure ware

1503
Q

Greek figures painted red or black on white background

A

White ground ware

1504
Q

Early ware from 12th century onwards with a coarse body covered with a white slip formed the class known as what?

A

Mezzo-maiolica

1505
Q

Lightly decorated white wares made in Faenza

A

Bianchi di Faenza

1506
Q

Claims the discovery and introduction of the ware for Pesaro; affixes 1492 as introduction of Majlica ware

A

Passeri

1507
Q

Goldsmith and sculptor; one who raised production of majolica from craft to high art in Italy

A

Lucca della Robia

1508
Q

Known to have perfected luster technique; frequently hired to embellish work of other workshops and signs the pieces himself

A

Master Giorgio Andreoli

1509
Q

Grand duke of Tuscany which produced an inferior type of soft-paste porcelain in his Florence workshop during the 16th century

A

Francesco de Medici

1510
Q

Established a porcelain factory in Venice; factory produced hard-paste porcelain usually teapots in chinoiserie style only operational for 7 years

A

Francesco Vezzi

1511
Q

Principal feature is its admirable imitation of majolica and successful reproduction of the bas-reliefs of Lucca della Robbia in porcelain; principal mark is two triangles crossed forming a sixpointed star

A

Doccia ware

1512
Q

Stylized floral pattern known at Doccia factory

A

Tulipano

1513
Q

Factory that developed a formula for a distinctive soft-paste porcelain characterized by pronounced creamy color and an unusually gloss clear glaze

A

Capo dii Monte

1514
Q

Capo dii Monte was founded by who?

A

Charles III

1515
Q

Type of improvisional street theater

A

Commedia dell’arte

1516
Q

Identifiable by typical costume of loose tunic, tall conical hat and black mask with a prominent hooked nose

A

Pulcinella

1517
Q

Produced by 32 factories in Delft from 17th to 19th centuries; entirely hand painted

A

Delftware

1518
Q

Formed the basis of one of British airways’ ethnic tailfins

A

Delftblue pottery

1519
Q

Most widely used and applied to 17 aircrafts of British airways

A

Delftblue daybreak

1520
Q

Type of delftware with very broad style of paintings with motifs so simplified; pieces were used to decorate farm stables in the summer season when they were used for social gatherings

A

Peasant delft

1521
Q

Produced fine white hard paste porcelain closely resembling Dresden china body; factory discontinued in 1810

A

Amstel

1522
Q

Manufactory started by the Ljincker family in 1776 in Hague, Holland

A

Hague

1523
Q

Tin-enameled earthenwares

A

Faience potteries

1524
Q

Favorite earth in construction potteries; successfully applied in the Oiron or Henri II ware

A

Terre de pipe

1525
Q

Aka Henri II ware and Saint-Porchaire ware; said to be the very first high-quality French pottery; paste used is true pipe clay, very fine and very white with a thin lead-glaze that is transparent and of a yellowish gold tint; use of inlays of clay in a different colored cla

A

Fayence d’Oiron

1526
Q

Demascening of metal work

A

Niello

1527
Q

Worked for 16 years to imitate white-glazed pottery; Palissy ware; appointed as royal potter to Catherine de Medici

A

Bernard Palissy

1528
Q

Owned by the Poterat family

A

Rouen faience factory

1529
Q

Firs hard paste porcelain was made in ______ region due to the fact that Kaolin was discovered in France about 1768, close to it

A

Limoges

1530
Q

Lead-glazed earthenware popular in 16th and 17th centuries with many vessels imitating metal jugs and tankards

A

Hafner ware

1531
Q

Highest eminence which German pottery reached; 1500-1620

A

Poterie deluxe

1532
Q

Discovered the materials required to produce a white, translucent, high-fired porcelain body

A

Johann Friedrich Bottger

1533
Q

Who founded the second factory in Europe to produce hard paste porcelain in Vienna

A

Claudius du Paquier

1534
Q

Heavy earthenware usually decorated with crude patterns in green-blue, yellow, white and lustreware

A

Hispano-Moresque wares

1535
Q

An important factory making fayence at Alcora (Valencia) founded in 1726-7 by ____________?

