Lizard Tapestry Disruption

I started the Lizard tapestry right before our big disruption. Selling your house means that every in-process project instantly becomes vulnerable. Yikes! After a sleepless night, I contacted my friend Joanne Hall. Can this weaving be saved? Yes!, she assured me, as she gave me instructions for dismantling the loom.

Getting ready to dismantle loom for relocation.

Yarn supply is packed up, including all the wool butterflies.

Getting ready to dismantle loom for moving.

Cartoon is removed.

Everything is logical about the process. Undo things, tie parts together, take things apart. And I don’t have to cut off the weaving? No. Remove the beam cords from the cloth beam. It’s that simple.

Lamms and treadles removed for moving the loom.

Lamms and treadles have been taken off.

Moving a loom without ruining a tapestry in progress!

Beam cords are removed from the cloth beam.

Removing the warp beam. Relocating the loom.

Steve unscrews a bolster that holds one side of the warp beam so I can remove the warp beam.

Warp beam removed! Hope to put this back together.

Holding the precious bundle!

Taking the loom apart.

Taken apart. Tapestry, reed, and shafts are rolled and bundled up in the fish beach towel.

Now all I have to do is wait

Relocating my loom.

Everything fits in the car, ready for transport.

All the dust has settled, the house transaction is done, and the loom has been re-located and put back together. It’s the first thing you see when you enter our ground-floor apartment.

Getting ready to re-assemble loom.

New location for the loom is in the living room of our apartment.

Simple Swedish loom assembling.

Simple Swedish loom assembling.

Re-assembling my loom after relocating.

Re-attaching the bolster to hold the warp beam.

Re-assembling loom after relocating.

Tapestry in view.

Using a spare heddle as a cord threader.

Spare Texsolv heddle works as a cord threader (I forgot to pack the “real” cord threader) to re-attach the cords on the cloth beam.

What about the Lizard? Can I resume where I left off? Good news: IT WORKED!

Ready to weave after relocating the loom!

Everything is put back together. Beam cords are re-attached. Yarn is unpacked. Warp is tensioned.

Lizard four-shaft tapestry.

Lizard foot grips the breast beam as weaving resumes!

When have you had to wait? Something you dearly long for is unreachable for a while. Waiting for the Lord is always waiting with hope. I trusted my friend’s advice. So, my hope was strong while I waited to see this lizard take shape again. In a similar way, I can trust the Lord when there is a disruption. Wait with strong hope. Wait for the grace to begin again.

May you wait patiently.

Happy Weaving,
Karen

12 Comments

  • Kay Larson says:

    It looks like your move went pretty smoothly. Your tapestry looks so fun. I look forward to seeing completed. I treasure your posts.

    • Karen says:

      Hi Kay, It didn’t feel smooth while we were in the midst of it all, but now that things are relatively quiet again, I guess you’re right— It did go pretty smoothly.

      This tapestry is fun indeed. I’m looking forward to long uninterrupted sessions to enjoy it!

      Thank you for your sweet words.
      Karen

  • Beth Mullins says:

    So glad this worked out for you!

  • Betsy says:

    Joanne is such a help! I took my Julia from TX to WI for a workshop last May and went through the same process using her instructions. At least I didn’t have to worry about a project, just the header had been woven. The Julia gables come apart, so everything fit in a box except the back uprights. So cool.

    I will be looking forward to seeing that lizard emerge further.

    • Karen says:

      Betsy, Sounds like the Julia is a perfect workshop loom! Joanne has a wealth of knowledge and experience. It’s sweet that she is so willing to help.

      This lizard is going to get a lot of my attention in the next few weeks.

      Happy weaving,
      Karen

  • Good morning.
    I set up my new to me home made floor loom at a weekend house. There was 12″ of my first project on it when we decided to sell that house and look for our future retirement home. As it was dismantled each connection was marked with the same number using a sharpie. When it was put back back together 1 was matched up with 1… and so on. Now it is set up to dismantle and take anywhere.

    The people who designed looms were remarkable inspired.

    Blessings to all.

    Nannette

  • Annie says:

    I love the advice to “Wait with strong hope.” There are times when that advice is sorely needed.

