I just love when I get so into a project I don’t come up for air. It helps to block out everything that is happening around me, and bring a sense of calm and determination to my life. There is always a huge mourning period when I reach the goal and finish the project. Until the next bus comes along…
Spring is coming. I can feel it. I just opened the sliders onto my balcony to let the dog in, and had this glorious warm sun on my face and I just stood there thinking that no matter what happens, the seasons keep moving forward and the sun eventually will shine.
Anyway, back to the rabbit hole…
When I ended my previous post, I had finished a puzzle and became obsessed with the colors, scanned a piece of the poster, ordered three more puzzles on Amazon from the same company, and started winding cakes of yarn, scouring through my shelves and bins for what I thought would work in the warp sequence. This is the original puzzle from a company called Pickforu.
I cut a 2″ strip of foam core, and divided up the scan vertically, since my warp would be a little wider than the paper I printed the scan on.
This was just too much fun… It was hard to attend to all the things on my to do list and my calendar commitments, because all I wanted to do was the next wrap.
I felt like I was playing in my sandbox when I was a little kid, just color and fun everywhere.
I then went to the computer and in my drafting software (Fiberworks in case you want to know) I chose general colors that represented the main color areas, and assigned structures to give some surface dimension. This warp would be combinations of plain weave and twill, with two additional shafts assigned to the supplemental warp ribbons that would float above and below.
Then it was time to wind. I was able to use a T-pin and mark where I was, an advantage of using foam core to support the warp wrap. And I followed the draft, to make sure I hadn’t made any mistakes in count, and yes there were a few, and I was able to correct them as I went.
I had such fun winding this twelve-yard warp, which I did in four sections.
I warp front to back, and one of the greatest advantages of doing that, with a warp like this, is that there is a constant check for errors.
So I tied the four 12-yard warp chains on the breast beam and sleyed the reed.
Apparently I didn’t grab a photo of that, but within a short period of time, all the warp ends were sleyed, additional ends were added where I found additional errors, or changed my mind about something, and soon I was threading, which goes super fast.
I use a Harrisville tensioner between the castle and the back beam, which works extremely well for me, and in no time at all, I had beamed 12 yards.
People have asked me what this will be. I had planned 5 scarves, but I change my mind all the time. Anything that is leftover will be woven, washed, and probably cut up for a tote bag or zip bags or greeting cards for the guild sale next November. Nothing ever gets wasted…
So of course, once I’m beamed, I have to tie it all on the front…
And then I have to start weaving, no matter what is calling me, because that first inch is always the best. This is all a cellulose warp, that is cottons and rayons and combinations, along with some silk yarns, about 90% hand dyed with fiber reactive dyes. The weft is 8/2 Tencel from Webs. There is a similar draft available as a download on my website.
Once I did the hem stitching at the front end, and wove about 10″, I put the original scan up against the warp and was really really happy with the exercise of referencing a photo for inspiration, or in my case, a puzzle. I feel like my month of dyeing in January paid off…
Meanwhile, yesterday, my guild sponsored a day of just gathering, free to members, whoever wanted to get together and participate in some interesting tutorial, something we use to do before Covid, called the February Freebee. This year we brought it back, and brought in Judith Symonds who teaches visible mending, which is a hot new textile technique du jour, repairing clothing that needs it, lovingly and creatively. And very visibly…
I brought in a pair of my favorite jeans, which got a huge hole across the knee, and yes, there are people who buy distressed jeans like this on purpose, but I just can’t… I stitched up the split across the knee with machine darning, so it didn’t get any worse, and in winter I don’t want my poor knee exposed to the elements, and then ordered an additional couple of pairs to replace them from Amazon. So wanting to repair beloved and well worn jeans in a creative way appealed to me. I used some engineered striped sock yarn and a patch of plaid cotton provided by the teacher, placed on the bias because the knee has to give and the denim fabric has lots of give, and started stitching.
Just gathering with friends on a random Saturday in February, talking about everything except the current world order was just what I needed. One of the women at my table had just joined the guild, coming over from my connections to the Native Plant Society. We talked a lot about plants and spring cleanup, since I’m new at all of that. Another woman at my table, a fairly new weaver instantly bonded with plant lady, and it was just lovely to watch new friendships form and old ones to be cemented. We need that so much, that sense of belonging and community.
