Non-rectilinear warp faced technique in which the warp threads are manipulated on the horizontal axis in quantity moving them away row by row and then joining them again to produce simple figures of rhomboids or zigzags.
Non-rectilinear warp face technique in which the warp threads are manipulated on the horizontal axis one by one, moving them away row by row and then joining them again to rpoduce simple figures of rhomboids or zigzags. This technique is common in bags from the Middle Horizon onwards.
Non-rectilinear warp faced technique in which the crossed warp threads are manipulated on the horizontal axis in quantity and then with multiple interlaced wefts. This technique was used to elaborate the huinchas of the Wari Kayan necropolis and others in Paracas. Occasionally it is known as 'oblique interlacing'. It can be elaborated on a simple loom with a fixed pole for the warp turns and the other end attached to the waist. The loom has a single heddle and can be elaborated tying the warp threads with a rope that is held in place by the big toe.
Non-rectilinear warp face technique in which the crossed warp threads are manipulated on the horizontal axis and then with multiple interlaced wefts. It can be elaborated on a simple loom with a fixed pole for the warp turns and the other end attached to the waist. The loom has a single heddle.
Knotting technique elaborated without a loom, from interknotted elements. Interknotting techniques are also called macramé, a term of Arabic origin that means fringes, especially a fringe of knotted threads. By extension, the term macramé refers to any structure with a set of elements without differentiation, that are worked through knotting.
Technique which refers to the simplest form of interlacing the warp with the weft in a plain weave. This can be varied by modifying the spacing, flexibility and the thickness of the warp and weft threads, or by grouping these elements in new units, without varying the simple alternation that defines the plain weave. Tese variants include warp face, when the spacing of the warp threads predominates over those of the weft, and weft face, when the spacing of the weft threads predominates over those of the warp. It also includes the variants of taffeta, linen, etc.
In warp face, method of producing a speckled effect through structure and counting, for example in a warp structure of 1 or 2, when the warp threads of two highly contrasting colours are intercalated in a count of 2|1.
In warp face method of producing a speckled effect by manipulating the warp threads, when these are composed of strands of two or more contrasting colours.
Method of producing an 'irridescent' or 'dove breast' effect, with a warp structure of 1, and the use of warp threads of one colour and weft threads of another contrasting colour.
Simple rectilinear warp face technique with a warp structure of 1 and a pattern of narrow coloured fringes, and in which a single weft is used in its elaboration.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection. This complex variant is elaborated with a textile structure of three to eight layers, and with a single weft. It usually has a single clear face on the cloth.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection. This complex variant is elaborated with a textile structure of 3 to 8 layers and with one wrapping weft.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection. This complex variant is elaborated with a textile structure of 3 to 8 layers, and with two wefts so as to create two clear faces in the cloth.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection. This simple variant is elaborated with a textile structure of only two warps, and with a single weft.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection. This simple variant is elaborated with a textile structure of only two warps and a single wrapping weft.
Rectilinear warp faced technique in which two levels or layers of the warp are woven simultaneously, without applying counting techniques of selection and reselection. This simple variant is elaborated with a textile structure of just two warps and with two wefts, so as to produce two clear faces in the cloth.
Sprang technique elaborated without a loom from interacting elements. It has the following forms: simple, double and multiple of oblique intercrossings.
One of the warp face techniques with simple and multiple forms. In this case, the directionality of the weft is worked in two directions simultaneously, wrapping the warp threads with turns to the right and left, although the dominant relationship between the weft on one axis and the warp on the other does not change. Given that the weft is always moving forward more than the counter-movements backwards, the reach of the forward movement is always greater than the movement backwards, which results in two different faces in the cloth. Like braiding technique, weft twining is a manual process that can be done on a simple weave with a single weft and a single warp or in a compound weave where there is a system of supplementary wefts. In one of the variations on this technique the angle of twining is changed on each row, in the so-called counter-technique of weft twining. As a result, the two faces of the cloth are very different: one is a type of repp, and the other looks like a stocking stich, in a horizontal form.
Most basic version of weft twining, when the weft crosses above (or below) two or more warp threads and then returns below (or above) half of this quantity, in a system of above-2, back, below-1. This movement is associated with that of braided borders and also with the construction of carpets known as 'Soumaki'.
Warp face technique elaborated without a loom, from elements that interact, that is also called 'warp twining' and is connected to gauze techniques. In this case the directionality of the warp is worked in two directions simultaneously, wrapping the weft threads with turns to the left and right, although the dominant relationship between the warp on one axis and the weft on the other does not change. Given that the warp is always moving forward more than the reverse counter-movements, the reach of the forward movement is always greater that the reverse movement, resulting in the textile having two different faces. The loom is developed with a tablet or board rather than using the heddles of a conventional loom. The boards are given a turn to the right and to the left to elaborate the technique.
Weft face(d) is used to describe a type of weave in which the density of the weft threads exceeds the density of the warp threads and hence hide them. The techniques for weft face centre on the selection of weft threads often with the use of discontinuous wefts, to create different areas of colour, texture and figures. It has been possible to develop very fine textiles of great prestige with a very clear iconography. In the Inka period larger weft face pieces were elaborated on vertical looms, in which the tension of the warp was controlled with weights. There are differences of opinion about which of the weft face techniques constitutes tapestry techniques.
