Archive for the 'Loom' Category

Sampling

This is basically an update from my Components and Sampling post a few weeks ago (1-Oct-2018). Little bits of this and that, hopefully not signifying nothing. I’ve decided to go with what’s exciting me most first, rather than chronological.

Leno
The Anni Albers book (20-Oct-2018) has me buzzing. I had to put the book down and get something into my hands. How’s this for a potential component?

This was done off-loom, held in my hands for ultimate flexibility. That worked quite well for the twined sections, but the leno got a bit wild.

The detail shot below is on a 1 cm grid, to give an idea of scale. Most of the wire is 28 gauge, with a heavier wire used in the header and the actual cross of the leno.

Yesterday for the first time in a long time, I dressed a loom. Well… I’m using the 4 shaft Robinson loom as a frame, not involving a reed or shafts, not putting great tension on the 28 gauge wire. So far the wire is looped on (a variant of a technique I saw long ago on quick dressing a rigid heddle loom), and held in order with a couple of rows of twining at each end. I carried two wires together, bare copper and silver-coated, with ideas of some colour and weave experimenting. The plan is to do everything using pick-up techniques.

Can I get the structure, the variation and interest I want, with tension sufficient to help me working and keep from tangles while loose enough to keep it dynamic and flowing?

It’s on a brief pause at the moment while I make space on my work table, to move the loom from the side bench which doesn’t have great light (there used to be enough there, but something’s changed over the years 🙂 ).

Looping experiments
Different gauges of wire.
The red is 12 gauge aluminium from Apack. The heavier brass colour 20 gauge (anonymous, from the stash). The finer one is actually brass, 0.5 mm (about 24 gauge), A&E metals. The fine “silver” is 28 gauge coated copper wire from Over the Rainbow (polymerclay.com.au/).

All of these were very easy to use, with no complaints from the joints (although keeping in mind these are small samples, each using one wingspan of wire).

The resulting “fabric” is quite easy to form and manipulate, and holds shape well in most directions.

Going dimensional.
Beautiful, bouncy, like unintelligible handwriting. In fact this is looping, with each loop upwards pulled through a little, twisted and bent 90 degrees to make it thoroughly three dimensional. The wire is 24 gauge “black reel wire” from Apack. I think it’s annealed steel (from the person who told me about the supplier), but can’t be sure. No signs of rust. Soft and easy to use. The fabric created holds shape very well, and all those projecting loops look full of potential for building further or embellishing.

Crochet
This is more of the 0.5 mm brass, using crochet. It’s a denser fabric. There’s a sort of dimensional corrugation with the rows worked back and forward, but overall it looks a little heavy and stable – not dynamic and lively. The killer is that I got some thumb joint pain even in this small piece. Not something I’m likely return to – certainly not with this gauge wire.

Twining
In wire.
The beginning of some twining, working in 28 gauge wire.

In structure and in technique (the thumb flip) just what Mary Hettmansperger taught using waxed linen (17-Sep-2018). This is much more open, and of course holds shape well without reinforcement with mod podge.

It’s meant to be semi-mindless work to cope with TV-watching (I’m no good with tension – if the music changes to a buildup, I dutifully get scared). However I’m finding it a little fine for that – I need good light (hmm… a connection with earlier comments???).

For painting.
The first of these little pots was seen 1-Oct-2018. My technique has definitely improved with the second, larger pot. The lid is domed because I made it a bit big 🙂 . It’s been languishing a few weeks now. I’m hoping the alteration of proportions will let me do more of a slice down the height of the inspiration painting.

Folding
Pretty much on a whim, I recently bought The Art of the Fold: How to make innovative books and paper structures by Hedi Kyle and Ulla Warchol. I have lots of paper around, sketches and prints and experiments that have piled up. Perhaps I could fold them, transform them into something more satisfactory. Lovely book – good instructions and diagrams, techniques and structures that get reused, elaborated, extended, as the projects progress. Lots of great inspiration photographs.

My first attempt (apart from familiarisation bits on plain paper): a pocket accordion with separate cover.

So small and pretty! About 10 cm high, 5.5 or so wide. Very satisfying. While not apparent to others, I particularly like the refreshing and encapsulating of memories. The cover is leftovers from a class with Adele Outteridge (25-Jul-2014). The inside pages are from a large sheet of cartridge paper. I went back through months of photos to identify it – from a printmaking session back in 2016 (24-Jul-2016). That detective side excursion on a side excursion was a pleasure and revelation in itself – so many exhibitions, and travels, and classes, and so, so much making! Even the little inserts capture memory. I don’t know if you can see in the photo the inserts are paint cards, and one colour has been selected for the bathroom wall – but not my bathroom. In a class with Keith Lo Bue last year (23-Apr-2017), there was an exercise where we each put three things we’d brought onto a table, and we each selected three things from other people to use as raw material. My final choice, with not much left on the table – the rather uninspiring paint cards. A fairly random moment resurfaced, memorialised, made special.

