Oldest yarns plus handspun plus twill with tabby were the inspirations for these scarves. The draft are Strickler #263 and #265, both using a corkscrew twill threading and tie-up.
The first, #263, was slow to weave and it was easy to make a mistake. It required three shuttles: one for the handspun pattern yarn, one for the thin black tabby binder, and one for stripes of the same black yarn I used for the warp.
It reminds me of the tracks of tyres, or some kind of ancient writing.
#265 was a much faster point twill treadling, using two shuttles: one for the handspun and another for the tabby binder. They pattern looks like dramatic bow ties.
They turned out very well, and I will definitely be more confident in designing weaving projects using handspun now.
Some while back when I had a backlog of posts to publish I decided not to post about the 8-shaft weaving certificate course samplers. I am having fun and learning heaps, and maybe at some point I’ll do a catch-up post.
I’m also toying with the idea of weaving an item in some, if not all, of the structures we explore. The first was twill, which I’ve woven plenty of times but I’ve never made anything that utilised a tabby binder. At the last Guild meeting of weavers on Zoom the subject discussed was weaving with handspun. Some of the oldest yarns in my stash are handspun, and I’ve been wanting to use up older yarn. Somehow the three ideas – twill, handspun and using older yarn – came together, and after the usual planning I got stuck into winding the warp for two scarves using a corkscrew twill in Strickler that looks a bit like tyre treads.
Before I could get that on the Lotas, however, I needed the loom for a class sampler. The colour-and-weave sampler was meant to be done in the Guild on one of their floor looms, but since we’re in lockdown and I have the same type of floor loom, I offered to be ‘one less student to worry about’ and do it at home.
The sampler was meant to be 50cm long, and since the loom waste is 50cm, it made economical sense to increase the length to the warp and make a scarf. Though I tried a whole lot of fun varieties of colour-and-weave and designed my own, none jumped out and said “do me for the scarf”. It was a project for pinwheel towels in Handwoven I found while researching colour-and-weave that caught my attention. I decided my scarf would be made up of 20cm sections of all eight pinwheel versions – or seven if I didn’t have enough warp.
It turned out to be quite addictive and fast to weave, but I had to make myself not weave the entire thing in one sitting and cause a back flare-up. As I suspected, I only had enough warp for seven of the pinwheel designs, but that’s fine. Odd numbers often look better than even, anyway.
While weaving the chenille scarves, I got to thinking more about using up more old or unusual yarns in my stash. When I had searched for something to use up the white warp I had tried weaving some slubby white cotton, but decided an all white scarf didn’t appeal. Could I use up that yarn next? I wasn’t feeling energetic enough to dye the cotton, but what if I wove it with a coloured warp?
Looking at my collection of 8/2 cotton, I chose three that were around the same value. The combo looked very Spring to me. I also had two balls of slightly thicker slubby cotton in a teal, so I wound enough warp for two scarves.
I chose a draft in Strickler (#102) that produced flower shapes, reproduced it in Fibreworks ao I could play with colour placement, and altered it to eliminate a long float.
The white wove up really well:
The teal is okay. You have to look closely to see the flowers. But it is cushy and soft.
I have enough slubby cotton in another brand to weave several more scarves, but after joining the Guild’s weaving group Zoom meeting on weaving with handspun, I was inspired to do that instead. The two balls I picked are also some of the ‘oldest’ yarns in my stash, and the warp yarn was probably a few years old when I picked it up at a destash.
None of these old yarns are particularly ancient, mind. They’re just the oldest in my stash. But I wouldn’t want them to end up so ancient that whatever I made out of them wouldn’t last long, which is a good motivation to weave yarns I’ve been intimidated by or not sure what to do with.
When the Venne scarves came off the loom I wasn’t sure what to weave next. I have a few linen projects I’d like to weave, but the heating here is very drying so I’m waiting until spring. I’m not ready to weave another rug yet. I also didn’t want to tackle anything mentally challenging when I was about to launch into the 8-shaft course.
