Archive for the ‘Networked Drafts’ category

Networked Double Weave Pillow

September 4, 2017

I find the blurred edges of the patterns in networked double weave subtle and interesting.  I also like the clear, sharp edges of the patterns in traditional patterned double weave.  In this post I’m delighted to share photos, drafts, and notes of a plain weave, networked double weave pillow that I recently designed and wove as well as photos of other double weave projects I worked on this year.

The pillow project started out with pattern lines that I designed and then networked (initial 4) using Fiberworks weaving software.  I then played around with the resulting networked threading and treadling drafts, tried different twill tie-ups in case I decided to weave my yardage as a networked twill, and then tried them with double weave tie-ups in case I decided to weave it as a networked double weave.  Eventually I had to make a decision and the winner was a networked double weave draft that I used to weave this fabric from which I made the pillow:

Networked Double Weave fabric and pillow woven on 16 shafts, cotton, 2017

Networked Double Weave fabric woven on 16 shafts, cotton, 2017 (close-up)

The warp and weft are both 20/2 cotton, 2 strands used together, and the sett is 36 epi and about 37 ppi.  I wet finished the fabric by washing by hand, hanging to dry, and steam ironing while the fabric was still slightly damp.  I sewed the pillow as a one-piece envelope pillow.  I’m not great at sewing so I searched online and found a video on “How to make an envelope pillow cover” by CraftyGemini that was clear and easy to follow.

Here are images of the 16-shaft, networked double weave draft showing one side, the other side, and a close-up of one section of the draft (let me know if you would like the WIF file):

Draft for Networked Double Weave showing one side

Draft for networked double weave showing other side

Partial Draft for Networked Double Weave – close-up of one section (interlacement view)

A few years ago I learned how to design double weave tie-ups using Photoshop Elements, thanks to Alice Schlein’s amazing book, The Liftplan Connection (Designing for Dobby Looms with Photoshop and Photoshop Elements).  I weave on a 16-shaft, 40 inch wide, Macomber treadle loom, and found things in Alice’s book that I can learn and apply even to my treadle loom.  It’s also so much fun!  Here’s the double weave tie-up I used for the pillow that I designed with Photoshop Elements:

Double Weave Tie-Up designed with Photoshop Elements

A more challenging networked double weave project that I designed and wove is this wall hanging that I plan to submit to my weavers guild annual exhibit next year:

Networked Double Weave Wall Hanging woven on 16 shafts, cotton, 2017

Networked Double Weave Wall Hanging woven on 16 shafts, cotton, 2017 (close-up)

Last but not least, I wove a traditional double weave runner as a gift for friends of mine and of my husband’s who are antique dealers of early American folk art.  It’s a 12-shaft, 3-block double weave.  I generated the draft with block substitution from profile draft No. 169 that I found in Mary Meigs Atwater’s classic book, The Shuttle-Craft Book of American Hand-Weaving, first published in 1928.  Below are photos of this runner, notice on the close-up the clear and sharp edges of the pattern as compared to the more subtle, unclear edges in the pillow and wall hanging:

Double Weave Runner, cotton, 2017 (woven from Atwater’s 3-block profile draft No. 169)

Hope you enjoyed reading this post, see you next time!

To Home Page

Four-Color Double Weave Samples

September 21, 2016

Learning to design and weave four-color double weave (4cDW) has kept me mesmerized for the past few months.  I studied Chapter 3 on 4cDW in Marian Stubenitsky’s fascinating book, Weaving with Echo and Iris, and tried to sort out which 4cDW methods and variations I can use to design drafts with Fiberworks that I can weave on my 16-shaft, 18-treadle, Macomber loom.  It turns out that my favorite method is the one Marian describes on pages 88-91:  “Eight Pattern Blocks and a Short Tie-Up” using 8 shafts and 16 treadles.  With this method you can design some amazing 4cDW patterns where the plain weave layers are integrated rather than being separate.  After some trials and errors I gained confidence and even tried some variations of my own.

