Quiet Friday: Kuvikas to Taqueté and video

The color is rich, the drape is fluid, and the pattern in the lustrous cloth is eye-catching. “Kuvikas to taqueté” was not an easy project. Eight shafts, double treadling, and double-bobbin shuttles with slick 8/2 Tencel weft. But the fabric is incredible!

Warp chain of 8/2 cotton.

Warp chain of 8/2 cotton hanging from warping reel.

Thanks to a unusual tie-up, two treadles are pressed simultaneously, something I had not thought possible for a countermarch loom. I started with kuvikas (summer and winter), which has tabby picks between the pattern picks. The dark teal 8/2 cotton tabby weft and the bright teal Tencel pattern weft produce a tone-on-tone effect for the square and stripe patterns. These two pieces will become the front and back of a throw pillow.

Kuvikas on the loom. (Summer and Winter)

Kuvikas panel 1 complete. I always use red thread for a cutting line between pieces, so there is no accidental cutting in the wrong place.

I then changed the treadle tie-up to switch from kuvikas to taqueté. The taqueté has no tabby weft. The teal and cream Tencel weft threads lay back-to-back, producing a double-faced fabric. This piece is being used as a table runner.

Kuvikas to taqueté, change in treadle tie-up.

Stripes in kuvikas, and then square pattern in taqueté after changing the treadle tie-up.

Finished Tencel kuvikas (summer and winter) glistens!

Finished kuvikas glistens in the sunlight.

Enjoy the little slideshow video I made for you that follows the process from three lovely aquamarine warp chains to fabric glistening in the sun on a Texas hill country table.

May you finish something that is not easy.

Happy Weaving,
Karen

Do you remember my Handwoven Thick and Thin Towels (that appeared on the cover of Handwoven), and my Black and White Towels (These Sensational Towels)? I will be teaching a workshop on that thick and thin technique at Shoppes at Fleece ‘N Flax in beautiful Eureka Springs, Arkansas August 24 – 26, 2017. You’re welcome to join us! I’d love to see you there! Contact the shop at the number below if you are interested.

Our weaving classes for May, June and July are filled ( but you can sign up on a waiting list!) and we still have a few…

Posted by Shoppes at Fleece 'N Flax on Wednesday, May 10, 2017

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Weave Amazing Taqueté Like an Octopus

I need this sample section to practice being an octopus at the loom. I switched from kuvikas to taqueté. Now I am weaving with two double-bobbin shuttles and two treadles at a time. With no intervening tabby treadles to balance my foot placement.

Kuvikas first, then taqueté. Same threading, different tie-up.

From kuvikas to taqueté. Changing the tie-up allows the loom to weave more than one structure with the same threading.

This taqueté uses the same threading as the kuvikas that preceded it. You’ve heard it said, “One change changes everything.” Try changing the tie-up. Everything changes. Treadling sequence, weft arrangement, and picks per inch. I’m struggling like a beginner with this double treadling, double double-bobbin shuttling. But I’m not quitting, because look what it weaves! The cloth is amazing.

Two double-bobbin shuttles for taqueté.

With no tabby picks in between, the double-bobbin shuttles take turns with each other.

Taqueté, with double treadling and double double-bobbin shuttling.

Each pattern block uses two treadles, pressed simultaneously. The treadling sequence changes four times for each complete row of pattern. Each block (a third) of the square-within-a-square pattern has five complete pattern rows.

One life change, good or bad, can bring a struggle. We try to move forward like we did before, but now it’s not working. Too many things are shifting at once. One thing changed, and now we are searching for sound footing. God is present even in our struggles. The warp is the same, the threading hasn’t changed, and the Grand Weaver is still at his loom. God is a very present help in trouble. God is now and near. Right now, right here. And then we get a glimpse of the cloth he is weaving… It is amazing!

May you endure through struggles.

Your weaving octopus,
Karen

5 Comments

  • Betsy says:

    Is there a trick to pushing two treadles at once on a Glimakra? I thought one couldn’t do that, and I’ve never tried it on my Standard.

    That fabric is gorgeous!

    • Karen says:

      Hi Betsy, Yes, there is a trick! It is an unusual tie-up. It works because the tie-up is done with two freestanding groups, so they can be double treadled. And some of the shafts are not tied up. I’m using a draft from The Big Book of Weaving, by Laila Lundell, pp. 164-165, where this set up is explained. I am fascinated by this fabric, and the whole fact that this is even possible!

