Cloth No.3

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This textured cloth was mostly improvised, and I got swept up in the weaving of it, so if I hadn’t made the notes when I was planning it, I wouldn’t have had any at all. The weft window pane motif did not look as I planned so I experimented different ways throughout the weaving (see weaving notes below). Above all, I’m so glad I tried this cotton; it is organic, but an off-white cream color, with those little dark flecks raw muslin typically has, unnoticeable in its yarn form, and happens to be the only 20/2 weight I could find that is not mercerized, it has a very soft buttery feel, and is a good value as it is available in 1 or 5 lb cones. In future weaving with this cotton, I will warp the yarn at 24 epi, which would be sheer, and also at 40 epi would be crisp and dense. The cloth series is for me to understand the spectrum between sheer and dense weave, and finding the ultimate balance to my personal liking.

I’m very much enjoying this simple basic Ashford Brooklyn 4 shaft table loom for weaving fine cloth, even more than the Ashford 8 shaft table loom, because it is easier to thread and sley, being the castle (the part housing the 4 shafts) is smaller, it is just easier to set up. It is Ashford’s “transition” loom, for those rigid heddle weavers to learn multi shaft weaving, but I think it is a lovely small tabletop loom that can do anything.

♣   Weaving Notes  ♣

About this weaving, and sleying 2 ends per dent — the only way I am willing to weave multiple ends per dent in such fine cloth is to keep easy and have the consistency of 2-in-1, always, and have the right reed so that I can do that, because patterning is a lot to keep track of all on its own, I can’t deal with the added complication of spacing variable numbers in the reed, so an even number is essential for me to help me keep track of the threading straight draw. 4 ends per dent is really too many if the warp is a close sett, leaves reed marks like in Cloth #2 did, and even though it comes out in the wash, I don’t care to have reed marks at all.

  • Yarn: 20/2 cotton, 8400yds / 1 lb, non-mercerized  Organic Cotton Plus.
  • Loom: Ashford Brooklyn 4-shaft Table Loom, straight draw threading for plain weave, lifting pairs of odds & evens (1&3, and 2&4)
  • Warping method:  115 ” from from back apron rod to far peg. 
    • Direct warp method, from back through front to peg, while double threading from back apron rod through heddles and reed, then to peg — which creates 2 ends in a pull, at the same time sleying 2 per dent, threading 2 ends through each 1&3 shaft heddles, leaving 2&4 empty.
    • Then I wound on to back beam and finally tied off on to front for weaving, then rethreaded 1 end in every heddle 1-2-3-4, in small sections, tying off as I finished with tension, so the warp was always under tension.
  • Number of warp ends:  552 (544 + 4 extra ends per selvedge)
  • Reed: 16-dent, 256 dents total in Ashford 16″ reed.
  • Width in reed: 15.5″
  • Sett on loom: 32epi, with doubled ends for windowpane “ridges”.
  • Selvedges: 4 extra ends at each selvedge and used a temple to keep width in reed.
  • Sett after finishing: Warp 35 epi, and weft 35 ppi.
  • Pattern in Warp & Weft: I warped 2 per heddle next to each other, approx 2″ apart, which created a dense texture probably too wide, so in weft I did not pay too close attention but made a “crammed” weft with 2 to 6 ends, over 1 to 3 picks, basically I experimented;
    • 1. Weft passes in the same shed 4 or more times, catching the outside selvedge thread.
    • 2. Weft passes in the same shed 2 or 3 times, changing shed for a single, then repeating the shed with 2 or 3 passes. This probably most mimics the warp.
    • 3. Winding the shuttle bobbin with 4 threads, passing once , then the regular weft single once, then another pass of 4 threads, this probably looked the best but the ends had to be overlapped and ended up standing out a bit and creatin difficult selvedges.
  • Finished: Raw edge not hemmed, not fringed, just cut and frayed in the wash. Washed by hand in very warm water, partially dried in machine, then steam pressed, measuring 80″ long and 14.5” wide, and weighs 117g. 
  • Yardage:  Total yardage used for finished piece = 2,167y, figured from weight of finished piece and not including loom waste.
  • Note: From my experience of sheer to heavy cottons, this feels medium weight, which is still draping quality, and soft. It was woven at 32epi, so I think using 24epi would give it the sheer light weight feel, but probably shrink a little more. Woven at 40 would be the maximum I think.

