Stained Glass Scarf Surprise!

A pleasant surprise arrived in the mail this week—the November/December 2018 issue of Handwoven magazine. Guess what?! My Stained Glass Scarf made it to the front cover!

Stained Glass scarf warp - brilliant blue!

Four shades of blue are carefully arranged to make a brilliant blue 8/2 cotton warp.

Stained Glass scarf - on the cover of Handwoven Nov/Dec 2018.

Two scarves. I wove one to keep, and one to send to the Handwoven editorial team.

Stained Glass scarf/wrap in Handwoven Nov/Dec 2018

Swedish lace adapted from a draft by Else Regensteiner in The Art of Weaving. Her draft was for a tablecloth. I made it into a scarf/wrap instead.

Stained Glass scarf from Handwoven Nov/Dec 2018

Twisting the fringe. This cotton scarf/wrap calls for fringe that is a little bit chunky. I feel like I’m dressed and ready for fun when I wear it!

Handwoven Nov/Dec 2018 - Stained Glass scarf on the cover!

Credit: Cover Photograph by George Boe from Handwoven November/December 2018 magazine. Copyright © F+W Media 2018. Photograph of magazine by Eddie Fernandez.

May your day be filled with pleasant surprises.

Happy Weaving,
Karen

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Double Weave Throw – Take Two

Nothing about the original draft is incorrect, but when I wrote it in pencil on my planning sheet, I transposed one. little. thing. The threading key. “X = plum; black square = other colors.” Exact opposite of what is written in the draft from The Big Book of Weaving, by Laila Lundell. (See When You Misread the Threading Draft, where I discover my dilemma.)

One little mistake. Big consequences.

Blind to my own mistake, even as I double check my handwritten draft.

Thanks to Fiberworks weaving software I am working out a solution. I adjusted the tie-up, so the treadle tie-ups on the first, third, fifth, and seventh shafts trade places with the tie-ups on the second, fourth, sixth, and eighth shafts. It works. And now, the one little threading error that is clearly visible seems like a breeze to correct!

Ready to weave a cotton double weave throw.

Tie-up adjustments bring the correct warp ends to the surface. Solid stripes of color are set to produce the desired design when woven.

One threading error. No big deal at this point.

One blue warp end stands out like a sore thumb. I’m glad to find this one threading error at this stage in the process.

There are times when my whole perspective needs an adjustment. It’s time for love. Love adjusts our view. At the heart level, love brings about changes in us. It re-sets our attention and motivations. Because God loved us, we can love, too. We don’t see, understand, or know everything now, which shows how incomplete we humans are. But the love that heaven knows is something we get to participate in here and now. Our cloth is far from perfected, but our love adjustments give us a glimpse of cloth from another realm.

May you make necessary adjustments.

Love,
Karen

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Eight Bouts Is Enough

A zillion threads—2,064 ends, to be exact. I wound the warp in four bouts. And then, …a sinking feeling! I had wound each bout with exactly half the ends needed. This double weave throw, almost the full weaving width of the loom, needs 1,032 more ends.

Winding a colorful warp.

Winding one bout of the warp.

One warp bout of several.

One bout.

Warp bouts.

Two bouts.

Warp bouts for double weave throw.

Three bouts.

Four warp bouts for double weave throw.

Four bouts. Not enough.

I had counted ends as if there were only one layer. I did all four bouts that way. Yikes! Now I am winding four more identical bouts. I will put the lease sticks through all eight bouts. Somehow. Thoughtful study of the details on my planning sheet would have prevented this major error. But I knew what I was doing, and could remember the important things. Or, so I thought. And I was eager to get started…

Winding a cotton warp.

Winding more warp bouts.

Double weave warp with 2,064 threads!

Eight warp bouts. Ready to begin dressing the loom.

