Monday, May 15, 2017

Still More Collapse Weave -- This Time on 8 Shafts


This summer, for me, will be all about collapse weave: I'm teaching a workshop at MAFA and a workshop at the Hartford Artisans Weaving Center, plus I will give a lecture on the topic to the New York Guild of Handweavers.

To prepare, I have been weaving up lots of samples and learning A LOT from the results. (Re-learning a lot, too -- for example, that sett can make the difference between a good fabric and a wonderful fabric. We all know this, but we need to be reminded, particularly if a project should be re-sleyed at a different sett and we get -- well, lazy....)

Anyhow, the samples I've blogged about to date have all been on 4 shafts, because that's the focus of my first workshop at MAFA. In Hartford, we'll be working on both 4 and 8 shafts, so now I've begun sampling on 8. Here are some photos. 


I call these "Before" and "After" shots. The photo above is a "Before" shot of fabric just off the loom. I got the draft from a workshop I took a few years ago in London with Ann Richards, author of Weaving Textiles that Shape Themselves. The warp in this case uses both wool/stainless-steel yarn (the taupe-colored warp, available from Lion Brand and from Habu) and 16/2 bamboo (in red and orange). The weft is 72/2 linen (to give the fabric stiffness) alternating with the wool/stainless yarn.

Here is the "After" photo:


In this case, you have two elements that make this a dimensional fabric: structure and energized yarns. The structure is plain weave with floats alternating weft-wise and warp-wise, so that the floats make room for the fabric to pleat in and out. The wool/stainless draws in and twists when washed, which encourages the pleats to form. Finally, the stability of the linen weft adds crispness to the fabric. Pretty clever, huh? All thanks to Ann, who approaches her art with the mind of a scientist.

Another fabric, this one an 8-shaft double weave, pictured in its "Before" state, showing both front and back views:



The red sections are 18/2 superfine merino from JaggerSpun, which fulls beautifully when hand-washed. The black is 24/2 superlamb from JaggerSpun, which resists fulling because it's a superwash wool. Here's what it looks like, front and back, after hand washing in warm water and agitating with dishwashing soap:



To be honest, the black squares on the front of the fabric don't "pop" the way I had hoped. I was looking for a real dimensional "pouf" in the cloth -- but still I think it works.

Here's another structure from the same warp, before washing, front and back, same yarns.



And after washing:



This sample had a lot more texture, thanks mostly to the floats on the back. It's very thick, suitable for a warm jacket or coat.

If you're interested in any drafts, let me know. It's great add texture to your fabric! And here's one parting shot, of another sample just completed, using the same warp and weft as the first sample in this post but with a different treadling. (This is the sample that you see in the close-up photo that begins this post.)




Happy shape-shifting, y'all!


Thursday, April 13, 2017

More Collapse Weave Samples on 4 Shafts





LOTS more! I have been preparing more than a dozen samples for a workshop I'm teaching this summer at the MAFA Conference at Millersville University in Pennsylvania: "Collapse Weave on 4 Shafts." And, without giving away the drafts and all the details, I'd like to share some photos and descriptions of the results.

Pictured above: a 2-block weave on a warp of 60/2 silk, using a weft of 60/2 silk alternating with 18/2 JaggerSpun Superfine Merino. Here's what the sample looked like before washing, just off the loom:


Pretty different, right? That's the beauty of collapse weave: What is geometric and two-dimensional on the loom becomes a fabric that is far more organic and three-dimensional. All it takes is a little bit of warm water, soap, and agitation. In the case of this sample, the wool will full and shrink, drawing the silk in width-wise. The geometric squares of orange, red, and dark blue in the warp become concave ovals. Very interesting and very forgiving for weavers like me who aren't always exact about selvages, picks per inch, even treadlings (but don't tell anyone).

A few more before and after photos below.


18/2 JaggerSpun Superfine Merino warp and weft. Above is the front of the piece before washing, and below is the back.


 And here's what the sample looks like after washing, front and back.




 Fun, I think! Much more quirky and natural-looking.


Above, a pretty ho-hum piece of fabric woven in plain weave -- red, gold, and lavender 16/2 bamboo in warp and weft -- with a pattern weft of embroidery cotton in white. I pulled the embroidery cotton tight to create a woven-shibori resist. (Looks like some kind of sea creature to me.)


Wash and scrub and agitate, check to make sure everything is working, repeat -- then take out all the embroidery cotton and...


Here's a close-up:


So for me, the weaving advice of "sample, sample, sample" has helped immensely -- to learn and to share with others who love this technique. After MAFA, I will be teaching collapse weave on 4 and 8 harnesses at the Hartford Artisans Weaving Center in Hartford, CT. And in September I will lecture on the subject at the New York Guild of Handweavers. More sampling to come!




Monday, March 13, 2017

Collapse Weave on 4 Shafts: a Sneak Peek at Upcoming Workshops


There are SO MANY ways to produce collapse-weave fabrics! And it's relatively easy to weave complex-looking fabric on just 4 shafts. Which is the subject of a workshop I will be teaching this summer at the MAFA (Mid-Atlantic Fiber Association) conference at Millersville University in Pennsylvania.

The sample pictured above, for example, looked like this before washing and fulling.


The warp is 20/2 pearl cotton and the weft is 18/2 merino. You'll see that the weft floats in alternating blocks on the top of the fabric, but not on the back. After washing and agitating in hot, soapy water, the weft floats will full and shrink, pulling in the cotton warps in a checkerboard pattern. The image at the top of the page shows what was the back of the fabric on the loom -- which is the far more interesting surface due to the checkerboard pattern.

Here is the draft.

I did 3 other samples on this 20/2 cotton warp. Here are the images of the samples after washing.

20/2 pearl cotton alternating with 18/2 merino weft stripes in plain weave

18/2 merino weft floats alternating with 20/2 pearl cotton weft in plain weave 

Same as above sample, but with merino weft floats on one side only

I particularly love the texture of the middle sample, as it looks the same on both sides and it shrank up the most (width-wise) of all the samples -- making it spongy and lofty. I think it would work well as a lightweight jacket or coat fabric. With lots of color in the warp and weft, of course!

Here are some more photos of samples I've woven up and washed in preparation for this workshop.

Deflected Double Weave

Double Weave (two layers woven simultaneously)

Differential shrinkage using merino and superwash wool

Collapse weave using a wool/latex weft (warp is on the horizontal)

 Fulling with woven-shibori technique

 Weft floats fulled and cut to create an eyelash effect

So many techniques, so much to learn. I will be teaching another collapse-weave workshop -- this time on both 4 and 8 shafts -- at the Hartford Artisans Weaving Center at the end of the summer. In September, I'll give a Power Point presentation on the subject of collapse weave to the New York Guild of Handweavers -- hopefully with lots of new photos to show from the summer workshops!