I learned that in 4cDW two alternating colors throughout the warp and two other alternating colors throughout the weft produce four different areas of color whereas in traditional double weave they produce only two areas of color.  Also, in traditional double weave there are distinct layers with pockets between them, while as I mentioned before, in 4cDW it’s possible to have the layers integrated so that there are no pockets.  I experimented with these different methods and following are a few of my samples and drafts.

I designed and wove Sample #1 below on 8 shafts and 10 treadles.  Marian’s “short” tie-up is 16 treadles and her “long” tie-up on page 94 is 32 treadles with eight different color blends!  My simple Sample #1 is an integrated 4cDW.  The longest float is 3.  I used 20/2 cotton (2 strands together) at 36 epi (a little too close perhaps) but with a firm beat got about 34 ppi.  The warp colors are blue and orange/brown and the weft colors are red/pink and green, all four hues are fairly close in value, not too light and not too dark.

Four-Color Double Weave (integrated) Sample #1, 8 shafts & 10 treadles, cotton, 2016

Four-Color Double Weave (integrated) Sample #1, 8 shafts & 10 treadles, cotton, 2016

Here’s the draft for the above sample with a close-up to help you see that the layers are integrated (let me know if you would like the wif file for this draft):

Draft for Four-Color Double Weave (integrated) Sample #1

Draft for Four-Color Double Weave (integrated) Sample #1

Draft for Four-Color Double Weave (integrated) Sample #1 (close-up, interlacement view)

Draft for Four-Color Double Weave (integrated) Sample #1 (close-up, interlacement view)

Below is integrated 4cDW Sample #2 that I designed and wove on 8 shafts and 16 treadles.  The sett and yarn size are the same as for Sample #1, and the longest float is 3.  I wanted more contrast so in this sample the warp colors are dark navy blue and white and the weft colors are a light blue and light brown.

Four-Color Double Weave (integrated) Sample #2, 8 shafts & 16 treadles, cotton, 2016

Four-Color Double Weave (integrated) Sample #2, 8 shafts & 16 treadles, cotton, 2016

After experimenting some more, I came up with Sample #3 below, designed and woven on 12 shafts and 16 treadles, and the longest float is 3 here too.  This is 4cDW but it’s not integrated, there are distinct plain weave areas with pockets in between them.  I used 20/2 cotton, single strands this time at 56 epi and about 50 ppi.

Four-Color Double Weave Sample #3, 12 shafts & 16 treadles, cotton, 2016

Four-Color Double Weave Sample #3, 12 shafts & 16 treadles, cotton, 2016

I think I learned a few things about 4cDW, but I’m still curious so I searched online to see what else I can find.  I came across a very pretty and lively sample on Weaverly that Alice designed with Photoshop and wove on 24 shafts.  There are also photos of a few very interesting and also very pretty pieces on Marian’s gallery page.  More photos and downloadable wif files are available from Complex Weavers (June 2015 Journal gallery) that are great too, you will find them near the bottom of the page.  Edna, a member of the Complex Weavers Fine Threads Study Group that I’m also a member of, did her study this year on 4cDW using only 4 shafts, and I’m fortunate to have her lovely woven sample.  Edna shares photos and downloadable wif and pdf files of her sample at this link:  “Fun with Four Color Doubleweave.”

See you next time, when the weaving muse visits again!

To Home Page

Networked Twill Table Runners

May 9, 2016

I wanted to design a networked twill pattern, which is decorative and symmetrical, that would be nice to use for weaving a table runner.  For inspiration and guidance, I browsed through Alice Schlein’s wonderful book, Network Drafting: An Introduction, and came across a few ideas that I wanted to use.  One idea was to use reversing points in the threading and treadling and another was to try different tie-ups.  Using Fiberworks, I designed many pattern lines and generated 8-shaft networked drafts using initial 4, the most used initial because it works well with many twills and other weaves.  Narrowing it down to one pattern and two tie-ups, I was ready to weave a couple of table runners.

