Back in the fall of 2016, I was registered for a class on 18th and 19th century handwoven textiles with Marjie Thompson. Each of us in the workshop was going to set up a loom ahead of time with a specific pattern. We’d bring our looms to the workshop and, during the weekend, we would all go around and weave a sample on each person’s loom. By the end of the weekend we would have lots of samples of different patterns. I was very excited.
I got my draft in the mail. A draft is the plan for a weaving project that tells you how to set up your loom to weave that particular design. I wound the warp, threaded my loom, organized the tie-up, wove a sample, and then got sick. I wasn’t able to attend the actual workshop.
The pattern I was given is called Leisey Star. The weave structure is known as “Star Work.” My specific pattern came from the manuscript of Henry Leisey in the collection of the Landis Valley Farm Museum in Lancaster, PA. I was excited to get this pattern because Landis Valley was one of the first places that I bought fiber flax seed from years ago, through their heirloom seed project. Continue reading “Weaving Star Work”
Over the past year, I have had several opportunities to demonstrate flax processing and talk about natural dyeing. Here is a quick summary of four events that I didn’t get around to writing about when they happened. I just want to document and share them before too much more time passes.
Last August (2016) I did a flax processing demonstration at the Amherst History Museum, in conjunction with the art exhibit “Artifacts Inspire” by the Fiber Artists of Western Massachusetts. The museum asked the participating artists to create original works inspired by objects in the museum’s collection. Two of the pieces in the show were created by Martha Robinson, inspired by two antique hetchels, which are flax processing tools. There’s a good photo of one of her felted pieces here. It was great fun to show people how flax was processed in the past, and to let folks try their hand at using the tools. Continue reading “Past Speaking Engagements”
I wove some cloth! This shouldn’t be so remarkable, I suppose, but I’ve been really unproductive in the fiber art realm lately so it’s big news. Ultimately I plan to use this cloth to make a new batch of books with purple covers. I had hoped to have a few made in time for the upcoming “Purple Show” at the Shelburne Arts Co-op, but alas they will not be ready in time. I may get them finished before the end of the show…. The show hangs this Tuesday March 31st, and is up until Monday April 27.
Here are the weaverly details about this project: The warp is 20/2 cotton, from the discontinued UKI line. The color is called Malay Purple. There are 598 ends in the warp. The sett is 30 ends per inch. The width in the reed is 20 inches. My draw-in (how much the edges pulled in as I wove) was about 6% and the shrinkage in the width was about 4%. Shrinkage in length was about 6%. I washed it by hand in hot water and hung to dry.
The pattern is a miniature overshot motif called Maltese Cross. I’ve written about overshot in earlier posts, but I’ll quickly recap here. To weave overshot, you typically weave one pick of fine yarn (the same size as the warp) alternating with one pick of thicker yarn (approximately twice the diameter of the warp). The fine yarn makes a background that stabilizes the cloth creating a plain weave structure called tabby. In this piece of cloth, I used the same color of 20/2 cotton for the warp and the tabby. The thicker weft yarns float over several warp ends and form the pattern. I’ve woven most of my book cloth using overshot motifs. I really love them. To me they are simultaneously old-fashioned and psychedelic. Continue reading “Purple Cloth”
I misspelled orifice as “oriface” in a recent post, which I have corrected. However, since someone out there may have read it with the incorrect spelling, I figured it would be honest to own up to it, as well as fix it for posterity. Continue reading “Errata and Edits”
After I spun up that modest quantity of linen singles yarn (the bleached Louet top I wrote about last time), I got excited about planning a warp for it. I plan to use the handspun as weft. My current thought is to use the wet and dry spun yarns in alternating stripes in the weft. I think this will create stripes of different textures. But what to use for the warp?
I have a motley stash of naturally dyed linen yarns, including 20/1, 20/2 and 40/2 yarns. This project seemed like a good opportunity to use some of it. Since most of my dyeing consists of experiments and small batches, I don’t have a lot of any one color. So, I can’t make the whole warp from a single color, which obviously means I need stripes in the warp. Continue reading “Planning a Linen Warp”
After I wove off that pink warp, dyed with madder, I finally put a new warp on the loom. It’s a blue warp, dyed with woad, for more “Jack Frost” pattern bookmarks. Amazingly enough, the first three came out exactly the same length! This is a feat of consistency of which I am rarely capable, so I was pretty happy. Here they are:
What I have been aiming for in my bookmarks is a woven length of 10 inches, with 1 inch of fringe on each end. This allows them to fit exactly into the stylish wrappers Matthew designed, which are 12 inches long. Continue reading “Bookmark Success!”
This post is the latest installment in a longer saga about weaving bookmarks with naturally dyed 40/2 linen. The saga spans many months, if not years. I have posted about these bookmarks in the past. You can read my most recent post about it here.
Or you can just catch up on the back story in this post!
My linen bookmarks are woven with 40/2 linen. They are not too time-consuming to produce, though the pricing still works out to a meager hourly rate when I take into account all the steps involved in the dyeing plus the weaving. Continue reading “Bookmark Failures (Successes Coming Soon)”
This is just a short post to say that I’m pleased with my stash of linen yarns. Here they are:
The pink colors at the top come from madder roots, and also the little orange skein on the left. The browns are from black walnut. The light orange in the center is from orange cosmos. The blues are from woad. The greens are from weld with woad on top. The yellows are from weld. This modest-sized basket represents a ton of work, and I am very satisfied!
Continue reading “I Am Pleased With My Linen Yarns”
Back in December I began working on a new batch of Huck lace heart bookmarks in 40/2 linen, dyed with madder. People buy these at all times of year, but my current motivation is to have them available before Valentine’s Day.
I have a wide range of pink shades to chose from at the moment, so I plan to make a lot and have a good stash of inventory for several months. Last weekend I finished ten in a very pale pink, and this weekend I worked on ten more in a slightly darker, more blue shade of pink. Next weekend I hope to make some rich terra-cotta colored ones.
In the past, the most tedious part of the process of weaving these bookmarks has been the hemstitching. Each bookmark took just over an hour to weave (not including dyeing the yarn and dressing the loom), at least 20 minutes of which was the hemstitching. Until recently, I employed a magnifying glass to assist me with this job, since 40/2 linen is a fairly fine yarn and I will be 45 on my next birthday. Hence, my eyes need some help. Actually, I wrote about using a magnifying glass in an earlier post a couple years ago. Apparently I felt way more philosophical and content about it back then. Continue reading “Newfangled Magnification Technology”
Over the past week or two I tied half-damascus knots to secure the warp ends on my ryas and hemmed them all. It took a long time, and even though I was very careful, they’re more on the “organic” side of a straight line than the “geometric” side. But they are still awesome.
Our cat Smitten, also known as Pippi or The Pippi, has been very unwell lately and not at all up to her usual high jinks. So, it was a pleasant surprise when she jumped up on the desk to “help” me hem this rya. Pippi likes to help, even when she’s feeling poorly. Here she is looking comfy and not wanting to be moved. Continue reading “Hemming and Hanging”