what is overshot supplier

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GAOTON Series 150 Releasing and Circulating Overshot is an external fishing tool for engage, pack off and retrieve tubular fish, especially for fishing drill collar and drill pipe. The grapple of the overshot can be designed for different sizes of fish, so one overshot can be dressed with different size of grapple components for fishing different sizes of fish.

GAOTON Series 150 Overshot consists of three outside parts: Top Sub, Bowl, and Standard Guide. The Basic Overshot may be dressed with either of two sets of internal parts, if the fish diameter is near the maximum catch of the Overshot, a Spiral Grapple, Spiral Grapple Control, and Type “A” Packer are used. If the fish diameter is considerably below maximum catch size (½” or more) a Basket Grapple and a Mill Control Packer are used.

Within those famous China oil and gas overshot manufacturers, GAOTON is a professional such supplier, producer and provider, welcome to wholesale petroleum and oilfield API overshot from our factory.

Tianhe Oil Group Co. Ltd. is a global group. We are specialized in the production of drilling tools, including R&D, production, selling, leasing, maintenance and services. Tianhe has 5 main businesses spread across the globe in more than 50 countries in the world.

Tianhe Oil Group management prioritize its people, technology, continuous improvement and building brand awareness. Our mission is to continuously strive innovation and improvement and expand our business in the oilfield. We increased the investment in technology research and development, always looking to provide our global customers with the best technical products and services.

Tianhe Oil Group strongly believes and promotes Total Quality Management, implements the ISO quality management system, HSE management system and API standards. Our manufacturing facilities are well equipped with four automated induction heat treatment lines and dozens of other types of heat treatment ovens and well furnaces (Box type, well type, carburizing heat treatment furnace) to ensure full coverage of heat treatment required by the different products.

So far, Tianhe Oil Group has established strong business relationships with over 200 international oil & gas companies in supporting the top 50 oil producing countries. For example, we have partnered with Schlumberger, Halliburton, Baker Hughes, Weatherford, Shell, NOV, etc.

As an overpull is applied to the tool, case hardened grapple teeth bite into the fish enabling it to be retrieved. The tool can be released from the fish by flowing through the tool.

Shop for overshot on Alibaba.com to find a variety for every season. Place small orders for individual use or large shipments to sell as a brand. Look for overshot that are designed for long-lasting comfort and trendy style. Each one pairs well with a wide range of other clothes and accessories to make versatile outfits for any occasion. Find different suppliers to help you get just the right price.

Most overshot have short sleeves that make them ideal for keeping cool in warmer weather. Some are designed to have a fashionable appearance, while others are made for athletic wear. Look for garments made of woven fabrics such as cotton when you need something comfortable. Fabrics such as spandex or bamboo allow for flexibility and stretchiness for a better fit.

Most manufacturers of overshot on Alibaba.com allow for a wide array of customization options. Order a shipment with just the right colors and sizes for your needs. Packaging and graphics can be made to order as well, ensuring your clothing will look just the way you want. Some suppliers offer sample shipments to try the product out before placing a full-sized order in the future.

Look for overshot on Alibaba.com to get as many as you need while keeping within your budget. A wide selection of fashionable and athletic versions are available. Whether you need them for yourself or your customers, overshot can be found with the features and styles to suit your tastes.

This post is the third in a series introducing you to common weaving structures. We’ve already looked at plain weave and twill, and this time we’re going to dive into the magic of overshot weaves—a structure that’s very fun to make and creates exciting graphic patterns.

Overshot is a term commonly used to refer to a twill-based type of weaving structure. Perhaps more correctly termed "floatwork" (more on that later), these textiles have a distinctive construction made up of both a plain weave and pattern layer. Requiring two shuttles and at least four shafts, overshot textiles are built using two passes: one weaves a tabby layer and the other weaves a pattern layer, which overshoots or floats, above.

Readers in the United States and Canada may be familiar with overshot textiles through woven coverlets made by early Scottish and English settlers. Using this relatively simple technique, a local professional weaver with a four-shaft loom could easily make a near-infinite variety of equally beautiful and complex patterns. If you’d like to learn more about overshot coverlets and some of the traditions that settlers brought with them, please see my reading list at the bottom of this article!

As it is twill-based, overshot will be very familiar to 4 shaft weavers. It’s made up of a sequence of 2-thread repeats: 1-2, 2-3, 3-4, and 1-4. These sequences can be repeated any number of times to elongate and create lines, curves, and shapes. These 2-thread repeats are often referred to as blocks or threading repeats, IE: 1-2 = block 1/A, 2-3 = block 2/B.

