North American Quilts and Coverlets Reading Answers

Jan 17, 2023

North American Quilts and Coverlets Reading Answers is an academic reading topic which discusses the methods of the crafting of quilts. The given IELTS topic has originated from the book named “IELTS Academic Training Reading Practice Test #8-An Example Exam for You to Practise in Your Spare Time”. The topic named North American Quilts and Coverlets Reading Answers comes with 13 different wide range of questions. Three different types of questions are included in this topic, such as, choose the correct heading, choose the correct letter, and complete the summary. The candidates should thoroughly read the IELTS reading passage to recognize the synonyms and identify the keywords and answer the questions below. IELTS reading practice papers can be taken into consideration by the candidates in order to score a good score in the reading section in which similar topics like North American Quilts and Coverlets Reading Answers has been included.

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Section 1

Read the passage to answer the following questions

North American Quilts and Coverlets Reading Answers

Paragraph A:

The craft traditions which early American colonists from Europe brought to the ‘New World’ centred primarily around the use of linen and wool. These familiar choices were then adapted to America, whose climate and environment enabled the introduction and raising of sheep for wool and, in some areas – though with less success – the growing of flax for linen. The cultivation of silk – an exotic fibre originally brought from China – was attempted for a short time only in the northern states, although by the nineteenth-century silk was being used extensively. Cotton thrived in the southern region, but was restricted to small-scale home production until the late eighteenth and early nineteenth centuries, when the invention of new mechanical equipment facilitated its harvesting, spinning, and weaving on a large scale.

Paragraph B:

Quilts and coverlets were created from both homemade and commercially produced cloth. During the early colonial period (seventeenth century) and into the new republic (1776 onwards), most commercial fabric was imported from England. Even goods that had been produced in other regions, such as the popular dye-printed calicoes from India and woven silks from China, were brought into America via English ships. These were used in making quilts and also influenced American quilt design. Eventually, by the mid-nineteenth century, most of the fabrics found in quilts were industrially produced, and reflected the taste and achievements of the American textile industry. Specialty fabrics, particularly silk ribbons, had become popular by the second half of the nineteenth century.

Paragraph C:

Prior to the development of synthetic dyes in the nineteenth century, early American dyers utilized substances obtained from a variety of plants and animals, to create a wide-ranging colour palette. Red colours ranged from the orange-red hue produced from the madder root to the brilliant scarlet made from cochineal, the scale insect that grows on the cactus from Central and South America. Most of the blue colours were from indigo leaves, and browns derived from a variety of sources, including substances called tannins found in oak trees.

Paragraph D:

Unwoven yarn or finished cloth was coloured by immersing it into containers of hot dye solution. Numerous shades of colour could be achieved, depending on the quality of the dyes, the purity of water, the type of utensils used (a copper kettle, for example, could affect the colour), and the addition of specific metallic salts to create a strong colour which would not fade in light. These salts, along with other additives such as vinegar or ash, were essential to the dyeing process. The dyeing of textiles with natural dyes was both an art and a science. Indigo blue, for example, with its complex chemistry, required a series of steps in order to produce a durable, lightfast blue colour. Turkey Red was another complicated dye process. Originating in India, it was a method that involved immersing the cloth several times into oils, milk fats or dung. Toward the end of the eighteenth century, books were published on the science and philosophy of dyes, thus heralding a period of experimentation, and the creation of a whole new category of synthetic dyes that flourished at the end of the nineteenth century, and continue to be used today.

Paragraph E:

Methods of applying designs onto the surface of fabrics ranged from hand painting and stencilling 2 to block and roller printing. Block printing involved the use of carved wooden blocks. The surfaces of the blocks were covered with the dye which were thickened with gum Arabic or other starchy substances, and pressed directly onto the cloth. Some quilts were made with floral designs from block-printed fabrics. Etched plates of copper were also used for printing, and in 1783 technological developments led to covering cylindrical rollers with etched copperplates for continuous printing, a process called roller printing. This new technology enabled printers to produce more yardage at a much faster rate.

Paragraph F:

The creation of complex quilts composed of many small pieces of cloth – known as patchwork – requires systematic organization. A template might be used for creating the basic design unit, such as a square, diamond, or hexagon. The template – sometimes a heavy card or paper – ensured an even, regular unit size, thus enabling the quilter to join together the many pieces of fabric, following an overall design arrangement. Appliquéd quilts, also made by using fabric pieces, were put together in a different manner. Appliqué is a versatile technique, enabling the sewer to compose visual patterns with multiple layers of single-colour and printed fabrics, creating depth in the overall composition.

