Great Weave Structures for Color & Texture

Great Weave Structures for Color and Texture using Novelty Yarns

Presented by Robyn Spady

www.spadystudios.com [email protected] (360) 204-6188

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3/1 twill and basket weave treadling on a 2/2 Twill and basket weave threading straight draw threading

Ribbed weave on a straight draw threading

Unstuffed Stuffed

Diversified Plain Weave Integrated Plain Weave

Deflected Supplementary Weft Supplementary warp and weft

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Like many fiber artists, one of my favorite places to be is in a yarn store. I never grow tired of the colors and textures. New ideas spring up with every yarn. However, there was a time when yarn stores could be a source of frustration when I would walk in and spy fabulous knitting yarns. There were variegated colors, nubby textures, and wild effects that didn’t exist in traditional weaving yarns. They were a feast for the eyes, but unfortunately, a drain on the pocket book if I used them in the same capacity I used traditional weaving yarns. These fabulous yarns established a desire to indulge my senses and take my weaving in new directions. My objective was to find ways of using these fabulous yarns in a way that would take advantage of their beauty and showcase them to their fullest extent without breaking the bank.

In experimenting with different weave structures, I learned using novelty yarns in abundance didn’t mean I would achieve better results. In fact, the more I used novelty yarns in a fabric, the less I like the outcome. Putting these remarkable yarns in warp and weft was often too much. The beauty of the yarns became obscured as they competed with each other. Textures and yarn characteristics became indistinct as they interwove. Blotchy areas showed up and colors intersected to create a muddy appearance as the color in variegated yarns got out-of-control. Plus, using novelty yarns in overabundance was expensive. I decided it was time for a new strategy.

The first thing I learned was the term “less is more” not only applies to make-up, fashion accessories, and seasoning while cooking; it also applies to using novelty yarns in weaving. After experimenting with different weave structures and approaches, I find the following guidelines improved my chance of success: • Use it only as an accent – With a moderate amount incorporated into an understated fabric, the attention is drawn to the novelty yarn instead of being overwhelmed by it. A simple stripe can take on new dimensions with an over-the-top yarn. • Limit it to the weft – Using a novelty yarn in the weft eliminates the warp waste associated with weaving projects. Whether the novelty yarn is used throughout the fabric or in small amounts, the threat of thrum surplus is reduced. • Incorporate them into simple weave structures – Complex weave structures can dilute the appearance of a novelty yarn. Integrating intricate threadings and treadlings with novelty yarns can overpower the appearance just like an overabundance of texture, color, or both. • Combine it with an understated yarn – A novelty yarn can come to life when doesn’t have to compete with another dominant yarn. Using simple yarns as a canvas on which to showcase novelty yarns is beneficial and helps keep costs down • Adding fine yarns between larger yarns can add structural integrity – In the diversified plain weave draft, there are yarns of different sizes. Add fine yarns, even something like a sewing thread, can create an accent in the fabric. It can also add interlacement around the larger ends with longer floats.

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Here are some weave structures I have found work well to maximize novelty yarns with just a minimal amount.

Deflected Supplementary Weft – There is no weave structure better suited for showcasing novelty yarns than a deflected supplementary weft. The amount of yarn required is minimal and acts as an undulating embellishment on the surface of the fabric. Undulation on the loom while weaving may be minimal, but when the fabric is removed from the loom and wet finished, additional undulation will occur.. The larger the supplementary accent weft, the more it will deflect while weaving. Sampling is encouraged to ensure the desired results are achieved.

Weft Stripes – A four-shaft straight draw threading is the easiest threading to set-up on a four- shaft loom. Its simplicity disguises its versatility. In addition to numerous treadlings, using a novelty yarn in the weft allows for maximum effect with minimal waste.

3/1 twill weft stripes work well to showcase novelty yarns. A 3/1 weft twill produces a weft- dominant effect without lengthy floats that may be prone to snag. Combining it with a simple weave adds interest and conserves the novelty yarn. In the draft, the 3/1 twill weft stripe alternates with areas of a basket weave. The advantage of combining a twill treadling and a basket weave treadling is the draw-in will be more consistent than combining a twill treadling with a plain weave treadling.

Integrated Weaves - Balanced integrated weaves are common in commercial fabrics; however, they are not frequently described in handweaving. Integrated weaves are those in which two structures and yarns are combined into a single fabric. What is fun about integrated weaves is the ability to combine yarns to achieve different effects. They can be especially beneficial in helping showcase novelty yarns and keeping the amount and waste of the novelty yarn to a minimum.

The integrated weaves draft in this article shows two plain weave structures integrated with each another. Treadling #1 produces a fabric with the appearance of an open plain weave effect created by the novelty yarn Treadling #2 substituted the large novelty yarn for the simple yarn weft picks and the simple yarn weft for the novelty yarn weft picks in the treadling, a completely different pebbled effect is achieved.

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Twill Stripes

A four-shaft straight draw threading is the easiest threading to set-up on a four-shaft loom. Its simplicity disguises its versatility. In addition to numerous twill treadlings, using a novelty yarn in the weft allows for maximum effect with minimal waste. It also allows for a modest warp to be used.