Friday I drove to my friend’s house, and we hopped on a train, and made the trek into Manhattan, and then to the upper west side, had dinner, and then on to a small concert venue in a mansion/museum called the Nicholas Roerich Museum. A young Russian pianist Arseniy Gusev and Canadian/American violinist, Shannon Lee, are collaborating with music exploring the destruction of the stained glass in Winchester Cathedral in 1642 from Oliver Cromwell’s soldiers. Townsfolk picked up the shards of the broken windows and created something new from those fragments. The selection of works for the concert from their collaborative album, Witra? – Album by Shannon Lee & Arseniy Gusev made the connection to what’s happening in the modern world, with the invasion of and destruction of Ukraine. I have never seen such gifted musicians in my life. The most fascinating concert I’ve ever attended. And the concept, even as far back as 1642, of ordinary people coming together to rebuild something that was destroyed by war, and creating something new from the ashes, is something I need to hear every day. It is through community, friends and connections to others that we will keep moving forward.
So here are my patched jeans, it was such a fun day. And spring is coming…
When my kids were young, a dark time in my life because raising children, especially my children, was really really challenging, I found myself in one of the lowest points in my life. I was probably in a deep depression, not something that is a normal affair for me. I remember hearing about a book, or maybe my beloved Mother-in-Law gave it to me, by Sarah Ban Breathnach, called The Simple Abundance Journal of Gratitude. I have five of them on my shelf, and each one starts in January, with a few lines for each day of the year. Inspirational quotes are scattered throughout the book. The copyright is 1996, so that would be about when my kids were just starting school. Those were tough times. I was taught long ago, how important it is to have gratitude, for anything, even if it is just that you woke up in the morning. Desperate times call for desperate threads to hang on to, and I latched onto those little books, for what looks like five years straight, and I dutifully wrote in them five things I was grateful for each day. There are other journals on the shelf which came after, because I actually got into the habit of journaling, a healthy way of putting thoughts on paper and celebrating the good stuff and documenting the tough times. I haven’t ever sat down to reread what I wrote back then, I’m not sure I can or should. But eventually, as my kids grew and I survived multiple traumas, like breast cancer in 2002, I found that the journals I wrote to be more limiting. I wanted to add pictures, and information of where I was traveling, and teaching. I wanted to add what I was working on in the studio, and what my students did.
In 2008, I read an article by tech wizard Syne Mitchell, a column more specifically, that she wrote for Handwoven Magazine, talking about how weavers should embrace this new technology and start a blog. She explained how to do it on eBlogger, and I thought, I can do this. It would allow me to write, journal style, and add pictures, and links and keep a digital journal that if someone actually wanted to read, they could. My tech husband saw what I did, and after a couple of posts told me that I needed to switch to Word Press, and he moved everything I’d done to that platform, much to my dismay, since Word Press at the time is not particularly user friendly, and still isn’t. It just gets more and more complicated. But that was 2008.
I have written more than 900 posts at this point and I have gone back and read and reread many of my posts. I am shocked, surprised, dismayed and thrilled at all I’ve accomplished over the last 15 years of my life. If nothing else the visuals are stunning.
Lots of people read my blog, but that’s not why I write them. I actually don’t care if they are ever read, though I will say I always enjoy getting comments, because I learn a lot and know that people care and appreciate the share. I continue to write the blogs, even though blogging is so last decade, because I like to write, and journaling keeps reminding me of what’s important, or what was important to me at the time I wrote each post.
Today I reached a huge goal. It was maybe a silly goal but it is still an important one to me. In my last post I talked about all the looms I have, and how it became an obsession over the last year to get warps on all of them. A personal challenge? I had one remaining Tools of the Trade table loom in the back corner of the garage/studio that I had purchased used from Eugene Textiles in Oregon and paid to have it shipped across the country. I never got around to cleaning it up and replacing cords, apron strings, and giving it a good wipe down with Howard’s Feed and Wax. At least the heddles all canted in the same direction though I’d need to add a few hundred! So I spent a day, earlier in the week, giving this last Tools of the Trade loom in my collection, a solid refurbishment, and it was ready for a warp. My daughter named all of our looms, because frankly it is the only way we can keep track of the 50+ looms in this studio. She referenced Star Trek for many of them, and this one is named “Kim“. Ensign Harry Kim from Voyager…
In my last post, I mentioned I got the idea of Rep Weave, which I had only played around with briefly many years ago in a guild challenge, and looked through all the books I had on the subject. I found a project that I could base my design on, and started looking at yarns.
