New TecHNique SeRieS Rigid Heddle Pattern Book 1

Best Of

Rigid HeddlePattern Book #1

New TecHNique SeRieS

deSigNS &TecHNiqueSby Betty davenport

deSigNS &TecHNiqueSby Betty davenport

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I 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 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 pick-up sticks for Bronson lace, use two heddles for a supplementary warp, decorate with thrums, and more. The collection includes a lovely leno wall-hanging that will tantalize you with rich new ideas for more lacy patterns.

All of these projects are designed and woven by the pioneer in patterning on the rigid-heddle loom—Betty Linn Davenport, author of Hands-On Rigid Heddle Weaving (Interweave, 1987) and Textures and Patterns for the Rigid Heddle Loom (revised edition, Fine Fiber Press, 2008). So get out that light, portable, and easy-to-use rigid-heddle loom and start weaving!

Rio Grande Placemats with Warp Floats ......................... 1 Create isolated warp-float patterns in the centers of colorful vertical stripes for a set of placemats.

Supplementary Warp Pick-Up for Placemats ................... 3 Use a supplementary warp to create the rose patterns typical of monk’s belt as borders for placemats.

Pick-Up Leno Patterns for a Wall Hanging ...................... 5 Weave ten lacy patterns in leno, some that are very rare: Mexican lace, Peruvian Gauze, Tarascan lace, and more.

Petit-Point Pattern in Linen for a Runner ....................... 9 Enjoy using linen with this runner elegantly patterned with a swivel-like technique in contrasting colors.

Pile Patterning with Thrums for Pillows ....................... 11 Bundle your warp thrums, inlay them in sections with floats in between, and cut the floats for a decorative pile.

Pick-Up Bronson Lace for a Sweater ............................. 14 Discover how the rigid-heddle loom is the ideal tool for weaving patterns in Bronson lace.

Fireside Throw and Pillow ............................................. 19 Learn how to use a clever design method for weaving large fabrics on a narrow rigid-heddle loom.

Tips for Planning, Hemstitching, and Finishing .............. 22

C o n T E n T s

E D I T O R I A LEditor in ChiEf Madelyn van der Hoogt

CrEAtiVE dirECtor Linda Ligon

C R E A T I V E S E R V I C E SdEsignEr Elizabeth R. Mrofka

ProduCtion dirECtor Trish FaubionProduCtion CoordinAtor Jeff Rowles

ProduCtion Editor Nancy Arndt

P U B L I S H I N GPublishEr John P. Bolton

MArKEting MAnAgEr Mary KinCannon

All contents of this issue of Handwoven are copyrighted by Inter weave Press LLC, 2010. All rights reserved. Projects and information are for inspiration and personal use only. Reproduction in whole or in part is prohibited, except by permission of the publisher.

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Rigid Heddle Pattern Book #1 ISBN 978-1-59668-368-6

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R i o G R a n d e P l a c e m a t s w i t h w a R P f l o a t sB e t t y D av e n p o r t

side (for 241total threads) where they can act as slot threads. Beam the warp and tie onto the front apron rod.

TAKE-UP and SHRINK AGE about 15% in width and length.

WEAVINGWeave plain weave for 21 picks, *weave the pattern se-quence followed by 14 picks plain weave, repeat from * for a total of four times. After the last repeat, weave an additional

PROJECT NOTESThese machine wash able placemats are very quick and easy to weave. As you weave the first placemat, make a template or guide from a strip of paper or nonwoven interfacing and mark the beginning of each diamond pattern. You can then use the template for matching the positions of the designs on the other placemats.

FABRIC DESCRIPTION Plain weave with warp floats.

FINISHED DIMENSIONSFour placemats, each 17" by 111⁄2", includ ing 1⁄2" hems on each end (these mats are woven so that the selvedges are at the sides of the mat, and the raw edges are hemmed as the top and bottom of the placemats).

WARP and WEFT 3/2 pearl cotton at 1,260 yd/lb, 261 yd Light Rust #108 (rust), 135 yd Dark Sierra #99 (dark brown), 124 yd Flaxon #91 (ecru), 23 yd Caribbean #148 (turquoise). Weft: 8/4 cotton carpet warp at 1,600 yd/lb, 400 yd Dark Brown. (The Novitex rough-spun cotton used for these mats is no longer available, but 3/2 pearl cotton is a good substitute. Another option is to use 8/4 cotton carpet warp for the warp as well as the weft in Rust, Dark Brown, and Tan, but use pearl cotton as above for a bright/shiny turquoise. To design placemats using other yarns and/or other heddle sizes, plan for a sett for a slightly warp-emphasis plain weave in your chosen yarn. You can use heavier yarns for the warp pattern stripes than for the placemat body.)

YARN SOURCES 3/2 pearl cotton by UKI and 8/4 cotton carpet warp by Maysville are available from most weaving retailers.

NOTIONS Rust sewing thread.

TOTAL WARP ENDS 241.

WARP LENGTH21⁄4 yd (allows take-up, shrinkage, and 21" loom waste).

E.P.I. 12. WIDTH IN REED 201⁄10".

P.P.I. 11.

THREADINGThread as for plain weave. If your heddle is exactly 20" wide, thread 1 thread on the outside of the hed dle on each

TeChNIque: P ICk-uP wArP-fLoAT PATTerNINg

This simple pick-up technique creates a small pattern in vertical warp stripes. Three pattern-warp threads in a contrasting color alternate with three-ground warp threads. One pick-up stick raises the center pattern thread, the other pick-up stick raises all three pattern threads. The sticks remain in place throughout the weav-ing. They are pushed to the back of the loom when not in use and brought forward to create the floats.

To insert the pick-up sticks: With the heddle in the down position, in the area behind the heddles, take the stick under warp threads in the following sequences:

Pattern Stick A: Center ecru warp thread in each of the five pattern stripes.

Pattern Stick B: All three single ecru warp threads in each pattern stripe.

Push the sticks to the back of the loom until they are needed for pattern. Bring a stick forward (just behind the heddle) when it is needed for a pattern pick, then push it to the back after use.

Pattern sequence: Weave each pick with the heddle and pick-up sticks in the following positions (18 total picks):1. Heddle up, Stick A brought forward.2. Heddle down.3. Heddle up, Stick A brought forward.4. Heddle down.5. Heddle up (sticks pushed back).6. Heddle down.7. Heddle up, Stick B brought forward.8. Heddle down.9. Heddle up, Stick B brought forward.10. Heddle down.11. Heddle up (sticks pushed back).12. Heddle down.13–18. Repeat picks 1–6.


TeChNIque: Des IgNINg P ICk-uP for wArP-fLoAT PATTerNs

The slots are the rigid-heddle loom’s little-known advan-tage over shaft looms. Any slot threads selected on a pick-up stick in back of the heddle will weave as usual if the pick-up stick is pushed all the way to the back beam. When it is brought forward for a pick with the heddle up; the selected slot threads on the pick-up stick float. More than one pick-up stick can be inserted and brought for-ward independently if threads from previous pick-ups are included in sucessive pick-ups; see page 14.

