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Casket Interior > Interior Materials and Styles > Flashcards

Interior Materials and Styles Flashcards

1
Q

This is highly visible and subject to scrutiny. It is highly probable that, aside from financial concerns, a family’s buying decision will be greatly influenced by this.

A

The Interior of the Casket

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2
Q

Depending on the specific style, this the the amount of textiles that may be used to complete the casket lining.

A

Anywhere from 12 to 15 Yards

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3
Q
  • Crepe
  • Velvet
  • Satin
  • Linen and linen weaves
  • Twill weaves
  • Muslin
  • Silk
  • Rayon
  • Metallic cloth
  • Taffeta
A

Most Commonly Employed Textiles

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4
Q

Made from the web of a silkworm, and is similar to satin in appearance. May be reproduced synthetically.

A

Silk

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5
Q

Made from celluose (cellulose is a fiber from the walls of cell plants).

A

Rayon

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6
Q

Any material which contains thin metal thread as part of the design.

A

Metallic Cloth

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7
Q

A crisp, shiney material with a smooth, plain texture.

A

Taffeta

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8
Q

A word derived from the Latin for “crisp.” A thin, crinkled cloth of silk, rayon, cotton, or wool.

  • Most contemporary manufacturers use rayon or cotton/polyester blends
  • Very commonly used in lining material
  • Typically found in low-to mid-range caskets.
A

Crepe

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9
Q

A fabric of silk, cotton, and possibly rayon, with a nap.

  • Found mainly in mid-to upper-range caskets
  • Two main types historically- dull-pile and transparent.
  • Several manufacturers are using this made from rayon (appearance of dull-pile) and offers the advantage of being highly wrinkle resistant.
A

Velvet

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10
Q

A plush, downy, soft surface texture.

A

Nap

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11
Q

Fairly thick, has a dull of matte appearance, and is relatively expensive.

A

Dull-Pile Velvet

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12
Q

Light in weight, has a slight sheen, and is slightly transparent.

A

Transparent Velvet

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13
Q

Fabric woven to create a smooth, lustrous face and dull back, and can be made from silk, nylon, rayon, or polyester.

  • Common a few decades ago, quite rare today
  • Most often seen in caskets of lesser quality
A

Satin

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14
Q

A fabric made from flax; noted for its strength, coolness, and luster.

  • A crisp textile, and has a distinctive woven appearance.
A

Linen

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15
Q

An herb, a member of the Linaceae family. Its fibers and seeds are used in textile and food production, and the production of linseed oil and linoleum flooring.

  • Humans utilized this in the form of linen for over 7,000 years (Ancient Egyptians use of linen wrappings in the preparation of the dead).
A

Flax

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16
Q

Woven to look like linen and used as a casket lining material.

  • More common than genuine linen textile
A

Linen Weave

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17
Q

A textile weave in which threads are crossed over one another to give an appearance of diagonal lines in the finished product.

  • Can be made from a number of raw materials
  • Usually seen in lower-priced caskets
A

Twill Weave

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18
Q

A very basic, plain-woven cotton fabric.

  • Most frequently used in the lining of Orthodox Jewish casket or “aaron” and for making burial shrouds.
A

Muslin

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19
Q

The textiles used to line caskets relies heavily on these in order affect their intended style. Without them, the casket interior would lack from and definition. Frequently used materials:

  • Cardboard
  • Plastic
  • Masselin
  • Excelsior
  • Cotton
  • Kapok
  • Wool batting
  • Sisal (Hemp)
  • Other synthetic textiles
A

Backing and Padding Materials

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20
Q

Those which literally back the casket lining, giving it body and support, and include cardboard, masselin, and plastic.

A

Backing Materials

21
Q

Cotton-like in appearance. This material is also used as the flotation device in life-belts. It is made from the fiber of the Ceiba tree which grows in the country of Malaysia.

A

Kapok

22
Q

Thin pressed sheets of wool.

A

Wool Batting

23
Q

Thin rope-like fiber, sometimes called “horse hair.”

A

Sisal (Hemp)

24
Q

Frequently used as backing materials helping to form the cove or roll and cap panels.

