#Textile Spinning Machine

[luckytreeapricotzine]

Explore Efficient and Effective Textile Spinning Machines from A.T.E India

A.T.E India is a global leader in offering innovative and sustainable solutions of world-class standards. Its core technologies and strategic partnerships have revolutionized various textile processes.

Spinning in textile manufacturing is indispensable in textile engineering. They are used to convert raw fibre into yarn and are well-equipped to twist and wind. High-end textile spinning machines can produce yarn of various qualities and specifications.

Here is an overview of the significance of A.T.E Group's textile spinning machines that offer world-class textile engineering solutions.

Efficiency and Significance of Textile Spinning Machines by A.T.E Group

Textile spinning machines are used for converting raw materials into yarn and the right quality impacts the quality and consistency of the yarn produced.

A.T.E India, a leader in providing world-class textile engineering solutions, recognizes the critical role of spinning in textile manufacturing and offers cutting-edge technologies, innovative solutions, and expert engineering.

A.T.E India's textile spinning machines ensure superior yarn production with maximized effectiveness and sustainability. Textile manufacturers can collaborate with A.T.E Group, and make the most of such advanced spinning machine solutions.

Let us now understand the key specifications and features of A.T.E Group's textile spinning machines.

Features, Specifications, and Benefits of A.T.E Group's Textile Spinning Machines

A.T.E India offers the latest technology systems for blowrooms, cards, drawframes, combers, twisting machines, and humidification systems, as well as a range of accessories and spinning machinery components.

Effective Blowrooms

The blow room serves to prepare raw fibres for further processing and extracts the best qualities from each fibre. Key inclusions in the blow room lineup include:

T-BLEND modular tuft blending system. TRUETZSCHLER CL-X for removing coarse contaminants from cotton. BO-P | PORTAL BALE OPENER, which offers larger working widths, requires less space and delivers superior blending performance. BLENDOMAT series comprises the BO-A for flexible automatic bale plucking. BO-E, a robust bale opener with a penetration inversion mechanism for effective cotton opening. The PRE-CLEANER CL-P provides unique beating pre-cleaning for all types of cotton. MULTIMIXER MPM and UNIVERSAL MIXER MX-U 6/10 ensure maximum homogeneity and blending. For efficient cleaning, our CLEANOMAT CL-C1 and CL-C3 offer energy-efficient solutions with minimal fibre loss. HEAVY PART SEPARATOR SP-H is used for effective heavy part separation. The T-SCAN TS-T5 represents the latest generation foreign parts separator. DUSTEX DX stands as a unique de-dusting machine for efficient micro-dust removal.

Carding Process and Drawframe of A.T.E Group's Textile Spinning Machines

The carding process further prepares fibres for spinning in textiles by aligning them into a continuous web. A

TE offers a range of high-productivity carding machines designed to provide precision control for enhanced cleaning efficiency and superior fibre preparation. 

CARD TC 15, d for its flexibility, high production output, and low operating costs. The TC 12 offers reduced operator interference and maximized availability. TC 19I stands as the first intelligent card, integrating advanced technology for optimized performance. TD 10 incorporates the latest digital levelling technology, resulting in improved silver quality. TD 9T boasts a unique feature where one side of the draw-frame stops if a fault occurs.

Combing Process

This process refines fibres to achieve superior yarn quality. A.T.E India offers exceptional combers that prevent quality variations and enhance overall performance.

The TRUETZSCHLER COMBER TCO 21 stands out as a pinnacle of excellence, delivering top-notch combing performance backed by reliable Truetzschler technology. You can trust A.T.E India's high-tech combers to elevate your textile manufacturing processes to new heights.

Humidification and Air Control

It is imperative to maintain optimal humidity and air quality to ensure maximum efficiency and quality of textile production processes. A.T.E India offers a comprehensive range of solutions under the Total Air Control (TAC) system tailored for traditional textiles.

The inclusion of innovative technologies such as the Luwa Precision Air Conditioning system ensures precise control over temperature and humidity levels. With features like the DIGI5 CONTROL system for intelligent monitoring and Luwa Cleaner Circulaire for microdust removal, A.T.E India's solutions offer the perfect air control technology.

