Hello there,

I'm so excited to be here!  First of all, I'd like to introduce myself.  I've been working at a textile mill doing design work for about a year.  Up until I began, I had no experience with woven design. I got my degree in fine art, and had quite a bit of experience with various needlecrafts, but had never explored weaving.  In some miraculous happening, I fell into my current job after graduation and have been flying by the seat of my pants ever since!  I absolutely love it, and have been hungrily learning everything I can.  My experience so far has been mostly with learning our computer programs.  We weave bedspreads on large industrial Jaqcuard looms, so I have had little hand in the actual weaving process.  At the end of 2015, my employer supplied me with a 4-harness table loom so that I could begin teaching myself from the ground up.  I found the Handweaver's Guild of America's Excellence in Handweaving certification program, and have just embarked on that journey.  

That being said, I've been in the "weaving soup" but haven't really learned the "recipe," if you know what I mean Smile  I'm hoping to be able to have a lot of fascinating and informative conversations with you all!

One thing that is still kind of hazy is the concept of setts.  All of our bedspreads have a predetermined construction, and our huge looms are set up to weave them in large quantities without change, so I haven't had any experience with it yet.  Does anyone have any good resources for me to study on the suject?  I've played around on my loom with a straight draw plain weave and twill variations, but haven't gotten into making any calculations or official projects.  I've just been using various scrap yarns from around the mill. 

Thank you!  Looking forward to meeting everyone!

Comments

Wed, 02/10/2016 - 15:14

sally orgren

Also, obtaining sample cards from handweaving suppliers is a good way to familiarize yourself with different size yarns and their appropriate setts.

 

Weave structures with floats are generally set tighter than plain weave.

 

Sett also controls drapability. Scarves may be set more openly for better drape, but textiles designed for long-lasting use like towels or garments may have a tighter sett.

 

Commercial operations may set their fabrics tighter than handweavers, so be aware of the difference between your home loom and your work looms.

 

Hope this helps and gee whiz, have fun at work and at home with the looms!

 

Wed, 02/10/2016 - 15:26

sally orgren

One of my guilds did this years ago.

Each person picked a different fiber size, theaded their loom for 9" wide, and varied the sett for each 3" increment. Samples were woven in both plain weave and twill, then the sample was removed from the loom, wet-finished it, and analyzed for the result. Each person did one particular fiber, and made samples for the participants, so each member got a "sett sample book" at the conclusion of the exercise, containing the most popular fibers and sizes guild members were using at the time.

 

You could do the same thing independently by weaving off 2 samples (plain weave and twill) on a single warp, cutting off and resleying after each sample. If the sample is wide enough, you can wet-finish half, save the unwashed sample for comparison purposes.

 

It also helps to measure the warp length and width, then measure off the loom, before wet finishing. This number = "take up", what is taken up in the process of weaving, when the fabric is no longer under tension.

 

Then measure the piece again after wet finishing. This number = "shrinkage". This can vary depending on the materials used. Cotton will have less shrinkage than wool. Linen has very little shrinkage. (But all materials will have take up)

Wed, 02/10/2016 - 15:27

woolybat

Thank you so much!  That's a great idea to try to get my hands on some sample cards.  Our looms here weave with very fine yarns, like 30/2, and I know that they are sleyed with multiple threads per dent...so I think you are right about that!  I'll have to go study me some sett charts...

Wed, 02/10/2016 - 15:42

woolybat

Wow, I'll defintely have to try that!  With your guild, when you say that you varied the sett for each 3" increment, do you mean that you changed how you passed the warp threads through the reed every 3"?  If I were to do this individually, would you recommend resleying after each sample, rather than changing the sley every 3", like you did with your guild?  

Here at the mill we have mostly cotton, but I may be able to get my hands on some wool and linen.  It would be neat to do a sett sample like you described of each, out of curiosity.  

Thanks again for all your thoughts and advice!! So helpful Smile

Wed, 02/10/2016 - 15:56

woolybat

Another question on a sett sampler, if you would be so kind: would you recommend using the same yarn for warp and weft?  I have my little handloom threaded up with a 3.75/2 cotton warp, straight draw.  I have a 12 dent reed, with one thread per dent.  I could begin this experiment with what I have on there, perhaps...

Wed, 02/10/2016 - 17:40

kerstinfroberg

To begin with: yes, same weft as warp, and try for "balanced" (same # of picks as there are warps per unit).

That done, go on to try other yarn weights, and/or beating harder/looser...

Above all: have fun!

Wed, 02/10/2016 - 21:25

sally orgren

Start with the materials you have, and if at work you use cotton, that is the fiber type I would start sampling with.

