Thursday, August 25, 2016
Wednesday, August 24, 2016
Today the weather has been atrocious - I have been at the kitchen table twisting the fringe and winding some wool for my next project. Tomorrow I shall finish the scarf (the second one can wait) and start on warping up for my next project which will be some more supplementary warp bit in wool this time.
Saturday, August 20, 2016
Friday, August 5, 2016
This is a view of the cloth beam; note the generous use of sticks. At the moment they are covering up the tie-on knots but they will continue to prevent uneven tension because of the different thicknesses of the weaving.
Wednesday, July 27, 2016
Well, now I have the rollers in place and functioning. They are mounted on a steel rod which is held in place by metal brackets on an extra beam which I have clamped onto the back of the loom. A webbing strap runs from the bottom of the beam up over the brake drum part of the rollers and down to some weights which can be adjusted to control the tension on the selvedge thread. The second photograph shows the selvedge thread coming of the roller and extending forward to the heddles. All good stuff and I am very happy. I can have no excuse now for knurley selvedges.
Tuesday, July 26, 2016
During this whole warping process I have made great use of PeggyOsterkamp's weaving tips and Pattern Techniques for Handweavers by Doramay Keasbey.
This picture shows the two sleyed warps ready for tying onto the front apron rod. Although it is not immediately apparent from the picture the ground and pattern warps are tied up with slip knots into separate bouts.
The lacing on is complete. It is my preferred method for getting an even tension. (http://peggyosterkamp.com/peggys-weaving-tips-tips-lacing-warp/)
With ground warp in place and the pattern warp out of the way I wove a few picks of header.
There is an errant tan thread right in the middle of the weaving which I had to correct. Fortunately it was a just a case of colour transposition and heddles out of order rather than a missing heddle.
Friday, July 22, 2016
Threading and Sleying
From what I have read there are two ways of threading the two warps;
- Thread the ground warp first leaving empty heddles for the pattern warp, then thread the pattern warp
- Do both warps at once
The first method seemed to me to be fraught with danger so I just started with the first thread and went from right to left across the complete threading. It was all very straight forward; I was however very careful and constantly checked my work.
View of both warps on their lease sticks
Penciled on shaft numbers
In action; the keys to happiness are height and light
Thursday, July 21, 2016
Putting on the Pattern WarpPutting on the pattern warp had a few complexities and at times I wished I had smaller hands but all went well. Once the second warp beam and back beam are in place there is not much room.
After putting the warp onto the sectional warp beam I put little weights onto each bout to keep them tight and under control when I unwind in preparation for putting in the lease sticks. There are more EPI in the centre sections hence the disparity in length; 6" over 7 yards which will have to be watched later on for tension problems.
The bouts are hanging down the back of the loom. The sectional warp beam is at the top of the picture and the weights are out of sight at the bottom. The green wool is securing the crosses which have to be moved so that they are all level
Sunday, July 10, 2016
Planning and winding the ground warp
I have previously woven an Overshot Sampler using 16/2 Cotton. It worked quite well so I am using this yarn again for the ground weave of the Supplementary Warp Scarf that I have started work on - a summer fashion statement!
For the pattern warps I shall be using some 10/2 Perle Cotton that has been sitting in my stash since I bought in Pennsylvania nine years ago. I am hoping to get a good contrast between the mercerized and un-mercerized cottons.
For the draft I have used elements from the Juanita Giradin scarf that I had analysed ( see previous post) but with enough changes to transition it from pure plagiarism to a thematic variation. The picture above is a graphic representation (from WeavePoint) of what I am aiming for.
