Equipment/tools

Use your S & Z Identifier Tool to Add or Subtract Twist to Yarns

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Introduction:
My previous post on July 8, 2020, explained how to identify S & Z twist easily. This post tells why it helped me reduce warp breakage. More S & Z information relating to bobbins, pirns, and weaving is in my book, Weaving & Drafting Your Own Cloth.

I was making a warp using a singles linen, probably 14/1, that I had in my stash. It kept breaking when it went around the end pegs. Actually, I could see that the thread was pulling apart. I figured that the way the spool was standing up on my spool holder was the problem: I was untwisting the yarn so it became enormously weaker. (Truth be told that was ½ of the breaking problem: the yarn was old.)

Notice the diagonal lines in the yarn and the toilet paper. They are all going in the same direction. That direction is called Z because it is the same direction as the diagonal part of the letter Z. I assume my warp thread was probably a Z twist singles.

I had my spool of yarn on the spool holder this way which was untwisting my yarn and causing it to break. It was set so the yarn was UNTWISTING as it came off the spool. This diagram shows the twist of the yarn in the opposite direction: we say S. That is because the diagonal lines are the same diagonal as the diagonal in the letter S.

I turned my spool end-for-end so then twist was ADDED which made the yarn stronger instead of weaker and the breakage stopped. (However, it didn’t make it strong enough to overcome the old age and the yarns broke instantly when I began to beam the warp! It all had to be thrown out!!)

At times you do not want to add or subtract any twist. Then you take the yarn off a spool on its side!

You can add S or Z twist when you unwind yarn from the end of a spool. When the yarn, as seen from the end of the spool moves in a counter-clockwise direction as it unwinds from the spool, Z twist is added. By turning the spool end-for-end, the yarn will move in a clockwise direction as it unwinds, adding S twist to it. (This option is not available with cones which are made to stand only one way up.) To understand S & Z twist read more in my chapter on shuttles in my book mentioned in the introduction.

Repeating the principle: which end of a spool the yarn come off from dictates the direction of the twist put into the yarn—because the yarn is coming off the end. Take the yarn off a spool on its side and no twist will be added or subtracted.

You can add or subtract twist not only by how you wind a pirn, but also by which end of the spool of yarn you take the yarn off. For consistent cloth you want the wefts to be totally consistent as to twist. However, a novelty cloth can be woven using different twists: depending on how you put a pirn on the winder or stand up a spool of yarn.

Unwinding Skeins of Very Fine Threads

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Introduction:
I bought a few skeins of fine silk in Japan a few years ago. I ran into all kinds of trouble. I finally asked the owner of Habu Textiles if she would unwind them on her machines. All but one skein she wound onto cones. The final skein she sent to Japan; it was so hard to undo. It came back on about 10-15 cones, each with small amounts wound on and some with threads flying about. Even they found it nearly impossible! I bought proper Japanese equipment but still decided it was worth it to pay to have them unwound. I’m unwinding a bunch of skeins now from Junco Sato Pollack and using my equipment. Many skeins come off beautifully. A few still gave me fits. It’s a joy to crank and wind a spool when all the threads come off easily. My advice is not to buy those skeins or to admire them and leave the threads in the skeins. I have cut a skein or two creating lengths of threads that I’ve laid into warps. Here are a few details.

Unwinding skeins of very, very fine threads can be an extremely tedious, and near impossible task. Special equipment can make a difference. The extra circumference of Japanese spools is important. Winding on small spools or cones can be impossible.

You also need a proper skein holder or skein maker. A common umbrella swift doesn’t hold the skein flat due to its X shape. If the skein isn’t held evenly the threads can fall down and tangle.

This is the winder that winds the Japanese spools. When a thread breaks, pat the skein from the inside and hopefully the broken end will fall out, and you can continue nicely. It’s imperative to open the skein properly. See below.

Here is the winder with an empty spool on it, ready to go. Notice the guide arm that guides the thread onto the spool. This is essential. I had an antique one, but the guider was gone. It was terrible trying to guide and crank. Another empty spool is shown alongside.

Open any skein CAREFULLY. You must find the precise place that is the center of the ring of threads in the skein. This is true for all skeins if you want them to unwind easily. Search for the ties that encircle the threads.

Look carefully for the ties that tie the skein so the exact center can be found.