A

Count of Aranda

1536
Q

Aka Hispano Mauresque; wares with Arabic inscriptions, beautifully executed arabesques and stylized animal forms

A

Luster earthenware

1537
Q

Term generally applied to tin-glazed and enameled earthenware; consists of glazed floor and wall tiles decorated with flower and abstract motifs showing fusion of Renaissance and Moorish motifs

A

Maiolica

1538
Q

Form of Portuguese and Spanish painted tin-glazed ceramic tiles with a generally bluish hue

A

Azulejos

1539
Q

Continuation of Capo di Monte factory of Italy when King Charles VII transferred it from Naples to Madrid in 1759; Rococo spirit

A

Buen Retiro/ El Retiro

1540
Q

From the collector’s point of view, history of English porcelain begins with _______ in 1744 and ends with _____________

A

Bow factory

Rockingham factory

1541
Q

Engaged in making imitation delft

A

Bristol ware

1542
Q

First called New Canton; where first soft-paste porcelain in England was made from a white clay (kaolin) brought from North Carolina

A

Bow ware

1543
Q

Bow eventually became part of the _____ factory

A

Derby

1544
Q

Includes well-known “goat and bee” cream jugs; began making very softpaste porcelain about 1745

A

Chelsea ware

1545
Q

White, fine and soft and biscuit; its finest work is regarded as that done in the ____________ period and __________ period

A

Chelsea Derby

Crown Derby

1546
Q

Founded by Robert Browne, produced soft-paste porcelain similar to Chelsea ware and Bow ware; most were imitation porcelain and decoration from Chinese originals

A

Lowestoft

1547
Q

Discovered by John Sadler about 1754; method of transferring a design to paper from an engraved copper plate coated with pigment and from the paper to the pottery which was then fired overglaze producing crude and impermanent lines; same method used by Robert Hancock

A

Transfer printed pottery

1548
Q

Generic term applying to products of many potteries in stoke-on trent, hanley, cobridge, etruria, burstem, fenton, tunstall, longport, shelton, lane end and some other lesser known places- pottery district; free from outside influences; exclusive border patterns

A

Staffordshire

1549
Q

From name of its creator, Josiah Wedgewood

A

Wedgwood ware

1550
Q

Considered to be the finest pottery that England has ever produced

A

Old Wedgwood

1551
Q

Fine, hard, unglazed white bisque by Wedgwood about 1775

A

Jasperware

1552
Q

All light-colored English earthenware from about 1750 to present time; perfected by Wedgwood by use of Cornwall clay and adopted as standard earthenware of Stafforshire

A

Cream ware

1553
Q

Original cream colored earthenware named for Queen Charlotte, wife of George III

A

Queen’s ware

1554
Q

Solid black stoneware of great hardness, unglazed which takes its name from a black Egyptian rock

A

Basalt ware

1555
Q

Earthenware made either solid or in surface decoration to resemble the veining of agate or other natural stones

A

Agate ware

1556
Q

Term derived from the tortoise-shell ware made by Thomas Whieldon and applied to ware of a mottled, cloudy or splashed character

A

Whiledon ware/ cloud ware

1557
Q

Josiah Spode; underglaze blue-printed cream ware of excellent quality, stone china, black and jasper ware

A

Spode ware

1558
Q

Invented a superior kind of “bone china” which combines best qualities of both soft paste and hard paste porcelain which later became the English standard

A

Josiah Spode Jr.

1559
Q

Slip decorated pottery by Thomas Toft; coarse reddish clay and crude decoration; glaze before firing and after slip was placed= yellowish tone

A

Toft ware

1560
Q

Produced in Pennsylvania by the Germans during the middle of 18th century; slip with crude scratchings

A

Sgraffito ware

1561
Q

Chinese ceramics; mostly handmade; patterns are geometric some symmetrical others contrasting light and dark; brush paintings design

A

Yangshao wares

1562
Q

Named after a placed in Shantung province; lacquer black shard of at times eggshell thinness; undecorated and almost metallic

A

Lungshan pottery