Denting Part 3

Following up on my experimentation of denting in two layers, I knew that I wanted a cloth that was two layers, with denting on both layers, in a yarn that would not be too slippery, and using some interweaving of the layers.

My yarn of choice this time was Zephyr (50% fine merino wool, 50% silk) from Jagger Yarn.  I chose two colours of green, Bottle Green and Basil for one layer, and two colours of blue, Indigo and Royal for the second layer.

I measured a 6-yard warp, sett at 20 ends per inch (2 ends per dent), with 12 ends blue followed by 12 ends green, for a total of 192 ends, 96 ends per layer, 9.6 inches wide in the reed.

I threaded the blue threads on shafts 1 and 2 and the green threads on shafts 3 and 4.

For the first scarf, I sleyed the threads, 2 ends per dent in a 10-dent reed, with no gaps.

For the first scarf, I wove 12 shots of indigo, by alternately lifting shaft 1 and then shaft 2.  This meant that the blue layer was “on top”, and created plain weave squares where the indigo crossed the blue warps, and weft floats across the green warp threads.  On the bottom layer, warp floats occurred behind the weft floats.

Then I wove 12 shots of bottle green by alternately lifting shaft 3 then shaft 4.  This meant that the green layer was now “on top”, and created plain weave squares where the bottle green weft crossed the green warps, and weft floats across the blue warp threads.  When removed from the loom and wet finished, the woven squares and floats squished up, creating a lovely, bouncy and light fabric with the appearance of weft stripes on “top” and warp stripes on the “bottom”.

     

I cut off the first scarf from the loom and really opened up the sleying.  I sleyed 12 ends of blue, with 2 ends per dent for 6 dents, left 6 dents empty, sleyed 12 ends of green, 2 ends per dent for 6 dents and left 6 dents empty.  This time, I wove with 12 shots of Royal Blue on 1 and 2,  to square blue on blue, left a half inch gap, 12 sots of Basil on 3 and 4, left a half inch gap.  This gave woven squares, weft floats and warp floats as in the first scarf, but it also gave holes.  I wet finished the second scarf with a little more agitation to full the wool, and this scarf finished very light and airy.

Scarf 1 is 8.5″ wide x 76″ long finished, and Scarf 2 is 14.7″ wide by 68″ long, finished.

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Crammed and Spaced and Crammed and Spaced Again

First in crisp 2/40 linen. The draft is from JST Online Guild Season 3, Episode 2.  Nice drape and effect.

   

And then again with spaced naturally-coloured, organic cotton and crammed Monte Cristo plush cotton boucle.  Soft and light as a feather.

 

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The Value of Sampling

I love the drape and the cool, silky smoothness of using Bambu 12 in weaving.  Bambu 12 is a rayon made from bamboo, and is widely available.

After weaving the project sample in JST Online Guild, Season 3, Episode 1, Denting, I wanted to push the boundaries further by experimenting with Denting in a Double weave format.  I wanted the holes created by the open denting on one layer to expose the plain weave squares of the second layer.

I set out a colour order using alternating darker colours of Ginger, Acorn and Fig, with lighter colours Sweet Corn, Willow and Maize.  I wound the warp as shown: 24 ends per inch, 24 picks per inch.

And threaded the loom putting the darker colours on shafts 1 and 2 and the lighter colours on shafts 3 and 4.  I wove each colour to square, first a dark square on the bottom, then a light square on the top, twisting the colours at the selvedge.

This seemed to give me the effect I wanted, a dented hole in the top layer appearing over a woven square in the bottom layer.  I finished the sample, took it off the loom and washed it, and got – what I wasn’t happy with – a sleazy, loose mess, with the two layers barely held at the selvedges.  It just looked like a poorly sett and woven piece of fabric with no structure. I was not happy with how the two sets of colours played with each other.

I continued to sample and try different “ways of weaving”.  I tried alternating one shot dark on the bottom layer followed by one shot of light on the top layer to square.  This gave the fabric the structure it needed, but I couldn’t see the colour of the layer underneath.

In the end, I love the final scarf I made, with areas of two-layer weave punctuated with stripes of plain weave across all four shafts, finished with a beautiful plain weave check using all the colours of the warp.

         

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What a Difference a Weft Makes

How much fun it is to work with a pattern, keeping everything the same except for changes in the weft colour.  I have been working in Overshot weave for a few months, and enjoying the process of changing weft colours as well as treadling blocks in different orders to produce different looking cloth.

I love how these towels can look so different with a simple change in colour.  The warp is 2/8 cotton in green, yellow, blue, red, and magenta, with navy blue used for the dividers.  The pattern weft is also 2/8 cotton, and the tabby is 2/16 cotton in the same colours as the warp.  The Overshot pattern is Johann D-‘s Design No. 2 from Marguerite Porter Davison’s “A Handweaver’s Pattern Book” pg. 138.  I made some changes to the pattern by reducing the number of threads in the floats to accommodate my warp sett of 18 ends per inch.

