Questions from a Weaver: about – 4 Shaft 100 Boundweave Patterns archive.

From a person who purchased from the website: (Bolding is mine  to illustrate what I think the questions are.)

” I just purchased your 4 shaft 100 boundweave patterns and think it is terrific. just what I wanted. However, you have the threading as twill and I have my threading as rosepath, would all the figures come out the same or will be they closer together and maybe a little different?

 Also, you have the tieup I think for a sinking shed, I have 2 rising shed looms so I guess my treadling  will be 34 41 12 23   should it change for rosepath?  I am planning a Xmas wall hanging in boundweave, and will use the draft patterns I purchased, however, would like to know about the placing of the figures, and if I want a little more space, can I do  44 1 2 3 4 3 2 1 44? ”

 

My response:

Q1: Will there be a difference in the figures if I use a different threading?

Yes, there will be. Let me indicate for you what will change. Starting first by comparing the two threadings.  In my document I mention that the figures have all been worked on a loom with a point threading.

 

 
Point Threading Rosepath Threading

 

I picked an image with no color on thread one to help illustrate what happens because blank spaces are easier to see. Adding the extra white thread in the middle causes the image to separate, and look a little empty.  Your next thought is that you can now fill the space, I suspect. I choose to add a center spot of yellow to the flower.

 

 

This looks like you are just expanding the flower.
You also need to add the same coloring to all threads on shaft 1
Boundweave examples

 

 

This is what the repeat will look like on your fabric.

 

Q 2: Also, you have the tieup I think for a sinking shed, I have 2 rising shed looms so I guess my treadling  will be 34 41 12 23   should it change for rosepath?

 

A note in my instructions, mentions that I set up these drafts so that the weaver can weave them face up. Normal treadling sequences would have the weaver making the pattern face down where they can not see it, because it requires less physical effort – moving one shaft versus three at a time.

 

When working with new weavers, I find that although there are more shafts to lift on each throw, they get a better feeling for how to control the weave by weaving face up. My instructions have weavers raise all shafts except for the one that they want to have the weft color appear on the top. Its easier to discover an error and repair it this way. When working on a table loom it is a matter of moving levers rather than depressing treadles and therefore the effort is not the issue. If you set up the wrong tie-up you will not see an image on the front of the cloth you will see it on the bottom. Always check both surfaces.

 

The treadling sequence will not change with Rosepath threading.  There will be the same numbers of passes with the same colors of thread.

 

Q3: if I want a little more space, can I do  44 1 2 3 4 3 2 1 44?”

 

This translates into: How do I expand boundweave patterns using only 4 shafts?

Example of a Boundweave expainsion by repeating two threads Here I have repeated the two outermost threads, 1 and 2
Example of the boundweave expansion using a pointed twill The repeat is a  point twill from threads 1 to 3

 

I have left you to wonder what does  a  44 1 2 3 4 3 2 1 44 pattern look like.

 

Here is how to find out:

 

If you have Excel or graph paper start with the pattern in the center, you can copy and paste in Excel.

To get square grids in Excel – Highlight the leftmost corner block in the spreadsheet, it will highlight all of the cells, change the width of the cell to 20, and the height to 20 as well. You can click and drag to resize or use a tool bar to set the property.

Write your proposed expanded threading, now copy the colors from those columns into your new draft.

 

My turn to ask questions:

 

One thing to think about, in all of the examples I have provided so far, are there two threads on the same shaft side by side?

What change would you expect to see in your cloth?

Does that change affect the outcome and beauty of the cloth in a good or bad way?

In the examples given so far, have there been any changes in treadling or tie-up?

 

What have you learned about, threading  and figure placement in boundweave from this little exercise?

Can I weave this with the current threading on my loom?

Unknown Draft 1

The Weaver’s Question:

“So I am wondering if I can use my straight threading 1-8 using this lift pattern ?
Also what is the difference between 1 and 2? (I don’t have treadles). ”

 

The Answer: Yes, but you will have to know how to modify the draft in order to do so.

Download and read the following PDF (FREE) to learn how to extend a draft from 4 shafts to 8 and not change your threading.

The PDF file is a lesson in drafting weaving projects. The lesson can be completed by hand with pencil and paper if the PDF is printed. Or the weaver can use their weaving software to find the answer electronically.

