Cnn you believe that another month has sped past? Here in Central Texas, March came in like a lion but is certainly leaving like a lamb. I am reminded of the lyrics to June is bustin out all over " March roared in like a lion, a whippin' up the water in the bay. Then April sighed and stepped aside and along came prety little May. . . ." The trees are in bloom, the wild flowers are starting to sprout up along all the highways, the brief Texas Spring will be over all too soon. I hope Spring finds all of you well and waverly (especially those of you who have been suffering from an extremely long winter this year.) I am looking forward to seeing more wonderful projects from all of you. Weave on!

Tina

Comments

Sun, 04/20/2014 - 09:40

ReedGuy

Never hurts to join in the comfort of weaving and camaraderie of the forum. Someone will eventually cook that supper when they get hungry enough. :)

Sun, 04/20/2014 - 10:45

Artistry

Good Morning ReedGuy, How's the move going? I imagine living in town will have some advantages, especially the extra space in your workshop and weaving center. Welcome Missus T! Glad you joined the fun! Painted warps update. Well, I took the really ugly green stripes out of painted warp #1 on paper, it looks better. I've done 3 more painted warps on paper. Today I'm lengthening one. Taking two pieces of paper and probably make it 20 inches long or mabe longer than that still. Then I'll lengthen the colors I'm using in the warp. As far as warping there as warping there are only two ways I can figure how to do this. First it's Double weave, one layer Painted Warp. 1. Paint top layer then warp F2B incorporating lower layer. Disadvantage: haven't done this way in 40 years and although I Understand the concept, I'm feeling , UGH! 2. Warp the two layers together. Separate the top layer , which will be easy Because it will be undyed the lower warp all ready solid dyed, put plastic Tarp over lower layer to protect it. Then paint then upper layer, lay Plastic over it. Batch, carefully rinse keeping the layers separate. This way I say ! UGH! *Lanaset dyes on silk so there won't be much rinsing. Can anyone think of another way of doing this? I think I should just get over my F2B thing!
Sun, 04/20/2014 - 11:12

ReedGuy

Cathie, the move is temporary, although for a few years. There isn't much in town to offer or get excited over except taxes. I am building a new secure shop next year or so on the farm, then later a new house.

Sun, 04/20/2014 - 13:10

conniela

Love this!!! Your colors work so well together and the huck pattern adds so much interest to them. Nice work!!

 

Sun, 04/20/2014 - 13:59

Joanne Hall

Hej, do stop by our booth and say Hi.  Ed has put together a program of photos and films.  It includes films taken during my workshop at Homestead Fiber Crafts, the place that Endorf talks about.  We have film of some of the weavers, including 15 yr old David, weaving on the looms.  And a couple films of weaving on the drawloom. 

Joanne

Sun, 04/20/2014 - 18:25

endorph

Sure told me about the video - she was going to sow it to me when I was out at Fiber Crafts on Friday, but we forgot. I was doing a second damask hand towel - this one went much better than the first one!

Sun, 04/20/2014 - 20:31

sally orgren

I loved the painting you posted, and the ugly green wasn't so ugly to my eyes!

I think the F2B is the less risky path for what you propose. If you use a string affixed across the middle of the reed, that will keep the layers separate as you thread from the back, right? (In addition to the color difference.)

How long will the warp be? How dense of a sett and what reed do you plan to use? 

Sally

Sun, 04/20/2014 - 22:54

Artistry

Hi Sally, Thanks. I'm on painting design 4 on paper now to be completed tomorrow . All that's left to do is to glue down some colored blocks representing B blocks to see how it looks , will post. i will warp only 2 1/2 yds. tops, it will be silk. A wallhanging. That's as far as I've gotten. I have silk singles and a finer 2 ply, plus a silk merino. Initially I thought of mixing the 3 together because they take the dye differently, pretty, but a little sticky at normal sett. So I think at this denser sett it's asking for trouble. I will probably use the 2 ply. Once I have the design figured out, then I'll figure out the other good stuff:) Very Good idea about the string, I will do that, why make a trickier job trickier:) Thanks Cathie
Mon, 04/21/2014 - 03:16

tien (not verified)

Hi Cathie,

Are you painting the warp while it's on the loom? It sounds like you are stretching the warp to its full width/length and painting a motif on it, right? Then combining it with another warp in double weave?

