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Produktbild: The Art of Weaving

The Art of Weaving Master the Techniques, Understand the Weave Structures, Create Your Own Designs

Aus der Reihe Stackpole Books GPQ

43,99 €

inkl. gesetzl. MwSt., Versandkostenfrei

Beschreibung

Produktdetails

Verkaufsrang

11807

Einband

Gebundene Ausgabe

Erscheinungsdatum

01.08.2023

Abbildungen

750 Illustrations, color

Verlag

Stackpole Books

Seitenzahl

284

Maße (L/B/H)

28,3/22/2,3 cm

Gewicht

1268 g

Sprache

Englisch

ISBN

978-0-8117-7184-9

Beschreibung

Produktdetails

Verkaufsrang

11807

Einband

Gebundene Ausgabe

Erscheinungsdatum

01.08.2023

Abbildungen

750 Illustrations, color

Verlag

Stackpole Books

Seitenzahl

284

Maße (L/B/H)

28,3/22/2,3 cm

Gewicht

1268 g

Sprache

Englisch

ISBN

978-0-8117-7184-9

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: The Art of Weaving
  • Table of Contents

    Foreword

    PART ONE

    SETTING THE SCENE TO WEAVE

    1 THE MAIN CHARACTERS: THE LOOM, THE TOOLS, THE MATERIALS

    Which Loom is Right for You?

    Anatomy of a Loom

    Tools

    Yarns

    Natural Fibers

    Man-Made Fibers

    2FABRICS: BEHIND THE SCENES

    What Is the Intended Use?

    Which Yarn Should I Choose?

    Characteristics of Different Yarns

    Yarn Count

    The Influence of Colors: the Lighting Designer at Work

    Which Weave Structure Should I Choose?

    The Basics

    The Three Components of a Structure

    The Three Basic Structures

    What Should the Density Be? Do I Need to Make a Sample?

    Calculating Density

    Making Samples: the Dress Rehearsal

    The Reed: the Tool to Get the Density You Want

    What Size Should It Be?

    3THE READING AND WRITING OF WEAVING: STAGE LEFT THEN STAGE RIGHT

    How to Read and Understand Threading, Treadling and Tie-Up Drafts

    Threading

    Treadling

    Tying Up the Treadles

    The Drawdown

    Connections Between the Draft and the Loom, or How to Dress Your Loom

    A Plot Twist? New Notations

    Tying Up Treadles: a 14-Letter Alphabet

    Writing and “Weaving” on Paper: Creating the Script

    Act One: Drawing the Drawdown of a Draft

    Act Two: Inventing Your Own Fabric and Writing It Out

    Weaving Software

    4STAGING WITHOUT STAGE FRIGHT: DRESSING THE LOOM

    The Script: Project Record Sheets

    Winding the Warp: Preparing the Yarn

    Warp Width

    Warp Length

    Projected Amount of Yarn Needed for Warp and Weft

    Warp Color Order Charts

    The Warping Board, an Essential Tool for Length, Tension and the Cross

    Preparing the Equipment

    Counting Heddles on the Loom According to the Threading

    Backstage, Each Accessory in its Place

    Setting up the Raddle and “Raddling” the Warp

    Beaming the Warp: Quiet on Set… We’re Rolling!

    Warp Sticks

    Weights

    A Few Comments

    End of the Act

    Heavens, the Cross Has Disappeared!!!

    Tightening Loose Warp Ends

    Threading

    A Comfortable Position is a Treasure Worth Seeking

    A Bit of Method to Become More Efficient

    Now for a Little Dexterity

    Mistakes May Happen

    Sleying the Reed: Each Thread in Its Place

    Method, Attention, Precision!

    Going over Your Reed with a Fine Tooth Comb

    Tying the Warp to the Cloth Beam

    Tying Up the Treadles: the Stagehand at Work

    In Which the Weaver Becomes a “Dresser”

    Drum Roll Please! The Countermarch Loom

    Having a Good Treadle Stroke

    A Short, Well-Thought-Out Summary

    A Final Fine-Tuning: Adjusting the Shafts, the Reed and Other Mechanisms

    To Conclude, Some Encouragement

    5AND NOW, TO THE STAGE: LET THE WEAVING BEGIN!

    The Entrance: Before the First Warps

    Filling the Shuttle

    The « Half-Dozen » Picks

    The Paris Stitch and Hemming

    Time to Perform: Weaving at Last!