You can’t check the ties too carefully. Really see that not a single thread is out of place. Often there are two ties that just tie the center of the skein and another one that does the same plus has the ends of the thread tied to it. Find which end unwinds easily and tuck the other end inside the skein holder. Also note that where the ties cross within the skein is not an exact place. It just keeps the ties from slipping.

More Surprises at the Silk Factory

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This gorgeous irridescent sari caught my eye immediately. I brought it home with me and hope to make collages where the light plays on the fabric in different ways. So inspiring! It would be lovely as a garment with gathers but I can’t think of anything I would wear. [click photos to enlarge]

THIS IS A SKEIN HOLDER! I asked about the bamboo pieces with “feet” that were laying on the floor under a loom. Immediately a skein was produced to show the purpose. The threads came off beautifully. I would like to think it could be put up on a table.

If you look closely in the corner of the photo the weaver is winding the thread from the skein on a wicker cage-like tool with a stick for a handle. He is winding very fast and the fine silk thread is coming off like magic.  I wish I could make skeins that well.

This close-up shows a stack of the cards for the Jacquard loom and the “cage thing” that threads are wound on. They could  twirl the cage fast and wind up the thread really fast.

I watched this weaver for a good while while he was separating warp threads so he could move the lease sticks. I thought I was the only one who needed to fiddle to move the sticks sometimes. It’s VERY important to keep the sticks in. The reason is that if a thread breaks you will know exactly where it belongs.

The woman in the sari is weaving along with a fly shuttle that works when she pulls the handle on the cord. (It shoots the shuttle across the warp.) I  visited a factory once in another part of India where all the Jacquard weavers were men because lifting all the threads with their weights took a lot of muscle. I was very surprised to see one woman. The others were men but not beefy types.

Getting the 40-Shaft Dobby Working

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Getting the 40-shaft mechanical dobby going. Jim Ahrens built this loom in the 40’s. Beside the dobby shafts are 4 more made for a ground weave. You can see a small practice warp ready to see that the dobby mechanism works after replacing all the cords. A big project.

Here are the dobby bars I pegged for a design some years ago next to the mechanism. There is a single wide treadle to activate the dobby which is what makes the sheds. Next week we should see if all the adjustments and knots work like they should.

Here is a close up of the bars and pegs. Each bar represents one shed or row of weaving. The pegs tell the dooby which shafts to lift and lower to make the sheds.

The big pedal operates the dobby. The 4 regular pedals are meant to operate a ground weave which we aren’t using for our trial. Each press of the big pedal changes the shed (dobby bar with pegs).

For the trial only 4 shafts will be used.

Here are the completed 4 shafts with their individual weights at the bottom of each shaft. The cords for the remainder of the shafts are bunched up out of the way.

Needle Book Mania??

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I wonder if I have a “thing” about needle books. The first one I had I made in 4-H when I was 10. I never saw the use of it and never used it. Then I saw one my friend Mary Rowe had when I was in New York. I think it was her mother’s in New Zealand. It was the cutest thing I ever saw so I made one for my best friend’s 40th birthday years ago. She still uses it a lot of years later. [ click photos to enlarge ]

Last month or so a weaver/friend died and I took care of finding homes for her loom and stash. I found the most wonderful needle “cushion” in with her things. (The colorful one full of her needles.) It now lives on my new dobby loom. I had to weave some of my own! I’ve been dyeing with black walnuts so I thought I would dye the cloth and the pattern threads–what whimsy and fun that was. I made a lot for gifts when I travel. On the rest of the warp I had fun designing 4 new fabrics without changing the threading.

These are needle books I have lying around–in my sewing box at home and near my looms in the studio. In 4-H I learned that one needed protein fiber for pins and needles so they won’t rust. So all the pages are wool fabrics. (The new needle cushions are made with silk).

The round yellow crocheted needle book is like the one I saw in New York and made for my friend. The inner “pages” are made from scraps of wool overshot fabic I wove when I was an apprentice with Jim Ahrens.  The tiny heart shaped one I found in a sewing box at a thrift store–lovingly crocheted. The round, fat pin cushion with sashiko stitching I got in Japan and couldn’t resist it.

The last is a pin cushion I made and use now. We wove yards of this wool fabric in a production weaving class with Jim Ahrens at Pacific Basin School of Textile Arts in the 70’s. My inspiration was a pin cushion I got in Whales at a weaving mill  made from their scraps. The red book came from there, too.