Normally the information needed to wind the warp can be taken from the threading plan but I
|Part of the threading|
needed to separate out the information for the ground warps (shafts 1 to 4) from the pattern warps (5 to 10). I did this by importing the [WARP COLORS] section from the .wif file into MS Excel and doing a bit of manipulation to get a "Winding Plans" for both the pattern and the ground warps.
|Ground Warp Winding Plan|
|Warping reel with Guide String|
The bottom warp is now in place ready for threading. The next task is getting the top pattern warp onto the loom.
|Ground Warp ready for threading|
Friday, July 8, 2016
A bit of research
Since I got back from the UK last year I haven't done any weaving. I am not sure why not; it just seemed that nothing was interesting enough to justify the effort. I was still interested in weaving and read various bits and pieces and did some designing on my weaving software but ennui set in whenever I contemplated actually doing some work.
Whenever Handwoven bring out electronic versions of their magazine I buy them so I now have every issue from 1988 to 2015. I was browsing through some of the older ones when I was rather taken by the front cover of the Nov Dec 1988 issue and the corresponding pictures inside on some scarves by Juanita Girardin. There were no drafts in the issue, just the information that they were in plain weave with an 8 shaft supplemental warp.
The world wide web is a wonderful thing so I soon came to this page with loads of examples of Juanita Giradin's work. Lassitude was dissipated and I read everything that I could on supplementary warp/brocade.
|Articles and Papers|
I took the photograph of one of the scarves and reversed engineered it to produce a draft. I used pixeLoom to produce the draft and WeavePoint's excellent fabric view to check my work. . These are the notes that I made at the time.
Contemplating JuanitaThe following observations are based on what I think that I can see from looking at photographs of some of the works of Juanita Giradin. My interpretation could be completely wrong! Think of scarves of this type as being turned Monks Belt with a bit of Turned Overshot thrown in for good measure.The body of the scarf is balanced plain weave. The warp and weft are both dark (black?) but there are areas where the warp is paler or alternating pale and black.The supplementary warps have a variety of interlacements and different yarns are in use.In certain areas I find it hard to tell if the pattern is coming just from the ground weave or is from a supplementary warp.
The three pictures below are of the original scarf, the my interpretation as a draft and a graphic representation of the draft.
|Draft - my interpetation|
|Graphic Representation of my draft|
Now, I have a Glimakra Standard with an additional back beam that I have often admired but never used. Time to get going again I think.
Friday, September 18, 2015
Tuesday, September 15, 2015
Monday, September 14, 2015
They will be so much better than my previous arrangement.
Tuesday, September 8, 2015
Saturday, August 29, 2015
This will be the last scarf from this warp. It is another draft from Strickler/Oelsner. I have woven it at a loose twill sett; it will be interesting to see how it moves when taken off the loom and washed.
Friday, August 28, 2015
This is the next scarf – an extended advancing twill taken from “Exploring Multishaft Design – Bonnie Inouye”. It is finished and will be wound on to the cloth beam to join its friends whilst I weave the last scarf on this warp.
Tuesday, August 25, 2015
I feel very exposed when weaving a twill. Even the slightest inconsistency in the beat seems to show up as a warp coloured streak and even though I know that when the cloth is off the loom and relaxed and then after it has been finished most of the blemishes will be gone it still bothers me.
I have come up with a few things to help me. The first has been to stop listening to the radio when I weave. I listen to Classic FM and I suspect that the change of tempo of the music impacts on how I weave. The music and the talk from the presenters lead me away from the weaving.
Following on from stoping the distraction of the music I am trying to focus just on the weaving,to watch the weft being beaten in, to feel the tension in my shuttle and just to be with what I am doing. This is all a bit metaphysical but it seems to be working. On a more down to earth note, I am advancing my temple in a consistent fashion.We all know it should be moved after about one inch of weaving, but hey, when you are in the zone and there is a nice bit of Bach on the radio, three inches with no temple movement can creep up on you just like that.
My weaving software (WeavePoint) plays a sound whenever the weft colour changes. On the draft I have changed the colour every 18 picks (the PPI of my current project) so when the computer goes bing I know it is time to advance the temple. On my loom I can move the beater so I only have to advance the warp about every three inches; so I use three colours so that I know exactly where I am.
The combination of this and the vibes thing seems to be helping but time will tell.
In addition to all this I managed to get some weaving done today.