I've done a fair amount of work on fussily painted/stenciled/etc. warps, so I think I might be able to help, but I'm not sure what you're trying to accomplish.

Mon, 04/21/2014 - 11:10

Artistry

HITien, I'm not painting on the loom, I am ( as you guessed ) stretching the warp out on a table to paint. I paint in 1-2 in. chains. That's the first layer. The second layer will be hand dyed solid colors. Yes, Doubleweave. It seems that warping F2B maybe the best way to go, I'd be very interested in your suggestions too. Lanaset dyes on 2 ply silk, don't know the weight of the silk but looks like 16/2 cotton. Thanks, Cathie As far as a motif, the whole painted layer with look more flowing one color into the next. I do have a few areas where I really want control for lines and a focal point square, I plan on painting those with a heavy dose of sodium alginate in my dye cup. This kind of controlled painting I haven't done before. Will be posting the design incorporating both layers with paper by this evening.
Mon, 04/21/2014 - 13:46

ReedGuy

If your going to do double weave with two layers, and two setts, I was just wondering how it will behave because the take-up is going to be different. One layer will weave ahead of the other.

I to, can not follow what your attempting. How are you warping? Are you going to go through the reed one layer at a time from the front, then thread heddles, then beam both layers together? :)

Mon, 04/21/2014 - 15:48

tien (not verified)

Hi Cathie,

If you tie off the end loops in each raddle group, you can beam back to front. (Ulla de Larios taught me this - she does beautiful double warp/weft ikat pieces.) The knot in the end loop keeps the pattern from shifting as you beam.

Then put the two warps together in the raddle and beam them on together, keeping the layers separated as you beam on. If you are using a trapeze, add an extra rod to the trapeze to keep the two layers separate. Sort of like this:

three rods on a trapeze

I should warn you that I've never done this myself - but it's how I'd approach it, if I were trying it.

Mon, 04/21/2014 - 17:14

kerstinfroberg

Cathie, if your "fear" is about beaming - this is how I do it.

To summarize: 1. wind 2 separate warps (which you already have, anyway)

2. Pre-sley the bottom layer; transfer the cross.

3. Pre-sley the top layer (in the same reed); transfer that cross to another pair of lease sticks.

4. Put the end loops of both layers onto one stick (so both layers go on the apron rod in an orderly fashion)

5. Take everything to the loom (after securing lease sticks and so on, of course)

6 Proceed "as usual": treat both warps as one, over the valet.

My method will not work exactly "as is" for a person using a raddle, I guess - the combination of the two warps onto the apron rod is best done off loom, IMO. Or you could use two sticks and tie both to the apron rod?

- IMO, treating both warps as one when beaming makes sense even if there are yarns with different stretch (if they both go on the same beam), as they will be woven with the same tension. I would be more nervous about weighing them "separately" - my fear would be that the stretchier warp would be stretched too much that way. (Maybe I should add that I havent done anything longer than 16 metres that way)

ReedGuy - why would there be a problem with different setts? When I weave a double layer cloth with (for example) 2 "bottom ends" to 1 "top end", I usually want to weave them the same (2 picks bottom for 1 pick top) - and I haven't encountered any problems with that. (Those warps have been even shorter, maybe 10 metres max, so I might get problems if going longer - )

 

Mon, 04/21/2014 - 17:26

ReedGuy

Kerstin that make since, if that is what is done. But not 1:1 or 2:2 on each layer. However, how do you work out the return path, seems there would be a 3 pass on the 2 end layer and a 2 pass on the 1 end layer at some point if the layers are hinged. Or are we talking about a tube or a bound double weave?

Mon, 04/21/2014 - 21:40

sally orgren

Let me see if I grasp the process correctly—

Rough sley, and then combine the two warp layers securely to one apron rod. Beam. Then, thread the heddles and complete your final sley?

And the final consideration is to make sure the reed selected accomodates both layers' epi requirements, if different from each other.

