Short Rug – Big Splash

This colorful double-binding rag rug is going to make a big splash. At least, it will catch a big splash. It’s a bath mat, after all.

From left to right: Warp is tied on. Leveling string. Blue and white scrap header. Warp thread header. Red plain weave hem. First four rows (eight picks) of double-binding rag rug. Ski shuttle for light-color weft. Ski shuttle for dark-color weft.

I am not fiddling with the weft fabric strips. Instead of making the right side of the fabric always show on top, I am letting the fabric strips fall as they may. The resulting variance in the weft gives the rug a vintage-like appearance. Also, I am using print fabric for some of the the light color of the double binding that purposely obscures the contrast of dark and light in some places. This is to give the rug a softer, more playful appearance.

Some of the red fabric for the rug’s hem has a wrong side that is much lighter than its right side. I am letting some of that lighter fabric show on top. Besides giving the rug a vintage-like appearance, this variance also makes the rug more reversible. The front and back side of the rug will be similar to each other, instead of one dark side and one light side.
Glimåkra Ideal, with the beginning of a burst-of-color short rug to be used as a bath mat.

Home is where we make our true expression. The textiles from our hands speak without saying a word.

May your home represent you well.

Happy Weaving,
Karen

Handwoven Detail Notes

It is the smallest of details that set handwoven towels apart from ordinary towels. With that in mind, I am writing some detail notes in the margin of my project notes. Borders: Towel 1 – sea blue, apple green – contrast thread – ultramarine; Towel 2 – ultramarine, sea blue – contrast thread – maize; Towel 3 – apple green, ultramarine – contrast thread – sea blue; Towel 4 – dusty, sea blue – contrast thread – apple green.

Cottolin bath towels coming up!
Beaming the cottolin warp for bath towels.
Warp is tied on and leveling string is attached.
Warp is tied on and leveling string is attached.
Preparing to weave 7-color bath towels.
Seven different colors of wound quills. All seven colors are in each towel, warp and weft. The weft sequence varies with each towel.
Boat shuttles vie for the starting line, like in a regatta.
One boat shuttle for each color. This reminds me of sailing with my dad and my sisters. Boat captains would vie for the regatta starting line, shouting, “Starboard!”

There are seven colors of cottolin in the warp, and the same seven colors in the weft, just like the accompanying hand towels I completed in April. (See Process Review: Jubilation Hand Towels.) Narrow warp-wise and weft-wise stripes of broken twill produce interesting patterns in the cloth. The deep borders I am planning on the bath towels give me a chance to add simple details that only a handweaver can do.

White ribbon shows where to place details on the handwoven bath towel.
After weaving a short section to test the threading, I start the first towel. A red line, as always, denotes the cutting/starting line. I placed marks on the white ribbon at the left that show me where to place details along the length of the towel.
Simple handwoven details make all the difference.
Single ultramarine thread is laid in with the sea blue to outline a change of treadling. A simple handwoven detail.

Have you ever identified a master craftsman by the specific details that show up in the hand-crafted article? In the same way, we can recognize our Maker’s hand through the magnificence of the details we see in each other. You are his masterpiece. Hand-written instructions guide the details. When we come to the Lord as our Maker and Redeemer, we find his hand-written details woven into our hearts, something only the Grand Weaver can do.

May you attend to the details.

Happy Weaving,
Karen

Process Review: Dressing the Drawloom the Second Time

Dressing the drawloom the second time is easier than the first time. No slip ups or confusion. Just smoothly moving from one step to the next. (Read to the end to see what to expect for July.)

Winding skeins of wool yarn into balls.
Winding skeins of wool yarn into balls.

With my first drawloom warp the most challenging part was distributing the pattern shafts. (See Q and A with Joanne Hall and Drawloom Dressing.) This time something clicked and the light bulb turned on. Instead of blindly following steps, I now understand what I am doing, and why. And I am having fun in the process!

Winding warp on the warping reel.
Winding the warp on the warping reel, making two bouts.
Big fat wool warp chains.
Warp chains of 6/2 Tuna wool, ready to dress the loom.
Ready to thread pattern heddles.
After beaming the warp, the loom bench is moved to the back of the loom for threading heddles. Pattern heddles first, and then, ground heddles.
Sleying the reed on the drawloom.
With the reed sleyed, it’s time to return the ground shafts to the front of the loom and put the reed in the beater.
Leveling string is doing its job!
Warp is tied on, and the leveling string is doing its job.
Distributing pattern shafts on the drawloom.
Inkle band serves to separate pattern heddles as I distribute the pattern shafts.
Adding pattern shafts to the drawloom.
Pattern shafts are resting nicely on the pattern shaft holders. Their little hooks grab the Texsolv that connects them to the draw cords and handles.
Dressing the drawloom!
Pointed threading can be seen in the arrangement of the heddles on the pattern shafts.
Dressing the drawloom!
Drawloom setup is complete except for tying up the treadles. Treadle tie-ups on a drawloom are refreshingly simple.
Testing pattern sheds on the drawloom.
Testing pattern sheds by pulling some of the draw handles. After a few small adjustments, she’s ready to weave!
Wool on the drawloom.
First sample. 6/2 Tuna wool warp and weft, 4-shaft broken twill on the ground shafts, sett is 5.5 ends per cm, 16 pattern shafts with 1 extra shaft for the edges.