The two finished table runners look almost the same when viewed from a distance, but the close-ups look very different.  As a weaver I find it very interesting to look at details, even more so than at the overall design from a distance.  Here is the finished Networked Twill Table Runner with tie-up 1:

Networked Twill Table Runner woven on 8 shafts (tie-up 1), cotton, 2016

Networked Twill Table Runner woven on 8 shafts (tie-up 1), cotton, 2016

Networked Twill Table Runner woven on 8 shafts (tie-up 1), cotton, 2016 (close-up)

Networked Twill Table Runner woven on 8 shafts (tie-up 1), cotton, 2016 (close-up)

You may notice that the twill lines appear to be on a plain weave background, and they are reversing or mirroring in the pattern.  In the drafts below, you can see this more clearly in the partial draft:

Draft for Networked Twill Table Runner (tie-up 1)

Draft for Networked Twill Table Runner (tie-up 1)

Partial Draft for Networked Twill Table Runner (tie-up 1)

Partial Draft for Networked Twill Table Runner (tie-up 1)

Here is the finished Networked Twill Table Runner with tie-up 2:

Networked Twill Table Runner woven on 8 shafts (tie-up 2), cotton, 2016

Networked Twill Table Runner woven on 8 shafts (tie-up 2), cotton, 2016

Networked Twill Table Runner woven on 8 shafts (tie-up 2), cotton, 2016 (close-up)

Networked Twill Table Runner woven on 8 shafts (tie-up 2), cotton, 2016 (close-up)

In the drafts below, the partial draft for tie-up 2 shows a pattern with less discernible twill lines, no plain weave areas, and there’s more contrast between the light and dark areas:

Draft for Networked Twill Table Runner (tie-up 2)

Draft for Networked Twill Table Runner (tie-up 2)

Partial Draft for Networked Twill Table Runner (tie-up 2)

Partial Draft for Networked Twill Table Runner (tie-up 2)

It’s interesting to look at a comparison of the same part of the draft with the two different tie-ups:

Networked Twill - two tie-ups (interlacement view)

Networked Twill – two tie-ups (interlacement view)

I’m happy to share the WIF files for the complete drafts, let me know if you would like them.

Weaving Notes:  I wove both table runners on the same natural colored 20/2 cotton warp at 40 epi (ends per inch).  The weft is also 20/2 cotton for both except for the color – one beige and the other green.  The ppi (picks per inch) are about 34 for the beige runner and about 40 for the green one.  The smaller number of picks produced a more elongated pattern in the beige runner, and the finished cloth feels a little lighter and more delicate.  The longest float in both is 5.  I used a floating selvedge to help keep the selvedges neat.  I washed them by hand, let hang to dry and steam ironed while they were still a little damp, and then hand stitched the hems.  I would like to mention that I always read my treadling drafts from bottom to top and the threading as if I’m facing the front of my Macomber rising shed loom.  This way, as I’m weaving the pattern on the loom, it looks exactly the same as in the draft.

Network drafting can be challenging at first, but as you progress it will keep you captivated with so many possibilities.  On that note, here is a scarf I recently designed and wove using network drafting.  I used a variegated colored Tencel warp and a solid colored weft.  It looks as though the warp may have been painted, but it’s not:

Networked Twill Scarf woven on 16 shafts, Tencel & cotton, 2016

Networked Twill Scarf woven on 16 shafts, Tencel & cotton, 2016

That’s all for now, see you next time!

To Home Page

Interleaved Echo Weave…

September 10, 2014

…or non-parallel interleaved twill designs would be a more accurate way of describing what I’m working on now, as I later learned from Bonnie Inouye.  Bonnie gave a seminar called “Interleave” at the Complex Weavers Seminars 2014 which I was not able to attend, but in her usual generous manner she shared with me the handout for her presentation that answered some of my questions on this topic.

