Lease sticks are important in my weaving at so many stages. Shown here they are holding the crosses in both a new warp and the old one in preparation for tying on a new warp. The illustration is from my book, Warping Your Loom & Tying On New Warps” which is no longer in print. (However it can be downloaded as a PDF.) This is the subject of my next eBook which will be coming soon. Then you can have the process on your devices right at the loom as you proceed. I found it more convienient when I was hemstitching to have my iPhone at the loom, rather than the whole book.
People mostly know of lease sticks used in threading the heddles. Do you know why they are called lease sticks? Because what we now call the “cross” is officially called the “lease”. So these are the sticks that hold the lease.This image is from my book Weaving for Beginners. I like THIN lease sticks–the thick ones are cumbersom and take up too much space in my opinion. Jim Ahrens (the “A” part of AVL) made lovely thin, narrow ones. They are now available at AVL Looms.
We just made the cover today. Remember it’s not available yet–but coming soon! This is always an exciting time of the process–seeing the cover!
I needed to hemstitch the other day and had to get out my big book, Weaving for Beginners, which was so big that it made it impossible to do the stitching. So I got out my Mini iPad and opened up my Kindle book on hemstitching. Perfect–then I taught myself again how to make the stitches. I was all thumbs at first but when I got it, it was quick and easy.
Then I got out my iPhone and it worked better than ever. What fun! I learned to hemstitch way late in my weaving life so on one piece I even forgot to use it.
So, I got it! Since this will be on the hem on the back of the piece, I didn’t need to be careful about having every group of threads the same size. The reason here is to keep the last wefts from unravelling. You should leave at least an inch of warp on the piece before cutting it off the loom.
You can get a copy of my Kindle Hemstitching booklet for just $2.99 HERE. Next month I’ll publish my third booklet. This one will be about a unique way of “Tying On New Warps”. FYI: the second booklet is “Weaver’s Knots“.
Now my studio really looks like a weaving studio. My newest loom is in the center. All my looms except this new sweetie were built by Jim Ahrens. Now the new one was made by AVL looms—the “A” stands for Ahrens, so all the engineering is related. The ‘V’ stands for Jon Violette, who began the company with Jim and the ‘L’ stands for looms. Are you wondering what the other looms are that circle the new one in the center? Starting with the loom on the left and going around clockwise: 10-shaft, side tie-up, 4-shaft loom, 40-shaft dobby built by Jim Ahrens in the 1940’s, and my love, the 4-shaft loom made of bird’s eye maple wood which I have used exclusively for years and years. Going to 12 is a giant and exciting step for me!
Here she is—a real sweetie. I’ve been trying to reduce and give away things but this loom from Jan Langdon I fell in love with years ago. When she decided to down size, she said I was the only person who had longed for it. It is a 12-shaft dobby about 36” wide. Note that in the photo, my 10-shaft loom with a side tie-up is back behind the new loom. Small in a way but the dobby will increase my capacity for new structures greatly. I’ve been wanting to weave a structure for years and finally decided to do it until I realized I would run out of treadles. The dobby solves that problem. Two treadles work the mechanism to raise the shafts. Notice it is on wheels—that has been very handy already. I just need a pillow on my bench.
Here’s the back of the loom. The dobby mechanism is on the left side in the photo.
This is the dobby mechanism. Each bar represents one shed or row of weaving.
A close-up shows the pegs in the bars. A special tool makes it easy to ‘peg’ each shed. The holes without pegs are the shafts that will go up. Since there are 12 shafts, there are 12 holes in each bar. When the right treadle is pressed, the mechanism raises the shafts for one bar—one shed. When the left treadle is pressed, the shed closes and the mechanism readies itself for the next shed. When all the holes are filled nothing will go up. It’s a way to mark the end of a repeat.
Here is the first thing I’ve woven! I wanted to shade the 12-shaft satin weave to go from only the warp showing graded to only the weft showing. The white warps are shiny spun silk (2 different yarns) and the weft is handspun silk from Bhutan that is not shiny.Then I dyed the piece lightly in black walnut dye. I was hoping the shades of the color would contrast more, to go in shades from light to dark–but that is what I’ll work on next. I thought the two yarns—one shiny and one mat would contrast more when in the dye. Lately I’ve been weaving cloth for the dye pot—really fun to weave and get my creative juices flowing.
Here I show the iron I used on this singles linen piece I made. I love the sheen on the linen.
Here is the iron stipped in its cradel to show the bottom with the holes for steaming. It has great steam and spray and holds its heat. I place it in the cradle when I shift the cloth. The cord to the cradle is plenty long and retracts easily. It can even steam or spray with the iron held vertically.
