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.
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
Here are a few of the pictures taken under a big tree at camp. Everyone had a good time even though there were two kids on a loom–the weaver and the loom operator. No one fussed about sharing the results. It was a lovely day and I thought I was in heaven!
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.
Threading My Loom with Threads that are as Fine as Hairs
I’ve been threading the heddles now for a few weeks—about an hour at a time and when I can get into the studio. It’s such a meditative thing that I wanted to have a film made. I’ve never used so fine a thread before and I hope it can stand up to the tension and abrasion of weaving. This short segment is the beginning of the film I’m dreaming of. I hope we can put together the rest of setting up the loom and me weaving—and an end result. This time threading is both soothing and ‘hair’ raising—you’ll see why in the video. If you’re not a weaver and don’t want details, go to the video now.
The thread is so fine that I couldn’t get it wound off from the skein so I sent it to Japan for them to wind it off (my friend with the equipment in the US couldn’t do it). It came back on about 15 cones—each with a very small amount of thread on it. So even the experts had a hard time—so many cones means that the thread kept breaking and they had to find an end and start a new cone over and over.
I’m planning on 120 threads per inch—the threads in my other sheer warps have been only 96 ends per inch. That gives you an idea of how fine we are talking about—like hairs.
I thought I’d warp 10 cones at a time as I’ve done with the other thread. Well, things kept breaking and threads blew around in the air and I almost gave up. I did end up using 4 cones at a time. I could keep track of those and repair them every time one broke and find its own exact path to the heddles in the heck block on my warping reel.
I didn’t notice that the 4 cones weren’t in position to make a perfect cross so I ended up with a 2×2 cross. You’ll notice that in the video. Jim Ahrens taught us that 2 threads at a time can work but never more than that. (3 or more threads will braid up on one another.) I’m hoping that is true because every thread has a mate in the cross. The reason to use a paddle is so you can always make a thread-by-thread cross. In my case I have a heck block that does that job connected to my reel. I am lucky enough to have a warping reel that Jim Ahrens made.
Since 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.
As you can see, I’m up to my neck getting my Book #2, “Warping Your Loom & Tying On New Warps” ready for it’s 4th edition–this time as a pdf. There aren’t many hard copies left, so for only a little while, I’ll have both available. Both will be available on my website. It will be an e-book in pdf format. We will set up the website for ordering when we have it ready–maybe the end of February. It’s a job, checking every page and every item in the 13-page index.
For now, the posts I’ll be doing will be some of my favorite weaving tips.
ALO Runner – Close Up
click to enlarge
A few weeks ago our guild had a speaker who explained the theory of optical mixing. When I got home, I noticed I’d been doing that without knowing it for a long time. I kept finding pieces that were examples of taking two colors and mixing them to form a third color. I was excited to see several examples so decided to do a study group after our next meeting to discuss optical mixing and show some examples.
I’m also going to talk a bit about using complementary colors. The table runner is woven of oranges and blues.
ALO Runner – Corner Detail
Peggy Osterkamp – click to enlarge
There is so much to learn about color theory that I get overwhelmed easily and not much sticks in my brain so I just want to talk about these two subjects.
This runner I wove for my mother-in-law but I knew she wouldn’t appreciate it so I never gave it to her. It’s one of my very favorite pieces. The linen fabric is thick because I put together the two warps from a previous double weave project into a single layer.
click to enlarge
I ironed it hard with a rolling pin on a bread board while it was damp. I love the weight, the sheen, and the subtle colors.
The idea of putting two warps together as a single layer happened when I was sampling for making some table runners. I ran out of color combinations to try, so just wove the warps together for a warp face structure where the warp was completely hidden. It still made a thick cloth which I wanted and I loved the way the two warp colors mixed.
Getting this email from Judy Wheeler really made my day!
I just wanted to say THANK YOU!! for writing the New Guide to Weaving books. I have all three, and literally could not weave without them. I learned to weave many years ago at a weaving shop that was only in business a short while…
I love weaving, but it was always a struggle. Warping was difficult, tension was never good, and my projects rarely turned out like I had hoped. Then I found your books. Weaving is now so much more enjoyable and rewarding, and your books are just amazing! I always refer to them when weaving, but often I pick one up and just read it, because I always learn something new.
Thank you again!
Now I’ve woven a tube 154 inches long, taken it off the loom, and ruffled up the tube. Look at the video of me “ruffling”. Let me know what you think. It is so nice that the tube itself is sheer so you can see my hand inside making the ruffles.
> view at full screen in HD <
I found my selvedges splayed out and were ugly until I tried the solution in the video. I hope it is helpful. Also, I use special threads for the selvedges.
> view at full screen in HD <
I weight my selvedge threads separately almost always. I learned from Jim Ahrens that you could use stronger threads for the selvedges when you want to weave with fragile warp threads. I’ve shown the knot I use to hold the weights in many workshops and in two of my books, but it is wonderful to have a video so you can see the motions of my hands. You might still need the diagrams in the books, but I think this is a big help. The books are: Weaving for Beginners and Weaving & Drafting Your Own Cloth. Both have a whole chapter devoted just to selvedges.