Mon, 04/21/2014 - 22:42

Artistry

A note here, both warps are the same kind of silk. ReedGuy, all I'm trying to do is take two warps of the same material and put them together. I'm doing dye work to them first, so I don't want my warp threads to shift very much because I don't want to shift my pattern. I've done warps on 2 back beams, 2 nd back beam is out of commission :) Thanks Tien for the photo and advice, Kerstin the tutorial is great, thanks for taking the time and Sally , as always, you make things look very manageable:) I'm all set !
Mon, 04/21/2014 - 22:43

ReedGuy

I thought at one time we were talking about two layers and two setts. I got lost between warps. LOL :D

I'll just follow along. :)

Mon, 04/21/2014 - 22:48

Artistry

I'd really be in trouble then:) 2 setts maybe next time !
Tue, 04/22/2014 - 09:29

kerstinfroberg

Sally, that is correct. (I don't own a raddle, because my method is the "right" one, ie the one that "has always been used" ;-)

Re "the reed selected accomodates both layers' epi requirements, if different from each other" - yes, but also, no. What I mean is, select a reed appropriate for the bottom layer, then just add the top ends at the right interval. (In the suggestion below, I'd choose a reed appropriate for 3/dent, then just sley 3 + 1 (top) = 4/dent.) The top layer "lives its own life", and will not interfere with the bottom sett.

ReedGuy, I assume that a "hinged" double weave is one that is meant to be used at double width compared to width on loom? As there is no weaving police, one can decide to weave anything, for instance a piece where half is "sleazy" and the other half is "normal". To work out the shuttle path would take some time, but it can probably be done. However, most double wide projects I have seen have been just double width, in more or less the same pattern/structure in both layers.

I have never heard the term "bound double weave". Is it what I would call a "stitched" dw? (Many years ago, I was in CW's dw study group. There was lots of talk about "integrated dw", which I never fully understand. I took it to mean "a cloth of two logical warps/wefts, with very small areas of double layers", but I'm not sure. To me, stitched dw has a lot less stitchers than their examples of "integrated" dw.)

Here is an example of what I mean by "stitched doble weave":

(For some reason the picture didn't load right - but the story of how I did construct this kind of stitched dw is on my blog, here. Another example of small squares of dw on a sturdy foundation is my blinged chair - the construction of that fabric is here.)

 

Tue, 04/22/2014 - 15:20

ReedGuy

Kerstin, your interp. of hinged is what I am thinking as well. Then 'bound' doubleweave is where both layers are 'stitched' together but I would not think of it as any particular pattern or method to achieve it. I think if you had a wide loom and wanted a blanket woven where the other three edges would be sewed, and the centre stuffed, you could do a bottom layer in a different sett than the top. Maybe the top has  patterning and the bottom has no patterning and both sides one yarn size, but the patterning on top has threads doubled (weft). Once loomed, transfer to the quilt rack and sew the outlines of the pattern. It would be interesting to see if the patterning is enhanced by a 'puffiness' other than the stuffing. :) It would be difficult to do 'stitched' double weave if you want it stuffed. ;)

I always like to challenge the 'norms', or 'it's never done'. :)

Tue, 04/22/2014 - 14:39

kerstinfroberg

is usually done by making pockets by making the layers change place.

The draft below will not close the selvages, 'cos I used an old draft which was not for stuffing. The treadling is read from bottom to top, and the blue picks will open all pockes across so the stuffing can be inserted. (It might be a good idea to insert a couple of tabbies after stuffing to close the pockets - can be done by using the "opening" treadles in the opposite order. Or add another pair of treadles for a 2/2 plain weave.)

Wed, 04/23/2014 - 01:20

Queezle

luckly have passed -- and you've all done so much.  Tien, you really are an inspiration!  The Karren Brito class sounds like a winner, I will have to look for it.  I'm curious, though, Tien, why you need to stock so many types of dye?  One for protein and one for cellulose fibers, but you listed quite a group!  I am mostly into cellulose, and have thought that if I just had primary colors and black, I could perhaps make the colors I want.  I can imagine some sort of large hand-dyed color wheel, with each spot a different yarn (cotton, linen, rayon, etc).  Years ago I found a book that explained DOS and the dye:yarn ratio - but sadly my local library's books all deal with dyeing wool.  Any dyeing book suggestions?

And sorry for the long ramble. Between writing grants at work, remodeling my kitchen, and coping with over-achieving kids, I guess I am wiped out and happy for the weaving company. 

