Process Review: Combination Drawloom as a Playground

Aside from the two taildragger banners, the sign for our guest powder room, and the Christmas snowflake hanging, these are test pieces and samples. The combination drawloom is a playground for design ideas. Test pieces and samples are not meant for display. I do want them to be seen on occasion, however. (See Time Lapse: Windmill and Taildragger on the Drawloom.)

Drawloom sign for the powder room.
This is a sign to hang in our guest powder room near a stack of handwoven hand towels.
Shaft drawloom snowflakes/stars.
Snowflakes on the drawloom.

In the September, 2004 issue of Complex Weavers Journal, Jette Vandermeiden wrote about weaving small serviettes to place between her good dishes so they don’t scratch each other. That sparked the idea for me to use my learning experience with the Myrehed combination drawloom attachment to make these small pieces of cloth. The various designs will bring delight as they are uncovered, one by one, when we set the table in our home with the good dishes.

Fun with the Myrehed combo drawloom.
Drawloom playground results using the Myrehed combination attachment.

Enjoy this review of the process of setting up and weaving on this playground.

May you have not-so-hidden treasures in your home.

Cheerful Weaving,
Karen

Slow Me Down with Inlay

I intended to weave this part quickly, and move on. But when I noticed I could see the end of the warp I changed my mind. I’m going to do something that will slow me down—inlay. It’s something I’ve been thinking about doing. Now’s my chance before I run out of warp.

Weaving on the combination drawloom.
One handle is drawn for the simple side borders design. The beginning blue border motifs were also woven using draw handles, connected to pattern shafts.

I am adding blue 16/1 linen inlay to the center motif. The same color blue is laid in at the center motif on the side borders, as well.

Blue linen inlay on the combination drawloom.
Blue linen inlay leaves floats between the raised pattern threads.

Draw the pull-handles for the borders – draw single unit cords – throw the shuttle – lay in the blue thread – throw the shuttle and lay in the blue thread two more times. Move up one row on the chart, and follow the same sequence as before. Ever so carefully, learning as I go. Delightfully slow as molasses. Intently paying attention, and thinking about what I would do differently next time.

Drawloom. Weaving a sign for house guests.
Draw cord pegs just above the beater create interesting shadows.

Changing your mind changes your direction. When the Lord sees our thoughts turning in his direction, he reveals more and more of himself to us. Like small lines of color added a row at a time, the image becomes more and more distinct. With the warp we have remaining, there is still time to see the Grand Weaver’s image woven in us.

May you know when to change your mind.

Making room for Jesus,
Karen

Process Review: Weaving Rhythm

“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.

Glossary

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.

  1. Finishing
  2. Dressing
  3. Weaving

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.

Weaving bath towels on the Glimakra Standard.
Glimåkra Standard, 120cm (47″), vertical countermarch. My first floor loom. Weaving the third of four bath towels, 6-shaft broken and reverse twill, 22/2 cottolin warp and weft.
Weaving hanging tabs for bath towels.
Glimåkra two-treadle band loom. Weaving hanging tabs for bath towels. 22/2 cottolin warp and weft.
Glimakra 100cm Ideal. Sweet little loom.
Glimåkra Ideal, 100cm (39″), horizontal countermarch. My second floor loom. Dressing the loom in 24/2 cotton, five-shaft huckaback, for fabric to make a tiered skirt. Ready to start sleying the reed.
Hand-built Swedish loom.
Loom that Steve built, 70cm (27″), horizontal countermarch. My third floor loom. Weaving the header for a pictorial tapestry sample, four-shaft rosepath, 16/2 linen warp, Tuna/Fårö wool and 6/1 tow linen weft.
Sweet little Glimakra Julia 8-shaft loom.
Glimåkra Julia, 70cm (27″), horizontal countermarch. This is my fifth (and final?) floor loom. Weaving the first of two scarves, eight-shaft deflected double weave, 8/1 Mora wool warp and weft.
Weaving lettering on the drawloom.
Glimåkra Standard, 120cm (47″), horizontal countermarch, with Myrehed combination drawloom attachment. This is my fourth floor loom. Weaving some lettering for the seventh pattern on this sample warp, six-shaft irregular satin, 16/2 cotton warp, 16/1 linen weft. 35 pattern shafts, 132 single unit draw cords.