There are three ways weft appears on the face of an overshot cloth: as a solid, half-tone, or blank. In the draft image I’ve shared here, you can see an example of each—the solid is in circled in blue, the half-tone in red, and the blank yellow. Pressing down the first treadle (shafts 1 and 2), for example, creates solid tones everywhere there are threads on shafts 1 and 2, half-tones where there is a 1 or 2 paired with 3 or 4, and nothing on the opposite block, shafts 3 and 4. Of course, there’s not really nothing—the thread is simply traveling on the back of the cloth, creating a reverse of what’s on the face.

Because overshot sequences are always made up of alternating shafts, plain weave can be woven by tying two treadles to lift or lower shafts 1-3 and 2-4. When I weave two-shuttle weaves like overshot, I generally put my tabby treadles to the right and treadle my pattern picks with my left foot and my tabby with my right. In the draft image I’ve shared above, I’ve omitted the tabby picks to make the overarching pattern clearer and easier to read. Below is a draft image that includes the tabby picks to show the structure of the fabric.

Traditional overshot coverlets used cotton or linen for warp and plain weave wefts, and wool pattern wefts—but there’s no rule saying you have to stick to that! In the two overshot patterns I’ve written for Gist, I used both Mallo and Beam as my pattern wefts.

In the Tidal Towels, a very simple overshot threading creates an undulating wave motif across the project. It’s easy and repetitive to thread, and since the overshot section is relatively short, it’s an easy way to get a feel for the technique.

The Bloom Table Squares are designed to introduce you to a slightly more complex threading—but in a short, easy-to-read motif. When I was a new weaver, one of the most challenging things was reading and keeping track of overshot threading and treadling—but I’ve tried to make it easy to practice through this narrow and quick project.

Overshot works best with a pattern weft that 2-4 times larger than your plain weave ground, but I haven’t always followed that rule, and I encourage you to sample and test your own wefts to see how they look! In the samples I wove for this article, I used 8/2 Un-Mercerized Cotton weaving yarn in Beige for my plain weave, and Duet in Rust, Mallo in Brick, and Beam in Blush for my pattern wefts.

The Bloom Table Squares are an excellent example of what weavers usually mean when they talk about traditional overshot or colonial overshot, but I prefer to use the term "floatwork" when talking about overshot. I learned this from the fantastic weaver and textile historian Deborah Livingston-Lowe of Upper Canada Weaving. Having researched the technique thoroughly for her MA thesis, Deborah found that the term "overshot" originated sometime in the 1930s and that historical records variably called these weaves "single coverlets’ or ‘shotover designs.’ Deborah settled on the term "floatwork" to speak about these textiles since it provides a more accurate description of what’s happening in the cloth, and it’s one that I’ve since adopted.

Long out of print, this fabulous book covers the Burnham’s extensive collection of early settler textiles from across Canada, including basic threading drafts and valuable information about professional weavers, tools, and history.

This book contains the collected drafts and work of Frances L. Goodrich, whose interest in coverlets was sparked when a neighbor gifted her one in the 1890s. Full of charming hand-painted drafts, this book offers a glimpse into North Carolina’s weaving traditions.

Amanda Ratajis an artist and weaver living and working in Hamilton, Ontario. She studied at the Ontario College of Art and Design University and has developed her contemporary craft practice through research-based projects, artist residencies, professional exhibitions, and lectures. Subscribe to herstudio newsletteror follow her onInstagramto learn about new weaving patterns, exhibitions, projects, and more.

As with all DeviGyro based survey solutions, quick, comprehensive, high precision, continuous surveying is made possible with the DeviGyro Overshot Xpress (OX). With the added ability to retrieve the core tube during the survey, the OX truly enables surveying to become a part of the drilling cycle and therefore increasing overall drilling productivity.

In combination with the DeviCounter, the OX performs continuous surveys at speeds of up to 100 m/min. Survey data is recorded at a sample rate of 10 shots per second, both while the instrument is lowered down the drill string to attach to the core tube, and while in the process of retrieving the core tube to the collar. Effectively completing 2 independent survey runs as per the Devico standard, to provide additional quality control.

At the completion of each survey all data is passed through an automatic, stringent, at-rig QA/QC process with a comprehensive pass/fail criteria, quickly providing the operator with full awareness of the survey results, and drill hole position. Equipped for the next step in the drilling process.

Though the OX is the ideal borehole surveying solution for both surface and underground diamond core drilling applications, its short 1.2m length eases overall handling and therefore makes it especially beneficial for surveying underground and in other confined space environments.

As with all DeviGyro based survey solutions, quick, comprehensive, high precision, continuous surveying is made possible with the DeviGyro Overshot Xpress (OX). With the added ability to retrieve the core tube during the survey, the OX truly enables surveying to become a part of the drilling cycle and therefore increasing overall drilling productivity.

