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To see the items showcased in 2005, scroll down
Sue Dwyer wove a forest of Christmas trees for the holiday season. She writes:
"I decided to weave Taqueté using 120/2 silk for the warp and 60/2 silk for the weft. I produced a profile draft, and then a drawdown.
"I found it easier to draw the Profile Draft onto squared graph paper. I then put numbers related to the blocks in Left Lower corner. I coloured in the squares. I then numbered the squares with the relevant block number. Lilian shows a drawdown for each colour. I found it easier to write each colour down in its set order. Each complete pick was 5 shuttle throws (even if the colour did not appear on the surface) and were thrown in an exact order, Colour A B C D E. If this order varied the background colour changed. Each complete pick had a 1 tie-down thread and then a 2 tiedown thread so each square on the graph paper equaled 10 picks, 5 with shaft 1 and 5 with shaft 2 tie-down threads. I wove this so the picture was on the top layer and started so that the bottom of the motif was woven first. So if background appeared over the whole row shaft 1 only was lifted for the background colour and 1 plus all pattern shafts lifted for the other 4 picks. I beat each colour as the shuttle was thrown. On the next half of the pattern only shaft 2 was raised for the background colour and 2 + all pattern shaft for the next 4 picks.
"Then the tree stump appears on block 16 so shafts 31 & 32 are lifted for the background colour but lowered for the tree stump colour. As the draft went 1 31, 2 32,1 32, 2 31 Two blocks of colour appear. I went through the draft row by row, and colour by colour. I find using numbers rather than blacking in squares easier.One repeat of the pattern was 124 warp ends. This allowed a narrow border around each motif I decided to weave 6 motifs across the warp and I left 0.5 inch between the motifs. I therefore made a warp of 746 ends. The warp was put onto the backbeam. I sleyed the warp at 5 per dent in a 10 dent reed making 50 epi. 5 spaces were left in the reed between each group of warp threads.
"I wove this on my Louet Megado 32 shaft computer dobby. As I wove and finished each motif I inserted 2 wooden shed sticks between the motifs in Tabby picks producing a 1 inch space."
For more information about the Tied Weaves Study
Group, visit Complex Weavers Study Group: Tied Weave Study Group
This kitchen towel in fall's bright colors was woven by Ruth Blau for the Crackle Study Group. Ruth writes: "This towel was woven in turned polychrome crackle, using four colors in the warp and one in the weft. Warp and weft are both 8/2 unmercerized cotton. With 16 shafts, I was able to get 16 blocks of crackle, but the question for me was whether, with four warp colors, I could get 16 blocks, each with a different color order. The answer was yes, and with each block having a different color order, the cloth ends up looking much more complex than it really is."
Ruth writes in more detail about her work in "Color Sequencing in Polychrome Crackle Blocks", Complex Weavers Journal Number 73, September 2003, page 40
For more information about the Crackle Study
Group, visit Complex Weavers
Study Group: Crackle
The 16's Study Group 2004 topic was Turned Overshot. Sara Nordling did this sample for that study. She writes:
"I began by trying to draft an overshot design on 14 shafts, figuring, that when it was turned, with the two tabby treadles, that I would have all 16 shafts used effectively. However, I could not come up with a 14 shaft overshot pattern that I liked.
"Temporarily stumped, I looked through old workshop notes from an overshot workshop with Donna Sullivan. In doing this I realized that I could design an 8 shaft pattern but use 16 treadles by varying the half-tones in different sections of the work. I did this and the result was a pattern I liked.
"Next, I played with colors. Because this is a turned draft, I figured it would be easier to use multiple colors in warp and weft than it is in traditional overshot. On my computer I played with several color options, finally coming up with a combination I liked. I should have checked the amount of yarn on one of the cones though, as I had to find another pattern warp yam (natural) because I was running out of it while warping. I think it was a serendipitous mistake as the result is a more interesting pattern than I had at the beginning.
"In addition to the samples I have woven a scarf and some mug rugs on the same warp. Normally I don't use overshot for scarves but I think the turned overshot works for scarves better than the traditional variety. The scarf is rather heavy, but it would be nice worn with a coat.
"Sett: 48 epi and 24 ppi, 6 5/8" in reed, 4 per dent in 12 dent reed
For more information about the Sixteens Study
Group, visitComplex Weavers
Study Group: Sixteens
Sample for Diversified Plain Weave
Joyce Robards contributed this sample (a small part of which is shown here) for the Sample Exchange - the Old Fashioned Way Study Group. She writes:
"I have been fascinated by all the weaving options there are on what is essentially a huck threading-from the traditional Interpretation as a lacy "linen" weave to the very interesting interpretation in Helene Bress's The Weaving Book, in which she illustrates huck threadings woven as bound weave. Many years ago, along the way, I became acquainted with Klara Cherepov's 1972 original, self published book Diversified Plain Weave and have done much exploration with the structure and offer a workshop in it as well as including it in virtually all of my workshops on huck.
"This spring I took a "busman's holiday" to take a Thick'n'Thin workshop with Barbara Decker and that re-kindled my long term interest in diversified plain weave. Despite the ease and "neatness" of Madelyn van der Hoogt's "new DPW", and in most cases, despite the design limitations, I prefer the "original" version for its variation in surface structure.
"My sources for information on Diversified Plain weave were, in addition to those listed above, many articles from Weaver's Magazine which are now available in the XRX publication The Best of Weaver's: Thick'n'Thin, ISBN 1-893762-08-4.
"Warp: thick- Webs 6 ply rayon doubled ends with each in its own
heddle; the rayon is
hand-dyed in Mx Fiber reactive dyes.