My “Warping the Loom Back to Front” Video is Now Available for Streaming!

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The tech world swirls around me again. Now my DVD “Warping the Loom Back to Front” is available for downloading and streaming on demand as well as a real DVD.

I learned that many people don’t buy DVD’s anymore-in fact computers often don’t have a drawer (or slot?) for them-and people don’t even own a DVD player. This reminds me of the VHS videos I used to sell that are now useless. People are now streaming movies and downloading them to watch from their computers or their phones. In order to do this, people must have a good internet connection though to make sure they don’t have to wait for buffering. Internet service providers, like infinitydish.com, have high-speed internet options to make it easier to download and stream movies quickly. That’s what a lot of people are doing.

Now you can either purchase my “Warping the Loom Back to Front” as a real DVD or download it or stream it on demand from the Vimeo website. I am thrilled that I can offer all of these methods to my customers. To kick off this event, I have reduced the physical DVD price from $34.95 to $19.95. The Vimeo options are to buy it for $9.95 (stream or download anytime) or rent it for 48 hours for $4.99. See my Vimeo page HERE. I’m proud to say that after 14 years in production, people are still ordering the DVD.

For anyone who bought a DVD in the last year at the higher price, you can contact me HERE and we’ll make a settlement together-say a free book, another DVD or credit for a download or Weaving for Beginners. 

I hope you’ll want this on all your devices. Always have it nearby–handy at the warping board, when beaming, or threading the heddles. Learn how to make great warps with perfect tension and to thread the heddles without mistakes. My mentor, Jim Ahrens said, warping is 50% of weaving and if done well, the weaving will be hassle free without tangles or broken threads.

We even made a real “trailer”. It feels almost like I’m in the movie business.

Remember: The only thread that can’t tangle is one under tension! Happy weaving!—-Peggy

Why I Named My Publishing Company “Lease Sticks Press”

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Lease sticks are important in my weaving at so many stages. Shown here they are holding the crosses in both a new warp and the old one in preparation for tying on a new warp. The illustration is from my book, Warping Your Loom & Tying On New Warps” which is no longer in print. (However it can be downloaded as a PDF.) This is the subject of my next eBook which will be coming soon. Then you can have the process on your devices right at the loom as you proceed. I found it more convienient when I was hemstitching to have my iPhone at the loom, rather than the whole book.

People mostly know of lease sticks used in threading the heddles. Do you know why they are called lease sticks? Because what we now call the “cross” is officially called the “lease”. So these are the sticks that hold the lease.This image is from my book Weaving for Beginners. I like THIN lease sticks–the thick ones are cumbersom and take up too much space in my opinion. Jim Ahrens (the “A” part of AVL) made lovely thin, narrow ones. They are now available at AVL Looms.

We just made the cover today. Remember it’s not available yet–but coming soon! This is always an exciting time of the process–seeing the cover!

My New Baby is a Cutie!

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Now my studio really looks like a weaving studio. My newest loom is in the center. All my looms except this new sweetie were built by Jim Ahrens. Now the new one was made by AVL looms—the “A” stands for Ahrens, so all the engineering is related. The ‘V’ stands for Jon Violette, who began the company with Jim and the ‘L’ stands for looms.
Are you wondering what the other looms are that circle the new one in the center? Starting with the loom on the left and going around clockwise: 10-shaft, side tie-up, 4-shaft loom, 40-shaft dobby built by Jim Ahrens in the 1940’s, and my love, the 4-shaft loom made of bird’s eye maple wood which I have used exclusively for years and years. Going to 12 is a giant and exciting step for me!

Here she is—a real sweetie. I’ve been trying to reduce and give away things but this loom from Jan Langdon I fell in love with years ago. When she decided to down size, she said I was the only person who had longed for it. It is a 12-shaft dobby about 36” wide. Note that in the photo, my 10-shaft loom with a side tie-up is back behind the new loom. Small in a way but the dobby will increase my capacity for new structures greatly.  I’ve been wanting to weave a structure for years and finally decided to do it until I realized I would run out of treadles. The dobby solves that problem. Two treadles work the mechanism to raise the shafts. Notice it is on wheels—that has been very handy already. I just need a pillow on my bench.

