HANDLOOM CONSTRUCTION
A Practical Guide for the Non-Expert
Written and Illustrated
By
Joan Koster
Published and Distributed by:
Volunteers in Technical Assistance, Inc.
VITA
1600 Wilson Boulevard, Suite 500
Arlington, Virgnia 22209 USA
Tel: 703/276-1800 . Fax: 703/243-1865
Internet: pr-info@vita.org
ACKNOWLEDGEMENTS
VITA
acknowledges, with deep thanks and appreciation to
the author, this very special contribution to its
development
work.
Handloom
Construction was written and illustrated by Joan
Koster--educator, anthropologist, artist and weaver.
Koster, a
long-time VITA Volunteer, has provided assistance through
VITA
to loom builders and weavers around the world.
VITA is very
pleased to be able to offer a portion of Koster's work
collected
in one manuscript.
Special thanks
go also to VITA Volunteer Virginia Palmer
for her review and comments, to Margaret Crouch and Laurel
Druben of the VITA staff for editorial work, to VITA staffer
Carolyn Marcus, whose skill at layout and page design so
well
highlighted the author's excellent work, and to VITA
Volunteer
Kit Cone, for typesetting services.
Mt. Rainier, Maryland USA
1979
TABLE OF CONTENTS
INTRODUCTION
1 Which Loom to
Build?
Fibers:
Choice and Preparation
What Products to
Weave?
The Looms
Table I
Table II
Table III
2 A Weaver's
Dictionary
3 The Simple Frame
Loom
Materials Needed
Construction
How to Weave on a
Frame Loom
Variations of the
Simple Frame Loom
How to Weave on a
Pegged Loom
4 The Inkle Loom
Materials Needed
Construction
Set Up the Loom
for Weaving
How to Weave
on an Inkle Loom
Steps in Weaving
5 The Foot-powered
Loom
Pit Loom Version
Materials Needed
Construction
Free-Standing Loom
Version
Materials Needed
Construction
The Moveable Parts
for Both Loom Designs
Warp the
Foot-Powered Loom
How to Weave on a
Foot-Powered Loom
Steps in Weaving
on Both Looms
6 The Weaver's Tools
The Beater
The Raddle
The Shuttles
The Skeiner
The Skein Winder
The Stretcher
The Warping Board
for a Foot-Powered Loom
7 Weaves, Patterns
and Finishing Touches
Planning the
Fabric
Keeping Records
Facings
warp-faced weave
weft-faced weave
balanced weave
Color Pattern Weaves
Tapestry Weave
Knotted Weaves
Finishing Touches
8 Where to Find More
Information
Introduction
With inexpensive machine-made cloth increasingly available
almost
everywhere, it seems likely that fewer and fewer people will
be interested
in producing their own cloth.
As a result, handweaving may
be in danger of becoming a neglected craft.
Yet there are many advantages
to handweaving--particularly in the home and on a cottage
industry basis.
Weaving can be done in one's spare time using free or
inexpensive
pictx1.gif (353x353)
fibers available locally, and simple, efficient looms can be
built
from local materials at
little cost.
Therefore,
as long as the loom and
fibers cost little, the
finished cloth requires
an investment in time
rather than money.
There are other advantages
as well. Handwoven
cloth
is often sturdier and
longer wearing than
manufactured cloth.
It can be designed
to meet special
needs: sacks
can be made in
a size and
shape that is
easily carried
and stored;
mats and rugs
can be made to
fit individual rooms.
A simple loom made
pictx2.gif (600x600)
from local materials.
Loomed products can provide extra cash income, especially
for agricultural
or herding families.
Such products can be sold locally to
people unable to weave their own cloth, to the tourist trade,
or
for export. Cloth
and cloth products are relatively easy to store
and ship, and they suffer little spoilage if cared for
properly.
Because people all over the world have been weaving since
the very
earliest times, there are many styles and varieties of
looms. This
is a book about building and using some of these.
Three types of
looms, including two variations of a foot-powered loom, are
presented
here. The book gives
1) detailed directions for building each kind
of loom, 2) the advantages and disadvantages of each, and 3)
instructions
for weaving.
The most basic design for a loom is the simple frame
loom. This
loom has been used throughout the world by people as widely
separated as American Indians and the villagers of Upper
Volta.
Foot-powered looms--sometimes called multiple harness
looms--are
those on which the weaver operates foot pedals to shift
moveable
parts of the loom, making it possible to weave more quickly
and
easily. Most
foot-powered looms operate the same way but differ
in the design of the frame that holds the loom.
One version of
this loom, called a pit loom, sits in a pit dug for the
weaver's
feet and the foot pedals.
The pit loom described here, which is
similar to looms used in Greece, Turkey, the Balkans, and
northern
India, can be supported by being attached to a wall or
suspended
from the ceiling.
The free-standing loom, on the other hand, has
its own supporting frame and a raised bench for the
weaver. The
free-standing loom depicted in this manual is like those used
in
Greece, the Balkans, Turkey, Iran, northern Europe and
colonial
America.
Read this manual carefully before deciding which loom to
build. The
manual has been written to assist with thinking about the
questions
which must be answered before a loom is built.
For example:
-- What types of
fibers are available and how much do
they cost?
-- What product
or articles will be woven?
-- If the
handwoven article is to be sold, is there a market?
-- If the
articles are to be sold, can they be made and sold
quickly
enough to make the effort worthwhile?