Paragraph G:

For American woven blankets, simple weaves were woven on simple looms. Creating designs in geometric patterning resulted from a weaver’s meticulous attention to the loom’s operation, along with the artistic use of contrasting colours and materials to highlight the pattern effects. Floral and larger-scale pictorial images generally required more complex patterning mechanisms. For example, the Jacquard mechanism, developed by French weaver Joseph-Marie Jacquard in the late eighteenth century, used a series of cards with pre-punched holes that would control the threads as they were woven on the loom. An early forerunner of the computer, the Jacquard loom was introduced to American weavers by the 1820s, and used extensively to produce woven coverlets with both large- and small-scale designs.

Section 2

Questions 28–34

The text has seven paragraphs, A–G.

Choose the correct heading, A–G, from the list of headings below.

Write your answers, A-G, in boxes 28–34 on your answer sheet.

List of headings

Methods of applying colour patterns to cloth
The origins and use of factory-made cloth
iii. Specialist training for quilt and coverlet makers
Two types of quilt construction
The production of raw materials
Dyeing techniques used in America
vii. The rising price of manufactured textiles
Sources of natural dyes in America
The development of weaving techniques

Question 28. Paragraph A ...................

Answer: v
Supporting sentence: The cultivation of silk – an exotic fibre originally brought from China – was attempted for a short time only in the northern states, although by the nineteenth-century silk was being used extensively.
Keyword : cultivation of silk, exotic fibre, brought from China, short time
Keyword location: paragraph A, lines 4-6
Explanation: Lines 4-6 of paragraph A implies that early American colonists from Europe carried their craft traditions to the "New World". It was largely centered on the use of linen and wool. These well-known options were then adapted to America, whose climate and environment allowed for the introduction and cultivation of sheep for wool. Also, in some locations, the production of flax for linen, though with less success. Despite the fact that silk was widely utilized by the nineteenth century, attempts to cultivate the exotic fiber. It was initially introduced from China, and was made exclusively in the northern states for a brief period of time.

Question 29. Paragraph B ...................

Answer: ii
Supporting sentence: Eventually, by the mid-nineteenth century, most of the fabrics found in quilts were industrially produced, and reflected the taste and achievements of the American textile industry.
Keyword : mid-nineteenth century, industrially produced, American textile industry
Keyword location: paragraph B, lines 6-8
Explanation: Both homemade and manufactured fabrics were used to make quilts and coverlets. The majority of commercial fabric was imported from England. It was imported throughout the early colonial period (the seventeenth century) and into the nascent republic (1776 forward). Even items made elsewhere, like the well-liked dye-printed calicoes from India and woven silks from China, were transported into America by English ships. These were employed in the creation of quilts and had an impact on American quilt design. Eventually, by the middle of the nineteenth century, the majority of quilt materials were made industrially. Those materials represented the preferences and innovations of the American textile industry. By the second half of the nineteenth century, specialty materials, particularly silk ribbons, were widely used.

Question 30. Paragraph C ...................

Answer: viii
Supporting sentence: Prior to the development of synthetic dyes in the nineteenth century, early American dyers utilized substances obtained from a variety of plants and animals
Keyword : development, synthetic dyes, nineteenth century, plants and animals
Keyword location: paragraph C, lines 1-2
Explanation: The first two lines of paragraph C portrays that early American dyers used materials derived from many plants and animals. They used those to create a wide-ranging colour pallet before the nineteenth century discovery of synthetic dyes. Red hues ranged from the orange-red generated by madder root to the vivid crimson created by cochineal. It is an insect scale that grows on Central and South American cactus.

Question 31. Paragraph D ...................

Answer: vi
Supporting sentence: These salts, along with other additives such as vinegar or ash, were essential to the dyeing process.
Keyword : salts, additives, essential, dyeing process
Keyword location: paragraph D, lines 1-5
Explanation: Lines 1-5 of paragraph D portrays that the color was added to unwoven yarn or finished fabric by dipping it into hot dye solution vessels. The quality of the dyes, the cleanliness of the water, the type of equipment used (a copper kettle, for example, may impact the colour). Also, the use of particular metallic salts to generate a strong colour that would not fade in light could all affect the shades of colour. Along with additional ingredients like vinegar or ash, these salts were crucial to the dyeing procedure. Natural dyeing for textiles was both an art and a science. For instance, indigo blue's intricate chemistry necessitated a number of processes in order to create a long-lasting, lightfast blue colour. Turkey Red required a challenging dyeing procedure.