Weaving Nancy’s blanket

Weaving content!!

Back here I posted this photo of the blanket on Nancy’s bed at the nursing home and speculated on the weave structure. I thought I’d try it out as part of my development in the final project.

Then I read this post by Noreen Crone-Findlay on her blog Tottie Talks Crafts. She has a super-fast way of putting on a short warp using s-hooks and has some detailed video tutorials, including doing leno (look around at her posts before and after the June one in the link above, as there is a series). Brilliant!

I don’t have that particular kind of loom but the same ideas could be used on almost any, I should think. I decided to try with my Robinson loom, seen here in a photo from February 2010 when I was working on Cacophony. The castle (the high structure that holds the shafts with levers to raise and lower warp ends) can easily be removed, as can the beater, leaving the basic frame with a mechanism for adjusting tension.

Here is the same loom, castle and beater removed, and leno warped and in progress using Noreen’s method.

The closeup shows that as well as my shed stick I used a string and pin setup to keep the second shed. This is another idea from Noreen (here), using a knitting stitch saver instead of a kilt pin. I’ve attempted a slightly different version of continuous string heddles on a stick when playing with backstrap weaving, following instructions by Laverne Waddington (blog backstrapweaving.wordpress.com), but this slightly different form worked well here.

One of the beauties of Noreen’s warping method is that most of it could be improvised using stuff around the home or at the nearest hardware store – for example I used tent pegs for the metal bar supporting the s-hooks (the apron rod was too thick to use the hooks directly on it). Life is easier with a tensioning system, but Archie Brennan’s diagrams show how to manage that with copper pipe and a threaded rod (see his page http://brennan-maffei.com/Loom.htm and scroll down to the “small copper loom” diagram).

In a very short time this afternoon I had this little sample done. I chose a large, coarse string, thinking of the rough and impersonal treatment Nancy has experienced (not the nursing home particularly – the whole situation and sequence of events). It’s actually a single continuous piece of string, used for both warp and weft. There are various tension problems, but that seems to fit with the theme pretty well!

I think I’ve got the structure right.

I’m really excited about the fast sampling this method offers, especially with a weaving project coming up in the OCA course. I think that’s tapestry and experimentation focused, so this could fit. Imagine unhooking a few areas of warp and doing some braiding, or crossing warp ends over to create diagonal elements. Possibilities!!!

 

Contemporary Weave with Liz Williamson

Some images from last week’s class with Liz Williamson, in Mittagong at Sturt Summer School, starting at the end with our final day exhibition.

My 4 Trail Markers on the left. Des's work in black on the right.

Natural dyeing, and tube in fishing line by Des - a brand new weaver.

Chris, also a new weaver, used her own prints and handmade paper

More dyeing and weave from Chris. She picked up the pine needles on a class shopping excursion.

Exciting weft selection from Chris

Mary produced a prototype piece ...

... developing extensive work done previously.

Gail played with colour, texture, openings...

A closer view of some of Gail's work

Susan created a "book" using double weave

Dianne made mobile phone pouches and jewellery. Now you see it...

... now you really see it. The flash doesn't do justice to the subtlety of mother of pearl buttons captured in reflective tape double weave

The weave room

Unfortunately I didn’t get decent photos of the other class members’ work. There were nine of us in the class with Liz, a particularly pleasant and companionable group. Liz provided a really rich and varied learning experience. We examined examples of cloth that interested us – everyone brought some, including heaps from Liz, and talked about how they could be explored or reinterpreted for contemporary designs.