-- What
materials are available for building the loom?
Once these factors--construction materials, purpose, fibers,
and
so on--have been considered, it will be much easier to
decide which
loom can or should be constructed.
This manual first describes briefly a range of fibers which
can be
used and then presents a brief summary of each of the types
of loom,
the construction materials needed and the products best
produced.
As a guide to the potential loom builder, the looms are then
compared
with each other in terms of all these factors.
The first
chapter provides a very good framework for making decisions
concerning
which loom is best for a given purpose.
Chapter 2 is an illustrated
dictionary of basic terms used by a weaver and throughout
this manuscript.
Directions for construction and use of each type of loom are
covered
in Chapters 3, 4 and 5.
Chapter 1 includes information on choosing,
treating and spinning fibers.
Other sections cover types of weaves
and finishings, and weaver's tools.
An annotated list of references
is also included.
1 Which Loom to
Build?
The decision to build one loom rather than another should be
made after
considering a number of questions.
1. What kind of
cloth or article is to be made?
If there is only
one kind of fiber available, then this fact
can dictate the
choice of product and the loom. If
there is
a variety of
fibers, choose a loom that can handle those fibers
used most often
in the type of products or articles being produced.
2. What size cloth
is needed?
Will all the
cloth you make be the same width, or do you want
to make articles
of varying widths? Some looms can weave
cloth of varying
dimensions, but most weave only within certain
limits for width
and length.
3. How fast does the
material have to be produced?
Will you be
weaving for personal use or to meet market demands?
In general, the
more complex the loom, the faster it weaves.
However, a
weaver's skill can often compensate for the slower
rate of a simple
loom.
4. What materials
are available locally for loom building?
In general it is
almost always cheaper to build a loom than to
buy one.
In many places it may not be possible to
find or
import the type
of loom needed. The basic construction
material
for simple looms
is wood. Almost any kind of wood can
be used as long
as it is as straight as possible and well-seasoned.
It need not be
milled lumber. Tree limbs with
the bark removed
make excellent loom supports.
With an understanding of the basic principles of weaving and
a little
carpentry skill, the looms in this manual can be adapted to
work
with most materials available anywhere.
This chapter will help the user make the decision by
providing information
on each of these points, beginning with the discussion of
fibers. This seems a
good place to begin because it appears to be the
case that few people realize the range and variety of
materials which
can be woven.
Guidelines are provided for preparing fibers and for
judging whether there is sufficient quantity to complete a
product.
Fibers: Choice and Preparation
In order to compete with manufactured cloth,
handwoven cloth must be made from free or
inexpensive materials available locally.
If
weaving is done now, or was done in the past,
learn which materials are used and how they
are prepared. Fibers
from domestic plants
pictx3.gif (600x600)
and animals will usually be available in
greater quantities than those from wild
sources. However,
sometimes grain straw
or sugarcane residues can be used in weaving.
Domesticated animals such as sheep,
goats, rabbits, camels and many others can
also provide quantities of useful fibers.
Experiment with new materials as well.
Perhaps a nearby factory discards packing
materials of natural fibers, synthetics or
plastics. Sheets of
plastic or old plastic
bags can be cut into strips and woven to
make waterproof mats and raingear.
Old
clothing and cloth can be cut into strips
and woven into the rag rugs which are
traditional in many parts of the world. <see picture>
pictx4.gif (393x393)
Even cardboard and paper, when made into
strips, can be woven.
Almost any fiber, if it is clean, pliable and
either in strips or capable of being spun
into thread, can be used in weaving; the
range of materials that can be used is almost endless.
The following
list is just a sample of the variety of fibers and materials
used in
different parts of the world for weaving.
Sources of Materials for Weaving
ANIMAL/INSECT
VEGETABLE
MAN-MADE
Buffalo
Amaryllidaceae-Agave, Sisal, Mauritius Hemp
Acrylics
Camel
Apocynaceae and Asclepiadociae-Milkweed
Cardboard
Cattle
Bombacaceae-Kapok
Old Cloth
Cat
Bromeliaceae-Kapok
Paper
Chinchilla
Bromeliaceae-Caroa, Pineapple, Spanish Moss
Plastic
Dog
Gratineae-Broomcorn
Polyester
Fox
Leguminosae-Sunn Hemp
Rayon
Goat
Liliaceae-Formio Flax, African Bowstring
Guinea Pig
Linaceae-Flax
Horse
Malvaceae-Bimili, Cotton, Henaf, Hibiscus, Mesta,
Llama
Okra, Urena
Musk Ox
Moraceae-Hemp, Paper Mulberry
Opposum
Musaceae-Abaca, Banana
Rabbit
Palmae-Coir (Coconut), Crin vegetal, Palmetto
Racoon
Piassava, Toquilla
Sheep
Tiliaceae-Jute Basswood
Silkworm
Thymeliaceae-Lace Bark
Vicuna
Urticaceae-Ramie (China Grass)
Yak
Also various grasses, reeds and bamboos, as well
as crop residues-grain straw, bagasse (sugarcane)
Preparing Fibers for Weaving
Part of the consideration of whether a certain fiber is
appropriate
for use is the quantity in which it is available and, of
course, the
amount of time and effort required to prepare it for
weaving. The
discussion here is not intended to be a complete guide to
fiber preparation.
Indeed, that will be the subject of another book.
