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Hello, I have a question. Why do you tug only one tail and then cut the other in the yellow stripes? Could I cut both tails in a sequence of two picks between ten picks?
Antje - the reason Jane does these 2 pick tuck-ins that way is to secure them as well as possible and to prevent too much build-up in the selvedges. The way Jane shows us at the 6:20 mark in the video creates a less bulky but secure selvedge. You are changing colour often in plaid and you want your edges to be lined up with the plaid stripes. Hope this makes sense.
Won't the 2nd end that is hanging free off the selvedge come undone eventually? I figure you need to wash/dry the fabric once off the loom, and then you can cut the length hanging off, but won't the edge left behind eventually wiggle out of the fabric a bit?
No, it wouldn’t Julie - because you won’t cut that tail off until you fulled and dried your cloth. Just as with any end you trim - they are secure if you let all your tails full and draw-in a bit before trimming them all.
I have a question also in reference to the beginning/ending when you only need two weft colour threads. Is there any reason that we can't do that sort of beginning/ending every time we change threads? Instead of tucking in the tails on both sides?
If you are only working with 2 weft threads and creating larger blocks of colour - then you can tuck your tail ends in on opposite sides so that you prevent buildup on your selvedges. The tuck and trim method she is demonstrating at the 6:20 mark of Plaid at the Loom in Season 2: Episode 6.2 is for a 2 pick colour sequence and helps to reduce build-up when you have these thin stripes in your design.
In the video on designing collapsible fabrics at a time stamp of 3:00 Jane discusses three ways to develop a collapsible fabric. In the second method she mentions over twist yarns, elastic yarns and stainless steel, however the last is not elaborated on . Unlike the elastic yarn and the overtwist I assume the stainless steel is the inactive yarn in this case and the companion yarn would need to be the active component, is this correct. So as an example I could use the stainless with the merino? I have some stainless steel and I have not used it yet, so I am searching for ideas. Any thoughts on this yarn would be appreciated, thank you.
The stainless steel is different option to bring shape to your cloth, and in this case you really shape your cloth when you wear it. You can use merino but you wouldn’t full it the same way that you do with the collapse weave scarf that Jane demonstrates, therefore … using a closer sett will give you the “drape” you want.
I'm just about to start the plaid sample. I'm really not liking the olive. Has anyone replaced it with a different green? I have a dark green (vert fonce) and a medium green (spruce??). I'm thinking of going with the medium green, but thought I'd ask if anyone had replaced the olive and how it turned out?
Had an epiphany moment! Bought a Louet folding warping mill and all of a sudden, my warp was so much easier to handle - it actually wound on to the back beam evenly even on my own! So much easier than a warping board:-)
I am so enjoying this online course! Not sure if I’ve uploaded the photo or not but it shows two rows of hemstitching on the designing plaid warp. I’ve grown to love hemstitching and it’s such a lovely way to divide the experimental areas. I have found Jane’s instructions very clear and feel that I have learned so much already. The Fibonacci sequence is indeed a wonderful tool in deciding proportions, making those decisions less of a problem. Thank you very much for making all this available so readily.
Had fun with the plaid warp. Enjoyed mixing up the colours and incorporating repetitive sequences in there too. Scarf uses 30/2 silk as weft at same 18ppi.
Can’t get hold of 20/2 silk here in the uk at the moment!
I hadn’t planned to do Plaid. It’s nice enough, but seemed kind of traditional and even a little inflexible for design options. Decided to watch the videos anyway… always good tips, and Wow! I was so inspired by how colourful and modern a traditional plaid warp can become.
As an extra bonus, this may have been my best warp ever! What a difference a good warp makes in the weaving process.
Inspired by Joan’s twill I played with my threading and planned for a few twill towels. Love the effect!
Everyone's samples are so beautiful and inspiring!
Alas, I made a boo-boo that I didn't catch soon enough. Now I'm trying to figure out the best way to correct it. I misread my winding sequence and omitted the first small striping sequence. I went from olive directly to red and didn't notice it until I finished the red. I went ahead and wound the second stripe sequence after the red and started to braid it off the warping board. Then, I thought it might be a good time to send a question and take a lunch break. It is still on the warping board, about halfway braided off.
Here is my plan:
1. Finish braiding off the warp on the warping board (olive-red-stripe).
2. Wind and then braid off a standalone stripe.
3. Put the first braid on the warp rod and undo the very tightly tied knot between the red and olive. Retie the olive and red tails on the warp rod.
4. Put a temporary tie around the olive ends on the warp rod and slip them off the rod.
5. Insert the small striped braid next to the red yarn on the warp rod.
6. Put the olive yarn bundle back on the warp rod.
Does that sound like a reasonable way to proceed? It seems like it could be a difficult wind-on and I may need to see if a neighbor could help me.
Thanks for any suggestions.
Frustrating, but at least you caught it early. I would likely do as you’ve suggested. It will be a little more work up front getting the olive out of the way, untying, then retrying a few ends, but I think you’ll find the weaving a better experience than if you hung and weighted those ends like a supplemental warp. Best of luck!
Thank you so much Lisa.
I'm going to finish lunch and head back downstairs to finish winding. I'll let you know how it went.