New Techniques, Rigid Heddle

Best Of

New TecHNique SeRieS Rigid Heddle Pattern Book #1

deSigNSdeSigNS & TecTecHNiqueSHNiqueS by Betty davenportdavenport f you’ve always thought the rigid-heddle loom was mostly suitable for plain weave, think again. Here are fabrics that have all the pattern complexity I usually associated with shaft looms, yet they are easy to weave on the rigid- heddle loom using simple pick-up techniques. You’ll learn how to insert multiple EDITORIAL Editor in Chief Madelyn van der Hoogt pick-up sticks for Bronson lace, use two heddles for a supplementary warp, CREATIVE DIRECTOR Linda Ligon decorate with thrums, and more. The collection includes a lovely leno wall- CREATIVE SERVICES hanging that will tantalize you with rich new ideas for more lacy patterns. Designer Elizabeth R. Mrofka Production DIRECTOR Trish Faubion All of these projects are designed and woven by the pioneer in patterning on Production Coordinator Jeff Rowles the rigid-heddle loom—Betty Linn Davenport, author of Hands-On Rigid Heddle Production Editor Nancy Arndt PUBLISHING Weaving (Interweave, 1987) and Textures and Patterns for the Rigid Heddle Loom Publisher John P. Bolton (revised edition, Fine Fiber Press, 2008). So get out that light, portable, and easy- MARKETING MANAGER Mary KinCannon to-use rigid-heddle loom and start weaving! All contents of this issue of Handwoven are copyrighted by Interweave Press LLC, 2010. All rights reserved. Projects and information are for inspiration and personal use only. Reproduction in whole or in part is contents prohibited, except by permission of the publisher. CONTACT US For sales information, call (800) 272-2193, Rio Grande Placemats with Warp Floats...... 1 e-mail [email protected]. Create isolated warp-float patterns in the centers of For editorial inquiries, call (970) 613-4650, colorful vertical stripes for a set of placemats. e-mail [email protected]. Visit the Interweave website at Supplementary Warp Pick-Up for Placemats...... 3 interweave.com Rigid Heddle Pattern Book #1 Use a supplementary warp to create the rose patterns ISBN 978-1-59668-368-6 typical of monk’s belt as borders for placemats. Pick-Up Leno Patterns for a Wall Hanging...... 5 Subscribe Weave ten lacy patterns in leno, some that are very rare: Today! Your online source for Mexican lace, Peruvian Gauze, Tarascan lace, and more. Handwoven magazine and back issues, weaving books, free projects, resources, Petit-Point Pattern in Linen for a Runner...... 9 events, and more! Enjoy using linen with this runner elegantly patterned handwovenmagazine.com with a swivel-like technique in contrasting colors. Pile Patterning with Thrums for Pillows...... 11 The Weaver’s Bundle your warp thrums, inlay them in sections with Idea Book Creative Cloth on a floats in between, and cut the floats for a decorative pile. Rigid-Heddle Loom Jane Patrick

Pick-Up Bronson Lace for a Sweater...... 14 $29.95 Discover how the rigid-heddle loom is the ideal tool Order Now for weaving patterns in Bronson lace. Weaving Fireside Throw and Pillow...... 19 Made Easy Learn how to use a clever design method for weaving 17 Projects Using a Rigid-Heddle Loom large fabrics on a narrow rigid-heddle loom. Liz Gipson $24.95 Tips for Planning, Hemstitching, and Finishing...... 22 Order Now

PROJECT NOTES These machine washable placemats are very quick and easy Technique: Pick-up warp-float to weave. As you weave the first placemat, make a template patterning or guide from a strip of paper or nonwoven interfacing and This simple pick-up technique creates a small pattern in mark the beginning of each diamond pattern. You can then vertical warp stripes. Three pattern-warp threads in a use the template for matching the positions of the designs on contrasting color alternate with three-ground warp the other placemats. threads. One pick-up stick raises the center pattern thread, the other pick-up stick raises all three pattern FABRIC DESCRIPTION Plain weave with warp floats. threads. The sticks remain in place throughout the weaving. They are pushed to the back of the loom when not FINISHED DIMENSIONS 1 1 in use and brought forward to create the floats. Four placemats, each 17" by 11 ⁄2", including ⁄2" hems on each end (these mats are woven so that the selvedges are at To insert the pick-up sticks: With the heddle in the the sides of the mat, and the raw edges are hemmed as the down position, in the area behind the heddles, take the stick under warp threads in the following sequences: top and bottom of the placemats). Pattern Stick A: Center ecru warp thread in each of WARP and weft the five pattern stripes. 3/2 pearl cotton at 1,260 yd/lb, 261 yd Light Rust #108 Pattern Stick B: All three single ecru warp threads (rust), 135 yd Dark Sierra #99 (dark brown), 124 yd Flaxon in each pattern stripe. #91 (ecru), 23 yd Caribbean #148 (turquoise). Weft: 8/4 Push the sticks to the back of the loom until they are needed for pattern. Bring a stick forward (just behind cotton carpet warp at 1,600 yd/lb, 400 yd Dark Brown. the heddle) when it is needed for a pattern pick, then (The Novitex rough-spun cotton used for these mats is no push it to the back after use. longer available, but 3/2 pearl cotton is a good substitute. Another option is to use 8/4 cotton carpet warp for the warp Pattern sequence: Weave each pick with the heddle and pick-up sticks in the following positions (18 total picks): as well as the weft in Rust, Dark Brown, and Tan, but use 1. Heddle up, Stick A brought forward. pearl cotton as above for a bright/shiny turquoise. To design 2. Heddle down. placemats using other yarns and/or other heddle sizes, plan 3. Heddle up, Stick A brought forward. for a sett for a slightly warp-emphasis plain weave in your 4. Heddle down. chosen yarn. You can use heavier yarns for the warp pattern 5. Heddle up (sticks pushed back). stripes than for the placemat body.) 6. Heddle down. 7. Heddle up, Stick B brought forward. Yarn sources 3/2 pearl cotton by UKI and 8/4 cotton 8. Heddle down. carpet warp by Maysville are available from most weaving 9. Heddle up, Stick B brought forward. retailers. 10. Heddle down. 11. Heddle up (sticks pushed back). NOTIONS Rust sewing thread. 12. Heddle down. TOTAL WARP ENDS 241. 13–18. Repeat picks 1–6.

WARP LENGTH 1 side (for 241total threads) where they can act as slot threads. 2 ⁄4 yd (allows take-up, shrinkage, and 21" loom waste). Beam the warp and tie onto the front apron rod. 1 E.P.I. 12. WIDTH IN REED 20 ⁄10". TAKE-UP and SHRINKAGE about 15% in width and length. P.P.I. 11. WEAVING THREADING Weave plain weave for 21 picks, *weave the pattern se- Thread as for plain weave. If your heddle is exactly 20" quence followed by 14 picks plain weave, repeat from * for wide, thread 1 thread on the outside of the heddle on each a total of four times. After the last repeat, weave an additional

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 1 These placemats are designed with a Southwest flavor. You can choose a base color that goes with your dishware, a dark outline for the stripes, and light and/or bright accent colors for the warp threads that float. warp color order 5x Technique: Designing pick-up for 10 1 1 turquoise 55 2 2 1 1 1 2 2 ecru warp-float patterns 60 2 2 2 2 2 2 dark brown 116 85 2 1 1 2 7 6 rust 241 The slots are the rigid-heddle loom’s little-known advantage over shaft looms. Any slot threads selected on a pick- 7 picks of plain weave. The placemat should measure about up stick in back of the heddle will weave as usual if the 14" under tension. Weave one 1 pick of contrasting color to pick-up stick is pushed all the way to the back beam. mark division between pieces and repeat for four placemats. When it is brought forward for a pick with the heddle up; the selected slot threads on the pick-up stick float. More FINISHING than one pick-up stick can be inserted and brought for- Machine zigzag ends and on each side of the contrasting- ward independently if threads from previous pick-ups are color weft. Machine wash in cool water and tumble dry until included in sucessive pick-ups; see page 14. just damp. Smooth out and iron before completely dry. Cut apart. For very neat machine-stitched hems, follow this proce 1 dure: Turn under and press ⁄2" for hem with a hot iron. Pin securely and straight stitch. Then machine zigzag, centering over the raw edge. The machine stitching won’t show if the thread matches. If the machine stitching is too noticeable on the right side, you may prefer to hem them by hand.

