This Color Doesn't Exist

Yes, but you're seeing it, right? 

Truth be told, our eyes perceive magenta but it really doesn't exist as a single wavelength of light in the visible spectrum. Magenta is a color our brains "create" by combining signals from red and blue light. It's essentially a made-up color.

Photo courtesy of Encyclopedia Britannica

Tell that to a rhododendron.

Why would I devote a blog post to the fact that magenta is not a real color? To underscore a larger point: that often, as weavers and as human beings, we perceive colors differently from what they truly are. To explain this succinctly: Our brains play tricks on us as they strive to interpret the color wavelengths that our eyes -- specifically, the cones in our retinas -- receive.

As many of you know, our eyes comprise photoreceptor cells known as rods and cones. They convert light into electrical signals that are transmitted to the brain. The rods are responsible for low-light vision. They are highly sensitive to light and detect shades of gray, providing peripheral vision and night vision. Our cones are responsible for color vision and fine details in bright light. (Little-known fact: Each of our eyes contains approximately 120 million rods and 6 million cones.)

Our perception of color arises from three types of cone cells in the retina, each sensitive to different wavelengths of light: red, green, and blue. They send signals to the brain that are then interpreted as colors.

Photo courtesy of Wikipedia

The operative word here is "interpreted." Again, our eyes receive wavelengths of color, which are transmitted to the brain as electrical signals which our brains have to interpret. These interpretations can be influenced and even altered in a number of ways. (Also, keep in mind that every individual's rods and cones are unique, adding another variable to our perception of color.)

These principles have been studied and elaborated upon by many scholars, artists, and scientists, of course, ever since Newton discovered the visible spectrum. One of the most famous books on color, The Interaction of Color, was written in 1963 by artist and Yale professor (and husband of Anni) Josef Albers. Pictured below is the cover of the 50th anniversary edition.

Albers teaches us, through exercises and text, how -- like magenta -- what we think we see is not always the real color. Here are a few of his thoughts on the subject:

"In visual perception a color is almost never seen as it really is -- as it physically is. This fact makes color the most relative medium in art.

"In order to use color effectively it is necessary to recognize that color deceives continually....

"First, it should be learned that one and the same color evokes innumerable readings. Instead of mechanically applying or merely implying laws and rules of color harmony, distinct color effects are produced -- through recognition of the interaction of color -- by making, for instance, two very different colors look alike, or nearly alike."*

I often summarize that last sentence by saying that colors seem to "bend" toward each other.

The takeaway from this post: color deceives continually! That's something weavers need to know: that one color, juxtaposed with another, or combined with several different colors, or viewed in a different light, can vary greatly to our eyes.

Reproduced from the award-winning knitting blog,

KDD&Co

Thanks for reading!

*For a deeper look at what Albers considered "the magic of color" -- and how his book gives us tools to unlock it -- visit "The Marginalian," a weekly newsletter devoted to books and the arts, divinely curated and written by Maria Popova. You can find Popova's discussion of the 50th anniversary edition of The Interaction of Color by clicking here. Further, the book is offered as an interactive digital edition by clicking here.

Some Notes from My New Lecture, 'You Can't Judge a Warp by Its Color'

 

When I teach workshops on Echo and Jin using a 4-color parallel threading, weavers will often say to me, "I don't like the colors in my warp." I jokingly answer, "You can't judge a warp by its color." I do mean this seriously, because your weft makes a big difference (owing to a principle of optical mixing known as "simultaneous contrast," which I'll discuss later), as does your pattern, as do the rods and cones in your eyes. 

I've created a new lecture with just this title, and in it I try to unwrap some of the mysteries of color in weaving, looking at color chords, color blending, our own rods and cones (which number in the millions) and how to develop a greater understanding of what colors to use in your own work. 

In this blog post, I'm looking at just one of the concepts in my talk -- but one that is of primary importance: the concept of "simultaneous contrast," a term seldom used today, but a concept very useful to weavers.