    I, also, look forward to hearing about your adventures, Karen. And this one was a big one! It is a good thing that your apartment has a large living room!

    May you enjoy your temporary home.

    • Karen says:

      Hi Annnie, I, too, often need a reminder to wait with strong hope. When things are difficult, hope can begin to waver.

      I don’t know if I would say this apartment has a large living room. The loom takes up a pretty good chunk of it. Fortunately, the room is large enough. 🙂

      All the best,
      Karen

  • Barb says:

    Thank you for for your posts, I have learned so much by reading them. And right now, just what I needed to deal with my own transitions. All the decisions and disruptions related to remodeling, selling a loom, and buying a new loom have been weighing me down. I have my eyes on a used Glimakra Standard, but it’s 1,800 miles away….. The pictures of moving your loom have been very helpful. Perfectly put, I can now wait with strong hope.

    I’m happy that your move has gone so well & you are temporarily settled.

    Thank you!

    • Karen says:

      Hi Barb, I do understand the impact of life transitions. It can be stressful when you’re in the middle of it!

      I’m glad to hear that you are holding onto strong hope. Remember, just about everything is temporary.

      Hugs,
      Karen

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Weave Two Connected Layers

Two layers of cloth exchange places in this double weave structure. One layer of warp is solid deep plum. The other layer has stripes of bold colors. Clean lines occur where the layers switch places. So, with deep plum weft alternating with orange, blue, green, and red weft, we get a message written in clearly-defined blocks: Be invigorated with vibrant color!

Magic of double weave!

Dark plum weft alternates with the blue weft. The reverse side of the fabric has dark plum squares in long vertical color stripes.

Double weave throw. Karen Isenhower

Colors of the warp stripes are used as colors for the weft stripes. As a result, you can see the “pure” colors in a diagonal line–orange, blue, green, red–where the warp and weft colors are the same.

Double weave magic!

Variance in the blocks of colors gives the cloth a dynamic appearance. Not including the dark plum background, there are sixteen different colors of blocks as a result of the four colors being used as warp and weft.

Message. We have a message from heaven. When Jesus came to earth, he not only brought the message, he was the message. Not that we should try to be good like him. Nor that we are already good enough. But that he, the direct link to heaven, would suffer the consequences for all our misdeeds. And rise again. He willingly switched places with us—the great heaven and earth exchange. This good message brings hope and grace to all of us who live on this earthly layer. Thanks to our Grand Weaver’s faithful love, we are woven into a vibrant-color existence through faith, on this layer and the next.

May you see your surroundings in living color.

Joyful weaving,
Karen

11 Comments

  • Meg says:

    This is terribly interesting. The colors are so delicate.

    • Karen says:

      Hi Meg, The contrast between the deep plum and the other colors has a surprising effect. Working with colors never grows old!

      All the best,
      Karen

  • Chris says:

    Hi Karen,
    I love doubleweave, so many interesting effects possible. This is a terrific project.:)
    I am so pleased I discovered your blog.
    Kind regards
    Chris

    • Karen says:

      Hi Chris, Doubleweave is fascinating! This project stretches me—literally, side to side—making it a delightful challenge to weave.

      I’m delighted you found your way here!

      Happy weaving,
      Karen

  • Janet H says:

    This is just beautiful! And timely. I am currently trying to design a similar doubleweave windows draft for a throw and have come across 2 sources that explain the block design differently. I have been trying to work this out in my head, one vs the other, in my planning process and how to apply it. I confuse myself and have had to keep setting it aside and studying it again later. Seeing this post of yours, I just now realized that you have been posting about this same block design all along and your pictures are now helping me work through it. I am planning a gray background with 10-11 shades of blues, greens, purples in the “windows” for the front. I may vary the heights and widths of the windows throughout the throw…haven’t progressed to that decision yet.
    My first source for this project is in the book Loom Controlled Double Weave by Paul R. O’Connor, on pp. 42-43.
    The second source I found online: https://www2.cs.arizona.edu/patterns/weaving/webdocs/opr_8s.pdf pp. 2-4
    The two may actually be the same thing, just explained differently, so I was having a little difficulty figuring it out in my head. In the second, they are using Dark/Light instead of color letters. If I use gray for both the D and L in Block A, I’m thinking it would be the same as O’Connor’s threading. If I used the second threading, and used gray as D and my colors as L throughout, I think it would only change the appearance of the back. Am I right? If I want gray to predominate on both sides, I think I just follow O’Connor’s threading, but I think the second source (using D/L) shows the tie-up in conjunction with the treadling and would be more helpful in setting up my loom.
    I went back through your previous posts about your throw and it appears you used the second approach, the D/L threading in both blocks A and B. I would really like to know what the back of yours looks like, but I still think I want to follow the O’Connor threading. It has been incredibly helpful looking back at your posts at this point in my design process! I feel like a light went on and suddenly it is making sense to me.
    Thank you so much!!

