Scarf No.4

This weaving taught me two new things. One is that I further explored color, using a different variation than I have yet; with two colors in the warp, and four in the weft. The color affect of the check is still lively and interesting, but without warping with the two lightest shades (beige and natural) the result gave a more muted and softened color variation, less dramatic with no light blocks. I would like to explore this idea even more!  

I think the most challenging thing about this piece, and anything I’ve woven to date, is that I did a double heddle threading with two different size reeds. It was definitely another long and arduous threading process, and after discovering I miscalculated the spacing the first time, I resolved there really was no way of going around it, that it had to be done right, and be done over.  Of course, in doing it over I discovered a formula for myself, where I was only guessing at first, and so I have written my formula in my weaving notes.

This is going to be the last of the double reed threading for a while, for not only is it a very intensive warping process, but also if a mistake is made in the warp (as there was one, if you’ll notice the long run throughout the whole weaving) it is just not something I know how to fix and it tests my patience.  Such was the case again, some threads misaligned and right off the start, the flaw was blaringly obvious, but this was merely a sample to test the process. The reed sizes I wanted to thread together in this project were 15 dent and 12.5 dent (per inch), but easier calculated in the metric sizes 60/10(cm) and 50/10(cm) , to get a sett of 25 epi. Its all there in the weaving notes, with technical threading photo gallery.

♣   Weaving Notes  ♣

• Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in colors; Rose Paudreux (P145), Natural (P100), Light Beige (P-2), and Flax (P-5109). 
• Loom: Ashford Knitters Loom 20″.
• Warp:  Double threaded 4 ends per dent on first  reed, then through  a second reed using this method  Using a heddle stand is rather necessary, Jeff made the one I use in tech photos below.  I don’t know how to suggest an alternative, but if one has a couple of heavy objects or uses a bit of cleverness, one could rig a reed stand. Now, with the second reed forward, threading it through in a very seemingly complex manner, but it really isn’t.  Warp length is approx 110 inches from apron rod to warping peg.  See formula below.
• Number of warp ends: 432.
• Reed: Two rigid heddle reeds, one 15 dent and one 12.5 dent.   I threaded through the 15 dent reed first, skipping 1 slot after every 4 slots threaded, and the second reed I threaded every slot. End result is as two 12.5 dent reeds, with 25 epi.  See formula below. Note: After both reeds were threaded, I held them together with thick rubberbands as shown in photos.
• Sett on loom: Warp = 25 epi (ends/threads per inch),  weft =  25 ppi.
• Sett after finishing: Warp 28 epi, and weft 28 ppi.
• Selvedges: I did not do floating selvedges, nor did I bother to double up and reinforce the selvedges, mostly because there was so much going on with threading through TWO reeds. I did use a temple.
• Color Pattern:   
  • Warp =  [18 slots with 4 ends each slot (72 ends) flax, 18 slots with 4 ends each slot (72 ends) rose] REPEAT for a total of 3 pattern reps, and 432 ends.
  • Weft = wound on to a 30″ stick shuttle; [30 wraps of flax, 50 wraps of light beige, 30 wraps of rose, 50 wraps of natural] repeat the sequence to end of warp.
• Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, measuring 80″ long and 15.5″ wide, and weighs 105g. 
• Yardage:  Total yardage used for finished piece = 1943y, figured from weight of finished piece and not including loom waste.

My formula for threading two graduating sized heddles together: All of the reed sizes for the Ashford rigid heddle looms, which many rigid heddle weavers have a size graduation of reeds:

2.5 dpi (10/10cm)
5 dpi (20/10cm)
7.5 dpi (30/10cm)
10 dpi (40/10cm)
12.5 dpi (50/10cm)
15 dpi (60/10cm)

I have most of the reed sizes for my Knitters Loom, but for the sake of very fine cloth weaving with my rigid heddle looms, I am writing down my formula for threading two reeds of graduating larger sizes together so that I can achieve epi’s greater than the finest single reed available for this loom, which is a 15 dent (60/10). I’ll add that It is far easier to use a single reed than to thread two together, so in the case of coupling the lower-dent reeds — I recommend just buying the single 15 dent reed, instead of double threading 40/10 with 30/10 (or two 30/10) reeds to get 15 epi, but for the sake of example I listed all the rigid heddle reed pairings in sequence, in the situation that it applies.

The reed that has fewer dents should be in front of the other, facing forward toward the weaving, where every slot and hole is threaded. The reed with more dents should be behind it, and when threading, skip 1 slot/hole as needed to align to the front reed.  Off of the warp beam there will be spaces in the threading, but the reed facing the weaving is even with no empty slots/holes. Here are my calculations for a balanced threading across the warp . . .

• 60/10 & 50/10, thread as two 50/10 (thread 5, skip1) same as two 12.5/in= 25epi
• 50/10 & 40/10, thread as two 40/10 (thread 4, skip1), same as two 10/in = 20epi
• 40/10 & 30/10, thread as two 30/10 (thread 3, skip1), same as two 7.5/in = 15epi
• 30/10 & 20/10, thread as two 20/10 (thread 2, skip1), same as two 5/in = 10epi
• 20/10 and 10/10, thread as two 10/10 (thread 1, skip1), same as two 2.5/in = 5epi

Click 1st photo to go to slideshow…

Sakiori No.1

Sakiori was developed long ago by the peasants of Japan, who when faced with a shortage of cloth, made their own by cutting and tearing strips of old used cloth items, and wove them into new cloth for their clothing and home. These days an over-abundance of cloth is everywhere, providing such an opportunity to weave sakiori cloth, from rustic heavy rugs to delicate scarves. I am immensely inspired by the Sakiori style of weaving, and so I bought Ashfords attachable auxiliary cloth beam for my 48″ rigid heddle loom (the Freedom Roller) so that I can weave Sakiori cloth and rag rugs until the cows come home!

Sakiori is like rag rug weaving, that similarly uses cloth strips, but alternates cloth wefts with yarn wefts, so that is a whole element that adds possibility in design. This being my very first sakiori weaving, I have kept it simple, one color for warp and weft. Although I barely even put 5 rounds of sakiori cloth on it with this weaving, the attachment seems to me an essential addition for a rigid heddle loom to make bulky weaves like this, but even for yards of finer fabric, or any situation that benefits from having extra room to wind on a cloth beam, the Freedom Roller frees up the original cloth beam to be used as a secure and stationary front/breast beam, giving the weaving area in front of the reed more room too. I am hoping to weave some heavy wool blankets, rag rugs, and heavier table linens woven in the near future, to fill up that secondary cloth beam with some substantial weaving, and this piece was my first opportunity.

For this style of rag weaving, and in general on the rigid heddle loom, I’ve had to come up with heavy beating tools, because the rigid heddle reeds can not withstand that kind of muscle, and they are expensive, so one must come up with beater tools just for rigid heddle weaving situation like this. I am using the sword from my backstrap loom for this particular weaving that is only 19″ wide, but also tried out the weighted tapestry beater by Schacht. The sword is a heavy piece of wood that has a beveled edge and a slight curve to it so that it can be rocked a little forward and backward, to really pack in that weft. A tapestry beater is a heavy object with grooves like a comb, intended to hit along the weaving edge, allowing the warp to pass between the grooves, and really pack in the weft. These tools slow down the weaving a bit, but with the rigid heddle loom not having a heavy beater like a floor loom, I think these two tools are and will be an essential part of sakiori weaving.

