Philosophy of the Loom: Tension, distortion, breakage . . . repair.

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This morning early, photographed in the light of the sunrise of a new day, I am weaving fast and furiously on the Little Brooklyn, ascending to new heights.

I just want to empty the loom, after many days of struggling with the threads’ betrayal, so that I can again find peace and contentment in weaving through the hours of my day.

Considering the warp tension; if there is too little the warp becomes flabby and the shuttle dives beneath the threads, if there is too much, then there other problems arise, at worst . . . breakage . . . or surface distortion. And if there is a threading mistake, even if the sheds clear, it will reveal itself after the weaving begins, like these mysterious gaps between the warp threads.

Repairing becomes a dilemma, as when a problem persists it usually worsens, like anything in life. One has to decide if fixing it is worth the trouble, or better just to cut it off the loom, lessons learned. However, for this problem warp, I will proceed with diligence to the end, letting the flaws relish in their glory of a first project on a new loom, and I will weave with a fury until I can take it off the loom, and start new. Maybe it will even out in the wash as they say.

Meanwhile, I am encouraged by the ideas coming to my mind for the next weave, as if to weave it is beyond my experience or ability . . . as if I am receiving inspiration from some mysterious unseen luminous source, and I am simply following the instructions.

Four Shafts

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I have been craving weaving yards and yards of narrow width, fine cloth, on just a simple little table loom like this, my new Brooklyn four-shaft loom. Using the finest weight cotton and linen threads that I can find, higher epi (ends per inch) should not be so overwhelming with only 16 inches weaving width, shoulder width, therefore it is very ergonomic and a great way to weave longer pieces. I like to stand while I weave, so I have set up the Brooklyn on my loft table which is also my desk, sharing space with everything else, and I can take breaks often to weave a few inches here and there. Just having it there with a long warp waiting, is so inviting. I started weaving my first project, with a hybrid direct warp method, using only the number of heddles for 20epi that the loom comes with, and next time I will add heddles and weave 40 epi. Even though the inexpensive Brooklyn comes unfinished, I waxed all of the pieces before assembling, and I don’t even mind that the sides are plywood, I wanted a little loom just like this one on which to learn to weave ultra fine — at my own pace.

Another Nine Days (Shawl No.2)

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It is just another one of those striking coincidences, that the days it took me to warp, weave, finish, and photograph Shawl No.2 is precisely the same number of days as Shawl No.1. Despite my best efforts to relax and enjoy the process, I began to focus on speeding up my technique, spending less time fussing at the selvedges, and worked at a frantic pace , and now my whole body is sore, and my arm feels like it is going to fall out of its socket. Abelene models the shawl in a most regal way and was compassionate and quiet today, although she did tell me what great work the wind did for the photos!

♣   Weaving Notes  ♣

I wanted to try big blocks of color this time, decided to weave the full length of the warp, not trying to enforce full repeats, so there is a little strip of gold at the end, giving beautiful asymmetry, and a unique folksy touch.

  • Yarn: Knit Picks Alpaca Cloud lace weight, 440 y = 50g, in Lydia (rust red), Zadie (gold), Willoughby (warm light grey), and Arabella (dark green).
  • Loom: Ashford 32″ rigid heddle loom
  • Warping method:  Easy direct warp method for rigid heddle, 1 end in hole and 1 end in slot.
  • Number of warp ends: 472
  • Reed: 15 dent rigid heddle reed.
  • Width in reed: 30.5″
  • Selvedges: I added 4 extra ends to each of the selvedges, as they tend to get pulled in, and I used a temple.
  • Sett after finishing: Warp 16 epi, and weft 16 ppi.
  • Color Pattern Warp: 118 ends each of Lydia, Zadie, Willoughby, and Arabella, approx 7.5″ blocks.
  • Color Pattern Weft: Same sequence as warp, weaving each color in blocks, but ended in a little strip bit of gold for a folksy touch.
  • Finished: 3″ hand-twisted fringe, then washed and air-dried hanging, and lightly steam pressed. Measures 96″ long (not including fringe) and 29″ wide, and weighs 275g — approx 68g of each color.
  • Yardage:  Total yardage used for finished piece = 2422y, figured from weight of finished piece and not including loom waste.

