Christmas Weaving Promise

This is the third and final gift promise from last Christmas. A Cornflower and Willow 8/2 cotton warp will become a throw in wavy (undulating) twill for my daughter-in-law Lindsay. I am hopeful that I will be able to finish it before Christmas. As promised. (See Weaving a Gift.)

Winding a warp with pretty Willow and Cornflower 8/2 cotton.

Winding the warp on the warping reel. Willow and Cornflower 8/2 cotton.

Warping reel. 8/2 cotton warp.

Second of four bouts for this warp.

8/2 cotton warp chain. A pretty way to start a project!

Warp chains are such a pretty way to start a project.

May you make and keep good promises.

Happy weaving,
Karen

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Tools Day: Cartoon Trials

Making a cartoon for a lizard tapestry this size is quite a process. First, I enlarge the photograph. Then, I trace the outlines of the details onto a sheet of clear acetate. Next, to make the cartoon, I trace the bold Sharpie lines of the acetate image onto interfacing material meant for pattern making. But next time, it will be different.

Tracing photograph to make a tapestry cartoon.

Tracing outlines from the enlarged photograph onto the sheet of acetate. Photo image on the iPad helps clarify which distinctive lines to draw.

Making a tapestry cartoon.

White poster board under the acetate makes the Sharpie lines visible. The interfacing material lays on top of the acetate so I can trace the lines to make my cartoon.

I don’t plan to use this interfacing material again for a cartoon. It is not stiff enough. As the tapestry progresses it becomes more and more difficult to keep the cartoon from puckering and creasing in places. A better option would have been stiffer buckram, like I used for my transparencies. (See – Quiet Friday: Painting with Yarn and Animated Images.) But I am not able to find buckram in sufficient width.

Unwanted creases in the tapestry cartoon.

Interfacing material is susceptible to puckers and creases. Unevenness in the cartoon can result in a distorted woven image on the tapestry.

After I finished weaving the lizard portion of the tapestry, I decided to experiment. I removed the interfacing cartoon and switched to the acetate sheet instead. There’s no puckering with this one! It is much easier to line up the cartoon with the weaving. It has drawbacks, though. Noisy! When I beat in the weft it makes thunderstorm sound effects. (Not so great for our temporary apartment life.) It’s also harder to see the cartoon lines. And the magnets I use to hold the cartoon slip out of place too easily.

Using a sheet of acetate for a tapestry cartoon.

Slat holds the cartoon up to the warp. To beat the weft, I move the slat out of the way of the beater, just under the fell line. The sheet of plastic would be a good prop for making sounds effects for a film about a thunderstorm.

Next time... White paper, like the gorgeous tapestry cartoon I have seen in Joanne Hall’s studio. That’s what I’ll use. Next time

Joanne Hall and her tapestry cartoon!

Joanne Hall in her Montana studio. This is the cartoon she made for her impressive Bluebonnets tapestry that hangs on display in a Dallas hospital.

May you learn from your experiments.

All the best,
Karen

2 Comments

  • Good morning Karen,

    My interest is always drawn to how things work. Tapestry is not an easy medium to work in. But, oh… Such beautiful results.

    Could the widths of the buckram be spliced together?

    May you continue to find new paths to explore.

    Nannette

    • Karen says:

      Hi Nannette, Yes, in hindsight I could have used the buckram crossways, and continued the pattern across the separate pieces. The other advantage I see with the paper is the ability to color the design, and work from that. I’d like to try that.

      Karen

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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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Final Batch of Butterflies

That last little bit of lizard toe? It’s long gone. This week I am making significant progress on the tapestry. My pace is picking up and the end is in view. What a joy ride this has been!

Last tip of a green lizard toe at the breast beam.

Last tip of a green lizard toe makes its way around the breast beam.

Coming to the end of this lizard tapestry!

End of the measure tape is in view.

