Tag: Glimakra

Kuvikas and Taqueté

Karen

Kuvikas and taqueté. There are always new things to try. I’m back to eight shafts. This Glimåkra loom is highly adaptable. It is no problem to set up the loom for a new project. You may have guessed that I like to switch it up. Four shafts or eight shafts, two treadles or ten. And, change the tie-up, too. I don’t mind. With this project, I am going to change the treadle tie-up again at the midway point, switching from kuvikas to taqueté.

Threading eight shafts on my Glimakra Standard loom.
Threading eight shafts. Four pairs of shaft bars have been added to switch from a four-shaft project to an eight-shaft project. Four additional upper lamms and lower lamms have also been added to the loom.

If you know and practice the basics, it’s not frightening to try new weave structures. Every new experience builds on what I’ve learned before. I can trust the system of weaving that I’ve been taught, and that I practice with every project. It makes sense.

Aquamarine cotton. Threading my Glimakra Standard loom.
After the warp is beamed, the warp ends are tied with an overhand knot into groups, according to the threading pattern. In this case, 48 ends are in each group. Counting the ends into groups helps eliminate, or at least reduce, threading errors.
Threading eight shafts for kuvikas and taqueté.
Complex, but not complicated. Warp ends are inserted into specific heddles to set up the loom for a particular type of cloth. Very systematic.

Don’t be afraid. The Lord not only teaches us his ways–his system, but offers us his strength while we learn. I can trust him for that. Trust replaces fear. I don’t have to find my own way, or guess. The system works. It makes sense. I learn to weave, and live, one step at a time, with freedom to enjoy the process.

May you rise above your fears.

All the best,
Karen

Not Just Any Old Weft

Karen

The weft makes or breaks a weaving project. 16/1 linen weft requires careful weaving, but the quality of Swedish Bockens linen won’t disappoint. If you use superior quality warp thread, like this Swedish Bockens Nialin (cottolin), it makes perfect sense to choose a weft that equals that degree of excellence.

Platväv table runner. Linen weft.
Plattväv table runner. Black 16/1 linen is doubled for the pattern weft in this plattväv design. The background tabby weft is golden bleached 16/1 linen.

When I weave useful items on my loom, I want them to stand the test of time. I want these plattväv towels and table runner to outlive me. So, no skimping on quality. Time and patience are woven into the cloth, with artisan details and carefully applied skills. Perfection? No, not this side of heaven. But making the most of what I’ve been given is one way I show gratitude to my Maker.

Plattväv table runner. Linen weft.
End of towel kit sample warp has enough room to weave a companion short table runner with plattväv squares. All weft tails will be trimmed after the fabric has been wet finished.
End of warp closes in.
Weaving as far as feasible. End of warp closes in.

We have much to be grateful for. The Lord’s enduring love is of measureless worth and quality. It’s the basis for our unwavering hope, which sustains us through every adversity. This isn’t a knowledge of the love of God. This is the actual love of God, poured into willing hearts. Love changes everything. This love is the weft that makes perfect sense for the completion of something as valued as you or me. What if every fiber of our being reflected the love of God? How beautiful!

May your finest qualities be seen and cherished.

Love,
Karen

PS Plattväv towel kit is in development. The kit includes a pre-wound warp and sufficient weft to weave four hand towels, and one companion short table runner/table square. PLUS, special access to one or two short instructional videos.

Quiet Friday: Cartoon House Cartoon

Karen

The fascinating thing about weaving a transparency is that it feels like color-by-number with yarn. There are similarities to tapestry weaving, for sure. But this seems ten times faster. I found it to be engaging and fun! I echo what my transparency-weaving friend says when it’s time to stop and do something else, “Just one more row…”

Linen warp chain awaits beaming.
Warp chain of 16/2 golden bleached linen, before beaming the warp.
Threading heddles in the Glimakra Standard. Coffee and notes at hand.
Threading heddles in my little playhouse, with project notes by my side, and a cup of coffee on the side cart.
Adding the leveling string to a linen warp.
Leveling string is added with extra care so that abrasion of the linen warp is kept to a minimum.
Butterflies are made from the hefty cotton chenille yarn.
Butterflies are made from the hefty cotton chenille yarn.
Weaving a transparency. Glimakra Standard loom.
Weaving without a cartoon. I am counting warp ends to keep the pattern angle consistent.
Transparency weaving on the loom, with buckram cartoon.
Cartoon has been added. The pattern weft follows the lines drawn on the buckram cartoon, which is pinned in place.
Cartoon removed at the end of the transparency weaving.
Cartoon is removed.
Ending a woven transparency.
Now, for the end of the warp…

New transparency, ready for hanging!

