Jin Is a Tonic

Actually, you can't weave true tabby when you're weaving Jin on an Echo threading. It's more of a half-basket weave, but anyhow....

This post talks about the rewards of Jin, also known as Turned Taqueté, and why it's such a popular structure to weave with, especially when it's woven on an Echo threading.

[First, however, a few credits to share. Kathi Grupp, advertising and marketing manager for the Handweavers Guild of America, deserves applause for starting the meme above, because she was the one who came up with it during a workshop I taught in Atlanta. Thank you, Kathi!

And, since we're talking about Echo and Jin, let's extend thanks also to Marian Stubenitsky, Bonnie Inouye and Margaret Coe, all of whom have made enormous contributions to the storehouse of knowledge in this area -- ever since Alice Schlein first introduced and named the design known as Echo in Weaver's magazine back in the 1990s. To be clear, Jin is an ancient structure, dating back thousands of years, as discussed by Becker in his seminal book, Pattern and Loom. But right now I'm focusing on the gorgeous waving multicolored designs that weavers are creating today.]

So, in Atlanta with Kathi Grupp and members of the Chattahoochee Handweavers Guild, we were discussing the popular weave structure known as Jin and how it solves all kinds of float problems when you want to design a viable fabric on an Echo threading.

Let's start with Echo, because that's the threading many folks use in designing Jin. Working with weaving software to design an Echo pattern, often you'll "test" your design with an ascending twill tieup, where half of the shafts are down and half are raised (meaning that when any warp thread in the design is up, its parallel will be down). Your pattern will show on either side, but in different colors. Brilliant! So many weavers love Echo designs, because they offer lots of freedom in creating curves.

Sometimes the test tieup for Echo works beautifully, depending on the threading. But, more often than not, it creates lots of long floats. Like this:

Bonnie Inouye's rule of thumb is that, when you're weaving Echo, you don't want warp floats that are longer than 5 picks (or weft floats that are wider than 5 warp ends). So this design fails by that standard.

What to do? Keep calm and add tabby -- to weave Jin -- which, by definition, will never give you warp floats of more than 3 picks. For that reason alone, Jin is a tonic. Plus, with two or three or four colors in the warp (using an extended parallel threading) and with the right color in the weft, you'll often get iridescence and, sometimes, new and unpredictable colors that are created by combinations of your basic colors in the warp and weft.

Further, I like to say that Jin is a very tidy structure, because of the uniformity of the 3-pick-long warp floats.

Another way to deal with the warp floats in an Echo design, rather than weaving Jin, is to break up the tieup. (I sometimes jokingly say that we are "tabbifying" the tieup, which is another way to "Keep Calm and Add Tabby.")

With this tieup, you're still weaving Echo, but you are limiting your warp floats to no more than 3 picks (and limiting your weft floats to no more than 3 warp ends). I like the way the advancing point twill treadling works to create strong black and purple zig-zagging lines in the design. The colors really dance on the screen, which tells me that it would be worth trying to weave, maybe using similar colors.

Talking about tabby: To repeat, you can't weave true tabby with Jin on an Echo threading. As I mentioned, you wind up with something like a half-basket weave, where one weft floats over two warps. 

Jin is described by John Becker in his book Pattern and Loom as "warp-faced compound tabby." It's warp-faced because of the 3-pick-long warp floats on both sides of the fabric. And it's a compound structure (as is Overshot, for example) because if you remove the pattern wefts, you will still have some kind of ground cloth (made up of the tabby weft shots). A compound weave structure has two things going on at once, as I understand it.

Terminology is a challenge in weaving, almost like another language. That's one of the reasons I write these blog posts: They help me to understand the language of weaving.

Hope this helps you, too. Thanks for reading!

Sett and Re-Sett: Weaving Circles with Echo and Jin

This post is dedicated to Ingrid Boesel, master weaver and, together with her husband, creator of Fiberworks. Ingrid passed away last Friday and weavers around the world will sorely miss her generosity and creativity.

It seems that the more I weave, the more I go back to basics: sett, beat, yarn choices. I think it's important to ask questions all the time, taking nothing for granted.

That's what I've been doing over the past few weeks, weaving up samples for a workshop I'm teaching in April at the New Hampshire Weavers Guild: "Echo and Turned Taqueté for 4 Shafts and More."

Because Echo and Turned Taqueté (now better known as Jin) are warp-emphasis structures, they call for a dense sett: typically more than a twill but less than for double weave. BUT, many folks are weaving 4-color Echo and using a looser sett, even a plain weave sett, because they want to maximize the color effects, creating iridescence by using the same grist yarns in both warp and weft.

For the samples in the photos above, I used 20/2 pearl cotton in the weft and in the warp, which was sett at 36 epi, normally used for plain weave.* I also tried out a variety of weft yarns, all in 20/2 cotton, but using different combinations.

Here's what the pattern looks like woven as Jin, adding a tabby treadling.

Same threading, same sett, different treadling. And the circles are ovals. (Jin, because you're inserting tabby, always stretches out the pattern.)

Here's the drawdown for the Echo design at the top of this post. (Let me know if you want me to share the WIF with you.) I cropped the image, because it's way too big to show any details otherwise. I've used an advancing point twill in the threading and treadling both, so that the circles change in subtle ways across the design.

But back to sett. I really loved the way this fabric turned out, surprisingly, as the sett is way more open than I've ever used for Echo. So, out of curiosity, I decided to re-sley the warp at 48 epi, which is a twill sett for 20/2 cotton. I changed the tieup and treadlings as well because I still wanted rounded shapes.

So here's a different tieup and treading, sett at 48 epi.

Four colors total in warp and weft, and I'm still getting those rounded shapes, although I don't like this design as well.

Next I wanted to see what happened at 60 epi, which is a traditional sett for Echo (denser than twill at 48 epi, but more open than double weave at 72 epi). And I had to rework the treadling again to compensate for the denser sett.

This time I used a 12-weight embroidery thread for the weft (about 10,000 yards per pound), because I wanted a finer yarn. It's a variegated thread in shades of green, which adds a kind of sparkle to the fabric.

Here's what the same design looks like with a weft of 60/2 silk (a sort of coral color, which you see in the middle section of this sample).

So much more to do -- and to show you! I started playing with the treadling, like so:

Which resulted in a completely different look that I like very much -- except I should have tried different colors for the weft (I used gold and red in 20/2 cotton for this sample).

I also tried a networked treadling (achieved by clicking on the treadling dropdown menu in Fiberworks, selecting "Fill Treadling" and choosing the "Redraw on Network" command). It's similar to the circles design in the photo at the top of this post, yet slightly different in that the blocks seem to show more.

And then there's this variation in the treadling:

Which results in this pattern:

I got here very easily, thanks to Fiberworks, again by clicking on the "Treadling" dropdown menu and then clicking on "Fill Treadling" and choosing a 13-thread Extended Twill. (Remember that I'm using the Mac version, so it might be different in the PC version.)

Lots of ways to weave in circles. Please try this at home! And thanks for reading.

*For those who aren't familiar with the Master Yarn Chart, a free PDF download from Interweave, it's a great resource. In it, you'll find the grist and three recommended setts (for lace, plain weave, and double weave) for every yarn that has been used in projects for Handwoven magazine since 2000. When I'm weaving with a new yarn, I use the Master Yarn Chart as a guide and adjust my sett if necessary after that.