Assembly Winders

A.T.E India offers a range of assembly winders built on the innovative modular winding machine platform from SSM Schärer Schweiter Mettler AG.

The SSM XENO series, comprising the YD, FD, and BD models, represents a versatile solution. The SSM DURO-TD stands out as a modular assembly winding platform specifically designed for processing coarse technical yarns with efficiency and precision. The SSM NEO-FD precision assembly winder delivers unparalleled performance and reliability in winding operations.

Spinning Accessories

A.T.E India offers a comprehensive range of spinning accessories that enhance the performance and efficiency of spinning in textile manufacturing. These accessories include:

High-precision spinning machinery components sourced from trusted brands like TeraSpin and Truetzschler card clothing. A.T.E India provides upgrades and conversions for blow room and carding components. High-tech card clothing from Trützschler and award-winning compact systems from Dechang.

Testing Equipment

A.T.E India offers top-of-the-line fibre and yarn testing equipment manufactured by MAG Solvics Private Limited, India. Our range of fibre testing instruments includes:

Tools for assessing length, strength, maturity, fineness, moisture content, colour, and gravimetric trash. Measure yarn strength, elongation, evenness, imperfections (IPI), and hairiness. With MAG Solvics' cutting-edge technology, textile manufacturers can ensure the quality and consistency of their fibres and yarns Conclusion

A.T.E India's textile spinning machines stand as the cornerstone of textile engineering and facilitate the conversion of raw fibres into yarn with precision and efficiency.

Conclusion:

A.T.E India offers world-class textile engineering solutions and plays a crucial role in advancing the capabilities of spinning machines. A.T.E India works on innovation and excellence and empowers the textile industry with superior spinning machine solutions.

[youveeverycausetodoubtme]

Me to me: you don't need a flatbed knitting machine. Bitch don't do it hoe, you don't have space or time. Close that tab!

[tn-industrialconnect]

Top Supplier of Textile Machines in Coimbatore

TN Industrial Connect offers a comprehensive listing of Textile Machines suppliers in Coimbatore, catering to the needs of the textile and apparel industry. Whether you are looking for advanced machinery or equipment for textile production, this platform brings together a range of suppliers and manufacturers. Explore various options for textile-based machinery and find the right solutions for your business needs in Coimbatore. Visit TN Industrial Connect for reliable industry connections and product offerings.

Contact:+91 9894040277

Website: https://tnindustrialconnect.com/listing/coimbatore/machinery/textile-apparel-based-machines

[avonengineering]

What Is Hydro Extractor?

About Hydro Extractor

A hydro extractor in the laundry and textile industries removes excess water from fabrics and materials after washing by spinning them at high speeds. It uses centrifugal force to expel water efficiently, thereby speeding up drying times and reducing energy costs.

What is the use of Hydro Extractor?

A hydro extractor removes excess water from fabrics or materials after washing by spinning them at high speeds, using centrifugal force to expel water efficiently. It spins rapidly to create centrifugal force, forcing water out of the items, which accelerates drying and reduces drying time in laundry and textile industries. This helps improve efficiency and reduce energy costs associated with drying processes.

You

How to Use Hydro Extractor

Using a hydro extractor typically involves the following steps:

Loading: Place the wet clothes or materials into the drum of it. Ensure that the load is balanced to prevent excessive vibrations during operation.

Closing and Securing: Close the lid or door of it securely. Most machines have safety features that prevent operation if the lid is not properly closed.

Setting Parameters: Set the desired spin speed and time on the control panel of it. The spin speed can vary depending on the type of material and the level of moisture you want to extract.

Starting: Start it using the controls provided. The machine will begin spinning rapidly, creating centrifugal force that pushes water out of the materials.

Monitoring: Monitor the operation to ensure everything is running smoothly. Some hydro extractors have automatic timers that will stop the machine once the preset time has elapsed.

Unloading: Once the cycle is complete and the machine has stopped, open the lid or door carefully. Remove the now partially dried materials from the drum.

Unloading: Once the cycle is complete and the machine has stopped, open the lid or door carefully. Remove the now partially dried materials from the drum. @avonengineering

Final Drying: Depending on the level of moisture remaining in the materials, you may further dry them using a tumble dryer or hang them for air drying.