Nine Days (Shawl No.1)

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Hi, its me Abelene,

Nine days ago the newest member of the crew arrived, the Ashford 32″ Rigid Heddle Loom, and Jen waxed the pieces and put them together.  She then spent seven days weaving an impressively voluminous alpaca shawl. Today, the fringes were hand-twisted, shawl washed and quickly dried in the cold winter breeze, loose ends trimmed and lightly steamed. Finally, the excitement began when Jen brought me out of the closet to model this beautiful piece of weaving . . . the shawl makes me feel sophisticated, moody, and quite elegant with the color rich weaving wrapped around me, like I could live forever in this moment! Jen has got much more alpaca, so there’s hope this winter will find more shawls coming into view.

Ta ta, Abelene & The Crew

♣   Weaving Notes  ♣

Note from Jen:  Woven in the same lovely alpaca that I have been for many months now, but the weaving width is double of that in the scarf series, and therefore a full sized shawl, at 29 x 84 inches.  I have a lot of ideas for this loom, and I mustn’t be in a rush, but let the hours and days, weeks and months pass by at their own pace; with the awe of a child and the patience of an old woman. Adding to my collection of rigid heddle looms, was inevitable, it was time for this loom, and I know I’ll weave on it a lot! Now, for the tech stuff . . .

  • Yarn: Knit Picks Alpaca Cloud lace weight, 440 y = 50g, in Amos (green), Lydia (rust red), and Zadie (gold).
  • Loom: Ashford 32″ rigid heddle loom
  • Warping method:  Easy direct warp method for rigid heddle, 1 end in hole and 1 end in slot.
  • Number of warp ends: 472
  • Reed: 15 dent rigid heddle reed.
  • Width in reed: 30.5″
  • Selvedges: I added 4 extra ends to each of the selvedges, as they tend to get pulled in, and I used a temple.
  • Sett after finishing: Warp 16 epi, and weft 16 ppi.
  • Color Pattern Warp: [52 ends Zadie, 52 Amos, 52 Lydia] x 3
  • Color Pattern Weft: Same sequence as warp, weaving each color in blocks.
  • Finished: 3″ hand-twisted fringe, then washed and air-dried hanging, and lightly steam pressed. Measures 84″ long (not including fringe) and 29″ wide, and weighs 241g — approx 80g of each color.
  • Yardage:  Total yardage used for finished piece = 2120y, figured from weight of finished piece and not including loom waste.

Auld Lang Syne (Scarf No.15)

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A lot of the time I don’t realize the coincidences at play as I bring something to finish. For instance, the Scottish phrase “Auld Lang Syne” evoking the sentiment of “for old times’ sake” and “days gone by” . . . and my attempt at weaving to mimic an “auld Scottish tartan” design that my dear old friend and I planned the minute I got my first loom a couple of years ago (the very loom on which it is photographed) . Posted yesterday drying on the line, today here it is, fulfilling all those sentiments as it will be draped artfully over the shoulder of an old wingback chair which sits facing an old woodstove, in a very, very old cabin. For old times’ sake indeed, not to mention it is New Year’s Eve — happy 2026 everyone!

♣   Weaving Notes  ♣

This weight of alpaca is truly perfect for the rigid heddle looms, using a 15 dent reed, because the drape is spectacular and there is enough room for the alpaca to bloom in the simple plain weave. Oh, and about the missing information in the notes; I wrote everything down on a piece of paper as I was calculating the design, then later lost the piece of paper, so it was accidentally thrown away.

  • Yarn: Knit Picks Alpaca Cloud lace weight, in Carson (dark grey), Alfred (medium grey), Arabella (dark green), Elizabeth (red), and Zadie (gold). 440 y = 50g
  • Loom: Ashford 20″ Knitters Loom
  • Warping method:  Easy direct warp method for rigid heddle, 1 end in hole and 1 end in slot.
  • Number of warp ends: Not available
  • Reed: 15 dent rigid heddle reed.
  • Width in reed: 18.5″
  • Selvedges: I added 4 extra ends to each of the selvedges, as they tend to get pulled in, and I used a temple.
  • Sett after finishing: Warp 16 epi, and weft 16 ppi.
  • Color Pattern Warp & Weft: Not available
  • Finished: 3″ hand-twisted fringe, then washed and air-dried hanging, and lightly steam pressed. Measures 89″ long (not including fringe) and 18″ wide, and weighs 175g. 
  • Yardage:  Total yardage used for finished piece = 1540y, figured from weight of finished piece and not including loom waste.