Opening my stash spreadsheet, I looked at the oldest yarns there and found a few potential sparks of inspiration. Maybe I could weave up some of the small batches of interesting yarn I’d been procrastinating over for years. Taking out whatever appealed, I wound up with three batches of indigo blue and white yarn – clearly something about the colour was attracting me. I chose the chenille that was ikat dyed in one of Kay Faulkner’s workshops.
I’ve woven this yarn (undyed) into a scarf before, using it as both warp and weft on a rigid heddle loom. It was hard to beat and the warp was a twisty nightmare, and the scarf came out a little stiff. Then I tried dip dyeing in indigo later, didn’t like the look and dip dyed the white end… and hated the result.
A different approach was needed. I’d seen chenille woven as weft on a 8/2 cotton warp in a project before, so based the sett and structure on that. I chose a simple 4-shaft 2×2 point twill with a straight treadling on a blue warp, which was easy to warp and fast to weave. When the scarf came off the loom it had the perfect drape for such a cushy yarn.
However, I had only used up one of the two balls of chenille. I decided to weave another scarf using a white warp. But then I thought… just one scarf? Wouldn’t it be more economical to warp up for two scarves? But what to use for weft on that second scarf? I could try unweaving that stiff chenille and use the weft to make a new one. Or, if that didn’t work, there was plenty of white slubby cotton in my stash that I could weave – and perhaps dye.
The second chenille scarf is much busier, because the white weft makes the twill more obvious and breaks up the blue.
In the meantime, I tried to unweave the old chenille scarf. It turns out chenille locks in pretty determinedly when woven with itself. I abandoned the task went looking for another yarn to use, but something about the unwoven chenille, which had a speckle effect thanks to being tightly woven then overdyed, kept calling me back to the old scarf. So I gave unweaving another try and found if I trimmed off the warp every 2 cm it was not so laborious that I wasn’t prepared to do it, over a couple of days.
Turns out I was right. It did weave up nicely. This time I wove point twill, which gave it a kind of flowery feel. However, it barely wove up to a cowl length. I added a bit of denim at either end and buttons to make it easily removable.
Which left quite a bit of warp on the loom. Not enough for a scarf, possibly too little for a cowl, but too much to just cut off and ‘waste’. This was an opportunity to play, I decided. I then played around in Fibreworks until I had a pattern I liked, and decided to weave it in black.
The eight shaft certificate weaving course has begun! Woohoo! The schedule needed to adapt to lockdown, but thanks to Zoom and our adaptable teacher and her assistant, it got underway without a hitch.
The Guild provides yarn for the course, but we couldn’t go there to pick it up. Last year, in anticipation of this course, I bought a range of the yarn we mostly used in the 4-shaft course – Bendigo 3ply classic – but for the first sampler we used the 2ply version, and I only have two colours of that yarn: natural (which I used for the warp) and a red. One weft colour wasn’t going to offer much exciting experimentation, so I dyed ten bobbin’s worth of the natural.
In my limited supply of dye I had the purply blue on the right, red and yellow. Overdying gave me the colours between. I was hoping for a brown using all three, but got dark burgundy-purple shades.
Still, I love how they turn out. Overdyeing creates more harmonious colour schemes. I’d dye more often if I wasn’t too lazy for the set up and clean up.
This is definitely one of those “looks more complicated than it is” projects. I had the treadling sequence memorised within two repeats, and it wove faster than I expected. Avoiding draw-in was a battle. Seems like that’s a thing with shadow weave. I don’t have a temple small enough to fit the scarf, so I laid in the weft in a big angle and left a little bit of a loop at both edges, which kept it getting out of hand.
To be honest, I wasn’t that excited by the design, so for the second scarf I rethreaded the loom to weave a draft from Handweaving.net. I’m a sucker for a weaving pattern that is a weaving pattern. It was a slightly shorter, narrower draft than the kit scarf, and a bit simpler to thread and treadle.