    • Karen says:

      Hi Janet, I haven’t studied doubleweave like you have. The draft I’m using is similar to the one in the arizona.edu file. I don’t have the O’Connor book to reference. The draft I am using is from The Big Book of Weaving, by Laila Lundell, p. 176, if you want to compare it. I wound the warp with 2 ends–plum, plum; and plum, other color. The threading alternates the plum with the other color in the blocks with squares.
      I’ll post a picture of the back in a little bit.

      It’s great when a light comes on like that! Hooray!
      Karen

    • Karen says:

      Janet, Here’s a picture of the back side of the fabric!
      Back side of double weave.

      Karen

  • Janet H says:

    Karen, thank you for the view of the back! I think I understand the difference in the 2 threadings now. I also pulled out another book I have (and forgot to look at–head slap), Doubleweave by Jennifer Moore), and found an example done using the O’Connor threading that also showed how the back looks in that case.
    When I first started my comment above, it was going to be asking you a lot of questions to help me make sense of it all. As I typed, that light kept getting brighter, and I answered most of my own questions before they even got typed, so I ended up with a completely different comment than when I started. So, without even knowing it, you enlightened me! Sorry, I do tend to run on when I get wound up….
    Don’t mistake me for someone that knows what I’m doing. I think I am more of a technician (& perfectionist) than a creative artist, so I have to understand how things work (and then modify them). I do it when I sew also. Unfortunately, it means I spend more time planning (or “studying”) my projects than actually doing them. I would probably learn more if I just dove in and made things, but I guess I’m not made that way.
    I have put a request in to the library for the Lundell book, and I imagine I will end up buying it. As a technician, I am also a collector of resources and tools.
    Love your blog! You are an inspiration.

    • Karen says:

      Janet, There are many different learning styles. It’s great that you understand how you are wired! I think I’m also a technician to some degree. I enjoy systems and knowing how something works, and being able to alter that, too. But I’m also finding that I learn a lot by doing, even when I don’t understand. My mistakes — like the several I’ve made with this project — take me to greater understanding and experience. Learning is a lifelong pursuit. I’m glad about that!

      Karen

  • D’Anne says:

    Love those colors, Karen! The purple becomes a neutral background.

    • Karen says:

      Hi D’Anne, I never would have thought of purple being a neutral, but you’re right. It’s almost like a deeply colored black that sets off the other colors.

      Thanks,
      Karen

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My Four-Shaft Tapestry – Will it Work?

Is this going to work? Yes, I think so. I am testing things out. So far, so good. Can I follow the cartoon? Yes. Do I have a good way to hold the cartoon in place? Yes. And to put the color and value key where I can see it? Yes. Do I have enough yarn in each of the colors, values, and thicknesses that I need? No. I see some gaps, especially in the mid-to-dark value range. I am ordering more yarn today. Is four-shaft tapestry going to be as delightful an experience as I’ve long hoped? Most probably, yes! Word of the day: Yes!

Wool yarns for four-shaft tapestry.

Testing, testing. Blending of yarns, blending of colors, checking value contrasts.

Blending yarn colors and thicknesses for tapestry.

Blending yarn colors and thicknesses gives interesting results. This is practice for some of the background area of the tapestry.

Testing new approach to tapestry weaving.

Finding out if I can follow details on the cartoon. Experimenting with adding floats in places as texture to enhance the design.

