Figuring with extra warp/weft threads

Extra Weft Figuring

Principles of Figuring with extra threads
A distinguishing feature of fabrics in which extra materials are employed is that the withdrawal of the extra threads from the cloth leaves a complete ground structure under the figure.One of the advantages of figuring with extra materials is that bright colors-in sharp contrast with the ground-may be brought to the surface of the cloth in any desired proportion.Pleasing color combinations may thus be conveniently obtained,since the extent of surface allotted to the figuring color may be readily proportioned in accordance with the degree of its contrast with the ground shade,without the latter being affected.
The extra yarns for figuring can be introduced in a fabric either as warp or weft,or in a combination of these two.For an extra warp weaving a separate warp beam is employed because of the different take up rates and tension employed during weaving process.For the case of extra weft figuring the weaving machine must have the capacity of inserting two or more weft. threads to be inserted in continuous order with the ground threads,or intermittent order ,while where they are introduced the arrangement of the figuring and ground threads may be 1 and 1,1 and 2,1and 3 etc,according to the structure of the cloth and solidity of the figure required.The visibility of the figures largely depends on this factor.
Method of disposing of the surplus extra threads
The extra yarn is allowed to float loosely on the back in the ground of the fabric.This method is used when the space between the figures is not excessive,when the ground is dense and when the fabric is used in situations that do not render the long floats on the back objectionable.It is not applicable to cloths in which the ground is so light and transparent that the positions of the extra threads on the back can be perceived from the face side.
The extra yarn is allowed to float loosely on the back,and is afterwards cut away.This method is suitable for light ground textures,but if the extra threads floats somewhat loosely on the surface in forming the ornament,it is necessary for them to be found in at the edges of the figure,or the loose figuring floats will readily fray out from the surface.The firm interweaving of the extra yarns at the edges,however,makes the outline of the figure less distinct,and is rather objectionable unless employed in such a manner as to assist in forming the figure.
In compact fabrics the extra threads are bound in on the underside of the cloth,either between corresponding floats in the ground texture,or by means of special stitching threads.
The extra threads are interwoven on the face of the cloth in the form of small auxiliary figures or floats thus adding to the fullness of the texture.
Extra Warp figuring
The chief advantage of the extra warp method is in productivity but at present it is mostly utilized for continuous styles arranged one end of ground,one of extra,except dobby effects which are still produced in a considerable variety of intermittent figuring arrangements.The reason for the decline of the fancier Jacquard stripe styles lies in the fact that each different design frequently requires the harness to be re-tied or otherwise modified which is costly itself and which often leads to further costs by increasing the length of the weaving machine downtime.Additional costs are incurred by the need to draw-in new warp into the newly re-tied harness which is more expensive than knotting in,a procedure used when standard harness setts remain unchanged between one warp and another.Many elaborate styles similar in appearance to extra warp can be produced by means of extra weft figuring using standard harness setts and achieving the necessary variety by weft pattern changes.
Extra Weft Figuring
Extra weft figured fabrics may be formed with one,two or more extra weft picks in addition to the ground weft.Only one series of warp threads is used and the effect is obtained by floating the extra weft where desired on the face of the ground cloth produced by the interlacing of the warp with the ground weft in plain or in some other simple weave order.Weaving machine used for this purpose must have the capacity to insert more than one kind of weft.

Figuring With Extra Warp and Weft Yarns

Comparison of extra warp with extra weft figuring
In extra warp figuring ,there are two or more series of warp threads to one series of of weft threads, and the method has the following advantages and disadvantages,as compared with the extra weft principle.
Advantages
1)The productivity of a loom is greater because only one series of pick is inserted,and a faster running loom can be used.
2)No special picking,box,and uptake motions are necessary
3)There is theoretically no limit to the number of colors that can be introduced
4)In an intermittent arrangement of the extra ends either spotted or stripe patterns can be formed,whereas a similar arrangement in the weft can only be used to form spots(except in special cases)because of the objectionable appearance of the horizontal lines.
Disadvantages
1)Two or more warp beams may be required instead of one
2)If an ordinary jacquard and harness are employed a smaller width of repeat is produced by a given size of machine,because the sett of the harness requires to be increased in proportion to the number of extra threads that are introduced in a design
3)In a dobby weaving the drafts are usually more complicated
4)Stronger yarns are required for figure,and the threads are not so soft,full and lustrous,extra ends are subjected to greater tension during weaving than extra picks,and as a rule,there is less contractio  in length than width,and the result is that extra warp effects usually show less prominently than extra weft figures.
5)If extra threads have to be removed from the underside of the cloth,it is more difficult and costly to cut away extra ends than extra picks.
Hope you enjoyed it!expecting your comments and suggestions. 

