Reflections

A Memorable Weekend

2011-10-09T20:31:00.000-05:00

We had a wonderful weekend with musician friends with whom Don worked off and on for many years. Some came from Kansas City, MO, Cleveland, Ohio and Mobile, Alabama. We met everyone at a local restaurant on Friday night and then again on Saturday about noon in order to set up music equipment and rehearse. There were approximately 20 musicians there. Not all played but so good to see them all. There were about 150 guests there. Some have attended every time this group of friends has gotten together to play and visit. Each year, we are afraid might be the last we see some as all are getting older and some in poor health. One came (and sung) who we had not seen since 1975. What a joy to renew an old acquaintance and meet his family.

Winding a Skein into a Ball

2011-09-06T12:14:00.001-05:00

Remove and save the label for sett suggestions or gauge. Open up the skein. Ideally, you will own an umbrella swift and ball winder and these instructions are assuming you do. Insure that the skein is not twisted, then place the skein on the swift bringing the swift up to meet the circumference of the skein. Locate the beginning/end of the yarn; this is where the beginning and end were tied together. Cut this loop (last) and the remaining tie-bands off the skein. Caution: This step should not be done prior to placing the skein on the swift. Wind off a couple of rounds to see if the yarn is going to feed evenly and insert the end into the ball winder and wind into a center pull ball. If the yarn seems like it is tangled, it is probably just a kink in that spot. Resist the temptation of weaving in and out as it misaligns the yarn. Usually, if you will give the yarn a little pop close to the skein, it will loosen the kink and you can proceed to wind into a center-pull ball. If you are using a hand dyed yarn and using more than one skein, lay one skein on top of the other to insure the color is running the same direction. Then, be sure you wind in the same color order.

Publishing with New Laptop

2011-09-05T12:53:00.000-05:00

If you are a follower, you might have noticed that I posted approximately 30 pages in the last few days. Most are from my old website which presently resides on my old desktop. We are in the process of clearing the harddrive and I will be posting from my new laptop. I could not publish from the laptop and hopefully, this change to the new blogger interface that Kim recommended will help.

Mother Bunny and Bunny Love

2011-09-04T21:03:00.005-05:00

Thanks for bearing with me while I transfer files from my former website to blogger. There will be many files that I hope will be helpful to weavers.

In addition, here are the latest rug hooking projects I finished and gave to my sister-in-law who loves bunnies. They were designed by Karen Kahle of Primitive Spirit Rugs and were a lot of fun and fast to hook.

Knitting or Weaving Yarn?

2011-09-04T14:18:00.006-05:00

I have often heard yarns referred to as knitting yarns or weaving yarns. I've heard it said that yarns on a cone are weaving yarns and yarns on a skein or ball are knitting yarns; that stretchy yarns should not be used for weaving; that knitting yarns are pre-washed and weaving yarns are not pre-washed. An educated guess is that a dyed yarn has been pre-washed.

It can certainly be confusing but the truth is that none of these factors define a knitting or weaving yarn. These are only conditions of the yarn that should be considered before knitting or weaving a project.

If you are in doubt of whether a yarn will make a good knitting or weaving yarn, first consider how you will use it. For example, a stretchy yarn might not make the best warp. But, it might be used for example. Or, if in doubt, and you want to use the yarn, use it as weft.

If you are using a hand dyed yarn, consider that it has been fulled some and sett it closer than a mill dyed yarn. If knitting, knit a swatch with 3 to 4 sized needles and wash the swatch to determine the needle size to use for the finished product.

In addition to how you will use it, consider the qualities you want in the finished product. Would you like a scarf that is lightweight or heavy, warm or cool accessory, nice drape or very light? Qualities of the finished product are largely determined by the fiber content of the yarn and structure of the fabric.

For a lightweight scarf, go with a laceweight yarn. For something a little heavier, a fingering weight and even heavier, a DK weight. (If you go any heavier, you're going to have a saddle blanket around your neck. Ask me how I know! )
For a lightweight, warm scarf, consider a protein (animal) fiber such as wool, silk alpaca, etc., or combinations of the same such as Jaggerspun Zephyr Silk/Merino. Melody Superwash Wool or Harmony Laceweight Merino are also good choices for warm, lightweight scarves.

For a lightweight, cool accessory with nice drape, tencel is a good choice and can be used for both knitting and weaving warp or weft. For something a little lighter, knit or weave with 5/2 perle cotton.

By considering the structure, any of the examples above can be knitted or woven so that you have an airy scarf or one that offers more warmth and drape. Choose knitted or woven lace for an airy scarf, stockinette or twill for a heavier scarf. Change the gauge or sett to suit the fabric you desire.

Knit or weave with the yarn of your choice and enjoy the process!

Warping Board or Mill?

2011-09-04T14:08:00.003-05:00

I prefer a warping board as does at least one master weaver and another production weaver I know. They both have their place. If you have nowhere to mount a warping board, then a mill might be the answer. It has its advantages and disadvantages. For long warps with very little color change or for limited physical space, they are very good. You might consider a door frame with removable dowels if you have limited space. Just don't wind a warp over a door that you will need to enter or exit! When you've finished winding the warp, remove the dowels from the door frame. Be sure the dowels are of maple or oak or they will bend and break. Ask me how I know. If you can't do that, you might consider warping pegs as they are portable and inexpensive. These are good for short warps.

The "tickets" to good selvages:

Keep your weaving space midway between the breast beam and beater - known as the "sweet spot." It's where you get the best shed. Only weave for about an inch and advance your warp often. Don't try to get your money's worth from an advance of the warp by weaving as close as you can to the breast beam and as close as you can to the beater. Your selvages will show it when you take your warp off the loom. And here is the reason why: the arc of the weft is different at the breast beam than it is at the beater. So, narrow the space in which you weave.

And do not fool with the selvages as you weave. It will loosen the tension on your selvages so that when you take it off the loom, the selvages will "wave" lengthwise.

Strive for an even beat. Get in a rhythm with throwing and beating. When you get up from the loom, loosen your tension and tighten when you return to weave - unless you are going to come back in a few hours. Even then, when you sit down to weave, beat before you throw your next pick as the pick will have "traveled" ever so slightly toward the breast beam so that when you hold your weaving up to the light, the beat will be uneven - even after washing.

Don't overload your bobbins as it puts pressure on the selvages. Throw evenly and, again, with rhythm. You will always have one selvage that is not as good as the other. It's universal as most of us are not ambidextrous.

More About Color

2011-09-04T14:04:00.002-05:00

Once upon a time, I didn't like yellow - or any derivative of it - like yellow orange, orange, yellow green, olive, etc.. I could not bring myself to include yellow, yellow orange, orange or even a bright turquoise in a handwoven garment. Something was missing from my fabrics and I really couldn't put my finger on it. After all, I was choosing colors that I loved that "went together." This must have seemed a problem to a lot of weavers as Marcy Petrini, friend and weaving teacher, taught a portion of one of her classes entitled "How to Make an Ugly Color Disappear." We were instructed to bring the colors that we liked the least. Everyone showed up with some fairly hideous colors, in my opinion at the time. (I have since taken a liking to all colors.) I took along a very shiny rayon of which I had space dyed in complementary colors, turquoise and orange. It even had the "benefit" of a little brown where it wicked in the middle. My thoughts were 'let's see what she can do with this.' (-: With a little twisting of yarns in the more conservative colors that I loved and in varying amounts, I was pleasantly surprised! The twist of yarn in the colors I loved was no longer dull but full of life! I planned a project with just a highlight of that shiny turquoise and orange and the fabric was so alive that I used up the remaining of the yarn in other projects and had to dye more!

Since then, I have had opportunity to do a lot of testing with color and have found that I generally want a little spark or highlight in hand painted yarn so that the resulting fabric will be warm and friendly. If I don't add it into the colorway, I try to add it by using a highlight of mill dyed in the warp or a warm weft in a handwoven or knitting two together in a knit. In order to make life easier for times when I don't want to do a lot of color planning for the end fabric, I find it best to add a small section of highlight in the dye process, adding only a little so that the resulting fabric will have an appropriate amount of spark.

Color Tips for Fiber

2011-09-04T13:56:00.009-05:00

What do a color wheel, a black and white copy machine, the Fibonacci series, beautiful photography, a beautiful yarn, a ride through an scenic area and a small hole in a piece of paper have in common? These can all be tools for study in color.

In helping a weaver come up with some stripe sequences that were pleasing to her, I thought about my past experiences with color and "tools" I have used to design something pleasing. None of these are original or hard and fast rules. As for me, a lot of what I know about color is intuitive. But tools have helped my intuition out a lot of times!

What would the world be without color? There are so many ways to use it in art that it can become somewhat confusing and a lot depends on the medium with which one works. Color is mixed differently depending on the medium, i.e., dye, type of dye, oils, acrylics, water color, fabric paint and even mixing as I have with the help of some computer software.

Rules differ for various fiber techniques as well: weft has to be considered with weaving as prints need to be considered with quilting. Surface design requires knowing what color interaction is going to take place when one color is laid on top of another. Pattern weaving shows up better with a blending of color or tone-on-tone, if not a solid. Lace knitting shows up better in light colorways and/or ones with similar values.

Invest in a good color wheel. Direct complementary colors are opposite on the color wheel and generally always look good together. Split complements probably work better to prevent colors from appearing gray or brown. Triads are as the name implies and make somewhat of a triangle on the color wheel and are very pleasing together, particularly in large pieces. Analagous colors are next to each other on the color wheel and can be blended in small pieces effectively. I have found in blending warps and/or wefts that the larger the woven piece, the more one can experiment with color. The same colors in a small piece can be overwhelming and confusing particularly in pattern weaving.

I took a class from Donna Sullivan once who had us to do color wrappings of yarn on cardboard. It is a very interesting thing to do to design both symmetrical and asymmetrical stripes in neutrals from black to white, dark brown to beige, complementary colors, split complements, triads, etc. Use a strip of sturdy cardboard and apply double-sided tape to the back. Embroidery floss works great for this if you don't have a large palette of yarns. If you feel uncertain, Fibonacci series to the rescue! Without going into the history of Fibonacci, I will briefly say that it is a system that can be used to come up with a pleasing color blend or stripe by adding a number such as 1 with itself to equal 2, then 1 + 2 = 3, 2 + 3 = 5, 3 + 5 = 8, 5 + 8 = 13, etc. You may choose any of these numbers in sequence or out of sequence to design something that is generally always pleasing to the eye.

Still something wrong? Take it to the black and white copy machine. There was a good article in "Handwoven" several years back and it contained a gray scale. Colors that are equidistant from either end of the scale work well together. Making a copy in black and white will give you the overall feeling of a color that is too dark or light for your sequence or if you have used too much of it or not enough. For example, a little yellow goes a long way. Sometimes, just 1 or 2 ends here and there of a highlight color will bring a fabric to life.

If you can't seem to come up with inspiration, flip through a book of beautiful photography of scenery. Colors of nature are in good balance and always pleasing. Make a wrapping with the colors you see or even one portion of the picture. This is where a one-inch square hole cut in the middle of a piece of paper will come in handy. Move the paper around until you see the exact colors and proportions that are pleasing to you and make a wrapping. No books of photography? There are lots of sites online including Webshots with wonderful photography. Or it may be a good excuse to take a ride in a park near you or go for a walk. Take along your camera, a notebook, colored pencils or some embroidery floss. If you get caught without a camera, colored pencils or floss, write a word description such as intense sky blue. It may look different when you get home and pull your yarns together but chances are that you will like it a lot.

Visit an art gallery and study the colors in good paintings. What makes them good? What is the balance and proportion of color? What attracts you to the painting? What color(s) surrounds each color?

Or visit your stash of variegated or hand painted yarns that followed you home from some conference. Use the yarn as a jumping off point to design a beautiful piece of fabric. Pick up solids of some of the colorways that are in the colorway and design stripes featuring the hand painted yarn.

You can also use the hole in the paper to view your wrapping when you're finished. Look through it with only one eye and block out everything else around the wrapping, i.e., zero in on it and at different angles.

And, by all means, listen to music that inspires you whatever it may be. There's some color in there somewhere!

Tips for Using Hand Dyed Weaving Wefts

2011-09-04T13:36:00.001-05:00

To keep a "pure" color sequence wind the skeins off in the same direction, i.e., berry, coral, lavender, blue - not one, one direction and the other the opposite. Don't wind as above and on next skein wind the opposite - blue, lavender, coral, berry. It's a matter of turning the skein over. Tip: Lay them on top of each other matching the colorway and put them on the skeiner (one at a time) going the same direction. And, wind off in the same direction, clockwise or counter-clockwise.

Wind all your bobbins at one time from the center and number sequentially starting at 1 for the last bobbin wound, then 2, 3, etc. back to the first bobbin wound. If you run out of a bobbin in the middle of the shawl, pull the end to the underside by about an inch. Overlap the beginning of the next bobbin by 4 or 5 warp threads and pull the end to the underside by about an inch.

With this method you can almost predict how a chosen color will "track" by the width of your warp. To accent a color within the hand dyed yarn, follow these steps: measure the length of the color you desire to accent. Measure the length of the entire colorway from start to finish. If your accent color is 15-1/2" long, the entire length of the colorway is 62" and the width in the reed is 31", you may have a column effect. If you would like a shift in color, offset your warp by a couple of inches either way, i.e., 29" or 32".

