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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION. |
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WEAVING sa AFGHAN -- WOVEN sa BABY BLANKET -- WOVEN sa BASKET -- CANE, REED, SPLINT, WICKER, WILLOW, ETC. sa BEAD WEAVING sa BED LINEN -- WOVEN sa BEDSPREAD -- WOVEN sa BLANKET -- WOVEN sa BOOKMARK -- WOVEN sa BOX -- WOVEN sa BRAIDING sa CANED FURNITURE sa CARD WEAVING sa CHRISTMAS DECORATIONS & ORNAMENTS -- WOVEN sa CHRISTMAS STOCKING -- WOVEN sa CHRISTMAS TABLE LINEN -- WOVEN sa CLOTHING -- WOVEN sa DRAPERY -- WOVEN sa IKAT sa LEATHER BRAIDING, LACING & WEAVING sa LOOM sa PICTURE -- WOVEN sa PILLOW -- WOVEN sa POTHOLDER -- WOVEN sa POUCH -- WOVEN sa PURSE -- WOVEN sa RAG RUG -- WOVEN sa RELIGIOUS DECORATIONS & ORNAMENTS -- WOVEN sa RUG -- WOVEN sa SHUTTLE (WEAVING) sa SPRANG sa TABLE LINEN -- WOVEN sa TAPESTRY WEAVING sa TOTE BAG -- WOVEN sa TOWEL & WASHCLOTH -- WOVEN sa UPHOLSTERING FABRIC -- WOVEN sa WALL HANGING -- WOVEN sa WEAVING -- BASKET WEAVE sa WEAVING -- BEDFORD CORD sa WEAVING -- BOUNDWEAVE sa WEAVING -- BROCADE sa WEAVING -- BRONSON LACE sa WEAVING -- COLOR & WEAVE sa WEAVING -- CRACKLE WEAVE sa WEAVING -- DAMASK sa WEAVING -- DOUBLE WEAVE sa WEAVING -- DUKAGANG sa WEAVING -- FINNWEAVE sa WEAVING -- GAUZE WEAVE sa WEAVING -- HONEYCOMB sa WEAVING -- HUCK LACE sa WEAVING -- LENO sa WEAVING -- M'S & O'S sa WEAVING -- NAME DRAFT sa WEAVING -- OVERSHOT sa WEAVING -- PLAID & TARTAN sa WEAVING -- SATIN & SATEEN sa WEAVING -- SHADOW WEAVE sa WEAVING -- SPOT BRONSON sa WEAVING -- SUMMER & WINTER sa WEAVING -- SWEDISH LACE sa WEAVING -- TIED LITHUANIAN sa WEAVING -- TWILL sa WEAVING BUSINESS sa WEAVING EQUIPMENT sa WEAVING FOR CHILDREN sa WEAVING GUILDS & EXHIBITIONS sa WEAVING HEMMING, EDGING & FINISHING sa WHEAT & STRAW WEAVING x HANDWEAVING x TEXTILE -- WOVEN xx TEXTILE CRAFT How to weave using corrugated cardboard instead of a loom. Ten projects that are made from ordinary household throwaways. (1) Pillows from old shirts, (2) hanging planters, (3) decorative glass bottles, (4) woven brown paper placemats, (5) rug crocheted from plastic wrappers, (6) rug braided from pantyhose, (7) pillow tops appliqued with lingerie trim, (8) canister set from coffee cans, (9) patchwork coverlet from old scarves, and (10) weaving with old neckties. Craft projects from castoffs include instructions on weaving on a homemade frame loom using old neckties for the warp. How to do punjabi weaving (Indian bed weaving). Article shows how to weave several patterns to make a chair seat, a back for an old wicker chair, cover a simple stool, a seat for a sling yard chair, a seat for an aluminum frame lawn chair, a seat for a rustic arm chair, and a cover for a folding cot. A weaving simulator. A North Star BASIC program which will produce a printer image of the woven pattern when provided with the tie-up, threading, and treadling configuration of a loom. Handles both coarse and fine-thread patterns. How to weave with unspun wool. Step-by-step instructions for sorting and washing the fleece, carding the wool, and weaving the unspun wool into rugs or blankets. Weaving. Part 1. A look at weaving kits, packaged yarns, simple looms, and project books. Includes general weaving instructions. Weaving. Part 2. A look at weaving on tapestry looms and rigid heddle frame looms. A look at weaving in America and instructions for off-the-loom weaving on a canvas-stretcher frame. A look at ribbon weaving and instructions for decorating desk accessories with ribbon weaving. The Family Circle "Wonder Loom". Use a cardboard loom to make squares of yarn that are then attached together to make afghans, scarves, potholders, etc. Similar to making "Granny squares", but easier. Wonder wheels. A circular cardboard "loom" is used to weave yarn circles, stars, pinwheels, etc. which are joined together to make sweaters, placemats, decorations, etc. Color sampler wall hanging to weave. Requires a 4-harness loom at least 15" wide. Resulting piece shows over 180 different color squares. The value of making samples. Includes guidelines for weaving and experimentation. Graphic brocade weaving for special occasions. A system that allows pictorial motifs to be worked up quickly, even on simple looms. The surface effect is similar to needlepoint. Wedding sampler is shown. Handwoven fabrics that are good for spring and summer clothing. (1) 8-harness plaid. (2) Spaced-warp sheer. (3) Nubby cotton-linen blend. (4) 8-harness textured fabric. (5) Searsucker. How to read a weaving draft. Designer fabrics to weave. (1) 2/2 twill with overcheck in 1/3 twill. (2) 2/2 twill (3) Two sizes of checks. (4) Vertical staggered herringbone twill with 2/2 basket weave stripes. How to weave seersucker. How to produce big work on small looms. Twill woven in Summer & Winter weave. Woven with five colors of weft. A weave designed by E.E. Gilmore. Loom-controlled leno (bead leno). Instructions for weaving it on a four-harness loom, using short sections of plastic straw instead of beads. More harnesses make the differences. How to recognize blocks . Instructions on how to turn designs into threading blocks. Pattern weaving, Laotian style. The historical origins of damask. Handwoven swatch collection. Five fabrics suitable for clothing. Tips on how to plan striped warps using experimental color cards. How to apply color theory in designing a plain weave fabric. The making of a swatch collection. How to keep samples and records. Includes five fabrics for fall clothing. Color and design advice from Nell Znamierowski. How to take the guesswork our of color selection using personalized color systems. Instructions for weaving Karellian Red Pick projects. Includes block diagrams for several designs. How to avoid and repair weaving errors. A guide to the variety of design possibilities that can be achieved using plain weave. Guidelines on planning a weaving project. How to develop a weaving cartoon. Includes a cartoon for a dress yoke. Two overshot patterns adapted for small items. Includes draft for "Wandering Vine" and its reduction, "Wandering Sprout". Swatch collection. Part 5. (1) Waffle weave. (2) Dornik twill. (3) Bronson II spot. (4) Plain weaves. Name drafting. How to transform a person's name, a song title, etc. into an overshot draft. Tips on how to weave when you don't have the time to weave. Summary of things to look for when shopping for a computer for the fiber professional. How weavers can avoid back problems. Antique Madras plaid fabric woven in plain weave. Fabrics for interiors. Part 1. Five designer fabrics to weave including: (1) Casement cloth. (2) Drapery fabric. (3) Accent fabric. (4) Two upholstery fabrics. Swatch collection. Part 6. Clothing fabric. (1) Worsted skirt. (2) Cotton skirt or dress. (3) Wool/mohair coat fabric. (4) Worsted dress. (5) Double-faced fabric. (6) Woolen jacket. A guide to weaving double-faced cloth. Historical fabric swatches to weave. (1) Embossed silk. (2) Wool plaid. (3) Cotton candlewicking. (4) Linen bed ticking. How to weave the black and red check fabric for a woolen lumberjack shirt. Literacy in weaving. Part 1. How to read weaving drafts. Literacy in weaving. Part 2. Deciphering the threading and treadling necessary to achieve a particular pattern. How to weave a transparency. Fabrics for interiors. Part 2. Four designer fabrics to weave. (1) Curtain or drapery. (2) Twill upholstery. (3) Honeycomb upholstery. (4) Basket weave accent. Stripes. SPECIAL SECTION on the use of stripes in weaving design. Includes a look at the Fibonacci mathematical series and its application to design. Several projects included. Wrapping your stripes. A yarn study technique which can simulate how colors will affect each other in a woven piece. These wrapped studies can also be framed and used as works of art. Swatch collection. Part 7. Use only two yarn colors combined with plain weave and twill to generate 6 different fabrics suitable for use in a woman's jacket, skirt or dress. Texture as stripe. How to create stripes in handwoven fabric by varying the texture, weight and direction of the yarn. Using finger-controlled or finger-manipulated techniques to produce interesting textures and designs such as soumak, leno, Brooks bouquet, etc. Block drafting, profile drafts, and a few other related things. Tips on cutting and sewing handwoven fabric. Fabrics for interiors. Part 3. Four white fabrics to weave for slipcovers, patio furniture covers, and directors chair seat and back. Wedding dress fabric is handwoven from 10/2 bleached white pearl cotton. On the double. An introduction to double weave on the rising shed loom. Technique for patterned double weave on the 4-shaft loom without the use of a pick-up stick. Warp stuffer weave with shaft switching applications. Uses same threading as summer/winter. How to calculate the width and length of tubular weaving needed in order to cut them open in a spiral fashion to produce a required amount of bias. Swatch collection. Part 8. Weaving wool fabric for fall clothing, including a corduroy. How to weave wool corduroy fabric. How to use the name drafting technique, and the name "MERRY CHRISTMAS", to produce a table linen. SPECIAL ISSUE on weaving tartans and plaids. Fabrics for interiors. Part 4. How to weave tartan (plaid) yardage for use in curtains, upholstery, bedspreads, etc. Weaver's challenge. How to make blocks of a unit weave normally possible on four shafts, appear like more. Two solutions are given. One is three block M's & O's. The second is color-and-weave-effect in a Bronson lace structure. Weave a herringbone twill fabric suitable for use in a mans sport jacket. Instructions are for weaving the fabric only. The warp/weft calculator for the Apple II computer. Program is written in Applesoft Basic and computes the yardage necessary for a given sett. Some of the problems of beating in weft. Weaver's challenge. Color-and-weave effects with at least two colors in both warp and weft. Three examples are shown. Weaving a twill plaid. Six fabrics coordinated to be used in decorating a room. Fabrics are designed by