This is my finished project together with the calendar reproduction of a John Bellany painting. Read here about the story I based on the picture and the idea of a scarf that blended in with the colours of the sea. There’s gruesome detail about the weaving structure here.
After sampling a series of wefts, and totally ignoring my previous statement that wool and mohair were too fluffy and warm for this project, I chose Fine Kid Veloute from anny blatt, 51% wool, 49% mohair, in a lightish blue-grey. The colour was perfect, the grip gave some needed stability to the structure, and the fuzz reminded me of a light mist over the water in the morning. The combination of the viscose/cotton warp, wool/mohair weft and leno structure has produced a light, softly draping scarf that feels lovely to wear and, I think, fits the watery theme.
This photo shows the status of the second P2P2 project I hoped to finish, plus part of the reason for the delay. In the background (how appropriate!) is the warp beamed but not threaded. In the foreground is a folding table I’ve put up to hold some of the overflow of tools and materials for my OCA course. On my main worktable (definitely not shown!) are more tools and A Space (many exclamation marks) for using them. I’m having a blast working on the course, but naturally time, as well as space, is at a premium.
First, ignore the bottom part with the squares of floats. That’s from Sandra Rude’s article “fulled merino scarves” in The best of Weaver’s: Fabrics That Go Bump. I’ve wanted to make it in this yarn for ages, so figured a threading and wound a warp to suit both. The top part shows a plain weave base in white cashmere/merino. The yellow stripes, evenly spaced and regimented, are a supplementary warp in shiny gold that will weave plain weave along with the base. You can see a hint of such a stripe near the right edge in the sample photo. The pink threads in the draft are a supplementary warp using Filatura di Crosa Luce yarn, a 40% rayon, 30% cotton, 15% kid mohair, 10% polyamide, 5% acylic blend that can be seen the third wriggle from the left in the sample. It’s threaded in groups of 3 – 2 – 1 – 1 (right to left), so regularity of a sort, sometimes aligning with a gold stripe sometimes not, but bobbling around all over the place.
I don’t know how it will look in practice – I think there’s a strong possibility that it’s lots of ideas that don’t work together as a design. The ideas are – free spirited, feathery spots of colour and texture, fiercely and exultantly individual (the multicoloured supplementary warp and the trombone guy). The base cloth is plain weave, very sensible and stable in a quality, even luxury, yarn, with regular stripes (clock-like regularity??) of gold (stashed in a bank account??) – being various aspects or caricatures of swiss people, products and facilities. The individual is experiencing freedom, but is actually one of a group (the band in the parade), working within a structure and constraints (swiss society and caught in plain weave even if it floats above). It seems very ponderous when I type it out.