I received a comment asking about how to use a paddle with a vertical warping reel. In my Book #1, Winding a Warp and Using a Paddle I do discuss this. Here is a clip from the paddle chapter.
WHERE TO PLACE THE PADDLE
You want the paddle to be easy to reach, so when you get to the lease pegs, you can easily make the lease and put it onto the pegs.
Other than being clamped to something
approximately at the center of the warping
board as in Figure 118, below, the paddle can be clamped to the bottom of the warping board itself if the height of the board is convenient for you.
Clamping a paddle at a height close to the
pegs on a reel is shown in Figure 119a.
Clamping it to the back of a chair works well, too. See Figure 119b.
Also, see below where to place the paddle at a warping board.
I can’t upload the pictures of the Lark’s Head Knot. My computer is acting up and driving me crazy. I’m sorry that I can’t fulfill my promise to put up the information right away. How to make and use the knot is in my book, Weaving for Beginners on page 352. I hope to get the image up today. Please send your good thoughts to my computer and to me.
I planned my weaving on a woven piece that was so uninteresting I relegated it to a scrap. This gave me the dimensions for the new piece. And it allowed me to play with various stems of rose hips to get a composition I liked and that would allow me to use the supplementary purple warp to attach the stems. As I wove the new piece, I unpinned the stems as needed and wove them in. It also helped that I’d taken a photo of the composition so I could replicate the placement in the new weaving as I went along.
This photo is of the woven piece. The color is more like the top picture.
I’m weaving another in my Ruffles series now on the sewing thread warp. I’m pleased that it is sheer–you can see the treadles through it. It’s slow going because the weft is very fine–like hair. Weaving double cloth is also slow. I maybe did 3 or 4 inches today in 45 minutes. It’s easy and meditative. I’m loving just weaving and weaving–it will take many sessions before it is long enough.
I have my weavings mounted in plexi shadow boxes. The front and back are clear and the sides, top and bottom are white. the boxes are unobtrusive and I like the way the pieces have their own space with this system.
I’m going up the coast to Gualala, CA, for a few days. I love the country-side and ocean so much. Back in time for the SF Opera Opening Night, then back to blogging, I hope to take some pictures of naked ladies (amaryllis) and the surf/coast for future blogs.
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).
I wove what I hoped would be a narrow band to be sort of a border separating parts of my wavy wefts cloth. I used white because that was what the warp is and it would blend in since a lot of white shows in the wavy wefts cloth. I forgot that light colors really advance and actually look larger than darker ones. I made my “border” 2 inches tall–it looked much wider. In fact it sticks out like a sore thumb.
What to do–it came near the beginning of my proposed hanging. Well, since the lam broke, it made me stop and think about it. I cut off what was woven and made narrow hems which look much better. In the illustration the wide border is a little rigged up, but it shows an inch of white. Originally the border was 2″ tall and really looked too big. But that lesson of light colors looking larger really came home to me.
One of the lams broke! Yesterday my friend beefed up the lams. I am waiting for the glue to dry before proceeding again. There is a lot of pressure on the treadles and thus, the lams. I played with what I had woven already until the loom is fixed and ready to go. It’s a good thing, really, because there was a part I wove that didn’t look good and needed to be removed. At first I thought of unweaving down to the “bad” place. Then I was thinking of cutting the whole piece off and cutting it into parts that I like. I did cut it off and mounted the pink area you see on a card. It can stand alone but could be matted, too.
For a long time I’ve been wanting to weave wavy wefts without a fan reed. I have a swatch of curtain fabric, bookmarked pages in two books, and an article by Peter Collingwood. I have an engineering-minded friend who has modified my loom.
This is the first sample to see if it worked. We are thrilled. I hope to weave all afternoon today–hope it looks as good as this first sample. Deatils later.
I am wondering why my box of locks of hair (all labeled on scraps of newspaper) was saved and by whom. They seem to be relatives of my dad. I wonder why they were collected in the first place. In an earlier post I mentioned that one of the newspapers was dated 1872 and that there might be around 40 little packages in the box. Any thoughts? More pictures are on my previous blogs.