7 picks of plain weave. The placemat should measure about 14" under tension. Weave one 1 pick of contrasting color to mark division between pieces and repeat for four placemats.

FINISHING Machine zigzag ends and on each side of the contrasting-color weft. Machine wash in cool water and tumble dry until just damp. Smooth out and iron before completely dry. Cut apart. For very neat machine-stitched hems, follow this proce-dure: Turn under and press 1⁄2" 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.

605510

6

11

1

1

1

11

7852

2

222

22

22 2

22

116241

turquoise

dark brownecru

rust

5xWARP COLOR ORDER

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.

originally published in Handwoven®, september/october 1986, pp. 57, 11 (instruction supplement)


S U P P L E M E N T A R Y- W A R P P i c k - U P f o R P L A c E M A T SB e t t y D av e n p o r t

WEAVINGWeave a heading in plain weave (Heddle I up, then Heddle II up). For each mat: Weave 1" with 10/2 natural for hem. Weave pattern with gold 3/2 and 20/2 used together as described on page 4 (about 14" pattern per mat); finish with 1" in 10/2 for hem. Separate mats with 1–2 picks in a contrasting color.

FINISHINGSecure raw edges with machine zigzagging. Machine wash, gentle, mild detergent. Machine dry. Remove while still damp and press until dry. Machine zigzag on each side of contrast-ing-color markers and cut mats apart. Fold raw edges twice and then stitch across the supplementary-warp threads at sec-ond fold line and trim them away to reduce bulk in hem. Sew hems by machine or by hand. Press again.

FAbrIc dEScrIptIoNPlain weave with supplementary-warp patterning.

FINISHEd dImENSIoNSEight hemmed placemats 171⁄2" by 13" each.

WArp and WEFtThe yarns used for these placemats (Fort Crailo Linnay and Fred-erick Fawcett linen) are no longer available. Substitutions sug-gested here will give very similar-looking placemats. Ground warp: 3/2 pearl cotton at 1,260 yd/lb and 20/2 pearl cotton at 8,400 yd/lb used together (amounts are the same for both yarns), 716 yd natural and 171 yd gold. Supplementary warp: 3/2 pearl cotton (used doubled), natural, 324 yd total. Weft: 3/2 pearl cotton and 20/2 pearl cotton used together, 650 yd gold each. 10/2 pearl cotton, 150 yd natural (hems).

YArN SourcESPearl cotton is available from most weaving retailers.

totAl WArp ENdSGround warp: 189 working ends threaded for plain weave as in Ground Warp Color Order. Supplementary warp: 36 doubled ends (72 actual ends).

WArp lENGtH41⁄2 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.

WIdtH IN tHE rEEd 189⁄10".

p.p.I. 10 (1 strand 3/2, 1 strand 20/2 used together).

tAkE-up and SHrINkAGE 10% in width and length.

WArpINGWind the ground warp following the Ground Warp Color Order (I took the end from the 3/2 cone under-over-under and the end from the 20/2 cone over-under-over three slats on the back of a chair to provide tension and prevent tangling). Wind two supple-mentary-warp chains of 18 doubled 3/2 natural ends each. Thread the ground warp as shown in the Technique box. Note that the three 3/2 natural ends before and after each gold sec-tion are used as one. Beam the warp and tie on to the front apron rod. Thread the supplementary-warp chains through the slots (see the Technique box), tie them onto the front apron rod, and attach a jug to each chain suspended over the back beam. Add water to provide tension equal to ground-warp tension.

TeChNIque: ThreAdINg Two heddLes f o r A s u P P L e m e N TA ry wA r P

Thread the first ground-warp end through the first hole of Heddle I (and through the slot just before the aligned hole in Heddle II), the second thread through the next slot in Heddle I and the first hole of Heddle II, and continue. Beam the warp and tie onto the front apron rod.

Thread the supplementary warp through the slots of the two heddles so that two threads go through each slot in the first heddle and then are separated to go through the slot in the second heddle with the adjacent thread as shown below (this spaces the supplementary warp threads between the ground threads). Tie this warp onto the front apron rod.

At the back of the loom, suspend the supplementary warp (chained in two groups of 18 working ends each for these placemats; you can use more threads in a group and/or more groups for other designs) and attach weights (plas-tic bottles filled with water work well).

threading the ground warp

threading thesupplementarywarp

12 3 3

11

11

11

11

11

33

3838

117 1519

147147

3/2 gold3/2 natural (3 used as 1)

3/2 natural20/2 natural

20/2 gold15 = 185 ends of 3/2 and 20/2

185 working ends 3/2 and /20/2 used together plus 4 groups of 3/2 ends used as 1 = 189 working ends.

19

GrouNd WArp color ordEr


T e C h N I q u e : w e Av I N g w I T h A s u P P L e m e N TA ry wA r PFor each graphed row, with both heddles down, pick up (behind the heddles) 1 doubled sup-plementary-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.).

placemat design

Starting at the bottom, repeat 6x; omit top 2 rows the last time.

Starting at the bottom, repeat 6x; add the bottom 2 rows at the very end to balance.

Starting at the bottom, repeat 3x; add the 6-row plus design and then the 2 bottom (blank) rows at end.

diamond design

lattice design

originally published in Handwoven®, may 1982, pp. 75, 98–99


P i c k - u P l e n o P a t t e r n s f o r a w a l l h a n g i n gB e t t y D av e n p o r t

PROJECT NOTESLinen is the fiber of choice for this project because its body and stiffness hold the shape of the openwork designs. The length of your wall hanging may vary de pending on how firmly the leno rows are beaten down (a firm beat produces the best result and is achieved by pressing rather than by beating). A single color can be used or two colors (one for warp, the other for weft) that are close in value for a lively interplay of color.

FABRIC DESCRIPTIONPlain weave with leno and weft-float patterning.

FINISHED DIMENSIONS19" by 57" plus 11⁄2" hem on each end.

wARP and wEFT10/2 linen at 1,600 yd/lb, 590 yd Red for warp, 400 yd Red or Fuchsia for weft (or choose two other related colors). The exact yarns used in this hanging are no longer available; the warp in it is red and the weft is a slightly darker red-violet, but not quite as dark as the available Fuchsia.

YARN SOuRCES 10/2 linen is available from Webs.

TOTAL wARP ENDS 236.

wARP LENGTH21⁄2 yd (allows take-up, shrinkage, and 24" loom waste).

E.P.I. 12. wIDTH IN REED 192⁄3".

P.P.I. 12 in plain-weave sections.

TAKE-uP and SHRINKAGE 3% in width, 10% in length.

PREPARING TO wEAvEThread the heddle for plain weave starting in a hole on the right side. To insert the pattern stick for the weft-float sequence: With the heddle down, pick up the slot threads on a pick-up stick in the area behind the hed dle in the following order: 1 up, 2 down, and repeat; end with 1 up. Push the stick to the back of the loom when not in use.

wEAvING A wEFT-FLOAT SEquENCE1. Weave 1 pick with heddle up.

2. With heddle in neutral, bring the pattern stick toward the heddle, turn stick on edge, and weave 5 picks, catching weft around the outside warp thread each time and pressing each pick in place.

