I am happy to say that with only four shafts we have exactly what we need for a checkerboard rag rug. Thank you to Megan for asking about it. ”I am searching for a 4-shaft draft for a checkboard pattern. I am limited to only 4 shafts.” Double binding opens up a world of opportunity!
Let’s talk about blocks. A block is a specific sequence of warp ends or weftpicks. Double binding on four shafts has two blocks for the warp and two blocks for the weft.
→ Use graph paper to plan the configuration of your blocks.
For the threading blocks, use two rows of squares. One row is for Block A and one row is for Block B. Each square on the paper represents one threading unit. You can make a checkerboard pattern by uniformly alternating the A blocks and B blocks. Or, you can make a wildly different geometric pattern by varying the size of alternating blocks. Your two-row graph becomes a profile draft to use as your threading key.
For the weft blocks, use the same arrangement of blocks as for the threading, and turn them vertically for the treadlingdraft. Or, use your creativity to make a unique configuration of weft blocks. The sky is the limit!
Three possible block configurations for the threading. The bottom example is a part of the sequence for the rug currently on my loom.Weaving with two ski shuttles. Glimåkra Ideal. 4 shafts, 6 treadles.Printout shows me where the blocks change in the weft.
Check out these resources for more double-binding rag rug ideas: Alla Tiders Trasmattor, by Monica Hallén and Ann-Kristin Hallgren; Så Fint med Trasmattor, by Monica Hallén and Ann-Kristin Hallgren; Älskade Trasmattor att väva som för, by Monica Hallén and Ann-Kristin Hallgren; Swedish Rag Rugs 35 New Designs, by VävMagasinet; Happy Weaving, from VävMagasinet.
I know how to write music. I am experienced in playing improvisational music on my cello. And I don’t have a problem making up a tune to sing on the spot. But nothing touches the richness of music’s beauty like getting out the Beethoven Sonatas at the piano, or Bach’s Six Suites for the cello, or singing from an old-fashioned hymnal. Likewise, I do know how to write a weaving draft from scratch, but I usually find my starting point in one of my favored weaving books. There are countless designs and dreamy pictures. From simple to extraordinary. Sometimes I follow the instructions precisely. But most often, the improviser in me examines the elements and finds a new version to “play.”
Here are just a few of my favorite weaving books, and a sampling of what they have produced.
Favored weaving books, in no particular order. Do you see a theme? Yes, I like to weave Swedish patterns from Swedish books on my Swedish Glimåkra looms.
Rosepath band with turned rosepath. Lundell, Laila, and Elisabeth Windesjö. “The Big Book of Weaving: Handweaving in the Swedish Tradition: Techniques, Patterns, Designs, and Materials.” North Pomfret, VT: Trafalgar Square, 2008.
Rosepath rag rug. Hallgren, Ann-Kristin, and Monica Hallén. “Älskade Trasmattor: att Väva Som Förr.” Kalmar: Akantus, 2006. (“Beloved Rag Rugs: To Weave As Before”)
My version of this rosepath rag rug makes itself at home in our Texas hill country getaway.
Rosepath rag rug. My very first rosepath rag rug is positioned in a prominent place in our home where it is seen and stepped on every day. Much to my delight. Ignell, Tina, and Catherine Zienko. “Favorite Rag Rugs: 45 Inspiring Weave Designs.” North Pomfret, VT: Trafalgar Square Books, 2007.
Another rosepath rag rug. No end to rosepath rag rug possibilities, it seems. Hallgren, Ann-Kristin, and Monica Hallén. “Alla Tiders Trasmattor.” Akantus Edition, 2007. (“All Time Rag Rugs”)
Rosepath rag rug uses alternating weft colors in the plain weave sections, adding visual texture.
Called “warp-faced combination weave” in the book. I don’t know what else to call it. I wove this scarf when I didn’t know exactly what I was doing yet. If you see any mistakes, just think of them as “design elements.” Johansson, Lillemor, Charlotta Bosson, Conny Bernhardsson, and Katie Zienko. “Happy Weaving from Vävmagasinet.” Glimåkra: Vävhästen, 2004.