Drying on the line.

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Heavy and dark with water, drip drying on the line out in the woods. I just finished hand-twisting the fringe and in the setting-wash I decided to add some tea bags with some vinegar to fix. I didn’t really “boil it in” so it would be just a slight effect if anything at all, trying to soften the contrasts some, to make it more like an “auld tartan”. Probably later today this will be completely finished, ends trimmed off, photographed, but instead of folding it up and putting it in the drawer of woven scarves, I will then personally deliver it to its new home. It was with me for about ten days; a blink of existence in the weaver’s life, and I am only grateful I got to weave it and give it to a home that will give it the appreciation it deserves, draped invitingly on a chair in front of a woodstove, in a 100 year old cabin just down the road from me, and which I visit often. Yes, there it will be appreciated a lot, even by me when I visit.

Posting tomorrow, the finished scarf with weaving notes, so watch this space!

Scarf No. 14

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Levi came to visit, and as I was showing him my alpaca scarf series, I could tell that he admired them, and that perhaps he even wanted one, but none of the colors I had woven were appropriate for his blue & grey gentlemen’s style. So, the day before he was to leave I suggested he design one with the alpaca colors I had on hand and that I would weave it for him, and so he did, and by the time he was leaving back to Canada, I had already woven one repeat to show him. Then this last week was a determined effort to getting it done, and now it is finished and ready to send in the post. As usual, my technical weaving notes are listed below.

♣   Weaving Notes  ♣

  • Yarn: Knit Picks Alpaca Cloud lace weight, in Carson (dark grey), Alfred (medium grey), Eleanor (light grey), and Bernard (blue). 440 y = 50g
  • Loom: Ashford 16″ rigid heddle loom
  • Warping method:  Easy direct warp method for rigid heddle, 1 end in hole and 1 end in slot.
  • Number of warp ends: 228
  • Reed: 15 dent rigid heddle reed.
  • Width in reed: 14″
  • Selvedges: I added 4 extra ends to each of the selvedges, as they tend to get pulled in, and I used a temple.
  • Sett after finishing: Warp 16 epi, and weft 16 ppi.
  • Color Pattern Warp: 20 ends each of *Carson, Eleanor, Bernard, Eleanor, Carson, Alfred, Carson, Eleanor, Bernard, Eleanor*, Carson.
  • Color Pattern Weft: Same sequence as for warp *thru*, and ending in Carson.
  • Finished: 2″ hand-twisted fringe, then washed and air-dried hanging, and lightly steam pressed. Measures 76″ long (not including fringe) and 13.5″ wide, and weighs 118g. 
  • Yardage:  Total yardage used for finished piece = 1040y, figured from weight of finished piece and not including loom waste.

My colors of Autumn…

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Familiar colorways I always seem to go for. I’ve got about 400g of the terracotta blend ( the blending notes are posted here ) and about 650g of the greyish rusty tweed. My goal is to be spinning and knitting the handspun as I did with rescued From oblivion, but I have decided for now to bear down and get a lot of spinning done first, so then I’ll have a lot to choose from when it comes time for knitting. It has been a dream of mine for a long time, to spin samples of my designs from my own handspun, after all, I include gauge substitution charts in nearly all of my patterns just for this reason.

I should have made *Spinning Notes* on this entry, but honestly, I have been focused on one thing, and one thing only, and that is to learn to properly spin “fat singles”. Since watching Jillian Moreno’s LongThread video Spinning Singles , which I highly recommend, I just decided it was one of those things I wanted to challenge myself with, because some of the best yarn I’ve knit with, like Donegal Aran Tweed, with a texture of handspun, loaded with rich layers of colors hidden in the twist, is just what I am striving to create. I have a ways to go yet, but I’ll get there.