The carrying case is surprisingly handy. Sometimes I even carry it to my kitchen counter and iron a small piece on a towel.
I am reminded fondly of the special squeak my mother’s ironing board made.
Below you can see the link to the iron on Amazon.
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.
In my last post I showed some work that has inspired me and this time I’ll show some of my own work that resulted. [click photos to enlarge]
I have used horse hair in quite a few of my pieces, especially in my sheer pieces I called veils. Here are 5 I made to hang separately or as a whole.
Here are two details.
Another detail that shows a cow’s tail I wove in.
These photos are of a table runner in linen where I flattened the warp threads using a rolling pin on a bread board.
The detail gives an idea how silky and shiny it looks in the warp face areas.
This piece is one of two I have by Adela Akers. She weaves narrow strips on her 4-shaft floor loom. Here are two stitched together with black horse hair woven in. Between the folds she has attached little red twigs from a tree in her yard. The red is the natural color, she painted the black color. The piece is 12” wide by 14” tall. [click images to enlarge]
Adela Akers – Horse Hair and Diagonals
This is another piece woven by Adela. Here, three strips are joined. Again, she has woven in horse hair. It is about 12” x 11”.
Sandra Brownlee – Black and White
This piece is by Sandra Greenlee. I love the simplicity/complexity, borders, everything. She weaves in the black patterns using inlay technique. I read that she opens the shed then decides what black threads she wants to lay in, each weft at a time. Originally I thought she had a jacquard loom—and I was crazy about the fact that she used it so sparingly. How mistaken I was—but I think it would be a good thing to try. Dimensions are 9 1/2” x 12 1/2”. Notice how nicely she finished the top and bottom and designed the selvedges.
Lia Cook – Pressed Work
The last piece is by Lia Cook. I remember fondly when she was weaving these lovely twills in fat rayon butchers string and then pressing them hard to flatten the large wefts. Dimensions are 7” x 8 ½”. I often wondered if it was one of her original samples. It gave me the idea of framing some of the experiments that I wove.
How these have inspired me:
Each artist has inspired my own weaving. I have used horse hair in my sheer silk pieces. I wove rose thorn twigs in other sheer silk pieces. I have always been fascinated by selvedges and little warp face patterns. And I pressed some linens I wove after hearing Lia talk about flattening her pieces using a rolling pin. I have these pieces on my walls in my living room and they continue to bring pleasure and inspiration.
I have revived my indigo vats and neither of them is dark enough for my taste. This picture is what I gave as gifts to the artisans we visited in Japan last year. The writing is Peggy Osterkamp. Gift wrapping is important there. This is the blue I hoped for with the revived vats now. [click images to enlarge]
This is what I got from my oldest vat after many dips. I was disappointed but maybe I’ll learn to like it. I plan to dip again in my “younger” vat and see if I can achieve the depth of color.
The technique I learned from a class with Yoshiko Wada with Chris Palmer. After folding the cloth I wrapped it on a pole for dying–called “arashi shibori”. I love the technique and the mysterious lines it makes.
When I was living in New York in 1983 I began volunteering in the Textile Department at the Cooper Hewitt Museum (now part of the Smithsonian). Milton Sonday was the curator and a wonderful mentor for me. He introduced me to Ethel Stein and I visited her home and studio one day. She taught me the secret for using the warping paddle and was friendly and generous with her time .
She had just finished building her drawloom after figuring out the mechanics to make it work. She began with a countermarch loom and converted it to the drawloom after studying damask fabrics at the Cooper Hewitt with Milton.
thel-Stein-Moon-Wall-2008-The-Art-Institute-of-Chicago-Gift-of-Ethel-Stein-c-Ethel-Stein – click to enlarge
Her woven work is beautiful and especially so given that she didn’t have a computer or computer generated drawloom at that time.
I was thrilled to find this video of her working and think you’ll love it. I hope to have a video of me working to play at my memorial some day! Other weavers might consider doing the same thing.
I have my indigo vats from some months ago and they look awful but i was determined to revive them if possible. The vats were covered with mold.After I doctored up the little vat, I think it looks pretty good–the flower looks just fine, but maybe the surface needs to be more coppery–not just along that edge.
Here is my asparagus cooker vat–I love the size for doing the small pieces that I do and the basket inside keeps things from getting lost in the vat and off the bottom, too. My tiny kitchen in my apartment is also my dye kitchen. When I’m not heating dye pots on my two burners, my dish drainer sits on the burners. This is my ironing set up for small pieces. I take my iron down the hall to a regular ironing board when needed. I absolutely love my cordless iron–it has points at both ends. Mine is a Panasonic.