Click here to download: Extending a weaving draft from 4 – 8 Shafts

 

A Draft Archive of 100 – 4 shaft patterns for Boundweaving

Boundweave Patterns ebook cover

You asked for it and I finally am able to deliver. Last winter I developed a project for Weave with me workshops around 4 shaft boundweaving. In it I created 100 full color drafts that can be used to make a story cloth to tell YOUR story using a 4 shaft table loom. I posted the graph sheets on Facebook, and weavers asked me to release the set as a book.  I have have completed developing a drafting format that is easy to follow and use to create great images on simple looms.

You can create a full width story cloth or mug rugs for friends and family that hold great memories of special occasions.

The Boundweave Patterns – Draft Archive download contains both a PDF document and a compressed ePub document you can store in your library for future reference.

Click here to purchase the Boundweave Pattern 4 shaft  draft archive.

 

Website Shop Upgrades – New products and Current Research Projects

Sample page from Radiating Patterns

A feature of the new shopping cart are improvements for the home page and the ability to show more images in the ads.  I have decided to make use of a single cart  to keep things simple, this shopping cart will allow me to carry both handwoven, and downloadable products at the same time. I also like to print and do illustration work, and likely you will begin to see a greater diversity in my product line. Hopefully, you will see something that catches your eye and think; Here is a way to support this artist.

I am beginning my 30th year of handweaving, and find I am not a true “hard core” academic (I may not have that laser focus).  I love to teach and love working with people in general. I excel at small groups and one on one, solving problems as we weave together. I love to research and curate information about weaving especially in the 1700s to early 1900s. I want to be part of the solution to identify and keep handweaving history and technical information in the accessible in public domain as much as possible. But, at the same time software is not free, and web servers cost money to run. Keeping something alive will require a business model that generates supportable income in to the future after I am gone.  I know that I do not have the physical strength/endurance or the time to be a production weaver, I am a designer at heart. I love to solve problems, and then I move on to the next problem.

With COVID-19 I lost my opportunity to demonstrate handweaving to the public by letting the new weavers try the looms for themselves, and have retreated into my studio. While being in the studio, I decided that I could once again concentrate on historic research and drafting of contemporary versions of old patterns. I discovered that many of the designs I had created earlier in my career were no longer accessible because of the software going out of production, or becoming so expensive you needed to be a production weaver to be able to afford it. I have been dedicating my free time to capturing what data I could from these drafts and I will be transferring them into a more usable format for future generations to enjoy. As I complete the task I will post them to the website. I can not list them for free, because I need to cover sample production and web hosting hosting costs.

I have both 8 shaft looms, a computer-dobby  24 shaft loom, and a very large drawloom. I design for all three types of looms. In the shop I have decided to mark the number of shafts needed for a draft at the top of the description so as not to disappoint a weaver. You will know what you purchasing before you hit the download button. I also also elected to include weaving software files and manual draft files in the same draft archive packages so that people no longer have to choose one or the other.

A few more words about the work I believe I can deliver to the public. I like to design drafts and weave it before I post it to ensure accuracy, but at this point some days I do more designing than weaving. I think I would like to work out a system with a fellow weaver(s), I would like to see I if can afford to pay a weaver to weave samples of these designs that I can post on the website and give credit for the work that was done. I have no worries if you determine that you would like to weave the design for production and sell items. I am aware that drafts can not be copyrighted, and so will not chase you down if you use a my design for sale in your shop. As I have mentioned before, it is not my intent to be a production weaver. If a weaver were interested in this type of arrangement, I would ask that you email me directly with what your financial requirements might be for making samples and what type of loom (mostly number of shafts) you are using for sampling. Sample sizes should be 10″ x 10″  or larger if the draft  requires it for a full repeat. I am interested in high contrast samples so that it is clear to the weaver what is happening between the warp and weft threads.

For weavers downloading designs, please understand you are supporting my ability to create and maintain self sustaining a database of information related to weaving for access by yourself and other weavers. Downloading once and sharing widely with others defeats the business case for website sustainability. The drafts will have less value, and we all lose the resources we need to keep historic weaving documents and drafts available to the public. I also believe that I do not want to require a subscription to access the draft data or the learning that I have gathered. So this website will always have a public front end that is useful and full featured that is free.