3. Weave 1 pick with the heddle up; press again firmly.

TeChNIque: bAs IC LeNo

Leno is one of a group of hand-controlled weaves that cre-ate sheer, delicate open spaces in a firmly woven fabric. The open spaces are created when warp threads cross each other from one shed to the next. All you need is a loom threaded for plain weave and several pick-up sticks, making the rigid-heddle loom a perfect tool for leno.

To see how leno works, open a plain-weave shed with the heddle up. Isolate two warp threads next to each other, one in the layer of raised warp threads, one in the layer of threads that are down. To make the threads cross, the upper warp thread will have to move either from the left to the right of the lower one or from the right to the left. Make this crossing with your fingers and pull up and place the lower thread on a pick-up stick. When the weft is inserted into a shed made by turning the stick on edge, it will lock the threads in the crossed position. When the stick is removed and the next plain-weave shed is made, the warp threads will return to their previous uncrossed position.

Many stunning patterns can be created by variations in this process. You can work a complete row of leno all across the warp with every pair of warp threads, you can use two or more threads in the crossings, you can isolate groups and/or offset them in subsequent rows, or you can combine any of these. Single crossings are referred to as 1/1 leno (this is also called gauze). In 2/2 leno, two threads from the top cross two bottom threads.

In the crossings for this hanging, upper warp threads (1, 2, or 3 as specified) are crossed to the left over lower threads (1, 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. (In the Karelian lace band, the crossings are made from left to right, the only exception.) If you are left-handed, you can do everything from the opposite direction if you thread the first end in a hole on the left side of the loom. All leno pick-ups are followed by a plain-weave pick, heddle down.

bAs IC LeNo T IPs• Keep the crossed threads evenly spaced on the pick-up stick and away from the pair you are working.• Check as you go (especially important when you are working an offset pattern); it is easier to correct mistakes as you make them than to go back.• Leno places stress on the crossed warp threads and causes draw-in. Allow plenty of weft ease (warp threads can then be pulled into position when the cloth is off the loom).


TeChNIque: fANCy LeNo vAr IAT IoNs

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 combina-tions 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).

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 cross-es 2 bottom ends) and then 1/1 all the way across to end in 2/1. (Depending on which way the warp threads have 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.)

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-nation of 2/2 leno and 1/1 Mexican lace. The total number of warp threads should be divisible by 2. Each section of Mexican lace starts with 1/2 and ends with 2/1.

undulating Mexican lace

Karelian lace

Mexican lace

Peruvian gauze

2/2 leno

1/1 Norwegian lace

1/1 leno

2/2 leno

Tarascan lace

2/2 Mexican lace

originally published in Handwoven®, March/April 1986, pp. 47, 8 (instruction supplement).

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

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.


wEAvING THE HANGINGWeave 6" plain weave at the beginning and end of the hanging. Between pattern bands 1 and 2, weave 1" plain weave. Between all other pattern bands, weave 3" plain weave. Pattern bands 1, 2, 4, 6 should be about 1⁄2" high (8 is 3⁄4", 10 is 1") and bands 3, 5, 7, and 9 about 5". Work all the leno rows with the heddle in the up position and follow each leno pick with 1 plain weave pick, heddle down.

Pattern band 1 1/1 leno.


Pattern band 3 Karelian lace variation.

Weave 1 weft-float sequence followed by 3 picks plain weave (down, up, down). a With the heddle up and working from the right, push the first warp thread to the side under t he s t i c k . Then *p ick up t h ree groups of 3/3 leno (18 total warp threads) moving the upper warp-thread groups to the right (this is the only lace in the hanging in which the crossings move in this direction), pass the stick over the next 6 upper warp threads (12 total threads) and repeat from * across the warp (placing the last thread under the stick). End with four groups of 2/2 leno and pass over the last end.

**With this stick in place and the same plain-weave shed open (heddle up), take a second pick-up stick in front of the first stick through the leno crossings carried by the first stick and also through the plain-weave shed formed in the 12 threads between leno groups. Turn this stick on edge and weave 1 pick, pressing in the weft with the stick.

Leaving the first stick in place, remove the second stick, make the next plain-weave shed (heddle down), and take the second stick through the same leno crossings and through the new plain-weave shed for the 12 threads between groups as before and repeat across the warp. With the heddle in neu-tral, turn the second stick on edge, weave 1 pick, press in place, and remove stick. Repeat from ** two more times and then repeat the first pick again for 5 total plain-weave picks with this leno pick-up.

Take both sticks out and weave 3 picks of plain weave.

b Next, repeat all of the above using two pick-up sticks in the same way, but this time make the 3/3 leno with the warp threads that previously wove plain weave and weave plain weave with the warp threads that previously formed leno. Leave the first and last edge threads out of the pick-up as before and make all crossings to the right. End with 3 picks plain weave with sticks removed as before.

Repeat a, b, a for five total design rows. Weave 1 weft-float sequence.

Pattern band 4 1/1 Mexican lace.Start with a 1/2 crossing: With the heddle in up shed posi-tion, move upper warp to the left, pick up 2 from below, then 1/1 across the warp, and end with 2/1.

Pattern band 5 Peruvian gauze.

Weave 1 weft-float sequence, then 1 p i c k o f p l a i n weave with heddle down, and then1 w e f t - f l o a t s e -quence.

With the heddle up, weave 1 row of 1/1 Mexican lace (start with a 1/2 crossing, then 1/1 all across, and end with a 2/1 crossing). As with all leno pick-up, follow with 1 pick plain weave, heddle down.

For the second row of Mexican lace, mark raised warp ends 15, 20, 25, 30, 35, and 50, 55, 60, 65, 70, and 85, 90, 95, 100, 105. Work the Mexican lace all the way across as usual, except do not make crossings of any marked thread with its (bottom) pair (slide them over and under the stick as they are). Follow with 1 pick plain weave, heddle down.

For the third row of Mexican lace, mark raised warp threads 20, 25, 30, and 55, 60, 65, and 90, 95, 100 and do not make crossings of them with their (bottom) pairs; again follow with 1 pick plain weave with heddle down.

For the 4th row of Mexican lace, do not make crossings of raised warp threads 25, 60 and 95; again follow with 1 pick plain weave.

Weave the fifth row of Mexican lace all the way across the warp as for the first row followed by 1 pick plain weave, heddle down, and then weave 1 weft-float sequence, 1 pick of plain weave with heddle down, 1 weft-float sequence, and finally 1 pick plain weave, heddle down.



Pattern band 7 Tarascan lace.

Weave 1 weft-float sequence followed by 1 pick plain weave, hedd le down.

With heddle up: Alternate four groups of 2/2 leno with thirteen groups of 1/1 Mexican lace (start 1/2; repeat 1/1 eleven times; end with 2/1) five times; end with four groups of 2/2 leno. Weave 1 pick plain weave, heddle down.

For the next pick-up, with heddle up, start with 1/1 leno, then four groups of 2/2 leno, then alternate eleven groups of Mexican lace (start 2/1; repeat 1/1 nine times; end 1/2) with five groups of 2/2 leno five times (the last leno group will be a 1/1). Weave 1 pick plain weave, heddle down.