Rather,
the purpose of this discussion is to give enough information
on fiber
preparation to enable wise decisions concerning the use of
the looms
to be described in this manual.
Very few fibers are ready for weaving in their natural
state. Most
require some special preparation to make them flexible or
thin enough
for weaving.
Although each fiber requires specific handling, the
following illustrations summarize the basic processes
required by
most fibers.
Fiber Preparation
1. Cleaning - Most
fibers must have dirt, seeds, sticky sap,
cleaning.gif (486x486)
husks
or oils removed. For some this involves
washing or soaking.
2. Drying - Fibers
that are washed or soaked usually are air-dried
drying.gif (437x437)
in sun
or light shade.
3. Combing - Fibers are drawn through a
hca3x90.gif (600x600)
toothed
tool in a manner
similar
to combing one's
hair. This straightens and
smooths
the fibers to prepare
them for
spinning.
4. Spinning or Twisting -
hca4bx9.gif (486x486)
Spinning:some fibers, such as wool, hair
and fluffy
plant materials - cotton,
flax,
milkweed, etc. - can be made
into
continuous strands by spinning.
Spinning
involves pulling off small
bits of the
fiber and twisting them
tightly
together. This can be done
with a drop
spindle or spinning
wheel as
illustrated.
hcatwx10.gif (486x486)
Twisting: strips of
plant material - leaves,
grasses,
stalks, etc. - and of old
cloth or
plastic can be made thicker
and
stronger by placing a heavy
weight on
one end and turning the
strip in
one direction until it
is round
in circumference.
5. Plying - Fibers
can be made
hca5x10.gif (600x600)
stronger by
twisting together
two or more
strands.
Spun or
twisted fibers
should
be twisted in the
direction
opposite
from which they
were spun or
twisted before.
The same
technique
described for
spinning
or twisting
can be used.
Two-ply
means the yarn
is made of two
strands, four-ply
from four, etc.
The potential builder now has some idea of the range of
materials
which can be used for weaving and of the steps involved in
preparing
them. It is also
important that the builder or user at this point
have an idea of what needs to be woven and of how fast the
articles
must be completed.
Key to this knowledge is understanding of the kinds of
products which
can be woven out of which fibers and of how much material is
necessary
for a given product.
What Products to Weave
Many items can be woven.
Some woven products are not finished on a
loom, but must be sewn or fastened together after the
material is
woven on the loom.
Bags, sacks, clothing
are good examples.
<see picture> Other products,
hcaxa110.gif (600x600)
such as belts, mats and rugs can be
almost completely finished on the
loom. This is a time
factor to be
considered.
Regardless of the fiber used or the
final product desired, all weaving
consists of alternating rows of
threads, yarn or strips made from
the raw material.
The vertical
threads are called the warp; the
horizontal threads are called the
weft. (As indicated
previously,
the fibers may be one-, two- or four-ply
depending upon the number of
strands twisted together.
Essentially,
the purpose of all looms,
no matter how complex, is to hold
the warp (fibers) very tightly so
that the weft (fibers) can be pulled across over one strand,
under
the next, over and under as shown in the illustration on the
previous
hcaxc11.gif (486x486)
page.
When considering the product to be made it is useful to know
that
warp and weft fibers do not have to be the same.
If you find you do not have enough of one fiber, it is
possible to
combine two or more in the same cloth.
Always use the stronger for
the warp. The
following chart shows how fibers may be combined in
certain articles.
A selected warp from the chart may be used in combination
with one
or more of the wefts listed for the same article.
For example, an
attractive and sturdy bag for carrying water bottles could
be made
using a two-ply wool warp and a weft of alternating bands of
one-ply
wool, coarse goathair and jute.
A similar bag might have a warp of
heavy cotton and alternating wefts of linen, cotton and
jute. Combinations
of different fibers will produce cloth of varying textures.
In choosing fibers for a specific article consider the
textural effect
of the finished cloth:
clothing and linens should use fibers
that are soft to the touch; rugs, sacks, and mats can use
the
coarser fibers.
Suggested Warps and Wefts
ARTICLE
WARP WEFT
Bags
Heavy cotton Heavy
cotton
2-4 ply wool
1-2 ply wool
Linen Linen
Jute
Coarse goathair
Jute
Belts
Heavy cotton
Cotton
2-4 ply wool 1-2
ply wool
Linen Linen
Jute Jute
Hemp
Hemp
Blankets
Heavy cotton Heavy
cotton
2-4 ply wool 1-4
ply wool
2 ply coarse goathair soft
and coarse goathair
Linen
Linen
Fabric (Heavy--for
Heavy cotton
Heavy cotton
jackets, coats
2-4 ply wool
2-4 ply wool
capes, pants)
2 ply coarse goathair
2 ply coarse goathair
Heavy linen Heavy
linen
Fabric (Light--for
Medium, heavy cotton
Medium, fine cotton
dresses,
shirts, Fine 2 ply wool
1 and 2 ply fine wool
table linens)
Fine, medium linen
Fine linen
Silk
Synthetics
ARTICLE
WARP WEFT
Mats
Heavy cotton
Jute
Heavy linen Hemp
Jute Straw
Hemp
Cardboard and many other
vegetable fibers
Raingear
Heavy cotton
Loosely spun goathair
Heavy linen
Plastic strips
2 ply coarse goathair
Rugs
Heavy cotton Heavy
cotton
2-4 ply wool 1-4
ply wool
Heavy linen Old
cloth cut in strips
Jute Jute
Hemp
Animal Hair
Sacks
Heavy cotton Heavy
cotton
2-4 ply wool 2-4
ply wool
Heavy linen
Heavy linen
Jute Jute
Hemp
Sheets
Medium, heavy cotton
Medium, fine cotton
Fine 2 ply wool
Fine 1 and 2 ply wool
Medium, heavy linen
Medium, fine linen
Silk
Wall Hangings
Cotton Any
2-4 ply wool
Linen
Silk
Synthetics
Once there is an idea of what fibers are available and of
the ways in
which fibers can be combined to produce a product, it is
necessary
to make sure there is an adequate supply of fibers to
produce the
thread or yarn for the desired products.
