Simplicity

Yes... a weaving project to share with you! I finished the eight yard warp the day before we left to see our new grand daughter.  I cut it off and I must say that there is nothing as satisfying a a big fat roll of cloth sitting heavy in your lap as you enjoy the results of your labours!

Our time away was great but physically demanding for me with a deteriorated knee. I'm afraid it was bit much and so on returning home I went to take a step from the driveway to the path to the house and I felt something go in the knee and a jolt of pain.   So rest, ice packs and anti inflammatories have been the order of the day. X-rays showed no damage to bone so they suspect a meniscus tear.  So while it settles I worked on finishing the towels....

But lets back up a bit to the start....

I found the pattern in the Design Collection 16 on Kitchen Towels and its shown there as a bread cloth. There was something about it that really appealed to me. It must have been all the Vav magazines I have been scanning lately, especially one on stripes.  Scandinavian linens have such simple clean lines, bold colours and simplicity in their weave structure. Its uncomplicated.   So I entered the draft into my weaving program and modified it to suit my needs and searched for yarn in the stash. 

I have an interesting dilemma with my 8/2 cotton stash. I have one cone of this and a part cone of that.  Maybe two full cones of this colour but nothing to really go with it. A lot of yarn still but not really working together either in quantity or colour.   I had a lot of snowy white and natural beige. I felt that white would be too stark a contrast and so went with the natural.  My next choice was royal blue as I have a Denby dish set that compliments that shade.  The third colour was a khaki / green/ beige to be a soft intermediary between the two.

I used a 20 epi sett as that's good for both plain weave and the Swedish lace and made my warp twenty five and a half inches wide in the ten dent reed. Each towel was woven to a length of thirty four inches in total, so I had to work out various measurements of borders, striped cross section and the lace area in the centre. Its kept me busy keeping track!

I found that the draw in was quite pronounced right from the start and so quickly added a temple to the warp and I had to beat *very* firmly.   The cream plain weave actions went quickly with a nice fast pace and the cross stripes slowed me down to a crawl.   A nice balance!

After planned towel number seven I found I was looking at the back of the warp and not much of my planned twelve inches for samples and in fact not much of my twenty inches of loom waste either!  I had allowed for three extra inches for every one yard woven for take -up but it was much more than that in reality. I managed to eek out a small sample (with the only treadling error in the whole project no less!)

I serged the raw edges and washed in my washing machine.  Once out of the dryer I continued to serge them apart into seven separate towels and then steam pressed them.  I was double checking them for errors and such and to my surprise I found two of them had some strange stains on them.  See below: (it was hard to photograph but much darker and larger in reality!)

I had no clue as to what it was or where it had come from!  I never take drinks near my loom when I'm working. The dog (unlike cats) has not the slightest bit interested in the loom and I have no small children with sticky fingers here (yet). My Maytag washing machine has a stainless steel drum and my dryer is clean inside.   Bruce instinctively said "it wasn't me!"   :)

I kept them separate from the other five towels and thought if I couldn't get the stains out, then we would have two new towels for our kitchen instead of one.

I pressed and pined the hems with a neat double fold over  and did a running blind stitch to hem them. It gave me something to do while I rested on the couch, leg elevated and with a gel pack on my knee!

So here are the beauty shots.... and I must say I love them!  The plain weave turned out nicely and is a 50/50 balanced weave. The plaid sections are (mostly) squared, well, close enough for me!  The lace section in the middle is more of a nubbly texture which would make for great absorbency. Its also a nice contrast if used as a table centre or tray cloth. The lace doesn't pull and make little holes as in huck lace, being only four threads.

The lightness of lifting four shafts was easier on my knee.  It brought home to me that the simplicity of a four shaft project has all its own complexities to balance: even beat to maintain, selvedges that show up even more, uneven warp tension is less forgiving etc.....  so you still have to 'weave well'.

What's next?  I have decided to go with another four shaft project next to take it easy on the knee as it settles down but still keep it exercised.  My eight shaft project was bumped to next time if all goes well.

weavers knot

As a closing 'gift'... here's a simplified diagram of how to make a weavers knot. I found this on a Pintrest board and no identifying source to quote.   It looks much like a bowline I struggled to learn back in my sailboat days in the 1980's.  We used to say: The rabbit come up from the hole in the ground, goes around the tree and goes back down the hole.... but its exactly where it goes down that counts! In the wrong spot, the knot will fail and you can't undo it..... and in the right spot, it holds tight and can be undone.   Much like Life huh?

Oh.... The stains came out by the way.....no trace of them left and no fading of the three colours.

Yippee!

The Quest for the Illusive Selvedge

So have you ever had a sore toe and then you seem to hit it on everything? The dog even stands on it?  Well, my sore knee is much like that toe... just begging to be hit.  I rapped it hard against the beam on the loom, cracked it on the coffee table and then the final straw,  I pushed it sideways trying to reach up and turn off a bed side light.   ~*ouch*~  is the only word I can write here in polite company.