I do not feel that I am in competition with sites like some international pattern libraries or handweaving.net. Historicweaving.com as a website predates them. I am not intending to scan books, or digitize a drafts in that way. I want to use the historic drafts to study how and why they were made, what makes them look the way they do, and how they can be modified to make new designs that reflect our time and current tastes. Understand my statement above that I am not a pure academic, who is driven to study the past and document it a completely as possible. I want to see the past, and bring it to back to life in an approachable way for today’s weavers and looms. My site will be different than others as I am different weaver.  I have had this dream for a long time, and have spent that time learning about weaving and weaving software.  I like to use Facebook as my studio blog, because Facebook can moderate comments faster and more safely. I want this expanded website for its database potential, and the ability to generate revenue to keep it self sustaining. I use Pinterest as a visual catalogue of ideas (a designer’s morgue file) to explore in the future. I’m learning how to write and present full digital content, some video, some pictorial, some e-books and stories. I believe we all learn in different ways and I want to explore ways to help other weaver’s pass on their notes/journals/drafts to the future as well. I have taken a few months to reflect on what I really want to do and how I want to spend my time. I want to research and to weave. (Ideally, I would like to travel as well, but that will take time and a vaccine.)

If I offer an handwoven item in my shop for sale it is most likely to be a one of kind – if it is not, the size of the edition will be stated. I have no desire to weave long warps of the same pattern. It slows me down once I have solved the design problem, I like to move on to the next. I like efficiency, but I am far more likely to want to achieve accuracy, especially in complex structures. I have been known to weave,  unweave and rethread multiple times until I get the loom to match the draft. I spend more time finding ways to warp and weave better. I am known to innovate. If someone asks me how long it took to weave this particular item, it is hard to answer directly because I have to determine if should I tell you about all of the samples I made before I achieved success. (Again, note, I am not a production weaver). What will make my hand woven gifts special is you can be certain that you will not find another one just like it anywhere. When I use my looms I use them as close to their full capability as possible. My personal patterns are complex on purpose, I have a special hand loom, a 100 shaft combination drawloom and I like to show what it can do. To purchase a handwoven piece from me, pricing includes the cost of overhead for maintaining full weaver’s studio, time spent learning about weaving, the cost of materials and fact the item is unique. Your purchase dollars support my research efforts directly. I reinvest my profit dollars into the website and new weaving history research opportunities.

Now that you have heard more about my vision and process, let’s get to the good stuff – what did I add to the shop?

I began with creating  an Illustrated Weaving Glossary meant for beginning weavers – https://historicweaving.com/wordpress/product/illustrated-weaving-glossary/ – never get confused about when a word is used and what it is referring to.

I have been researching extensively for the past couple of years Mary Meigs Atwater’s Shuttle Craft Guild – Lessons and her American Handweaving Book. Many of the documents I am working from are now in the public domain because their initial publication was 100 years ago, and are even more significant because they are her attempts to record information that was sent to her from other hand weavers throughout the United States. These items are truly meant to be preserved for the public because they came from the public. Since their initial publication, draft notation standards for these structures and patterns have changed significantly, usually it requires a bit of detailed reading to learn how to read the drafts from the manuscript.

I have taken the time to record some of the larger coverlet radiating overshot pattern drafts in profile draft form making them more accessible to weavers who use drafting software. From the profile you can try different structures, colors and layouts to find a design that is pleasing to you. I have built instructions that show you how the draft is composed and how it can be modified. I would like to think of it as giving you design components more than a formal project plan. If you want the formal project plan approach use the Woven as Drawn in instructions. My goal in my presentation is to increase your understanding so that you can design your own projects and not not to restrict you to copying standardized patterns.

I added an eBook/PDF and draft package for Radiating Overshot Patterns  – Sunrise, Blooming Leaf, Bow Knot and the Double Bow Knot. These designs include full drafts, profile drafts and woven as drawn-in drafts. This is the link to purchase the draft archive and the instruction ebook: https://historicweaving.com/wordpress/product/radiating-patterns-for-historic-overshot/

The Radiating Patterns ebook shows you how the drafts are related, the Draft Archive catalog details all of the profiles for easy reference to file names, and there are more than 68 drafts in the package. Included are the Lee’s Surrender, Sunrise and Blooming Leaf coverlets drafts. These drafts are the Series IV groups a,b,c and d – radiating patterns. From Mary Atwater’s original work combined with any examples I could find in digital museum collections that had no accompanying drafts with them.

