A Fancy Twill


I can’t remember where I first saw this pattern but I do remember it was called a “fancy twill” and I’ve always called it that. I wove a bit with this thick red silk weft before the pandemic. It’s a twill.

Here is the way it works. In the photo it shows what the warps are doing: 3 up, 2 down, 1 up, and 2 down for each pick. (Just like the fraction shows.) When you design a twill like this, all the numbers need to add up to the number of shafts you are using. In this case, it’s an 8-shaft    “fancy” twill.

Here in the weaving I think you can track the warps up and down by following a weft.

Here is the back side of the cloth.

I wove some of the pattern in white on white with the idea I might see how it would dye. Of course, the pattern doesn’t show up when there’s not contrasting warps and wefts. However, you can make a pattern appear if you change the warp color, say for a border; and have the center part have the warp and weft be the same. I’ve used this idea and like it a lot. It makes me think of Nellie, one of my students. She made an elaborate twill draft for a scarf but made the warp and weft the same except for one tiny inch. All her work didn’t show up except for in that one-inch section of warp. But I took her “idea” to heart.

Look what I found in the Handwoven magazine I got this week! My “Nellie idea”!

A Weft-faced Twill: Actually, Weft Predominant Twill


Here is another piece I wove for a background for a scroll. You might recognize the warp from the “Three Faces of Karl” scroll in previous posts. I seemed to be wanting to use up things I’d been hoarding in my studio: this time, the black thin wool boucle. And I wanted to show off the boucle which I love and the rough silk as wefts.

Here is the back side which shows the warp dominating. This was the back when I was weaving and remained so.

Since there is a fat weft and the thin boucle weft, the selvedges naturally go in and out. Thick yarns don’t turn as easily as thin ones at the selvedges, but I didn’t want to lose the idea of the special silk so I let it stick out or turn at the selvedge as it wanted to.

This is a close-up of the warp face side (the back side). The thick weft is very rough being made of the waste part of silk cocoons. It’s called kibiso. It is very lumpy and sort of flat, and a little paper-like. I dyed it with black walnuts a year ago and kept looking at it until I finally decided to try it.

Today I finished the top and bottom and attached the silks I had dyed. So here is the finished scroll.

“Three Faces…” Revisited: Broken Point and Unbalanced Twills


Someone asked me about the weave structure for the background of this piece in the previous post. I realized there is a story behind it. (Just when I think I’ve run out of post ideas, something comes up to get me going again!)

This is what I intended to weave. Since I was going to use the butcher’s twine that I’d been hoarding for years, I wanted to have the weft dominate the warp to show it off. When I think of twills I usually think of balanced twills where the warp and weft show equally. That can be written as 2/2 twill. In the fraction, the top number represents the number of warps lifted and the bottom number, the warps to be lowered. Regularly the treadling would be 12, 23, 34, 41 etc. And to reverse the direction it would be 41, 34, 32, 21 etc.

For the weft to dominate over the warp I need to weave a weft faced twill. That would be a 1/3 twill with 1 shaft up and 3, down. 1,2,3,4, and 4,3,2,1. That would be easy with only one shaft lifted at a time and the weft would show a lot and the warp hardly any. (because only 1 warp would be up for each row). In the piece, I wove 16 rows one direction and 16 rows the other.

Besides that, I wanted the points where the direction of the twill changed to be crisp so special attention needed to be made. Normally one might think to change the direction at the point you would treadle 1,2,3,4,3,2,1. The point is often mush or not sharp with that treadling. What you do is at the point of reversal you jump to a specific treadle and to begin the reverse direction. How do you know what to do? Read on.

You make yourself a “twill circle”.  You make a circle and put on it as many points as there are treadles for one repeat. The photo shows the circle I used for a 4-shaft twill. Wherever you end up and are ready to change directions, you jump to the point directly across the circle. In this instance if I ended with treadle 4, the next treadle should be 2. That would be the first shot for the reversed direction. So wherever my 16th row happened to land, I would always know what treadle to start the reversal with. If I ended on 1, then I would begin with 3. The lower circle shows a circle if I were weaving with 8 shafts. If I ended up on treadle 4 I would jump to treadle 8 and if I landed on treadle 5, I would know to jump to treadle 1.

However, I decided I liked the wrong side better when it was off the loom! The wrong side is the reverse, with the warp dominating as a 3/1 twill. If you look closely at one row you might be able to see 3 warps up between each single weft. Warp face and weft faced twills can be called unbalanced twills as opposed to balanced twill which would be a 2/2 or 4/4 twill, or 5/5 twill etc.