Weaving Today

Winding Multicolored Warps

Madelyn van der Hoogt — Wed, 22 May 2013 09:03:00 GMT

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Hi Madelyn!

I am winding a warp for the Sotis Cloth table runner from the most recent Handwoven(March/April 2013, pages 30–31). Is there any way to wind this warp besides tying on one color to the other at each color change (there are three colors in this warp)? I can see that doing it this way will be a slow go. I have looked through all my weaving books for a reference to this issue but don’t see one. Thanks for any help you can offer.

—Susan

Hi Susan!

If you warp front to back, you can sometimes wind each color as a separate warp chain and then sley each chain separately, putting the threads of each color where they need to go in the reed. This only works for sleying orders that make it possible to figure out where each color goes in the reed, however. Since in this draft, there are places where 3 ends of a color are threaded and the sleying order is 4/dent, figuring out where to sley the colors separately would probably be a nightmare.

So, I'd wind the colors in the designated order as a single chain. But I never cut and tie as I change colors. Just wind the ending thread 4 or 5 times around the peg where it ends to secure it (either the start peg or the end peg). When you need to use that color again, simply pick it up and continue, leaving the windings on the peg. When you take the warp off the warping board, you just cut the loops at both the start and end pegs and the extra windings will all fall out. (If you are a back-to-front warper, this will mean you'll have to tie to the back apron rod rather than use the uncut loops, since both ends must be cut with this method unless all colors were used for even numbers of threads (and can therefore all start and end on the same peg).

Note that if there are an uneven number of ends in any color, you'll be beginning and ending that color sometimes on the end peg, sometimes on the start peg. Let's say you wind 3 pink ends and end up at the bottom peg. Then you wind four blue or whatever number of ends of the other colors, ending at whichever peg. Then, to wind 3 pink ends again, just pick up the pink end and wind back to the top, down to the bottom, back to the top and end there. (The threads don't know which peg is which once they are cut.)

The awkward part of this process is that the cones must rest on the floor under the peg where they last ended. Sometimes when multiple cones are used, the threads coming from them to the pegs can twist together, requiring a bit of management. Even so, this awkwardness is worth the time saved by not cutting and tying the ends. I do show how to do this in Warping Your Loom, and I have no doubt the awkwardness is also conveyed.

—Madelyn

Layers of Understanding

lambspin — Wed, 22 May 2013 09:00:00 GMT

Every weaver's journey to understanding is unique. Some of us come direct to weaving and some from another craft. Our knowledge grows with each project, each class or workshop, each "Aha!" moment. Sara Lamb shares her journey today. If it stirs memories, please write and tell us about yours. ––Anita

Many weavers can clearly recall the moment that they knew how fabric was made; for me it was in January 1976. The fabric I was making was no great textile: a simple weft-faced sampler on a frame loom.

But now I understood. I knew what warp and weft were and how they had to intermingle to become cloth. My fellow students in the beginning class and I could walk next door to the room with floor looms and translate what those women were doing, how structures could vary, and how the making of cloth worked (and they were nice enough to show us and tell us things!).

I did not really understand previously when in school we talked about the Industrial Revolution, Ned Ludd, the Spinning Jenny, and Richard Arkwright. I did not understand when I toured a woolen mill in Vermont, in 1972; those big noisy looms were just clacking away and fabric rolled off of them. I did not understand.

But a homely little scrap of weaving helped me understand. And what joy and curiosity that humble beginning engendered!

Like many new weavers, I wanted to try all the structures: rosepath, then overshot (magic!), and all kinds of twill derivatives. My father built me a 4-shaft counterbalance loom, just like the ones I had used in class: a simple frame structure, held together with a few bolts, sticks and string.

One day, a friend suggested we sign up for a class at the Mendocino Art Center on weaving cotton fabrics. Why not? A week camping, a week in a weaving studio, and I just might learn something. I like gathering together for a class or a conference; weaving is solitary, and there are few times we can work together.


	Sara Lamb explains all the "layers" so you can create your own colorful creative cloth in her book Spin to Weave.

In the class I learned a lot about cotton fabrics and began a long study of setts, weights of yarn, and....color. We could do so much! The finer the yarn, the more color blending; the more color blending, the more range and variation we could have in a fabric—not flat color, but color alive.

Working so intimately with colors, the inevitable time came when just the "right" color was not to be found, and so I learned to dye yarns. Dyeing is another world unto itself: a whole range of options from bright to dark, subtle to dramatic, resist dyeing, and painting with colors. After a few years of study, I had inadvertently added another layer of understanding to my fabrics. I could see colors; I could see them broken down into components, into their underlying tints, tones and shades.

The next step was fiber; which fiber is best for which application, and if the fiber is not available in the configuration I choose, can I make it? How are yarns made, and which are suited to what? Spinning. The next step in the process: the next layer of understanding.

Mixing color and fiber, dyeing and overdyeing, weaving contemporary fabrics of my choosing . . . all these layers of choice began with the wonder of that small misshapen sample, thirty-seven years ago. These things have happily consumed my time, energy, thought process, and resources for all of these years, and I see no end in sight. There is always another layer, always something else to delve into, another tool, another mystery to unfold.

—Sara Lamb

Crazy about Coverlets

Christina Garton — Wed, 22 May 2013 09:00:00 GMT


Detail of reproduction Colonial American-style linsey-woolsey woven coverlet in dark blue wool and natural cotton. Photo by Paula Kate Marmor

Do you have an old woven coverlet you’d like to learn more about, or are you simply a woven coverlet enthusiast? If you answered yes to one or both questions, you might want to plan a trip to Hopkinsville, Kentucky in early June.

On June 11 at the Pennyroyal Area Museum in Hopkinsville, Christine Jeryan, a textile historian, and Richard Jeryan, the Weaving Master at the Henry Ford Museum will be giving a presentation on American Woven Coverlets and the stories we can learn from these iconic pieces of weaving. Attendees are encouraged to bring any antique woven coverlets they might own—as well as plenty of questions and curiosity.

If you can’t make it to the presentation, you can still get your coverlet fix with this online coverlet exhibit from the Allison-Antrim Museum in Greencastle, Pennsylvania. You can look at pictures of gorgeous woven coverlets and read about each piece (and in some cases the weaver who created it)—all from the comfort of your own computer. 1111

Sarongs are Swell

Christina Garton — Fri, 17 May 2013 09:00:00 GMT


"Sarong Girl" Dorothy Lamour in Road to Bali.