Another bonus item from the American Handweaving Book, when published Mary Atwater made use of black and white photographs of historic coverlets she located in musuems. I have tracked the coverlets down and found color digital images from the current holding Museum’s digital collections. Use this link to download a copy of the original book manuscript and the link overlay to view the color images. https://historicweaving.com/wordpress/product/the-shuttle-craft-book-of-american-handweaving-updated-photo-links-in-pdf-format/

From the Mary Meigs Atwater’s Shuttle Craft Guild – Lessons, lesson 2 which concerns the Honeysuckle draft, I completed a copy of the Sampler Project that she requested as part of the lesson. That lesson encouraged me to create more than 50 unique treadlings to create the sampler assignment from Lesson 2,  I named “Mournin’ Max” to honor the 100th anneversary of death of her husband Maxwell Atwater in 1919, an event that marked the beginning of her full time career in weaving that lasted for the rest of her life. Click on this link for the draft Archive. https://historicweaving.com/wordpress/product/draft-package-for-mournin-max-project/

Current research in the studio

Completion of the documentation of the reticule from the Montana Historical Society Museum. Can be woven on a 4 shaft loom. The structure is Honeysuckle Twill.

A welsh tapestry draft for a 24 shaft loom. Draft is complete, just needs weaving. (“Forget me Not”)

A contemporary version of the Lee’s Surrender draft, using a unit tie weave that can be woven on 6 shafts. In this archive there are colored versions of Lee’s Surrender as found in museum collections.

I am turning my attention to the weaver’s draft books in the United States in the late 1700’s how they got here and the influence they had. I have in my hands access to most of these books and some scholarly research to guide my efforts.

Also I am doing work documenting the drafts for the early Jacquard coverlet designs and determining what designs and motifs can be woven on conventional looms. Those that can not I will be using my drawloom to complete a sample of the designs for posterity.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Response to a question about threading – an opportunity for me to present what happens after you master plain weave.

Here is the Question: I took a two hour one on one class from you about 2 1/2 years ago. My wife and I moved from Helena to Oregon. I have a loom Ashford table 24 inch shaft. I have the eight shafts threaded and order one through eight, 1- through eight, 1- through eight etc. I should have according to the instruction book that came with the loom threaded them one through 8, 7-2, 1-8, 7-2 etc. I am using a lifting pattern which produces a 12. What other lifting patterns can I use given I’ve already threaded the way I have and I have three more towels to complete? Thanks. If this is unclear or too much to answer please let me know.

Straight Threading

Straight Threading

Answer: If I have understood your question well, the illustration that you see entitled straight threading is what you have described as your current threading on your loom. This is the most basic of possible threadings for an eight shaft loom. And I am pleased to report there are a lot of designs that will work for you and your desire to make some great towels.  I will share some of those in a moment.

I would also like to demonstrate the threading you described from the first towel project in the Ashford 8 Shaft projects book. Here the threading that is called for is a “point” threading the lines form a sawtooth or triangular shape. Looking at the difference between the two shapes in a draft (which is what these pictures are) the difference in the threading introduces a point of symmetry in the loom. Every time the threading changes direction it is possible to weave a design that is symmetrical about that point.

Point Threading

Point Threading

Fundamentally,  a straight threading can be used for a number of structures and patterns. They will be controlled by changes in the tie-up – the connection between the thread shaft and the lever on a floor-loom. On a table loom this change is easier because all you will change is the lift-plan (the order in which you press levers to lift the shafts).

In the first example, I have a 8 shaft twill that will be treadled by lifting each shaft in order to match the threading. It will have long floats and it will be weft faced (the blue thread will be dominant) This may not result in a useable towel depending on the thread in your loom. But it is a good exercise for sampling.

Treadling in the second example on the point threading, I will see the mirror image of the threading in the white line. If I change the direction of the treadling at the point I will make an X, the meeting of two triangles. This displays the impact of the point of reflection. Changing the order in which I lift the shafts, changes the design and makes a point of symmetry.

If I wanted a plain weave fabric I would use the following plan: Lift half of the threads on the first weft shot (1,3,5,7), and lift half of the threads on the second shot (2,4,6,8). This is structure 1, and Twill is the second structure. There are a great variety of twills you can generate on a straight threading.  Rather than me list them, I would like to give you the opportunity to experiment.  Here is a draft showing twill blocks that can be alternated with plain weave.

 

Plain Weave

Plain Weave

Plain weave with lift plan

Plain weave with lift plan

Twill blocks with plain weave

Twill blocks with plain weave

This draft may seem complicated at first but let me explain how it is organized. I have illustrated both types of threading you described. A straight threading and a point threading.