I have done some work already using parallel threadings to weave echo designs, and now I’m excited to share some of my experience with non-parallel threadings.  The first time I read about it was in Sandra Rude’s article in the Complex Weavers Journal 2006, “Adventures in Not-So-Parallel Threading, Part II.”  At that time I didn’t understand any of it, but after giving it a few tries and spending many hours using the interleave tool in Fiberworks PCW, I think I get it now.  Also, I bought Marian Stubenitsky‘s beautiful new book, Weaving with Echo and Iris, full of amazing color photographs that are a feast to the eyes.  The book has a lot of great technical information as well with chapters on various related weaves.  It’s a treasure!

I like to experiment and weave samples especially when I’m learning something new.  One of my first interleaved designs started out with two easy threadings that I interleaved to design a third one.  In Fiberworks you can copy one threading, go to the second threading and under “edit” choose “interleave paste.”  A dialogue box appears with several options and a slider that shows you how the two threadings are being interleaved as you move it to the right or to the left.

Two threadings interleaved to design a third one

Two threadings interleaved to design a third one

My complete 8-shaft draft includes the interleaved threading as shown above, a twill tie-up, an advancing point treadling, two colors alternating in the threading and one solid color in the treadling.  Here it is showing one repeat of the threading and one of the treadling:

Draft for Interleaved Twill Woven Sample showing one repeat of threading and treadling

Draft for Interleaved Twill Woven Sample showing one repeat of threading and treadling

Below are photos of the sample I wove using the draft shown above.  I used 20/2 cotton with two strands together for warp and weft with a sett of 28 epi and about the same ppi.  The warp ends alternate purple and burned orange and the weft is bluish turquoise.  I learned from sampling and from reading articles about these types of designs that the sett may be closer or may be more open and warp and weft may be of different sizes, depending on what you want to achieve.  For example, Sandra Rude in her earlier article in the Complex Weavers Journal 2005,  “Adventures in Parallel Threading, Part I,” writes that a more open sett looks more like an ordinary twill but you get more color blending because more of the weft shows.  More color blending is what I was aiming for in this sample:

Interleaved Twill Woven Sample

Interleaved Twill Woven Sample

Interleaved Twill Woven Sample (close-up)

Interleaved Twill Woven Sample (close-up)

The more I experiment with interleaved designs the more I like it.  Below is an example of a 16-shaft, non-parallel interleaved networked twill design that shows just part of a larger draft.  For short, I prefer calling it “interleaved echo weave” because back in 1996 Alice Schlein already named these types of designs with parallel threadings “echo weave.”

Interleaved echo weave partial draft - non-parallel interleaved networked twill threading and networked twill treadling

Interleaved echo weave partial draft – non-parallel interleaved networked twill threading and networked twill treadling

Finally, here are photos of 16-shaft interleaved echo weave scarves that I designed and wove with different patterns.  I used 20/2 Tencel that I dyed with fiber reactive dyes.  I was invited by our friend, Jill Beech, a ceramic artist whose beautiful work is interesting and inspiring, to show and sell some of my work at her open studio during the end of the year holiday season.  That’s where these scarves will be going.

Interleaved Echo Weave Scarf woven on 16 shafts, hand-dyed Tencel, 2014

Interleaved Echo Weave Scarf woven on 16 shafts, hand-dyed Tencel, 2014

Interleaved Echo Weave Scarf, hand-dyed Tencel, woven on 16 shafts, 2014

Interleaved Echo Weave Scarf, hand-dyed Tencel, woven on 16 shafts, 2014

Hope you enjoyed reading about my adventures in the non-parallel weaving universe.  See you next time!