Originally published in Handwoven®, September/October 1986, pp. 57, 11 (instruction supplement) © Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 2 SUPPLEMENTARY-WARP pick-up for PLACEMATS Betty Davenport fabric description Plain weave with supplementary-warp patterning. Technique: Threading two heddles for a supplementary warp Finished dimensions Thread the first ground-warp end through the first hole of 1 Eight hemmed placemats 17 ⁄2" by 13" each. Heddle I (and through the slot just before the aligned hole in Heddle II), the second thread through the next slot in Warp and weft Heddle I and the first hole of Heddle II, and continue. Beam The yarns used for these placemats (Fort Crailo Linnay and Fred- the warp and tie onto the front apron rod. erick Fawcett linen) are no longer available. Substitutions suggested here will give very similar-looking placemats. Ground Thread the supplementary warp through the slots of the two warp: 3/2 pearl cotton at 1,260 yd/lb and 20/2 pearl cotton heddles so that two threads go through each slot in the first heddle and then are separated to go through the slot in the at 8,400 yd/lb used together (amounts are the same for both second heddle with the adjacent thread as shown below yarns), 716 yd natural and 171 yd gold. Supplementary warp: (this spaces the supplementary warp threads between the 3/2 pearl cotton (used doubled), natural, 324 yd total. ground threads). Tie this warp onto the front apron rod. Weft: 3/2 pearl cotton and 20/2 pearl cotton used together, 650 yd gold each. 10/2 pearl cotton, 150 yd natural (hems). At the back of the loom, suspend the supplementary warp (chained in two groups of 18 working ends each for these Yarn Sources placemats; you can use more threads in a group and/or Pearl cotton is available from most weaving retailers. more groups for other designs) and attach weights (plastic bottles filled with water work well). Total warp ends Ground warp: 189 working ends threaded for plain weave Threading the Threading the ground warp supplementary as in Ground Warp Color Order. Supplementary warp: 36 warp doubled ends (72 actual ends).

Warp length 1 4 ⁄2 yd long (allows take-up, shrinkage, and 24" loom waste).

E.P.I. 10 working ends in ground-warp areas; 20 working ends in areas with supplementary warp. 15 19 117 1519 = 185 ends of 3/2 and 20/2 38 1 1 20/2 gold Ground warp 38 1 1 3/2 gold 9 12 33 3 3 3/2 natural (3 used as 1) Width in the reed 18 ⁄10". color order 147 1 1 1 20/2 natural 147 1 1 1 3/2 natural P.P.I. 10 (1 strand 3/2, 1 strand 20/2 used together). 185 working ends 3/2 and /20/2 used together plus 4 groups of 3/2 ends used as 1 = 189 working ends. Take-up and shrinkage 10% in width and length. WEAVING Weave a heading in plain weave (Heddle I up, then Heddle II Warping up). For each mat: Weave 1" with 10/2 natural for hem. Weave Wind the ground warp following the Ground Warp Color Order pattern with gold 3/2 and 20/2 used together as described on (I took the end from the 3/2 cone under-over-under and the end page 4 (about 14" pattern per mat); finish with 1" in 10/2 for from the 20/2 cone over-under-over three slats on the back of a hem. Separate mats with 1–2 picks in a contrasting color. chair to provide tension and prevent tangling). Wind two supplementary-warp chains of 18 doubled 3/2 natural ends each. FINISHING Thread the ground warp as shown in the Technique box. Note Secure raw edges with machine zigzagging. Machine wash, that the three 3/2 natural ends before and after each gold sec- gentle, mild detergent. Machine dry. Remove while still damp tion are used as one. Beam the warp and tie on to the front and press until dry. Machine zigzag on each side of contrast- apron rod. Thread the supplementary-warp chains through the ing-color markers and cut mats apart. Fold raw edges twice slots (see the Technique box), tie them onto the front apron rod, and then stitch across the supplementary-warp threads at sec- and attach a jug to each chain suspended over the back beam. ond fold line and trim them away to reduce bulk in hem. Sew Add water to provide tension equal to ground-warp tension. hems by machine or by hand. Press again.

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 3 Technique: Weaving with a supplementary warp For each graphed row, with both heddles down, pick up (behind the heddles) 1 doubled supplementary-warp thread for each black square. Weave 1 pick with Heddle I up. Each row in these graphs represents 1 pick. If the design is the same in the next row, weave 1 pick with Heddle II up and the stick still in place behind the heddles. Alternate heddles from row to row, changing the pick-up only when the design changes. Leave the first stick on the loom for the duration of the project (pushed to the back) to use as a guide for counting the pick-up for the next stick(s) since it divides the same groups of threads (for the center diamond design, leave in Stick 1 when you do Stick 2, Stick 2 when you do Stick 3, etc.).

Lattice design

Placemat Diamond design design

Starting at the bottom, repeat 6x; Starting at the bottom, repeat 6x; add the Starting at the bottom, repeat 3x; add the 6-row plus omit top 2 rows the last time. bottom 2 rows at the very end to balance. design and then the 2 bottom (blank) rows at end.

Originally published in Handwoven®, May 1982, pp. 75, 98–99 © Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 4 Pick-up leno patterns for a wall hanging Betty Davenport

PROJECT NOTES Linen is the fiber of choice for this project because its body and Technique: basic leno stiffness hold the shape of the openwork designs. The length of Leno is one of a group of hand-controlled weaves that cre- your wall hanging may vary depending on how firmly the leno ate sheer, delicate open spaces in a firmly woven fabric.The rows are beaten down (a firm beat produces the best result open spaces are created when warp threads cross each other and is achieved by pressing rather than by beating). A single from one shed to the next. All you need is a loom threaded color can be used or two colors (one for warp, the other for for plain weave and several pick-up sticks, making the rigid- weft) that are close in value for a lively interplay of color. heddle loom a perfect tool for leno. To see how leno works, open a plain-weave shed with FABRIC DESCRIPTION the heddle up. Isolate two warp threads next to each Plain weave with leno and weft-float patterning. other, one in the layer of raised warp threads, one in the layer of threads that are down. To make the threads FINISHED DIMENSIONS cross, the upper warp thread will have to move either 1 19" by 57" plus 1 ⁄2" hem on each end. from the left to the right of the lower one or from the warp and weft right to the left. Make this crossing with your fingers and pull up and place the lower thread on a pick-up 10/2 linen at 1,600 yd/lb, 590 yd Red for warp, 400 yd stick. When the weft is inserted into a shed made by Red or Fuchsia for weft (or choose two other related colors). turning the stick on edge, it will lock the threads in the The exact yarns used in this hanging are no longer available; crossed position. When the stick is removed and the the warp in it is red and the weft is a slightly darker red-violet, next plain-weave shed is made, the warp threads will but not quite as dark as the available Fuchsia. return to their previous uncrossed position. Many stunning patterns can be created by variations Yarn sources 10/2 linen is available from Webs. in this process. You can work a complete row of leno all TOTAL WARP ENDS 236. across the warp with every pair of warp threads, you can use two or more threads in the crossings, you can isolate WARP LENGTH groups and/or offset them in subsequent rows, or you can 1 2 ⁄2 yd (allows take-up, shrinkage, and 24" loom waste). combine any of these. Single crossings are referred to as 1/1 leno (this is also called gauze). In 2/2 leno, two 2 E.P.I. 12. WIDTH IN REED 19 ⁄3". threads from the top cross two bottom threads. P.P.I. 12 in plain-weave sections. In the crossings for this hanging, upper warp threads (1, 2, or 3 as specified) are crossed to the left over lower threads (1, TAKE-UP and SHRINKAGE 3% in width, 10% in length. 2, or 3 as specified) with the heddle up. The pick-up stick moves from right to left and the lower threads placed on it. preparing to Weave (In the Karelian lace band, the crossings are made from left Thread the heddle for plain weave starting in a hole on the to right, the only exception.) If you are left-handed, you can right side. To insert the pattern stick for the weft-float sequence: do everything from the opposite direction if you thread the With the heddle down, pick up the slot threads on a pick-up first end in a hole on the left side of the loom. All leno pick- stick in the area behind the heddle in the following order: 1 ups are followed by a plain-weave pick, heddle down. up, 2 down, and repeat; end with 1 up. Push the stick to the basic leno Tips back of the loom when not in use. • Keep the crossed threads evenly spaced on the pick-up weaving a weft-float sequence stick and away from the pair you are working. 1. Weave 1 pick with heddle up. • Check as you go (especially important when you are working an offset pattern); it is easier to correct mistakes 2. With heddle in neutral, bring the pattern stick toward the as you make them than to go back. heddle, turn stick on edge, and weave 5 picks, catching weft • Leno places stress on the crossed warp threads and causes around the outside warp thread each time and pressing each draw-in. Allow plenty of weft ease (warp threads can then pick in place. be pulled into position when the cloth is off the loom). 3. Weave 1 pick with the heddle up; press again firmly.