Or to look at the same
point in another way, it is necessary to find out how much
yarn or
thread is needed to produce the cloth for a given article.
Here is a rough formula for estimating the amount of thread
necessary:
A.
Estimate how many vertical threads (warp)
there will be in
one square
centimeter of cloth. (The thinner the
thread,
the more there
will be.
B.
Estimate how many horizontal threads (weft)
will be in
the same square
centimeter of cloth.
C.
Determine the width of the finished
piece of cloth.
(in cm.)
D.
Determine the length of the finished
piece of cloth.
(in cm.)
(AxC) x D = the
length of warp needed
(BxD) x C = the
length of weft needed
(AxCxD) + (BxDxC) =
total thread needed
for cloth.
hcaxa14.gif (486x486)
Remember that this is just an estimate.
It is always a good idea to have extra
warp and weft. (See
pages 127 & 128
for a further discussion of determining
amounts of warp and weft needed.
The Looms
The Simple Frame Loom is the most
hcaxb14.gif (486x486)
basic design for a loom.
The
frame, a structure of four pieces
of wood, serves to keep the warp
(vertical) threads taut and
straight so that the weft (horizontal)
can pass through more
easily.
The loom has a shed stick and
heddle which make the weaving
go faster and more uniformly than
on an even simpler loom where
the weaver must intertwine the warp
and weft with just the fingers.
The frame loom requires less time
in construction and in setting up the warp than the more
complex
foot-powered loom, but requires a greater investment in time
spent
in the actual weaving of the cloth.
Even though it is slower and simpler than other looms, the
frame
loom has certain advantages to be considered.
Only the frame loom
can be made big enough to weave large, one-piece fabrics,
rugs and
mats. Variations of
this loom are used, for example, to weave
Persian or Oriental rugs in Afganistan and Iran.
Another advantage
of the frame loom is that it is especially suited to weaving
very
coarse fibers and is useful for weaving
heavy mats of straw, grasses or similar
fibers. The frame
loom is also
very suitable for weaving pile or
shag rugs, and tapestries.
The
knotted and tapestry weaves used
for such rugs require slow painstaking
fingerweaving by the weaver
no matter which style loom is used,
and so the foot-powered loom loses
its advantage of greater speed
when this kind of work is being
done.
The Inkle Loom is designed to
hca15.gif (486x486)
produce very strong continuous
bands or strips of fabric ranging
from about 2 to 28 centimeters.
This loom is popular for weaving
belts and decorative trims.
Although
the inkle loom produces
a limited size and type of material (the strips range in length
from
90 to 180 centimeters), it has advantages for some
situations and uses.
The Inkle Loom is fairly small; some versions are small
enough to
hold in one's lap or work on a table.
This can be an advantage if
working space is limited.
An ingenious system of changing the warp
makes setting up the loom and weaving on it a very rapid
process.
Many beautiful and intricate patterns can be developed and
carried
out on the loom. The
fabric produced is warp-faced which means that
the weft does not show at all in the finished cloth.
This means that
if fibers for weaving are limited, excellent cloth can be
produced by
using good fibers for the warp and poorer ones in the
weft. Even if
one of the other looms is chosen, the Inkle Loom is a good
supplementary
loom on which to weave straps and trim for bags, blankets,
and
clothing woven on the other looms.
The Foot-Powered Multiple Harness Loom has been used with
success in
many places throughout the world.
It incorporates most of the features
necessary for a smooth, consistent production of
fabric. Although
designs for more complex versions exist, and can be found in
some of
the sources listed on pages 157-162, the foot-powered loom
design presented
here has been chosen as more suitable for construction where
materials, carpentry skills and tools are in limited supply.
Two versions of this loom are presented.
The Pit Loom is built
hca16.gif (600x600)
permanently into the floor and wall or ceiling of a
dwelling. Because
it uses the structure of the building in this way, it requires
a minimum of wood and is, therefore, very suitable for
construction
in areas where wood is expensive or in limited supply.
The design
for this loom is based on models in current use in Greece,
the
Balkans, Turkey, and Northern India.
The other version presented is a Free-standing or
Self-supporting
hca18.gif (600x600)
Loom. The moveable
parts of this version are supported by a large,
sturdy wood frame which can be disassembled for
storage. This
loom requires more wood and carpentry skill than all the
others presented
in this manual.
However, it does not have to be made of
commercially milled lumber, but can be constructed from
unmilled
tree limbs. Looms of
this design are also used in Greece, and the
Balkans, Turkey, Iran, and were once common in northern
Europe and
Colonial America.