But from now until forever I will be leaving off the add-ins of pre-felted nepps in the blending. I think the best tweed blends which have nepp textures are not from the adding them into the blend as much as from the addition of colorful shorter fibers, snips of combed top or even cutting yarn and carding it a little first, but I’m getting rid of all the wool nepps I bought; they are a hazard to drains, and caused me a lot of grief in the spinning. Oh, and after spinning a couple of pounds of yarn almost entirely on my e-spinner, I found the take-up needed to be so great that it was putting definite strain on the motor. So I switched the operation on over to the trusty traditional wheel, and the control was easy, almost like a sigh of relief! I am finding that for Fat Singles, my Ashford Traditional is the tool of choice.

rescued from oblivion

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Late in July I posted about a lot of handspun yarn I found in a drawer that I forgot about, in Consigned To Oblivion. It was the end of August I began to think about knitting it up in one of my own designs, my Calidez Cardigan. Now finished, this handspun sweater can be posted tomorrow to Canada, for my niece-in-law, who is such an extremely artful person, I think she will be able to appreciate the rustic handspun sweater, which is knit to her personal specifications. Just in time for the cooling of the season, rescued from oblivion!

(Sweater details on Ravelry here. )

Sun Into Libra

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The sun has gone into Libra, and now it is the Autumn equinox. This photo is my equinox tradition for years now, capturing the sinking sun’s rays throwing light up against the rafters, the beams glowing, and yet each year it is a little different. Autumn is my favorite season, a time of transition into cooler days with rain on its way, the fragrance of dampness in the woods, acorns, falling leaves soon, and a relaxation which overtakes me, knowing we have gotten through the worst of summer’s wrath… the equinox marks a happy time ~~ wishing a happy equinox to all!

An Auspicious Autumn (Scarf No. 13)

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Hi, its me Abelene,

Jen did not weave on her scarves at all this summer, and now suddenly another alpaca scarf to show for a very auspicious occasion of the beginning of Autumn. Jen rattled through this scarf in the very last days of summer, having left it on the loom since Spring, while frenzied all summer long with other creative textile pursuits, as designing tweed blends, formulating dye recipes, ikat resist patterning and backstrap warp-faced weaving. We (the crew of inanimate objects) came out of the closet for this finishing event, and Señor Mirando and I have come to the conclusion that Jen has got something up her sleeve, finishing this scarf for the Equinox.

Happy Autumn, from Abelene & The Crew

♣   Weaving Notes  ♣

Note from Jen: With this scarf and every scarf I have woven on the 16″ rigid heddle loom, I have been using this simple tensioning tool, and if you would like to see the technical information about it, I give more detail in the post Scarf No.12

  • Yarn: Knit Picks Alpaca Cloud lace weight, in Amos (green), Zadie (deep gold), and Molesley (beige), 440 y = 50g
  • Loom: Ashford 16″ rigid heddle loom
  • Warping method:  Easy direct warp method for rigid heddle, 1 end in hole and 1 end in slot.
  • Number of warp ends: 240
  • Reed: 15 dent rigid heddle reed.
  • Width in reed: 15″
  • Selvedges: I did not add extra ends to the selvedges, but did use a temple.
  • Sett after finishing: Warp 16 epi, and weft 16 ppi.
  • Color Pattern Warp: [40 ends Amos, 40 ends Molesley, 40 ends Zadie] x 2
  • Finished: 3″ hand-twisted fringe, then washed and air-dried hanging, and lightly steam pressed. Measures 82″ long and 14.5″ wide, and weighs 133g. 
  • Yardage:  Total yardage used for finished piece = 1170y, figured from weight of finished piece and not including loom waste.
  • Note to self, recipient was Eleanor