1/1 leno crossings: one raised warp thread crosses over a warp undulating Mexican lace thread that is down, either to the left (top example) or to the right (bottom example).

2/2 Mexican lace As you work, keep the threads on the pick-up stick moved to the side with the forefinger of your right hand and isolate the next group to cross with your left index finger. Tarascan lace

Technique: fancy Leno variations 2/2 leno Karelian lace is a variation of leno in which groups of warp threads that weave leno alternate with groups that weave plain weave. In this piece, plain weave alternates with groups of 3/3 leno (though many other combinations can be used). The 3-thread groupings mean that the number of total warp threads should be divisible by 3 (1 warp thread on each side is not included in the leno). Peruvian gauze Mexican lace is a variation of leno that results in an offset in the crossing pair of threads. For 1/1 Mexican lace, the first crossing is 1/2 (the first top warp end crosses 2 bottom ends) and then 1/1 all the way across to end in 2/1. (Depending on which way the warp threads have Mexican lace to move to do the crossing, the crossings might have to start with 2/1, repeat 1/1, and end with 1/2. When you try this, you’ll see how it works.) Karelian lace Norwegian lace provides more offset than Mexican lace. The first two crossings are 1/2, 1/2, and then 1/1 all the way across to end in 2/1, 2/1. Peruvian gauze is a leno technique found in 500-year-old pre-Columbian weavings. Selected warp pairs are not crossed when working Mexican lace to leave holes. Tarascan lace (woven in Michoacan, Mexico) is a combi- 2/2 leno nation of 2/2 leno and 1/1 Mexican lace. The total number 1/1 leno of warp threads should be divisible by 2. Each section of Mexican lace starts with 1/2 and ends with 2/1.

Originally published in Handwoven®, March/April 1986, pp. 47, 8 (instruction supplement). © Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 6 Weaving the hanging b Next, repeat all of the above using two pick-up sticks in Weave 6" plain weave at the beginning and end of the the same way, but this time make the 3/3 leno with the warp hanging. Between pattern bands 1 and 2, weave 1" plain threads that previously wove plain weave and weave plain weave. Between all other pattern bands, weave 3" plain weave with the warp threads that previously formed leno. 1 weave. Pattern bands 1, 2, 4, 6 should be about ⁄2" high (8 Leave the first and last edge threads out of the pick-up as 3 is ⁄4", 10 is 1") and bands 3, 5, 7, and 9 about 5". Work before and make all crossings to the right. End with 3 picks all the leno rows with the heddle in the up position and follow plain weave with sticks removed as before. each leno pick with 1 plain weave pick, heddle down. Repeat a, b, a for five total design rows. Weave 1 weft- float sequence. Pattern band 1 1/1 leno. Pattern band 4 1/1 Mexican lace. Pattern band 2 2/2 leno. Start with a 1/2 crossing: With the heddle in up shed posi- Pattern band 3 Karelian lace variation. tion, move upper warp to the left, pick up 2 from below, then 1/1 across the warp, and end with 2/1. Weave 1 weft-float Pattern band 5 Peruvian gauze. sequence followed by 3 picks plain Weave 1 weft-float weave (down, up, sequence, then 1 down). p i c k o f p l a i n a With the heddle weave with heddle up and working down, and then1 from the right, push weft-float se- the first warp thread quence. to the side under With the heddle the stick. Then up, weave 1 row *pick up three of 1/1 Mexican groups of 3/3 leno lace (start with a (18 total warp threads) moving the upper warp-thread groups 1/2 crossing, then to the right (this is the only lace in the hanging in which the 1/1 all across, and crossings move in this direction), pass the stick over the next end with a 2/1 crossing). As with all leno pick-up, follow with 1 6 upper warp threads (12 total threads) and repeat from * pick plain weave, heddle down. across the warp (placing the last thread under the stick). End For the second row of Mexican lace, mark raised warp with four groups of 2/2 leno and pass over the last end. ends 15, 20, 25, 30, 35, and 50, 55, 60, 65, 70, and **With this stick in place and the same plain-weave shed 85, 90, 95, 100, 105. Work the Mexican lace all the way open (heddle up), take a second pick-up stick in front of the across as usual, except do not make crossings of any marked first stick through the leno crossings carried by the first stick thread with its (bottom) pair (slide them over and under the stick and also through the plain-weave shed formed in the 12 as they are). Follow with 1 pick plain weave, heddle down. threads between leno groups. Turn this stick on edge and For the third row of Mexican lace, mark raised warp threads weave 1 pick, pressing in the weft with the stick. 20, 25, 30, and 55, 60, 65, and 90, 95, 100 and do not Leaving the first stick in place, remove the second stick, make crossings of them with their (bottom) pairs; again follow make the next plain-weave shed (heddle down), and take the with 1 pick plain weave with heddle down. second stick through the same leno crossings and through the For the 4th row of Mexican lace, do not make crossings of new plain-weave shed for the 12 threads between groups as raised warp threads 25, 60 and 95; again follow with 1 pick before and repeat across the warp. With the heddle in neu- plain weave. tral, turn the second stick on edge, weave 1 pick, press in Weave the fifth row of Mexican lace all the way across the place, and remove stick. Repeat from ** two more times warp as for the first row followed by 1 pick plain weave, heddle and then repeat the first pick again for 5 total plain-weave down, and then weave 1 weft-float sequence, 1 pick of plain picks with this leno pick-up. weave with heddle down, 1 weft-float sequence, and finally 1 Take both sticks out and weave 3 picks of plain weave. pick plain weave, heddle down.