mud cloth

stripes, dyeing, colour

cloth weft and beautiful colour


Liz demonstrating

Liz had a fast way of getting a sampling warp onto the loom, demonstrated various options for warping, gave us extensive notes… but most impressively was able to help two brand new weavers do some really interesting work. Liz gave them just enough theory at each stage for what they were doing, to avoid problems and produce a viable structure while exploring and expressing themselves. Both Des and Chris brought lots of experience in other areas of textiles and creative work, and I think both are now enthusiastic about learning more and incorporating weave into their repertoire.
Liz also organised visits to the weave room by Elisabeth Nagle, a master weaver from Europe who ran the Sturt weave studio for around 50 years, and Melanie Olde who currently teaches there. Plus a number of us sat at dinner with weaver Sally Blake and her fellow exhibitor Vedanta Nicholson following their floor talk at the Rain Gauge exhibition in the Sturt Gallery.
With all that inspiration available, Liz guided each weaver in their own chosen exploration. Many of us used double weave as a structure, but with widely different materials as weft. I decided to challenge myself by avoiding strong colour, instead focusing on texture, light, and shadow. I tried to be really free and spontaneous, exploring the properties of some new-to-me materials – a couple of different paper yarns, cut strips of hessian, garden jute twine, paper rope… I struggled for much of the time, but was very happy and excited by the results. I like the things in themselves, but also that as weaving progressed I continued to learn, to experiment, to examine what happened in one piece and build on it in the next. In the end (!) it was a very satisfying process that I want to continue in my OCA work.
There was one part of the class I didn’t participate in, and I want to write about it here not to get into any big discussion but because in the past I’ve had definite opinions which I’ve later reversed and I’m wondering if this will be another. So to my future self, wondering if one day I won’t believe I thought this… I don’t get natural dyeing and its current huge popularity. Yes, there can be some incredibly beautiful results, but use of synthetic dyes can also give really stunning results – and both can produce blah. It’s the assumption that “natural” dyes are somehow intrinsically gentler on the environment, safer for the user, and generally “better” that bothers me. There may be studies out there which looking at the whole chain of production and use (mordants?, commercial cultivation/production of madder/cochineal/…?, packaging and transport?, …). I don’t know, and in any case as a hobby dyer I suspect the difference would be negligible in comparison to my impact on the environment as an urban dweller who is happy to drive my car around the state going to weaving classes.
Rant over. This was a great week, I really hope to keep in touch with the others in the class because they were an amazing group, and I’m looking forward to seeing influences from the class in my future work.

 

Bead leno detail

With seven wefts tried on my leno sample there was a clear and totally unexpected winner. Which will remain unseen until the Big P2P2 Reveal.

In the meantime I have a few detail shots of the bead leno setup.

In leno warp threads swap positions instead of running along neatly beside each other. Check my photo in this post from February to see a diagram. Back then I used “doups” to get the swapping. This time it’s “beads” – or pieces of a drinking straw in this instance. The first photo shows the setup between the heddles (at the top) and the reed. I used a straight threading for the warp – that is, starting from the right, a thread on shaft 1, the next on shaft 2, then shaft 3, then shaft 4, and repeat in sets of 4 threads, so looking at the loom from the front you have 4-3-2-1 – 4-3-2-1 – 4-3-2-1… Note that each set of 4 go together through a single dent of the reed – very important because otherwise the swapping wouldn’t work.

Here’s a closeup of a 4-3-2-1 group (click on the photo to see bigger). The threads on 4 (beige in this example) and 1 (light blue) are threaded through a piece of plastic straw underneath the threads on shafts 2 and 3 (both dark blue). Underneath – another very important detail. This is still with the shafts behind and the reed in front. (I just put a pickup stick under warps 2 and 3 to make it easier to see.)

While weaving leno the threads on shafts 2 and 3 just sit there – the world revolves around them.

The third photo shows what happens when shaft 1 is lifted. The light blue thread on shaft one goes up (yellow arrow). This pulls on the straw. The beige thread on shaft 4 is pulled over because it is threaded through the same piece of straw. The red arrow points to where 4-beige has been pulled across under the dark threads on shafts 2 and 3 and up. The photo is still between shafts and reed, but in front of the reed the order of threads is now

3 (down) – 2 (down) – 4 (up) – 1 (up)

I put through the weft in front of the reed and that order is captured. Thread 4 has swapped position.

Next (photo 4) I put down shaft 1 and lift shaft 4. The beige thread on shaft 4 goes up (yellow arrow). The light blue thread is pulled across, under the dark threads (red arrow), and up. In front of the reed we have

4 (up) – 1 (up) – 3 (down) – 2 (down)

A pick of weft captures that swap.

Repeat those two picks. The warp threads on shafts 1 and 4 appear first on the right of the group, then on the left, then the right, wobbling their way down the length of the cloth. You can see it a bit on the loom in the last post, but you don’t get the full wobbly goodness until off the loom and wet finished.

I think it’s amazing – magic! Easy to set up, not too tricky to weave. The shed is not as good as standard weaving – after all the warp being pulled across is pulling down on the straw, and also pulling up on the stationary threads as it goes underneath them. Plus in this particular example I am using textured yarn with blobs of cotton and I have to be gentle given the abrasion of all the warps rubbing as they are pulled around. So I am gently separating and spreading the shed with my pickup stick every single pick. This sounds slow, but the main work has already been done automatically by the bead setup and there are so few picks per inch that it’s wizzing along very happily.

Information sources:

  • notes from my weaving teacher, Liz Calnan.
  • “A new twist on Bead Leno” by Kathryn Wertenberger. Handwoven November/December 1989.

