I spent last week in the greater Brisbane area attending a weaving workshop taught by Kay Faulkner, who is both an expert weaver and an expert teacher.
Over five days our group of four students learned the theory and practice of huck, spot Bronson, Bronson and Swedish lace using beautiful 18/2 Swedish linen.
Kay had warped the looms for us in advance and we rotated between them to make our class samples.
I enjoyed having the opportunity to compare an eight shaft jack loom and an eight shaft Glimåkra countermarche loom. The pressure was on though, as we had five days to make our samples and almost all of the information was new to me. Kay provided correction and guidance on technique. Apparently there is no need for a temple or stretcher when your shuttle technique is correct. All I can say is that my selvages improved over the five days.
Sadly for me every sample I completed had at least one mistake in it, the worst sample being the first I attempted and the one I named The Spot Bronson of Shame. That sample was the first on my steep learning curve and I came away from the course a more informed weaver with a thirst for more learning and more time at the loom.
I would recommend Kay’s workshops to anyone wanting to intensively focus on developing their skills, especially if you have some weaving experience and your goal is technical mastery.
The first towel
My first attempt at rosepath
didn’t yield the results I was expecting. The only thing to do was try again, this time with a series of four tea towels (dish towels) in mind.
I am using 8/4 carpet warp cotton for the warp and weft. The borders are 8/2 cotton doubled. I chose to use 8/4 carpet warp after reading Tom Knisely’s baby blanket project description in Handwoven Magazine (Nov/Dec 2016) where he describes it as a yarn that is cost effective and one that softens with use and washing. I used the 16 epi twill sett that is in the project notes and warped my loom using Osma Tod’s ‘authentic way of weaving rosepath’ draft, detailed in her wonderful book The Joy of Hand Weaving. Her drafts are written for a sinking shed loom and I was glad I noticed that before I started weaving on my jack loom.
Effective but Ugly Pirn Winder
This project had brought different mistakes, new learnings and another first. I am using a boat shuttle for the first time, with paper pirns, wound using Tinkerer’s battery-operated drill. It’s an ugly solution but it seems to be effective. I bought a piece of 3mm brass rod to use as a spindle and am attaching the pirns to the spindle using a small piece of masking tape (painter’s tape.) I’m sure the purists will disapprove but it will do for now. One day I might have a fancy bobbin winder.
The weaving width is 18 inches in the reed and I am weaving each towel to a length of 30 inches under tension. The goal is that each towel will measure 17 by 28 inches after wet finishing and hemming but as I’m still weaving towel #3, I’ll have to get back to you on that one.
By the way, the border element in the first towel pictured above has a mistake (one of many) that is visible if you zoom in on the photo. The second towel has no mistakes that I know of at this stage and the third seems to be coming along nicely.
This rag rag was always intended to be a test. It was the first time I used warp from my big cone of 8/4 cotton rug warp, a first time using a temple (stretcher), a first time finishing a rug with a turned edge and a first time weaving with a rose path threading.
The hemmed ends are a first
- Don’t keep threading after you start feeling tired. You will regret it when you find yourself rethreading the following day.
- Measure twice, cut once. I was two warp threads short. The problem was easily solved with a new length of warp and some washers for weights, but I had to think about how to solve it.
- Using a temple is well worthwhile. No draw in visible this time.
- It’s worth the time sewing strips together for the weft but this only worked well for me with the main pattern 1 1/2 inch strips. The sewn joins on the narrower 1cm strips that I used for the hemmed edges pulled apart under tension.
- Worn out sheets make excellent weft strips. This rug has a combination of worn fabrics (old sheets and shirts) and new fabrics (the dark blue is a remnant and the brown is a never used bed skirt from the op shop.) The worn fabrics packed in better and were less rigid in the finished mat.
- Don’t be frightened to make up your own design. Magazines and books are great but so are your pencil, your calculator and your mind. One of the reasons I bought the huge mill end spool of cotton rug warp was so I could experiment freely without worrying about wasting expensive rug warp.
The rose path threading yielded sections with patterns that remind me of the beach. It’s a lot less formal a look than I had in mind but I like the unstructured look. Having said that, the rose path border patterns I tried to achieve were a total bust. I don’t know what went wrong and I’m keen to try again.
I plan to have a crack at dying the warp next. I like the yellow, but I also like variety.