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MAKING QUALITIES OF AUTHOR'S MANUAL WEAVING PRODUCS |
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1. COMPOSITION.
More complex composition requires more expenditures of labour and higher qualification of
the executor, it does the product becomes more expensive.
There are many points of view, how the best skill is reflected at the construction of an
art work composition.
The apparently simplex picture, requires completely responsible study with all
finished sites of the picture - those all are observable, whereas sometimes the complex
composition enables to hide difficult places behind other fragments. It happens the
large number of fragments not always equally creatively are worked, sometimes more
attention is given to a decorating central fragment, that is usually justified by
necessity to allocate main part of art work idea.
The point of view of the author is closest to idea that leaves the right to
create the art work in various styles - from most simple up to most complex without
propensity to exaggerate correctness of any of styles.
2. COLORISTICS.
The necessary number of colours, cleanliness and excluding without correct necessity of
dirty shades of colours, correct combination of colours and their transitions, both for
neighbour colours, and as a whole for all product is a style, which differs from some
other.
There is a point of view, that using only pastel colours is a parameter of high culture of
the artist. However, it is rather the difference of a style appropriately to the
certain piece of art.
3. ART, GRAPHIC
DETAILED ELABORATION.
The detailed elaboration enriches the work of
art, makes the image voluminous, lifts an art level of product, but requires more
work and influences cost of a tapestry.
4. TECHNICAL DETAILED
ELABORATION.
The number of longitudinal (warp thread) and
cross (weft thread) threads on unit of the area of a tapestry defines the
number of interlacings (for example, on 1 square decimeter or appropriate inch square) and
depends on engineering of technique and thickness of used strings.
5. MATERIALS
QUALITY .
COTTON , FLAX, JUTE STRINGS. Are
used as warp threads, if them for this purpose replace synthetic those, the product loses
durability and quality of structure.
WOOLEN THREADS. Are used for construction of the image.
The thick thread - of worse quality, has shorter fibers. The thin thread - of better
quality, has longer and stronger fibers, and the product is more durable, than product of
thick threads. However, thick turned threads can be made of high-quality thin
threads. The dirty colours of a wool testify to poor quality of an initial material,
of dyes and low level of colouring technology.
SILK THREADS. The higher quality of silk threads is determined on
brightness of colours, presence of pure shine on a surface of threads, worse quality
differs lustreless of a thread surface. The natural silk can not be replaced by synthetic
silk on the quality and value for application in manufacturing product.
SYNTHETIC, SEMISYNTHETIC AND COMBINED
THREADS. These threads sometimes have
advantages at achievement of shades of some colours, also reduce cost of product.
If are used only for weft thread, at the insignificant contents do not influence
appreciablly properties of product in comparison with product of a pure natural threads.
At a plenty of used synthetic threads the pice of art loses the durability and hygienic
properties.
6. ABSENCE OF LACKS OF
MANUFACTURE.
Even lateral
edges characterize higher quality, than
wavy edges, that testifies to non-uniformity of tightening of warp strings with weft
thread.
Width of cloth at a top should be equal
in comparison with width at the bottom, that testifies to absence of tightening of
warp strings with weft thread in a upwards direction.
Density of weft threads.Well condensed weft threads must be completely
close.
Absence of hollows and stick-outs on a surface of product. Their presence
testify to unguided or non-uniform condensation of threads in these places. It is an
attribute of an inattention of the executor, his low qualification or low culture of work.
Absence of rough sites, pulled out
threads both on obverse, and on reverse
sides. At usual interlacings the reverse side should give the similar mirror images of a
face side, except for sites, where technical accommodation of strings requires their
passage above of these sites.
7.APPEARANCE OF
THE REVERSE SIDE.
An equal surface of the reverse side, absence of trailing threads. The processed edges and
accurate appearance of the reverse side testify to high culture of manufacturing.
If the cloth is thin the necessary technological bound nodules at the reverse side
must be accurate and uniform.
For wide-warp tapestries is possible smooth reverse side with absence any tips.
The covering by a paper behind product can have for an intention a concealment of
lacks of the reverse side.
The qualitative manual weaving product is impossible without the qualitative reverse
party.
8. FASTENING FOR
SUSPENDER.
A design of fastening for suspender should
allow beautiful accommodation of the top part of a product at suspender for a permanent
exposition. Sometimes, the fastening of product on a wooden frame can testify to lacks in
a tension of threads of a product, which corrects by compulsory stretching on a
frame. The suspender fastening should be strong, light and and convenient, should not
be hanging down of the top part of product in front. The fastening should let an
opportunity of a choice by the owner of placement of product in a frame on expediency, it
should not create inconveniences at moving and storage of product, should be easily
accessible and convenient for the customs control. After accommodation of product in an
interior the suspender fastening should not hinder aesthetic perception of art work.
THE MAIN TAPESTRY DIFFERENCES AND OTHER KINDS OF TEXTILE ART
PRODUCTS
TAPESTRY
This is the work of
art, more often for placing on a room wall. Originality, manual work. The executor -
artist or artisan of special qualification. The opportunities of the graphic image, number
of colours, combination of various kinds of engineering of manufacture are not limited.
