Twill skip blocks-more brocade

20 March 2014

This is a continuation of the study of turns in discontinuous brocading weft.   Last time  I did inlay and looked at the turns at the end of the rows, this time I an doing overlay , which creates floats, and the turns at the end of the row.

Here, at the bottom,  I floated the brocade thread over 10 ends and under 2, and I used the stripes as markers. Very easy to execute.twill skip blocks


A float 10 ends is long for this sett.  But the turns are surprisingly  inconspicuous. They do go under 2 ends so are slightly more separated from the figure than in previous examples,  but I think that it is the stripes that keep you eye from fixating on them.  The blocks move in a twill fashion across the cloth.

At the top where the blocks move to the right and then back, forming a chevron,  a technique learned from practicing triangles, the turns become more visible.  But because of the increased separation the edges of the zigzag still looks sharp and crisp.  The turns become a dotted line echo of the main figure.


Here is a similar treatment on a warp-faced cloth.

warp faced turns in stripe

The brocading weft floats over many ends(probably 24 at the widest point) to form the design , then travels in the shed to the stripe then makes its turn, on the surface.  It is hidden from view when it travels in the shed by the dense warp.  The center section of the  cloth is elevated, I mean that it is thicker,  by the brocading weft.  The turns are not distracting here, and the diamond is clear.

Turns on the surface are much easier for me to weave and if the are separated from the figure, or coincide with a warp stripe they do not befuddle the figure.

Here is a piece of silk brocade, backstrap woven that a friend brought back from Bhutan and allowed me to take a quick snapshot.  Note that it also warp faced.

Bhutanese brocade

If you look at the rows where a flower (named by me)motif reoccurs, and alternates between having the figure and the background brocaded, the turns occur as bars between the flowers.  You probably can’t see that much detail in this snapshot but when I had this textile in hand it was clear.   The turns become an element of the design, not a distraction.  I think that I remember that the brocading weft floated on the underside when not on the surface.  There are several places where there are 3 bars between motifs instead of two and I think this is just to take up space  because another full flower motif did not fit in.

The back of my textiles are neat and tidy, but I don’t think I would call them two faced.  See for yourself.

twill skip blocks-back


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