Weaverly

Weighty Matters

Temples: I'm not a fan, as I've gotten stabbed by the little teeth way too often. Nevertheless, I recognize their value in preventing draw-in while weaving, and I've used them for years.

However, on my new loom, there's not enough clearance between the bottom of the shed and the shuttle race, so I've decided to try weights instead. It was just a matter of assembling the hardware. First, some plastic tarp clips. Some folks refer to them as alligators. Then screw eyes inserted into the loom frame. Yes, I drilled holes in my new loom. Then some strong cord.

And finally, the weights. I started small, with little pouches filled with rice. Four ounces on each side for starters. Not enough. Went bigger. Larger pouches filled with dried beans. Total around 10 ounces each side. Works like a dream! Easy to add or subtract weight depending on the project. 

Afternoon light yesterday was too brilliant and I pulled the shades. Here's the bonus—a light show.

Local Color

Yesterday was Dye Day at Pat's studio. Here are Patti, Pat, and Ruth about to begin work. Pat is reviewing some basics. Just in case.

A few hours later, the colorful result. Skeins, skeins, and more skeins, and a few warps. We all went home happy. Thanks, Pat, for sharing your studio and your knowledge with us.

Back in the home studio, a couple of finished scarves from one cotton crackle warp, both with the same treadling. On the left, a rayon weft. On the right, handspun cotton. The character and drape are totally different.

I enjoyed this warp so much that I tied on another to the end of it, this one purple rayon and pale green cotton. Same treadling, too. The weft this time is light gray silk.

Bruce and I had planned to go riding out in the country today, to see what we could see, and we were not lucky with the weather. Constant rain. We went anyway. Here is a picture of the iconic Union County (SC) Courthouse, as seen through the front windshield of the car from the parking lot across the street. 

Department of Books:

Recently finished Portrait of a Lady by Henry James, Jude the Obscure by Thomas Hardy, and All Things Cease to Appear by Elizabeth Brundage.

Low Tech

It takes some getting used to a loom without a computer interface of some sort, if your weaving life has been computer-centric for so long. This morning I found myself sitting at the loom and looking for the on/off button. 

Although my very first weaving experience was overshot on a Structo at age eleven or so, I hadn't done much overshot since then. Until now. I chose a draft with wheels and tables, an oldie called "Conestoga". I found it in Davison, page 138.

The warp is striped in yellow and olive green, with a blip of red. The first sample, above, has a light gray tabby weft. I played around with the treadling to alter the proportions of the wheels, and changed the tabby weft to dark red for the second sample.

I love the gentle whooshing sound this loom makes. I leave the doors open and I can hear the birds while I weave.

 

And This Just In

It has finally arrived, and at last I have a loom with rear-hinged treadles, suitable for my particular idiosyncrasies. 

It will also allow me to weave wider pieces than before. I've left the back four shafts unused, and warped it up with a straight draw on four shafts. I'm using up bits of yarn from my stash for warp & weft.

No electronics, no computer. Plain weave only, so far, just to put the loom through its paces. 

Here's a lovely bit of handspun cotton rescued from a dark corner:

And mustn't ignore what's going on outside. Spring is just bursting out.

I was worried that the newly planted Japanese maple in my backyard was a goner, but yesterday it just sprang to life and I think it's going to be fine.

And to round things off, here's a snapshot taken while I was stopped at a traffic light. Those panels of cracked paint on the rear doors caught my attention. 

Here's one of them cropped and turned on its side. There must be something one can do with that.

New Amalgamation, New Colorway

First an April sky. It suggests new adventures, more mingling with the outside world, hopeful changes ahead. 

Now a new warp for the 16-shaft Dobby. This time I wanted a monochromatic amalgamation. My stash being what it is, I went for an almost-monochrome, a pale yellow warp in 6/2 unmercerized cotton and a natural weft of 5/2 mercerized. 

This is an amalgamated, networked twill on 12 shafts, with the rear four shafts reserved for a basketweave selvedge in red. 

The yarns play nicely together at 20 epi and ppi. Click to enlarge. 

For more information on amalgamation, see Monographs in sidebar.