Question 32. Paragraph E ...................

Answer: i
Supporting sentence: Methods of applying designs onto the surface of fabrics ranged from hand painting and stencilling 2 to block and roller printing.
Keyword : Methods, applying designs, surface of fabrics, hand painting
Keyword location: paragraph E, lines 1-2
Explanation: Paragraph E suggests that hand painting, stencilling 2, block printing, and roller printing were all techniques used to add designs to the surface of fabrics. Wooden blocks that had been carved were used in block printing. The dye was applied to the surfaces of the blocks, thickened with gum Arabic or other starchy materials, and then pressed directly onto the fabric. Some quilts included block-printed floral patterns on their fabric. A technique known as roller printing involved covering cylindrical rollers with etched copper plates for continuous printing in 1783. Etched copper plates were previously used for printing as well.

Question 33. Paragraph F ...................

Answer: iv
Supporting sentence: The creation of complex quilts composed of many small pieces of cloth – known as patchwork – requires systematic organization.
Keyword : creation, complex quilts, composed, small pieces of cloth
Keyword location: paragraph F, lines 1-2
Explanation: The first two lines of paragraph F portrays that systematic planning is necessary to create intricate patchwork quilts. These are made of several tiny pieces of fabric. The fundamental design element, such as a square, diamond, or hexagon, might be made using a template. The quilter was able to put together the several pieces of fabric. It is possible by using the template, which was occasionally made out of heavy card or paper, to ensure an even, uniform unit size. Additionally fashioned from fabric scraps, appliquéd quilts were put together differently. With many layers of single-color and printed fabrics, appliqué is a flexible method. This method allows the sewer to build visual patterns and add depth to the final composition.

Question 34. Paragraph G ...................

Answer: ix
Supporting sentence: Creating designs in geometric patterning resulted from a weaver’s meticulous attention to the loom’s operation, along with the artistic use of contrasting colours and materials to highlight the pattern
effects.
Keyword : Creating designs, weaver’s, artistic use, contrasting colours and materials
Keyword location: paragraph G, lines 1-3
Explanation: The first three lines of paragraph G states that simple weaves were woven on straightforward looms for blankets made in America. A weaver's diligent attention to the loom's operation combined with creative use of contrasting colours and materials. It is done to accentuate the pattern effects that led to the creation of geometric patterning designs. Complex patterning methods were typically needed for floral and larger-scale pictorial representations. In the late eighteenth century, French weaver Joseph-Marie Jacquard invented the Jacquard mechanism. This method employed a set of cards with pre-punched holes to regulate the threads as they were woven on the loom.

Questions 35–37

Choose the correct letter, A, B, C, or D.

Write your answers in boxes 35–37 on your answer sheet.

Question 35. How suitable were various fibres for production by the first immigrants to America?

Silk was produced in every geographical region.
Cotton could be grown on large plantations.
Wool presented no particular problems.
Flax was the easiest fibre to cultivate.

Answer: C
Supporting sentence: The craft traditions which early American colonists from Europe brought to the ‘New World’ centred primarily around the use of linen and wool.
Keyword : craft traditions, American colonists, ‘New World’, linen and wool
Keyword location: paragraph A, lines 1-2
Explanation: Lines 1-2 of paragraph A suggests that the European immigrants who came to America in the early days brought their craft traditions with them. It was primarily focused on the usage of wool and linen. Then, in America, where the climate and environment permitted the introduction and raising of sheep for wool, these well-known alternatives were modified. Additionally, though with less success, flax for linen is produced in some places. Even though silk was widely used by the nineteenth century, there have been attempts to grow the exotic fibre. It was first made in China and, for a lengthy time, was only produced in the northern states.

Question 36. What does the writer say about early cloth printing in America?

Fabrics were printed using a variety of methods.
The introduction of block printing speeded up the process.
For a long time, flowers were the only image that was printed.
Wooden printing equipment was quickly replaced by metal.