Walk. How we walk through life matters. To walk in a manner pleasing to God we need to know what he wants, and give that our full attention. If I run ahead, eager for the next experience, and neglect to consult the Grand Weaver’s project notes, I’m asking for trouble. The vibrant-colored warp will still get on the loom, but this is called learning the hard way.

May you learn most things the easy way.

Learning,
Karen

4 Comments

  • Annie says:

    Oh, Karen! That is the hard way! Your perseverance is so admirable!

    I can definitely relate to this lesson in life and in weaving. It seems I frequently don’t pay enough attention to the Holy Spirit ‘s direction or pattern directions. One benefit of learning the hard way, though, is same mistakes are rarely made.

    I love all the colors I see. I am looking forward to seeing the work in progress.

    Have a blessed day, Karen.

    • Karen says:

      Hi Annie, Sometimes I wish I could go back a little in time and do it correctly from the start. With weaving, fortunately, if something can’t be undone it usually can be fixed. I don’t want all those threads to fail. I have too much invested in it—time and $.

      I think I can safely say I will never make this mistake again!

      Listening to the Holy Spirit’s directions is one of the most important lessons in life.

      Thanks so much for your input!
      Karen

  • Barb says:

    Your post is so timely! Something was wrong with my scarf project, it just didn’t look right. Eager to get going, I started weaving. It soon became apparent that the sett was wrong. Off it came & I re-sleyed. I read your post and thought I should read the draft & instructions again before I started weaving. It was an ‘aha’ moment, I was not treadling correctly either.

    Thank you for sharing your insights!

    • Karen says:

      Hi Barb, These mistakes can happen so easily when we are eager to get started. They are just as easily avoided if we slow down enough to review our own information. Hopefully, we are learning to not make the same mistake again! We can be an encouragement to each other!

      Happy weaving,
      Karen

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Bold Color and Weave

Remember the placemats I started on my Texas hill country loom in Colors on Trial? The pattern in the fabric looks nice and pretty. But it doesn’t display the striking color-and-weave effect that I expected. The problem is not the threading, nor the colors.

Color and weave using single weft instead of doubled weft.

Nice and pretty, but lacking the boldness of the planned color-and-weave effect.

Aha! I overlooked an important detail on the treadling draft—the weft is supposed to be doubled. That changes everything! Since there is very little excess warp for this project I need to back up and start over.

Backing up the weaving. Clipping through weft threads. Yikes!

Backing up. After loosening warp tension, I carefully clip the weft threads down the center of the warp. I go at a snail’s pace to avoid accidentally snipping any warp ends.

Backing up. Weft removal, one pick at a time.

Removal, one pick at a time. I press the treadles in reverse order to pull out each row of weft threads.

Weft has been removed. Now ready to start over!

Back to the start. Sufficient weft has been removed. Now I am ready to start over.

I am losing the nice and pretty fabric. But it is being replaced with something better—fabric with a bold color-and-weave effect.

Two double-bobbin shuttles with color and weave.

This is the color-and-weave effect I was looking for! Two double-bobbin shuttles carry the weft threads.

Color and weave for placemats.

First placemat is a “Joseph’s coat” combination of colors. Bold color-and-weave effect has a striking pattern.

I would like my life to be nice and pretty, easy and comfortable. But if I get closer to the Grand Weaver’s intentions, I see something different—a bold strength of purpose. Not necessarily easy. God’s will is better than mine. When we aim to understand his will, we see details that we’ve overlooked. It affects how we walk through life. We take his doubled weft threads to replace our well-meaning attempts. The result is a beautiful display of striking life-changing effects.

May you be mindful of the important details.

With you,
Karen

8 Comments

  • Annie says:

    I love your analogy and courage to cut out all that work. It did look nice before but wow! Such a great difference with such a small change. An encouragement to make small changes in life as they may lead to great overall improvements.

    Have a great day, Karen!

  • Cynthia says:

    Hi Karen, I used to work for your husband in Tulsa. Love your work. My cousin weaves and I have shared your blog with her, she sure enjoys.