Constance LaLena. They include (1) leno curtain fabric, (2) goose-eye twill cushion fabric, (3) doubleface twill afghan fabric, (4) optic twill upholstery fabric, and (5) monk's belt drapery fabric. A collection of six coordinated fabrics for decorating a room. Designed by Katheryn Wertenberger. They are (1) pleated curtain fabric, (2) houndstooth double weave upholstery, (3) bedford cord upholstery, (4) summer and winter accent fabric, (5) plain weave upholstery, and (6) nubby fabric. Coordinated fabrics for an office or contemporary home designed by Sharon D. Alderman. (1) Border squares curtain fabric. (2) Two twill accent fabrics. (3) Mattweave upholstery fabric. (4) Tickweave upholstery. Pick-up patterned double weave. Includes information on the history of the weave, suitable designs, equipment, yarns, warp preparation, threading and treadling. Also includes a pattern for a wall hanging and step by step instructions for weaving it. First steps to buying a home computer for weavers. Includes a weaving software source list. Draft and instructions for weaving a nubby wool using heavier yarns to create the nubbiness. Structure is a six-shaft point twill. Learning to weave. This article concentrates on selvedges, warp problems and tension. A guide to weaving and craft schools. A collection of summerweight fabrics to weave. (1) Plain weave with contrasting color and texture in warp stripes. (2) Plain weave with an overcheck of heavier, textured threads (3) Hircord. (4) Plain weave plaid with two blocks of Bronson II lace. (5) Two-block broken twill. Boiled wool. How to combine pre-shrunk weft and unshrunk commercial wool warp. After weaving, the resulting fabric is shrunk and machine washed to create a nubby texture. Using light as a design element. Suggestions on how to weave translucent fabrics and reflective material. Some common graphic features of home computers that handweavers need to know. A bumpy stripe weave that creates the effect of spots. Handwoven fabrics have Ethnic roots (1) Broken twill warp stripes on a plain weave ground. (2) Plain weave with monk's belt pattern. (3) Plain weave with warp stripe. (4) A plain weave in Shetland yarns. (5) Plain weave with warp stripes. A guide to double weave. Includes 5 drafts. A look at what is available in computer drawdown programs. Three color schemes (complementary, monochromatic, analogous) for weavers to use when designing their work. Five rustic fabrics suitable for a den. Includes drapery fabric, a tweed upholstery, a tweed stripe upholstery, and two accent fabrics. Draft for a three-thread basket weave. How to speed up weaving design by using a computer drafting program. Includes draft for "Squareknot" fabric suitable for jacket or cloth coat. Handwoven, four shaft interpretation of a commercial weave. Exercises and other ideas to prevent physical pain when weaving. How to thread a blended draft (integrated draft, composite draft). A blended draft is two four-shaft drafts mixed into one eight-shaft threading which can be woven as either of the original components. Swatch collection #11. Weave a collection of ten swatches on a four or eight shaft loom. How to weave, prepare and use bias strips on handwoven fabric. How to cut, spin and weave shifu (a paper textile). Turned drafts. Tips on how to turn drafts and two sample swatches to weave. How to do plain weave with "tracking". Tracking is the change in the surface and apparent structure that takes place during wet finishing. Weave fabrics for "country home" interiors including curtains, cushions, mat fabric, and hand and dish towels on a two or four shaft loom. An introduction to twill weave basics, structures, projects, etc. Weft-faced plain weave. Choosing yarns, determining sett and technical considerations for color effect. Getting it straight. How to plan, weave, cut and sew handwoven fabric to achieve straight seams in clothing. Tips on how to design undulating twill. Tweed fabric swatches for city clothing woven on a four shaft loom. How to weave delicate dotted patterns by using petit point treadlings on twills or overshots. Three treadlings are furnished. Instructions for making an evening purse and eyeglasses case from petit point fabric are included. A fabric analysis computer program written in BASIC. It analyzes a pattern of up to 80 warp and weft threads and up to 32 shafts and treadles. The threading, tie-up and treadling by which that fabric pattern could be woven are displayed. How to weave with supplementary warps to create warp brocade. Five sample drafts are furnished, three for eight-harness, one for six-harness and one for four-harness looms. How to cut handwoven fabric when making garments from commercial patterns. Includes tips on fabric fulling, marking, stay stitching and pressing. Traditional ways with Dukagang. A general explanation of the technique. Weaving a transparency background in plain weave with a pattern inlay. Four inlay methods are described. Patterns and instructions are furnished for three-panel "Anemone Garden" transparencies. Each panel measures 10"x24" before framing. Project is woven on four harnesses. Drawloom basics and tips on how to weave damask on countermarch or counterbalance looms using a pick-up stick. Contemporary damask fabrics for interiors designed by Constance LaLena. Instructions are included for: (1) A striped upholstery fabric woven in six-shaft satin requiring 12 treadles. A four-shaft variation requiring eight treadles is furnished. (2) An all-purpose plain-weave fabric, dented to produce vertical stripes. (3) Patterned damask upholstery or bed covering fabric woven on a draw loom or that can be woven on four- or six-harness looms using a pick-up stick. Counterchange: the reversal of figure and ground in weaving. Drafts for four samples are furnished. Three are four-harness, the fourth is eight-harness. Six summer-weight clothing fabrics to weave. (1) Silk plain-weave skirt fabric. (2) Six-harness silk and cotton overchecked plain weave with two end/pick floats where the overchecks cross. (3) Linen tri-colored jacket fabric in plain weave. (4) Cotton and tussah silk blouse fabrics with warp and warp/weft stripes in plain weave. (5) Plain-weave, complex balanced stripe fabric with cotton warp and silk weft. (6) Cotton and silk plain-weave fabric with asymmetrical stripes. Color-and-weave effect fabrics for a three-piece woman's suit ensemble. Suit uses a commercial pattern. Crepe jacket and scarf fabrics are an eight-harness weave. Plaid skirt is in plain weave. How to weave lightweight fabric on a rigid heddle loom. Includes information on threading two rigid heddles at once. Also includes instructions for a woman's blouse with drop-sleeves and a scoop neckline. Blouse is in plain weave with five vertical stripes of Bronson lace around the neckline in front and back. Neckline, sleeves and bottom are edged with picot crochet. Draft is for a seven-harness pattern. Swatch collection of six fall-weight fabrics suitable for clothing. (1) Tweed plain-weave jacket fabric. (2) Jacket or vest fabric in a four-harness plain weave ground with areas of warp threads grouped and woven as one. Unwoven intervals form ovals of yarn on the surface of the cloth. (3) Dress or light jacket fabric in a tweed color-and-weave effect fabric. (4) Soft vest or sweater fabric is woven in a four-harness modification of plain weave so that each yarn in the warp comes to the surface of the cloth to produce dotted lines. (5) Coat fabric in overchecks created by a variation of plain weave and basket weave. (6) Cotton dress fabric in plain weave with canvas weave squares in the center of larger squares. Suggestions for experimenting with unusual materials (Christmas tinsel, rickrack, rice-straw braids, leather lacing, lace, ball fringe, etc.) for warp or weft. Includes drafts for (1) Six-harness weave that uses 12" long pine needles in the weft. (2) An eight-harness fabric with a plain-weave backing to provide support for soft, delicate weft materials. (3) A four-harness backed ribbon fabric. (4) A four-harness zigzag pattern. Choosing computer software for use in weaving. Suggestions on where to find comparative information on computer programs. Designing handwoven garments. Tips are excerpted from "Designing to Weave and Sew" by Handwoven Designer Patterns. Instructions are included for weaving the fabric for five projects. Patterns for each must be ordered from Handwoven Designer Patterns. (1) A woman's jacket in plain weave fabric with twill stripes and inlaid V-motifs. (2) Woman's blouse with a square neckline, drop shoulders and elbow-length sleeves is sewn from fabric woven in spot Bronson with a silk warp and textured cotton warp. (3) Woman's tube dress with a boat neckline and long sleeves is made from a silk fabric woven in shadow weave on an undulating twill threading. (4) Fabric for a woman's dress-length ruana is woven in Dornick twill. (5) Dornick twill and basket weave fabric for a woman's skirt. Five silk fabrics designed by Diana Sanderson. (1) Basket weave with boucle tussah. (2) Basket weave with a fine boucle weft. (3) Twill with tussah silk boucle weft. (4) Textured silks used randomly in both warp and weft. (5) Textured silks used randomly in 2/2 twill. Color design for garments. Nell Znamierowski explains how to wrap yarns around a strip of white matboard to evaluate color mixtures, proportions and textures. Malin Selander's designer collection of four fabrics. (1) Blouse fabric in plain weave with weft floats has cotton warp and tussah and slub silk weft. (2) Wool winter coat fabric is woven in four-harness demi-damask. (3) Wool jacket fabric in plain weave with inlaid weft floats. Occasional pattern rows are woven in pick-up with thick unspun roving. (4) Wool skirt fabric in plain weave with weft floats that create irregular slashes of contrasting color. Five silk fabrics designed by Virginia West. (1) Huck lace for blouse or dress uses two natural shades of silk. (2) Plain weave plaid for suit fabric. (3) Striped fabric for a blouse is woven with a shiny, unevenly spun silk in the warp and a matte nubby silk