Or, you may just decide you like the random, unplanned look. Either way is a pretty effect.

Tencel Yarn Tips

2011-09-04T13:14:00.013-05:00

Yarn spun from 8/2 Tencel fiber is a natural yarn manufactured from wood by-products in an environmentally friendly method. Tencel, like linen, has very little elasticity but is worth the extra effort for the heavy drape, wonderful sheen and silky hand and natural, cool comfort of cotton. Tencel is equally suited for weaving, knitting and crocheting.

Shown on the left is a scarf woven on a 8/2 tencel painted warp.

If you are weaving with tencel, sett a little closer than cotton of the same weight. Advance often (every few inches)and do not fill bobbins as full as you would for another fiber. The weight of the bobbins pulling on the selvages can break the selvages. Some weavers double the outside 3 or 4 ends and/or use a floating selvage.

Finish in the washing machine and dryer or as is appropriate for the fiber. If using a fringe it should be twisted or braided as an untwisted fringe will start to disintegrate after a few launderings. Don't be alarmed that it feels like cardboard when you remove it from the loom. It will transform in the water! Personally, I remove from the washing machine (cold, delicate setting) and hard press with a hot iron, first one side, then the other, overlapping as I press. Then, polish both sides by *ironing.* Hang to finish drying and be ready to receive the weaver's handshake.

Tips for Tying on a Dummy Weaving Warp

2011-09-04T13:11:00.003-05:00

This is an adaptation of tying a bowline knot. Some say this is like the weaver's knot; others don't. I don't really care; it works and I think you'll like it.

Make a 6 out of the yarn coming from the loom having the loose end on top of the 6. Yes, I made my 6 the other way!

The yarn being tied on is the "rabbit."

Now, for the fun part.

The rabbit comes up the hole, around the tree and back down the hole.

Grasp both ends of the "rabbit" yarn plus the end of yarn from the loom and pull. What do you know? A knot that will (k)not (; come loose.

Reasons for Tying a Dummy Weaving Warp

2011-09-04T13:08:00.005-05:00

I have not always been sold on dummy warps and even made the comment one time that I knew the reason they called it a "dummy." I've changed my mind! Not only is it a good idea to tie a dummy warp to save time but to be able to weave to the very end of a hand dyed warp or use the ends for fringe with no waste. Here are other good reasons. When tying on, you can change the warp thread and sett. After weaving a dozen cotton towels, you might change to a fine wool and then weave some scarves, then maybe switch to linen and weave something else, resleying the reed each time. To change the appearance, use a different treadling sequence. (I will cover some of these possibilities at a later date. Other possibilities are to insert extra heddles when threading originally so that for subsequent warps a few changes can be made in the threading that will have maximum impact on the design. Borders can be changed by rethreading by leaving heddles on all shafts on both sides of the warp. Or if the original was woven with a border, remove and make a half hitch in front of the heddles; you can always add back in part or entirety at a later date. I will trying some of these tips myself in the near future and report back here on my progress. May just see how many items I can weave out of one warp and share pictures.

Storable Weaving Bobbins Tips

2011-09-04T13:06:00.003-05:00

Need bobbins? The cardboard tube of a pant hanger can be cut to make 4-4" or 2-7" bobbins. Just wind a tight, even bobbin and don't get too close to the ends. They're cheap (-:, can be numbered and when you're finished with your weaving you can store the bobbins with a straight pin to hold the end in a zip-lock. I like to store my special novelty yarns in one bag, wools in another, towel yarns in another, etc. No more unwinding bobbins to have enough or buying more. And next time you want to weave towels, for example, look in your "towel bag" and start with leftover bobbins.

Weaving Treadling Options - Tromp as Writ

2011-09-04T12:45:00.000-05:00

A good exercise and future reference can be had by simply weaving a long sampler on any threading. My background is in overshot and for that reason I refer to it often in the treadling options shown in these newsletters. However, don't stop there! Try them with any threading including twill and crackle as they are close family members of overshot.

The purpose of the exercise is not only to find out what treadlings you like but also the ones that work and the ones that won't for the threading you are using. Make careful notes including tagging the corresponding treadlings. You will go back to your sample time and time again.

This is the first in a series of treadling options and tips to be published for 4-shaft overshot. Many of you know the tromp as writ treadling but the first will cover the tromp as writ treadling and my method of treadling to insure that those just starting out will know the way I "think" overshot.

Four-shaft overshot consists of 4 blocks: A = 1 & 2; B = 2 & 3; C = 3 & 4 and D = 4 & 1. The blocks are threaded sequentially, i.e., A, B, C, B, C, D, and share a common thread between sequential blocks. Since looms vary from jack-style, counterbalance or countermarche, it is easier for explanation purposes to work with a direct tie-up, i.e., 1 treadle to 1 shaft. Think of covering the blocks or weaving the blocks when weaving the pattern rather than treadle numbers or treadle orders which really don't mean anything if you don't know what they are tied to. A tabby shot of 1 & 3 and 2 & 4 alternate with pattern shots. And, yes, I weave tabby with 2 feet!

In order to write a tromp as writ treadling for a pattern, begin on the right of the threading and work toward the left. If the A block (1 & 2) has 4 ends, treadle A (1 & 2) 3 times. If the B block is next and contains 6 threads (Remember that they share a common thread/2.), treadle B 5 times. For an example, I will use a jack-style loom since many weave with jacks. In order to weave or cover the A block (1 & 2), lift shafts 3 & 4 and cover or weave A (1 & 2). In essence, you subtract one from the number of ends that are in the block to obtain the number of pattern picks for a particular block. In fact, you can subtract or add picks to "square" the pattern remembering to keep the turning blocks an even number. The reason for this is that overshot pattern picks group together in pairs. When an uneven number of picks are woven in turning blocks, "ghost lines" will appear that look like errors. This is why it is better to write your own tromp as writ treadlings as many books including the book and pattern listed below are written differently.

In this and future treadling options, I will give you the treadling I take to the loom with me for the Mary Ann Ostrander pattern from M. Davison's A Handweaver's Pattern Book, page 146. Balance threading with the first 17 ends.

A1, B1, (C2), B1, A1
D1, (C2), D1
A1, B1, (C2), B1, A1

D1, C1, B1, A3, D3, C5, (B4), (C2), (B4), (C2), (B4), C5, D3, A3, B1, C1, D1

Continue weaving using tabby (1 & 3/2 & 4) and balance with the first 3 lines or follow the draft below and balance with the first 16 pattern picks. Remember to weave with tabby.

Weaving Treadling Options - Echo/Tromp as Writ

2011-09-04T12:44:00.000-05:00

Pattern (2 colors of same size) and tabby

There are 4 blocks in this 4-shaft overshot treadling:

Blocks A B C D
Color 1 1 & 2 2 & 3 3 & 4 4 & 1
Color 2 2 & 3 3 & 4 4 & 1 1 & 2
Tabby Tabby Tabby Tabby
Color 1 1 & 2 2 & 3 3 & 4 4 & 1
Color 2 2 & 3 3 & 4 4 & 1 1 & 2
Tabby Tabby Tabby Tabby

Tromp as Writ:
A1, B1, (C2), B1, A1
D1, (C2), D1
A1, B1, (C2), B1, A1

D1, C1, B1, A3, D3, C5, (B4), (C2), (B4), (C2), (B4), C5, D3, A3, B1, C1, D1
Balance with the first 3 lines.

Here is just an inkling of how it appears. To show the entire treadling would require a large amount of room but am sure this will give you an idea of the elongation of the pattern.

Calvary Twill Weaving Pattern

2011-09-03T15:18:00.009-05:00

Calvary twill© - may be used for personal use only and not copied for resale.
Repeat the first 20 ends and balance with one end on shaft 1.
Note: two repeats of the design are included in order to see the 3 crosses on the hill.

Cocoon Jacket Schematics

2011-09-03T15:11:00.004-05:00

Width in the reed was 27 inches and I actually wove 40-3/4 inches for the 2 panels and allowed enough for fringe on the ends of about 4 inches on each end and used loom waste for the last fringe. My warp was 3 yards long. Finished measurements of each panel was 21 inches X 38-1/4 inches. This would depend entirely on your yarn, finishing, etc.

After you have woven and finished the panels, place the panels side by side and make an overcast stitch for 25 inches. Now, match the fringe of the front and back on the sides and overcast for 11 inches.

Of course, you can always make the panels wider and longer/more narrow for size. If you made them very long you would, basically, have a Hopi jacket. You can also do this on the machine just catching the selvages. When you put it on, the ends fold back so that you have this pretty lapel and fringe. If you use stripes in your warp it is very slimming from the back and the stripes on the front run kind of bias. Or use your hand dyed colorway for the warp and weave off with a tone-on-tone or solid so that the color runs vertically on the body. If you like, embellish the lapel with surface design and beading or a special pin.

Surface Design

2011-09-03T15:00:00.012-05:00

Are you a weaver with shaft envy?  Have 4 shafts and want 8 or more?  Not a weaver? Envy no more; you can add depth of texture, color and design with fabric paint.

The scarf above was woven on a Atlantic Moonglow silk/rayon painted warp and weft of dark teal 8/2 tencel. Although, there are a lot of ways I could have surface-designed this scarf, I chose the easiest as my goal was to enhance the depth of texture and color; I was not striving for complete coverage as I wanted the structure and painted warp to be dominant.

In order to surface design properly, you first need a surface design board on which to work. The pad helps the fabric to accept the paint. My board is approximately 17" X 25" and layered with plywood, wool carpet padding and topped with plain muslin stretched, stapled and taped to the back.  A temporary surface design board can be made with insulation foam, quilt batting, muslin and packing tape. Use an additional piece of fabric over your surface design board as you will use this again.

List of materials for this process:
Flexible printing plate
Foam core, wooden blocks or corrugated cardboard
AND/OR Speedy Stamp or EZ Cut Stamp Kit (includes cutting tools)
Speedy Stamp Blocks
Resist forms like berry baskets, large screen wire. Look around and you will see textured items in a whole new light.
Soft rubber brayer
Versatex printing ink (I used black as it will work on almost anything.)
Extender
Lumiere fabric paint in a metallic if desired
Freezer paper, plastic spoons
Prepare the fabric you plan to surface design by washing or wet-finishing suitable for the fabric and finish. I recommend Professional Textile Detergent (gift with purchase through September 30, 2008). Do not use fabric softener or dryer sheets prior to surface-designing.  You may do so afterwards if you like.

Freezer paper works well as a place to mix fabric paint for applying to a brayer. Take out a little extender and place on the freezer paper. Add some printing ink and mix with a spoon. No specific amounts are required; use mostly extender with a little paint. You will get the feel for it after working with it. The extender will keep the fabric supple; additionally, on light colored fabrics will lighten the color, i.e., lots of extender and dab of paint will give a pastel on white. Roll just a little bit on the side of the paper with the brayer until you have an even coat on the brayer and apply to stamp. Place your scarf or piece to be surface-designed on the design board and stamp. Finely detailed commercial stamps will work but not as well as one you carve. Hand-carve your initials or logo for a one-of-a-kind look. If you'd rather not carve or want to try something additional, you can use flexible printing plate, cut into different shapes, peel off the back and adhere to a base like foam core, wooden block or corrugated cardboard to create your own stamp.

I generally surface-design one side of a scarf with Versatex/stamps and go back over it with highlights of copper using a clean brayer and resist forms. Stir and pour out a little Lumiere onto clean freezer paper. Place your resist(s) over the item to be surface-designed and roll the brayer directly over it. (Before you do this, take a deep breath and hold it. )

Allow one side of your fabric to dry 24 hours and then surface-design the other side. Dry for another 24 hours and heat wet with a dry iron. Cover with a pressing cloth and set your iron on high and press for 30 seconds on every piece of the fabric. Some toss it in the dryer but I have more confidence with the iron. After that, it is set and can be washed, fabric softener added, etc.

There are many other options you can use with fabric paint such as stencils, silk-screening, transfers or mono-prints, etc., but this method is easy and effective with any fabric and especially handwovens.

It takes a little courage the first time you print onto handwoven fabric but is quite addictive after the first time as the depth of texture and color is further enhanced. If you're a little nervous, try it on commercial fabric first - and I think you will want to keep the commercial fabric for a quilting project.

Source of supplies:

Some local art supplies have stamp kits, additional blocks and printing plates. However, I was unable to find Versatex or Lumiere locally and purchased it from Dharma Trading Co., San Rafael, CA.

This should be called the everything scarf. The warp was natural tencel and the weft was taupe 8/2 tencel. After wet-finishing, I laheria dyed it in a 25% solution of Cerulean blue. Then it was surface-designed the first time with textile paints in copper and a midnight blue using a brayer, stencils and stamps that I either drew and cut or purchased. Then it was discharged where you see the white lines. There appeared to be a lot of bleach left in the neutralizing bath which bleached the background and so I surface-designed again so that the scarf has many layers of texture and color. This scarf was surface-designed at a workshop for our guild taught by Debbie Stringer, fellow guild member, and me. The process was fascinating.