Spring is in full swing (at least here at BeWeave It Headquarters in Colorado) and summer isn’t too far behind. As the weather warms up and the pools around town start to open it means it’s time to break out the ol’ sarong. In honor of these lovely cover-ups and summer accessories, this BeWeave It is dedicated to the sarong.

While images of Dorothy Lamour in Road to Bali or other glamorous women might come to mind with the mention of sarongs, in many countries sarongs are traditionally worn by both men and women, and in some countries it is considered a male garment.

Sarongs are large tubes of fabric or a length of fabric typically worn by wrapping it around the waist. These versatile garments are worn throughout South Asia, the Arabian Peninsula, the Horn of Africa, and on various Pacific islands. They can have simple checkered designs or elaborate ikat and batik created designs.

In the 1940s and 1950s Hollywood films set in the South Pacific often featured actresses wearing sarongs, including the already mentioned Dorothy Lamour who wore sarongs so often in films she was nicknamed “The Sarong Girl” by the press. Today sarongs are often worn by women in North America as a colorful and light cover-up for bathing suits or a light skirt for a hot summer’s day.

A New eBook: Blankets and Throws on Four Shafts

Madelyn van der Hoogt — Fri, 17 May 2013 09:00:00 GMT


Rainbow blanket by Faye Kolhonen

Caribbean Blues Blanket Leslie Voiers

In my first weaving class, we wove four-inch-wide samplers. This gave me the distinct impression that new weavers should weave little things, narrow things. The warp for our samplers was inexpensive crochet cotton and the weft was dime-store rug yarn. These yarn choices suggested to me that new weavers should not use (i.e., waste) expensive materials. We should practice with lesser yarns first. I did notice, though, that it didn’t take very long to weave one yard of that sampler. The thought struck me that except for warping time, weaving something wide didn’t take any longer than weaving something narrow, unless you counted the time it took for the shuttle to travel a little farther.

Thinking along these lines helped me decide to weave a coverlet as my first project. If I had known then what I know now, I would have picked a blanket or throw as my “first.” My coverlet had a fine (boring) off-white cotton warp (36 ends per inch) and two wefts (pattern and tabby, at 72 picks per inch). Although it might not have taken much longer to weave it than something much narrower, I sure could have picked an item that was faster to weave and that didn’t require quite as much experience (at drafting, warping, using fine threads, achieving an even beat, and maybe most important of all—at unweaving).

Most blankets and throws use relatively thick yarns (lovely, soft, colorful yarns that are fun to handle). That means that a blanket might not have any more warp threads in it than a fine cotton table runner. Therefore winding a warp for a blanket or throw (or even weaving it) may be no more time-consuming.

Usually, the important element of a blanket or throw IS the yarn. So threadings and weave structures tend to be simple and straightforward. Instead of spending so much time with my fine off-white cotton (winding the warp, threading, and beaming), I could have been winding a rainbow of wool colors. Instead of the complicated overshot draft I used (thereby making many errors), I could have been threading twill or plain weave or some simple lace at eight ends per inch.

I wish I’d had this eBook back then. It is full of colorful projects, all on four shafts (in twill, shadow weave, plain weave, Atwater-Bronson lace, huck lace, and more). Light cotton blankets for summer picnics and warm cozy blankets for cool evenings—these blankets will please beginning and experienced weavers alike.

When you weave a blanket, its colors fill your vision. When you take it off the loom, you have something big and wonderful to show for your time. During warm weather, a blanket can brighten the arm of a couch or the end of a bed. When winter comes, you can wrap it around you. A blanket can give more beauty and tactile pleasure than almost any other handwoven item, both as you weave it and as you use it.


Shadow-weave blanket by Sharon Alderman		Cotton blanket by Carla Buchheit

Sectional Beam Warping with a Raddle

Madelyn van der Hoogt — Fri, 17 May 2013 09:00:00 GMT

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Hi Madelyn!

I have just finished reading your answer to the question about warping a sectional warp beam and would love to know more about your last sentence on beaming a sectional beam without using a sectional warping method (spool rack, tension box, etc.). I have a loom with a sectional beam that I do not use much.

—Mary

Hi Mary!

I think I might have answered this before, but maybe it's worth doing again. My sectional warp beam has 2" sections. I created a raddle as long as the beam is wide (just by hammering finishing nails in a smooth board) with the nails spaced ¼" and 1¾" apart. For each warp, I determine the number of ends that will go evenly evenly into each 2" section on the sectional beam at a width closest to the warp's width in the reed. I then place this number of ends into each of the 1¾" spaces on my raddle and place the raddle on the back beam so the ¼" (empty) spaces are centered over the pegs in the sectional beam. I then wind the warp on the warp beam, and the ends fall into each section like a flat ribbon. The ¼" spaces keep the threads from hitting the tops of the pegs or falling into the wrong section.

I am a front-to-back warper, so I don't use a raddle except in this situation. To warp using my sectional beam, I sley the reed, thread the shafts, and tie the warp onto the back apron rod in bouts that are divided into the 1¾" groups that will go in each section of the raddle (I take each 1¾" group, divide it in two, take the two groups over the apron rod, under it, back up on each side, and tie them in a square knot). When they are all tied, I advance the warp so that the knots are a few inches beyond the back beam. I then bring the raddle up under the warp and onto the beam. (Since the 1¾" groups are somewhat separated from each other from my tying them on the rod, the threads are easy to place into the corresponding 1¾" sections in the raddle.) Then I tie the raddle to the back beam and wind on, applying tension the same way I do for all warps (winding a turn and then going to the front of the loom and tightening the warp by pulling firmly on groups of threads).

For back-to-front warping this way, I'd use the "sectional" raddle instead of the usual raddle. I would wind the warp and cut the end loops rather than place the apron rod through them. Then I'd tie the warp onto the back apron rod in 1¾" groups and do everything as above except I'd place lease sticks in the cross instead of sleying the reed and threading the shafts before winding.

Whether you use the traditional method for sectional warping or the one described here, you'll have the advantage of not needing to use paper or sticks between the layers of warp. However, the threads must fall into each section like a flat ribbon, distributed very evenly throughout each section.

—Madelyn

(The last time I wrote about this, I was reminded by a reader that the pegs on some sectional beams can be removed, turning a sectional beam into a regular one.)