Answer: A
Supporting sentence: Eventually, by the mid-nineteenth century, most of the fabrics found in quilts were industrially produced, and reflected the taste and achievements of the American textile industry.
Keyword : mid-nineteenth century, fabrics, industrially produced, American textile industry
Keyword location: paragraph B, lines 6-8
Explanation: Lines 6-8 of paragraph B portrays that quilts and coverlets were constructed from both homemade and store-bought fabrics. Most commercial fabrics were brought in from England. It was brought into the fledgling republic during the early colonial era (17th century) (1776 forward). English ships brought goods from other countries, like the well-known dye-printed calicoes from India and woven silks from China, into America. These were used to make quilts, and their use influenced the style of American quilts. Eventually, the majority of quilting materials were produced industrially by the middle of the nineteenth century. The preferences and advances of the American textile industry were represented by those materials. Specialty materials, especially silk ribbons, were commonly employed by the second half of the nineteenth century.

Question 37. The technique of creating patterns in woven cloth

required little skill on the part of a loom operator.
was only possible after complex looms were invented.
had originated in eighteenth-century France.
involved combining different colours and materials.

Answer: D
Supporting sentence: Numerous shades of colour could be achieved, depending on the quality of the dyes, the purity of water, the type of utensils used (a copper kettle, for example, could affect the colour), and the
addition of specific metallic salts to create a strong colour which would not fade in light.
Keyword : Numerous shades, colour, quality of the dyes, not fade in light
Keyword location: paragraph D, lines 2-3
Explanation: Lines 2-3 paragraph D portrays that by dipping it into hot dye solution vessels, colour was applied to finished fabrics or unwoven yarn. The standard of the dyes, the purity of the water, and the kind of equipment used (a copper kettle, for example, may impact the colour). The shades of colour may also be impacted by the application of specific metallic salts to create vibrant hues that would not fade in light. These salts were essential to the dyeing process, along with other components like vinegar or ash. Natural dyeing was both an art and a science for textiles. For instance, a number of procedures were required to produce indigo blue's durable, lightfast colour due to its complex chemistry. Turkey Red needed a difficult colouring process.

Questions 38–40

Complete the summary below.

Choose ONE WORD ONLY from the text for each answer.

Write your answers in boxes 38–40 on your answer sheet.

Dyeing fabrics

In the early years of textile production, Americans used red, blue and brown dyes made from plants and animals. Several factors affected the finished shade of the fabric, such as what the containers were made from, or how clean the 38……………….. was. Additives were used to create colours which would be unaffected by 39………….……. . After some time, techniques became more innovative, resulting in the production of the 40…………….…. dyes that are now in use.

Question 38:

Answer: water
Supporting sentence: Numerous shades of colour could be achieved, depending on the quality of the dyes, the purity of water
Keyword : colour, dyes, purity, water
Keyword location: paragraph D, lines 2-3
Explanation: Paragraph D ssuggests that unwoven yarn or finished fabric were coloured by dipping them into hot dye solution containers. The standard of the dyes, the purity of the water, and the kind of equipment used (a copper kettle, for example, may impact the colour). The shades of colour may also be impacted by the application of specific metallic salts to create vibrant hues that would not fade in light. These salts were essential to the dyeing process, along with other components like vinegar or ash. Natural dyeing was both an art and a science for textiles. For instance, a number of procedures were required to produce indigo blue's durable, lightfast colour due to its complex chemistry. Turkey Red needed a difficult colouring process.

Question 39:

Answer: light
Supporting sentence: the addition of specific metallic salts to create a strong colour which would not fade in light.
Keyword : metallic salts, strong colour, not fade, light
Keyword location: paragraph D, lines 4-5
Explanation: Lines 4-5 of paragraph D portrays that there are many different shades of colour. Those can be produced depending on the quality of the dyes, the cleanliness of the water, the type of utensils. Those utensils used (using a copper kettle, for example, can change the colour). It also states the use of particular metallic salts to produce a vibrant colour that won't fade in the light. These salts were necessary for the dyeing procedure, along with other additions like vinegar or ash. Natural dyeing for textiles was both an art and a science.

Question 40:

Answer: synthetic
Supporting sentence: Toward the end of the eighteenth century, books were published on the science and philosophy of dyes, thus heralding a period of experimentation, and the creation of a whole new category of synthetic dyes that flourished at the end of the nineteenth century, and continue to be used today.
Keyword : paragraph D, lines 9-13
Keyword location: eighteenth century, creation, synthetic dyes, nineteenth century
Explanation: Last few lines of paragraph D implies that another challenging dyeing procedure was Turkey Red. It was an Indian technique that entailed repeatedly dipping the cloth into milk fats, oils, or dung. A new category of synthetic dyes that flourished towards the end of the nineteenth century and are still used today was created as a result of experiments. It began with the publication of books on the science and philosophy of dyes toward the end of the eighteenth century.