Weaving takes about as long in doing as finely stitched solid needlework, for in weaving the entire fabric is made, both pattern and ground. The speed with which the work can be done of course varies considerably, being mainly dependent upon the design that is being carried out. Also the quality of the materials used affects the rate of working; for instance, the thickness of the warp-strings and the placing of them nearer together or further apart. Moreover the weft may be composed of one strand or of several strands together.
In weaving, unless the materials used are very fine, it is impossible to get minute detail in drawing; fortunately it is seldom necessary to attempt much of this. The simpler and more direct work is as good as, and sometimes better than, that with finely gradated colour, shading, and form. On the other hand, work, small in scale, even though simply treated, does not look well when carried out with very coarse materials, for they seem out of proportion to the size of it.
The main difficulty in the technique of the work lies in the attainment of good draughtsmanship, which of course includes light and shade as well as outline. It is naturally more difficult to draw by means of bobbin and thread, in horizontal lines, than to work unrestrictedly with a pencil, or even with an embroidery needle.
There is a great deal in the preparation of the design; as in all other crafts this must be suited to the method of work; otherwise the difficulties of execution will be greatly increased and the result will be less satisfactory. This is even more important in weaving than in embroidery, for in the latter the stitch and method may possibly be chosen to suit the design, but in weaving no variation of stitch is possible; all must be carried out in the same way.
Tapestry weaving, whether for wall hangings or for small objects, has the same technical difficulties, and certain restrictions govern all work of the kind. One point to be observed is, the main lines of the design should go as little as possible in the same direction as the warp threads. This is because with each change of colour in the weft that occurs in the direction of the warp, there comes an inevitable separation in the woven material, which, oft repeated, would materially impair the strength of the fabric. The less frequently this occurs, of course, the better, since it entails additional labour, either a joining-together stitch at the time of working or an after-sewing up from the back. Long lines made by change of colour going straight or at a slight angle across the warp-threads, are perfectly simple to manage, and the hatching lines of shading, as well as the outline, should be taken as much as possible in this direction.
It will be noticed that most tapestries have the ribbed lines of warp going horizontally across; in the loom these lines are perpendicular, so this means that the design has been placed and carried out sideways upon it. This is for the reason just under discussion, for the long lines of a design are most frequently perpendicular, take, for instance, lines of figures, draperies, or architecture, and so by placing the design sideways in the loom, most of the important lines will come in the direction most easy for the working of them.
With small pieces it frequently does not matter which way it is carried out, but it is useful to know when making the design that there is the alternative of placing it either way upon the warp-threads. If this matter were not considered and arranged, there might come a good deal of twisting round one or two warp-threads which would be most unsatisfactory in working and in appearance. A band of plain colour framing a square piece of work will be found to be completely detached from the centre part upon each side of the square, although working in very straightforwardly at the top and base; if, instead of being a straight band, the inner edge was vandyked, the work would be well knitted together upon all sides (see [fig. 169]). In such ways as this the technical pitfalls can be somewhat avoided by a designer who understands the method of the work.
To lay down definite rules for designing is practically impossible; right and wrong depend upon so many circumstances. The study of fine tapestries of the best periods is one of the most satisfactory ways of learning what one may or may not attempt; the beautifully flowered grounds in many of these show what excellent motives flowers make, and how they should be treated. It is not usually a good plan to introduce in any part of the work much plain ground, for it is inclined to look poor; this is very likely the reason why the grass in tapestry-land is often covered with such profusion of flowers. Tapestry calls for beautiful colour, richness, and plenty of interesting detail; it is essentially decorative work, and must be treated as such. The arrangement of colours and tones need to be sharply defined; if by chance a dark leaf comes against another dark one, a line of light colour is sometimes deliberately run between, perhaps shading or outlining one of the forms; a flower may even change its colour as it passes over different backgrounds; what is more remarkable is that this change, unless sought for, is imperceptible.