In combination with the DeviCounter, the OX performs continuous surveys at speeds of up to 100 m/min. Survey data is recorded at a sample rate of 10 shots per second, both while the instrument is lowered down the drill string to attach to the core tube, and while in the process of retrieving the core tube to the collar. Effectively completing 2 independent survey runs as per the Devico standard, to provide additional quality control.

At the completion of each survey all data is passed through an automatic, stringent, at-rig QA/QC process with a comprehensive pass/fail criteria, quickly providing the operator with full awareness of the survey results, and drill hole position. Equipped for the next step in the drilling process.

Though the OX is the ideal borehole surveying solution for both surface and underground diamond core drilling applications, its short 1.2m length eases overall handling and therefore makes it especially beneficial for surveying underground and in other confined space environments.

After returning from a fabulous time at the New England Weavers Seminar in July, I found myself rewriting the beginning of this article. I was so lucky to spend two days in a round-robin style class taught by Marjie Thompson entitled 18th & 19th Century High Fashion for the Middle Class. To say that Marjie knows an extraordinary amount about historic textiles seems to be an understatement. Oh, to have an hour swimming about in her brain!

There were ten of us in the class, and we rotated, weaving a new sample at each loom. Marjie shared her knowledge of the patterns we sampled, and I came away with an even greater interest in this subject in addition to a binder filled with samples. There really is no greater way to learn than a hands-on workshop. I am already preparing to wind a warp for a dimity project. I’ll keep you posted on my progress.

One interesting piece of information I learned is that overshot is a fairly modern term. Originally this type of weaving would have been referred to as floats or floatwork. It seems that many people are returning to this original terminology, though the weaving world has thus far shown little interest in making the change back. Personally, I like it. Floatwork sounds a bit less frenetic than overshot – as though I’m peacefully hitting my mark rather than missing it in a wild fashion.

Until recently, my floatwork experience was limited to one project. This was created using Cascade 220 back in April 2008. The pattern is Leaves on p. 118 of The Handweaver’s Pattern Directory by Anne Dixon. I was criticized for having floats that were too long and would easily snag, but I loved my fabric. I turned it into a little tote that fit perfectly into my bike basket and never experienced a snag. Thankfully I took a photo back then, as the bag is currently in storage and missing the bike paths of Boulder.

When I first considered writing this article, I wasn’t confident enough with my weaving vocabulary to write something that a true beginner might actually understand. The information out there assumed, and still assumes, a certain level of weaving knowledge. I learn best by seeing something demonstrated, not by trying to translate written instructions. So how does one write an article for people like me? Let’s start with some basic terminology.

Floatwork, formerly known as overshot which was originally known as floatwork, is a block design traditionally woven on four shafts where a heavier pattern yarn floats above a plain weave ground cloth and creates a raised pattern. Your plain weave background cloth is woven using a finer yarn in your warp and in every other weft pick (these weft picks being the ‘use tabby’ part of your pattern.)

This finer yarn is hidden in places by the thicker yarn floats, blended in places with the thicker yarn (as plain weave) creating areas that are shaded (referred to as halftone), and woven across itself to create delicate areas of plain weave. Most of us think of antique coverlets when we hear ‘overshot.’

Back to business. Tabby is a plain weave pick that anchors your pattern pick in place. When weaving floatwork, every other weft pick is tabby. Your pattern pick needs the tabby pick to stabilize the cloth and keep the pattern picks from becoming distorted. This also means that you are working with two shuttles, one holding your tabby yarn and one holding your pattern yarn. This two-shuttle thing can be a bit awward at first, but you’ll get the hang of it with a little practice.

Initially, the concept of a block was the toughest one for me to grasp because I was looking at the pattern as a complete unit rather than a combination of units. The block is simply a unit or part of a particular pattern in the shape of a rectangle or a square. There are usually at least four threads in a block, two pattern and two tabby. So you treadle the same pattern pick two or more times in sequence (alternating with your anchoring tabby picks) to create a solid shape in your pattern. Think about coloring in graph paper. If you color in four squares in a row, it just looks like a thick line, right?

But if you color in four squares in a row directly on top of the first four squares to create an eight square rectangle, suddenly you have something that stands out on the page. This is your block, and of course it can be some number of threads wider and longer to create various shapes. Keep in mind how you plan to use your fabric and plan your blocks accordingly. In other words, manage your float length.

Here is the thing about floatwork that really helped it to make sense for me. It is basically a twill weave. As Mary Black puts it, “An examination of an overshot draft shows it to be made up of a repetitive sequence of the 1 and 2, 2 and 3, 3 and 4, and 4 and 1 twill blocks”.