Repeat these rows, but for each pick-up decrease one pair of warp ends on each side of the Mexican lace area and increase the 2/2 leno to form triangles. (Note that the starting crossings for the two rows alternate 1/1 and 2/2 so that the lace is alter-nately aligned in alternate rows.) The last lace row is 2/2 leno all across. End with 1 weft-float sequence.

Pattern band 8 2/2 Mexican lace.Start with 2/3 crossing, repeat 2/2 across; end with 2/1.

Pattern band 9 Undulating Mexican lace.

Weave 1 weft-float sequence and 3 picks plain weave (down, up, down).

To form a base for the undulations: With the heddle up and counting care-fully, take the shuttle through the plain-weave shed from right to left under 35 warp threads; *move the heddle down and take the shuttle left to right under 16 warp threads; then move the heddle up and take the shuttle

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 in the plain-weave sections and only 1 in the section where the lace will be worked for the first part of the design.

Measure 5 strands of 10/2 linen, each a generous 6x warp width, and wind them on a shuttle for the outline weft.

Place the heavy weft in the plain-weave shed with the heddle down and press in place; leave a tail to tuck into the next outline-weft shed. (The plain-weave pick that follows the lace pick-up in this pattern band is made with the heavy weft.)a With the heddle up, work nine groups of 2/2 Mexican lace (2/3, 2/2 seven times, ending with 3/2), *take the pick-up stick through the plain-weave shed under 16 warp threads and then work eight groups of 2/2 Mexican lace the same way but end with 2/1, and repeat from * to the left selvedge ending the last Mexican lace with a 3/2. Place the second pick of heavy weft with the heddle down; tuck in tail from first pick. b For the next lace row with the heddle up, take the pick-up stick under 18 upper warp threads, * work nine groups of 2/2 Mexican lace (start with 2/3, then 2/2 seven times, ending with 2/1) and go under 14 warp threads for plain weave, and repeat from * to the right selvedge (last plain-weave group will have 18 threads). Place a pick of heavy weft with the heddle down.

Repeat a, b, and a. Then repeat the picks that formed the base for the undula-

tion that you did at the beginning. End the band by weaving 1 pick, heddle down, and 1 weft-float sequence.

Pattern band 10 1/1 Norwegian lace.Start with a 1/2 crossing, then 1/2 again, then 1/1 repeated across the warp, and end with 2/1, 2/1.

FINISHINGRemove the fabric from the loom and steam-press. Turn up 11⁄2" hem. Insert thin slats in each hem and attach fishline for hanger. (I use 1⁄8" by 1" aluminum strips as they are very thin but heavy enough to hold the wall hanging straight.)

DESIGN IDEASLeno provides a wonderful opportunity to play with yarn, and these fancy weaves are not hard to do if you follow each step carefully. Weaving is faster than it may seem from reading the directions—remember, it only takes 2 picks to make 1⁄2" of leno patterning. After you become comfortable making the crossings and counting threads for the designs, you can plan designs of your own. Consider using different numbers of weft threads and groupings in the undulating and Karelian laces, for example. Sit back, relax, and let your fingers do the twisting!


p e t i t - p o i n t p a t t e r n i n l i n e n f o r a r u n n e rB e t t y D av e n p o r t

Weaving SequenceEach capital letter indicates a pattern shed (formed by pattern stick A, B, C, or no stick for D). For each letter, weave 2 ground picks and 1 pattern pick as described above in Pick-Up for Weft-Float Patterning (with pattern sticks pushed to the back, weave 2 picks with heddle up and then down using the ground weft; then weave with heddle up and pattern stick brought forward (A, B, C, or none for D) using the pattern weft.

Use the following order of plain weave and pattern to weave the runner: With Baby Blue ground weft, weave 3" plain weave. Using Royal Blue for pattern weft, weave the pattern sequences (as described above) in the following order: ABCABCDABCDD. Using White for pattern weft,

PROJecT nOTeSThe dots of color created by a weft that weaves plain weave on the face and floats on the back would take more than four shafts on a shaft loom but are easy to weave on a rigid-heddle loom. The pattern sticks are inserted and remain in place throughout the weaving. Use 1" wide strips of poster board as pattern sticks to reduce the stress on the warp yarns that wider sticks might cause. Because there is considerable draw-in with this fabric, lay in each weft at a generous angle. To substitute other colors, choose a medi um value for the background color and a dark value of the same color plus white for the pattern wefts.

FaBRic DeScRiPTiOnPlain weave with weft-float patterning.

FiniSheD DimenSiOnS13" by 46" plus 3" fringe at each end.

WaRP and WeFTWarp: 3/2 pearl cotton at 1,260 yd/lb, 430 yd medium blue (Copen #18). Ground weft: 8/2 unmercerized cotton at 3,360 yd/lb, 340 yd light blue (Baby Blue #46). Pattern weft: 3/2 pearl cotton, 22 yd White and 25 yd Royal Blue #16.

YaRn SOuRceS 3/2 pearl cotton and 8/2 unmercerized cotton by UKI are available from most weaving retailers.

TOTaL WaRP enDS 191.

WaRP LengTh21⁄4 yd (allows 3" take-up, shrinkage, and 27" for loom waste; loom waste includes fringe).

e.P.i. 12.

WiDTh in ReeD 16". P.P.i. about 14.

TaKe-uP and ShRinKage 18% in width, 10% in length.

WeavingThread the heddle for plain weave, starting in a hole on the right side. It is im portant that the warp start and end in a hole so that the pattern weft interlocks at the selvedges neatly.

To insert the three pattern sticks, place the heddle in the down position and, with each pick-up stick, pick up only the slot threads in the area behind the heddle following the se-quence in Pick-Up for Weft-Float Patterning.

Note that for pattern shed D, a pattern pick is made but no stick is used (all slot threads are down as for the solid-looking lines of Royal Blue in the runner).

TeChNIque: P ICk-uP for PeT I T-PoINT PATTerN wITh A suPPLemeNTAry wefT

Pattern picks pass under all hole threads and show over selected warp threads as dots of color (long floats occur on the back). Label each pattern stick as you insert it (the sticks will slide over each other):

For Pattern Stick A With the heddle in the down posi-tion, pick up the slot threads on a pick-up stick behind the heddle in the following sequence (“down” means that the pick-up stick passes over these threads): 2 down, 3 up, (1 down, 5 up) 14×, 1 down, 3 up, 2 down.

For Pattern Stick B With the heddle in the down po-sition, pick up the slot threads in the following sequence behind the heddle: 2 down, 2 up, (3 down, 3 up) 14×, 3 down, 2 up, 2 down.

For Pattern Stick C With the heddle in the down position, pick up the slot threads in the following se-quence behind the heddle: 2 down, 1 up, (5 down, 1 up) 14×, 5 down, 1 up, 2 down.

Pattern D No stick is needed.

To weave one pattern sequence (indicated as A, B, C, or D in weaving instructions) Weave 1 ground pick with heddle up.Weave 1 ground pick with heddle down.Weave 1 pattern pick with heddle up, pattern stick brought forward (A, B, C, or no stick with D).

