Monday, April 25, 2011

Block Weave Workshop - Afterwards

So far, you may be wondering why I'm jumping up and down about the new possibilities, exposing you to fuzzy unattractive sample pics. So I thought to show you one example of what I mean by depth in the cloth.

This is a 3-block profile draft. I can lift none or all of the pattern shafts, or only 1, 2 or 3, or 1&2, 2&3, or 1&3:
And for example, if I translate it into a Bergman, (3-tie, rosepath in threading and lifting - am I right?) I get something like this, (click to possibly see tiny diamonds):
Which sure beats weaving in boring old Summer & Winter now that I know better. Though with sewing threads, this may still be the best option... Must sample.
Except somewhere down the line, I'm hoping to weave something far fussier in the tie-down, color and pattern blocks.

* * * * *

After I came home from Blenheim, I looked at half a dozen books on weave structures and a couple specifically on tied weaves, and not a whole lot talks about creating interest in the tied-down, but the latest The Best of Weaver's: Summer & Winter Plus, Page 39 has photos and a short article by David Zenakis of different tied downs. And then there is "Designing with Ties" by Nathalie Sato on pages 42-43.

Many books mentioned how a few of the named weave structures are related, but I don't recall a comprehensive-ish family tree of tied weaves.  Just previous to the page mentioned above, on pages 32-38, is "An Introduction to Tied Unit Weaves and their Relatives" by Jacquie Kelly, which I found helpful as it has photos of details of some of the named weaves.  

* * * * *

Pat is traveling with potentially influential weaving people in two weeks.  She wanted to borrow my P2P piece so she can show it on my behalf.  But I'm going to see if I can rethread this warp, give it a twill tie down, and weave before she leaves.  I had three weeks when she proposed it; I've wasted a whole week now.

6 comments:

  1. In thinking about rethreading the mostly-purple warp, the problem is this: with Summer & Winter, one block is four-end wide, 1-B-2-B, or double that if you follow the theory strictkly, but with Bergman, it is a whopping 16ends, 1-B-2-B-3-B-1-B-3-B-2-B-1-B-3-B, too too wide for what I want, with the 20/2 cottons. I deliberately made color changes not coincide with block changes, but for now I'm considering making each block only eight-ends wide. Or not... Why can't I include 10-end blocks and 6-end blocks as well, especially if I want the rosepath not to overlap with the block changes? Donno...

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  2. What a great workshop. Bay of Plenty decided not to have any workshops with Maryanne so I'm going North Auckland for Fibreworks and Waikato for lace weaves. Blocks looks great; tears.

    I must have missed a lot of your posts. Your p2p piece looks wonderful, be proud of it.

    Where did you find information on Bergman; it looks an interesting weave structure.

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  3. Bergman, Dianne, among other places it was in the latest Best of Weavers, and it's one of the Block Substitution choices in FiberWorks PCW. As is Quigley.

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  4. She's been quilting a whole lot lately, too. There'll be an iPad slide show on it, perhaps.

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  5. Ah, so I should read the books I buy!

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  6. Only when you need to... :-)

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