Eva

UPDATE January, 2016:  Below are images of a new interleaved echo weave shawl I designed and wove:

Interleaved Echo Weave Shawl woven on 16 shafts, pearl cotton warp, cashmere/silk/merino weft, 2016

Interleaved Echo Weave Shawl woven on 16 shafts, pearl cotton warp, cashmere/silk/merino weft, 2016

Interleaved Echo Weave Shawl woven on 16 shafts, pearl cotton warp, cashmere/silk/merino weft, 2016 (close-up)

Interleaved Echo Weave Shawl woven on 16 shafts, pearl cotton warp, cashmere/silk/merino weft, 2016 (close-up)

To Home Page

 

 

Turned Twill Adventures

September 24, 2013

It all began with our new dining room table that needed a functional and pretty runner.  I say functional first and pretty second because this project was going to be designed so that form follows function and not the other way around.  I must confess that sometimes I do weave things out of curiosity without thinking too much about what useful things I can make from them.  The pattern I designed for the table runner turned out to be a traditional turned twill block design woven with lustrous pearl cotton.  I liked the clean lines between the warp-float and weft-float areas in this design and wondered what a design with fuzzy lines would look like, so I tried that too.  Here are photos and drafts of the runner followed by a few more daring adventures:

Turned Twill Woven Table Runner – 4 Blocks

I wove a few samples first, one with a pearl cotton warp and a linen weft that was lovely, but I liked the colors of pearl cotton I had in my stash better.  So I wove the table runner using 5/2 pearl cotton for warp and weft with a sett of 24 epi and about 21 ppi, using a very firm beat.  A wider sett of maybe 20 or 22 epi would have been better for a more balanced weave woven with a lighter beat.  I wove a few inches of plain weave at the two ends with a thin 20/2 cotton so that I could turn and hand stitch a hem for a neat and lasting finish.  I should mention that I used a floating selvedge on each side that was not threaded through a heddle, only sleyed through the reed.  The woven piece was washed in the washer on gentle and ironed while still damp.  The finished runner is 18 inches wide by 60 inches long, perfect for our table:

Turned Twill Woven Table Runner, 4 blocks, pearl cotton, 2013

Turned Twill Woven Table Runner, 4 blocks, pearl cotton, 2013

I weave on a 16-shaft treadle loom, good for a 4-block, 3/1-1/3 turned twill pattern.  I designed a profile draft where Block A is threaded 1,2,3,4; Block B – 5,6,7,8; Block C – 9,10,11,12; and Block D – 13,14,15,16.  The treadling blocks are the same as the threading blocks.  The direction of the twill lines depends on whether you treadle top to bottom or bottom to top.  I chose to weave it so that the warp-float twills go left to right and the weft-float twills go right to left on the side that I wanted to show when I place it on the table, the way you see it in the above photo.  You can repeat the blocks in a profile draft to your liking, easily accomplished with weaving software, and with block substitution you can try it out with different weave structures.  Below are the profile draft followed by the thread-by-thread draft and a close-up of the draft that shows how the warp and weft are interlaced:

PROFILE DRAFT for Turned Twill Woven Table Runner, 4 blocks

PROFILE DRAFT for Turned Twill Woven Table Runner, 4 blocks

Draft for Turned Twill Woven Table Runner, 4 blocks

Draft for Turned Twill Woven Table Runner, 4 blocks

Close-up of Draft for Turned Twill Woven Table Runner, 4 blocks (interlacement view)

Close-up of Draft for Turned Twill Woven Table Runner, 4 blocks (interlacement view)

Without elaborating too much, I would describe turned twill as an uneven twill, and in this project, blocks are made up of 4-end units of 3/1 twill and 1/3 twill.  The contrast between warp-float and weft-float areas on the same side of the fabric can be used to design many kinds of patterns – from stripes to fancy figures.  Sometimes turned twill is referred to as twill damask.  Irene Emery describes it in great detail in her book, The Primary Structures of Fabrics.  To learn more about blocks and profile drafts, I recommend Madelyn van der Hoogt’s book, The Complete Book of Drafting for Handweavers, Chapter 5: From Blocks to Units.  I think Madelyn also has a video out about block weaves.  I have a few past posts with profile drafts, you can find them if you go to my home page and click on “Profile Drafts” in the Categories cloud.

