Above, the front piece of the Chinese pullover…nearing completion of the back piece and waiting for buttons on backorder.
And some news… I’ve been working on a separate home for my weaving work:
It’s just a placeholder for now, but I’m looking forward to the development of this new space.
A cashmere and silk handwoven shawl created for Blossom as part of our sew :: weave exchange.
Driven by the subtle differences in the habu materials, I used this project to try them out in ways that were new to me. The yarns are all dark but of varying texture. I used silks of two different weights as warp: fine yet slubby token viscose silk and the slightly thicker, even kakishibu tokkenshibu silk.
Using yarns of different weights and textures to create depth. The difference is very subtle – take a closer look.
It’s difficult to make out in the photographs, but it is there. The true test is when you take the shawl in your hands and see how the warp materials make it fold in unexpected ways. I wanted the bulk of the shawl to be plain weave so it would be warm, but also wanted some detail. I decided on a section of textural silk placed off center (gracing one shoulder), a panel with groups of 2/2 leno in a diagonal design. Inspiration came from looking up at the trees during the evening, the setting sun highlighting the tops of the branches. The weft is supremely soft naturally dyed cashmere from habu.
I savored every phase of this project, from warping with different materials to anticipating the moment the cashmere would interact with the warp yarns to the excitement at seeing the original fabric fold and move once off the loom.
tree top shawl handwoven 20 in by 70 in
sew :: The bag and skirt that Blossom created are truly beautiful. Please visit here and here to see more.
Gear linen from habu as warp and weft. Incredibly interesting texture, but a challenging material during the warping process. It’s structural when woven in plain weave, but as I experimented and added some tsumugi silk (far right) it turned into an amazing fabric. I need to let the experience sit with me for a while and contemplate the design and use for another project – this material will be on the loom in the future. This sample piece features the hand-controlled weave chaining – it actually looks better when worked in thicker yarn (see here where I worked the chain in handspun alpaca – the chain sits on the surface) but I think the thin strand of silk contrasts nicely with the gear-like texture of the linen yarn.
handwoven scarf 7 inches by 58 inches
And linen yarn from linnet. This yarn was really easy to use as warp material and I was surprised when I gathered it in my hands during the warping process. It felt smooth, almost silky. I used 1/1 leno weave, peppering the length of the plain weave scarf with little squares of this open work technique. The combination of plain weave and linen yarn naturally creates a somewhat stiff fabric, but it’s offset here by the leno weave. Handwoven in colours ecru and acorn flax, it makes for an incredibly airy, light scarf.
I was just thinking about taking a walk but it has started to rain again. It was clear this morning – I guess I missed my chance. I was looking forward to wrapping this soft alpaca scarf around my neck, the loosely spun fringe catching the wind. I wouldn’t mind a break from these overcast rainy days – but I couldn’t help using gray materials again. Shades of gray in textiles don’t look dreary to me, but appear crisp and modern. For this piece I wanted something modern but not too crisp – the uneven yarn, handspun on a drop spindle over the course of many days, creates a fabric full of textural interest and warmth.
Warp: naturally dyed silk from habu – kakishibu tokkenshi in sumi charcoal (A-15-43)
Weft: handspun alpaca - single ply - baby alpaca top in silver streak – fiber from the yarn tree
handwoven scarf 11.5 inches by 54 inches (not including fringe)
warp & weft : tsumugi silk from habu (A-1-1 & A-1-7), 9.5 inches by 44 inches
tiennie knits, knitting philistine, black dog knits and assemblage thank you for including me in your "you make my day" list. I'm always eager to find out what you're creating -you make my day too.
Here's my short list:
madelinetosh : gorgeous hand dyed yarns using natural dyes
coloursknits : amazing photographs
dogs steal yarn : beautiful words
lolly knitting around : inspired - both knitting and weaving
fluffbuff : for the lace
dogged. : love her quilts (and bailey too)
nova made : pie & knitting - perfect
six and a half stitches : awe-inspiring textures & original projects
whispering pine : delicious raw fabrics turned into stylish garments
ah-yi : handwoven scarves in amazing patterns and colours
Thank you for making my day, your work truly inspires me.
weaving swatch inspired by the samples in Plain Weaving
A day in early January inspired this scarf and then time was spent thinking about how to capture it via warp and weft. I chose muted green and gray tsumugi silk and planned a specific stripe sequence for the warp. I used the same material for the weft but also added some kid mohair to contrast the cotton-like feel of the silk. I finished late last night and was eager this morning to see it in natural light, to wrap this new textile around my neck. Delicate texture - it feels wonderful.
Warp: habu tsumugi silk (A-1-1 and A-1-43)
Weft: habu tsumugi silk (A-1-1 and A-1-43) & habu kid mohair (N-52-24)
Scarf: 9.5 inches by 55 inches
An early morning run a few weeks ago. The gentle waves of fog rolled over muted green grass. Forgetting distance and cold. Appreciating the moment outdoors. Wishing every morning could be like this one. Mind and body invigorated.
This week I sat down at the table with materials of mixed textures before me – tsumugi silk, airy kid mohair and crisp linen. Working on my warp plan. Nearby, Plain Weaving open to the page that shows Misao Iwamura’s studio near Mt. Hiei. A building with tall skinny windows nestled in a small grove of trees. Black and white photos show the interior – a spinning wheel in one corner draped with a handwoven piece and three round stones at its feet. Yarn filled cones line a shelf. Iwamura at work at one of her looms.
A look at my next handwoven piece in progress
tsumugi silk (A-1-1 & A-1-43) and kid mohair (N-52-24) from habu
Many thanks to all who visited and commented on the aran coat. I truly appreciate your kind words.