Weaving Treadling Options - Crackle Snippet

2011-09-03T14:48:00.008-05:00

Recently, I pulled out the Crackle sampler I wove several years ago as part of Teaching and Learning through Correspondence with HGA and thought I would share a few pictures of my treadling option favorites or "snippets" from the sampler. Samplers have taught me a lot about pattern weaving. I encourage you to warp your loom with 3 to 5 yards and at least 3 repeats, thread up with twill, Crackle or Overshot and find out what works and what doesn't.

8-shaft Classic Crackle

The pattern above is threaded in Crackle/Pointed Twill fashion. It could just as well have been threaded using any other twill fashion. Threading for blocks: A=1232; B=2343; C=3454; D=4565; E=5676; F=6787; G=7818; H=8121. A transition thread was threaded between blocks. Each block was threaded 3 times. There are 8 blocks in both threading and treadling (shown below in the manner the blocks are treadled).
Two ground wefts, one pattern weft.
Legend: GW=Ground Weft; A through H=Block; P=Pattern Weft

Block A
H-GW1
A-PW
B-GW2
A-PW
H-GW1
A-PW
B-GW2
A-PW
-----
H-GW1 (Transition to next block.)

Block B
A-GW1
B-PW
C-GW2
B-PW
A-GW1
B-PW
C-GW2
B-PW
-----
A-GW1 (Transition to next block.)

Block C
B-GW1
C-PW
D-GW2
C-PW
B-GW1
C-PW
D-GW2
C-PW
-----
B-GW1 (Transition to next block.)

Block D
C-GW1
D-PW
E-GW2
D-PW
C-GW1
D-PW
E-GW2
D-PW
-----
C-GW1 (Transition to next block.)

Block E
D-GW1
E-PW
F-GW2
E-PW
D-GW1
E-PW
F-GW2
E-PW
-----
D-GW1 (Transition to next block.)

Block F
E-GW1
F-PW
G-GW2
F-PW
E-GW1
F-PW
G-GW2
F-PW
-----
E-GW1 (Transition to next block.)

Block G
F-GW1
G-PW
H-GW2
G-PW
F-GW1
G-PW
H-GW2
G-PW
-----
F-GW1 (Transition to next block.)

Block H
G-GW1
H-PW
A-GW2
H-PW
G-GW1
H-PW
A-GW2
H-PW
-----
G-GW1(Transition to next block.)

This requires a little concentration to weave but a lot of fun and worth the effort. In the right weight materials, such as 8/2 tencel, it would make a nice shawl or, in a heavier yarn, a nice jacket fabric.

Weaving Treadling Options - Feather Stitch

2011-09-03T14:45:00.003-05:00

Feather Stitch is a treadling option that Barbara Miller shared with me and basically, it uses two pattern shots to one of tabby. For a contemporary feel, use a dark warp and tabby in size 8/2 tencel, for example, and bright pattern weft such as 5/2 perle cotton. Follow twill sequence as follows:
2-3 Pattern (P)
2-4 Tabby (T)
2-3, 3-4 P
1-3 T
3-4, 4-1 P
2-4 T
4-1, 1-2 P
1-3 T
1-2 P
Repeat.

Weaving Treadling Options - Honeycomb Fashion

2011-09-03T14:44:00.002-05:00

Learned from Barbara Miller - my overshot mentor

This is a fun treadling option to use on a lot of threadings but I love it treadled on a overshot threading. Cells are woven in a finer thread; may I suggest 8/2 tencel? And the outline should 4 to 5 times larger than the cell thread. A suggestion would be to use black 8/2 tencel for warp and ply the same in about 4 or 5 strands for the outline. For a more interesting fabric, use 3 or 5 (or other odd number) bright colors of 8/2 tencel for the 4 blocks of cells. The colors will show up in different blocks. This makes a great purse fabric. It may need lining for stability and to protect the floats on the reverse side.

Pattern Blocks or Cells

A - 1, 3 & 4 (no 2)/1, 2 & 4 (no 3)
B - 1, 2 & 4 (no 3)/1, 2 & 3 (no 4)
C - 1, 2 & 3 (no 4)/2, 3 & 4 (no 1)
D - 2, 3 & 4 (no 1)/1, 3 & 4 (no 2)

Weave as follows:

1 & 3 - Outline
2 & 4 - Outline
Block A (from above.) Repeat 5 times (or no less than 3 times.)
2 & 4 - Outline
1 & 3 - Outline
Block C (from above.) Repeat 5 times (or no less than 3 times.)

Take-up in both warp and weft are great in this treadling order. Change color as you change cells. Alternate treadling of 2 blocks, all 4 or A & C; then B & D. Try 3 cell colors on 4 blocks. Try 1 shot of tabby rather than 2 before and after cells.

Weaving Treadling Options - More Summer & Winter

2011-09-03T14:42:00.004-05:00

Occasionally, I feel a reminder is in order of how I "think" Overshot.

Four-shaft overshot consists of 4 blocks: A = 1 & 2; B = 2 & 3; C = 3 & 4 and D = 4 & 1. The blocks are threaded sequentially, i.e., A, B, C, B, C, D, and share a common thread between sequential blocks. Since looms vary from jack-style, counterbalance or countermarche, it is easier for explanation purposes to work with a direct tie-up, i.e., 1 treadle to 1 shaft. Think of covering the blocks or weaving the blocks when weaving the pattern rather than treadle numbers or treadle orders which really don't mean anything if you don't know what they are tied to. A tabby shot of 1 & 3 and 2 & 4 alternate with pattern shots. And, yes, I weave tabby with 2 feet!

This treadling, like the others, is on a Overshot threading. And I learned this treadling from Barbara Miller.

1 Pattern weft (P) and 1 Tabby weft (T)

Repeat each block 3 times starting with Block 1, Block 2, Block 1, etc.

Block 1 Block 2
A-1 & 2 (P) C-3 & 4 (P)
1 & 3 (T) 1 & 3 (T)
B-2 & 3 (P) D-4 & 1 (P)
2 & 4 (T) 2 & 4 (T)
B-2 & 3 (P) D-4 & 1 (P)
1 & 3 (T) 1 & 3 (T)
A-1 & 2 (P) C-3 & 4 (P)
2 & 4 (T) 2 & 4 (T)
Variation of above - Repeat blocks in a 4X, 2X, 4X, 2X, 4X sequence.

Block 1 Block 2
B-2 & 3 (P) D-4 & 1 (P)
C-3 & 4 (P) A-1 & 2 (P)
1 & 3 (T) 1 & 3 (T)
C-3 & 4 (P) A-1 & 2 (P)
B-2 & 3 (P) D-4 & 1 (P)
2 & 4 (T) 2 & 4 (T)

One could spend quite a while on Summer and Winter and not get through exploring!

Update: for picture examples of this type treadling on a Crackle threading, see Overshot and Other Pattern Weaving.

Weaving Treadling Options - More Polychrome

2011-09-03T14:39:00.002-05:00

Pattern (2 colors of the same size), tabby

A. From Mary Snyder:

Block Color
D 1
C 2
A 1
B 2

1. Use one shot of each with tabby. Repeat.

2. Use tabby after each pair. Repeat.

3. Use tabby after each pattern pick and weave in pairs but use this
treadling sequence:

Block Color
D 1
Tabby
C 2
Tabby
C 2
Tabby
A 1
Tabby
B 2
Tabby
B 2
Tabby

B. From Barbara Miller and Susan Wilson
1. Pattern (2 colors) and tabby

Block Color
A 1
B 2
Tabby
A 1
B 2
Tabby
----------
B 1
C 2
Tabby
B 1
C 2
Tabby
----------
C 1
D 2
Tabby
C 1
D 2
Tabby
----------
D 1
A 2
Tabby
D 1
A 2
Tabby
----------
Try treadling A X 2, B X 2, C X 2, D X 2, C X 2, B X 2, A X 2

2. Pattern (4 colors - 1 for each block) and tabby

A. Try A, B, Tabby, A, B, Tabby
B. Try C, D, Tabby, C, D, Tabby
C. Try A, B, Tabby, C, D, Tabby

f
For picture examples of this type treadling on a Crackle threading, see Overshot and Other Pattern Weaving.

Weaving Treadling Options - Converting a Twill Pattern to Four-Shaft Overshot

2011-09-03T14:38:00.003-05:00

Let's consider how to convert your favorite twill to 4-shaft overshot. It has been said that overshot and crackle are sisters and twill is their mother. Basically, overshot and crackle are derivatives of twill. In 4-shaft overshot, 1 & 2 = A, 2 & 3 = B, 3 & 4 = C and 4 & 1 = D and like twill, blocks are threaded sequentially unless threaded on opposites (another story..). Consider a pointed twill threaded 1-2-3-4-3-2 and balanced with 1. For overshot, increase the blocks to 121(2)32(3)43[(4)1(4)]34(3)23(2)12 and balance with 1. The common thread between blocks is noted by parentheses ( ) and the turning block by a bracket [ ]. Remember, that turning blocks are written with a odd number of ends and treadled with an even number. You may increase the size of blocks to any number but consider the size of the float based on number in the block and sett. You may change the blocks so that they aren't all the same size. And, then, as with other overshot patterns, use tabby. It is a lot of fun to do if you have a fiber program and can play with the myriad of options.

Weaving Treadling Optionns - Summer & Winter

2011-09-03T14:36:00.003-05:00

This one is from Mary Snyder and requires one tabby and four pattern wefts. This example is made up with two bocks but could be more. The letters under the blocks represent 4-shaft overshot blocks: A = 1 & 2, B = 2 & 3, C = 3 & 4 and D = 4 & 1. Think of these as covering the blocks. Example: With a jack loom, if you are weaving A, you would lift 3 & 4 to cover 1 & 2. Repeat to square the block or 3 or 4 times each block.

Block 1 Block 2

D-Color 1 C-Color 3
Tabby Tabby
A-Color 2 B-Color 4
Tabby Tabby
A-Color 2 B-Color 4
Tabby Tabby
D-Color 1 C-Color 3
Tabby Tabby

Variations of the above:

Use two colors of pattern weft and include a metallic with the color. Treadle colors as in Block 1.

Use one color for Block 1 and one color for Block 2. Again, you may use metallics with your pattern weft.

Treadle one block only and use value-graded yarns as pattern weft.

These are only a few of the Summer and Winter options to try. I'll show more in the next newsletter.

For picture examples of this type treadling on a Crackle threading, see Overshot and Other Pattern Weaving.

Weaving Treadling Options - Shadow Fashion

2011-09-03T14:31:00.004-05:00

Note: this is not shadow weave. It's a treadling option I learned from Barbara Miller.

Pattern and tabby

You may weave tromp as writ or rose fashion (Issue #8). Use tabby for the pattern thread and the pattern thread for the tabby.

Or use Mary Snyder's method.
Pattern and tabby (2)

Use 2 picks of tabby between each pattern pick in a finer yarn, one as the warp color, the other in a contrasting color; this should be a good contrast with pattern color.

Weaving Treadling Options - Polychrome

2011-09-03T14:29:00.006-05:00

There are many ways to do this and I will show you one of Mary Snyder's to try on an overshot treadling. For those of you just joining us, start at the beginning of treadling options at Tromp as Writ.

Pattern (2 color of the same size), tabby

Block D-Color 1
Tabby
Block C-Color 2
Tabby
Block C-Color 2
Tabby
Block A-Color 1
Tabby
Block B-Color 2
Tabby
Block B-Color 2
Tabby
This is one repeat of the Mary Ann Ostrander threading that is from A Handweaver's Pattern Book by Marguerite Davison, p. 146. Balance with the first 17 ends.

Weaving Treadling Options - Shadow Fashion

2011-09-03T14:28:00.006-05:00

This is not to be confused with Shadow Weave but is a nice treadling option to try with an overshot treadling. This is one that Barbara Miller, my mentor, taught me during Teaching and Learning through Correspondence (TLC), 1993-1994.

As an option, try Mary Snyder's suggestions for Shadow Fashion.

Shadow Fashion/Barbara Miller

Pattern and tabby

Weave tromp as writ or another treadling. Use tabby for the pattern thread and pattern thread for the tabby.

Shadow Fashion/Mary Snyder

Pattern and tabby (2)

Use 2 picks of tabby between each pattern pick in a finer yarn, one as the warp color, the other in a contrasting color; this should be a good contrast with pattern color.

Weaving Treadling Options - Proportion Change

2011-09-03T14:25:00.004-05:00

Tromp as Writ, Rose or Other

Pattern and tabby

Weave with a pattern and tabby in your choice of tromp as writ, rose or other treadling but weave 2 picks of tabby between pattern.

Ex: Pattern/1-3, 2-4/ Pattern/1-3, 2-4

Weaving Treadling Options - Twills

2011-09-03T14:23:00.004-05:00

Here are a few to try:

Straight twill, no tabby: 2 & 3, 3 & 4, 4 & 1, 1 & 2 or for "block thinkers" - B, C, D, A. This is a good one to use to check out your threading for threading errors when you first begin treadling an overshot piece.

Twill on opposites, no tabby: 2 & 3/1 & 4, 3 & 4/1 & 2, 4 & 1/2 & 3, 1 & 2/3 & 4 or B/D, C/A, D/B, A/C. This is easier to think about on a direct tie-up as whichever treadles your feet are not on are the opposites!