I want to close in saying how amazingly gratifying weaving Sakiori is, because it really weaves up so incredibly fast, especially on the rigid heddle loom where direct warping is in itself so speedy. I am finding I can set up a project like this one and be done warping and tying on in about an hour and be well on my way weaving the weft body by the end of the day. This respite of instant gratification weaving is so refreshing after my many ultra fine weaving projects I’ve been experimenting with over the last couple of months.

♣   Weaving Notes  ♣

• Warp Yarn: 8/4 cotton yarn, Maurice Brassard, 8.0 oz (~227g) tube = 840 yds. (1680 yds./lb, in color blue. Approx 80″ from apron rod to peg. 
• Weft Yarn: Cotton flannel, strips 1.5″ wide, alternating with warp yarn.
• Loom: Ashford 48″ Rigid Heddle Loom, with Freedom Roller attachment.
• Number of warp ends: 480.
• Reed: One 12.5 dent rigid heddle reed, about 19″ width in reed.
• Sett on loom: Warp= 12 epi (ends/threads per inch), weft= 8 cloth picks and 8 yarn pick = 3″.
• Edges: I did not do floating selvedges, nor did I bother to double up selvedges, but did use a temple. I did weave plain weave with the 8/4 cotton for approx 2″ before and after cloth strips, so that I could make a turned hem. 
• Finished: 1/2 inch turned hem, sewn against the underside of ends. Rinse & Dry cycle in machine, final measurement after shrinking 8% in length = 9″ x 44″. 
• Yardage: I did not measure or weigh the actual fabric I tore into strips, but I had a 2 yard piece of brushed plaid, and I have quite a few strips left over, so all I can say is about 1.5 – 1.75 yards of cloth. As for the cotton warp yarn, I didn’t think well about this particular weaving, as it is mostly cloth strips, however I will say I didn’t use the whole warp, I had about 10″ left of warp and didn’t even use the whole cone of yarn for warp and weft. 
• What I will do differently next time:
  • Use floating selvedges! The rag weft is so thick that if it doesn’t encase the last threads, they sometimes ended up floating over vertically, and I found myself having to catch outer warp threads every pick to keep that from happening, and even had to sew in at the finish some of the long floated warps I missed. 😦 
  • Measure a piece of string that is the length I want to weave the project, and weave it or pin it to the actual cloth as it winds on to the beam. I did this but let it wind around next to the cloth, and the diameter was much smaller, therefore not accurate, and my end project was about 6 inches longer than I planned for. 
  • Take the time to prepare the cloth strips a bit better; pre-roll and iron the weft, hiding all raw fuzzy edges of torn strips, perhaps use a bias tape folding tool.
  • This thickness was fine for table runner but could have been finer with cloth strips only 1″ wide. For rug I would make cloth strips 2″ wide minimum.

Click 1st image to go to gallery slideshow.

Scarf No.3

This ultra fine cloth finished has 32 threads per inch in the warp, and was woven on my 20″ Ashford Knitters (rigid heddle) Loom, which is a fabulous sample loom for all the fine weight threads I have been so curious to try. This particular project is extremely fine cotton, was threaded through two 15 dent reeds, and I have no desire to go finer, this is the limit. Famous last words, eh?

One must look and wonder how all these gazillion threads in the warp can be kept track of, and I for one, can not.  I thought all the threads were there, but as I begin to weave, there’s empty slots where warp threads are suppose to be, maybe one or two were mis-threaded, or broke, and I missed them, but as I weave further, more threads have disappeared, likely in not catching them when I was threading the reeds. I just can’t pull my hair out over it, these are sample weavings, total leaps of faith and hoping for the best, I can’t take it too seriously.

The most impressive thing to me about this piece is that it was threaded through two rigid heddle reeds; double threading is a mind bend at first, but then after my first try using these instructions the process gelled and suddenly I felt like I was born knowing how to do it. So I’m weaving on in spite of the mysteriously thinning warp, it is a thrill to be weaving such ultra fine fabric on a simple, nearly primitive loom, even though weaving 30 epi on the rigid heddle loom means I am having to do the extra work of using a stick shuttle for both passing the weft and beating down to try for a balanced weave, and still it is not. Weaving on the rigid heddle in this way slows weaving down a great deal, and there is a lot to pay attention to.

Once I am finished with this piece I may try another similar double threading sample with a different reed combination, coupling a 15 and a 12 dent together, achieving a 24 epi, and maybe then I can beat with only a tap of the rigid heddle reed instead of having to beat it down with the stick shuttle. I strive to find the sweet spot where weaving is truly balanced, not forced, and ultimately what I want to achieve with plain weave.

A bit about the design; I crave bold block design in a subtle contrast, so developing my elongated big check blocks with or without a stripe, and selecting the two very low contrast neutral colors for the background check, for this piece was an attempt to get a “barely there” colorway, yet it is still bold enough, and I really love it!

♣   Weaving Notes  ♣

• Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in colors; Natural (P100), Light Beige (P-2), and Flax (P-5109). 
• Loom: Ashford Knitters Loom 20″.
• Warp:  Double threaded 4 ends per dent on first  reed, then through  a second reed using this method. Using a heddle stand is rather necessary, Jeff made the one I use in tech photos below.  I don’t know how to suggest an alternative, but if one has a couple of heavy objects or uses a bit of cleverness, one could rig a reed stand. Now, with the second reed forward, threading it through in a very seemingly complex manner, but it really isn’t.  Warp length is approx 110 inches from apron rod to warping peg.
• Number of warp ends: 600 , or there about, as I lost some along the way. 
• Reed: Two 15 dent rigid heddle reeds, about 19.5″ width in reed.
• Sett on loom: Warp = 30 epi (ends/threads per inch),  weft =  ?? (forgot to measure).
• Selvedges: I did not do floating selvedges, nor did I bother to double up and reinforce the selvedges, mostly because there was so much going on with threading through TWO reeds , but  a real positive thing about such a tight weave and having to beat with the stick shuttle to get the weft in place, there seems to be no draw-in on the edges. After about 12″ of weaving I noticed a little draw-in, so I started using the temple.
• Sett after finishing: Warp 32 epi, and weft 24 ppi.
• Color Pattern:   
  • Warp =  [12 slots with 4 ends each slot (48ends) light beige , 1 slot with 4 ends (4 ends) flax,  12 slots with 4 ends each slot (48ends) light beige.  12 slots with 4 ends each slot (48ends) natural, 1 slot with 4 ends (4 ends) flax,  12 slots with 4 ends each slot (48ends) natural, 12 slots with 4 ends each slot (48ends) natural. ] REPEAT for a total of 3 pattern reps, and 600 ends.
  • Weft = wound 60 full wraps on to a 30″ stick shuttle for each color, in repeating sequence natural and light beige. 
• Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, measuring 81″ long and 18″ wide, and weighs 130g. 
• Yardage:  Total yardage used for finished piece = 2405y, figured from weight of finished piece and not including loom waste.
• What I will do differently next time:
  • Again, I ran out of room on the reed(s) while threading, and had to sacrifice the left 12 threads, but its so fine, that is like a quarter inch I am guessing. Second is I didn’t catch it, but there’s a few threads missing in the slots, and that is okay with me.
  • Glimakra slim boat shuttle actually fit in the shed!  I am so anxious to finally use it, I found I had to use the stick shuttle as a beater anyway, why not refine the movements and wind the stick shuttle with thread and omit the boat shuttle this time… but next time, with 24 epi , using 12 and 15 dent reeds double threaded, maybe it will be balanced.  

