Saturday, April 16, 2016

Eileen Plays Her Cards Correctly

Eileen is our next weaver to finish the Weaver's Poker Challenge.  She also chose to weave a scarf as part of the challenge.  

Eileen's poker cards were:  Red, Swedish lace, Novelty, Beads, Analogus Colors​.  She decided to discard the Analogus Colors card.  

The scarf is red, 8/2 spun rayon, the weave is allover Swedish lace, the fringe incorporates beads, and the novelty is two picks at each end of eros yarn. 

Eileen's Scarf

Novelty Yarn at Fringe




The one thing Eileen thought was a surprise was how using the novelty yarn in a small way, it added a lot to the scarf.  She says she will continue to do this in future projects.  ​

Nice project Eileen!

Thursday, April 14, 2016

Mardi Draws a Winning Hand

Mardi is the next Not 2 Square to finish her Weaver's Poker Challenge.  Here's her description of how she approached the project. 

"My challenge cards were Stripes, Warp-faced, Analogous Colors, Yellow and Overshot.

I decided to make a scarf because it was a small enough project to try out some of my ideas on.  The one card I chose to delete was Overshot.

I used a stripe generator and then edited it for the values that I thought would work in the design.

In a way, I cheated because I changed the warp-face to warp-dominant.  I did not want to make a plain weave scarf because I am working on finding a fabric that drapes well. The structure I chose was a 3/1 point twill. 




The yarn is 10/2 mercerized cotton.  The sett is 30 epi. The weaving length was 72 inches with a finished length of 64 inches plus fringe.  The width in the reed was 8 inches with a finished width of 7 inches.



Actually, the project satisfied the parameters but the fabric was still stiff.  If I did this again, I would change the sett to 24."  

The scarf is very nice.  The yellow color turned out nicely.

Tuesday, April 12, 2016

How Marcy Played Her Weaver's Poker Hand

Marcy chose to weave a scarf using her hand of Weaver's Poker.  She was dealt the following "cards":

Structure:  Spot Bronson
Color:  Blue
Yarn:  Thick & Thin (one yarn)
Design Element:  Incorporate a shape (e.g., square, circle, etc.)
Color Relationship:  Mix warp color by doubling thread in heddle, sley as one

She used a 3.5/1 periwinkle blue cotton flake for the weft which covered the color and the requirement for a thick and thin yarn.  The warp was 10/2 white cotton.  She created a design using Spot Bronson that included five diamond shapes across the 229 warp threads.  These were repeated nineteen times in the length of the scarf.  The warp color mixing card was discarded.

Marcy created the scarf design using Weaver's Craft Issue #23 pages 6&7 as a guide to understanding "Spot Bronson" also known as "Barleycorn".




The 10/2 cotton warp was sett at 24 eps using a 12 dent reed (two threads per dent).  The width in the loom was 8 3/4" and Marcy wove the scarf to 57.75".  The finished scarf was 8 1/2" x 46 1/2".




Here are some detailed pictures to show off the lace patterns.




Scarf front and reverse sides

This turned out to be a very nice scarf with a good hand.  Nice job Marcy!

Monday, March 07, 2016

The Fiber Art of Sue Habegger

Sue Habegger has been weaving and creating wonderful textiles for much of her adult life.  Now she has decided to tie up all the loose ends and send her weaving tools and yarns to the next generation of weavers. But before the big sale, Sue plans to give a presentation at a Foothill Fibers Guild meeting on April 26.  Here is Sue's description of that program.
                                                                      
I will do a slide presentation of the placemats and clothing I did from 1980 thru 1990’s including how I did modified ikat on 30 yard warps at 32 epi for placemats with mop yarn, and then did fabric on the same warp for warp faced yardage with finer yarn for kimono jackets and caftans, and double layer yardage for light 16 epi. napkins and summer weight casual tops.    I will also bring a selection of Southwest tapestries (off my walls and not for sale) that are weft faced wool worsted.



video best viewed at U-Tube


Sue is very active in environmental causes and we know that she won't be idle now that she no longer will be weaving; we will definitely miss seeing her beautiful textiles at the fair and at our meetings.  You have been a inspirational weaver to us all, Sue.  I know your weaving legacy will live on and on.

On May 20 and 21, Sue will liquidate her yarn stash  at a special sale to be held at a friend's home in Grass Valley. When the time gets closer, details will be posted here. 

Thursday, February 25, 2016

Weaver's Poker - How Wendy-Marie Used Her Cards

Wendy Marie wove a set of stunning purple towels for her challenge.  The cards she drew were as follows:  
--Color: Purple
--Color relation: Monochromatic contrast
--Pattern/Structure: Summer & Winter
--Yarn: Ribbon
--Design element: Border
Here's her description of the project: 
Sarah H. Jackson’s design for “Four Blocks on Four Shafts: Summer & Winter Towels” (Handwoven, May/June 2013) was the inspiration for this piece. Some unusual things about her design are:
1) Both the pattern and the tabby weft are the same grist. Normally, pattern yarn is slightly thicker in Summer & Winter.
2) The pattern and tabby colors change every inch or so, together with the treadling. The effect is a complex interaction of three colors (warp, pattern, tabby) as well as the interaction of the different blocks.
3) She {Sarah} manages to obtain 4 pattern blocks on 4 shafts, and still preserve the tabby ground.
It is a complex design, and at moments I felt like a pianist trying to play 3/4 time with my right hand and 4/4 time with my left – a real mind boggle.
   