I am closing in on the final ten centimeters. That means it’s time to evaluate the ten centimeters just passed. And to make a few more butterflies, enough to take me all the way to the end.

Four-shaft tapestry. Butterflies are prepared for each new section.

Butterflies are prepared in advance for each ten centimeters of weaving.

Forgiven people forgive. Think of forgiveness as the lavish supply of yarn that’s been given us through the name of Jesus. There is no shortage. And we make our butterflies from that supply. People fail us, disappoint, and even do damage. Being ready to forgive is like making butterflies in advance. Thankfully, our small wool butterflies are close at hand for us to weave grace in the moment it is needed.

May you have a lavish supply.

Love,
Karen

9 Comments

  • Beth Mullins says:

    I cannot wait to see this off the loom!

  • Marjorie Clay says:

    How many hours a week do you spend weaving, on average? I’m trying to weave more and think/read about weaving less! I need a role model!!

    Marjorie

    I’m really excited to see this piece off the loom. Though I’ve followed all of your posts, the image I have of the entire piece is very vague!!

    • Karen says:

      Hi Marjorie, I probably average about 1-2 hours at the loom a day. I always wish I had more hours to spend weaving. I try to do all my chores and other responsibilities first in the day, because once I sit down at the loom I don’t want to leave. And, any day without weaving feels incomplete.
      I do track my weaving time on an app–it says I spent right about 14 hours weaving this past week.

      I have the printed image by my loom as I weave, and I still have a hard time reconciling what I see on the loom to that complete image. I’m super eager to see it rolled out!

      Happy weaving,
      Karen

  • D’Anne says:

    I’m looking forward to seeing the finished tapestry. It will be wonderful, i’ Sure!

  • It is exciting anticipating the completion.

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Quiet Friday: Threads of Love

Talk about thick and thirsty towels! Double weave makes these hand towels thick. And the linen in the cottolin threads makes them highly absorbent. The colors are fantastic together. When our daughter Melody moves with her little family to Chile, she can set up her new home with these made-for-her towels. My love is woven into every single pick.

I have included two short little videos just for the fun of it. Enjoy!

This project started in my weaving studio in our Houston home, where I beamed the warp.

Colors for Towels

Winding a warp for double weave towels.

Beaming the warp for towels.

And then we decided to move! We sold the house and moved into an apartment. The big loom was dismantled, with the towel warp on the back beam. Then, we moved all the pieces to our Texas hill country home.

Dismantled loom for moving.

Moving a Glimakra Standard loom.

Putting the Glimakra Standard loom back together.

Recently, I spent a week there to finish dressing the loom and weave all four towels. Whew! (Here’s what I did that week: Testing Color Surprises with My Little Helper and Weaving Deadline)

Threading 12 shafts. Double weave towels coming!

Lower lamms ready to go!

Starting the hem on double weave towels.

Double weave cottolin towels on 12 shafts. Karen Isenhower

From the back beam. Double weave on 12 shafts.

Double weave towels. Loom with a view!

Squares in a double weave towel.

Towels on the cloth beam. Karen Isenhower

Double weave towels on the loom.

Double weave cottolin towels on the loom. Karen Isenhower

Towels on the cloth beam.

Glimakra Standard loom in Texas hill country.

Cutting off!

Cutting off! Double weave towels.

Fresh double weave towels, ready for finishing.

I wove hanging tabs on my band loom. And I discovered that I could showcase both sides of the colorful towel if I stitch the hanging tab on the side of the towel, off center.

Glimakra band loom.

Hanging tabs for towels woven on Glimakra band loom.

Hanging tab stitched to side of towel.

The towels are hemmed and pressed, ready to brighten the day!

Double Weave cottolin towels. Side A.

Double weave cottolin towels. Side B.

Double weave cottolin towels! Karen Isenhower

Cottolin towels, hanging from the side. More pics on the blog.

May you put threads of love into everything you do.

Love,
Karen

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