You can create other similar designs with multiple sticks, as long as each successive stick that you insert picks up only threads picked up on the previous sticks; see Bron-son lace pick-up, pages 14–18.


originally published in Handwoven®, summer 1985, pp. 11, 3–4 (instruction supplement)

weave A 4x, B 8x, A 4x. Using Royal Blue for pattern weft, weave DDCBADCBACBA. Weave 21⁄2" plain weave. Using White for pattern weft, weave ABCBA (small diamond). Weave 31⁄2" plain weave using Baby Blue ground weft, then repeat ABCBA (small diamond) with White pattern weft. Weave 15" plain weave, then re peat the above in reverse.

FiniShingHemstitch each raw edge in groups of 4 warp threads. Knot hemstitched groups in a three-row pattern of knots as shown in the photo above. Machine wash, gentle, and tumble dry until just damp. Press, being careful not to snag the pattern floats on the reverse side. Trim fringe.

© Interweave Press LLC. Not to be reprinted. All rights reserved. h a n d w o v e n m a g a z i n e . c o m 1 1

p i l e p a t t e r n i n g w i t h t h r u m s f o r p i l l o w sB e t t y D av e n p o r t

weft and the thrum weft in together. The ground weft should slide under the thrums. Then weave the desired number of plain-weave picks starting with the heddle up. The pillow is assembled in a way to elimi nate bulky machine-stitched seams.

FABRIC DESCRIPTIONPlain weave with discontinuous supplementary-weft patterning.

FINIShED DImENSIONS Two pillows about 19"×16" each.

WARP and WEFTWarp:8/4 cotton carpet warp at 1,600 yd/lb, 339 yd dark brown. Ground weft: Worsted-weight singles wool at 760 yd/lb; (190 yd/4 oz skein), 2 skeins each of #235 Terra Cotta, #220 Cinnamon, #222 Earth. Pattern weft: a collec-

PROJECT NOTESEthnic textiles are a wonderful source of inspiration. At an exhibit of Yoruk weavings from the Toros Mountains of Turkey, I was especially attracted to a large rug covered with tufts of yarn laid in at intervals across the surface. It struck me as an interesting way to use up thrums and other leftovers.

To do this, gather up all those warp ends and miscellane-ous short lengths of yarn you can find. Sort out some coordi-nating colors, mix strands of the different yarns together into bundles, and lay them out in the order you wish to use them (gradations of dark to light work well). Then choose sev eral colors in a soft wool appropriate for weft-faced plain weave to use for the ground weft. You can use an 8-dent, 10-dent, or 12-dent heddle depending on your yarn; these pillows are woven with a 12-dent heddle using every other slot/hole so that the sett is 6 ends per inch.

The thrums can be any yarns, but for these pillows they are a combination of silk, fine wools, cottons, and mohair. Fine yarns work especially well, as more strands can be included in each bundle for a fuller, more interesting fringe. (Novelty yarns are not recommended since they tend to pull apart at the ends and look ragged.)

The bundled thrums should have a diameter slightly larger than the diameter of the ground weft (15–20 strands for the thrums used in these pillows). My bundled thrums are often about 20" long (the loom waste from my rigid-heddle loom)—just the right length for one weft pick for fabrics such as these. It’s especially convenient if your thrums are as long as the width of the project. If they are shorter, however, you can lay them in the shed as far as they will go and add another bundle to fill out the full weaving width.

You’ll find it easy to experiment after the warp is on the loom. The number of slot threads picked up on the pick-up stick deter-mines the width of the pattern section where the thrums are woven in. The number of slot threads skipped between pick-ups deter-mines the length of the pile (half the length of the floats).

These pillows are woven with an open sett so that the pattern wefts pack in well. You may have to use your fingers to push down the pattern areas in Pillow 2 (right pillow on page 12) so that the fell line remains even. In Pillow 1 (left pillow), there is enough plain weave between the supplementary-weft picks to compensate for the extra weft. The general procedure is to weave a pick of the ground weft with the heddle down and then open the pattern shed by turning the stick on edge (heddle in neutral), lay the bundle of thrums in, close the shed, and beat the ground

TeChNIque: P ICk-uP P I Le PATTerNINg

Sections of pattern weft can be placed in the cloth any-where desired. For these pillows, four sections are spaced across the width of the warp with floats between them that become pile after they are cut. For Pillow 2 (at right), a second pick-up places the pattern in three sec-tions to alternate with the 4-section bands.

For Pattern Stick A (Pillow 1 and red bands in Pillow 2) With the heddle in the down position, pick up the slot threads on a pick-up stick behind the heddle in the fol-lowing sequence: 6 down (7 up, 7 down) 3×; end with 7 up, 6 down. Pattern stick A remains in place throughout the weaving and is pushed to the back when not in use.

For Pattern Stick B (the brown bands of Pillow 2) With the heddle in the down position, pick up the slot threads in the following sequence behind the heddle: 6 down, (7 down, 7 up) 3×, ending with 13 down. Pattern Stick B must be reinserted each time it is used (with Pattern Stick A pushed to the back) and removed be-fore bringing Pattern Stick A forward to use again.

Pattern sequence Weave 1 pick with heddle down.Weave 1 pick of thrums: With heddle in neutral, bring Pattern Stick A forward and turn on edge (or turn Pat-tern Stick B on edge after inserting), and place thrums in the shed leaving 11⁄2" extending from cloth at each edge. Beat this and the previous weft at the same time (after removing Pattern Stick B).Weave 1 pick with heddle up.


Originally published in Handwoven®, November/December 1984, pp. 66, 10 (instruction supplement)


tion of thrums in coordinating colors (you’ll need about 50 bundles 20" long).

YARN SOuRCESTop of the Lamb worsted-weight singles wool by Brown Sheep Company is available from most yarn retailers.

NOTIONS and OThER mATERIAlS1 yd of 45" cotton fabric for two pillow casings, two bags of shredded foam or polyester fiberfill, tapestry needle.

TOTAl WARP ENDS123 (2 threads on each selvedge are doubled for 119 work-ing ends).

WARP lENgTh23⁄4 yd for two pillows, (allows 25" for loom waste; loom waste includes about 6" fringe between pillows).

E.P.I.6 (sleyed in every other hole and slot of a 12-dent rigid heddle; for example, sley 1 hole/1 slot; skip 1 hole/1 slot, and continue).

WIDTh IN REED 20".

P.P.I. 24.

TAkE-uP 5% in length, 10% in width.

WEAVINgFor Pillow 1 (left pillow on page 12): Use Cinnamon for ground weft and thrums for the pattern weft in colors gradat-ing from bright reds and purples to salmons and light pinks (arranging colors from dark to light). Follow pick-up process in the Technique box (page 11) for each pattern sequence (leave11⁄2" weft length extending from outside edges of pat-tern sections on each side to trim as pile).

Weave 3⁄4" plain weave; weave 3⁄4" plain weave followed by 1 pattern sequence and repeat for a total of 7×; weave 1" plain weave followed by 1 pattern sequence and repeat for a total of 3×; weave 11⁄2" plain weave followed by 1 pattern sequence and repeat for a total of 3×. End with 11⁄2" plain weave (total height is about 161⁄2" measured under ten-sion). As you increase the distance between pattern sequenc-es, gradate the pattern-weft bundles from darker to lighter. You can clip the pattern-weft floats to form the pile ends as you go or after the fabric is off the loom.