      Happy weaving,
      Karen

  • Annette says:

    I appreciate your comments. In a world gone mad your voice is the calm in the middle of a storm – it reminds us who is in charge. God Bless.

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Tools Day: Swedish Weaving Draft

Cooks have recipes, builders have blueprints, and handweavers have weaving drafts. There are a few different formats, but all drafts carry the same essential information. There is the tie-up box, the threading pattern, and the treadling sequence. Finally, there’s the drawdown, a graphic representation of how all the threads intersect.

The two formats I see most often are the typical American draft (e.g., Handwoven), and the Swedish draft (e.g., VÄV Magasinet). Many American drafts assume jack looms; whereas, Swedish drafts usually assume counterbalance or countermarch looms. However, any loom can weave from any draft.

As Madelyn van der Hoogt says in The Complete Book of Drafting, “Any tie-up can be used for any type of loom. Discover from the tie-up which shafts must be up and which down for each shed, and do to the loom whatever is required to get them there.”

All the draft formats have this in common: The tie-up box is the starting point. The threading pattern and treadling sequence begin at that point, and go out from there.

The Swedish draft makes perfect sense (remember, of course, I weave on Swedish countermarch looms). I picture the draft as if it is lying flat in front of me.

Becky Ashenden says in the forward to Weave Structures the Swedish Way, “With this orientation of tie-up, treadling, and threading, the draft has a direct relationship to the weaving of the fabric. The tie-up’s location in the lower right-hand corner of the draft allows all other information to match as closely as possible the physical aspects of the loom.”

Here is a comparison of the Swedish and American draft formats:

Swedish Draft

Reading a Swedish draft.

Swedish draft, with a weft drawdown.

  • Weft drawdown (filled-in squares show lowered warp threads, weft passing over)
  • Tie-up is in lower right corner, and uses black squares to designate shafts that sink / white squares for shafts that rise
  • Threading is below the drawdown
  • Shafts are numbered from back of the loom to front, with the first shaft the furthest from the weaver seated at the loom
  • Treadling sequence is on the right, and reads from bottom to top
  • Treadles are numbered from right to left
  • For a “sinking shed” loom (countermarch or counterbalance loom), use the black squares to tie up sinking shafts
  • For a “rising shed loom” (jack loom), use the white squares to tie up rising shafts

American Draft

Reading weaving drafts.

American draft, with a warp drawdown.

  • Warp drawdown (filled-in squares show raised warp threads, weft passing under)
  • Tie-up is in upper right corner, and uses numerals to designate shafts that rise / white squares for shafts that sink
  • Threading is above the drawdown
  • Shafts are numbered from front of loom to the back, with the first shaft the closest to the weaver seated at the loom
  • Treadling sequence is on the right, and reads from top to bottom
  • Treadles are numbered from left to right
  • For a “sinking shed” loom (countermarch or counterbalance loom), use the white squares to tie up sinking shafts
  • For a “rising shed loom” (jack loom), use the squares with numerals to tie up rising shafts

Similarities between Swedish and American Drafts

  • Threading reads right to left
  • Squares in the tie-up box represent treadle cords that attach treadles to corresponding shafts
Weaving draft in place for weaving mug rugs.

Draft is hanging at the corner of the loom. The fabric logically grows in the same direction as the sequence of weft picks as seen on the treadling draft.

Resources
Getzmann, Ulla, and Becky Ashenden. Weave Structures the Swedish Way. Shelburne, MA: Väv Stuga Press, 2006.
Hoogt, Madelyn Van der. The Complete Book of Drafting for Handweavers. Coupeville, WA: Shuttle-Craft Books, 1993.

May you flourish at your loom.

All the best,
Karen

14 Comments

  • Julia says:

    Hi Karen,
    Thank you for this comparison of the two ways to write drafts, this will make translation much easier.

    One question. You say, “For a “rising shed loom” (jack loom), use the white squares (or numerals) to tie up rising shafts”. Do you mean this to apply to the American way of writing the draft?

    Thank you.

    • Karen says:

      Julia, Thank you for asking this question. I need to edit what I wrote and make a correction.

      The American way of writing the draft usually has numerals for the rising shafts. For a jack loom, use the squares with numerals to tie up rising shafts. The white squares, in this case, are used to tie up sinking shafts.