Looking at the draft  you will see that there are no triangles on the left side of the threading (straight threading) that is because there are no points of symmetry.

On the right side there are neat little chevrons in the cloth. These occur at the place when the threading turns (a point of symmetry).

Let me also explain that upper right hand corner of the draft. The tie-up. In my example, I have divided the draft into four sections, (areas or blocks). When I do this I can weave different structures at the same time. Its like having two 4 shaft looms working together. In this case I set up the lower left corner to weave a 3-1 twill (over 3 under 1) on shafts one through 4 and a plain weave with threads that are on shafts 5 through 8. In the upper half of the tie up I set the loom up for a plain weave block on shafts 1-4 and a 3-1 twill (with the twill line in the opposite direction)on shafts 5-8.  In English, at any given time one half of the threads will be weaving plain weave and one half will be weaving twill.

Let’s look at the treadling, I began by weaving the first four treadles in sequence:

Shafts being lifted:

1,5,7

2,6,8

3,5,7

4,6,8

This creates a twill line to the down to the right on straight threading and a chevron on the point threading.

The treadling of treadles 5-8 will weave the inverse (opposite) chevron on a point twill in the space where the plain weave was.

While there are many more pattern opportunities available, I would like to invite you to begin to play with the draft. You can fill in any of the four sets of blocks of this 8 x 8 draft in any way you like. You may get more floating threads than are practical, but you can safely see what is happening on the loom.

To keep track of this I would make use of graph paper, or print this little image.  To determine the shafts you will raise on the table loom, every shaft that is marked in black you will raise, you count the shafts from the bottom to the top like the threads, and the treadles are numbered 1 -8 from left to right. Let me know what you have come up with. It is ok to play with colors, and structure, but I would recommend starting with a high contrast, so you can see the interactions of the threads easily. This process is called sampling.

Blank Tie up in Draft

Blank Tie up in Draft

 

 

 

 

 

Update from the Historic Weaver

Weaving Glossary Cover Page

It has been a busy couple of months here at Historic Weaving. There are many changes to report. The biggest of which is what adjustments necessary to continue to carry on my research and the sharing of the information that I learn while weaving.  While we as a country began social distancing, I retreated into my studio which is located in my home. During this time I wove, learned and pondered about what changes are needed to be able to continue moving forward with my mission of sharing my knowledge of weaving and its history with the public.

Prior to the pandemic, I had begun teaching in local adult (continuing) education programs in schools in Gallatin County. I believe that over time I will be once again permitted to continue using this venue, as my class sizes are smaller (maximum of 4 students) and able to meet social distancing requirements (groups smaller than 10). In the process of developing instructional materials for my workshop students I discovered that there was no simple weaving glossary that I could use to get a new weaver started weaving. I have compiled one and have listed it in my shop for download. The fee for this item is modest, only $2. just enough to cover the cost of hosting and the fees to required to accept electronic payment for it.

In my weaving glossary I use pictures where they will have the greatest impact, and have sorted the words into context groupings that will make it easier for people to look them up.

Click here to purchase and download the Weaving Glossary.

 

Weaving in a time of isolation

Weave

Weave

2020 is turning out to be a very interesting year of rapid change. I began the year being recently unemployed/retired from a technology role in a large company. Reason for that at the time was my dear partner in life had taken a hard fall, and I did not know the cause and I was concerned about leaving him on his own all day long. While he insists that he is fine, the truth is he needs support for daily living most especially in advocacy for health care, meal preparation, and long distance transportation. I have since discovered the reason for the fall and am working on resolving the issue with therapy and new custom shoes. Things look promising. And from my current perspective he will continue to require caregiving support on a long term basis.

With the advent of the restrictions caused by the recent pandemic, the total shut down of gatherings of people, 2020 has impacted my dream of introducing patterned hand weaving using 8 shaft table looms to the public as a STEAM curriculum.  As of today, I can not offer instruction via adult education or demonstrations as art and craft fairs.  Nor can I visit schools as they are closed.

I am determined that I will not stop being an artist, even though life can and does often intrude on my artistic endeavors.

Looking at the internet most weavers have returned to their looms in a flurry of creative activity. I can also return to my loom and I have. I also have other artistic interests and talents, and I have decided that I would like to express them as well. I like to illustrate, and to print. I expect that you will be seeing more of this work in the future months as well.

