Tag: warping

When Black and White Take Over Your Loom

Karen

Some things are black and white. Piano keys, penguins, old movies, and this new cottolin warp. Other things are not black and white. Petunias, peacocks, sunsets, and most of my weaving. Black and white is uncomfortable for someone like me who prefers to engage with color. Ten-and-a-half meters is a loooong time to be weaving without a colorful palette.

Warping reel with black and white warp.
Second bout of three. New Glimåkra warping reel is used to wind 10.5 meters of cottolin (60% cotton; 40% linen) in black and white.

I need to add more towels to my Etsy shop, so I did some Google “research” to find popular kitchen colors. Black and white is one of the current trends. I decided to go for it. Using color for some of the weft should be enough to remind me that the black and white is temporary, and that a colorful warp will eventually be on the loom again.

When we need reminders that everything will be okay, the Lord brings something or someone into our lives to show us that he cares. God is good. Even a small sign of his goodness is enough to help and comfort us. A touch of color on a long black and white warp may, in fact, be color at its greatest impact.

May goodness cross your path.

Warped for good,
Karen

Threads Where They Belong

Karen

Does your mind wander for repetitive tasks? Each of 780 threads must pass through the small eye of a heddle–the correct heddle–to create the cloth that I have in mind. Threading 8/2 cotton in a straight draw, 1-2-3-4, is easy enough that I do it almost without thinking. Precision at this stage, however, is critical.

Threading heddles with Bockens 8/2 cotton.
Each section of 32 threads is tied into an overhand knot after the threading has been double checked for accuracy.

My mind goes in a thousand directions, sometimes, while my fingers continue to place the threads. With my hands on “autopilot,” anything can happen. For this reason, I make it a habit to double check the threading accuracy for each section I finish, thread by thread, saying out loud, “1-2-3-4; 1-2-3-4; …”

Like a thread going through the eye of the correct heddle, I want each of my thoughts to go through the door of truth. Truth is the key to a purposeful life. We get trapped by faulty thinking, but truth brings us to our senses and unlocks the trap. Bringing cohesiveness and clarity to all aspects of life, truth enables us to see the cloth that is being woven. Isn’t it time to stop and double check the threads of our thinking to make sure each thread is going right through the eye of the heddle?

May you fulfill your purpose.

Yours truly,
Karen

Quiet Friday: Weaving Linen Air

Karen

Linen lace weaving. It’s like weaving air. 16/1 linen warp and weft, with uneven sleying and careful weaving. “Beating“ is not the right word this time; let’s call it “placing the weft.” Gentle, gentle, gentle, easy does it. No temple needed. Indeed, what would you hook the temple into? There is almost nothing there.

Linen on the warping reel.
Winding the 16/1 linen warp on the warping reel.
Linen warp chain, ready to dress the loom.
Wound warp is chained and placed over the breast beam and through the beater in preparation for dressing the loom.
Lease sticks with linen.
Lease sticks.
Dressing the loom with linen singles.
Ends are counted and grouped before threading.
Uneven sleying of the reed with linen singles.
Reed is sleyed unevenly, sometimes called “crammed and spaced.”

I did weave a sample, trying out different colors and sizes of weft. The weave is so airy; honestly, I was not sure if the fabric would hold its shape off the loom. To wet finish, I first soaked the sample for 20 minutes in hot water with mild soap. Then, I washed it by hand, lifting and lowering the net-like cloth repeatedly in the water. I rolled it in a towel and gently squeezed to remove moisture. Lastly, I laid it out flat to dry.

Half bow keeps linen from slipping, while allowing adjustments.
Half bow-tie makes sure the linen will not slip. Adjustments are easy, if necessary, after weaving a few inches.
Tying up treadles in the "playhouse" under the warp.
Treadle tie-up happens in the “playhouse” under the warp in the back. Sunlight through the linen reveals “invisible” hairy fibers.
Sample weaving. Linen lace.
Sample.
Linen sample, not yet wet finished.
Sample, not yet wet finished.
Linen sample in black and white.
Black and white view shows cloth structure.

Result? It came through beautifully, with the lace weave intact. Linen, there is something about you that is exquisite and delightful, yet a bit mischievous and sly. I like you.

Linen sample after wet finishing. Karen Isenhower
After wet finishing and drying, the linen sample shows a glimpse of scarves to come.
Weaving linen air. Karen Isenhower
Weaving linen air.

May all your concerns be as light as air.

Happy Linen Weaving,
Karen

Dressed with Colors in Linen

Karen

Are you wondering which color arrangement I chose for the linen lace scarves? It wasn’t an easy decision. After weighing all the opinions and advice, color-wrapped card #7 won. I added a neutral stripe on both sides to frame the color sequence, and I varied the width of the stripes, thanks to Fibonacci. The result is that you can hardly distinguish where each stripe begins and ends. The stripes blend into each other, with the magenta stripes grabbing the most attention. (Visit Tools Day: Color Wrapping and Color Wrapping Take Two to follow the discussion about choosing the color arrangement for this warp.)

Dressing the loom with linen.
Linen on the warp beam. The colors blend from one end to the other, framed by bands of unbleached and golden bleached threads on each side. Lease sticks, tied to the back beam, maintain the order of the threads.

It makes sense to think things through before committing a linen warp to the loom. My excitement builds as the loom is dressed. We will soon see the woven results when I experiment with weft options. I am secretly hoping for iridescence. I can imagine it, but I won’t see it until the weaving happens, and the light catches the airy interlaced threads.

Threading the loom with linen.
Each thread is inserted through the eye of a heddle.

Color choices are inconsequential compared to other choices we make, but commitment is something many decisions have in common. We are invited into a personal walk with Jesus Christ. It is no small thing to consider an agreement with the Master. Like dressing a loom, it is a commitment. The excitement comes when you realize that iridescence and other mysteries may come true before your very eyes.

May you have a life filled with the glow of iridescence.

For good,
Karen

Color Wrapping Take Two

Karen

As always, one idea leads to another. I am planning warp colors for linen lace weave scarves, and color wrapping helps unleash ideas. And your comments helped “stir the pot.” You asked for my thought process. Here goes. (If you missed Tools Day: Color Wrapping, you’ll want to read it first.)

16/1 linen in six colors.
Six 16/1 linen colors.

I started with the idea of making a smooth transition from one color to the next. That was card #1. Then, I made more distinct stripes on card #2. For #3, I aimed for a mirrored arrangement. #4 blends colors in a different order.

Color wrapping to plan linen warp.
First six color wrapping cards.

Of those first four cards, #1 was close to my ideal. But the magenta and green stripe seemed out of sync. So I made adjustments, and card #5 became my favorite.

Next, I arranged the six colors of thread from light to dark, and paired each color with its best partner. For example, starting with cream, “With which other color does cream look best?” With enough samples to see all the options, I concluded that light blue suits cream the best. I did that kind of pairing with each color to make card #6. Now #6 became my runaway favorite! And, card #6 received the most votes in the comments from you, too.

More color wrapping to plan linen warp.
Three color wrapping cards that are in the finals. Slightly varied arrangement of stripes on each card. (Click on picture to enlarge.)

I color wrapped two more cards, trying to improve the color gradation. #7 and #8 have the same composition of stripes as #6, but in different arrangements. The “winning” color arrangement will become stripes spread across the warp in a Fibonacci sequence.

Now… Which one of these three would you choose: #6, #7, or #8? (I’d love to hear from you if you left your opinion the first time, and if you didn’t.)

May you see options by thinking things through.

Happy Coloring,
Karen