After the main transparency with the zigzags, I had room to play on the remaining warp. I made another cartoon–a “cartoon” house. This gave me a chance to use a few more yarn butterflies, without it being overwhelming. Home. Sweet. Home.

Cartoon for playtime at the end of the warp. Transparency weaving.
“Cartoon” house cartoon. Ready for playtime at the end of the warp.
Weaving a small transparency. Cartoon House.
With several butterflies going at once, the transparency weaving gets even more interesting!
Transparency weaving. Linen warp and weft. Cotton chenille pattern weft.
Now, the actual end of the warp is here.
Cartoon house just off the loom!
Cartoon house just off the loom.
Welcome home! Transparency weaving. Karen Isenhower
Welcome home! Home. Sweet. Home.

May you enjoy the fascination of learning something new.

Happy Weaving,
Karen

How to Splice the Warp – Video

Karen

Knots show up in the warp. It’s a normal part of weaving. Weaving over the knot is almost never a good idea. You have to deal with the little obstacle. This is why it is handy to know how to splice the warp. Thankfully, it’s not hard to do. There are a few standard variations on how to perform this operation. I use a method that I first came across here, by Kirsten Froberg, that makes sense to me. And, hooray, there are no tails to weave in later!

I made a new video to demonstrate how I do it. You can watch it below…

How to splice the warp.
Spliced area of the warp happens to land in the hems of two adjoining towels. Pink weft picks serve as a cutting line between the towels.
How to deal with a knot in the warp. Tutorial video.
Ending the splice. There are no tails to weave in later with this method.

How to Remove a Knot in the Warp

  • Insert a replacement warp end. Attach with a pin.
  • Weave an inch with original and replacement warp ends in place.
  • Cut original warp end. Hang it over the back beam.
  • Weave until original warp end is long enough to reinsert.
  • Insert original warp end. Attach with a pin.
  • Weave an inch with replacement and original warp ends in place.
  • Cut and remove replacement warp end.
  • Trim cut warp ends after wet finishing.

May the knots that get in your way be easy to remove.

Happy Weaving,
Karen

Almost Ruined Transparency

Karen

The cotton chenille looks as if it is magically suspended in space. But it’s the linen that suspends it. 16/2 unbleached linen weft crosses 16/2 golden bleached linen warp. The two shades blend into one as they are woven for the transparency background.

Weaving a transparency. Linen warp and weft. Cotton chenille pattern weft.
Weaving a transparency from the back. The front side of the pattern can be seen after it comes around the breast beam.

Unfortunately, I had 16/1 golden bleached linen (16/1 is half as thin as 16/2) on my winding table, for the plattväv towels on the other loom. I wound a quill with the 16/1 and wove the transparency with it. It’s the wrong thread size and color. For 8 1/2 inches! Too far to undo without irreparably damaging the linen warp. This is disappointing. How did I let that happen? Take a deep breath… Move forward, and finish out the weaving with the correct 16/2 linen.

Linen weft change is a mistake. Oops!
Two densities of linen. The 16/2 unbleached linen weft adds depth to the 16/2 golden bleached warp. The 16/1 golden bleached weft gives a lighter look to the web.
Just off the loom! Handwoven transparency.
Just off the loom! First transparency attempt, and a great learning experience.

We all fall short. We do the wrong thing. That’s a weight to carry. Jesus breaks the yoke of our burden, and lifts the weight. We have been set free! When we finish the weaving, the chenille pattern will be the main attraction, not the error. By amazing grace, the error is overcome by the light shining through the transparency.

May your burdens be lifted.

With you,
Karen