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 7 Pattern band 6 2/2 leno. right to left under 48 warp threads. Repeat from * until you get to the left selvedge. When you are finished, there will be 3 picks Pattern band 7 Tarascan lace. in the plain-weave sections and only 1 in the section where the Weave 1 weft-float lace will be worked for the first part of the design. sequence followed Measure 5 strands of 10/2 linen, each a generous 6x warp by 1 pick plain width, and wind them on a shuttle for the outline weft. weave, heddle Place the heavy weft in the plain-weave shed with the heddle down. down and press in place; leave a tail to tuck into the next outline- With heddle up: weft shed. (The plain-weave pick that follows the lace pick-up in Alternate four groups this pattern band is made with the heavy weft.) of 2/2 leno with a With the heddle up, work nine groups of 2/2 Mexican lace thirteen groups of (2/3, 2/2 seven times, ending with 3/2), *take the pick-up stick 1/1 Mexican lace through the plain-weave shed under 16 warp threads and then (start 1/2; repeat work eight groups of 2/2 Mexican lace the same way but end 1/1 eleven times; with 2/1, and repeat from * to the left selvedge ending the last end with 2/1) five Mexican lace with a 3/2. Place the second pick of heavy weft times; end with four groups of 2/2 leno. Weave 1 pick plain with the heddle down; tuck in tail from first pick. weave, heddle down. b For the next lace row with the heddle up, take the pick-up For the next pick-up, with heddle up, start with 1/1 leno, stick under 18 upper warp threads, * work nine groups of then four groups of 2/2 leno, then alternate eleven groups of 2/2 Mexican lace (start with 2/3, then 2/2 seven times, Mexican lace (start 2/1; repeat 1/1 nine times; end 1/2) ending with 2/1) and go under 14 warp threads for plain with five groups of 2/2 leno five times (the last leno group will weave, and repeat from * to the right selvedge (last plain- be a 1/1). Weave 1 pick plain weave, heddle down. weave group will have 18 threads). Place a pick of heavy Repeat these rows, but for each pick-up decrease one pair of weft with the heddle down. warp ends on each side of the Mexican lace area and increase Repeat a, b, and a. the 2/2 leno to form triangles. (Note that the starting crossings Then repeat the picks that formed the base for the undula- for the two rows alternate 1/1 and 2/2 so that the lace is alter- tion that you did at the beginning. End the band by weaving nately aligned in alternate rows.) The last lace row is 2/2 leno 1 pick, heddle down, and 1 weft-float sequence. all across. End with 1 weft-float sequence. Pattern band 10 1/1 Norwegian lace. Pattern band 8 2/2 Mexican lace. Start with a 1/2 crossing, then 1/2 again, then 1/1 Start with 2/3 crossing, repeat 2/2 across; end with 2/1. repeated across the warp, and end with 2/1, 2/1.

Pattern band 9 Undulating Mexican lace. FINISHING Weave 1 weft-float Remove the fabric from the loom and steam-press. Turn up 1 sequence and 3 1 ⁄2" hem. Insert thin slats in each hem and attach fishline for 1 picks plain weave hanger. (I use ⁄8" by 1" aluminum strips as they are very thin (down, up, down). but heavy enough to hold the wall hanging straight.) To form a base for the undulations: Design ideas With the heddle up Leno provides a wonderful opportunity to play with yarn, and and counting care- these fancy weaves are not hard to do if you follow each step fully, take the shuttle carefully. Weaving is faster than it may seem from reading the 1 through the plain- directions—remember, it only takes 2 picks to make ⁄2" of leno weave shed from patterning. After you become comfortable making the crossings right to left under and counting threads for the designs, you can plan designs of 35 warp threads; your own. Consider using different numbers of weft threads and *move the heddle down and take the shuttle left to right under groupings in the undulating and Karelian laces, for example. Sit 16 warp threads; then move the heddle up and take the shuttle back, relax, and let your fingers do the twisting!

PROJECT NOTES The dots of color created by a weft that weaves plain weave on Technique: Pick-up for petit-point the face and floats on the back would take more than four shafts pattern with a supplementary weft on a shaft loom but are easy to weave on a rigid-heddle loom. Pattern picks pass under all hole threads and show over The pattern sticks are inserted and remain in place throughout the selected warp threads as dots of color (long floats occur weaving. Use 1" wide strips of poster board as pattern sticks to on the back). Label each pattern stick as you insert it (the reduce the stress on the warp yarns that wider sticks might cause. sticks will slide over each other): Because there is considerable draw-in with this fabric, lay in each For Pattern Stick A With the heddle in the down posi- weft at a generous angle. To substitute other colors, choose a tion, pick up the slot threads on a pick-up stick behind the medium value for the background color and a dark value of the heddle in the following sequence (“down” means that the same color plus white for the pattern wefts. pick-up stick passes over these threads): 2 down, 3 up, (1 down, 5 up) 14×, 1 down, 3 up, 2 down. FABRIC DESCRIPTION For Pattern Stick B With the heddle in the down po- Plain weave with weft-float patterning. sition, pick up the slot threads in the following sequence Finished dimensions behind the heddle: 2 down, 2 up, (3 down, 3 up) 14×, 3 down, 2 up, 2 down. 13" by 46" plus 3" fringe at each end. For Pattern Stick C With the heddle in the down WARP and weft position, pick up the slot threads in the following se- Warp: 3/2 pearl cotton at 1,260 yd/lb, 430 yd medium quence behind the heddle: 2 down, 1 up, (5 down, 1 up) blue (Copen #18). Ground weft: 8/2 unmercerized cotton at 14×, 5 down, 1 up, 2 down. 3,360 yd/lb, 340 yd light blue (Baby Blue #46). Pattern weft: Pattern D No stick is needed. 3/2 pearl cotton, 22 yd White and 25 yd Royal Blue #16. To weave one pattern sequence (indicated as A, B, C, Yarn Sources 3/2 pearl cotton and 8/2 unmercerized or D in weaving instructions) cotton by UKI are available from most weaving retailers. Weave 1 ground pick with heddle up. Weave 1 ground pick with heddle down. TOTAL WARP ENDS 191. Weave 1 pattern pick with heddle up, pattern stick brought forward (A, B, C, or no stick with D). WARP LENGTH 1 You can create other similar designs with multiple sticks, 2 ⁄4 yd (allows 3" take-up, shrinkage, and 27" for loom waste; as long as each successive stick that you insert picks up loom waste includes fringe). only threads picked up on the previous sticks; see Bron- E.P.I. 12. son lace pick-up, pages 14–18.

WIDTH IN REED 16". P.P.I. about 14. Weaving Sequence TAKE-UP and SHRINKAGE 18% in width, 10% in length. Each capital letter indicates a pattern shed (formed by pattern Weaving stick A, B, C, or no stick for D). For each letter, weave 2 ground Thread the heddle for plain weave, starting in a hole on the picks and 1 pattern pick as described above in Pick-Up for Weft- right side. It is important that the warp start and end in a hole Float Patterning (with pattern sticks pushed to the back, weave 2 so that the pattern weft interlocks at the selvedges neatly. picks with heddle up and then down using the ground weft; then To insert the three pattern sticks, place the heddle in the weave with heddle up and pattern stick brought forward (A, B, down position and, with each pick-up stick, pick up only the C, or none for D) using the pattern weft. slot threads in the area behind the heddle following the se- Use the following order of plain weave and pattern to quence in Pick-Up for Weft-Float Patterning. weave the runner: With Baby Blue ground weft, weave 3" Note that for pattern shed D, a pattern pick is made but plain weave. Using Royal Blue for pattern weft, weave the no stick is used (all slot threads are down as for the solid- pattern sequences (as described above) in the following looking lines of Royal Blue in the runner). order: ABCABCDABCDD. Using White for pattern weft,

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 9 weave A 4x, B 8x, A 4x. Using Royal Blue for pattern weft, FINISHING 1 weave DDCBADCBACBA. Weave 2 ⁄2" plain weave. Using Hemstitch each raw edge in groups of 4 warp threads. Knot White for pattern weft, weave ABCBA (small diamond). hemstitched groups in a three-row pattern of knots as shown 1 Weave 3 ⁄2" plain weave using Baby Blue ground weft, then in the photo above. Machine wash, gentle, and tumble dry repeat ABCBA (small diamond) with White pattern weft. until just damp. Press, being careful not to snag the pattern Weave 15" plain weave, then repeat the above in reverse. floats on the reverse side. Trim fringe.

