What can you do with a pair of flat beveled wood sticks, with a hole at each end? Use them for lease sticks, of course! This is an example of efficient simplicity. By slipping these two sticks through the opening of the lease cross made while winding a warp, and tying the ends of the sticks together, all the warpends stay perfectly in order throughout the process of dressing the loom. After beaming the warp, with the warp still under tension, I tie the back lease stick to the back beam. Then, when threading the heddles, I simply take each thread in order by going to the cross in between the two lease sticks and picking up the next thread. I always weave with the lease sticks in. I don’t remove them until the end of the warp comes over the back beam.
I keep several lengths of lease sticks on hand. Some were purchased from Glimakra, and some were fashioned by my skilled hubby.Striped warpthreaded and ready to weave cotton tea towels. Pair of lease sticks are tied together at the ends with choke ties, and back lease stick is tied to back beam.Linen warp is ready for threading. Lease sticks are tied together at the ends, and secured to the back beam. This warp is for another rya project.Threading the last grouping of threads in this 8/2 linen warp. The lease sticks separate the threads in a way that clearly shows which thread is next.
May you encounter simplicity in your creative process.
At the risk of telling you something you already know, I am going to show two ways I use rubber bands in my weaving studio. Yes, rubber bands. Simple, to the point of being simplistic. But I sheepishly admit, I didn’t know to do these things until I saw someone else do them; and then I expanded (pun intended) their practices to suit the way I like to work.
1. While it is common to put a rubber band on one treadle to act as a marker for your feet, I find it helpful to put rubber bands on two treadles for even greater efficiency. I put one rubber band on the first pattern treadle, and a second rubber band on the third pattern treadle. My feet never have to guess where to step. (With the rosepathtie-up for the rag rugs on the Glimakra Ideal loom, there are two plain weave treadles on the right, and then four pattern treadles. The rya weaving on the Glimakra Standard loom has one treadle on the right that lifts the warpends for the rya knots, and four pattern treadles.)
Plain weave, like the solid blue section, and the band of brown, uses the two treadles on the right on this Glimakra Ideal loom. The rosepath pattern, in orchid, and the dots and dashes, in dark pink and blue/black, uses the remaining four treadles.Five treadles are used for this rya weaving on the Glimakra Standard loom. The treadle on the right lifts the warpends on the second shaft, onto which the rya strands are tied. The remaining four treadles are used to weave a rosepath pattern in the cloth.
2. Rubber band the thread label around the tube of thread. This is the simplest way to keep track of fiber information–fiber content, weight, color number, brand. I also cut a short length of the thread and stick it to the sticky side of the label. This helps me get the labels back on the correct tubes, especially when using several threads of different colors.
With similar colors, like these two tubes of 12/6 cotton rug warp, it helps to keep an identifying strand attached to the label. I always try to put the label back on its tube as soon as possible to prevent mix-ups.
May you find simple solutions to do what you do better.
A hemstitched edge deserves twisted fringe. You have to overlook the amount of time it takes to put this finishing touch on your handwoven articles (often as much, or more, time than it took to weave the cloth in the first place). You do it because you care about the end result. The hemstitching and fringe are the mat and frame for your work of art. Begin well and finish well.
Step 1: (First, with fabric not yet washed and dried, cut all fringe strands on both ends of article to an equal and even length.) A pair of two-pound walking weights holds the fabric in place for tying knots. This fringe twister tool has a long handle and four little alligator clips.Step 2: Tie an overhand knot a fingertip-length away from the end, securing four ends together. (Other projects may have more than four ends grouped together.) This extra step holds the secret to clean cut fringe ends (see step 7).Step 3: Let each little alligator grab a knot in it’s teeth, four in a row. Crank the handle around until the twisted threads begin to kink back on themselves. Count the number of turns of the handle and repeat that same number of turns for each grouping.Step 4: Grab the strands from the first two alligators’ mouths, being careful not to let the strands unwind. Combine the two thread groups and tie an overhand knot a fingertip-width away from the first knots.Step 5: After the knot is tied, let the strands unwind in your hand, keeping them from tangling with neighboring threads. Snug the knot by holding the knot and pulling on the two smaller knots, one at a time.Step 6: Wet finish the fabric by a method suitable for the type of thread or yarn being used. Air dry completely, or other suitable method for drying. While still damp, separate and straighten each twisted fringe.Step 7: First set of knots are cut off, removing the frayed ends, and leaving clean cut ends.Step 8: Wear your lovingly handmade creation to a very special occasion, such as to your daughter’s wedding.
This is a lesson for raising children and letting them go, too. You weave for years, give time-consuming attention to the finishing touches while they are in your hands, and then you let them go. Wedding in four days!
Make sure you have sample cards from yarn and thread suppliers because you never know when your daughter will get engaged. She finds her perfect wedding dress, and three weeks after that you find your mother-of-the-bride dress. A light and airy dress with a ruffled hem that is perfect for a romantic outdoor wedding under hundred-year-old oak trees. Now, all you need is a light and airy shawl to cover your shoulders. In a specific shade of coral. Then, your friend says, “Why don’t you weave a shawl? You have time.” Really?? Seven weeks before the wedding?! Okay, I cando this. A word of encouragement has amazing impact!
Sifting through yarn and thread samples from Yarn Barn of Kansas to find just the right thread in just the right color(s).Sample cards from Bockens, a Swedish company. I use Swedish threads in most of my weaving. There are several good suppliers in the United States. The sources I turn to most are Glimakra USA, Vavstuga, and Lone Star Loom Room.Yarn Store in a Box from Halcyon Yarn is a visual and tactile delight. I often pull out these cards for design and color inspiration.
I laid out all my sample cards, and quickly found a perfect match on a sample card from Yarn Barn of Kansas. I picked up the phone and called in my order. Three days later I had this beautiful Xie 10/2 Bamboo thread in hand and started winding the warp!
Getting ready to weave Mother-of-the-Bride shawl in the perfect shade of coral. I found a delicate huck lace draft for the shawl in “Happy Weaving from VävMagasinet.” I am choosing dark coral for the warp. One shawl is using lighter coral for weft; the second shawl is using hot pink for weft. The best color combination wins!
So, make sure you have sample cards from your favorite suppliers so that you are ready for any happy surprise that comes your way! And, be that encourager that tells a friend, “You can do it!”
All my spools are quills, mostly pre-made cardboard, with a couple of rolled-brown-paper exceptions. I keep a few sizes of quills ready, sorted in little mugs inside a basket. The basket sits on a shelf under the table that holds my bobbin-winder, so I simply reach down and grab the size quill I need at the moment.
One of the mugs says Glimåkra (from Joanne Hall, my Glimåkra friend), another mug is a handle-less one I picked up at Ikea years ago that looks like a little flower pot, one is a baby’s pewter cup (when does a baby use a pewter cup?), but the mug I like best is my husband’s childhood milkglass cup with red two-block twill design (at least that’s what I’m calling it), and a blue “S” for Steve.
This fun idea of weavers sharing pictures of their spools is from Meg over at Unravelling. Thanks, Meg!
I like to use up as much thread as possible as I finish a project. The final towel on this warp has horizontal stripes of varying widths as I empty as many quills as I can.Several sizes of quills ready to be used. I like being able to tell at a glance if I am running short of any size.Quills with thread/yarn left from various projects. Do you see the two-block twill on the “Steve” cup?Everything in place for winding a quill.
May your springtime be memorable with happy surprises.