Peggy Osterkamp's Weaving Retrospective
The conference was wonderful–I’m exhausted, but the keynote address went well, as did the exhibit and my 2 seminars. Lots of people came up to me and said the speech was fabulous! It’s so wonderful to receive all of the recognition. Most people have never seen my work but know my books and know me from teaching.
Peggy Osterkamp's Fiber Optics Surprise
I surprised everyone while giving my keynote presentation when I turned on my fiber optics piece that I was wearing.
I’ve mentioned my fiber optics weaving project and the work on the blog and web site. These are just two things on my mind besides trying to weave the sewing thread warp and the wavy wefts warp. Another major item is making ebooks. Yet another is making an art book or a portfolio in book form. The keynote speech and seminars in Collapse Weaving and Supplementary Warp for our conference (CNCH) in May are also on my mind. I feel pregnant with at least 9 babies!
I’m looking for weaving jokes or good stories to punch up the keynote speech I’ll be giving to The Northern California Handweaving Conference–CNCH–. It’s not until May, and I’m not panicking but if you have some good jokes, stories, or words of wisdom, please, please remember me and send them along.
Things to know before you throw a shuttle:
Important Information About How to throw the shuttle
Weft Diagonal (click to enlarge)
Beginning weavers learn about the diagonal of the weft but they think they should have the weft loose at the selvedges. In my book, Weaving for Beginners, I tell how to snug up the weft for good selvedges and no draw-in problems.
Throw the shuttle into the correct open shed. Take out the shuttle so the weft is in the shed on a diagonal as shown in Figure 245. Holding onto the shuttle, snug up the weft to the outside warp thread—the side where the shuttle entered the shed—just so it touches and barely moves that outside thread. Then, swing the beater and gently place the weft next to the previously woven weft. You do not want to actually beat it as the name implies. You are simply placing the weft against the one woven before it. Now, while the beater is toward you after placing the weft, change the shed. Then, swing the beater back toward the heddles and begin the process again. The steps
are: throw the shuttle, beat in the weft, and change the shed. I like the rhythm of saying: “Throw, beat, change the shed.” That’s 4 counts, with “the shed” as one
beat. (On the fourth beat you’re pushing the beater back toward the shafts.)
The other day a student complained that the boat shuttle I loaned her was too big for the sheds on her table loom. I suggested that she throw the shuttle closer to the heddles and advance the warp often. The reason is that the shed is bigger the closer it is to the heddles (shafts). It’s obvious that the shed is small when it is closer to the fell of the cloth (the place where the last weft is woven).
Ties at end peg (click to enlarge)
Many of my students didn’t think it was important to tie the ties at the ends of the warp as well as the ties for the cross. Then they ended up with a problem when they wanted to load the raddle. The first illustration shows the ties (two ties) that need to be made at the end pegs of the warp on the warping board. Note that tie ties are made on either side of the end peg–the ties are essentially both in the same “hole”. This may be what confuses people. See page 23 in Weaving for Beginners. More about tying two ties at the pegs is on page 23 as well.
No ties were made at the end peg
The second and third illustrations are from page 34. They show the problem when the ties weren’t made and the solution.
Picking up the loops for the end stick
“Peggy Osterkamp has done more for getting threads on looms than any other person on the planet.”
At Convergence in Albuquerque last summer, Linda Ligon from Interweave Press stopped by my booth and left this message. I was overwhelmed. She said I could pass it along.
What an honor. My book, Weaving for Beginners, had just come out. The previous three books have more reference material–beyond what the beginner needs to know. These are the ones Linda was familiar with.
Untitled, Linen, supplementary warp technique
I’ll be giving a seminar on Supplementary Warp Techniques at the Northern California Conference of Handweavers (CNCH) May 18-20, 2012, at the Oakland Museum. Here are two pieces–both made on the same warp.
Untitled, linen, supplementary warp technique
Pink Creature (cloick on to enlarge)
Here is the Pink Creature I mentioned in my previous post. I thought it would come up with a search, but it didn’t. This is one of my very favorite pieces.
"Chemise" (click to enlarge)
I’ll be teaching 2 seminars at the Northern California Handweavers Conference next spring (May 18-20, 2012) at the Oakland Convention Center. One subject is collapse weave–a technique I love and have experimented with a lot. Here are a couple of pieces mounted in plexi shadow boxes.
Pink Creature has been in a previous blog. Do a Search for it on the home page.
Here are photos of the “new” old space.
studio to the back wall (click to enlarge)
I’m thrilled with it. There are things yet to put away (the difficult things), but I began
Studio to window
putting a warp on the loom over the weekend. How nice it is to have my hands
Studio, right wall
on the threads and be threading heddles again.
It’s nice to have my work on the walls, too.