(( click 1st image to go to slideshow ))

twill

I have to confess mild disappointment, as I thought I could do better on my first twill project than I have. I planned it to be full width of 32″ and at least 72″ long. I planned it to be soft and fluffy and light, a lap blanket or shawl, whichever it wanted to be. But there was a double learning curve within this piece as not only have I not yet woven alpaca, which I realize now this particular superfine two ply worsted weight is quite slippery, but neither have I woven twill, or anything on multiple shaft loom. This was to be the first piece on the new table loom, a test run, using alpaca yarn that I happened to have the exact amount of in my yarn drawers, and meticulously planned to use up every yard of my light grey and cream that I had.

I set off with things going nearly right, having been lucky with the warping and keeping it organized, I had to improvise a front-to-back method. The work of sleying the reed and threading heddles entailed so much fussing I bore down under the yoke of determination and eventually, miraculously, got it done. Threading through the texsolv heddles in a straight draw, and finally with Jeff’s help I got it wound on to the warp beam nicely and firmly, with a lot of cardboard warp separators. Then there was testing the shed and fixing crossed threads for quite some time, not knowing what I was doing really, I really was at my limit. Presently, my first impression is that I don’t really love texsolv heddles, oh, yes, they’re quiet, and ultimately lightweight, just that threading them is a chore! I don’t know what wire heddles are like either, but they must be easier to thread.

After I started my first few inches of weft, just about everything went wrong that could go wrong; warp threads started to break within the first 12 inches of weaving, as well as the floating selvedge, and I noticed how uneven the twill angle was, all over the place, beating so inconsistently as I am not use to a beater at all, it seemed I was barely pressing the weft into place. In retrospect I suspect that it is because the warp was too spread out, and I should have used at least one size smaller reed, if not two, and being so spread out, the weft just sunk heavily into place practically covering the warp, in some places almost like tapestry weaving. I did not and could not predict this weft-heavy twill because of my complete lack of experience. So now I know, especially for this alpaca that is slick, pack the warp in double that I have, and then I will have some choice about how the weft beats down.

I should be laughing, I knew so well that I’d make hash of the twill thing, but I also knew I’d learn a lot, and I most certainly did. The good news is that it was a lovely cold snowy morning yesterday when I brought this hand-made gift of goodwill over to my dearest friend (who agreed ahead of time to accept it as the learning curve it is), that I had finished it in time before it became hot as it does often in mid March, and who wants a heavy alpaca thing then? I am hopeful the alpaca will most certainly bloom and soften and become a perfect accessory in her rustic mountain cabin where it will now live, strewn over the back of some truly antique leather chair next to an old stone fireplace hearth, and even though it is lumpy, bumpy, and unintentionally striped with uneven twill angle, it will bloom out and fit in wonderfully.

Anyway, the list of Next Times are long and detailed and for documenting purposes, I have included them in my weaving notes below, and I shall find them useful in the future.

Special thanks to Ruth, the chat help at The Woolery, who has taught me more than any books or class!

♣   Weaving Notes  ♣

• Yarn: Simply Alpaca by Knit Picks. Superfine alpaca, approx 12 wraps per inch, 247 yds = 100g. Color for warp is natural “Alaina”, and color for weft is light grey “Alfie”. 
• Loom: Ashford 8-shaft Table Loom, 32″.
• Warping method: Traditional warping peg with cross, improvised back to front, but I forgot to measure the warp before winding on beam.
• Weft pattern: 2/2 twill.
• Selvedges: 1 end of floating selvedge each side.
• Number of warp ends: I ended up improvising adding some, doubling up some dents to try to use up all the warping yarn, and never counted. 
• Reed: 8 dent.
• Sett after finishing: Warp 10 epi, and weft between 5 – 7 ppi.
• Finished: 30″ wide by 60″ long, plus a 5″ knotted fringe. I did not wash but steamed well.
• Yardage:  Total yardage used = 1654 y, figured from weight (670g) of finished piece and not including loom waste.
• What I will do differently the next time I weave this alpaca:
  • Start with way more than enough yarn, nearly double the amount I need for warp, so that being frugal doesn’t affect my planning! 
  • For this alpaca I will use a sett of 12 epi for plain weave, and perhaps 14 or 16 epi for twill. doubling ends through the 8 dent reed for twill. I do suspect the reason the twill is so weft heavy and at such a shallow angle is because of the warp being too spaced out, I don’t know actually, only a guess. Setting up the warp erring on too close probably better than too far apart, for the weaving would not stand up to even a light beat, as if it just wanted to squish together and the warp hardly visible. 
  • Originally I wanted to use my 10 dent reed that it came with, but didn’t think I could get the 72″ length full width of the loom, and I wanted it to be as wide as possible. So, I recalculated an epi of 9, and got an 8 dent reed, so I improvised 2 ends through one dent every 11 dents, it was crazy doing this, and I think it actually caused a vertical stripe in the warp !  As it ended up, I ran out of weft and had to cut the piece off the warp with another 12-18″ that could be woven –frugality backfired into waste!  That was wasted warp that could have been reconfigured into a 10 or 12 dent reed for the warp I ended up using in the end.  In future, it has got to be easier, a simple rule of start with plenty, and warp evenly 1 or 2 ends in the dent, every dent the same number of ends, all the way across the warp, with exception of the selvedges being more if reinforcing the edges. 
  • Not use the full width of the reed, this must be a universal thing, for one needs room for floating selvedges, and to add a couple of warps if necessary.  Leave at least an inch on either side of the warp for fixes, at least until I know for sure, at least until I know what I’m doing. 
  • Add more twist to this alpaca if I can, before warping! The weft can be fluffy and barely twisted, that’s okay, but I would have had far fewer breaks had I run the balls through the spinning wheel giving them a couple of turns more. 
  • Warp it in even bundles of say, four inches on the reed, and sley/thread one bundle at a time rather than overwhelming myself with all of them at once. After all the threads are gone through the front, it is easy to untangle the warp with this slick alpaca, just a few shakes and the strands magically align, to wind on to the warping beam. 
  • As I was breaking warp threads, I was looking for things in the house I could wind and weight down as a floating weight. I discovered my tiny drop spindle to be the perfect warp weight!!! I loved it so much because I could actually spin and increase the twist of the yarn that was breaking because it was too loosely plied. So, bought another just like it, and plan to have two of these tiny less-than-an-ounce spindles to be my official floating selvedge weights, perhaps twisting two selvedge strands together rather tightly and “parking” it on the table, as those turkish style spindles do so well. 

Snow!

Just finished some twilly alpaca woven thing and rushing through photos of it so I can bring it to my dear friend, then snow started coming down, doubling the excitement . . .

Hey Juno, its snowing!

By the way, in about a week, Juno will be three, already! Where does the time go?

Scarf No.2

Another simple check with three big blocks of color shows so well how shades interact and colors multiply, intersections creating new colors and keeps the interest going through the arduous task of managing even edges. Something so basic as three colors can give a lot of gratification when first learning the basics of weaving. I am still a massive fan of check!

In my recent weavings I’ve been reinforcing the selvedges with extra threads and using a temple, which at this early stage of becoming a weaver, I have already come to rely upon. I think every once in a while weaving something without extra selvedge threads or temple, would give me practice keeping the selvedges from drawing inward by keeping the tension even but not too tight, and the weavers’ angle generous. There are many weaving notes and photos left below, in the event that anybody might find them useful, and I am happy to talk about the details further in the comments as well.

