Tried and True: Rag Rug with Surprising Rosepath Inlay

The first rag rug on this 12/6 cotton warp is well underway. This rug is mostly plain weave, with one simple rosepath repeat every ten centimeters. I am weaving the rosepath motif without tabby between pattern picks. The treadling is 1, 2, 3, 4, 1, 4, 3, 2, 1. The dark brown motif contrasts with the surrounding light-colored plain weave. It almost looks as if a thick chain has been laid across the rug. I transform the otherwise dark rosepath “chains” with a simple bright inlay strip.

Rag rug with rosepath motif.
Rosepath motif stretches across the plain weave surface.

Rosepath with Inlay

  • Weave the first four picks of the rosepath pattern, treadling 1, 2, 3, 4 (or, if using a different treadling sequence, weave up to the center pick).
  • Lay in the center pick (treadle 1, in this example). Wait to beat it in.
How to do rosepath with inlay.
Center pick of the rosepath motif is arched in the shed.
  • Measure and cut the inlay strip to size, tapering the ends.
How to add an inlay strip to rosepath rag rug.
Inlay fabric strip is measured against the weft in the shed and cut to size.
  • Put the inlay strip in the shed, laying it directly on top of the fabric strip already there.
Making a rosepath rag rug with an inlay strip.
By pushing the beater back I can send the inlay fabric strip through the shed with a ski shuttle.
Rag rug with inlay.
Place the inlay fabric strip directly over the fabric strip of the center pick in the motif.
Inlay instructions.
  • Beat in the weft as usual.
One type of inlay on a rag rug.
Both weft layers are beaten in together. The inlay strip stays visible on top.
  • Continue weaving to complete the rosepath pattern, treadling 4, 3, 2, 1 (or, as needed, for a different sequence).
Rosepath with inlay.
Finished rosepath motif.

You can accomplish a similar effect by weaving in a separate fabric strip for the center pick. In that case, cut tapered ends that are long enough to twist and tuck back into the shed. And carry the weft strip from the previous pick up the side.

The inlay method eliminates the extra bulk at the selvedges, and adds a slight thickness to the center pick, helping to give it a raised look. I am leaving the inlay weft tails loose, but you could cut them a little longer and tuck the ends in, if you prefer.

Rag rug with special rosepath motif.
Weft tails are free at the sides, like little flags at the ends of the rosepath rows.
Glimakra Ideal loom--great tool for dreaming up rag rugs!
Glimåkra Ideal loom–great tool for dreaming up rag rugs!

May you experience the simple pleasure of doing something unexpected.

Happy Weaving,
Karen

14 Comments

  • Annie says:

    Beautiful! You explain it so well that I’m adding it to my to do list. Thank you

  • Marjorie Clay says:

    How wide is your Ideal? It looks bigger than mine!

    I admire your weaving so much! I started too late to achieve such mastery, but I love weaving. Warping, not so much! It is still too much of an adventure!

    Marjorie

    • Karen says:

      Hi Marjorie, My Ideal is 100cm (39”). The warp on the loom is almost full weaving width.

      Thank you for the compliment! I’m not that much ahead of you. I was also a very late beginner. So it’s certainly not too late for you to gain mastery in the areas you pursue. Maybe someday I can help you to love warping, too, as part of the whole beautiful process.

      Happy weaving,
      Karen

  • Elisabeth Munkvold says:

    How pretty! I love the variety of colors in the background stripes, too! When you do it this way, is the bright rose path center fabric visible on the back?

    Elisabeth

    • Karen says:

      Hi Elisabeth, I’m using up fabric strips from previous rag rug projects, so I have a mixed assortment that I’m using here. I like the way some of the prints turn out when woven. That center inlay strip really appears only on the top side, except for little bits of color here and there. The reverse side shows the all-brown rosepath motifs, but a little lighter in color because the darkest side of the fabric is facing the top.

      Karen

  • Vida Clyne says:

    You are amazing. such beautiful colours. I made a couple of rag rugs a few years ago but did it the cheap way using old denim jeans that took forever to prepare. I am currently finishing a throw in alpaca and considering what to weave next. so many weaves to explore. I love warping by the way, it is always a challenge to try to get the perfect warp. Thank you for for your inspirational blog.

    • Karen says:

      Hi Vida, I’m very happy that you like these colors! I’m sure your denim rag rugs are terrific. I’d like to make some denim rag rugs some day. Isn’t weaving an exciting field? There’s no end to what we can explore with our looms!! I agree with you about warping. It’s great to have a continual challenge.

      I appreciate your kind words so much!
      All the best,
      Karen

  • Nannette says:

    The loom is waiting a little while longer. There is work to he done on the outside of our primary home and more preparation on the inside of our retirement home.