Trying out four-shaft tapestry.

Will I be able to handle multiple yarn butterflies? I think so.

Practicing technique for a new tapestry on the Glimakra Ideal loom.

Testing some of the green hues for part of the main subject of the tapestry. Also keeping an eye on selvedges, so they don’t draw in.

Testing various elements before starting the *actual* tapestry.

Plenty of warp is available for practice. I want to test all the critical elements before I start the *actual* tapestry. This tapestry will be woven horizontally.

Words. I am affected by words—spoken by others, and spoken from my own mouth. Grace in our words can be an invitation of kindness and relief to someone who is testing our framework. When Christ’s words dwell in us, the richness of his words affect our being. And then, our words of yes and no are grace-filled bearers of hope.

May you see hope on your horizon.

With hope,
Karen

6 Comments

  • The practice weaving is lovely. Timeless….

    May the fourth be with you– 🙂

    Nannette

  • Joanne Hall says:

    You have a great start on this project. Keep sending us updates. Joanne

    • Karen says:

      Hi Joanne, I’m looking forward to working on this! I will show my progress as it grows!

      Thanks for the encouragement!
      Karen

  • Michele Dixon says:

    I’m interested in how you attached your cartoon to the loom. I’ve never done it on a horizontal loom so I’m not sure what I’ll do when the time comes.

    Love your practice piece. I can’t wait to see what you actually weave.

    • Karen says:

      Hi Michele, Thanks for the idea! I think I’ll do a post in the near future on how I attach the cartoon.

      Happy weaving,
      Karen

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Beauty in Cutting Off

There is beauty in cut threads. They signify completion. Look what has become of these linen threads! Order and sequence, timing and continuity, perseverance and pursuit. Through a weaver’s hands it all adds up to fabric made for a purpose.

Cutting off! Linen threads flow through the reed like a waterfall.

Cutting off! Linen warp ends flow through the reed like a waterfall after the cloth is cut off.

Linen 5-shaft damask. Cutting off!

Cut threads appear as tidy fringe on the stately linen satin damask weave. The warp beam holds the cloth until it is ceremoniously unrolled.

Linen damask weaving, just cut from the loom.

Fabric and warping slats fall to the ground.

Linen fabric just off the loom, ready for finishing.

On the sewing room work table, the completed fabric awaits the finishing process. I will look for and repair errors, secure cut ends with serger stitching, and wet finish the fabric. Then, I will hem them so they can be used as the towels I envisioned from the start.

Father. With God as our Father, we are on the receiving end of the process. Grace and peace, granted from the Father’s hand, shape our lives. And, like a good weaver, our Father makes something beautiful from the threads we offer him. Imagine the day when it may be said of us, “Look what became of the linen threads in the Grand Weaver’s hands!”

May your threads turn into something beautiful.

With joy,
Karen

14 Comments

  • Joyce Lowder says:

    Beautiful tribute to Our Father who IS the Masterweaver! I just finished the second project on my Baby Wolf and it was a major learning experience, so it is a miracle that, as I cut it off, it really became the towels I intended to do! Lessons: (1) Make sure that the warp goes OVER the back beam (2) count the heddles more carefully to avoid need to make repair heddles…which sometimes come loose! (3) Use the right equipment, e.g. raddle that spreads the threads so they are straight. But, they will come off the loom this a.m. I intend to continue doing the back to front warping until I learn it better…and I will do something in plain cloth, with at least some stripes. Thanks to many resources, I have choices! Thank you, Karen, for this timely message! God Bless!

    • Karen says:

      Good Morning, Joyce, I think that you will find that every new warp on the loom is a new learning experience. Congratulations on finding solutions along the way! Neglecting to go over the back beam is a common one-time error. Call it “weaving initiation.” It’s the kind of error you only make one time. 😉
      I don’t use a raddle. Instead, I pre-sley the reed, which is another easy way to spread the warp.

      You are right, you have choices!

      Grace to you, and peace from God our Father.
      Happy weaving,
      Karen

  • Beth Mullins says:

    Goodness! They’re going to be luxurious towels.