Originally published in Handwoven®, Summer 1985, pp. 11, 3–4 (instruction supplement) © Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 10 pile Patterning with thrums for pillows Betty Davenport

PROJECT NOTES Ethnic textiles are a wonderful source of inspiration. At an exhibit of Yoruk weavings from the Toros Mountains of Turkey, Technique: Pick-up pile patterning I was especially attracted to a large rug covered with tufts of Sections of pattern weft can be placed in the cloth any- yarn laid in at intervals across the surface. It struck me as an where desired. For these pillows, four sections are spaced interesting way to use up thrums and other leftovers. across the width of the warp with floats between them To do this, gather up all those warp ends and miscellane that become pile after they are cut. For Pillow 2 (at ous short lengths of yarn you can find. Sort out some coordi- right), a second pick-up places the pattern in three sections to alternate with the 4-section bands. nating colors, mix strands of the different yarns together into bundles, and lay them out in the order you wish to use them For Pattern Stick A (Pillow 1 and red bands in Pillow 2) (gradations of dark to light work well). Then choose several With the heddle in the down position, pick up the slot colors in a soft wool appropriate for weft-faced plain weave threads on a pick-up stick behind the heddle in the following sequence: 6 down (7 up, 7 down) 3 ; end with 7 to use for the ground weft. You can use an 8-dent, 10-dent, × up, 6 down. Pattern stick A remains in place throughout or 12-dent heddle depending on your yarn; these pillows are the weaving and is pushed to the back when not in use. woven with a 12-dent heddle using every other slot/hole so that the sett is 6 ends per inch. For Pattern Stick B (the brown bands of Pillow 2) With the heddle in the down position, pick up the slot The thrums can be any yarns, but for these pillows they are threads in the following sequence behind the heddle: 6 a combination of silk, fine wools, cottons, and mohair. Fine down, (7 down, 7 up) 3×, ending with 13 down. Pattern yarns work especially well, as more strands can be included Stick B must be reinserted each time it is used (with in each bundle for a fuller, more interesting fringe. (Novelty Pattern Stick A pushed to the back) and removed be- yarns are not recommended since they tend to pull apart at fore bringing Pattern Stick A forward to use again. the ends and look ragged.) Pattern sequence The bundled thrums should have a diameter slightly larger Weave 1 pick with heddle down. than the diameter of the ground weft (15–20 strands for the Weave 1 pick of thrums: With heddle in neutral, bring thrums used in these pillows). My bundled thrums are often Pattern Stick A forward and turn on edge (or turn Pat- about 20" long (the loom waste from my rigid-heddle loom)— tern Stick B on edge after inserting), and place thrums 1 just the right length for one weft pick for fabrics such as these. in the shed leaving 1 ⁄2" extending from cloth at each It’s especially convenient if your thrums are as long as the edge. Beat this and the previous weft at the same time width of the project. If they are shorter, however, you can lay (after removing Pattern Stick B). them in the shed as far as they will go and add another Weave 1 pick with heddle up. bundle to fill out the full weaving width. You’ll find it easy to experiment after the warp is on the loom. weft and the thrum weft in together. The ground weft should slide The number of slot threads picked up on the pick-up stick deter- under the thrums. Then weave the desired number of plain-weave mines the width of the pattern section where the thrums are woven picks starting with the heddle up. The pillow is assembled in a in. The number of slot threads skipped between pick-ups deter- way to eliminate bulky machine-stitched seams. mines the length of the pile (half the length of the floats). These pillows are woven with an open sett so that the pattern FABRIC DESCRIPTION wefts pack in well. You may have to use your fingers to push Plain weave with discontinuous supplementary-weft patterning. down the pattern areas in Pillow 2 (right pillow on page 12) so finished dimensions Two pillows about 19"×16" each. that the fell line remains even. In Pillow 1 (left pillow), there is enough plain weave between the supplementary-weft picks to WARP and weft compensate for the extra weft. The general procedure is to weave Warp:8/4 cotton carpet warp at 1,600 yd/lb, 339 yd dark a pick of the ground weft with the heddle down and then open brown. Ground weft: Worsted-weight singles wool at 760 the pattern shed by turning the stick on edge (heddle in neutral), yd/lb; (190 yd/4 oz skein), 2 skeins each of #235 Terra lay the bundle of thrums in, close the shed, and beat the ground Cotta, #220 Cinnamon, #222 Earth. Pattern weft: a collec-

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 11 Originally published in Handwoven®, November/December 1984, pp. 66, 10 (instruction supplement) © Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 12 tion of thrums in coordinating colors (you’ll need about 50 warp onto the front apron rod for Pillow 2. bundles 20" long). For Pillow 2: Use Terra Cotta and Earth as ground weft and thrums for the pattern weft in soft pinks and bright reds. Yarn Sources There are three different sections: a red band, a brown band, Top of the Lamb worsted-weight singles wool by Brown Sheep and an intermediate striped band. Company is available from most yarn retailers. 3 For red bands (2 ⁄8" total height each): Using Terra Cotta, NOTIONS and other materials weave 12 picks plain weave; weave 1 pattern sequence as 1 yd of 45" cotton fabric for two pillow casings, two bags described in the Technique box followed by 5 picks plain weave of shredded foam or polyester fiberfill, tapestry needle. and repeat for a total of 5x, end with 7 picks plain weave. 5 For intermediate striped band ( ⁄8"): Weave 8 picks each Total warp ends alternating Terra Cotta and Earth (16 total picks). 123 (2 threads on each selvedge are doubled for 119 work- 1 For brown bands (1 ⁄8" total height each): Using Earth, ing ends). weave 5 rows plain weave followed by 1 pattern sequence Warp length as described in the Technique box for a total of 3×; end with 3 5 rows plain weave. 2 ⁄4 yd for two pillows, (allows 25" for loom waste; loom waste includes about 6" fringe between pillows). Weave the three sections in the following order: 1 red 3 5 1 band 2 ⁄8", 1 intermediate stripe ⁄8", 1 brown band 1 ⁄8", 1 5 E.P.I. intermediate stripe ⁄8"; repeat this order for a total of 3×; end 1 6 (sleyed in every other hole and slot of a 12-dent rigid with 1 red band (about 16 ⁄2" total). With Terra Cotta, weave heddle; for example, sley 1 hole/1 slot; skip 1 hole/1 slot, matching length for pillow back, adding some stripes using and continue). the other wool colors. Remove from the loom, again allowing about 3" fringe at each end. WIDTH IN REED 20". FINISHING P.P.I. 24. Cut in the center of weft floats in Pillow 1. For Pillow 2, the 1 Take-up 5% in length, 10% in width. tufts have been trimmed to about ⁄2" in length.

WEAVING ASSEMBLY and sewing For Pillow 1 (left pillow on page 12): Use Cinnamon for For each pillow: Fold pillow piece in half right sides together ground weft and thrums for the pattern weft in colors gradat- joining 3" warp fringes. Form a tube by taking two 3" warp ing from bright reds and purples to salmons and light pinks ends each from each edge and tying together in an overhand 1 (arranging colors from dark to light). Follow pick-up process knot. Trim ends ⁄2" from knots. Turn tube right side out. in the Technique box (page 11) for each pattern sequence Cut pillow casings so they are 1" longer and wider than 1 1 (leave1 ⁄2" weft length extending from outside edges of pat- pillow. Stitch ⁄2" seams of casing leaving one side open. Turn tern sections on each side to trim as pile). and press seams. Insert shredded foam or polyfil into the cas- 3 3 Weave ⁄4" plain weave; weave ⁄4" plain weave followed ing and stitch remaining seam closed. Hint: Shredded foam by 1 pattern sequence and repeat for a total of 7×; weave won’t cling to everything if you sprinkle some water in the 1" plain weave followed by 1 pattern sequence and repeat plastic bag before transferring it into the pillow casing. 1 for a total of 3×; weave 1 ⁄2" plain weave followed by 1 Close one side seam of pillow tube by needle weaving 1 pattern sequence and repeat for a total of 3×. End with 1 ⁄2" the selvedge loops together. Insert the stuffed pillow casing 1 plain weave (total height is about 16 ⁄2" measured under ten- into the envelope and then close other seam by needle weav- sion). As you increase the distance between pattern sequenc- ing in the same way. es, gradate the pattern-weft bundles from darker to lighter. If your selvedges are not smooth enough to needle weave You can clip the pattern-weft floats to form the pile ends as you together, you can machine stitch the side seams. With pillow go or after the fabric is off the loom. tube still inside out, stitch seam along the second warp thread 1 Weave 16 ⁄2" for plain weave for pillow back. (You will from selvedge on one side. On the side to be left open for need to add some stripes of the other ground-weft colors since turning, sew seam closed 2" from each corner. Turn pillow it takes slightly more than two skeins to complete one pillow.) cover right side out, steam-press side seams using a pressing Cut Pillow 1 off the loom leaving about 3" for fringe on cloth, insert the stuffed pillow casing, and close remaining each end (to be used in finishing the pillow) and retie the seam length by hand.

