Lizard in Black and White

Some things are better seen without color. Hence, an enlarged version of my lizard in black and white. Variances in value are not as easily discerned in the full-color print. These subtle value distinctions bring realism to the lizard tapestry. For this reason, I sort all the yarn into small groups of color and value, which clarifies my choices for each wool butterfly.

Lizard portrait in black and white for tapestry project.

Lizard portrait in black and white shows nuances in color value.

Yarn Sorting Process:
1. Select yarn colors for the tapestry.

2. Group like colors together.

Sorting wool yarn for a tapestry. Tutorial.

Wool yarn, much of which has been accumulated from previous projects.

For each color group (I have seven color groups):
1. Arrange yarn on a white background in value order, from light to dark. Take a picture.

Arranging yarn by color value for tapestry.

Green, from light to dark.

2. Take another picture using the smart phone black and white setting (“Noir” in the filters on my iPhone).

Yarn in order by value. Blog post explanation.

Photo shows that a couple adjustments are needed for the yarn-value order.

3. Adjust yarn to make value order corrections.

Yarn in order by color value. Suggestions on blog post.

Adjustments made.

4. Divide the yarn into three value sections. 1. light, 2. medium, 3. dark.
5. Label baskets to hold each yarn section; i.e., “G 3” for green, dark.

The preparation for a project like this is immense. And tedious. But this is a weaving adventure. Indeed, the results may very well be astounding. That’s my hope.

Yarn for tapestry sorted by color and value. Tutorial.

Little baskets of yarn next to the loom, sorted by color and value.

Life itself is a full color project. Immense and tedious. Rise above these earthly things. Our Grand Weaver sees the value distinctions that we miss with our natural eye. What hope this gives! Trusting him through this real life adventure brings assurance of astounding results. Setting my mind on these “above” things turns troubles into treasures whose values will be evident in the final real tapestry.

May you persevere.

With you,
Karen

4 Comments

  • Annie says:

    I like the reminder of value distinction. I think it is hard to remember or believe that a life lived in quiet, following Christ teachings has just as much value as the life lived containing one grandeous moment of self sacrifice.

  • Now we know why the art teachers insisted on pencil before pastels.
    What a great visual. Thank you.

    I am going to step out of topic and call on you and your readers to pray for all who share the roads. We lost a young man the day before Fathers’ day. A woman turned left into his Harley. She was trying to go onto a highway on-ramp. Late morning… dry pavement… sun out… mind not paying attention to oncoming traffic.

    Please add all people in their daily travels to your prayers and care on the roads. His death shattered 3 families.

    • Karen says:

      Dear Nannette, That’s a heartbreaking loss. May you and the three shattered families find comfort in the Lord’s embrace.

      Karen

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Glorious Weft Leftovers

I didn’t know it could look like this. The pleasant color interaction is astounding! Had I known, I may have woven the whole throw in this manner. This is the end of the warp, after 16 centimeters for the sample, 166 centimeters for the throw, and 50 centimeters for the lap blanket.

Double weave throw on the loom.

For the lap blanket I am spacing the blocks differently than for the throw. The deep plum weft has narrow and wider stripes that separate the squares into groups of three.

An ending sample is a perfect opportunity to use up weft left on the quills, and even some quills of 8/2 cotton left over from other projects. When the dark plum quill empties, others colors take its place. I put the colors one right after the other, without the dark plum separating them into squares. The fabric image that appears in front of me is mesmerizing!

Double weave sample on the loom. May be my favorite sample yet!

Softer color transitions are made by eliminating the deep plum weft stripes between colors.

Double weave sample. Karen Isenhower

Cutting off! Double weave in 8/2 cotton.

Back of fabric highlights the warp stripes, with deep plum squares. Now, for the finishing work!

Image. What we do with what we know contributes to the image of who we are. When we trust in Christ, who is the image of the invisible God, our image is renovated. We are renewed in our knowledge, aligning our image with God. What a magnificent thought! How differently we might live if we only knew how glorious the outcome will be. The Grand Weaver turns our leftover weft into his astounding masterpiece.

May you find glorious surprises in your leftover threads.

Happy weaving,
Karen

8 Comments

  • Rachel Lohman says:

    The joy of color is like being a little kid and opening your first big box of Crayons and seeing all the lovely colors – breathtaking! Thank you for that memory! Love your pieces – love your God references! Have a joyful day as you began mine!

    • Karen says:

      Hi Rachel, Yes, it is very much like that cherished box of crayons! Color seems to be an outward expression of joy.

      Thanks for your uplifting words!
      Karen

  • Karen, my first thought when seeing your final photos was that of crayons. We may be happy with the box of 24, but God gives us so many more colors if we open ourselves to Him. Your Weaving is lovely.

    Would you mind if I use part of your ending message to send to a friend soon undergoing cancer surgery to her jaw? You have such a great way with words.
    Jenny

    • Karen says:

      Jenny, Your thought about opening ourselves up to God’s abundant colors, instead of thinking our 24 is all there is, really gave me something to think about. Thank you!!

      I am honored any time you find something here you would like to share. Please do!

      Touched,
      Karen

  • 5 colors. So many variations. God is good.
    Nannette

  • Annie says:

    Quite an astounding difference! I, also, thought immediately of crayons and love what Jenny said about it. Perhaps this will be the pattern for future throws?