Friends, It’s that time again, when Warped for Good is put on pause for the month of July.

Thank you for sharing in this journey with me!

What’s on my looms: I am near the end of the blue double weave blanket on the Standard, and I am planning a new pictorial tapestry for that loom. The drawloom is dressed and in motion. And the Ideal loom is still sitting ready for rosepath rag rugs. Also, Steve and I have a Casita trip planned that will include some leisurely backstrap band weaving.

What’s on your loom right now? Share with us in the comments.

See you the first Tuesday of August! (In the meantime catch me over on Instagram @celloweaver.)

May your second times be better than your first times.

Keep on Weaving,
Karen

Cutting Off a Failure

I made an embarrassing blunder. No wonder this Tuna wool resists all my efforts. It’s the wrong yarn! Tuna is 6/2 wool—twice as thick as the 6/1 wool I should be using. Cowboy Magic won’t solve this sticky problem. (I thought it would, as I expressed in this post: Tame the Wool.)

The yarn is gorgeous, but my frustration level is pushing me to throw in the towel. I tried hard to make this work. I was so convinced I had the right yarn that I missed it even when reader Joan left a gentle comment asking if 6/1 Fårö yarn would work (I’m sorry for not listening, Joan). There is nothing left but to cut off this failure.

Cutting off out of frustration.
Every shed is a struggle. It seems impossible to get a clean shed with this “sticky” yarn. (It’s not the yarn’s fault, though.)
Cutting off a failure. Ouch!
Failed piece is cut off. There are unwanted floats everywhere, and the fabric is like cardboard because of the tight sett.
Cutting off a failed double weave project. Ugh.
Bottom of the double weave has even more unwanted floats than the top layer.

In this lowest moment a thought occurs to me. Re-sley the reed. An ounce of hope rises.

Re-sleying to a coarser sett. Hoping for success.
Reed is changed from 50/10 metric to 40/10 metric. This spreads the warp an additional 19.9 cm (7 3/4″).
Wool for a double weave blanket. Second try.
Sleying is complete and the new reed is placed in the beater.
Wool warp for a double weave blanket.
Warp is tied on and leveling string is tightened. On your mark, get ready, get set…

I re-sley to a coarser reed and tie back on. I hold my breath and step on the treadles. It works. And it’s gorgeous!

Double weave wool blanket on 12 shafts. Glimakra Standard.
Go! Night and day difference in being able to clear each shed.
Double weave at its finest. Wool blanket.
Double weave at its finest.
Weaving into the sunset!
Weaving into the sunset.
Double weave Tuna wool blanket on Glimakra Standard. Success!
Clean lines of double weave, with a (very) few unwanted floats that will be easy to fix later.
Double weave wool blanket. Success after starting over!
This is now a pleasure to weave!

Have you experienced great disappointment and loss of hope? Sometimes our own failure brings us to that point. The Lord makes things new. We come to Jesus with our failed attempts, and he exchanges our used rags of effort with his clean cloth of righteousness. In his forgiveness, the failure is cut off and removed. Our threads are re-sleyed and re-tied to make us gloriously new.

May you know when to cut off and start over.

Love,
Karen

Tied On and Tied Up

Our transition to Texas hill country is finalized this week! The looms and I will be residing in the same house again. Let the weaving resume! One loom is dressed and waiting for me. Tied on above, and tied up below. Ready to weave!

The warp is tied on to the front tie-on bar in 1-inch bundles, with 1/2-inch bundles at the selvedges. And then, I add the leveling string which makes it look neat and tidy and READY.

Leveling string flattens and evens out the warp for no-waste weaving.
Warp is tied on to the front tie-on bar. Leveling string flattens and evens out the warp for no-waste weaving.

The upper and lower lamms are positioned, and the treadle cords are added and secured. It’s fascinating how simple and basic the whole system is. And how something this simple and basic can be the framework for boundless creative expression.

Under the warp. Intriguing view.
I sit on the treadle beam when I position the lamms, and then place the treadle cords in their holes. I’m always intrigued by the view of the warp and heddles from this vantage point.

Treadle cords on eight shafts.
Treadle tie-ups don’t frighten me. It all makes sense, and is part of the loom-dressing process that I enjoy.

If we think of prayer as something that gets us out of a crisis, or words to say in order to get what we want from God, we miss the whole point of prayer. And we face disappointment. Prayer always works. The work is not our clever words, nor the checking off of our wish list. Prayer is the framework of deep trust that stands ready for the Lord’s boundless creative expression. We pray because we trust him. Christmas—the birth of Christ—shows us that God always steps in at the right time.

May your framework be sure.

Advent greetings,
Karen