NAME : NUR AMALINA SYAHIRAH BINTI
MOHAMAD
NO MATRIC : 2018222866
CLASS : AD242 4A
SUBJECT : RMD 577
OBJECTIVE
1. To investigate the type of woven fabric worn by the Royal Sultan.
2. To identify the process of making a weaver used by the Royal Sultan.
3. To recognize pattern of sampin made different.
PROBLEM STATEMENT
- Weaving is quite popular nowadays because it comes out with new design and
[Link] the increase of the weaving request in market, of course a lot of the
weaving makers are needed.
- Weaving makers which have better knowledge about weaving than others usually
keep most of their knowledge about weaving in terms of book. Comparing the
manual and automaticprocess of categorizing the weaving, manual process requires a
lot of human power.
- Other than that, the stored information in the book is not so good rather than stored in
digital form. This is because the information of the weaving can be preserves for the
future. So, this system will help the Malaysian youth like teenagers to know about
some information of weaving based on weaving.
- Plus, there also not much information about the weaving that can be getting through
the internet and sometimes if we search for one type of weaving through the internet,
the other type of weaving also will come out together. So, this will make the user of
the internet have some confusion during seek information from the internet.
INTRODUCTION
Weaving, the art of forming a fabric by interlacing at right angles two or more sets of
yarn or other material. It is one of the most ancient fundamental arts, as indicated by
archaeological evidence. Discoveries in the early 1990s in the Czech Republic point to a
possible origin in the Paleolithic period some 27,000 years ago. Moreover, the earliest
literatures often mention the products of the loom. In primitive cultures weaving was
practiced mainly by women.
Although weaving sprang up independently in different parts of the world and was
early known in Europe, its high development there in the Middle Ages was brought about by
Eastern influences operating through Muslim and Byzantine channels of culture. Byzantium
became a center of silk weaving in the 6th cent. In the 9th cent. Greece, Italy, and Spain
became proficient. In Flanders a high degree of skill was attained by the 10th cent., especially
in the weaving of wool. Flemish weavers brought to England by William the Conqueror and
later by Queen Elizabeth I gave a great impetus to the craft there, and Lancashire became an
important center. Tapestry weaving was brought to a high art in France. In colonial America
weaving was a household industry allied with agriculture.
The 18th-century weaving and spinning inventions marked the transition from the old
era of domestic craftsmanship to the tremendous, organized industry of today. The factory
system of machine weaving produces quantities of standardized material for mass
consumption; the result is a loss of the distinctive elements of quality and design. Some of the
finest silks, velvets, table linens, and carpets are still woven on handlooms.
DELIMITATION
In woven , some fabrics are woven manually or mechanically. The project
concentrates only on woven fabric designs. Even though there eight-shaft
broadlooms, the study utilises a four-shaft broadloom because of availability
and accessibility. Again, it is limited to weaves possibly constructed with a
four-shaft loom.
Although the research intends to produce hand-woven fabric designs, the
objective is not for mass production but for individuals who have
understanding, preference and taste for woven fabrics.
LIMITATION
Distance constraints due to study in nature and difficult to study because being
home temporarily due to movement control commands.
Again, there were challenges on primary sources of data as most resource
persons interviewed by the researcher were not willing to give detailed
information and did not have in-depth knowledge on the subject. This, the
researcher believes, was due to lack of education on the part of the upholstery
merchandisers and furniture producers. This posed a great challenge during the
analyses and interpretation of the data.
RESEARCH QUESTION
1. Which type of yarns and weave structures can be exploited for upholstery
fabric production?
2. What methods are used in innovative weaving fabric design?
3. What intrinsic / extrinsic qualities or properties justify the woven samples for
application?
HYPHOTHESIS
1. Shortage of capital, inappropriate technology, non- availability of raw
materials led to non-adoption of the improved technology.
2. Among the entrepreneurs, a big majority are those who adopted improved
3. Technology, in terms of the introduction of new equipment, due to
availability of institutional support.
STATEMENT OF SIGNIFICANCE
1. The production of fabric designs with broadloom unearths the artistic and
creative knowledge of weaving. Again, it gives symbolic meaning and identity
to locally made. Additionally there is an introduction of innovative design
structures for industrial fabric manufacturing which will assist weavers and the
nation as a whole.
2. The main responsibility of art to society is the formation of a view of the
world, a true and large-scale assessment of events, a rational, reasoning
orientation of man in the world around him, a true assessment of his own self.
But why does art have this function because in its great production it is not only
consummately artistic but also profoundly philosophical.
3. The philosophical importance of the study is therefore to change the
perceptions of woven fabrics, the limitations of the handloom and to encourage
the attitude of explorations into the various traditional art practices.