Category Archives: my Ashford rigid heddle loom

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.

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

vernal influences

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Number two in my alpaca scarf series, warped and started to weave the first few color changes, just enough that I could photograph the color sequence before March arrives, and obviously in a colorway that is very typical for springtime. The color choice was difficult for me; I was considering gold and green , gold and apricot (it looks pink, but it is more like apricot), or even green and apricot… but all three together? Possibly too frolicsome and feminine. I mean, where’s the calming and staid neutral in the mix? My reason is that I figured I would never improve as a weaver if I didn’t start getting outside my comfort zone and make bolder choices, and so I did. It is evident there is a vernal influence going on here, as I’ve noticed all the wild plum trees have exploded in blossoms, and the intense fragrance of it all is amazing. Weather is high drama this time of year; one day the bees come out and everything is all abuzz with temperature in the 70’s, and the next day it could snow and bring everything to a frigid halt. I absolutely love March, and the last stretch of winter.

marigold

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I have just put together my little Ashford 16-inch rigid heddle loom. It arrived yesterday, and immediately after I rubbed all the wood pieces with butcher block wax, then this morning I assembled it with excitement, as my mind filled with visions as to what beautiful and interesting textiles will be woven on it. There is no denying these rigid heddle looms are addictive and tend to fill as much available space in one’s life as there is ambition to weave on them.

I know, I know, I already have several other looms, but I decided to get this little one anyway, and it really wasn’t at all that expensive. I just wanted a simple small loom to weave simple plain weave scarves only, a modest little destination loom for my modest little dye experiments, natural or commercial dyes, I’m no snob about it.

This first project is cotton dyed with natural marigold flower petals! The remarkable thing about this project is that I used a shortcut to a varied colorway by simply over-dying different shades of neutral tones, all in one dye bath of marigold flower petals. Plain and simple, the way I like to do things. I’ve written detailed dye notes below and stay tuned for a finished weaving coming up in the territory ahead.

♣   Dye Notes ♣

I got back to the dye pot, determined to have an easier time of it, working over all my beginner’s doubt with a fine-tooth comb. I hovered over the instructions nervously, double and triple checked every step before commencing, and yet still I was having to improvise and make adjustments. Scoured, check! Mordanted, check! Dyed, check! One hour devoted to each step, not including the tea over-dye. I was quite exhausted by the end of it all.

I started out with four colors of varying tones and hues of neutral, wrongly assumed I would have four colors over overdyed yarns, and ended up with only two; the grey was a darker shade, but all the others looked almost the same. After all was rinsed and hanging dry on the clothesline, I quick made literal quart sized pot of strong tea of Yorkshire Red, basically a tannin bath, and in went the lightest of the yellow shades which shifted immediately to a rusty brownish orange, absolutely beautiful! Love the way nothing can be predictable, and I am ready to make a panic decision at any moment. Now that all is dried the result is three slightly different shades of marigold, and what I figure is the spectrum of the marigold flower, from yellow to deep gold to greyish yellow green.

  • Yarn: Valley Yarns 10/2 mercerized cotton in colors: Natural (8176), Autumn Blonde (1405), Shell (7503), and Frost Gray (8798).
    • All were scoured together for 1 hour with soda ash.
    • All were mordanted together for 1 hour with Alum Acetate.
    • All were overdyed in same bath with marigold petals, but colors Natural and possibly some of the others were again overdyed in Yorkshire Red tea, for about 6 minutes in the pressure cooker on low pressure, for just a kiss of color to deepen the yellow, which turned to a deeper gold.
    • The marigold overdyed Grey yarn appears a deeper greenish yellow, a wonderful surprise! There must have been a little blue in the grey.
  • What I will do differently next time: I will use distinct different values of neutrals, such as natural or white, light grey, and medium-dark grey. The Natural, Autumn Blonde, and Shell colors may have been different hues very slightly but all the same very light value, so after overdyed and dry, all looked the same, I could not tell the difference — I should have labeled the yarns!