What am I doing? I have decided not to close down the business but to continuing my historic research on the subject of handweaving and personal artistic development in the studio. The project you see here has been woven on my drawloom, I am able to combine both the text and the opphamta structures to create simple looking inspirational pieces. This item is only 3 x 3 in size. I have plans to continue this line of work.

Beaune France - Hotel Dieu

Beaune France – Hotel Dieu

I am continuing to be focused on houses as I was in January. Houses are my mental metaphor when I am making changes in my life structure. The original image that was an inspiration for my illustration can be found here: https://www.britannica.com/place/Beaune. When looking at the roof, it I realized it looks very much like a weaving. I decided to see if I could puzzle out what the weaving draft would look like from the image. I discovered I could weave it structurally using an 8 shaft loom. To get the colors the same as the photo will require the use of a double weave structure, but it can be done.   To prove the draft, I warped it on a 24″ inch table loom and it wove wonderfully.  There is a 60″ x16″ fabric in wool and cotton available for sale as a result of my test.

Let me not forget the “Houses of Encouragement” series either: In this project, I am making use of older patterns and creating new images of houses. The point of which is to encourage us to accept change and to learn how to reorganize our efforts, thinking and hearts to move into the unknown future.

House of Encouragement

House of Encouragement

As of today, I have not figured out where my artistic revenue stream will come from, but I have determined practicing my art helps me to keep my sanity when the rest of the world seems to be losing theirs. When in doubt, now I take up a shuttle, or a pen and create my own imagined beautiful world. My work is not rapid, It’s not supposed to be, the point of the work is to require intense concentration in order to block out the uglies that I do not want to face right now.

I’ll leave it up to you to decide if you want to travel with me on my  journey through time. I am sure a great adventure awaits us just around the next bend in the road.

 

 

 

10 Variations

10 Variations

10 Variations FoldedIt seems like it has taken forever to finish this project and get the drafts posted to the shop. But they are finally finished and ready to share with the world.

The structure used to create these designs is a two tie block weave. I wove these on my AVL which has 24 shafts, but many of the designs can be made with a 4 or 8 or 16 shaft loom.  There are no patterns with more than 16 pattern blocks.

The drafts are designed for weavers using a compu-dobby interface or a table looms using a lift plan. The more complex plans would require more treadles than the average floor loom is equipped with.

Instructions are provided for how the drafts are developed on the Facebook Page – Historic Weaving Group. It can be found in Unit 2.

Click here to purchase the draft package: https://historicweaving.com/wordpress/products-page/weaving_drafts_computer/10-variations-drafts/

The Mournin’ Max Weaver’s Challenge toolkit has arrived.

"Mournin Max"

There are four parts of the “Mournin’ Max” Weaver’s Challenge toolkit.

1. The “Mournin’ Max” – Celebrating 100 years of distance learning in hand weaving. An e-book to telling the story of how and why this project came to be. This book also contains my process notes for the design and weaving of the sampler.

2. The “Mournin’ Max” Weaving Challenge Card Deck – A deck of 108 cards that can support up to 6 weavers undertaking the challenge at the same time. The cards are used to determine the colors and patterns that will need to be woven to complete the challenge. The deck has been configured to require weavers to draft the treadling sequences needed to weave the designs. This deck will need to be ordered via this link: https://makeplayingcards.com/sell/historicweaving (link is live)

3. The “Mournin’ Max” – Sample Draft Package. 78 Draft files with nearly 100 drafts in both Treadle and Lift Plan formats. Files are .wif so they will work in most weaving software packages. These file contain the answers for the bonus draft cards in the “Mournin’ Max” Weaving Challenge Card Deck.

4. The “Mournin’ Max” – Draft Solutions e-book. A 36 page row by row solution guide to the drafting of each of the original 23 sampler rows. Each individual weaver participating in the challenge will need access to this book. It can be used as an introduction to the project, and confirmation that the solution the participant provided matches the original design before weaving the rows into the sampler. This book contains the rules and instructions for setup up of the challenge, the materials needed and loom warping instructions, as well as a hyperlinked introductory weavers glossary and a first lesson in draft reading and development.

The “Mournin’ Max” Weaving challenge can be completed by an individual or as a guild study group or full day workshop.

This is a workshop that I can present with my mobile studio for up to four weavers. The looms will arrive dressed for the challenge and all materials will be included in the workshop fee.

