I am now weaving some 8-shaft twill samples on the remainder of the blanket warp. I am not using a temple. The selvedges appear to be perfect. Both selvedges. Not just the right. The left as well.
This is the same warp on which I wove the blanket. I did a double-stick header which allowed me to remove the blanket while keeping the threading and sleying intact.That heading also allowed me to tie the sticks back on the apron rod without tying (and re-tensioning) the whole warp again. I learned how to make this heading from Peggy Osterkamp's Warping Your Loom and Tying on New Warps, Number 2. The result is the same even tension across the width of the warp that I had when I wove the blanket. Also I am using the same end-feed shuttles.
There are two differences. The first is that I am using different tie-ups. I don’t see how this could affect the selvedges, especially since I am still using separately weighted selvedge warps on each side.
However, here is the second difference: I removed some of the edge warp threads. So, instead of weaving on a 43” wide warp, I am weaving on a 33” wide warp.
Could the different width really have such a marked effect on selvedges? I remember reading somewhere that one shouldn’t weave the full width of the loom. I don’t recall why. And since my computer is still in the hospital, I can't check to see whether or not I made a note of that information. The weaving width on my loom is 45”. 43” is precariously close to full width. Perhaps there is a relationship between arm span and throwing a shuttle properly? Perhaps I didn’t have the tension set quite right on the shuttles? I will have to keep this issue in mind as I weave future projects.
Friday, July 20, 2007
Books
I cannot resist books, especially books having to do with weaving. And The Textile Museum’s gift show has a goodly supply. The difficulty is choosing but one.
After looking at all the possibilities, I settled on a book published just this year called Weaving and Dyeing in Highland Ecuador. It is a collection of essays edited by Ann Pollard Rowe. The book discusses primarily backstrap weaving but focuses on many of the manipulative techniques used in backstrap weaving. Of these techniques, supplementary warp patterning dominates. But there is also considerable discussion of ikat techniques, something which especially interests me.
There are, as well, chapters on treadle loom weaving and on natural dyeing.
The book is going to be a heavy read, something not to be skimmed through quickly. But there are also lots of photographs to break up the text. I look forward to starting the book.
After looking at all the possibilities, I settled on a book published just this year called Weaving and Dyeing in Highland Ecuador. It is a collection of essays edited by Ann Pollard Rowe. The book discusses primarily backstrap weaving but focuses on many of the manipulative techniques used in backstrap weaving. Of these techniques, supplementary warp patterning dominates. But there is also considerable discussion of ikat techniques, something which especially interests me.
There are, as well, chapters on treadle loom weaving and on natural dyeing.
The book is going to be a heavy read, something not to be skimmed through quickly. But there are also lots of photographs to break up the text. I look forward to starting the book.
Thursday, July 19, 2007
Baby Blanket
During the Washington trip I actually did engage in a weaving related activity. I did not just go to The Textile Museum.
I took with me the baby blanket I had just finished weaving and crocheted an edging around it. I had done this on a blanket a few years ago and liked the appearance of it. I used the same acrylic yarn on that blanket as I did on this blanket. I only changed the colors from lavender and pale yellow to baby blue and pale yellow. And I changed the size of the squares from 5” to 2 ½”.
On that earlier baby blanket I had zigzagged the raw edges with my sewing machine. Then I had made a hand-turned ½” hem, turning it under ¼” to hide the zigzagged edge. When I crocheted the edges, I crocheted into the hem, as well as into the selvedge lengthwise edges. I did not like this particularly as the hemmed edges seemed too bulky. When I wove the blanket, I could have used a finer thread for weaving the hems, but I did not have any acrylic yarn any finer than what I was weaving with. And I did not want to weave it with something like cotton sewing thread. I was afraid that that might affect the washing in a way I would not like. So I tried something different with this blanket.
I did zigzag the raw edges with my sewing machine. This time, however, I did not turn those edges under. I simply crocheted directly into the fabric, taking a deep enough pick with the crochet hook to cover the zigzagging. This did create a slight bulge at those two edges, but it looks much better than the version where I actually made a hem.
I did 7 rounds of crochet. Instead of crocheting round and round, however, I returned in the opposite direction whenever I reached the end of a round. This seems to make the crochet edge look a little more balanced.
I did the first two rows in single crochet. Then I alternated a filet crochet row with a single crochet row. I did this a second time. I put in the single crochet rows to give the edging a bit of stability. But the third time, I did only the filet crochet row and that was it. Nothing particularly fancy. After all, it is for a little boy!
I have to admit that crocheting round and round does get to me after awhile. I finished the last round on the ride home. I thought I would never finish. But I desperately wanted it done, finished, kaput by the time we arrived home. I made it with about 30 minutes to spare.
