Here is my current warp on my loom! Just what I taught my students to avoid–unevenly handspun singles yarns that are lumpy and sticky for warp threads. This is silk yarn I brought back from Bhutan–mainly to show the tour group what handspun yarn looked like. I did use plied threads for the 4 selvedge threads on the edges and weighted them separately. I used 5/2 cotton but a plied silk might have been a better idea.
From Linda Heinrich’s linen workshop at Convergence in 1994 and from her book on weaving linen I learned how easy it is to size a warp on the loom. Before now I’ve always been afraid to size anything. Her recipe is 1 tsp flax seed (any kind will do) to 1 cup of water. Simmer 15 minutes and strain. Refigerate and use within 2 weeks or freeze.I brush on the sizing then strum the threads and then open the shed to dry. Don’t apply too much–sort of like dry painting but pat the threads to get the sizing to go through to the bottom of the threads.
This is the yarn on the skein. I’ve shown it before to show the cross made in the skein. The threads are horribly sticky but with the cross the threads are coming off perfectly. There are plenty of soft-spun lumps and thin areas where it is twisted tighter. I knew from winding the yarn off the skein that the threads were strong–that’s what convinced me to try them for a warp. The stickyness would have prevented the sheds from opening without sizing I realized.
Here is the cloth off the loom and wet finished. I got the cloth really wet in the sink then blotted with a towel. And ironed until dry I love ironing and ironing until dry and I love the sheen I got with the totally mat yarns.
Here is the cloth I just dyed with black walnuts I collected last week. What frun all this is. I can’t wait for the warp to dry and begin weaving again.
My holiday gift shopping is done! My first weaving teacher told us to keep every scrap weever wove. I sort of have–at least saved the sheer scraps I’ve woven. I put them in CD cases and voila! I like to have the pieces seen from the front and the back so you can see through them, but you could put a paper behind them as a mat. I found an inexpensive easel. They can stand alone or be hung on a nail on the wall.
These are bookmarks woven by my mentor, Helen Pope, when she was around 93 or 94. They are all on one warp. She loved threading an overshot pattern and experimenting with as many different patterns as she could think of. The warp is 20/2 cotton and the pattern wefts are a couple of strands of embroidery floss. She was a beloved member in my weaving class and she brought this arrangement along with evergreen boughs for the table for our Christmas party one year. I was bold enough later to ask her if I could have it. She said, “Peggy, you ask for too much.” But she did give it to me and I treasure it.
Click HERE for more on Helen Pope.
Three new things:I began weaving again on the sewing thread warp. After being away from the loom awhile, it really feels good to be throwing the shuttle–even to weave samples. The blog is being redesigned and I’m thrilled with the new images. Better yet, the button to order my books is working. So, with a click you can now add to cart! Go to the Book and DVD section on the home page.
I made this post yesterday–but suddenly the blog software isn’t allowing me to post any images. You” have to imagine. I hope when I get back at the end of the week it will be fixed.
Here is the back of my loom–weights are holding the purple supplementary warp and also the selvedges. I’m sampling to see what the colors in the warp will be like and to see if I can get sheer again. The extra warp isn’t threaded in the heddles, but between every 8th warp thread. They are in the same position as floating selvedges–in the middle of the sheds. When I want the supplementary threads on the top, I shoot the shuttle under them. When I don’t want them to show, I put the shuttle over them. I learned this technique as “split broche.”
This way to tie up your treadles is a fantastic gift that Jim Ahrens taught us. You’ll never have to tie up the treadles again on your 4-shaft looms. My looms were built by Jim; this tie-up is the only choice–because it’s so flexible. I love it and pass it along to you as my gift.
One tie up for four shaft looms
In Warping Your Loom & Tying On New Warps, (my book #2) beginning on page 69,
I described a tie-up that never needs to be
changed, for four shaft jack and counterbalance looms. You can get all the combinations possible with four shafts with this system. Your feet can dance over the treadles for many weaves, and if they aren’t dancing, they can work very efficiently. See Figure 6. Another advantage of this system is that you can change to any weave structure you want in a project without changing the ties to the treadles.