I received a comment asking if the pockets were double weave. Here’s my reply:
Yes, double weave. I did the pocket with pick up because I was using only 4 shafts and just wanted to experiment. I used an extremely fine weft for the front of the pocket and a slightly heavier one for the borders–that spaced the fine wefts apart so the name could be seen and the lock of hair. I just made one big pocket so I could manipulate the objects a bit. Picking up the same warps all the time made it easy. Not beating in the fine wefts was tedious, but worth it.
“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.
Ashenhurt and other sett charts tell you the setts for balanced weaves–where both the warp and the weft show equally. Weavers often don’t want both to show equally, they may want the warp to predominate in some cases, or the weft. Then you adjust the sett from the charts accordingly–more warps per inch (epi) for a warp predominate fabric or fewer epi for a weft predominate cloth. Read more in my new book, Weaving for Beginners, in the chapter on sett. These photos are found on page 277.
One reader suggested I talk a bit about sampling. How much to make, wasting “good” yarn, when and why, etc. etc.You can save yourself a lot of heart ache if you make a sample before weaving something and find out that it shrinks too much, or “doesn’t turn out.” You might make a sampler or weave samples. Read below how the two are different.
A sampler is generally a warp designed to sample a variety of weaves and ideas. I’m making one in the studio right now. I feel like it’s a big gamble because I don’t know how it will turn out. But because it’s “only a sample”, there is no pressure to make it wonderful (although I hope it will be) and I can be free to try anything. I am not sure about the sett for what I’m visualizing so I need to weave with the sett I decided on and see if it works for me. I am worried that my sett is too open–but I know I can try different techniques (eg.fatter wefts, or beat lighter) if I don’t like the initial look. I can re-sley the reed if necessary. My warp is only 4″ wide so I’m not wasting much yarn–and 3 yards long. I planned the length to try to get a good piece or two after my sampling.
The sampler I have all my beginning weavers make is shown in the illustration and is found beginning on page 93 in Weaving for Beginners.
Sampling: I had a student this week who wanted to make a baby blanket. Since it is a fairly wide project I suggested that she make the warp a little longer and weave a sample at the beginning and cut it off and wash it and be sure it suits her. If it shrinks too much or doesn’t look right. She can then make changes before weaving the entire project without wasting all the yarn and time. Use the two-stick heading from my new book, Weaving for Beginners, to reconnect the warp without wasting yarn to tie the threads back onto the front apron rod. You cannot make a narrow sample and expect the information to directly translate to a wide warp. Since there will be more friction in the reed, the wefts in a wide warp won’t pack down in the same way as for a narrow warp. I suggest allowing 6-8 inches, minimum for the sample. I really like to add an extra yard for sampling. That allows plenty to sample at the beginning and usually there is warp left for me to try out more ideas at the end. (This is when I am the most creative.)
These three little pieces were in my show. The triangles and rectangles were woven with a simple inlay technique. That is, the yarns for the shapes were on separate bobbins or in butterflies and put into the regular weft sheds where needed. I’ve played with transparency and illusions over the years. It fascinates me.
There is a comment asking for more information and clarification about sett and Ashenhurst and various sett charts in other sources. My reply follows. What do you find confusing about my descriptions in my Book #1, Winding a Warp & Using a Paddle, and in my new book, Weaving for Beginners? Your input will help me address all of this.
Most sett (ends per inch) information is determined by the yarn and the structure. We know twill and plain weave require different setts. When a different weave structure is described, usually the appropriate sett for the structure is given–eg. “use a plain weave sett”, or “use a sett more open than plain weave”. When a sett chart gives 3 setts, two are the usual plain weave and twill which we might think of as medium and close. The third sett may say for lace, but we could also think of it as open. So, for a given yarn you are given 3 options for each yarn–depending upon the weave structure. Ashenhurst offers a way to calculate the sett and gives more specific setts for various purposes. The words, calculation and purpose are the operative words here. A yarn for plain weave for upholstery would require a different (closer) sett than for a delicate shawl. With the three-choices charts, you might choose the open or lace sett for the shawl, but you wouldn’t know what to use for upholstery.
Can anyone help me with my discussion of Ashenhurt? Do you understand what he calls diameters? Where should I start to clear up this important, important subject?