In a recent post I began my Speed Tweed experiments, combining an earthy mossy sage toned dyed braid along with undyed wool rovings, attempting to simplify the steps in creating a varied tweedy yarn (which is spun by the way, more on that project is forthcoming). I’m loving the drum carder and speed tweed so much I am racing on to Speed Tweed #2, blending hand pulled tufts off the end of three roving in equal amounts, placed into the carder, and I really love this color combination so much! Its gotten to the point where I just walk down to the tiny (wool) house, make coffee, and get to blending on the new drum carder, for no other reason than I’m in a wool carding mood. I’ll show off these blended batts in another separate photo wool nests and the spun yarn in another post.
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Techy stuff for Speed Tweed #2:
Fibers . . .
1 part hand-dyed colored roving (100g braid from Jakira Farms)
I pulled tufts from the ends of the three rovings in sequence as shown above, and placed into the drum carder to run through only once. Repeated until fiber used up, and lift off batt. Â
Three batts of approx. 100g each, of wool to spin.Â
See ALL color blending experiments & recipes archived in Tweed Chronicles
Spinning finally finished, a few weeks ago, and My Summer Fields project has thus far taken me through the summer well into autumn since the resident drum carder arrived. All that work messing with raw fleece, then giving up on it because I couldn’t get the strong smell of sheep out of it (and imbedded into my new drum carder) then changing course and instead using yards of undyed merino-corriedale Wool Of The Andes roving I had in my stash, I finally worked out the batts, and I drafted almost 600g of rolags ready to spin. On and on I spun a little here and there, then as I ended up spinning it a little too fine (my new default it seems), I decided to try a 3ply yarn. But the more one cards, drafts, spins, and plies the careful color variegations in the wool, the more the colors all diffuse! Unfortunately, a lot of work for that sad reality. However, I am pleased enough with it, but it is slow tweed for sure. I wanted to knit a sweater out of this, but am distracted by the looms in my life, and the holidays are now upon us with the new year coming just around the corner. So perhaps this would best be knit up in the calm mid-winter months. Oh, and I’ve had a chance to gauge the weight: 135y = 100g. I am thinking a bulky weight which will probably be 14-16 sts = 4 inches with US9-10 [5.5-6mm] needles.
The carded wool from Speed Tweed #1 has been spun and I have some observations. In this experiment I chose the ” layered batt ” for my first speed tweed experiment, as the colors & fibers will be least blended of all, and yet one can at the point of lifting the batt off the carder, begin spinning. These skeins were spun single ply, aran-worsted weight, short draw, soaked in super hot water, and hang dried, completely relaxing the twist. I’m finding that it really doesn’t get much speedier than that! 
Above are samples of the first run through the carder (left), the second run through (middle), and the third (right), each time the colors homogenizing more. The most dramatic tweedy splashes of color happen in the first sample . . .
In summary, this fiber preparation was very easy, laying the layers down in one go, no hand-mix, just one trip through the carder. However, I think the process I’ve prepared the wool in Speed Tweed #2 may be the speediest preparation of all, requiring least number of steps, and in one carding its done, ready to spin. Got to spin that up and wrap up the speed tweed series.
I am experimenting on simplifying spinning the carding process as much as possible, so that eventually I may have a recipe, so to speak, to spin in the tweed style much like the Donegal mills spin that I love so much. Since my last big spinning project I have wanted to liberate myself from so many tedious steps, and so speeding up the process is what I’m after in “speed tweed” series.
This experiment starts with a very simple layered batt of a colored hand-dyed braid and one or two solids, then spun quickly to an aran weight single ply. I am working on my drum carder this time, however blending boards or even hand carders are going to be the same process, just on a smaller scale. The drum carder of course, now that I have one, offers the most fiber volume with fewer steps, a blending board a few more, and hand carders will take many.
I chose a multi-colored combed top braid from my small collection of indie dyer braids, and I admit, this is the most significant shortcut, for to take advantage of so many beautifully hand-dyed and multi-colored rovings available these days — so many — having the colors already blended is the biggest time-saver, and so very easy to find them too! I usually prefer subdued color, so for this experiment I have sandwiched the colored roving in-between two neutral solids.
Here is one batt split and coiled into little nests.
Additionally, I plan to spin in a very simple time-saving way, in a short draw worsted technique. That is, working with the combed top, trying to keep the fibers aligned, then keeping the alignment of the wool as much as possible by splitting strips off of the batt — no rolags, no dizzing, no further prep, just loosely put into little nests to photograph them — okay, so now its time to lose myself in some spinning.
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Techy stuff for Speed Tweed #1:
Fibers . . .
