You could say I finished these scarves too late. Winter in Texas has come and gone. But I prefer to think of it as considerably early. When cool weather comes back around in a few months, I’ll be ready. I began with the draft for the lovely Stardust scarf, designed by Mona Nielsen, published in Happy Weaving, from VävMagasinet, p.74. I simply substituted the yarn and colors in the book with what I had on hand.
Warp is mostly 6/2 Tuna wool, with some 7.5/2 Brage wool included.Made with yarn on hand. This means that additional stripes have been added to the plan.Weaving by the fire in the middle of winter. Mora 20/2, a fine wool, is used for weft.Two scarves coming off the loom.Fringes are cut and twisted.
The scarves are delightful, but the icing on the cake is the addition of fluffy, furry pompoms, an embellishment with youthful flair. And that is exactly what I will put on at the first sign of autumn chill.
Some of the thrums are used in making pompoms.With the Pom and Tassel Maker by Red Heart I can make seven pompoms at a time. I wrapped the yarn around 100 times, making full and thick pompoms.Each furry ball is shaped and trimmed. I used 8/2 cotton for the 12″ tie around the center of the pompoms.Each pompom is stitched to 3 – 4 twisted fringes. Seven pompoms at each end of the scarf.Now, the scarves are ready for wet finishing. Notice how you can see the separate strands of yarn in the pompoms before they are washed.Scarves have been washed by hand in warm water in a large sink, with Eucalan delicate wash. I purposely gave them as much agitation as I could by hand. They are hanging to dry. Notice how the pompoms have slightly felted, making them even more soft and furry.Winter scarf amid spring bluebonnets in Texas hill country.
Some things are certain. The sun will rise tomorrow. The seasons will follow their schedule. The faithfulness of the Lord our God will never end.
Welcome to my weaving studio, which doubles as our home, I said, as they walked up to the front door. Our luncheon guests were introduced to the weaving environment of the Texas hill country home that Steve and I enjoy. Our time together was refreshing, filled with lively conversation over a home-cooked meal, complete with discussions about looms, threads, and like-minded pleasures.
Steve and I enjoy lunch with honored guest, Joanne Hall, and a few members of the San Antonio Handweavers Guild. Karen, Janis, Joanne Hall, Henriette, Vesna, and Cindy.
Six rosepath rag rugs encompass the cloth beam, with the back tie-on bar just inches behind the heddles. It seems only fitting that the woman who gave me my first rosepath rag-weaving experience should be given the cherished scissors for this momentous occasion. Joanne, will you do us the honor of cutting off? I couldn’t have wished for a happier ending of this warp.
Joanne Hall, ready to cut off the rag rugs.Cutting off.Unrolling rugs from the cloth beam.Six new rosepath rag rugs, ready for finishing.
We all have wishes, some of which we make public, and some remain as closely-held secrets. It’s those deep wishes that make us who we are. God knows your name. He knows your deep desires. One day, all our secret wishes will be rolled out like a stretch of rag rugs for the Maker to examine. Amazingly, he offers grace to cover the wrongs. And He embroiders his Name on the hand-crafted souls that belong to him.
May your cloth beam keep filling up with deep-hearted wishes.
The Park ranger had told Steve and me that if we were willing to drive six more rugged miles we would witness a spectacular overview of the Fresno Canyon that few people get to see. This is an opportunity we wouldn’t dare miss. And the park ranger was right. Oh, what a view! From this high point above the valley the view is phenomenal! I welled up with emotion as I looked over the glorious beauty of God’s creation.
The memory of that scene is in this small tapestry. Most of my small-tapestry weaving happens when we travel, where we make even more memories, which I store up in my heart. I pull from these stored treasures to weave tapestries that reawaken the fond memories.