Weave 161⁄2" for plain weave for pillow back. (You will need to add some stripes of the other ground-weft colors since it takes slightly more than two skeins to complete one pillow.)

Cut Pillow 1 off the loom leaving about 3" for fringe on each end (to be used in finishing the pillow) and retie the

warp onto the front apron rod for Pillow 2.For Pillow 2: Use Terra Cotta and Earth as ground weft

and thrums for the pattern weft in soft pinks and bright reds. There are three different sections: a red band, a brown band, and an intermediate striped band.

For red bands (23⁄8" total height each): Using Terra Cotta, weave 12 picks plain weave; weave 1 pattern sequence as described in the Technique box followed by 5 picks plain weave and repeat for a total of 5x, end with 7 picks plain weave.

For intermediate striped band (5⁄8"): Weave 8 picks each alternating Terra Cotta and Earth (16 total picks).

For brown bands (11⁄8" total height each): Using Earth, weave 5 rows plain weave followed by 1 pattern sequence as described in the Technique box for a total of 3×; end with 5 rows plain weave.

Weave the three sections in the following order: 1 red band 23⁄8", 1 inter mediate stripe 5⁄8", 1 brown band 11⁄8", 1 intermediate stripe 5⁄8"; repeat this order for a total of 3×; end with 1 red band (about 161⁄2" total). With Terra Cotta, weave matching length for pillow back, adding some stripes using the other wool colors. Remove from the loom, again allowing about 3" fringe at each end.

FINIShINgCut in the center of weft floats in Pillow 1. For Pillow 2, the tufts have been trimmed to about 1⁄2" in length.

ASSEmBlY and SEWINgFor each pillow: Fold pillow piece in half right sides together joining 3" warp fringes. Form a tube by taking two 3" warp ends each from each edge and tying together in an overhand knot. Trim ends 1⁄2" from knots. Turn tube right side out.

Cut pillow casings so they are 1" longer and wider than pillow. Stitch 1⁄2" seams of casing leaving one side open. Turn and press seams. Insert shredded foam or polyfil into the cas-ing and stitch remaining seam closed. Hint: Shredded foam won’t cling to everything if you sprinkle some water in the plastic bag before transferring it into the pillow casing.

Close one side seam of pillow tube by needle weaving the selvedge loops together. Insert the stuffed pillow casing into the envelope and then close other seam by needle weav-ing in the same way.

If your selvedges are not smooth enough to needle weave together, you can machine stitch the side seams. With pillow tube still inside out, stitch seam along the second warp thread from selvedge on one side. On the side to be left open for turning, sew seam closed 2" from each corner. Turn pillow cover right side out, steam-press side seams using a pressing cloth, insert the stuffed pillow casing, and close remaining seam length by hand.


P i c k - u P b r o n s o n l a c e f o r a s w e at e rB e t t y D av e n p o r t

weave is woven. The stick can be brought forward to make weft floats when ever it is called for in the direc tions. In other words, you can make three different sheds just as you could if you had three shafts on a shaft loom. The pick-up stick works like another heddle or shaft added to the loom.

There’s no need to stop at three, either. The design in the Bronson Lace Sweater has three block combinations (three pattern sticks), which would require five shafts on a shaft loom.

bronson lace and the rigid heddleExcept for plain weave, Bronson lace is the easiest and most versatile fabric structure that can be woven on a rigid-heddle loom. Chances are good that any Bronson-lace projects you see in Handwoven that are woven on a shaft loom can also be woven on a rigid-heddle loom if the sett is not too close. How can this be?

A unique feature of Bronson lace is that alternate warp ends are all on the same shaft. This feature makes Bronson lace a likely candidate for the rigid-heddle loom. Another feature of Bronson lace is that weft floats travel over odd numbers of warp threads. Notice how floats work on your rigid-heddle 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 patterns can be woven on a rigid-heddle loom because of the characteristics of the hole-and-slot hed-dle. 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 moved individually to allow the weft to skip over them and create floats. To make this easy, a pick-up stick is inserted behind the heddle into the layer of slot threads, pushing down slot threads as need ed for the pattern. The part that makes this especially easy is that the stick can stay in place, pushed to the back behind the heddle when it is not in use, and therefore it does not interfere with the heddle while plain

TeChNIque: P LACINg muLT IP Le P ICk-uP sT ICks for broNsoN LACe

The diagram below shows three pick-up sticks arranged to weave three different pattern-block combinations in Bronson lace. Notice that the stick closest to the heddle produces the floats woven at the bottom of the cloth; the middle stick weaves the middle set of floats, and the stick closest to the back beam produces the top row of floats. Picture how the middle stick can be brought in front of the other two, and the top stick in front of the other two. When any of the sticks are not in use, they remain at the back and do not affect the pattern.

bronson-lace interlacement

bronson lace sweater: project notesFolding the narrow fabric for this sweater on the bias creates a garment that drapes as softly as a knitted fabric as well as a garment pattern that leaves no wasted cloth. Needle weav-ing the selvedges of the di agonal seams reduces bulk and makes a less noticeable join than machine stitch ing.

Bronson lace color blocks appear in the yoke area while the rest of the sweater is plain weave inlaid with ran dom bits of accent colors for weft color movement to offset the warp stripes without having to match weft stripes. The knitted rib-bing around the neck and sleeves is bound off with an invis-ible tubular technique that makes a nice rounded edge. If the ribbing stretches out due to the slippery alpaca, elas tic cord can be threaded through the tubular edge. At the lower edge of the sweater, elastic in a casing gathers the hem for a blou-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" circumference, use fin ished fabric 17" wide; for 45", use 16"; for 42", use 15"; for 39", use 14"; and for 37", use 13". Remember to add widthwise take-up and shrinkage when you calcu late width in the reed.

Fabric descriptionPlain weave and Bronson lace.

dimensionsOne sweater, women’s size large. The circumfer ence at chest is 47", length from shoulder 22", sleeve length from center back 31" including 2" ribbing. Before cutting, the fabric mea-sures 17" wide by 120" long.

warp and weFtSportweight alpaca at 1,188 yd/lb: 1,500 yd #41 (green), 90 yd #401 (teal), 35 yd #25 (red), 30 yd #57 (magenta), 30 yd #511 (purple).

