Warped for Good – Page 145 – a handweaver's journey

Having Fun with Rya Knots

February 25, 2014July 21, 2014 Karen

What is your operating system? I am not referring your computer or mobile device. I am talking about the mindset behind your weaving endeavors. Quality, quantity, visual appeal? Decide what kind of weaver you intend to be, and you will operate out of that.

Tying rya knots is new for me. Each 4 1/2″ / 12 cm cut piece of wool yarn (I have an assortment of Åsborya, Tuna, Jason Collingwood rug wool, Mattgarn, and some novelty knitting yarn) is tied around two pairs of warp ends, producing a shaggy pile. Threaded for rosepath, two pattern repeats are to be woven as background between each row of rya knots, using doubled fine wool as weft.

Tying rya knots. Fine wool for rosepath background. — Fine Borgs Mora wool, doubled, on the shuttle forms the background rosepath cloth for rya knots. The knots stay on the front of the cloth, leaving the back of the cloth flat.

Certainly, we do aim for quality in our woven creations. Being intentional, that mindset works like an operating system. Everything from choosing materials to practicing for improvement reflects that foundational mindset. We can decide on an operating system for our lives, too.

You are gifted. Maybe your talent is design, or efficiency of motion, or color expression. You have other gifts, too, that spill into your relationships, such as problem solving, leading, or serving. Choose love as your operating system. When your gifts operate out of love, your gifts are not wasted. The fabric of relationships in your life will reflect the strength and grace of your operating system.

May your fabric quality be stunning!

With love,
Karen

Stop Threading Heddles the Boring Way

February 21, 2014February 20, 2014 Karen

Practice makes perfect. Do you believe that? If that were true, wouldn’t some of us be perfect by now? Threading heddles is a repetitive activity, but intentional awareness makes it a thoughtful learning experience instead of boring repetition. This deliberate thinking produces the kind of practice that brings improvement. You mentally zoom in to see what it takes to become efficient and effective. Like practicing a musical instrument, you constantly consider how to produce the best sound (fabric) from this instrument (loom).

Heddles threaded with doubled threads of 20/2 cotton. — Heddles, threaded with two 20/2 cotton threads each, stand ready on four shafts, like orchestra members tuning up while waiting for the conductor to come to the podium.

I learned to thread heddles from Leigh, and then from Joanne, and then from Becky. They each have their own approach. Their methods vary, but what they teach in common is accuracy, efficiency, and enjoyment of the process. When I thread heddles, the wealth of experience from these teachers benefits me, even as I find my own style emerging. They taught me awareness, problem-solving, and enjoyment of learning. What a gift!

Learn from the best, and then practice what you learn. Gain foundational truth. Walking in the truth is the best way to give back to your teachers. In your quest for truth, practice what you learn.

May your practice make perfect sense.

Still learning,
Karen

Look Behind the Knee Beam

February 18, 2014February 17, 2014 Karen

As the cloth cascades over the knee beam, let’s take a sneak peek at the other side. Crouching below the warp behind the shafts, we see the mechanics of weaving. When I sit on my loom bench at the front of the loom, throwing the shuttle, it feels like magic. Thread by thread, fabric just appears. Under the loom you can see it is not magic. It is heddles on shafts, shafts connected to lamms, lamms tied to treadles. It is a system that works behind the scenes while you sit in front and weave. Sometimes we put our trust in what we see out front, neglecting to consider what goes on behind the scenes.

Cotton handtowels on the loom. View from back of loom under the warp. — Red cutting line between towels is seen just to the left of the upper lamms. There are no floats on this back side of the cloth, though the front has warp floats as part of the pattern.

Cut ends of the heddles are in focus, viewed from back of loom under the warp. — Cut ends of the heddles are in focus. The heddles, carrying warp threads, hang on shafts that are just above the camera view.

When I finish a weaving project, I untie and disconnect everything so the loom is ready for the next project. The warp has a purpose while it is on the loom, but when it’s over, it’s over.

Beware of putting your trust in human heroes. Keep in mind that your human heroe’s plans will last only as long as their life. When it’s over, it’s over. Do not put your trust in a person, a leader, a superstar, a human hero, to save the world. Put your trust in the grand weaver who holds the system in his hands.

May you encounter trust-worthiness.

(To see the warp floats on the front of the cloth, click HERE.)

Yours Truly,
Karen

What Difference Does the Weft Color Make?

February 14, 2014February 13, 2014 Karen

Does the weft color influence the cloth as it intersects the warp threads? Of course! The distinctive textural quality of this 3-shaft twill with warp floats is enhanced by the colors. In this case, the weft follows the same arrangement as the colors across the warp, making an interesting plaid. What does your influence look like?

3-shaft twill with weft floats. Hand towels. Karen Isenhower — Weft colors coincide with warp colors to create a plaid design. The pattern in the weave structure appears to change according to the weft colors and the angle of view.

Before weaving, the untouched warp colors look well-defined and clean. Introducing the weft, however, changes everything. How can you predict how the weft colors will interact with the warp? Hold tubes of thread next to each other, or wrap different colors on an index card, or even combine threads by twisting them together in your hand. Yet, when the threads become enmeshed in woven cloth, as weft interlaces warp, a new color is revealed.

You and I have strategic influence. How we choose to use that influence makes a difference. As you intersect with people, you bring a unique thread into the picture. The results may be surprising at times, not what others expect. But you are the only you. You have a creator-given purpose. Let your influence make a positive difference. Who knows whether you have not come to these present circumstances for such a time as this?

May you be an influence for good.

(To follow the color planning and sampling for these towels, click HERE and HERE.)

You are loved,
Karen

Tools Day: Temple Technique

February 11, 2014February 11, 2014 Karen

What is the secret weapon for improving selvedges, preventing draw-in, and getting a more even beat, leading to better quality handwoven fabric? Use of a temple (also known as a stretcher), of course! The temple is a tool that simply holds the woven cloth on the loom at the proper width. I almost always use a temple when I weave because I like the consistency that it brings to my weaving. It may seem counterintuitive to stop frequently to re-set the temple, but I have found that moving the temple becomes part of the rhythm of weaving. The cloth develops inch by inch, and the temple is in sync with that.

How to set a temple:

1. Place the temple upside down on the warp next to the reed. Remove the pin. Expand the temple to the width of the warp, with the center of the teeth aligned with the outside warp thread on each side.

2. Put the pin in aligned holes to hold the width of the temple.

3. Turn the temple right side up, with the pin facing toward you, and the metal slider on the right half of the temple. Place the temple near the fell of the weaving; set the teeth on the left side of the temple into the warp threads near the selvedge.

4. Keeping the left teeth in the cloth, set the temple teeth on the right into the threads near the selvedge on the right side of the cloth.

5. Press down the center of the temple. Move the metal slider toward the center to secure the temple, keeping it flat.

6. Weave. The reed should not touch the temple when you beat. After weaving an inch (or two, or three, depending on what is being woven), release temple by moving the metal slider. Remove temple. Repeat steps 3 through 6 until weaving is complete.

Small pin holes from temple teeth will disappear with wet-finishing. — Two small pin holes from the temple teeth can be seen near the left selvedge of the cloth. These holes will disappear when the cloth is wet finished.

(Compare this three-shaft twill fabric to my first attempt HERE with threading errors.)

May you find the tools that enhance the quality of your work.

Happy Weaving,
Karen