Getting distracted

Last week I had a sample based on one of Cally’s photos and was making plans for a scarf. But I’ve allowed myself to be distracted.

East Neuk by John Bellany. This image was one that really attracted me from the beginning. I could imagine standing looking down at such a harbour, cheeks glowing from the walk up the hill, hair a bit sticky from salt spray, a slightly chilly breeze buffeting me. I’d play with the image in my mind at odd moments, trying to figure a weaverly response.

Perhaps a scarf to wear against that chill, not too heavy, blending into the sea colours. Leno could be a good structure – the twisting of the warp ends (threads) provides stability and allows lighter, more open weaving. The threads move back and forward, possibly reminiscent of waves. The image from a post in February gives an idea of the effect – although then I used wool and mohair, too fluffy and warm for the current idea.

It took a while to find a yarn that I thought might work, but I had a big surprise when I got home and compared my colours with the picture – nothing like!! It’s not just a matter of colours not matching in different lights. More that there simply is no dark blue in the image, just for starters. I’ve been remembering times I’ve stood on hills, looking at harbours and sea, and my memories definitely tinted my purchasing!

At this point I’ve decided that the idea is to use the image as a starting point for a design, and if I’ve continued on to somewhere a bit different then that’s fine.

Yesterday I wound a warp with lots of room for both sample and a finished scarf. The photo shows a section that was a third of the width on the loom – 4 inches. I really enjoy using the warping wheel to mix colours in the warp (and be nice to my back), however I really need to improve my methods of getting such warps onto my table loom (which I often prefer for samples and experiments).  It didn’t get nasty or tangled, just very slow, painstaking and inefficient.

Today I finished dressing the loom and have started sampling. The warp is Patons’ Sorrento – 62% viscose, 28% cotton, current sampling at 10 ends per inch average, although obviously not evenly spread. I really wanted a yarn with some shine and some slubs (ruffled waters). This might be a bit tender and catchy for weaving leno, but seems to be standing up OK at the moment. I’m trying out bead leno and gently easing the shed with a pickup stick every pick. Fiddley but rather pleasantly absorbing. I’ve tried a few wefts so far – cottolin, Xie bamboo and 20/2 silk. I need to do a bit more then will see how it behaves off the loom and in the finishing.

Meg asked me about where I was going with my sample last week. I guess my approach has been to take some of my impressions of the photo and mix that up with ideas that occur to me as I think about it. For that sample the idea that the photo was taken in Switzerland became important, and self expression in a structured society, in addition to some colour and texture cues from the photo. Some of my weaving is focused on building skills, adding techniques. P2P2 feels quite exposed in a way – starting from the other side I’m trying to express at least a little bit a mix of thoughts and emotions, looking for the right mix of yarn and structure to do that. I really have no idea what I’m doing, but I’m enjoying it 🙂

P2P2 Round 2 sample

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 cannelĂ© 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 cannelĂ© 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?

2 questions + P2P2 round 2 update

First a couple of questions.

Do you know anything about the Open College of the Arts BA Textiles degree? A friend has been researching textile courses for a while and we’ve both got excited about this one. I’ve looked through OCA website, plus found quite a few “learning log” blogs of current students – http://ocacreativeartsjourney.wordpress.com/ is a good place to start since she has links to other students in addition to her own work. I’d love to learn more about the course and peoples’ experiences with OCA, so please leave a comment.

The second question was left in a comment from Isa Vogle: “Please, I am wondering if you or anyone else knows how to put short z-spun singles on a sectional loom not using a tension box. Any help would be greatly appreciated. Isa” I don’t know the background of the various constraints Isa is facing (other equipment available, width of warp etc) and have never tried anything like this, but it sounds like a potential world of pain to me. I think you’d need a nice long leader to attach to, or maybe tie onto a ghost warp? Plus there could be challenges relating to the amount of twist/energy in the singles, avoiding tangles and/or the yarn simply falling apart. Any other ideas for Isa?

Finally a brief update on P2P2. I’ve started a sample using some of the ideas from here. I came up with a threading on 8 shafts which I thought would give me the plain weave background and some options in the positioning of the floats that allow movement. It was immediately obvious that I had no idea what I was doing and the threading was rubbish (well, the plain weave base worked)! Fortunately my good friend the pickup stick has helped enormously and I think I have the hang of it, with the bonus of lots of flexibility. The proof will be in the wet finishing.


Calendar of Posts

November 2018
M T W T F S S
« Oct    
 1234
567891011
12131415161718
19202122232425
2627282930  

Enter your email address to follow this blog and receive notifications of new posts by email.

Archives

Categories