Scarf No.7

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Hi, its me Abelene

I am happy to introduce to you the very latest in Jen’s ultra fine weaving series, and also my new photo shoot companion, Señor Mirando the mirror, who arrived here weeks ago along with a lovely old dresser, the set being a gift from another weaver (thank you Bea!) Handsome and talented at revealing to you the intricate and complex angles of a drape which I simply can not, Mirando promises to show up for the photo shoots along with our hard working crew the ladder and chairs.

The weaving is remarkable, for it is two threads in warp against one thread in weft. Yesterday Jen washed it and hung it out to dry on the line, flapping in the 100F summer heat, and only took less than ten minutes, and barely more than five, because it is so hot outside.

I think it is very beautiful and interesting how the unique weave structure looks, I wonder if there is a name for this, does anybody know? Anyway, Jen is on to something here, and wants to develop this style of quick and easy warping she says, so she’s going to warp another of this kind of weave on my buddy in the closet, the table loom, but with a finer weave, just because it’s worth exploring. I for one am looking forward to having another photo shoot with Señor Mirando & His Dresser, as we’ve all hit it off fabulously.

Ta ta, Abelene

The note from Jen: I’ve been exploring weaving in a series of ultra light 20/2 cotton, this being the fifth in the series, woven on my 20″ Knitters Loom, and even though the weave structure doubles the warp against the weft, it appears to be balanced. I have been wanting to try the easiest method I can think of, which is double threading one reed, with 2 in the heddle/hole, and 2 in the dent/slot, then single weft. This way no rethreading has to be done. I did this kind of warping before (tablecloth) and I really thought it worked out great, less fuss warping meant more time to enjoy the weaving. And just as Abelene reports, I have another one of these I want to weave next, and it will be warped direct on the table loom, a multiple harness loom with heddles, with the same weave structure, but 32 ends per inch warp, 2 through each heddle and 2 through the dent, completely going against tradition. Thankfully there are no weaving police around here, for surely I would be arrested for attempting this. Be sure to click through the photo slideshow below, and now for the weaving notes…

♣   Weaving Notes  ♣

  • Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in color Galaxy Blue,  and Venne in colors Gobelin Blue, Brass, and Golden Brown.
  • Loom: Ashford Knitters Loom 20″.
  • Warping method:  Direct warp method for rigid heddle loom.  Warp length is approx 115 inches from apron rod to warping peg.
  • Reed: 15 dent reed, 2 ends in each dent and 2 ends in each hole. 
  • Width in reed: 18″
  • Sett on loom: Warp = 30 epi and weft = ?? (forgot to measure)
  • Selvedges: Doubled for 4 ends each selvedge and used a temple.
  • Sett after finishing: Warp 34 epi, and weft 17 ppi.
  • Number of warp ends: 560, plus 4 extra at each selvedge = 568 ends
  • Color Pattern Warp:
    1. 15 holes and 15 dents with 2 ends each (30ends) Galaxy Blue, same with Gobelin Blue.
    2. Same with Brass, same with Golden Brown, then again with Brass. 
    3. Repeat step 1 and 2, switching Golden Brown and Brass; twice,  then repeat step 1 only. 280 dents/ 560 ends, plus 4 ends each selvedge, total 568 ends.
  • Color Pattern Weft = wound on to a 30″ stick shuttle for each color as follows: [10 wraps Galaxy blue, 10 wraps Gobelin blue, 10 wraps Brass, 10 wraps Golden Brown] repeating sequence.
  • Finished: 1/4 inch turned hem, machine washed and hang dried, then pressed. Measures 84″ long and 16″ wide and weighs 129g. 
  • Yardage:  Total yardage used for finished piece = 2374y, figured from weight of finished piece and not including loom waste.

Scarf No.5

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Hi, its me Abelene. 

