First thing every morning I pour myself a really good cup of coffee. And before I pour that cup, I select a mug rug to put under my coffee mug. A handmade mug rug makes a good cup of coffee that much better. I like having a mug rug under my cup as I walk, to catch any drips. And then, the mug rug protects the table surface, as well. So, in the early morning, with hot coffee and mug rug in hand, I go sit in my favorite chair to read, think, and pray. And I sip my coffee, thankful for a new day.
Morning Coffee! I keep a selection of handmade mug rugs to choose from. My sister and I had a short phase of basket weaving in the 1980’s. This is a basket I made at that time.
I have made, acquired, and given away too many mug rugs to count. Here are a few favorites that I keep within daily reach.
Mug rugs such as these sometimes come in conference goody bags.When my grandmother crocheted these decorative potholders many years ago, I’m sure she never imagined that her granddaughter would put them to use as mug rugs.Blue, brown, and green M’s and O’s. Dark wool butterflies left from tapestry weaving, woven on the Emilia Rigid Heddle loom. Green stringyarn for a rosepath mini rug.From a recent page in my sketchbook. A portion of this sketch is the basis for my next tapestry cartoon.
May your handiwork show up as embellishments for daily living.
For this second butterfly sample I am zooming way in, to expose more detail of the delicate stained-glass wing. Transforming the photograph into a weaveable cartoon is a fascinating task in itself. In real life, when do we ever get this close a look at the intricacy of the fluttering wing?
Color rows of black, green, yellow, and gold wool weft are woven in a rosepath pattern to frame the beginning of the tapestry. My “go-by” is a smaller replica of the cartoon that is under the warp.
The primary reason for these butterfly samples is for me to gain a better understanding of how the details of the cartoon image relate to the sett of the warp on the loom. My goal is to thoroughly explore this style of tapestry. So, I aim to become adept in creating well-suited cartoons.
In progress. You can see the cartoon under the warp.
Let’s zoom in to the familiar scene of baby Jesus generations ago. The child born in a Bethlehem stable drew the attention of lowly shepherds, not impressive celebrities. Announced by angels, not by stately heralds. The detail clearly depicts something out of the ordinary: There is a kingdom that is not of this world. A King who shows up, not cloaked in royalty, but wrapped in the cloth on hand. What an intricate plan it is that a babe named Jesus would become our Savior King! And, that he transforms the image of those whose hearts invite him in.
You never know when you’ll need a piece of blue tape. A roll of blue painter’s tape is among my essential weaving supplies. My favorite way to temporarily mark just about anything is with a piece of blue tape.
Blue Painters Tape for Temporary Markings
Cut (or tear) the tape to size.
Fold one edge of the tape under. This makes a little tab so that the tape is easy to remove or reposition.
Use a fine point Sharpie to write on the tape.
Tape prepared for pointing.
Three Examples
Keep your place. Draw an arrow on a small piece of blue tape. Use the arrow on the tape to follow along the threading or treadlingdraft. This eliminates confusion, especially after a pause.
Measure the space. Draw a straight line on small pieces of tape. Measure the warp width on a tapestry frame or rigid heddle loom. Use the lines on the tape to mark where the first and last warp ends should lie on the loom. This eliminates guessing when warping the loom.
Tapestry frame is ready for a new warp. After measuring for weaving width, and counting dents, I mark the dents with tape. No more guessing if I’m “almost there” when putting on the warp.By clearly marking the first and last slots/holes I can verify that my calculations are correct before I start warping the rigid heddle loom. This is helpful for direct warping and for indirect warping methods.
Number with Grace. Write out a series of numbers on a long piece of tape, leaving space between the numbers. Cut the numbers apart. Use the numbers to label pattern shaftdraw handles on the drawloom. Place the numbers directly above the draw handles, arranged in groups of five for easy visual recognition. Use a separate series of numbers for border pattern shafts, if applicable. This temporary numbering system gives the advantage of being able to customize the numbering for each drawloom draft.
Using the Myrehed Combination Drawloom, I configure the numbers for the pattern shaftdraw handles to coordinate with the single unitdraw cords, which are grouped by tens. This makes my working chart that uses single units and pattern shafts much less complicated. For this reason, it doesn’t make sense to give my draw handles “permanent” numbers.
Have you found ways to use blue painter’s tape in your weaving studio? Share in the comments!
May your life leave marks that are more than temporary.
I allowed the remaining warp to sit on the loom for a little while after cutting off the Eye of the Beholder tapestry. It crossed my mind to be completely done with it. Go ahead, discard the bit of warp that is left, I told myself. But this is linen. I have a hard time discarding linen.
The warp on the loom is threaded in rosepath, with a coarse sett of 3 ends per centimeter (7.5 ends per inch). The potential weaving length is no more than 20-30 centimeters. Then, the “what if” happens. What if…I use leftover butterflies from the tapestry as weft for a short rosepath design? One thing leads to another. Now, I have a new favorite purse. The tapestry memories live on!
Stick shuttle works to carry various lengths of wool butterflies across the linen warp.Tapestry butterflies are put to use. (Butterflies accumulate with every tapestry.)Butterflies in the rosepath garden.Cutting off.Finishing the ends.Rosepath and Butterflies Purse.Inside of purse is lined, with a pocket added, of course.Strap is 4.5cm wide and was woven with 12/6 cotton rug warp on the Glimåkra 2-treadleband loom. I sewed the strap to the bag, keeping the warp edging of the rosepath fabric visible, with the braids at the ends as embellishments.
“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.