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 13 Pick-up bronson lace for a sweater Betty Davenport bronson lace and the rigid heddle Except for plain weave, Bronson lace is the easiest and most Technique: placing multiple versatile fabric structure that can be woven on a rigid-heddle pick-up sticks for bronson lace loom. Chances are good that any Bronson-lace projects you The diagram below shows three pick-up sticks arranged see in Handwoven that are woven on a shaft loom can also to weave three different pattern-block combinations in be woven on a rigid-heddle loom if the sett is not too close. Bronson lace. Notice that the stick closest to the heddle How can this be? produces the floats woven at the bottom of the cloth; A unique feature of Bronson lace is that alternate warp ends the middle stick weaves the middle set of floats, and the are all on the same shaft. This feature makes Bronson lace a stick closest to the back beam produces the top row of floats. Picture how the middle stick can be brought in likely candidate for the rigid-heddle loom. Another feature of front of the other two, and the top stick in front of the Bronson lace is that weft floats travel over odd numbers of other two. When any of the sticks are not in use, they warp threads. Notice how floats work on your rigid-heddle remain at the back and do not affect the pattern. loom: With the heddle in the down position, push down one of the slot threads. You will see that when you pass your weft yarn through the shed, it will skip over 3 warp ends. Push down 2 slot threads, and your weft will skip over 5 warp ends. Repeat these floats in a regular sequence, and you have Bronson lace! bronson-lace interlacement

Bronson lace patterns can be woven on a rigid-heddle loom because of the characteristics of the hole-and-slot heddle. While alternate warp ends are threaded through the holes, the other warp threads float freely in the slots. Because the slot threads are not controlled by the heddle, they can be weave is woven. The stick can be brought forward to make moved individually to allow the weft to skip over them and weft floats whenever it is called for in the directions. In other create floats. To make this easy, a pick-up stick is inserted words, you can make three different sheds just as you could behind the heddle into the layer of slot threads, pushing down if you had three shafts on a shaft loom. The pick-up stick slot threads as needed for the pattern. The part that makes works like another heddle or shaft added to the loom. this especially easy is that the stick can stay in place, pushed There’s no need to stop at three, either. The design in the to the back behind the heddle when it is not in use, and Bronson Lace Sweater has three block combinations (three pattern therefore it does not interfere with the heddle while plain sticks), which would require five shafts on a shaft loom.

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 14 Bronson lace sweater: project notes Folding the narrow fabric for this sweater on the bias creates 4x warp color order 15 33 teal a garment that drapes as softly as a knitted fabric as well as 168 2 41 2 green 183 a garment pattern that leaves no wasted cloth. Needle weaving the selvedges of the diagonal seams reduces bulk and 3 E.P.I. 10. Width in the reed 18 ⁄10". makes a less noticeable join than machine stitching. Bronson lace color blocks appear in the yoke area while THREADING the rest of the sweater is plain weave inlaid with random bits Thread the heddle for plain weave. For the warp stripes to of accent colors for weft color movement to offset the warp appear in the correct place, begin the first warp on the right stripes without having to match weft stripes. The knitted rib- side in a hole. The three teal warp ends will then be threaded bing around the neck and sleeves is bound off with an invis- in a hole, a slot, and a hole. ible tubular technique that makes a nice rounded edge. If the P.P.I. 10. ribbing stretches out due to the slippery alpaca, elastic cord can be threaded through the tubular edge. At the lower edge TAKE-UP and SHRINKAGE 8% in width and 6% in length. of the sweater, elastic in a casing gathers the hem for a blou- Placing the pick-up sticks son look. If you want to make a sweater in a different size, here are the finished fabric widths you will need: for a 48" To insert the pick-up sticks for the pattern weave, place the circumference, use finished fabric 17" wide; for 45", use 16"; heddle in the down position, which moves the slot threads up. for 42", use 15"; for 39", use 14"; and for 37", use 13". Counting only the upper layer of warp threads in the slots, pick Remember to add widthwise take-up and shrinkage when you up the slot threads in the sequence described below for each calculate width in the reed. stick. When a pattern stick is called for in the weaving, move it forward behind the heddle and turn it on edge. Each pattern FABRIC DESCRIPTION stick remains on the loom throughout weaving—just move it Plain weave and Bronson lace. toward the back beam when it is not in use and weave plain weave as usual with the heddle up and then down. dimensions Pattern stick A Pick up 4 threads, then *( go over 2, pick- One sweater, women’s size large. The circumference at chest up 1) 5 times, over 2, pick up 5, repeat from *, (end with is 47", length from shoulder 22", sleeve length from center 4 up on left selvedge). back 31" including 2" ribbing. Before cutting, the fabric mea- Pattern stick B 4 up, *(over 2, 1 up) 3 times, over 2, 11 up, sures 17" wide by 120" long. repeat from *, (end with 10 up on left selvedge). Warp and weft Pattern stick C 4 up, then *over 2, 1 up, over 2, 17 up, Sportweight alpaca at 1,188 yd/lb: 1,500 yd #41 (green), repeat from *, (end with 16 up on left selvedge). 90 yd #401 (teal), 35 yd #25 (red), 30 yd #57 (magenta), The pick-up sticks should slide on top of each other. 30 yd #511 (purple). WEAVING YARN SOURCES It is very important to achieve a balanced weave for this fabric The yarn used in this sweater (Alpaca Clasica from On the because the Bronson lace pattern area should be woven to Inca Trail) are no longer available. The suggested substitute square to form the triangle at the neck. Use a light touch when is sportweight alpaca from Frog Tree Alpaca, available from pressing the weft in place. Frequently check the number of the Yarn Barn of Kansas and other retailers. (You can also use picks per inch with a ruler, especially in the Bronson-lace area, Brown Sheep Nature Spun 2-ply at 1,200 yd/lb or Jagger- to be sure that you are weaving 10 picks per inch. Spun Maine Line 8/3 at 1,490 yd/lb.) All pattern sticks should be pushed near the back beam unless the instructions say to bring one forward for weaving. NOTIONS and other supplies Return each pattern stick to the back after using it. Tapestry needle, green sewing thread, 4 double-pointed knit Begin the fabric by weaving plain weave in the following weft 7 1 ting needles size #1, ⁄8" by 1 ⁄2 yd elastic, 3 pick-up sticks. 3 color order: ⁄4" green, 3 rows teal, 2 rows green. Then start the TOTAL WARP ENDS 183. pattern sequence below using green except when noted: 1. 1 pick with heddle up. WARP LENGTH 2. Bring pattern stick C forward; turn the stick on edge; 4 yd (allows take-up, shrinkage, and 18” loom waste). weave 1 red pick.