Reverse twill, no tabby: 2 & 3, 3 & 4, 4 & 1, 1 & 2, 4 & 1, 3 & 4, 2 & 3 or B, C, D, (A), D, C, B. See the turning block at A? Leave off the last B in the repeat but include it as the last pick for balance.

Broken Twill, no tabby: 4 & 1, 2 & 3, 3 & 4, 1 & 2 or D, B, C, A.

Broken Twill, with tabby: This is the same treadling as above but with tabby inserted after every "block." Example: D, 1 & 3, B, 2 & 4, C, 1 & 3, A, 2 & 4.

Try any of your favorite twill treadlings as well as the ones shown here and enjoy!

Weaving Treadling Options - On Opposites

2011-09-03T14:08:00.003-05:00

Pattern (2 colors of same size, no tabby)

This is particularly nice with high contrasting perle cottons for pattern wefts. You can use any treadling such as tromp as writ or rose and instead of the tabby following the pattern you will treadle the opposite block with the same-sized yarn in a different color. This is particularly easy to do if you are weaving with a 4-shaft direct tie-up (one shaft tied to one treadle woven with both feet). The opposite block will be the 2 treadles that your feet are not on at the time. (-: Another reason that I am a proponent of direct tie-up on 4-shaft overshot!

Opposites in 4 shaft overshot are as follows:

A = 1 & 2 Opposite = C - 3 & 4
B = 2 & 3 Opposite = D - 4 & 1
C = 3 & 4 Opposite = A - 1 & 2
D = 4 & 1 Opposite = B - 2 & 3

Below is the Opposites treadling of the Mary Ann Ostrander pattern, p. 146 of A Handweavr's Pattern Book. The example will be shown in the tromp as writ treadling with the opposite block in parentheses in order that you may see it "side-by-side." But, rose, a twill progression or any order may be used. Where the original pattern shows more than one pattern pick, such as C2, A2, etc., then follow with the opposite pattern pick for the number of original pattern picks.

Tromp as writ/Opposites:

A1 (C), B1 (D), C2 (A), B1 (D), A1 (C)
D1 (B), C2 (A), D1 (B)
A1 (C), B1 (D), C2 (A), B1 (D), A1 (C)

D1 (B), C1 (A), B1 (D), A3 (C), D3 (B), C5 (A), B4 (D), C2 (A), B4 (D), C2
(A), B4 (D), C5 (A), D3 (B), A3 (C), B1 (D), C1 (A), D1 (B)

Balance with the first 3 lines. Or thread and weave as shown, balancing threading with the first 17 ends.

Weaving Treadling Options - Rose Fashion

2011-09-03T14:04:00.007-05:00

Pattern and tabby

Only patterns that contain star figures can be woven rose fashion. A star is similar to a table, having 2 alternating blocks. Usually there are 5 sections with the center block being smaller than the outside blocks. The treadling order is converted within the motifs. Change must start from the turning block of a star. An example is shown in the following cross to illustrate how 4 blocks would change throughout the pattern.

STAR A B C (D) C B A
TO
ROSE B A D (C) D A B

I will give you the rose treadling of the Mary Ann Ostrander pattern, p. 146 of A Handweavr's Pattern Book. First, I will show the tromp as writ treadling in order that you may see it side-by-side.

Tromp as writ:

A1, B1, (C2), B1, A1
D1, (C2), D1
A1, B1, (C2), B1, A1

D1, C1, B1, A3, D3, C5, (B4), (C2), (B4), (C2), (B4), C5, D3, A3, B1, C1, D1

Balance with the first 3 lines.

Rose:

B1, A1, (D2), A1, B1
C1, (D2), C1
B1, A1, (D2), A1, B1

C1, D1, A1, B3, C3, D5, (A4), (D2), (A4), (D2), (A4), D5, C3, B3, A1, D1, C1

Balance with the first 3 lines. Here's how it would look If using this threading, balance with the first 17 and balance treadling with the first 16.

Weaving Treadling Options - Squaring an Overshot Pattern

2011-09-03T13:59:00.010-05:00

A few have asked me lately on which block do you square? Good question; I had it once too. A tromp as writ pattern when woven correctly should be at a 45 degree angle starting at the right hand corner block. This is to insure that circles are round rather than looking like flat tires or Easter eggs. (-: Blocks run sequentially, sharing a common thread. If the first "block" woven is A, then the next would be B or D and share a common thread with that first right hand corner block. There are several things that determine a pattern being square. These include sett, beat, yarns, finishing and individual weaver; I'm sure I've left out a few. A pattern that is not square by tromp as writ can be squared by subtracting pattern picks in *some* places. I say *some* because care needs to be taken in order not to lose the integrity of the pattern. Also, turning blocks should always have an even number of pattern picks. I call this Barbara Miller's Rule #1; thank you, Barbara. If you're in question as to what the "rule" refers to, see Tromp as Writ.

Some coverlet weavers include an extra yard for weaving a sample, then wet-finishing to determine the number of picks to subtract. Of course, this means cutting off, retying, etc., but, it does work. Looking at the corner right hand block, you would determine how many pattern picks need to be subtracted from that corner block to make that corner block square. Then, look at the next block that runs at an approximate 45 degree angle up and to the left and do the same thing, remarking your original tromp as writ treadling.

Here's my way and it works most of the time for me as I have a, generally, even beat. (Everyone's is different.) I include some extra for sampling - yes, the "s" word. *However,* I weave enough of the border and the pattern by my tromp as writ treadling to determine whether it's going to be square. Then, *without tension* I place the center of a protractor over that first right hand corner block and see what degree of angle I have going. I figure in about 10% shrinkage and if the angle is 49.5 degrees it is going to be close when it is wet-finished. If it's more, which it usually is, I set the protractor at 49.5 degrees and count the number of pattern picks over the 49.5 degree mark and subtract within individual blocks of the treadling order. No, I don't like the "s" word either; that's the reason I use this method.

Here is an exercise I did using Fiberworks PCW to give an example of squaring. The tromp as writ pattern now has a 49 pick repeat as opposed to a 61 pick repeat. You can probably tell that I removed picks from the table or last motif. The square appears to be flat in the drawdown because the fiber program is a perfect world and does not take the necessity of squaring into account. You will note that I was very careful to leave the turning block an even number and subtracted from the blocks on either side of the center. I also did not subtract from transitional blocks, those having only 2 threads in the block.

Overshot and Other Pattern Weaving

2011-09-03T13:05:00.017-05:00

Overshot and other pattern weaving have been a fascination to me over the years as there are so many possibilities for design and use. I've posted a few pictures here of some of my pattern weaving.

If in doubt about what treadling option will work for your project, beam a warp from 3 to 5 yards and at least 3 repeats (to see what pattern shows up between repeats) and try lots of treadling options. The "snippets" shown below are from 2 Crackle samplers that I wove during Teaching and Learning through Correspondence/HGA with Mimi Smith. References are given of whom I have knowledge.

This is a portion of an 8-shaft sampler I wove. The warp was 3 yards long. You will note the long floats of a few options; it's good to know what doesn't work as well as what will.

This is one of my favorites from the 8-shaft sampler and is Classic Crackle/Susan Wilson. It would have had more pizzazz if I had treadled all 8 blocks.

This was toward the end of the 4-shaft sampler. It is Italian Style/Nancy Lyons.

Classic Crackle/Susan Wilson from the 4-shaft sampler.

Classic Crackle/Susan Wilson from the 4-shaft sampler.

Two-block/Opposites-Type Treadling from the 4-shaft sampler.

Honeycomb Fashion/Barbara Miller from the 4-shaft sampler. I learned this option during 1994 TLC/Overshot with Barbara.

Two different Polychrome blocks/Mary Snyder from the 4-shaft sampler.

Summer and Winter/Mary Snyder from the 4-shaft sampler.

Italian Fashion/Barbara Miller from the 4-shaft sampler.

Changes in the Sizes of Blocks/Mary Snyder from the 4-shaft sampler.

Polychrome/Barbara Miller/Susan Wilson from the 4-shaft sampler.

This is a pillow top I wove several years ago; it was one of my first attempts at using several colors in pattern weaving. You can see that the method I used is a "cheap" way of doing it. I soon found out it is far more effective to blend as in the Flourishing Wave wallhanging below. However, nothing ventured, nothing gained. We often learn more from "mistakes" than when things turn out exactly as planned. And, there was enough hand dyed, value graded yarns left from this project to contribute to the project below.

The warp and tabby is 10/2 perle cotton in solid moss green. The pattern wefts are 5/2 hand dyed value-graded perle cotton in 4 values of plum. From the right side of the picture, I threaded the left side of the blooming leaf twice and then threaded the right side of the leaf twice and treadled as written. I used the same reversal in threading in the star ornament below in order to accent the star. It is fun to move motifs around or thread and treadle a sample with at least repeats in order to see what goes on between the motifs. Then, enlarge or miniaturize or try different treadlings. If miniaturizing, pay close attention to blocks you reduce so as not to compromise the integrity of the design.

Flourishing Wave threading/tromp as writ treadling - Warp and tabby is 10/2 perle cotton in value-graded commercially-dyed blacks and grays. This was the second in a series so, therefore, squared. The pattern wefts are 5/2 hand dyed value-graded perle cotton in 2 hues, 4 values each. The interesting thing about it that does not show up too well in the picture is that I began warping on the far left in black and moved all the way to silver on the right and the same with tabby. The value-graded pattern wefts move from dark at the bottom to light at the top so that the bottom left corner is the darker, more intense corner and the top right is the lighter, less intense corner.

This is a Lee's Surrender runner that is on the gallery page. Warp and tabby are 10/2 perle cotton. Pattern weft is wool. This, too, is tromp as writ but very traditional. I think these first two show the wide range of overshot just in tromp as writ, 4-shaft.

The picture of "Orange Blossom Special" is a little distorted as it was taken from a slide. This is another tromp as writ treadling woven on a Wahoo Blossom threading. The warp and tabby are an olive drab 10/2 perle cotton with 8 or 9 colors of 5/2 perle cotton as pattern weft. As you can tell, the pattern is not squared but it does not necessarily have to be in contemporary overshot weaving.

White House Blue Room Christmas tree ornament, 1999 - This was cut from the center of 4 intersecting leaf motifs for each side, then sewn and stuffed with hand twisted cord. 20/2 perle cotton warp and tabby and 10/2 perle cotton pattern weft.

Wheel of Fortune runner - This was woven for Carrie Ledlow's future bridal table. She was 7 years old when I wove this. 20/2 perle cotton warp and tabby/linen pattern weft.

Crackle Shawl - This was threaded in a Crackle/pointed twill fashion and woven off tromp as writ. The warp and pattern weft are black 8/2 tencel® with alternating tabbies of red purple and ruby 8/2 tencel®. The interesting thing about it that doesn't show up in the picture is that the pattern blocks appear to be navy and the shawl is iridescent; depending on the direction it is seen, it will appear to be red purple, navy, black or ruby. It originally was going to be a Crackle beach towel woven off with hand painted cotton chenille and became a shawl on the loom.

Summer and Winter runner - This is a runner I wove several years ago and in a private collection. The structure is summer and winter with blocks of different sizes both in warp and weft. The warp and tabby are black silk noil. The weft is hand dyed, space-dyed silk bombyx.

Next up - Weaving Treadling Options

Warping a Loom Back to Front - Part 7

2011-09-03T12:14:00.007-05:00

Weaving and Finishing

A few tips in weaving prettier fabric:

Weave in small increments such as an inch or a small repeat midway between the breast beam and beater. If you try to get the most out of an advance of the warp by weaving right up next to the breast beam and all the way to the beater, your edges will be uneven due to the differentiation of the weft arc.

Don't handle the selvages. It will change the tension and the selvages will wave lengthwise when you take it off the loom and will not come out with wet-finishing.

Maintain an even beat and develop a rhythm.

When you leave the loom for a period more than a few hours, release the tension on your warp. When you return to weave, adjust the tension. Prior to throwing the first pick, beat once lightly on a closed shed. (The last pick will have traveled just a little so that you will be able to see it off the loom.) Open the next shed and throw a pick.

Step 61: When you reach the end of a bobbin, overlap in the same shed by a few bobbins and continue. If you're weaving with a hand painted, variegated yarn, begin weaving with the same color of the end of the last bobbin. This is particularly true if you're working with a directional colorway like the ones I paint as the color will continue in the same direction.

Step 62: This is a close-up of the step above. You will leave these ends until you have washed your scarf.

Step 63: Final end hem-stitched and the fabric is off the loom. See the weft ends that were overlapped? When the scarf is wet-finished and completely dry, these ends will be trimmed off next to the fabric.

Step 64: This picture shows both sides of the fabric. There is really no wrong side. But the side on the left was the one facing up on the loom when hem-stitched. Hem-stitching looks a little different on the opposite side. So, I recommend twisting on the same side of the fabric. The white spots you see are in the loom waste. I could have decided to trim the fringe shorter but most likely, when the fringe is twisted, it will barely be noticed and won't bother me.

Step 65: Close-up picture of hem-stitching and twisted fringe.

Step 66: Picture of finished stole after wet-finishing and a good hard-press.

Warping a Loom Back to Front - Part 6

2011-09-03T11:53:00.010-05:00

Tying On

There are many ways to tie on to the front. This happens to be my favorite but I do use other ways depending on the type yarn.