I found this cone of vintage Silk City Fibers Contessa, a 75% rayon, 15% silk yarn that at the time, (and still is) my favorite yarn to work with. It was discontinued a long time ago, but because I live near Silk City, when it use to be headquartered in Paterson, guild members in my area acquired a lot of it, and I frequently find the mother lode in estate sales. So I have a decent stash, especially in natural which I dye frequently. This particular cone was one of their beloved variegateds, called Roman Holiday. Cute name…
I spent a ridiculous amount of time trying to see if there was some sort of repeat in the dye coloration, and there sort of was. It seemed the colors repeated themselves every three yards give or take.
When I want to line up colors in a variegated yarn, I have to wind the warp in a circular fashion. You can’t do that on a warping mill. Because I was going to do a short warp, 3 yards, I used my small warping board, and tied it to a music stand. Perfect height.
I went around the board, and up the side, taping off the end of the color sequence so I could start around the board again. As a side, I’m giving a lecture in warping the loom from the front to the back, a method I’ve used since the early 80’s with tremendous success, for MAFA Virtual, a remote conference in July. The great thing about this conference is you can sign up for as many sessions as you’d like since they will all be recorded and what you can’t watch at that moment, you can watch later. I believe sign ups have just begun. Anyway, I’m going to discuss what I just described in more detail in that lecture.
The other day, it was just gloriously warm and sunny and I took my warping board, tied to the music stand, and all the yarn I chose and hauled it out the back door to the studio onto the deck, where I stood, listening to the busy birds and the waterfall in the pond, and kept on winding.
Eventually I wound all the chains I needed for this very complicated warp. I couldn’t get the colors to line up as perfectly as I hoped, especially after there was a break in the yarn and a large knot, and things seemed to go haywire after that. But I persevered and got all the chains wound.
After rehabbing “Kim” I started to sley the chains, four ends in a dent, in an 8 dent reed. I tied the reed into levels, like I always do when warping front to back. Again, I’ll talk a lot about this in the lecture for MAFA Virtual.
I flipped the loom around, dropped out the whole back of the loom, which I can do on the Tools of the Trade table looms, and started to thread. This is a pretty dense warp at 32 ends per inch, basically the blocks are only on two shafts each, so I was sort of sweating whether this loom could handle such a dense warp and still give me a shed…
Then it was time to beam. The colors really started to sing, and I got the dense warp onto the warp beam in record time, since it was only three yards.
And then the moment of truth. Yes, I was able to get a shed, though I have to push down the shafts that want to ride up together, on a table loom that isn’t really an issue. Takes about 2 seconds. I chose a thick and a thin weft, typical in Rep, and started in on the pattern.
I could have sett this closer, probably should have, but I was really afraid the loom couldn’t handle it, and because I have large eye inserted eye heddles, they just don’t nest like a flat steel heddle, which I never had for any of my Tools of the Trade looms. They weren’t designed for that type of heddle. But it is pretty cool anyway, and more to the point, I’m learning a lot. And that’s why I do what I’m doing.
Meanwhile, for no one’s benefit but mine, for the rest of this post and the next couple of posts to follow, I want to document that at this point in time, I’ve warped all the looms that are mine to warp. Since most of them are mine, that’s a lot of looms.
So in no particular order, I’ll start with my first loom back in 1978, Tools of the Trade, 8 shaft, 45″ wide, with a double back beam and sectional option. When I bought it I had no idea what any of that stuff was, but I bought it anyway figuring I’d grow into it. I did and then some. Because this was my first loom, purchased directly from Tools of the Trade in Fairhaven, VT, the looms is called “Fairhaven“. All of the Tools of the Trade large floor looms were numbered. This was one of the first hundred, #94. At the moment it has something like 4 yards of mohair, desperately trying to use the last of the stash, in a plain weave, 6 epi. I blogged about that here.
After I purchased that loom, I realized I needed a second, for demos, workshops, and scarves that would match my regular production fabric, because I was full on into production weaving and beginning to do craft fairs. I bought the identical loom, but 25″ wide, so it could be put in a van and brought to a craft fair. I called this one “Fairhaven Junior“. On this loom, I have an 8 shaft project, from WEBS, documented in a blog post here.