USUAL CARPET
The traditional object
of a life, more often a floor covering. Popular manual or machine manufacture on
special samples. The executor - artisan after professional training or machine. The
traditional carpets are named on the name of district of the origin, strictly correspond
on technology and figure to the pattern.
The opportunities of the image are limited to typical figure and form on a pattern, number
of colours, on the average, usually does not exceed 10. However, by the special order, the
unique carpets of manual work are made. Among them, most highly are appreciated Iranian
and Turkmen carpets. The highly artistic author's carpets, in the certain cases, can be
referred to tapestries.
OTHER KINDS OF ART
TEXTILE PRODUCTS
VARIOUS KINDS
EMBROIDERIES
The various methods of
embroidery, manual and machine performance, various degree of qualification of the artisan
give a variety from popular consumer goods and household level up to the highly
artistic exclusive product.
EMBROIDER ON A
FABRIC WITH SPECIAL HOOKS
There is a ready
fabric used for embroidery picture. Are visible stitches, going in different directions,
sometimes very thick, when instead of threads the turned bands of colour fabrics are used.
The picture frequently is carried out by filling wyth the certain colours of the marked
sites of a fabric.
EMBROIDER IN THE LOOP
TECHNIQUE WITH THE HELP OF A SPECIAL NEEDLE
On the reverse side of
a product the characteristic imposition of threadss on a cloth is visible, and on obverse
side, after a draw aside of pile is visible the cloth, through which the thread with
a needle has passed. The loopy pile at this kind of products much less close, than pile of
carpets and tapestries.
FELTS
For painted felts the
image is depicted by a fabric paint or other kinds of paints on a felt material.
For colour felts the image is formed by inserts of coloured felt fragments of
various colours.
The felts are works of art distinguished as not-woven textile.
BATIKS
The batik is the
picture executed by a special method of a painting on a ready fabric. Very much frequently
to these pictures apply a silk cloth, that gives to a picture the large grace.
There are some technologies of manufacturing of pictures by a method of a painting of a
fabric. The modern methods differ from a traditional method of manufacturing batik due to
application of proof paints and features of fixing of paints in a fabric.
The batik durability depends on a kind and grade of a used fabric, durability and quality
of paints, and also quality of a paint fixing in a fabric.
KNITTED CLOTHS
Pictures and the
decorative panels created by knitted interlacings have a characteristic kind of a surface
of a knitted cloth, due to uniformity of lines of each kind of knitted loops. Can be
created by manual knitting, and also with the help knitting machines. The size of a
knitted loop depends on a class knitting machine (knitting needle size) and
adjustment of size of a loop by the machine.
The knitted cloth has all features inherent in this kind of a fabric:
- it is less dense, than cloth made by weaver's interlacings;
- is is easily stretched due to mobility of knitted loops;
- it requires fastening in frames because of propensity of jersey to pull together
and roll up.
Modern kntting machines allow to duplicate this kind of pictures due to application of
punched cards and computer management of knitting machine. However, the change
in the separate parts of computer program, and also change of colours ОЙФПЛ
from a picture to a picture enables to receive the large number of variants, which
differ from each other.
Now is inconvenient to create pictures by this method with the large number of colours, as
every time is required change of a thread in the thread-driver of the knitting
machine, while the ordinary knitting machine changes automatically only a few
colours.
The large convenience in creation of this kind of a fabric is the speed of manufacturing
by the knitting machine of a desirable picture at presence of the ready computer program,
and also opportunity quickly to make modifications to the program before manufacturing of
a fabric.
FACTORY PRODUCTS
FACTORY FABRIC SUCH
AS "GOBELIN TAPESTRY" OF MACHINE MANUFACTURE
The fabric such as
"Gobelin tapestry" is weaved on special machine tools, it is a
fabric with figures (frequently, copies of ancient tapestries). On the reverse side,
frequently is visible the accommodation of threads agreeing to accommodation of
threads on a face side. Can have good graphic detailed elaboration. Can not have many
colours because of complexity of preparing process of the multiple copy manufacture. It
intends, usually, for upholstering of furniture. But, sometimes, it is used as a
copy of a piece of art in frames for decoration of an interior.
PRINTED
"GOBELIN TAPESTRY"
The image is put by
printing on a ready fabric or one-colour nap carpet. It has indistinct painting over
of separate places. There are no many colours. The reverse side has no a copy of figure of
a face side because of image is printing on the face side only.
MANUAL COMPLETION of
MACHINE PRODUCTS
The carpet
products, weaved by a machine way, further act on manual completion as a cutting of relief
sites and lines. Are sometimes considered as a product of manual work, as the manual
completion requires a lot of qualified work. Because of machine help these economize
large expences and allow to compose nice large-dimension multi-piece carpets with a price
acceptable equally as for the wall decoration both as for floor coverings.
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