Rosepath Mug Rugs

Even though I am pleased with the miniature rugs, this project taught me that I would rather weave large rag rugs than tiny ones. After three mini rosepath rag rugs, and now, a few small mug rugs, I am nearly finished. (See Rosepath Miniature and One Mini Rag Rug to see the mini rag rugs.)

Mug rug being woven with string yarn. Customized mini temple.
Mug rug is being woven using string yarn for the weft.

I have a new project I’m excited about. That’s all the motivation I need to get the current project off the loom. The thread for the new project will be here soon. A new warp is celebration time! It means more weaving. But the aim of weaving is always to make cloth. Whether tiny rugs or monksbelt yardage, everything I weave eventually gets cut off. And for a weaver, the cutting off is party time, too! That’s when we get to see and touch the results of our efforts.

Rosepath mug rug. Glimakra Ideal.
Rosepath mug rug, woven with fabric strips. White scrap header is removed during finishing.
Sampler effect, rosepath mug rug, woven with stringyarn.
Sampler effect is made by varying the rosepath treadling on this mug rug.

You and I are here for a purpose. Though not all the same, every person is significant. Heaven knows your name. And when your name is written in heaven’s book, it’s like a new warp, and all the angels have a party! The cutting off party will be grand, too, with Jesus being clearly pleased at the results of his handiwork.

May you make angels sing.

Happy cutting off,
Karen

One Color Too Many

I have forty-five shades of Fårö wool. That’s better than a giant box of crayons! Monksbelt and Fårö wool–is there anything better?! I have narrowed it down to nine colors. For the weft rep ground weave, a few tubes of 16/2 cotton off my shelves will do nicely.

Planning Swedish monksbelt with Fårö wool and 16/2 cotton.
Nine cakes of Fårö wool lined up against the wall. The wool is used for the monksbelt pattern weft. Seven colors of 16/2 cotton will serve as the ground weave, background for the pattern.

As always, I sample to see what works, and what doesn’t. I want a collection of colors that make a strong, but peaceful, statement. One misplaced color will spoil the effect. After trying various wool and cotton combinations, I see that the teal cotton must be removed. This color is welcome in other settings, but here it is out of place.

Removing the teal quill from the collection of colors.
One quill is eliminated–teal. The brash contrast between the green wool and teal cotton is immediately apparent as the cloth is woven.

Faith is like a determined collection of colors that are meant for each other. Do not underestimate the power of faith. When lined up like close-knit friends, when put into action, when woven into the warp, it’s phenomenal! However, faith is strongest when fear is removed. Taking the teal out of the lineup makes all the difference. Now, I weave this with confidence, knowing it works. Have you heard the account of Jesus calming the storm? He told the wind and waves, “Be still.” Strength and peace. That’s the power of faith.

Monksbelt on the loom. Wool and cotton. Karen Isenhower
Monksbelt weaving project starts with a bold statement. With the sampling now complete, I can weave the selected colors with assurance.

May you find the color that needs to be removed.

With strength and peace,
Karen

Perfect Warp Tension?

Two fingers gently test the resistance of the threads, from the center of the warp, moving outwards to the right, and to the left. This is how I evaluate the warp tension. I don’t rush; and I give the effort all my attention. Weft rep, where the ground weft almost completely covers the warp, is especially susceptible to hills and valleys from uneven warp tension. After I have made several tension adjustments, I tie on the leveling string. Next is tying up lamms and treadles, and winding quills. Then, the joy of weaving this monksbelt begins!

Cotton warp with leveling string, getting ready to weave monksbelt!
Leveling string is in place across the beginning of the warp. Lamms, which can be seen below the warp, are tied up next. And then, the treadles are tied up. After that, weaving begins!

The ability to feel unevenness in warp tension is a learned practice. Being attentive is half the battle; and patience is the other half. Taking time on the front end reduces correction time after weaving has begun.

Sampling at the beginning of monksbelt project. 16/2 cotton and 6/1 Fårö wool.
Classic Swedish weave, monksbelt, is woven here with 6/1 Fårö wool for the pattern weft, over 16/2 cotton for the weft rep ground weave. Sampling has begun!

Skilled listening is a learned practice, too. Listening is more than hearing, isn’t it? Pay attention to how you listen. It matters. It takes a gentle touch to listen with a heart of understanding. When we listen with an unbending heart, we only hear what we want to hear. Patience on the front end results in fewer corrections later.

May you hear and be heard.

Gently,
Karen

Quiet Friday: Warping Back to Front with Confidence

“Put on many short warps.” This was the best piece of advice I received as a new weaver! Repeated practice of the back-to-front warping steps accelerated my confidence at the loom. If I can get it on the loom, surely I can weave it, right? When you are comfortable dressing the loom, you start feeling like a “real” handweaver. And before you know it, you are planning, designing, and weaving. And having the time of your life!