Introducing Craft Daily

Anita Osterhaug — Wed, 15 May 2013 09:05:00 GMT

When I worked in the computer industry, I was fond of saying that "technology giveth and technology taketh away," and it's true! I have a shelf full of weaving videos that I turn to for expert advice, right in my studio. But now I want that advice wherever I am, and it would be really convenient to set up my iPad next to my loom so I could weave along with Madelyn van der Hoogt or Tom Knisely or any one of our wonderful teachers. Plus, I have a very portable new computer that doesn't have a DVD drive. What to do?!!!


Watch a preview of how Craft Daily works, with online education manager Laura Esposito.

Well, problem solved. The new Craft Daily web site is here, with streaming videos for crafters of every make and model. I can watch my weaving workshops plus spinning, dyeing, and knitting workshops with just a click of the mouse. Even better, I can take these videos with me anywhere.

We all know from weaving workshops the benefits of seeing a technique firsthand. You can see the instructor wind on a warp, see the beat, see how they manage a weft pick, and oftentimes a light bulb turns on. Watching Madelyn weave, I have finally achieved a more serene weaving style and the selvedges I always dreamed of. (It's all in the bobbin. Who knew?) It all seems so easy when you see it done!

Tom Knisely demonstrates a rotary temple in

his newest video, Weave a Good Rug.

Craft Daily brings weaving and fiber arts workshops to practically any device with a strong Internet connection (Mac, PC, iOS). You can watch Weaving Well with Madelyn any time or check Tom Knisely's Loom Owner's Companion for loom buying or loom maintenance advice. Let's say you're on the train traveling to a weaving workshop and you want to bone up on blocks. Well, log on to Craft Daily and watch Block Weaves as you travel. Yes, folks, it's that easy.

The Craft Daily site also allows you to build a library of your favorite videos, so you can keep track of those you've seen and want to watch again. You can bookmark your favorites and return to them again and again.

The Craft Daily site is brand-new, so go check it out. You can watch previews of the videos to see if they're something that interests you. Plus, you can leave helpful comments on each video for other weavers. It's a whole new way to hone your weaving skills!

P.S. Craft Daily has videos for spinners, quilters, and even metalsmiths; so we weavers can dabble in other crafts as well. Just what we need, right? Another crafting hobby! But some of the sewing videos could be great for handwoven garment making, and wouldn't it be fun to make a quilt with your weaving samples? As you can see, Craft Daily is an amazing way to learn crafting techniques and "waste" many, many more hours on the computer. Enjoy!

Inkle Weaving: Color and Design

Anita Osterhaug — Fri, 10 May 2013 09:00:00 GMT

Color is a core element in designing any weaving project, predicting the complex interaction of warp and weft colors, yarn textures, and color proportions. Even for a warp-faced inkle band, there are many interesting choices to be made. Here's Handwoven editor emerita Jane Patrick to tell you about some of her design process for inkle weaving. —Anita

Pure, clear color is one of the appeals of weaving inkle bands. What I mean by this is that in a traditional inkle band only the warp shows, so the color is not affected by the weft crossings. The weft barely peeks out at the selvedge or edge where it exits one shed and enters the next. The warp yarns, drawn closely together to form a warp-faced band, are unaffected by the weft which is safely locked inside.

In playing around with inkle band designs, I like to take a particular threading and explore. One of my favorites is horizontal bars. These are a perennial favorite for a few reasons: I have an affinity for stripes (in my childhood family of girls, we were stripes and plaid gals, not a feminine floral lot—it stuck!). Stripes have a graphic appeal and the alternating colors make warp pick-up easy. And also, because I have a weakness for short cuts, you can measure two yarns at once when alternating warp colors, thus shortening your warping time by half. Who can resist that?


	Various inkle bookmarks using the variations of the same horizontal bar pattern in different colorways.

	Band on a Schacht inkle loom illustrating weft variations. The first uses the same 5/2 weft as used for warp, the other alternates a thick and thin weft for a rep-weave look. To make a thicker weft, Jane plied 4 strands of 5/2 pearl cotton on her spinning wheel. Because you don’t need a lot of weft yarn for an inkle band, this task is done fairly quickly.

In considering color and horizontal bars, here are several examples with similar threadings in different colorways. Note: To thread horizontal bars, just alternate two colors, one color threaded in a heddle, the other left open. You’ll need to decide ahead of time, though, which color you want to use for pattern (if you’re planning a pick-up pattern) and which is intended for background. For the blue and gray band at right, for example, the gray threads are the open threads, which are easily picked up.

I should add, too, that some contrast in the colors will help the pattern stand out, as well as make it easier to see which threads are to be picked up.

As for color, two of the bands shown here feature bright, contrasting yellow borders. These serve to frame the interior of the band and lend a bold look. In contrast, the ecru and navy blue band is more subtle. The border of solid ecru accented with a 2-end stripe of navy and a 2-end stripe of orange frames the interior without overwhelming it. I think this variation is more sophisticated, both because of the tone of the colors and the subdued border accents.

The pick-up sampler (pictured at bottom), with broad chocolate borders and rust and lavender bars is another variation. Here, because the borders are proportionally wider, they have a strong impact on the design even though the color contrast is not as great as the bands with narrower, bright yellow borders.

Another technique to try with horizontal bars is to alternate a thick and a thin weft, à la rep weave, thus highlighting one color. This also makes a slightly thicker band which might be desirable for a belt or carrying strap.

Really, truly, I think you could spend a lifetime just exploring horizontal bars. Think about leaving one yarn constant and the other yarn changing, try blocks of bars to make a checkerboard, try alternating yarns of different textures, or juxtaposing a shiny yarn against a matte-finish one. See what I mean? The ideas just keep coming. And remember: inkle weaving is good for you!

All bands are woven with 5/2 pearl cotton—making a perfect weight for a bookmark.

—Jane Patrick

Pick-up sampler using a background of horizontal bars. The orange pattern threads are
the open threads. Pick-up patterns are made block-fashion. A sampler is a great way to
explore pattern. Cross-stitch patterns can be great for pick-up pattern inspiration.

Weaving and Copyrights

Madelyn van der Hoogt — Fri, 10 May 2013 09:00:00 GMT

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Hi Madelyn

I’ve read the Weaving Today eBook Know Your Rights: Copyright 101 for Weavers. After collecting 25 years worth of Handwovens, are there any patterns that could be woven for resale? Your magazine is to be used as a resource, but if you can’t use the drafts or part of the drafts, change colors and patterns what’s the point?

