I was determined to get 3 pieces ironed and the bamboo added today. Worked until 9:00. This is the original one all wrinkled. Thanks to all the advice I got about ironing and dampening.
This one my neighbor collaborated with me on the composition. She is just the right person for me.
This is another one. No rolling pin needed today, just hours of ironing. I enjoyed the day completely. A joy to see the linen iron out so flat.
Here is the center piece of my first dyed scroll. In previous posts recently I’ve told about dyeing linen fabrics with 3 tannins (myrobalan, Brugueira, and quebracho) before mordanting with alum before dyeing with onion skins or black walnut dye. Sometimes I only used the tannins after-mordanted with alum and no dye. Sometimes I used an iron or copper afterbath. That means with 9 different fabrics I ended up with a lot of swatches too good to just go into a notebook.
I featured the swatches on the background cloths I dyed a week or so ago for my scrolls. Here is the first one. The pieces are only based in place. They came from two dye baths: myrobalan, alum, walnut and myrobalan, alum, onion with iron afterbath. The different fabrics took the dye deliciously different I think.
Here is the whole scroll. The background is dyed with myrobalan, alum, and onion skins. The linen fabrics ironed beautifully but wrinkled when I manhandled it. When I’ve made final decisions, I’ll do a good ironing with my wrinkle releaser and it should be beautiful. As of now, I’m not exactly sure of the dimensions and exact placement. The swatches can be exchanged around, too.
Here’s how I handled the black marks made from the safety pins during dyeing. I folded the pieces anyway I could so the marks wouldn’t be on the right side. The seam could hit anywhere in the back or on a side. You can see the mark on this one on the upper right.
All I wanted when I began planning this project was a thick and satiny cloth. I was using a silk that I inherited—the yarn was thick and certainly was expensive. And I wanted to use the new-to-me 12 shaft dobby loom for a 12-shaft satin. (11 threads up and one down, so very warp face). The fact that I ran out of the silk so soon didn’t bother me; I just picked up another skein that looked almost as thick and continued warping. Then I forgot about it. That is, until I took it off the loom. Well, that didn’t matter, either I thought, I’ll just cut the ends straight. And that didn’t work either because all the wefts weren’t straight and no straight line could be made
This is a piece of the silk satin cloth that I wove and dyed with black walnuts. I love the feel of the soft silk and the subtle movement of the dye. And I’ve decided that I like the “design feature” that happened when I used two different silk threads for the warp. I tried mounting it on a variety of fabrics until I came to the one in in the photo. I think everything shows off with this background: the uneven cloth, the luxurious silk, and subtle color. Finally, I’m happy with it. The fabric is an irregular ikat cotton shawl from the Philippines.
I hemstitched the ends in a quick and dirty way just to keep the cloth intact. Then when I began really looking at it, I thought the hemstitching was disfiguring. It interrupted the smooth surface. Oh, “hemstitching isn’t always the answer.” I’ll just remove it.
Before removing the hemstitching, I overcast on the back so I wouldn’t lose any weft threads. I wished later that I hadn’t pierced the threads when I did the overcasting. After I removed the hemstitching, I had the tedious job of pushing the warp threads together to close up the gaps between the hemstitched bundles. I had to take out some of the overcast stitches in places where the thread pierced the weft. Then I could slide the warp threads across to fill in the spaces. The spaces didn’t want to fill in so I spritzed and tried to hold them in place by tapping with the iron. It would have been better to remove the hemstitching before washing and dyeing then the warps would be easier to fill in. But, as is said, “What is, is.”
I began to think more about sampling after suggesting a sampler in my previous post. You can be very free if you don’t have to change the tie-up every time you weave something different—that is, if you are using 4 shafts. And the weaving often is faster and you can “walk the treadles”. Weaving is more efficient when you can alternate your feet. Try practicing the tie up below with a common twill. Imagine the sequence and move your feet. 12, 23, 34, and 41. Soon you will be dancing. Note that you will be pressing more than one treadle at a time. If you have more treadles, just don’t tie them up at all. One weaver proudly said she then added two more treadles for tabby. That misses the point—the fewer treadles the easier for your feet to find them.
I wove all these variations without re-tying the treadles. And I kept getting new ideas to try. The warp was set up to weave the needle pillows. You can see one in the photo. When you can weave plain weave you can make cloth to dye later. And handwoven plain weave can be attractive. My warp was handspun cotton I got in Bhutan. You can try an “almost plain weave”. Because you can’t get a true plain weave. Then see what you think.
Here is the special tie-up. And the way to weave tabby is to use two treadles at a time. You press your feet between the treadles to get 1 & 3 and 2 & 4. You can create/invent from there!
I’ve been gathering interesting fabrics for a few years when I’m traveling and at home in San Francisco at Britex Fabrics—a fantastic place. I’ve had the idea of dyeing them with easy-to-use natural dyes. Even though my stash was pretty big, I bought quite a lot on my last trip to India. My tech guy had an eye opener when he saw how I shopped: “a meter of this, ½ meter of that, do you have anything really special, etc. etc.” We went to a shop that only had linen that I’d heard had fantastic prices and then to another large shop that had everything including ribbon and trim. By that time, I was thinking of making my scrolls as well as dyeing. (All those fabrics are still in the bag I brought them home in.) This fabric I discovered at a huge fabric store in New York where designers go. I was nosing around the silk area and someone pointed out that this particular silk once creased could never be ironed out. It is quite stiff and has a lovely sheen and complicated twill lines in the structure.