1 part hand-dyed colored roving (100g multi-colored combed top braid from Jakira Farms)
1 part solid roving (100g Wool Of The Andes Roving in Bare )
1 part solid roving (100g Wool Of The Andes Roving in Mink Heather )
I divided each color into thirds (approx 33g each) and layered on the carder as follows:
First layer =Â 33g layer in mink
Second layer = 33g layer in featured colored braid
Third layer = 33g layer in natural white.
Pull batt off, divide into 6 to 8 strips, and coil strips into little nests to spin. Repeat remaining two thirds.
Approx 300g of wool to spin.Â
Notes for improvement: As I layered the whole 100g rovings in one layer, I had to run it through the carder again to homogenize enough to my liking. Next time I will apply the wool into the carder differently, refining my speed tweed technique!
See ALL color blending experiments & recipes archived in Tweed Chronicles
An Ashford 48-inch rigid heddle loom has shown up here, and I am broadening my weaving experience. I waxed it and put it together some time ago, and it happens to fit excellently in my closet squirrelled away when not in use, because it is actually a very simplistic streamline idea in loom design. But now I’ve set it up here for its first test weave, sacrificing all the cottolin thread I had on hand in order to learn the scope of it, and have worked only about a third of the warp through the reed, all to show for about three hours of set up; calculating basics, measuring and placing the tables for the pegs, which I’ve got spread out to section the warp, and actual warping, all which is so uncomplicated and easy compared to conventional warping. The direct warping method is brilliant, a loop thread is drawn from the spool, through the dent slot in the reed and around the pegs, which creates two threads, one which is often rethreaded later through the heddle hole, creating one thread in the slot, and one in the hole. However on this project I’m doubling up on threads which makes it even easier, although twice the initial threading through the reed to the peg, for then all the threading will be finished as soon as I make it across the full forty-eight inch reed (12.5 dent), with no additional threading after I reel the warp on to the back beam. Honestly, this is the method of methods, and I’m going to explore it extensively (a conversation with Bea comes to mind, about doubling up the threads in the reed.) : waves to Bea : Oh, and obviously the colors are much too bright for the room, and now that I photograph the set up in the house I realize now that I am going to need to get shade cards and be much more subdued with my color choices, but I am weaving this test run with all that I have on hand, and it is going to apparently consume a lot more yarn/thread than my Ashford Knitters Loom, which I fully expected proportionally. Its going to be so wonderful to have it around when I want to weave larger things, like table cloths, small blankets, curtains, etc . . . and besides, it is just the natural progression of things around here, pushing for new perspectives and experiences. In closing I’ll say that I have learned to weave standing, so working the stick shuttle through the shed, although going to take some wrestling with the reed, will be taken in stride, literally.
Number three of Donegal Tweed neckwear pieces, last week I reeled off the loom , and now it is finished, and this one warped with the help of Juno who’s colorway is so similar that I’m naming the colorway “Juno” . . .
I’ve woven this one with a larger dent reed on my Ashford Knitters loom than the last two, a 12.5 dent reed, and think I’ve decided that it is the perfect size for this single ply fingering/lace weight yarn. Now three finished, no more Donegal Tweed and so on to the rest of the yarn in my drawers.
♣  Weaving Notes ♣Â
Yarn: Isager Tweed made in Donegal, also known as Donegal Tweed by other brands.
Reed: 12.5 dent reed, optimal I think, for the Donegal Tweed.
Sett: Warp = 12.5 epi and weft = 9 ppi, 1 thread in the heddle/hole, and 1 thread in the dent/slot.
Direct warp method.
Selvedge: Doubled up two outer most selvedge warp yarns, and used a temple.
Finished: Not wet finished, but steamed, tied a simple knotted fringe (knots could be taken out and twisted fringe worked, but I prefer the soft yarn strands).Â
Measurements: 76″ long x 19″ wide, not including 4″ fringe.
Weight: 246 grams. Yarn has 218 y per 50 g so that is about 1090 total yards.Â
Number two of three Donegal Tweed neckwear pieces, mid October was reeled off the loom, and now it is fully finished and so photographable. These three tweeds have literally made me fall in love with weaving on my Ashford Knitters Loom. But what to call them…. scarves? Wraps? Stoles? The three Donegal Tweed pieces I’ve woven have used up every ounce of my stash.
♣  Weaving Notes ♣Â
Yarn: Isager Tweed made in Donegal, also known as Donegal Tweed by other brands.
Reed: 12.5 dent reed, optimal I think, for the Donegal Tweed, 1Â thread in the heddle/hole, and 1 thread in the dent/slot.
Warp (sett) = 15 epi and Weft = 6 ppi.Â
Direct warp method; if you take a look at the photos in the gallery you’ll see I am winding on to the back beam while scooting the table & loom closer and closer to the pegs clamped down, I’m finding this is a good way to maintain tension on the warp while winding it on.
Selvedge: Doubled up two outer most selvedge warp yarns, and used a temple.
