Textile technique producing weaves in which the density of warp threads exceeds that of the weft threads and hence they hide them. The textile design which is seen in the upper face is determined by the colours of the visible threads, which in this case are the warp threads because of their greater density. They include examples with a rectilinear structure (selected and reselected) and a non-rectilineal one (oblique interlacing, crossed warp and transposed warp).
Technique that produces a balanced weave whose characteristic is that the spacing of the warp and weft are equal, with an interlacing of 1/1. It is also known as as technique for warp face and balanced weft.
In the plain weave of balanced form, technique whose warp and weft elements combine with the same spacing and each set is identical or equal in thickness and flexibility. The term is generally used to refer to traditional cloths of rustic baize or the recent semi-industrial or industrial cloths (sacaña) that show this feature.
Balanced technique woven on a loom whose points of interlacing are displaced in each pass producing a visual image of diagonal lines. Its structural module is achieved with a minimum of 3 threads and three passes.
Technique who main feature is the formations of crosses (the so-called 'gauze cross') in which the alternate warp threads are crossed and recrossed to return to their original position after the passage of the weft to secure this cross and to achieve the open work. The crosses are preserved with each pass of the weft and have to keep changing direction to avoid the torsion of the surface.
Technique produced with a single thread of determinate length, which is worked in the form of a mesh in defined and repeated intervals. The mesh structure is based on a horizontal element whose continuous knitting together forms rows which create the surface of the cloth. Mesh techniques are grouped into three blocks: linking, looping and knotting.
Mesh technique elaborated without a loom from a single element, in a system of interrelationship to produce a determinate genre through knotting techniques elaborated with a small hook.
Mesh technique elaborated without a loom from a single element, in a system of interrelationship to produce a determinate genre through knotting techniques elaborated with a crochet hook.
Mesh technique elaborated without a loom from a single element, in a system of interrelationship to produce a determinate genre through looping techniques elaborated with a crochet hook.
Mesh or crochet technique made without a loom from a single piece, in a system of interrelations to produce a determinate genre through techniques of twined point elaborated with a hook.
Structural effect in textile elaboration to produce a speckled or irridescent effect, applied in plain techniques. It can be applied through warp and weft effects, by the colour of the fibre or wool, by the warp thread and the form in which it was spun, or by counting the warp threads.
Technique carried out with the set of elements equivalent to the warp, stretched between cross poles (or small rods) at each end. In the Andean context, the term 'sprang' includes techniques of interlacing and also oblique interlacing and oblique twining. In all these cases the warp elements are worked without recourse to a loom. In the case of sprang techniques a simple frame with two poles at each end, without a loom.
Technique in which the figures are produced by the addition of supplementary elements, generally weft threads, by needle stitches in particular areas, during the process of weaving.
Technique in which figures are produced often by adding supplementary weft elements, during the process of weaving, but in which these additional weft threads are worked only in restricted areas and not from one selvage of the cloth to another. Historically the term brocade referred to silk cloths with the use of silver or gold threads. It is also usual to apply the term those fabrics in which highly elaborate figures are produced during the process of weaving.
Plain technique of rectinear tapestry making equivalent to warp faced tapestry in plain weave with repps. This is more characteristic of the textile techniques of the highlands rather than those of the coast, where there is more use of split tapestry because of the heat.
Solid technique of plain tapestry making, which has has the following variants: worked or interlocking, dovetailed or intertwined and with partial wrapping of the warp thread.
Technique which comes in two varieties: simple interlocking and double. The first is produced when the weft threads of contiguous areas interlock with each pass of the weft, and the second when the interlocking is generated with each passage from left to right and again from right to left. This is distinguished by having two dissimilar faces in the tapestry.
Weft faced or tapestry technique in which the threads of both the warp and the weft are discontinuous thus producing a change of colour and figuration in different parts of the cloth. This technique has to be set up on the loom with additional sets of poles and stakes and with a scaffolding, for example of threads or small sticks, where the two sets of warp and weft meet.
Plain tapestry technique in which the alternating weft threads of contiguous areas are doubled round the warp thread they have in common. The term 'dovetail' in this case refers to teh structural feature of the limits between the contigious areas. If the weft threads of one area and another are doubled in alternate form round the common warp thread, this is called 'simple dovetail'.