Networked Twill Woven Fabric – Turned Twill with Fuzzy Borders

After the table runner project, I continued experimenting with turned twill but digressed and kept only the tie-up and instead of blocks I tried networked threadings and treadlings.  I liked the fuzzy borders, very different than the clean cut ones in traditional block turned twill, and the longest float was still only 3.  I also read an article by Alice Schlein in Handwoven magazine in 2001, “Network Drafting – Turned Twills on Eight Shafts,” that inspired me to experiment with this idea.  Below is a photo of some yardage I wove from one of my designs using 20/2 cotton in alternating dark and light colors in the warp and a solid color for the weft, at 42 epi and about 40 ppi.  I washed the yardage by hand and ironed it while it was still damp.  The yardage is a bit narrow in width, about 16 inches, not really functional for my purposes, but hey, it’s kind of interesting and I may use it for next year’s Fine Threads Study Group at Complex Weavers, cut into swatches for members of my group:

Networked Twill Woven Fabric, cotton, 2013

Networked Twill Woven Fabric, cotton, 2013

Below are the drafts for the fabric.  If anyone would like the WIF file with the complete thread-by-thread draft, let me know.

Draft for Networked Twill Woven Fabric

Draft for Networked Twill Woven Fabric

Close-up of Draft for Networked Twill Woven Fabric (interlacement view)

Close-up of Draft for Networked Twill Woven Fabric (interlacement view)

More Turned Twill Drafts – Variations

These are drafts I like but haven’t tried to weave.  This one with a 5-end advancing twill threading and treadling illustrates the fuzzy borders between the warp-float and weft-float areas, and the longest float is 3:

Draft for 5-end Advancing Twill

Draft for 5-end Advancing Twill

Here’s an 8-shaft, traditional 2 block draft and the dramatic change that you see when color-and-weave is used on the same draft – 4 dark and 4 light ends alternating in warp and weft:

Draft for 8-shaft, 2 block, Turned Twill with color-and-weave version

Draft for 8-shaft, 2 block, Turned Twill with color-and-weave version

And here’s the same draft as the previous one, with some fun colors for the color-and-weave effect:

Draft for 8-shaft, 2 block, color-and-weave Turned Twill

Draft for 8-shaft, 2 block, color-and-weave Turned Twill

Hope you enjoyed reading about my Turned Twill adventures.  Just one more thing…

Something Completely Different:

E-Reader Case, Crochet, pearl cotton, 2013

E-Reader Case, Crochet, pearl cotton, 2013

OK, this is not woven, but I just love this little crochet case with the little button that I made for my e-reader.  It’s just simple continuous single crochet with 5/2 pearl cotton going round and round and then back and forth for the flap, finished with a double crochet edging.  It’s sitting on a shadow weave mat so there is some weaving in the picture!

To Home Page

Ikat-Inspired Twill Studies

April 28, 2013

The Fine Threads Study Group at Complex Weavers has a sample and study exchange each year.  As a member of this group I’m happy to share my study for this year in this post.

As I was browsing through the samples from the 1990 Complex Weavers Swatch Exchange, I came across Verda Elliott’s sample and study, “A Touch of Ikat.”  Verda has passed away in 2009 but her inspiring work lives on.  In her study, Verda combined two tie-up and treadling sequences on the same threading for a combined draft and wove the samples on her 24 shaft compu dobby loom.  I liked the idea of an ikat effect without having to do any dyeing/resist dyeing that is used in true ikat.  I tried her method but had to make a few changes in order to weave a sample on my 16 shaft treadle loom, at times having to step on two treadles at the same time.  I wove a sample using 10/2 cotton, the same size yarn as what Verda had used (see the very last photo and Draft 4 below).  This sample looked fine but when I tried it again with a finer 20/2 cotton the effect was too subtle, barely noticeable unless you were viewing it up close.  So for my Fine Threads Study samples I decided to try a different approach.