Above, in the first photo, you see my warp colors in 10/2 pearl cotton, based on a rectangle taken from Johannes Itten's publication, "The Color Star." If you're lucky enough to have one, it's enormously helpful as it presents 8 templates that can be rotated around his 12-point color star, providing all sorts of options for choosing hues and values for what he calls "color chords" that are harmonious and satisfying to the eye.

My warp colors were turquoise, bright green (not quite chartreuse), orange, and wine. All quite saturated, with the wine color being the darkest in value.

In the second photo, you see a 16-shaft design I call "Tesselations," which uses a 20/2 pearl cotton weft in olive green. To my eye, the turquoise now appears to be a lighter blue, the orange becomes more of a rust color, the green is now definitely chartreuse, and the wine color is now more of a purple.

What happened? Simply put, simultaneous contrast. 

Above: Two images from Josef Albers's classic book, The Interaction of Color, showing (in the first image) how the rust-colored square against a teal background becomes brown against a copper-colored background and (in the second example) how a raspberry-colored trapezoid appears light and pinker against a black background (at top) and appears darker and more raisin-colored against a dark adobe background.

Simultaneous contrast was discovered by French chemist M.E. Chevreul in 1839, after he was hired by the Gobelins tapestry studio to determine why their black dyes were not consistent. He analyzed their dyes and found that, in fact, they WERE consistent -- and he went a step further, developing what he called the"Law of the Simultaneous Contrast of Colours." 

Simply put, "this color placed next to that one is modified as follows," he wrote in 1854. He added in a review in 1855: "the purport of this law, is to point out the singular fact, that when two coloured objects, such for example as a red and a green ribbon, are place side by side, or so near each other as to be seen together, the quality and intensity of their respective colours do not appear the same as when each is looked at separately. Thus, the same red ribbon will have a different tint if seen side by side with a green, with a yellow, and with a blue ribbon, and these colours will in their turn be modified to the eye, by their juxtaposition with red. This is the Simultaneous Contrast of Color."

I like to put it simpler, by saying that colors bend toward each other. And this concept is particularly important in weaving, because of the pixelated nature of warp and weft appearing over and under the cloth.

Here's an example, a double-weave sample on 8 shafts using an Echo design. What colors do you see in this warp? If I were to guess, I would say mint green and magenta.

Wrong! The warp colors are cherry red and leaf green (shown below), which happen to be complements.

The colors in the warp change considerably because the weft, if you can detect it, is purple. The purple makes both the red and the green appear bluer.

To dig deeper into this concept, let's try the familiar trick of staring at a colored dot and then staring at a white background. First, focus your eyes for about 10 seconds on the dot in the center of the yellow circle. Then focus on the dot in the center of the white rectangle.

You see a hazy purple circle, right? Purple is the complement of yellow. This is central to the concept of simultaneous contrast. The cones in your retina become fatigued in staring at the yellow, leading to a temporary imbalance in which the opposing color (its complement) appears when you look away.

What does this afterimage effect have to do with color blending in weaving? Quoting from http://onlineartlessons.com: "The law of simultaneous contrast describes the phenomenon where two colors juxtaposed... will influence each other, causing each color to take on the hue of the complementary color of its... partner." 

I confess I have yet to figure out exactly how this works when I look at weaving samples or drawdowns. I don't see colors taking on the complement of their partner but rather I see them taking on an element of their partner, as in the example below. (Comments, thoughts, insights appreciated.)

In this partial drawdown of an Echo pattern I designed using Fiberworks, there appear to be two shades of green in the cloth. Yet there is only one shade of green in the weaving: a medium grass green in the weft. The warp is khaki and purple.

Why do the greens shift in the drawdown? Again, because of simultaneous contrast. Remember that weaving is, effectively, a pixelated method of creating patterns. So when a "pixel" of green weft is close to a "pixel" of purple warp, the green appears to be more like a teal blue. (I attribute this to the green taking on the blue shade in the purple.) And when the green weft is next to the khaki warp, it appears to be brighter green, taking on the yellow in the khaki warp. 

