6-Shaft Rosepath towels. I put these on the loom in March, I needed some spring color to weave. Finally got around to hemming.
Trying out some simple rosepath towels. Using the pattern from Simple Weaves - once I get one towel done I will probably play around with the stripes a bit. I am using two strands of 16/2 cotton in a double shuttle for the weft on this first towel. I am also going to try winding two strands together on one bobbin and will probably try at least one towel using one strand of 8/2 instead of the 2 strands of 16/2. I have gotten advice and recommendations on all three weft variations for several weavers.
10/12/2013 - still weaving - am almost finished with towel number 3 - should be able to get one more full towel and one dish rag out of the warp. Have been successful so far of meting my gol of weaving every day. The third towel is using one strand of 8/2 for the pattern weft - it is working alright but the pattern is not s clean looking as with the two strands of 16/2 - it will be interesting to see what happens after wet finishing.
10/21/2013 - finished the fourth towel, still have enough warp for a fifth towel. Will get started on that this afternoon.
10/25/2013 - off the loom and ready for finishing. I ended up with three towels following the pattern in the book - one multi-colored towel with slightly wider stripes and one towel with wider stripes of various colors. And I ended with a large rag using up various colors to free up some quills. The doubled 16/2 weft lays the flattest and feels the best. The 8/2 is fine, just a bit bulkier. We'll see what happens after washing.
This was like weaving magic as the pattern came to life with every weft pick. This used a turned rosepath draft, and the reed was sleyed unevenly to accommodate pattern threads. You can see this in "The Big Book of Weaving" by Laila Lundell, p. 111.
Since March is nearly upon us, I was inspired to think about Shamrocks!
My guild mate, Jerri Shankler, presented a program on the Rosepath WAL she completed here at Weavolution, based on Laura Fry's article at Weavezine. She gave us a primer in drafting, so I thought I'd play around a bit. Not sure if I'll actually weave it up or not. There is still one long float at the top of the shamrock (10 threads wide) that would show up on the back side. I can add a thread to tie it down, but didn't like what that did to the design. This isn't a final draft, more of a doodle. (And if you decide to weave Rosepath, don't forget there is tabby between the pattern picks.) I did not represent that on my draft post.
We'll see! Do you think I should thread up a loom and try it?
(The fabric you see in the first photo was created with the "Wool Simulation" setting in my Weavemaker software.)
Several firsts for me. This is my first rag rug, first 4-shaft draft, first all-by-myself rosepath threading and treadling. And I'm having a ton of fun!
The weft, laid in, is all new cotton fabric, washed, and cut into 3/4 in. strips. (the red strips are torn to give a bit more texture)
The pattern is from Tina Ignell's Favorite Rag Rugs, p. 77, Rosepath II
2/15/12 Started second rug. I have a patchwork crazy quilt in mind, so I'm freely playing with colors and patterns, using up strips that are already cut. It's also an experiment using a mix of materials, old and new, cotton and poly and unknown. I want to find out if I can get away with it... or not...
2/22/12 Rosepath rug (1st rug) is hemmed. Crazy Quilt rug (2nd rug) has fringed ends.
This is the third in a series of 3-season scarves in a bright & muted color palette, in cotton, linen, and silk.
The name "Dilly" is a small, rural town nearby. The inspiration of the scarf is spring, the mood changeable. The design, as in most of my scarfs, is a story, with asymmetrical motifs, in different colors, each a vignette of a continuing story in my head.
The design is meant to align slightly differently each time the wearer wraps it on, with different areas of the scarf coming together to frame the face, in a subtly different way each time it is worn. The parts not visible when the scarf is worn are its secrets.
The design of this scarf balances areas of plainweave, unbleached and natural, muted color linen and cotton against rosepath details, including inlay. The wefts are mixed fibers. The ends are finished on the loom with hemstitching.
Off the loom, the scarf was handwashed, air dried, and finished in a heatless drier for several minutes to soften.
I have been weaving longer scarfs--to wrap amply--out of linen on a soft, fine Swedish cotton warp. The scarf is an asymmetrical design, mainly plain weave, unbleached linen, with rosepath details, woven in dyed 5/2 perle cotton.
The finished scarf is washed, then dyed in a series of fiber reactive dye color baths. The first 2 baths are dip dyed, and the final bath is an all-over immersion dye