Watery

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Watery is now finished, the Guatemalan backstrap loom taken apart and rolled inside the weaving, with the maguey back strap and lasso resting on top. It was a real challenge in backstrap weaving as well as in ikat preparation, and a monster of a learning curve for a beginner like me, but I am a firm believer in the best teacher being experience. Even though I did make a proper sample “gauge swatch” and posted it in Watery Sample, I had no way to know how a larger variation would weave. I made mistakes, and had to figure out how to fix them as I progressed; the heddles had to be redone, tension problems were endless, at first I could not work the shed changes correctly, nor did I beat the weft evenly, and honestly, I was not sure even how to operate the loom. But I wove a 15.5″ x 46.5″ piece of canvas weight warp-faced fabric, and to me that is astonishing and amazing! Toward the end of my much-longer warp, as room was getting tight to lift the heddle rod, I thought I’d cleverly rearrange the shed rod, and wouldn’t you know it, I accidentally rendered it un-weavable from there forward, but I only lost about 12″ of weaving length left I figure, before I couldn’t weave anymore on it. Not bad for an ardent attempt to do a large piece!

Oh, and about the llama wandering about outside the tiny house? It is a member of a grazing herd which came down from the vineyard above us to sample the greenery, perhaps to participate in the Andean inspired backstrap weaving scene?

Here is how I warped for Watery . . .

  1. I wound 10/2 mercerized weaving cotton, in a figure 8, around 2 warping pegs placed each end of the table at 72″ apart; 40 times, which is 80 ends per warp section when the loop around the loom bars is woven into a flat piece. The weave is completely warp-faced, with the weft hidden, and has 56 epi.  — If this were a balanced weave, there would be aprox. 28 epi, and the weaving would be twice as wide, at least 30″ — I did not understand this about backstrap weaving until after I learned balanced weaving!
  2. Five warp sections were tied with ikat resist tape (I did not photograph this part) without measuring, but fully improvised. Six were left untied (except for the skein ties to keep the warp sections from getting tangled in the dye bath) so all 11 warp sections could be dyed together, and be the same color.
  3. Five warp sections were tied with ikat resist tape (I did not photograph this part) without measuring, but fully improvised. Six were left untied (except for the skein ties to keep the warp sections from getting tangled in the dye bath) so all 11 warp sections could be dyed together, and be the same color.
  4. After dyeing them, I transferred the warp sections to the loom bars which I had lashed on to the pegs, alternating five resist tied sections with six solid sections.
  5. I spread out the warp to get ready to make the string heddles, and the sections all came together as one complete warp, tying ends together at the far-end loom bar, and lining up the cross in the middle of the length, ready to make heddles next.
  6. But first, on each of the five tied ikat sections I pulled some of the threads either forward or backward by pinching some threads in the section and giving a little tug; this is called “shifting”,  and the threads moved around the loom bars so that the straight undyed (white) bands skewed a little to create a design. ( I did not influence the apparent stripe of the non-ikat tied warp sections, so they just ended up as soft squiggly lines across.)
  7. I created string heddles with the same 10/2 cotton as the warp, but the warp and heddles were too close and got bound up, so later I reworked the heddles with fine nylon thread. 
  8. In the photos I show how the shifting works; on top warp threads you see the V shape , but on the bottom threads you see the opposite direction as I parted a V shape on the top shed of the warp to reveal below, because the threads change direction when they go around the loom bar. This is most obvious at the two rods which hold the cross, where the bottom half of the warp comes to the top, and the top disappears below.
  9. When at last the bottom and top of the shed is woven together, the interplay makes a lovely random design which looks like reflection of light on the surface of moving water…. thus “watery”.

Credit: I have enjoyed reading Lavern Waddington’s weaving blog Backstrap Weaving for years. Her experience is extensive, and her legacy is truly admirable as she lived for years in the Andes practicing the indigenous methods of backstrap weaving, as well as travelling the world to learn from other backstrap weaving cultures.  It is mostly from her helpful instructional videos which have brought me to this point, all which are easily navigated from her website.

Naming a Color: Damask

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Naming a color, from inspiration, from memory, from an object, a painting, a piece of cloth — the most the poetic aspect of design.  The name damask itself refers to a type of weave in cloth, and is made in a range of colors, the color I am searching for is a traditional silk damask color — a warm vintage rose with a hint of mauve, nearly like the botanical painting from Pierre-Joseph Redouté, the Rosa Damascena Celsiana. I fell in love with the color when I was gathering and over-dyeing colors for the  Redouté Roses design,  which was inspired originally from his botanical illustrations. But honestly, the color in my mind now, is the memory of a little silk scarf, which I put on my niece to wear for the design’s photo session, which I inadvertently gave to her as I forgot to ask for it back, and it is lost to a wonderful memory now. Yes, the sentiment of that exact color is what I have long been looking for.  I’ve arrived at the dye recipe which I’ve left in the Blending Notes below.  