Weavers can use these effects to optimize color-blending in their work, particularly with parallel-threaded patterns. As in the drawdown above, three colors of yarn in the design produce four colors in the cloth, adding interest and richness to the overall piece.

But back to M.E. Chevreul at the Gobelins studio. As he began writing about his observations on how colors affect each other and how complements and simultaneous contrast can produce shifts in colors that add energy to a work of art, the Impressionists took note.

Above, Monet's "Impression, Sunrise" from 1874, with its complements of orange and blue, is credited with inspiring the name of the Impressionist movement. 

It took a chemist, analyzing color scientifically, to give artists a greater understanding of how colors can work to add energy, to soothe, to excite, and to dramatize their vision.

Van Gogh, Café Terrace at Night, 1888

Thanks for reading!

Open Registration for My Upcoming "One Warp, Many Structures" Zoom Workshop

 

Above: An Echo sample by Maryann Ariizumi of the Seattle Weavers Guild, woven 

on 12 shafts in my "One Warp" workshop. Photo courtesy of Maryann Ariizumi.

Thanks to the generosity of the Ann Arbor Fiber Arts Guild, we're opening up the registration to weavers everywhere (no exaggeration) to take my "One Warp, Many Structures: Explorations in Extended Parallel Threadings" 3-day workshop. (For a detailed description, click here and scroll down. To register, click on the two links at the top of the page. For further questions, please contact me at kovnatdenise[at]gmail.com.)

The workshop will be in the Eastern Time zone on three Saturdays: February 22, March 1, and March 8, with three Zoom sessions each day. The idea is that weavers can weave along at home and then join the teaching sessions where they will show their work online, ask questions, view my PowerPoints and presentations, and discuss issues, just as we would in any workshop. I ask weavers to upload photos of their work as they proceed, as this is a really useful tool for discussion.

We make extensive use of Google Drive, where you'll have access to loads of handouts, photos, WIFs, drawdowns for printing out, and reference material. Further, all of our sessions will be recorded and uploaded to YouTube, for those who want to review or miss a session. And, as always, I'm available via email or text or phone to answer questions.

My samples of an 8-shaft pattern called "Many Rivers," showing both sides 

of the double-weave variation of this particular threading.

Thanks to program chairs Carolyn Michaels and Trish Ritchie for their willingness to make this workshop available to weavers outside the Ann Arbor Guild. Hope to see you on Zoom in February!

What's (Almost) on the Loom Right Now?

 

Well, not quite on the loom yet, but this is what I'm aiming for. It's a 32-shaft Echo design I call "Murmurations" because it reminds me of those wonderful rounded forms made by starlings and other flocks of birds as they shape-shift aerobatically across the sky.

A murmuration of starlings (courtesy of Wiktionary)

If you're lucky enough to see one, you will marvel at the sight. As magical as they appear, there are practical reasons for the birds to create these ever-changing forms in flight: They serve to help protect them from predators like peregrine falcons. Like sheep, the starlings create safety in numbers -- and they keep moving as well. Even a peregrine falcon will have a hard time catching a single bird among the hundreds or even thousands in constant motion.

Anyhow, I like the pattern and I love weaving with Echo designs, because you can achieve so many different designs just by changing the tieup and treadling. Like this one in double weave (shown as a detail, because the overall design is really big.)

Or this, woven as Shadow Weave (well, sort of), again shown just as a detail because the design is so large.

So I'm rather excited to start weaving and see the results. (Side comment: A friend and I were talking about the differences between a weaving design as seen in Fiberworks versus how it turns out when it's woven. I see Fiberworks as a sort of "flight simulator" -- that is, it gives you a pretty good approximation of what you're going to get on the loom, but you never really know until you weave it up.) And the weft color makes a difference, of course. And the sett, and the beat...

Here are my warp colors, in 16/2 unmercerized cotton, to be set at 48 epi.

The colors don't show up really well in this photo. That's mint green on the left and royal blue on the right. So the weft for my first design (seen as the first photo in this post) will probably be a copper/rust color, serving as a complement to the blue and turning the mint green into more of a rusty gold.