I still have a little bit of trimming of some tiny bits and pieces, but I think it will wash and press quite nicely. Yes, I am going to press the acrylic………
I have no pictures of this to share yet. I arrived home to a very sick computer. She is now in the computer hospital being, hopefully, fixed. But here are the directions are used for the filet crochet rows:
3 ch (counts as 1 dc), skip first sc, 1 dc into next sc, *1 ch, skip 1 sc, 1 dc into each of next 2 sc; rep from * to end, turn.
I took with me the baby blanket I had just finished weaving and crocheted an edging around it. I had done this on a blanket a few years ago and liked the appearance of it. I used the same acrylic yarn on that blanket as I did on this blanket. I only changed the colors from lavender and pale yellow to baby blue and pale yellow. And I changed the size of the squares from 5” to 2 ½”.
On that earlier baby blanket I had zigzagged the raw edges with my sewing machine. Then I had made a hand-turned ½” hem, turning it under ¼” to hide the zigzagged edge. When I crocheted the edges, I crocheted into the hem, as well as into the selvedge lengthwise edges. I did not like this particularly as the hemmed edges seemed too bulky. When I wove the blanket, I could have used a finer thread for weaving the hems, but I did not have any acrylic yarn any finer than what I was weaving with. And I did not want to weave it with something like cotton sewing thread. I was afraid that that might affect the washing in a way I would not like. So I tried something different with this blanket.
I did zigzag the raw edges with my sewing machine. This time, however, I did not turn those edges under. I simply crocheted directly into the fabric, taking a deep enough pick with the crochet hook to cover the zigzagging. This did create a slight bulge at those two edges, but it looks much better than the version where I actually made a hem.
I did 7 rounds of crochet. Instead of crocheting round and round, however, I returned in the opposite direction whenever I reached the end of a round. This seems to make the crochet edge look a little more balanced.
I did the first two rows in single crochet. Then I alternated a filet crochet row with a single crochet row. I did this a second time. I put in the single crochet rows to give the edging a bit of stability. But the third time, I did only the filet crochet row and that was it. Nothing particularly fancy. After all, it is for a little boy!
I have to admit that crocheting round and round does get to me after awhile. I finished the last round on the ride home. I thought I would never finish. But I desperately wanted it done, finished, kaput by the time we arrived home. I made it with about 30 minutes to spare.
I still have a little bit of trimming of some tiny bits and pieces, but I think it will wash and press quite nicely. Yes, I am going to press the acrylic………
I have no pictures of this to share yet. I arrived home to a very sick computer. She is now in the computer hospital being, hopefully, fixed. But here are the directions are used for the filet crochet rows:
3 ch (counts as 1 dc), skip first sc, 1 dc into next sc, *1 ch, skip 1 sc, 1 dc into each of next 2 sc; rep from * to end, turn.
Wednesday, July 18, 2007
The Textile Museum, Washington, D.C.
When I go visit Washington, D.C., I always try to manage a trip to The Textile Museum . One of its exhibits is an ongoing display of various weaving techniques. The display is designed for children and probably also adults who know little or nothing about weaving. I find it fascinating however.
This time, however, I went to see their special exhibit on the tent bands of central Asia. I didn’t know what to expect. Something like contemporary inkle bands, I suppose. What I saw was something quite different. They were much wider than I had expected. They were much sturdier bands than I had expected. Before I went to the exhibit, I had had no idea that these bands were woven for the purpose of the tent structure to keep it upright. These bands were clearly thick and strong. And the bands were very beautiful.
Not unlike inkle bands, they are warp-faced. But they are also decorated with pile. On some of the bands, only the decorations are done in pile. The pile was created by knotting pieces of wool, or sometimes silk, onto the cloth created by the warp-face plain weave. On others, the whole band is done in pile. The basic weave structure generally uses wool.
Bands were also woven purely for their decorative effect. Instead of being wrapped around the outside of the tents to support the structure, these were hung inside the tents.
These tents were designed for use by nomads. Thus they were easy to take down and put up. At least it was easy for the nomads! When these people settled down in one place, however, they no longer had any use for these tents and therefore no further use for the bands. So they sometimes chose to recycle them. Sometimes they used them as furniture coverings. The use I found most intriguing however, was their conversion to rugs.
To convert the bands into rugs, they were cut into pieces. The pieces were then sewn together. The pieces did not necessarily match. In fact, sometimes pieces were cut from different bands and sewn together. But they were beautiful nonetheless
There were also black-and-white photographs of the period which showed some of these tents and bands. There were photographs as well as of weavers at work. As seems to be true of so many ethnic weavers, they wove while sitting on the ground. And the looms, by our standards, were primitive. These photographs were interesting, but it was the visual effect of all those bands that was the heart of the exhibit.