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 15 Originally published in Handwoven®, January/February 1994, pp. 36, 40–43, 88–89 © Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 16 layout 3. 1 pick with heddle up. fabric for sleeves 4. Bring pattern stick C forward; turn on edge; weave 1 red pick. 5. 1 pick with heddle up. 6. 1 pick with heddle down. 7–12. Repeat 1–6. 13–24. Repeat 1–12 using pattern stick B. 25–36. Repeat 1–12 using pattern stick A. 17"

37–42. Weave 1 green, 3 teal, 2 green. fold 4 Repeat from Step 1 three more times, using purple accent for the first repeat, magenta for the second, red for the third. Weave the rest of the warp in plain weave with green and include accent inlays: Lay in short lengths of the accent colors at random after every 2"–3" of weaving. (Occasionally, I left the inlay yarn extending from the selvedge and needle wove the end in across the seam line into the other panel after joining the seam.) The finished fabric on the loom should be about 124" long.

FINISHING fold 3 Machine stitch raw edges. Wash by hand in warm water with 17" gentle liquid detergent. Remove excess water in spin cycle of washer or by rolling in a towel and squeezing. Smooth out on flat surface and let dry until slightly damp. Steam-press.

ASSEMBLY As you cut the fabric during assembly, secure cut edges (al- 1 paca is slippery) with one row of straight stitching ⁄2" from the edge and finish the edges with serging or zigzagging. Before cutting, mark and fold a scale-model paper strip to see how the design works. First, with right sides together, fold the Bronson lace yoke area on the diagonal. Make the next fold as shown, pin the selvedges together, and with green 17" yarn, needle weave an invisible join (see Layout) for half of fold 2 the diagonal seam on the back. Make the next fold, pin and needle weave the selvedge edges together to form the diagonal seam in front. Fold again and join the selvedges to complete the diagonal seam on the back (Back, page 18). Cut off and lay aside the excess fabric (for the sleeves), leav 1 ing 1 ⁄2" overlap on the back for seam allowances. Matching warp stripes, join the cut ends of the fabric, basting along the teal weft stripe. Machine stitch and press the seam open. You now have a wrong-side-out, two-layer, sealed square of fabric on the shoulder line foldof yoke 1 bias. Cut along bottom fold for the hemline. 17" Mark, baste, and cut out the neckline and armholes as shown. Cut the armholes 1" less than half the width of the sleeve. Cut and assemble the sleeves as shown, joining the wedges cut from the lower sleeve to the upper sleeve with an invisible join and easing excess at the shoulder. Machine stitch the sleeve seam and knit the cuffs as described below.

Machine stitch the armhole seams. 17"

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 17 back shoulder line, fold 1 Knit the ribbing around the neckline. Adjust bodice length to fit, turn under a casing, and insert elastic (or finish with

sleeve seam sleeve seam ribbing instead). Stitch down seam allowances by hand.

KNITTED RIBBING I worked the ribbing at a gauge of 10 stitches per inch un- diagonal back seam with invisible selvedge join machine seam stretched. Work a swatch of ribbing and adjust if necessary. Pick on cut edges 1 up stitches ⁄2" from the edge of the fabric with green. I pulled up a loop of yarn every 2–3 warp ends and placed it on the knitting fold fold 2 4 needle. The ribbings are knitted in the round in k1, p1. On the first round, adjust the number of stitches to fit your gauge. For the neckline ribbing, work 2 rows green, 1 red, 1 green, 1 magenta, 1 green, 1 purple, 1 green, and finish with tubular bind-off (see below). For each cuff, work 2 rows green, *1 purple, 1 green, 1 magenta, 1 green, 1 red, 1 green, repeat fold 3 from * twice. To start a new color, loop the new yarn around the to be cut for lower edge old and double it back. Work 3 stitches with the doubled yarn sleeve before dropping the end. To change back to a previous color, 22" bring it under and around the others, interlocking them as in 17" tapestry. Finish each ribbing with tubular bind-off in green. Fold back the seam allowance and stitch lightly by hand to the fabric.

Tubular bind-off Start with 2 rounds: 1. With yarn in back, k1, slip the purl stitch. Repeat to end. Round 2: with yarn in back, skip the knit 20" stitch as if to purl; with yarn in front, p1. Repeat to end. Work- ing on groups of stitches at a time, slip the knit stitches onto one double-pointed knitting needle and the purl stitches onto

Rotate wedges another to divide the stitches into two layers. Slip a short cord and stitch through the first and last stitches of the round. Cut the yarn 4x selvedges together with the length of the ribbing and thread into a tapestry needle. invisible join. Graft layers together as shown below: a. Holding the two knitting needles parallel, insert the tapestry needle knitwise into the first stitch on the front needle and slide it off the knitting neckline 8" back needle. b. Insert the tapestry needle purlwise into the second stitch on the front needle. Leave it on the knitting needle and 1 1 ⁄2" draw the yarn through. c. Insert the tapestry needle purlwise 3" shoulder line into the first stitch on the back needle and slide it off the knitting front needle. d. Insert the needle knitwise into the second stitch on the back needle. Leave it on the knitting needle and draw the yarn through. Repeat a–d until you have grafted all the stitches. At the end of the round, join the last stitches to the first stitches selvedge join that you saved on the holding cord. tubular bind-off

a. b. c. d.

PROJECT NOTES This is an easy project to weave since the panels don’t need Technique: designing large to match. The project is woven on two separate warps: one cloths for small looms for the outside panels of the throw and the other for the center For centuries, weavers around the world have produced panel and a pillow. The throw can be enlarged by weaving large fabrics on small looms and joined narrow pieces to- wider panels if you have a wider rigid-heddle loom than 16". gether for blankets or garments. The fabrics of China and Since the selvedges show in this project, weft joins should be Japan are noted for their narrow widths. Burial cloths in neat and unobtrusive. When you finish weaving with one ancient Peru often were assembled from as many as ten weft color, break off the weft leaving not more than a 1" tail panels. The weavers of West Africa were, and still are, mas- to tuck into the next shed. Start the next color with the end just ters at joining narrow strips into incredibly vibrant cloths. inside the edge so the two ends overlap 1". This method Today’s weaver who doesn’t have access to a large loom can continue this tradition. reduces the bulk that would be made by tucking in two tails, and the color change won’t show in the balanced plain weave. To substitute another colorway to match your decor, choose a bright color for the warp and for the weft, three or four close but muted shades and two textured yarns.

FABRIC DESCRIPTION Plain weave.

FINISHED DIMENSIONS One throw 41" by 70", plus 1" fringe on each end and one pillow 15" by 20".

WARP and weft Designing panels with stripes can mask them or turn joins Warp: 2-ply wool at 1,200 yd/lb, 1,340 yd Pomegranate. into a design advantage. Weft: 2-ply wool, 692 yd Red Fox, 150 yd each of Pome- granate and Bougainvillea, 70 yd Husker Red. Novelty bou- Vertical stripes Overall vertical stripes help make any seams inconspicuous when panels are joined. A single clé (90% alpaca, 10% nylon), 70 yd color #14 (gray red) warp stripe on the joining edge can make a dramatic de- and 100 yd color #13 (gray purple). The yarns originally sign; this can be even more dynamic with three panels. used in this project (Wilde Yarns 2-ply wool and Tumbleweed Stripe designs that include many stripes and different and Pebbles wool novelty bouclés) are no longer available. stripe widths work well. Choose any soft wool (use a sett suitable for plain weave) and go shopping at your local yarn store for textured yarns Horizontal stripes Usually, when you are weaving panels that will stand out in isolated stripes. (or garment pieces) with horizontal stripes that are intend- ed to be sewn together, you have to measure as you go and yarn sources worry a lot about exact matches. A much easier way to deal Nature Spun 2-ply wool at 1,200 yd/lb (about 300 yd/4 with horizontal stripes is to plan for them not to match. oz skein) by the Brown Sheep Company is available from A design with horizontal stripes in a random pattern can most yarn retailers; alpaca bouclé (item #118) is available be balanced using an odd number of panels. This throw is in 70 yd/50 g balls from Halcyon Yarn (two balls of each made of three, but consider the design possibilities of five color are needed for this project). or more. Blocks of pattern can be scattered at random or in alternation with solid colors for a checkerboard effect. TOTAL WARP ENDS Warp 1: 140; Warp 2: 160. Don’t limit your ideas to plain-weave stripes—there are a number of texture weaves for the rigid-heddle loom, WARP LENGTH such as Bronson lace, that can be used in vertical stripes Warp 1: 5 yd and Warp 2: 4 yd (allows take-up, shrinkage, or horizontal design areas. and 18" loom waste).