Finished: Not wet finished, but steamed, tied a simple knotted fringe (knots could be taken out and twisted fringe worked, but I prefer the soft yarn strands).Â
Measurements: 74″ long x 18″ wide, not including 4″ fringe.
Just reeled off the loom, another plain weave check, that somehow miraculously used up the colors of the Donegal Tweed that I had left in my stash. This piece needs all of its finish work done as well as notes composed, and to “hang loose” off of tension for a while, and so I’m on to the next. This one and previous one, will return as finished and fringed pieces to properly photograph. Until then, I’m happy enough to just dive back in the yarn drawers and resurface with another warping to attend to before the end of the day. People are asking me, almost worried, what has happened to knitting? Am I finished with it? Will I return to it? The answer is simply that for now I am so happy in the weaving, knitting is only on a short sabbatical, and while attempting to convert yarn stash into cloth for a while, my long goal is to work back to spinning. Also, considering a very large rigid heddle loom for weaving wider cloth, such as throw blankets and table coverings, and what seems to me to be the natural progression of things around here. I don’t see that I will ever grow tired of simple plain weave.
Walking almost every day this October, and trying to increase distance too. But who says life has got to be so hard? With all the walking I’m doing, I’m really upping my culinary skills; baking bread constantly, experimenting making wonderful things, things I have never done before . . . such as making ricotta, then making ravioli with it, or even put it into icecream. Focusing on the old-fashioned way of things, like toasting hazelnuts then grinding into a paste with mortar & pestle, (then making into icecream). Oh, on the subject of icecream, I learned recently a trick from my Argentine friend, how to make their national favorite dulce de leche! The Argentines simply boil a can of unopened sweetened condensed milk for a couple of hours, and it cooks in the can and magically turns into thick caramel sauce! Of course, I mix that with about 2 cups of whole milk, and 2 cups of cream, then churn freeze into an absolutely delicious and very rich Dulce De Leche icecream. So, like I said, lots of treats to balance out all of the walking. . . this is definitely turning into my favorite month of the year all over again.
This intriguing moody weaving of Donegal Tweed has been on the loom for only a few days, made entirely from yarn I had in my drawers . . . in blues, greys, and brown. Oh, but I seriously LOVE the rectangle check! I warped it on Saturday, considering it might be a nice wide scarf for a possible gift, but now pulled off the two-plus yards, and it is a bit stiff from the loom tension I suppose, thus inevitably not perfect for neckwear, possibly not soft enough. Deja vu ! Honestly, it is the same sett and same brand wool as the previous Isager Donegal Tweed piece I finished a few weeks ago, and softened up wonderfully. I bought and used a temple on this one, striving for even width with no draw-in. With this one I was a little more intentional, calculating some finished lengths, yardage, but left a lot up to guessing and assuming as the other one ended up “soft” and lovely, that this one would be too, as it is made out of the same yarn. Yet it feels like the weave is just too tight, however, I realize too that this is still stiff off the loom and has not relaxed yet, I suppose I ought to just stop worrying about it. The photo shows all the ends of the yarn wefts, which I really should learn to lay in before weaving, but I’ll weave them in with a needle soon and post again all nicely finished ~~ watch this space.
I am finding with weaving that after the piece is taken off the loom, weft ends woven in, fringe knotted, twisted, or braided, then it seems to take on its third dimension . . . draping, folding, wrapping around, rippling into its new personality, yarns blooming and fusing in place and it simply finds itself coming into being.
Number one of a series of Donegal Tweed neckwear pieces I intend to weave. The wrap, stole, scarf, throw, is 17″ wide and 98″ long, not including the fringe.
This wrap is au natural in photos, minimally steamed, but otherwise not wet finished, it now needs to hang in the rafters a while to let it relax more. Already off of the loom for a couple of weeks it is not at all stiff, as I thought it was going to be, but like leather, or linen, needs to be handled and used to soften up to be a really seriously fine 100% Irish Wool piece.
Another day with storm brewing, I’m afraid is making the photos all a bit dark.
A finished linen kitchen towel, woven pretty quickly for a birthday gift, and then I let it sit around for a week or longer before deciding today to finish it with a hem, wash & dry, and ironing.
It is very rustic and open weave as far as table linens go, and it is definitely going to need another twenty washings & dryings before it feels like a proper tea towel, but that is the fun part, experiencing the transformation of the linen.
♣  Weaving Notes ♣Â
Using Bockens Lingarn 16/2 linen (100% linen) for both warp and weft, and I used my 15 dent reed. The listed sett (epi, warp threads per inch) for this yarn is 20-24 epi, and I got about 16 epi, and 14 ppi (weft threads per inch) of 14. Still not perfectly balanced, and looser weave than I wanted it to be. The dilemma is from the stiffness of the linen I suspect, and 100% linen is never easy to work with at any stage of the plant-to-cloth process, but I am motivated to figure it out because I love linen!