Fresno Canyon photo printed in black and white is used for the cartoon. Instead of an exact picture of the image, I aim for a representation of the memory, expressed with color.During a brief rainstorm while at Caprock Canyons State Park, Steve and I relax in the Casita with our handcrafts. Wood carving and tapestry weaving.Warp is blue 12/6 cotton. Weft is triple strands of 6/1 Fårö wool. I use the tapestry needle to weave.Weaving in the sunshine at Davis Mountains State Park after returning from a hike.Finished weaving one Texas landscape while enjoying another.Warp ends are woven and braided.Linen is cut to size and pressed. Narrow rod sleeves are sewn into place.Linen backing is hand-stitched to the back of the small tapestry.Steve designed a simple frame for the small tapestry.Finished Fresno Canyon tapestry. A treasured memory kept and framed.
This seems unreal, like pulling an item right out of my imagination and touching it with my hands. It is exhilarating to watch a concept sketch develop into a tangible rag rug on the loom. Even though I enjoy designing at the loom, I relish the challenge of preparing a design in advance. In order to make a workable sketch I must study, think, and explore. It’s in this process that I realize the design options are limitless for rosepath rag rugs. This compels me to keep pressing in to learn and explore even more.
Hem, woven with narrow strips, follows the gold warp thread header. First wide border of the rug uses an assortment of green fabric strips.
The concept sketch is a scaled-down map of the rosepath rag rug. Each square on the gridded paper represents 6 centimeters. The sketch shows me which fabrics to use where, and specifies the placement of each design element—borders, plain weave, rosepath diamonds, dashes and dots of specific colors, etc. I add notes to the page as I weave, like specific treadling sequences and measurements, so that I can mirror them on the second half of the rug.
Concept sketch sits at the windowsill by my loom. I use it as a roadmap for weaving the details.Stretched-out temple is a necessity when I weave rag rugs. The wooden Glimåkra temple is my favorite because I can place it near the fell without risk of damaging the beater. This makes it possible to move the temple frequently, adding to weaving consistency.Deep purple “dots” at the center of the rosepath diamonds serve as accents among these colors for a Texas hill country home.
Nothing can measure the greatness of the Lord. His greatness is truly limitless. Greatness is compelling. We step closer to search the unsearchable, and know the unknowable. God reveals himself, sketch after sketch, until we finally realize that we need all eternity to fully know him.
Satisfaction of watching a concept sketch become a tangible rag rug.
It is exciting when Maverick walks by. Although he never comes in my drawloom studio, he does stop for a moment to look my way. You’ll see him in the slideshow video below. But what happens inside the studio is even more exciting, especially when it’s time for cutting off!
Drawloom, set up with sixteen pattern shafts. I graph out the designs in Excel on my computer. Then, I print out the gridded pattern to use at the loom. I keep my place in the pattern with a magnet and magnet board made for cross-stitch embroidery.
This is Tuna wool, so I expect some shrinkage, but how much? I take careful measurements before and after wet finishing. Besides the main piece of fabric that I’m using for a garment, I have two sample pieces. I can experiment with the samples before wet finishing my garment fabric.
Here are my findings: Sample 1. Hand wash and air dry.
10% shrinkage in width; 13% shrinkage in length.
Sample 2. Machine wash (3 minutes agitation on a gentle cycle, with a short spin) and machine dry (low setting) till damp, finish with air drying.
13% shrinkage in width; 14% shrinkage in length.
~How to do the shrinkage calculations~ First measurement (on the loom) minus the second measurement (after washing and drying) equals the difference. The difference divided by the first measurement equals the percentage difference. For example, 50 cm – 43.5 cm = 6.5; 6.5 / 50 = 0.13; 13% shrinkage.
The first sample fabric is softer than the unwashed fabric, but not as soft as I’d like. The second sample fabric is beautifully soft, like a nice warm sweater. So, with confidence, I wet finish the garment fabric—with great results. It’s perfect for the fall/winter vest that I’ll soon be wearing, made from this fabric!
Like a sweater, this soft fabric will be comfortable to wear.Muslin pattern for a simple vest. First, I’ll make a vest out of a wool throw, woven on my rigid heddle loom ages ago. Then, I will cut into the new drawloom fabric, with confidence about the fit.