This comes from my new book, Weaving for Beginners. It is what I started all my beginning weaving students on and gives a very good foundation for future weaving. After the sampler was completed, the students planned their own original projects based on what they learned.
Why make a sampler?
This is the way many weavers try out new things. A sampler is a cloth with several ideas woven into it. Some ideas to try out are using different colors, threads, weaves, or your own designs. (See Figure 221.) You can try out more than one idea at a time by dividing the warp into sections.
For example, if you were sampling different colors, you might
make your warp have portions two to three inches wide, each with a different color you are considering. Notice that the sampler described in this chapter has two sections in the warp—each one a different color.
When weaving a sampler, you would try out those warp colors using the same ones as wefts, or perhaps, using other colors.
It is a good idea to try out different weaves as well. Say, you have four colors in the warp, and you try each color in the weft in plain weave–that would give you 16 different squares woven, or samples—useful information for designing a project. Weaving the colors again in twill weave would give you 16 more samples. Weaving the colors in herringbone, another 16 samples, and in a broken twill, 16 more.
You are weaving a plaid, so to speak, with the colors and threadings in the
warp repeated in the weft. You also can see how colors look when crossed
with other colors and how expected structures look when they are woven
with other threadings.
Sampling is fun because you aren’t under pressure to make a masterpiece.
This is the place to try out lots of ideas. Then you can put the best ideas into
a project, knowing that it is likely to please you.
Use this when you want to make a sample on a warp before weaving the entire project.
The two-stick heading (from Weaving for Beginners, beginning on page 134.)
This is a very useful heading. I have used it countless times. One reason is to eliminate the knots on the apron rod so that the cloth rolls up without lumps on the cloth beam. Another reason is so that you can cut off some of the cloth before the whole warp has been completely woven.
You need a pair of sticks that fit on your cloth beam and won’t interfere with
They can be lease sticks, dowels, or metal rods. I prefer thin and lightweight
sticks rather than thick ones because they take up less warp and aren’t so bulky.
Read the step-by-step directions beginning on page 134 in Weaving for Beginners.
One reader suggested I talk a bit about sampling. How much to make, wasting “good” yarn, when and why, etc. etc.You can save yourself a lot of heart ache if you make a sample before weaving something and find out that it shrinks too much, or “doesn’t turn out.” You might make a sampler or weave samples. Read below how the two are different.
A sampler is generally a warp designed to sample a variety of weaves and ideas. I’m making one in the studio right now. I feel like it’s a big gamble because I don’t know how it will turn out. But because it’s “only a sample”, there is no pressure to make it wonderful (although I hope it will be) and I can be free to try anything. I am not sure about the sett for what I’m visualizing so I need to weave with the sett I decided on and see if it works for me. I am worried that my sett is too open–but I know I can try different techniques (eg.fatter wefts, or beat lighter) if I don’t like the initial look. I can re-sley the reed if necessary. My warp is only 4″ wide so I’m not wasting much yarn–and 3 yards long. I planned the length to try to get a good piece or two after my sampling.
The sampler I have all my beginning weavers make is shown in the illustration and is found beginning on page 93 in Weaving for Beginners.
Sampling: I had a student this week who wanted to make a baby blanket. Since it is a fairly wide project I suggested that she make the warp a little longer and weave a sample at the beginning and cut it off and wash it and be sure it suits her. If it shrinks too much or doesn’t look right. She can then make changes before weaving the entire project without wasting all the yarn and time. Use the two-stick heading from my new book, Weaving for Beginners, to reconnect the warp without wasting yarn to tie the threads back onto the front apron rod. You cannot make a narrow sample and expect the information to directly translate to a wide warp. Since there will be more friction in the reed, the wefts in a wide warp won’t pack down in the same way as for a narrow warp. I suggest allowing 6-8 inches, minimum for the sample. I really like to add an extra yard for sampling. That allows plenty to sample at the beginning and usually there is warp left for me to try out more ideas at the end. (This is when I am the most creative.)