    Thank you for sharing your knowledge, your loom and your hospitality with me, Karen. Unfortunately, I will not be able to come for the dressing of the loom this morning.

    I hope you have a blessed day, Karen.

    • Karen says:

      Hi Annie, Interesting that several thought of crayons. I love that! Yes, I am going to keep this in mind for future throws, towels, scarves, and what-have-you.

      We’ll miss you this morning.

      Thanks!
      Karen

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Short-Lived Weft Idea

Now is my chance. I’d like to try one more weft idea on this double weave warp. I ended the colorful throw, and have about fifty centimeters left for a lap blanket. After the red cutting line, I am testing some black cottolin weft. It isn’t in my original plan, nor in my sample, but I want to see how it looks.

Small test sample between double weave pieces.

Deep plum alternates with black weft in a small test sample. Pairs of red picks mark the cutting lines between pieces.

The black weft does brighten the warp colors. But that’s not the look I’m after. I would miss the mixed shades that occur as the warp stripe colors are repeated in the weft. So I am weaving the smaller piece with the same weft sequence as the larger throw. When I see the weft choices clearly, it’s not hard for me to decide which weft option to use.

Double weave throw wrapping around the cloth beam.

Following the fabric under the breast beam, behind the knee beam, and around the cloth beam. The four warp stripe colors are repeated in the weft, making slight variations of color in the squares.

Wisdom is a treasure. It comes from seeing things through heaven’s perspective. Beware of human ideas masquerading as wisdom, leading us in the wrong direction. The treasure of wisdom that is found in Christ leads to understanding. Looking through heaven’s wisdom, my choices become clear. And it’s not hard for me to decide to stay true to the Grand Weaver’s design.

May you walk in wisdom.

With you,
Karen

8 Comments

  • Beth Mullins says:

    Beautiful, Karen! Both sides are so eye-catching.

  • Annie says:

    Wow! Love the look of both sides!

    Wouldn’t it be great if we could do a little sampling of our life choices before we jumped in and made them? Fortunately, our Heavenly Father did leave us a guide.

    I hope you bring this to our WOW meeting this fall.

    • Karen says:

      Hi Annie, That would be great if we could sample life choices that way. You’re right, we have a trustworthy guide!

      I may not have the throw in my possession this fall since it’s a gift, but I’ll at least have the smaller piece.

      Thanks for weighing in,
      Karen

  • D’Anne says:

    Love that fabric, Karen! Hope to get to see it at a WOW meeting. It’s lovely!

  • Beautiful. Wonderful craftsmanship.

    I spent Sunday afternoon cutting out tote bags to be included in shoe box mission gifts at the Crivitz Presbyterian church. New friends were made near the weekend house. Someone donated heavy nylon advertisement banners to use. The layout of the bag produced unbelievable results not considered when looking at the original cast off banner.

    While cutting out these bags, prayer. I pray to put the same craftsmanship into the gifts to people I do not know as I do to those near and dear to me.

    The loom still sits while the summer explodes around me. Should I stay home this weekend and weave or transplant the volunteer raspberries in the lawn to the weekend house?

    Keep doing God’s work.

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Tapestry Territory

Here we go on this adventure! The yarn is plentiful, and sorted into color groups by value. I have tweaked and updated the cartoon, putting measurement marks along the edges and adding shading to places where I want texture. I wove a header after the sample, but it drew in too much. I pulled it out and redid it, making sure to use adequate weft this time. I am now ready! I’m walking into four-shaft tapestry territory!

Beginning of a four-shaft tapestry.

Background begins with wool butterflies in shades of black.

Wool butterflies for a four-shaft tapestry on the Glimakra Ideal.

Several butterflies are introduced across the beginning section of the four-shaft tapestry.

Four-shaft tapestry just beginning.

Linen weft is used between some of the wool picks.

Walking. It’s how we live our life. Step by step into an unknown future. To walk in a manner worthy of the Lord, we follow the Grand Weaver’s cartoon, which he reveals to us, sometimes row by row. And he supplies us with the yarn butterflies in the right colors and values to create the tapestry of his design. We may never see his whole cartoon, but we have the sure hope of seeing the finished tapestry in all its glory!

May you be ready for an adventure.

Happy weaving,
Karen

4 Comments

  • Jan Hayman says:

    Hi Karen
    I’m watching this project unfold with a lot of interest! I’m curious about why you are using more than two shafts for a tapestry. Are you going after a blended edge along your color changes? Are you threading in a twill or rosepath?
    Your warp colors are adding some color to the cloth.

    • Karen says:

      Hi Jan, The four shafts enable me to use a rosepath threading. Unlike traditional tapestry, this is not completely weft faced, so the warp colors do show intentionally. I’m not sure that it gives a more blended edge along the color changes, but this style of tapestry weaving has an appeal to me because I can weave a larger pictorial tapestry at a little faster pace. I also have the option of adding some texture in places to enhance the design. So far, these first few inches remind me of weaving transparencies, which I very much enjoy.

      Thank you for joining in! It’s even better when I get to enjoy this with others.

      Happy weaving,
      Karen

  • Karen,
    Your words have me thinking. It is at the end we all see the tapestry. There are colors that are experienced once in their glory and never again. Without them the tapestry would not shine. There are colors much like the warp that is always there as a foundation to hold all the color woven under and over and — peaking through just enough to modify the woven colors. And when all is complete…. are we not by the grace of God all parts of the tapestry?

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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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