Maintenance: Regularly clean and maintain the hydro extractor according to the manufacturer's instructions to ensure optimal performance and longevity

[cottonkhaleesi]

If you’re UK based and love knitting/yarn/rare heritage breeds, there’s a London City Farms Kickstarter out there right run by a sustainable textiles creator now that have pooled together something like 16 rare breeds across the city farms and turned it into a machine and hand knitting yarn. Most of these fleeces were going to waste because, as we all know, fleeces are priced so lowly that it’s usually not worth the cost of the cleaning, processing and industrial spinning. You can buy a skein, cone, or an item made solely from the natural colours that the blended sheep breeds produce.

[spookypete-94]

Black Flag

SimonGhostRileyXFem!Reader

(wrote as a female reader in mind, but really could be read as gender neutral depending on the type of underwear you wear :) )

Just another little blurb. Working on last chapter of Dark Horse as well, but having fun with these little short stories. Dark Horse will either be out tomorrow, or Friday afternoon.

Inspired by the heat of the summer as of late and having to wear my husband's t shirts on the regular as of late.

For now, enjoy.

The base barracks had been warm for the past few days. Describing outside as scorching, was an understatement. It was blazing, over 100* during the day with no relief at night, still remaining to the lower 90s even with the sun being down. Sure, there was AC, but even it was having a hard time keeping up.

It seemed to have everyone in a delirious haze, and maybe that’s how an accidental swap of clothes happened. Generally, you did your laundry once a week at night after the hitting the gym. A week of clothes was about perfect for a load. Not too much, just enough to not feel wasteful. A habit that felt healthy to you.

During the night, in this heat, you had adapted to wearing oversized t shirts in place of your pajamas. Most of them black to match the rest of your attire in case they were needed down the road. Tactful, right? Your experience in trying to be perceptive glowing through, making you feel practical.

In the early hours of the morning, you had woken up heading back to swap your laundry from the washer to the dryer. In this routine, you never met anyone in passing… but just maybe the heat had thrown off more then just your schedule.

Standing in front of the washer, in your oversize black t shirt and panties to match, hidden just barely underneath of the hem. Transitioning the wet clothes into the barrel of the dryer, a black shadow out of the corner of your eye moved making you jump.

You wanted to spin around, but you were already pinned against the machine, feeling a large hand at the back of your shirt tugging up at the fabric. Already knowing who it was out of your peripheral, you spoke out to him.

“Ghost,” your voice firm, swatting at his hand trying to get him to stop. "What are you doing??" You both bantered quite a bit, but this was out of the norm for him.

“Wearin’ my shirt, pet,” he said pulling up on the tag to show the familiar skull with RILEY scribbled on it to your face. Doing so, lifting the textile, showing him the cheeky panties that barely covered you to him.

Instantly, your face was aflame. Burning more deeply than the barren heat outside.

Ghost pressed further forward into you, leaning down into your ear. “Oh no need to be shy now.” Even wearing his mask, you knew he was smirking underneath it. “Keep it, looks nice on you. Besides, its like my flag on the fortress.” He had won the battle, made you his all without you even realizing it.

The big cocky fucker.

Returning the tag to the shirt, a board hand swept across it smoothing it and the shirt out flat against your skin. A chuckle then left him before giving you a quick swat on your ass, a handprint being left behind for sure. The sting had shocked you. Mouth agape, processing what had just happened. Standing there for a moment longer still trying to compose yourself, you took a quick breath in your nose and out through your mouth.

Once the dryer was started, you quickly walked in the direction of your room holding your, never mind- Ghost’s shirt down. He had found a seat in the REC room facing the direction he knew you would come from, laughing loudly as you walked by. It felt like he was taunting you. He knew he had embarrassed you, but in reality, he had found it endearing. Cute even.

Lifting a middle finger, you flipped him off trying to stay proud as you walked by. All it did was show him the red mark on your ass cheek as the shirt lifted once more with your arm. The only thought he had now was you were his. Marked by his shirt you were wearing, and the mark he left behind on your ass.

How convenient he knew you wore oversize t shirts to bed and loaded your laundry with his own. How convenient he had been watching you to learn your routine.