  • Ruth says:

    Good Morning Karen,
    Thanks for sharing your technique for unweaving. To correct mistakes I’ve literally thrown the shuttle across my warp threads to take back many inches of weaving. This seems a much gentler way to save a warp. I like your calm approach to correcting an error and enjoying the outcome. Blessings to you and yours, Ruth

    • Karen says:

      Hi Ruth, I do think removing the weft this way is less damaging to the warp. Even if I don’t clip through the center, I usually cut the weft and pull it out rather than send it back with the shuttle if it’s more than one or two picks. This is especially important if the warp is linen, which is much more susceptible to breakage from abrasion than this cotton warp I have here.

      One thing I enjoy about weaving is that just about anything can be corrected!

      Happy weaving,
      Karen

  • SM says:

    These are, as all your projects are, beautiful! Is this a little like doubleweave? You see the back on the front and the front on the back?

    • Karen says:

      Hi SM, I appreciate your sweet compliment!

      This is much simpler than double weave. This is actually plain weave with two treadles. It’s the arrangement of stripes in warp and weft that give it visual complexity. This fabric is the same on front and back. It’s amazing what can happen with color and weave!

      Happy weaving,
      Karen

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Counting at the Cross

I am winding a lovely all-blue warp on my warping reel. When I pause, as I do regularly to count the ends, it is easy to put the winding on hold. I tuck the pair of warp ends under a section of wound warp at one of the vertical posts of the reel. That holds it, and keeps threads under tension until I’m ready to continue where I left off.

Winding a warp on a warping reel.

Pair of warp ends are held secure while I stop to count another section of ends.

I stop after winding each section. I do the counting at the cross, always counting twice. A long twisted cord (one of my choke ties) marks my place, section by section. The count needs to be an exact match, of course, with the number of ends in the pattern draft.

Counting warp ends as I wind a warp on the warping reel.

Long twisted cord helps keep track of how many ends have been counted.

Cotton warp just beamed.

After the warp is beamed, each section is counted again to prepare for threading the loom.

The Christmas season reminds us that Jesus brought grace to earth. From manger to cross. The grace of the Lord Jesus is perfectly complete. Like a planned warp, there is nothing more to add. All the threads have been counted. And they match the divine plan. Any threads of my own effort would be threads that don’t belong. The grace of forgiveness comes purely as a gift.

May your counted ends match the pattern.

Christmas blessings,
Karen

7 Comments

  • Martha says:

    Beautiful blue warp! Love your warping reel, how many yards does it hold?

    • Karen says:

      Hi Martha, This is a Glimakra warping reel, 8′ in diameter. I’m not positive how many yards it will hold, but I’m guessing probably 14-15 yards. So far, my longest warps have been about 10-12 yards. The reel works great, and I really enjoy winding warps on it.

      Karen

  • D’Anne says:

    What a lovely warp! Can’t wait to see what you’ll do with it!

  • S says:

    I really enjoy reading your blog and appreciate the time you take to write it. I have a question, too: I’ve read where you mention “counting the sections” several times for threading. What do you mean by that? What sections are you counting? Are they sections of the threading draft, and if so, how do I know what a section is on the draft?

    • Karen says:

      Hi S, That is a good clarifying question. Thanks for asking!

      What I mean by “section” is a pre-determined number of warp ends. In the case of this warp, there are regular color changes with a certain number of threads in each color, so I am counting sections of color. Many projects have all one color warp, or colors distributed in various ways. In those cases, I decide how many threads to count at a time–maybe 40, or 50–and that number of warp ends will make a “section” for counting purposes. The number of threads in a “section” doesn’t necessarily relate to the threading draft, except, of course, that the total number of warp ends must match up.

      Happy weaving,
      Karen

  • S says:

    Thank you! That makes sense and I’m going to incorporate that into my warping process. Cheers!

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