weft. Random floats of a brown silk weft and occasional shots of blue silk tweed are used with the regular weft. (4) Dornick twill combined with basket weave in vertical stripes for a suiting or coat fabric. (5) Interlocking plain weave medallions are woven in two sizes and colors of silk. Floats of the lighter silk surround darker medallions, making the fabric appear three-dimensional. Five fabrics designed by Lillian Whipple. (1) Wool coat fabric is woven in a 2/2 twill with a color-and-weave effect based on log cabin. (2) A lightweight wool suit fabric in six-shaft broken twill blends five colors in each warp stripe. One color is changed at a time so the color changes very gradually. Several very different fabrics can be woven on the same warp by varying only the weft color. (3) Cotton dress fabric in plain weave has varying denting to give open spaces as well as firmness. (4) Linen suit fabric has both vertical and horizontal panels of Bronson lace. (5) Silk blouse fabric in honeycomb (undulating weft) and plain weave. On designing fashion fabrics. Points to keep in mind. Includes drafts for five fabrics designed by handweavers. (1) A six-harness fabric in black rayon and novelty cotton. A four-harness alternative is furnished. (2) Brushed wool with ribbon pinwheels fabric in an eight-harness weave. (3) Blue windowpane fabric woven on four harnesses. Warp and weft floats of macrame yarn forms the windowpane effect. (4) Enlarged hopsack fabric woven on four harnesses. (5) A heavy upholstery fabric is translated into a dress fabric. Three strands of yarn were used as one instead of one heavy yarn in this four-harness weave. Notes on designing for drape (the ability of a fabric to fall on the body and create a fit compatible with the particular style of a garment). Suggestions on designing and testing swatches. How to use a rigid-heddle loom to make samples quickly. Suggestions on what weavers should consider before purchasing a computer. Shadow weave. Basic fabric construction and treadlings explained. Six drafts are included: two 2-shaft, three 8-shaft and a 12-shaft. Swatch collection #15. (1) Plain weave fabric appropriate for a skirt or dress uses the stripe sequence of an old Guatemalan fabric. (2) Checked fabric in plain weave, appropriate for a dress, uses a slightly heavier textured yarn to outline warp and weft stripes. (3) Fabric for a skirt or dress has warp-faced twill stripes on a plain weave ground and is based on an old Peruvian mantle. (4) Fabric designed for a vest has alternating bands of stripes and checks. (5) Spiderweave fabric for a blouse has an all-over, web-like texture. Five textiles designed for using in a baby's room. Three are woven in plain weave with accent threads producing stripes and checks. A fourth is in a honeycomb weave that is suitable for a coverlet. The fifth is a four-shaft texture weave suitable for toweling. A computer program to generate a blended weaving draft. Written in Microsoft BASIC. How to weave a fine wool fabric in spot Bronson. Uses 40/2 worsted yarn on a 30 ends-per-inch sett. Drafts for both four and eight shafts included. Fabrics for interiors #11. Southwest collection. (1) Rug fabric in weft-faced plain weave. (2) Upholstery or cushion fabric in point twill. (3) Striped upholstery fabric in plain weave. (4) Upholstery and accent fabric in striped plain weave. (5) Curtain fabric in plain weave with bands of weft-face plain and basket weave. Two coordinated fabrics for blouse and jacket. Jacket fabric is a shadow-weave twill. Blouse fabric is woven in huck. Swatch collection #16. Fabrics for fall. (1) Jacket/coat fabric in four-shaft twill. (2) Double-weave vest fabric for eight shafts. An alternative four-shaft bedford cord draft is furnished. (3) Lightweight wool dress fabric in plain weave. (4) Suit or jacket fabric in 2/2 twill stripes alternating with 2/2 basket weave. (5) Skirt or suit fabric in striped 3/1 twill. The challenge of the ugly color. How to create color combinations that will intermix a seemingly unworkable color of yarn so that it results in interesting cloth. Waffle weave. A look at seven alternative fabrics that can be woven on four-, eight- and sixteen shafts. How to gather a "library" of favorite block patterns that can speed the weaving design process. How to introduce variations into a woven piece to avoid repeated patterns. An exploration of block weaves. Projects in this issue are based on block designs. Lessons in profile drafting. Includes instructions for tea towels in three weaves: Summer & Winter, block twill and Bronson lace. How to use a profile draft to create original designs. Suggestions on developing the tie-up and design variations using one profile draft. Includes instructions for three-tie unit twill table mats. Weaving block twills. Instructions for translating a profile draft to twill block threading and treadling. Includes block threading for single-tied unit weave (Bronson lace) woven on eight shafts. Includes instructions for a block twill and plain weave suit fabric. Diversified plain weave, a modified plain weave that uses fine and heavy threads in both warp and weft. Fine threads, threaded on shafts 1 and 2, form the ground. Heavy warps threaded on upper shafts form the pattern. Six sample drafts for six through ten shafts are furnished. Includes instructions for two pillows. How to create alphabet drafts to incorporate letters in woven fabrics. Includes three-block patterns for 17 letters. Some textile design ideas for juxtaposing contrasting elements in a way that can enliven a piece of cloth. Weaving movement into cloth. Covers garment design, yarn decisions, dyeing, designing the weave and garment cut. Double weave pickup is the focus of two articles and four projects. Both four- and six-shaft double-weave are explained. Fabrics for interiors designed by Constance LaLena. A collection of four fabrics for pillows or upholstery. (1) Double weave pickup. (2) Two-block, double-faced twill (point twill in four-harness). (3 and 4) Ombre fabrics in plain-weave. Fabrics for interiors, designed by Constance LaLena. (1) Curtain fabric in plain weave with stripes created by dense areas of sett and beat. (2) Warp rep rug woven in a block design in three colors. (3) Slipcover fabric woven in Ms and Os. (4) Plain-weave accent fabric in a plaid. Textures and brocades. Four swatches woven on a point-twill threading all resemble brocade. Treadling is varied to produce short floats in both warp and weft. A fifth swatch, with a windowpane texture, has a vertical texture stripe that is crossed periodically with accentuating horizontal floats. Four swatches designed around stripes and squares. (1) Plain weave with basket and corded stripes. (2) Plain weave ground with columns of floats which change color. (3) Log-cabin plain weave with a colorshift from square to square. (4) Plain weave with supplementary warp floats. Designing to control the visual weight of a handwoven project. Looks at thickness, weave structure and color. Special issue on warp rep weaves. Five articles look at designing and weaving projects in warp-faced plain or near-plain weave (Ripsmatta in Swedish). Designing and drafting color in warp rep weaves. Four clothing fabrics for fall. (1) Plain weave with color-and-weave effect stripes. (2) Plain weave with twill check. (3) Plain weave with warp and weft floats. (4) Six-shaft waffle weave. How to weave six-block rep weave on four shafts. Draft blending to combine weave patterns or structures. An explanation of how a weaver combined an undulating twill and a diamond motif. The resulting 13-shaft fabric is woven for a woman's jacket with elbow-length sleeves and a deep V-neck. Instructions describe how to weave the fabric and gives the layout of pieces for a commercial pattern. How to use cloth analysis to create any fabric you visualize. Understanding color values. Tips on how to isolate lightness-darkness from intensity or hue. Special issue explores the use of color in weaving. Fabric, suitable for a jacket, has a warp of 16 colors and four weights of yarn that create a pointillist color effect. It is woven in a plain weave with two wefts alternating in a pick-and-pick sequence. Fabric for a woman's bomber-style jacket is woven in crackle and overshot. A commercial pattern was used for the jacket, but the article does describe how to consider the shape of a garment when selecting an appropriate weave structure and yarns. "Out of a Flower Garden" yardage, woven in two-block double-faced twill, creates the illusion of more than the three colors used. Dark blue lobelias inspired this study in color value. Fabrics for interiors designed by Constance LaLena. Theme is an English country boudoir. (1) Striped fabric in plain weave with a somewhat open sett. (2) Plaid woven in a broken reverse twill. Both fabrics are appropriate for blankets or throws. Ten ways to produce mixed color effects in weaving. Includes tips on selecting a weave structure that will optimise a color scheme. Tip: Transfer threading drafts in segments onto flip-style (Rolodex) file cards. Tip: Folded loop of rag in each shed makes an easily removed header. Tip: How to use a pre-measured guide string to identify weaving length. Textile art for architecture. How to study the room where the piece is to be installed, looking for shapes, color, size, mood and operational considerations. The Theo Moorman technique, a method of inlay in which free design can be placed on the surface without distortion to the cloth. Basic technique is explained, along with a series of studies that can be explored in a sampler. Designing surface-interest fabrics. Includes instructions for a woman's jacket and matching hat in a plain-weave fabric with layered spots of angora. Special section on sharing the love of weaving with children. Tips for marking the front side of handwoven yardage so the sides won't be confused when it is cut into garment pieces. Three-shaft weaves. Threadings given for jeans twill, rosepath, herringbone, point twill, summer & winter weave, lace weave, rib weave, bronson lack, waffle weave and two supplementary