Yarn soUrcesThe yarn used in this sweater (Alpaca Clasica from On the Inca Trail) are no longer available. The suggested substitute is sportweight alpaca from Frog Tree Alpaca, available from the Yarn Barn of Kansas and other retailers. (You can also use Brown Sheep Nature Spun 2-ply at 1,200 yd/lb or Jagger-Spun Maine Line 8/3 at 1,490 yd/lb.)

notions and other sUppliesTapestry needle, green sewing thread, 4 double-pointed knit-ting needles size #1, 7⁄8" by 11⁄2 yd elastic, 3 pick-up sticks.

total warp ends 183.

warp length4 yd (allows take-up, shrinkage, and 18” loom waste).

e.p.i. 10. width in the reed 183⁄10".

threadingThread the heddle for plain weave. For the warp stripes to appear in the correct place, begin the first warp on the right side in a hole. The three teal warp ends will then be threaded in a hole, a slot, and a hole.

p.p.i. 10.

taKe-Up and shrinKage 8% in width and 6% in length.

placing the picK-Up sticKsTo in sert the pick-up sticks for the pattern weave, place the heddle in the down position, which moves the slot threads up. Counting only the upper layer of warp threads in the slots, pick up the slot threads in the sequence described below for each stick. When a pattern stick is called for in the weaving, move it forward be hind the heddle and turn it on edge. Each pattern stick remains on the loom throughout weaving—just move it toward the back beam when it is not in use and weave plain weave as usual with the heddle up and then down. pattern stick a Pick up 4 threads, then *( go over 2, pick-up 1) 5 times, over 2, pick up 5, repeat from *, (end with 4 up on left selvedge).pattern stick b 4 up, *(over 2, 1 up) 3 times, over 2, 11 up, re peat from *, (end with 10 up on left selv edge).pattern stick c 4 up, then *over 2, 1 up, over 2, 17 up, repeat from *, (end with 16 up on left selvedge).

The pick-up sticks should slide on top of each other.

weaVingIt is very important to achieve a balanced weave for this fabric because the Bronson lace pattern area should be woven to square to form the triangle at the neck. Use a light touch when pressing the weft in place. Frequently check the number of picks per inch with a ruler, especially in the Bronson-lace area, to be sure that you are weaving 10 picks per inch.

All pattern sticks should be pushed near the back beam unless the instructions say to bring one forward for weaving. Return each pattern stick to the back after using it.

Begin the fabric by weaving plain weave in the following weft color order: 3⁄4" green, 3 rows teal, 2 rows green. Then start the pattern sequence below using green except when noted:1. 1 pick with heddle up.2. Bring pattern stick C forward; turn the stick on edge; weave 1 red pick.

1522 41

33168183

tealgreen

4xwarp color order



originally published in Handwoven®, January/february 1994, pp. 36, 40–43, 88–89


3. 1 pick with heddle up.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.37–42. Weave 1 green, 3 teal, 2 green.

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 ac-cent inlays: Lay in short lengths of the accent colors at random after every 2"–3" of weaving. (Occasional ly, 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.

FinishingMachine stitch raw edges. Wash by hand in warm water with 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.

assemblYAs you cut the fabric during assembly, secure cut edges (al-paca is slippery) with one row of straight stitching 1⁄2" 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 togeth er, and with green yarn, needle weave an invisible join (see Layout) for half of the diagonal seam on the back. Make the next fold, pin and needle weave the selvedge edges to gether to form the di-agonal 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-ing 11⁄2" overlap on the back for seam al lowances. 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 bias. Cut along bottom fold for the hemline.

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 invisi ble 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"

17"

17"

17"

fabric for sleeves

17"

shoulder line of yoke

fold 3

fold 2

fold 4

fold 1

laYoUt


22"

20"

rotate wedges and stitch selvedges together with invisible join.

shoulder line, fold 1

diagonal back seam with

invisible selvedge join

machin

e sea

m

on cu

t edg

es

sleeve seam

sleeve seam

fold2

fold4

fold 3to be cut for lower edge

8" back

front

shoulder line

11⁄2"

3"

17"

Knit the ribbing around the neckline. Adjust bodice length to fit, turn under a casing, and insert elastic (or finish with ribbing in stead). Stitch down seam allowances by hand.

Knitted ribbingI worked the rib bing at a gauge of 10 stitches per inch un-stretched. Work a swatch of ribbing and adjust if necessary. Pick up stitches 1⁄2" 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 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 from * twice. To start a new color, loop the new yarn around the old and double it back. Work 3 stitches with the dou bled yarn before dropping the end. To change back to a previous color, bring it under and around the others, interlock ing them as in 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-oFFStart 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 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 another to divide the stitches into two layers. Slip a short cord through the first and last stitches of the round. Cut the yarn 4x the length of the ribbing and thread into a tapestry needle. 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 needle. b. Insert the tapestry needle purlwise into the second stitch on the front needle. Leave it on the knitting needle and draw the yarn through. c. Insert the tapestry needle purlwise into the first stitch on the back needle and slide it off the knitting 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 that you saved on the holding cord.

sleeVe

bacK

selVedge jointUbUlar bind-oFF

necKline

a. b. c. d.


F i r e s i d e T h r o w a n d P i l l o wB e t t y D av e n p o r t

PROJECT NOTESThis is an easy project to weave since the panels don’t need to match. The project is woven on two separate warps: one for the outside panels of the throw and the other for the center panel and a pillow. The throw can be enlarged by weaving wider panels if you have a wider rigid-heddle loom than 16". Since the selvedges show in this project, weft joins should be neat and unobtrusive. When you finish weaving with one weft color, break off the weft leaving not more than a 1" tail to tuck into the next shed. Start the next color with the end just inside the edge so the two ends overlap 1". This method 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 DIMENSIONSOne throw 41" by 70", plus 1" fringe on each end and one pillow 15" by 20".

WARP and WEFTWarp: 2-ply wool at 1,200 yd/lb, 1,340 yd Pomegranate. Weft: 2-ply wool, 692 yd Red Fox, 150 yd each of Pome-granate and Bougainvillea, 70 yd Husker Red. Novelty bou-clé (90% alpaca, 10% nylon), 70 yd color #14 (gray red) and 100 yd color #13 (gray purple). The yarns originally used in this project (Wilde Yarns 2-ply wool and Tumbleweed and Pebbles wool novelty bouclés) are no longer available. Choose any soft wool (use a sett suitable for plain weave) and go shopping at your local yarn store for textured yarns that will stand out in isolated stripes.

yARN SOuRCESNature Spun 2-ply wool at 1,200 yd/lb (about 300 yd/4 oz skein) by the Brown Sheep Company is available from most yarn retailers; alpaca bouclé (item #118) is available in 70 yd/50 g balls from Halcyon Yarn (two balls of each color are needed for this project).

TOTAL WARP ENDS Warp 1: 140; Warp 2: 160.

WARP LENGTHWarp 1: 5 yd and Warp 2: 4 yd (allows take-up, shrinkage, and 18" loom waste).

TeChNIque: des IgNINg LArge CLoThs for smALL Looms

For centuries, weavers around the world have produced large fabrics on small looms and joined narrow pieces to-gether for blankets or garments. The fabrics of China and Japan are noted for their narrow widths. Burial cloths in ancient Peru often were assembled from as many as ten panels. The weavers of West Africa were, and still are, mas-ters at joining narrow strips into incredibly vibrant cloths. Today’s weaver who doesn’t have access to a large loom can continue this tradition.

Designing panels with stripes can mask them or turn joins into a design advantage.

Vertical stripes Overall vertical stripes help make any seams inconspicuous when panels are joined. A single warp stripe on the joining edge can make a dramatic de-sign; this can be even more dynamic with three panels. Stripe designs that include many stripes and different stripe widths work well.

