I am adding about thirty more skeins to my yarn supply to get the colors I need for a new tapestry. At this rate, maybe I will have every single color of Borgs 6/2 Tuna and 6/1 Fårö wool on my shelves some day. That’s wishful thinking… But I do have what I need for now to make the butterflies for this special pictorial tapestry.
Beautiful colors of wool skeins of yarn.
All these new skeins of yarn need to be wound into balls using my Swedish umbrella swift and a ball winder. In the past, I have used a manual ball winder. That means a lot of handle turning, but eventually all the yarn is wound into balls.
Skein of yarn is opened and placed on the umbrella swift.
This time is different. I found a new time-saving and arm-saving tool. It’s an electric ball winder, made by Fiber Artist Supply Company. I put the skein on the swift, cut the ties, secure the loose end of yarn to the ball winder, and then turn it on, gradually increasing the speed. In less than two minutes, I have another beautiful ball of yarn to use for making tapestry butterflies.
End of yarn is secured on the post of the ball winder.Dial on the winder allows me to gradually increase the speed. When I see that the skein is unwinding properly, I turn the dial to full speed.Maybe this is why it’s called a yarn “swift.” Previous pictorial tapestry, Siblings, is seen on the wall.One minute, fifty-four seconds later, and we have a ball of yarn.I will wrap the label on this ball of yarn and it will join the yarn collection for this tapestry.Linen warp is ready for beaming. Wool weft yarn is being sorted and organized for making butterflies.
Suddenly, I am able to see the tapestry on the loom from a distant vantage point. Aha! I can see that the left shoulder of Lucia is nicely defined, and that her shoulder appears to be in front of the turquoise rabbit hutch. What I am not able to discern up close becomes crystal clear from a distance. I have an unusual tool in the basket at my loom bench that gives me this advantage. Binoculars! I use them whenever I want to get a better sense of the overall context, color, and definition of what I am weaving in the tapestry. By peering through the WRONG side of the binoculars I am able to view the tapestry as if from a great distance. It is just the help I need to keep pursuing this mystery of weaving wool butterflies on a linen warp to make a recognizable, memorable image.
Each row is a new adventure.Photo image of the complete scene sits in the windowsill by my loom. I frequently refer to the photo as I weave.I wish I could show you what I can see through the wrong end of the binoculars. It always surprises me how the image is clearly shaped at a distance.Skin tones blend for the area of Lucia’s neck that is coming into focus. Before long, I will get to play with her flyaway hair. Greater distance from the tapestry provides more clarity of context. But still, we only get to see the slice of the image that is in view on the loom. It takes faith and patience for the rest.
In my memories, I always picture Grandma wearing an apron, whether doing housework, gardening, or baking coffee cake in her kitchen. Maybe that is part of the magic I feel when I put on my weaving apron.
Weaving apron is ready for my next session at the Glimåkra Standard loom. Fabric protection board protects the fabric on the loom, but without an apron my clothing suffers from rubbing up against the board.
I sit right up to the breast beam when I weave, which helps my posture and my reach. This makes the fabric on the loom vulnerable, especially to buttons, buckles, or zippers. It also gives my clothes undue wear, even creating small holes in some of my shirts. My Glimåkra Standard loom has the fabric protection board, aka “belly board,” but that is not in place until the knots from the beginning of the warp go under the breast beam. So, the first inches of weaving go unprotected. My other looms don’t have a fabric protection board.
Apron is kept on the loom bench for easy access. There is no fabric protection board on this loom, so without an apron, the tapestry being woven and the clothing I wear are both susceptible to damage from repeated contact.
Apron pockets keep things handy.
With simple criss-cross straps at the back, this weaving apron fits just about anybody. And there is no bow to tie in the back, like my Grandma’s aprons had.
A weaving apron guards both the fabric on the loom and my clothes. The apron also gives me ample pockets, good for countless things—dropping in a few wound quills to take back to the loom, keeping a tape measure handy, separating one wool butterfly from the rest, and other things you wouldn’t think of if you didn’t have them.
Texas hill country loom has its weaving apron ready for my next visit there.
An apron like this would be easy to make. However, I was fortunate to come across the perfect weaving apron (not labeled as such), pockets and all, at a quaint little shop in Texas hill country. So, now I keep one at each loom. And when you put one of these aprons on to weave, something magical happens…
It occurs to me that I am unnecessarily doing something the hard way. Repeatedly. For every new project, I pull out my tape measure to find the right set of lease sticks. The tape measure also helps me select the temple needed for the current weaving width. No more! I do like my tape measure, but why am I measuring these things every time? Why not measure them once and label them?
Solution
Measure the lease sticks and write the length in centimeters and in inches on one stick of each pair, in pencil.
Use a wood burner to trace the pencil markings. (My husband Steve does this part for me.)
Wood burner is used to write the length measurement on the end of a lease stick. Centimeters and inches are indicated because I use metric or imperial units, depending on the project.
Thread a cord through one end of each pair of lease sticks, to keep pairs together. Hang the lease stick pairs with the measurements clearly visible.
Looped cord is threaded through the lease stick holes to provide an easy way to hang pairs together.
Paired lease sticks, ready for hanging.
Pairs of lease sticks hang beside my worktable in my weaving room. My ol’ Beka rigid heddle loom on the wall happens to provide just the right little hanging post for the measured lease sticks.
Look up the temple sizes on a website that sells them, and write the size range in centimeters and in inches on each temple, in pencil.
Use a wood burner to trace the pencil markings. (Steve, again.)
Range of temple widths is important information when I’m choosing a temple. Weaving width of a project must fit in that range.
Store the temples in a manner in which the marked measurements are easily seen.
No more trying different temples to find one that fits. Now I can look at the markings and select the correct temple the first time.
Now I have permanent at-a-glance measurements for each of these frequently-used tools!
I am well into threading when I realize I neglected to take into account how many heddles I need for this project! I don’t have 2,064 even if I grab all of the heddles from the other loom. This double weave throw project is at a deadend until more heddles appear. I hurriedly place an order for more heddles…
This Glimåkra Standard is one of three looms that share my supply of Texsolv heddles.
Thankfully, the new heddles arrive quickly and the project is alive again.
This is what 1,000 Texsolv heddles looks like! I didn’t want to run out again any time soon.
Heddles come in bundles of 100, held together with twist ties. WARNING: DO NOT undo the twist ties before you put the heddles on the shaft bars. You’ll be sorry…
Before putting the heddles on the shaft bars, and while they are still tied into bundles, clip the loops at each end.
I clip the loops on both ends of the heddles. It is easy to move heddles wherever you want if the loops are cut, including repositioning individual heddles. (It is far easier to clip the loops while the heddles are still tied together.)
There are 100 new heddles on each shaft. The heddles that are not used will be tied up and put away in my heddle box, ready for the next time I need more heddles.
Alive. This is the Easter season when we celebrate the resurrection of Jesus Christ. He died, and was made alive again! What makes it even more fantastic is what that means for us. We all have a goodness shortage. And without a source of true goodness, our lifetime self-improvement project is at a dead end. Yet, through faith in the powerful working of God, we are raised with Christ. We are made alive together with him. His true goodness becomes our living source.
Threading progresses. New bundles of heddles stand ready to be used!
