Can I tell you just how terribly delighted with how this scarf turned out? It’s 60/2 silk, sett at 60 epi, handdyed lilac warp, creamy natural silk weft, with silk thread embroidery.
I’m particularly pleased with this addition. I knew that one of my normal angryspinner.com tags would be entirely too heavy for this piece, and I was wracking my brain trying to figure out what to do — of course — more embroidery! I think it’s pretty subtle.
But what I really want to talk about is this ^ — the work. There’s a number of different ways folks get their fringe to line up. I started with pinning the hems down with these beautiful, thin, glasshead pins. I used a ruler to hold the fabric in tension and straight while I pinned into a cotton towel-covered foam block.
I decided how long to make the fringe, and placed a second ruler along there.
I started each knot off the pin.
Lasso it over a pin, then place the pin.
Pull gently to tighten.The shaft of the pin puts the knot in just the right spot.
Finished pinning. I then use a rotary cutter and a quilting square to cut the ends (not shown — I didn’t have quite enough hands to do the work and photograph it).
I know I haven’t been posting about what I’ve been weaving . . . I couldn’t. But I’ve been working deep in the background of this project — weaving things to help the teams make decisions on what to bring into production: Project Jacquard
I wash, dry, and steam press my wraps before they go out. Before you send a piece of cloth this big through the washer to finish it, it’s best to baste it along the rails. I’ve determined that basting by hand with a high-contrast thread is the best way to do this:
Steam pressed, hand-hemmed, and ready to go:
On my in-house model:
In the woods:
In the sun:
The Peacock wrap meets its baby:
Mama and baby, all wrapped up and ready to go!
I’m so glad you liked it!
After the loom is threaded, the threads must be brought through the reed in the beater. In this case, most of the threads are brought through in pairs, for 16epi, except the ones on the selvedges, which are, for one inch, sett at 24epi.
The ends are then bundled and tied on to the cloth beam, then tensioned to make sure that they all have an even tension, allowing for perfect weaving. Then, scrap yarn is used to spread the bundles back out to make nice cloth. Here, I’ve used a sage yarn in the weft.
I suspected it would be pretty, but the real weft, black, is spectacular. (Click on individual photos to enlarge).
The first yard!
Finally! All the warp threads are wound, and placed in the raddle, which allows them to be spaced on the warp beam for back-to-front threading and sleying. Back-to-front is really the only way to thread this particular loom, because the Louet Spring allows you to remove the beast beam *and* the beater, and to sit, nicely upright, right inside the loom for threading and sleying. It’s rather fantastic that way.
Each thread gets its own heddle — so this means that every single thread is threaded through its very own eye. In this case, we’re talking about 547 threads (16 threads per inch for the cloth, 24 threads per inch for the rails) and several hours of work.
Knotted in bundles on the other side to prevent ensuing tragedy like cats or dogs or small children pulling them back out of the heddles:
(I don’t have cats or dogs or small children at this point, so this must be just to prevent myself from doing something stupid).
Next up: sleying the reed!
Design Seeds is my new favourite place to look at colourways.
Pale Pinks from Design Seeds
Poppies from Design Seeds
Aged Tones from Design Seeds
Door Hues from Design Seeds
Feathered Hues from Design Seeds
Dusk Bloom from Design Seeds
To recap: my client had this inspirational photo.
Using the Fibonacci Sequence for striping and colour changes,
I’ve been winding the warp for the Peacock Baby Wrap:
Here’s the warping board straight on:
To conserve space in my studio (which is also my bedroom), I installed the warping board over the light switches. (This actually makes them easier to find in the dark). The thing behind the warping board is a child’s counting toy from Ikea that used to belong to Farmertot. It’s got 100 beads in sets of 10, and it perfect to help keep track of the number of threads as I’m winding.
There’s a sticky note above the warping board to the left. Here’s a detail of it:
This is the number of each thread of each colour (Brown, Green, Teal, Blue, Purple).
If it’s not evident on the sticky note, there is more green and blue in the sequencing, because they are two of the three colours that are striped into and back out from. (The teal, in the middle, is brighter, and I needed to reduce the number of threads to fit the width of the cloth, so it has fewer threads, but because its value is lighter than the other colours, I think it was the perfect place for a reduction.
Gonzaga Tartan, 2014
Double Weave Magnetic Board Cloth, 2011
Angry Spinner Felted Lettering (for my booth’s banner) 2012
Summer and Winter Lettering, 2013
Weft-clasped Rose Path Curtain Detail, 2012
Brushed Mohair Throws, 2012
Rosepath Carrot Bag, 2011
ROYGBIV Kitchen Sink Scarf, 2010
I showed up in the Spokesman Review weaving on the quad at the Gonzaga Tartan Legacy Day. It was a blast, and the cloth came out beautifully.
For curious weavers, I used a sett of 12 epi using sport weight Brown Sheep Naturespun yarn in Natural, Irish Shamrock, Nordic Blue, and Scarlet, sourced locally at Paradise Fibers.
I will have it at the 13 May meeting of the Spokane Handweavers’ Guild in Spokane Valley, if you’d like to see the finished product. I fulled it further than I intended, which makes me a wee bit sad, but it would make a GORGEOUS blanket at that weight.
As we learned at the last guild meeting, blue DOES in fact felt at a different rate than the other colours, so I also had puckering of the white squares, which I worked out with a makeshift mangle (large rolling pin) and lots of elbow grease.