My introduction to rosepath rag rugs was on a room-size loom in Joanne Hall’s magical Montana studio. I was so happy at that moment that I actually cried. It’s no surprise, then, that I relish every opportunity to weave a rosepath rag rug. And even better, to share the joy with other handweavers who may not have tried it yet. Look what came in the mail this week! The March/April 2017 issue of Handwoven, with a project by yours truly–Swedish Rosepath Rag Rug!
Not everyone loves weaving rag rugs. That’s fine. But if you’re a weaver, there is probably something that draws your interest and brings delight. A certain weave structure, silky fibers, fine threads, complex patterns, bold colors. Something. And if you’re not a weaver, there is something else that triggers your pursued interest. Find that spark that ignites joy in you!
Keep a song in your heart. Sing. Sing for joy. Sing praise to the Grand Weaver who put the seed of searching in you. A seed that bursts open with joy when ignited with a spark, and flourishes into something distinguishable. Trust the Lord with all your heart. Your heart will find its melody.
May your heart sing a joyful tune.
If you are interested in weaving rag rugs, take a look at Rag Rug Tips, a new tab at the top of the page.
Those pesky string yarn weft tails! There is a lot of starting and stopping with these mug rugs. Normally, tucking a weft tail back into the shed adds a bit of extra thickness at the selvedge. So, what about this very thick weft? It has the potential to throw everything off balance. A few easy tips help minimize the distortion the thicker weft can cause.
Taming String Yarn Weft Tails
- Begin the thick weft on alternating sides. This will prevent one selvedge from building up more than the other.
- Taper the end of the string yarn, cutting it at a steep angle.
- Starting about 1 3/4″ inside the selvedge, send the shuttle through the shed toward the selvedge, going over or under the outermost warp end. Pull through until almost all of the weft tail is caught.
- In same shed, send the shuttle back through to the other side, aware of encircling the one warp end.
- Beat. (Beat on open shed. Beat again. Change sheds. Beat again.)
- Continue weaving.
- To end the thick weft, leave a 1 3/4″ tail, and taper the end of the string yarn, as before. Lay the tail back in the last shed, going around the outermost warp end. Beat.
Things happen that throw us off balance. From personal celebrations to unexpected losses. Don’t be afraid. Putting trust in the Lord minimizes the inner turmoil. The Lord is my light. He lights my way. What is there to be afraid of? Wholehearted trust in the Lord pushes fearfulness away.
May you walk in a lighted path.
An idea is merely a collection of thoughts until it begins to take shape. Plans, thinking things through, trial and error, sampling, writing, formatting. That’s what it has been for this Plattväv towel kit. The idea to develop a towel kit is taking shape. Finally. River Stripe Towel Set, a Pre-Wound Warp Instructional Kit! I am winding the warps now. I have written the instructions. There are still a few loose ends (obviously a weaver’s term) to take care of, but we’re closer to turning this idea into a real thing. Made especially for adventurous weavers.
If these kits can inspire a few people to weave their own exceptional adventure, I will call this idea a success!
(If you would like to be notified when the kits are ready, no obligation, please send me an email or let me know in the comments below.)
May your best ideas take shape.
Cooks have recipes, builders have blueprints, and handweavers have weaving drafts. There are a few different formats, but all drafts carry the same essential information. There is the tie-up box, the threading pattern, and the treadling sequence. Finally, there’s the drawdown, a graphic representation of how all the threads intersect.
The two formats I see most often are the typical American draft (e.g., Handwoven), and the Swedish draft (e.g., VÄV Magasinet). Many American drafts assume jack looms; whereas, Swedish drafts usually assume counterbalance or countermarch looms. However, any loom can weave from any draft.
As Madelyn van der Hoogt says in The Complete Book of Drafting, “Any tie-up can be used for any type of loom. Discover from the tie-up which shafts must be up and which down for each shed, and do to the loom whatever is required to get them there.”
All the draft formats have this in common: The tie-up box is the starting point. The threading pattern and treadling sequence begin at that point, and go out from there.
The Swedish draft makes perfect sense (remember, of course, I weave on Swedish countermarch looms). I picture the draft as if it is lying flat in front of me.
Becky Ashenden says in the forward to Weave Structures the Swedish Way, “With this orientation of tie-up, treadling, and threading, the draft has a direct relationship to the weaving of the fabric. The tie-up’s location in the lower right-hand corner of the draft allows all other information to match as closely as possible the physical aspects of the loom.”
Here is a comparison of the Swedish and American draft formats:
- Weft drawdown (filled-in squares show lowered warp threads, weft passing over)
- Tie-up is in lower right corner, and uses black squares to designate shafts that sink / white squares for shafts that rise
- Threading is below the drawdown
- Shafts are numbered from back of the loom to front, with the first shaft the furthest from the weaver seated at the loom
- Treadling sequence is on the right, and reads from bottom to top
- Treadles are numbered from right to left
- For a “sinking shed” loom (countermarch or counterbalance loom), use the black squares to tie up sinking shafts
- For a “rising shed loom” (jack loom), use the white squares to tie up rising shafts
- Warp drawdown (filled-in squares show raised warp threads, weft passing under)
- Tie-up is in upper right corner, and uses numerals to designate shafts that rise / white squares for shafts that sink
- Threading is above the drawdown
- Shafts are numbered from front of loom to the back, with the first shaft the closest to the weaver seated at the loom
- Treadling sequence is on the right, and reads from top to bottom
- Treadles are numbered from left to right
- For a “sinking shed” loom (countermarch or counterbalance loom), use the white squares to tie up sinking shafts
- For a “rising shed loom” (jack loom), use the squares with numerals to tie up rising shafts
Similarities between Swedish and American Drafts
- Threading reads right to left
- Squares in the tie-up box represent treadle cords that attach treadles to corresponding shafts
Getzmann, Ulla, and Becky Ashenden. Weave Structures the Swedish Way. Shelburne, MA: Väv Stuga Press, 2006.
Hoogt, Madelyn Van der. The Complete Book of Drafting for Handweavers. Coupeville, WA: Shuttle-Craft Books, 1993.
May you flourish at your loom.
All the best,
This project has been on my mind for a long time. But I purposely waited to begin until I could weave it on my new sweet little loom with a view. Four Decorative Sample Strips, it’s called in The Big Book of Weaving, by Laila Lundell. It includes four-shaft tapestry, as well as weft inlay techniques. Each of the four strips will be a sampling of 8-12 different patterns or techniques. The weft is all linen, in various colors and sizes. Several strands are bundled together and made into butterflies. I have the sections mapped out, but the actual designing is happening at the loom.
The box of vibrant shades of linen that sits by the loom makes me think of the wonderful colors in creation. The Grand Weaver puts an assortment of strands together, making something as only He can. The world belongs to its Maker. We are His. Sometimes we forget that it is not that He is in our universe, it is that we are in His. I love the way He puts an assortment of us together to put a splash of color on His tapestry.
May you enjoy the colors around you.