Oikein, nurin - miten Suomessa kudin : Tutkimus neulonnan työotteista.

The aim of this work was to study what kind of working grips people use to knit in Finland and decide if one grip is superior to others. I investigated how knitters have adopted their grips and how they experience their knitting. I also explored whether it is possible to change one's grip. To provide a theoretical basis for the research I observed knitting in terms of culture, skill and ergonomics. The first part of the study material comprised video recordings of the grips of 95 knitters together with background information collected via a questionnaire during the education of craft teachers at the University of Helsinki in spring 2004, 2005 and 2006. Using the data obtained I focused on three knitters, whose grip of the knitting needles clearly differed from the ergonomically good grip. In addition to them I interviewed one student, who had changed over to more ergonomic way of knitting after participating in the first part of this study. In this respect my study is a several events' case study. In order to analyse my data I used both qualitative and quantitative content analysis methods to complement each other. Most of my research participants had learned to knit in first years of elementary school or comprehensive school. Almost everyone had adopted the basics of knitting by imitating, and many of them had corrected "incorrect" positions from verbal instructions. Through practice the imitated position had gradually become the style unique to each knitter. The findings showed that students' background in knitting is quite varied due to the diverse level of craft teaching. This is reflected in their knitting grips and their interest in knitting. Students do not think that there is one right working grip. The most important thing is that working seems as fluent and relaxed as possible, at which point knitting is easy and flows freely. They often consider their own style so pleasing and well-functioning that they do not think there could be any room for improvement. This study pointed out that, while it is possible to change a knitter's working grip, there is a bigger challenge in acknowledging weaknesses in one's know how. According to the results of my research, the most common working grip among Finnish knitters' corresponds with the grip that has been described as ergonomically good. Over one third of all participants knitted this way. Hands keep the knitting firmly but without tension. The forefinger that guides the yarn from the ball rests gently against the knitting needle, and the yarn goes in front of the first joint of the forefinger. The position of the hands and loops is the same as in the ergonomically good grip, i.e. the fingertips of both hands and the loops are near the tips of the knitting needles, so that the fingers only have to move small distances. When knitters purl and plain, they commonly pick up the yarn from the back of the knitting needle in the same way as when knitting. While researching the common features of working grips I have learned what abnormal grips are like. Although I recognized many different ways to knit, all the peculiar grips were modifications of the continental way of knitting. The results of this study give a clear picture of those points knitters should focus their attention on in order to gain a good hold of the needles.

One-pot synthesis of a TiO2-CdS nano-heterostructure assembly with enhanced photocatalytic activity

An unprecedented morphology of a titanium dioxide (TiO2) and cadmium sulfide (CdS) self-assembly obtained using a `truly' one-pot and highly cost effective method with a multi-gram scale yield is reported here. The TiO2-CdS assembly, comprising of TiO2 and CdS nanoparticles residing next to each other homogeneously self-assembling into `woollen knitting ball' like microspheres, exhibited remarkable potential as a visible light photocatalyst with high recyclability.

Self-assembly of star block copolymers by dynamic density functional theory

The dynamic mean-field density functional method, driven from the generalized time-dependent Ginzburg-Landau equation, was applied to the mesoscopic dynamics of the multi-arms star block copolymer melts in two-dimensional lattice model. The implicit Gaussian density functional expression of a multi-arms star block copolymer chain for the intrinsic chemical potentials was constructed for the first time. Extension of this calculation strategy to more complex systems, such as hyperbranched copolymer or dendrimer, should be straightforward. The original application of this method to 3-arms block copolymer melts in our present works led to some novel ordered microphase patterns, such as hexagonal (HEX) honeycomb lattice, core-shell HEX lattice, knitting pattern, etc. The observed core-shell HEX lattice ordered structure is qualitatively in agreement with the experiment of Thomas [Macromolecules 31, 5272 (1998)].

Cable Crossings: The Aran Jumper as Myth and Merchandise

This article considers the Aran jumper as a cultural artefact from an anthropological perspective. As an internationally recognized symbol of Irishness that comes with its own myth of origin, the Aran jumper carries emotionally charged ideas about kinship and nativeness. Whether read as an ID document, family tree, representation of the landscape or reference to Christian or pre-Christian spirituality, the Aran jumper’s stitch patterns seem to invite interpretation. Emerging at a particular period in the relationship between Ireland and America, this garment and the story that accompanies it have been shaped by migration and tourism, but may be understood very differently on either side of the Atlantic. The resilience of the myth of a fisherman lost at sea, whose corpse is identifiable only by designs his relatives have stitched into his clothing, is explained in light of its resonance with diasporic narratives and transnational longings.