Let’s look at the pattern picks only. When weaving, your pattern blocks should overlap by one thread. This creates a pattern that flows from unit to unit instead of making a sharp step. It also means that the last thread of a given block is the first thread of the next block, and as you are initially threading your loom, your threads will move from odd shaft to even shaft.

Choosing yarns to weave floatwork can be challenging. Generally speaking you want your pattern yarn to be about twice the diameter, or grist, of your tabby/warp yarn. Your tabby yarn and your warp yarn are generally the same yarn. I say generally because I can see so many non-traditional ways to weave floatwork that involve breaking the rules. Imagine, for example, taking a small part of a given pattern and blowing it up to a massive scale to do a wall hanging or using three different yarns to create a completely different visual experience!

When choosing your yarns, you can always search online to see what other folks have used successfully. Ravelry.com, Weavolution.com and Weavezine.com are all good places to start. You could also double your tabby yarn to create a pattern yarn. I did this with my bike basket, using a different colorway to create the contrast. And of course there is our friend the sample. Pick a warp and experiment with your weft.

When treadling a block pattern with tabby picks, I find it helpful to tie my tabby treadles on one side and my pattern treadles on the other. This way you can dance back and forth from left to right as the treadling sequence is always going to be pattern-tabby-pattern-tabby. It feels more like walking or pedaling a bicycle to alternate in this manner.

Probably the trickier part of treadling is keeping track of where you are in the sequence. Like many traditional floatwork patterns, the pattern I used is meant to be woven tromp as writ or as drawn in. This means that your treadling is the same as your threading. So if your threading is 1-2-1-2-3-2-3-4, then your pattern picks are treadled 1-2-1-2-3-2-3-4. You will be throwing tabby picks after each pattern pick, so your actual treadling looks like (inthis example let’s consider your tabby picks to be ‘a’ and ‘b’) 1-a-2-b-1-a-2-b-3-a-2-b-3-a-4-b. If this looks a bit intimidating, don’t fret. At first it might feel that way, but the pattern really does start to make sense after you get going.

In the case of my draft, the threading sequence is 134 threads long. This is a lot to remember, but I used an index card to write out the sequence. I marked my place by sliding a second card down the pattern as I progressed, keeping it in place with a paperclip.

It is most helpful not to wind too much of your cloth onto the cloth beam when advancing your warp so that you have a little shelf to hold the shuttle not in use.

I used a pattern from Mary Meigs Atwater’s Shuttle-Craft book listed in the Resources section. The draft is No. 18 Name Unknown and is on various pages depending on which printing of the book you have. (See the Resources section on the next page for an image of the draft.)

You can find it listed in the chapter or sub-chapter entitled ‘Notes on the Overshot Drafts.’ As someone who generally cheers on the underdog, I was drawn to this pattern without a name.

Atwater’s patterns are written for a sinking shed loom. For a rising shed loom, like the Baby Wolf I used, simply tie up the shafts left blank in the draft instead of the shafts she tells you to tie up. For all of her traditional floatwork patterns, including the pattern I used, this tie-up would be 3-4, 1-4, 1-2, 2-3. Your tabby tie up should be 1-3 and 2-4.

No. 18 Name Unknown is woven tromp as writ, as I mentioned earlier. Weave it in the order it’s threaded, alternating each pattern pick with a tabby pick. Your pattern shuttle will hold the thicker yarn and your tabby shuttle will hold the finer yarn that was also used in your warp.

I washed this in my front-loading washing machine on the wool setting and air-dried it on the clothesline. There was a note in the book that No. 18 Name Unknown, and its friend No. 17, are “plain patterns and suitable for couch covers or the coverlet for a man’s room, rather than for more frivolous purposes”. Perfect. I’m not much for frivolous, and I had been looking for the perfect fabric to re-cover an old chair.

Here is a list of books and magazines that might be of interest if you’d like to learn more about floatwork/overshot. Many of these references include patterns in addition to thorough instructions.

Atwater, Mary Meigs. The Shuttle-Craft Book of American Handweaving. New York: The Macmillan Company, 1928. Just scored a first edition on ebay for $9! I now have three copies and am seriously in love with this book (taken with a grain of salt as she is rather traditional.)

If you can find this issue anywhere, I’d recommend picking it up. It’s full of great information on historic weaving, but also has a super article on understanding and writing drafts by Debbie Redding (aka Deborah Chandler).

If you have a particular interest in old coverlets, Eliza Calvert Hall’s A Book of Hand-Woven Coverlets and The Coverlet Book by Helene Bress are both interesting resources, the later being particularly thorough. I can only imagine the time and research that went into this pair of tomes. And if you are simply looking for patterns, The Handweaver’s Pattern Book by Marguerite Porter Davison and The Handweaver’s Pattern Directory by Anne Dixon are just for you.

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