So its been well iced, anti inflammatory gel rubbed and generally babied. I even resorted to a cane to help me up out of chair and on stairs. Its paid off and I'm back to my normal cranky knee and stepping on a treadle again didn't seem to bother it today.  yeah!

The side issue from this recent little episode is that there's been no weaving. I've been working on some drafts and playing with the Fiberworks program while I had my leg up. I had planned to get one more blog post in for May but that didn't happen. Then I was wondering what the heck to write about when a friend asked me to share how I get my edges when weaving. I can do that!   So I've been thinking about the things I do, the tools I use to get my selvedges.  Its been a learning curve much like anything else we learn and do in the weaving world!

My dear friend and mentor Margaret gave me some tips and advise when I was still a newbie weaver back in 1997, but the one pearl that stuck with me was to "simply weave a mile". Turns out her weaving teacher had told her that way back when in 1947 when she started weaving. Margaret used to be an occupational therapist before she retired and used weaving to help recovering veterans from World War 2 with their therapy.

"Weave a Mile" sounds funny at first, then silly.....but when you stop to think about it, it makes sense.  When you are new, you fuss over every shot, every pic. By the end of a mile, its about simply getting the job done and the edges just disappear from your overall view. A mile means you have perfected your throw and catch, when to apply the thumb to brake the yarn, how much to angle the yarn so it draws in what it needs before the shed closes. You also develop a good rhythm and synchronize your movements.

Margaret had me sitting properly at the loom and mindful of my posture right from the start of my weaving career. When I got my big Woolhouse loom in July 1998, she was there on the doorstep right away before I ever threw a shuttle to make sure my new bench was the right height and how to use it properly so not to abuse my body.

She also told me that once you have the basics maneuvers under control (more of that mile again), then use whatever tools you have to hand to assist you in a successful project.  Temples (or stretchers) and end delivery shuttles (also known as end feed shuttles).

I requested one for Christmas as it was a bit spendy. Not sure about this new shuttle as I had no experience with one, other than a hearty recommendation from Margaret. Santa brought me a twelve inch Schacht end delivery shuttle and a bag of five red plastic pirns. Winding the pirns took some practice but I managed to get the knack. By the end of my scarf project, I had requested a second one for my birthday in March!  I was sold, sold, sold!  My edges were respectable before and looked great now!

Lay the yarn between the two plates and gently pull down and slide the tail of the yarn into the slot.

Then slide the tail up and over that little post and that's it.

If you are changing yarns and need more or less tension, then you make small adjustments at this point with the allen key that comes with the shuttle. The screw tightens or loosens the compression plates. Make the adjustments small as the little screw could fall out if tightened too much. Happily, that hasn't happened for me and I've used some fine yarns. If there are little loops at the selvedge, then tighten and if there is a bit of draw in, then loosen the plates off.  The nice benefit of this type of compression plate is that you set the tension and then if using the same yarn pirn after pirn, you seldom need to touch it again.

The pirn slides on to the aluminum shaft and after time of lifting and dropping the shaft again, it may need to be raised a bit. An adjustment at this point under the shuttle will raise the pirn shaft.  The pirn needs to be level so the yarn feeding off the tip travels straight through the compression plates. I'd like to add that I have only adjusted the shuttles for this only once each since I got them so its not a step you do very often.

I had eventually bought the larger fifteen inch Schacht shuttles that use the longer black pirns. Perfect for wider projects such as towels, shawls and baby blankets. The black pirns hold so much more weft yarn than regular shuttle bobbins. That means less joins in your work.  Who doesn't like that?

This is the best spot to mention that a tightly wound pirn also means smooth and easy weft being pulled off the tip of the pirn and laid into the pic. If  the weft digs down into the lower layer on the pirn, or is loose and an entire section comes off as a lump, you can guess the result.  I find when this happens you usually have to cut the weft lump and then that yarn is wasted. The answer is to apply tension to the thread as its being wound onto the pirn.  

You can hold the yarn between a small piece of leather, wear a glove or use a tensioner.  I went on a search for a new electric winder a couple of years ago and finally decided on the AVL model. I want to point out that Leclerc has one and so does Schacht and no doubt there are others too. The AVL model had what I was looking for, and was on sale at the time too! So I'm going to focus on the tensioner part as they do sell that part individually. It can be adapted and added to an existing winder set up if you are handy with tools or have a crafty husband.

The yarn goes through the pink ring on the far right, then between the tension plates and through the small pink hole, then through the pigtails. The "U" notch is where you can add a yardage counter if you like.  This whole apparatus slides to and fro in a notch on the stand. 

You control the tension on the plates by tightening the little white nob on the end of the spring. It adjusts for varying grists of yarns

Here you can see that I can't get the point of the scissors down into the yarn on the pirn. Its as hard as can be.  It pulls off the end smoothly and with no drag at all!