Wed, 04/23/2014 - 02:13

endorph

technically not weaving but some of this yarn will end up in weaving projects so. . . .  this is my current spinning project on the wheel. It is 100% polworth in a colorway called "Lucretia" - somewhere I have notes on where I purchased this. . . . hmmmmm.

Wed, 04/23/2014 - 03:21

Queezle

Almost makes me want to spin.  This site might be dangerous.

Wed, 04/23/2014 - 08:58

ReedGuy

Kerstin thanks for the illustrations. I follow what your saying. Thanks for the time. What I have planned is quilting technic. My mother needs a hobby. She says she's not getting on any loom. ;)

Wed, 04/23/2014 - 11:23

Artistry

Ed is rigging up a warping valet for me today, nothing glam, but it will be good and sturdy. Soooooo psyched! A little under the weather , got a good book. Almost have my painted warp design finished just painting the blocks for B and then will glue then on. Hired a friend ( because of the tendinitis) to help me knock out these 6 baby stroller blankets that I've been wanting to do for 1 year! We'll be working together, I'll weave on all of them so will she. We'll do this on the AVL 16 shafts. Which she is really wanting to gain more experience designing on. So long story short once we're done, she will have use of my studio over the summer when we're gone. Feel good about it, she helps me, I help her, weaverly:)
Wed, 04/23/2014 - 13:32

tien (not verified)

Tina, lovely colors! Exactly my favorites. You can send the yarn to me at... :-)

Queezle,

I primarily use the Lanaset, Cibacron, and Procion MX dyes. The Washfast Acid dyes were to fill in a couple holes in the Lanaset range, but I've since decided to stick solely with the Lanasets plus Polar Red. So they're kind of left over.

Cibacron F fiber-reactive dye is what I use for dyeing silk and cellulose yarns. It likes higher temperatures than MX dyes, so isn't as suitable for cold applications like tie-dye and warp painting, but the colors "strike" more evenly and it is easier to get precision results with Cibacron F.

MX fiber reactive dye is about half the price of Cibacron F and is less fussy about temperature when dyeing. I use it mainly for tie-dye, and for warp painting when I don't feel like setting the warp on a heating pad to batch.

Vat dyes are an experiment. They will strip away the previous color (to the degree that it will discharge, anyway) while laying down the new color. This is called illumination dyeing, and sounds really interesting to me, so I got some.

I forgot to mention that I also have disperse dyes, which dye synthetic fibers like polyester and acrylic. I prefer working with natural dyes, so have never used them, but someday...

My "weaverliness" for the last few days has been working on my book! I just finished the super-rough draft of the chapter on the creative cycle (Design, Create, Critique, Change), which also includes a section on working in series. I was worried that I might not have enough examples for the section, but fortunately I kept most of my muslins from Autumn Splendor, and I have a series of shawls done by working in series, so it turns out I have enough examples after all.

I also bought a new-to-me chocolate tempering machine for working with chocolates, but that has nothing to do with weaving at all (unless you count the fact that many weavers like chocolate!). I'll probably run a test batch of chocolates soon, to test out the machine.

Wed, 04/23/2014 - 14:15

endorph

your colors Tien! I am thinking I may need to puchase 4 mor ounces of this fiber so I can knitt or weave up something substantial - The Polwarth is wonderful to work with and the colors just glow.

The chocolate tempering machine sounds very weaverly to me!

Wed, 04/23/2014 - 16:44

Queezle

Thank you, Tien, for explaining so much about your dyes.  The vat dyeing does sound interesting.  But I guess I really need to decide (a) procion or switch to cibacron F; (b) can I get away with just primary colors plus black; and (c) is there a good text that will guide me on some test runs that will allow me to reproduce colors and get predictable results. 

chocolate tempering machine - delicious sounding and intriguing.

Wed, 04/23/2014 - 17:13

tien (not verified)

If you are not planning to do precision dyeing, I'd stick with Procion MX fiber-reactives. They are easier to work with since they react better at room temperature. I'd use six primaries: cyan (turquoise), magenta, lemon yellow as the basics plus golden yellow, scarlet (orange-leaning red), and royal blue if you want to expand things a bit. Basically you want one set of warm primaries and one of cool primaries; with that you can mix just about anything.

Use "pure" (not premixed) colors if you can. Paula Burch has a list of Procion MX "pure" colors here: http://www.pburch.net/dyeing/FAQ/pureMXcolors.shtml (her website is a real treasure in general).

