I am creating this as a space where we can discuss out weft faced weaving adventures. I think discussing what we learn here will be very beneficial in retaining our learning!

Comments

Sat, 06/27/2015 - 07:33

Erica J

If you can get a hold of it, I highly recommend Boundweave by Clothilde Barrett! I am returning my borrowed copy to Complex Weavers soon.  

I have turned my daily practice to my weft faced samples. I am taking the tapestry diary approach, by weaving one pattern on my weft faced sample a day. 

Yesterday, I wove my daioy pattern and then my brain made me pull out Boundweave. I admit the first few times I read this book it was difficult. I have done quite a bkt of wrft faced weaving study (actually weaving) and the first three chapters were a joy to weave and the information really clicked!

I would also recommend Nancy Hoskins video, if you are having trouble wrapping your mind around boundweave/weft faced weaves. I'm also happy to meet up with folks in person or online and demonstrate!

Sun, 06/28/2015 - 20:31

Erica J

My first weft faced sample, which will go in my portfolio is woven!!!!

Tue, 07/07/2015 - 15:07

Artistry

Very pretty Erica!

Cathie

agree about the  book Boundweave, it's excellent!

Tue, 07/07/2015 - 15:28

Erica J

Yes I am so glad you recommended it. Clothilde seems to have a different definition of boundweave than Nancy Arthur Hoskins. Clotholde, if I understood correctly, defines bound weave essentially as anything weft faced using continous weft and not plain weave. Whereas Hoskins defines boundweave as weft faced cloth woven on a point draft. Does anyone know why there is a difference? Which is the more widely used definition these days?

The CoA requires samples of both weft faced twill and bound weave, using my understanding of Clothilde's definition these would actually be the same, though I assume if they are listed seperately the CoA syllabus is refering to a point twill threading. Any discussion/input would be greatly appreciated.

Tue, 07/07/2015 - 22:47

Artistry

Ah, Erica I think you might have missed a page in Barrett's Boundweave:) page 7 she gives several threading " observations" so to speak then goes on to say " The most common threading used for Boundweave are twills ,overshots and combinations of twills  and overshots. Two-tie block weaves also lend themselves to the technique." She talks some about Peter Collingwood, then goes on to say" some other threadings will be considered as well."

so I would say re read Chapter 1. 

It appears ,like many things in weaving, there are multiple definitions of a particular weave. I would explain the technique chosen, back it up with the well known resource(s). The more, the better:)

Wed, 07/08/2015 - 07:48

CallunaVee

I don't know either of the authors referred to.  From Mary Black and Ann Field I understand that a weft-faced twill could be woven in one colour only, but bound weave uses more than one colour to create a pattern.  There are a number of threadings that can be used for bound weave:  point twill, rosepath, honeysuckle, summer and winter are good examples. Ann Field notes that there are three types of bound weave: bound weaving on opposites, flame point and figure weaving.

Wed, 07/08/2015 - 08:06

Artistry

CallunaVee, Ann Field is a very good resource for this discussion. Thanks for bringing her name up. It would be very helpful if you could list her book. Though I will go and try and find it:)

Wed, 07/08/2015 - 08:16

Artistry

I wonder if the book by Ann Field isn't " Learning to Weave with Anne Field" ? I don't have it, but know her by other writings and would expect the book to be very good . So the plot thickens with CallunaVee's excellent suggestion, anyone else want to add to the bibliography and definition?

Wed, 07/08/2015 - 18:55

CallunaVee

Cathie

The book I have is "The Four Shaft Loom" by Ann Field, 1987, Dryad Press ISBN 0852197462. I suspect it may be out of print now.

Wed, 07/15/2015 - 17:12

Artistry

Thanks, I'll keep my eye open for it. You never know when someone wants to scale down there house!

Thanks,

Cathie

Wed, 07/15/2015 - 22:08

Artistry

Callunavee, as luck would have it I got an e-mail from Abesbooks today and they had a paperback copy . So I goT it. Can't wait to give it a read:) Cathie

Tue, 08/25/2015 - 16:47

Erica J

I have finished my staright draw wef5 faced exploration, at laest for now! I will cut off all the samples, examine them and make some notes later this week.

Then on to rethreading for point twill explorations!

My plan to do a tapetry diary tyoe study with my weft faced samples, did not mwke it past my long holiday away from hone, but I am now back on track! Yeah!

