Tag: block weave

Those Little Heddle Eyes

Karen
Threading heddles on eight shafts requires a different approach than my usual four-shaft routine ( You Can Prevent Threading Errors). With four shafts, the heddles fit nicely between my five fingers. I would need nine fingers on my hand to thread eight shafts in the same manner. The important thing is that every warp end gets inserted through the correct heddle. I have to position my loom bench and adjust the height of the shafts. I need to be able to see and feel the heddle eyes …all the way to the back shafts. I take the warp ends in strict order, as they lay in the lease sticks, and insert each one through the correct heddle.
Threading eight shafts. Glimakra Standard loom.
Warp ends, threaded in pairs, go through heddle eyes in a specific order.
Threading an eight-shaft block twill.
Threading is complete for this eight-shaft block twill.
It can be a struggle to find that little heddle eye on the first shaft, way at the back, but you keep at it until you find it. Temptation is a trap, and we all get caught. There is a way out. All the warp ends have a way out…through the heddles. Look for the exit that God provides. And then run through it. You’ll find yourself in the right place at the right time. And the need for explanations and excuses is gone. With the warp threading completed, we know our Grand Weaver is ready to weave something marvelous.
May your threading errors be few.
Love,
Karen

Not Afraid of Eight Shafts

Karen

The big loom is getting dressed. Block twill on eight shafts. New yarn for a new project brings excitement. And intimidation. With 12/6 cotton rug warp and string yarn weft, this is going to be a bath mat. Hopefully.

String yarn in terra cotta for woven mats with Texas style.
String yarn in this midi size comes in many colors. I chose terra cotta to give the planned mats a Texas flavor.
Rug warp ready for dressing the loom.
Three bouts of 12/6 cotton rug warp are ready for dressing the loom.

It’s been a couple years since I’ve done an eight-shaft block twill, and this one has some interesting twists. I’m not afraid to try it, though, because I am following a draft from The Big Book of Weaving, by Laila Lundell. I may make mistakes in the process, but my fears about trying this project evaporate as I refer to Laila’s instructions.

Eight shafts in "resting" position while beaming the warp.
Lower shaft bars are lifted up and placed on the upper shaft bars to move them out of the way for beaming the warp. The large safety pins prevent shaft bars from slipping out of place.
Threading heddles on eight shafts.
Threading heddles on eight shafts, one threading bundle of 48 ends at a time. There are two warp ends per heddle.

There are bigger fears than weaving woes. We face them every day in our families and in our communities, and in our private musings. Fear is a tyrant that holds us with threats and demands. Fear is the language of the pessimist within. Prayer opens us up to freedom from fear. We need clear instructions that give us confidence to face whatever comes. When we pray to the Lord regarding the things we are fearful about, he hears and answers. And he frees us from our fears.

May you rise above your fears.

Happy loom dressing,
Karen

Monksbelt Grid

Karen

I think of monksbelt as a grid. The grid, created in the threading, has blocks that I get to fill in with color. The only thing I have to do is follow the treadling draft and keep the two shuttles in their proper order. The rest is play. It is amazing what you can do with nine pattern colors, several background colors, and a simple grid. 

Classic monksbelt with a modern look. Karen Isenhower
Swedish monksbelt has two blocks in the pattern. Ground weave and pattern colors are changed in irregular intervals, giving a modern look to a classic weave structure.

A grid is a framework, a structure, that gives boundaries to the space. We need a grid for coloring our decisions, for outlining our beliefs, and for drawing our convictions. Our hearts can be fooled, so don’t trust your heart to tell you what is right. What seems right may be wrong. We need a higher standard for forming the patterns of our life. It makes sense to stay with the grid that the Grand Weaver, our Maker, planned when he dressed the loom. Then, filling in the blocks with color is pure joy.

May you find colors that delight you.

With joy,
Karen

This Time in Color

Karen

Thick and thin in color. The appeal for me is that something so simple can look so complex. How can plain weave do this? By having thick and thin threads that alternate in a certain way. Add color, and the options multiply!

Thick and thin on the loom, using double bobbin shuttle.
Double bobbin shuttle carries the thick weft. 30/2 cotton for the thin weft adds texture and complexity to the plain weave.

For the thin thread, I use 30/2 cotton. This very thin thread has a big impact on the fabric design. Strategically placed in the warp, it helps define the two blocks. Repeating the thin thread in a weft sequence is what produces a block change while weaving. The thin threads are integral to the design, yet they will barely be noticed after the fabric is wet-finished.

It is fascinating how much impact little things have. Character is revealed in the very little things. It’s the special touch you add, the extra time you give, the kind thoughts you think. It’s how you are at home, doing ordinary things for your family. It’s who you are, what you are thinking, and what you are doing. …when no one is noticing. These are the little things that tell who we are at the core. Faithful in little; faithful in much.

May all your little threads fall into place.

With you,
Karen