Jen has brought me out of the closet where I was suffocating in debate with my new pals, the Ashford 48″ rigid heddle loom and Ashford 32″ table loom, very existential ideas, like about whether or not as inanimate objects, we really exist, and I have been by far the most optimistic among us! Anyway, Jen seems to have forgotten about me, but finally she brought me out to see the spring . . . I am wearing a very light weave that seems to be sticking to my skin all by itself, perhaps from static electricity, as it has been three days of drying wind here.

Jen wants me to say that she had some difficulty weaving this fluffy light sheer cloth, but eventually she found her way and the weaving became better balanced, eventually only a light tap of the reed to keep the structure even and open. This is the 15epi experiment in her series of weaving ultra fine cotton where she is experimenting with different threads per inch. She is super pleased that very light cloth can be woven on a simple little rigid heddle loom with one 15 dent reed, and is hoping to do more just like it. But first to finish her series she wants to weave 20 epi with this same thread, whether threading two rigid heddle reeds together on my pal the big rigid heddle loom, or to warp it up on my other pal, the table loom.  But on the other hand (um, what other hand???) she thinks she might just weave more single reed 15epi samples on the little rigid heddle loom, like this piece was.

So much fun going on here I tell you!

Ta ta, Abelene

ps. Don’t miss out on the technical weaving notes and slideshow below!

♣   Weaving Notes  ♣

  • Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in colors;  Flax (P-5109), Rose Paudreux (P145), Natural (P100), and Blanchi (white) (P-101). 
  • Loom: Ashford Knitters Loom 20″.
  • Warp:   Warp length is approx 110 inches from apron rod to warping peg.  
  • Number of warp ends: 298
  • Reed: 15 dent, warp is 19.5″, full width in reed.
  • Sett on loom: Oops, I forgot to measure.
  • Sett after finishing: Warp 17 epi, and weft 19 ppi.
  • Selvedges: I did not do floating selvedges, but I did warp 3 extra ends per selvedge, which is almost necessary I am finding when using a temple.
  • Color Pattern:   
    • Warp =  [18 ends of rose, 18 of blanchi, 18 of flax, 18 of blanchi ] x 2 . 288 ends plus 3 extra selvedge ends at each side = 294.
    • Weft = wound on to a 30″ stick shuttle ; [20 wraps of rose, 20 wraps flax] repeat the sequence to end of warp.
  • Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, and weighs 83g. Measuring after finishing 76″ long and 17″ wide (before washing/drying it measured 76″ x 18″).
  • Yardage:  Total yardage used for finished piece = 1536y, figured from weight of finished piece and not including loom waste.
  • General Notes: This weave is open and fairly sheer. I am striving for balanced weave with only a light tap of the reed needed.  If I beat too hard with the reed, even just a slight bit of pressure on the reed, or too many taps, the weft easily becomes compressed and creates horizontal stripes of weft dominant color. For this reason, I had to be very careful, hoping that after a wash and dry in the machine everything would become even, with threads locked together in a firm gauze fabric. The ppi is slightly more than the epi, so not perfectly balanced. I am guessing then that 20 epi will be the magic warp spacing for ease of weaving balanced.

Scarf No.4

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This weaving taught me two new things. One is that I further explored color, using a different variation than I have yet; with two colors in the warp, and four in the weft. The color affect of the check is still lively and interesting, but without warping with the two lightest shades (beige and natural) the result gave a more muted and softened color variation, less dramatic with no light blocks. I would like to explore this idea even more!  

I think the most challenging thing about this piece, and anything I’ve woven to date, is that I did a double heddle threading with two different size reeds. It was definitely another long and arduous threading process, and after discovering I miscalculated the spacing the first time, I resolved there really was no way of going around it, that it had to be done right, and be done over.  Of course, in doing it over I discovered a formula for myself, where I was only guessing at first, and so I have written my formula in my weaving notes.