Simon "Ghost" Riley Masterlist

[grison-in-space]

Man, there is a huge bias in the way that hobby fibercrafters approach and think about textiles—and I say that as a hobby fibercrafter myself! See, weaving has a high barrier to entry relative to knitting, crochet, spinning—even embroidery or sewing, these days, as the sewing machine automated much of the tedium of the craft. All of those crafts require a lot less in terms of startup costs to the hobby crafter than the machinery of a loom does.

But... look, if you want to understand mass produced textiles or textiles in any historical context, you have to understand weaving. If you want to understand how most of the cloth that people wear is made, you have to understand weaving, because weaving is the oldest art for mass producing cloth that can then be turned into garments.

Spinning is also very important, of course. Spinning is how you get the thread that you can turn into cloth any number of ways. Historically speaking, though, the most common way that thread or yarn becomes cloth is inarguably weaving. More to the point, weaving is also a historical center of industry and labor organizing. Ironically enough for the argument about how no one asked a woman, the industrialization of weaving is actually an interesting early case example of men organizing to push women out of a newly profitable position.

Besides that, knitting and crocheting in particular are incredibly modern crafts. Most modern knitting as we would understand the craft is shaped by the inventions of Elizabeth Zimmerman, and even things like the circular knitting needle date back only to the past century. Historically speaking, the great innovation of knitting as a tool for fiber craft is the ability to construct garments for small, odd shapes that can stretch and grip: stockings, gloves, underwear. Even that great innovation, the knit sweater, is an artifact of the 1850s—and the familiar cable knit sweaters of the Aran Isles are even newer than that. Crochet is even younger: the entire craft originated in the 1820s as far as anyone can document.

None of that is any shade on anyone. Like I said, I knit; that's the locus of my personal interest in textiles. I just think that textile history is neat, but if you're going to make big pronouncements about the historical development of textiles, it's important to think about what changed about the technology of textile production in the most common ways of turning raw fiber into cloth—and you cannot stop at the level of understanding how to make thread or yarn, because the properties of the cloth are always going to be an artifact of the construction of the cloth.

That's technology, baby! It's literally weavecraft. But it's not obvious that weaving is missing from the bounds of a person's experience with textile manipulation until and unless they're trying to understand and work with a wide range of fabric types—and when you can quite reasonably go from raw fiber to a finished garment using modern popular craft techniques that don't rely on anything that appears difficult for a medieval craftsman to make, it's easy to forget the role of weaving in the creation of cloth as a finished product.

I suppose the point I am making is: think deeply about what your own areas of expertise are not bringing to your understanding of history. It's easier to miss things you'd think.

[vallaragna]

Preface this that this is about Destiny 2, a video game, so none of this actually matters. Just hypothetical ravings of a fiber artist with a bit of knowledge about historical things. So like I keep having thoughts about textile production during the dark ages after the collapse. (Specifically at Felwinter's Peak, but hold that thought). We have such varied descriptions of what survived the collapse. People are depicted as wearing basic tunics and dresses that would not look out of place at an SCA event. Technology is primitive, except they still have guns that they up keep and have ammo for, Shaxx is described as sealing his keep with an artificial sealant. So things are so varied and random. Like did spinning wheels exist still? They obviously don't have access to industrial machines, but are they just spinning everything on drop spindles? (Making me question how much work it would take to keep all the freaking iron lords and wolves on that mountain clothed.) For that matter, do they still have acid dyes? Or are they relying on natural dyes? Dye materials used to be highly valued, you can't tell me warlords wouldn't be fighting over this stuff (which also brings up Spices being fought over likewise). I mean you could hand wave everything by saying "golden age technology", but that shouldn't be half an interesting. We do have the Strand lore book where Osiris talks about using a spindle when during the dark age they had to make everything from scratch, which supports that line of reasoning. So no spinning wheel, only spindles. Cloth production takes so much freaking time when doing everything from scratch. With a spinning wheel it takes me hours to produce a few hundred yards of a thicker yarn for knitting, I'm not incredibly experienced, but it takes so incredibly much more time on a spindle. And you need so much yarn to be able to weave cloth of any yardage. There's a reason women in paintings used to be depicted with spindles and distaffs so often. For that matter, what sorts of looms were they using? If they didn't have spinning wheels I'm guessing advanced looms are out as well. So rigid heddle looms? Warp weighed looms? The second would make more sense, but also takes so much time and you can only weave cloth so wide. It's limited by the arm span of the weaver. So narrow fabric, so even more yardage needs to be made. We're not even at the sewing stage yet. I discussed dyes earlier, but it would be important. Even in the actual medieval times clothes weren't all brown. Natural dyes tend to fade faster though. Black dyes were really hard to produce, and they fade fast. Then sewing would be by hand, I doubt there are sewing machines if they don't even have spinning wheels. Sewing by hand takes *forever* even if you are fast. There are tricks to making it go fast, but you're not producing an entire garment in a day, especially if you have anything else going on. For that matter you really care about mending in this environment. Also knitting and crochet? Technically those take longer to produce a garment than weaving and sewing. I know Zavala learned knitting from Safiya in the dark ages, so it did survive.

