This time around we’re going have a peak at warp faced fabrics. We’re going to sett our warp threads so closely together that the weft will be nothing more than a burrowing worm searching for a selvedge to pop out at 🙂 We will learn how to obtain different colour effects, how sett controls the success of warp faced fabrics, we’ll adapt our shuttle throwing technique yet again to get fabulous selvedges with the greatest of ease and we’ll learn how to hemstitch on honking dense warps without loosing our minds.
It is so good to weave this sample after the last sample because we bring over those colour and weave effects from Log Cabin and pour them into Weft Faced plain weave. They are definitely connected. We do branch out into twill and other tie-ups and we master the ideas around weaving on opposites.
In this Episode we will learn:
- how your sett controls your weft coverage, not necessarily your beater
- colour is controlled by weaving on opposites
- weaving with one shuttle and 2 shuttles
- we bring sequencing from C&W into the game
- floating selvedges are beneficial
- 14 possible tie-ups on 4 shafts
- branching into twills
Oh my goodness, I love Log Cabin sooooooooo much.
Log Cabin can be inserted into any existing graphic that you have. Imagine if we took some of the samples from last season, like Parrot for instance and we overlaid Log Cabin on top of that graphic. Or what if we built Log Cabin into our Plaid graphic, or what if we brought those repetitive sequences that we learned in the Colour & Weave Gamp and overlaid them on top of our Log Cabin……what if, what if, what if…..those 2 little words have driven my study of simple patterning for decades.
In this Episode we will learn
- how to think of plain weave as a block weave
- how to make Log Cabin have a 3D look
- how to make Log Cabin be perfectly symmetrical
- how to change out framing threads in our warp
- we learn how to splice our tails when we tuck them at the selvedge……and so much more.
Best of all, we get to spend one more episode learning that plain weave is anything but plain. It is PW 2, Perfectly Wonderful Plain Weave.
This sample is all about using multiple setts in one piece of cloth. We learn how to adapt our sleying and beating to create beautiful fabrics and we do it all in Linen 🙂
Things you will learn:
- Linen is awesome!
- Using multiple setts in one piece of cloth
- We use our reed to create all the patterning in the cloth but having different sleyings
- We learn to identify negative space
- We are in charge of our beater and we have to beat each section appropriately based on what we want
- We can mix silk and linen
In this first sample for Season 3 we are using our reed to create a wonderful lacy looking fabric in plain weave.
Things we will learn
- To weave with finer threads
- Dented fabrics need to have a firm sett… they are not woven at an open sett. Our reed and our beat create the open space
- We open our minds to adapting our weaving technique, ie throwing two picks to create resistance, then tap, tap, tap
- We learn to control our beater
- How to really visualize negative space
- How to bring gradation work over from Colour and Design and overlay it onto a new idea
- That we can mix cotton and silk
In this lesson I use 16/2 cotton for the weft on one scarf and 30/2 silk on the second one. This certainly adds another layer of luxuriousness.
We’ve learned so much this year with Colour & Design!
We’ve woven 7 samples filled with colours, graphics & architecture. We talked more about sett. We learned how to change our warp by taking out zingers and replacing them, opening our sett without re-beaming our warp to create different fabrics, adding texture to our cloth, bringing in yarns from our stash, weaving clasped weft and overlaying one sample on top of another.
It’s time to put it all together in this episode and review everything we have learned and woven.
We are in for a treat this month because our wonderful friend, neighbour and Tuesday Girl….Joan Carrigan is going to share a bit of her world with us.
Joan is a full-time basket maker and basketry teacher who has lived on Salt Spring Island, BC for over 20 years. Joan studied Fine Art and Art History at the University of Guelph and attended her first Basketry Conference in Toronto in 1991.
Since then, her passion for this ancient art form has led her to study, travel, and explore many different techniques and materials. Her research into traditional skills inspires her to use plant materials she respectfully harvests from nature, while her background in fine art fuels her enthusiasm for the sculptural and creative potential that the medium offers. Joan’s work has been exhibited nationally and internationally. She has received two Project Grants from the Canadian Council of the Arts and she is a recipient of two Handweaver Guild of America Awards.
In this episode, Joan teaches us how to make your own garlic basket & festive star for your home or as a gift to give away in a few months.
Stripes, Stripes, Stripes
Zebras Have Stripes and Everyone Loves Zebras
I love stripes… fat ones, skinny ones… fat stripes with skinny stripes on them… there’s so much to do with stripes.
The stripe has an ancient textile history but hasn’t always been loved. For much of history the stripe was used to label you an outcast of some sort a leper, a prisoner, a prostitute to name just a few. Stripes had to wait for modern times to be seen as loveable.
Things you will learn:
- That big division of space comes first even with stripes
- How to create repetitive sequencing with narrow and wide stripes
- How to work with colours of very close value and still see graphic
- How to use up stash
- Learn the power of a zinger, even a thread or two.