This is going to be the last of the double reed threading for a while, for not only is it a very intensive warping process, but also if a mistake is made in the warp (as there was one, if you’ll notice the long run throughout the whole weaving) it is just not something I know how to fix and it tests my patience.  Such was the case again, some threads misaligned and right off the start, the flaw was blaringly obvious, but this was merely a sample to test the process. The reed sizes I wanted to thread together in this project were 15 dent and 12.5 dent (per inch), but easier calculated in the metric sizes 60/10(cm) and 50/10(cm) , to get a sett of 25 epi. Its all there in the weaving notes, with technical threading photo gallery.

♣   Weaving Notes  ♣

  • Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in colors; Rose Paudreux (P145), Natural (P100), Light Beige (P-2), and Flax (P-5109). 
  • Loom: Ashford Knitters Loom 20″.
  • Warp:  Double threaded 4 ends per dent on first  reed, then through  a second reed using this method  Using a heddle stand is rather necessary, Jeff made the one I use in tech photos below.  I don’t know how to suggest an alternative, but if one has a couple of heavy objects or uses a bit of cleverness, one could rig a reed stand. Now, with the second reed forward, threading it through in a very seemingly complex manner, but it really isn’t.  Warp length is approx 110 inches from apron rod to warping peg.  See formula below.
  • Number of warp ends: 432.
  • Reed: Two rigid heddle reeds, one 15 dent and one 12.5 dent.   I threaded through the 15 dent reed first, skipping 1 slot after every 4 slots threaded, and the second reed I threaded every slot. End result is as two 12.5 dent reeds, with 25 epi.  See formula below. Note: After both reeds were threaded, I held them together with thick rubberbands as shown in photos.
  • Sett on loom: Warp = 25 epi (ends/threads per inch),  weft =  25 ppi.
  • Sett after finishing: Warp 28 epi, and weft 28 ppi.
  • Selvedges: I did not do floating selvedges, nor did I bother to double up and reinforce the selvedges, mostly because there was so much going on with threading through TWO reeds. I did use a temple.
  • Color Pattern:   
    • Warp =  [18 slots with 4 ends each slot (72 ends) flax, 18 slots with 4 ends each slot (72 ends) rose] REPEAT for a total of 3 pattern reps, and 432 ends.
    • Weft = wound on to a 30″ stick shuttle; [30 wraps of flax, 50 wraps of light beige, 30 wraps of rose, 50 wraps of natural] repeat the sequence to end of warp.
  • Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, measuring 80″ long and 15.5″ wide, and weighs 105g. 
  • Yardage:  Total yardage used for finished piece = 1943y, figured from weight of finished piece and not including loom waste.

My formula for threading two graduating sized heddles together: All of the reed sizes for the Ashford rigid heddle looms, which many rigid heddle weavers have a size graduation of reeds:

2.5 dpi (10/10cm)
5 dpi (20/10cm)
7.5 dpi (30/10cm)
10 dpi (40/10cm)
12.5 dpi (50/10cm)
15 dpi (60/10cm)

I have most of the reed sizes for my Knitters Loom, but for the sake of very fine cloth weaving with my rigid heddle looms, I am writing down my formula for threading two reeds of graduating larger sizes together so that I can achieve epi’s greater than the finest single reed available for this loom, which is a 15 dent (60/10). I’ll add that It is far easier to use a single reed than to thread two together, so in the case of coupling the lower-dent reeds — I recommend just buying the single 15 dent reed, instead of double threading 40/10 with 30/10 (or two 30/10) reeds to get 15 epi, but for the sake of example I listed all the rigid heddle reed pairings in sequence, in the situation that it applies.

The reed that has fewer dents should be in front of the other, facing forward toward the weaving, where every slot and hole is threaded. The reed with more dents should be behind it, and when threading, skip 1 slot/hole as needed to align to the front reed.  Off of the warp beam there will be spaces in the threading, but the reed facing the weaving is even with no empty slots/holes. Here are my calculations for a balanced threading across the warp . . .

