Tying On New Warps Revisited

Introduction:

Yesterday I met a weaver with beautiful,  and very different hangings at an exhibition. All had the same threading. They truly were lovely and each one looked quite different—she had tied each new warp to the one before it so she did have to do the complicated threading over and over. We talked and I mentioned an easier way to tie-on that Jim Ahrens taught us. He always said, “If you can talk them out of tying  on in front, you will be doing them a big favor.” You can do it anytime you want to start a new warp using the exact same threading you already have in place. The threading for the new warp must be absolutely identical to the old one for you to tie on. It saves time because you only join matching threads—you don’t have to think about shafts, heddles, or dents. Note: There is a whole chapter of 10 pages on this subject in my book Warping Your Loom & Tying On New Warps. Here are the basics for tying on new warps behind the heddles. You begin with the new warp already wound onto the warp beam.

Here are the advantages of tying on behind the shafts.
. You tie only one set of knots. The warps are automatically on tension, and you don’t need to waste time or yarn by tying onto an apron rod.

.Because the warps are always under tension they can’t tangle or break or invite mistakes. (When you pull loose, untensioned threads through the heddles, loops and snags are inevitable.

.Keeping the threads under tension at all times is the key to pulling the knots through the heddles easily.

.You get a perfectly wound warp on the warp beam without any knots on the apron rod.

.You can accurately spread the warp on the warp beam. When working from the front, you wind the warp onto the beam after the knots are tied, using the reed as a guide to keep the warp spread to the right width. The reed is a long, long way from the warp beam, and as the knots pass through the heddles, the heddles can actually scatter the warps.

.With many looms, you can be much more comfortable tying at the back.


Adjust the two warps so they overlap each other about half way between the shafts and the back beam. Leave a 4” tail from each warp extending past the midpoint of the overlap. This is where you tie the knots. Long tails make tying the knots easier—you cut the tails off later. If you don’t have enough of the old warp to overlap 4” past the knot-tying spot, you can make the knots closer to the shafts.

Both crosses should be horizontal—parallel to the floor. If you are using lease sticks, probably the easiest way to make them horizontal is to tie the two warps together temporarily. Make two ties about one fourth of the way in from each edge. Take about an inch of warps from the old warp and a similar bunch from the new warp and tie them in a bow or half bow. It doesn’t matter that these probably are not exactly corresponding threads because you’ll tie them thread-by-thread later. The temporary ties make the crosses parallel to the floor, stabilize the lease sticks, and make it easy to see what you’re doing.


Four Tricks for Success:
#1: Raise the shafts so the warps are in the center of the heddle eyes. This is important so the old warp is straight while you’re tying the knots, and so the knots won’t catch when you pull them through the heddles.

#2: Use a support board for tying the knots. Position the board beneath the knot-tying area, midway between the back beam and the shafts. If your old warp is short, position the board closer to the shafts and adjust the warps so your knot-tying area is above the board.

#3: Tie square knots. With a little practice, square knots are fast to tie. You tie square knots while putting tension on both working ends, so the threads are under tension when the knot is finished. Many other knots must have some slack in one or both ends to make the knot. Since the warp is already under tension, you can begin weaving as soon as the knots are through the reed. You don’t have to tension the new warp; it will tension itself when you are weaving the heading. Also an important advantage is that they are easy to untie. It’s very simple to capsize the knot and slip it out. The granny knot has all the advantages of a square knot except it can’t be untied easily.

#4 Cut the tails. Leave the long tails on the knots until all the knots are tied. Then cut all the tails short—to about ¾” (or ½”). Don’t try to weave or pull the threads through the heddles with the long tails on! The tails will tangle terribly.


How to tie square knots under tension: The knots are tied in a special way because the warps are under tension both during and after the knots are tied. Don’t worry about equal tension on the threads: relax and tie the knots. The tension will even out as soon as you weave a couple of inches.

Hold the old end (coming from the heddles) in your left hand and the new end (coming from the warp beam) in your right hand. Pull a little on both warp ends to make them taut but not tight.