      Thanks for helping me clarify!

      Karen

  • Thanks Karen, a good blog to explain the differences quite clearly. I prefer the swedish way (and yes I have a a Glimåkra floor loom, but it just makes sense to me. Sometimes I get them mixed up but I think it’s good to know both methods. It’s a bit like preferring to beam the warp from the front or the back – you just tend to find what works for you. Thank you again.
    Blessings,
    Alison

    • Karen says:

      Hi Alison, I get them mixed up, too. I am so accustomed to the Swedish format that I have to go back and review my notes if I want to “translate” an American draft.

      Karen

  • Hi Karen,
    Thanks for the comparison post. It will be good to refer new weaver’s to it, so they know there is more than one way for patterns to be written.

    Here is a bit of additional information for American weaver’s used to jack loom drafts. Many own the book, A Handweaver’s Pattern Book by Marguerite Davison. It was published back when counterbalance looms were the norm. Her drafts are written in the American way, with threading and tie-up at the top. Her tie-up is written for a sinking shed, so marked boxes go down. If someone owns a jack loom, in order to see the pattern while weaving, they should tie up the blank squares instead of the x’s. I think other older drafts, such as Atwater, Bertha Hayes, and others also tie up for counterbalanced looms.

    • Karen says:

      Hi Jenny, I’m glad you mentioned this! It’s important for a weaver to understand the format of a draft and how to interpret it.

      My first project on a floor loom was from Davison’s book. My instructor carefully pointed out the author’s note that tells that the drafts are written for counterbalance looms.

      Thank you so much for adding this important information for weavers used to drafts written for jack looms.

      Karen

  • Sandy says:

    Karen, I’m new to all of this, and I’m not able to perceive what you are referring to as black and white squares. Are those the empty squares? So you would tie up all of those, vs one black thread?

    • Karen says:

      Hi Sandy, Empty or white? It’s a matter of perception. Yes, in a draft written for sinking shed looms, such as a Swedish draft, you would tie up the empty squares if you are using a jack loom. I don’t think of the squares as “empty,” because for my countermarch loom, I tie up the black squares to the shafts that sink, and I tie up those “white” squares to the shafts that rise.

      I hope that makes sense.
      Karen

  • Randi says:

    Thank you for this post. I’m a new weaver and have a counterbalance loom. I’ve ordered the book you mentioned.

    I also really enjoy your posts.

    • Karen says:

      Hi Randi, You are welcome! I wanted this kind of information when I was starting out, so I’m hoping it is useful for others. The Getzmann/Ashenden book does a great job of explaining the whole drafting concept and procedure. So does the Van der Hoogt book, for that matter. You can’t have too many weaving books! 🙂

      Happy weaving,
      Karen

  • Sandy says:

    Thank you for writing this post. I’m sure it will be very helpful to many of those seeking to expand our repertoire.

    A friend recently sent me some drafts written in the Swedish manner and, while I figured out most of it, I misinterpreted how the shafts are numbered in relation to the weaver. I’ll have to go back to my Fiberworks entry and edit it or I’ll mess up my weaving.

    I have two looms, one a computer controlled dobby that uses a programme in the American style. My other loom is a four shaft counterbalance that I brought home from Europe, so I’m somewhat used to reversing the tie-up when I weave with it. My first project ended up upside down on the loom!

    • Karen says:

      Sandy, You are going to become an expert on reading different formats of weaving drafts! Bravo! I’m guessing that just about every weaver has accidentally woven a fabric upside down. I know I have.

      The thing about reversing the order of the shafts and the treadles is that it usually doesn’t really matter all that much. As long as you are consistent, most things will come out just fine, even if they are upside down.

      Happy weaving!
      Karen

  • Sue Seymour says:

    I have learned – the hard way – to read the Intro material in any new book I purchase so as to learn which way the author is writing drafts, treadling, and tie-up. It seems there is always a new wrinkle. Even though I have a Swedish countermarche loom, I prefer the American way of drafting, which is what I learned way back when there were only three weaving books available, Mary Black, Mary Atwater, and the Davison book.

    • Karen says:

      Sue, Yes, read the intro material. It’s not unusual for you to prefer the American way of drafting. I’m sure it’s second nature for you. And those three books should still be in every weaver’s library.

      All the best,
      Karen

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Skeleton Tie-Up on a Countermarch?