Can either be spun up in a solid, or made into a tweed blend, which involves more than one color, so I am refining my recipe techniques.  I think in my personal color palette, I will name this color recipe “Damask”.  These three are my final experiments  to arrive at the color, testing a blending format that I will apply to the rest of my tweed palette, of colors I love most. The spun tweed results are in the same order in photos above as described in the notes below: #1 Double Tweed, #2 Analogous Tweed, and #3 Simple Tweed.

♣ Blending Notes ♣ 

  1. Damask solid color recipe: Blended from 1% dye solutions of: 33.3% Jacquard Hot Fuchsia, 33.3% Jacquard Golden Ochre, and 33.3% Dharma Antique Mauve (see below notes). 
  2. Double Tweed Blend (above 1st of 3): 50% color “damask” solid color wool, and 16.6% each of solid dyed wool in Golden Ochre, Hot Fuchsia, and Antique Mauve. I think I like this the best because the overall effect is truer to my solid dye recipe for the color Damask.
  3. Analogous Tweed Blend (2nd of 3): 33.3% each of three damask shades very similar (I used tests #1, #3, and #4 )  The result does not have enough definition to make it worth the fuss of dyeing three similar colors just to blend them all together.  As it is so close to a completely homogenized color, if I want a solid dyed color, I would just dye a solid Damask from my color recipe. 
  4. Simple Tweed Blend (3rd of 3): 33.3% each of solid dyed Golden Ochre, Hot Fuchsia, and Antique Mauve. This is the easiest by far, and very festive with the most contrasts, and I use this method for an informal and quick tweed blend if I’m not attempting a reliable color match. 
    • All dyes are dyed with depth-of-shade 1ml of 1% dye solution to 1g of wool. 
    • The actual dye brands are Jacquard Acid Dye in Golden Ochre and Hot Fuchsia, and Dharma Acid Dye in Antique Mauve. 

♣ Final Results ♣ 

I have decided upon the final solid color of Damask, just did not spin it up solid, instead I used the amount I dyed in the tweed experiments. From this color I arrived at final tweed preparation, what I am calling Double Tweed. The Double Tweed is compound — comprised of the two parts; a minimum of 50% of the blend is the main color which is its namesake, in this case Damask.  The other “half” is equal amounts of solid dyed wools that are the same three dye colors used to get Damask. The end result I am naming is Damask Double Tweed. Of the three in the Blending Notes above, I like the Double Tweed results best because the spun yarn stays closest to the main color while still having the contrasts of the different colors of wool, which I describe in the notes.

Alpaca, silk, cotton.

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Utterly fascinated with Eri silk cocoon cakes, they are so easy to fluff up into a generous handful of spinnable fiber, or can be pulled into a circle shape, broke through the center and stretched into a hoop of continual strands to be spun from or cut into lengths (I learned this from some instructional Longthread Media spinning videos using silk hankies). Even more I love how the cocoons are harvested after the moth emerges, therefore known as Ahimsa Silk, also as Peace Silk. One thing I want to note; the processed silk roving is radically different than spinning the silk strands from cocoons. The silk cocoons have the strands all wound around and hold together, even “stick” together in spinning far more than the silk that is processed into roving, as well as shorter fibers. It is raw silk which is not as smooth and has little slubs, the finished spinning has a more matte finish, and therefore in blending adds much more texture than the processed silk roving would.

As combed cotton roving is something I just do not feel committed to learn to spin by itself, because it takes specialized skill, if not equipment, but mostly because pure cotton handspun yarn is not something I knit with, and I can’t imagine weaving with it, yet like silk, I am learning the benefits of adding it to blends.

Of course, downy soft alpaca, one of my favorites, giving a fuzzy soft halo to the finished yarn, and exquisite warmth, and added to the others for a more complex blend in this sample checks all the boxes for me.

♣ Blending Notes ♣