“Shiny” by Peggy Osterkamp – silks dyed with black walnuts [click to enlarge]
I was busy over the holidays making this piece. All the fabrics were dyed with black walnuts I collected in early December. Some I put in iron water for a short time to “sadden” or grey the colors. There were two different fabrics which were shiny so I could play with the color differences when I turned them 90 degrees. I cut the squares and turned them 90 degrees from each other to get the same effect as changing the nap in corduroy or velvet. I mounted the pieces on cotton fabric strips and moved them around to make the composition. Then I mounted all the strips on black fabric. Everything was joined with long straight pins. Some time ago I realized the straight pins in my pin cushion were too fat for silk fabrics so I got “Extra-Long Satin Pins”.
Last night when only one light was on in the room, the pins themselves shimmered for further effect.
When I got started I wanted to know what fiber my fabrics were made of. I went to my files to look up “burn test” and there was a page from my own book! I’m still not exactly sure of what I have—it came from a warehouse sale I went to in November. I think they are silk. Here is the chart from my book, “Weaving & Drafting Your Own Cloth“.
When Pat Keily sent me his question, I gave him my thoughts but non suited his problem with floating shafts with multiple tie-ups. Here is what he wrote for this guest post to explain the problem and his happy solution. Thanks for contributing this tip, Pat! “I have a 67-year-old LeClerc Nilus 36-inch, 10 treadle loom that has given me fits. The problem has been floating frames on multiple tie-ups. For some reason still unbeknownst to me, depressing a treadle would cause one or more frames to “float” an inch or so off the bottom. I was finally able to determine the cause and solution by googling the right key words. The problem is caused by the weight of the treadles (but why depressing a treadle would cause this is beyond me) lifting the jack. The solution is to install springs that keep the treadles from weighing down the frames. After searching for the right size springs and seeing they would cost over $50, my wife came up with a much better idea. We went to the Dollar Store and bought clasp-free hair bands for 10 cents each (pack of ten for a dollar). I bought 20 eye screws, installed ten in the end of the treadles and ten on a hardwood strip that I attached to the loom (Pat told me that he opened the “eyes” with two pairs of pliers). I slipped the hair band (fancy rubber bands) onto the eye screws and my floating frames floated right out of my life!”
Many years ago I took a class in damask and learned about satins and I focused on warp face and weft face and color. I don’t know why I thought I needed 11 yards, but I made the warp that long. I would say it was about 15” wide. The warp was blue and grey out of 20/2 pearl cotton. The threading was 2 blocks and then I played with how colors mixed and looked next to each other. I still have a large stash of a lot of colors and shades of sewing thread which I used for wefts.
Since I was playing, sometimes the “right side” was on top and sometimes the “wrong side”. Of course there was no repeat!
When I showed it to my students one day Antione Alexander said he could make a coat out of it. The next week he had a muslin and the next week the completed coat! WOW! Later I had a seamstress put in interfacing and a lining. I wore it to the symphony a few weeks ago and have gotten nice compliments every time I wear it. I really feel I lucked out! I think he did a great job.
Here is how the clamp on my sewing cabinet works. I have needed to make patches on my travel vest after each trip. The clamp acts like a third hand and is really a help to stitch along. I began using it right after my recent Japan trip. the Japanese word for patching things is boro.
Day 22. A cosmopolitan day in Tokyo. In the morning we went to the Shibuya district to look for interesting contemporary shops and up-to-date people watching. I was shocked at the crowds we saw when we got out of the subway. All these people were waiting for the light to change so they could cross the street. We ducked into the Seibu department store to get away from the hordes of people and to cool off. There were nice contemporary and designer clothes to look at. I got a nice linen blouse.
We left these Shibuya crowds and headed for our favorite tea shop for lunch. It was too crowded so we headed for our favorite lunch place and the wait was worse so we went across the alley to another place and had a great lunch in the Omonte-Santo district.
Then we spent the afternoon in the Nihombashi district in the Takashimaya department store. On an upper floor were maybe a dozen craftsmen (and their wives) demonstrating their craft and selling their goods. This weaver was weaving weft ikat fabric and had lovely things. I treated myself to a tote bag with a crane on it done in weft ikat. In another area was a weaver of fabric for contemporary clothing. I bought a simple jacket for myself. My friend at home asked me to buy her something that I would like. We were lucky there was another jacket just like it so I got one for my friend who lives across the hall from me.
Then home to our hotel in the Shiba district for a “last night” sake. It was sad to think of leaving a country we love so much. Then to our room to eat a lovely take-out dinner complete with a delicious bing cherry tart. Then the job of packing began. We leave Tuesday morning and will get into San Francisco Tuesday afternoon.
