Weaving Heartfully: Happy Valentine's Day!

"heartfully." en.oxforddictionaries.com. With the whole heart; with enthusiasm, conviction, or intense feeling; warmly, cordially; devotedly.

What a great word! And what a great draft. I found it online, probably on Pinterest, and I have no idea where it came from, unfortunately. (Update: Thanks to Janice Jones, who kindly sent me an email about this, it comes from Oelsner's Handbook of Weaves, also available as a download from Handweaving.net.) Here's what it looks like in Fiberworks.

16 shafts, a 36-treadle repeat -- perfect for my Toika compu-dobby. I had a 10/2 Tencel warp on hand (wound from hand-dyed yarns by Teresa Ruch, with a solid purple yarn and a variegated red and purple yarn, purchased at Convergence 2018) and I sett it at 28 epi (for twill). The weft is 10/2 pearl cotton in red. Judging from the hand of the fabric on the loom, it's a bit too dense and heavy for a scarf. Perhaps it would work for a purse or a bag for my yoga mat? Then again, the hand might change substantially in the washing....

And then I got to thinking: Valentine's Day is here. So why not take this design and turn it into heart shapes, just by altering the tieup?  

Take a look at the scallop shapes in the tieup above. It's a damask weave, so the tieup is warp-emphasis for the purple sections in the drawdown and weft-emphasis for the turquoise sections. [Damask is defined as a fabric formed from satin (warp yarns floating over 4 or more wefts) and sateen (weft yarns floating over 4 or more warps) weaves, used to create reversible figured designs.] And the motif is split in half, because when you thread a point draw (shafts 1 to 16 and back down to 1), the motif reverses itself, creating the second half of the scallop shape.

I played around quite a bit, working to create a warp-emphasis heart shape against a weft-emphasis background, which required tie-down warps and wefts placed strategically. I had to keep in mind that there would be floats, because you really can't expect to have tie-downs in total symmetry. What's more important is the silhouette of the heart shape.

So here's what the draft looks like now.

I haven't woven it yet, because the original design is still on the loom -- but I could change that easily, right? That's the beauty part of having a computer loom. 

So there you have it, a heartful draft for Valentine's Day! Thanks for reading.

Oh and one note before I close: Google Plus will be shutting down in March, which means that people who subscribe to this blog through Google Plus will no longer get my posts. So please change your method of receiving posts by clicking "Follow" in the blue rectangular box below all the miniaturized photos on the left-hand margin of my home page. Or you can click on the red box under "FeedBurner Subscribers." 

Either way, I hope you'll continue as a follower. I appreciate you being a part of my online community.

Studying 'Lustrous Linens' with Kati Reeder Meek

Sorry for the smaller sized photos, but I took them with my iPhone! Last week, the Weavers' Guild of Rochester hosted a workshop with the wonderful Kati Reeder Meek, author of Reflections from a Flaxen Past, master weaver, and inventor of better warping with the weaving trapeze. The photo above is a sample from the workshop, described as a four-shaft damask, woven with linen warp and weft.

Linen has a character all its own: less forgiving and far more rigid than wool, cotton or silk, but in so many ways more lustrous, durable, and pattern-friendly than almost any other fiber. I have always loved linen, as it harks back to centuries-old weaving and spinning techniques and comes straight from the fields. So ancient and so basic to human needs.

Here are a few more samples from the workshop. (I don't give anybody's name here, because some people would prefer that their names aren't broadcast over the internet -- so we'll let the weavings speak for themselves.)

This one, above, is a bit blurry, but I hope you get the picture. This is a four-harness 17th-century Lithuanian pattern -- a one-shuttle weave that uses tabby throughout.

Above, the weaver used 30/1 linen in both warp and weft. It's woven in plain weave, in a thick-and-thin pattern where four threads are woven as one for all threads on harness 4 and then for every fourth pick. (That is, you thread a straight draw on four harnesses, threading four ends through every heddle on the fourth harness and then, as you weave harnesses one and three against two and four, weave one pick four times every fourth pick. If you want the draft, I can send it to you, because it sounds far more complicated than it is.)

Both samples above are using the same pattern, but with yarns of different weights and colors. It's based on a 19th-century Lithuanian pattern for eight shafts, in two blocks of point twill. So pretty! The first photo is hard to make out, I realize, but the colors alone work well.

Kati Meek calls this a "trouser twill," derived from a pattern on a fragment of fabric from a Lithuanian man's trousers. It's a 2/2 twill in two colors, perhaps not for trousers this time.

My pattern was a gauzy off-white fabric with varied denting -- which I chose in hopes of making curtains for my kitchen, which we are updating. (And boy does it need updating.) Here it is, below, in a photo taken after I had cut the sample off of the loom, washed it, and "cold mangled" it with a marble rolling pin.

Why did I enthusiastically take Kati's class -- if I'm a weaver of collapse-weave fabrics that, unlike linen fabrics, forgive a multitude of sins? Because I love linen fiber, I hope to weave more of it, and, above all, this class revisited so many basic techniques to teach us new, better approaches. Thank you, Kati!

And maybe I will soon weave some new kitchen curtains, also thanks to Kati.