Peg Plan Mistake Yields Another Surprise

Introduction:
I started weaving on this 8-yard warp on March 5 my records show. For the last year I’ve been making silk warps with yarns and threads I inherited from a wonderful weaver, Ethel Aotoni from Hawaii who moved into my building a few years ago. They are mostly white because I think she was planning to dye them. That is just fine because I have wanted to do the same. Before the lock down, I wove as many samples as I could to bring home for dyeing. Besides the silks as wefts, I have used the odd yarns that I pulled out now and then that interested me.  Out of the 8 yards, I have only 40” left. I’ve liked so many of the weaves I got, that it will be hard to choose just one to repeat. This is an old problem, hence many samples. It’s really what I like to do best—make something out of nothing and make as many different things as I can on one warp. As I look at the samples, I am getting ideas for more things to try!

I was trying for this pattern but it turned out to show up on the wrong side of the cloth. I didn’t see it until I checked the wrong side because I wasn’t seeing what I was expecting on the top when I was weaving. How did that happen, I wondered. I checked the introduction at the beginning of the book  (8-Shaft Patterns by Carol Strickler) to see if I was reading the tie-up drafts wrong. No, I was reading them as I expected as “bubbles rise” meaning the circles indicated lifted shafts. Then I realized I’d transferred the tie up incorrectly to the peg plan. Oh my! Turns out each VERTICAL column in a normal tie up is written as a HORIZONTAL line in a peg plan. Very sobering. I hadn’t used the dobby in awhile and didn’t look again at the instructions because I thought I knew what to do. What a good lesson.

Here is what I saw while I was weaving. Turns out I love the black part woven with a thin black wool boucle yarn. I’ve had the cone for a long time, loving it but not finding a way to use it. I love the mysterious texture. I definitely plan to weave more of this—a lot more! Again, my good fortune with a big mistake!

A Weave That Was a Surprise! (Mistake?) (Using a treadling draft for a completely different threading draft.)

Introduction:
I made this post just after we were told to stay at home—over a month ago. I can hardly believe that much time has passed. Actually I have treasured the time locked in at home. I live in a life care place and feel very safe and protected. Meals and mail are delivered to our doors. I go out of my apartment to do my laundry down the hall, mail out books, exercise while reading and walking in my hall, and going for daily walks with my camera outside around our building in our gardens. Inside my apartment, I have been working creatively putting together fabrics to make my scrolls and processing the photographs from my garden strolls. My teaching brain has been activated so I make posts on my blog almost every other night. Culturally, I have been playing many operas streamed daily by the Metropolitan Opera on my laptop. Socially, besides keeping in touch with other residents, Zoom has kept me in good contact with friends outside and with my tech guy.

I love this 8-shaft braided twill (or plaited twill) pattern. I’m embarrassed to admit that I wove a treadling from a pattern when I didn’t realize that I hadn’t threaded the loom for that treadling! I was mystified why my cloth had an obscure texture on the back and not the definite braided twill I thought I was weaving on top.

The pattern for the braided twill I love is #380 in Carol Strickler’s book. I have woven it several times but completely forgot it needed a very special threading. As well as treadling.

Here is the 24-pick treadling draft. Using my dobby loom is a life saver for such a complicated treadling.

Here’s what I got when weaving this 24-shed pattern on an 8-shaft straight threading.
I like the white textured side a lot and am thinking strongly of weaving more of it. I especially like how it takes advantage of the shiny plied silk warp threads—especially after wet finishing with hard pressing (ironing).

DO NOT TRY THIS! Besides the above huge mistake, I pegged the draft wrong as well! I’m glad I made only a sample and looked at it carefully. And finally realized both of my great big mistakes. (And glad I like the result enough to weave more.)

Making Good Selvedges– One, Two then Three “Throw, Beat THEN Change Your Feet”

Introduction:
This post was also inspired by Linda Doggett who said how important it is to her to beat on an open shed to make good selvedges. I enjoy the connections with other weavers. If you have an absolute favorite tip or process, let me know and perhaps it can go out into the weaving world in a blog post.

I’ve been pretty proud of my selvedges over time using the process Jim Ahrens taught that is the same that industry uses. If industry uses it, it must be pretty good, I thought. This is meant for most weave structures and yarns, but not for weft faced weaving. (eg. Tapestry or Collingwood’s rugs). Jim also said that often for right handers, the left selvedge is better. I think it is because that’s the one where the right hand is catching the shuttle. I never thought to ask him why. Mine are slightly better but both are good. The other thing he said was “the best selvedges come when you don’t pay attention to them.” (that is if you use this technique.) The photo is one of a series of color studies I wove with good line linen.

Step One: Throw the shuttle on the shuttle race or close to the reed. The shuttle race is a big help and the shed is larger, close to the reed. A diagonal should form naturally from the edge of the woven cloth to the shuttle race. The edge of the cloth is close enough so that the diagonal from it to the reed should be enough. This diagonal prevents the cloth from drawing in. (Remember that it’s important to advance the warp often, about every 2-3”.)

Snug up the weft against the outside warp thread, neither pulling that thread in, nor leaving a loop on the outside of it. I like to snug the weft up until it barely moves that outside thread—just grazes it. I don’t touch the selvedges but I press the weft thread onto the shuttle or bobbin and pull on the shuttle to snug the weft into place.

Step Two: Beat while the shed is still open. The illustration shows receiving the shuttle and a hand on the reed, ready to beat. This is crucial since this is where the warp is held out to its full width so that you are getting enough weft into the shed. This keeps the cloth from drawing in too much. (Expect a little bit of draw-in that is natural.)