I think I'm at the end of my ramble, I'll add if I can think of anything else. I'd love to hear other people's opinions.

[raven-at-the-writing-desk]

Hey there, hi there, ho there! It’s your friendly neighborhood tailor! Pleasure to meet you Fellow! I’m quite the seamstress, and I always love to have people to practice styles on! I have, here with me, an entire wardrobe for you and your little brother there! I’ve got winter coats, summer shorts, formal wear for any kind of stuffy event, and a line of loungewear for any kind of casual affair! Hehehehehe. These are a little more experimental outfits, but a charismatic, distinguished gentleman such as yourself would be able to pull it off seamlessly, I’m sure. *Pushes the enormous mountain of clothing to Fellow to try on* Don’t worry about any cost, I just want you to be ready for any occasion. Everyone deserves to look and feel their best. Clothes make the man and all that. I…sincerely hope you and Gidel find something out there worth doing. Take these around for a spin and see how they work. I’ll make any adjustments necessary.

So tell me, do you wanna go?

The dressing room curtain wasn't red nor velvet, but pushing them aside felt like the opening night to a grand show anyway. Fellow and Gidel stepped out, dressed in brand new outfits--similar in construction to the originals, without the holes or the mismatched fabrics. They had been trying on various threads provided by the town's local tailor for the last few hours--and, at the end of the day, this was what felt most comfortable to the duo.

A full-length mirror had been propped up against the wall, allowing them to inspect their figures in full dress. Gidel twirled and twirled until he got dizzy and had to take a seat. Fellow adjusted his lapels many times over, admiring the look and feel of brand new fabrics and buttons.

"Hmph. Not bad. Not bad at all," he said to his smug reflection.

"You're both so handsome," the tailor gushed. "The clothes suit you well."

"You sure we can have all of this for free? No strings attached?" Fellow asked warily.

His eyes darted to wheeled rack that displayed many more items. He almost breathed a sigh of relief to see it still there. Not a figment of his imagination, not a reward to be yanked away at a moment's notice. Something tangible and real.

"Yes, really! I'd appreciate it if you took them off of my hands. They're some of the season's old fashions--they've been hard to move--and some experimental pieces I made in my off-time that don't have mass appeal. It'd be a waste to not let them be worn and shown off." They chuckled to themselves. "Besides, free advertising for the shop, am I right?"

His eyes lit up, mouth breaking out into a smile that showed all of his teeth. "Hot dog! Didja hear that, Giddie? We’re set!”

The two scrambled to gather their new things. Left uncollected for too long, and they feared the clothes would vanish.

The tailor peered into their changing stall and, upon spotting their old discarded outfits strewn on the floor, tutted. They bent, retrieving them.

“You forgot to pick up your…”

They stopped.

The dark green trousers they had picked up bore large diamond shapes along one pant leg, a design most unusual. Textiles with red, green, and golden patterns pilled in the diamond holes, sealed in place with neat, tight lines of stitching. Saddle, passing back and forth—the sign of hand, not machine, stitch.

There’s talent here, they realized. Untapped potential.

The tailor cleared their throat.

“Excuse me, but have you ever considered taking up the needle and thread for a career…? If so, I might just have the apprenticeship for you.”

[balkanradfem]

I keep thinking everyone knows the exact same information as me, but since I'm about to make more posts about textiles and clothing, as I'm reading the book on them, I'm going to write down some basic information, just in case it's not very common, because a lot of this I only gathered recently. If I get something wrong please correct me in a kind way!