The exhibit is on until August 19, and I very much recommend it.
This time, however, I went to see their special exhibit on the tent bands of central Asia. I didn’t know what to expect. Something like contemporary inkle bands, I suppose. What I saw was something quite different. They were much wider than I had expected. They were much sturdier bands than I had expected. Before I went to the exhibit, I had had no idea that these bands were woven for the purpose of the tent structure to keep it upright. These bands were clearly thick and strong. And the bands were very beautiful.
Not unlike inkle bands, they are warp-faced. But they are also decorated with pile. On some of the bands, only the decorations are done in pile. The pile was created by knotting pieces of wool, or sometimes silk, onto the cloth created by the warp-face plain weave. On others, the whole band is done in pile. The basic weave structure generally uses wool.
Bands were also woven purely for their decorative effect. Instead of being wrapped around the outside of the tents to support the structure, these were hung inside the tents.
These tents were designed for use by nomads. Thus they were easy to take down and put up. At least it was easy for the nomads! When these people settled down in one place, however, they no longer had any use for these tents and therefore no further use for the bands. So they sometimes chose to recycle them. Sometimes they used them as furniture coverings. The use I found most intriguing however, was their conversion to rugs.
To convert the bands into rugs, they were cut into pieces. The pieces were then sewn together. The pieces did not necessarily match. In fact, sometimes pieces were cut from different bands and sewn together. But they were beautiful nonetheless
There were also black-and-white photographs of the period which showed some of these tents and bands. There were photographs as well as of weavers at work. As seems to be true of so many ethnic weavers, they wove while sitting on the ground. And the looms, by our standards, were primitive. These photographs were interesting, but it was the visual effect of all those bands that was the heart of the exhibit.
The exhibit is on until August 19, and I very much recommend it.
Thursday, July 12, 2007
Design Boards
I did get the design boards done before leaving for Washington, DC. I love them. Even my husband loves them. Thank you, Valerie!
The first image is part of the group of samples I wove for 4-shaft effect. Somewhere in there is the
sample treadling and colors that I am going to use for the crackle jacket I am designing. And somewhere else in there is the sample treadling and colors I am thinking about for some 30/2 silk. The colors will be a bit different, but they will probably reflect the intensity and depth of the coloration of this sample.
I did two boards, by the way, because the samples were so long. Now on reflection, I see it would probably have been better to have made three. Also, I did not cut the samples at the break between 4-shaft and 8-shaft treadling. Who knows why. I just wasn't thinking. I was in a
hurry. In any case, in about the middle of the sampler there is an thickish orange line. This is the color of the yarn I used to weave the separations between the treadling samples. Everything to the left of that orange thickish line is treadled for 4-shaft effect; everything to the right for 8-shaft effect.
I have cropped the images, so not much of the board itself is visible. And I have turned the images 90 degrees because they seemed to me to make read that way. One thing that is interesting is the narrowing of the warp, primarily on one side. This is not something I worry about on samples since I am not concerned about technical issues. I won't mention the weft skips.
So I am ready to leave. I have even figured out some of the tie-ups and treadlings I want to try on the remaining baby blanket warp.
The first image is part of the group of samples I wove for 4-shaft effect. Somewhere in there is the
sample treadling and colors that I am going to use for the crackle jacket I am designing. And somewhere else in there is the sample treadling and colors I am thinking about for some 30/2 silk. The colors will be a bit different, but they will probably reflect the intensity and depth of the coloration of this sample.I did two boards, by the way, because the samples were so long. Now on reflection, I see it would probably have been better to have made three. Also, I did not cut the samples at the break between 4-shaft and 8-shaft treadling. Who knows why. I just wasn't thinking. I was in a
hurry. In any case, in about the middle of the sampler there is an thickish orange line. This is the color of the yarn I used to weave the separations between the treadling samples. Everything to the left of that orange thickish line is treadled for 4-shaft effect; everything to the right for 8-shaft effect.I have cropped the images, so not much of the board itself is visible. And I have turned the images 90 degrees because they seemed to me to make read that way. One thing that is interesting is the narrowing of the warp, primarily on one side. This is not something I worry about on samples since I am not concerned about technical issues. I won't mention the weft skips.
So I am ready to leave. I have even figured out some of the tie-ups and treadlings I want to try on the remaining baby blanket warp.
Panic Time
In putting together the weaving samples with the documentation, I discovered........I am missing the notes on the last 5 treadlings! What that means is that I never took my handwritten notes and entered them into the computer.
Before I wove each of the samples, I made decisions about treadling and colors and wrote them down on lined paper. After I wove a few, I would transfer them to the computer. This is my normal pattern in weaving a set of samples. If I don't do that fairly quickly I am in danger of not being able to read my handwriting. I am so focussed on the weaving that I make those notes as quickly as possible and so my handwriting does get a bit sloppy, well, very sloppy if truth be told.