warp weaves (warp floats and deflected warps). Swatches are shown that combine threadings to create a variety of textiles. Sixteen-shaft "unblocked" damask. An exploration of the weave and instructions for weaving placemats with an all-over zigzag motif. Suggestions for fulling handwoven fabric in an automatic washer and dryer. Twill fabrics for fall and winter. (1) Worsted wool four-shaft twill in a large check with warp stripes in the color of the weft and weft stripes in the weft color. (2) Jacket-weight fabric in an eight-shaft undulating twill. (3) Dress-weight fabric with contrasting-color twill stripes on plain-weave ground. (4) Coat-weight fabric has alternating warp- and weft-faced twill stripes crossed by weft-faced twill stripes in a third color. Details of how to handspin a singles wool yarn from medium fine wool and weave it into enough cloth for a pair of woman's slacks. Coat-weight collapsed fabric with backing. Due to shrinkage differentials, the face fabric collapses along zigzag lines where it is attached to the backing fabric. An exploration into the production of collapse fabrics, their structures, sett, fibers and finishing processes. Escaping the grid. A study of deflected wefts, float structures, slubs and other eccentric warps and wefts that create texture and "motion" in textiles. Pique, a woven structure with a quilted appearance. Three types of pique (ribbed, waved and figured) are described. Drafts are included for all three, along with instructions for two pillows made from pique fabrics. One fabric is a seven-shaft waved pique with isolated diamond-shaped motifs. The second is a 12-shaft, single color diamond motif. General descriptions of some unusual techniques that achieve unique textile effects. (1) Supplementary warp stripe woven as separate layer, pulled up into a loop or twisted and then held in place by weaving it back into the ground cloth. (2) Use of yarns that exaggerate the three-dimensional character of a weave. (3) Use of yarn substitutes (wire, dowels, etc.). (4) Using discharge paste, a color remover, on fabric to change colors. (5) Transfer a color photocopy image to cloth using Stripeze paint remover. (6) Strip quilting of dispersal-dyed fabric. Tip: Linked-warp-and-weft technique can be used to create a balanced check in plain weave with a missed-pick effect. Basic description for triaxial weaving on any hand loom. Three sets of yarns interlace at 60-degree angles. Undulating twill, an analysis of the structure and factors that will make the slope of the twill line flatter or steeper. Includes drafts for two eight-shaft undulating twill fabrics. The first has a herringbone effect; the second has ovals. Also includes instructions for an undulating-twill shawl and a scarf with undulating twill and spaced warp. "Caribbean Sea" coat fabric in undulating twill uses a multicolored warp of blues and greens, silk, boucle, ribbon and a sprinkling of metallic threads. Uses a 16-shaft straight twill threading and a pattern treadling interspersed with tabby. Draft for a jacket fabric in undulating twill. The undulations are created in the treadling of a regular eight-shaft straight twill. A new twist on bead leno. Two blocks threaded on eight shafts. Includes instructions for (1) a sampler showing half-basket and leno variations and (2) two evening bags woven on four or eight shafts using gold and silver wefts. Swatch collection #21. (1) Fabric for a skirt or dress has strong vertical lines and is woven in plain and basket weaves. (2) Fabric for a blouse or T-top has strong line in three-end huck lace weave. (3) Fabric for a cardigan jacket with a diagonal line is woven in 8-shaft corkscrew twill. (4) Fabric for a vest, light jacket or culottes is woven in plain weave with 4/4 basket weave checks. How to weave elephant motifs using a 16-shaft dobby loom. Handwoven casement cloth replicates a textile style from the 1950s. White and off-white warp stripes with metallic accents are accented by bands of novelty yarns that create textured weft stripes. Swatch collection No. 22. (1) Plaid suit or jacket fabric in an 8-shaft plain weave with an overcheck of 2/2 basket weave that intersects to form double-weave pockets. (2) Eight-shaft jacket fabric features double-weave vertical stripes in a striped plain-weave ground. (3) Six-shaft reversible coat fabric has brushed mohair on one side with vertical double-weave stripes. The other side has vertical stripes but isn't fuzzy. (4) Two-block double plain-weave coat fabric in a large check is woven on 8 shafts. Designing Rosepath figures on eight shafts. Includes patterns for Santa head, candlestick, snowmen, maple tree and yule tree motifs. Reflection and rotation. Two easy ways to vary repetitive arrangements. Techniques for designing handwoven or hand-printed fabric. Turning a pattern into a weaving project. Discusses selecting a weaving draft and translating it into a project of a specific size by considering symmetry, borders, repeats and balance. How to use a computer to design cartoons for weaver-controlled fabrics. How to weave two coordinating cloths together in a single backed fabric. Warp-backed and weft-backed fabrics, and double cloth. Advice on designing a stitched fabric. Includes instructions for a 2/2 twill scarf decorated with 1/3 and 3/1 twill weft-backed bands. Also includes drafts for two textiles: (1) Warp-backed vest fabric is striped in four colors and backed in a solid color and (2) interlaced double-cloth coat fabric has a mohair/wool-blend upper layer backed with plain weave. Reflections of a stormy beach. Swatch collection No. 23. (1) Plain weave ground with stripes in various weaves. (2) Honeycomb four-shaft weave variation that creates slightly undulating stripes, with novelty cotton used to suggest sea foam. (3) Dress or shirt fabric in a plain weave with an overcheck. (4) Warp-faced, 3/1 twill in tailored stripe. Symmetrical designs. Suggestions on how to translate a design into weaving (inlay, pick-up double weave, tapestry or summer & winter blocks). An overview on the use of computers as a design aid in weaving. Advice on choosing software and a computer. Computer-assisted weaving design with a mat-board loom. Fabrics for interiors No. 17, (1) Bathmat fabric woven in a two-block Swedish weave called half drall. (2) Towel fabric in a six-shaft huck weave. (3) Semisheer curtain fabric. Swatch collection No. 24 featuring autumnal colors. (1) Lightweight coat fabric in a large plaid is woven in 2/2 twill. (2) Jacket outerwear fabric in basket and plain weave is woven on six shafts. (3) Plaid suit or skirt fabric woven in an eight-shaft twill variation. Color and weave create a strong diagonal. (4) Jacket fabric with strong vertical stripes made by weaving a Bedford cord. Rediscovering plain weave. Three fabrics that rely on the use of color to create pattern. (1) Fabric with shaded stripes. (2) Warp-dominant striped fabric has 3" wide bands of alternating blue and green strips between wider bands of multi-color stripes. (3) Log cabin fabric with blocks of black and white stripes that alternate between horizontal and vertical. The blocks are set off in both directions by red. Pedigree tabbies. A weaver's glossary of plain-weave fabrics. Diversified plain weave. An explanation of the weave and possible tie-up and treadling variations. Tracking (random diagonal ridges that can occur in plain-weave fabrics). Includes a napkin project woven in cotton that will result in tracking. Napkins have bright stripes around all borders. Eight-shaft basics A look at the range of design possibilities. Includes drafts for end borders in weft-faced twill and a check that combines plain weave and basket weave in one cloth. Threading and treadling show four variations of a supplementary-warp pattern on four different ground structures. Start with a drawdown. An explanation of how a cloth diagram is used to develop threading, tie-up and treadling. Swatch collection No. 25. (1) Fabric for a striped jacket in a 3/1 twill woven on four-shafts. (2) Reversible skirt or jacket checked fabric woven in summer & winter pattern. (3) Asymmetrically striped fabric for a dress or shirt with white stripes against a twill background. (4) Tattersall check fabric woven on six shafts. How to calculate the necessary width and length of a weaving project to compensate for weaving take-up and shrinkage in finishing. Fabrics for interiors No. 19. (1) Semisheer curtain fabric in plain weave with double-weave blocks. (2) Table runner fabric in eight-shaft double weave in two blocks. (3) Upholstery fabric in a striped plain weave. (4) Rug fabric has alternating warp- and weft-faced areas. Swatch collection No. 26. (1) Plain-weave coat fabric with bright dots against a black background. (2) Outerwear fabric in warp-striped plain weave with a textured diamond overpattern created by floats. (3) Two-block twill suit fabric in a small diamond motif. (4) Plain weave fabric for an evening jacket has supplementary weft floats that are cut before washing to create pile. How to design and draft borders for block weaves. Fabrics for Interiors No. 19, Striped fabrics in rich colors for a bedroom are all woven on four shafts. (1) Pillowcase fabric in plain weave with a chenille honeycomb border. (2) Duvet or comforter cover in plain weave with heavy warp accent threads. (3) Accent fabric for pillow shams, draperies, dust ruffle or upholstery in a summer & winter threading chenille blocks of texture on the border. (4) Upholstery fabric uses chenille in a traditional summer & winter pattern. Five experiments in texture and cord weaves for eight shafts. Wide cloth from a narrow (20") loom. Suggestions on design and seaming panels together. How to weave tucks. Patterned handwoven, eight-shaft fabric in yellow and denimy blue plaid. Record keeping for beginning weavers. How to keep track of a project's details. Sample weaving record sheet included. Swatch collection No. 27. (1) Jacket fabric is woven on five shafts in a color-and-weave-effect novelty weave. (2) Jacket fabric is woven on six shafts in a striped color-and-weave-effect