Here’s the back of the loom. The dobby mechanism is on the left side in the photo.

This is the dobby mechanism. Each bar represents one shed or row of weaving.

A close-up shows the pegs in the bars. A special tool makes it easy to ‘peg’ each shed. The holes without pegs are the shafts that will go up. Since there are 12 shafts, there are 12 holes in each bar. When the right treadle is pressed, the mechanism raises the shafts for one bar—one shed. When the left treadle is pressed, the shed closes and the mechanism readies itself for the next shed. When all the holes are filled nothing will go up. It’s a way to mark the end of a repeat.

Here is the first thing I’ve woven! I wanted to shade the 12-shaft satin weave to go from only the warp showing graded to only the weft showing. The white warps are shiny spun silk (2 different yarns) and the weft is handspun silk from Bhutan that is not shiny.Then I dyed the piece lightly in black walnut dye. I was hoping the shades of the color would contrast more, to go in shades from light to dark–but that is what I’ll work on next. I thought the two yarns—one shiny and one mat would contrast more when in the dye. Lately I’ve been weaving cloth for the dye pot—really fun to weave and get my creative juices flowing.

A Treasure from Japan

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When I saw this applique wall hanging in a show last fall, I fell in love with the sewing cabinet. It was made by Hiroko Watanabe.

On the second day in Okinawa I found “my” sewing cabinet in a tiny, crowded antique shop. I figured I’d have to carry it all around for three weeks but discovered it fit into my suitcase. (Taking up space I needed for other things.)

I knew it needed some kind of clip because of the way it was shown in the hanging. It took some searching, but I found it in the sewing notions area in a department store. Sewing shops didn’t carry them because “no one uses them or sews anymore.” All the kimonos I’ve seen are hand sewn using the clip to tension the cloth while sewing. It really works and I love it. I made the pin cushion as soon as I got home.

Broken Threads Disaster–My Solution

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woven-cloth-finest-threads-2
I’m weaving 125 fine threads per inch so I can weave another ruffle (see my gallery) which I will shibori dye with indigo. Then the ruffle will disappear and appear in the dyed and un-dyed areas.   [click any photo to enlarge]
woven-cloth-finest-threads-3

I’m trying to weave with finer-than-ever silk threads. I should have starched them first but didn’t because I didn’t realize it would be necessary. That would have made the threads stronger.  There are 125 threads per inch and I made more threading errors than I’ve ever made in my life. I have spent hours correcting these almost invisible threads and have lost a few and a few have broken –there are 16 threads to date that are hanging off the back of my loom and I expect I’ll have more as I weave along. Here is a close up of the weaving and one broken thread pinned in. (I’ve been mending the threads with sewing thread so I can see them.)
rig-for-broken-threads-2
I used this stand which I’d used when I was weaving velvet to rig up a way to keep all the threads from tangling. Knowing that the only thread that can’t tangle is one under  tension this is what I did.
rig-for-broken-threads-with-cross-1-2
I took the threads as they came from the warp beam and made a cross to keep them in order. 
rig-cross-only-2

 Here is a close-up of the cross I made to keep the threads in order.
rig-for-broken-threads-with-cross-2-2
To further keep them in order they went through this grid.

spools-for-broken-threads-2
Here is how I tensioned the threads. These are fish net shuttles I used when weaving velvet.

Camp Season Almost Here

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Table Looms for Camp
Here are my Structo table looms all ready for the campers later in June. Last year we had great creativity from the 6-11 year-olds. Finally a use for my looms that have been gathering dust n my studio. Last year was a great success so we are going to do it again this year. I always wonder before hand how it will go over. The kids last year were so eager. I made the warps–2 1/2″ wide and then cut cut them off when they are all done and glue the cut ends.

My First Guest Post! Calm Obsession by Regina Potts

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Claw for post
I started guest posting with Regina Potts. It all began when she emailed me with a better way to stretch out the cloth on the loom. I suggested using croc clips in my book, Weaving for Beginners. We’ll be collaborating in future posts. I like her idea, her stories, and the way she thinks.
Here it is in PDF format. Just click the post title below
Weighted Claw Temple by Regina Potts

Fine-Threads Saga Part Two: Threading the Heddles!

