Study on Turned Taqueté Post #5

Bonnie Inouye – Turned Taqueté an Introduction


The opening paragraphs to Bonnie Inouye’s significant article, Turned Taqueté an Introduction gives us insight into this weave structure and greater detail about how to create this fluid woven design.


“Turned taqueté cloth is smooth and supple. Designs appear as if by magic with no obvious floats, using two or more warp colors and emphasizing the warp yarn…[It is} appropriate for scarves, shawls, garments and blankets, it drapes well and feels elegant.

“The longest floats on either face are three-thread warp floats, making it appropriate for many fibers. The flat surface is fine for tailoring and for woven iridescence.” (Complex Weavers, p 36).


Inouye is attracted to turned taqueté because she can “weave designs with movement: diagonals and diamonds, circles, curves and shapes from nature” (p 37). In the article, she demonstrates specific design elements that create the visual impact of turned taqueté.

Using a twill pattern (Wall of Troy) from M. Davison’s A Handweaver’s Pattern Book, Inouye helps her audience progress from taqueté to turned taqueté using both a 4-shaft threading sequence and an 8-shaft interleaved echo threading sequence.


Inouye helps us begin:

Start with a four-shaft threading and insert an “echo” line offset by two – each echo line has a different color threading, and colors are threaded on odd and even heddles – this is known as “threading on opposites” (Inouye, 37).

“Figure 4.b. One repeat of threading for warp A.” p 37 (Wall of Troy)


“Figure 4c. Threading for extended Wall of Troy variation”, p 37

(a green second echo line inserted).


From these simple beginnings, Inouye moves to designs on a larger scale of eight shafts; first using profile drafting (below) to embellish (telescope or digitize) the design line. (p 38)





Next, Inouye re-draws the profile on a network draft based on the size of the “initial” (smallest unit of the pattern – in this case, unit of two), the number of shafts on the loom, and the configuration of the design line.

The drawdown (left) is partial and based on a similarly constructed image from Inouye’s article, p 39. Created by Sara White using Fiberworks PCW weaving software.









The image on All Posts page is found on Inouye’s website, “Decorated Turned Taqueté”, July 20, 2010 https://bonnieinouye.wordpress.com/tag/turned-taquete/


In addition, Inouye shares more thoughts through the article:

· Study profile and network drafting to become knowledgeable about these tools.

· Any weave structure can be expressed through a profile threading.

· Overshot drafts may be converted easily to turned taqueté

· Work on the design line until you like it.

· Use a close sett – “…like the sett used for double weave, twice the number used for plain weave.”

· The weft should be a finer thread than the warp thread.

· Because the design comes from the warp layers, color contrast is needed to make the design show clearly.

· …including practical suggestions for using weaving software.



Notes:

Inouye, Bonnie “Turned Taqueté an Introduction”, Complex Weavers Journal, Issue 105, June 2014, p 36-40

Davison, Marguerite, A Handweavers’ Pattern Book, pub. Churchill & Dunn, Ltd, Nov. 1944


Bonnie Inouye’s website: https://bonnieinouye.wordpress.com/

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