plain weave with 2/2/ twill squares. (3) Lightweight plaid fabric suitable for skirt, blouse or dress is woven on four shafts in plain weave with three-end huck lace squares. (4) Striped jacket fabric is woven on five shafts in a warp-striped satin. How to adapt two-, three- or four-shaft floor loom projects to rigid heddle looms. Fabrics for interiors No. 20. (1) Rug fabric in a weft-faced herringbone twill, treadled to be double-sided. (2) Throw fabric is woven in double-faced broken reverse twill. (3) Curtain fabric in a fairly wide set plain weave. Gauze-lace leno, worked with a pick-up stick, is used to create horizontal stripes and a geometric motif to accent the border. (4) Pillow or cushion fabric is a weft-faced stripe with a beaded design. (5) Upholstery fabric woven in diamond twill. Seventh Avenue swatch designs. (1) Chenille houndstooth six-shaft novelty weave. (2) Ombre plaid in four-shaft plain weave, 2/2 twill and eight-shaft crepe weave. (3) Vintage log cabin plain weave in a plaid. (4) Tweed in a six-shaft basket weave variation. Swatch collection #28. (1) Suit fabric with a strong diagonal is woven in eight-shaft interrupted twill. (2) Skirt or slacks fabric is woven in a four-shaft 2/2 twill with color-and-weave-effect. (3) Jacket fabric in an six-shaft 2/2 twill is woven in an ombre plaid with overcheck. (4) Coat fabric in Curly Stars eight-shaft pattern is woven in color-and-weave-effect. Blanket weave. Six distinct blocks on four shafts. Threading, treadling and advice on yarn and color choices. Tips on weaving projects that can be worked on in grab-time, those five-minute periods of time between life's other demands. Suggestions on how to alter the color, size, yarn, pattern, etc. of a project in a weaving magazine or book. A room for weaving. Tips on turning a bedroom into a weaving studio with lighting, storage and work space that meets a weaver's needs. Fabrics for interiors No.21, all based on traditional four-shaft weaves. (1) Cotton toweling in M's & O's. (2) Cotton toweling in a reverse skip twill. (3) Carpeting fabric in Summer & Winter weave structure. (4) Plain-weave, warp faced carpeting. Swatch collection #29 of fabrics inspired by natural dyestuffs. (1) Lacy blouse or dress fabric. (2) Plain-weave jacket fabric with an overcheck of fine threads in three colors. (3) Two-block twill fabric for dress, skirt or light jacket, features alternating blocks of color and weave. (4) Plain-weave jacket or skirt fabric with a fine overcheck. How to weave pick-up Beiderwand. A guide to some weaving terminology. (1) Standard 2/2 tie-up. (2) Pass. (3) Woven in the overshot manner. (4) Blocks. (5) Profile notation. (6) Shrimp crochet. Some essentials of weaving. (1) How to increase the number of projects you can make from one warp. (2) How to "read" a fabric to determine its weave. (3) Understanding take-up and shrinkage. Swatch collection #30. (1) A dress- or skirt-weight cotton fabric woven in two colors in interleaved twill. (2) Coat-weight fabric woven in undulating twill. (3) Suit fabric woven in three colors on six shafts has a plain weave ground with a surface texture formed by warp floats. (4) A skirt or jacket fabric woven in 2/2 twill using two sizes of worsted yarn and loop mohair. Cutting handwoven fabrics. Three methods to try. (1) Stitch before cutting. (2) Cut and then stitch. (3) Anticipating the edge finish. Rag weavers' tips for creating successful rag-woven clothing. Shares information on selecting and preparing rag fabric. Includes instructions for making bias-cut strips. Lots of dots. An introduction to ways structures can be used to produce dots. Instructions are furnished for weaving nine fabrics. (1) Twill variation. (2) Plain weave with warp floats. (3) Spot Bronson. (4) Plain weave with warp and weft floats. (5) Lace Bronson. (6) and (7) Plain weave with three-end huck lace squares. (8) Plain weave with supplementary warp. (9) Plain weave with supplementary warp floats. Boulevard weave, an eight-shaft unit weave that produces cloth with distinctly different sides. More dots. Eight fabrics based on four weaves that create "dots" (small areas in the cloth that are separated from each other by a ground of some other color, yarn or weave structure). (1) Color-and-weave effects. (2) Double-weave dots. (3) Dots made with floats. (4) Dots made of floats formed by supplementary warps or wefts. Cloth of the Anasazi. Analysis of the techniques used and information on how to replicate Anasazi textiles. Tip for faster method of handling fabric strips when doing California rag weaving. Weaving charted designs in pick-up broche. Includes complete directions for preparing a design chart, dressing the loom, weaving and finishing. Also explains how to transform any picture into a chart. Four-, six- and eight-shaft variations of plain-weave fabrics use areas with floats to create interest. Designing stripes. Exercises working with black and white and colored paper or yarn wrapping described. Checks and plaids, inspired by antique fabrics, are woven in lace Bronson and plain weave. Drafts and instructions for six fabrics. Norwegian danskbrogd and krokbragd. Danskbrogd is pickup on a plain-weave ground. Two pattern sequences detailed. Krokbragd is pickup on three-shaft point-twill ground. Three pattern sequences described. Organic structure. The art of overtwist. Using overtwisted yarns to create crepes and pleats in handwoven cloth. How to analyze yarn twist. Includes tips on weaving, wet finishing and dyeing. Handwoven velveteen. Four 4-shaft drafts that can be used to produce velveteen. Advice on yarn selection, weaving and cutting the weft floats. Square of cardboard serves for weaving samples off the loom. Weaving with Poppana (bias-cut cloth strips from Finland). How to keep records during travel so that souvenir memories can be turned into weaving. Diamondo. Jacket-weight fabric is woven in triple goose-eye 2/2 twill with areas of weft-faced 1/3 twill inlay that form diamond patterns. Complementary dress-weight fabric is woven in plain weave with streaks of color created by supplementary warp floats. Ginger Snap fabrics. Vest-weight fabric, woven in extended twill and plain weave. Pants-weight fabric is striped, alternating huck and 3/1 warp-faced twill. Using algebraic expressions to design weave structures. Includes drafts for three scarves. Pattern continuity with space-dyed wefts. A technique for maintaining a color sequence throughout the entire length of weft. Suggestions on weaving mug rugs and a fringed tape to show how colors interact in a woven structure before weaving a larger project. White Light woman's jacket fabric has streaks of space-dyed yarn that define rectangles, some of which are filled with huck lace. It is woven on six shafts in plain weave and huck lace. Turned drafts. Includes threading and treadling drafts for a six-shaft, four-treadle draft and its turned four-shaft, six treadle version, as well as a four-shaft, eight-treadle draft and its turned eight-shaft, four-treadle version. Big and little threads. Fabrics that rely on using contrasting sizes of threads to add textural interest. (1) Plain log cabin weave color-and-weave effect fabric woven on four shafts. (2) A simple windowpane overcheck in plain weave on four shafts. Vertical and horizontal lines of heavier thread outline areas of finer thread. (3) Six-shaft 3/3 basket weave. (4) Shadow weave based on twill structure and woven on eight shafts has raised diagonal ridges. Impressive hangings using three Andean weaving techniques. Advice on how to incorporate the techniques in other weaving projects. (1) Four-shaft, double-faced weave. (2) Clasped warps. (3) Andean pick-up. Fabrics for clothing designed by Sharon Alderman. (1) Suit fabric in plain weave with weft floats on one side and warp floats on the other is woven on eight shafts. (2) Coat fabric woven on eight shafts in a twill with supplementary warp and weft. (3) Jacket fabric woven in block twill on eight shafts. (4) Dress fabric woven in an eight-shaft point twill variation. Pushing the creative process in weaving. Six steps recommended. The basics of how to read a weaving draft. How to plan a weaving studio. How to manage your time. Part 1. Ideas on combining weaving, applique, and stitchery. How to combine felting and weaving. Managing your time. Part 2. A Paracus needle technique: the use of wrapping stitches around warp ends. A look at Peruvian warp patterned, spaced-weft twining. Tip: An alternative Summer & Winter pickup technique. Twill variations. Broken twill, undulating twill, and Mexican Leaf design. Twill color and weave effects. How to design undulating twill. Damask. Using a straight twill threading, with satin weave tie-up, to create complex designs on only four or five harnesses. Designing fancy twills in double two-tie unit weave. Draft for an 8-shaft twill sampler. Pattern for a 4-shaft undulating twill. Tips on interweaving fabric strips and tubes to create unique fabrics for vests and jackets. An introduction to small scale weaving. Instructions for a rya weaving, a wrapped warp weaving, a circular swirl woven in a 5" ring, and a mini mirror weaving. "Smaland" weave, a five-block weave that uses two shafts for the tabby and five shafts for the pattern. Includes yarn requirements for each meter of woven yardage. Linen and cotton suit fabric is woven in four-shaft point twill and tabby. Waffle weave constructions are explained and drafts are provided for three variations. (1) Five-shaft waffle weave. (2) Four-shaft waffle weave. (3)Twelve-shaft honeycomb. A second article describes how to use the four-shaft waffle weave and tabby weave to produce yardage for suit and blouse fabric. Four fabrics for jackets and skirts. (1) Checked jacket fabric in four-shaft reversible twill and (2) a solid-color, matching skirt fabric. (3) A checked jacket fabric woven in four-shaft balanced twill and (4) a solid-color, matching skirt fabric. Linen check, woven in tabby, is suitable for women's suit fabric. "Opphamta" woven with a draw device requires 12 pattern shafts and an extra shaft for the tabby center and edges. Instructions are furnished for weaving a square with two pattern rows on each edge. Double weave for fiber arts. General instructions for planning sculptural weaves. How to plot shuttle path and use weft as a flying bridge between layers. Modern interpretations of ethnic garments. Analysis of ways to change design. Triple weave pick-up woven on 6 harnesses. Some Norwegian methods of finishing wool and linen handwoven textiles. How to bind weaving records (pictures, drafts, textile samples, etc.) with a piece of woven fabric and make them into a notebook. Supplementary weft float patterning. An analysis of star and diamond weave structures. Weaver's notebook sample. "Antique Rose". Old Swedish Rosepath done on a 4-harness loom. Weaver's notebook sample. "Surface Interest Textile" using novelty synthetics, ribbon, and chenille. Done in 2-harness tabby. Weaver's notebook sample. "Asian Hill Tribe Motif". 