Cloth No.2

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Linen is my absolute favorite fabric, more than any other, so I decided to focus on it , as well as cotton, for my cloth series where I learn to weave finer thread counts into utilitarian cloth. Being from California it just seems that linen makes the most sense, and I’ll confess, most of my clothes are made of linen, and so the very reason I am ambitious to learn how to weave it. I’m not considering the traditional floor loom for weaving it, where tensions can get crazy, but on a modest little table loom, where tension seems more manageable, and the whole narrower warp within arms’ reach from the front of the loom. I think I’ll be able to make it work fine on a smaller scale, downsized.

I had just set up yet another small table loom, an Ashford 16″ 8-shaft, and it came with 320 heddles over 8 shafts, pretty sparsely distributed but nonetheless I wanted to get started and not have to wait for more expensive heddles to be ordered. It came with a 10-dent reed so 20epi was to be the bottom line for me, as I prefer to work 2 ends per dent evenly, and although I know that this linen should be woven at least at 24epi, I wanted to discover the limit for loose sett. From this starting point, on this loom, in the future I’ll weave with finer epi with 8 shafts easily, as I acquire finer reeds and more texsolve heddles, I am looking forward to weaving 40/2 linen (7000 ypp) at 32epi, or even up to a crisp 40 epi linen cloth, just something I dream of doing.

There were problems in the warp, as there always are, but I have come to love the mistakes, as they all give the feel that the cloth is handmade and definitely not commercial. Oh, the usual, I missed some heddles, some of the stripes and intervals are narrower, and also, as I was advancing the warp for the last 10″ of weaving, the back warp apron ties came undone and put an end to the weaving (my knots were not done right) so I had to cut it off the loom and forfeit the last bit of length, making the piece 62″ instead of 72″. It was both narrower and shorter than I planned, but that is fine as it is only a sample piece.

♣   Weaving Notes  ♣

I had experimented with threading the heddles first while pulling the threads to the peg for direct warping, and was going to sley the reed last — I can’t remember why I decided to do this, and struggled getting the wound warp to widen enough to feed through the reed, and learned that valuable lesson to sley the reed and heddles both at the same time — even if I have to re-sley the reed to get set up, which is how I have been doing it in my own direct warp method. I didn’t fill the width reed, and I forgot the floating selvedges I planned on doing, so only 15″ in the reed, and shrank quite a bit to 13.5″ after finishing with a hot machine wash & dry to shrink. I have a hunch that since it was an open weave, that the shrinkage was more than it would be with a denser warp. Next time when I weave 7000ypp 40/2 linen will be denser and will fill the entire reed, plus floating selvedges , that shrinkage will be less.

