Honeycomb fabric

Over the holidays, I found a design in Laura Fry's "Magic in the Water" book that I want to do. Project 5 - cotton chenille jacket. I will use fine bamboo yarn and cotton chenille. However, there's been a lot of buzz on the weaving at yahoogroups list about how difficult chenille can be so I was hesitant. Also, it's a structure I haven't worked with before, so I thought it might be a good idea to use a shorter warp as a test. Then I ran across a honeycomb fabric project in "The Best of Weavers: Fabrics that Go Bump" and realized the structures are the same, just implemented a bit differently. One uses cotton chenille yarn and the other uses fabric strips. So gave it a try.

From this....

To this...

The fabric hasn't been wet finished yet. It'll probably pull up even more afterwards.

Likes: I love the texture this fabric has as a result of the draft. I like how it tones down the brightness of the fabric but still is quite colorful.

Dislikes: I feel like I wasted my precious bamboo yarn. This project would have been just as nice with a cotton yarn. I should have gone with the chenille instead of the fabric strips for this warp.

I'm not sure how I'll use the fabric. It's almost too heavy to be used in a garment. If the white yarn were cotton, I'd jump at turning it into a bag but the fact that it's bamboo is leaving me hesitant. Not that I don't think it'll hold up - just that it feels like I'm wasting it.

We learn by doing. I did. And I learned.

Macomber loom tool shelf or....

cat perch?




This is Luke. He's my shadow. Where ever I go, he follows. And now, if I'm working at the loom, he's up in the tool shelf. It used to be that he'd jump into the tool shelf, sit for a few minutes, and then move to the back of the nearby couch. Given that it's a bit colder these days, I wondered if putting a pillow in there would encourage him to stay and keep me company. It worked!



The painted warp is coming along nicely. I really like the sage green weft in there. The pattern is a 3/1 twill and lifting 3 shafts at a time. Lifting 3 Macomber shafts isn't so bad. Although, I can see how lifting 8 (once I put more shafts in) might result in a true workout. Frankly, I'd rather workout on my loom than some gym's common-use stairmaster or treadmill. Not that I work out, but if I did....

Holiday Humor

As many of you do, I also read quite a few other blogs. I use Technorati to keep track of my favorites. For the most part, it sorts them by most recently posted.

Today I found this very funny rendition of The Twelve Days of Christmas by way of Sara Lamb's blog. It's done by Bonnie Tarsus, a well-known weaver in Seattle.

I could *so* relate.

Painted Warp

I bought this painted warp from Margaret at Heritage Yarns. The colorway is called Tallahatchee Bridge in 80%/20% rayon silk. I've mixed in stripes of unmercerized cotton in beige and sage green. Under tension, the rayon is a thinner yarn than the cotton but hopefully it will fill back out after wet finishing. I've used another of these painted warps for a shawl and the yarn did do that afterwards. For the warp, I used two turns of the skein starting with the pink. I wish now the ends were either the grey or the olive green as I really like the pink and it's going to end up being thrums. This yardage is going to be part of a jacket for me.

But before I can get started, I have to sample the weft colors. The first (closest to the bottom but not the white - that's toilet paper to spread the warp) is the sage green cotton I used in the warp stripes. It's plain weave. The next is the beige cotton from the stripes in a 3/1 twill. It's okay but I think the colors in the painted warp get lost. Next is the sage green cotton again but in the same twill. I do like that. The last one is a thin white bamboo. I don't recall the size but it's 4000 ypp (yes, quite thin). And again, I think the painted warp gets lost. I could dye the bamboo but that takes time and I really would like to get this going. Besides, the bamboo would make a thinner fabric than the cotton so I'm sticking with the sage green cotton.

You may have noticed the weft isn't perfectly straight from left to right. That's because the tension in the painted rayon/silk is ever-so-slightly different from the tension in the cotton. The rayon/silk stretches more than the cotton. When I beamed it, I tensioned the rayon/silk on it's own weight in hopes it would stretch to its own maximum. This warp may have been a candidate for double-beaming but I don't have a second beam on this loom. Frankly, even if I did, I doubt that I would have been able to get the two tensions any closer than this - they really do feel very much the same. I'm crossing fingers that the wonkiness will disappear in the wet finishing. And since the weft won't be striped, the waves should disappear into the cloth.

Two-sided Rag Rug

Progress on the rag rug found in the November/December 2007 Handweaving Magazine is slow-going. I think winding pirns is so much faster than cutting fabric strips, tapering the ends, and winding onto ski shuttles. And the weaving itself is also slower. I'm under the impression that the strips shouldn't have a twist in them as they lie in the shed. However today, I'm going to experiment with not worrying about it and seeing if it makes a significant difference in the finished weaving. If not, maybe ignoring twists will help speed up the process.

I do like this results of this project. Reversible things always appeal to me. Although in this case, the rug is going to be given to some friends of ours as a thank you gift.

Macomber Update

Thanks to Melodi Hackett of Maine and everyone on the yahoogroups weaving email list who answered my questions in the previous post!

The large silver thing in the first photo indeed is used with the black handle. It's used to push down a lamm while you are setting the tie-up. The smaller of the pins (in the photo with the silver bar) is used to hook the black handle in the down position so that you can use both hands for the tie-up process. Here's what it looks like:

I'm told the same shorter pins are also used in the old lamms for tie-up. My loom must be the newer version because there are no holes in them to insert the shorter pins.

The spring-string-chain found at the back of the loom near the warp beam is to act as a brake when the ratchet system is released for advancing the warp. Without it, the warp beam will spin like the dickens once tension is released. I'm really glad I found out about this before starting my first project.

The first project is in progress! I measured out the warp and have it sleyed in the reed. I spent time last night moving the heddles and will finish dressing the loom today. I'm going to take a stab at that reversible rag rug in the latest Handwoven magazine. It only requires 4 harnesses in a straight draw but the simplicity will allow me to become familiar with this new loom. I can tackle an 8 harness project next time!

Macomber Mysteries

A week ago I bought my dream loom. It's a 45" Macomber 16 harness frame with 8 harnesses. The perfect width (not too big, not too narrow). The perfect number of harnesses. And room to expand should I outgrow 8.

Unfortunately, Macomber doesn't have much in the way of documentation. I have the catalogs the original owner received. And lovely catalogs they are! Someone spent a lot of time and energy creating such beautiful marketing literature. I, and probably many other Macomber owners, wish they had put the same energy into providing supporting documentation. So far, I haven't even found someone with a mechanical assembly drawing.

So I come to the community of Macomber owners with some questions. I am fairly mechanically inclined and can figure out most things on my own. I also have some experience with looms (I own 5 not counting the Mac - 2 tables, a floor, and 2 rigid heddles). Sometimes, stuff just plain stumps you.

First, what are these parts?

The middle piece is used to connect the treadle to a shaft. I figured that one out because the previous owner left one still attached. I have lots of those which I assume you need to be able to set up complicated tie-ups. But I haven't a clue about the smaller wire-like piece. There are exactly 10 of those. Coincidentally, the loom has 10 treadles.

Next, what does this lever do?

The photos were taken from the back of loom. I think the black lever is used in conjuction with the big silver hunk of metal in the first picture. Threading the black handle into the slot and lining it up over part of the jack mechanism makes it possible to push down on a single shaft from the front of the loom. Is that how this is to be used? Why would you use something like that?

Last question: what is this for? And where should it be attached?

It hangs off the back beam near the warp beam. It consists of a small spring, some thin rope, and a chain at the end. I know it's not the warp beam brake because there's a ratchet contraption on the other end of the warp beam.

I hope someone can help!