—Beverly

Hi Beverly!

Your question (and concerns) are probably shared by other readers. Know Your Rights explains that copyright law (which is not something Handwoven created) protects the published content in the magazine, i.e., the specific written instructions for projects. That means that you can't follow the instructions in Handwoven to make a replica to sell or to show as original work. It doesn't mean that you can't get ideas or information or ways to use weave structures and colors from Handwoven projects as you create your own designs for pieces you sell or show as original work. And, of course, you can always follow any of the instructions to make pieces to use yourself or give as gifts.

In your question, you use the word "pattern." Sometimes weavers refer to drafts for weaving as "patterns." Most drafts for weaving are commonly known; that is, most of us use plain weave, twill, or a selected block weave to design original pieces. The "draft" we use is usually not original--it's part of our general weaving heritage. But the number of repeats and the specific fibers and colors and their arrangements have infinite potential for variation, and those arrangements should be unique to an original piece of work.

Most of our readers weave for their own pleasure rather than for profit. The increase in guild sales over the last decade or so (and weavers' participation in State or County fairs) has probably made questions like yours come up more often. Guild members, even if they are new weavers, are encouraged to make things for guild sales or enter pieces in fairs, and most new weavers need help coming up with successful designs. It's important that they be encouraged to develop their own work, however. A good way for them to do this is to follow the instructions for a project in Handwoven, and as they weave it, think about ways that they can make it better. This doesn't mean just changing green to blue, but careful thought about the proportions of colors, the yarns, the setts, everything that can be done to make it a better scarf, towel, placemat, rug—and then designing and weaving their own piece for sale or show.

I would say that the "point" is that you can use Handwoven to learn how different yarns, colors, and weave structures work together without having to use them all yourself to find that out. That seems pretty wonderful to me. We did, by the way, feature a column for a number of years called "Weave to Sell" (check the index for issues), which granted permission (from Handwoven and the original designer) to make the piece for sale (though not for show as original work).

—Madelyn

The Hubbell Trading Post

Christina Garton — Fri, 10 May 2013 09:00:00 GMT


Weavers at the Hubble Trading Post demonstrating for visitors

The Rug Room at the Hubbell Trading Post.

If you have an interest in traditional Diné (Navajo) handweaving and other crafts, we here at BeWeave It headquarters would like to suggest an excursion to the Hubbell Trading Post National Historic Site in Ganado, Arizona. Purchased and named for John Lorenzo Hubbell in 1878, the trading post is the longest continuously-operated trading post in the American Southwest.

For generations the Hubbell family traded with the local Diné population and others in the area. Over time, the post became known for handwoven rugs and blankets, handwoven baskets, and silver items. Visitors to the post today can tour the Rug Room, which true to its name is filled with beautiful handwoven rugs including many Ganado Reds. The post also sometimes features onsite weavers who demonstrate traditional techniques for visitors. The former home of the Hubbell family, which is filled with Diné art and memorabilia collected over the years, is also part of the National Park site.

Now, if you’re looking to add to your collection of weavings or other Southwestern art, The Friends of Hubbell Trading Post and the National Park Service hold two Native American Art auctions each year featuring contemporary and even some antique pieces of art from a variety of tribes. More information on the history of the Hubbell Trading Post, upcoming events at the National Historic Site, and other information can be found on the National Park Service's website here.

Weaving a Real Peace

Christina Garton — Wed, 08 May 2013 09:00:00 GMT


Women in Ghana crocheting handbags from recycled plastic bags. Learn more about this project here.

Weave a Real Peace (WARP) was founded in 1992 by Deborah Chandler as a way to connect friends in the United States with textile artisans in developing countries. She thought her friends could provide the artists with resources and networking, and that they all could learn from one another. Since that time, WARP has grown from a few members to robust organization that connects weavers, dyers, and other textile artisans and artists around the world.

Anyone can become a member of WARP. It doesn't require any special connections to the fiber industry or retailers. All you have to do is have a passion for textiles and believe in WARP's mission. WARP has a quarterly newsletter, discussion boards, and an annual meeting where members can get together in person to discuss new initiatives and experiences. For more information on WARP, the organization's mission, and how to join, check out their website.

More on Sectional Warping

Madelyn van der Hoogt — Wed, 08 May 2013 09:00:00 GMT

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Hi Madelyn!

I have hunted in vain for instructions about warping a sectional beam. I have the tensioner but how do I know how much to put on each section? Can you direct me to a source, preferably one that doesn't leave out steps?

—Sylvia

Hi Sylvia!

Handwoven did publish an excellent article by Betsy Blumenthal on warping with a sectional beam ("Sectional Beaming," Handwoven, November/December 2004, pages 68-71, available as a download). Each step is accompanied by a photograph.

But briefly: Your sectional beam is probably divided into sections of either 1" or 2" each. You would first need to know the warp sett for the project you want to weave. If, say, you want to weave a fabric 18 inches wide at 24 ends per inch, then you'd wind 24 ends each into eighteen 1" sections or 48 ends each into nine 2" sections. If your number of threads can't be divided evenly by 24 or 48, you can spread the warp a bit wider or a bit narrower to fill the sections evenly. (If one section has fewer threads than another, the warp won't go into the section at the same circumference and will end up with a different tension.)

When you know how many threads have to be wound in each section, you will wind one spool for each of them and place it on a spool rack. All the threads go from the spool rack through a tensioner (usually some pegs that the threads go over and under) and then through a miniature reed in the box that keeps the threads in order. You'll wind all 24 or 48 threads into the first section for the number of yards you want your total warp length to be. Then you cut the threads (usually enclosing them with masking tape to keep their order for threading) and move the tension box to the next section and do the same thing. Since you are winding the full warp length into every section, you'll need each spool to have on it the number of yards of desired warp length times the number of sections you'll be filling. So if the warp is 5 yd long and you are filling 20 sections, each spool will need to have 100 yd wound on it. For this task, sectional beamers also need a "counter," a device that measures the number of yards you wind on each spool. It is this part that discouraged me from sectional beaming, which I did try. You worry that there might not be enough yarn on each spool in spite of the counter, so you put on a little more. After the warp is wound, you might have 48 or 60 or some number of spools still on the spool rack, all of which have some yarn on them. You then need to do something about that before you wind the spools for your next project.

