Wary Weaving

Sugar Pie has been waiting in the wings. Now, his nose wriggles up to the fell line. The day that Ari and Lucia went with me to visit my neighbor, their attention went to the cute furry thing in the rabbit hutch. At first, the bunny was wary, but before long, Sugar Pie was nibbling carrot slivers from Lucia’s hand.

Beginning the bunny in the large pictorial tapestry.
First pick of brown for the bunny’s nose.

Now, I’m the wary one. The rabbit will make or break this tapestry. I made notes when I wove the rabbit on a narrow sample warp several weeks ago. With careful review of my notes, I am inching forward, giving attention to value contrasts that shape and define the animal. The good news is that when I reach the end of Sugar Pie’s soft, furry back, I will be at the tapestry’s finish line.

Color changes are outlined on the tapestry cartoon.
Color changes are outlined on the cartoon with colored pencil.
Pictorial tapestry in progress. "Siblings"
Ari and Lucia, two of my grandchildren, in a moment of childhood wonder. This tapestry tries to capture that wonder.

In trying times, our senses are heightened. Will we flourish, or merely squeak by? In all the confusion, where is clarity? In the chaos, where do we find calm? The Lord extends an open hand. The open hand is an invitation. Come and taste. Trust. Find deep satisfaction that reaches the soul. Courageously inch up to the greatest challenge of your life.

May you step into a worthwhile challenge.

With you,
Karen

3 Comments

Leave a Reply to Beth Mullins Cancel reply


Process Review: Drawloom Jewels

It is exciting when Maverick walks by. Although he never comes in my drawloom studio, he does stop for a moment to look my way. You’ll see him in the slideshow video below. But what happens inside the studio is even more exciting, especially when it’s time for cutting off!

Drawloom with 16 pattern shafts.
Drawloom, set up with sixteen pattern shafts. I graph out the designs in Excel on my computer. Then, I print out the gridded pattern to use at the loom. I keep my place in the pattern with a magnet and magnet board made for cross-stitch embroidery.

This is Tuna wool, so I expect some shrinkage, but how much? I take careful measurements before and after wet finishing. Besides the main piece of fabric that I’m using for a garment, I have two sample pieces. I can experiment with the samples before wet finishing my garment fabric.

Here are my findings:
Sample 1. Hand wash and air dry.

10% shrinkage in width; 13% shrinkage in length.

Sample 2. Machine wash (3 minutes agitation on a gentle cycle, with a short spin) and machine dry (low setting) till damp, finish with air drying.

13% shrinkage in width; 14% shrinkage in length.

~How to do the shrinkage calculations~
First measurement (on the loom) minus the second measurement (after washing and drying) equals the difference. The difference divided by the first measurement equals the percentage difference.
For example, 50 cm – 43.5 cm = 6.5; 6.5 / 50 = 0.13; 13% shrinkage.

The first sample fabric is softer than the unwashed fabric, but not as soft as I’d like. The second sample fabric is beautifully soft, like a nice warm sweater. So, with confidence, I wet finish the garment fabric—with great results. It’s perfect for the fall/winter vest that I’ll soon be wearing, made from this fabric!

Wool garment fabric from a drawloom.
Like a sweater, this soft fabric will be comfortable to wear.
Making a pattern for handwoven garment fabric.
Muslin pattern for a simple vest. First, I’ll make a vest out of a wool throw, woven on my rigid heddle loom ages ago. Then, I will cut into the new drawloom fabric, with confidence about the fit.

Enjoy this photo show of the drawloom process.

May you enjoy the process you’re in.

Happy Weaving,
Karen

6 Comments

Leave a Reply to Beth Mullins Cancel reply


Weaving a Personal Logo

This logo goes back to at least 1982. It is on the underside of a bowl I made that year in my one-and-only pottery class. kmi for Karen Marie Isenhower. This personal logo will be woven into my upcoming pictorial tapestry. I know how I want the image to look, but it’s not easy to weave it successfully. I am practicing on a sample warp.

Woven logo in a tapestry.
Lizard tapestry, woven from the side. This was my first attempt to weave my personal logo into a tapestry.