I’ve been told that you cannot do a skeleton tie-up on a countermarch loom. That would require pressing two treadles at the same time, which is not feasible on a countermarch. Guess what? I have a skeleton tie-up, and I’m pressing two treadles at a time for the pattern blocks in this kuvikas structure. On my countermarch!

Kukivas (summer and winter) on the loom. Karen Isenhower

Trying to establish a consistent beat so that the squares are all the same size. Making the squares a little taller than they are wide will, hopefully, produce actual squares in the end. The fabric is expected to shrink more in length than in width when it is cut from the loom, and washed and dried.

It works because the tie-up is carefully planned to avoid conflicting treadle movements. I couldn’t be more thrilled with the square-within-a-square results. Isn’t it fascinating that a design such as this can be fashioned by hand, using a simple wooden loom and a bunch of strings, with a few simple tools? And a non-standard tie-up?

Skeleton tie-up on a countermarch loom for kukivas.

Pressing two treadles at the same time is surprisingly less cumbersome than I had imagined it would be. The whole series of motions feels like a slow majestic dance.

Have you seen the sky on a moonless night? Who made that starlit fabric? Who wove the pattern of the heavens? Who put the sun in place, and set the earth on its axis? How grand and glorious are these constant features of our existence! Our human hands can create no such thing. The heavens reveal the glorious nature of God. They shout the unmistakable truth that God is our Creator. Surely, the fabric we make with our hands serves to confirm that we belong in the hands of our Maker.

May the work of your hands be a reflection of you.

In awe,
Karen

11 Comments

  • Betsy Greene says:

    Hi Karen
    This square pattern is really nice. Am I correct in thinking that kuvikas is similar to summer and winter? I have a countermarch loom also and would love to hear more details about your skeleton tie up.
    Betsy

    • Karen says:

      Hi Betsy, You are correct, kuvikas is a Finnish term for what we commonly call summer and winter.
      The double treadling is possible because of the tie-up. The pattern threads are on shafts 1 – 4, and the tie-down threads are on shafts 5 – 8. The trick is where to NOT tie up the treadles. You need two free-standing groups of shafts, so only the pattern shafts and only the tie-down shafts are tied to the treadles, besides the tabby shafts.
      And then, the first 2 treadles produce the tabby for the background. Treadles 3 & 4 bind the pattern floats. Treadles 5 – 8 control the pattern’s various blocks.

      I’m afraid I did a poor job of explaining. You can find the draft in The Big Book of Weaving, by Laila Lundell, p. 164. She does a better job of describing how it works.:)

      Happy weaving,
      Karen

  • Marcia Cooke says:

    That is gorgeous, Karen! Thanks for sharing the source of the draft, too!

    • Karen says:

      Hi Marcia, I’m glad you like it. I like it a lot, too! I’m already thinking of using this draft to make some upholstery fabric for some chairs I want to cover.

      All the best,
      Karen

  • So us how you tied up your loom please, with a diagram or photos.
    Jenny

    • Karen says:

      Great idea, Jenny, Here’s a picture taken from the back of the loom.

      Skeleton tie-up on countermarch

      From left to right, 2 treadles for tabby, 2 treadles for tie-down threads, 4 treadles for pattern. You can see that the tie-down and pattern shafts are independent of each other, which make double treadling possible.

      Does that help?

      Karen

  • Carol says:

    Hi Karen,
    I really enjoy your blog. Thank you.
    I also have a countermarch loom and am wondering how you get away with not tying up all eight shafts on every treadle. Do you know of a book that really explains countermarch ti-ups. I think I am missing something here. I must confess I am a new countermarch loom owner.

    • Karen says:

      Hi Carol, You ask some good questions!
      How do I get away with not tying up all 8 shafts on every treadle? I don’t know. I’m learning as I go. Honestly, I have not found a lot of information about weaving with this type of tie-up on a countermarch loom. I have seen it mentioned a few places, but not explained. I tell myself that it is like weaving on two four-shaft looms that work together. 🙂 That may be way off!

      The thing to remember is that this is NOT a typical tie-up for a countermarch loom. I’ll have to say, it was a little finicky to get clean sheds, so I wouldn’t recommend this for someone until they have some serious weaving on eight shafts (with a “normal” tie-up) under their belt.