Step 49: Hold a warp bundle tight with one hand. With the other, split the bundle in half from the bottom, making a larks-head loop. Take a section of yarn from the second rod and insert in the loop, pulling so that it is snug. But do not try to tension at this point. Go from one side to the other and the middle tying on until you have all bundles tied. Before applying tension, tie the first rod to the second starting at one edge of the scarf to the other edge. Tighten tension on the loom some so that you don't have to do all the tensioning by hand.

Step 50: Now, pull up on the yarns on the second rod to finish adjusting tension.

Step 51: Tie-up the treadles. For a four-shaft loom with six treadles, you might want to tie up the treadles on the ends for plain weave with left treadle to the first and third shafts from the front and right treadle to the second and fourth shafts from the front. Reserve the four in the center for a twill tie-up. Beginning at the left, tie second treadle to first and second shaft, third treadle to second and third, fourth treadle to third and fourth and fifth treadle to first and fourth. Personally, I enjoy a direct tie-up or one shaft tied to one treadle and weave with two feet. It is easier on feet, knees and hip joints and as long as you are weaving on four shafts, retying the loom is unnecessary.

Step 52: Time to spread or close up the warp. This is the quickest manner to do it. With a slick, smooth yarn in your shuttle, tie a knot onto the rod holding the warp.

Step 53: Throw about three picks, wrapping the weft around the ends of the rod with each pick. Do not beat until after the third pick.

Step 54: Then, beat on a closed shed.

Step 55: The warp is not quite closed. Throw three more picks in the same manner as above.

Step 56: Beat on a closed shed.

Step 57: Throw three more picks.

Step 58: Beat on a closed shed. Now, it appears to be completely spread or closed and ready to begin weaving.

Step 59: Leave space for fringe. Some weave this space but I have found that it is unnecessary. If you care to hem-stitch, start weaving on the right if you're right-handed and on the left if you're left-handed. Leave a tail of three or four times the width of the warp to hem-stitch and weave a couple of inches. Since I don't have an apron on my loom, I place white fabric underneath the warp so that I can see better to hem-stitch.

Step 60: Hem-stitching completed. Continue to weave.

Next - overlapping beginning and ending of weft.

Warping a Loom Back to Front - Part 5

2011-09-03T11:37:00.007-05:00

Sleying the Reed

Sley the reed and begin tying on for back to front warping.

Step 37: Sley the reed. To begin sleying, follow the reed sequence chart for epi and reed size. Rather than measuring by inches where to begin sleying, I shake the last bundle by several quick pulls to line it up on the back beam and pull the last end forward between thumb and index finger to line up with a dent in the reed. The reason that I do this is that occasionally, a warp will shift ever so slightly while beaming and may not be exactly centered. If the warp is not centered in the reed, it will rub the selvage and eventually break. If you find it is still not centered when you've finished sleying, unscrew the top of the beater bar and move the reed ever so slightly until it is lined up with the warp.

Step 38: Can you see that the warp is just ever so slightly off-center in the reed?

Step 39: You really can't see that it's off-center in this picture but that sleying is complete.

Step 40: This is the top of the beater bar. I will loosen the screw on this side and one on the other, lift the top just a little so that I can slide the reed a fraction to the right to center.

Step 41: Divide the heddles so that they flow smoothly around clips when heddle bars are clipped.

Step 42: It might help to raise shafts in order to reach clips easier.

Step 43: Heddle bars shown clipped.

Step 44: Shake warp sections in front of the reed to close. If there is still a gap at the clips, unfasten and re-clip until there is none or very little. If this is not done, abrasion will occur on warp yarns in this area.

Step 45: There are several ways to tie on the front. This just happens to be my favorite shown here. The bundles are tied in a smooth overhand knot. Try to keep the knots even across the warp.

Step 46: Warp bundles shown knotted.

Step 47: Second rod is attached to the first with rubber bands on the ends to temporarily hold while loosely tying on the warp.

Step 48: Larks-head sections of yarn across the second bar. I use a thicker yarn for this such as Sugar and Cream.

On the next page, we will continue the tying on process.

Warping a Loom Back to Front - Part 4

2011-09-03T11:06:00.013-05:00

Threading the Heddles - Part 2

Continue to thread the heddles and begin to sley the reed.

Step 25: Here is the first repeat threaded.

Step 26: Continue threading. Here, I have left one end on the outside in case I decide on floating selvages. Generally, I will tie groups of one inch sett in a bundle with half hitches shown here.

Step 27: The heddle bars are still unclipped. Shake ends from the front so that ends fall in natural position.

Step 28: The heddle bars are still unclipped. This is a wide angle of the previous picture.

Step 29: Yarns are lined up and ready to clip heddle bars. Separate just a little in order to get to the clips easier. (Correction: see step #41.)

Step 30: Raise shafts one at a time to reach clips easier. Note heddle bars that need cleaning! Clip top and bottom of each shaft. Some looms have one on each side, top and bottom.

Step 31: Heddle bars are clipped. If this warp were wider, this step would have been a little early. Really, the reed should be sleyed first. (Yes, it was a little early. See 41.)

Step 32: Loom is unfolded. Lease sticks are still in place.

Step 33: Remove the lease sticks.

Step 34: Ready to sley the reed.

Step 35: This is the same as previous but shown from the front of the loom.

Step 36: Determine the reed size needed and place in the beater bar. Tie the beater so that it is perpendicular to the warp. Some looms are equipped with a pin on the side of the loom frame with a hole there that matches up with one in the beater.

The reed is almost ready to be sleyed.

Warping a Loom Back to Front - Part 3

2011-09-02T16:01:00.015-05:00

Threading the Heddles - Part 1

Threading the heddles is the next step in preparing your warp to weave.

Step 13: Remove the raddle at this point.

Step 14: Find the end loop in front of the loom. See my left thumb underneath the choke? My right hand is through the loop.

Step 15: See how the cross followed through?

Step 16: Keep the loop in one hand and pull small sections at a time, holding the tension and cut the loop. Continue across the warp.

Step 17: When you've finished cutting, drop the ends over behind the shafts.

Step 18: Fold up the loom, if possible, if your breast beam is not removable. I should have removed the Wolf Trap but did that later. The point is to make the loom as comfortable as you can for your body. Make it work for your body, not the opposite, body working for the loom. Some shafts are hard to reach. You can raise them underneath with dowels.

Step 19: In this picture, the reed is now removed. I should have done that earlier too but no problem to remove it with the Baby Wolf.

Step 20: Note that the heddle bars are clipped to the shafts here. Also note the dye of a warp I painted *on* my loom several years ago. It hurt at the time but it is an old friend now and a piece of equipment.

Step 21: Now, you can sit in a shorter chair and see the heddles easily.

Step 22: Find the center of the heddles. My heddles are marked in the center with red thread. Some weavers use nail polish. Depending on the pattern you are using, figure the number of heddles required per shaft and pull half from the right side. You would want to work these spare heddles in with ones you are threading if you were weaving the full width of the loom as they would rub the selvages. Some weavers like to add a few extra between ones that are threaded in the event a repair heddle is needed. I find it confusing and easier to tie a repair heddle if needed.

Step 23: Push all of the heddles just pulled to the left after unclipping the heddle bars from shafts.

Step 24: One pattern repeat is pulled forward here. In this case, it is plain weave. See the heddles on shafts one through four?

I will continue to thread the heddles on the next page.

Warping a Loom Back to Front - Part 2

2011-09-02T15:21:00.014-05:00

Beaming the Warp

In order to weave, the loom must be warped. You have to be warped to weave. Beaming the warp is the term used to wind the warp onto the loom in order to weave.

Step 1: unchain the warp and place the end toward the cross through the rod attached to the back beam. My Baby Wolf has two. The steel rod is 3/8" and was purchased locally. If using two rods, secure the two rods temporarily on the ends with large, strong rubber bands such as the ones found on vegetables. Place lease sticks in place. I secure mine with loose-leaf ring binders and tie on both sides of both lease sticks to the loom so that they will stay in place while warping. There are various ways to do this as well as various equipment. I find that this works for me and "free" as it's cut off legs from panty hose.

Step 2: this is the same as #1 but shown from the back of the loom.

Step 3: remove the chokes from the loop on the back and at the four places on the cross.

Step 4: tie on raddle and spread the warp by ends per inch in one inch sections. Note the black peg that is the center marker on this raddle. Mathematically divide the warp in half and start placing ends in the raddle either from left or right in the correct place so that the warp will be centered on the back beam. Please be sure your warp is going over the back beam!

Step 5: this picture shows the warp completely spread in the raddle.

Step 6: place on the raddle top. If you are using a homemade raddle, rubber bands will work fine.

Step 7: the picture here shows that the two back rods are not tied together yet except for the ends that are held with rubber bands.

Step 8: tie the two rods together starting at width of the scarf and tie three or four times to the other end of the warp leaving the remaining of the rod free. I do leave the rubber bands in place but it's not necessary. Call it my security blanket.

Step 9: shake, raddle and roll. Shake out the warp from the front and create tension on the warp. This loom is easier than most to hold tension with my hand and advance the warp, otherwise known as rolling it on. Note that it is going through the raddle to maintain the width on the back beam. This picture shows one advancement of the warp.

Step 10: place separators such as a continuous roll of paper, bamboo blinds or corrugated cardboard. Some use uncoated wall paper.

Step 11: continue to advance, shaking, tensioning and cutting tie-bands off the warp as you go.

Step 12: the warp in this picture is now beamed and the top of the raddle is removed. If you're using rubber bands, remove them.

Warping a Loom Back to Front - Part 1

2011-09-02T14:26:00.023-05:00

Warping a loom from back to front is the favored method of many handloom weavers. It preserves the tension so carefully maintained in the measuring process. In addition, the warp only travels through the heddles and reed once so that there is less abrasion of the warp.

This is the beginnings of warping a pre-wound painted warp from back to front. There are a lot of different ways to warp a loom and I don't profess to know them all. Nor, do I know about every loom. This is a 4-shaft Schacht Baby Wolf which is a jack-style loom and the steps shown here are what work best for me with this loom. Occasionally, I will use different methods of tying on depending on the type yarn I'm using. The yarn in this warp is a cotton/rayon that I dyed when I owned Heritage Yarns.

Assuming your warp is wound as is this pre-wound, painted warp, beaming the warp is the next step in the process. Occasionally, I will add to these pages and hope that if you have any questions about the process I use, you will contact me at handdyer@comcast.net.

When weaving doesn't seem to be going your way, read the notes from Bill Koepp below and know that we all occasionally experience fabric that doesn't live up to our expectations. Generally, I have learned a lot more from these times than when everything goes as planned.

Happy weaving,
Margaret

A Weaver's Whimsey

1. Whatever the tie-up is, there's probably a better one.
2. If anything can mess up the warp, it probably will.
3. Whatever the draft is, there'll be someone who will misinterpret it.
4. Even if it's very hard to come up with the wrong threading, a way will be found.
5. If the fell smiles, the weaver doesn't.
6. There are never too many bobbins, quills or shuttles.
7. Only your best or newest shuttle will hit the floor.
8. Errors will stay hidden until nine picks are thrown.
9. Most errors will pop up in the center of the fabric.
10. In your weaving notes the parts that are absolutely beyond any need of checking, have the mistakes.
11. Whatever color is chosen, it'll be out of fashion as soon as the project is finished.

Bill Koepp, CA

Finished Project

2011-07-01T13:58:00.005-05:00

This is mostly finished but I am considering adding some white to the dog and/or a leaf close to the dog in order to balance color. It was a lot of fun to hook.

King of the Barnyard progress

2011-05-02T09:41:00.008-05:00

This is my latest rug hooking project. The light was not that good so, the color is not representative. The light green is from a fiber swap at The Welcome Mat. I am using it to outline the animals. The remainder of the background will be in several light greens pictured below.

Confederate Jasmine

2011-04-23T15:24:00.004-05:00

This is the Confederate Jasmine (and California ivy) on our front porch. It's the first time it's bloomed and in the shade; it generally likes sun. it is climbing around the grapevine wreath with no help from me. I look forward to see it fully cover it.

Confederate Jasmine

See Rock City

2011-04-23T15:09:00.008-05:00

Eventually, I hope to be more faithful in blogging. Retirement is so busy! These are two of the latest things I've hooked. You could say that I'm hooked on hooking; that would be putting it mildly! I drew both patterns, the Rock City pillow, a loose interpretation of an old illustration. There were so many See Rock Ciy signs on barns as I was growing up. We would see them on the way to the Smokies. I haven't seen one in years. The second image I have entitled God's Eye chairpaid as it felt southwestern to me when I finished. The title really followed the hooking. The only thing I drew was the largest circle in the middle, then, just started hooking.

The final picture is what I am hooking now. It is one I designed and have done a lot of the dyeing for it.

See Rocky City

God's Eye chairpad

King of the Barnyard

Stay warm

2011-01-12T15:54:00.002-06:00

It is bitter cold here today. I remembered to pull out my corn bag and heat it in the microwave for 3 minutes. It's meant to drape around the neck but works well on cold feet. It's simply a cotton bag stitched in a swirl down the middle, filled halfway with dried corn. Try it; you'll like it.