“Mournin’ Max” Sneak Preview

"Mournin Max"

“Mournin’ Max” – by Elizabeth Tritthart

Coming shortly to this website’s store:

The story behind the weaving of “Mournin’ Max”, my summer research and my learning while on the road with my loom.

A collection of the “Mournin’ Max” project overshot drafts for both 4 shaft and 8 shaft looms based on the work of Mary Meigs Atwater. Draft package will be available in .wif files for weavers with weaving software, and pdf format for those that do not have weaving software.

A “Mournin’ Max” Weaving Challenge 108 card deck, and a companion Draft Solutions book. Perfect for a full day guild weave-along or workshop. Designed to introduce weavers to the concept of building a draft from looking at a textile.

Who was Max anyway, and why would someone mourn him?

Mourning Max Sneak Preview

“Mournin’ Max” the story behind the weaving

Draft Solutions Book Cover

Draft Solutions Book Cover

Sample Draft Solution Page

Sample Draft Solution Page

Mournin' Max Weaving Challenge Card Deck

“Mournin’ Max” Weaving Challenge Example

Detail of "Mournin' Max"

Detail of “Mournin’ Max”

Kudos to Go Daddy

Today was a big day in the IT of this domain, I installed the SSL certificate, upgraded my email service to Office 365 (even migrating my email on a MAC), consolidated my domain hosting, and added server malware scanning to the site to make it more secure. Lest you think I’m overly proficient, I did this work with the help of a Go Daddy guide. I am pleased with the outcome.

I’m hosted privately,  backed up,  secured and ready to move forward.

Stay tuned for a new product for weavers just in time for the Holiday season. Hint: (it involves the piece below)

Mournin’ Max – woven by Elizabeth Tritthart

Weave with me. Fall 2019 Workshop and Show Schedule

Access to hand weaving instruction doesn’t get better than this.

Below are some easy times and places to get you started exploring hand weaving this fall.

No experience or loom required, affordable workshop rates, offered through local Adult Education programs.

October 5th – Ennis – “Let’s Get Started Weaving” workshop.  10am -4pm. Reserve through the Ennis Adult Education Program

October 26-27th – Bozeman – Demonstration area in Bozeman Made Fair at the Brick Breeden Field House  – FREE

November 9th – Bozeman – “Let’s Get Started Weaving” workshop. Reserve through the Bozeman Adult Education Program

November 23rd – Bozeman – Demonstration area in Montana Parent Holiday Bazaar  at the GranTree Inn – FREE

Give the gift of weaving for Christmas this year.

Do you have a special someone who loves all things fiber? And you don’t know where to begin to get that unique gift that they will always remember? You can provide them with the ultimate fiber experience, weaving cloth on a loom with a professional weaver as your guide. Both individual and small group opportunities are available. We can meet in my studio, or I can come to you.

Don’t know if they would like to weave or purchase a gift from my studio? A gift certificate can do it all and there no size or colors to worry about.

A gift certificate can do it all, no size or colors to worry about. Click on the certificate amount below for easy purchase using Paypal for secure transactions. $50 Gift Certificate,  $100 Gift Certificate, $200 Gift Certificate

 

 

 

Weave with me newsletter – October 2018

Click here to open Weave with Me Newsletter for October 2018

 

Opportunities for learning about weaving, and weaving with me:

 

Open Studio November 3-4 10:30am -5pm Historic Weaving Studio

MT Parent 5th Annual Holiday Bazaar  November 24th 10am – 4pm at the Gran Tree Inn

Kids/Family Weaving Day: Santa’s Elves  December 8th, 9am -11am or 1pm-3pm

Bozeman Weaver’s Guild Meeting  Saturday, November 17th 11-1pm Bozeman Fire Station 3

Santa’s Workshop for Adults: December 1st, 6pm to 8pm  Historic Weaving Studio

 

 

The backstory on 50 Shades of Gray warp

While trolling around on Pinterest for inspiration, I came across this image. I found it attractive, and classic at the same time. Foolish me, I took note of the image, associated it with other Bauhaus artists that inspire me and got to work thinking about how I could translate this into a woven piece suitable for one of my traveling handlooms. For the next two weeks. I could not make that image come into my feed again.