  • 60/10 & 50/10, thread as two 50/10 (thread 5, skip1) same as two 12.5/in= 25epi
  • 50/10 & 40/10, thread as two 40/10 (thread 4, skip1), same as two 10/in = 20epi
  • 40/10 & 30/10, thread as two 30/10 (thread 3, skip1), same as two 7.5/in = 15epi
  • 30/10 & 20/10, thread as two 20/10 (thread 2, skip1), same as two 5/in = 10epi
  • 20/10 and 10/10, thread as two 10/10 (thread 1, skip1), same as two 2.5/in = 5epi

Click 1st photo to go to slideshow…

Scarf No.3

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This ultra fine cloth finished has 32 threads per inch in the warp, and was woven on my 20″ Ashford Knitters (rigid heddle) Loom, which is a fabulous sample loom for all the fine weight threads I have been so curious to try. This particular project is extremely fine cotton, was threaded through two 15 dent reeds, and I have no desire to go finer, this is the limit. Famous last words, eh?

One must look and wonder how all these gazillion threads in the warp can be kept track of, and I for one, can not.  I thought all the threads were there, but as I begin to weave, there’s empty slots where warp threads are suppose to be, maybe one or two were mis-threaded, or broke, and I missed them, but as I weave further, more threads have disappeared, likely in not catching them when I was threading the reeds. I just can’t pull my hair out over it, these are sample weavings, total leaps of faith and hoping for the best, I can’t take it too seriously.

The most impressive thing to me about this piece is that it was threaded through two rigid heddle reeds; double threading is a mind bend at first, but then after my first try using these instructions the process gelled and suddenly I felt like I was born knowing how to do it. So I’m weaving on in spite of the mysteriously thinning warp, it is a thrill to be weaving such ultra fine fabric on a simple, nearly primitive loom, even though weaving 30 epi on the rigid heddle loom means I am having to do the extra work of using a stick shuttle for both passing the weft and beating down to try for a balanced weave, and still it is not. Weaving on the rigid heddle in this way slows weaving down a great deal, and there is a lot to pay attention to.

Once I am finished with this piece I may try another similar double threading sample with a different reed combination, coupling a 15 and a 12 dent together, achieving a 24 epi, and maybe then I can beat with only a tap of the rigid heddle reed instead of having to beat it down with the stick shuttle. I strive to find the sweet spot where weaving is truly balanced, not forced, and ultimately what I want to achieve with plain weave.

A bit about the design; I crave bold block design in a subtle contrast, so developing my elongated big check blocks with or without a stripe, and selecting the two very low contrast neutral colors for the background check, for this piece was an attempt to get a “barely there” colorway, yet it is still bold enough, and I really love it!

♣   Weaving Notes  ♣

  • Yarn: 20/2 mercerized perle cotton, 8400yds / 1 lb, Maurice Brassard, in colors; Natural (P100), Light Beige (P-2), and Flax (P-5109). 
  • Loom: Ashford Knitters Loom 20″.
  • Warp:  Double threaded 4 ends per dent on first  reed, then through  a second reed using this method. Using a heddle stand is rather necessary, Jeff made the one I use in tech photos below.  I don’t know how to suggest an alternative, but if one has a couple of heavy objects or uses a bit of cleverness, one could rig a reed stand. Now, with the second reed forward, threading it through in a very seemingly complex manner, but it really isn’t.  Warp length is approx 110 inches from apron rod to warping peg.
  • Number of warp ends: 600 , or there about, as I lost some along the way. 
  • Reed: Two 15 dent rigid heddle reeds, about 19.5″ width in reed.
  • Sett on loom: Warp = 30 epi (ends/threads per inch),  weft =  ?? (forgot to measure).
  • Selvedges: I did not do floating selvedges, nor did I bother to double up and reinforce the selvedges, mostly because there was so much going on with threading through TWO reeds , but  a real positive thing about such a tight weave and having to beat with the stick shuttle to get the weft in place, there seems to be no draw-in on the edges. After about 12″ of weaving I noticed a little draw-in, so I started using the temple.
  • Sett after finishing: Warp 32 epi, and weft 24 ppi.
  • Color Pattern:   
    • Warp =  [12 slots with 4 ends each slot (48ends) light beige , 1 slot with 4 ends (4 ends) flax,  12 slots with 4 ends each slot (48ends) light beige.  12 slots with 4 ends each slot (48ends) natural, 1 slot with 4 ends (4 ends) flax,  12 slots with 4 ends each slot (48ends) natural, 12 slots with 4 ends each slot (48ends) natural. ] REPEAT for a total of 3 pattern reps, and 600 ends.
    • Weft = wound 60 full wraps on to a 30″ stick shuttle for each color, in repeating sequence natural and light beige. 
  • Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, measuring 81″ long and 18″ wide, and weighs 130g. 
  • Yardage:  Total yardage used for finished piece = 2405y, figured from weight of finished piece and not including loom waste.
  • What I will do differently next time:
    • Again, I ran out of room on the reed(s) while threading, and had to sacrifice the left 12 threads, but its so fine, that is like a quarter inch I am guessing. Second is I didn’t catch it, but there’s a few threads missing in the slots, and that is okay with me.
    • Glimakra slim boat shuttle actually fit in the shed!  I am so anxious to finally use it, I found I had to use the stick shuttle as a beater anyway, why not refine the movements and wind the stick shuttle with thread and omit the boat shuttle this time… but next time, with 24 epi , using 12 and 15 dent reeds double threaded, maybe it will be balanced.  