Tips for Preparing the Warp for Beaming

  • Wind the warp with two (or more) threads, separated by your fingers to keep them from twisting. This virtually eliminates tangles during the warping process.
  • Wind multiple bouts, when needed. The rule of thumb I use is to stay under 200 ends or 10 inches. Smaller bouts equalize the tension across the width of the warp.
  • Tie tight choke ties about every yard or meter along the warp before chaining it. This keeps the warp ends from shifting.
  • Keep the warp under constant, even tension. Threads can get into trouble if you let them relax.

Warping Back to Front

1 Lay warp chains across the breast beam, and through the beater, with the lease cross of each warp chain on the other side of the beater.

Warp chains ready for warping the loom back to front.

2 Raise the shafts out of the way, and place support sticks over the beater and the back beam to hold the lease sticks and the pre-sley reed. Thread the lease sticks through the cross of each chain. Lease sticks in the picture are being tied together.

Tying lease sticks during warping process. B2F warping explained.

3 Use tape measure and reed hook to mark the starting dent for pre-sleying the reed.

Pre-sleying the reed in back to front warping.

4 Divide warp into sections corresponding to the cords on the back tie-on bar. Insert the tie-on bar through the loops that form at the end of the warp.

Insert tie-on bar while warping back to front.

5 Install the warping trapeze at the front of the loom, or use another method to extend the warp and weight it. Texsolv cord is connected to the end of each warp chain to extend the length. (This is a 3.5 meter warp–not long enough to go over the trapeze cross bar.) Weights are suspended from the texsolv cords with S-hooks.

Adjusting the warp on the warping trapeze.

6 Transfer the lease sticks from in front of the reed to behind the reed. This is a gutsy way of transferring lease sticks. (Please don’t try this method unless you read about it first in Becky Ashenden’s book, noted below.)

Transferring lease sticks like this takes guts!

7 Straighten out each warp end from the reed to the back tie-on bar.

Winding on a new warp. Back to front warping pics.

8 Place the reed in the beater. Center the reed in the beater.

Placing the reed in the beater.

9 Remove choke ties between the beater and the trapeze cross bar, but do not remove choke ties from the very end of the warp. Starting at the reed, separate each warp bout in the middle.

Warping trapeze in use for warping Glimakra Standard.

10 After sliding lease sticks toward the reed, wind the warp onto the beam. Place a warping slat on each flat side of the warp beam for one revolution. (Octagonal beam uses eight sticks.) Advance weight at the front of the loom as needed. After two additional revolutions of the beam, add warping slats for one revolution again. Continue this pattern as beaming progresses.

Warping slats during beaming. Beaming tutorial.

11 Tie beater back to allow a little more warp to be wound on.

Finishing up beaming the warp.

12 Tie lease sticks to the back beam. Do not forget this step!

Tie the lease sticks to the back beam before cutting the ends.

If you missed step 12, do it now, or you will be yelling for help as you try to hold the cut ends with one hand while trying to keep the lease sticks from slipping out with your other hand. I speak from experience.

13 Loop the end of the warp chain around your hand, and then remove the remaining choke ties. Cut the loop.

Cutting ends after beaming the warp.

14 Remove a group of warp threads from the reed and tie in a loose slipknot. Continue across the warp. Remove the reed.

New warp of 16/2 cotton for monksbelt on weft rep.

15 Use the threading draft to count the warp ends into threading groups, tying each grouping with a slipknot.

Grouping warp ends before threading.

16 Adjust the loom for threading. For this Glimåkra Standard loom, I move the countermarch assembly to the back of the loom, put the bench in the “playhouse,” and lower the shafts for threading.

Bench "in" the loom for threading. Glimakra Standard.

For more thorough instructions about warping your loom, please consult these excellent resources:

  • Dress Your Loom The Vävstuga Way, A Bench-Side Photo Guide, by Becky Ashenden
  • Learning to Warp Your Loom, by Joanne Hall
  • The Big Book of Weaving, by Laila Lundell

May you find yourself beaming, inside and out.

Resurrection blessings,
Karen

Another Classic Swedish Weave

Monksbelt is up next, another classic Swedish weave. I’m thrilled! This time I am weaving yardage, without knowing exactly how the fabric will be used. I planned this project while the rya rag rug was still on the loom; and I’m eager to get started!

Winding warp on Glimåkra warping reel.
Glimåkra warping reel not only accelerates the warpwinding process, it makes it downright fun! This is the first of four bouts of unbleached 16/2 cotton. 760 warp ends in all.

Winding the warp is a rewarding part of the process. When I wind a warp, it goes directly to a ready-and-waiting loom. So, this is a declaration of a new beginning. It is also the anticipation of future rewards. The final reward is long-lasting–a useful length of colorful handwoven fabric.

Look for rewards that will last. We get side-tracked if we look only for immediate satisfaction, or short-term success. The long view brings perspective that cannot be seen in quick snapshots. I don’t have to know exactly how things will look in the future. I can enjoy the stage of the process I am in right now. Ultimately, though, I await the finished cloth. Keeping that reward in mind brings purpose to each step along the way. The eternal reward that heaven holds for us fills each season here with meaning.

May you enjoy many rewarding experiences.

On purpose,
Karen