Horizontal stripes Usually, when you are weaving panels (or garment pieces) with horizontal stripes that are intend-ed to be sewn together, you have to measure as you go and worry a lot about exact matches. A much easier way to deal with horizontal stripes is to plan for them not to match.

A design with horizontal stripes in a random pattern can be balanced using an odd number of panels. This throw is made of three, but consider the design possibilities of five or more. Blocks of pattern can be scattered at random or in alternation with solid colors for a checkerboard effect.

Don’t limit your ideas to plain-weave stripes—there are a number of texture weaves for the rigid-heddle loom, such as Bronson lace, that can be used in vertical stripes or horizontal design areas.


originally published in Handwoven®, January/february 1987, pp. 72, 13–14 (instruction supplement)


E.P.I. 10.

WIDTH IN REEDWarp 1: (for the two outside panels of the throw) 14".Warp 2: (for the pillow and center panel of the throw) 16".

P.P.I. 10.

TAKE-uP and SHRINKAGE 10% in width and length.

DESIGN NOTES

The Fireside Throw, made of three panels, is an example of turn-ing unmatching horizontal stripes into a design attraction. The basic weft stripe design is 2" of solid color and 5" of narrow stripes in random color order. The repetitive design is easy to keep track of and makes a unified overall pattern. The minor decisions in the color order keep the weaving interesting. For variety and to further ensure that the stripes don’t need to match, the center panel is woven entirely in narrow stripes. Most rigid-heddle looms can only handle four to five yards of warp length, which is enough for two panels. Since the loom will need to be warped again for the third panel, take advantage of this oppor-tunity to make some kind of design change for the center panel. For the Fireside Throw, I made the center panel 2" wider than the side panels. It’s width is just right to allow weaving a pillow on the same warp to match the throw.

WEAVINGWarp 1 For the two outside panels of the throw, weave in a sequence of 20 picks of Red Fox (2") and 5" of narrow stripes using all six weft yarns and repeating some twice: Always in-clude 6 picks each of Bougainvillea, Pomegranate, Red Fox, and gray red bouclé (24 picks) plus 6 picks more of each of two of these selected randomly (12 picks) and also include randomly placed 2 picks Husker Red and 4 picks gray purple bouclé and 4 picks Husker Red and 2 picks gray purple bou-clé for 48 total picks; add as needed to achieve 5". Repeat 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 choosing the colors for each one randomly).Warp 2 For the center panel of the throw, weave 77" repeating the narrow stripe se quence 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).

ASSEMBLy and SEWING for the THROWCut apart the two panels and cut the pillow from the center panel leaving scrap yarn in place. Place the three panels side by side on a flat surface. Shift as needed to prevent any weft stripes from matching. Pin the sel vedges together. To sew the panels together, use a length of the warp yarn and a blunt needle and join the selvedges by alternately stitching through the weft loop of one selvedge and then the weft loop of the other, as shown below. Draw the yarn tight.

Ravel all scrap yarn from the ends and then ravel any weft yarn as necessary to even the raw edges. Secure the ends with hemstitching. (I used sewing thread, including 2 ends and 2 picks in each stitch for an invisible finish.)

FINISHINGMachine zigzag both raw edges of pillow fabric and soak the throw and pillow fabric in warm water with liquid deter-gent for 15 minutes, gently squeezing the suds throughout. I used the washing machine, but I was careful not to let the blanket or pillow fabric agitate more than a few times. Rinse several times in warm water, adding a little fabric softener to the last rinse. While the fabrics are still damp, brush lightly with a stiff hairbrush or dog brush to bring up the nap, using only three or four strokes in each area. To preserve the tex ture 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 on both sides using a damp cloth and steam iron. Trim fringe to 1" on both ends of the throw.

ASSEMBLy and SEWING for the PILLOWFold the pillow fabric in half in the weft direction, joining the machine zigzagged raw edges, and machine stitch the raw edges together to form a tube. Trim seam. Join the selvedges of one side of the tube the way you joined the panels of the throw. Stuff with polyester fiberfill or pillow form and sew the second selvedge closed in the same way.

JOINING SELVEDGES


t i p s f o r p l a n n i n g , h e m s t i t c h i n g , a n d f r i n g i n g

S I m P L e h e m S t I t C h I N g

Weave several picks of plain weave, ending with the shuttle on the right side if you are right-handed, left side if you are left-handed. Measure a length of weft three times the warp width and cut, leaving the measured length as a tail. Thread the tail into a blunt tapestry needle.

Take the needle under a selected group of ends above the fell and bring it up and back to the starting point, encircling the group. Pass the needle under the same group of ends, bringing it out through the weaving two (or more) weft threads below the fell. Repeat for each group of ends across the fell. Needleweave the tail into the selvedge and trim. (See * below.)

d o u b L e ( I tA L I A N ) h e m S t I t C h I N g

Weave several picks plain weave, ending with the shuttle on the right side if right-handed, left side if left-handed. Measure a length of weft four times the warp width and cut, leaving the measured length as a tail. Thread the tail into a blunt tapestry needle.

Take the needle under a selected group of warp ends above the fell and bring the needle back to encircle the ends. Next, pass the needle under the same ends but come up two or more weft rows down from the fell. Then bring the needle back around the same group of ends below the fell. Then begin again, encircling the next group of ends. (See * below.)

*For both methods: To hemstitch the first end of a piece, weave a header, weave four or five picks of plain weave (or of the basic weave structure used in the piece), and hemstitch over the top two or three weft rows. Weave the piece and then hemstitch the other end over the last two or three weft rows. Remove the fabric from the loom and discard the header and weft threads below the first hemstitching.

tAke-uP ANd ShrINkAgeWeft take-up and shrinkage. As you weave, extra weft length (be-yond the width of the warp in the reed) must be placed in the shed to allow for weft take-up (in Handwo-ven projects, this amount is included 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 the reed. The cloth narrows further after it is removed from the loom, and shrinkage narrows it even more if it is washed. To calculate the per-centage of weft take-up and shrink-age, divide the finished width by the width of the warp in the reed.

Warp take-up and shrinkage. As you weave, the warp bends over and under the weft threads. Fabric length is therefore less than the length of the warp threads that pro-duce it (Handwoven pro jects give the number of inches allowed for this take-up under Warp Order and Length). When you release tension and remove the fabric from the loom, the fabric takes up in the warp direction. If you wash the fab-ric, shrinkage further decreases its length. To calculate the percentage of warp take-up and shrinkage, di-vide the finished fabric length by the woven length (measured under tension on the loom) plus the inch-es given for warp take-up.

To calculate how long to weave a fabric for a specific finished 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).

t w I S t I N g ( o r P Ly I N g ) t h e f r I N g e

Divide the number of threads for each fringe into two groups. Twist each group clockwise until it kinks. Bring both groups together and allow them to twist around each other counter-clockwise (or twist them together in that direction). Secure the ends with an overhand knot. (Use the same method to make a plied cord by attaching one end to a stationary object.)

New TecHNique SeRieS Rigid Heddle Pattern Book 1

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Transcript of New TecHNique SeRieS Rigid Heddle Pattern Book 1