Somewhere there are some missing handwritten notes..............
The good news. I can easily reconstruct the information for the last 3 treadlings because they were treadled overshot style, 2 with 10/2 as pattern weft and one with 20/2 as pattern weft. And because of the overshot treadling, the color order is easy to identify.
And I remember the treadling of the first 2, though not the exact order. And it will be a little difficult to reconstruct the color orders, but not impossible.
In any case, I did not much care for those treadlings anyway! Actually it was the overshot treadlings that I really didn't care for. I hadn't thought that I would like them, but I had never tried treadling overshot style. In the past, I had been skeptical about my liking overshot-style treadling, so I hadn't wanted to "waste" precious warp. But I finally decided that I really did need to try it. Maybe the fact that I didn't care for the results contributed to my negligence with my handwritten notes?
Is there a moral here? Well, there is for me. Best of all, get those notes into the computer sooner than later. Next best, if I can't do that, make sure they go in the right folder and the folder kept in the place it belongs.
Before I wove each of the samples, I made decisions about treadling and colors and wrote them down on lined paper. After I wove a few, I would transfer them to the computer. This is my normal pattern in weaving a set of samples. If I don't do that fairly quickly I am in danger of not being able to read my handwriting. I am so focussed on the weaving that I make those notes as quickly as possible and so my handwriting does get a bit sloppy, well, very sloppy if truth be told.
Somewhere there are some missing handwritten notes..............
The good news. I can easily reconstruct the information for the last 3 treadlings because they were treadled overshot style, 2 with 10/2 as pattern weft and one with 20/2 as pattern weft. And because of the overshot treadling, the color order is easy to identify.
And I remember the treadling of the first 2, though not the exact order. And it will be a little difficult to reconstruct the color orders, but not impossible.
In any case, I did not much care for those treadlings anyway! Actually it was the overshot treadlings that I really didn't care for. I hadn't thought that I would like them, but I had never tried treadling overshot style. In the past, I had been skeptical about my liking overshot-style treadling, so I hadn't wanted to "waste" precious warp. But I finally decided that I really did need to try it. Maybe the fact that I didn't care for the results contributed to my negligence with my handwritten notes?
Is there a moral here? Well, there is for me. Best of all, get those notes into the computer sooner than later. Next best, if I can't do that, make sure they go in the right folder and the folder kept in the place it belongs.
Wednesday, July 11, 2007
Of Dyers and Weavers
Or, in this instance, of one in particular.
Karren Brito recently left a comment on this blog. I know her to be a marvelous dyer whose shibori pieces are works of art. But she is also an educator. She has written Shibori: Creating Color and Texture on Silk. I consider this an indispensable book for anyone working with acid dyes. And on the Dyers Email List she is generous with her help.
But, as Karren informed me, she is also a weaver. She has multiple looms but no room for them in her dye studio. I suspect with all her creative dyeing work, she has no time right now for weaving either. She says, however, that the weaving is waiting for retirement. I hate to see her retire from her shibori dyeing, but I look forward to see the marvels she creates at her looms.
I especially wonder what Karren's incredible dyeing skills will bring to her weaving. A long time ago, I was looking at a tapestry exhibit. I had been playing a bit with tapestry weaving at the time. As I looked at those tapestries, I could see some tapestries as having been woven with a certain manufacturer's yarn because I recognized the colors. I found that so distracting that I was glad that I had already embarked on my own dyeing adventures.
By the way, my links are now visible, thanks to Leigh's help! Little did I know what I had to do to get them to be blue.
Karren Brito recently left a comment on this blog. I know her to be a marvelous dyer whose shibori pieces are works of art. But she is also an educator. She has written Shibori: Creating Color and Texture on Silk. I consider this an indispensable book for anyone working with acid dyes. And on the Dyers Email List she is generous with her help.
But, as Karren informed me, she is also a weaver. She has multiple looms but no room for them in her dye studio. I suspect with all her creative dyeing work, she has no time right now for weaving either. She says, however, that the weaving is waiting for retirement. I hate to see her retire from her shibori dyeing, but I look forward to see the marvels she creates at her looms.
I especially wonder what Karren's incredible dyeing skills will bring to her weaving. A long time ago, I was looking at a tapestry exhibit. I had been playing a bit with tapestry weaving at the time. As I looked at those tapestries, I could see some tapestries as having been woven with a certain manufacturer's yarn because I recognized the colors. I found that so distracting that I was glad that I had already embarked on my own dyeing adventures.
By the way, my links are now visible, thanks to Leigh's help! Little did I know what I had to do to get them to be blue.
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