    I look forward to one home and all my crafts under one roof. And finding a way to keep the wild creatures on the out of the basement.

    Today a coyote walked though the yard. Something to get used to.

    Your weaving provides order in my wild world. It is beautiful and functional.

    Blessings
    Nannette

    • Karen says:

      Hi Nannette, Transitions are challenging. You have a lot to look forward to. We haven’t seen any coyotes on our property, but plenty of other wildlife – armadillos, roadrunners, gray foxes, blackbuck antelope, and so on.

      Making beautiful things that are functional is a huge weaving goal of mine. Thank you for your thoughtful encouragement.

      All the best,
      Karen

  • Very pretty rug Karen!

    Another technique you can use when weaving a single pick of a color is to cut that strip twice the width of the rug plus overlap but only half the width of the other strips. Lay it in the shed with both ends hanging out. Wrap them around the edge thread and arch them back in the same shed, overlapping the tapered ends. I think it is less fussy than trying to tuck the ends in at the edges.
    Jenny

    PS:
    My loom is working fine, although I did have to stop after weaving a bit and fix one shed that went wonky. I have seven of the twelve table napkins woven for our guild exchange. I’m hoping each warp will become easier to set up the treadling.

  • Joan H Harvey says:

    I notice you are using a metal temple on this rug. Do you recommend metal rather than wooden temples for rag rugs?

    • Karen says:

      Hi Joan, I’m glad you asked! I prefer a wooden temple, even for rag rugs, but I don’t have a wooden one the right size for this rug, so I’m using the metal one instead. I like the wooden temple because it is lighter weight, and I can set it closer to the fell line without damaging the beater. The metal temple can gouge the beater if I set it too close to the fell. I’ve done that. Ouch! I guess it’s time for me to order another Glimakra temple. 🙂

      Happy weaving,
      Karen

Leave a Reply


Tapestry Butterflies and Video Tutorial

Wool butterflies are my crayons. I use them to color the spaces of my color-by-number cartoon that’s under the warp. I am using Borgs 6/2 Tuna wool and Borgs 6/1 Fårö wool in this tapestry, combining strands of various colors to get just the right hue, value, and intensity. Getting that right is the hard part. Winding butterflies is the easy part. Especially if you learned it from Joanne Hall, as I did.

Pictorial tapestry beginning.
Start of new tapestry. Butterflies are composed of specific colors to achieve desired results for contrast, shading, and depth.

It is essential to know how to make a good butterfly when you want to weave a tapestry on a big floor loom like this. A good butterfly is compact enough to easily pass through warp ends. And secure enough to stay intact through all those passes. It also needs to have a tail that is simple to extend. A good butterfly never ends up in a knot or a jumble of threads, but instead, gives your hands pure delight as it flows through your fingers to color your tapestry.

Colorful tapestry butterflies.
Detail of colorful tapestry butterflies.
New butterfly is ready to fly in.
New butterfly is ready to find its place in the mix.

This video shows how I make my tapestry butterflies.

May your days be colored with delight.

From the crayon box,
Karen

12 Comments

  • Joyce Lowder says:

    Beautiful colors! 🙂 Nice, simple video. 🙂

  • Charlotte says:

    Good morning, dearest! What a lovely way to start my day…a fresh cup of coffee and your sweet video. I am so thankful that we were able to take Joanne’s workshop. I finally finished my sample and realize how much I like the movement in the cloth. There isn’t a cartoon in mind, for me. But, I hope one day to dream up something and put it on the floor loom.

    Thank you for blessing me with your faithful love and kindness…

    • Karen says:

      Hi Charlotte, I, too, am grateful for that pictorial tapestry workshop! Movement in the cloth is a good way to describe it. It’s such a satisfying way to do tapestry.

      Happy weaving,
      Karen

  • Beth Mullins says:

    Well, isn’t that slick?! Thanks to you and Joanne for sharing this trick!

    • Karen says:

      Hi Beth, It is slick! Before I learned this simple method, my butterflies were nothing but trouble, coming undone and ending up in knots. Something so simple can make a huge difference.

      Have a great day!
      Karen

  • Annie says:

    Thank you for the video on butterflies, Karen! I have tried them from a book illustration and was thoroughly disappointed. They were loose and sloppy so I bought tapestry bobbins instead.
    I am saving this video for a future planned project.

    May you have a blessed day. I am looking forward to seeing what you create with with these butterflies.

    • Karen says:

      Hi Annie, It’s nice to have butterflies that hold together. I had trouble with mine, too, before learning this method.

      This tapestry will give me many hours of enjoyment! I’ll show it little by little.

      All the best,
      Karen

  • Butterflies were used on a cardboard tapestry loom for a 1973 high school art project. The slick wrapping was not taught.

    It would appear there is more to learn, even I areas I was confident..