So where does the clothing come from, and how do we make it? During most of the history, textiles were made by women, from natural materials; flax, wool, cotton, silk, jute. Recently we started using more synthetic materials, like acrylic, polyester, nylon, spandex. If you want to make clothing from the natural materials, like wool or cotton, they first need to be processed, cleaned and combed, then spun into yarn, or thread. Spinning is the process where women manage to pull a thin part of the material and spin the fibres into one consistent, firm thread. It's super impressive to watch them do it and I have no idea how they manage to make it consistent, I've not yet tried to do it myself.

Once the thread is done, it can be made into a textile by knitting, crochet, or weaving. There are also other more complex, decorative methods, like tatting or lacing.

For knitting, you need two needles, or a special circular needle, or, there are also knitting machines, which you can use to make woolen fabric. For weaving, you need a loom. For crochet, you need a crochet hook. While knitting and weaving can be done by a machine, crochet can only be done by hand. Woven fabrics are firm, sturdy, durable, and not stretchy, while knit fabric is the most stretchy and soft. I'm not sure about crochet since I only have one crochet garment, but mine is very sturdy!

All of these methods were historically done by women; families were able to grow flax plants close to their homes, and women would then create linens, woven textiles made from processed flax, which was used to make sheets and clothing. Linen was specifically useful in keeping people clean, since it's very good at absorbing moisture. Used as an under-garment, it was capable of absorbing sweat, and protecting the outer layers, which were not washed. Experiments have shown that frequently changing into clean linen was more effective at keeping clean than showering and then putting on the same clothing back on.

Women's ability to create clothing was sadly exploited, and women were even banned to sell it commercially, or from competing at the commercial market, but their husbands were allowed to profit off of their craft.

In the USA, cotton was the most produced material, however for this too people were enslaved and exploited; cotton took human labour to grow, harvest and process, it also required a lot of water, and caused destruction of environment, because of the chemicals used in it's growth, and the unsustainability of monocrops.

Creating a piece of clothing out of textiles, or sewing, is a process that still cannot be completely automated; while you can use a sewing machine, you cannot make a machine that would produce a whole garment out of textiles. No mass-produced piece of clothing was sewn by a machine, it always has to be made by a human being. This is why a lot of the sewing labour is currently outsourced to third-world countries and companies use modern slavery in order to create fast fashion; there is no machine that can do it, so by the rules of capitalism, the companies are trying to get that labour as cheap as possible, often at the cost of human lives.

We didn't use to have as many garments as we do today, in the 18th century people would have two outfits, one for normal days of the week, and one for Sunday. The clothing they owned was usually made to fit them exactly, either by a female member of the family, or a seamstress, and these garments were made to last them for decades. As clothing became cheaper to buy than to make at home, and more of it became mass-produced, people started acquiring more of it, but also using it for lesser period of time. This would eventually grow into a bigger problem, due to the amount of chemicals and labour used to grow, process, dye and sew the garments, and the amount of waste we were starting to accumulate.

Introduction of synthetic materials, like acrylic, made the yarn and the textiles much cheaper, however it lacks the important properties natural materials have. Do you ever notice how synthetic garments sometimes continue smelling bad even after you wash them? That is because they'll absorb sweat, but become hydrophobic when wet, meaning they will take in your sweat, but refuse to let it go once they're in the water. This means that the longer you have them, the worst their stink becomes. This, of course, can be hidden by the generous use of scented fabric softener, but it won't exactly make the garment clean. This information I've learned recently, but it helped me identify what were the most synthetic pieces of clothing I had. Acrylic clothing had also proven to shed 1.5 more microplastics than any other polyester when put into the washing machine.

Having our clothing grown, processed, spun, woven/knit, and then sewn far out of sight, it's possible to lose the sight of where it came from, or how it's made. Only by trying to do it yourself, or learning closely about the process can one learn to appreciate what a monumental task it is, to create fabric, or a garment. Other than the synthetic textiles, of which I still know very little of, all of the natural clothing is a product of plants and animals, it takes land, farming, agriculture and water to grow the plants, raise the animals, and then labour to process and spin the fibres. It's also something people used to do in their gardens, inside of their homes, something that was normal for women to do, and to trade for anything else they needed, saving them from having to work for wages. Women making fabric was always to the benefit of everyone around them, while m*n taking over the industry and doing it commercially, ultimately brought slave labour to a lot of people, cheap and low quality garments to the select few, and money to the hands of the exploiters.

