February 2018: Linen and Lace, Woven Shibori and other stuff.

March 5, 2018

In the studio this month I held the second Linen and Lace class. The class was nearly full with 4 students. That is why this follows on from #1 in January. There were great results again. Here are some images of work by Karen, Jen and Jan. It is worthwhile to note that two of these are fairly new weavers.

They wove. Karen is missing from this photo.


And they finished off. Here a Swedish Lace series is being mangled using a marble rolling pin.

And went home with a great collection.

Jen’s collection

 

Karen’s collection

 

Jan’s collection.

Rochelle after attending #1 decided that she’d like to weave a double width alpaca blanket, so she had the opportunity to also refresh on the theory… and to check out what the others did.

 

One of the additional challenges of this week was to experiment with pick up on lace weaves if time permitted. In this way all could come to an understanding that more complex design could be achieved with minimal shafts. There are some projects in both Jen and Jan’s collection. Having the loom threaded that way also allowed me to play with a couple of combinations both while the class was underway and afterwards.

On the Bronson Lace warp students could accomplish pick up of a design for an overall pattern or combine it with inlay. I got to weave these two examples.

 

For those interested in drafts, here it is.

The other pick up warp was on Spot Bronson. Jen got to weave a complex spot Bronson design while I got to play with combinations afterwards. This is my playtime, all off the one warp.

I threaded that one so that both lace and Summer and Winter could be woven at the same time. Jen got to weave a complex spot Bronson design while I got to play with combinations afterwards. I also wanted to revisit the experimentation I’d done with doupe leno from the previous workshop. So it was a 3 way challenge and a bit of forward planning was required.

Here’s the basic draft.

Spot Bronson and Summer and Winter combined. Note as well as being woven full width, there’s an isolated motif in the middle of the lace weave.

To weave the leno, I required a group of 4 threads per dent if I was going to explore more doupe leno stored on an additional stick. My aim was to compare the method that I’d used in the previous month on a countermarche loom with this on the jack loom. However the loom had been threaded 2 per dent. As I knew that I’d be taking advantage of this warp I used a reed where I could remove the uprights allowing me to maintain the sett while achieving 4 per dent. Part way through increasing dent size.

An overhead view of this reed. Once I’m finished, I slide the brass strip back into place securing the reed.

This image shows the leno being picked up. Note the wider spacing has also grouped four threads across in the plain weave.

Preparing one group of 4 to be placed on a doupe. More about this process can be seen on January’s post. I found this process much easier to weave on the Jack loom. The important thing to remember is to put light tension on the pick up leno shaft as each row is woven. It prevents doupes being caught as the shafts change.

 

The finished leno.

On modifying my reed spacing: One might ask why I just didn’t use a reed with wider spaces to start with. So for the last experiment, I also wove a piece with leno (pick up alternating) and Spot Bronson as an all over pattern. While weaving the threads were very much isolated in groups of 4. After finishing, the warp threads are more evenly spaced. However while weaving, because of the denting, it was impossible to beat the fabric to square as a result the lace floats are elongated.

Here’s the finished collection from that experimental warp.

 

At the end of this month I was invited to teach at a weaving retreat for 5 weavers at Sewjourn, just north of Melbourne. They had chosen woven shibori as the focus for their study with a bit of additional dyeing tossed in.

Sewjourn is a perfect location for a small group. It has well set up and basic accommodation where you self- cater and a great studio space, set in a rural location. Those weavers sure can cook!

It was an amazing 5 days. Congratulations to Trudi, Di, Jillian, Elizabeth and Kaye. Here are some images.

The studio. Weavers hard at play (aka work).

Some fibre reactive dyeing both as painted warps and pulled up woven shibori.

Different shades of blue from the indigo bath.

Completed dyeing of warps (painted and ikat) and small skeins for weft ikat.

A weft ikat being woven. While the focus was on woven shibori, it was too good an opportunity to see how this would weave up.

The result of a fabulous five days of play.

Next month: In the studio there will be a 5 day class focusing on all manner of twills. There are still 2 places available.

 


January 2018 Lace weaves and Leno

February 2, 2018

In January, I hosted Linen and Lace in my studio. This class will be run again in a few weeks’ time. My intention is to run small classes with highly personalised teaching, hence the need to divide it into two. It also gives me an opportunity to play as you’ll see later.

Rochelle and Heather explored all manner of lace weaves (Spot Bronson, Bronson, Swedish, Huck, 3 or 5 ends and one piece that combined several). They demystified structures, investigated finishing techniques and took home a collection of beautifully woven and finished pieces. Here’s some images from the 5 days. Congratulations to both of them. It was a great week!

 

 

They also explored leno with one piece. The left over warp gave me the perfect opportunity to play.  They got to see the benefit of my play so it’s a “win, win” situation. Towards the end of last year I had explored a technique from John Becker’s Pattern and Loom: Chapter 1, Chinese Han monochrome pattern weaves. The next chapter is on gauze weaves and I spied leno from the Han Dynasty. What caught my attention was a drawing showing loops (or doupes) put on a rod that mechanically achieved those twists that characterised leno. I have used a treadle doupe system to achieve leno and while it works a treat, it takes ages to set up. I wondered how efficiently this would work. It also ties in very nicely with my fascination with S. E. Asian textiles as I’d been seeing leno in use there. Here’s an example from my collection from Bhutan with a detailed view.

 

Leno is a different way of creating a lacy effect to “lace weaves” which are loom structured. They are classed as being in the “gauze” family. However they do still fit nicely into the week’s theme.

So I set it up. Here’s some things I had to consider. I was working with linen at a sett of 8 epcm (20epi). The warp was already on the loom however I would need to rethread the reed to do what I wanted to do.  Each twist has to have all multiples in one dent of a reed, and I did want to use a reed. So I went to my collection of reeds and found one that had a spacing of 3 dpcm. That meant that I’d thread the reed with 4 per dent for two dents and then leave one free. A dent by the way for those non weavers is a space in the reed.  I quite liked the look of the spaced warp.

Then I had to construct the loops or doupes for the leno. These loops are between the reed and the shafts. It’s easy enough to create the twist in front of the beater and transfer to behind the reed. I could have constructed these loops in much the same way that I do for heddles on SE Asian looms. However I took the soft option of using old texsolv heddles folded in half. They were a bit bulky but it would save time and let me see how this would work.

These two images show how the loops are formed to create the leno twist.

 

The rod with all those loops on behind the beater.

To weave, it was a relatively simple matter to raise the extra shaft to create those leno twists across the full width of the piece. I did find that it was most effective as the shed wasn’t huge to insert a stick to clear the shed.

The loom I’m using is a countermarche. On this loom there is a lot of movement with the warp threads going up and down. I did find that to weave plain weave a bit of tension on the loop stick allowed for a freer passage of the warp threads. Once you go into the rhythm of just putting a bit of tension while the threads were passing through the “neutral” position at the middle of the treadling movement, weaving progressed easily.

By the way the weft thread is heavier than the warp. I wanted weaving to progress quickly for this experiment. My choice was that heavier white linen thread in my stash: the only one and one that I’d like used up. I’m not sure that it was the best colour choice but it suited my purpose.

Weaving progresses on the loom.

 

After finishing. The first image has light behind to see the leno more clearly.

 

And while I was about it here’s a piece of leno that is manually manipulated using the threading on the same loom. The threads in one dent are twisted with those in the next dent and then offset. One image is just woven while the other is after washing. Note how much the denting space has closed up.

The next class on Linen and Lace is from 19-23rd . There’s still 1 place left. Perhaps my students and I will have time to do some more play with leno.