Threading
 

Like Diana, I did not want to buy more yarn. I had a drawer full of various 10/2 purple cotton, but no 8/2 purples. So I reconfigured Jackson’s design, which calls for 8/2 cotton sett at 18 epi, into 10/2 cotton sett at 24 epi. To restore width lost by the denser sett, I added 12 ends to each of the six warp colors, and repeated each of the 4-thread units six times rather than five.
It was hard to predict how the colors would work together, so I just grouped the rosier purples on one side and the bluer purples on the other side. In retrospect, I wonder if the white warp would look better on an edge rather in the center, where it tends to bisect the towel. 
 
Purple Summer & Winter Towels
 
How was I going to add ribbon and border? At this point, I considered dropping those, and just showing up with a “three of a kind” poker hand. But eventually it dawned on me to use the ribbon as a loop to hang the towel on a drawer knob. The ribbon also provided a border. The loop added a little zing.
 
Towel Detail

Towel Detail

Towel Detail

Use of Ribbon
 
 
I’m glad the Weaver’s Poker challenged me to stretch beyond my usual thinking.
 

Tuesday, February 23, 2016

Weaver's Poker - Beryl's Hand



It seems like a very long time ago that we all got together and pulled our poker hand from a series of 5 bags (structure, yarn, design element, color and color relationship) We were allowed to discard one card which left us with four items to incorporate in a woven piece.

Initially, my hand looked pretty workable. 
Structure - gamp
Yarn - silk
Design Element - To look ancient or faded (discarded)
Color - green
Color Relationship - Triad Complement (in my case purple and orange to go with the given color of green)

As the months went by, however, I struggled with a couple of the items.  Silk and "to look ancient or faded"  I really didn't want to use silk and then deliberately fade it with a chemical of some sort.  And then, there was the question of not wanting to buy any more yarns for this project - so I added the constraint of using what was currently in my stash. 

I toyed back and forth between using cotton and fading it with a discharge or dipping into my silk stash which I'm rather picky about saving for something special.  Finally, when rummaging around in my silk box, I found several cones of some rough silk that I had purchased from Robin and Russ, many years ago.  Frankly, it didn't look or feel much like silk.  I had a cone each of a brownish purple, teal and a burnt orange .  I needed green, so I wound off a good amount of the teal and overdyed it with yellow.  The  resulting green was a good solid bright color.  The purple was kind of ucky, so I overdyed that as well and used all that was on the cone. 

The next step was to create a gamp design.  I wanted to make this a useable piece, so I put together an eight shaft point and advancing twill threading and then mirrored it.  I played around with some tie ups and found one that showed off the design well and went with it. 

This is one half of the warp.  To use this design, mirror the threading for the other half of the warp.
Next step was to get yards per pound of my silk yarns to see what kind of a warp I could put together.  I decided on the green and the purple in the warp and the orange for the weft.  I tried looking at a design with stripes in the warp since I had less purple than green.  Finally, I decided to make a green border and then alternate the purple and green through the center of the piece.  When I wound the warp, I had to use one extra green thread on the border because I ran out of purple yarn.  The green and purple turned out to be very close in value and almost make another color when warped next to one another.

The warping and weaving was fairly straight forward, although keeping track of  first the threading and then the treadling required concentration.  After I had done one repeat of the pattern, I thought  that if I changed the tie up it would make it more gamp-like.  So I used a total of three tie ups in the piece.  And, no, I didn't use a dobby.  I got under the loom and changed the tie ups!  Each of the tie ups shows off the two color warp differently - a great learning experience in itself.

When I wet finished the runner, I used fairly warm water and soap to remove any of the lingering sericin in the silk.  It was rinsed with a squirt of white vinegar to restore the pH to the fiber.  I was being careful when I pressed it, but then found if I ironed with a little pressure, the silk became lustrous and softened nicely.

It was really a fun learning experience and a great one to do in weaving groups. 








Tuesday, February 16, 2016

The Weavers School

Diana and Ingrid were fortunate enough to be able to attend Madelyn van der Hoogt's Weaving School on Whidbey Island, WA last October.  It was an excellent experience for both of them.  It was five days of weaving on the many looms the school has already warped and ready to go and lectures.  They both came away with samples.  All of the samples were woven on eight shafts (except one) in mostly 10/2 cotton.

They wove some of the same samples.  The first is Atwater Swedish Snowflake Twill.  This is an advancing twill.

Swedish Snowflake - Diana








Swedish Snowflake - Ingrid
Diana liked this design so well, she wove several towels and a seat cushion in this design. 

Diana's Seat Cushion
Diana's Towel version
















Two different samples included overshot in the design.  Diana wove a sample that was a blended draft of overshot and lace.  Ingrid wove an overshot gamp that was also a color and weave example.

Blended Overshot and Lace


Overshot Gamp
















There was a doubleweave color window sample that Diana wove.

Doubleweave Color Windows



Both weavers wove a sample of collapse fabric.  Diana, a Circle and Star design and Ingrid, a Deflected doubleweave, mosaic pattern.

Circles and Stars - Flat and Collapse







Deflected Doubleweave - Mosaic Pattern

Another design using wool and cotton was the Blocks in Rosepath Order.

Blocks in Rosepath Order

Blocks in Rosepath Order




Diana got to weave a sample of Beiderwand.  This is a form of lampas.

Beiderwand





Beiderwand Detail













There were several lace designs.  This one was huck, playing with colors.

 
Sherbet Runners in Huck Lace



Ingrid was able to weave this bright sample in Summer & Winter.














Summer and Winter
The school has several draw looms.  One is set up to weave a sunflower pattern.  Another, a shaft drawloom, to weave a Figured Double Weave sample. This is an abbreviated version of the intended sample.  

Figured Double Weave

One final sample was woven on a Louet Megado computer dobby loom.  It was a Network Draft design.

Network Draft

It was an extremely fun and interesting experience.