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Peggy post 7-24-15-2
Well, this job will take a good while, but I think it will work out. In my books I show a trick for threading that isn’t really a trick; it’s a technique I always use. Jim Ahrens taught it to us in our Production Weaving classes. What you do is put tension on the threads so they are taut when they are in the lease sticks making it easier to see which is the next thread. I usually use a 3 ½-ounce wrench for a weight (it lives in my apron pocket). WrenchI separate out a bundle of cut warp threads about the thickness of a medium-sized carrot to tension. When you select a strand to thread next you pull it out of the weighted bundle using the threading hook. This is described on page 71 in Weaving for Beginners and on page 51 in Book #2, Warping Your Loom & Tying On New Warps available now in PDF format.  [click any photo to enlarge]
Peggy Osterkamp-2For these tiny threads I used very small fishing weights and tied many ties along the lengths of small bundles just so none of the threads flew around.Peggy post 7-24-15-3
You can see them hanging down at the back of the loom if you look closely. ( My loom is folded up for threading.) The fishing weights were from weaving velvet one time.

 

Peggy post 7-24-15-4 This photo shows the threads in the lease sticks. Peggy post 7-24-15
This photo shows the threads behind the heddles as they go into the heddles.
Peggy post 7-24-15-5Peggy post 7-24-15-6

These photos show the
threads coming out of the heddles.

Peggy post 7-24-15-6
This last photo shows where I am so far—threads that are in the heddles and held to the side out of the way by a tiny ball of UHU removable putty.

These fantastic photos are by Bob Hemstock, my miraculous web guy.

Think About Using a Paddle – Free PDF

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 Free Chapter Cover ClipSince I sent out over 60 copies of my Book #1: Winding a Warp & using a Paddle for my Holiday Gifts, I thought I would point readers to the wealth of information that I wrote about using a paddle. This post (Weaving Tip) includes the complete Chapter 10 which has important information for using any type of paddle. Following that in the book are separate chapters for the two types of paddle. There are descriptions of different types of paddles, too.

If you didn’t get a free book over the holidays, here is your chance to get your own copy 50% off the regular price. This offer will go until February 1. I’ve taught many weavers how to use paddles and everyone feels so empowered afterwards. I hope you will want to try it. I tell you the limitations as well as the reasons why you would want to use one. [if viewing this post in an email and the links below do not work just click here]
©2005 • 3rd printing, revised edition; 138 pages; 195 illustrations. Lie-flat wire-0 binding  •  $39.95  >  January Special 50% Off = $20.00
CLICK HERE to download for free introductory chapter: “Using a Paddle” or click the PayPal button below to order the book.




 

Peggy’s Weaving Studio Update

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Peggy Osterkamp’s Weaving Studio

I got 15 small collapse pieces back from the framer in New York who makes may special plexi shadow boxes and had to do some rearranging in the studio to get them on the wall. If you like how they look, let me know and I can give you his contact information.

We decided they would look better with a black background so up went the felt pieces I had and I think they look really nice. They are the small pieces on the black background.

While I was at it, I thought I’d share pictures of the studio as it is just before I leave it for 3 weeks while I am in Japan.
[click first photo for slideshow]

Weaving Keynote Speech

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2012 CNCH Weaving Convention
2012 CNCH Weaving Convention

I spent the month of March preparing my keynote speech for the northern California weaving conference, CNCH. It will be May 17-20 at the Oakland Convention Center. It was a lot of work but fun figuring out what I could say in 1/2 hour. Believe me, there was a lot I had to relegate to the cutting room floor. It was hard to give up so many ideas. Maybe we can make a video and put it on line!

April will be devoted to preparing for my two classes and a retrospective of my work. I’ve already made the list for the exhibit for the labels, but now I need to be sure every piece is prepared and ironed, etc. I’m honored to have this recognition.

The two classes are about collapse weaving and supplementary warp–two of my favorite things. (I’ve signed up for CNCH 2013 to teach them again–also about using the paddle.

Getting the Pegs Needed on Warping Reels

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Warping Reel Pegs, Vertical
Warping Reel Pegs, Vertical

While thinking about using the paddle with a warping reel, it occurred to me to show how you can get the pegs you need for the crosses on warping reels. In my books I recommend using 4 pegs for the crosses and usually reels only have 3. This is what I have used to get the needed 4 pegs.