2011-01-11T15:24:00.003-06:00

This is the latest rug that I just completed hooking. It is a Bea Brock design. Bea color-planned and dyed the fabric for it as well. I enjoyed hooking it and scooting pictures around for a place to hang it.

Tumbling Cats

2010-09-25T20:33:00.003-05:00

This is the latest picture I have of Tumbling Cats. I have since had it blocked, applied rug tape and label and will post a picture soon. I really enjoyed hooking it and looking forward to the next project.

Newest fascination(s)

2010-08-05T12:52:00.004-05:00

I really didn't need to be fascinated with anything new but rug hooking reached out and hooked me along with dyeing the wool fabric for the same. These are my latest pictures of the latest project:

"Tiger and Leopard" design by Dahlov Ipcar
"Tumbling Cats"
Rug adaptation by Patsy Becker

Twenty Things About Me

2010-08-03T09:25:00.006-05:00

This has been something popular to do for a few years now. I saw one blog with 100 things. I don't think I would ever think of 100 things about me but, here are 20.

1. From these parts, it is said, "American by birth, southern by the grace of God." True, but I prefer "Southern by birth, Christian by the grace of God."

2. Don and I have been together (counting dating time) 32 years. We had known each other by sight for 6 years through our careers in music. We will celebrate our 30th wedding anniversary in 2011. We have no children except for 2 four-legged babies that have gone over the rainbow bridge.

3. I don't understand boredom. I have always needed a challenge and because of it, a jack-of-all-trades. No challenge and I'm gone. So, on to #4. (;

4. I was a professional vocalist in my twenties for 6 years. I worked all over the U.S. and enjoy the memories made in those years.

5. After those 6 years, I was vocalist with Don (pianist) and was vocalist in the 41st Army Band (MS Army National Guard) and full-time supply technician with the MS Army National Guard.

6. I served as a color and design consultant and picture framer in a cross stitch/frame shop.

7. I was an administrative assistant for two divisional merchandise managers (with 13 buyers between them) for a major department store followed by administrative assistant to an independent sales rep.

8. I have been a knitter since 1964 and a weaver and dyer since 1987, and loved a multitude of other methods of color interaction. In the last year, I have begun rug hooking. I have been and am a member of various crafts-related guilds.

9. I love all colors but prefer rich, saturated color.

10. I finished up the last 15 years of my working career by establishing Heritage Yarns and wore all the hats that owning a business entailed including dyeing most of the yarns.

11. It is a joy to be retired and dyeing, knitting, weaving and hooking for my own pleasure. Not to say anything about how wonderful it is to take a guilt-free nap or have lunch with a friend.

12. I don't like beets and that's about all except I may be allergic to mangos and something in Margaritas.

13. I love spicy foods and have made chili so hot we had to open the doors in January. I wish my stomach liked spicy foods as much as I do.

14. I love cooking for friends and family. When I can't, I cook too much for two people to eat.

15. I love riding on the back of one of Don's two tour bikes. We've toured all over; I've been riding behind him for 32 years and pray the Lord sees fit that we can ride many more years.

16. We live in the same home that my daddy and mama built in 1964. They were self-employed with a home office. Who knew I would use their office for my business?

17. We still play music monthly at no charge for our local senior adult daycare center. They love it and we love them.

18. New friends are wonderful; old friends are best. We stay in contact with our musician friends, some of whom span back 48 years.

19. My only brother passed away a few months ago. Heaven is an even sweeter place now. His two sons are good men with sweet wives and children.

20. There is not enough time in this life to do the things I want to do. I wonder what our Father, our Creator, will have us doing in heaven.

After the Rain

2010-07-07T11:32:00.006-05:00

We had the pleasure of a visitor that stayed for quite awhile the other night. He crawled up and down the door, disappearing occasionaly and then returning. Is he a baby bullfrog or a rain frog. Regardless, I love to hear them after rains.

Redbud Tone-on-Tone Colorway

2010-04-08T17:09:00.004-05:00

This is one of the last tone-on-tone colorways that I designed after the Redbud tree. Theresa, this picture is the small skein; I have one of those left and 4 of the larger ones.

Happy Easter! Happy Day!

2010-04-04T17:46:00.002-05:00

He is risen! It has been a beautiful day here to celebrate the resurrection of the Lord Jesus Christ. God bless you and yours.

More Knitting Projects Finished in 2009 - Installment 2

2010-01-14T16:13:00.008-06:00

Begun on October 18 and finished on November 11, this project is for our guild's Think Pink show to be held next month. I've named it Celebration of Life Shrug. Although the shrug design is my own, I followed Jane Thornley's stitches in her Paua Shell Topper. It is very warm and can be worn in 2 directions. One direction is longer in the back. It makes a nice shawl collar worn that way.

Front worn the long way

Detail of the front worn the long way

Back worn the long way

Back detail worn the long way

Front collar detail worn with shawl collar

Detail of the front worn the short way

Back collar detail worn the short way

Detail of the back worn the short way

More Knitting Projects Finished in 2009-Installment 1

2010-01-01T15:58:00.007-06:00

I knitted a lot in 2009 and seldom stopped to mark progress with blogging during the busy fall season. Rather than postiing all today, I will post all in the next few days; stay tuned.

The first that I finished on October 29 was the Sea Island Shrug inspired by Jane Thornley's Autumn Grasses Caped Cardigan.

I knitted a medium-sized bodice from using Jane Thornley’s guidelines. I wasn’t satisfied with the way the stripes were looking on me and so I changed the directions of the stripes. Rather than increasing for armholes, I decreased until I got to the cuff and did a k2,p2 ribbing. On the other side, I took out the cast on, put it back on the needles and repeated the decreases that I made on the other side. I finished off with a k3,p1 ribbing for about 6”. The binding is lying flat mostly except for the collar which probably will not due to the weight of the shrug. When I get the nerve, I will steek the collar as Christie suggested.

The bottom 2 pictures show how the garment is made to lift the collar to wear.

Forest Glen Shrug

2009-09-28T14:55:00.019-05:00

This is the latest knitting project I've finished inspired by Jane Thornley's Autumn Grasses Cardigan. My fabrics don't always turn out like patterns, as I enjoy letting the fabric dictate the style in which it would look best based on the finished size of my fabric, drape and to what looks best on my body.

When it was time to do armhole shaping, I increased rapidly rather than decreasing slowly as the pattern indicated, until I had a good width. I then placed the fabric on a lifeline and held the fabric up to my torso to see what would look best on me; a shrug was the answer. The increases provided a nice cap sleeve. I folded it in half and joined the sides for the length of the increases. Then, I double-crocheted around the perimiter with Manos handspun and single-crocheted around the armhole openings. The shrug was finished with 8 mm beads. I look forward to wearing this soon.

Forest Glen Shrug - Back

Forest Glen Shrug - Detail of Back Collar

Forest Glen Shrug - Detail of Back Edge

Forest Glen Shrug - Detail of Front Collar

Forest Glen Cardigan

2009-09-06T17:31:00.006-05:00

This is the cardigan I am knitting for the soon-to-take-place knitalong with Jane Thornley's group on Ravelry, the Autumn Grasses Caped Cardigan. Golden colors, as much as I love them, wreak havoc with my complexion so, I am knitting in mostly blacks, grays and browns with touches of green including a golden green. I look forward to seeing how this is going to turn out.

R & R

2009-09-05T10:31:00.006-05:00

Now that Don is retired, we occasionally take mini trips on one of the tour bikes. We just returned from an overnight trip to St. Francisville, LA for some R & R.

Our first stop was in Natchez, MS where we ate at Fat Mama's Tamales. We have enjoyed sitting on their patio and eating tamales over the years. Natchez is at the southern end of the Natchez Trace and a good short ride for us.

Love their "shingle."

Yellow dog with a crank shaft tail.

I couldn't resist bringing Dilly home. He brings a smile to our face and memories of Fat Mama's.

Rosalie, one of Natchez's many antebellum homes pictured here is across the road.

Back on the bike, we rode to St. Francisville and had a wonderful dinner out at the Ox Bow. The next morning, we toured Rosedown Plantation. We had a nice, private tour of the inside of the home but could not take pictures inside due to not being able to use the flash. Our tour guide was quite knowledgeable about the family and the time in which the house was built. The grounds were just as beautiful; these are only a few of the pictures we took. Over the years, many trees have been lost and last year during Hurricane Gustaff, the plantation closed for 6 weeks due to the number of trees and limbs down. Since we had never been there before, it was hard to imagine that there had ever been more trees.

Front of Rosedown Plantation home/

Sideyard

From upstairs porch

This picture will be my inspiration for a sweater I am knitting.

The only live oak of which we could get the whole tree in the lens!

Looking forward to the next road trip.

Winter Jacket Finished

2009-08-26T16:10:00.006-05:00

I detoured from Jane Thornley's Paua Shell guide and turned the fabric on its side, stitched under the arms about 2-2-1/2" on each side. Then, I picked up stitches on each side and continued in pattern, bound off and pulled up the new sections to meet the arms. I like the way it wears even if I do look a little "fluffy." I discovered last night that I could turn the jacket upside down for a different length. Now, to finish one or two of those pins in these colors in order to join the front.

These 2 photographs are worn the long way with very little shawl/stand-up collar. It will be nice with a pair of leggings and turtleneck this winter.

These three photographs are worn the short way by turning the jacket upside down. I like the shawl collar. Worn in this fashion, the jacket will be a little dressier for a skirt and boots.

Little Fishies and Next Little Fishies?

2009-08-19T14:07:00.006-05:00

Knitting Little Fishies is better than fishing for real fish - unless you are fishing with a silver hook as my daddy used to say when the catch for the day was slim to none.

This is a shorter version than the pattern but I think a teenaged girl I know will be quite pleased with it. Where are the fish (beads)? I've got to find just the right sweet confection to hang on the ends and it will be complete.

The photograph below is by Peggy Baxter. She is in Jane Thornley's group on Ravelry and sent in this picture to inspire all of us who are taking part in the Little Fishies knitalong. I've collected my stash below but, as usual, there is enough yarn there for a sweater - at least! So, it may be the Little Fishies Sweater. Where can I hang a fish line?

Little Fishies

2009-08-16T16:06:00.003-05:00

Here is the first of the Little Fishies Scarves that I plan to make for gifts. These are not necessarily colors that I would choose to wear myself but the favorites of a special teenager.

Winter Jacket Update

2009-08-12T10:38:00.004-05:00

I am really enjoying knitting this jacket but maybe not quite as much as the Day's End Vest as my favorite colors are more saturated. I think I would have liked this better with hues closer in value or a gradual shift in hues. Sometimes, they are not commercially available in a large number of yarn types and the major reason I established my dyeing business. I am really hoping that this jacket does not add bulk to my figure and have considered turning it on its side for a winter wrap. I love the concept of the jacket, though and have been calling it Smoky Mountain Shell rather than Paua Shell Topper due to the color differences.

Handwoven Ichthus Shawl

2009-08-05T10:54:00.003-05:00

Finally completed for gifting to a special Christian friend. Can you see the fish swimming back and forth on the water?

The warp is Mood Indigo hand painted 8/2 tencel. The weft is mill dyed taupe 8/2 tencel. The pattern is a twill that I designed; fish are on 7 shafts and water on 8 shafts.

Two Finished Projects

2009-08-03T16:29:00.009-05:00

Probably my greatest weakness in projects is finishing the details like edging, blocking and the right buttons. The buttons were elusive for the vest, inspired by Jane Thornley's Ripenings Shrug, and I finally finished at least 2 of the group I am painting. I will save others to add just the right colors when I need a button or brooch. But, for today, thankfully, I located the hot glue gun, pin backs, clear lacquer and all those things that seem to always slow me down. Determination paid off!

The second project that I finished was the Troika Wrap-Around Shawl. Since I was using laceweight yarns, I finished off a little sooner than the pattern directed and finished differently with a crocheted edge. This will make a nice fall wrap. The yarns I used were Serenity Cotton/Rayon, River Rayon Seed and Jojoland Melody Superwash Wool.

Winter Jacket

2009-08-02T20:04:00.004-05:00

I have been working on this jacket for the last few days and cannot put it down. This is the Paua Shell, another design by Jane Thornley.

Brooches and Pins - First Coat of Paint

2009-07-30T15:10:00.006-05:00

I tried something that I thought would probably not work and that is to apply all the paint in one session; see muddy example below. I will be patient with the remainder, applying one color per session and allow them to dry - like the instructions state. Though the stamp pads called for in the instructions would not be as messy, I think anything would work. The paints I am using are various and sundry including Neopaque, Lumiere and I will try some inexpensive craft paint I have on hand. Thus far, I have used only an old toothbrush and a cosmetic sponge.

Brooches and Pins

2009-07-29T17:51:00.003-05:00

Sometimes, a store-bought button or pin will not work for a handmade item such as the vest I knitted recently. This afternoon, I had some fun working with air-dry polymer and a project guide from Sherrill Kahn's site. When they dry, I will paint them and decide if any two of them will coordinate well with the vest.

Little Fishies Sample

2009-07-29T12:37:00.005-05:00

This is a swatch of one of my "just for fun" projects, a Little Fishies Scarf for a teenager's birthday. This is the neck panel from which the fishies will hang. It's not quite as wide or high as it's supposed to be so, I may have to add rows or use a wider tape. Silk fabric is on its way that I will dye and perhaps some will go in this project.

