Yellow is everywhere right now. A profusion of wildflowers stretches across our backyard, and much of it is yellow. The bright yellow linen weft fits right in! This is skirt fabric in the making. Wearing the skirt will be as if I’m wearing my own little summer flower garden.
One shuttle, one color. There are no decisions to make about the weft. Just keep these quills full of glowing yellow thread. When the last of the filled quills is in the shuttle, I weave until I find a good stopping place. Then, it’s time to get up and wind a handful of quills again. Replenish before the quill in the shuttle is bare.
To be full of faith is to be faithful. We say we trust Jesus. But can Jesus trust us? Faith-ful means you not only believe in him, you abide in him. You believe, and you live what you believe. Day, after day, after day. Quill, after quill, after quill. Replenish regularly to keep getting filled up. Never depleted. Always ready for the next pick.
I would like to finish this skirt project in time to wear the skirt this summer. Huckaback (huck lace) is easy to weave, but it takes time. All I need is time.
Linen weft threads pack in tighter and make better selvedges when they are dampened. I need a tight weave to square the pattern that is coming on the next two skirt tiers. And the edge of the skirt flounce is a selvedge that will be fully exposed, so tidy selvedges are a must. It takes a little bit of time to hold a damp cloth against the thread as I wind a quill, or to wrap a damp cloth around a quill that’s already wound. It’s worth it. In the scheme of things, that little bit of time is nothing…and everything.
By dampening the 16/1 linen weft I am able to get a tight weave without having to beat as hard.The edge with the poppy-thread border will be the lower edge of each tier on the three-tiered skirt. I’m paying special attention to the selvedge, and dampening the linen weft really helps!
We all have a little bit of time. Look at your hand. A lifespan is no longer than the width of your hand. A lifetime is one moment to God. Our life begins and ends in one breath of God. This little bit of time we have is nothing…and everything. This is how God loved us in our little bit of time: he gave his one and only Son, so that everyone who believes in him would not perish but have timeless life with him.
“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.
Finishing
Dressing
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.
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.Glimåkra two-treadleband loom. Weaving hanging tabs for bath towels. 22/2 cottolin warp and weft.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.Loom that Steve built, 70cm (27″), horizontal countermarch. My third floor loom. Weaving the header for a pictorial tapestrysample, four-shaft rosepath, 16/2 linen warp, Tuna/Fårö wool and 6/1 tow linen weft.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.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.
I am making a new ‘cello skirt (a tiered skirt), starting from scratch. The warp is 24/2 cotton, most of it unbleached. Each tier will be edged with a narrow Poppy border. The pattern in the cloth will be a huckaback (huck lace) design, adapted from Little Tablecloth in Huckaback on p.10 in Happy Weaving from VävMagisinet.
Today, I’m beaming the warp. My method includes a combination of things I have learned from these three excellent sources: Learning to Warp Your Loom, by Joanne Hall, Dress Your Loom the Vävstuga Way, by Becky Ashenden, and The Big Book of Weaving, by Laila Lundell.
I’ll let the pictures speak for themselves.
Do you have any questions about my beaming process? If you warp back to front, like I do, what do you do differently?
I warped the drawloom with gray 6/2 Tuna wool several months ago with the goal to make fabric for a reversible vest. The beautiful drawloom fabric turned into dreamy garment-worthy fabric after washing! (See Process Review: Drawloom Jewels)
And then I hit two huge hurdles.
Hurdle 1. Fit.
In order to cut into handwoven drawloom fabric, I need assurance that the end result will fit me. My sewing assistant helped me refine a commercial pattern.
Meet my sewing assistant, Miss Fit.
After umpteen muslins and two or three mock-ups, I finally got the fit I was after. Confidence to cut!
Hurdle 2. Garment Construction Uncertainties.
Do some detail studies, my dear friend Elisabeth said to me. Her advice got me over the insecurity hurdle. A detail study is making a small sample to test a hypothesis or answer a question. I made a list of everything I wanted to know about constructing a vest from this type of handwoven wool fabric. And then, using some of the extra fabric from the sampling at the beginning of the warp, I did a detail study for each point on the list. Twelve detail studies in all.
(If you are interested in seeing my complete list of 12 detail studies for this project, click HERE to send me an email and ask for my “Detail studies”.)
Here are a few examples of my findings:
Zigzag before or after cutting? // Zigzag before cutting, stitch width 3, stitch length 2 1/2
Lapped seams? 3/8”, 1/2”, 5/8”? // Yes, lapped seams, overlap 1/2”, stitch basted line to guide placement
Neck and armhole curves – staystitch with hand running stitches or machine stitching? 1 row or 2? // Hand running stitches, 2 rows
Detail study testing lapped seams.
From the results of the detail studies I was able to compile a step-by-step garment construction plan. Confidence to sew!
Follow my process pictures of the garment construction to see the results:
Cutting lines marked with basting stitches.Tracing paper is used for the pattern, which allows me to clearly see the placement of the pattern on the fabric.Making an X with the basting thread at the corners. This helps clarify exactly where to stitch and cut. (One of Elisabeth’s helpful tips.)Buttonhole twist thread is used for the basted lines. It makes an easy guide for the sewing machine needle to follow. The zigzag stitches are just inside the line.Basting stitch on the front side piece is a guide for positioning the lapped seam.Ready for hand work.Two rows of running stitches around the armholes and neck opening.Blanket stitch is used to embellish and strengthen the armholes, neck, front edges, and lower edge of the vest.Reverse side.