A

Cardboard and Thermofromed Plastics

25
Q

Pressed paper in sheet form; it supports the lining materials, particularly in the areas of the hinge cover and body lining, and in some cases, helps conceal the transparency of some lower grade fabrics.

A

Masselin

26
Q

Being used as a backing material more frequently today.

A

Polyester Batting

27
Q

Include excelsior, cotton, polyethylene foam, and spun polyester. They are found in areas where the deceased or purchasing consumer is likely to touch: the bed, pillow, throw, and sometimes the extendover and puffing.

A

Padding Materials

28
Q

Wood that has been shredded into spaghetti-like strings.

A

Excelsior (Wood Wool)

29
Q

Commonly used as padding materials in lower-end caskets.

  • Cost effective and could be seen as advantageous in that they readily absorb stray fluids.
  • Low resiliency and lack of softness
A

Sherdded Paper and Excelsior (Wood Wool)

30
Q

Very soft and has long been used as a padding material in caskets. Highly absorbent.

A

Cotton

31
Q

Polyethylene (closed-cell) foram and spun polyester.

A

Synthetic Materials

32
Q

Can be formed in sheets of varying thickness.

  • Very clean
  • Highly resilient
  • Easy to work with
  • Cost-effective
  • Resistant to a wide range of solvents
A

Polyethylene

33
Q

Resembles cotton candy.

  • Very clean
  • Highly resilient
  • Easy to work with
  • Cost-effective
  • Resistant to a wide range of solvents
A

Spun Polyester

34
Q
  • Shirred
  • Crushed
  • Tufted
  • Tailored
  • Semi-tailored
A

Interior Styles

35
Q

A style in which the material is drawn or gathered in a parallel fashion in a multiple needle head sewing process.

  • Frequently found in low-to mid-range caskets
A

Shirred

36
Q

Closely akin to the method used to obtain a crushed interior. This is a variation of the Shirred interior.

A

Heat Shirred

37
Q

A form of casket interior created by placing the lining material on a metal form, weights added, the material steamed, and then attached to a suitable upholstery (backing) material.

A

Crushed Interior

38
Q

Created by placing a padding material between a lining material and a backing material, with subsequent stiches taken forming small, raised puffs.

  • Usually applied to the better mid- and upper-range caskets.
  • Variations- Carriage and Buscuit
A

Tufted Interior

39
Q

Tufting resembling a diamond-like pattern.

A

Carriage Tufting (Buggy Tufting)

40
Q

Resembles rows of squares.

A

Biscuit Tufting

41
Q

A tightly drawn form of casket interior style.

  • Difficult and somewhat costly to produce
  • Appears plain, simple and dignified
  • More expensive interior style
A

Tailored Interior

42
Q

A combination of a tailored interior with one or more other styles of interior, for effect.

A

Semi-Tailored Interior

43
Q

There exists no hard and fast rule regarding mixing and matching interior styles within the same unit.

  • Throws and Pilows can be reversible when they have a different style applied to each side.
A

Many Caskets Will Incorporate 2 or more Different Interior Styles

44
Q

A removeable and interchangeable item designed to fit into the casket’s cap panel; provides the opportunity for value-added personalization by allowing a family to replace the casket’s stock cap panel with a panel incorporating a theme or motif that reflects the deceased’s faith, occupation, or hobby.

  • Design can be produced and delivered to the funeral home within 48 hours.
A

Specialty Head Panel (Specialty Cap Panel)

45
Q
  • Piping, fluting or pipe organ
  • Cathedral
  • Inset
  • Other miscellaneous materials
A

Ways that the Interior Head Panel May be Decorated

46
Q

The panel material is made into a vertical, or horizontal, hollow, tube-like design. May also be arranged into a “sunray” design.

A

Piping (Fluting, Pipe Organ)

47
Q

A design which has a layered effect, using several layers of material.

A

Cathedral

48
Q

A picture is used in the head panel. The Last Supper is often used for this.

A

Inset

49
Q

Fringe, Drapes, and satin or velvet rope.

A

Other Miscellaneous Material

Casket Interior (2 decks)

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