All the looms are bare right now. Four empty, quiet looms. But they won’t be quiet for long. I have thread/yarn and plans ready for each loom. I hear a rumbling as the looms begin to wake up. Before long, the weaving rhythm will be fully awakened in this place!
Glimakra 100cm Ideal countermarch loom has moved into the spot vacated by my recently-acquired Glimakra Standard 120cm countermarch loom that we have moved to a new location. 12/6 cotton rug warp in Pear and Brass for Rosepath rag rugs.Glimakra 120cm Standard countermarch loom in its favored position in our home. This loom has not been moved. 6/2 Tuna wool in Lapis Lazuli and Almond for a 12-shaftdouble weave blanket.Handbuilt little 70cm countermarch loom in its perfect little corner by the windows. Pre-wound warp from Vavstuga (Mary’s Towel Kit) that my dear friend Elisabeth is letting me weave. 22/2 Cottolin in Sapphire and Yellow Ochre for towels.Glimakra 120cm Standard countermarch loom…in pieces. We are moving the newest loom in the family to a room that is next to Steve’s carving workshop.Glimakra Standard horizontal countermarch loom is being reassembled in its new Drawloom Studio! The drawloom boxes have been opened and parts sorted and organized. Let the fun begin! The room is undergoing some renovations, too.Draw attachment frame obstructs the jacks in the horizontal countermarch on the 120cm Standard loom. So Steve made all new horizontal jacks for the countermarch. Loom has an extension added at the back. We put it at its fully extended length to make sure it fits in this room. It does!Glimakra Standard with Myrehed Combination Drawloom–Shaft draw system and single unit draw system. Unbleached 16/2 cotton for I-don’t-know-what-yet. But I will soon! Book pictured is Drawloom Weaving, An introduction to warping and weaving on a drawloom by Joanne Hall.
Guess what? I added another loom. You might think I already have plenty of looms. This one is a beautiful, well-cared-for 120 cm Glimåkra Standard countermarch loom. It’s the first real step toward another big dream—drawloom weaving. What a pleasant surprise for me to find out that the dear person handing off this loom is one of my blog friends from right here at Warped for Good! And not far from our Texas hill country home. Thank you, friend!
Glimakra Standard, 120 cm. The side gables fit, but just barely, in the covered bed of our Tacoma pickup truck.
Sticks. A Swedish loom is mostly a pile of sticks all fitted together just so.
There are a few things to be done before drawloom weaving becomes a reality for me.
Read, re-read, and review everything I can get my hands on about drawlooms and drawloom weaving, especially Joanne Hall’s new book, Drawloom Weaving, and Becky Ashenden’s DVD, Dress Your Swedish Drawloom.
Fix up the light-filled room in the hangar (did I tell you we have an airplane hangar on our property?) where there is ample room for the extended-length drawloom.
Order the drawloom attachment and supplies.
Move the loom to its special room in the hangar.
Assemble the drawloom.
In the meantime, I’ll weave a couple projects on this loom while it sits in a prized corner in our home. In our little piece of hill country. (We make our final move there next week!)
Setting up the loom.
Ready and waiting.
Loom with a view of Texas hill country. Perfect temporary spot.
May you take a step closer to your biggest dreams.
Making a cartoon for a lizard tapestry this size is quite a process. First, I enlarge the photograph. Then, I trace the outlines of the details onto a sheet of clear acetate. Next, to make the cartoon, I trace the bold Sharpie lines of the acetate image onto interfacing material meant for pattern making. But next time, it will be different.
Tracing outlines from the enlarged photograph onto the sheet of acetate. Photo image on the iPad helps clarify which distinctive lines to draw.
White poster board under the acetate makes the Sharpie lines visible. The interfacing material lays on top of the acetate so I can trace the lines to make my cartoon.
I don’t plan to use this interfacing material again for a cartoon. It is not stiff enough. As the tapestry progresses it becomes more and more difficult to keep the cartoon from puckering and creasing in places. A better option would have been stiffer buckram, like I used for my transparencies. (See – Quiet Friday: Painting with Yarn and Animated Images.) But I am not able to find buckram in sufficient width.
Interfacing material is susceptible to puckers and creases. Unevenness in the cartoon can result in a distorted woven image on the tapestry.
After I finished weaving the lizard portion of the tapestry, I decided to experiment. I removed the interfacing cartoon and switched to the acetate sheet instead. There’s no puckering with this one! It is much easier to line up the cartoon with the weaving. It has drawbacks, though. Noisy! When I beat in the weft it makes thunderstorm sound effects. (Not so great for our temporary apartment life.) It’s also harder to see the cartoon lines. And the magnets I use to hold the cartoon slip out of place too easily.
Slat holds the cartoon up to the warp. To beat the weft, I move the slat out of the way of the beater, just under the fell line. The sheet of plastic would be a good prop for making sounds effects for a film about a thunderstorm.