Latest fun project

2009-07-25T13:25:00.005-05:00

This is a vest I just knitted that was inspired by Jane Thornley's Ripenings Vest. I am finished with it except for a few details. The left shoulder needs blocking or expanding just a little more. It doesn't show on the mannequin but over an arm dips in a little. I am considering an edging around the front, lapels and armholes to give stability but don't want to take away from the organic look of the vest. Also, I want to find a to-die-for closure. I really enjoyed knitting this vest. It is one of the few things that I have knit by the seat of my pants; thanks to Jane's suggestions in her Ripenings Shrug pattern.

Afternoon Visitor to the Studio

2009-07-09T16:05:00.006-05:00

I've been preparing a warp in the studio this afternoon and came in shortly to mail an order and take a watermelon break. Sitting at the kitchen table, I saw a visitor on the studio step. He is a wee little bunny; no mama in sight. I wonder if he likes watermelon.

One Year After the Tornado

2009-04-18T18:19:00.011-05:00

This has been a trying but good year. The Lord has been faithful to bring us through the loss of several friends and family and reconstruction after the tornado. The heavily canopied skyline in our neighborhood will not look the same in our lifetime but we are happy to welcome neighbors back. These pictures were taken from the studio patio. The first picture is Ken and Marilyn's; they have been neighbors since 1970. (I think I said 1972 or 1974 before but clarified the date with Ken.) The second picture is Tony and Sheila's. They have been neighbors for over 10 years. Welcome home!

Ken and Marilyn's

Tony and Sheila's

Shallow Tri Shawl for Easter?

2009-03-31T10:36:00.004-05:00

I'm moving right along with HeartStrings Shallow Tri Shawl in hopes of having it finished and blocked for Easter. Fortunately, I'm putting in a lifeline every fourth row as my wonderful needle separated at the cable and needle a few nights ago. The yarn is my hand painted Summer Haze 8/2 tencel. The beads are a 6 mm iridescent that picks up all the colors in Summer Haze.

Guest Artists

2009-03-28T16:54:00.008-05:00

One of the more pleasurable things for me about fiber arts is interaction with other fiber artists. And, occasionally, some nice folks even gift me with some of their creations! I received these 2 great gifts awhile back and just now getting my camera back into working order so that I can feature their work. The first picture is a skein of handspun silk from Deborah. I don't think the camera captures the color adequately and I am torn about balling up this yarn; it is so pretty and soft in the skein! What HeartStrings pattern do you think I should knit with it? There are about 200 yards.

And then there is Kimberly's hand dyed alpaca. This stuff is to die for. There are about 200 yards of it too. Now, the dilemma, in addition to what do I knit, is which one of these beautiful yarns to try first.

Awesome thoughts to start the day

2009-02-27T11:33:00.003-06:00

GOD'S ACCURACY

How lovely to think about the way our Creator God planned everything so
carefully and perfectly, everything with a plan. As His highest creation,
'we are fearfully and wonderfully made.'

God's accuracy may be observed in the hatching of eggs.
For example:
The eggs of the potato bug hatch in 7 days; those of the canary in 14 days; those of the barnyard hen in 21 days.
The eggs of ducks and geese hatch in 28 days; those of the mallard in 35 days.
The eggs of the parrot and the ostrich hatch in 42 days.
(Notice, they are all divisible by seven).

God's wisdom is seen in the making of an elephant. The four legs of this great beast all bend forward in the same direction. No other quadruped is so made. God planned that this animal would have a huge body, too large to live on two legs. For this reason He gave it four fulcrums so that it can rise from the ground easily.

The horse rises from the ground on its two front legs first.
A cow rises from the ground with its two hind legs first.

How wise the Lord is in all His works of creation! God's wisdom is revealed in His arrangement of sections and segments, as well as in the number of grains.

Each watermelon has an even number of strips on the rind.
Each orange has an even number of segments.
Each ear of corn has an even number of rows.
Each stalk of wheat has an even number of grains.

Every bunch of bananas has on its lowest row an even number of bananas, and each row decreases by one, so that one row has an even number and the next row an odd number.

The waves of the sea roll in on shore twenty-six to the minute in all kinds of weather.

All grains are found in even numbers on the stalks.

The Lord specified thirty fold, sixty fold, and a hundredfold - all even numbers.
God has caused the flowers to blossom at certain specified times during the day, so that Linnaeus, the great botanist, once said that if he had a conservatory containing the right kind of soil, moisture and temperature, he could tell the time of day or night by the flowers that were open and those that were closed!

Thus the Lord in His wonderful grace can arrange the life that is entrusted to His care in such a way that it will carry out His purposes and plans, and will be fragrant with His presence. Only the God-planned life is successful. Only the life given over to the care of the Lord is safe.

*Author unknown

All in a Weekend's Play

2008-10-26T16:13:00.000-05:00

October is without a doubt my favorite month. Perfect temperatures and beautiful, cloudless skies. We made good use of the time this weekend. We are blessed to live 3 miles from this trail that runs parallel with the Natchez Trace and have been walking on it almost every day from 2 to 4 miles.

Today, I found this bodark "apple" though I never did see the tree. The squirrels love this "fruit" and usually make a big mess with them. I brought it home as it reminded me so much of my childhood. My paternal grandma had one of these on the hill in front of her house. As children, we loved putting them under the wheels of the car. Daddy would always pretend he didn't know what was going on and would accelerate to reverse. The crunch would set us laughing. As many thorns as are on the tree, I'm surprised that Daddy or one of his brothers didn't have flat tires.

I have needed to organize my circular knitting needles for a long time and have been scouting for something that would hold all but the Denise interchangeable. Everything I have seen up until now would not have held them all or been portable and were somewhat pricey. I ran across this zip-up binder at Office Depot this weekend and am tickled with the results. There are 13 sections, enough space for all needles up to size 13. I enclosed each needle in a sandwich ziplock marked with the size and length. The front has a zip-up mesh pocket in which I placed a tape measure, stitch holder and ruler/needle sizer. There's room for other items too. I think I will really enjoy this.

Originally, I had planned to include white lights on this grapevine arbor but in hindsight, I should have wound the lights around the ironwork. The grapevine is almost impossible to wind the lights in so, we will enjoy it like it is and wind the lights around a plant or grapevine wreath. It was fun to do.

2008-10-02T09:16:00.000-05:00

I am preparing to part with an old friend in order to buy a Macomber and thought I would post here in the event any of you are looking for a special loom. Here are the details:

Norwood 40" 8-shaft cherry floor loom - Solid, super-size cloth and warp beams, a ratchet brake system that needs no adjustment, an excellent shed and extra long weaving space. The floating lamms, jacks and harness tracks are constructed of wood, allowing for quiet operation. Sectional warping rails. Beautiful craftsmanship and top grade cherry wood. One reed and lease sticks included. Weaving width 40"; number of shafts 8; number of treadles 12; number of heddles 2000 (1000 more than new); overall width 47"; depth open 42"; depth folded 31-1/2"; height open 39"; height folded 45-1/2"; depth between reed and breast beam16-1/2". Weight approximately 175 lbs. (New birch looms are 150 lbs.). Excellent condition. Email with questions at Margaret@heritageyarns.com or leave message at (601) 956-1478.

Spinach Chicken Parmesan

2008-09-25T09:20:00.000-05:00

Here's a recipe I tried a few nights ago that we both enjoyed and Don is not crazy about chicken. I will be making this every few weeks. The original recipe came from allrecipes.com but I followed every variation. Here's my take on it.

Spinach Chicken Parmesan

1/3 c. grated Parmesan cheese
1/3 c. Italian bread crumbs
1/4 t. Italian seasoning
3 skinless, boneless chicken breasts
2 T. unsalted butter
1/2 c. chopped onion
2 cloves minced garlic
1 8 oz. package sliced mushrooms
1 T. all-purpose flour
2/3 c. nonfat sour cream
1/3 c. milk (I used 1%.)
Red pepper flakes to taste
1 10 oz. package frozen chopped spinach, thawed and drained thoroughly
1/2 c. chopped roasted red peppers
Kosher salt and black pepper to taste

Preheat oven to 350 degrees F. In a small bowl combine cheese, bread crumbs and Italian seasoning. Roll chicken pieces in bread crumbs and cheese mixture to coat lightly. Reserve remaining cheese mixture for topping. Arrange chicken pieces in an 8x8x2 inch prepared (Pam) baking dish. Mix milk, sour cream and red pepper flakes; set aside. In a large, non-stick skillet, saute' onion, garlic and mushrooms in butter until tender. Stir in flour. Add sour cream mixture and simmer, stirring until bubbly. Stir in drained spinach and roasted red peppers and mix together. Season to taste with Kosher salt and black pepper. Spoon spinach mixture over chicken and sprinkle with remaining bread crumbs and cheese mixture. Bake uncovered for 40 minutes or until tender and chicken juices run clear.

Enjoy!

Sea Cruise 8/2 Tencel

2008-09-14T15:43:00.001-05:00

I never cease to be amazed at how the same colorway can look so different on a different fiber. I painted Sea Cruise this week and, though I have painted it in Serenity (out of stock for a while), I decided to give it a whirl on tencel. I love this yarn and the saturation of color that it gives. I also dyed Blueberry Hill this week and am now champing at the bit to combine the two closely related colorways.Forgot to add... that Blueberry Hill is shown on top and Sea Cruise on bottom. I do think I'm going to have to try this.

Color on a Gray Day

2008-09-01T15:07:00.000-05:00

What to do when we're rained out of our trip to the coast? Knit, take pictures and make the best of it.

These mitten ornaments were knitted with a free pattern from the knitlist and Kollage Luscious cotton sock yarn. Our guild is decorating a Christmas tree for the Craftsmen's Guild of MS in appreciation for their providing us with a place to meet.
I had fun knitting these Dolly Faroese Shawls. The first one was knit with Jojoland Melody Superwash in color MS26. I love the way the color travels in this yarn. It is a marled yarn of variegated yarns with long repeats as opposed to a marled yarn of solids that would give a barber pole effect.
The second and third were knitted in hand painted Serenity; first colorway is Gulf Breeze Sunrise and second is Sagebrush.

Fiona, given to me by my friend Sandi, is modeling the Sagebrush shawl.
I recently knit HeartStrings Lace Leaves in Kollage Luscious cotton in cherry. This yarn has a wonderful hand and there is sufficient yardage on one skein to complete the scarf.

Our guild has adopted MS Heart Scarves as a permanent service project. Our goal is to gift every woman in MS experiencing a heart procedure with a hand knit or handwoven red scarf. The project was established here in MS by our dear friend, Tina Bradford, who passed away on May 1 with heart disease, the number one killer of women.
This is HeartStrings Maple Leaves Scarf that I completed last year. It is knit with Jaggerspun Zephyr 2/18 in Garnet. I love this yarn! it is 50% merino/50% silk and is absolutely wonderful to the touch, very warm and light.
Another HeartStrings pattern. Any surprise? (-: The pattern is Peggy's Shawl. The yarns are one end of hand painted Peacock Iridescence 8/2 Tencel and one end of Jaggerspun Zephyr 2/18 in Ebony. Love, love, love this pattern and the hand of this shawl. This just might be my favorite thing to wear.

Apart from the stormy weather, it has been a good Labor Day. Now, I think I'll take Don up on his offer of a game of Monopoly.

Knitting finally blocked!

2008-07-19T18:50:00.000-05:00

This is a close-up of the Scotch Thistle Lace Stole. I knitted it with Jojoland Melody Superwash in MS08. This makes me long for cool weather.

Second object finished that I can remove from the UFO list is the Reversible Lace Ladders. The good news is that I can wear it right away as it is knitted in Lace Sensation Raw Silk.

Studio/Home Restoration Update

2008-07-19T17:50:00.000-05:00

Every day, we make a little progress in restoring damage from the storm and are grateful for each step. The studio is now completed. We only need add a few chairs, a small table and a plant or two to enjoy sitting out there more. I couldn't include a picture of the studio without including a picture of the live oak that my mama planted in 1964. It has survived Hurricane Camille, Katrina and the most recent tornado.

The stepping stones to the patio and the stepping stones within the patio are ones my daddy and I made in the sixties. The patio is our favorite thing thus far. We love having reminders of my parents around.

And the patio would not be complete without a reminder of our dear Lady. She spent a lot of time in the studio.

Every sign of progress in the neighborhood is uplifting to us. We are so happy for our next-door neighbors on either side. Both are going to have very nice houses. This one is the house that was hit by one of our trees and belongs to Tony and Sheila. They are making some beautiful improvements. Our other neighbor has just started rebuilding. We're glad they have decided to stay. They have been our neighbors for 10 and 34 years respectively.

Ground Improvements

2008-06-25T19:46:00.001-05:00

The lot has been graded and the next step is building the patio in front of the studio and planting grass. The patio was begun today. Grass is being delivered tonight and put down tomorrow. We're thanking the Lord for the rain this afternoon so that the grass can be put down on wet soil with more rain expected for the next 9 days. What a blessing at the end of June.