Weaving towels, particularly twill towels, sometimes had more draw in than I liked even with the end delivery shuttles. The weft travels over every second, third or even fifth thread and so the warp threads snuggle into their position closer together. Even with good technique and an end feed shuttle, you can still get draw in. Hard to stop it.... but you can reduce it.  Anything over half an inch to an inch is a lot so reduction is a good thing.

Temples or stretchers are in common use in European  weaving. They don't think twice about using them. Its a tool to accomplish their project. I liken it to a woodworker using what ever he has in his shop to make a beautiful wooden work of art. Hand tools, power tools.  Who sees the tools used later when the piece is done and presented?    With a handwoven, there's no indication that says "this was woven with a temple"   :)

It seems there is an idea in some North American weaving circles that using a temples is a crutch. That you should somehow get nice edges or less draw in on your own merit.  I strongly disagree .  Yes, new weavers should learn how to 'weave their mile' but after that, use the tools available. It all still requires proper technique and a good warp, and the temple doesn't replace that.

I stick the teeth into the edge about  two eighths of an inch in from the edge....

The temple sits about a quarter of an inch below the fell or leading edge of the work.

I repeat on the left hand side and then press the parts together and down, sliding the brass ring over to hold them in place. Then I force the wood bits apart and slide in the holding pin.

As you can see, I really spread them! It allows extra weft to be laid into each pic . I also beat on a closed shed. The twill will still draw in as that's the nature of the beast. It will also shrink in width as well. If I want twenty three inch wide towels, I usually plan for twenty five + /- in the reed. It all depends on the warp yarn and sett density. Lots of variables! Some of these details are hard to explain as you simply pick things up along the way and absorb them like osmosis and then simply do what you need, and adjust as you go.  (You are making me really think Martha!)

So see for yourself below.... temples seems to work. This edge result is a combination of end delivery shuttle and a temple. There are no holes from the temple as they disappear. Yes, you may stick yourself on the teeth but only a couple of times and you learn to be careful. Moving it is a pain say some..... I think the results show its worth the effort. I moved this temple every one pattern repeat which is 24 shots for my 12 shaft pattern. Any longer and the draw in starts to show again.

(... I'll share this project details in full another time okay? Its still under way right now...)

Here are some other end delivery shuttles:

Both sizes of the Schacht. The red pirns will fit the larger model but not the reverse.

The mini Bluster Bay end delivery shuttle and the shaped card board pirn it uses. You thread the yarn around the hooks to produce drag on the yarn.  Works nicely but must be rethreaded every pirn change. Here is one threaded at the top of this post. Its also uses the opposite side to the Schacht! Took my head a while to get around that.  :)

This is the mini AVL and its stubby little pirn. It uses compression plates.

This is the large model of the AVL end delivery shuttle. It uses the large black pirns. Its *heavy* in the hand. I would think wide warps and a good heft. You'll have amazing biceps in no time. Watch your feet if you drop it though!

I hear wonderful reports about Crossley end delivery shuttles. The link also show further comparisons of EDS as well as a Crossley model. Not many are around for sale since they went out of business in 2006. Weavers who have them, hang onto them!  I hope to try one some day if I can find one for sale.

So what else do I do to get a good edge? Well, you must have an even, well tensioned warp. No one can weave well on a bad one, although you can weave badly on a good one!  Get comfortable with your warping skills and if you haven't tried the back to front method, then consider switching. I use this method on all my looms.  

Hate beaming warps?  Then get a friend or hubby to help you. The company is always nice and showing someone how you do it actually reinforces your knowledge and ability to do it! I always try to ensure the warp is properly centered on the back beam to avoid it being skewed.  If the warp is to be fourteen inches in the reed, I like to spread the warp to fourteen and a quarter inches on the back beam. That way the warp angles in towards the heddles and reed ever so slightly. It aids in minimizing abrasion of the edge threads. Things just seem to behave better when I do, and I don't seem to be able to give you a very technical explanation I'm afraid.

This is the new warp on the Louet Spring that I finished setting up yesterday. You can see that I threw three shots and beat, then another three.... then wove  for an inch in a high contrast yarn. I'm looking for errors. So far it looks good! There is a floating selvedge on either side and I tied on this time as the yarn (10/2 cotton, 28 epi) has some 'bite' to it... some 'tooth' and so tying overhand knots hold nicely. I'm able to get good tension with yarns  like this. Slippery yarns such as tencel, bamboo and some silks, I will lace on to get better tension and reduce loom waste. (I always make small bouts.) Take a look at the warp again and notice that there is little to no draw in. I'm only using the Schacht end delivery shuttle. No temple.

I don't expect to need a temple for this project, but if it did draw in more than I like, then I would use one. I have slowly added to my Glimakra temple line up and have some for narrow scarves right through to a wide blanket.  They are as important as your shuttle is.

Like Forrest Gump said "like peas and carrots"

Well, if you are still with me at this point, well done! For someone who didn't know what to write, I have surpassed myself!