10-harness weave using 16 treadles. Weaver's notebook sample. "Summer and winter". Six color blocks on a 4-harness loom. Weaver's notebook. "Turned overshot" draft, a variation of 4-harness overshot that requires 6-harnesses. Based on an original draft by John Schlelein (#123). Weaver's notebook. One warp, one threading, and three different treadlings for a variety of fabrics. Threading is known as point twill, single huck, or bird's eye. Warp faced patterning. Covers design, selection of yarn and sett, and tips on selvedge treatment. Weaver's notebook sample. Shadow weave on 4-harness loom. Weaver's notebook sample. Waffle weave on 5-harness loom. Weaver's notebook sample. Lace weave on 6-harness loom. Weaver's notebook sample. Atwater's Folly on 4-harness loom. Drafting. Part 1. Drafting as a design tool. Covers threading the loom, tie-up, treadling, design, relation of draft to fabric, and adapting the tie-up for counterbalance. Summer and winter weaves and a look at 12 options. Satin, the designer weave. Analysis of satin weaves for 5 or more harnesses and some design considerations for the weaver. A look at Hungarian weaving, a simple method of warp twining. Designing damask. Weave structure and characteristics explained. Drafts furnished for satin weave design, double damask and false damask. Drafting. Part 2. How to choose a treadling, incorporating floats and interlacings, designing the draft, determining tie-up and treadling, weaving samples, and weaving "unweavable" designs. How to weave circles and cones. Weaver's notebook sample. Supplementary warp patterned fabric for four harnesses. Weaver's notebook sample. 8-harness huck curtain material. Weaver's notebook sample. "Stained glass windows" waffle weave for 4-harness. Drafting with color. Covers drafting with solid colors, manipulation of color on 2-harness and 4-harness, drafting with three or more colors, control of patterning, and aesthetic color considerations. How to weave pick-up damask. Method described for a 5-harness satin weave using 10 treadles. A look at revival of interest in weaving overshot patterns, especially as miniatures. Includes information on star and rose treadling. Designing block weaves. Exercises in design. Overshot: the weave and the designs. Wadmal, a felted fabric. Description of weaving, fulling, and finishing. Ways to weave overshot. Part 1. (1) Star fashion. (2) Shadow. (3) Weaving on opposites. (4) Italian. (5) Gagnefkrus. Using color in pattern weaves. Instructions for the beginner. Effective designing. The basic principles of variation, gradation and texture. Chained weft for surface technique. How to teach young children (ages 3-8) to weave. Weaving on a diamond grid, Bedouin style. Madakhel pattern is used to weave a horse halter/bridle. Ways to weave overshot. Part 2. (1) Boundweave. (2) Flamepoint. (3) Twill rotation (4) Swivel. (5) Adding decorative beads. Weaving of the plaid. How to weave Scottish Tartans. Reversible waffle-weave pattern suitable for blankets. Summer & Winter suiting on seven harnesses. A variation of double weave pick-up that allows the weaver to change colors in individual areas of the pattern. Ways to weave overshot: Part 3. An Overshot lace effect woven using Stars and Roses Draft and Double Roses Draft. Four examples and drafts of "color and weave" effects. (1) Two-harness Log Cabin, (2) Two- or four-harness Check, (3) Four-harness Check, and (4) Eight-harness Check. Studies in Boundweave. Instructions for weaving a sampler that illustrates several patterns, shapes and shadings. A new HGA name draft. A four-harness overshot name draft designed by Ena Marston for a jack loom. Includes table of three formulas for producing letters. Sett and the Hand of the Fabric. Guidelines on how to determine how many warp threads per inch and the balance of warp and weft to achieve the correct density of finished cloth. Computerized weaving calculations. Programs for the HP-41C, the TRS-80 and Apple II that compute yardage and cost of materials for a given weaving project. Compares the cost of several alternative materials. Multi-harness shadow weave techniques developed by Pat Richardson to adapt traditional quilt patterns to the loom. Includes threading draft and treadling sequence for "Dark Flower" and "Sea Star". Four weaves that were used in Colonial fabrics. (1) Popcorn Weave. (2) Plain Weave on Spaced Warp. (3) Linsey-Woolsey. (20) Blouse Fabric. Includes drafts and treadling for each. Color-and-Weave on a dark-light sequence, a survey of possibilities Moorman weave variations. A guide to Tartan weaving. Includes specifications for (1) Graham of Montrose, (2) MacLeod, (3) Menzies, (4) Stewart, (5) Lenox, and (6) Scott. Drafting: A personal approach. Covers the major principles governing the way blocks function. How to do loom-controlled (pick-up-stick controlled) weaves on a rigid heddle loom. Includes instructions for weaving Bronson Lace. Computerized analysis of the drawdown. A discussion of a simple algorithm developed to determine whether a given weave structure will or will not separate into layers. Includes program in Applesoft BASIC and flow chart for other computers Color-and-weave effect in Rosepath. Swatch notebook. One fabric, two faces. Three samples to weave: (1) 1/3 twill. (2) A 6-(or 4-)harness suit fabric. (3) Linear surface weave. Making a color draw-up (a diagram on paper of the color effect you will get when you weave). Drafting: A personal approach. Part 2. Block weaves. Includes drafts for 16-harness Tied Lithuania, 8-harness Bergman, 10-harness summer and winter and 16-harness Beiderwand. Take advantage of turned drafts. How turning a draft so that threading and treadling are transposed can give the weaver the ability to weave complex patterns on fewer harnesses. Fiber properties that affect weaving. Couturier fashions. Part 1. Couturier fabric design. Hazards faced by weavers. Swatch notebook: Some light behind the weave. Some weaves not traditionally used in casement curtains that can provide interesting effects. Includes dimity, fancy twill and spot weave. The Posneg program. The use of a computer program to design block weaves in multicolor. Written in Applesoft BASIC for use on an Apple II computer with a color monitor. Weaving with computers. The Portland Handweavers Guild study project described. Drafting: A personal approach. Part 3. Includes drafts for twill diaper and damask. Swatch notebook. Six different point twill patterns use simple loom threading. Block patterns program for weavers written in Applesoft BASIC for use on an Apple II computer. How to line overshot fabric with rya knots made of fleece. Notes of a pattern weaver. Small wall hangings that investigate weave structure. Computerized fabric analysis. Simple program written in Applesoft BASIC for an Apple II Plus. How to weave a two-faced false double weave. Requires 8 harnesses. How to weave the ridge twill of the Hopi Indians. Kente cloth weaving (African strip weaving). Includes instructions for plain weave with a weft stripe and a bird-design inlay. A look at Philippine weaving that incorporates the 8-pointed star motif. Three versions described: (1) finanauer, (2) Yakan, and (3) Tausug. A look at the advantages and shortcomings of using computers to design a pattern. Designing handwoven fabric with blocks. Four weaves with floats on the surface. (1) Tufted fabric, (2) deflected-thread block weaves, (3) eyelash, and (4) cannele ondule (warp and weft overshot). How to adapt large overshot patterns to smaller looms. Warping in color. Tips on weaning away from white warps. On-loom cardweaving as a pickup technique. Part 1. A warp rep, or mattor, design. Notes of a pattern weaver. How to develop patterns on graph paper which is faster and less expensive that weaving a test pattern. Verticals. Part 1. Weaving techniques to create a vertical design in handwoven fabric. Warmables. Three patterns for weaving warm handwoven fabric. (1) One-block Summer & Winter, (2) novelty block, and (3) flame point on overshot. Curves and circles. How simple point twill threading can produce the illusion of curves and small circles. On-loom cardweaving as a pickup technique. Part 2. Single-weft, double weave pickup. Weave design. A computer program for the Commodore VIC-20 computer helps design handweaving patterns. Knotting stitches for weavers. How to make felted fabric. Weaving project ideas. Includes a blanket, "woven" fringe, fabric reproduction, and long-eyed heddles. Tips on weaving coordinating fabrics. Block diagrams included. The 2-tie threading unit for rugs: Part 1: The double-faced stuffer weave and summer-and-winter. Weaving huck on a four harness loom. How to weave West African "Kente" on a four harness loom. Kente consists of narrow strips of cloth sewn together at the selvages to form the fabric. How to do "meet and separate" and "crossed wefts" plain weave techniques. Weaving music. Transform the song "Amazing Grace" into an original draft. How to design with modules. Weaving transparent textiles. How to weave transparent textiles in the Finnish inlay method, on a four harness loom. Techniques of extra-warp, woven-pile handweaving. Weaving as drawn