My mother in law, who was a bit of a weaver among other things, (primarily bobbin lace) wanted a loom for her apartment in Wilton, CT. I ordered her a 25″ 4 shaft floor loom, also from Tools of the Trade, somewhere in the mid 1980’s, and when she got too old to weave, she gave it back to me. I just warped it earlier in the week with the cotton runner commission I talked about in my last post. I called this loom “Wilton“.
Next to it is its twin sister, that my daughter and I drove to Atlantic City or somewhere near there to pick up when we saw an ad that it was available. I don’t remember who owned it, but it was really for her use because at the time, she had moved out and taken “Fairhaven” with her and wanted a smaller one for workshops and demos. She named it “Porter“, something to do with it being from a port city in coastal NJ . On the loom is a cotton warp and she is cutting up her late father’s interesting shirts and assorted clothing and weaving one long rag rug art project on it.
She drove to Massachusetts a few years ago to pick up a vintage Tools of the Trade, meaning really early, predating my 1978 loom, 4 shaft 32″ wide. Somewhere along the way, someone had a second warp beam kit in their closet for a 32″ Tools of the Trade loom, which they shipped to me for free. I sat on it and realized that it would fit this loom, so Brianna drilled for it and I named this “Snyder” because I think that’s the name of the women I purchased it from. Right now I have a ten yard ice dyed warp on it, which has been on there a while, and I think I’m weaving this in a crackle structure. I blogged about it here.
Mother’s Day 2021 Brianna loaded up the trailer and drove 4-5 hours to Rochester NY to pick up the largest loom in the studio, which was a 12 shaft Tools of the Trade loom, 54″ wide. # 486 one of the last looms he made. We called this loom “The Duchess“. It is almost too much loom for me, though I did weave my 12 shaft combination weave fabric for my walking vest which was part of the collection I sent for the Convergence fashion show in Knoxville, TN, summer of 2022. Brianna now has a very cool 12-shaft dishtowel run of fabric, in rainbow colors, based on a 10 shaft draft from a Robin and Russ collection we purchased from a weaver’s estate sale. I find the logo for Robin and Russ a bit disconcerting, but the content and swatches in the four binders we have is invaluable.
Behind it sits a sister loom to my original “Fairhaven“. This loom is also an 8 shaft, 45” loom with a single warp beam, # 246, named “Princeton” because my daughter answered an ad that had this loom for sale, and she went to Princeton, with a tool kit, paid the woman the couple hundred dollars she was asking, and completely dismantled the loom so it would fit in the back of a Rav4 as a pile of lumber. She then reassembled the loom in her second floor apartment, next to “Fairhaven” which I had given her when she moved out. Of course all the looms came back when she moved back home, along with her dog and cat. The rest is history. On it is an oversized overshot pattern which my daughter says is from Strickler’s book of 8 shaft patterns.
A number of years ago, knowing I’d be downsizing at some point (hahahaha) and feeling that my 45″ “Fairhaven” was getting to be too much loom for me and that I’d be eventually giving it to my daughter, I found a loom for sale outside of D.C. that was identical except it was only 36″ wide. It is one of my favorite looms in the studio. It fits my aging body well. It is 8 shaft and has a second warp beam. # 273. We call this one “Princess“. On it right now is a chenille ‘color and weave’ on only 4 of the 8 shafts, but I needed the width of the loom. I blogged about it here. I have no idea how many yards I put on it. I’d have to go back and look at my notes. (It was 8 yards)
That leaves the six Tools of the Trade Table looms. I’ll talk about them next time, though one of them, “Kim” was described above.
My last post had some serious color mixing and warp winding and I couldn’t wait to get everything on the loom and see how it would turn out. Just a reminder, here is the inspiration for the latest warp based on the insert/poster from a Magic Puzzle we had just completed.
I sleyed the reed…
And because everyone wants to know about the levels in the reed… I warp front to back, for many many reasons, but the trick to working from the front, through the reed, and then the heddles, before beaming the warp, is to have multiple ends in a dent stacked in levels, so they can’t jamb up in front of the heddles. Cay Garrett wrote a lovely book on the subject, somewhere in the late 70’s, just as I was becoming a serious weaver, and I have never looked back. The book was called Warping All By Yourself, and almost every weaving guild library has a copy. Anyway, I tie horizontal cord around the reed, creating as many levels as I need for the threads that occupy the same dent. I grouped them based on size of yarn and structure, so I knew what went in which dent.
