I would like to finish this skirt project in time to wear the skirt this summer. Huckaback (huck lace) is easy to weave, but it takes time. All I need is time.
Linen weft threads pack in tighter and make better selvedges when they are dampened. I need a tight weave to square the pattern that is coming on the next two skirt tiers. And the edge of the skirt flounce is a selvedge that will be fully exposed, so tidy selvedges are a must. It takes a little bit of time to hold a damp cloth against the thread as I wind a quill, or to wrap a damp cloth around a quill that’s already wound. It’s worth it. In the scheme of things, that little bit of time is nothing…and everything.
We all have a little bit of time. Look at your hand. A lifespan is no longer than the width of your hand. A lifetime is one moment to God. Our life begins and ends in one breath of God. This little bit of time we have is nothing…and everything. This is how God loved us in our little bit of time: he gave his one and only Son, so that everyone who believes in him would not perish but have timeless life with him.
Slay the dragon. Ride the sleigh. Sley the reed. To succeed in these challenges, you must be prepared, pay attention, and make sure you’re on the right track. Here, I’m going to focus on sleying the reed with success. (For dragon slaying and sleigh riding challenges, I won’t be of much help.) Don’t miss the new video below with tips for sleying the reed.
First, make sure you have good lighting. I have a snake arm shop light attached to the top of my loom. (See Tools Day: Loom Lighting for more about loom lighting.) I also have a smaller clip-on gooseneck LED lamp, clipped onto my loom bench, that illuminates my specific working area. With a fine-dent reed, like this metric 100/10- (~ imperial 25-) dent reed, focused lighting makes a difference. It means seeing the dents instead of guessing.
In this video, I share some tips for sleying the reed, with checkpoints to ensure success. (See Tools Day: Click Test for more about the “click test” mentioned in the video.)
“With so many looms, how do you decide what to weave every day?,” I was asked. The answer lies in my Weaving Rhythm. I have five floor looms. I happily aspire to meet the challenge of keeping all of them active.
Weaving Rhythm ~ A pattern created across time, through a regular succession of weaving-related tasks.
Arrange individual tasks to keep each loom consistently moving forward in the weaving continuum.
Weaving Continuum ~ The cycle for each loom that is continually repeated.
When the first few centimeters are woven on a new project, begin planning the next project. When finishing is completed for the current project, wind a new warp and dress the loom for the next project.
First Things First ~ Prioritize daily tasks to maintain the Weaving Rhythm.
Do some finishing work first. Do some loom-dressing tasks next. The reward, then, is sitting at one of the dressed looms and freely weaving for the pleasure of it.
Give Thanks ~ Live with a thankful heart.
Every day I thank the Lord for granting me the joy of being in this handweaving journey. And I thank him for bringing friends like you along with me.
I am making a new ‘cello skirt (a tiered skirt), starting from scratch. The warp is 24/2 cotton, most of it unbleached. Each tier will be edged with a narrow Poppy border. The pattern in the cloth will be a huckaback (huck lace) design, adapted from Little Tablecloth in Huckaback on p.10 in Happy Weaving from VävMagisinet.
Today, I’m beaming the warp. My method includes a combination of things I have learned from these three excellent sources: Learning to Warp Your Loom, by Joanne Hall, Dress Your Loom the Vävstuga Way, by Becky Ashenden, and The Big Book of Weaving, by Laila Lundell.
I’ll let the pictures speak for themselves.
Do you have any questions about my beaming process? If you warp back to front, like I do, what do you do differently?
I warped the drawloom with gray 6/2 Tuna wool several months ago with the goal to make fabric for a reversible vest. The beautiful drawloom fabric turned into dreamy garment-worthy fabric after washing! (See Process Review: Drawloom Jewels)
And then I hit two huge hurdles.
Hurdle 1. Fit.
In order to cut into handwoven drawloom fabric, I need assurance that the end result will fit me. My sewing assistant helped me refine a commercial pattern.
After umpteen muslins and two or three mock-ups, I finally got the fit I was after. Confidence to cut!
Hurdle 2. Garment Construction Uncertainties.
Do some detail studies, my dear friend Elisabeth said to me. Her advice got me over the insecurity hurdle. A detail study is making a small sample to test a hypothesis or answer a question. I made a list of everything I wanted to know about constructing a vest from this type of handwoven wool fabric. And then, using some of the extra fabric from the sampling at the beginning of the warp, I did a detail study for each point on the list. Twelve detail studies in all.
(If you are interested in seeing my complete list of 12 detail studies for this project, click HERE to send me an email and ask for my “Detail studies”.)
Here are a few examples of my findings:
Zigzag before or after cutting? // Zigzag before cutting, stitch width 3, stitch length 2 1/2
Lapped seams? 3/8”, 1/2”, 5/8”? // Yes, lapped seams, overlap 1/2”, stitch basted line to guide placement
Neck and armhole curves – staystitch with hand running stitches or machine stitching? 1 row or 2? // Hand running stitches, 2 rows
From the results of the detail studies I was able to compile a step-by-step garment construction plan. Confidence to sew!
Follow my process pictures of the garment construction to see the results: