I faced a dead end with this six-shaft weave. The draft requires seventreadles in order to include true plain weave. And I do want plain weave for the hems. That is a problem. This loom has only six treadles. So these double bindingtwill rag rugs were put on hold while I thought about it.
And then I had an idea. What if… I tie the sixth treadle as if it were the seventh treadle, enabling me to weave the plain weave hem. And then, undo the treadle and re-tie it as the sixth treadle for weaving the body of the rug? It works! Essentially, I created seven treadles out of six. What seemed like a dead end became the point of discovering something new.
With this tie-up, the fifth and sixth treadles (counting right to left) are able to weave an even plain weave. The sixth treadle is actually tied up as the seventh treadle, which is only needed for the plain weave hems at the beginning and end of the rug, paired with treadle five. To change the treadle tie-up, the upper and lower lamms for the first and second shafts (counting back to front) need to be switched. That’s all.Treadle tie-up now follows the draft as written for the first six treadles to produce the twill weave for the body of the rug.Under-the-treadle view of the Vävstuga treadle tie-up system. This tie-up system with beads and pointed dowels (or knitting needles) makes changing the tie-up a breeze.
Can you imagine the dead end the friends and family of Jesus felt when they saw his body go limp on the cross? ……………………………………………………………………………………
Easter is about the excitement of knowing Someone who died and came back to life. In the Easter story, the angel tells the women who arrive at the tomb, “I know you seek Jesus, the Crucified. He is now Jesus, the Risen.” For these women, this moment changed everything. What had seemed like a dreadful dead end became the point of discovering new life. Indeed, even now, a dead end is often the starting point of finding new life in the Risen one.
I arranged, added, and swapped until I had eleven different colors to blend into a courageous wool warp. I had more fun pulling out skeins of yarn in Vävstuga’s shop than a kid in a candy store! The yarn is for a double weave blanket that has been on my mind for a few weeks. Yesterday, I finally had a chance to wind this wild warp! Dressing the loom is next!
Yellow will be the center color of the double weave wool blanket. The symmetrical way the warp is wound on this warping reel might fool you, though. These are only a few of the eleven colors that will be blended across the warp.Second bout wound on the reel. I check and double-check my written notes to make sure I get the correct color order and numbers of ends.
Away from home, I can only think about weaving on my looms. As much as I enjoyed the experiences of Vävstuga (Vävstuga Autum, Vävstuga Autumn II) and New Mexico (Pointers for Exploring New Mexico Fiber Arts Trails), I have been eager to put my hands to the tasks of weaving here in my own little studio. Winding the warp, feeling and smelling the soft Tuna wool, getting over-excited about the blending colors on the warping reel, handling the fat warp chains… Ah, I am where I’m supposed to be!
One layer of colors for the double weave blanket.Basket holds what is left of the eleven skeins of Tuna wool. These two warp chains will be the other layer of the double weave blanket.
Come home. Do you ever hear that? …as if you have been away too long? The nudge is to return to your faith roots. Enjoy the refreshing that comes in the presence of the Lord. It’s good to be where you know you belong.
Becky pulled out her fiddle and handed it to me, and she sat at her old upright piano, ready to play. Believe it or not, I played fiddle tunes (not bad for a ‘cellist) while her fingers danced the keys. And that is how Becky Ashenden and I finished up our recent conversation. I thoroughly enjoyed my time at Vävstuga. More Swedish Classics gave me a chance to learn a few things I had been especially eager to try, like smålandsväv, jämtlandsdräll (you may know it as crackle), and pick-up band weaving with a backstrap and rigid heddle. It was wonderful to sit and have a chat with Becky at the end of the week to talk about various aspects of weaving. Click HERE to read the first part of our conversation.
Handwoven curtains on windows in the Vävstuga student quarters frame the New England autumn view.
And now, enjoy this second part of my conversation with Becky…
What part of the weaving process especially energizes you, Becky? Planning, measuring warps, dressing the loom, weaving, finishing?
It might be a surprising answer. I really like threading; and I actually really likesleying. (Laughter) It is sort of mindless and repetitive. If the threading is not too complicated, I love the idea of listening to a book. I used to listen to a lot of recorded books while I was doing production weaving.
I do enjoy the physical process of the weaving, too. I think my brain thrives on the repetitive process. If my hands are physically busy, it helps my brain focus.
In what way does it help you focus?
My mind loves to wander. I can conjure up new classes, or new ideas if I am busy with something repetitive like weaving. And with threading, it is a peaceful time, and I can think. If it is a complicated threading, I focus on the threading; but that is engaging in its own way.
Cheerful greeting as you enter the Vävstuga weaving studio. Even if you do not know any Swedish, you can guess the meaning of this word.
Speaking of classes and ideas… When I took Vävstuga Basics, some people in the class had been weaving for years. Why do you think people who already know how to weave come to your Basics class?
They know how to weave one way, and they may have been taught by other people. But, they don’t know how to weave the way I teach to weave. The Basics class gives the opportunity to learn how I do it from start to finish.
In other words, you teach things that they will only learn here?
People tell me they want to know how I do things. They ask me, “How do you dress your loom? And how do you handle a shuttle, get good selvedges, fix broken threads, understand drafting, and keep good records?” Well, that is my Basics class, where I share a lifetime’s worth of knowledge. I was taught extremely well, the old-school way, in Sweden. I have also developed my own shortcuts that I share with students.
How does it work to have students with various levels of experience in the same class? Might a beginner feel out of place?
No matter who comes to my Basics class, I cater to who is there. For those who are advanced, I give them something beyond what they have experienced already. I always give as much of my knowledge and experience as students are interested in and can absorb.
I also make the class work for a beginner. So, a beginner should not be intimidated at all.
Even someone who has never put a warp on a loom, or someone who has not been successful doing it on their own?
One thing that helps the beginner is simply that the warps are put on by everybody together. No one person is going to be left behind or put on the spot. The warps will go on; and, they will go on smoothly, because I oversee it. Students can partake in whatever amount of the process they can absorb.
Gorgeous results from More Swedish Classics. Becky enjoys the students’ accomplishments.
It must be interesting to see what a beginner can accomplish in just five days.
Some people who come to Basics, who have not woven before, take to it like a fish to water. It makes sense to them, and they whip through everything. I have seen absolute beginners weave beautiful things. And they’ve never touched a loom before!
It might be more challenging for people who are used to doing things a different way. But I say, “Try this.” “Try holding your shuttle this way,” or, “Try stepping on the treadle this way.” It might be a completely different loom for them.
Does it matter what type of loom someone has at home? Does it make sense to come to Basics if they don’t have a loom like one of yours?
A lot of people are used to jack looms. So, another reason to come to Basics is to experience the looms we have. Come and learn how to use them firsthand from someone who has had decades of experience using these looms.
We have Glimåkra looms, both counterbalance and countermarch. There is a tie-up system that I developed for the countermarch which is unique. This is something that I teach in Basics. This method makes the countermarch tie-up very easy for the body. You spend as little time as possible under the loom. The sheds are accurate the first time.
I can attest to that. Your tie-up system makes it a breeze for me to set up my countermarch loom at home.
That simple tie-up system makes a huge difference. It opens up the world of being able to do multi-shaft weaves.
These Scandinavian looms are old-style looms. Originally, this loom design came from China. It moved across Asia, and then through Europe over the centuries. Big old barn looms are basically the same thing. A big frame loom with a hanging beater.
Does the hanging beater make a difference? What advantages do your students have by being able to weave on Swedish looms here?
The hanging beater is something that makes the weaving happen, almost by itself. It takes the physical work load, the body wear and tear, off of the human being.
The difference between weaving on a jack loom and on one of these Swedish looms is huge. Many people come my Basics class worried and concerned, saying, “I’ve never been able to weave for more than twenty minutes at a time because my back can’t take it.” And then, at the end of the week, they say, “I can’t believe that I wove for three days straight, and I don’t hurt!”
So, if someone is curious about weaving in general, or Scandinavian looms in particular, this would be a good chance to try it out.
This is the opportunity to explore weaving, and discover the possibilities. They can try it out on our looms, without the commitment of changing looms at home.
And have fun while they’re doing it.
It is the fun, the meeting other people, and the camaraderie, that makes it special. It is a whole social experience that is an absolute blast. Eating good food together… The social part of eating meals together, having a good time, laughing together, adds so much to the experience.
Tablecloths and napkins this time. Handwoven, of course. Table runners, placemats, napkins… It is always interesting to see how the table is dressed.
I think the enjoyment around the table helps us relax, making our studying and weaving time that much more effective.
People are not having other things to worry about. Your brain can focus and absorb as much as possible.
What is your primary goal for Vävstuga Basics?
The goal of Basics is to cover everything someone needs to know to be able to weave on their own. I want to give everybody the tools to do that.
I love that I can take everything I learn here and do it all on my own at home. Or, I can just come here and have the pleasure of weaving in good company.
Some people come because they are interested in learning the techniques that I teach, or to see if are they interested in this type of loom. And other people come to see if they are interested in weaving at all. They may want to learn how to do this; and then, they can come here and weave. Maybe they don’t have the space, or the money to buy the equipment, or to have a stock of yarns. But they can come here and weave.
We welcome students who come for all these different reasons!
Class is over for “More Swedish Classics.” It is fun to see everyone’s woven efforts across the table.
Becky, thank you for sharing your thoughts. It is always interesting to hear what goes on behind the scenes at Vävstuga!
I enjoyed it, Karen. It’s been my pleasure!
~~~
(I noticed that there is space available in upcoming Basics classes. That is good news!)
I recently returned to Vävstuga for More Swedish Classics, with high hopes for a week of excellent weaving instruction. I was not disappointed! Come with me behind the scenes for a visit with Becky Ashenden, the personable instructor who finds pleasure in sharing her wealth of experience and knowledge. Sitting in her New England country home, we had another meaningful conversation. Picture Becky smiling, chuckling, pausing for emphasis, and even gazing off as she dreams big. (Here is last year’s Conversation with Becky Ashenden, Part 1, and Part 2.)
Looking like a quaint cottage on the outside, Vävstuga Weaving School holds more on the inside than you might imagine. Besides endless yarns and tools, it holds dreams ready to be explored.
In this first part of the conversation, Becky and I talk about weaving for pleasure, and how to relate to students. We also did some dreaming about a big future project. In the second part, coming later this week, I ask Becky what part of the weaving process she enjoys the most. Her answer may surprise you! You will also get the inside scoop on Vävstuga Basics.
Acting as a preview of the colors and textures inside the weaving studio next door, the famous Shelburne Falls Bridge of Flowers is delightful. The view is a perfect compliment to the woven beauty coming from the looms inside the weaving cottage.
Do you get to weave for personal enjoyment?
I always seem to weave under some kind of pressure. I wove for production in my past; and then, as I started teaching, I always needed to be prepared for the next class. Going through my mind is, “What’s going to sell, or what class is going to sell, what are people interested in?”
Recently, I did a runner in halvkrabba. It’s a pick-up technique that I wasn’t sure I would like. But then, I really did enjoy doing it. It was riveting! The patterns are different every time.
Since that was preparation for a class, it sounds like you enjoy weaving, even when it is under deadline pressure. You do get to cover a variety of weaving techniques that way.
When I was younger, the physical labor of throwing the shuttle fast and repetitively was a pleasure; and it still is, actually. If you are in the right frame of mind, weaving plain weave yardage is a sheer physical pleasure. But, if you are a little bored, it helps to weave something that keeps your brain engaged. A pattern that is different every row, even a little different across every row, is so engaging. For some of the pick-up projects that I’ve woven, I have never had time go by faster, and it really has surprised me!
We did it! The teacher is just as excited as the students when the woven efforts come off the loom. This is jämtlandsdräll (also known as crackle), a unique weave structure that was fun to weave. Stretching for me, literally, but fun nonetheless.
Fortunately, those who come to Vävstuga benefit from what you learn, because you like to share what you know!
Some of our projects for Vävstuga Treasures, like krabba and halvkrabba, and the monks belt pick-up, are so much fun!
Does all of the planning come easy for you?
Often, the most stressful part of a project for me is when I’m starting to weave something before I really know what it is going to look like. I don’t know what the colors are. I have to choose a pattern; I have to decide what to do about the details. And then, I weave a little bit, and I think, “Just go for it.” But, the uncertainty is still there.
Becky, in her handwoven yellow dress, playfully poses in front of the house where she grew up. She has turned the house into her drawloom studio. The studio has an impressive collection of looms and stunning examples of weaving on display. Wouldn’t you love to take the Drawloom Basics class?
Becky, if you had a week or two to weave for your own pleasure, what would we find you working on?
I’ve never had that opportunity, so it is hard to say. What would I want to do just for myself?
Yes, just for yourself.
I would like to sit down and take the time to look at all those beautiful old Swedish books that I have, and see what strikes my fancy. I see things fleeting by, and say to myself, “Oh, I’d love to do that!” I need to go back and pull out those books, and look through them.
I suppose things I would do for myself are things that I have not done yet. There are heaps of them! There are other techniques I would like to try.
Can you think of anything in particular that you want to try?
One thing I know I do want to make is a big coverlet with big rya knots. I have seen pictures of these. There might be a pattern in the rya, or maybe it would be all white, pretending to be a sheep fleece. The ground that I would weave it on would be some kind of bound rosepath, with the patterns. You’re weaving the patterned cloth the same time you are putting the fluff on. That is one thing that I want to do.
I look forward to seeing that interesting coverlet!
You appear to enjoy teaching as much as you enjoy weaving. How are you able to find a connection with each student, despite diverse experience levels in your classes?
I love to share anything that increases the enjoyment of the student. What is going to make this person enjoy their hobby more? What is going to make this other person into a better production weaver, so that they can earn more money with it, if that’s their goal? I ask myself, “What is their goal? Why are they doing this?”
I have observed that you understand the power of an encouraging word.
I’ll share whatever bit of knowledge I have. In some cases, it is how to hold your body better, or, how to hold the shuttle better. In other cases, it is finding a way to relieve their stress. They may be stressing out about what colors to put together. I may not know what colors to put together, either. But, I can give an encouraging word, saying, “Those two colors are good.” It makes them relax. And, if they relax a little bit, they can be more creative.
Your drafting sessions are an important part of the classes I have attended here. I always leave knowing more than when I came.
I try to give as much little bits of information as possible, knowing that some of it is going to go over the tops of their heads. But, one little piece of information is going to sink in for somebody. I throw some things in because I know some of the students are advanced, and they might be bored by the simpler things. Other people in the class may not get it, but that one advanced person is going to appreciate it.
Becky shows woven examples of everything she teaches. This provides an exceptional hands-on understanding of concepts taught in the drafting sessions.
Maybe you should write a book.
Because of the many students I have taught, I feel like my eyes are open to what might be of interest to people. I would love to write a book sometime.
What area of expertise would you like to write about?
Over these years of developing curriculum, I feel like, well, that is the book right there. I have been working on it; it is a lifetime work. I have a lot of the ideas and the teaching materials. I have the curriculum.
I think you could write your own weaving course. Your book could be an updated resource for current day weavers.
I would like to. I hope I live long enough. I would really have to focus on it, and not be responsible for a whole school at the same time.
I know you do have a full plate of responsibilities right now.
But, I am working on the book ideas in the meantime. All of my students are an inspiration to me. What do they want to learn? That is going to determine what else gets put in this book. It is going to push me to learn new things. I would love to see it all compiled in a book. It would be a blast to do that!!
Can you imagine weaving in a place where you have access to fully-stocked shelves of colors and fibers? Or, imagine someone with excellent color sense setting up a warp-faced project for you to weave, giving you the freedom to simply focus on pattern. This is what it was like at Vävstuga Weaving School for More Swedish Classics.
Set up on a four-shaft loom, band weaving with pick-up is simplified (or complicated, depending on how you see it). Five treadles are used to raise and lower threads. A pick-up stick is used to lift pattern threads, and a band shuttle stick is used to beat in the weft. Being a warp-faced weave, all the color is in the warp, and the weft is mostly hidden.Becky’s Rep Weave in Four Blocks on Eight Shafts. I took this opportunity to experiment with patterns. You might call this “playing with blocks.” Again, being a warp-faced weave, the color is pre-determined by the arrangement of the warp ends. The thin 16/2 cotton weft alternates with a thick weft of mini string yarn, giving the characteristic ribbed surface.
Worry happens when I don’t think I have what it takes to do the job, or when I think I won’t have enough of what I need. When Becky Ashenden prepares the warp, I certainly have no worries about choosing colors. And, with an abundant supply of 16/1 linen, I can combine three shades to produce a gorgeous, rich red, with no fear that the color supply will run out before I finish.
Deep red, burgundy, and coral 16/1 linen are wound together for the pattern weft in Smålandsväv. The warp is 16/2 line linen. This is the project in “More Swedish Classics” that gave me the most pleasure AND the most angst. …but that’s a story for another day.
We have a Father in heaven who knows all the things we need. All he asks is that we get to know him so we can learn to do things his way. It is much like weaving within the guidelines of the studio where we’ve been given the privilege to weave. Is that too much to ask? For his part, then, he sees to it that we have everything we need, giving us access, through his Son, to his great supply closet.
May your needs be amply supplied.
In case you missed, here is what I posted last week while I was at Vävstuga in beautiful New England:Vävstuga Autumn and Vävstuga Autumn II
Once again, Becky graciously allowed me to sit down with her to ask a few key questions. I am excited to share that conversation with you soon! Stay tuned… (Remember last year?)