I am starting with the little cartoon that I used when I wove the Lizard tapestry last year (see Quiet Friday: Lizard Tapestry), thinking I can improve in the weaving of it.

Sample warp.

Nope. It’s not any better. I am redrawing the cartoon to spread the letters out further.

Practicing weaving my personal logo.

Nope. Now, the letters are too spread out.

Finally, I reach a happy medium.

Woven personal logo.
kmi

Yes. This attempt is successful. Now I am ready to weave my personal stamp into the new tapestry project.

Warp is almost ready for the next tapestry.
Linen warp is beamed for the next tapestry.
Ready to weave!
Ready to start the new tapestry!
Final cartoon.
Cartoon of the logo is traced onto the big cartoon that will be used for the pictorial tapestry.

You were made on purpose for a purpose. When the Grand Weaver created you He started a masterpiece with your initials on it. He develops the cartoon and lays out the colorful butterflies of yarn, with your personal logo in mind. Finish what He started. It takes a lifetime. In the end, my personal logo, never quite perfect, will diminish. And His royal insignia, embroidered in threads of gold, becomes the label on my life’s tapestry.

May you see your great value.

With you,
Karen

6 Comments

Leave a Reply to Beth Mullins Cancel reply


Tried and True: Five Reasons Sampling Makes Sense

Why sample? It means using more warp and weft. And it means waiting longer to start to the “real” project. What do I gain from it, anyway? Is it a waste of resources and time?

I can’t imagine putting on a warp that didn’t have room up front for sampling. There’s more than one reason to put on sufficient warp to weave a sample. It makes perfect sense, especially if there is anything new or unfamiliar about your planned project.

Five Reasons to Add Extra Warp for Sampling

Drawloom
Sampling to test patterns, weft colors, and beat consistency, before starting on fabric for a garment.


1 Space to play. I want plenty of room to play, and to practice techniques that are new to me.
2 Room to try out designs. By weaving a portion of my designs, I am able to determine what works, and what adjustments need to be made.
3 Warp for testing weft colors. Only when woven can I see the full effect of each potential weft color.
4 Time to gain a consistent beat. When I start the main project, I want to have woven enough to be able to “feel” how firmly or softly I need to move the beater.
5 The best reason of all! It’s always good to have enough warp on the loom that you can invite friends and family to enjoy some weaving time. …Before your main project is in progress.

Drawloom
My weaving friend Betsy came over to see what it is like to weave on a drawloom.
Drawloom
My daughter Melody came for a visit and wanted to see what it was like to weave on a drawloom.
Drawloom, making garment fabric.
Garment fabric. This is to be used for two side panels of a vest I plan to make for myself.
Drawloom, making garment fabric.
This is to be the back panel of the vest.
Drawloom, making garment fabric.
This is the beginning of the front panels for the vest.

May you give yourself room to play.

Yours truly,
Karen

12 Comments

  • Joyce Lowder says:

    Lovely, Karen! Your advice is well taken! Also love seeing your friends checking out the draw loom. 🙂

  • Beth Mullins says:

    Sample, sample, sample. I love to sample. When I need a break from big projects I’ll dress the loom with a narrow warps and play with new-to-me drafts. Great advice!

    • Karen says:

      Hi Beth, It’s rewarding to try out new things on samples. That’s where we get some of our best ideas for future projects.

      Happy Weaving,
      Karen

  • Charlotte says:

    It is lovely, visiting your Blog, today. There is a Casita gathering Feb. 12th on Lake Belton. If you and Steve could sign up, I think you would thoroughly enjoy it. We play games, at night. Have music (mostly guitars, ukuleles), enjoy potlucks. I usually spend a few minutes with Sarah in her Saori studio and then…we piddle. I can send you more information, if you think you might be free.

  • Nannette says:

    Good morning Karen,
    I’ve done samples in others textiles, but never considered samples in weaving. Must do. It would have been one less garage rug when weaving overshot.

    Thank you for your wisdom.

