And this is what 10 yds of freshly finished (the equivalent of blocking in weaving is called finishing, same process, soak, then squeeze excess water out, then lay flat to dry)
This is only my 5th major piece off a loom since I started weaving a couple of years ago. So it is all still a learning process.
Weaving notes [or things I learned not to do from this piece]: (skip this part if you care to).
- Yarns used: Jaggerspun Maine Line 2/8 in gold and in brown - a fingering weight 2 ply wool
- an extra bulky weight Dorothee Biss single ply handdyed wool
- a solid strand of a Mokuba 3mm ribbon with a metallic and
- a sheer 5mm Mokuba ribbon
- a variegated boucle wool picked up from Carol Leigh at Hillcreek Fibre Arts in Columbia MO. Worsted weight.
the effect is wonderful, but I have to say that my next piece is going to be all wool, all the same weight. NO mohair (learned That lesson last project), no ribbon, no mixing bulky soft spun with tightly twisted 2 ply fingering. Wool stretches and has memory, wool blooms in the finishing process. Ribbon doesn't stretch (plays havoc with the warp when you've got both in there) and of course it doesnt change in the finishing process.
but seriously, the biggest issue I had with this piece is that I was absolutely determined to get as much width out of this piece as I could, as the finished yardage is going to be cut up to make 2 Chanel style jackets. My reed is 35". My opening in the castle housing the heddles max's out just under 31". Note to self: never warp wider than the width of the heddles. Suffice it to say that the angle the warp needed to turn to make it to the reed, coming out of the heddles severely impacted my weaving.
The next biggest issue was weaving with 4 different shuttles. every single pass of the shuttle I had to change shuttles. Allowed for no rhthym. The effect again is marvelous, but not again, not soon anyway.
More later on where this project is going, and the construction process
So, what to use a Naked Loom for? Why not as the stand for the latest version of the Lady E. Beading the lattice fringe again. Tedious if I say so myself.
my question is: how did macrame get to be so popular in the 70's? Next question is: is there anyone else out there who thinks as little of the Noro yarns as I do? my last Lady E was in Silk Garden, and I have to admit that I love what happens to the colors in the entrelac...but I am seriously not a fan of the long variegated dying in regular knitting. And yes, Esaku Noro (sorry if I misspelled his name) is a genius in color combinations. But, where is it written that badly spun, badly cleaned yarn is Artsy? I know that Noro is highly prized yarn, and expensive as all get out, but really, do we think they could improve the quality at all? I just gave the last 4 sk I had of Noro Shinano to Lorinda in the purple swap, and I have to admit that although it is a nice gift, I'm feeling somewhat guilty about it, 'cause I've had it with Noro. Is anyone else out there with me on this? (and Lorinda, if you don't like it, I'll make a swap with you at Stitches and replace that with some Debbie Bliss purple sport weight yarn)
swap news: I just received my package from Jennifer for the Travelling Woman book swap through KTC. There are the two Alice in Wonderland books, a bottlecap necklace featuring Alice, and some really pretty red Regia sock yarn. I've tried to capture the color, but it is really just a shade deeper than it appears on my monitor.