VelaKali

Velakali

How much a martial art can influence a community?please read on...
This art form is originated from the traditional martial arts' Kalaripayattu',this is a group dance performed during the festivals at certain temples in central Travancore area in Kerala.this is not confined to any particular community.Many sects of Hindus perform this.
this ritualistic art is performed by persons of all age groups.People engaged in different occupations participate in this.
Elders believe that this has reference to the war between the Kauravas and Pandavas or the war between Devas and Asuras.(representing the good and bad among celestial beings)from the hindu epics.
It is not possible to fix the time of its origin.
This group dance has participants numbering fifty or more.
Dancers dressed in the garb of traditional soldiers,go through warlike steps.Two or three emerge out of the line of dancers and coming forward display fighting techniques.With the variety of its choreography,including stances,steps and warlike gestures.This is an appealing form of art.
When the deity is taken out in procession on the back of an elephant,this dance is termed ThirumumbilVela(dance in front of the divine being)this also performed by the steps of the (temple)pond.Then this is termed Kulathil Vela(dance near the pond)
Some times local people,carrying flags and uttering vocal versions to signify each type of dance steps,jump about behind the row of dancers.Various rhythms such as Otta,Matharam,Padivattom are brought in to this.
In some regions dancers,wearing masks of tigers and bears,known as Velamudikars,dance with grotesque gestures,among the dancers.

Thavil,shudda Mddalam,cymbals,horns and trumpets are the instruments used for background effect.
there is no fixed time for the performance.
No stage needed be prepared.The stage is the courtyard of the temple or the precincts of the temple tank.
No light effect are needed.
The soldiers have a coned headdress,with the cone pointing to one side and a beading of Zari work at the lower edge.The chest would be covered with bead and other type of garlands.Armlets and shoulder epaulets are used.In the left hand there is a colored shield and in the right hand a cane to represent a sword.
This took place at Ambalappuzha.Under the dispensation of the local Raja,Mathur panicker familyand Vallor kurup family used to maintain Velakali troupes.
Just watch the mat behind the performers! it is another wonderful traditional product of Kerala.It is made of Bamboo strips.It is usually woven in plain weave.
Hope you enjoyed it!expecting your comments and suggestions. 

padayani

This is ritualistic entertainment,mostly in vogue in many Devi temples,mainly in the districts of Kollam and alappuzha at places like Karakkattu,Pandalam,Kadamanitta and Chengannoor in Kerala.The performance has rich theatrical materials in it.

The performers use elaborately decorated masks and head gears made out of arecanut fronds painted with indigenious colors.Bhadrakali,Bhairavan,Kalan(Yama,the god of death) are all represented by actors wearing appropriately painted headgears.

Each character is called a Kolam,Kaln,kolam,Bhairavi Kolam etc.and in certain cases the head-gears are enormously built with 501 or 1001 palas (arecanu fronds) and they present beautiful visuals.When possessed the kolam has broad dancing steps and gestures.In between dances there occurs -dialogues and short scenes also.In a padayani,there are often kolams representing different strata of social orders also and occassionaly humerous charectors too.This adds to the theatrical quality of the whole performance.

In a minimum estimation at least a dozen persons are needed for the performance.There is no age restriction to participants.

No definite date could be ascribed to its origin.

No raised platform is needed.Often it is theatere-in-the-round at the temple premises.

Originally, lighted torches were used for lighting.

Then came pertolmax lights.

The procession of all the participants by the light of  country made torches made of dried coconut leaves is a wonderful visual experience.

Thappu,an indigenous musical instrument is used for accompaniment of the song and dance.

This ritualistic theater is believed to represent the victory celebration of Kaali after killing the Demon Darika.

 

A saree design developed from the traditoal art form Padayani.The extra warp and weft for figuring is designed to use pure Zari yarns(for motifs)Cross border jacquard is used to lift the design ends.
I believe that i have given a vogue idea about padayani,though i am not a professional textile designer,i tried a little to develop this design concept.Hope you enjoyed it!expecting your comments and suggestions.

Tribal design motifs

A saree design developed from the wooden carvings of the roof an ancient Sri Rama temple.In olden days an wooden vehicle called 'Pallakku' used by the rich people to travel.Old temples are  wonderful treasure of sculptures and paintings.Carvings were done on doors,walls and pillars of these temples.
A saree design is developed from the motifs of an wood carving of a pillar.The design is supposed to weave in cross borders with 2 plied extra weft threads of cotton yarn.