Both versions, the Pit Loom and the Free-Standing Loom, use
the same
moveable parts. The
advantage to this is shown particularly in
cases where it is not possible to construct enough frames
for every
family that wishes to weave.
When this is the case, a village may
choose to build a few of either or both types.
Each family then
has a set of moveable parts and the families share use of
the several
loom frames. This
allows more people to weave than might otherwise
be possible.
Some other important features of these last two loom designs
are
the use of multiple harnesses and footpedals (or
treadles). Multiple
harnesses refer to the combination of pulleys and heddles
which raise and lower the warp.
These looms can use up to eight
harnesses. This
means the loom is smooth and fast operating, and
also that there is a great variety of weaves and patterns
possible.
(See Chapter 7.) The use of footpedals frees both hands to
deal
with the weft and shuttles.
The warp used on these looms must be very strong and
even. Cotton,
wool, linen, jute and silk have all been used on this type
of loom.
(See chart on page 20.)
The weft, however, can be quite variable--from
yarn to rags, raw wool and plant fibers.
And although the
warping process is complex and time consuming, the
foot-powered
loom can hold a great quantity of warp, enough for several
large
articles, so warping need not be done frequently.
This loom is particularly suited for cottage industries
where an
investment in the more complex framework will pay off in the
resulting
uniformity and strength of the fabric.
The tables on the following pages bring much of the
information which
has been presented together in a form which enables easier
comparison.
Table I presents an overview of the looms from the
standpoint of
size of finished material, fibers best used, speed,
etc. For example,
the loom builder can see from Table I that if speed is not a
consideration
and ease of construction is, the frame loom may be a good
choice.
Table II shows some common fibers and their suitability for
use in
warp and weft on these looms.
Table III presents some guidelines as
to the products which can be woven on each loom.
Table I--A Comparison of these Looms
FRAME LOOM
INKLE LOOM
FOOT-POWERED LOOM
Size Range of
h.30 cm and up 30 to 90
cm 120 to 150 cm
Loom Frame
w.30 cm and up
6 to 30 cm
90 to 120 cm
Width of
4 cm and up 2 to 28 cm
2 to 100 cm
Finished Cloth
Length of Warp 2
X Loom hgt. 90 cm
200 cm to 3600 cm
Held on Loom
Ease of
Easy, little Easy,
some Complex, some
Construction
carpentry skill carpentry
carpentry skill
needed skill
helpful needed
Type of Materials
Wood Wood
Wood
needed for
Nails Dowels
Reed or Bamboo
Construction
Sticks Screws
Cement, Shovel
Cord Saw,
Chisel Saw, Chisel, Drill
(See specific
Hammer, Drill
Screwdriver Rope, Cord,
String
sections on
Knife Drill
Knife
construction
Rocks
for more detail)
Best Fibers
Fine to Coarse Good
quality Good quality
of
all kinds warps - thin to
warps - thin to
thick; Weft does
medium thickness;
not show - can be
All kinds of weft
of varying quality
Speed
Relatively slow Fast
Fast
Handling
Small sizes very Small, easy
to Large; Pit Loom
convenient to use and
store style is a permanent
use and store;
installation in
Large sizes (90cm
home; Self-supporting
and over) harder
can be disassembled
to
handle. Looms
to store. Both are
wider than 120cm,
easy to use - both
may require two
hands are free to
weavers.
deal with weft.
Table II--Sample Fibers and their Suitability for
use on
these Looms
FIBER
FRAME LOOM INKLE LOOM
FOOT-POWERED LOOM
Warp Weft
Warp
Weft Warp
Weft
Cotton - fine
no yes
no
yes yes
yes
Cotton - heavy
yes yes
yes
yes yes
yes
Flax (Linen)
- long fibers
yes
yes yes
yes
yes yes
- tow
no
yes no
yes
no yes
Wool - 1 ply
no yes
no
yes no
yes
Wool - 2-4 ply
yes yes
yes
yes yes
yes
Jute - loose spun
no yes
no
yes no
yes
Jute - 2-4 ply
yes yes
yes
yes yes
yes
Angora rabbit
no yes
yes
yes yes
yes
Goathair (coarse)
- loose spun
no
yes no
yes
no yes
- 2 ply
yes
yes yes
yes
yes yes
Mohair - loose spun
no yes
no
yes no
yes
Silk
yes
yes yes
yes
yes yes
Straw
no yes
no
yes no
yes
Plastic strips
no yes
yes
yes no
yes
Table III--What to Weave on Which Looms
ARTICLE
FRAME LOOM
INKLE LOOM
FOOT-POWERED LOOM
Bags
yes no
yes
Belts
yes yes
no
Blankets
yes no
yes
Fabric (heavy)
yes no
yes
Fabric (light)
no no
yes
Mats
yes no
no
Rugs
yes
no
yes
Sacks
yes no
yes
Sheets
no no
yes
Straps
no yes
no
Towels
yes no
yes
Trim
no yes
no
2 A Weaver's
Dictionary
Before continuing with the text familiarize yourself with
these words. Listed
here are some of the words used in this manual which refer
to specific tools or
processes used in loom construction or in weaving.
Words referring to parts of
looms have been defined in terms of their function rather
than their construction,
since actual construction may vary with the loom type.
Balanced Weave (n) The warp and weft show equally
balweave.gif (437x437)
in the
finished cloth.
