東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The use of digitally printed fabrics...

Murphy, Miriam Gosnell.

Linked to FindBook

Google Book

Amazon

博客來

The use of digitally printed fabrics in textile conservation: Where are we in 2012?

Record Type:	Electronic resources : Monograph/item
Title/Author:	The use of digitally printed fabrics in textile conservation: Where are we in 2012?/
Author:	Murphy, Miriam Gosnell.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
Description:	112 p.
Notes:	Source: Masters Abstracts International, Volume: 78-02.
Contained By:	Masters Abstracts International78-02.
Subject:	Museum studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10129721
ISBN:	9781339876122

The use of digitally printed fabrics in textile conservation: Where are we in 2012?
Murphy, Miriam Gosnell.

The use of digitally printed fabrics in textile conservation: Where are we in 2012? - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 112 p.

Source: Masters Abstracts International, Volume: 78-02.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2013.

This item must not be added to any third party search indexes.

When preparing a costume or textile for exhibition, it is a challenge for textile conservators to make it as visually appealing and understandable as possible when significant elements are severely damaged or missing. These cases may require supplementary fabric for use as an inlay, overlay, or even yardage to reconstruct lost areas. In the past, hand painting and screen-printing have been used to replicate printed patterns, and woven patterns have been reproduced by commissioning custom woven cloth. Both techniques can require considerable work hours, long lead times and significant expense. Experienced conservators lament the closing of the last few domestic mills from which one could order custom-woven reproduction fabrics. The use of digitally printed fabric is an increasingly important tool in textile conservation. Digital printing on textiles has been practiced since the 1990s. It would seem to be a relatively quick and inexpensive way to replicate a textile and a possible answer to visually compensate for losses. However, textile conservators are concerned about more than visual expedience when working on an object. How safe and long lasting are the inks, and what is the range of fabrics upon which the printing can take place are just a few of the concerns. While there have been some good conservation articles written in support of this technique, for this paper I investigated and evaluated recent developments in digital printing with regard to their applications specifically for textile conservation. My goal was to augment the foundation established by a handful of conservators over the past decade and to create a benchmark for conservators upon which to base further investigation.

ISBN: 9781339876122Subjects--Topical Terms:

2122775
Museum studies.

The use of digitally printed fabrics in textile conservation: Where are we in 2012?
LDR:02885nmm a2200337 4500 001 2210065
005 20191118121537.5
008 201008s2013 ||||||||||||||||| ||eng d
020 $a 9781339876122
035 $a (MiAaPQ)AAI10129721
035 $a (MiAaPQ)fitnyc:10089
035 $a AAI10129721
040 $a MiAaPQ $c MiAaPQ
100 1 $a Murphy, Miriam Gosnell. $3 3437188
245 1 4 $a The use of digitally printed fabrics in textile conservation: Where are we in 2012?
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2013
300 $a 112 p.
500 $a Source: Masters Abstracts International, Volume: 78-02.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Montegut, Denyse.
502 $a Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2013.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a When preparing a costume or textile for exhibition, it is a challenge for textile conservators to make it as visually appealing and understandable as possible when significant elements are severely damaged or missing. These cases may require supplementary fabric for use as an inlay, overlay, or even yardage to reconstruct lost areas. In the past, hand painting and screen-printing have been used to replicate printed patterns, and woven patterns have been reproduced by commissioning custom woven cloth. Both techniques can require considerable work hours, long lead times and significant expense. Experienced conservators lament the closing of the last few domestic mills from which one could order custom-woven reproduction fabrics. The use of digitally printed fabric is an increasingly important tool in textile conservation. Digital printing on textiles has been practiced since the 1990s. It would seem to be a relatively quick and inexpensive way to replicate a textile and a possible answer to visually compensate for losses. However, textile conservators are concerned about more than visual expedience when working on an object. How safe and long lasting are the inks, and what is the range of fabrics upon which the printing can take place are just a few of the concerns. While there have been some good conservation articles written in support of this technique, for this paper I investigated and evaluated recent developments in digital printing with regard to their applications specifically for textile conservation. My goal was to augment the foundation established by a handful of conservators over the past decade and to create a benchmark for conservators upon which to base further investigation.
590 $a School code: 1829.
650 4 $a Museum studies. $3 2122775
650 4 $a Textile Research. $3 3432852
690 $a 0730
690 $a 0994
710 2 $a Fashion Institute of Technology, State University of New York. $b History, Theory, Museum Practice. $3 3437189
773 0 $t Masters Abstracts International $g 78-02.
790 $a 1829
791 $a M.A.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10129721