This post is dedicated to good intentions, because my Megado loom isn't completely dressed yet. The warp is beamed, but now I have to thread some 1,200 ends.

View from the front

Rear view

So here's a toast to weaving in the new year, to challenging ourselves, to threading myriad numbers of heddles, and to keeping our fingers crossed that our designs will translate really well from Fiberworks to the loom!

And to weavers everywhere: Merry Christmas, Happy Hanukkah, Bright Solstice, Joyous Kwanzaa, and best wishes for any and every celebration at this time of year.

Thanks for reading!

Let's Do This! Strickler's Pattern #728 for a Baby Blanket

 My nephew and his wife are expecting their second child in early December -- so of course I had to weave them a baby blanket. That's what weavers do, right?

It had to be machine washable (but I dryed it on the line, to prevent shrinking), without long floats, soft to the touch (of course), and, at least in my opinion, made with natural fiber. Again, in my opinion, cotton is the way to go, particularly unmercerized cotton because it's softer and loftier than mercerized cotton.

Like pretty much everyone else, I love pattern #728 from A Weaver's Book of 8-Shaft Patterns by Carol Strickler. This multiple-tabby pattern has charm and subtlety -- and also offers the opportunity to play with color by adding stripes that emphasize the various motifs. (If you have the book, it's the pattern on the bottom-right corner of page 228.)

I think I've seen more weavings in this pattern than in any other well-known 8-shaft design. For those of you who don't own the book, here's the threading and tieup:

The design is by Joan McCullough of Campbellford, Ontario, Canada, who just passed away in October, sadly. But what a gift she gave us. The design is described as rosepath in multiple-tabby weave, deriving from page 48 of The Rosepath Motif: An Approach to Weaving Design by Margaret Windeknecht.

A brief explanation: multiple tabby is simply a series of threadings, typically evenly spaced among the shafts -- each of which, when tied up correctly, will weave tabby. For instance, instead of threading tabby as 1, 2, 3, 4, 5, 6, 7, 8 and tying it up as 1, 3, 5, 7 versus 2, 4, 6, 8, you can thread tabby as 1, 5, 2, 6, 3, 7, 4, 8 and tie it up as 1, 2, 3, 4 versus 5, 6, 7, 8. It really doesn't matter how you thread for tabby, as long as you tie up your shafts to weave on opposites.

In the case of Strickler #728, we're not weaving tabby but rather twill variations using a 3/2/1/2 ascending twill tieup. This creates a variety of interesting motifs in the warp when treadled with a point draw, as you see in the treadling below.

Here are the basics for warping, weaving, and finishing the blanket.

Warp yarn: 6/2 unmercerized cotton from Webs (in my case, I wound 21 stripes of 15 ends each in turquoise and then, in between these stripes, I wound 4 stripes of 24 ends each successively in sage, yellow, and light yellow, yellow, and sage, for a total of 20 stripes.)

Weft yarn: 6/2 unmercerized cotton

Sett: 24 epi. Sley 2 ends/dent in a 12-dent reed. 

Width in reed: 33.29"

Begin by weaving a 1-inch-long base for the cloth (for turning over and hemming) using 10/2 cotton as weft to prevent the hem from being too thick. Do the same at the end of the cloth.

After this, using a weft of 6/2 cotton, weave the treadling pictured above in as many repeats as needed to achieve a blanket that is 2 yds. in length (not including the total of 2" of hem fabric woven with 10/2 cotton).

Finish by running a zig-zag stitch along the cut fabric on both ends of the blanket. Tuck this end under and iron the hem flat in preparation to stitch down the hem.

Hem as seen from the front of the blanket (which I define as the side with the warp-emphasis motifs, which appear slightly textured, as if emboss)..)

Hem as seen from the underside of the blanket (the side that has less texture, appearing to emphasize the weft more).

I washed the blanket in my top-loader, using cool water and regular detergent. I then hung it to dry (rather than putting it in the dryer, where it would shrink more) and finished by ironing it neatly. The final dimensions are about 2 feet 6 inches wide by 4 feet long.