Step Three: Change the shed as soon as you have beaten in the weft. The illustration shows the weft beaten in and the beater back near the heddles and the shuttle going into the new shed. This is especially important, too, because it is trapping the weft out at that widest point so the cloth cannot draw in. That’s it: “Throw, beat, change your feet”. With practice, it will become automatic but at first, I’ve seen students struggle to change the shed quickly after beating. Often, they want to change the shed after the beater is back at the heddles.

Comments and Connections: Beyond the Two-Stick Heading Post

Introduction: I have been enjoying immensely preparing and sending out the frequent posts during the COVID 19 times. But I enjoy even more the comments and being connected to weavers who have responded.  The pandemic has connected us all—not only in the US but all over the world. That’s a lovely thing. The two comments below followed my previous post “Cutting off Some of the Cloth Before the Warp is Finished (the Two-Stick Heading)”.

“Dear Peggy,
The timing of this post is perfect! I’m a fairly new weaver and just finishing the first of a pair of bedside rugs. I so wanted to take it off the loom but wary of wasting the linen warp. I now have a solution. Many thanks and Happy Easter from isolation on the other side of the pond.”Ruth Morrell, South Devon, England

This comment from Linda Doggett from Dayton, Ohio, caught my attention. I know her name from her frequent posts on Facebook in the Four Shaft Weaving group:
“This wonderful tip has been printed and kept near my loom because I use it so often! I also have a printout of one of the knots from your book taped to the table next to the loom. You are pretty much indispensable, Peggy. 🙂”

Cutting off Some of the Cloth Before the Warp is Finished:  The Two-Stick Heading

Introduction:
While I still could be at my studio, I wove as much as I could so I could dye it while sequestered  at home.   Since I wasn’t able to finish weaving the entire warp and I wanted to cut off what was woven, I used the technique in this post. I’ve written about this “2-stick heading” so much that I wonder if people are getting tired of seeing it. It is such a useful technique I want everyone who weaves to know about it. I learned it from my mentor, Jim Ahrens, who used industry techniques for his production weaving business. What I learned from him is the basis of all my books and the reason I wrote them. His techniques from industry needed to be passed on to future generations of  handweavers.

I almost always use this because I often want to cut off samples before weaving my “projects”. With this method you don’t lose as much of the warp as when you make knots to tie on again to the apron rod. And you retain perfect tension when you start weaving again. Before cutting off some cloth, weave this heading first.
1. What you do is first weave an inch or so of plain weave (or close to plain weave as possible).
2. Weave in two sticks (thinner the better or use rods or dowels).
3. Weave another inch. In the photo I wove a little more than one inch because plain weave wasn’t possible with this weave structure and my warp was slippery.

This close-up shows clearly how the two sticks are woven in.

This shows where you cut off your cloth, LEAVING THE HEADING ON THE LOOM.

The complete heading remains on the loom. Your cloth has been cut off.

Fold the sticks together and tie them to the apron rod. Now you can start weaving again with the perfect tension you had all along!

Here is a close-up of the knots tying the apron rod to the two sticks which have been folded together.

Keeping Track of What is Left of a Warp

Introduction:
The record sheet for this post looks homemade, and it is. And since I can’t get out to my studio these days, I have only my working one to show which is rather messy. (as they usually get). I wish now I’d had a professional one made to go with the many work sheets my book designer made for my beginning weaving book.

I know how much warp is left because I keep track of what I’ve woven as I go along. I use a record sheet I made long ago. I use it for every single warp I make. It works like an old-fashioned check book register in that the last column shows the “balance” of what is left.
As soon as I’ve entered the length of the section I’ve measured on the record sheet, I put a marker thread at one selvedge to show where the measurement ended.  Then later if I need to check for sure, I have all the markers on the selvedge as well as all the entries on the record sheet. I make sure that I ender all headings, or separators and the back loom waste. Also, I usually enter what I have allowed for “take-up”. Usually I use 10% for ordinary cloth weaving, just to be sure.

Record Sheet “Warp Use Record Sheet”.

A Way to Deal With Fringe Other than the Usual Treatments

Update: The masks are coming along. There is a pocket for a filter and a wire is stitched in so it fits over the nose and stays under eyeglasses.

ALERT!! MOTH HOLE TIP: Try using a Fuzz Buster or a soft brush to pick up stray fibers directly from your sweater—it doesn’t take much to patch a tiny moth hole and the color match is perfect.
From Diana Rollo



“The viewer must know that the last weft is secure.”…

Lillian Elliott

Sometimes I like how the fringe emerges from the structure of the woven cloth. Sometimes the warp yarn is so beautiful that I don’t want to twist it and hide its beauty or texture. This was the case with this silk satin piece I wove.

About every inch or so (or what seems needed) I work a warp thread back into the cloth. In this case the warp is so dense, the missing thread didn’t leave a space in the fringe. When it does show I practice a bit to decide what the intervals should be between the missing threads.

I didn’t want a hem at the cut end so I removed a couple of wefts and then used the same treatment. Since the warp threads were so short, I used a hook like a knitting machine needle. This one came from the notions department. (I bet Amazon has such thing, too). I grasped the thread with the hook open.

Then I wove the closed hook into a few wefts of the cloth and grasped the thread and the hook closed as I pulled it through.

How it looks on the right side.

Here is the finished piece—it’s not long 27inches. I’m thinking of mounting something on it, using it as a background.

Here are the tools I had on hand. The needle pillow I wove and its supply of tapestry needles was a big help. Sometimes I combed the fringes with the bigger ones.

I dyed the silk warp and weft yarns and cut up wool cloth into tiny pieces for the inside. Animal fiber inside won’t rust pins and needles I learned long ago in 4H. The hook with the jaw open is nearby. The seam ripper was used in another project.