Photo B
Roll the old end over the new end and under it from right to left.


Photo C
Pull the old tail taut by holding the tail in your left fingers in a full-fingers grip, like a mixing spoon.


Photo D
Put your left thumb on top of the crossed threads, pushing them against the board.


Photo E
Hold the tail of the new end an inch from the tip with our right thumb and index finger. Point the tail toward the intersection of your left thumb and index finger.


Photo  F
Pass the tail of the new end over the old end, and under it from left to right, pulling the tail through the loop you just formed. I think of this step as twirling the new end over the old end. It’s a little like making a knot in a sewing thread by rolling it between the thumb and index finger—you roll the tail into the loop, then pick it up and pull.


Photo G
Pull the right tail toward you so the knot forms under your left thumb.


Photo H
Tighten the knot by pulling the old tail (left hand) toward the heddles and the new tail (right hand) toward the warp beam. Pull each end simultaneously and equally. Lay all the tails to one side so they are easy to pick up and cut off later.


Summer Sale: 30% OFF – My Red Books Are Packed with Information NOT in the Beginning Book

I wrote these 3 red books to pass on the production weaving techniques I learned in a Production Weaving class at Pacific Basin School of Textiles in the 1970’s. Jim Ahrens was the teacher. At the time he was also teaching John Violet how he built his production looms. That was the beginning of AVL looms.


I reminded myself that there is a lot of information in my 3 red books when I went looking for shuttle information in Book #3: Weaving & Drafting Your own Cloth. I was having shuttle trouble while weaving  the cloth for my vest woven with  the Sunday Comics.


I wrote the first book Winding a Warp & Using a Paddle with one of my production weaving students, Carol Hillestad. We lived in New York City and passed drafts across the subway platform gates. I visited her in her office in one of the World Trade Towers! I gave her the info, then she wrote it for the text. We decided if it couldn’t be said in writing, we would need an illustration. I published it in 1992.  In the subsequent editions a lot more illustrations were added! See below for some illustrations in Book #1.

Summer Sale Book 1 – 30% off. Discount applied in cart – Order HERE


Why use a paddle?
“More than two ends will inevitably braid up on each other, as you know all too well if you have ever tried knitting with three or more colors. By the end of the row, you have a tangle of yarns to untwine.”


There is a whole chapter on sett including 14 pages of Sett Charts with entries for upholstery, production weaving, clothing, woolens, and delicate fabrics. Collapse weaving uses the “delicate” sett in general.


A warp comb can be made to order to use as a raddle for fine threads. “A commercially made warp comb, or drawing in comb, is another form of raddle and looks just like a reed, except that it’s only about two inches tall and the top comes off. These are available from companies that manufacture reeds.


Book #2, Warping Your Loom & Tying On New Warps was first published in 1995.
I always envisioned a big book like the Collingwood book, but was afraid it would never get done. That’s why I wrote one book at a time. There is so much in it because I was really afraid that it would be my last book. Sharon Alderman, one of the editors told me , “There is stuff in the book that doesn’t belong there.” See below some of the illustrations from Book #2.

Summer Sale Book 2 – 30% off. Discount applied in cart – Order HERE


Photo 8 of 8
Book #3, Weaving & Drafting Your Own Cloth was published in 2005.
I put in them all that I knew that I’d learned from Jim Ahrens and probably some of what I learned from my teaching. See below some of the illustrations in Book #3.

Summer Sale Book 3 – 30% off. Discount applied in cart – Order HERE


What’s in a Loom’s Scrap Heap? – (Maybe, just maybe an example of tying on new warps??)

I’ve noticed over the years in my travels that most hand looms have a little scrap heap near them. I noticed one in Japan and thought it would be a great teaching aid. I’d been teaching one of the husbands on the trip and I could see if he could find the warps, wefts, and selvedges. I expected them to give them to me, but I did pay a small price. That was OK because it is a great teaching aid.


When I ironed some of the fabric scraps, I noticed this scrap seemed to have a “purple fringe”. I said, Wow! Maybe these are new warps tied to old ones.