I do like the fact that sectional beaming requires more weaving tools, which I love. So, I have my tools for sectional beaming, even though I don't use them. For many years, the spools for my first sectional beaming project remained attractively arranged on my spool rack. Since then, I've found many other uses for the spool rack, though my tension box continues to acquire dust. (Meanwhile, I devised other methods for beaming a sectional beam without sectional beaming.)

—Madelyn

Spring Awakening

Christina Garton — Wed, 08 May 2013 09:00:00 GMT

There are few things in this world I enjoy more than the warm spring and summer sunshine. As soon as the weather shows an inkling of warming up I take advantage of every nice day, spending hours outside gardening, reading, and—of course—weaving.


	Spring flowers provide great color inspiration

As much as I love my 8-shaft loom and weaving on it, this time of year I long to be free of the compact fluorescent light that illuminates my studio space (a.k.a. a small corner of the living room) and to weave in beautiful, natural daylight where the colors of the yarn seem so much more vivid. There really is something so inspiring about spring; the colors, the smells, and the sounds are all so alive and joyous, it just makes me want to create something wonderful.

So, on nice days when the weeding and planting is done, I’ll grab my little rigid-heddle loom and go out into the sunlight and the warmth to leisurely weave. I usually weave in my backyard by the garden or under the big shade tree, although sometimes I will walk my little loom to the park near my home and weave at a picnic table or bench in a field of green.

Part of the reason I love to weave outside so much is that I don’t want to miss a moment of spring and summer. For example, we have a lovely lilac bush that is in full bloom for only about a week or two. During that short period of time the whole yard smells like heaven as bees buzz around the purple flowers.

So while it’s all in bloom, I’ll take my rigid-heddle loom and set it up on the patio table as close to the bush as I dare (so as not to disturb the bees) and weave. I smell the lilac and feel the warp and weft warmed from the sun. I listen to the birds chirp and the sound of the heddle as it sails through the warp with each pick. In these moments I sometimes think about the book Anne of Green Gables and Anne Shirley’s declaration of perfect happiness, and I know what she means.

Happiness is weaving wherever I want and not having to miss a moment of beautiful spring and summer before the snows of Colorado reclaim the backyard. Happiness is a warped loom in the sunshine.

Can You Predict Fulling?

Madelyn van der Hoogt — Wed, 01 May 2013 09:00:00 GMT

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Hi Madelyn,

I am a relatively new and unschooled weaver and am delighted in the process, if not always the result.

I also spin and want to use some of my homespun merino (not washed in the skein) to weave and wet-finish to a light fulling when done. However, I have not found any source that tells how much shrinkage to expect when fulling a fabric. I know this will vary with the yarn used and processing time, but I need to know some approximate figures.

In other words, if I need to set the width to 12 inches and weave 9 feet, will I get a scarf that is only 6 inches and less than 5 feet long? I may need to spin some more yarn, depending on your answer. My yarn is a light fingering-weight 2-ply, and I assume the sett would need to be fairly open. I am undecided whether to use a commercial yarn for warp and my handspun for the weft.

—Gail

Hi Gail!

Wrap a ruler very loosely and start with a warp sett (ends per inch) that fills 1/2 inch on the ruler. Err in the direction of loose. There is no way to know the sett for a wool yarn without working with the yarn first. You should plan to weave a little and then cut off and wash a small section to determine shrinkage and fulling and then plan accordingly. You can resley after sampling as long as your initial guess is fairly close (you might end up with a slightly narrower or wider scarf than originally intended, but you'll be close enough).

There are too many variables to know the shrinkage beforehand with accuracy: the degree of twist, the composition of the wool itself, the degree of fulling, and the desired hand. I would start with allowing at least 25 percent shrinkage to determine whether or not you need to spin more yarn.

I would definitely use the same yarn in both warp and weft. If you don't, the two yarns are likely to full differently.

—Madelyn

Scouting Tomorrow's Weavers

katsgray — Wed, 01 May 2013 09:00:00 GMT

Summer is a time for bright and breezy weaving projects: a colorful something to grace our summer wardrobe or a summer table; something quick so we can get back to the garden or other summer hobbies, or something we can do as a summer activity with children or grandchildren. Here's Kathy Augustine to tell you about a summer camp program that is helping to grow the weavers and designers of tomorrow. ––Anita


Campers exploring color with Kool-Aid dyeing

Girl Scouts is about so much more than cookies, and Girl Scout Camp can offer so much more than swimming, songs, and s’mores. It can also be a formative experience for budding textile artists. Many girls today dream of a glamorous fashion career. Captivating fashions in magazines, movies, music videos, and TV reinforce their fascination with the industry. In 2012, Camp Shady Grove, a summer Girl Scout Day Camp in Palmerton, Pennsylvania, organized itself around the theme of Camp Runway to give girls a fun opportunity to explore this enticing world. For one week in the middle of July 2012, in unusual 100-degree weather, girls from ages five to eighteen learned aspects of the nuts and bolts of fashion––from weaving to fashion photography.

The most recognized jobs in the fashion world are model and fashion designer, but there are countless specialty trades that work behind the scenes. Our goal at Camp Runway was to let the girls whet their appetites exploring all the possibilities. Since the fashion industry revolves around textiles, one of the first steps in our agenda involved the actual construction of a fabric from raw materials. Our project would be a hand-dyed, handwoven purse/cell phone holder.

Cell phone purse handwoven by one of the

budding textile designers at Camp Runway.

We began our venture with bulky Bear Creek yarn generously donated by Kreamer Yarns of Nazareth, Pennsylvania. After learning about the unique qualities of wool as a protein fiber and its awesome ability to take dye, the fun began. With shared pie plates, the girls saturated their skeins with multiple Kool-aid colors, popped them in the microwave to heat-set the dye, and hung their fruit-flavored skeins around our campsite to dry. The following day, we warped small cardboard looms and began the weaving process. Soon the muttered mantra of “over, under, over, under . . .” could be heard around the work table. For some of the girls, weaving the purses was more challenging than they had expected.

