Woven textile design

225 Pages·2014·74.219 MB·English

by  Ridsdale, Eleanor, Shenton, Jan

WOVEN
TEXTILE
DESIGN
JAN SHENTON
Published in 2014 by
Laurence King Publishing Ltd
361–373 City Road
London EC1V 1LR
Tel: [phone]
Fax: [phone]
e-mail: [email protected]
www.laurenceking.com
© text 2014 Jan Shenton
Jan Shenton has asserted her right
under the Copyright, Designs and
Patent Act 1988, to be identifi ed as
the Author of this Work.
All rights reserved. No part of this
publication may be reproduced or
transmitted in any form or by any
means, electronic or mechanical,
including photocopy, recording, or
any information storage or retrieval
system, without permission in
writing from the publisher.
ISBN: 978 1 78067 337 0
A catalogue record for this book is
available from the British Library.
Design by Eleanor Ridsdale
Senior editor: Sophie Wise
Printed in China
LAURENCE KING PUBLISHING
WOVEN
TEXTILE
DESIGN
JAN SHENTON

CONTENTS
INTRODUCTION 6 Single-end distortions 107
Creating a diagonal line across the weave 112
CHAPTER 1:
PREPARATION FOR DESIGN 8 CHAPTER 6:
The loom 11 TEXTURED WEAVES 116
Warp information 14 Honeycomb (waffl e weave) 118
The warping plan 16 Mock leno 124
Spreading the warp onto the beam 17 Creating patterns with mock leno 130
The threading plan 18 Seersucker 132
The reed plan 19 Crêpe weaves 136
The lifting plan 24 Corded cloths 140
The weft plan 24
Finishing details 27 CHAPTER 7:
Inspiration and visual research 29 EXTRA WARP AND WEFT PATTERNING 154
Extra-warp patterning 157
CHAPTER 2: Extra-weft patterning 172
PLAIN WEAVE 34 Extra warp and extra weft combined 179
Plain weave on two, three and four shafts 37
Potential faults in plain weave 38 CHAPTER 8:
Plain-weave variations 39 DOUBLE CLOTH 182
Double plain interchange – warp yarns of
CHAPTER 3: equal thickness 186
TWILL WEAVES 44 Double plain interchange – warp yarns of
Twills over three shafts 46 different thickness 188
Twills using a straight draft over four shafts 50 Interchanging plain-weave blocks 189
Twills using a point draft on four shafts 54 Double cloth with single-cloth weaves 192
Distorted twills 56 Creating patterns using double cloth 193
Combining twills 70 Block point draft 199
Satin and sateen weaves 72 Pleats 202
Pockets 215
CHAPTER 4: Ribbons 216
COLOUR AND WEAVE 80
Visualizing the weave structure with colour 82 TROUBLESHOOTING 218
Project 1: End and end warp stripe 84 GLOSSARY 219
Project 2: 2 × 2 warp stripe 87 FURTHER READING 221
INDEX 222
CHAPTER 5: CREDITS AND ACKNOWLEDGEMENTS 224
WARP AND WEFT DISTORTIONS 90
Grouped weft distortions 92
Grouped warp distortions 106
INTRODUCTION
The purpose of this book is to introduce weavers to basic but do show the variety available when experimenting
weave structures and inspire them to use their creative with different yarns and structures. As a weave designer
talent so they can develop their own designs and produce you will want to plan and produce your own original
beautiful, original fabrics. It encourages experimentation designs. Only by being the originator of an idea can you
and pushing the boundaries of what is possible. It is take complete ownership and have full control of the
often while learning the craft that weavers question those development of a project.
boundaries, take chances and try out different yarns and
colour combinations. The mixing of colour when weaving is magical. Even
with the simplest of structures, weaving is a unique
There is a natural tendency in novice weavers to exp- way of blending colour. The use of very fi ne yarns with
eriment broadly, and the more knowledge and experience contrasting colours in the warp and weft means the fabric
they have, the easier it will be for them to adapt their will change colour when the light catches it – sometimes
weaves for manufacture in the textile industry. The the warp colour is more obvious, sometimes the weft
unconventional can be developed and translated for colour is, and sometimes there is an even mix of the
manufacture while still retaining some of its originality. two. If thicker yarns in contrasting colours are used, the
individual threads and colours are more visible, and if
In these pages, there are tips for identifying mistakes producing a single-coloured cloth, the structure used will
made in the setting-up process and during weaving, add surface interest.
as well as simple solutions to these common problems
and advice on how to make the job easier. There are Technical knowledge and hands-on experience of setting
defi nitions of the different terms used in weaving and up the loom, and of how different structures are created
explanations on how to plan and work through the more by actually making them, will help those going into the
complex design processes on point paper. industry understand the manufacturing process. Some
weavers will continue to produce their own collections
The woven designs used as examples in this book as bespoke pieces; others will create sample designs for
have been chosen to show the designer what fantastic sale to the industry; some will work in the industry, and
possibilities there are. The technical specifi cations others will teach. The actual practice of weaving by hand
accompanying them should help weavers translate is the best way to understand and to discover how to
their own ideas using their own colour palette and develop new ideas. Whatever your future is as a weaver,
combinations of yarn. The woven examples will not the information included in this book will help you to
match any of the technical details included exactly, develop independently and creatively.
Example of reverse twill using nylon Plain weave examples using nylon
cord in warp and weft. monofi lament and nylon cord.
6 INTRODUCTION
Skirt constructed in twill weave
using leather strips from Jonathan
Saunders’s AW2012 collection.
Fluro tangerine and black weave
from Willow’s AW2012 collection
‘Monarch Movement.’.
7

1
PREPARATION
FOR DESIGN