This is gold leaf on paper cut into strips for wefts for obi weaving. For the paper warp loom in my previous post I think the paper was cut in a similar way and put on the loom before the strips were detached from the paper at the margins. The gold leaf can be patterned or plain.
Day 14. Leaving Okinawa for Kyoto. The architecture in all of Okinawa was so ugly to my eye. This was outside the front door of our hotel. We realized that everything had been bombed during the war and this is what has been built since. The people and the textiles more than made up however.
Beautiful beautiful Kyoto. We walked along some residential streets on our first day in Kyoto and I loved seeing the beauty here. This is what I seek out in Japan. This is an old style building with the second floor being very low. It would have been where the servants lived. The slits for windows upstairs were for collecting crickets we were told. They they would have been kept in small cages. I remember seeing the cages at Cost Plus when we came to San Francisco in the 60s.
A more modern style with a taller second floor next door to the old style house.
Outside a doorway on our walk. The natural rock made a nice bench.
Many doorways had pretty flowers. Never mind the red box.
Our goal was to visit a famous gold leaf artist, Mr. Yasushi Noguchi. It will take a whole other post to tell about our wonderful visit.
Day 13 – Ikat weft thread in a shuttle in Ishigaki. The weft thread has the dark and white areas that an ikat thread would have after dyeing and removing the ties. The special thing here is how the weft is in the shuttle. The weft “bundle” is made similar to winding a kite stick. The tool it is wound on looks a bit like a mechanical pencil or pen but there is a split at one end so you can anchor and start to wind the beginning of the weft thread around that end. (The weft thread will come out of the center of the bundle when inside the shuttle). The thread is just wound around the pencil-like tool a few times then it is wound like a kite stick around the tool. In my books you can see that I wind my warps on a stick that I call a kite stick in the way a kite stick is wound instead of chaining the warp. A bamboo stick holds the weft bundle in place and the thread comes off like any bobbin.
She was winding the weft thread on the tool too fast for me to get a good photo of the end where the weft was anchored and started. Here the weaver is winding the thread around a few times before beginning the “kite stick” technique. (Winding a kite stick is very much like winding on a nitty noddy.)
To keep the pattern exact the cloth is stretched to the width in the reed with the bamboo stick here. Also notice that the edge of the cloth isn’t perfectly straight. That’s because when the ikat weft thread is being woven it has to be slid either to the left or right so it lines up perfectly. The weft loops at the edge shows where the thread had been moved so it will line up. I bought a hanging with just a small amount of weft ikat and I love seeing the straight edges except where there are small weft loops sticking out where the weft ikat pattern is woven.
This shows where the ikat warp threads are joined with the white foundation warp behind the heddles on the loom shown in yesterday’s post.
Day 12 Ishigaki Island, Okinawa. We took a taxi to the Minsa Textile Institute & Minsa Craft Center and were met with lovely yarns drying outside the entrance. It is a large shop with a little museum upstairs. We spent quite a long time there. The weavers were winding huge warps onto beams to be put into looms when an order was placed for that color and design. There were tens of warp beams on the shelves to be woven as needed. We weren’t allowed to show photos of the process or the things in the shop. The shop was very attractive with contemporary colors and designs using traditional techniques woven on this island. Too bad I can’t show photos. Minsa technique means narrow weaving for obi for men and women. This shop used the warp faced technique with wider warps for lovely products to sell. Some examples were placemats, pillow covers, small coasters and lots of bags of all sizes. Everything was beautifully made.
Skeins drying after being dyed. The ones with the white plastic sticking out were ones that had been tied before dying. The area with the ties resisted the dye and will remain undyed. The cloth woven with these specially dyed threads in patterns is what is called “ikat”. Ikat is pronounced “e-cot”. See the next photo for a closer look.
A close look at the threads tied for ikat cloth. When they are put on the loom the tied will be removed and the yarns will be beige and white.
In the afternoon we visited a small weaving studio where the patterned “ikat” cloth was woven on looms with the pattern warp on a reel device that fit onto the back of the loom. This I had never seen before. Instead of tying the pattern threads they were painted on the warp threads while the warp was on tension on this reel device. This meant that the patterns lined up perfectly and didn’t need adjusting like we had been seeing before on the other islands. The next photos will show closer looks.
Here is the warp with the pattern painted on it.
There are two warps on the loom. The patterned one and a white one which is the main part of the cloth. The two are integrated in the heddles and woven together.
This is what the woven cloth looks like. Besides the warp threads being patterned the weft threads are patterned as well by tying the ikat threads and then dyeing them. We call it double ikat when both warps and wefts are dyed in these ways. The warps are the vertical threads and the wefts are the horizontal threads.