(( click 1st image to go to slideshow ))

Scarf No.2

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Another simple check with three big blocks of color shows so well how shades interact and colors multiply, intersections creating new colors and keeps the interest going through the arduous task of managing even edges. Something so basic as three colors can give a lot of gratification when first learning the basics of weaving. I am still a massive fan of check!

In my recent weavings I’ve been reinforcing the selvedges with extra threads and using a temple, which at this early stage of becoming a weaver, I have already come to rely upon. I think every once in a while weaving something without extra selvedge threads or temple, would give me practice keeping the selvedges from drawing inward by keeping the tension even but not too tight, and the weavers’ angle generous. There are many weaving notes and photos left below, in the event that anybody might find them useful, and I am happy to talk about the details further in the comments as well.

♣   Weaving Notes  ♣

  • Yarn:  10/2 cotton, 4200yds / 1 lb, Valley Yarns Mercerized in colors; Golden Ochre (7129), Moss Tone (5997), and Mediterranean Blue (2448). This is the first time I used mercerized cotton, having no idea how much I would like it, I really do! 
  • Loom: Ashford Knitters Loom 20″.
  • Warping method:  Direct warp set-up, 1 end in every heddle/hole, and 1 in every dent/slot –drawing out from apron rod through each dent to peg is 2 ends = each color 30 dents = 60 ends.  Approx 100 inches from apron rod to warping peg.
  • Number of warp ends: 240
  • Reed: 15 dent rigid heddle 20″ reed, and width in reed = 15.5″.
  • Sett on loom: Warp = 15 epi (threads or “ends” per inch),  weft = 15 ppi (passes or “picks” per inch).
  • Sett after finishing: Warp 16 epi, and weft 16 ppi.
  • Color Pattern: Warp =  60 ends gold, 60 ends green, 60 ends blue, 60 ends gold.  Weft = wound 60 full wraps on to the stick shuttle for each color, in repeating sequence gold, green, and blue. 
  • Finished: 1/4 inch turned hem, then washed and dried in machine, then pressed, measuring 68″ long and 14″ wide, and weighs 117g. 
  • Yardage:  Total yardage used = 1083 y, figured from weight of finished piece and not including loom waste.

Wool Shawl No.3

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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  ♣ 

  • Yarn: Isager Tweed made in Donegal, also known as Donegal Tweed by other brands.
  • Loom: Ashford Knitters Loom, 20″.
  • 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). 
  • 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. 

just reeled off . . .

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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.

just reeled off the loom . . .

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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.

tea towel two

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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  ♣ 

  • 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. 
  • 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