    Don’t know about West Texas, but after a humid, rainy and sunless Monday..Tuesday is dry and cloudless. Beautiful day! New skill! God is in the heavens today.

    Nannette

    • Karen says:

      Hi Nannette, You have a great memory. It’s sweet that you remember these details from a high school art project.

      In this part of Texas (not quite considered West Texas), sunshine and scattered clouds have been the norm. Every day is a good day!

      Blessings,
      Karen

  • Allison Grove says:

    Thanks for this video. I’ve struggled with using butterflies, but now realize I haven’t been winding the tail end tight enough and too few times. Allison

Leave a Reply


Tried and True: Designing with Fibonacci

Before starting, I sketched out several versions of the finished blanket, showing different sizes and arrangements of the rectangle blocks. My favorite version is one with a random look. This twelve-shaft double weave has three blocks. Block 1 is a solid color across the warp. Block 2 has a narrow, vertical contrasting rectangle. Block 3 has a wide, horizontal contrasting rectangle. The warp threading determines the width of the rectangles. But the height of the rectangles is determined by the treadling pattern. I decided to use a Fibonacci sequence of numbers in random order to guide my treadling options as I weave.

Double weave blanket.
Rectangles vary in size.

Low-Tech Random Fibonacci Sequence

1 Determine the desired range of the Fibonacci sequence. 1, 2, 3, 5, 8, 13

2 Determine the number of repeat options for each block (one repeat is 4 picks per double-weave layer).

  • Block 1, solid color – 2 repeats every time
  • Block 2, narrow rectangle – 2, 3, 5, 8, or 13 repeats
  • Block 3, wide rectangle – 1, 2, 3, or 5 repeats

3 Write each number of the sequence on individual squares of paper. Make three sets of these numbers. 1, 2, 3, 5, 8, 13

4 Fold each paper square in half and place in a container at the loom. Mix thoroughly.

Designing with random Fibonacci numbers. Low tech!
Fibonacci numbers are ready for eyes-closed random selection.

5 Randomly select a paper square to reveal the number of repeats for the next narrow or wide rectangle block.

Fibonacci numbers as design tool.
Assignment for the next rectangle block – three repeats. The lines indicate that this number can be used for Block 2 (narrow, vertical) or Block 3 (wide, horizontal).

For this blanket I have a woven hem and border, and then two repeats of Block 1 (solid color) between alternating Block 2 (narrow) and Block 3 (wide) rectangles of varying heights.

Double weave wool blanket.
Back side has reverse colors.
Double weave Tuna wool blanket.
Block 1 (solid blue across) stays a consistent size between the white rectangles.

Surprise is built in which makes it hard to leave the loom. “Just one more block,” I tell myself…

Double weave blanket. Fibonacci for design.
View of the cloth beam reveals the variety of sizes of rectangles. Eager to see it off the loom!

May you be greeted by random (happy) surprises.

Happy Weaving,
Karen

18 Comments

Leave a Reply


Tried and True: Threading Eight Shafts

Threading four shafts is straightforward because the heddles fit perfectly between four fingers and a thumb. Threading eight shafts is tricky because we don’t have that many fingers! Thankfully, threading eight shafts can be as straightforward as threading four shafts. I like to think of it as four shafts in the back, and four shafts in the front.

For a review of threading four shafts, watch the short video in this post: You Can Prevent Threading Errors.

Threading Eight Shafts – Straight Draw

  • Set a small group of heddles apart on each shaft to prepare for threading the next group of ends.
  • Pick up the next threading group of ends and bring it to the front, on the left side of the separated heddles.
  • Lace the threading group of ends under, over, under, over the fingers of your left hand, palm up.

Threading eight shafts - the easy way.

Left hand becomes tensioning device for threading the heddles. I like to put my index finger in between the two parts of the cross, as separated by the lease sticks.

  • Wrap left hand index finger around the group of heddles on shaft one (the shaft nearest the back of the loom), the middle finger around heddles on shaft two, the ring finger around heddles on shaft three, the pinky around heddles on shaft four, and bring the thumb around to hold it all loosely together.

Threading eight shafts - the easy way.

Each warp end is taken in order from between the lease sticks, and then threaded through the heddles in order.

  • Thread the first four heddles—1, 2, 3, 4.
  • With the right hand, hold the group of warp ends taut, and open the fingers of the left hand to release the heddles.
  • Keeping the group of warp ends loosely laced around the fingers, slide the left hand toward you to thread the next four heddles—5, 6, 7, 8. Position your fingers around the heddles on each shaft, as you did for the first four shafts.

Threading eight shafts - the easy way.

Left hand slides toward the front of the loom to thread the next four heddles. It helps to hold the warp ends taut with the right hand while the left hand is repositioned.