♣   Weaving Notes  ♣

• Yarn:  10/2 cotton, 4200yds / 1 lb, Valley Yarns Mercerized in colors; Golden Ochre (7129), Moss Tone (5997), and Mediterranean Blue (2448). This is the first time I used mercerized cotton, having no idea how much I would like it, I really do! 
• Loom: Ashford Knitters Loom 20″.
• Warping method:  Direct warp set-up, 1 end in every heddle/hole, and 1 in every dent/slot –drawing out from apron rod through each dent to peg is 2 ends = each color 30 dents = 60 ends.  Approx 100 inches from apron rod to warping peg.
• Number of warp ends: 240
• Reed: 15 dent rigid heddle 20″ reed, and width in reed = 15.5″.
• Sett on loom: Warp = 15 epi (threads or “ends” per inch),  weft = 15 ppi (passes or “picks” per inch).
• Sett after finishing: Warp 16 epi, and weft 16 ppi.
• Color Pattern: Warp =  60 ends gold, 60 ends green, 60 ends blue, 60 ends gold.  Weft = wound 60 full wraps on to the stick shuttle for each color, in repeating sequence gold, green, and blue. 
• Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, measuring 68″ long and 14″ wide, and weighs 117g. 
• Yardage:  Total yardage used = 1083 y, figured from weight of finished piece and not including loom waste.

 

It was inevitable.

How could I have escaped the inevitable? The fate that I would want to operate multiple shafts was almost necessary to learn to be a weaver, and so I surrendered to fate. It took me about three days to put together, and it was not without near catastrophic moments, and in the end, it all worked out just fine. I admit to you though, I am a little afraid of it, for it surely will elevate me beyond mere simple plain weave to perhaps twill, and perhaps with a few hundred more texsolv heddles, I could weave very fine linen. We will see. For now, it is just an inanimate object that needs to have the pulse of creativity brought into it, and so today I intend to begin its very first project, I have made the calculations, with four skeins of alpaca for the warp, it is waiting for the spark of life. Wish the two of us luck.

Scarf No.1

Calling this one Sunny Skies, as it radiates sun rays and with a little cool stripe of sky blue . . . to be sent off to my youngest niece who is at university in sunny Santa Barbara, a vernal emissary to cheer her up.

Warp stripes of burnt orange, golden yellow, and sky blue, against weft strips of burnt orange and golden yellow; the pattern makes an interesting, elongated check pattern with a thin strip of pale compliment color contrast. A beautiful check improvisation if I may say so, and definitely plan to explore this same pattern again per weaving notes below, the checks are so subtle as is the contrast stripe, that the possibilities are many. Exciting!

 

♣   Weaving Notes  ♣

• Yarn: Maurice Brassard 16/2 unmercerized cotton, 6720 yds / lb.
• Loom: Ashford Knitters Loom 20″.
• Warping method:  Direct warp set-up, doubling up epi — 2 threads in every heddle/hole, and 2 in every dent/slot. Approx 100 inches from apron rod to warping peg, which is a guess as I seemed to have forgotten to take notes on that measurement.
• Sett on loom: Warp = 30 epi (doubled) and weft = 15 ppi (single).
• Sett after finishing: Warp 32 epi (doubled) and weft 16 ppi.
• Reed: 15 dent.
• Color Pattern: Warp = 22 ends Rouille, 4 ends Bleu Pale, 22 ends Rouille, 22 ends Veil, 4 ends Bleu Pale, 22 ends Veil; repeat.  Weft = 96 picks Rouille, 96 picks Veil; repeat.
• Total number of warp ends = 296.
• Selvedge: Doubled up two outer most selvedge warp yarns (4 ends hole & slot), and used a temple to try to keep even.
• Finished: Twisted fringe by hand, then washed and dried in machine, then pressed.
• Weaving edge to edge measures 72″ long x 17″ wide, including 3″ fringe.
• Finished Weight: 130g. Total yardage of finished piece is 1924 yds.
• Other notes: This was the first weaving in *such* fine cotton, and it proved difficult to keep weaving even. Next time I’ll go lighter on the beating. Also, even after choosing the most subdued colors available, I am feeling like the overall affect is much too bright. How to soften colors? There’s always the easy trick of simmering yarn in a dye bath of tea — before — weaving with it.

Tablecloth No.1

I finished weaving on Christmas eve, cut off the loom on Christmas day and in a chocolate induced moment of bravery I tossed it in the washing machine to wash, dry, and shrink. The day after Christmas I pressed, cut all the loose ends, hemmed it by hand, and am very pleased with my first tablecloth. I have been working on this cotton-linen table cloth since warping in November, at first not very often, as I had not developed a regular habit of weaving, but then as the weeks went by, and spending half hour of focused weaving several times a day in between chores. I even explored weaving spaces with the loom, having carried it up and down stairs several times, as well as back and forth from the tiny house a couple of times, and even hid it away in a closet out of sight with weaving in progress, while I cleaned up for guests on Thanksgiving Day. Sure a floor loom would be faster, but however slow this big rigid heddle loom is, slow and steady wins the race. I’ve learned how to handle the long stick shuttle while keeping the sheds relatively neat and clear, and to boast, there is less than 16″ of warp waste including tie-on and header,  I think amazing given that I calculated perfectly for the fit on the table. All in all, I’m very pleased with this first serious piece of cloth. I really LOVE the simplicity of this loom, and believe its colossal 48″ weaving width is manageable because I’ve learned to weave while standing.

♣   Weaving Notes  ♣

• Yarn: 22/2 cottolin (mostly Maurice Brassard) 60% cotton & 40% linen, 3360 yds / lb
• Loom: Ashford Rigid Heddle Loom 48″
• Direct warp method, 110 inches from apron rod to warp pegs, warping 2 threads in every heddle/hole, and dent/slot.  See the post where I am warping this project.
• Sett on loom: Warp = 25 epi and weft = 12.5 ppi / or, threads per inch
• Sett after finishing (shrinking) : Warp 28 epi and weft 14 ppi
• Reed: 12.5 dent
• Color Pattern: 20 threads alternating with 4 threads = warp, 48 picks alternating with 12 picks = weft
• Selvedge: Doubled up two outer most selvedge warp yarns, and used a temple to try to keep even.
• Finished: Machine washed and dried, hemmed by hand, hem to hem measures 80″ long x 42″ wide.
• Finished Weight: 540g, or 1.19 lbs. Total yardage of finished piece is 4000 yds.
• Note about loom waste : I weighed the left over cut yarns after all finished, which weighed 55g, and that would be about 403 y, so total yardage on the loom 4400 yds, and 600g before cutting off.

Winter Solstice

A very happy winter solstice, and a walk with Juno to the top of the mountain on this very clear bright morning, with wintery sentiment from the red toyon berries. All the new growth is overtaking the dead trees from the wildfire (now six years since), the old trees still standing appear silver and artfully dignified in their rightful place, here, there, everywhere, in the crisp winter light.

((click 1st image to go to slide show))

Speed Tweed #2 spun.

The batts were simply lifted off of the carder and split into strips, wrapped into nests, and then photographed. They spun up perfectly, and I think I have arrived at my method of methods for a fast and uniquely interesting way to make yarn. In this color mix I chose solid tones that were already dominant in the hand-dyed braid, which end up creating a very subtle contrast of tweedy colors, if any at all, more like enhancing the hand-dyed braid. From the camera’s eye, the presence of color changes from the dyed braid are practically unnoticeable. I spun up as close to worsted/aran weight as I could, short draw and single ply, calming the twist energy with a scalding finish bath, thwack, and hang dry. This spinning method absolutely is the easiest I’ve ever done, and I was hanging the spun skeins dry before I could even blink. For the quick and easy way I prepared the wool, see tech notes in Tweed Chronicles: Speed Tweed #2 , and stay tuned, there will be more of the speed tweed experiments in the territory ahead!