That makes threading a piece of cake, since I’ve already gone through and checked my original draft, and made sure there were no mistakes when sleying the reed. As it turns out, I had made two errors, I was short a thread in one of the groupings, easy to add before the warp was threaded and beamed, and I wound one too many of a different grouping. So I just dropped it.
The order in the reed keeps the order in which I wound the warp, so everything was just waiting for a heddle, and I was through this very complicated warp in no time.
I use a tensioning device from Harrisville Designs, which allows the threads to tension individually when beaming. Previously I used just a series of lease sticks, but I like the size of these smooth hardwood dowels.
And suddenly I was ready to tie on!
I selected a fine lambswool weft, which helps keep the rayon under control once the fabric is off the loom and washed, This is definitely a warp faced series of structures, and there is a lot of slippery rayon. The draft is based on the 12 shaft version from my lengthy article in Heddlecraft Magazine, issue #38, but I was able to convert the draft to 8 shafts, and maintain the integrity of the original.
I’m really happy with this so far, it is exactly what I envisioned. Which is always fun when things work out!
Meanwhile, I apparently am on a quest to warp all the looms. I have 49, have I mentioned that? 15 are always reserved for beginning weaving classes, but the rest, many of them little Structos or Leclerc sample looms, I have been setting up with explorations of various structures, for my entertainment, but also because it might be fun to have people come and play. And there is always the hope that one day I’ll carry a little loom outside and sit in the garden and weave…
I needed a different reed, obviously a new front apron, and I won’t even discuss the heddle situation. I did a previous blog post on heddle etiquette. Obviously this loom had not been exposed to that.
And so I replaced the apron, fresh and white. And I changed out the reed, I needed a 12 dent reed, which fortunately I had. I have five of this particular loom, and I’m fortunate that two of them had hex warp beams, that fit Structo spools.
So I swapped out the warp beams and added the spools, and though I’m running low on Leclerc heddles, which are a different length than the thousands I have for the Tools of the Trade Looms, and the Macomber, which is different from all those, I did manage to find enough to put on this little Leclerc, with all of them canting in the same direction.
For those who aren’t weavers, skip this section, just look at the pictures at the end. I’m including a little tutorial here because I’m going to be asked, and I might as well include it in the post. How do you warp the spools? I use many different methods, but the easiest is just to make the chain warp, and warp from Front to Back.
Once the ends come through to the back, they have to be attached to the spools, using a strip of paper tape, the kind you wet, and that little tab then slips into the metal flange in the spool.
The next step involves a bunch of zip ties. I buy these by the gross. I put a pair around the hex beam on either side of the spools so they don’t travel left or right as I beam.
Then I put a pair on either side of each of the warp bundles that will load onto a spool, across the back beam. This channels the warp into the spools. It is important as you wind that you keep an eye that there isn’t any uneven build up, and that you hold the warp tight from the front as you are beaming.
And there you have it. I put six yards on this loom, of 10/2 perle cotton, and probably didn’t even fill the spools half way. No packing needed!
A couple of years ago, I saw a fabulous social media post from Elizabeth Tritthart, historicweaving.com called 100 Horizontal Stripes. They were just beautiful, and Elizabeth figured out how to take old cross stitch and needlework patterns and convert them to drafts for pick-up. Typically, she works on a draw loom, but this book had information on how to work with just four shafts, which my little Leclerc had. I’ve been wanting to do this for a while. And I also have old needlework books and leaflets…
And so I started weaving. Yes, this is painstakingly slow, but slow cloth is a thing, and I’m not in any hurry. Each design is separated by a “ribbon separator” as she calls it, a three pick basket structure that looks like a little chain. I ended up using doubled embroidery floss for the pattern threads, as I have tons of it in many different colors.
And so I’ve had the most productive week, I walk into the garage/studio every morning smiling, and my looms smile back. I’m racking up good loom karma, each loom that gets refurbished and warped has a new lease on life and gets to play in my colorful sandbox of fiber. We are all happy campers. This is like a summer camp that goes year round.
There are a couple more looms I want to warp up, and then I’ll just weave away, for the rest of the year, always thinking of what I want to try next.