This is the tool used to “paint” the pattern on the warps.
Day 11. Ishigaki Island, Okinawa. The tradition in this area is of weaving narrow cloth called Mensa. The warps are very dense so the cloth is totally warp face. There is a stripe with two warp ikat patterns. The traditional textile has a”four-square” and a “5-square” pattern that stand for eternal love. This photo shows the 4-square design. The 5-square design is in the cloth,too, but not shown in this part of the cloth. This is s woman’s obi. A sash for the men is about 4″ wide; the women’s is bout 6″ wide. I love this piece because all the rest of the patterning comes from the arrangements of dark and light colors in the warp. They are woven on two shaft looms in plain weave; over one and under one.
Traditional Mensa narrow obi. I saw a picture with both men and women wearing this narrow “belt”. This is the traditional color but now many colors are available.
Traditionally the wefts were beaten in with a sword. Now the looms use a beater to do the job. With warp face cloth getting a clear shed and beating in the wefts are issues to consider.
At the end of a hot and humid day we tried the traditional Okinawan sweet treat: zenzai. It is made of red kidney beans sweetened with raw sugar and covered with shaved ice. We almost ordered one for each of the four of us but thankfully we were advised that one would be enough for all–and it definitely was. It was refreshing but I like soft ice cream better and that is found all over.
Day 10. Tiny Patterns Woven at Miyako Traditional Crafts Research Center. It was impossible to imagine these patterns were tied and dyed (ikat) until we saw how it was done.
Imagine whole kimonos woven with such fine patterns! It was thrilling to see how it was done.
This is what I hoped to see and it was hanging to dry after being dyed with indigo. This woven thick piece is how the tiny white patterns are made. In the photo all the places where there is weaving resisted the indigo blue dye and remain white when this thick mat is unwoven. The unwoven threads with the tiny white areas are then put on the loom and the real cloth is woven.
marmarweaves commented: This is pretty unbelievable, if you had not seen it and shown it, it would be more than one could imagine. Astonishing. Thanks Peggy for taking us along.
Here you can see the mat being unwoven and the threads have white areas where they were originally woven to resist the blue dye.
Here the threads are on the loom about to be woven into cloth for a kimono.
Here is a pattern piece ready for the dye pot. You can see the pattern that will eventually be woven into cloth.
On the loom if a thread isn’t exactly lined up it has to be tightened or loosen to be in the right place. The weaver watches carefully with every row.
Here is a close up of the edge of the piece woven and ready to dye. Bundles of threads are woven. Where the threads float is where the dye will sink in. Where they are woven will be too tight and won’t allow the dye to penetrate causing the small white patterns.
Day 9. Miyako Island. We had time to drive around before the shops opened today, Mother’s Day. We saw many butterflies on a little sandy walk to the beach. This island is proud of its beaches. A butterfly museum we were seeking closed but it was thrilling to see so many out in nature–and photographable with my stop motion setting on my new camera.
Another butterfly. Only a few really were in focus.
I was thrilled to see that this photo turned out.
This was the walk down to the beach.
Cathy settling the bill with the shop owner at a really nice shop with lots of Miyako Island textiles. It was great that she sold pieces cut from old kimonos or lengths of fabrics. Tomorrow we will visit a workshop and we hope to see how they ikat such tiny patterns. I’m betting I can guess how it’s done in principle but we’ll have to see.
Outside the textile shop. It is near the airport and so close to our hotel that we walked “home”. I bought a lot of pieces of cloth that were irresistible.
Day 8. Chibana Village Okinawa. At the Chibana Hanaori Cooperative they also wove cloth with extra warp threads to create patterns with threads floating on the surface. This complicated but beautiful cloth also had some ikat designs where the tied and dyed threads are woven in the cloth along with areas where the threads ride on the surface of the cloth.
This is the back side if the previous cloth. The threads not on the “right side” float on the back of the cloth.
In this area the shafts on the loom are lifted to create the patterns on the top of the cloth with this hook. In the previous studio they pulled down the shafts with their toe or foot to make the patterns.
For this pattern extra threads were laid in as the weaving progressed. We call this inlay technique. The left side if the photo is the right dide of the cloth and the right side shows the back side. See the next photo.
Here the yellow thread is the starting point of an inlay design.
The warp beams on the looms were square.
A photo of Part of the weaving studio.
The warp beams are square but they are round with the warp wound on them. There is a square “sleeve” made of wood that goes on the beam before the warp is wound on. I don’t know why. The photo shows that one warp is the foundation thread and the other for the pattern.