The last days of Autumn.

Almost mid Decembrrr, the days marching through the last stretch of Autumn, and the trees rapidly losing their foliage now, the maples already bare with only a few remaining leaves hanging on. I haven’t been out photographing my favorite season this year, but it is ever as beautiful as I long for it to be, ever as calming, and nurturing, and as these last leaves break free in the breeze, they land as a surprising finale. And then it is time for nature’s sleepy yawn as soon it will bed down for winter, and with knitting to be done!

cast on . . .

At last, I have cast on! Three hours before an obligatory Christmas party, knowing that without my knitting I will languish surrounded by people I don’t know, so a quick knitting project would give me much company, and save me from being a grumpy wall flower. But what to knit? I don’t want to cast on for yet another pair of socks that would very likely be forgotten as one-sock forever in a drawer, and I have been in the mood to knit with the set of birch straight needles I got over a year ago, so it is now decided, I have begun the actual knitting phase of my Summer Fields project that I’ve already put so much work into. I have not knit for over six months now, so my hands are purring, and ideas are flowing and so . . . maybe a new design? First a kahve, to stir my imagination, and I’ll finish the ribbing. . .

Tweed Chronicles: Speed Tweed #2

In a recent post I began my Speed Tweed experiments, combining an earthy mossy sage toned dyed braid along with undyed wool rovings, attempting to simplify the steps in creating a varied tweedy yarn (which is spun by the way, more on that project is forthcoming). I’m loving the drum carder and speed tweed so much I am racing on to Speed Tweed #2, blending hand pulled tufts off the end of three roving in equal amounts, placed into the carder, and I really love this color combination so much! Its gotten to the point where I just walk down to the tiny (wool) house, make coffee, and get to blending on the new drum carder, for no other reason than I’m in a wool carding mood. I’ll show off these blended batts in another separate photo wool nests and the spun yarn in another post.

♣     ♣     ♣

Techy stuff for Speed Tweed #2:

• Fibers . . .
  • 1 part hand-dyed colored roving (100g braid from Jakira Farms)
  • 1 part solid roving (100g Paradise Fibers solid merino roving “antique”)
  • 1 part solid roving (100g Ashland Bay solid merino roving “flamingo”)
• I pulled tufts from the ends of the three rovings in sequence as shown above, and placed into the drum carder to run through only once. Repeated until fiber used up, and lift off batt.  
• Three batts of approx. 100g each, of wool to spin. 
• See ALL color blending experiments & recipes archived in Tweed Chronicles

My Summer Fields Spun

Spinning finally finished, a few weeks ago, and My Summer Fields project has thus far taken me through the summer well into autumn since the resident drum carder arrived. All that work messing with raw fleece, then giving up on it because I couldn’t get the strong smell of sheep out of it (and imbedded into my new drum carder) then changing course and instead using yards of undyed merino-corriedale Wool Of The Andes roving I had in my stash, I finally worked out the batts, and I drafted almost 600g of rolags ready to spin. On and on I spun a little here and there, then as I ended up spinning it a little too fine (my new default it seems), I decided to try a 3ply yarn. But the more one cards, drafts, spins, and plies the careful color variegations in the wool, the more the colors all diffuse! Unfortunately, a lot of work for that sad reality. However, I am pleased enough with it, but it is slow tweed for sure. I wanted to knit a sweater out of this, but am distracted by the looms in my life, and the holidays are now upon us with the new year coming just around the corner. So perhaps this would best be knit up in the calm mid-winter months. Oh, and I’ve had a chance to gauge the weight: 135y = 100g. I am thinking a bulky weight which will probably be 14-16 sts = 4 inches with US9-10 [5.5-6mm] needles.

Speed Tweed #1 spun.

The carded wool from Speed Tweed #1 has been spun and I have some observations. In this experiment I chose the ” layered batt ” for my first speed tweed experiment, as the colors & fibers will be least blended of all, and yet one can at the point of lifting the batt off the carder, begin spinning. These skeins were spun single ply, aran-worsted weight, short draw, soaked in super hot water, and hang dried, completely relaxing the twist. I’m finding that it really doesn’t get much speedier than that! 

Above are samples of the first run through the carder (left), the second run through (middle), and the third (right), each time the colors homogenizing more. The most dramatic tweedy splashes of color happen in the first sample . . .

In summary, this fiber preparation was very easy, laying the layers down in one go, no hand-mix, just one trip through the carder. However, I think the process I’ve prepared the wool in Speed Tweed #2 may be the speediest preparation of all, requiring least number of steps, and in one carding its done, ready to spin. Got to spin that up and wrap up the speed tweed series.

Tweed Chronicles: Speed Tweed

I am experimenting on simplifying spinning the carding process as much as possible, so that eventually I may have a recipe, so to speak, to spin in the tweed style much like the Donegal mills spin that I love so much. Since my last big spinning project I have wanted to liberate myself from so many tedious steps, and so speeding up the process is what I’m after in “speed tweed” series.

This experiment starts with a very simple layered batt of a colored hand-dyed braid and one or two solids, then spun quickly to an aran weight single ply. I am working on my drum carder this time, however blending boards or even hand carders are going to be the same process, just on a smaller scale. The drum carder of course, now that I have one, offers the most fiber volume with fewer steps, a blending board a few more, and hand carders will take many.

I chose a multi-colored combed top braid from my small collection of indie dyer braids, and I admit, this is the most significant shortcut, for to take advantage of so many beautifully hand-dyed and multi-colored rovings available these days — so many — having the colors already blended is the biggest time-saver, and so very easy to find them too! I usually prefer subdued color, so for this experiment I have sandwiched the colored roving in-between two neutral solids.

Here is one batt split and coiled into little nests.

Additionally, I plan to spin in a very simple time-saving way, in a short draw worsted technique. That is, working with the combed top, trying to keep the fibers aligned, then keeping the alignment of the wool as much as possible by splitting strips off of the batt — no rolags, no dizzing, no further prep, just loosely put into little nests to photograph them — okay, so now its time to lose myself in some spinning.

♣     ♣     ♣

Techy stuff for Speed Tweed #1:

• Fibers . . .
  • 1 part hand-dyed colored roving (100g multi-colored combed top braid from Jakira Farms)
  • 1 part solid roving (100g Wool Of The Andes Roving in Bare )
  • 1 part solid roving (100g Wool Of The Andes Roving in Mink Heather )
• I divided each color into thirds (approx 33g each) and layered on the carder as follows:
  • First layer = 33g layer in mink
  • Second layer = 33g layer in featured colored braid
  • Third layer = 33g layer in natural white.
  • Pull batt off, divide into 6 to 8 strips, and coil strips into little nests to spin. Repeat remaining two thirds.
• Approx 300g of wool to spin. 
• Notes for improvement: As I layered the whole 100g rovings in one layer, I had to run it through the carder again to homogenize enough to my liking. Next time I will apply the wool into the carder differently, refining my speed tweed technique!
• See ALL color blending experiments & recipes archived in Tweed Chronicles

Another rigid heddle loom!