 

The first thing about sett is that it is determined by the yarn's weight (yards per pound) and the type of weave structure (plain or one with floats). It is not determined by the reed that comes with the loom. For example, it is not always "1 per dent" or "2 per dent". It can be irregular, like 2,3,2,3 etc. to achieve the sett you seek. So you may need to obtain a variety of reeds to test a variety of cotton sizes and setts in the future. (If you have a guild nearby, it is helpful to be able to borrow reeds from other weavers instead of buying them all right away. After a while, you will realize you only a need a few sizes, not every single size made.) For now, a 12 dent reed is pretty versatile – it will provide you with a good variety of setts.

 

If you are weaving 3/2 cotton at a sett of 12 epi (ends per inch), try a sample in plain weave, and then twill. If your sample is 8" wide, weave each sample 8" deep. Then cut off and resley the reed at the next interval that makes sense, say 14 epi (1,1,1,1,1,2 repeat sley order), or 10 epi (1,1,1,1,1,0, repeat).

 

After washing the samples, you will find one particular sample where you will prefer "the hand" over the others. The sample you prefer might be different between the plain weave and the twill setts. It sounds stupid – but be sure to label your samples! (Ask me how I know...)

 

Along with 3/2, a common size cotton to use is 5/2, which is finer. A lot of weavers like to use it at 12 epi thinking to sley one per dent, but I think that is too loose. Depending on what structure I am weaving, I will set it at 16 to 18 epi. (In a 12 dent reed, 18 epi would be sleyed 1,2, repeat.)

 

Hopefully, this should give you enough grounding to return to the loom and get weaving!

Thu, 02/11/2016 - 00:15

carphila

I sure have a lot to learn!! This is so helpful, thank you all. Hope someday I learn enough that I can help others!!

Thu, 02/11/2016 - 13:25

woolybat

Many, many thanks.  This has all been super helpful.  I have a color theory weaving project that I'm itching to do next, but I still have quite a bit left on the current warp.  This is the perfect excerise to do with that last amount of yardage.  I'm excited to get started!!

Thu, 02/11/2016 - 14:11

woolybat

Many, many thanks.  This has all been super helpful.  I have a color theory weaving project that I'm itching to do next, but I still have quite a bit left on the current warp.  This is the perfect excerise to do with that last amount of yardage.  I'm excited to get started!!

Tue, 02/16/2016 - 16:48

woolybat

Hi there,

I am loving this whole process.  So far I've completed two different samples.  I've decided to sick with plain weave only for now.  They are both 3.75/2 cotton, warp and weft.  Sample #1 had 1 thread per dent and has 14 epi. Sample #2 is sleyed 1, 1, 2 and ended up with 18 epi.

Both of them have 12 picks per inch, so does that mean that to get a balanced weave, I would have needed to beat easier on the first sample and harder on the second sample?  Below is a photo (unwashed).

Top: Sample #1, Bottom: Sample #2

These are only the 3rd and 4th things that I have woven, so they are far from good...I am still trying hard to figure out how to get beautiful selvedges.  I seem to be having little loops on the edges, and the difference between the width of the ends in the reed and the width of the woven piece (on loom) is minimal if none.  Does this mean I'm not allowing it to draw in enough?

Edge

This photo is of the second sample edge, which is better than the first, but still not great!  Any advice for me?

For the next two, I'd like to try one that is 2,2,2 and one that is looser, perhaps skipping a dent every other...

Tue, 02/16/2016 - 17:05

woolybat

...Maybe though I should just redo these two, and try to get a 50/50 beat?

Tue, 02/16/2016 - 18:04

laurafry

Getting good selvedges is a combination of things.  First, beaming the warp with 'good' tension.  By 'good' I mean even tension on all the threads and sufficient tension that the yarns do not shift when tension is applied.

Shuttle handling - being able to hold and throw the shuttle 'well' and allow for the correct amount of tension on the weft.  

As mentioned, loops at the selvedge generally mean insufficient tension on the weft to properly 'seat' the weft around the selvedge thread.

Consistent beating.  To be an even weave, there should be the same number of weft as warp.  This may mean adjusting the beat accordingly.  How easily this is accomplished will depend on how well the warp has been beamed and weaving with 'proper' tension.

All of these things are variable and will depend on the yarn being used (how elastic it may or may not be), how much tension was used on the warp while beaming (however that is achieved - there are many schools of thought on this), the drape of the desired cloth and so on and on.

If you are interested in more, you might be interested in my blog

http://laurasloom.blogspot.com

in which I frequently address questions of technique or the dvd's I did for Interweave (which frequently come on sale).

 

Tue, 02/16/2016 - 20:48

sally orgren

The Efficient Weaver

It was great, and answers a lot of questions visually that are hard to explain in words. (Shuttle handling is a biggie.)

Also, with table looms, it is hard to get into the same smooth rhythm as a floor loom, since you need to break your motion to change shafts with at least one your hands. If you can perfect your selvedges on a table loom, you will be golden when you try a floor loom!