During the week at Camp Runway, the girls also had an opportunity to try handspinning and to card a raw fleece with hand cards. They discovered that all sheep do not sport the same kind of wool, just as no two girls at Camp had the exact same kind of hair! They learned that making fabric can take a really long time and a lot of patience. As we discussed our dyeing and weaving project, the girls developed a whole new appreciation for the skills of our colonial ancestors, and they gained insight into some of the steps and decisions that textile manufacturers or artists make every day. Fashion doesn’t just happen overnight.

Textile artists don’t just happen either. I hope your summer includes an opportunity to share your interests with a young person. Learning opportunities like Camp Runway or guild outreach programs can build the passion that will fuel a lifetime of exploration. Who knows? Maybe you’ll see some of the Camp Runway girls in the pages of Handwoven in years to come.

––Kathy Augustine

An Ancient Rug

Christina Garton — Wed, 01 May 2013 09:00:00 GMT

It’s not uncommon to hear stories of ancient artifacts destroyed or degraded because of tomb robbers or water. In the case of the Pazyryk rug, just the opposite happened: because of tomb robbers and the water they subsequently let in, this unique artifact has remained remarkably well preserved for around 2,500 years, making it the oldest surviving example of a complete rug.

The ancient rug managed to survive so long because water let in by tomb robbers froze around the it. Because the rug was located in a cave in Siberia, the temperature was always quite cold and the rug never defrosted until it was discovered by archaeologists in the 1940s.

The Pazyryk rug was created using what we now think of as Turkish knotting, and it is covered in elaborate designs including winged griffins, antlered deer, and men on horseback. The sophisticated construction and design work show that people in ancient cultures had the skill and knowledge to create complex textiles.

Today the rug is housed at the Hermitage Museum in St. Petersburg, and you can see an image of it here. There are also many companies that make reproductions of the Pazyryk rug as it probably looked in the year 500 BC.

More Than Meets the Eye

Christina Garton — Wed, 24 Apr 2013 20:26:00 GMT

Recently I had the chance to go behind the scenes of the newest textile exhibit at the Denver Art Museum (DAM) “Cover Story.” It was a photo-op set up for the local press, so we were ushered into the closed off exhibit area where we watched textile conservator Allison McCloskey as she prepared a kesa (part of a Buddhist monk’s robe) for display.


	The beautiful kesa on display at the DAM. Cover Story opens May 19 and will run until Sept. 22

While Allison carefully pinned the kesa to a padded support, the DAM's textile curator Alice Zrebiec talked about the beautiful piece, which was woven from silk and gilt paper. It was fascinating to learn the history and the context of the kesa—not just what it was but how it was made, who would have probably worn it when, and the symbolism behind the cloth. The kesa became more than just a pretty piece of silk; it came alive with meaning and history.

As weavers we all know fabric is so much more than the sum of its parts. Each piece of handwoven is filled with emotion, meaning, and purpose.

I have to say, I feel the same way about Handwoven magazine. Every issue is a labor of love, and when I reread past issues I’m reminded of what went into each project and article, and all the lovely contributors who worked with us to make the magazine a success. I remember the conversations, the laughter, and the lessons learned.

Recently while going through the digital version of the Handwoven 2012 Collection I realized that 2012 was my first full year as assistant editor. For the first time, every issue in the collection had articles I wrote and projects I saw in person. As I went through each issue, I was flooded with memories. January/February 2012 was my last issue working with Madelyn van der Hoogt, and I remember how hard she worked to make sure almost every project had both a 4-shaft and an 8-shaft draft. Flipping through the September/October 2012 issue brings back memories of the photo shoot we held using employees at the Interweave offices.

I genuinely hope that readers feel similarly about each issue of Handwoven: that it’s more than just words and pictures printed on paper. I hope it reminds you all of projects past, inspires you to create something new, or to research a new technique or aspect of weaving history. Most of all, I hope you enjoy reading Handwoven as much as I enjoy helping to put it together.

Kesa

Christina Garton — Wed, 24 Apr 2013 08:34:00 GMT

Today’s main Weaving Today post briefly mentions kesa, so it only seems right to explain a bit more about these Buddhist religious garments. Kesa are robes worn by Buddhist monks and nuns. Originally the robes would have been humble garments patched together from bits and pieces of scrap fabrics donated to the monastery. As time went on, and Buddhism spread, more elaborate pieces of cloth or used garments were donated to monasteries. These fabrics would be used to make kesa for special events and ceremonies as opposed to everyday wear.

In fact it was not uncommon during the Edo and Meiji periods for kesa to made from robes that had been used for Noh theater productions. (The kesa mentioned in the Weaving Today article was probably made from Noh robes.) According to Denver Art Museum textile curator Alice Zrebiec, kesa were patched together in a sort of grid meant to represent rice fields and canals. Sometimes if the fabric was very nice it would be folded to give it the appearance of patchwork rather than simply cut and stitched.

Counting Heddles

Madelyn van der Hoogt — Wed, 24 Apr 2013 08:31:00 GMT

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Madelyn is busy teaching this week, and so we bring you a classic Ask Madelyn, published March 28, 2012

Hi Madelyn,

Would you do something on easier ways to count heddles—like marking every 10th one or inserting a different style heddle every 10. You must know about every trick in the book. (BTW, I love Weaving Well.)

—Sue

Hi Sue!

Did I neglect to say in the Weaving Well video that I hate counting heddles more than any task related to weaving? Oh, I'd much rather run out of heddles at the middle of threading and have to wrench the heddle bars (this always turns out to be on shafts that are in the middle, not shaft 1 or shaft 8, say) out of their sockets and have all the heddles on one end of the bar fall off so that I then get upset and go away and then after I've recovered I go back and cut the ones that fell off and got bent off with wire cutters and wrangle new heddles onto the bars and force the bars back into the sockets and then still need a few more heddles because I still didn't count right so have to make some string heddles and then. . .

I'd much rather do that than count heddles.

Seriously, I think you just count them. If you mark every tenth one, the day will come when you need one of those marked ones in a place where it will be out of order and pretty soon it's all awry. Some people color the heddles for each shaft, too, so that it's easier to identify the shaft you are threading. But sooner or later, you'll need twice as many heddles on one shaft, and you'll move some orange ones onto the yellow shaft and then. . .

If I were a really good person, I would figure out how many heddles I need for any draft and then count mine on each shaft. I would also do all my threadings from the center out so that I would have half the heddles on one side of the center pin holding the heddle bar (on the looms that have center pins) and the other half on the other side. But I am over-challenged by having to thread one side backwards.

