During my tenure at Handwoven, I’ve read many articles on color in weaving. “Be careful,” they say, “sometimes colors that look good next to each other on the shelf will turn muddy on the loom.” But inspiration can come from anywhere if you’re open to it.
I’m wondering if you have any tips on keeping track of treadling orders. I keep losing my place.
One way to maximize the pleasure of color blending is to paint the warp, choosing and mixing as many colors as you like. As soon as the door is open to creating absolutely any color, the problem becomes: what colors to make?
Yarn and structure nuances to keep in mind when you’re planning a warp
Kathleen Farling, like many weavers, loves samples, especially guild samples. One such sample spoke to her and led her to design and weave her Centuries in the Making Runner.
There isn’t really a way to translate an 8-shaft draft to four, but you can create similar effects by substituting a 4-shaft twill for an 8-shaft one or by using the same block weave you see in an 8-shaft project but reducing the number of blocks.
When it comes to weaving courses, sitting in the front and center of the classroom might not always be possible or advisable. Fortunately, there are other tips and tricks to help you get the most out of any weaving workshop!
If your family doesn’t have a tartan of its own, have no fear; you can weave the Dunlap Tartan Stole based on Nancy Dunlap’s interpretation of her husband’s family’s tartan.
For A Scarf for a Man from Three Centuries, Allen picked an old weave structure (4-shaft bumberet) and then wove a scarf using yarn he dyed with traditional techniques and modern commercially dyed yarn.
Sometimes two things come together and make a design come to life. That’s what happened when Angela K. Schneider looked at a rigid-heddle warp she had designed for a class and saw the colors of Mardi Gras. Her rigid-heddle Mardi Gras scarf came to life!