    Nannette

  • Vivian says:

    Ha ha ha! What a novel idea. What a delight that you invite friends and fa,ily to try your loom.

  • Gail Pietrzyk says:

    A sample also gives you an opportunity to test finishing methods–especially if you are using some unlabeled mystery yarns.

Leave a Reply to Beth Mullins Cancel reply


Pictorial Tapestry Weaving

Inspired by some of Joanne Hall’s exquisite large tapestries, I have been taking steps to learn her techniques. This fascinating style that is unique to Joanne enables her to weave large tapestries at a comfortable pace. My Lizard tapestry last year was a step in this direction. (See Quiet Friday: Lizard Tapestry.) One thing that the lizard taught me is how much more I need to learn. So, you can imagine my delight in having the opportunity to take a Pictorial Tapestry Weaving workshop taught by Joanne Hall last week! (Contemporary Handweavers of Texas Conference in Fort Worth was the setting.)

Texas Wildflowers, tapestry by Joanne Hall.
Texas Wildflowers, tapestry by Joanne Hall. Photo credit: Steve Isenhower 2013
Detail of Texas Wildflowers, tapestry by Joanne Hall.
Detail of Texas Wildflowers. Threaded in rosepath, with a linen warp. Woven with butterfly bundles of wool yarn. Photo credit: Steve Isenhower 2013

Things to remember: Don’t beat hard. Bubble the weft more. Color theory is invaluable for adding depth and intensity. Simplify the cartoon. And countless more bits of insight and instruction! I am invigorated in my pursuit to develop these tapestry skills. Expect to see a tapestry on my 120cm Glimåkra Standard in coming days.

Workshop looms.
My hand-built countermarch loom is perfect for a tapestry workshop. Betsy brought her Glimåkra Julia loom.
Tapestry sampler in Joanne Hall's workshop.
Workshop sampler gives students various tapestry techniques to practice. We learned techniques of other tapestry weavers, such as Hans Krondahl and Helena Hernmarck, as well as Joanne’s unique approach.
Tapestry workshop with Joanne Hall.
Fellow student Cindy created this pear, taking advantage of the rosepath threading to add pattern to the image.
Joanne Hall's tapestry workshop.
Joanne, center, explains the process of creating a cartoon. She spreads out photos of flowers as a starting point for students’ cartoons.
Joanne Hall's tapestry sample.
Joanne’s tapestry sample demonstrates the outcome of her process. A portion of the photo was enlarged from which she drew the cartoon.
Tapestry workshop.
Fellow student Deborah creates a flower from her original cartoon.
Making a tapestry cartoon.
I am choosing to make my cartoon from an enlarged portion of a lily photo.
Weaving from a cartoon in tapestry workshop.
Color studies and technique exercises all come together in the last part of the tapestry sampler. Weaving from a cartoon.
Tapestry progress.
Time to take the loom apart and head home. Checking my progress with the photo before packing up.
Lily sample from tapestry workshop with Joanne Hall.
Lily sample is finished at home.

I find myself pondering how experiences fall into place in our lives. There are times when the stepping stones seem to be set out before us, showing the way, when we don’t know exactly where we are going. The Lord knows where I am going. He knows me. And he kindly sets out the next steps. Perhaps he smiles as he sees our delight when we figure out that we are the bundles of yarn in his tapestry.

May your joy in learning never cease.

Happy Weaving,
Karen

21 Comments

  • Petrina says:

    Thank you for sharing this. It is so interesting.

  • Beth Mullins says:

    Beautiful! Looking forward to seeing your progress. I don’t have the patience for tapestry.

    • Karen says:

      Hi Beth, You might be surprised. In some ways it is similar to the inlay I’ve seen you do, but on a larger scale.

      In any case, I’m pleased that there are so many directions we can go with yarn and threads and a loom.

      Happy weaving,
      Karen

  • Annie says:

    Wow! Karen, you are always doing something amazing! Thank you for sharing the workshop since I was unable to attend any this year.

    I am curious as to how you were able to bring your loom. It doesn’t look very portable.

    • Karen says:

      Hi Annie, The whole conference was a great experience. Maybe you will be able to attend next time, 2021 in San Antonio.

