Here is one among the most significant challenge that were posed to the weaver and to the stitcher from all pasts centuries up today. We were saying that the problem of Cartonnier is the restricted number of colors which are at its disposal. That was especially true to the middle - age until eighteenth century when the only components of the pigments were vegetable or mineral. Since the appearance of the chemical pigments the cartonnier has at his disposal an almost unlimited quantity of colors.

SMELTING THE COLORS

That does not remove anything with the difficulty. How to allow to the weaver or to the embroiderers to render the GRADATION? Look at these extracted area of woven tapestry and "petits points" tapestry. This was all the Technique Art of the hand weaver and of the stitcher to find the means to render nuances of the different colors. The hand weaver or the embroiderers had to reproduce with their thread, from a shaded paint, the movement, nuances and smelted realized on the canvas by the brush. They had to know perfectly their technique and to adapt it to the reality of the colored nature.

 
Seat cover Tapestry from the "Tapisserie de France" range

Because it would be too fragile and thus would wear away and be destroyed with the utilization, no stencil key set can be thinest enough to carry out a close succession of colors on the openwork canvas. The tool screen of serigraphy would be too expensive to make because it would need a exorbitant human and photochemical work compared to the benefit which one intends to pull from the sale of the printed canvas that one says wrongly "hand painted".