  • After threading the second set of heddles, follow the same procedure as before and slide the left hand back again to thread 1, 2, 3, 4.
  • Continue sliding the left hand forward and back, until the threading is completed for that group of ends.
  • Check the threading group for accuracy, and then tie the group of ends together in a loose slip knot.

Threading eight shafts.

Always check for accuracy before moving on to the next threading group.

Complete the threading across the warp. And then, step back and admire the beauty of a beamed and threaded loom.

Glimakra Standard. Threading the loom.

Shafts are raised high for good access and visibility for threading, and for checking for accuracy.

Threading is complete. 8-shafts undulating twill.

Threading is complete. Cotton throw. 8/2 cotton, undulating (wavy) twill on eight shafts.

May you find efficient methods for the work of your hands.

Happy weaving,
Karen

8 Comments

  • Cynthia says:

    Love those colors, can’t wait to see finished

  • Good morning Karen,

    I really appreciate it when you post photos of your weaving space. It answers many unspoken questions about how to design a work area.

    The space has a tile floor with a rug placed immediately under the loom.

    There are no electronics to be seen.

    The floor is clean of lint.

    Plenty of natural light, with a view.

    Thank you.

    Nannette

    • Karen says:

      Hi Nannette, All of that is correct, except there is no rug under the loom. The loom sits on a square patch of wood floor. The original owners of this house designed that spot specifically for their baby grand piano. Since I don’t have a baby grand, a Glimåkra Standard seems the next best thing.

      After having carpet under my looms, it’s really nice to have a smooth floor under them now. It’s much easier to collect all those dust bunnies that hold meetings under there.

      Happy weaving,
      Karen

  • Annie says:

    Good morning, Karen!
    I am going to print and keep the information on the post since I have plans to order and 12 shaft Louet Delta after Christmas. I haven’t even threaded more than 4 shaft so this post is much needed!
    Thank you so much for sharing yourself with the weaving world. I have learned a great deal from you.
    May your hands always be busy weaving.

    • Karen says:

      Hi Annie, I’m excited for you! You’ll find that there are several ways to do just about everything. It’s good that you are collecting information that you can use for reference later.

      Happy weaving,
      Karen

  • Jean Flores says:

    Exactly how I do it! I just posted a video of me threading last week on Instagram. lol.

Leave a Reply


Tools Day: Band Loom Warping Board

It is almost effortless to make a short warp for the band loom. All you need is a peg at the beginning and a peg at the end. You can use a spoke of the warp beam wheel, for instance, at one end, and the leg of an upside-down stool at the other. I normally use my warping reel, though, for even a simple warp, because the reel is so handy. However, I don’t have my warping reel here at the apartment, so I am turning my band loom into a handy warping board for this band loom project.

Using the Glimakra band loom as a warping board.

Using the Glimåkra band loom to measure a narrow cottolin warp.

How to Use the Band Loom as a Warping Board

Tools and supplies:

  • Glimåkra band loom
  • Thread for weaving a narrow band
  • Basket and/or spool holder(s)
  • Scissors

How to use the band loom as a warping board.

Starting at one peg and ending at another. The band loom becomes a simple tool for winding a short warp.

For a warp of approximately two meters:

  • Put the warp thread on the floor below—quills in a basket, and/or thread tubes on spool holders.
  • Using two or more ends, tie the ends together with an overhand knot. (I used three ends together for this warp.)
  • Bring the warp ends up around the warp beam and over the back beam.
  • Loop the knot on the starting peg.
  • Draw the ends from the starting peg to the ending peg, around the band loom, following this path:
  1. Starting peg–upper heddle peg nearest back beam
  2. Lower heddle peg nearest back beam
  3. Back beam
  4. Warp beam
  5. Cloth beam
  6. Front beam
  7. Lower heddle peg nearest front beam
  8. Ending peg–upper heddle peg nearest front beam
  • Follow the winding path in reverse order back to the starting peg.
  • Continue winding until you have reached the desired number of ends.
  • Cut the ends and tie off at the starting peg or the ending peg.
  • Tie one or two choke ties, if needed. (I didn’t need them for this short warp.)
  • Carefully remove the warp and dress the band loom as usual. (For a tutorial on dressing the band loom, click here: Quiet Friday: Band Loom Warping and Weaving.)
  • Weave to your heart’s content.

Weaving hanging tabs for towels on my Glimakra band loom.

One meter of woven band is cut off. The remaining band warp is tied back on. Weaving can resume at any time.

Preparing to sew handwoven ribbons onto handwoven towels for hanging.

Ends secured, and cut in 10.5 cm lengths, the tabs are ready to be sewn onto the double weave towels.

May you find tools you didn’t know you had.

Happy band weaving,
Karen

8 Comments

Leave a Reply