In Procion MX, the mixing colors I use most often are lemon yellow, golden yellow, fuchsia (aka magenta), light red, Dharma Trading Co's Scarlet (which is a mix but one I'm very fond of since my preferred colors are all fiery ones), turquoise, Cerulean Blue (gorgeous color), and Cobalt Blue (a nice warm navy). But I think I have collected nearly all the "pure" colors!

For references, my favorite two dye books are Linda Knutson's "Synthetic Dyes for Natural Fibers" (which is encyclopedic in covering dye types; it's out of print but you can probably get it on Amazon), and "The Ashford Book of Dyeing". I have the 1992 edition of the latter book: http://www.amazon.com/Ashford-Book-Dyeing-Milner/dp/0908912250/ref=sr_1_7?ie=UTF8&qid=1398271972&sr=8-7&keywords=ashford+book+of+dyeing There is an updated edition but I don't know how good it is.

Also, a list of "pure" Lanaset colors is here: http://www.pburch.net//dyeing/FAQ/pureLanasetcolors.shtml

In the back of The Ashford Book of Dyeing they discuss making dye triangles. This is one of the most useful things you can do for yourself! I have a page on how I did mine here: http://www.tienchiu.com/other-crafts/dyeing/ I spent one summer just dyeing sample after sample, but now I have a very large color palette that I can use in other applications. They're mostly Lanasets on silk; I should really do a corresponding sample set with Procion MX and Cibacron F dyes on silk and tencel. Oh, for the time to do EVERYTHING! I try to squeeze as much studio time as I can out of every moment, but I just don't have time to do it all.

Thu, 04/24/2014 - 09:51

Artistry

As usual several projects going at once, who on this list doesn't? Today I put the painted warp aside, and my friend comes over and we'll warp 1080 ends. Two warping boards, should go by fast. Tomorrow we'll use the new warping valet for the first time! I'm so psyched ! Tien Thanks for ALL the dye info, I'm getting so ready to pull out the dyes for the skein dyeing and painting the warps. I will also be trying to dye a gray scale for Kathe Todd-Hooker with Lanasets. I hope they don't pull to the blue side as the values get lighter.. I have an excellent black at DOS 4% , maybe 3% not in front of my notes. Another experiment! Cathie
Thu, 04/24/2014 - 14:32

justmekaybee

I just got a new loom (baby Macomber 20").  It has a sectional warp beem I want to learn to warp with.  Meanwhile I'm studying huck lace drafts so I can do those projects I never got too when last I was a loom owner.   One year ago I sold my 40" Gilmore loom to remodel for my son to move into the room.  I promptly went into weaving withdrawal which I tempered with some ridged heddle weaving while I looked for a new small loom that would fit in my living room.  Finally got the baby mac this week and am so happy to be weaverly again.  :

  : )  Kay 

 

Thu, 04/24/2014 - 15:47

tommye scanlin

... making a post to my Tapestry Share blog about a class I'll be teaching at Peters Valley School of Crafts this summer: http://tapestryshare.blogspot.com ... and working on the tapestry that's currently on the loom, one that's 60" wide and will be about 72" long. I'm using 8 epi of 12/12 cotton seine twine as warp and four strands in each bundle of Norwegian Vevgarn as weft. I've posted about the progress of the tapestry at my other blog, Works in Progress: http://tapestry13.blogspot.com Tommye
Thu, 04/24/2014 - 18:21

endorph

tapestry is beautiful tommye - I look forward to seeing it progress. I am in total awe of all of you tapestry weavers. What little bit I have tried tells me how hard it is!

Thu, 04/24/2014 - 22:19

Artistry

Tommye, Your current tapestry is Glorious! I think you're right when you say it may be more about the dark spaces, they make such a beautiful design. the rocks themselves have wonderful coloring, the touches of orange, so beautiful! The Peters Valley workshop looks great. It sounds like you are keeping very busy:) Cathie
Fri, 04/25/2014 - 10:15

Artistry

Remedial Weaving , sign me up! I made so many mistakes in warping this 12 yd warp yesterday, you'd be rolling on the floor ! I don't have those days too often but when I do there real lulu's ! My friend will continue warping today ( I've demoted myself lol) and I'll start doing the raddle with the done chains. Moving along in spite of myself:)
Fri, 04/25/2014 - 13:51

justmekaybee

I took the old warp off my baby mac. yesterday and researched sectional weaving. The folks on the Macomber group really helped.  Now I feel ready to start winding warp for a huck sampler.  I also twisted fringe on the tri loom weaving I started in Dec. for Christmas colors. I hope to twist the other half soon and get it off the wall.  I sure am tired of red and green at this point!