As I wove the first towels, I kept the white pattern yarn consistent throughout, while changing the tabby colour to create a colour gamp grid moving across and along the towel.  I used the navy tabby to frame each colour square of the grid.  The first towel was all white 2/8 cotton for the pattern yarn, and 2/16 in green, yellow, blue, red and magenta for the tabby weft, and navy for framing in both warp and weft.  Each square changed slightly as the tabby weft colour changed and played against the warp colours.

 

The second towel was all black 2/8 cotton pattern yarn, and the coloured 2/16 tabby weft yarn.

   

For the third towel, I changed the pattern weft colour for each Overshot row, and used a different colour for the tabby.  Some rows I wove in plain weave.  Some rows I inlaid only a portion of the Overshot, leaving the remainder of the row in plain weave.

   

One warp, three looks, so much fun!  More overshot patterns are going on my loom very soon.

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And Then This Happened

I spent the last few days at ANWG 2019 in Prince George, BC.  I had lots of fun learning and socializing, visiting exhibits, shopping at the Vendors Hall, listening to the keynote speaker Abby Franquemont, and watching and participating in the Fashion Show.  And then the last minute of the last day, this happened!

I won the People’s Choice Award for Weaving, sponsored by the Salem Fiber Arts Guild for this piece-

   

This piece came about as I was studying log cabin, and I wondered “What if I could change the direction of a log cabin block without changing the direction of the blocks surrounding it?”

Titled “Isolations” this is a woven scarf, looking at how to isolate log cabin blocks and make them appear to seemingly float out of the ground fabric.  Framed with supplemental warp borders.  Thinking of climate warming and seeing chunks of ice breaking away from the glaciers and floating away to melt and disappear.  I wanted to break away from the traditional forms of log cabin and create a modern interpretation.  A confluence of vertical and horizontal lines.  Woven in 2/8 tencel, doubled.

Thanks to my peers who voted for me, and Salem Fiber Arts Guild for providing the award.

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Deliberately Leaving Holes in your Warp; Otherwise Known as Denting

The following two scarves were made following the instructions found in JST Online Guild, Season 3, Episode 1: Denting.  I am working on using up my stash this year, so I have substituted my own yarns for those recommended by Jane.

The first scarf is made with 2/10 mercerized cotton from Lunatic Fringe.  The colours I chose are 10 Blue, 10 Blue Green, 5 Green and 5 Green Yellow.  For this technique, Jane encourages us to thread a few ends through the reed, following the sett for the yarn used, and then leave a few dents empty.  When done systematically, and following the same spacing in the weft, we end up with a light airy fabric with deliberate holes.  These two scarves went on and off the loom quite quickly.  The first scarf used the same mercerized cotton colours in the weft.  The second scarf was woven with 2/20 silk, and the spacing in the weft was changed to create wider stripes.

Scarf 1 – working on my Super Woman pose

Scarf 2 – weft is 2.20 silk

I wonder what else I can do using the same technique.

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Two Scarves in Scrumptious Supplementary Warp Weaving

What a joy it was to weave these two scarves in Supplementary Warp technique.

  

The idea for these came from seeing a similar piece on Pinterest, with a link back to the blog of “gangewifre-dot-blogspot-dot-com”, who, in turn, was inspired by the weaving of artist Juanita Giardin.  Circles within circles as ideas are passed on from one weaver to the next, and to the next in a craft that has endured for thousands of years.  Examples of supplementary warp fabrics can be found across many times, places and cultures, from as early as  5th century Southeast Asia, pre-Hispanic Peru and Ecuador, 18th century Europe and Scandinavia to modern times.  Contemporary weavers have an abundance of yarns and colours to choose from, keeping everything fresh and exciting.  Mine are woven in richly-coloured Tencel, with the supplementary colours on top of a black and white ground.

In supplementary warp technique, the extra pattern-making threads float over and under a ground warp, usually plain weave. What a wonderful way to add a decorative element to an otherwise unadorned piece.  The plain weave ground is threaded on shafts 1 and 2, and the extra pattern warps are independently threaded on the remaining shafts.  The extra shafts are lifted for a while, allowing the pattern threads to float over the ground, then, as the shafts are lowered, they interlace through the cloth and continue to float underneath.  The over and under, over and under rhythm continues, making beautiful dots and dashes of colour.  Different patterns can be made, depending on how many independent shafts are available.  For an eight-shaft loom, like I have, there are six independent shafts.  The scarves I wove have a 24-pick repeat, and so are more easily accomplished on a table loom.

The hard, slow work is in designing and setting up the loom.  After that, the weaving itself progresses quite quickly.  Woven in 2/8 Tencel, the scarves are soft and silky.  I wove the red scarf first, and then I pulled out the red and gold threads, replacing them with blue and silver for the second scarf.

I am so motivated to continue exploring this technique.

 

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