To showcase the yarn, use it in 1/3 weft twill stripes. A 1/3 weft twill produces a weft-predominant effect without lengthy floats that may be prone to snag. Combining it with a simple weave in between adds interest and conserves the novelty yarn. In the draft to the left, the 1/3 weft twill stripe has been combined with a basket weave. The advantage of combining a twill treadling and a basket weave treadling is the draw-in will be more consistent than combining a twill treadling with a plain weave treadling.

The draft below produces 2/2 warp twill stripes between areas of basket weave. This is an alternative draft that works well when a weaver would like to weave with a single shuttle and/or include the novelty yarn in fringe for an item like a scarf or table runner. This will require more of the novelty yarn, including some lost to waste. However, making the twill stripes narrower or the basket weave areas wider can help offset the consumption of the novelty yarn.

Combining the 2/2 twill with a basket weave has a simple treadling and is beneficial since the two treadlings have the same number of weft picks per inch. If the twill stripes are included between areas of plain weave, the twill stripes may not have the appropriate number of picks per inch and the twill lines may become distorted.

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Hosizontal Ribbed Weave on a Four-shaft Straight Draw Threading

Unstuffed cords

Stuffed cords

(The white weft picks are stuffing and should be large enough to fill the rib)

A four-shaft straight draw threading is the easiest threading to set-up on a four-shaft loom. Its simplicity disguises its versatility. In addition to numerous twill treadlings, a simple horizontal corded effect can be achieved. It’s even possible to add a stuffing or wadding and produce an even more dimensional cloth.

There is greater versatility by changes in weft in size and/or texture, which can enhance the corded effect. A dark warp will make the valleys between the cords more obvious if a lighter colored weft is chosen.

Notes: The blue weft picks weave the horizontal ribs. The red weft plain weave picks lock the horizontal rib in place and often match the warp color. The white weft picks ‘stuff’The larger the yarn used for the blue picks, the more pronounced the ribs will be. The rib weft can be made larger by doubling yarns together.

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Integrated Plain Weave

Notes: Balanced integrated weaves are not uncommon in commercial fabric; however, they are not frequently described in handweaving. Integrated weaves are those in which two structures and yarns are combined in a single fabric. Balanced integrated weaves appear to have yarns and structure in approximately equal proportion. Unbalanced integrated weaves are those where one yarn contributes more to the structure of the fabric and the other yarn is predominantly decorative.

What is fun about integrated weaves is the ability to combine yarns to achieve different effects. They can be especially beneficial in helping showcase novelty yarns and keeping the amount and waste of the novelty yarn to a minimum. The above draft shows two plain weave structures integrated with one another. By using similar yarns, the warp and weft ends shown in blue will appear more as spots of color. By using a larger yarn in place of the ends shown in blue, the fabric will appear to be an open plain weave with the ends in white providing structural support.

Below are a couple of treadling variations in case the amount of pattern weft runs out. It creates a nice companion fabric.

Increase the amount of the space between the larger yarns to open up the effect

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Diversified Plain Weave

Diversified plain weave is a weave structure that alternates thick and thin yarns to create a stable cloth. It is sometimes referred to as thick and thin. Variations in color and texture can provide unlimited possibilities. The thin yarns contribute to the stability of the cloth while adding a subtle accent. It’s a fun way to use up yarns of different sizes that have accumulated in a weaver’s stash. This version uses a plain weave treadling with a doubled weft for the weft picks of the large yarn, so weaving goes quickly. The cloth is stable and suitable for a wide variety of purposes, such as table runners and placemats to kitchen towels and baby blankets.

The thick warp ends are threaded in pairs and should be threaded through separate heddles. This will keep the warp ends from rolling around each other and produce a more even cloth.

The above threading and treadling works well for a variety of yarns, but sampling is highly recommended to ensure the yarns and sett work well. One sett that works well is using 8/2 cotton as the “thick” yarn and 20/2 cotton as the “thin” yarn with a 24 epi total sett. While weaving, the 8/2 cotton is doubled to achieve the basket-weave effect. This may be done by winding a bobbin or stick shuttle with two weft ends, using a shuttle that accommodates two bobbins, or using a shuttle designed to accommodate a single bobbin and use cut lengths of a quill or heavy drinking straw with a bead in between to separate them.

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Deflected Weft

Deflected Weft Deflected SupplementaryWeft

Cannelé

Notes: • The difference between deflected weft and deflected supplementary weft is the deflected weft is woven between the warp ends, where as deflected supplementary wefts are woven on top of the warp ends. • The above weave structures are an easy and economical way to showcase expensive novelty yarns. • Cannelé is a French term and means fluted. It is a balanced weave and works well on counterbalanced looms • Even though cannelé has a supplementary warp, the take up (per the threading and treadling above) is the same as the ground and may be beamed together on a single warp beam. • The terms deflected weft, honeycomb, and waffle are sometimes used interchangeably. However, they may also be used to describe different weaves.

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Supplementary Warp and Weft

Repeat

Notes: The white warp and weft ends represent the ground cloth. The blue warp and weft ends represent the supplementary pattern ends. To center the pattern repeats across the width of the sample, the above threading adds one supplementary warp end at the left selvedge and four ground warp ends and one supplementary warp end at the right selvedge.