in. Part 1. How to weave overshot and summer-and-winter in the "drawn in" technique. Weaving as drawn in. Part 2. Classic styles that produce squared blocks when treadled in an order that corresponds to the threading. Includes drafts for huck lace, Swedish lace, twill blocks, lightning twill and broken twill. How to use a computer to reconstruct the textile pattern from the holes in an old set of Jacquard cards. Scandinavian weave drafting. Complete draft consists of four parts: the cloth diagram, the threading draft, the treadling draft and the tie-up draft. Horizontal ribs and vertical cords: fabrics with a three-dimensional look that can be woven on four harnesses. Drafts for six textiles for a "Learning Exchange" swatch-swap for Handweaving Guild of America members. Two are eight-harness weaves: Bronson II lace and quilted double weave. The rest are four-harness weaves: Snail Trail, two overshot weaves and a double weave. Ribbed pique weave. Includes drafts for three- and four-shaft ribbed pique, two 1/2 twills and two basket weaves, all of which can be done on a four-shaft loom. Includes instructions for weaving a table runner. Two drafts for fabrics used in a seven-piece traveling costume woven in silk and wool. Dini Moes demonstrates the optical effects possible with monk's belt woven on a four-harness loom. Suggestions on the optical effects and perspective achievable using color. Designing for warp-face weaves. Covers loom-controlled warp-face lines and finger-manipulated warp-face shapes. Includes instructions for weaving a belt. Crackle weave. Two approaches to threading systems, the traditional or rotating float sheds. Crackle weave. Part 2. Two unique ways to use crackle threading. (1) Large groupings are threaded in one block for a large surface area of bold color. (2) Fifth harness is warped for a tie down for pattern inlay. Ripsmatta. Basic rules for this Sandinavian weft-faced, block weave. Includes profile and threading drafts for two-, three- and four-block designs. Six three-shaft weaves that incorporate the number 30 in some manner. Samples were woven to mark the 30th anniversary of Cross Country Weavers. Six weaving patterns with vertical emphasis. (1) Supplementary warp as surface fringe. (2) Tabby with skipped dents that allows weft to show as a vertical line. (3) Swivel treadling on Spot Bronson threading. (4) Floating warps. (5) Tabby with a twill vertical stripe. (6) Warp stripe surface texture. A look at the four design elements that are basic to any successful handwoven garment. Application of the Fibonacci series when designing stripes, checks and blocks or color in handwoven fabric. Includes a project for warp-dominant striped fabric. Complementary patterning on a plain ground weave. A description of the alternatives in yarn, threading and sett. Instructions for using floating selvages to catch the supplementary wefts. Includes drafts and treadling for four samples. Scottish tartans. A look at their history, colors and weaves. Painted twill imagery. How to plan and weave a a graphic using a range of twill threadings and a painted warp. Four handwoven fabrics for clothing that use canvas-weave threadings. Very different textiles are created by varying the choice of yarns, color, threading, denting, beating and treadling. (1) Skirt fabric features open bands that resemble leno are backed by plain weave in a layered structure. (2) Blouse fabric in textured canvas weave uses two sizes of yarn in both warp and weft. (3) Heavily textured skirt fabric is achieved by the choice of yarns. (4) Jacket fabric uses a single yarn for both warp and weft but appears to be woven from two different values of the color because of the structural depth of the weave. How to make a video of spinning or weaving techniques as a teaching tool or for entertainment. Advice about things to consider about purpose, audience, market, equipment, planning, preparation, scripting and editing. The sheer delight of handwoven transparencies. A description of the technique and a cartoon for a Purple Iris transparency (9"x9"). Instructions for a project for a first-time transparency weaver include how to make frames and lace the transparencies into them. An inlay technique for weaving transparencies. The role of twist direction in fabric design. Special feature on computers and software for use in weaving. Advice on how to select a computer to buy and how to choose software. Computer aided design. An explanation of how it can be used in creating and altering a weaving design. Surface weaves in four shafts. Threading and treadling drafts are furnished for three samples. Pushing a weave. How to experiment with changes in colors, textures, yarn sizes, sett, etc. Five samples based on a four-shaft double-faced weave are described. Fiber properties and fabric characteristics. How they impact spinning and weaving. Includes a chart of characteristics of 10 common fibers. Network drafting. A description of a system which enables weavers with multi-shaft looms to produce fabrics with curved designs, free of block constraints. Drafts are included for 8- and 16-shaft versions of a satin weave used to create curving, swirling motifs in the woven fabric. A simple weaving worksheet for use when planning a project. Inlay. Various ways to achieve discontinuous-weft patterning. Includes instructions for making a 12-pattern gamp (sampler). Pattern theory. An approach for developing concepts, ideas and ways of thinking when constructing two-dimensional patterns for use in weaving. Part 1. The simple elegance of shadow and light. The use of matte and shiny yarns of the same color and the weave structures that are typically used to achieve this effect. Pattern theory. Part 2. An explanation of how the first 12 individual pattern types are constructed. Pattern theory. Part 3. Designing weaving drafts for five hexagonal symmetries. Pattern theory. Part 4. Analysis of patterns, point and border pattern types, and other ways of covering a plane with pattern. Wrapping for color studies, a quick way to assess color combinations. The potential of poppana. The use of bias strips of fabric in weaving. Advice on fabric selection, ways to cut it, poppana's use as weft or warp and points to consider about the fabric woven from it. Weaving with cotton. A summary of cotton's characteristics, yarn structure and eight project ideas for exploring the interaction of yarn, sett and beat. Just add color for complex designs. How to develop designs in four-shaft, warp-faced, two-block rep weaves by varying weft color and weight. Ways to create a profile draft and how to use them creatively. Right from the start. An explanation of tabby and other plain weaves. Pick-up weaves. A look at adding supplementary weft designs to plain or pattern weave ground, at tied unit weaves, double weave pick-up and supplementary and complementary warp pickup. Right from the start. Learning about grouped weave structures. A look at a Quebec catalogne (rag weaving) and instructions on how to build a frame loom to weave cotton strips into placemats. Finishing handspun cotton. How to set the twist, size warp and weft, and finish the cloth. Weaving and tailoring handspun yardage. Includes plans for a yarn blocker and a pattern for a blouson jacket. Coping with frayed warp ends. Weaving a length of Buchanan tartan. Describes dyeing the wool with natural dyestuffs, blending colors, spinning the yarn, weaving the cloth and sewing it into a shirt. How to spin overtwist and weave with the resulting yarn to create collapse, undulating fabrics. How to spin a high-twist silk yarn and weave it into silk crepe fabric. Warping and weaving with overtwisted yarns to produce a crinkling, collapse fabric. Includes instructions for a sleeveless vest sewn from a collapse fabric made of karakul wool and alpaca yarns. How to label handspun products to comply with federal laws. Crepe and shape. How to combine high-twist weft yarns with a woven structure that produces elastic fabrics. Includes a four-shaft draft that produces weft-wise channels and an eight-shaft draft that produces warp-wise channels. Taaniko, a variation of weft twining devised by the Maori of New Zealand. From baskets to blankets. Geometric twining returns to the Northwest Coast. Description of the two-strand twining techniques used to reproduce an old-style Kotlean robe. Painting and brocading on the loom. Methods for painting the warps are described as are weaving techniques that create brocading (wrapping, tie down skips, satin weave and sateen pickup). An insert gives a recipe for thickened Procion dyes. Techniques from industry and production weavers that can make handweaving faster, better and more pleasurable. Includes suggestions on the sett, warping, threading, tie-up, selvages and heading. Instructions for a sampler in plain weave and five twills incorporate some of the techniques. An insert gives a formula for calculating warp sett for a balanced-looking warp that is denser in the warp than a true balanced weave. Another insert includes the basics for reading a weaving draft. Designing with color on a four-harness loom using double-weave pick-up. How to use a computer as a design tool in weaving. Finger weaving. A description of the technique and instructions for weaving the diagonal, chevron, double chevron, lightning and dancing eagle motifs. Mount your weaving draft on a magnetic board set up near loom. This allows a weaver to mark progress or a stopping point with a magnet. Also use magnets for counting metal heddles. How to identify coverlet motifs and weave structures. Insert describes how to read an overshot draft. Beduin weaving. A look at traditional work still being done in Saudi Arabia and a description of how to weave seven Beduin patterns on a frame loom. How to weave strips of printed fabric without losing the patterns printed on them. The result is a clothing-weight fabric. Detailed instructions for strip cutting, weaving, finishing and sewing using the fabric. Diagram for a simple boat-neck blouse is included. How to handspin yarn and weave it into collapse fabric. The basics