An Ashford 48-inch rigid heddle loom has shown up here, and I am broadening my weaving experience. I waxed it and put it together some time ago, and it happens to fit excellently in my closet squirrelled away when not in use, because it is actually a very simplistic streamline idea in loom design. But now I’ve set it up here for its first test weave, sacrificing all the cottolin thread I had on hand in order to learn the scope of it, and have worked only about a third of the warp through the reed, all to show for about three hours of set up; calculating basics, measuring and placing the tables for the pegs, which I’ve got spread out to section the warp, and actual warping, all which is so uncomplicated and easy compared to conventional warping. The direct warping method is brilliant, a loop thread is drawn from the spool, through the dent slot in the reed and around the pegs, which creates two threads, one which is often rethreaded later through the heddle hole, creating one thread in the slot, and one in the hole. However on this project I’m doubling up on threads which makes it even easier, although twice the initial threading through the reed to the peg, for then all the threading will be finished as soon as I make it across the full forty-eight inch reed (12.5 dent), with no additional threading after I reel the warp on to the back beam. Honestly, this is the method of methods, and I’m going to explore it extensively (a conversation with Bea comes to mind, about doubling up the threads in the reed.) : waves to Bea : Oh, and obviously the colors are much too bright for the room, and now that I photograph the set up in the house I realize now that I am going to need to get shade cards and be much more subdued with my color choices, but I am weaving this test run with all that I have on hand, and it is going to apparently consume a lot more yarn/thread than my Ashford Knitters Loom, which I fully expected proportionally. Its going to be so wonderful to have it around when I want to weave larger things, like table cloths, small blankets, curtains, etc . . . and besides, it is just the natural progression of things around here, pushing for new perspectives and experiences. In closing I’ll say that I have learned to weave standing, so working the stick shuttle through the shed, although going to take some wrestling with the reed, will be taken in stride, literally.

Wool Shawl No.3

Number three of Donegal Tweed neckwear pieces, last week I reeled off the loom , and now it is finished, and this one warped with the help of Juno who’s colorway is so similar that I’m naming the colorway “Juno” . . .

I’ve woven this one with a larger dent reed on my Ashford Knitters loom than the last two, a 12.5 dent reed, and think I’ve decided that it is the perfect size for this single ply fingering/lace weight yarn. Now three finished, no more Donegal Tweed and so on to the rest of the yarn in my drawers.

♣   Weaving Notes  ♣ 

• Yarn: Isager Tweed made in Donegal, also known as Donegal Tweed by other brands.
• Loom: Ashford Knitters Loom, 20″.
• Reed: 12.5 dent reed, optimal I think, for the Donegal Tweed.
• Sett: Warp = 12.5 epi and weft = 9 ppi, 1 thread in the heddle/hole, and 1 thread in the dent/slot.
• Direct warp method.
• Selvedge: Doubled up two outer most selvedge warp yarns, and used a temple.
• Finished: Not wet finished, but steamed, tied a simple knotted fringe (knots could be taken out and twisted fringe worked, but I prefer the soft yarn strands). 
• Measurements: 76″ long x 19″ wide, not including 4″ fringe.
• Weight: 246 grams. Yarn has 218 y per 50 g so that is about 1090 total yards. 

Wool Shawl No.2

Number two of three Donegal Tweed neckwear pieces, mid October was reeled off the loom, and now it is fully finished and so photographable. These three tweeds have literally made me fall in love with weaving on my Ashford Knitters Loom. But what to call them…. scarves? Wraps? Stoles? The three Donegal Tweed pieces I’ve woven have used up every ounce of my stash.

♣  Weaving Notes  ♣ 

• Yarn: Isager Tweed made in Donegal, also known as Donegal Tweed by other brands.
• Loom: Ashford Knitters Loom, 20″.
• Reed: 12.5 dent reed, optimal I think, for the Donegal Tweed, 1 thread in the heddle/hole, and 1 thread in the dent/slot.
• Warp (sett) = 15 epi and Weft = 6 ppi. 
• Direct warp method; if you take a look at the photos in the gallery you’ll see I am winding on to the back beam while scooting the table & loom closer and closer to the pegs clamped down, I’m finding this is a good way to maintain tension on the warp while winding it on.
• Selvedge: Doubled up two outer most selvedge warp yarns, and used a temple.
• Finished: Not wet finished, but steamed, tied a simple knotted fringe (knots could be taken out and twisted fringe worked, but I prefer the soft yarn strands). 
• Measurements: 74″ long x 18″ wide, not including 4″ fringe.
• Weight: 248 grams.

just reeled off . . .

Just reeled off the loom, another plain weave check, that somehow miraculously used up the colors of the Donegal Tweed that I had left in my stash. This piece needs all of its finish work done as well as notes composed, and to “hang loose” off of tension for a while, and so I’m on to the next. This one and previous one, will return as finished and fringed pieces to properly photograph. Until then, I’m happy enough to just dive back in the yarn drawers and resurface with another warping to attend to before the end of the day. People are asking me, almost worried, what has happened to knitting? Am I finished with it? Will I return to it? The answer is simply that for now I am so happy in the weaving, knitting is only on a short sabbatical, and while attempting to convert yarn stash into cloth for a while, my long goal is to work back to spinning. Also, considering a very large rigid heddle loom for weaving wider cloth, such as throw blankets and table coverings, and what seems to me to be the natural progression of things around here. I don’t see that I will ever grow tired of simple plain weave.

Walktober, and tastes from the kitchen…

Walking almost every day this October, and trying to increase distance too. But who says life has got to be so hard? With all the walking I’m doing, I’m really upping my culinary skills; baking bread constantly, experimenting making wonderful things, things I have never done before . . . such as making ricotta, then making ravioli with it, or even put it into icecream. Focusing on the old-fashioned way of things, like toasting hazelnuts then grinding into a paste with mortar & pestle, (then making into icecream). Oh, on the subject of icecream, I learned recently a trick from my Argentine friend, how to make their national favorite dulce de leche! The Argentines simply boil a can of unopened sweetened condensed milk for a couple of hours, and it cooks in the can and magically turns into thick caramel sauce! Of course, I mix that with about 2 cups of whole milk, and 2 cups of cream, then churn freeze into an absolutely delicious and very rich Dulce De Leche icecream. So, like I said, lots of treats to balance out all of the walking. . . this is definitely turning into my favorite month of the year all over again.

just reeled off the loom . . .

This intriguing moody weaving of Donegal Tweed has been on the loom for only a few days, made entirely from yarn I had in my drawers . . . in blues, greys, and brown. Oh, but I seriously LOVE the rectangle check! I warped it on Saturday, considering it might be a nice wide scarf for a possible gift, but now pulled off the two-plus yards, and it is a bit stiff from the loom tension I suppose, thus inevitably not perfect for neckwear, possibly not soft enough. Deja vu ! Honestly, it is the same sett and same brand wool as the previous Isager Donegal Tweed piece I finished a few weeks ago, and softened up wonderfully. I bought and used a temple on this one, striving for even width with no draw-in. With this one I was a little more intentional, calculating some finished lengths, yardage, but left a lot up to guessing and assuming as the other one ended up “soft” and lovely, that this one would be too, as it is made out of the same yarn. Yet it feels like the weave is just too tight, however, I realize too that this is still stiff off the loom and has not relaxed yet, I suppose I ought to just stop worrying about it. The photo shows all the ends of the yarn wefts, which I really should learn to lay in before weaving, but I’ll weave them in with a needle soon and post again all nicely finished ~~ watch this space.

Coming Into Being (Wool Shawl No.1)

I am finding with weaving that after the piece is taken off the loom, weft ends woven in, fringe knotted, twisted, or braided, then it seems to take on its third dimension . . . draping, folding, wrapping around, rippling into its new personality, yarns blooming and fusing in place and it simply finds itself coming into being.

