Tuesday, September 6, 2011
Winding a Skein into a Ball
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.
Monday, September 5, 2011
Publishing with New Laptop
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.
Sunday, September 4, 2011
Mother Bunny and Bunny Love
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.
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?
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!
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?
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.
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
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.
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
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!
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!
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