Fri, 04/25/2014 - 17:26

tien (not verified)

Lanaset Black does pretty well at lighter DOS, though at really light shades it pulls towards lavender. I think you should have no problem getting nice grays.

I got two weaving toys this week! A double box fly shuttle assembly arrived from Margaret, and 5 kg of 30/2 silk arrived from Eurestex this morning. They're in the UK, and they ship FedEx so postage is really pricey, but holy wow is it FAST! They shipped on Thursday morning (UK time) and I received the package on Friday morning (California time). I'm darned impressed.

The 30/2 silk is a mill end - it comes in 5 kg packs and they won't break up the packs, so you have to order a bunch if you want some. With postage it worked out to about $50/lb, which is not cheap but is also far less expensive than silk at retail prices. If you dye your own and use a lot of silk, it might be worth your while to investigate. The default put-up is 100g skeins, but for a small fee they will wind it onto cones for you. (But there will be knots in the cones because they wind it from 100g skeins!)

I'm going to CNCH (my regional conference) tomorrow to take a class about  stenciling on fabrics. After I get home, I'm going to start a batch of Sorrento lemon marmalade. And on Sunday, I'm hoping to do some dyeing to create more weft colors for my color study. If it's raining and I can't dye, then I'll install the flyshuttle on the loom (which involves rearranging some furniture to accommodate the increased width of the loom). And I plan to work on the book some as well.

I'm gonna be BUSY!

Fri, 04/25/2014 - 20:12

Artistry

Thanks Tien about the Lanaset's behavior. Another day of warping, and now we are done!
Sat, 04/26/2014 - 08:58

Erica J

I have been too! I have a 28 page draft of my research paper. I still have to go through another set of notes and photos of extant textiles!

Last weekend we went to Glasgow, more about the Weaver's Cottage later, I promise Quezzle! On the drive nack Oli's back started spasming. I've been doing my best to let him rest. He's had to resort to sleeping on the futon, which has a more supportive mattress. This morning, TJ and I went out to the Annexe. He played while I finished tieing up my Standard for taquete on the drawloom, fairly simple as the binding is tabby. While we were there TJ discovered that my trackball has a ball in it! As balls are his favorite right now, I probably spent more time getting the ball from him.than I did on the loom, but it's ready now! ;)

Sat, 04/26/2014 - 10:03

Artistry

Erica, It sounds like you're coming right along with your reasearch! I hope Oli's back is better soon, back spasm's are no fun:( I consider it quite a coup to get anything done with a toddler, fun as they are, good for you! Today I'm putting aside the stroller blankets and it's back to the painted warp Doubleweave project. Today will be finishing the watercolor b blocks and glueing them down on the paper paint warp simulation. A good read of Jennifer Moore's Doubleweave book to make sure where I'm glueing down makes sense!
Sat, 04/26/2014 - 16:06

Erica J

I started weaving on the taquete. It became clear tgere were tension issues. No worries, I cut off the small woven bit. Then promptly pulled the beater forward and thus pulled all the threads out of the reed oopps!

Thanks to JoAnne Hall, I was also able to determine my Ideal is actually frpm the 70's and the lower lamms have been replaced with the longer length. When looking at them, I believe they are handmade rather than Glimakra originals as the corners have not been routered like all the other Glimakra parts are. They should be quite functional though. I also need to consult JoAnne's book to determine why the lamms on my Standard are clashing with each other!

Sat, 04/26/2014 - 21:08

ReedGuy

All in the tie-up, but it begins back at the heddle length. They control the range of motion. Sometimes the treddles get tied too high.

Sat, 04/26/2014 - 21:57

sally orgren

Where did the month go? For me...