I began to look closer and seemed like there might actually be knots. Maybe I was in luck.


.I needed to use a tapestry needle to part the tiny threads.


Yes! Knots! Every warp thread was tied in a knot to a purple thread!


There was another scrap I didn’t need to bother to untangle because it was clear this also was a new warp knotted to the old, thread-by-thread.


I describe the process of tying on new warps thoroughly in my book Warping Your Loom & Tying On New Warps which is now back in print. It is also still available as a pdf for less money.


Notice that I tie on behind the heddles, just like these fine threads would have been tied. My mentor, Jim Ahrens said, “If you can talk them out of tying on in front, you will be doing them a big favor.”


Part 4 – Tying On New Warps

Another Item from My Book Back in Print


“If you can talk them out of tying on in front, you will be doing them a big favor.”

Jim Ahrens to Peggy in 1995

Here are the advantages and an excerpt from the chapter.

• You tie only one set of knots. The warps are automatically on tension, and you don’t need to waste time or yarn by tying onto an apron rod.

• Because the warps are always under tension they can’t tangle or break or invite mistakes. (When you pull loose, untensioned threads through the heddles, loops and snags are inevitable.)

• Keeping the threads under tension at all times is the key to pulling the knots through the heddles easily.

• You get a perfectly wound warp on the warp beam without any knots on the apron rod.

• You can accurately spread the warp on the warp beam. When working from the front, you wind the warp onto be beam after the knots are tied, using the reed as a guide to keep the warp spread to the right width. The reed is a long, long way from the warp beam, and as the knots pass through the heddles, the heddles can actually scatter the warps.

• With many looms, you can be much more comfortable tying at the back.


For the first few times at least, you’ll find tying the square knots much easier with a firm support to tie against. A board placed beneath the knot-tying area gives your thumb something to press the ends against while your fingers tie knots. It’s like having someone put their finger on the knot while you tie a bow! Later on, you may be able to tie the knots “in the air” without the support, but I still like to use one.

Position the board beneath the knot-tying area, midway between the back beam and the shafts. If your old warp is short, position the board closer to the shafts and adjust the warps so your knot-tying area is above the board.

Support the board on the side framework of your loom, or on lary sticks, or suspend it from long loops of string tied to the loom’s overhead structure. …

The top of the board should be on the same plane as the warps. It should be sturdy and in no danger of falling, so experiment with C-clamps and string, if you need to, to get a firm work surface.


EXTRA!! Read All About It! – Warping Your Loom & Tying On New Warps is in Print Again!

Almost a year ago I sent my books to a shop in Australia, called the Weaving Room. That’s when Sharon Harris, the owner of the shop, 13,000 km away contacted me because she thought my 2nd book needed to be back in print.

Then a most beautiful thing happened when we two women who don’t know each other, worked together across the world to produce an “amazing book “(her words) that has been out of print for years. The First Edition came out 26 years ago and has been in demand consistently ever since. This is the Fourth Edition.

The books were printed in Australia, and they arrived in the US and are available on my website here: https://peggyosterkamp.com/weaving-books-dvd/

It has been available only as a pdf for several years until now.

The cost may surprise you, but 26 years after the first books were printed costs have increased as you can imagine. The price will be $55. For those people who bought the original pdf, I offer a 15% discount off the new printed edition. To take advantage, send a message in the comments section with your name, address, and email address. (I have a record of all who ordered the PDF). I’ll email you how to send your payment by PayPal.

The cost of the PDF will remain the same as before: $27.50. I’m thrilled to see it in print again. When I look at the chapters, I see that much of the information is valuable and not in any of the other books at all. Of course, thorough explanations of warping the loom are included. In addition, there are chapters on:
Sectional beaming, Tying On New Warps, Adjusting Looms, Two or More Warps, Designing Random Stripes, Knots and more.
In a future post I’ll show example pages. I think you’ll see that “having her books at your loom is like having a patient, knowledgeable teacher at your side” as the back cover says.