I wanted to make a video for you, showing how I weave on the band loom. Unfortunately, I put on a wider warp than usual. My small hands can barely weave this wider band, putting me to the test. It is slow and sloppy as I struggle to make progress. Finally, though, the end is in sight! So much for pointing out common errors in band weaving. Ha.
Band loom shuttle is carried through the warp with the left hand, and the right hand uses a tool, called a band knife, to beat in the weft. 1 3/4 inches / 5.5 cm is just wide enough that sending the shuttle through with one (small) hand is pretty tricky.
My difficulty in weaving this will show up in the finished piece. The main problem is lack of consistency. Some stretches are embarrassingly uneven and may not be usable. If I want to show someone else how to weave a wider band, I need to work on my own technique. I better get it right before I try to demo this for anyone else.
It is a virtue to correct your own mistakes before pointing out the faults of others. How easy it is to notice someone else’s “blind spot.” I wonder if sometimes we are seeing our own flaw, but we don’t recognize it until we see it on someone else. The next time I am tempted to highlight someone else’s mistake, I want to remember what it took to weave this band, errors and all.
May you always give, and receive, the benefit of the doubt.
P.S. I do have another video in the making. I’ll show you next week.
P.P.S. I will do a video on band weaving. Eventually.
No improvising this time. Creating a rug to fit a particular space means staying true to the plan. In my measured design, each graph square represents two inches (5 cm) of woven length. So, I am not playing around with shortened or lengthened blocks. And no surprise colors, either. Every element has been determined in advance. I am paying close attention, being sure to measure accurately as I go. I keep thinking of my sister’s entryway, hopeful that this rug will be just right. (Sometimes I do play around with the design as I weave, like I described in Tools Day: Graph Paper)
New cotton yardage is ready for cutting into strips for weaving double bindingtwill rag rugs. I am choosing four out of these six fabrics for this rug design.Design graph sits on the cart next to my loom. A sliver of each selected fabric is scotch-taped to its color block on the graph for reference.
If I only consider the fun of weaving another rag rug, and fail to keep in mind the intended destination, I may create an interesting rug, but it won’t end up inside my sister’s doorway. The “fun” will be short-lived, and will produce disappointment or regret instead of finished satisfaction. That reminds me of something C.S. Lewis once said:
Aim at Heaven and you will get earth ‘thrown in’: aim at earth and you will get neither.
Double-binding twill rag rug on the loom.
Dream of heaven. It’s the place where God Himself removes every cause of tears. No death, no mourning, or crying, or pain. Every thread and every color will be in place, as it should be. Just imagine the Grand Weaver, making preparations for our home coming, as He places the final handwoven rug on the floor. Perfectfit.
An embroidered trim is what I have in mind for this scarf. Hemstitching is just that. Instead of the usual single strand, I am using two strands of the 8/2 cotton weft in a contrasting color to accentuate the embroidered look. The hemstitching marks the beginning and the end. You can make hemstitching barely noticeable if you want, or you can make it so bold it can’t be missed, like I am doing with this one.
Hemstitching, with Contrasting Color:
Preliminary
Weave an inch/2.5 cm or more of fabric for a header.
Thread a blunt tapestry needle with a single or doubled strand of weft thread four times the weaving width.
Starting an inch/2.5 cm away from the right-hand selvedge, weave the needle over and under, next to the first weft thread in the weaving, going toward the selvedge.
Pull the stitching thread almost all the way, leaving the end woven into the selvedge. Capture the woven end within the first several stitches of the hemstitching.
Step 1
From right to left, take the needle under several warpends. In this example, the needle goes under six ends.
Step 2
Pull the thread all the way through, keeping it taut at the woven edge.
Step 3
Take the needle back over the same (six) warp ends, and go under the same (six) warp ends, bringing the point of the needle back up between wefts, two or more rows away from the woven edge. In this example, the needle comes up between the third and fourth rows of weft.
Step 4
Pull the thread all the way through, keeping it taut at the woven edge.
Finishing
Repeat Steps 1 – 4 across the entire width.
Finish by needle weaving the stitching thread back into the selvedge for an inch/2.5 cm. Trim off the remaining stitching thread end.