Horizontal Warping Reel Pegs, Detail
Horizontal Warping Reel Pegs, Detail

Warping Reel Pegs, Horizontal
Warping Reel Pegs, Horizontal

These illustrations are from my Book #1, Winding a Warp & Using a Paddle, on pages 33 and 34.

Using a Paddle with a Warping Reel

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I received a comment asking about how to use a paddle with a vertical warping reel. In my Book #1, Winding a Warp and Using a Paddle I do discuss this. Here is a clip from the paddle chapter.

paddle and reel
paddle and reel

WHERE TO PLACE THE PADDLE
You want the paddle to be easy to reach, so when you get to the lease pegs, you can easily make the lease and put it onto the pegs.
Other than being clamped to something
approximately at the center of the warping
board as in Figure 118, below, the paddle can be clamped to the bottom of the warping board itself if the height of the board is convenient for you.
Clamping a paddle at a height close to the
pegs on a reel is shown in Figure 119a.

paddle and chair
paddle and chair

Clamping it to the back of a chair works well, too. See Figure 119b.

Also, see below where to place the paddle at a warping board.

Paddle and warping board
Paddle and warping board

Weaving with Varying Warp Tension for Wavy Wefts

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Weaving Cloth with Wavy Wefts, close up

Weaving Cloth with Wavy wefts, warp tensions, #2

The photos show tight and loose tension on the warps. this is what makes the wavy wefts. I show the mechanism we put on my 4-shaft loom in a previous post. Search for wavy wefts to see the loom and other posts on wavy wefts. It’s been fun experimenting!

Weaving with an Extra Warp

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Weaving with more than one warp is something I really like to do. We call it a “supplementary warp” when in theory, it could be removed and an intact cloth would remain.

“Red Square” was woven on 10 shafts–2 for the foundation warp and 8 for the red warp.

The sewing thread warp I’m weaving on now has a supplementary warp, too. In this case these warps aren’t threaded in heddles, but between them. See more in previous posts.

I weight my supplementary warps with washers that are hanging from shower curtain hooks.

The knot to use (because it is easy to undo and redo as needed) is described in 3 of my books because I think it is so useful. “Weaving for Beginners”, Book #2: “Warping Your Loom & Tying On New Warps”, and Book #3: “Weaving and Drafting Your Own Cloth”. See the chapter, Two or More Warps in Book #2 for details.

That Special Tie Up: Only Use 4 Treadles!

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One tie up for all 4 shaft looms

I received this comment about the tie up I posted. (Search for tying up your treadles.)

 

“Thanks for the tie-up, Peggy! What if you have a 6 treadle loom and want to add a tabby tie-up? Is it best to put it in the middle or on the outside treadles, in your opinion?”

Here’s my opinion:
No, no, no!! The extra treadles just get in the way and offer the chance for mistakes. To do tabby put your foot between the treadles and push 1&3 with one foot and 2&4 with the other. Then you can walk the treadles. Which two treadles to not hook up you can decide on depending on how your feet fit the treadles–and what’s comfortable. Getting comfortable helps avoid mistakes. See page 2 in my third book, Weaving & Drafting Your Own Cloth.

Bobbin Types for Boat Shuttles

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Fit bobbins to cavities

Certain bobbins fit certain boat shuttles. Look at the cavities in your shuttles to determine which is the right type of bobbin to use. When I was learning to weave I heard about this but didn’t think it was important. Then when I was demonstrating fast weaving with the wrong bobbin I was embarrassed because the weft thread kept jerking. I learned my lesson that day. This is from Weaving for Beginners on page 94. I hope this saves other weavers from frustration!

The cavity in the shuttle where the spindle is mounted has either squared-off corners or oval, rounded corners. You need to fit the bobbin to the cavity in your shuttle or the thread will jerk or jam as you are weaving. Squared-off corners of the cavity are for bobbins with flanges at the ends—similar to those on the ends of spools of sewing thread. See Figure 223a. In a round-cornered cavity, use bobbins with extensions sticking out from the flanges. See Figure 223b. Bobbins with extensions are readily available and can be used in either type of shuttle. You can put a small bead or a sewing machine bobbin on the spindle at each end of the bobbin if your bobbins don’t have extensions, and your shuttle has rounded corners in the cavity. See Figure 223c.

There is more about handling boat shuttles beginning on page 111. Learn to weave without the weft thread jerking and tangling.