After neglecting this Glimakra Standard loom for a few weeks, I lost my consistency in beating. The first panel, side one of a cushion, has a square-within-a-square pattern. And the squares are not all equal. If I tried to put the same pattern on the back panel, the cushion front and back would not match up at the seams.
Each block consists of twenty picks, so there are sixty picks for each row of the square-within-a-square pattern. Consistency in beating is crucial in order to have all the rows of squares equal in size.
Stripes to the rescue! The stripes use one of the four possible kuvikasblocks. I get a coordinating pattern without the fuss of trying to match up the sides. The stripes have a ribbed appearance–simpler than the squares, but still geometric. The patterns are different, but they work together and complement each other.
Two red picks separate the front and back panels of the cushion.Repeating “block one” makes a simple stripe pattern. The square-within-a-square pattern is made by weaving two groups of blocks. Group 1: block two, block one, block two. Group 2: block three, block four, block three.
There are many different gifts in people; and the gifts all come from the same source. Each gift is like a pattern than can be used in a variety of ways, complementing the other patterns around it. Our Grand Weaver sees the whole project, and places the people with the gifts where they best fit in the overall fabric. You are made for a purpose. Your gifts are exactly what the rest of us need.
No matter how much thread is on the quill, if you keep weaving, you will eventually come to a bare quill. Three at once, this time. Two with tencel in the double-bobbin shuttle and one with 8/2 cotton. A quill is a small item with an essential role. This mostly-hidden cardboard cylinder holds the threads that weave.
An empty quill is a stopping place. You have to stop. Wind another quill, or three, before you weave some more. Or, use quills from your loom bench basket that you had already wound. It’s the cycle of weaving. Weave. Stop. New quill. Weave. Stop. And so on.
The quill is mostly hidden until the thread runs out. Likewise, truth seems like a secret until it comes to light. And then you realize it holds the fibers of life. Truth is worth searching for. It is central to understanding our existence. Examine a thread of reality, keep pulling that thread, and unroll it. It always ends up at truth. Truth is that core, that weaver’s quill, around which reality is wound. For our Grand Weaver, truth always holds the threads that weave.
My introduction to rosepath rag rugs was on a room-size loom in Joanne Hall’s magical Montana studio. I was so happy at that moment that I actually cried. It’s no surprise, then, that I relish every opportunity to weave a rosepath rag rug. And even better, to share the joy with other handweavers who may not have tried it yet. Look what came in the mail this week! The March/April 2017 issue of Handwoven, with a project by yours truly–Swedish Rosepath Rag Rug!
Swedish Rosepath Rag Rug, as seen in March/April 2017 Handwoven.
Not everyone loves weaving rag rugs. That’s fine. But if you’re a weaver, there is probably something that draws your interest and brings delight. A certain weave structure, silky fibers, fine threads, complex patterns, bold colors. Something. And if you’re not a weaver, there is something else that triggers your pursued interest. Find that spark that ignites joy in you!
Besides using a pre-measured tape, taking a picture at the beginning of the rug, with the yellow tape measure in view, makes it easy to replicate the hem at the end of the rug.Temple is in place, keeping the rugs a consistent width. Metal rug temples are good, but I still prefer a regular wooden Glimåkra temple for weaving rag rugs.Many rosepath variations are possible. The rug on the cloth beam uses a similar design, with different colors.Making paths of roses. Rosepath.Progress!Reverse side of the rug has a subtly different pattern.Cloth beam fills up with rag rugs. Pleasant sight for a rag rug weaver!Ending the rug on the loom. Following the markings removes guesswork.
Keep a song in your heart. Sing. Sing for joy. Sing praise to the Grand Weaver who put the seed of searching in you. A seed that bursts open with joy when ignited with a spark, and flourishes into something distinguishable. Trust the Lord with all your heart. Your heart will find its melody.
Published in March/April 2017 Handwoven.
May your heart sing a joyful tune.
ATTENTION: The draft for the Swedish Rosepath Rag Rug from Handwoven is written for a sinking shed loom. Therefore, for a jack loom, you must tie up the “white” empty squares instead of the numbered squares for the pattern to show right side up as you weave.
If you are interested in weaving rag rugs, take a look at Rag Rug Tips, a new tab at the top of the page.
This project has been on my mind for a long time. But I purposely waited to begin until I could weave it on my new sweet little loom with a view. Four Decorative Sample Strips, it’s called in The Big Book of Weaving, by Laila Lundell. It includes four-shafttapestry, as well as weftinlay techniques. Each of the four strips will be a sampling of 8-12 different patterns or techniques. The weft is all linen, in various colors and sizes. Several strands are bundled together and made into butterflies. I have the sections mapped out, but the actual designing is happening at the loom.
Box of linen! A variety of 16/2 line linen, 6/1 tow linen, and 8/1 tow linen.First sample strip starts with some weftinlay.Linen butterflies.
The box of vibrant shades of linen that sits by the loom makes me think of the wonderful colors in creation. The Grand Weaver puts an assortment of strands together, making something as only He can. The world belongs to its Maker. We are His. Sometimes we forget that it is not that He is in our universe, it is that we are in His. I love the way He puts an assortment of us together to put a splash of color on His tapestry.
Put on a new warp as soon as possible. That’s my philosophy. A weaving loom should not stay bare. I am ready to begin a stack of rep weave mug rugs (my local weaving group is making them for an upcoming conference).
Cottolin warp seems to light up on the warping reel. The colors become more vibrant when lined up together.
A new warp comes alive as I wind the threads on the warping reel. It is a picture of possibility! Every warp has a beginning and an end. Beginning a new warp on the loom is always exciting. And when I come near the end, I often wish I could weave a little longer.
Warp chain is ready for dressing the Glimåkra Ideal loom.Lease sticks are in place under the reed, held up by two support sticks, and the warp has been pre-sleyed. Next step is to set up the warping trapeze.
Have you considered the warp as a metaphor for a life’s span? It is measured out in advance, with a certain type of fabric in mind. The setts, patterns, and structures vary. But they are all meant to be woven. Weft passes are like days and years. For a time, it seems like it will never end. And then, you see the tie-on bar coming over the back beam. You’re reminded that this warp is temporary. We all have this in common: We are mortal. Time is a precious gift. Every pass of the weft is a reminder of our Grand Weaver’s loving attentiveness to complete the weaving he began.