The Aran jumper: Crafting a Transatlantic Heritage

The garment we now recognise as the Aran jumper emerged as an international symbol of Ireland from the twin twentieth century transatlantic flows of migration and tourism. Its power as a heritage object derives from: 1) the myth commonly associated with the object, in which the corpse of a drowned fisherman is identified and claimed by his family due to the stitch patterns of his jumper (Pádraig Ó Síochain 1962; Annette Lynch and Mitchell Strauss 2014); 2) the meanings attached to those stitch patterns, which have been read, for example, as genealogical records, representations of the natural landscape and references to Christian and pre-Christian ‘Celtic’ religion (Heinz Kiewe 1967; Catherine Nash 1996); and 3) booming popular interest in textile heritage on both sides of the Atlantic, fed by the reframing of domestic crafts such as knitting as privileged leisure pursuits (Rachel Maines 2009; Jo Turney 2009). The myth of the drowned fisherman plays into transatlantic migration narratives of loss and reclamation, promising a shared heritage that needs only to be decoded. The idea of the garment’s surface acting as text (or map) situates it within a preliterate idyll of romantic primitivism, while obscuring the circumstances of its manufacture. The contemporary resurgence in home textile production as recreation, mediated through transnational online networks, creates new markets for heritage textile products while attracting critical attention to the processes through which such objects, and mythologies, are produced. The Aran jumper’s associations with kinship, domesticity and national character make it a powerful tool in the promotion of ancestral (or genealogical) tourism, through marketing efforts such as The Gathering 2013. Nash’s (2010; 2014) work demonstrates the potential for such touristic encounters to disrupt and enrich public conceptions of heritage, belonging and relatedness. While the Aran jumper has been used to commodify a simplistic sense of mutuality between Ireland and north America, it carries complex transatlantic messages in both directions.

Otimização energética à secção das malhas

A presente dissertação realizada na empresa Continental-Indústria Têxtil do Ave, S.A., teve como objetivo a otimização energética da secção das malhas. Esta secção divide-se em duas áreas, a tricotagem e a ramulagem. Os artigos produzidos diferem no seu peso específico, composição e condições de operação, sendo os artigos A, B e C compostos por poliéster e termofixados a 190ºC e os artigos D e E compostos por poliéster e algodão, com uma temperatura de operação de 205ºC. Numa primeira etapa estudou-se o funcionamento da máquina de termofixação – a râmula – que opera em trabalho contínuo a 40 m/min. Esta máquina tem incorporado um permutador de calor, que aquece o ar fresco de entrada com os gases de exaustão das estufas. Posteriormente efetuou-se o levantamento energético de cada artigo, para as áreas de tricotagem e ramulagem. Verificou-se que os artigos D e E, pela sua constituição, são os que apresentam um consumo específico superior, em tep/ton. Entre as várias utilidades consumidas (gás natural, eletricidade e ar comprimido) o gás natural representa mais de 50% do consumo de energia total necessário para a produção de cada artigo. Após a completa análise aos consumos energéticos da râmula, foram realizados ensaios de otimização, tendo-se concluído que a diminuição do caudal de exaustão pode atingir valores de poupança anual de gás natural na ordem dos 3.000 €. Com o objetivo de avaliar o consumo de gás natural, não sendo possível a realização experimental, foram feitas simulações com base em alterações na corrente de entrada de ar fresco no permutador. Foi também estudada a possibilidade de isolamento e revestimento térmico da conduta exterior, projetada para o reaproveitamento do ar dos compressores, tendo-se obtido um orçamento de 2.500 €. Admitindo-se uma gama de temperaturas entre os 40ºC e os 60ºC, com um caudal de insuflação de 30%, obteve-se um payback entre os 0,97 e os 3,28 anos. Numa segunda fase admitiu-se uma temperatura média de 50ºC, aumentando o caudal de insuflação até 100%. O período de retorno obtido variou entre os 0,33 e os 1,38 anos, podendo as poupanças anuais atingirem os 7.600 €.

F. R. Lalor and Wm. Jaques Papers, 1910

F.R. [Francis Ramsey] Lalor (1856-1929) was born in St. Catharines, Ont. but lived most of his life in Dunnville, Haldimand County, Ont. He was a merchant and manufacturer. In 1903 he and a few partners founded the Monarch Knitting Co. Lalor was also an exporter of hardwood ashes used for agricultural purposes as fertilizer. Lalor was active in politics, he was a Conservative and the member of parliament for Haldimand, having been elected in the 1904, 1908, 1911 and 1917 elections. William Jaques lived in Simcoe, Norfolk County, Ontario. He was a junk dealer by profession.

Thorold Industry - Postcards

Board of six postcards of Thorold. First postcard, Unloading pulpwood at Ontario Paper Mill on Welland Canal, Thorold, Ontario. Second postcard, Ontario Paper Mill, Thorold, Ont. Third postcard, Birdseye view showing Stone Road, Near Ontario Paper Mill, Thorold, Ontario. Fourth postcard, View on Old Welland Canal, Showing Power House, Thorold Ontario. Fifth postcard, Beaver Board Plant, Thorold Ontario. Sixth postcard, On the Old Welland Canal and Penman's Knitting Mill, Thorold, Ont., Canada.

How to do a quick cast on.

Domestic knitting machine tutorial.

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machine knitting tutorial

how to transfer stitches

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how to change colour

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how to knit with part/hold buttons

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how to do a 2 colour punchcard

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how to use the tuck function on a punchcard.

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