Wed, 08/26/2015 - 01:07

Artistry

Erica, if you're interested in seeing a small piece of Boundweave I did, go back to page 8 in the postings, it's under " What Weave "

tap. Diary approach sounds like a winner!

Cathie

Tue, 12/15/2015 - 10:17

Erica J

Hello again!

I have gone back to reading Boundweave, as I do not feel confident in my understanding of what all boundweave encompasses.

Clothilde says boundweave can be woven on nearly any threading and lists 4 points for weaving "a well bound fabric." From what I can tell these points apply to any weft faced fabric, but Clothilde and others obviously refer to boundweave as a specific, though broad, segment of weft faced weaves. I have explored plain weaving, twill, point twill, and taquete, which all seem to fall under this bound weave definition. Is that correct? Am I just reading too much into things, becaause the CoA syllabus refers to it seperately from plain weave, twill, and block weaves?

Thanks again!

Erica

Wed, 12/16/2015 - 15:35

CallunaVee

Hello

I don't have Cothilde but Mary Black says that boundweaving is not in itself a technique but a method of treadling. She then goes on to describe these, eg flamepoint, weaving on opposites etc. She says the threading can be rose path, point twill, summer and winter, honeysuckle and other overshot drafts. The result is usually a colourful pattern. So boundweave is more like a family of weaves from which you can choose your particular sample. However, I will seek more information.

Kind regards

Heather S

Wed, 12/16/2015 - 15:36

CallunaVee

Hello

I don't have Cothilde but Mary Black says that boundweaving is not in itself a technique but a method of treadling. She then goes on to describe these, eg flamepoint, weaving on opposites etc. She says the threading can be rose path, point twill, summer and winter, honeysuckle and other overshot drafts. The result is usually a colourful pattern. So boundweave is more like a family of weaves from which you can choose your particular sample. However, I will seek more information.

Kind regards

Heather S

Wed, 12/16/2015 - 20:29

Erica J

Heather,

Thank you. My original interpretation was that is was weft faced on point drafts. In furtger reading, .i realize there are many other tgreadings from whuch to choose. It also seems a more modern definition might be figurative loom controlled weft faced weave. :)

Thankfully the CoA Syllabus allows for the weaver's own interpretation. 

Mon, 12/21/2015 - 12:14

Erica J

Whew, I finally got started on my first texture sample, I'm using soumak. I have scoured Collingwood, Glass, and Harvey. I think I have a fairly good grasp on it now.

I aim to make a rug/hanging sample that evokes the colours and feel of a golden headed lion tamarin, my husand's favorite monkey. When we saw them at the London Zoo, they definintely inspired me to use brown in my weaving! Other than my brown hair, I'm not normallyl a fan of brown. :)

 

Tue, 12/29/2015 - 05:13

ingamarie

I realized at one point that I could do some 9 samples on the same warp.. all the weft faced ones woven on rug warp. I resleyed a bit and rethreaded some but, didn't have to wind or beam a warp.  So I'm now finishing the  3 tapestries, the soumak, chaining, twining, looped pile, boundweaves of various types, and Taquete. 

The finishing on these things is tedious though!!!

Tue, 12/29/2015 - 20:13

Erica J

I have found the various ways we can use tge same warp one of the best discoveries!

What source did you find most helpful for the twining?

Tue, 12/29/2015 - 20:15

Erica J

And did you twine your entire piece or use it as part of a greater whole?

Wed, 12/30/2015 - 03:53

ingamarie

I pretty much just used Collingwood's Techiques of Rug Weaving for the twining...and playing aroung a bit to see how it worked. Sarah Lamb's Woven Treasures is also nice for inspiration, but more for Soumak I think.

Wed, 12/30/2015 - 03:58

ingamarie

You're working on the UK version right? The US version requires 70% of the piece to be in the assigned technique, but the twining sample only has to be 4" of twining, with a long warp fringe that has to finished 3 ways. So I twined about 5".  Most samples are 10" min. Glad I didn't have to twine 10"!  I found it often helps to play music with a good beat -- I twined it on a rainy day listening to a nice house mix of a friend of mine. The rhythm helped a lot.