      One helpful book that explains everything about a countermarch tie-up is Tying Up the Countermarch Loom, by Joanne Hall. But it doesn’t mention skeleton tie-ups. I guess I like to try things outside the norm…

      I hope you enjoy your countermarch loom as much as I enjoy mine!
      Karen

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Kuvikas and Taqueté

Kuvikas and taqueté. There are always new things to try. I’m back to eight shafts. This Glimåkra loom is highly adaptable. It is no problem to set up the loom for a new project. You may have guessed that I like to switch it up. Four shafts or eight shafts, two treadles or ten. And, change the tie-up, too. I don’t mind. With this project, I am going to change the treadle tie-up again at the midway point, switching from kuvikas to taqueté.

Threading eight shafts on my Glimakra Standard loom.

Threading eight shafts. Four pairs of shaft bars have been added to switch from a four-shaft project to an eight-shaft project. Four additional upper lamms and lower lamms have also been added to the loom.

If you know and practice the basics, it’s not frightening to try new weave structures. Every new experience builds on what I’ve learned before. I can trust the system of weaving that I’ve been taught, and that I practice with every project. It makes sense.

Aquamarine cotton. Threading my Glimakra Standard loom.

After the warp is beamed, the warp ends are tied with an overhand knot into groups, according to the threading pattern. In this case, 48 ends are in each group. Counting the ends into groups helps eliminate, or at least reduce, threading errors.

Threading eight shafts for kuvikas and taqueté.

Complex, but not complicated. Warp ends are inserted into specific heddles to set up the loom for a particular type of cloth. Very systematic.

Don’t be afraid. The Lord not only teaches us his ways–his system, but offers us his strength while we learn. I can trust him for that. Trust replaces fear. I don’t have to find my own way, or guess. The system works. It makes sense. I learn to weave, and live, one step at a time, with freedom to enjoy the process.

May you rise above your fears.

All the best,
Karen

8 Comments

  • Shirley says:

    Hi Karen, I just love the colour. Can`t wait to see what it becomes. Have fun with it.

    • Karen says:

      Hi Shirley, I had this color left from another project where I used it for narrow stripes. I wasn’t sure how I would like it all by itself. So far, I’m loving it. I can hardly wait to cross it with weft!

      Thanks,
      Karen

  • Hi Karen,
    My Glimakra has four shafts right now. I wonder how hard it would be to buy the wood pieces the right thickness and cut them to the right sizes to add four more. I have a drill press for making the holes. I just warped mine with linen for a transparency. It’s the first time I’ve done it on this loom with the trapeze. I did 10″ bouts (3) of linen, but discovered that was a bit wide for linen. With linen, I think I’ll make my bouts 4-5″ max. next time, and then the tension will be better. Just wondering if you have experienced that with linen?

    • Karen says:

      Hi Lynette, I’m going to send you an email to tell you specifics on how my husband made additional shafts for my Glimakra Ideal loom.

      I had that exact issue with my linen bouts when I warped for the transparency. It ended up not affecting the warp tension overall – at least, I never noticed a problem while weaving. But I thought about doing smaller bouts next time. My usual rule of thumb is to stay around or under 200 threads or 10″.

      Happy weaving,
      Karen

  • JANET PELL says:

    Dear Karen, Thank you for your blogs, I am so in awe of your bravery for ‘going forth’, I love the color of your warp and cannot wait to see your project. How I wish I had your knowledge and experience. But your encouragement to everyone is a blessing for me. Maybe one day I will face the elements, be brave, and change from tabby to something as exciting as your projects.

    • Karen says:

      Hi Janet, You are so sweet! Everything is a step at a time. You will be ready for a brave step in weaving before you know it. Practice and enjoy what you know! There’s nothing wrong with tabby. It’s the basis for everything else at the loom.

      Happy Weaving,
      Karen

  • Cornelia says:

    Hi Karen,

    I would like to increase the size of the things i’m making. Therefor the question if it is possible to add 4 more additional shafts to my Glimakra counterbalance loom on which I currently have 4 shafts. Could it also be possible that you send the specifics on how to make additional shafts? I would really appreciate that!

    • Karen says:

      Hi Cornelia, Probably the best way to add shafts is to get them from a Glimakra dealer. Besides shafts, you will also need additional lamms, and possibly more treadles. My husband has made all these things for my smaller loom, but it was a very ambitious project, and his advice for others is to purchase the parts from a dealer, if possible.

      All the best,
      Karen

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