Number one of a series of Donegal Tweed neckwear pieces I intend to weave. The wrap, stole, scarf, throw, is 17″ wide and 98″ long, not including the fringe.

This wrap is au natural in photos, minimally steamed, but otherwise not wet finished, it now needs to hang in the rafters a while to let it relax more. Already off of the loom for a couple of weeks it is not at all stiff, as I thought it was going to be, but like leather, or linen, needs to be handled and used to soften up to be a really seriously fine 100% Irish Wool piece.

Another day with storm brewing, I’m afraid is making the photos all a bit dark.

♣  Weaving Notes  ♣ 

• Finished piece commentary here, the weaving notes for this piece are to be found on this post In Love (with Plain Weave Check).
• Yarn: Isager Tweed made in Donegal, also known as Donegal Tweed by other brands.
• Loom: Ashford Knitters Loom, 20″.
• Sett: Warp =14 epi (ends, or warp threads per inch, and weft = 10 ppi (picks, or weft threads per inch).
• Reed: 15 dent rigid heddle reed: 1 thread in the heddle/hole, and 1 thread in the dent/slot.

tea towel two

A finished linen kitchen towel, woven pretty quickly for a birthday gift, and then I let it sit around for a week or longer before deciding today to finish it with a hem, wash & dry, and ironing.

It is very rustic and open weave as far as table linens go, and it is definitely going to need another twenty washings & dryings before it feels like a proper tea towel, but that is the fun part, experiencing the transformation of the linen.

♣   Weaving Notes  ♣ 

• Using Bockens Lingarn 16/2 linen (100% linen) for both warp and weft, and I used my 15 dent reed. The listed sett (epi, warp threads per inch) for this yarn is 20-24 epi,  and I got about 16 epi, and 14 ppi (weft threads per inch) of 14.  Still not perfectly balanced, and looser weave than I wanted it to be. The dilemma is from the stiffness of the linen I suspect, and 100% linen is never easy to work with at any stage of the plant-to-cloth process, but I am motivated to figure it out because I love linen!
• Warped 1 in the heddle hole, and 1 in the dent slot, with 1 extra thread in the first and last 2 selvedge warp threads.
• Color: 12 golden bleach, alternating stripes of 4 dark gold and 4 light gold, with weft as white.
• I have been packing in the weft with the stich shuttle which is longer by about 10 inches than the weaving width, using it a bit like the sword of a backstrap loom, because I don’t want to stress the plastic rigid heddle reeds pushing too hard to tighten the weave up.
•  I forgot to take measurements of the finished piece, after wet-finishing (washing & drying) which I am guessing to be 16″ by 28″, before shrinking much, will probably eventually shrink to about 15″ x 26″ , with epi around 18.
• Improvements for next time: With this yarn I think I would like a tighter weave, as it lists recommended 20-24 epi for sett. (At this stage in my weaving, I don’t know if listed sett is for how the fabric sits on the loom, or relaxes after taken off and wet-finished, or if it needs to be specified.) Tightly woven table and kitchen linens on a rigid heddle loom may just take some experimentation. To compensate for the openness of the weave, I used my stick shuttle to really press ( beat ) the weft in, and still I am not getting ppi as high as the epi, so wondering how I can tighten up the weave.  One way I want to experiment in getting a tighter balanced weave for this yarn is doubling up on the reeds, threading through two 10 or 12 dent reeds and attempt to get 20-24 epi, for a tighter warp sett/epi, but I don’t think I could get the same for the ppi (wefts per inch). I believe it may be the nature of rigid heddle weaving to have some difficulty in creating a balanced tight weave, as one can easily achieve on a floor loom with a much heavier beating of the steel reed. 
• Also I think next time I will waste less warp on a hemmed piece if I lash the end knots to the sticks instead of tying the warp ends to the stick. For some reason the rigid heddle instruction book shows this method of tying the warp to the sticks, which I believe is intended for a fringed finish, but I think I’m ready to learn a better way for weaving for pieces intended to be hem finished, especially for expensive or handspun yarn. 

Experiments in weaving linen.

Just cut off the Knitters Loom, big enough to hem, wash & dry, and have it as a good sample, and I just LOVE linen!

♣   Weaving Notes  ♣ 

• This is pretty fine weaving for a beginner, with the finest dent reed Ashford makes for the rigid heddle loom  (  see last post.  )  I’ve used Bockens 16/2 Lingarn (100% linen) for both warp and weft, and a 15 dent reed. 
• Warped 1 in the heddle hole, and 1 in the dent slot, 12 white, alternating stripes of 4 olive green and dark gold. Unfinished the warp threads/ ends per inch (epi) are about 16, and the weft threads/ picks per inch (ppi) are about 14.
• The I have yet to wash and shrink it and measure the finished woven structure, but I suspect it is going to be a very open weave as far as table linens go. 
• Once cut off the loom, the piece is about half the length I wanted to make, and now I fully understand what the term “loom waste” is.   I thought I had plenty of warp on the loom with nearly 50″ , and this sample weaving only measures cut off the loom 19″ , and that is woven to the point of not being able to weave anymore as the warp can not advance into the reed anymore so that means 31″ of loom waste. Next time I will account for the loom waste and set the warping peg back another 20″ obviously, to account for the shrinkage after hemming and washing — for ONE tea towel. It would average far less loom waste per finished item to fill the warp and rattle off two or three of them, and that is for one approx 30″ length tea towel after finishing I reckon.

Sun Into Libra

Sun has gone into Libra, and it is the Autumn equinox. My traditional photo on this same day, in the same hour, for years now , always evokes such rich memories in me. Celebrating with the light and shadow of the beams, as they glow in the rays of the sinking sun of late afternoon, marking such a meaningful time for me, the transition into the cooler months ahead, and rain is imminent! Wishing a happy equinox to all.

In love (with plain weave check).

I can’t get enough of the simple plain weave check pattern, and my new Ashford Knitters Loom. I found quite a bit of light grey and natural Isager Tweed in my drawer, enough to work a large two color check pattern, and wouldn’t you know it, I’m weaving it into a rather long but wide scarf, to allow for plenty of shrinkage. I happen to only have either too large or slightly too small for choices in reed (dent) sizes, but I’m going with the too-small, even though each pass of the weft requires a bit of fussing to separate the sheds, I am strumming and carefully coaxing it into a real gorgeous thing!

I think the big boxy check color pattern is an excellent way to practice the balanced plain weave, striving eventually to have the same number of warp threads horizontally as weft threads vertically, and I’ll be the first to admit how completely entertaining the check pattern is! I’m quite happy with this, my second weaving project, although I miscalculated on the size of the check pattern, the squares were supposed to be 4 inches but are not-quite 3.5 inches instead, and it isn’t quite centered in the reed, but who cares, right?

♣   Weaving Notes  ♣ 

• The way I weaved this piece is pretty much the same as the one in the last post but with two colors,  A Very Late Introduction to A New Loom and the process will be my plain weave check standard.
• This piece was my 2nd project on the loom, and as I had not yet understood the importance of correct reed/dent size (like knitting or crochet, you need the right “gauge” needle for each weight yarn) , and as I only had a 15 dent (smallest reed size for this loom)  the yarns are far too squished together — should have been woven in a dent size two sizes bigger, like a 10 dent reed to allow the tweed yarn to relax and bloom, therefore having more of an open weave, and creating a nice “drape”, and just be a nice wrap to wear in the cold months. 
• When I took this piece off the loom, I was actually disappointed because it was far too densely woven to be a scarf,  and not the appropriate yarn to have made a table piece, so it is not yet finished. Maybe after I finish it and it gets some movement in it, it will soften.
• Since this piece, as of Autumn, I have a nearly complete rigid heddle reed selection, with dent sizes 5, 7.5, 10, 12.5 and 15, and am able to weave more intentionally for the yarn I use. 