Beater (n) A special tool used to push against the
beater.gif (600x600)
finished row
of weaving to create a tight,
firm
cloth. Beaters of different types are
used depending
on the fiber being woven and
the loom in
use. (See page 113 for a more
complete
description.)
Bobbin (n) A small spool used in some shuttles to hold the
thread
bobbin.gif (600x600)
or yarn being
used as weft. (See page 118 for a more
complete description.)
Bobbin winder (n) A machine used to wind yarn on to a
bobbin.
Beast beam (n) Another name for the cloth beam, or
the
crosspiece of the loom which is
closest to
the weaver during weaving.
It is usually
applied to looms having a
continuous
warp.
Cloth beam (n) The crosspiece of a loom frame, or on
some looms
a separate bar which holds
the rolled
up finished cloth. See also
hcax24a.gif (486x486)
Breast
Beam.
Comb (n) 1. A part
of more complex looms which separates
hcax24b.gif (486x486)
individual warp
threads to keep them straight and evenly
spaced and which
also serves as a Beater, pushing
the newly put in
weft against the finished edge of
the
weaving. It is sometimes called the
Reed,
because it may
be constructed of thin slivers of
reed.
2. A
toothed tool used to straighten and
untangle fibers
before spinning. (See page 114
for a further
description.)
Comb (v) The process by which fibers are straightened and
smoothed to
prepare them for spinning into yarn.
(See page 9 for
a more detailed description.)
Dents (n) The spaces between the teeth of the Comb.
hcax24c.gif (486x486)
Drafting (v) Drawing a diagram of a threading pattern
hcax24d.gif (486x486)
for the
warp. (See page 130)
Fiber (n) The raw material, from a plant, animal or
synthetic
hcax24e.gif (486x486)
source, from
which thread, yarn or pliable strips are
made for
weaving.
Handloom (n) Any frame which holds the threads taut for
handloom.gif (486x486)
human-powered weaving.
Harness (n) A combination of pulleys and heddles which raise
harness.gif (486x486)
and lower
selected warp threads.
Heddles (n) A special device, of varying design, which
hhl.gif (486x486)
holds
selected warp threads in the proper position
for weaving.
Heddle stick (n) A rod or stick which supports the heddles.
Lease Sticks (n) Two lightweight sticks or poles woven
into the
warp behind the heddles. They increase
warp
tension and help keep the warp
straight
and evenly spaced.
Knotted weaves (n) A style of weaving in which the weft
knweaves.gif (486x486)
is
tied to the warp with one of several
special knots.
Macrame (n) A technique for making fringes, braids, laces
and openwork
designs using several types of knots,
especially the square knot.
Multiple Harness Loom (n) Any loom having more than one set
of harnesses.
Overhand knot (n) A simple knot used to join two
ohknot.gif (486x486)
threads
together, and also used to tie
together the warp left at each end of a
woven
piece.
Pile (n) A soft,
upstanding weft, similar to fur or
pile.gif (486x486)
velvet,
produced by knotted weaves that have
been cut
short. (See page 143)
Plain weave (n) The simpliest of all the weaves.
The weft is
plaweave.gif (486x486)
woven over and under alternating warps.
Also
known as
Tabby Weave. (See page 131)
Plying (v) Twisting together two or more strands of fiber or
plying.gif (486x486)
yarn to
produce a thicker or stronger thread or yarn.
(See page 10
for a more detailed description.)
Raddle (n) A special tool used to guide
raddle.gif (486x486)
the warp on to
the warp beam
during the
warping process.
Selvedges (n) The edges of the woven cloth that are
selvedge.gif (486x486)
parallel to
the warp.
Shag (n) A soft, upstanding weft, similar to pile,
shag.gif (486x486)
except that the
weft is left uncut and so has an
uneven, fluffy
appearance. It is produced by the
knotted
weaves. (See page 144)
Shed (n) The space created when selected warp threads
shed.gif (486x486)
are raised and
lowered through which the weft
is passed.
Shed stick (n) A stick used on simple looms to create
shedstic.gif (486x486)
the shed,
or space through which the weft
is passed.
Shuttle (n) A tool of various design that holds the weft
as it is
passed through the shed. (See page 116
for a more
complete
description.)
Skein (n) A measured length of continuous yarn wound in a
loose
skein.gif (486x486)
circle and tied
at opposite ends.
Skeiner (n) A tool used to wind yarn into a skein.
(See page 119 for
more detail.)
Skein winder (n) A tool used to hold a skein of yarn as it
is
skwinder.gif (486x486)
unwound
on to a shuttle or bobbin. Sometimes
called
a
Reeler. (See page 120 for more detail.)
Spindle (n) A quickly rotating stick on which spun yarn is
wound.
spindle.gif (486x486)
The rotating
motion of the spindle twists the fiber into
thread.
(See page 9 for more detail.)
Spinning (v) Twisting together animal, plant or synthetic
spinning.gif (393x393)
fibers to
create continuous strands of thread.
(See page 10
for more detail.)
Spinning wheel (n) A human-powered mechanical device which
serves
spiwheel.gif (486x486)
to
rotate the spindle for spinning fibers into yarn.
Square knot (n) A strong knot used to join two threads
sqknot.gif (486x486)
together;
also used in Macrame.
Stretcher (n) A metal or wooden bar that holds the
stretch.gif (486x486)
edges or
selvedges of the woven cloth
parallel. (See page 122 for a
more detailed
description.)