I experimented with networked twills and color placement and found that vertical sections of alternating light and dark colors in the warp and a solid color in the weft produced interesting ikat-like patterns.  Here’s the piece in progress on the loom with an interesting air brushed-like quality as well:

Ikat-Inspired Networked Twill, rayon & cotton, 2013

Ikat-Inspired Networked Twill, rayon & cotton, 2013

Ikat-Inspired Networked Twill, rayon & cotton, 2013 (detail)

Ikat-Inspired Networked Twill, rayon & cotton, 2013 (detail)

I used 20/2 rayon for the warp and 20/2 cotton for the weft at a sett of 42 epi and 42 ppi.  The piece was washed by hand, air dried and steam ironed with overall shrinkage of about 5%.  Now I have to cut a lot of it up into samples for the group swatch exchange!

The width of the vertical stripes is important, if it’s too wide the effect is less striking, and when the entire warp is a solid color the effect is different as shown in Draft 1:

Draft 1 - Networked Twill, solid colors in warp and weft

Draft 1 – Networked Twill, solid colors in warp and weft

Draft 2 below is what I designed and used to weave my piece.  It has the same threading, treadling and tie-up as Draft 1, but the color interaction in warp and weft give it a very different appearance.  I can email the complete WIF file of this draft to anyone with weaving software who requests it, just let me know.

Draft 2 - Networked Twill, color stripes in warp, solid color weft

Draft 2 – Networked Twill, color stripes in warp, solid color weft

Draft 3 below is a variation on a theme, it’s the same in all respects as Drafts 1 and 2 except for the slight difference in width of the vertical stripes and the various color combinations:

Draft 3 - Networked Twill, various color combinations

Draft 3 – Networked Twill, various color combinations

As I mentioned in my introduction, Verda Elliott’s 1990 study, “A Touch of Ikat,” was my inspiration for further study that led me to design and weave the Ikat-Inspired Networked Twill piece above.  I originally began my study by weaving this sample according to Verda’s method using 10/2 cotton at 28 epi:

Ikat-Inspired Twill woven sample

Ikat-Inspired Twill woven sample

Draft 4 - Advancing repeat threading and two treadling sequences combined

Draft 4 – Advancing repeat threading and two treadling sequences combined

UPDATE November 8, 2013:  Several weavers have asked me to send them the WIF file for the Ikat-Inspired Networked Twill draft.  One weaver, Mahesh Deshmukh, used it to create his own beautiful designs and sent me these images (posted here with permission):

Mahesh's Ikat-Inspired Networked Twill Designs

Mahesh’s Ikat-Inspired Networked Twill Designs

UPDATE February, 2014:  I rewrote this post as an article that has been published in the February 2014 issue #104 of the Complex Weavers Journal with the same title, “Ikat-Inspired Twill Studies.”   Most of the articles in this amazing issue focus on loom-controlled shibori and ikat and I’m thrilled that my article about twills that look like ikat is included.  Complex Weavers posted images and downloadable WIF files of the drafts from my article as well as images and some drafts from the other articles from this issue that may be viewed at this link.

To Home Page

Network Drafted Ripples & Waves

August 13, 2012

There are many types of curves that can be designed with network drafting.  I imagined one or more waves with ripples and curved shapes in between, some symmetrical and some not so symmetrical.  The overall effect could be subdued by varying color, yarn size and sett.  I’ve seen beautiful weaving with just one wave across undulating vertically down, but I was interested in weaving something more elaborate.

