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.
The fine silk warp at 125 ends per inch stymied me and I walked away and left it on the loom for a year and a half. I thenbegan dyeing. I knew there were enough threads left unbroken to weave so I began weaving with some heavier handspun silk from Bhutan. When I took off the entire warp, This piece is what I found had already been woven–and I loved it. Originally I was weaving a tube but had decided to weave two separate layers–hence this piece was formed! [click photos to enlarge to see detail]
Here is the cloth woven with the silk from Bhutan. I decided just to weave off the warp with it so I could cut it up to dye later with the natural dyes I’ve been playing with.
You may remember the skein from Bhutan from another post. The skein was unusual because there was a cross in it. Even this extremely sticky thread came off the skein perfectly.
Here is my latest peice–5 yards to try the new silk/retted bamboo thread I saw in Handwoven Magazine. I love it. I the twill warp face on one side and weft faced on the other so when I dye it I’ll have two choices of tones of color.
Here is silk thread I bought–and a lovely child’s under kimono. The really rough skeins in the bundle are raw silk made of the waste silk that is on the outside of the cocoons. I got it at a co-op where the framers took their cocoons to be unwound and made into skeins. The silk was reeled off of the cocoons by machines. It was fascinating to watch and the beautiful, shiny silk skeins being wound. I don’t know how the wide silk yarn was made, but I hope to find a way to weave something interesting with it.
I love the little kimono–we visited a woman who researched how the red dyes used to be made. Red for under the kimono was really a popular thing!
Since I’ve been working with silk threads, people have asked about silk worms and silk cocoons. Here are some cocoons I brought from my studio. You can see one where the silkworm escaped leaving the cocoon so it can’t be unwound because it isn’t intact. The others are whole. The colored cocoons were dyed at a place I visited in Japan. We reeled the silk off of blue and yellow cocoons and the company knitted up the thread
into the green scarf in the photo. In another post I’ll send pictures of mereeling green silk from blue and yellow cocoons. The gold silk I previously unwound from a skein onto a Japanese spool is the natural color of the cocoon. A friend sent it to me from Cambodia. One fine strand of silk is made from unreeling many cocoons together at once. These fine threads are what I used in the pieces in the gallery.
I finished the skein last week–that is, I stopped just short of finishing it. You can see that it’s almost completely unwound. I stopped unwinding so I could just cut the skein. Then I have a hunk of this thread to use to lay in the sheds –similar to the silk pieces in my gallery.
You can see the wound spool and I think it’s absolutely gorgeous. The “spool” is the style used in Japan for silk–a much larger circumference than “our” spools.