Warp: Habu A-165-26 1/20 tokken viscose silk
Weft: Habu A-34-7405 cashmere
Scarf: 6 inches x 59 inches
Start: 11.24.07
Finish: 12.20.07
I wrapped this handwoven scarf around my neck this morning with mixed feelings about the resulting piece. The fabric is incredibly soft but I wanted to create a more balanced weave. I was looking to create a piece where the sticky uneven viscose silk warp would play equally with the delicate plies of the cashmere weft to create a balanced weave. On the loom, weft dominated warp. But now seeing the photograph with the scarf worn around my neck, I think there is a hint of my original intention for the piece. The viscose silk is present in a more subtle way giving depth to the resulting fabric.
A few days ago I was nearing the end of the warp when one of the warp threads snapped. I had turned the back handle too tightly and with too much force while adjusting the tension. I fixed the thread by adding a piece of warp and securing it at each end with a weaver’s knot. Apparently this knot is incredibly strong and it’s not noticeable in the scarf. The warp material I used is actually my favorite thus far – a bit uneven, a tad sticky, silk with texture.
My attention now turns to the stack of hats that need to be wrapped….Happy Holidays!
Every night this week I looked forward to curling up on the couch and working on Elizabeth Zimmermann’s Aran Coat. I’ve made good progress on the body and have started the sleeves. After spending so much time with this huge mass of knitting in my lap I finally set it on the floor to measure the length and see the progression of the Sheepsfold pattern.
I neglected to mention in the last post that I’m working the Sheepsfold pattern over 12 stitches. It’s the signature pattern on the coat and I really wanted it to stand out.
I also have been working on my current weaving project. The weft (cashmere) is almost covering the warp, resulting in subtle surface texture. I’ve been reading On Weaving by Anni Albers and the chapter on Tactile Sensibility reminded me of why so many of us crave creating with raw materials. Daily life is surrounded by sleek packaged products that, while save us time, have numbed our tactile sensibility. We love experiencing, as Albers calls it, material “in the rough”. Spinning raw fleece into beautiful plies of color. Weaving with handspun yarn and letting the unevenness of the material create the texture. Knitting with wool to create textural cables and bumpy garter stitch. We finish a project and our senses are revitalized – we can’t help but start the process again.
I wanted to learn to weave because I had a clear picture in my mind of how I would use the woven fabrics. I thought of our minimalist living room: two walls had windows, the third a fireplace and door and the fourth - a large blank wall. I wanted to keep the minimalist feel, but at the same time add something to the wall space that would give warmth, texture and interest to the room. Inspiration came from reading about the work of Claudy Jongstra, who designs and produces felt fabrics for residential and commercial spaces. Visits to Habu sparked my curiosity – the big silvery door propped open, leading you into a space with beautiful woven fabrics hanging on the walls. I envisioned my wall with similar textural hangings (and maybe a chunky hand spun hand woven throw on the couch as well) creating a modern yet cozy interior. I had to learn how to weave. And so this is where I find myself, creating and still very much in the learning phase of the art. Although my last two projects focused on hand-controlled weaves like leno weave and Danish medallion, I decided to use plain weave for my next project. I want to let the beauty of the materials do the work while I practice the basic weaving techniques.
I started warping late Saturday using Habu token viscose silk (A-165-26, above left). Warping the loom took me about 2-3 hours. The back of my Kromski Harp Rigid Heddle Loom functions as a warping board – it’s actually a very meditative process of gently taking yarn from the cone and wrapping it around the pegs, crossing at the top and returning to the starting point to repeat the process. I also needed the help of my husband who winds the warp at the back of the loom while I hold and clean the warp at the front to achieve proper tension.
I’m using Habu cashmere (A-34-7405, above right) for the weft – figure-8 wrapped on the stick shuttle. Eventually I would like to get a Swedish boat shuttle that holds bobbins of fine yarn and a bobbin winder.
shuttle full of cashmere
warp tied at the front (cloth beam) of the loom
warp beam
The light was really beautiful this morning, pouring into the living room where I keep the loom. It’s just the beginning but I’m really excited about this project. On the knitting front, I’m still working on the hats and added some yarn to the stash. After seeing this gorgeous golden skein of Andy’s Yarn, I knew I had to try some. I was at Purl recently and this skein just jumped right out at me – Farmhouse Yarns Andy’s Merino in Tangerine.
In March I took a weaving class from Linda LaBelle at The Yarn Tree in Brooklyn. Friday evening a reception was held at Habu to showcase the finished hand woven works from the Spring and Fall classes. It was also a party to celebrate the publication of Linda LaBelle’s new book The Yarn Lover's Guide to Hand Dyeing - Beautiful Color and Simple Knits. It was quite a large crowd and everyone circulated the gallery, examining and enjoying the hand woven techniques and materials used in each piece. The highlight of the evening was when Linda read an excerpt from her book. She traveled the country interviewing seven hand dyers, collecting stories of their excitement and passion for dyeing yarn. The book contains a wealth of information on hand dyeing (from Kool-Aid to Jacquard Acid to PRO One Shot) and step-by-step instructions on how to hand dye accompanied by clear how-to photos. Each process is followed by a pattern. The behind-the-scenes look at the seven professional hand dyers (Hand Jive Knits, Schaefer Yarn to name a few) is fascinating – you get to see them at work in their studios and outside in the rich landscape and lush gardens that inspire them (often accompanied by their dogs).
And I must share with you the color and texture of the hand woven works. Enjoy!