Being curious about clothing and what becomes of it, is a big benefit to the environment and the future of the earth! Knowing what the textile industry is doing, and how does it affect the planet, can be a great motivator to try and sew, or upcycle and mend clothing, or create garments. It's presented to us as something women were forced to do in the past, and it's connected to 'feminine hobbies', but in actuality, it is power to create something humans cannot do without. Women in the past used it's power too, whenever they could. And we are the only ones who ever used this power for good.

[xamiipholia]

Quen Weapons

I love that the main Quen Melee weapon is basically a Macuahuitl, a Nahua weapon that was a club lined with obsidian blades somewhat like teeth. This version looks like it’s been constructed from parts of a snapmaw jaw and lined with the teeth. I love when Horizon puts a new spin on design templates from our world - it’s like the idea that, given the chance, we will figure out the same survival strategies because it’s in our nature.

It does make me wonder where the Quen are technologically- obviously the Focuses gave them a huge boost in terms of access to old world tech and data, but there’s not really a reason to have a weapon like this if you have widespread access to metal forging like say, the Oseram. Their armor seems to back this up - it’s almost entirely machine armor and woven materials. Based on what we’ve seen they’re clearly extremely skilled with textiles, woodworking and ceramics, and they have extremely powerful heavy weapons and ballistae. Maybe it’s just cheaper for the empire to outfit soldiers with weapons made from salvage.

Anyway thanks for coming to my TED talk.

[valkyries-things]

HUANG DAOPO // ARTIST

“She was a Chinese textile artist, who rose from poverty to become one of the most famous women in the early Chinese textile industry. Coming from a poverty stricken family, Huang ran away from home when she was ten years old after being sold into marriage by her family. In Yazhou she learnt spinning and weaving from the local Li people. Huang returned to Songjiang and began to teach the local women about cotton spinning and weaving technology whilst at the same time manufacturing suits, fine silk fabrics and weaving machinery (such as fluffing machines, crushers and three-spindle treadle powered weaving looms) that greatly increased efficiency. From the weaving aspect, Huang produced mixed cotton fabrics, colored fabrics and fabrics with mixed warp and weft fibers. Her weaving technology made her hometown famous and began its textile manufacturing industry.”

[mybeingthere]

British textile artist Rachel Scott.

Journalist Rosie Lesso tells:

"Since the late 1970s, British artist Rachel Scott has found remarkable ways of merging art and life into one. A weaver, sewer, mender and patchwork-maker, her legacy of creating is closely intertwined into her family life, as a mother to two now grown-up daughters, and the wife of the abstract expressionist painter Frank Bowling. Endlessly resourceful, she builds patchwork garments from decades-old clothing fragments, and weaves the most luxurious clothing, rugs, furniture covers and more by hand from British-sourced, undyed wool that she then spreads out across her family home in Pimlico, London. It seems fitting that the first weaving project Scott took on in 1976, to weave a new rug for their staircase, is still going strong today, running through the very centre of their home.

Scott grew up in the British countryside between Somerset, Dorset and Hampshire, and her creative childhood laid the foundations for a life of making. Scott remembered back, “My mother was a pianist and she made portraits of my friends’ ponies, really carefully and beautifully in oils. She always gave me things like pipe cleaners for making little animals with and encouraged me to draw and paint.”

Scott tried her hand at knitting when she was still a child, fashioning sweaters for her brother and father that never seemed to fit quite right. Instead, she developed a patchwork technique of making garments from knitted squares, which she realised gave her endless freedom for adapting and amending. Years later, she adopted similar patchwork techniques in order to make clothing for herself and her two growing daughters. She says, “Making things by hand for me is the only way and has been since I was a child.”

From 1959-1964 Scott trained as a painter at London’s Royal College of Art, and found success following graduation as an elected member of the London Group. Her paintings evolved from dark, earth toned and monochrome interiors into green landscapes, but in 1979 she quit painting. Some years earlier, in 1976 Scott had begun making weavings on a spinning wheel made by her brother with a bobbin screwed to a Singer sewing machine base. By now she was a mother, and weaving just seemed more suited to the practical demands of daily life, as she noted, “Painters tend to have all their paintings stacked up. Rugs seem so much more sensible, because you can pile them up and sit on them.”

