Next on the loom is a Honeycomb weave. It’s funny in to have chosen this, since it is also know as an undulating weft effect and my previous post was on an undulating twill. The inspiration for this project came from shopping for a bargain at the local “Big Lots” store. Here I found in the craft aisle jute cord meant for kids jewelry.The rainbow colors struck my eyes as the perfect color combination to be used for a runner. The jute is used in the weft for creating the outline for the cells. The warp and weft yarn for the interior of the cells uses a single ply linen.
In the Shuttle Craft Monograph #9 – Undulating Weft Effects by Harriet Tidball, she states that the warp should be fairly fine and elastic, while the weft should be the same as warp or finer. The weft outline should be thicker and soft and elastic. Linen should not be used for outline weft due to it’s stiffness. A soft cotton yarn would be a good choice for outline weft. My yarn choices could be considered to be poor choices. The Jute yarn required some hand manipulation for the cell outline and the linen yarn in the warp and weft is anything but elastic. I experimented with the number of linen wefts in each cell and settled on 8. The finished weight is wonderful for a table runner. I need to do the finishing and then will share a picture of the finished project.
Ferns and Flowers, weaving design by Bertha Gray Hayes
This is the next scarf on the variegated bamboo warp used in the previous blog. The look of the warp yarn is completely changed this time by using a burgundy 16\2 bamboo yarn for the tabby or tie-down yarn. I’m using a single color for the weft pattern yarn this time. It is a gold 8/2 Tencel yarn. The Tencel has a sheen that the bamboo yarn does not have. The last scarf my beat was not consistent, resulting in an obvious unevenness in the pattern in different places in the scarf. That’s what I get for not measuring the pattern repeats as I wove. This time I have measurements taken and will try not to let things around me affect the quality of my weaving.
Crackle weave was one of the structures my weaving study group choose to investigate this year. Two recently published books on Crackle weave, gave new interest to this old weave structure. In one of these books, A Crackle Weave Companion by Lucy M. Brusic, there is an example of a sampler to use in exploring crackle weave. Since I do not own this book I went to one of my own weaving books.
Crackle Weave is discussed on pages 130-135.
The Handweaver’s Pattern Directory, by Anne Dixon, shows many examples of 4 harness crackle weave. The section on crackle weave is on pages 130-135. Using these weave designs I created a sampler. Four different crackle patterns across, with each pattern repeated multiple times to better show the design. Each of the 4 pattern blocks has a different warp color. There were 12 different treadlings used, with the weft color changed for each treadling. Each treadling is repeated at least 2 times. The sampler has 36 different designs. 21 of these designs are found in The Handweaver’s Pattern Directory. Samplers are a good way to see a variety of designs from a family of similar type weaves. An added bonus was trying different color combinations and size of weft yarns.
Crackle 4 harness weave. Row 1-3 correspond to the treadlings on page 131.The left column (Brown warp) are the designs pictured on this page 131. The 4th row ,(mint color weft) is the first treadling on pg 132-133. For this row the brown warp column is not pictured.
Rows 1 and 2 correspond to treadlings 2 and 3 on pages 132 and 133 of The Handweaver’s Pattern Directory. The 3rd row is the 1st treadling on pages 134 and 135. Designs in left column (brown warp) are not depicted in book.
Row 1 and 2 correspond to pages 134 and 135, treadlings 2 and 3. The designs are from The Handweaver’s Pattern Directory with the exception of the brown Column.
Same designs depicted in each row, with the color of weft changed and size of weft yarn.