For plain weave, you are looking at ppi and epi to be the same. Don't forget to wet-finish the fabric for final assessment. Sometimes what looks slightly unbalanced just off the loom wet-finishes to perfection.

(And no, Laura didn't pay me to say any of this! ;-)

Tue, 02/16/2016 - 21:02

laurafry

Thanks Sally.  :)

I have been spending this week exploring a number of questions, one of which is the appropriate epi for a particular thickness of yarn.  My first sample I wound a warp with four inch sections, one was 8 epi, one was 10 and one was 12.

I discovered a number of things about this yarn.  First of all it wasn't suitable for warp (unless I sized it, something I am not, at the moment, willing to do - for a number of reasons).

Secondly, I discovered that 8 was too open.  My second warp has been set up with 10, 12 and 14 epi.  After lunch I will begin weaving and see if this range is more appropriate - or not.

Epi isn't set in stone.  So much depends!  On the final function the cloth is to perform - how sturdy should it be?  How much drape?  Density will affect how a textile performs...

Wed, 02/17/2016 - 12:58

woolybat

I definitely have noticed that getting a rhythm for passing the shuttle on my table loom is difficult!  Now that I know perfecting selvedges on a table loom is hardest, I'm glad it's what I'm forced to learn on!!  It's nice to know if I get this skill down, it will translate like a piece o' cake on another loom.

I've decided to redo these two samples, with the goal being to obtain balanced weaves and to work on improving the selvedes.  After that, I'll move on to more different samples for sett experimentation.  There is so much to do and learn!  I can see how many variables there are, now...although it's kind of frustrating as a new weaver trying to get a footing, it is also super invigorating, because it shows what an expansive realm weaving is, once you understand the language-- abosolutely endless possibilities!  Nothing could excite me more.

I'm a visual artist by training, so I am well versed in making a ton of crappy things before anything good gets produced.  My art professor used to always say, "you're going to make terrible paintings.  Just do them and get them out of the way, because they ARE going to happen."  Haha, I'm realizing this attitude definitely applies to weaving as well!  Here I go pumping out all my awful first attempts, so I can get on with improving!

Thanks for all of your advice and suggestions.  Sounds like I may have some video-watching ahead of me ;)

Wed, 02/24/2016 - 14:30

woolybat

Hello,

Alright!  I'm starting to really get into this.  I finished weaving off my old warp and got a new one all set up to continue playing around with these sett experiments.  This new warp is 8/2 cotton.  I read that the recommended sett for plain weave 8/2 is 16-20 epi, so I thought I'd start with trying 20 epi, since I like the firmer fabric.  I only have a 12 dent reed, so the sley is 1-2-2.  Straight draw.  The warp is 140 ends.  For fun an color experimentation, I made it two-toned.  Here is what I'm experiencing, however-- perhaps someone may have some advice as to why this is happening, and if it can be fixed!  I am getting striations in the weaving due to the uneven sley.  I noticed that when making the shed, some dents are empty, while others contain two raised ends.  I can partially understand why this could be happening, but at the same time it puzzles me, because even though the sley is uneven, the heddles are still drawn in 1-2-3-4...so it seems like no matter what dent the ends are in, 1 and 3 would lift at the same time, as would 2 and 4.  I am wondering if I did something funky along the way!? Here is a photo to illustrate what I'm describing:

Uneven Sley

I am still at the very beginning of the warp, so at first I was wondering if it would even out as I went...but then I noticed the gaps in the dents upon making each shed, so it seems like the problem is here to stay!  

P.S. I've been trying to weave very, very conciously in an attempt to improve my selvedges-- and it's working!! They are getting much better.  I'm having to watch my every move: where I place my shuttle, at what angle the thread lays, etc.  Finally I'm seeing some results, and it's so satisfying.

Wed, 02/24/2016 - 17:29

laurafry

They are called 'reed marks' and many times they will disappear during wet finishing.  If not, they are consistent, so I don't fret too much about the slight lines the reed leaves behind.  I consider them the footprints the loom leaves in the cloth.  :)

Wed, 02/24/2016 - 18:12

woolybat

Ahh, that makes sense! I don't really mind how they look; they give the fabric an interesting pattern, so even if they don't fade I won't be upset.  I just wanted to make sure that I hadn't done anything wrong in my set up, since I am such a new weaver!  Great to know.  Thank you!

I like your "footprint" description :) 

Wed, 02/24/2016 - 23:23

sally orgren

I'd just hang onto the tip of it.

She's got your back! Keep going.

Fri, 03/25/2016 - 14:43

weavinupnorth

Good morning! What excellent and clear advice you have given; many thanks! I started weaving last October so am learning a lot as well. Our Guild showed your DVD on wet finish ending at our last meeting and is was excellent. Having no idea you have a blog, I'm joining right now! Thanks again Laura,

Sincerely, Laura