Next time... White paper, like the gorgeous tapestry cartoon I have seen in Joanne Hall’s studio. That’s what I’ll use. Next time…
Joanne Hall in her Montana studio. This is the cartoon she made for her impressive Bluebonnets tapestry that hangs on display in a Dallas hospital.
I started the Lizard tapestry right before our big disruption. Selling your house means that every in-process project instantly becomes vulnerable. Yikes! After a sleepless night, I contacted my friend Joanne Hall. Can this weaving be saved? Yes!, she assured me, as she gave me instructions for dismantling the loom.
Yarn supply is packed up, including all the wool butterflies.
Everything is logical about the process. Undo things, tie parts together, take things apart. And I don’t have to cut off the weaving? No. Remove the beam cords from the cloth beam. It’s that simple.
Steve unscrews a bolster that holds one side of the warp beam so I can remove the warp beam.
Holding the precious bundle!
Taken apart. Tapestry, reed, and shafts are rolled and bundled up in the fish beach towel.
Now all I have to do is wait…
Everything fits in the car, ready for transport.
All the dust has settled, the house transaction is done, and the loom has been re-located and put back together. It’s the first thing you see when you enter our ground-floor apartment.
New location for the loom is in the living room of our apartment.
Simple Swedish loom assembling.
Re-attaching the bolster to hold the warp beam.
Tapestry in view.
Spare Texsolv heddle works as a cord threader (I forgot to pack the “real” cord threader) to re-attach the cords on the cloth beam.
What about the Lizard? Can I resume where I left off? Good news: IT WORKED!
Everything is put back together. Beam cords are re-attached. Yarn is unpacked. Warp is tensioned.
Lizard foot grips the breast beam as weaving resumes!
When have you had to wait? Something you dearly long for is unreachable for a while. Waiting for the Lord is always waiting with hope. I trusted my friend’s advice. So, my hope was strong while I waited to see this lizard take shape again. In a similar way, I can trust the Lord when there is a disruption. Wait with strong hope. Wait for the grace to begin again.
Alignment, security, and visibility are the main things I think about in regard to attaching and supporting the cartoon. In order to weave a tapestry this size, or any size for that matter, you need a good way to manage the cartoon. My cartoon is drawn onto a thin Pellon product (Pellon 830 Easy Pattern, 45″ wide) that is meant for pattern making. This material is easy to pin, doesn’t tear, and only barely wrinkles.
Alignment Align center of cartoon to center of warp.
A blue dashed line from top to bottom of the cartoon marks the center. I also have a pencil mark on the exact center of my beater. When the blue line on the cartoon is perfectly aligned with the center warp end, as seen from the mark on the beater, I know my cartoon is in the correct position.
Pencil mark on the beater is above the center warpend.
Security
Pin the cartoon in two places on each side of the woven tapestry.
This warp is too wide for me to reach all the way to pin the cartoon in the center. So, on both sides of the weaving I place one flathead pin near the selvedge, and another one as far as I can comfortably reach toward the center. I move the pins forward each time I am ready to advance the warp.
Two flat-head pins hold the cartoon under the tapestry weaving on the right-hand side.
Hang a support slat under the cartoon.
I learned this from The Big Book of Weaving, by Laila Lundell, p. 239, 2008 edition. I used this method previously for a rag rug that had a cartoon for a large inlay pattern. It also works well for holding the cartoon for a woven transparency.
Seine twine loop with rubber band hangs from beater cradle. Slat holds cartoon up against the warp.
Supplies: 12/6 cotton seine twine, 2 rubber bands, long warping slat
1 Make a loop with the seine twine to hang from the beater cradle to just below the warp, with a rubber band on the loop.
2 Tie the ends of the loop with a bow knot or a weaver’s tie-up knot (this useful knot is described in How to Warp Your Loom, by Joanne Hall, p. 39).
Top of loop tied in a bow knot.
Weaver’s tie-up knot is perfect for this application, since it is quick and easy to undo and re-tie if repositioning is needed.
3 Make another loop the same way, with rubber band, and hang it on the other beater cradle.
4 Place the warping slat in the hanging rubber bands, underneath the cartoon.
5 Adjust the length of the loops so that the slat lightly presses up on the cartoon and the warp.
Rubber band gives flexibility to the seine twine loop that is holding up the cartoon.
Pin the rolled-up cartoon underneath.
I roll up the Pellon cartoon under the warp and pin it once on each side. As the warp and cartoon advance I can reposition the pin as needed.
Under the warp, the cartoon is loosely rolled up and pinned.
Move the slat toward the breast beam, out of the way, to beat in the weft.
Because of the rubber bands, the slat support has flexibility and does not impede the movement of the beater.
With the slat under or near the fell line, it presses the cartoon up to the warp. By doing this, I can easily see what comes next as the tapestry weaving develops row by row.
Placing the slat under the fell of the weaving raises the cartoon to visibility where it is needed most.
I wait for my ordered yarn to arrive. Meanwhile, I dream of this tapestry becoming a reality as cartoon meets wool.
May you have the alignment, security, and visibility you need.