Little did I know what I had stumbled upon. This was a work of one of the big artists in my era – Sol LeWitt, he was based in New York City , my childhood cultural mecca during the 1960’s and 1970’s. Mom brought us children to the city at least monthly for cultural events, music, art, etc. I grew up thinking everyone went to the Met, MoMA, Carnegie Hall and Radio City Music Hall on a regular basis. It’s what you do when school’s out or on a weekend; take a train, walk the city, come home excited but exhausted.

Turns out Mr. LeWitt and I might have crossed paths as Wikipedia says of him that:

He had an entry-level job as a night receptionist and clerk he took in 1960 at the Museum of Modern Art (MoMA) in New York.

Paragraphs on Conceptual Art LeWitt asserted that Conceptual Art was neither mathematical nor intellectual but intuitive, given that the complexity inherent to transforming an idea into a work of art was fraught with contingencies.[43] LeWitt’s art is not about the singular hand of the artist; it is the idea behind each work that surpass the work itself.

Also come to find out he was also influenced by Josef Albers, a Bauhaus alumni:

Sol LeWitt: Wall Drawing

Seven Basic Colours and all their Combinations in a Square Within a Square

Sol LeWitt dedicated his wall drawing to Josef Albers, whose colour theory and practice was a significant influence on his own development.

Even if LeWitt and Albers are separated by a fundamentally different understanding of their work, what is valid for both artists is their avoidance of any emphatic idea of authorship, their surmounting of any hierarchic model of composition and the way they, in general, objectify the work concept in which a single piece is always part of a long term serial study.

I saw this piece, and instantly set about figuring how a warp like this could be created. I drew a simple draft.

Note, my draft is backwards as the orientation of the work was not most critical in my mind, but the mechanics behind the pattern was. Sol LeWitt increased the black lines by 1 in every block and began his work with a minimum of two blocks. The grid used, was very similar to the one he used for his cubes. Which explains the two black lines around the outside.

From there I decided to build on this pattern principle, I wanted a draft with 200 threads, 10 blocks of 20 threads each and I was home free! Next step was to wind this warp, each set of blocks would require a different number of threads in black and white.

I fashioned my own sectional warping system from a reel that was donated to me by a weaving friend. I used a velvet cantra frame to hold the AVL tension box, and a LeClerc spool rack for the 30 bobbins needed.

Yes, I am an engineer and I think of these types of things often.

I then transferred the warp from the reel to the Ashford Katie loom I was going to weave it on.

I threaded the 8 shafts in a straight threading keeping my options open for structure changes.

The reed in the loom is a 10 dpi read and I sleyed it at two threads per dent. Warp was composed of 10/2 cotton in black and white. One of the first things that I noticed, if the sleying/threading was not correct, all of the black threads would not rise to the top at the same time. This was a clue to go back and double check my work. I found the warp quick to proof in this way.

My first sample was woven in a plain weave with a sett of 20 ends per inch,  half the threads up on each throw of the shuttle. It was easy to start with the white on the left and know which lever to throw with each pass, until you began to add the black. Then I needed to check what the last throw was to determine the next. In my zeal to finish the sample, Ihad abandoned the draft, and resorted to looking and counting. In some ways it was slow going, the piece took about 4 hours to weave only because I made mistakes and had to undo and redo my work. What did I gain from this approach, more of a reliance on what my eyes saw in the cloth versus what the draft said to do. Some of the first steps in design on the loom.

From the photo of the loom you can see I wove this piece outside while camping.

What troubled me about the piece was that it was not square, each block was taller than long, the sett was quite loose for the thread. The loom is only 12 inches wide, lowering the sett was not a practical solution for this loom.

For the second sample I chose to switch to a twill structure which allowed the threads to collapse down on each other a bit more. I measured the block and I was very close to square, I felt it was close enough to continue.

During this weaving I made note that if I was not careful with the levers, and picked a 2&7 combination instead of 2&5, I began to see a log cabin or shadow weave variation appear in the warp. Twice, I needed to unweave large sections of the warp to remove this undesirable optical effect.

Here are the two finished samples side by side:

There was much more I want to weave and try on this warp. But time is short, and I will have to leave it to some of my students to complete.

I am pleased that Sol LeWitt’s work translated so well into weaving. It provides a great study for practicing design principles while on the loom.

I can now see the difference the structure will make in both the range of values, and the size of the pixel.

 

Click here to purchase draft package of the 50 Shades of Grey Challenge. Package includes computerized draft for weaving software .wif file, and non-computerized draft in PDF format, as well as a PDF with pictures detailing the project.