of pin weaving. Instructions for weaving garment details (yokes, cuffs, pockets, etc.) with fabric strips and yarns. How to create knit/woven fabric. Operation ravel control. A collection of techniques and guidelines for working with loosely woven fabrics. Multiple harness weaving course. Part 1. Practical uses for more than 4 harnesses. Fundamental twills. Space-dented warp. Experiments in weaving gauzy fabric. Computer weaving. Description of the steps involved and of a program that can be purchased for an Apple II system with a disk drive and at least 32K of memory. Pattern weaving. A look at the primary elements. Geometric proportions as a design tool. Emphasis is on the Fibonacci series. Multiple harness weaving course. Part 2. Twills and satins. Complimentary-weft plain weave, a pick-up technique. Corkscrew weave, a twill derivative woven into a warp face fabric. Includes instructions for (1) Corkscrew rug woven on 4 harnesses. (2) Corkscrew placemats woven on 7 harnesses. (3) Corkscrew wall hanging on 12 harnesses. Four harness damask: a pick-up weave. Includes pick-up patterns for several designs. Finnish transparent weaving. Multiple harness weaving course. Part 3. Twill derivatives. Steep twills and interlocking twills. Multiple harness weaving course. Part 4. Twill derivatives (continued). Overshot. Color and weave effects with four harness summer and winter. Karelian red-picking, a Finnish-Russian weft brocading technique. Six-harness pattern furnished. Wedge weaving, a new approach. Multiple harness weaving. Part 4. Twill derivatives (continued). Covers crepe weaves and fancy twills. Color and weave effects. Examples of five 7-harness twills that produce interesting color and weave effects when there is a 1-1 order of color arrangement in both warp and weft. Multiple shaft weaving. Twill and satin blocks, damask. Three-, four-, five-, and eight-shaft groundweave in twill and satin. Also includes instructions for weaving a pattern on a drawloom. Decorative weft on a plain weave ground. Two shaft inlay and brocade. Covers supplementary weft, Dukagang, inlaid spots, loom embroidery and complementary weft inlay. Modern Overshot. Suggestions for block arrangement and color effects. A simple method of obtaining the threading, treadling and tie-up sequences for any satin weave, using a double threaded warp with long-eyed heddles on a rising shed jack loom. Multiple shaft weaving. M's & O's with two foundation shafts. The use of long-eyed heddles for patterned double weave. Multiple shaft weaving. Threading for 2-or-more-tie block weaves. The very basics of weaving. Understanding the principles of drafting. Covers two and three shafts. From sheep to shawl. Handspun singles warp woven in Dornick twill is used to make skirts and vests. Weaving textured cottons. Five different weaves that can be woven on looms from 2 to 12 shafts. Includes instructions for weaving enough fabric to make seven tops. Commercial patterns were used for 5 of them. How to plan yardage for several garments. Weaving the fabric for an 18th century Mollie costume. Costume consists of 2 linsey-woolsey petticoats, linen apron and kerchief, felt hat, linen chemise and waistcoat. Multiple shaft weaving. Tie-ups for 2 or more tie block weaves. Short and sweet drawdown program for computers. Runs on Sinclair ZX-80 computer with integer BASIC in ROM and only 1K of user RAM. A new look at twills, the "twillin" class of weaves introduced by Grunbaum and Shephard. A special Andean tubular trim woven without heddles. Used for edge binding, belt ties and bag straps. Weaving in Quebec. A look at the traditions and efforts to preserve the craft. Travail a la planche weaving technique explained. Card-weaving patterns on a 4-shaft loom. How to convert card-weaving drafts. How to weave a Guatemalan brocade border on any 2-shaft loom. Includes instructions for the "pie de chucho" design. Interview with Jack Lenor Larsen on design. A wire weaving using copper wire warp and electronic components. How to weave Matelasse, a type of stitched double cloth with a quilted look. Loom controlled quilted fabrics. Simple Matelasse woven by the pick-up method on a 4-shaft loom. How to analyze woven fabric to determine threading, treadling and tie-up. The weaving of linen. Suggestions on ways to handle the warp and weaving, along with ideas on selection of weave structure. How to weave a profile or block draft. A study of the various ways the "Whig Rose" overshot pattern can be woven. Part 1. Warp boutonne: A pick-up supplementary warp-looped fabric. A study of the various ways the "Whig Rose" overshot pattern can be woven. Part 2. Double two-tie twills and basket weave. Complementary-warp weave. A description of the technique used by the Canari weavers of Ecuador. Textured weaving for fabrics to be fashioned into garments. Includes instructions for a jacket, a cocoon, and a bateau. How to weave silk rags into elegant fabric for clothing. An introduction to warp faced and weft faced rep weaves (weaves with a ribbed effect). Seven articles including rug weaving, computer design, etc. An introduction to computers for weavers. Part 1. A look at input and output devices. Designing four-shaft double weaves. How to produce double weave pick-up with straight diagonal lines. A look at interesting and unusual ways to work with color in Summer and Winter weave. How to weave plaited twills. Includes suggestions for upholstery fabric and linen towels. An introduction to computers for weavers. Part 2. A look at what goes on inside a typical personal computer A discussion of vocabulary, conventions for drafting and spelling of weaving terms in an effort to bring consistency. A look at factors to consider when planning a weaving project using handspun yarn. Tips on weaving yardage for a matching dress and jacket. An introduction to computers for weavers. Part 3. More on memory, I/O and communication codes. Name draft, an overshot draft designed around a name. Program for the Apple II and TRS-80 computers are included which give draft and drawdown. Includes instructions for weaving name draft pillows. Transparent weaving with handspun cotton weft. How to weave seersucker yardage for a blazer. How to apply computer programing to weaving. Includes a program to develop block patterns from a profile. Computer control of loom tie-ups and treadling sequences. How to weave boutonne fabric in a 10-point star pattern. Shaft-switching. A description of technique, weave, structure, devices used and tips on selecting weaves and patterns. Turned drafts in double two-tie unit weave. Including drafts and treadling plan for all weave structures. An ounce of prevention. Measures that can be taken before and during the weaving process that will retard or prevent fabric deterioration. Part 1. Weaving materials, tools and methods of the salish people of British Columbia. Analysis of the weave structure of "Tied Lithuanian", a block weave also known and "Dimai" and used for coverlets. Tips on weave structure and traditional striped fabrics for the Middle Eastern kaftan. Analysis of the Bergman system, a three-tie block weave. Color theory for handweavers. Part 1. The basics. Demystifying complex weaves. A step-by-step exploration of four- to 16-harness patterns. Designing name drafts. Covers the basic method for deriving drafts and weaving rules that must be acknowledged. How to weave and full vadmal, woolen fabric that is finished so that it shrinks by 50 percent. Finishes for vadmal. Tips on cutting out a garment, joining pieces, lining, finishing edges and adding closing and other embellishments. Color theory for handweavers. Part 2. How to integrate color theory with specific textile techniques. Includes tip for making a cardboard disc that can be spun to determine the results of mixing colors. Multi-harness huck. Basics of four-harness, 6-end unit huck are explained and then expanded into multiple harnesses beyond four. Explains how to design plain weave, lace, weft spot and warp spot areas. Drafts for each are included in four-harness, as are drafts for (1) an eight-harness plain weave diamond on a lace ground, (2) an eight-harness weave of weft-spot diamonds and zigzags on a lace ground, and (3) a 14-harness lace star on plain weave background. Color theory for handweavers. Part 3. How to create visual illusions with color. Boundweave. Includes Rosepatch threading, tie-up and treadling for boundweave and examples of Norwegian and Swedish coverlets and wall hangings. Point block progression. Four patterns in 16-harness Tied Lithuanian weaves. Weaving warp-faced double cloth. An Andean technique is adapted for the treadle loom. Color theory for handweavers. Part 4. More visual illusions with color. Draft for jacket fabric woven in M's & O's in natural brown and white handspun cotton. Brushing handwoven cotton fabrics, the potentials and limitations. Four examples of borders woven in 16-harness Tied Lithuanian weave. Excerpt from "Geometric Design in Weaving" by Else Regensteiner. Explains ratios and dynamic symmetry and constructing divisions of space. Experiments with design approaches are suggested using a basic rectangle, compound rectangle, tessellation (tile design), modules and grids. An introduction to Finnweave. Includes an explanation of Finnweave graphs and instructions for weaving a sampler. Four- and eight-harness loom-controlled patterning are explained. A look at how an experienced weaver can continue when vision is impaired. A suggestion on tools and adaptive modifications that help discern pattern or design placement. Working with tie bias of the fabric. Includes drafts for five fabrics, four twills and a diagonal Bronson, that can be woven on eight harnesses, give good diagonals and can be woven to achieve 45-degree angles. An investigation of new ways to use four-harness overshot threadings. Warp color variation possibilities in double or multi-layer weaving. Technique for designing a warp-faced krokbragd textile. How to do ribbon weaving. Instructions for making a fish and a bird. | |||||||||
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