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.
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.
