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'.
Plain tapestry technique in which a structure of discontinuous warp threads combines with discontinuous weft threads to create areas of solid figures and colour in plain weave.
Split tapestry technique with smaller splits than in the techniques with large splits, and in which the use of discontinuous weft threads produces areas of colour or texture, with insertions, of various forms, sizes and uses.
Technique of non-rectilinear tapestry making in which the discontinuous wefts do not interlock for various successive passes, producing an opening in the vertical direction; this is produced when each weft is doubled round a warp thread of its own area, this lack of lateral connection resulting in splits across the vertical or diagonal limits between areas, and when these limits are extensive, the split is more evident. This use of splits is characteristic of archaeological textiles fom the coast, in the clothing of warm climates. In other cases the splits have been sewn subsequently.
Split tapestry technique with splits or holes larger than in the buttonhole techniques and in which the use of discontinuous weft threads produces areas of colour or texture with insertions of various forms, sizes and uses. At times the term 'killim' is used as synomym for 'split tapestry' but this term refers more correctly to rugs elaborated in tapestry technique.
Technique based on system of warp threads that intertwine with each other. In the plaiting technique a single set of elements is manipulated applying to it oblique intertwining technique. Three vertical elements or threads are normally used to produce ropes for everyday use (e.g. the panuqa). In this case it involves a type of plain braiding and multiple strands, in which each strand is twining once before returning in the opposite direction. In the case of Andean slings with their more three dimensional form, a minimum of four strands is used. This quantity is quadrupled to produce the more complex techniques for thick slings.
Rectilinear warp faced textile technique which derives froma structure of only one or two warp layers, in which the intercalation of different colours occurs in distinct rows in the weft, and in which each row is of a single colour.
Non-rectilinear warp faced technique applied in the finishing of edging and also in the elaboration of tubular laces, with simple variants with fewer colours and complex ones with more. In the case of the finishing, the tubular form is joined to the selvages of one weave with a weft that is manipulated with a needle and spiral pattern. To produce the designs the active coloured threads are worked, letting the rest of the coloured threads go, to pick them up later. In the complex cases a system of heddles is also used.
Generic designation to refer to all those technological aspects related to textile production. It refers above all to the developments in the construction and complexity of the loom, its equipment and instruments, and the improvements that are developed in the production of a cloth.
In warp faced weaves, the process of applying textile techniques to the structure of the warp already set up on the loom, by manipulating techniques of selection and counting of the warp threads, or alternatively the techniques of double weave. By contrast, in weft faced weaves the weft threads are manipulated to create blocks of design.
Cloth woven in non-rectilinear warp faced weave assembled in a simple heddle loom, characterized by the interlocking shapes of the warp yarns in the form of diamonds, interlaced braids, zigzags and chevrons.
Non-rectilinear warp faced weave or cloth elaborated by interlacing its elements in oblique form. The emphasis on the horizontal axis generated by these techniques is expressed in motifs of rhomboids, zigzags or plaiting of the weave.
Weave in which the spacing of the warp threads over the weft threads predominates to the point of hiding them, thus achieving a striated effect on the horizontal.
Fine plain cloth made from loom with weft faced weave in an open plain tapestry type. In the Inka and colonial periods vertical looms were used, in which the weave was pulled back by stone weights. Often results in textiles with remarkable designs, both in the quality of execution and colour pattern.
