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Excerpt from Grammar of d104ile Design A textile fabric may contain only one element of woven design and yet be profusely embellished without having recourse to colour. Many white and grey linen and cotton, and also white silk, damask and brocade fabrics, are good examples of that class. The construction of such fabrics, and of damasks in particular, is frequently based upon some simple elementary weave which is simply reversed to develop the figure and ground portions, thereby causing warp to preponderate on the surface in some parts, and weft in others hence the contrasting tones of light which enable the figure and ground portions to be distinguished. The most elaborately decorated fabrics will often times be found to contain not more than three or four different varieties of simple weaves effectively introduced in the scheme of decoration; whilst most fabrics employed for domestic pur poses, and many others, contain but one element of design of a simple character and specially suited for a specific purpose. An examination of such fabrics will show that warp and weft are interwoven in some simple definite order or sequence that occurs with perfect regularity throughout the entire fabric. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Grammar of Textile Design The Grammar of Textile Design is a treatise upon the Fundamental Principles of Structural Design in Woven Fabrics, and the application of those principles in the production of various types of cloth. It has been chiefly prepared as a text-book for students of weaving and designing in all branches of the weaving trade, and contains much information of practical utility to designers, salesmen, manufacturers and others, to whom a knowledge of the construction, characteristic features and uses of textile fabrics will be helpful. In the descriptions of fabrics that are produced by the aid of special mechanical devices, these are briefly described and illustrated by scale diagrams, and include descriptions of three types of steel-wire doup harnesses for cross-weaving; a loom for weaving leno fabrics in which warp ends are crossed by a system of douping in front of the reed; and a loom for weaving ondule fabrics in which warp ends, and sometimes picks of weft, are caused to assume undulating or wavy lines in the direction of warp, or weft, respectively. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The book describes characteristics of textile and other surface patterns. It identifies, illustrates and reviews a wide range of pattern types including spotted, striped, checked, tessellating and other types of all-over patterns. It includes 200 original black-and-white line drawings and 50 colour images.
Weaving Textiles That Shape Themselves sounds like a contradiction in terms, but this book sets out to show how textiles can do precisely that: shape themselves. Weaving with high-twist yarns and contrasting materials can create fabrics with lively textures and elastic properties. Although these fabrics are flat on the loom, they are transformed by washing - water releases the energy of the different yarns and the fabrics 'organize themselves' into crinkled or pleated textures.
You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.