    • Karen says:

      Good Morning, Beth! Linen fabric captivates me because of the way it hides and reveals pattern depending on the light. I think that’s why linen works so well for satin damask, with it’s pattern of warp and weft floats. Yes, I guess handwoven linen satin damask is luxury. I feel very fortunate. :-j

      Happy weaving,
      Karen

  • Shari says:

    Yourr weaving is lovely as are your words and writing!

  • Kay Larson says:

    Hi Karen!
    I love your blog. I am just getting back to weaving after a 20 year hiatus. Your words of wisdom have been a great help. Your talking about cutting off the cloth brought to mind a question. What do you do with your loom waste?

    Peaceful Weaving,
    Kay

    • Karen says:

      Hi Kay, Welcome back to the world of weaving! I’m so glad you wandered over here. Great question!!

      Most of the time I discard the thrums (loom waste). However, I cannot get myself to throw away linen. So, I have several short chains of linen thrums hanging in my weaving studio. I have a few other chains of thrums of yarn that was too pretty or too long to justify throwing away. I have used cotton thrums as choke ties, using a few threads bundled together. But I have other choke ties that I prefer to use. There “should” be a good use of thrums, and I’ve heard of a few; but life (and space) is too short to keep everything that “could” be used someday. I did find a draft for linen washcloths that uses linen thrums in the weft. I have that on my list for this year’s weaving, so you’ll see with me how that works out. Who knows, that may open a whole new door for thrums!

      Happy weaving,
      Karen

  • Kathryn says:

    Hello Karen,

    These are so beautiful! Are they going to be dish towels?

    You have inspired me to try this type of weave on my new loom (loom number three and counting)! Do you have a resource for learning how to weave satin damask? Also, what is the weight of the linen you are using and the set?

    I hope you don’t mind me picking you brain:)
    Thank you so much,
    Kathryn

    • Karen says:

      Hi Kathryn, These will be dish towels and/or hand towels.

      Thanks for asking questions! It’s a pleasure to correspond about weaving.

      The warp is 16/2 linen. The weft on two of the towels is 16/1 linen, which makes a nice elegant towel. My husband requested that I make some towels that are not as “sweet and sissy,” that are thicker and more hefty. So the remaining towels have 16/2 linen weft. I will know more after wet finishing, but I think these heftier towels will be very nice. If they end up being too stiff I may not cut them apart, and leave it as a long table runner.

      Weaving this satin damask has been so enjoyable that I have already wound a warp to do it again, with a slightly different pattern. And, I’m doing it in 8/2 cotton this time (with a 65/10 metric reed, 13 epc).

      You need ten shafts and ten treadles for this five-shaft satin in two blocks. I followed the draft and instructions for this from my favorite weaving book, “The Big Book of Weaving,” by Laila Lundell. I am using a 70/10 metric reed, and the sett is 14 ends per cm. With an Imperial reed, comparable would be an 18-dent reed, with 36 ends per inch.

      Happy Weaving,
      Karen

  • Maggie ackerman says:

    Karen, I love these towels. You mentioned that one of the things you do post look is correct mistakes. How do you do this and which mistakes can be corrected off loom. I’m always dismayed upon finding a mistake but have learned that nothing is perfect. Thank you for your blog. I look forward to it.
    Maggie Ackerman

    • Karen says:

      Hi Maggie, You ask a really good question. And you are so right that nothing is perfect. Thankfully, many weaving errors can be corrected off the loom. I think I shall do a blog post when I start fixing the errors on these towels. Thanks for the idea!

      The main kind of errors I’m looking for are skipped threads or floats. These can usually be corrected, but it must be done BEFORE the fabric is washed. I use a blunt needle and needle-weave the matching thread, warp or weft, in the correct path of the weave, starting about an inch before, and going about an inch beyond the errant float. On a tight weave like these towels, I may need to use a magnifier to see what I’m doing.

      The other kind of error that I want to take care of is a loop at the selvedge. Depending on the size of the loop, there are a couple ways I handle this. Either, cut the loop and sew it back into the fabric, or needle-weave in a new thread entirely. …or, just leave it and hope it will shrink in enough in the wash.