Today was my third attempt at ironing out the creases and gentle folds of my Gazar silk. Even though I asked the clerk not to fold it and put it in its own shopping bag, there were lines that had to be removed. While ironing today I saw how beautiful it was in the light as it draped off the ironing board.
Another look at it falling off the ironing board made me think of gorgeous wedding gown silk.
Here was my view while ironing. I often take the communal ironing board to the window in our 8th floor lounge. Today it was not only for the view, but for the morning light.
Here’s an example of tiny creases I was ironing out. The photo also gives a glimpse of the weave structure. I didn’t think of photographing the more obvious creases and gentle fold lines, but this is an example when I was almost finished.
This was the equipment I used. On my first attempt I only used a dry iron, with low, med and high heat which didn’t do the job. A neighbor down my hall suggested the technique I used last night and again today. Medium heat and a thin press cloth that I spritzed then tapped the iron on the cloth gently—tap, tap, tap over the spots that needed work. Then I ironed the little area I was working on without the cloth. I love my cordless iron. I think a regular cord would just muss up the cloth as I worked along. I kept spritzing, tapping, and ironing all over the “bad” places I’d marked with safety pins.
Now it’s hanging in my hallway with clothes pins on hangers. In the morning I’ll check if there are any more spots to work on.
For fun I’m showing you more of my hall outside my apartment door.
RE: Filters for masks
3M 2200 best for virus protection
I’d been wondering about the so-called filters that were to go into the masks and finally Bob, my tech guy, did some research and found out that furnace and air conditioner filters could be cut up for inserting in the masks. I couldn’t imagine how that would be, especially when he bought one at the hardware store and brought it to me. So, I checked the web and found just what I needed: the package, how to open it, what to use and what to throw away. Then it showed how to cut out the pieces for the filters to insert. Here is the LINK to that YouTube video.
For the top of this white cotton piece I wanted a finished edge but I wanted the cloth to just stop or end without any sign of how.
In preparation for making the hem, I protected the last weft by pulling warps periodically back into the cloth just like in a previous post. (This prevents the raw edge from unravelling.)
I turned the hem to the wrong side and ironed only on the fold to make a crease there. Note that I didn’t iron the cut edge so as not to make an impression on the right side.
I used this iron-on adhesive rather than sewing the hem down. This type in the red package is meant to iron in place and make a permanent bond. It used to come by the yard but I’ve only seen it in these smaller packages lately. It is available from fabric stores and Amazon. Be sure the package says Ultrahold” and not “Lite”. It was not in the interfacing area of the fabric store, but in an aisle where applique supplies were located.
This shows the adhesive ironed paper-side up in place inside where the hem is to be. Since you won’t be ironing on the raw edge, place the adhesive near the crease where the hem will be turned to the wrong side.
Peel off the paper in preparation for the final ironing.
Turn the hem under, enclosing the adhesive and iron. Remember to only iron on the fold –not on the edge of the hem to prevent an impression that would show on the right side.
Note that there is a purple package (Lite) that isn’t meant for ironing permanently but requires stitching down. The adhesive just holds a piece in place in preparation for stitching to hold it permanently in place. It comes by the yard or in packages with larger amount than the Ultrahold in the red package.
“It’s not finished until it’s finished”
a quote from my teachers
When our teachers told us this, it always meant that the woven cloth needed to be washed so the threads would relax and settle into the weave. I do wash or at least wet my fabrics and usually give them a hard press. That means when they are very damp, I iron and iron until they are dry or practically dry. I love this process and I do it as soon as I bring home the cloth if I can. I get to really see what my cloth looks and feels like. And it is always transformed into something much different from the “raw” cloth.
I have realized that a cloth needs to be made into something to be really finished. I am working at getting some of my woven pieces to be art. My basic idea is to make “scrolls” with fragments and background cloths. Sometimes a piece is for a background and sometimes it’s for the “art” to be mounted on the background. They don’t necessarily need to be long and narrow like traditional scrolls. I’m trying to match the background and the “show pieces”. I want the viewer to enjoy the textiles themselves as well as the overall “scroll”. And, I’m enjoying handling the pieces again and remembering how they came about. [click photos to enlarge]
This scroll sort of came together by itself. The top 2 pieces were lying on my table together like they are here. The background fabric I wove with the idea of dyeing it someday. I liked how they didn’t match up at the edges, too. It is 8” x 26”.
The background cloth is from the warp I designed to make the needle pillows in a previous post. The slubby warp and weft are of handspun singles cotton from Bhutan. The skeins were horribly snarled and I spent a whole afternoon in the hotel trying to unwind one and finally discovered that there was a cross in the skein! I’d never heard of such a thing. Then I saw a woman unwinding a skein using two swifts—one at each end. When I tried this at home, the skein unwound beautifully and perfectly. I spent a lovely afternoon balling the yarn! I unwound one of the skeins and part of the second—the rest is still on the swifts waiting to be wound into a ball. I never thought of it as a warp but wanted to try it. I used some sizing for the first time. It was so easy to make with flax seed and brush on, I don’t know why I’ve always been afraid to use it. I brushed it on the loom—what was unwoven at the end of a weaving session. Then I left it to dry with the shed open. The dyed pieces are also from that warp. I dyed the various cloths I got from that warp with black walnuts. I really like to see what different cloths I can make from one warp. I like the white one so much that I’m loath to dye it. I think it really shows off the yarns.
Here is a start at a little scroll using the satin and velvet cloths from previous posts. I hope it works but am not sure. Any thoughts? It’s just pinned in place now.