There you have it! An attractive, functional, warm, and cozy blanket for the soon-to-be-newborn of the soon-to-be-parents in your life. On 8 shafts, it weaves up fast -- maybe just in time for the holidays?

Thanks for reading!

A Visit with Eva Stossel

 

Above: My favorite piece among all the weaving I've seen by Eva Stossel, in networked double weave on 16 shafts, with warp and weft in 20/2 cotton. I really like the tesselation effect.

Which brings me to the point of this blog post: Eva Stossel (you can visit her blog at www.evasweaving.wordpress.com) is, in my humble opinion, one of the best weavers around the country these days. 

Take a look:

Another 16-shaft network-drafted double weave, again using tesselations. Even more interesting: If you walk far enough away from the photo on your screen, you'll see an overall pattern in this piece, sort of a vertical-ellipse shape, made by the squares themselves!

Here's a detail:

How did she DO that? I figure it's two colors in the warp and weft of the top layer (white and red) and two colors in the warp and weft of the bottom layer (purple and red), and her design is networked but not paralleled. And then she shifted equal-sized rectangles in both threading and treadling throughout the piece to achieve the tile-like effect.

And how about this?

Tied Lampas in 4 blocks, in a clean, refreshing design (and, by the way, using complementary colors of green and red and purple and yellow, which add to the aesthetic appeal).

And yet another:

Woven moiré in pearl cotton on 16 shafts

Eva is really generous in sharing her drafts -- both in her blog and as WIFs when asked (although at times, rightfully, she does keep some designs to herself). Her writing is clear and concise, making her blog a gift to the weaving community at large. 

I had no idea where she lived until I happened to mention how I admired her work to my friend Hedy Lyles, herself an excellent weaver from Willow Grove, PA. Both Hedy and Eva belong to the Philadelphia Guild of Handweavers.

One of Hedy's twill scarves, on display at Convergence 2024 in Wichita in July.

Come to find out, Eva and Hedy are friends! Over a weekend when I was visiting family in Philadelphia, Hedy and I took a road trip about an hour out of town to visit Eva. It was a pleasure to finally meet her. She seemed surprised when I told her her blog has fans nationwide!

Hedy, left, and Eva, right, talk weaving. Note one of Eva's designs at the bottom of the photo, woven to create an Ikat look.

I remember Hedy telling me that she weaves on a 16-shaft Macomber loom, which surprised me, as I expected her to rely on the convenience of a compu-dobby. It takes a lot of strength (and a lot of tromping) to weave on 18 treadles to lift the cast-iron shafts of a Macomber!

Eva's Macomber, with an end-feed-delivery shuttle poised on the shuttle race.

She samples religiously and keeps detailed records, which is exactly what all the great weavers do, in my view.

Eva told us that often she will use her 4-shaft Structo for sampling -- clearly not to see how a 16-shaft pattern works, but just to see how the warp and weft yarns weave together. I consider that a noble endeavor, one that never even occurred to me ;o)

Eva with her files

More samples, more notes

Really, I wanted to meet Eva because I so admire her work and her generosity -- and I wanted to learn something about how a master weaver works. Of course, you can't access a person's mind and discover the source of their creativity (don't I wish). What I did learn: Start with a good idea, sample it, sample more, make sure the yarns and colors work, dig deeper, keep weaving, keep learning. That's the essence of what it takes.

And, as is so often the case, I found how much I enjoy making friends with fellow weavers. Thank you, Hedy and Eva, for a delightful afternoon!

Not the most flattering photo of any of us (from left: me, Eva, and Hedy) but it documents a meeting of hearts and hands, you might say....

Thanks for reading!

Echo... Echo... Echo on 8 Shafts

It all started with Handweaving.net, as I'm guessing it does for many of us. 

One of the easiest ways to create an Echo design is to look on Handweaving.net for patterns with advancing-point-twill threadings, such as Ms and Ws, Gebrochene, or Crackle. These threadings can easily be made into Echo designs, simply by clicking "Parallel Repeat" on the "Warp" drop-down menu in Fiberworks Silver and then interleaving a threading line that's parallel to the original threading, separated by an interval of half the shafts you're using.