A very late introduction of a new loom…

I think it was in June, but may have been early July, a new Ashford Knitters Loom arrived, but just like a too-early guest to a party, I wasn’t quite ready for it; so I made it comfortable, expressed such happiness that it had come, and then promptly left it to attend to other things. July and August flew by and I hadn’t found the right time to warp it up, knowing very little about weaving, and even less about warping! But finally, on September 1st, I managed to warp the small loom, with the help of a very small instruction manual and warping peg that came with the loom. I found this “direct warping” method not at all difficult, quite genius in fact, but now I need to practice . . . lots of practice.

I chose this little 20″ folding rigid heddle loom because I think it is a good starting place to learn basic balanced plain weaving, and I am absolutely loving it, preferring color play to be the main focus rather than multiple shaft patterns. For that I think the rigid heddle loom is utterly perfect. Oh, and if you remember this post you’ll understand my colorway, and I’m using Venne Cottolin, and making a predictable first weaving of an Autumnal table runner… or something.

♣   Weaving Notes  ♣ 

• After choosing the colors, I adhered to a sequence, starting with gold, then blue, then green, then rust, across the warp, ending with gold which would frame the edges in the same color.
• In the same sequence I wove the weft upwards. If it were completely balanced weaving, there would be the same number of weft rows as warp threads, and the intersections of color would be square. But as I think it is more important to have squares than the same number of rows as threads, I wove up until the blocks were square, then changed color. 
• It is not yet finished, when I take it off it is pretty open and draping, so I guess being cotton-linen blend (cottolin) that it will shrink and the fabric will become a little more dense. I will probably just sew a hem on each end.
• Linen is rather stiff and scratchy until it is washed, and eventually softens, whereas cotton is instantly soft, and only gets softer, but the cottolin is a lovely blend of both, and I really love it! Linen is a very long strong fiber that is part of the “stalk” of the plant and processed from roots in the entire length,  whereas cotton is a very short and downy fiber, as it is the fluff in the seed pod of the plant, so you can understand why they are very different.
• This size is 22/2 very fine yarn actually, and it was woven with the smallest possible 12 dent reed, and still had airspace between the weft & warp. Once washed and dried I hope it comes together and is less open. Next I will attempt to weave with 8/2 cottolin. 
• I am learning that weaving yarns are very different from knitting yarns and especially so in the sizing standards, which I don’t know a thing about yet. 

My summer fields: predrafting from rolags.

Just look at these delicious whipped up light woolly confections! I am learning that big fat rolags off of the drum carder or blending board spin so much better and smoother when I do this pre-drafting technique, basically stretching the rolag (in little jerking motions) out into a longer, much more airy variation that has released the bound up energy so fibers can slip through so much better, not having to tug at the rolag.

From this rolag, firmly pulled-off-the-carding-drum, a woolly larvae of sorts . . .

Metamorphosized into this long limp airy creature . . .

And finally into this lightly wrapped beautiful whipped confection ready for woollen spinning.

(( See all posts in this series My Summer Fields Project ))

My summer fields: carding.

I’ve been busy since the resident carder came earlier this week, down in the tiny (wool) house, raking through the fleece that, after washing it twice, and putting through the box picker twice, I gave up on it as it still had way too many weedy bits, still smelled bad, and was still greasy. The last thing I need is a moth attracting sweater in my wardrobe, so, after cleaning the greasy grime that was fast accumulating on my brand new Ashford carder, I started over blending color with commercial white corriedale/merino top roving I had on hand, and added still more marigold, honey, and dark caramel hues.

However, I made the mistake of pulling off the rolags from the last carding without test-spinning ~~ I am so out of practice ~~ no recipe, just improvising, honing my instincts, and from this point forward it is going to be what it wants to be. I am planning on this first sweater in my wardrobe, to wrap me in the warm memories of golden summer fields all winter long. As I changed course in the middle of carding, I have no idea how much all these rolags weigh, but I’m guessing well over 600g . . . and now for the spinning!

See all posts in this series My Summer Fields Project

The resident drum carder . . .

. . . has arrived!

I am busy down at the tiny (wool) house, figuring out methods, weighing carefully, taking notes and taking a leap of faith in color, learning how to use the hand-cranked carder (feeding with left hand, cranking with right) and calculating percentages of mixes.

Back down in the charcoal forest, away from the internet, I am hunkering down . . . with a return to Tweed Chronicles, engaging my creativity with a bit of hard work, and making the effort for the yarn.

(( See all posts in this series My Summer Fields ))

High summer.

This morning I went for a walk with Juno, in the hot . . . dry . . . toasted-in-the-sun wild grass of high summer. I so very much want to capture it and knit it into a sweater! These are moments of this afternoon, as my ideas begin stirring, testing all gold tones together, trying to grasp the emotion I feel about the summer landscape that is elemental to my life on the mountain, and translate it into yarn.

See all posts in this series My Summer Fields Project

Tiny (wool) house.

Those of you who have been following my blog since at least four years ago do not need to be reminded about what the tiny house is.

But for those who don’t know; after the wildfire Jeff, me, and our dog Emma lived in it while our house was being rebuilt, then Jeff’s daughter stayed in it during the pandemic. It has been vacant now for a couple of years, spiders having it all to themselves, and having become weathered from the elements, I cleaned it up and decided to inhabit it for the purpose of wool processing! While fresh air blows through all the open windows through the entire summer, the place is feeling wonderfully clean, neutral, and cozy, and so I am making plans as I await the arrival of the Ashford drum carder, due in a few weeks from New Zealand. I have pulled out the box picker and decided to get a head start picking the fleece mentioned in last post.

I was rather surprised in myself to purchase the drum carder, as I really just didn’t think about how it would create dirt and dust in the house from carder fly-off, especially with home-grown wools, so it became evident a shed would be needed, then I remembered about the tiny house, it just called to me!

Such a sweet place to ponder in the afternoon, a short walk from the house, down in the charcoal forest, and having spent some hours in it today, mostly cleaning and then bringing down the wool picker … I made a cup of coffee, wrote down ideas, and picked wool. I very much enjoyed the warm and inviting personality of this space, remembering its womb-like feel. Anyway, I am hopeful that I can do something special with the tiny (wool) house, things happen for a reason, and well, here I am.

A fiber mill.

I bought an Ashford drum carder, because I really need one, and it should be here soon. After moving back home I began collecting fiber to spin; interesting roving by the mile, a palette of solid wool colors for blending, artful hand-dyed braids too, and novelty fibers to explore, as I was very anxious to get back into Tweed Chronicles, to blend and spin till the cows come home.

To add, earlier this year a friend gave me a raw fleece. I let it soak outside for the month of April, before rinsing it and letting it dry, not wanting to bring it into the house until it was completely clean and odorless, which it was not, it needs still further washing. Since May it has sat in that tub outside, a dry fluff of wool that the birds have enjoyed for nest lining. I realized that my work space and creative flow had become “fiber bottlenecked”, and can not allow it inside. I really hope this new addition to my loft studio will inspire me to get things flowing again with blending and spinning, and making.

Juno, who hangs out with me in the loft, agrees that it is about time I joined in on the fur fun !