 

Wed, 12/30/2015 - 06:37

Erica J

Thanks for the input Marie. The UK CoA leaves so much more up to the individuals interpretation, which is usually nice, except when you're pondering a minimum 6" x 8" twined sample. :)

Wed, 12/30/2015 - 15:46

ingamarie

Use a thick yarn. :)

i used Mattgarn.  I did a sample at 8 epi and one at 10 epi. The patterning is more distinct at 10, but they took about the same amount of time. 

The music helps too  

 

Wed, 12/30/2015 - 21:19

Erica J

Tonight, I found red wine helps too! Now that my hands have bedome accustomed to the movements the soumak piece is going better.

I find butterflies are better than bobbins, how about you all. 

I am using my Dryad rug loom and find beating every four picks is better.

Fri, 01/01/2016 - 00:15

ingamarie

Let's see.. boundweave twill, taquete, boundweave figures, looped pile, tapestries (3), soumack and twining...  Had I realized that I could combine things on one warp I would have done the cut pile and the inlay as well.I did a weft faced inlay sample, that one could be balanced as well.

Fri, 01/01/2016 - 00:17

ingamarie

I used butterflies, 'wads' and netting shuttles.  I like the netting shuttles. 

 

Sat, 01/02/2016 - 14:20

Erica J

Did you use Collingwood for looped pile instructions? 

Sun, 01/03/2016 - 03:21

ingamarie

I used Collingwood for some of it, and for the general idea. I also used that rigid heddle book  The Weavers Idea Book and an article on Weavezine

Thu, 01/28/2016 - 18:09

Erica J

Here is my loop pile sample. It us not the fanciest, but the inspiration was mossy castle walls! I am quite pleased with it.Green and silver chenille in loop pile

Hopefully I will finish my twining sample tomorrow.  I am going with a fairly straight forward color and technique sample.

 

Fri, 01/29/2016 - 15:58

Erica J

I almost finished my weft twining sample. I have about 3" more to do. So I'm fairly confident I will get it done this weekend, which will make 2 samples finished within a week. I had no idea the weft twining would go so fast. I have discovered some great color interactions in the process too!

 

Sun, 01/31/2016 - 10:18

Erica J

I did finish yeah!! I whould probably count my warp faced samples, so I know how many total samples I have left to weave. I definitely only have 2 weft faced samples left.

Tue, 02/02/2016 - 19:20

Erica J

My knotted pile, I probably should have gone for an even more simple geometric design, but it is turning out well. It is also going much faster than I thought it would. If my luck holds I may finish Thursday!

It is sideways and more blurry than I thought, but hopefully you hey the idea.

Mon, 02/15/2016 - 15:24

Erica J

Most of my weft faced sample laid out to soak under a hot wet towel for the day. After the soak, they will be pressed and ready to go in my portfolio!

I may reweave the soumak and twining samples to include those techniques rather than use them all throughout the samples, or I may just reweave the soumak at a finer sett. We'll see. I really enjoy sharing my samples with you all, but I am very much looking forward to weaving things that I can share with the greater weaving community.

Sun, 02/21/2016 - 18:06

Erica J

I fnished my cut pile sample today!!!

Now I only have one weft faced sample left to weave, my samitum (which is what I'm doing for the block weave)!

This leaves me only 3 samples left to weave, though I will likely use March to explore more warp faced techniques and choose my final 10 in April/May!

I may well weave a different pile sample, but this one will work if I don't have time. I will say I wove my pile sample from a graphed design and scaled one row per line of graph papter. I used Paternya yarn, which is 3 strands of 2 ply. If I do weave another cut pile sample, I would scale it 3 rows of knots per row of graph paper. I am 99% sure this will make the design read better in the final rug.

Sun, 02/28/2016 - 20:03

Erica J

I came back to this conversation today in an attempt to better undersand boundweave. I have gone back through Barret, in which I realised I made a classic mistake and did not read the introduction, which is where she gives her best definition.

I also found a brief write up in a guild newsletter that gives a good explanation too. So I thought I would reference this here for anyone else.

Thanks to everyone who has shared their thoughts/information!

Wed, 03/09/2016 - 18:12

Erica J

It just occured to me the reason Nancy Arthur Hoskins starts each of the samples in Tabby to Taquete, is probably because that gives you the opprotunity to figure out how many passes it takes to square your pattern. I probably won't weave the entire 13 block profile of my current samitum warp, but I do think I'l do a few blocks to see what it takes to get it a square. :)