A bit of weaving terminology here -- because I remember wondering what in the world "interleave" meant as I was learning to work with parallel threadings. I always thought it meant inserting a page into a book. Actually, in weaving, it's sort of like that: You insert a second threading line above the original threading line -- so that each parallel thread is "interleaved" between two threads in the base threading -- A/B/A/B and so on. 

In other words, if you take a simple 8-shaft point draw like this...

You can interleave it with a parallel threading that is 4 shafts above it....

This represents an interleaved threading that is parallel to the original threading (there are lots of variations on this, which I won't go into in this post). Typically in an Echo threading, the parallel threading line is half the number of shafts above the original design, as it is in the diagram above: Threads 1, 2, 3, 4, 5, 6, 7, and 8 have a parallel threading line that is 4 shafts above them on an 8-shaft loom. The overall Echo threading -- a.k.a. parallel threading -- is now 1, 5, 2, 6, 3, 7, and 4, 8. Then, when you reach the base-line thread on shaft 5, the parallel thread "above" it is on shaft 1. The reason: Remember that Echo is a technique based on twill, so, just as with a straight twill -- 1, 2, 3, 4, 5, 6, 7, 8 -- the next thread for a straight draw is 1. (Because we don't have 9 shafts on our loom, you have to corkscrew around to shaft 1 in your threading in order to weave a continuous twill line.) 

Echo calls for two colors in the warp, one for each threading line. (You can also design Echo using 3 or 4 parallel lines, each with a different warp color, but again, we won't get into that.) Another key to this technique: Echo uses a twill tieup and, typically, a sett that is somewhere between that recommended for twill and that recommended for double weave. Also, Echo usually requires a weft that is about half the grist of the warp threads. These are not rules, just recommendations, helping to show off the warp pattern. (Echo designs are warp-emphasis designs.)

So here's where I began, with this lovely 8-shaft advancing-and-descending-point-twill design on Handweaving.net:

I really like the luminous quality of the chartreuse weft, defined by the grass-green color of the warp.

And simply by clicking "Parallel Repeat" on the Warp drop-down menu in Fiberworks (a feature, like networking, that is only available on Fiberworks Silver), I got this variation:

I confess that I tried hard to find the draft on Handweaving.net so that I could give you the number to look it up -- searching under "Twill," "Ms and Ws," "Point Twill," and even "green," but I couldn't find it! The site is so full of treasures, you could spend an entire day looking at drafts and saving the ones you like....

Anyhow, I decided that the above design was too stretched out width-wise, so I created a version in Jin (which is basically Echo with a tabby tiedown in the treadling) in order to balance the motifs.

I like the simple variation of colors in the warp: bright green and turquoise, with a weft of slightly lighter green. And then, while I was shopping at Convergence in July, I came upon a 4 oz. skein of chartreuse Tencel and a 4 oz. skein of hand-painted Tencel in a variety of blues (at the Eugene Textile Center booth, which was full of temptations). Both skeins were 10/2 -- perfect! And here's the result (another version of the photo you saw at the beginning of this blog):

Along with being one of the most environmentally friendly of all the weaving fibers, Tencel also has a great sheen to it, giving the fabric a gloss similar to silk. Plus it has considerable tensile strength (hence the name Tencel, I'm guessing).

Because I didn't feel like plying lots and lots of fringe -- which is a graceful accent to a scarf but takes a lot of work -- I wove a double-weave tube at both ends of the scarf. All you have to do is fold it inwards, iron it flat, and blind-hem-stitch the sides of the tube together. 

Here's the drawdown for weaving a plain-weave tube on an Echo threading:

I'm considering -- that's the operative word, "considering" -- writing a second book, this one about Echo, offering designs for 8 shafts only, as that's the easiest way to learn this technique and 8 shafts seems to be the number of choice for the majority of weavers. This pattern would be one of them and, of course, I will have to weave up another 11 projects before I even start writing the book. So, if this book gets written, it will be a while....

Thanks for reading!