Tapestry weave (n) A variety of plain weave in which
tapestry.gif (486x486)
several colors are woven into a design or
picture. (See page 140)
Taut (adj) A string or thread pulled as tightly as
possible. The tauter (or tighter)
a thread is
pulled the higher the pitch sound will be made when the
string is
plucked with the fingers.
Thread (n) A continuous strand of fiber, in this manual
thread.gif (393x486)
synonymous
with yarn.
Threading (v) Drawing the warp through the heddle and teeth
of the comb.
Treadles (n) Another name for the footpedals which operate
the harnesses on the
foot-powered
loom.
Twill weave (n) A weave produced when a
twill.gif (353x437)
warp or
weft thread, or both, go
over and
under more than one
thread at
a time in a regular
pattern. (See page 133 for a
more complete description.)
Twist (n) The direction in which yarn is turned in spinning
or
twist.gif (486x486)
plying.
A Z twist turns clockwise.
An S twist turns
counterclockwise.
Twisting (v) The process of placing a weight on one end of a
pliable
strip of fiber and turning the strip to produce
a rounded
circumference. (See page 10 for more
detail.)
Warp (n) The group of threads or yarns stretched across the
loom
warp.gif (486x486)
frame, and
extending perpendicularly from the weaver's body.
Also, called
Warp Threads.
Warp beam (n) A bar or crosspiece found on most looms
warpbeam.gif (486x486)
which hold
the unwoven warp threads.
Warp chain (n) A simple finger crochet stitch used to gather
measured warp and
prevent it
from untangling.
Warp-faced (adj) A cloth in which only the warp threads
show.
warpface.gif (486x486)
Warping (v) The process of winding the warp on to the loom
frame or warp beam
and threading
it through the heddles and comb.
Warping board (n) A special tool used to measure
warboard.gif (486x486)
out
long length of warp in a confined
area. (See page 124 for a
complete
description.)
Weave (n) The pattern or arrangement in which the warp and
weft intertwine. (See
Chapter 7 for a
complete discussion of the different weaves.)
Weaver (n) The person who is operating the loom.
Weaver's knot (n) A special knot used only for joining a
weavknot.gif (393x393)
broken
warp thread. It does not slip.
Weaving (v) The process of intertwining the warp and weft
together to create a
piece of
cloth.
Weft (n) The threads woven in and out of the stretched warp
weft.gif (486x486)
to produce a
piece of continuous cloth. Also
referred
to as weft
threads.
Weft-faced (adj) A cloth in which only the weft threads
show.
weftface.gif (486x486)
Yarn (n) A continuous strand of fiber, in this manual
yarn.gif (393x393)
synonymous with
thread.
3 The Simple
Frame Loom
The following directions explain
how to build a very basic loom.
framex10.gif (486x486)
No dimensions are given since there
is no real limit on the size of the
loom. The smallest
practical size,
however, is probably about 30cm in
either direction.
While it is possible
to build looms smaller than 30cm, it is not practical
because weaving
narrower than 30cm can be done on the 30cm framework.
Therefore, loom
size can vary from one made small enough to hold in the lap
(30 by
60cm is a good size) or large enough to weave a room size
rug. Such
large-size looms must be worked by several weavers at one
time.
Materials Needed
FOR THE FRAME
ftfwx10.gif (393x393)
Two (2) sturdy pieces of wood(*) slightly
larger than the desired width of the
finished cloth.
These will be horizontal
pieces of the frame (AB and CD).
Two (2) sturdy pieces of wood(*) slightly
longer than two thirds the desired
length of the finished cloth.
These
will be the vertical pieces (EF and GH).
(*) NOTE: This wood
and any other wood used
for this
loom need not be commercial
lumber. Tree limbs with the bark
removed
may be used instead.
Lashing or Nails to join the frame.
nails.gif (317x317)
FOR THE HEDDLE
fth.gif (486x486)
One (1) strong stick, the width of
the loom frame.
A length of cotton or synthetic cord
(such as is used in fishnets) about
four (4) times the width of the loom.
Two (2) blocks of wood or two (2) flat
ended stones. (See
page 92, "Heddle
Construction" for proper size.)
FOR THE SHED STICK
shstic.gif (393x393)
One (1) rounded piece of wood, the width
of the loom. For
looms between 30 and
60cm wide, it should be about 4cm in
diameter; for looms between 60 and
120cm wide, 8cm in diameter; for
looms between 120 and 180cm wide,
12cm in diameter, and so on.
Increase
4cm for every 60cm in width.
FOR LEASE STICKS
leasesti.gif (317x317)
Two (2) lightweight poles, such as reed
or bamboo, the width of the loom.
TOOLS AND SUPPLIES
tools.gif (393x393)
Hammer
Drill Sharp Knife
Sandpaper Oil
for Wood
Before beginning to build, please note the following:
1. The wood used
must be as straight as possible and well-seasoned
so it will not
warp during use.
2. Smooth and sand
the wood so there are no rough spots that will
catch the thread
or yarn.
3. Oil the wood
rather than use paint or varnish. Oil
keeps the
wood from drying
and cracking, and provides a smooth renewable
finish for the
yarn to move against.
4. The top and
bottom crosspieces (called the cloth and warp beam
hcax35.gif (600x600)
on the foot-powered
loom) must be at right angles to the warp
threads and
parallel to each other. Measure
carefully during
construction to
make sure they are parallel.
Construction
A. Prepare wood
pieces
1.
