The sample on the loom here is now cut off and finished (vigourous handwashing using olive oil soap and very hot then very cold water to promote fulling/felting/shrinkage). The photo shows before and after finishing.
The resulting fabric is quite soft, reasonable drape, and would be fine as a scarf. Both the novelty supplementary warps are reasonably attached to the base cloth – not enough for hard wear, but shouldn’t catch/snag too much as a scarf. I tried some fine gold foil type thread in both warp and as a weft inlay (plain weave, no floats). It didn’t felt in at all (as I expected – too smooth, wouldn’t absorb water). The warp looks generally OK, just a few slightly loopy spots (given it didn’t shrink at all). The weft inlay has larger loops at each turnaround point – not attractive. The long weft floats of the base cloth, which catch in and give wriggle room for the supplementary warps) are almost all OK in the sense of attaching in enough – just a couple of long ones in the central area aren’t great. However I do find the horizontal lines (vertical in the photo!) visually distracting.
In term of the wriggly lines I was looking for it’s definitely a success.
The process of weaving went quite pleasantly. (A tactful silence on selvedges!). As mentioned previously my improvised threading was way off, but using pickup to create the floats gave a lot of additional flexibility, was only every 10-ish more or less picks so didn’t slow things down too much (I used the Ashford table loom) and I rather enjoyed playing with it.
As for the draft, I was very interested to see Jessica-of-Sharing-the-Fiber-Fever’s cannelé post here. It looked very similar to the “spider weave” from Sharon Alderman’s book that I used as a starting point. (I turned her draft then hacked it badly). I tracked down an old article about cannelé on handweaving.net – Master Weaver No 12 1953. There are a few variations with Fig 5 looking closest to Sharon’s. The big difference that I could see is in the warps that float over the fancy weft (remember my samples are turned). In Sharon’s draft the warps weave in with the plain weave cloth when not required for floating. The Master Weaver has them floating on the back. Yet another structure that seems similar but different is a “novelty weave” from Doramay Keasbey (draft b on page 270, discussed page 271). It has something slightly different in a corner of the plain weave base – just a couple of interlacements, but in weaving that could be significant. Don’t know.
The major question for now – could one or more elements of the sample be used to make an attractive scarf?
The Luce yarn is probably out (just half of one warp in the sample). Something about the chunkiness and the quick colour change makes it less graphic and interesting to me. Although it might be closer in feel to the original photo. Gold in the weft is definitely out. I think some staggering and being mindful of float length will reduce the visual distraction of the weft floats.
Hmm. Any thoughts?