I went ahead and designed many networked drafts, easily done with weaving software, cutting/copying and pasting sections of the threading to my liking.  Lots of fun!  I really liked one or two drafts that looked elaborate enough on only 8 shafts and so decided to weave a few yards of fabric and a couple of scarves using various yarn types and sizes.  Here are photos, drafts and notes of this weaving adventure:

Network Drafted Woven Fabric and Scarf

Network Drafted Woven Fabric (pearl cotton & unmercerized cotton), 2012

Networked Draft 1

To weave this fabric, I used 20/2 unmercerized black cotton for warp and 20/2 natural pearl cotton for weft, sett at 42 epi and about the same ppi.  The woven design is a variation of the one shown in Networked Draft 1 above, as I ended up expanding the threading so it would be 24 inches wide when finished.  The fabric was wet finished washing by hand but it could have been put in the washing machine on gentle and was air dried and steam ironed while slightly damp.  The 4 yards of finished fabric have a nice hand and drape with a bit of luster from the pearl cotton that I didn’t quite capture in the photo above.  What to make with this fabric? Maybe a jazzy little vest or jacket.

The threading is too long to read well in a small image so I’m trying something new:  here’s a PDF file of the Threading & Treadling for Networked Draft 1 that’s readable with numbers for weavers who would like to try weaving a project with this design.  You can take one section or more of the threading and experiment with it.  When cutting/copying and pasting you may need to make small adjustments for a smooth transition between sections.  I can also send the WIF file to anyone who requests it, just let me know.

Network Drafted Woven Scarf (pearl cotton), 2012

You may notice that the draft for this purple scarf is a section taken from Networked Draft 1.  Because I used a thicker yarn this time, 5/2 pearl cotton for warp and weft at a wider sett of 20 epi and about 20 ppi, the pattern in the scarf as compared to the one in the fabric appears magnified.  There’s little contrast between the black warp and purple weft because they are close in value, both colors are dark, and so the overall effect is subdued.

Although the longest float is only 3, I used a floating selvedge for a neater edge.  Wet finishing is the same as for the fabric.  The finished scarf has a heavier hand than the fabric but still drapes nicely.  It was easy and quick to weave, and I plan on weaving a few more scarves like this one with variations in color and design.

Another Network Drafted Woven Scarf

Network Drafted Woven Scarf (Tencel & pearl cotton) 2012

Networked Draft 2

I wove this blue scarf before weaving the fabric and purple scarf.  When I started weaving it I altered the treadling a bit so the waves don’t look exactly the same as the ones in Networked Draft 2.  I used white 20/2 Tencel that I dyed with tea for a more natural color for warp and 10/2 turquoise/blue pearl cotton for weft at 42 epi and about 28 ppi.  The sett for warp is closer than for weft because the weft is thicker and so the waves running vertically appear elongated, just the way I wanted it.  The longest float is 3.  I could have used a floating selvedge but decided to use shafts 9 and 10 to weave as plain weave for a neat selvedge, an option if you have extra shafts to spare.  Wet finishing was the same as for the other pieces.  The hand, drape, and luster of this scarf are lovely, and it reminds me of the ocean.

I wove my first network drafted scarf a couple of years ago with just a little knowledge about network drafting and how to use my weaving software and used different tools in the program in a trial and error sort of way.  I actually like that first scarf very much.  I often learn new things this way, jump in and test the water and afterwards study and practice more diligently to improve my skills.  These are a few sources that helped me learn more about network drafting:

  • The Manual that came with my weaving software, Fiberworks PCW Silver
  • Bonnie Inouye’s book, Exploring Multishaft Design, and her article on Weavezine, “Flowing Curves: Network Drafted Twill.”
  • The chapter on network drafting with twills in Twill Thrills (The Best of Weavers), edited by Madelyn van der Hoogt.  These are just a few of the articles compiled into this book from many that were published in Weaver’s magazine through 1999.
  • Alice Schlein’s book, Network Drafting: An Introduction

Until next time, happy weaving everyone!

To Home Page