Hemstitching at the end of the woven fabric:
Starting on the right-hand side, secure the end of the stitching thread as before, and follow Steps 1 – 4 for hemstitching across the width. The only difference is that the needle comes toward you under the cloth in Step 3, instead of away from you.
Cotton lace-weave scarf in springtime colors. Bold hemstitching at the end.
Everything that has a beginning has an end. Since the beginning of time, and through the ages, our Maker has been unfolding His mystery of life and love. There will come a day, though, when the mystery is finished. Certainly, there will be bold hemstitching at the end of the cloth as the Maker, the Grand Weaver himself, brings time as we know it to a close.
May your days begin and end with an embroidered edging of love.
Draw-in happens. It is a natural part of weaving. Sending a weft thread across the warp, weaving over and under, naturally pulls the warp threads closer together–this is draw-in. But excessive draw-in ruins selvedges, causes warp ends to fray and/or break, and wastes time because it creates problems. The width across the fell line needs to be the same as the width of the warp in the reed. If the cloth is narrower at the fell line, there is abrasion on the outer warp ends from the reed, as the beater comes to the cloth.
Two things work together to help prevent excessive draw-in:
1) Angling the weft. Placing the weft across the warp at an angle adds extra length to the weft, which helps to accommodate for the natural draw-in.
2) Using a temple(stretcher). The purpose of a temple is to maintain consistency in the width of the cloth. It does this by “stretching” the cloth out, holding it in place with little spikes on each end of the tool. Moving the temple frequently uses the tool to its best advantage. I move mine about every inch of weaving. For more instruction on how to set a temple, please see one of my most popular posts, Tools Day: Temple Technique.
I weave with a temple more often than not. The temple must be set properly, to the precise width, so I have several sizes in my growing collection of temples. Sometimes it works to combine two different sizes to get the measurement that is needed.
My first temple was a make-do tool that I used with my rigid heddle loom on lightweight weaving. It is not adjustable, so it only works with one specific warp width.
Slat with clothes pins glued on the ends makes a simple lightweight temple for a rigid heddle loom.
My wooden temples are from Glimåkra. They serve me well, and are the ones I use most often. Since they are adjustable, they cover a wide range of possible widths.
Wooden temples (mine are Glimåkra) work well for any type of weaving.Switching parts on two different sizes of temples can increase the range of possible sizes. And, yes, some of my temples have an extra hole, added by my husband, to increase the range of the temples’ adjustability.Perfect width of temple for this cotton lace-weave scarf found with combination of two different sizes.Steve made an extension for my longest temple when I needed a really l-o-o-o-o-ng temple. He used finishing nails for the little spikes. It’s perfect!
The metal temples are heavier, with thicker teeth, and work well for coarser weaving, especially rugs.
Metal temples work well for weaving rugs. Like the wooden temples, these also have interchangeable parts, which can extend the range of possible widths.Temple is set in the scrap weft between rag rugs. Ready for the start of another rag rug!
May your selvedges shine, and your broken ends be few.
Does fear of making a mistake keep you from experimenting with color? To be on the safe side, repeat something that you have done before. Or at least copy someone else. Isn’t that why we love Pinterest? You don’t have to think something up; just do what somebody else has done.
8/2 cotton, with the self-imposed challenge of using seven different colors of weft on the light green warp.
I have woven some wild color combinations. Including some that I regret. You know, the what-was-I-thinking kind of experiments. Those pieces get hidden away; or, I keep them only for personal use, but never for show. But here I go again, trying to make a handful of colors work together. We won’t see the overall results until the scarf is off the loom, when it is too late to undo it.
Final scarf on this cotton warp. Three different shades of green are separated by narrow stripes of springtime colors, with slightly longer floats in the narrow stripes. Will it work? We will see…
All of us have done things we regret. There’s no chance for a do-over, so we just hide it. We have to be careful not to be shaped by our regrets. Fear of making a mistake can keep us frozen in indecision. Yet, when I come to Jesus, he is able to keep me from stumbling, from repeating my missteps. Yes, I learn from my mistakes; but even better than that, the Master Weaver gives me an example to “copy.” His example is tried and true.