      I hope this helps! Look for a blog post on the subject in the next couple weeks.

      Happy weaving,
      Karen

  • Martha says:

    Such lovely towels, I adore the colors and the draft.

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How Many Square Knots?

Would you like to tie 1,890 knots? These rag rugs have more warp ends than usual. Every four warp ends are tied into a square knot, and pulled tight. With 756 ends and five rugs, the knots add up! But it’s the best way I know to make the rug permanently secure. Hand-stitched hems will finalize the process. Three of the five spaced rep rugs are finished and hemmed. Two to go.

Rag rug finishing. Tying square knots.

Four warp ends are tied into a square knot. Plastic quilters clip keeps tied ends out of the way.

Tying knots on rag rug warp ends.

Sacking needles are used for easing the warp ends out of the scrap weft, and for wrapping the thread around to tie tight knots, as shown in this short video: Quick Tip: Square Knots Without Blisters.

Finishing work for rag rugs.

Progress.

Christmas is about a heavenly promise. Jesus is the promise of God. Jesus—the word of God in person. The promise of God is as near as our own mouths and our own hearts—we say it and believe it. The promise is brought to us by grace, which means all the knots have been tied for us, and the hem is stitched. It is finished. And we enjoy the permanent security of the Savior’s redemptive love. This is no magic carpet, but a handwoven rug with rags that have been made beautiful.

May you enjoy a promise fulfilled.

Have a grace-filled Christmas,
Karen

8 Comments

  • Beth Mullins says:

    That’s a lot of knots! Wondering, since the hems will be turned under could the ends be secured with machine zig zag stitching?

    Merry Christmas, Karen! Thank you for bringing me joy with your posts. I look forward to seeing them.

    • Karen says:

      Hi Beth, I have tried machine zig-zag stitching on some smaller pieces. It’s tricky to get the zig-zag stitches to catch every warp end. But you have a good point. That would certainly shorten the finishing time! I should do some experiments with that.

      It’s such a treat for me to know that you enjoy these posts!
      Merry Christmas to you,
      Karen

      • Karen, if you are worrying about catching every thread with the zig-zag, a row or two of close straight stitch would work. Personally, I use my serger, set with a closer than usual stitch, but not every weaver has one. It is much faster with either method.

        The only time I tied knots like you are doing was when I was binding the ends with a cloth binding. That many knots does give sore fingers!

        I enjoy your posts and your witness messages.

        • Karen says:

          Hi Jenny, Thanks for the pointer about using straight stitches or a serger. The Swedish weaving books that I have instruct to tie knots, so I’ve been following those guidelines. I always appreciate hearing other efficient ways to do things!

          Have a good Christmas!
          Karen

  • Annie Lancaster says:

    I learn so much from you, Karen, both weaving wisdom and spiritual wisdom.

    I am planning to attempt my first rag rug in January. I have already warped my Rigid Heddle loom but I am waiting for January when Ashford will have a Freedom roller available for me to roll the bulky cloth onto the front beam. I am both excited and apprehensive about the new challenge.

    Thank you for sharing your rag rug tips.
    Merry Christmas, Karen!

    • Karen says:

      Hi Annie, I knew I wanted to weave rag rugs long before I had a floor loom on which to weave them. So, my first rag weaving was on my 32” Beka rigid heddle loom. I didn’t exactly make a rug, but some rag-woven fabric that I turned into little pocketbooks and things.

      I predict you are really going to enjoy the experience!

      Your kind words mean so much to me.
      Merry Christmas,
      Karen

  • Joanna says:

    I just employed an earlier tip, the treadle adjustment cheat sheet, and it’s exceptionally helpful in keeping me on the right treadle. Like so many others, I eagerly look forward to your posts and not just for the weaving tips. Due to a health issue I must avoid large groups so your loving words about our Lord are a major source of spiritual comfort. Thanks for everything!

    May He who gave Light to the world bring you joy this Christmastide.

    • Karen says:

      Hi Joanna, I’m touched by your kind thoughts. It is very satisfying to hear that my weaving tips and spiritual insights fall into welcoming hearts.

      Joy to you,
      Karen

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