Kalaripayattu(val Payattu),Traditioal martial arts of Kerala

Kalaripayattu

Val(sword)payattu

We might have wondered by seeing the kicks and punches of Karate and Kungfu fighters.How many of us know that all these are just modified style of Kerala's great martial art 'Kalari payattu'.It is another gift to the world by great Indian Saints who also taught us Yoga,Ayurveda and Kamasutra. An advanced Combat Science
This comprehensive system of martial arts regarded as one of the oldest and most scientific in  the world,evolved in northern Kerala.The state has produced many a hero whose exploits find expression in folk songs and legends.One of them Thacholi Meppayil Kunhi Othenan has been immortalised in vadakkan pattukal(northern ballads) as one of its greatest exponents.

Exclusive Training
Every locality in northern Kearla used to have Kalaris or gymnasia where boys and girls were trained under a Gurukkal.Here they were taught a set of body exercises as well as use of weapons like kuruvadi(short stick) and sariravadi(mace,spear,dagger,sword,shield)Marmams were taught to the most promising of the lot.Marmams are vulnerable parts of the human body and a skilled person can disable or kill his opponent by a mere touch.

Unique Techniques
Kalaripayattu involves extremely energetic techniques of defence and attack.Meippayattu involves high jumping and kicking movements and striking blows on  vital places using the arms,shoulders and hands.Meithari is the unarmed technique.Kolthari involves usage of sticks and ankathari,usage of weapons.

Holistic Approach
Kalaripayattu training at the ultimate co ordination of the mind and body.The traditional training in a kalari includes specialisation in indigenous medical practices too.Kalaries are also centers of religious worship.

A saree design developed from the ancient martial arts of Kerala called' Kalari payattu.'A metalic shield called' paricha 'was used to block the attack of the opponent's sword.

Bed cover and pillow designs from wood carvings

The concept is from an wooden door sculpture of an ancient palace of south Kerala.
A design drawn from motivation of wood carvings in a door of an ancient temple.A combination of  2/20s and 10s weft is used to produce this fabric,at an ends per inch of 56 and 52 picks per inch.

A furnishing design concept from' Mudiyettu'

A furnishing design concept from' Mudiyettu',a traditional art form of Southern Kerala

of Southern Kerala
I really like red hues.I don't know why i like it,when i studied about the costumes of folk lores red color was  most prominent in these,may be because most of the themes of folk lores are related to bloody wars between God and Evils.

The above fabric is designed on the concept of Mudiyettu,woven with2/20s cotton warp+10s cotton weft with 40 ends per inch(2.54cm),six heald shafts are required to produce this twill based design.The design will be more prominent when using an appropriate color scheme for warp and weft.

Mudiyettu 

 Presented at certain Bhadrakaali Temples in Travancore-cochin region.

Kuruppanmars(in travancore)and maranmars(in Cochin),are the communities entitled to perform this highly ritualistic art.Those who stage this have no age limit or any specific profession.

No evidence is available to fix the time of origin.The theme is the fight between Bhadrakaali and Darikan and the victory of Bhadrakaali in the fight.

At least sixteen persons are needed as charectors and back ground personnel.

The preliminaries consists of delineation of Kalam,Pooja for the specially installed deity(pratishtapooja),Thiriyuzhichil(passing a lighted torch all over the body),Thalappoli,Kalam Maikkal(effacing of the kalam)

A figure,depicted on the floor with the help of multihued flour,(sometimes this is Sudarsan Chakra,carried by Lord Vishnu) is worshiped,with such adjuncts as lighted Nilavilakku,Paddy,Rice and Coconuts.

Keli(overture on drums)is performed at the place of performance.

A ritual known as Arangu Vazhthal

The costume of such characters as Siva and Narada.

The entry of Darika

The entry of Kaali

the entry of Koyimbidar.

Koodiyattom-the fight between Daarika and Kaali,and finally the drumming known as Kalasam,to mark the end of the proceedings.These form the sequence of presentation.

Chenda(both Uruttu Chenda and Veekku Chenda)and cymbals are the percussion instruments used.

This is performed after dusk.

The stage consists of a pandal,with four supporting pillars,as in Kathakali,and the curtain is held up,by helpers,as in Kathakali and removed when needed.

Lighting is provided by Nilavilakku and Kuthuvilakku.Daarikan and Naradan have costumes similar to such characters in Kathakali.The facial make is too similar.

Kaali will have long flowing locks.And in addition,upper cloth and heavy hangings.

Uduthukettu(taking the end of the long cloth between the legs,to be tucked up behind at the waist)and pleated effects at the back,are some highlights of the costume.The costume beneath the waist is similar to that worn by Chakiars for Chakiar Koothu.