And I always just want to start threading, so I look at the shaft and say: I'm sure there are enough heddles.

I hope you'll do as I say and not as I do.

—Madelyn

All About Batik

Christina Garton — Mon, 22 Apr 2013 08:17:00 GMT

Batik-dyed cloth. Photo by
Martijn.

The ancient art of creating batik cloth been practiced since at least the 4th century BC. While batik has a history in Egypt, China, Japan, and India, the country known best for this art form is Indonesia where batik has thrived for centuries, most especially on the island of Java.

What exactly is batik? It’s cloth created using a wax-resist dyeing technique. Patterns are “painted” on the cloth in wax before it’s dyed. The areas covered by wax are protected from the dye and don’t take on the color. After dyeing, the cloth is dipped into boiling water to remove the wax. More wax patterns might then be added to the cloth before dyeing it again, and this whole process is repeated until the colors and patterns are just right.

Traditionally, the wax is applied using a tjanting, a wooden tool with a copper cup attached. The cup has a small spout out of which the wax can flow. Another method of creating batik uses stamps to apply wax in repeating patterns on the cloth before dyeing.

In 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity and encouraged the Indonesian government to support its preservation as an art form. If you want to see some of these fabulous artists in action, and learn a bit more about this ancient art form, check out this video about Javanese batik, posted by UNESCO.

Don't Pack a Sectional Warp

Madelyn van der Hoogt — Mon, 22 Apr 2013 08:16:00 GMT

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Hi Madelyn!

A bunch of us weavers were chatting, and not one of us knew why, when you use a sectional warp, you do not need to pack the layers with paper when you are beaming on. Why is that?

Thanks!

—Donna

Hi Donna!

You don't need to pack a sectional warp beam (as long as you make sure that each layer of warp goes into its section like a flat ribbon of evenly spaced threads, filling the section entirely) because there is no way that any of the threads can drop out of their layer into a lower layer, disturbing their tension.

We pack the layers of warp on a non-sectional warp beam because it is very hard to achieve the even, tight, and complete spread of the warp threads that would keep all threads in their proper layer, especially the edge threads, which drop off the outside edges of the warp and therefore go on at a smaller diameter at the edges if there is no packing. The pegs in each section prevent the "falling off" of these edge threads. Even with a sectional beam, if the warp is very open and very long, it is possible that the threads won't pack evenly in each section. In that case, sectional beamers can insert sticks as they beam (since the pegs prevent inserting paper).

(Someone once showed me a method of beaming a non-sectional warp that made each successive layer on the beam narrower than the last. They warped back to front, sleying the warp in a reed instead of a raddle. Then, as the warp went on, they slowly changed the angle of the reed out of parallel to the back beam so that the changed angle of the reed made the warp narrower and narrower. The new positions of the warp threads kept them from cutting through the layers, and the narrowing edges prevented threads from dropping off. I thought it was clever.)

—Madelyn

Weaving on a Deadline

khdonde — Mon, 22 Apr 2013 08:10:00 GMT

Who among us hasn't woven on a deadline, be it a textile exhibit, guild sale, magazine submission (of course, I encourage these commitments), or an upcoming birthday or holiday gifting opportunity? Karen Donde has been weaving on deadlines for several years now, as a student in a professional crafts program, and today she shares some excellent lessons she's learned. ––Anita

I dropped off exhibit pieces for the Haywood Community College Professional Crafts graduate show today. Haywood has a cooperative relationship with the Southern Highland Craft Guild, which includes an annual exhibit of work by students graduating in fiber, jewelry/metals, wood and clay at the Folk Art Center, just north of Asheville on the Blue Ridge Parkway. The Center is headquarters for the SHCG, a juried regional craft guild founded in 1930.

Haywood Professional Crafts students have been working on these exhibit pieces since before our final semester began last January, and some were thinking about them long before that. So why is it we were working right up to the deadline into the wee hours of the morning to get everything finished by the jury yesterday morning?

Part of the reason can probably be attributed to the old adage, “If it weren’t for the last minute…” Well, you know the rest. However, I’ve been thinking about why I was up past midnight two nights this weekend sewing my final pieces, and I think there are lessons to be learned for anyone who is weaving pieces for an exhibition or another major deadline.

Lesson 1: Choose familiar materials. This is probably not the best time to experiment with yarns you’ve never used before, especially if you plan to dye them. Even a project you’ve woven successfully several times can go awry if the yarn is more stretchy, twisty, tangle-prone, or slippery than you are used to. Handwoven’s Master Yarn Chart can be a great resource, and a sample is always a good idea. (However, even if a fairly open sett finishes beautifully for a 12” sample, it can get ugly if the beat is too light to sustain consistently for 72 inches or the weft is slipping around on the selvedges as the cloth goes around the breast beam. Deciding to re-sley and weave another shawl at the eleventh hour throws a real hitch into the finishing schedule.)


	Karen’s exhibit yardage after threading 2,352 warp ends from two warp beams. A road trip to buy 400 more heddles slowed the process.

Lesson 2: Resist the urge to attempt something too far beyond your current skill set. They call it a learning curve for a reason. As those of us who drive curvy mountain roads every day know, sometimes you have to slow down and be prepared for unexpected detours. For example, expanding a tied weave/double back-beam technique to weave 44"-wide yardage instead of a shawl or scarf is really something you should try when there is no pending deadline. Otherwise you might find yourself driving to the nearest weaving tool supplier or paying overnight shipping to get another 400 heddles.

Lesson 3: Plan to make the project twice. This was advice our instructor, Amy Putansu, gave us on the first day of class this semester. It seemed a little excessive at the time, but it proved an invaluable exercise. Working out the details and challenges on a practice piece using materials as close as possible to your finished cloth makes production of the exhibit work less stressful on the maker and the materials, especially if it is handwoven fabric.


What Karen learned making the first Bubble Skirt made the final one easier and more successful.

This goes beyond the typical garment “muslin.” The difference between how a garment will fit or perform in muslin vs. handwoven cloth can be dramatic. It’s something you don’t want to learn two weeks before the deadline. I am SO glad I heeded this advice. Of the four handwoven pieces in my exhibit entry, only one was show-ready on the first try.