  • Yarn: 40/2 linen from Valley Yarns (249 g cone/ 3300yds) in Half Bleached (HB) (or possibly it was 20/2, I couldn’t be sure and the cone was unmarked)–and– 40/2 linen from Jane Stafford Textiles (100 g cones /1,540yds= 7000ypp) in Ginger (G), Topaz (T), Denim (D), and Indigo (I).
  • Loom: Ashford 16″ 8-shaft Table Loom, straight draw threading for plain weave, lifting pairs of odds & evens (1, 3, 5 &7, and 2, 4, 6 & 8)
  • Warping method:  Direct warp method, back to front; double threading from back apron rod through heddles to peg. Wound on to back beam and finally sleyed through reed and tied off on to front for weaving.
  • Number of warp ends: I didn’t count, and made mistakes, although there were supposed to be 320, there ended up fewer.
  • Reed: 10 dent
  • Width in reed: approx. 15″, I forgot to measure.
  • Sett on loom: 20epi
  • Selvedges: No reinforcement in the selvedges. Used a temple to keep width in reed.
  • Sett after finishing: Warp 22 epi, and weft 22 ppi.
  • Color Pattern Warp:  [16 (ends) HB, 4 G, 4 T, 16 HB, 4 D, 4 I ] repeat across, end with 16 HB.
  • Pattern Weft: Twice repeated the warp stripes in the ginger, topaz and denim, otherwise no pattern, just one color, HB, used shuttle.
  • Finished: 1/4 inch turned hem, then washed and dried in machine, then steam pressed, measuring 62″ long and 13.5” wide, and weighs 115g. 
  • Yardage:  Total yardage used for finished piece = approx 2310y, figured from weight of finished piece and not including loom waste.

Cloth No.1

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This morning early, I was impatient for the light to come, giving the muse a rest, and the loom too. Nothing is distorted or broken in the weave, after-all. It went through wash and dry, and a ritual of steam pressing — it is more than fine, it survived my incessant nervous worry as I wove through the last many days, and my misunderstanding of the warp is now an embarrassment, but essential part of the lesson, because really, in the end there is no sacrifice, it is a perfect piece of cloth.

Warp and weft together leave their home, are cut off the loom as if saying goodbye to their birthplace, for a marriage in a journey together for the life of the cloth. Purifying their bond in the water, for wet finishing is when the fibers bloom, the tension evens out, the blatant flaws heal and become only subtle scars. The loom is silent for a short while, and the cloth is folded and stashed away, along with its own potential, as it was meant to be.

♣   Weaving Notes  ♣

  • Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in colors Beige (P-2), Natural (P-100), Turquoise (P-401), Rose (P-145), and Flax (P-5104).
  • Loom: Ashford Brooklyn 4-shaft Table Loom, straight draw threading for plain weave, lifting pairs of odds & evens (1&3, and 2&4)
  • Warping method:  Tested an easy direct warp method, back to front; double threading from back apron rod through heddles and reed, then to peg. Wound on to back beam and finally tied off on to front for weaving.
  • Number of warp ends: Warped in couplets of 20/2, each couplet counts as 1 end. 380 plus 2 extra at each selvedge = 384 ends
  • Reed: 16 dent reed, 2 ends in each dent and 2 ends in each heddle.
  • Width in reed: forgot to measure.
  • Sett on loom: 20epi
  • Selvedges: 4 extra ends at each selvedge and used a temple to keep width in reed.
  • Sett after finishing: Warp 24 epi, and weft 12 ppi.
  • Color Pattern Warp: { 8 ends beige, [4 ends turquoise, 16 ends beige]x8, 4 ends turquoise, 16 ends rose}, 4 ends Flax, mirror reverse { … }.
  • Pattern Weft: No pattern, just one color, Natural (P-100), used shuttle.
  • Finished: 1/4 inch turned hem, then washed and dried in machine, then steam pressed, measuring 80″ long and 14″ wide, and weighs 128g. 
  • Yardage:  Total yardage used for finished piece = 2370y, figured from weight of finished piece and not including loom waste.

Invincible Spring

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It is the emissary of spring when the wild fruit trees first bloom.

I witnessed the first tiny leaves of the Black Oak, nearly a month early, emerging next to a leaf from last Autumn that was too reluctant to fall.

On the first day of February, I heard what I thought was a deafening sound of cicadas, but learned it is the Pacific Chorus Frogs, and they haven’t stopped since, as if something ominous began that day and continues.

Out walking in the wild, on a trail near my house, I am reminded that in the absence of distractions, I begin to feel peaceful renewal . . . because in the dispassion of winter, I discovered within me an Invincible Spring.

Juno feels it too.

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. )