    The Song of the Silk Weavers

    Beating Pressure

    Perfect Edges

    Minimal Shrinkage

    Advancing the Weaving Every 1 to 2 Inches

    Debriefing on Set in 5 minutes!

    Winding onto the Cloth Beam

    Always Pay Attention to Warp Tension

    The Conclusion: Finishing the Weaving

    Different Ways to Finish Your Weaving: the Final Bow

    A Last Curtain Call: We Keep On Weaving

    In the Limelight: Mistakes to Correct, Tips and Tricks

    Before Starting to Weave

    After the First Picks

    While Weaving: What to Do When…

    By Way of Conclusion

    PART TWO

    THE MELODY OF WEAVING: STRUCTURES

    6BASIC WEAVE STRUCTURES: PERFECT HARMONY

    Dynamic Plain Weave

    Plain Weave Fabrics

    Let’s Review: Plain Weave Explained

    How is Plain Weave Made?

    Welcome Creativity with Method

    Stripes, Plaid, Log Cabin and Other Color Effects

    Supplementary Yarn, Interchanging Warp and Other Manipulations

    By Way of Conclusion

    Plain Weave Derivatives : Changing the Tempo

    Derivatives Due to Number of Threads

    Derivatives Due to Density : the Rep Family

    Twill

    Prelude: Some Definitions

    Tie Up: the Conductor Sets the Rhythm

    First Concert: Suite of Chevron Threadings on 4 Shafts

    Intermission! A Few Clarifications to Stay in Harmony

    A Polyphony of Threading: Twill Gamp or Patchwork

    An Interlude Suggested by William G. Bateman

    The Orchestra is Growing: Twill on an 8-Shaft Loom!

    Undulating Twill: New Vocalizations

    Plaited Twills: the Weaver’s Braid

    Twill in Weft-Faced Rep: A Key Change

    Threading, Tie-Up, Treadling: Some Points of Reference

    To Your Instruments: First Picks in G major

    When the Question of Density Comes Up Again and Again

    Finishing the Ends: the Final Arrangements

    Satin

    Creating a Satin Without Cacophony

    Weaving a Satin: Precious and Prized

    Mastering a Satin

    7 A PROLIFERATION OF STRUCTURES: THE ORCHESTRA DIVERSIFIES

    A Concert of Compound Structures

    Summer and Winter: the Two Seasons of a Weaver

    Overshot and Monk’s Belt: Playing in Major or Minor Key

    Interlude with Lace Structures

    Huck Lace

    Bronson Lace

    Other Laces

    Bead Leno

    Fugues with Deflected Structures

    Waffle Weave

    Honeycomb Weave

    Deflected Doubleweave

    Doubleweave: Doing the Two-Step

    Theory on 4 Shafts: A Little Sight Reading

    Double-Width or Tubular Fabric

    With 8 or More Shafts, the Second Movement

    Theo Moorman: One More for the Road

    A Bit of Technique

    Inlays

    Taking It Just a Bit Farther

    PART THREE

    TAKING A GIANT LEAP

    8LOOKING AT THE BIGGER PICTURE, SKETCHING YOUR DESIGN

    Drawing a Profile Draft

    A Few Definitions

    First Duet: Profile Draft and Blocks

    The Choreography Falls into Place

    Analyzing Fabrics

    A Few Warm-Up Exercises

    A New Set Design

    Weaving Software: Switching Roles

    Look Around You to Find Inspiration

    Choose Your Ballet Master

    Dance Like No One Is Watching

    Build Up Your Knowledge of Choreography

    9DETAILS THAT CHANGE EVERYTHING, MASTERY BECOMES POSSIBLE

    Changing the Threading

    Memorizing a Complex Treadling by Creating Codes

    Installing Supplementary Warp and Rotating the Weaving Draft

    Tying Up a Countermarch Loom

    The Skeleton

    The Network and the Initials Method

    The Principle

    Building the Complete Draft Step by Step

    CONCLUSION

    APPENDICES

    Glossary

    French/English Lexicon

    Technical Sheet

    Imperial and Metric Equivalents

    Equivalents for combing between the imperial and the metric system

    Imperial to Metric Titration Equivalencies277

    Composition of threads and burn test278

    Bibliography280

    Suppliers, Partners and Resource Centers283

    Index287