      These Swedish looms are easy to take apart and put back together. Think of it as large Lincoln Logs. The side gables are the biggest pieces. The rest —beams, crossbars, treadles, lamms— all fit into two large duffel bags. The gables and the duffel bags fit in the back seat of our Toyota Tacoma.

      Karen

  • Charlotte says:

    Oh my darling Karen! It is wonderful, reading your blog, this morning. En route to the Navajo Nation, our vehicle died in Albuquerque. What a story I have to share…His goodness to us…to place His people in our path…each one learning of us and needing prayer for themselves and their families. What a miraculous day He had planned.
    Thank you for being YOU! Thank you for taking such grand pictures from our workshop with Joanne. It passed by us all too quickly.

  • Betsy says:

    So fun to re-live the class through your pictures! Love your lily, that came out very well. I still haven’t put the Julia back together, I want to give it new dowels, so a trip to Lowe’s is on the list.

    • Karen says:

      Hi Betsy, I’m so glad my CM loom had a sister in the room! It was fun to get to weave side-by-side with you.

      Happy weaving,
      Karen

  • Vivian says:

    It is so uplifting to learn from your heroes. It is a well of kindness that keeps on giving. Thank you for sharing. I appreciate the breakdown of technique and you were able to make tapestry seem just a little more approachable.

    • Karen says:

      Hi Vivian, “Hero” is a good word to describe Joanne. We are fortunate that she is so willing to share her expertise.

      If tapestry weaving seems more approachable, then I’ve accomplished one of my goals. Thanks!

      Happy weaving,
      Karen

  • Joanna says:

    Hi Karen, thanks for another great post. Joanne’s wildflower tapestry is a marvel. I’m wondering where she managed to find so many colors in what appears to be the same weight of yarn. Was it perhaps woven in the era of the famous Paternayan yarns (gone now and sadly missed)?

    • Karen says:

      Hi Joanna, That’s a great question about the yarn. If Joanne sees this maybe she will leave a comment.

      In the workshop we used mostly 6/2 Tuna wool and 6/1 Fårö wool. We made butterflies with the equivalent of 4 strands of Tuna wool. Using several strands together introduces great ability for variety of color and shading.

      I agree that Joanne’s tapestries are marvels.

      Happy weaving,
      Karen

      • Joanna says:

        Back in the day I did a lot of needlepoint using Paternayan Persian wool yarn. The yarn came as 3 strands of 2-ply yarn and that put-up, combined with an incredible color range, enabled the stitcher to create the exact shade needed. It spoiled me. Do you know the date of JH’s wildflower tapestry?

        • Karen says:

          Joanna, I’m sure your needlepoint images were spectacular!

          Joanne Hall’s Texas Wildflowers tapestry was installed the summer of 1995.

          Karen

    • Anonymous says:

      Hi Joanna,
      As Karen said, we used 2 ply Swedish wools, Tuna, 109 colors available from Glimakra. We can extend the color choices by also using the Faro yarn,an additional 74 colors, using two strands as one. I did some dyeing for the Texas Wildflowers tapestry, as it is hard to get clear pastel colors.
      Joanne

  • Amazing. Beautiful.
    Right place. Right time. The rose path warp on my loom is exceeding my filler on some rag rugs. This technique has inspired me to weave the last rug as a tapestry in a simple design from stringers of red currants.
    Always an inspiration. Always a blessing.
    Thank you.
    Nannette

    • Karen says:

      Hi Nannette, I would love to do some tapestry rag rugs at some point. I was thinking about that earlier this morning. Good for you!

      All the best,
      Karen

  • Cindy says:

    What a treat to open your blog for the first time since I signed up and see my little pear! I had so much to learn and Joanne stuffed as much as she could into my sponge of a brain. Not sure where it will lead, but such an intriguing path!

    • Karen says:

      Hi Cindy, Your pear deserved to be seen! It’s good to go as sponges. It will be interesting to see where all this leads!

      All the best,
      Karen

Leave a Reply to Beth Mullins Cancel reply