"Sett: 4 per dent in 9 dent reed
"Weft: thick- 3/2 black pearl cotton
For more information about the Old Fashioned Study Group, visit
Complex Weavers Study Group:
Sample Exchange - The Old Fashioned Way
Sample for fine silk and color blending.
Sue Peters made this sample for the Fine Threads Study Group. She studied both fine silk and color blending. Note the one inch scale in the top right corner. Sue wove this in a twill sett at 65 epi and beat at 65 ppi. The silk she used is 65/2
For more information about the Fine Threads Study Group, visit
Complex Weavers Study Group: Fine Threads
Sample from Walbert manuscript
This sample came from Deb McClintock. She writes: "This dimity threading came from the F. Walbert manuscript at Winterthur Museum. Harmony Weaver's guild went thru a historic weaving workshop with Marjie Thompson and this was one of the round robin threadings. I loved the stripe effect of the double sleyed twill portion of the dimity and have used it for silk scarves with color rotations.
"I use natural dye extracts for my rug weaving and I always keep some silk skeins mordanted so that I may use the dye exhaust baths for the silk. This works well because the silk takes the dye and totally exhausts the bath. I also get a challenge in color rotation because the exhaust color almost always is different from the rug wool original bath. I take the silk colors and decide how they compliment each other and wind the dimity warp chain. I have learned to use watercolors to work out a rough picture of the color rotation to see which color should be dominant before I do any color wrappings or wind the warp!
"Remember I have a limited color quantity on hand so planning helps me minimize shortages! The ridges on the dimity allow me to play with color stripes. My draft shows how I do the color planning. Even the narrow tabby areas on the threading allow me to play with color. I keep each warp chain to one repeat and that allows me to reverse and switch the colors by warp chain. By throwing an entirely different weft color I get a bonus effect."
For more information about the EWBM Study Group, visit
Complex Weavers Study Group: Early Weaving
Books and Manuscripts
This month we showcase a collection of serviettes by Jette Vandermeiden, some of which were shown in the September 2004 CW Journal
Jette writes: "These are scans of small serviettes. I use these to place between my good dishes so they don't scratch each other. As a child in Denmark I remember clearly the excitement of being asked to set the table at my grandmother's house and finding all types of small cloth treasures between the plates, embroidered, chrocheted, knitted, and woven. Maybe I'll have a granddaughter some day who will feel the same way.
"The fiber is 10/2 tencel; the structure is five shaft satin with fifty pattern units threaded in straight draw. The designs are from embroidery books, protographs, and doodles. The size of each is about four inches by four inches. These were exciting to do as each one was different. Of course I ran out of warp before I ran out of ideas.
"I weave on a Oxaback 20 ground/50 shaft Kombi loom that allows me the freedom to do both shaft draw and single unit draw, wither individually or in combination in the same cloth. I have been weaving damask for about three years now."
Complex Weavers Journal, September, 2004, page 22
Study Group: Fine Threads
We end the showcase of Study Groups as we began, with the Fine Threads Study Group. We show a Fibonacci Color Gamp by Mary Marker, who writes:
"Project: To use all the heddles (2000) on my Baby Wolf loom.
This was inspired by seeing a friend in a jacket made from Lunatic Fringe's color gamp. I wanted fabric made from finer threads and with less definite changes from color to color. Once made, I couldn't bring myself to cut it up for clothing."
For more information about the Fine Threads Study Group, visit
Complex Weavers Study Group: Fine Threads
Study Group: Jacquard
Sigrid Piroch writes that "Butterflies Asleep" is a jacquard handwoven on a TC-1 from Tronud Engineering AS in Norway. The weaving technique was an 8:1 satin with 4 shuttles/colors plus one inlay in yellow (5 satins, each offset). The warp was black silk sett @ 45 epi; the weft was hand-dyed rayon chenilles -- solids and variegateds; 29" wide. This was shown in Vibeke Vestby's booth at Convergence 2004 where she had a TC-1 loom for demonstration purposes.
For more information about the Jacquard Study Group, visit
Complex Weavers Study Group: Jacquard
Study Group: Ecclesiastical Weaving
Laurie Autio wove a set of Bible bookmarks, of which one end of one
is shown here.
For more information about the Ecclesiastical Weaving Study Group, visit
Complex Weavers Study Group: Ecclesiastical
Study Group: Bobbin Lace
Deborah Holcomb wrote us about her silk scarf with a lace edging: "This is a narrow scarf woven on 24 shafts using 60/2 silk, sett at 60 epi. The same silk was used for the lace. The pricking is from the book Guipure-und-Cluny-Spitzn (page 36) by Elda Gantner and Marianne Stang. It's in German, which I don't speak, but the diagrams are quite clear. It took around 30 pairs of bobbins. I reduced the pricking size by 15% so that I could get three full repeats across the end of the scarf. " For a WIF of the weaving, download show0502.wif.
For more information about the Bobbin Lace Study Group, visit
Complex Weavers Study Group: Bobbin Lace
Study Group: Beads and Interlacements
This month we showcase some rope beads made by Georgeann Curran. She writes, "The brick stitch has the beads lying in the same orientation as crocheting and is a little more pliable than peyote stitch.
"Brick stitch is a beading technique. I used a number of different kinds and sizes of beads. The mainly red one and the black one were done with glass crystal beads, size 3 or 4 mm. The left one was a number of different sizes that gave the spiral and texture and the other one was done with Delicas I think. The last two were taken from a crocheted bead book (I made bracelets from them) and the other two were just out of my head. Real easy to design as you go doing brick stitch instead of crocheting where you have to thread all the beads needed in the right order before you start. Brick stitch you pick up one bead at a time."
For more information about the Beads and Interlacements Study Group, visit
Complex Weavers Study Group: Beads and Interlacements.