Inlay

We Can Have Supplementary Wefts, Too

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Introduction:
Supplementary wefts are wefts that if pulled out of the cloth an intact cloth would still remain. Usually, I would say the ground cloth would be a balanced plain weave but it doesn’t have to be.

Overshot
This is a typical supplementary weft pattern we call overshot. I really love this technique.

Here is my project for the overshot class I took at Pacific Basin School of Textiles. You can read about it in a previous post on March 15, 2022.

One of my mentors, Helen Pope, wove bookmarks when she was in her 90’s. She loved to chose one overshot threading and see how many different patterns she could make from the one threading. I’m lucky enough to have this set all woven on the same warp.

Here is a close look at 2 of Helen’s bookmarks.

Inlay
Inlay is another type of supplementary weft. It follows the basic rule that it could be removed, and an intact cloth would remain. This is a loom I saw in Bhutan.

A close look showing in detail the inlay areas in the Bhutan warp, above.

We saw this inlay in the Philippines.  The fabric is likely made with threads made from pineapple plants in the weft or in both the warp and weft. It’s called pina cloth.

Another inlay from the Philippines.

Some inlay on netting from my collection from somewhere.

I wove this piece on a warp left over from my students who wove color blankets. I have often tried optical illusions. And triangles seem interesting to me when trying out ideas.

Fine Threads Part Two
Molly McLaughlin, Artist, and Expert Weaver:  with additional comments from Lillian Whipple

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Introduction:
I can’t thank Molly McLaughlin enough for all the information she generously shared.  She’s been weaving for over 30 years and has developed her own unique weave structures to weave beautiful, intricate, and exciting art pieces. This post is about her work and the fine silk threads she uses.
Master Weaver, Lillian Whipple has been weaving for over 50 years and has all the qualifications as Molly but her comments supported Molly’s so much I chose to include them as comments. Molly is on Instagram: @mollymclaughlinsfiberart. Lillian is on Facebook and it’s a good idea to Google her.

This picture is of Molly’s Oxaback loom. This is what she mainly uses because countermarch looms make very clean sheds easily. You can see it in her crowded studio by looking through her Nilus loom in this phot

Reed and Sett
Molly uses a 40 dent reed for different circumstances and doubles up the threads in a dent as required. Double cloth is sett at 360 epi. Single layer cloth is 120 epi. For linen she has used 100 epi but would like it more dense. These setts are for twill based ground cloths. She gets the reeds from the Woolgatherers (woolgatherers.com). They are specially made by a reed maker in Germany.

Silk and Other Threads
120/2 at 120 epi uses 3 ends per dent. There are 30,000 yards per pound
240/2 at 200 epi uses 5 ends per dent
260/2 at 200 epi also at 5 ends per dent.
40 gauge copper she setts at 80 epi
Molly also uses a nylon thread sett at 60 epi (for tabby based ground cloths)

Notice that all of the silk threads are 2-ply and they should be of good quality, smooth and not at all fuzzy. Lillian Whipple says, “The thread must be beam-able. If I can’t beam it, I throw it out.”

I wondered how Molly could get a hook into such a fine reed. Her first answer was she cut one out of a plastic clam shell box—with the warning to put some color on one end or “you’ll never find it when it falls to the floor!” Ashford makes a thin one that will work if you put it through the middle of the dents where the wires are more flexible. Lillian Whipple told me that she uses her threading hook, which is thinner, to sley her fine reeds. 

Beaming
Beaming is done with 1-inch sections on a warping wheel on a plain beam with a 1-inch raddle.  Look behind the heddles where you can get a glimpse of the raddle. Molly stressed that beaming is critical. Lillian uses a warping drum.

Heddles
Both Molly and Lillian use Texsolv heddles. Molly had no trouble with metal ones up to 120 epi on 8 shafts. She went to Texsolv because they use less space and are much lighter to lift.

“Over time I have worked to reduce the necessary number of shafts. Currently, I prefer to use 4 shafts for a single weave and 10 shafts for double weave. However, I space the shafts on the loom so that there is a space between each shaft, so 4 shafts take up the same amount of space as 8 shafts. This separation of shafts makes it much easier to avoid mistakes in the threading and to fix broken threads. I used to try and spread the warps over as many shafts as possible to reduce friction and heddle density, but I found that less shafts with more space between them made life much easier.”

“Along the lines of keeping things simple, I only weave double cloth if the shifting of layers will make it easier to actualize the cartoon that I have created, generally with a 3D component. Otherwise, I stick to single weave…here is an example of a design that called for double weave.”

“At the moment, everything that I am producing is being created with the intent of going to some large shows this fall and winter, so nothing is currently available for sale. But, I am including a photo of the piece that is currently on the Nilus, because it is pretty.” Molly McLaughlin.