A lot of writing. (You guys will figure out where in the coming months. ;-) 

A lot of weaving. I am on the last stretch of the second crimp scarf — I hope to finish tonight — less than a yard to go. I have been planning an 8 shaft, 8 yard tied weave that is due in early June. And I am intrigued by an old Weaver's article about blending two overshot drafts together, so I have been flitting between Weavemaker and Fiberworks with my take on the idea.

I have been working on my presentation for the Weaving History Conference the third weekend in May. The hard work is collecting and organizing all my images from 2006 to the present. Weavo member Sally E is coming, so we'll finally get to meet!! 

However, enticing me to ignore ALL my deadlines is a Nadeau Loom that landed in my lap last week. (Technically, it was placed in my back seat.) It IS certainly a wacky feeling to grip the wheel and feel like you are "driving" a loom when weaving. I really want to get some of those old-timey goggles for weaving demonstrations! I think when I demo this loom folks are going to think "Steampunk."

Here's what a Nadeau looks like if you haven't seen one before —

Sun, 04/27/2014 - 12:27

Erica J

I just got in from 2 hours in the annexe. At one point I thought I had nothing to show for it. I instantly realized I have a better understanding ofcwhat I am doing, but also quite a few questions.

I did get 2" of my next twill warp wound, thought I did spy a pretty big error after I tied off. On thread skips 2 pegs, so rather than going 1, 2, 3, 4, etc. It goes 1, 4, etc.

I also got some yarn reorganized and cleared a shelf for my weaving technique books!

So in case anyone has insight to share here is the problem I ran into today. I have 10/2 linen warped for taquete on the drawloom. It weaves fine with plain weave, but as soon as I raise any pattern shafts the pattern warps loosen after they go back down. The peak of the pattern warps is quite sharp, which I believe is the cause of the prpblem. I think the linen is stretching and as you know linen is not at all elastic. Since this is a weft faced technique, it needs to be woven with quite tight tension right?

Thanks!

Sun, 04/27/2014 - 12:30

Erica J

Sally, 

You have been busy as usual. Your new loom is very cool! I love the steam punk idea!

Sun, 04/27/2014 - 14:10

ReedGuy

I suspect the linen is cutting down through layers and that the treadles are going down too far tugging more on the pattern warp. Linen won't stretch hardly any, those warps must be getting more tension somehow. Is this the loom with the clashing lamms? Have a look at the warp ends when you hit a treadle for the pattern shafts and see that the shaft bars at the front toward the beater are not pushing against the ends from the back shafts. This is putting more tension on them than the ones not hitting on the bars. Lower the treadle tie-ups some or don't force them to the floor. Also cord lengths on the front shafts to the treadles may need to be looser. Just a thought.

Sun, 04/27/2014 - 16:29

Artistry

Good Luck Erica in figuring out what is amiss.  I don't know about Taquete,  with tapestry being a weft faced weave, yes, the warp is extremely tight. I don't think your linen should be stretching, sounds like you could get some broken warp ends, eventhough it's strong.

Here is the latest painted warp on paper with watercolors with the doubleweave blocks inserted. There are red blocks in the big red block. I think in that big block I'll vary the color of reds to make it more interesting plus take into the account it will be crossing the green and I don't want to end up with brown necessarily. So it's time to stop playing around with this and start dyeing and weaving some samples! Time frame for that is in 2 weeks. Will be beaming the beast (AVL) tomorrow with the new warping valet!

chagall painting

Sun, 04/27/2014 - 17:19

Erica J

I am using my drawloom attachment to control the pattern sheds, so I can't adjust how far tgw pattern shafts raise. I will check the threads on the back beam. I use warp stocks quite regularly. So I don't normally experience tension going loose, but it is possible. 

I did lengthen the two treadles and now have a much better shed on the main warp. I am seriouslt considering transfering the linen to taquete on a table loom and tying a cotton or wool warp onto the drawloom.

Great painted warp scheme Cathie! Tien your photos are of course lovely too! What a talented group of people!!

Reedguy, how is the move going? Smoothly I hope.

Mon, 04/28/2014 - 10:02

Artistry

The Doubleweave design is going to require two painted warps for the background . After painting the entire warps, I'll drop the ends where Block B, solid color , will go. It because I'm merging two painted warps it may get a little ikat feel, I don't know. The principle places I want to keep "clean" are the black stripes. They serve the purpose of separating complements in two cases. I think the red square should be as sharp as possible. It's going to be tricky and fun:)
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