© Interweave Press LLC. Not to be reprinted. All rights reserved. handwovenmagazine.com 20 E.P.I. 10. ASSEMBLY and sewing for the throw Cut apart the two panels and cut the pillow from the center WIDTH IN REED panel leaving scrap yarn in place. Place the three panels side Warp 1: (for the two outside panels of the throw) 14". by side on a flat surface. Shift as needed to prevent any weft Warp 2: (for the pillow and center panel of the throw) 16". stripes from matching. Pin the selvedges together. To sew the P.P.I. 10. panels together, use a length of the warp yarn and a blunt needle and join the selvedges by alternately stitching through TAKE-UP and SHRINKAGE 10% in width and length. the weft loop of one selvedge and then the weft loop of the Design notes other, as shown below. Draw the yarn tight. Ravel all scrap yarn from the ends and then ravel any weft The Fireside Throw, made of three panels, is an example of turn- yarn as necessary to even the raw edges. Secure the ends ing unmatching horizontal stripes into a design attraction. The with hemstitching. (I used sewing thread, including 2 ends basic weft stripe design is 2" of solid color and 5" of narrow and 2 picks in each stitch for an invisible finish.) stripes in random color order. The repetitive design is easy to keep track of and makes a unified overall pattern. The minor FINISHING decisions in the color order keep the weaving interesting. For Machine zigzag both raw edges of pillow fabric and soak variety and to further ensure that the stripes don’t need to match, the throw and pillow fabric in warm water with liquid deter- the center panel is woven entirely in narrow stripes. Most rigid- gent for 15 minutes, gently squeezing the suds throughout. I heddle looms can only handle four to five yards of warp length, used the washing machine, but I was careful not to let the which is enough for two panels. Since the loom will need to be blanket or pillow fabric agitate more than a few times. Rinse warped again for the third panel, take advantage of this oppor- several times in warm water, adding a little fabric softener to tunity to make some kind of design change for the center panel. the last rinse. While the fabrics are still damp, brush lightly For the Fireside Throw, I made the center panel 2" wider than the with a stiff hairbrush or dog brush to bring up the nap, using side panels. It’s width is just right to allow weaving a pillow on only three or four strokes in each area. To preserve the texture the same warp to match the throw. of the novelty yarn, I was careful not to brush those stripes. Smooth out the fabric on a flat surface to dry, then press well WEAVING on both sides using a damp cloth and steam iron. Trim fringe Warp 1 For the two outside panels of the throw, weave in a to 1" on both ends of the throw. sequence of 20 picks of Red Fox (2") and 5" of narrow stripes using all six weft yarns and repeating some twice: Always in- Assembly and sewing for the pillow clude 6 picks each of Bougainvillea, Pomegranate, Red Fox, Fold the pillow fabric in half in the weft direction, joining the and gray red bouclé (24 picks) plus 6 picks more of each of machine zigzagged raw edges, and machine stitch the raw two of these selected randomly (12 picks) and also include edges together to form a tube. Trim seam. Join the selvedges randomly placed 2 picks Husker Red and 4 picks gray purple of one side of the tube the way you joined the panels of the bouclé and 4 picks Husker Red and 2 picks gray purple bou- throw. Stuff with polyester fiberfill or pillow form and sew the clé for 48 total picks; add as needed to achieve 5". Repeat second selvedge closed in the same way. the 2" and 5" sections for 77" measured under tension, weave with scrap yarn for 3", and then weave the second 77" panel the same way as the first (measuring the 2" and 5" stripes but joining choosing the colors for each one randomly). selvedges Warp 2 For the center panel of the throw, weave 77" repeating the narrow stripe sequence used in Warp 1, varying the se quence of the colors, but using Red Fox more frequently than the others. Weave with scrap yarn for 3" before weaving the pillow. For the pillow, weave 5" Red Fox. Follow with 1 stripe of 2 picks gray purple bouclé, 6 picks Bougainvillea, 2 picks Husker Red, 6 picks gray red bouclé, 6 picks Pomegranate, 4 shots gray purple bouclé, 6 shots Bougainvillea, 2 picks Husker Red. Weave with Red Fox for 26", then repeat the stripe sequence in reverse, ending with 5" Red Fox (about 43" total).

take-up and shrinkage Twisting (or plying) the fringe Weft take-up and shrinkage. As Divide the number of threads for each fringe into two groups. you weave, extra weft length (be- Twist each group clockwise until it kinks. Bring both groups yond the width of the warp in the together and allow them to twist around each other counter- reed) must be placed in the shed to clockwise (or twist them together in that direction). Secure the allow for weft take-up (in Handwo- ends with an overhand knot. (Use the same method to make ven projects, this amount is included a plied cord by attaching one end to a stationary object.) in required weft yardage). The fabric then draws in as the weft bends over and under the warp threads, so that the width of the woven cloth is nar- rower than the width of the warp in Simple hemstitching the reed. The cloth narrows further Weave several picks of plain weave, ending with after it is removed from the loom, the shuttle on the right side if you are right- and shrinkage narrows it even more handed, left side if you are left-handed. Measure if it is washed. To calculate the per- a length of weft three times the warp width and centage of weft take-up and shrink- cut, leaving the measured length as a tail. age, divide the finished width by the Thread the tail into a blunt tapestry needle. width of the warp in the reed. Take the needle under a selected group of ends above the fell and bring Warp take-up and shrinkage. it up and back to the starting point, encircling the group. Pass the needle As you weave, the warp bends over under the same group of ends, bringing it out through the weaving two (or and under the weft threads. Fabric more) weft threads below the fell. Repeat for each group of ends across the length is therefore less than the fell. Needleweave the tail into the selvedge and trim. (See * below.) length of the warp threads that pro- duce it (Handwoven projects give double (italian) hemstitching the number of inches allowed for Weave several picks plain weave, ending with the shuttle on the right side this take-up under Warp Order and if right-handed, left side if left-handed. Measure a length of weft four times Length). When you release tension the warp width and cut, leaving the measured length as a tail. Thread the and remove the fabric from the tail into a blunt tapestry needle. loom, the fabric takes up in the Take the needle under a selected group of warp ends above the fell warp direction. If you wash the fab- and bring the needle back to encircle the ends. Next, pass the needle ric, shrinkage further decreases its under the same ends but come up two or more weft rows down from the length. To calculate the percentage fell. Then bring the needle back around the same group of ends below of warp take-up and shrinkage, di- the fell. Then begin again, encircling the next group of ends. (See * below.) vide the finished fabric length by the woven length (measured under *For both methods: To hemstitch the first end of a piece, weave a header, weave four tension on the loom) plus the inch- or five picks of plain weave (or of the basic weave structure used in the piece), and es given for warp take-up. hemstitch over the top two or three weft rows. Weave the piece and then hemstitch To calculate how long to weave the other end over the last two or three weft rows. Remove the fabric from the loom a fabric for a specific finished and discard the header and weft threads below the first hemstitching. length, use the percentage derived by dividing the finished length listed in the project by the woven length measured under tension on the loom (for this percentage, do not include the inches allowed for take-up in the warp yarn).