Restoration Progress

2008-06-18T19:31:00.001-05:00

We are moving right along with the restoration project. Den furniture has been moved back in from the living room/dining room so that we got three rooms back! Yarn is back in place in the studio and I am in the process of organizing books and magazines that were packed in haste. And, I was glad to see that there was damage to only one book - my favorite weaving pattern book. (And, that is incredible considering everything around us.) But, it is still usable if a little musty and mildewed. Possibly, it will be more treasured as it made it through the storm.

We've begun work on the yard with 3 dump trucks full of sand. I'm beginning to like the beach look. (0: A patio will be put in shortly in front of the studio so that we may sit and talk about knitting and weaving projects and maybe even knit and weave and share a beverage or two. The patio will be made up of old brick scattered around the back of the lot with highlights of large stepping stones that my daddy and I made in the sixties of concrete and river stones we collected on family property.

The hardest part has been saying goodbye to the dogwoods my mama planted. I'm so glad we took this picture a couple of evenings before the storm.

Let Freedom Ring

2008-06-12T12:16:00.001-05:00

Prompted by Kimberly's neat cell phone pouches that she wove from a colorway I offered after 9/11, Let Freedom Ring, I dyed a skein for myself. I'm looking forward to winding it into a ball and winding a warp. Or maybe I will knit it. So many possibilities, so little time. It's available by special order now through June 21.

Sandi's Cole Slaw

2008-06-07T17:17:00.000-05:00

Oo-la-la is the best description for the cole slaw Sandi brought to us last night. That's not all she brought that was delicious but this was so good that I was instructed not to run out of it! When I asked for the recipe, I thought it might be complicated but oh, so easy. Here is the recipe:

Sandi's Cole Slaw

1-1# package cole slaw mix from Fresh Market or
1# coarsely chopped mix of cabbage, purple cabbage and carrots
1 to 1-1/2 oz. toasted almonds (She used slivered; I used sliced as it's what I had on hand.)
Equal amount of raisins
1/4 c. + Ken's Steak House Sweet Vidalia Lite salad dressing

Mix thoroughly, chill and enjoy.

Note: This could be made with bagged cole slaw mix but I don't think the texture would be as nice. Nor would it be as pretty without the purple cabbage. The coarse mix is very good. Amount of almonds, raisins and dressing is guesswork. If you like more or less, adjust the recipe to your own taste.

Greek Spinach Rice Casserole

2008-06-01T15:20:00.000-05:00

I adapted this recipe from two recipes and added a few things as I tasted. Guess what's for supper!

Preparation time: 30 minutes
Cooking time: 30 minutes
Recipe yield: large casserole
Number of servings: 10

Spinach, rice, cheese and Greek seasoning. What's not to like? Good side dish for grilled fish or chicken. Serve with a salad and hot, crusty bread with dipping oil. Bread recipe to follow in a few days.

1 cup chopped onion
2 cloves minced garlic
1 tablespoon olive oil
1 tablespoon salt-free butter
4-1/2 cups cooked long grain rice
3 (10-3/4 oz.) cans reduced sodium chicken broth
1 (10 oz.) package fresh spinach
1 egg
1 (5 oz.) can low-fat evaporated milk
1/2 teaspooon Greek seasoning
1/8 t. white pepper
1/2 c. seasoned, crumbled feta cheese
1/2 c. shredded Parmesan cheese
Paprika

In a large saucepan, saute’ chopped onion and minced garlic in oil and butter until tender. Add rice and broth; bring to a boil. Reduce heat and add spinach; cook until wilted. Beat egg and milk and add to spinach and rice mixture; stir constantly until thickened. Add Greek seasoning, pepper and feta cheese. Pour into a 2-quart casserole that has been sprayed with nonstick cooking spray. Sprinkle Parmesan cheese and paprika on top. Bake at 350 degrees F. for 30 minutes or until hot.

Home and Studio Restoration Update

2008-05-28T06:47:00.000-05:00

It has been an eventful week with completion of repair to our home and studio. We spent the day Monday moving back into the studio. Not everything has been unpacked as I am taking time to organize. It feels great to find things! One day soon, we will paint the new shutters. It's nice to have new steps and fence on the back as well.

The patio looks exactly as it was. The carpenters and brick mason did a wonderful job. Our next door neighbor, whose house you see in this picture, will be taking down his house soon in order to rebuild.

Our neighbor (a custom home builder who lives on the opposite corner) has almost finished with demolition of his house. We look forward to seeing what he will build in its place.

Work on the yard will begin next and we can hardly wait! We loved the trees but look forward to a lawn and small patio around the studio.

Salad of Black Beans and Rice

2008-05-15T19:45:00.000-05:00

This is a love it or hate it dish at my house. I love it. (-: So, this will be my lunch for a week or I may share some with a neighbor.

3 c. cooked rice, 1 c. raw (I use white but you can use brown, if you prefer.)
1/2 c. chopped onion
1-16 oz. can black beans, rinsed (If I feel industrious, I cook dried beans.)
1 c. chopped sweet pepper (Red and green mixed are good.)
1/4 c. chopped parsley (Can use dry. This evening, I chopped a bunch in the food processor and dried the remainder for later use in a 200 degree oven.)

Dressing:

1/3 c. salad oil
1/4 c. fresh lime juice
1 t. ground coriander
Salt and pepper to taste

Garnishes:

Avocado
Chopped parsley
Paprika

Cure for the Rainy Day Blues

2008-05-15T10:48:00.001-05:00

This would have been a good day to finish the ceramic tile inside since it is raining cats & dogs outside. Hoping the flooring contractor comes next week so that we can move furniture back into place.

While we wait for a normal pace of life amidst home, studio & yard restoration & remodeling, interactions of color help with the rainy day blues. I am washing out Moonlight Stroll (pictured), Atlantic Moonglow & Peacock Iridescence 8/2 tencel today.

Feeling a Need for Cool Colors

2008-05-12T20:51:00.000-05:00

Although the temps have been delightful the last several days, I'm feeling a need for cool, soothing colors. It's probably the rest I feel when surrounded by cool colors. It's been a while since I dyed Blue Bayou in a tencel skein so, I thought it would be a nice break.

Tornado Pictures

2008-05-10T12:51:00.000-05:00

We're finally coming up for a breather after two months of trials beginning with the loss of our sweet Labrador, Lady, on March 18, followed by the loss of an aunt, two dear friends, Jerry Tucker & Tina Bradford, & a tornado that struck our house & studio on April 4. God has shown us His faithfulness in countless ways through all of this & we are so thankful. We appreciate all of your kind emails & your patience while we were without power, telephone & internet access.

Fortunately, there was very little damage from the tornado compared to many around us whose homes were totaled. The studio sustained roof damage but not a drop of water. There was hardly any damage in the first photograph. The tree you see in the first picture was caught by a double tree in front of the studio (now cut, stump shown in this photo) & it appeared there would be no more damage. However, the tree services were in high demand & gravity further damaged the roof so that we moved out on tree-cutting day a week later. I am currently working from a POD while repairs & improvements are being made.

Trees & branches have been picked up at the street so that our house is visible again.
Very visible! Our once shady, low-canopied yard is a sunny yard. I always wanted to grow tomatoes! LOL. The three houses on that side of our house are vacant. Two will be rebuilt. The fountain & stumps are gone as are the dogwoods. The live oak, 7 water oaks & magnolia came through the storm. The Bobcat & other tree removal equipment took care of what little grass we had. So, we get to start with a brand new yard & fence.

This picture was taken on our patio on April 2, 2 days prior to the tornado. Getting ready to enjoy a cool evening.

Taken on the patio minutes after the tornado on April 4.

This should be entitled, "A Close Call!" This picture was taken looking the other direction toward the street. The brick fountain was torn down in order to have enough brick to replace the masonry around the patio. The tree that is standing is the other half of the one on the ground. It has since been cut. The house seen in the background has been been torn down as 5 trees fell on it. He is a building contractor & has begun construction on a new house. Check out the flower pot & grinding stone sitting on the masonry ledge of the patio & the makeshift bird feeder sitting on the fountain. Vibration from the falling tree did not move them...

Hopefully, we have rounded the corner to "normal." Last week marked the first week of dyeing to include Summer Haze, Blue Bayou & Tallahatchee Bridge. Look for these in 8/2 tencel first of next week.

2008-03-09T18:26:00.000-05:00

I tried this on a Sunday afternoon for play time. It's really quite fun! I think I'll try to go back and beat my spped.

76 words

Speedtest

Braised Collard Greens

2008-02-25T20:05:00.000-06:00

My friend, Sandi, gave me this recipe. We had it for supper tonight and it is very good. It came from Cook Right 4 Your Type.

3 T. olive oil
1 large onion, thinly sliced
1 large bunch fresh collard grens, washed well, tips of stems removed
2 T. soy sauce or tamari sauce
Small amount of water, as needed

Heat oil in a very large skillet or saucepan. Add onion anc cook 5 minutes. Meanwhile, slice colalrds by rolling them into 1 large bunch, then butting across the leaves in 1-inch intervals. Wash them and with water on their leaves, add all the collards to the pot at once, cover and reduce heat. After 5 minutes, turn the collards so the wilted greens are on top. Add soy sauce or tamari, if using, and replace cover. Cook another 40 minutes, turning collards occasionally to make sure they cook evenly. Add a tablespoon or two of water at a time, as needed. Unlike other greens, collards are tastier if allowed to cook longer.

Serves 4

Sandi's Modifications and a few of my own:

>>We both used a large bag of collard greens and pulled out the large stems.

>>Put in a bit of minced garlic with the onion. (Garlic in a jar works just fine.)

>>Like a good southern girl, Sandi added the collards in small batches, turning after each addition. I rinsed the collards off in a large colander and dumped them all in at once. It does require a very large skillet.

>>Sandi uses up to 1/4 c. soy sauce (low sodium) for a plastic bag of greens. I goofed and bought regular soy sauce and used 3 T. They were a bit salty but both of us agreed, good regardless.

>>Sandi's note: "And for crying out loud, any GRITS (that's Girls Raised in the South (-;) knows it takes longer than 40 minutes!" Actually, I didn't find that it did but I also cooked them on higher heat until they stuck. In a Calphelon skillet and adding water, that wasn't a problem. It only helped to caramelize the onions a little more.

>>At the end, add about 1/2 t. sugar (raw is great!) and some red pepper in some form or other. (We've got every variety so, I threw in some flakes.) Yum!

Happy Birthday to me - yesterday

2008-02-19T13:37:00.000-06:00

My, oh, my... how did I ever get to this date? The watch date shows that I have made it another decade by 14 minutes! Well, I certainly don't feel any older in my mind and not much in my body. Though, occasionally my mind tends to write checks that my body can't cash. Sometimes, it happens when it's been a while since I did a particular thing (like paint cabinets) and remember suddenly that I was much younger when I did that before. It was a pleasant day overall with calls, cards, emails and gifts from family and friends. Thank you all for a lovely day.

Elegantly Simple Triangle Shawl Option

2008-02-18T09:59:00.001-06:00

Donna asked to see optional ways in which the Elegantly Simple Triangle Shawl can be worn. This view is shown with the point used as a collar. It is particularly effective with a larger shawl. The model shown here was knitted in Bird of Paradise Cloud 9 available in a kit.

Worn as an accessory in both of these views. Really, you can wear this shawl in a multitude of ways.

Finished Weaving Project

2008-02-09T12:05:00.000-06:00

This is a warp I painted for the fun of it in Gulf Breeze Sunrise. The warp yarn is Serenity; the weft is 5/2 perle cotton in Dark Turquoise. I sett it at 12 epi for plain weave as 5/2 cotton is a little finer than Serenity. This definitely would work on a rigid heddle. Just don't overbeat or sett at 10 epi and use 3/2 perle for weft as 3/2 is about the same grist as Serenity. I used the warp as a demonstration of warping a loom back-to-front on my website.

Finished Knitted Project

2008-02-09T11:51:00.000-06:00

Well, actually, the blocking was finished a while back but I am just now getting around to a photograph. (Anybody got a round tuit?) This is the shawl I knitted during the Elegantly Simple Triangle Shawl Knitalong. The yarn is some of my hand painted 8/2 Tencel in the Blue Bayou colorway. (Yes, I hope to get "a-round-tu" dyeing it soon.) I only used about 3 ounces of yarn. If I were a faster knitter, I think I would see how large I could make it. This one is a good size for me and in the summer, I think it will be nice worn with the tip of the triangle used as a collar and tied bolero-style. Love those empire waists!

Look what arrived today

2008-02-06T17:23:00.000-06:00

I've been waiting a couple of weeks on these new colors of Kollage Luscious cotton sock yarn. It's no surprise that I recognized the sound of the Fed Ex truck! These colors were dyed to coordinate and will be lovely in HeartStrings Peek-A-Boo Flowery Lace Anklets.

Peacock Iridescence

2008-02-05T14:51:00.000-06:00

Mary Hunt asked if I would consider adding Peacock Iridescence as a yarn rather than limiting availability to painted warps. This is the result. Thanks for a super idea, Mary!

New Colorway

2008-02-05T14:39:00.000-06:00

This is the colorway I dyed last week and the name of it is Sunrise Serenade. It's not dry just yet but will be ready once it dries and Libba works her magic to it by twisting and adding a label. She is the greatest and I don't know what I would do without her help.