Recognizing different weave interlaces – Let’s find out the way of recognizing different weave interlaces in the obtained textile structure?

Recognizing different weave interlaces – if you pay attention to the texts of a catalog, either museum or textile works of art, you will notice an abundance of descriptions of visual effects. They relate in part to the materials from which they are made. But omitted to dwell on a closer definition of the type of technique used. The focus of the exhibition is on the effects that are expressed through the relationship between the composed ornamentation and the applied color. The analysis was developed on the basis of decoration composition.

Now let’s pay attention to the fact that the textile object, although flat and very thin, is still a three-dimensional form. Apart from the effect of the ornamented surface, the fabric is also distinguished by its texture and structure.

Now let’s pay attention to the fact that the textile object, although flat and very thin, is still a three-dimensional form. Apart from the effect of the ornamented surface, the fabric is also distinguished by its texture and structure.

Fabrics face and reverse — show its texture at an optical magnification

Herein lies the solution to the question we posed at the beginning. If we look in reverse order, we will see that in weaving, the target art is, in fact, conditioned by the ways of interweaving the system of warp and weft threads in different quantitative, qualitative, and, most importantly, technically feasible ways of crossing warp and weft threads.

The resulting weave with its surfaces — face and reverse — show its texture. But only by analyzing the full cross-section of the thickness can the structure of the fabric be determined.

… Furthermore, I would refer to the great possibilities of optical magnification of fabric details. It is useful because the relief and internal structure are perfectly visible at high magnification.

Isn’t it really comparable? For example, if scanning a series of individual textile patterns, and applying the same percentage of magnification on equal dimensions of fabric details. In this way, we have an insight into the interior of a particular specimen. But not only that but also by comparing images of different items, their relationships of similarities and differences.

Unlike, for example, documents, drawings, and photographs, although incomparably more efficient, such application has not entered digital practice in textiles.

If it should start better here, this Post needs to be improved to a pretty good degree. I will remember the debt. So if interest happens, I am going to make an extensive, but all readers friendly article Post. With best wishes,

Sincerely, Branka on Textiles