. . . . or, more properly, endings and beginnings, with oddities thrown in for good measure.
In my last post, I wrote about the “Vernal” series of scarves, and showed photos of the first three. They’re all done now, and off the loom, awaiting a good washing tomorrow before par-drying outside in the sunshine and then a good firm ironing. Here are a few looks at the fourth one ~
For some time, I’ve been developing the design ideas for the next run of Designer Kitchen Towels (aka Art for the Kitchen), the Spring series. I knew its name — Sunshower Series — but had the damndest time getting a clear mental picture of the layout of the warp (lengthwise) threads. Here’s what I was going to work with ~
Two 10.5-yard warp chains of soft hand-dyed ringspun cotton, plus the cone (in the foreground) of twice-as-thick deep forest green pearl cotton as an accent. (Pearl cotton is a double-mercerized, tightly-spun cotton with plenty of luster and strength.) The cone in the background a much finer pearl cotton in a lighter shade of forest green, to be used as the weft (crossing) yarn in all ten (yes, ten!) towels. Here’s one of the warp chains neatly coiled so the color interactions show well ~
I had the idea to play with both symmetry and asymmetry as a design feature, but was unable to work out the details in my head or on scratch paper. Finally, a week ago, I went to my loom-dedicated computer and using the design software, painstakingly laid out the entire 457-thread warp width, with each of the accent threads positioned in a particular relation to the threading sequence I’d already designed. Took quite a while. A happy while.
Today, I spent some hours at the loom (in chunks — the rock-maple loom bench is hard on the tush!) and got the entire warp pulled through the reed (the part of the loom that enables the weaver to evenly space the threads across the width).
Here’s the first stage, Warp Chain A partly in ~