Thursday, August 11, 2016

Weaverly Perspective

I forgot I drafted this two weeks ago. I need one more sitting to finish this warp.

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It looked simple enough on the screen.
I started weaving the last piece of the would-have-been baby blanket warp. The weft is skinnier than the same yarn in different colors, I noticed it while winding the pirns, but that should have only flattened the pattern. When I started weaving, I couldn't see the patter, not even when I got off the bench and looked from different angles and under different lights.

When I finally could, the leafy shapes looked blockier, more square. And I saw a military (??) cemetery with identical markers for miles over rolling hills, the kind we see on films and TV with cannons and flags. Strange. If it had more colors, I might have seen rows of English beach sheds (??).

Both the single wool and possum/merino/silk will full, so I'm looking forward to wet-finishing this and two previous pieces, pale green and green and red. But these sure take a long time to weave. I think part of it is because I'm tiring of twill; I will never NOT weave these, I like them in general, the next blanket will be twill, but I think I need to get excited about getting to know another weave structure.

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I've been thinking more about stitched double weave, not studying but exploring the kind of look I want to weave. Stitched double weave, as far as I can tell, are woven for two reasons: for design, mainly to introduce new colors; or structural, to either hold two layers together, or to envelop stuffing between layers. Or both. I was initially thinking of the design/color aspect, but that can be done in other ways, e.g. supplementary warp, careful (beyond my skill) dyeing, etc, as well. Which makes the experimentation less urgent. Except a two-layer scarf/shawl would be warmer than a single. I'm not stopping the research, but am looking for some kind of a goal/purpose/reason.

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As regards the pick-up technique/book mentioned in the previous post, I have an idea I can't stop thinking about, but I don't know how practicable it is. I get the book in a week or two when Pat returns from the US, but I don't know if the idea is even pertinent to what the book covers. I'm plotting to weave a set of large-ish cloth/pictures with a theme.

The problem is, I think of weaving in terms of cloth, i.e. regular repetition of motifs making up a long rectangle. Making something with visual oomph, though, requires thinking not of columns and rows of cutesy motifs but the cloth/picture as a whole. For now I'm not planning on embellishing, especially of attaching/leaving hangy, sticky-outy bits, but making a picture inside or on top of a cloth/structure. The problem is, whatever I try to visualize, a starting point or something nearer an end product, all I see are flat cloth with perhaps a bit erratic color changes, and not too different from the usual.

This is going to take time.

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Did you see Kaz's new toys? At first I thought, oh, yeah, the freestyle Saori thing, i.e. not for me. Then I wondered if the flexible reed would help bring a new kind of aesthetic to my cloth/pictures with a theme. Well, not just yet; the reeds are expensive, and I haven't done enough thinking. Heck, I haven't even started.


  1. Always so much to think about. I needed to kickstart my thinking, so when an opportunity to take a workshop with Bonnie Inouye presented itself, I signed up. If nothing else. Perhaps I will learn more about Fiberworks. But I will also be spending time with friends and perhaps just that will be enough. Or maybe jumping further into manipulating the threads will be just the boot I need. ;)

    1. Oh, you will SO enjoy her class as well as enjoy others' company, Laura. Although, from down here, I'm not sure if they'll be new things for you, very experienced weavers in our workshop enjoyed being reminded of things they hadn't thought of, or seeing things from different angles. Or that's how it appeared to me. I'm very happy for you!


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