Warped 1 in the heddle hole, and 1 in the dent slot, with 1 extra thread in the first and last 2 selvedge warp threads.
Color: 12 golden bleach, alternating stripes of 4 dark gold and 4 light gold, with weft as white.
I have been packing in the weft with the stich shuttle which is longer by about 10 inches than the weaving width, using it a bit like the sword of a backstrap loom, because I don’t want to stress the plastic rigid heddle reeds pushing too hard to tighten the weave up.
 I forgot to take measurements of the finished piece, after wet-finishing (washing & drying) which I am guessing to be 16″ by 28″, before shrinking much, will probably eventually shrink to about 15″ x 26″ , with epi around 18.
Improvements for next time: With this yarn I think I would like a tighter weave, as it lists recommended 20-24 epi for sett. (At this stage in my weaving, I don’t know if listed sett is for how the fabric sits on the loom, or relaxes after taken off and wet-finished, or if it needs to be specified.) Tightly woven table and kitchen linens on a rigid heddle loom may just take some experimentation. To compensate for the openness of the weave, I used my stick shuttle to really press ( beat ) the weft in, and still I am not getting ppi as high as the epi, so wondering how I can tighten up the weave. One way I want to experiment in getting a tighter balanced weave for this yarn is doubling up on the reeds, threading through two 10 or 12 dent reeds and attempt to get 20-24 epi, for a tighter warp sett/epi, but I don’t think I could get the same for the ppi (wefts per inch). I believe it may be the nature of rigid heddle weaving to have some difficulty in creating a balanced tight weave, as one can easily achieve on a floor loom with a much heavier beating of the steel reed.Â
Also I think next time I will waste less warp on a hemmed piece if I lash the end knots to the sticks instead of tying the warp ends to the stick. For some reason the rigid heddle instruction book shows this method of tying the warp to the sticks, which I believe is intended for a fringed finish, but I think I’m ready to learn a better way for weaving for pieces intended to be hem finished, especially for expensive or handspun yarn.Â
Just cut off the Knitters Loom, big enough to hem, wash & dry, and have it as a good sample, and I just LOVE linen! ♣  Weaving Notes ♣ This is pretty fine weaving for a beginner, with the finest … Continue reading →
Sun has gone into Libra, and it is the Autumn equinox. My traditional photo on this same day, in the same hour, for years now , always evokes such rich memories in me. Celebrating with the light and shadow of the beams, as they glow in the rays of the sinking sun of late afternoon, marking such a meaningful time for me, the transition into the cooler months ahead, and rain is imminent! Wishing a happy equinox to all.
I can’t get enough of the simple plain weave check pattern, and my new Ashford Knitters Loom. I found quite a bit of light grey and natural Isager Tweed in my drawer, enough to work a large two color check pattern, and wouldn’t you know it, I’m weaving it into a rather long but wide scarf, to allow for plenty of shrinkage. I happen to only have either too large or slightly too small for choices in reed (dent) sizes, but I’m going with the too-small, even though each pass of the weft requires a bit of fussing to separate the sheds, I am strumming and carefully coaxing it into a real gorgeous thing!
I think the big boxy check color pattern is an excellent way to practice the balanced plain weave, striving eventually to have the same number of warp threads horizontally as weft threads vertically, and I’ll be the first to admit how completely entertaining the check pattern is! I’m quite happy with this, my second weaving project, although I miscalculated on the size of the check pattern, the squares were supposed to be 4 inches but are not-quite 3.5 inches instead, and it isn’t quite centered in the reed, but who cares, right?
♣  Weaving Notes ♣Â
The way I weaved this piece is pretty much the same as the one in the last post but with two colors, A Very Late Introduction to A New Loom and the process will be my plain weave check standard.
This piece was my 2nd project on the loom, and as I had not yet understood the importance of correct reed/dent size (like knitting or crochet, you need the right “gauge” needle for each weight yarn) , and as I only had a 15 dent (smallest reed size for this loom)Â the yarns are far too squished together — should have been woven in a dent size two sizes bigger, like a 10 dent reed to allow the tweed yarn to relax and bloom, therefore having more of an open weave, and creating a nice “drape”, and just be a nice wrap to wear in the cold months.Â
When I took this piece off the loom, I was actually disappointed because it was far too densely woven to be a scarf, and not the appropriate yarn to have made a table piece, so it is not yet finished. Maybe after I finish it and it gets some movement in it, it will soften.
Since this piece, as of Autumn, I have a nearly complete rigid heddle reed selection, with dent sizes 5, 7.5, 10, 12.5 and 15, and am able to weave more intentionally for the yarn I use.Â