Cottolin twill towels. I have a small sample piece. All the towels I wove are happily drying hands and dishes in homes of family and friends. Björk, Birgitta Bengtsson, Tina Ignell, and Bengt Arne Ignell. “Simple Weaves: over 30 Classic Patterns and Fresh New Styles.” North Pomfret, VT: Trafalgar Square, 2012.
Double binding rag rug. This sweet rug is resting in my Etsy shop, waiting for a new home. Johansson, Lillemor, Pia Wedderien, Marie Rolander, Conny Bernhardsson, and Katie Zienko. “Swedish Rag Rugs: 35 New Designs.” Glimåkra: Vävhästen, 1995.
May you play as much music as you can find.
…and speaking of Etsy! The original River Stripe Towels and Table Centerpiece Cloth that I wove are now listed in the Warped for Good Etsy Shop. And there may still be one River Stripe Towel Set Pre-Wound Warp Instructional Kit (Workshop in a Box) left! UPDATE: THE KIT HAS BEEN SOLD.
New year 2017 is beginning! It’s time again to take account of where we stand in our life’s dreams and goals. What can we check off the list? And, what is still in progress? And, maybe there’s something new to add. But first, let me count my blessings. I’m filled with gratitude, thankful for you! What a JOY it is to have friends like you to walk through this weaving journey with me.
Here’s what you’ll find on my looms right now:
Glimåkra Ideal loom: Striped warp for the sample kit is all set! Winding quills is next. Then, weaving! If all goes well, a few pre-warped plattväv towel kits will show up in my Etsy shop.
Glimåkra Standard loom: Weaving a transparency. 16/2 linen warp and background weft. The weft pattern inlay is cotton chenille.
Hokett loom has the start of a simple stripes tapestry practice piece. 12/6 cotton warp, 6/1 Fåro wool weft.
Rag rugs are not finished when you cut them from the loom. In fact, they can fall apart if you are not careful. A rag rug is not secure until warpends are tied into knots. You need to leave space on the warp between rag rugs to make room for the eventual knots.
One way to leave space on the warp is by using warping slats as spacers. Simply weave about two inches of scrap header after the end of a rug. Then, insert warping slats in alternating plain weavesheds. And then, weave another scrap header. Now, you’re ready to start the next rug.
Weaving is finished. It is time to cut these rugs from the loom. Four warping slats are seen between two rag rugs as the rugs are being pulled off the loom.
I leave about eight inches (20 cm) of warp between rugs. This gives me enough length for tying the needed square knots. If you are leaving fringe, add enough to include the desired fringe length. When you insert the warping slats, keep them centered so that they can go around the breast beam and cloth beam without catching on the sides of the loom.
Full-width warping slats are placed carefully so that they do not extend beyond the weaving width on the right or on the left. This view is looking down on the end of the breast beam.
It is easy to separate the rugs after they are off the loom. Cut between slats using a rotary cutter, with a cutting mat underneath.
Double binding rag rugs are ready to be removed from the loom. The two rugs will be cut apart by slicing the warp between the middle two warping slats.
What can you do with odds and ends? Plenty. I do use new cotton fabric for my rag rugs. But I refrain from buying new fabric until I absolutely have to. It’s a good challenge to combine available colors from previous rag rug projects to make a new design. There are two piles of color for this double binding rag rug. The blue pile and the brown/black pile. The color blocks switch places in the rug about every seventeen centimeters, with a three-pick white chain pattern in between.
Collection of blue fabric, and a collection of brown and black fabric form the basis of this double binding rag rug.
I enjoy combining multiple shades of a color, such as the blue in this rug, to add character. Every odd fabric strip finds a place to belong. It ends up looking cozy and friendly. All the mismatched pieces somehow fit together.
Chain motif draws a line where the colors switch. Three picks form the chain. Print, white, print (the center section shows the reverse.)
We belong to somebody. We belong to the one who made us–the Creator of everything. He weaves the fabric strips together to make his beautiful design. Scraps become useful, and colors are mixed and rearranged in interesting ways. Together, the woven mixture has a purpose. A rag rug, made from odds and ends like us, puts the creativity of our Maker on display.