Some years later Scott’s husband fashioned her a Navajo-style loom inspired by an exhibition they went to see together on Native American tribes at London’s ICA. Much like Anni Albers, Scott was immediately struck by the beauty of Native American weaving. Their tradition for making bold, striking, geometric designs continue to shape the style of Scott’s weavings today. She has a home studio on the top floor of their Pimlico home, from where she makes weavings in the daylight hours, and spins yarns in the evenings. The yarns she works with are sourced from British farmers in Devon, Buckinghamshire, Cheshire, and she always chooses undyed wool, allowing the natural dark, muted colours to shine through and age slowly and beautifully over time.

[gamejoypod]

A youtube video that I get weirdly emotional about? I'm glad you asked!

It's this proof-of-concept by Clickspring that precision turned metal parts were totally possible with 2nd century technology, part of a larger project of making the Antikythera Mechanism with the tech of the time.

All the tools & parts involved were also made using the same "how they would/could have done it back then" approach.

I'd been following the channel for a bit before this but this video felt like a real culmination of effort, all the handmade tools converging to a spinning piece of bronze. When I saw the first chips come off the piece, it blasted me in the same way people talk about making mead or beer or bread or textiles. What I thought was possible machining-wise in relation to human history was totally recontextualized.

[scary-ivy]

"Candy floss" is a decent name for it, thought idk what type of floss we're talking about here, but I feel like in America it's called "cotton candy" because of the prevalence of cotton farming, thought I've always liked that name better because it really does feel like a textile of some sort, the way it's spun out of the machine and onto a stick like wool through a spinning wheel. But "fairy floss" is the best name hands down, it barely describes what it is but also it fits so well. Like damn that ephemeral candy cloud is "fairy" in nature.

[giant-tiny-fiber-friends]

G/T Fiber Arts (In a Nutshell)

This is my attempt to explain what exactly I mean by g/t vibes when it comes to fiber arts. I'm mostly curious if this is a Vibe that other people feel about it, but it just hasn't been talked about so we don't know that we agree? Idk, please hit me up if this at all resonates.

For a quick summary for those who don't know, fiber art is a category of art that uses textiles (yarn, fabric, thread, and in general natural or synthetic fibers). They're a labor of love since a good chunk of them are traditionally, as well as in the modern day, done by hand, though there have been machines invented that can get the job done quickly. Fiber arts include but are not limited to: knitting, crochet, sewing, quilting, embroidery, cross stitch, needlepoint, weaving, spinning, dying (as in yarn or fabric), and many others that I'm sure I'm missing.

Also for those who don't know, g/t is short for giant/tiny and refers to the phenomenon of significant size difference, usually between characters in media. Major mainstream examples include The Iron Giant, Ferngully: The Last Rainforest, Gulliver's Travels, or The Borrowers, to name a few.

I've been into fiber arts for about 14 years as of writing this! I've been a knitter and crocheter for that time, and since the pandemic have become a sewist and quilter. And like most of us, g/t has been with me for pretty much as long as I can remember. I'm by no means an expert in anything I do, but I've been at it for long enough to have a lot of Feelings about where these two interests overlap.

It's a bit hard to put those feelings into words, so apologies in advance if this turns into a bit of a ramble.

Fiber arts aside, I feel like most people in the g/t community are starved enough for proper content that we rely on Vibes to cope. It's about the Feeling of something being big or small, or making you feel big or small, whatever tickles your fancy at the time. The best way I can think to equate this in the fiber art world is: things someone made that I can imagine as being made or used by someone who's big or small.

Those big, chunky blankets people knit with their hands out of really thick merino? Major tiny vibes!

Patchwork clothes or quilts made from teeny amounts of fabric from all different colors and types? Hella giant vibes!

And don't even get me started on no-waste fashion!

I plan on going into further detail in separate posts so this doesn't turn into more of a novel, but I hope this makes sense as a (somewhat) brief overview of how I view G/T Vibes in fiber arts! Do let me know if you agree, and if there are other things that give you The Vibes!