The tie-up had me weaving it back-side-up. I must have missed some clue on the site. But I didn’t mind as I still liked the back more than the original design, and the there was the satisfaction of seeing the front pattern when I took it off the loom.
It’s been more than a year since I warped the AKL. Used to be I’d have a project on it nearly all of the time, but after all the prep for the workshop I did January last year I took a break. It wasn’t meant to last this long, but much of my weaving attention and creativity went into the 4-shaft course, which I’m certainly not complaining about!
Even after weaving nearly constantly on the AKL for sixteen years (gosh!), there are still a few methods I haven’t tried. One was clasped warp. It was meant to be the next one I did but every time I tried matching up colours for it nothing quite worked. Part of the problem was coming up with a weft yarn that wouldn’t spoil the look of the two warp yarns.
I had another go at it recently, and as I pawed through sock yarns It was thinking back to the Echo and Jin workshop. We used a finer yarn for the weft so the warp colours dominated. The same approach might work on this scarf.
Most of my sock yarn isn’t solid, and the few solids I have are either not a good match for the multicolour yarns or are but don’t provide good contrast – you need contrast with clasped warp (and weft) for the effect to be visible. I applied the principles of matching patterns in clothing: go for different kinds of pattern. Like stripes and florals, or pin stripe and spots, or random and regular, or fine and large. I had a speckle-dyed grey yarn, and a striped dark red and purple yarn. Perfect.
And for the weft… a solid. By going even thinner I had a wide choice of fine wool yarns to choose from. I chose one that would disappear in the striped yarn, and hopefully only add to the flecked nature of the speckled one.
Warping was easy. Instead of threading a loop through every slot of the heddle then, after the loop is cut, moving one thread into the neighbouring hole, you thread a loop in slots and holes. The second yarn loops through this to the peg. Which means every thread is a double thread, and you weave half basketweave.
I beat very lightly so the weft was well spaced. Which made the weaving quite fast.
A couple of sessions later it was done, and I finished it by twisting the fringe.
Once the rosepath warp was off the Lotas, it was time to plan a new project. Two, actually, because I’d decided I wouldn’t keep rethreading and sampling blended drafts on the Jane loom, which needed to be free in time for the start of the 8-shaft certificate course. Though that was two months away, I didn’t want to risk that a distraction, back flare up or something else stop me from weaving off the sampler warp.
What to weave? Something not too challenging, I decided. The latest Heddlecraft theme is ribs, which reminded me of one of the sampler I wove of half the first chapter of the Strickler book. Two of the twills formed ribs and a slightly stretchy fabric, which I’ve always wanted to use in a project. Going back to the source, there’s a note with the draft saying that it was used as a kind of knitted rib substitute. I decided to weave a simple ribbed scarf with the rest of the sampler warp, which only required rethreading the loom in a straight twill. Then I chose purple and aqua-blue weft yarns and started playing.
It’s easy to weave and you can see the ribs forming in the plain white section. You can also see my beat has been a bit variable. We had our covid shots a few days before, and my body did not react well.
For the Lotus, not wanting to tackle anything too challenging steered me toward weaving a Venne kit. I’ve woven shadow weave before, but I haven’t woven a kit. This one makes two scarves. I’m planning to do the first in the treadling provided then a variation for the second.
I replicated both drafts in Fiberworks so I could print at a bigger size, and play with shadow weave drafts. Once I’d threaded the shadow weave scarves I found I’m going to have to wait until the faux rib scarf is done to have two free shuttles for it. That’s fine. After all, I can only weave on one loom at a time!
I had enough warp left over from the twill rag rugs to weave a square t-shirt rag rug.
The variation in the depth of the black wasn’t obvious as I wove it, though I did reject one garment worth of rags because it was quite noticeably grey. This a bonus ‘spontaneity’ that comes from weaving rags from used rather than new cloth.
I like the extra squishiness of the knit fabric, and it was nice to not have to worry about ironing and placing the rag so the back side of the fabric doesn’t show. In fact, not having to fuss led to me trying different approaches on the next rug warp, but I’ll cover that in the next rag rug post.