Gray Fox is showing his stride. That bushy tail is impressive. On the drawloom I get to determine exactly where that tail will swish. Where the tail crosses into the side border, I switch from pulling one pattern shaftdraw handle to pulling individual single unitdraw cords. That’s where the complexity of the combination drawloom really shines. It gives me extraordinary flexibility for weaving the designs I have in mind.
Hem area is black. Wide gold checked border goes across the bottom and top of the napkin, and up both sides.Pattern shafts hold the units needed for the horizontal and vertical borders. The vertical border checks are produced with just two pattern shafts. Where the vertical border is interrupted, I am able to choose the single units needed to fill the pattern. (This also means that I use single units directly across on the left border, too.)Just past midway on this napkin.
In some ways I think of the drawloom as a tool of simplicity. Despite the countless cords and shafts, every piece has a simple purpose. Each single unit draw cord, for example, simply lifts a single unit of 6 threads. That’s all it does. Complexity is a matter of perspective.
May you enjoy the simple things you find in complexity.
When guests come through our front door, this stately 120cm Glimåkra Standard Countermarch loom is the first thing they see. Many folks have never seen a weaving loom. “That looks so complicated,” they say.
Welcome to my weaving studio, which doubles as our home.
The appeal of a Swedish countermarch loom is its simplicity. Pieces of wood, held together with a few wedges, form the frame for an efficient system of synchronized moving parts. “Step on a treadle and see what happens,” I tell them. When you move one part, something else moves, which then causes other parts to move. Now you can send a shuttle through an opening in the threads and weave cloth. “Wow! That’s amazing,” they say. I smile and think, “Yes, it is.” It may be complex, but it’s not complicated.
Glimåkra Standard has a prominent position in our home, with a view of our front yard from the loom bench.Spaced rep rag rug on the loom. This one will be a long runner.
The world looks complicated. What does God in heaven see when he looks on us? Does he see a complicated mess? God sees us through his eyes of love. We’ve all gone our own messy ways. He loved us anyway and gave his son Jesus to save us from our selfish ways. He appeals to us with this simplicity: say yes to Jesus and no to self. This one move sets things in motion and changes everything! God’s world may be complex, but it doesn’t need to be complicated.
Two-block broken twill is a soothing pattern to weave because of its regular rhythm. Even though this is eight shafts, it is not complicated. Simple is good.
Four colors of weft are arranged in a repeated order. Warp is 22/2 cottolin. Weft is 8/1 tow linen. This is the second of twelve placemats on this warp on the Glimåkra Julia.
Instead of assigning a different solid color to each placemat, I am using all four weft colors in each one. The colors are arranged in an order that gives the appearance of gradated color. 8/1 tow linen: blue, then green, then teal, then black; repeat, repeat, repeat. There is no set number of picks for each color. Instead, I am changing from one color to the next in an irregular fashion, letting each color softly flow into the next. Regular two-block pattern; irregular color changes.
Keep it simple. The Lord’s pattern for our lives is not complicated. The Lord goes before us. As we follow him, all those irregular changes that happen in our lives turn into a lovely display of softly flowing gradated color. We can rest in that. From this color to the next…
Spaced rep rag rugs have a graphic vibrancy that grabs my attention. Like regular rep weave, spaced rep is warp dominant. Unlike regular rep weave, the warp in spaced rep doesn’t completely cover the weft. That’s where rag weaving comes in, because the fabric-strip weft shows between the warps. The rag weft provides just enough color variation to satisfy a rag rug weaver like me.
Warp (12/6 cotton) is beamed and threaded. Ready to tie on.Oh, the exhilaration of a new warp on the loom!
The pattern for this rug comes from Älskade Trasmattor, by Hallgren and Hallén, p. 87. The threading has dark and light ends that alternate, with four distinct blocks (five, if you count the plain weave block). And thick weft (fabric strips) alternates with thin weft (12/6 cotton rug warp), with four different treadling sequences. All of these factors work together to make the geometric pattern in the rug. It sounds complicated. Truly, though, it is merely a collection of simple systems that all work together. And the possibilities are endless.
Spaced rep rag rug. Pattern from Älskade Trasmattor, by Hallgren and Hallén, is modified for the floor space I have in mind.Geometric pattern is primarily seen in the warp threads. The dark fabric strips for weft highlight the pattern even more.Cherry wood ski shuttle by Steve for the fabric weft, and an open-bottom boat shuttle for the warp thread weft.
You are intricately and wonderfully made. To people who know you, no doubt, you look complicated. Your maker, however, knows your simple systems that all work together. The Lord knows you by name. His plan for you follows a masterful design. In the grand weaver’s hands, the possibilities are endless!
May the pattern of your life set you apart.
Happy Weaving, and welcome back to my studio, Karen
I am constantly improving my methods of operating the drawloom. I pull and release draw handles and draw cords, check for errors, and throw the shuttle for each unit of threads (six times per unit with the current setup). Everything is in order. And, while I’m actively absorbed with this mental and physical choreography, I experience freedom from every other care.
Hem of towel is bleached 16/1 linen weft, and then green 16/2 linen weft. The pattern area of the towel is woven with royal blue 16/1 linen weft.Solid row of pattern across the warp requires that all pattern shaft draw handles are pulled. It always seems thrilling to me to see all the handles down at once!Lower border of the towel is the easy part. Pattern shafts are used for making a repeated pattern, and no single unit cords are involved.Pattern shaft draw handles are now relegated to the side borders. The center body of the towel uses single unit draw cords to create non-repeated pattern. The single units give me freedom to design a (planned) random snowfall expression.Snowflake Towel 01 is wrapping around the cloth beam. Snowflake Towel 02 is going over the knee beam. Snowflake Towel 03 is being woven. Snowflake Towel 04 will be the final towel on this warp. (But, who knows what I’ll be able to weave after that to the very end of the warp?)
These snowflake patterns are delightful to weave. There is enough consistency with the border pattern shafts to make it simple. And there is enough (planned) random snowflakes using single units and pattern shafts to keep it engaging. All I have to do is follow the graphed chart. As I weave, the snowflakes emerge, as if by magic. But it’s not really magic, is it?
Standard procedure is to always have a temple in place. I have rubber bands on the first and last draw handles for the side border pattern, and on the center handle for the border pattern (not pulled in this photo).Everything works together! …for the good of the fabric being woven.Sometimes one single unit is enough to make the next row of pattern.I keep the chart at eye level and constantly refer to it. Closely following the chart is the only way I can hope to weave something worthwhile on the combination drawloom.
If you believe in Jesus you must walk with him. And as you do, you come to know the truth. Truth is found by walking in it. The pattern on the chart is true, and gives direction. The delight comes as we see the real-time results emerge in our own hearts. That’s freedom in its purest form.