Lesson 4: CLEAR YOUR CALENDAR for the last 30 days before the exhibit pieces are due. This is hard and I admit to being the worst offender. Despite the most carefully mapped route and your best efforts, you will encounter delays and roadblocks. You catch the flu. A snowstorm cancels school and knocks out power for three days. Your iron dies or the sewing machine goes on the fritz. Your significant other invites family to stay over in your guest room/weaving studio for the weekend. Life keeps reminding you that plans are only that: plans.

If you have made big, unbreakable commitments during the weeks before your deadline, thinking your project will surely be finished by then, you are playing with fire. No matter how valuable the opportunity, how enticing the invitation, or how guilt-ridden we feel, we (I) have to learn to say no.

One final word of caution here: beware the extended deadline! Chances are good you will have already booked that extra weekend you are given at the last minute. So don’t count on it, and if it happens, pretend it didn’t.

And if you need some resources to help you along, make sure to check out the great deals at the Interweave Spring Clearance Sale on weaving books, video workshops, and issues of Handwoven.

Now, where did I put that new Call for Entries?

Practical Advice for Editors

Well, I am embarrassed. Wednesday's wonderful newsletter post on Practical Advice for Weavers" was written by former Handwoven managing editor, rigid-heddle weaving champion, and founder of YarnWorker.com, Liz Gipson, not by SpinOff managing editor Liz Good, as I reported. Thank you, Liz! And practical advice to myself and other editors: look before you Liz! ––Anita

When to Count PPI

Madelyn van der Hoogt — Thu, 18 Apr 2013 00:19:00 GMT

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Hi Madelyn,

When I wish to weave at a particular ppi, do I count the threads under tension or with slack tension? I like to count when the tension is tight because it seems to me that when tension is released, the amount the web relaxes is not consistent, as when you have been weaving for several hours compared to, say, half an hour. When the tension is tight, I have to know how many fewer picks to weave: one less per inch, one less per 2 inches, etc. A good guess is okay for many items, but what if I want to achieve a perfectly balanced weave? What would be the best way to do this?

—Irene

Hi Irene!

Your thinking is correct. After you release tension, depending on the length of time the tension is released, the threads continue to relax. A measurement taken with tension relaxed is not likely to be as consistent as one taken under tension (your weaving tension is usually very consistent). For balanced weaves, you are trying to weave a certain number of picks per inch to match the ends per inch. If you are using a temple (stretcher), the web is spread in the weft direction pretty close to the same way it is spread in the warp direction; so when tension is released, for example, a cloth with a warp and weft sett of 24 ends and pick per inch should relax equally in both directions. Therefore, working for 24 picks per inch measured under tension will give you a perfectly balanced cloth. If there is any variation, there might be slightly more take-up in the warp direction. You could guess about that, but I have never had a problem assuming that the relaxation will be equal for both warp and weft.

Different weave structures make a difference, of course. And, the denser the setts, the less change will happen after relaxation. If there is a great difference between warp and weft setts (warp rep or weft rep, for example), there will be a difference in relaxation between them, but in that case you won't be trying to match picks and ends per inch.

So, I'd do what you are doing and measure under tension, aiming for equal numbers of weft threads per inch as warp threads per inch with balanced weaves.

—Madelyn

Fabric As Instrument

Christina Garton — Thu, 18 Apr 2013 00:09:00 GMT

First of all, a big thank you to the wonderful Pattie Graver for letting us know about this BeWeave It story. Thank you!

When artist Alyce Santoro was a child, her parents used to tie audiocassette tape to their boat riggings to tell which way the wind was blowing. She used to imagine that if the wind blew these telltales in just the right way, whatever was recorded on them would be heard. Later in life, she learned of the Tibetan Buddhist prayer flags that have mantras printed on them. The flags are hung outside, and when the wind blows it is said that the sacred words are activated.

Inspired by both of these elements, Santoro decided to create her own fabric woven using audiocassette tape and polyester thread. The tapes used aren't randomly chosen, each one is recorded with music or sounds that hold some personal meaning to Santoro, and she calls the resulting cloth Sonic Fabric. Each piece of Sonic Fabric is made up of a collage of sounds and, as the tape keeps some of its magnetic properties throughout weaving, it can be "played" by rubbing a tape-head along the surface. You can see this for yourself in this video from a Phish concert. Santoro was commissioned to create a garment for percussionist Jon Fishman and he "played" it at a concert in Las Vegas.

Some Practical Advice

The Cashmere Kid — Wed, 17 Apr 2013 23:58:00 GMT

Weavers who spin (and spinners who weave) have the power to make cloth that is unique from fiber to finish. But weaving requires different yarn properties than knitting or crochet. Sara Lamb has created gorgeous cloth and clothing from her handspun yarn for decades, and now she has shared her experience and insight in a new video. Here's Liz Gipson to tell you all about it. –Anita


	One of Sara's not-so-secret secrets to successfully weaving cloth from handspun yarn is to plan carefully and sample, sample, sample

In her new book, Spin to Weave, Sara Lamb looks at cloth-making in a way that shouldn't seem so radical, but to many spinners and weavers, it is. Instead of starting with fiber and asking herself what can she make from it, she starts with what she wants to make and then looks for the right fiber to get the job done. Many of us (me included) just want to spin and then figure out what the yarn will be later.

All yarn is not suited to all cloth. We know this, but we proceed nonetheless. I recall threading up an 8-shaft pattern in handspun cashmere and seeing the pattern disappear in the cashmere’s halo. What was I thinking? The truth is, I wasn't.

Sara advocates for a process that many of us rebel against—decide on a final project, select the materials and techniques to get it done, sample, then sample again, execute, and then use what we learned to inform our next project. In my experience, this is not because we are ignorant to the process or don't understand its value, it's because we don't know how to work the system effectively. Sara gives you the information you need to make this system work.


Sara also discusses the many ways you can add color to your handspun yarn

What you learn is more than just how to weave cloth from handspun yarn: you learn Sara's method for weaving cloth that she has perfected over decades of cloth-making and teaching. You learn to select the fiber, match it with the fiber preparation and spinning technique to create yarn that will suit the final cloth and its intended use. This may seem like an overwhelming world of possibilities, but Sara makes the road easier to travel by giving you a set of parameters to work within.

Included are eleven of Sara's woven projects with not quite-step-by-step instructions, but all the information you need to replicate the cloth. Pick one of these projects, follow her process, and you will soon be weaving the cloth you always wanted to make, but couldn’t quite get to on your own.

—Liz