Rifado, ripado, puxado, felpo, several designations are used for the same technique, characterized by the use of “riscos-mapa”, handmade drawings that guide linen workpieces’ effect and relief creation. Like a handmade printer, the weaver, pulling the wire, stitch by stitch, follows the drawing placed underneath the web, in a truly impressive work. Many of those drawings are, by itself, true relics. Art workpieces that passed through many generations.

In “mantês”, the number of harnesses in the weaving loom allows the creation of different kinds of patterns. Weaving looms with over three harnesses are used, creating the workpiece’s final pattern.

1.

• Sowing in late April. Making regular weeding to kill weeds.
  

2.

• Plucking out in late June, when the plant is ripe (tearing out by the roots, harnessing the full length of the stems).
  

3.

• Ripping in the field after being plucked. Passing the flax through the teeth of a “ripo” (see image below), with vertical strokes, in order to remove the seed casing.

4.

• Separating the flax in handfuls (in small sheaves), with the seed facing the same side. Diving the handfuls into water during nine days to take off the fibres from the bark of wood.

5.

• In July, when temperatures are higher, carry the handfuls to the field where the flax is put at the sun to dry. Turn regularly for a fast and consistent drying, but not too much, to avoid breaking the fibres. Knotting in sheaves when the straw turns yellow and easily stands out from the fibre by friction.

6.

• Smash the straw with a round wooden bat, until it’s possible to remove the fibres from the woody portion.

7.

• Rubbing manually the flax, twisting it in spiral. This will separate the cellulose debris and it will turn the flax more flexible.

8.

• Putting the flax in a tenement and hitting it with a paddle until the woody portion is separated (“tascos”).

9.

• Passing the flax (“assedar”) through the “sedeiro” – a sort of sieve that separates the short wire from the linen.

10.

• At this stage, the fibres become linen yarn, using distaffs and spindles. Using the textile fibres torsion, a cylinder is created, with unlimited length, that must be uniformed in appearance and resistance.

11.

• When the wire becomes uniformed, passes through a reel (“sarilho”) that will enable to wind it in skeins.

12.

• Doing the “barrela” – linen bleaching process. Putting the skeins in the tenements and then covering it with a cloth covered by gray (“barreleiro”). Pouring boiling water over the cloth that will enter the filter and accumulate in the tenement. He water is then drained through the bottom. This takes three days.

13.

• Wetting the skeins, by hitting hard in the stone laundrette and putting again in the field, at the sun (“corar”). Watering regularly.

14.

• Taking the skeins (dry and white) to the winder, which allows it to pass from wire to balls (reeling).

15.

• Preparing the wires for placement on the weaving loom (“urdir”). Putting the skeins in the suitable box (“noveleiro” ou “urdidor”), passing the wires through the sprat’s holes, followed by a knot in the ends. Passing the wires through the “scheme tool” (“urdideira”) which allows to roll it in the beam (a part of the weaving loom).

16.

• Assembling the beam in the weaving loom and the linen is ready to be handled.