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.

May you always give thanks.

With a grateful heart,
Karen

Everything Is Peachy on the Drawloom

I canned my first-ever batch of jam last summer. Jars of yummy peach jam were on my mind when I started planning designs for this sample warp on the combination drawloom. Much to my delight, Joanne Hall has included my Jam Jars design in her updated edition of Drawloom Weaving, recently released.

Cotton and linen on the drawloom.
Beginning another variation of the Jam Jars design.
Creating drawloom designs.
Earlier version of Jam Jars, with “Peach” spelled out in cursive letters.
Making jam on the drawloom.
Simple lettering is possible with the pattern shafts. 30 pattern shafts for the jam jar design, including “JAM”, and 5 pattern shafts for the side borders.
Drawloom Weaving, by Joanne Hall. 2nd edition.
Drawloom Weaving, 2nd edition, by Joanne Hall. An essential resource for anyone interested in drawloom weaving.

I am weaving several versions of the jam jars. Each variation has a different set of borders as I test my understanding of the Myrehed combination attachment. I am studying the versatility of this drawloom. Pattern shafts enable pattern repeats for the jam jars and side borders. Single units make it possible to weave the peaches in the corners and “Peachy” across the top. Can you tell if the border across the bottom is made with pattern shafts? Or, is it made with single units?

How to weave Peach Jam!
Everything is Peachy!

Depth of understanding comes from study. Practice makes it real. Go all in; make mistakes, un-do and re-make; have What-now? moments and Aha! moments. Make deliberate observations. It’s all part of the process. That’s what forgiveness from God through Jesus Christ is like. Forgiveness is good news. When we receive his forgiveness he sets us on a path to study, learn, and understand his grace. The depth of which will take an eternity to understand.

May you increase in understanding.

Grace to you,
Karen

Drawloom Windmill and Taildragger – Version 2

I’m curious. How much difference will it make to change the direction of the design? I wove the first Windmill and Taildragger from the side. (See Time Lapse: Windmill and Taildragger on the Drawloom.) This second one, I am weaving from bottom to top. For one thing, I know I can enlarge the image if I turn it upright, giving me more distinct details.

Windmill and Taildragger woven on the drawloom.
Windmill and Taildragger – Version 1, from the side. Beginning of Windmill and Taildragger – Version 2, upright.
Taildragger on the drawloom.
More detail is possible with the expanded size of the image. Center image and lower border use single-unit draw cords. Five pattern shafts are used for the side borders.
Temple in use on the drawloom.
Temple maintains the correct weaving width.
Glimakra Standard loom with Myrehed combination drawloom attachment.
Side view of drawloom with Myrehed combination attachment.

This second Windmill and Taildragger is indeed larger, with smoother detail lines. No surprise. What does surprise me is how much simpler this one is to weave! The single-unit pulls are more manageable now that the design is turned in a lengthwise direction. Enlargement, clarity, and ease—all from a single design adjustment.

Drawloom weaving.
Single-unit draw cords seen in the weaving of the windmill’s blades.
Windmill and Taildragger on the drawloom.
Windmill and Taildragger – Version 2
Drawloom weaving.
Version 1 and Version 2 – Windmill and Taildragger

Spoken wishes express our needs. Our wishes are sincere, but hold no power in themselves. What if we turn the direction of our wishes? When we turn those expressions upward to God they become prayer. Prayer is an expression of belief. Jesus invites us to tell him our needs through prayer. Prayer enlarges and clarifies our hopes. You may be surprised how simple it is to take your needs to the Lord in prayer.

May your prayers bring the help you need.

Peace to you,
Karen