Remove bark if necessary
2.
Sand and smooth rough places
3.
Oil wood to prevent splitting
B. Build the Frame
1.
Join the four pieces of wood to make a
rectangular
frame.
2.
The pieces AB and CD (width) should
overlap the
pieces EF and GH (length)
as shown in
the illustration. AB and
hcaxa36.gif (486x486)
CD must be on
top of EF and GH.
3.
Lash or nail the joints together so
that the
pieces do not move and are
at right
angles to each other--as
shown below
left.
hcaxb37.gif (486x486)
C. Prepare the Heddle
Stick
hcaxc37.gif (317x317)
1.
About 2 to 3cm in from each end of the stick
cut
a groove
0.3cm deep completely around the circumference.
D. Prepare the Lease
Sticks
hcaxd37.gif (317x317)
1.
About 2cm in from the ends of each stick,
drill
a hole
completely through to the other side.
The
hole should
be large enough to put a piece of
string
through.
The Frame is Now Complete
Set Up the Loom for Weaving
NOTE: Before setting
up the warp, you may wish
to read
Chapter 7 , Weaves, Patterns and
Finishing
Touches. This may help you choose
a weave and/or
a pattern to set up. Plain
weave or a
basket weave and/or a striped or
plaid pattern
are recommended for your first
weaving
attempt.
A. Warp the Loom
1. Gather the warp
into a ball, or in the case
of very stiff
fibers, into an easily undone
skein.
2. Tie one end of
the warp, in an easily undone
knot such as a
half-hitch, to the far inside
corner of
crosspiece AB (as shown above).
hcax37a.gif (486x486)
3. Unwind a small
length of warp and bring
it up and around
crosspiece CD (as shown at
hcax37b.gif (486x486)
left).
4. Bring the warp
down and around AB in the
same direction
you started as illustrated
at bottom left.
5. Continue Steps 2
thru 4 until the desired
number of warp
threads is reached (as shown
hcax37c.gif (486x486)
below).
(See page 127, for calculating the
number of warp
threads.)
6. Untie the
beginning end and join with a square knot
to the other end,
so that they stretch diagonally
across the back
of the loom. <see picture>
hcax38a.gif (393x393)
7. Make sure all the
warp threads are stretched as
taut as possible.
NOTE: If your
pattern calls for several different
color warp
threads, such as in a plaid, start
warping as
indicated in Steps 1 thru 4, and
then:
a.
When the desired number of the first color
warp is
reached, do not cut off the extra
warp but set
aside the whole ball of remaining
warp still
attached to the loom.
b.
Pick up a ball or skein of the next color.
c.
Tie the end of the new color to AB using a
half-hitch.
d.
Wrap the new color around as described in
Steps 2 thru
4.
e.
When the desired number of threads have been
wound, set
aside this ball like the first;
do not cut it
off.
f.
Start the next color in the same way.
If
you must
repeat a color, just pick up the
original ball
of that color, pull it taut
and continue
winding.
g.
When all the required warp is wound around
the frame,
untie all the beginning ends from
AB and hold
them in one hand.
h.
Pick up the free ends of all the colors of
warp and tie
both groups together using a
square
knot. On very wide looms it may be
necessary to
tie the ends in several groups. <see picture>
hcax38b.gif (393x393)
Your Loom is Now Warped
B. Place the Shed
Stick on the Loom
NOTE: Look at the
warped loom frame. Notice that there
is one set of
warp threads on the top side and
another set on
the bottom. If you grabbed all
the warp on
one side and pulled on it, the warp
would slide
around the loom, so that the side
that was in
back moves to the front, or
top.
This is a continuous warp--there
is no
beginning and no end. In
the following
directions, you
will be
attaching the working
parts to the
loom. They must be
attached only
to the top side of
the warp, so that the warp will continue to slide around
freely. When the warp is
referred to as being lowered or raised, this refers only to
the top warp threads.
hcax38c.gif (426x426)
1. Lay the loom flat
on a table or the
ground.
2. Place the shed
stick across the middle
of the loom, at
right angles to the
warp threads.
3. Weave the stick in
and out of the top
warp threads,
going over and under
every other top
warp for Plain Weave.
If you are using
another weave check
for the proper
order. <see picture>
hcax39a.gif (600x600)
4. This shed stick
will be left in place during
hcax39b.gif (600x600)
the entire
weaving process, but it should be
free to slide up
and down the loom at right angles
to the warp.
C. Place the Lease
Sticks on the Loom
1.
Take one of the lease sticks and place
it above the
shed stick, going over and
under the same
top warp threads as did
the shed
stick. (Loom should still be lying flat
on ground.)
2.
Push this stick towards the top of the loom
or crosspiece CD as shown above.
hcax40a.gif (600x600)
3.
Take the other stick and place it in the
space between the shed stick and
the other
lease stick as shown below.
4.
Weave the second stick in and out of the top
warp, going under the warp
threads
lowered by the shed stick, and over the ones raised by it.
This
will tighten
the warp on the loom.
5.
Slide the two lease sticks together
until they
are 4 to 8cm apart. <see picture>
hcax40b.gif (600x600)
6.
Tie them together by putting a string
through the
holes at each
end and tying as illustrated (left)
hcaxa41.gif (437x437)
using a
square knot. This will keep the sticks
together
and prevent
them from slipping sideways.
D. Make the Heddle
1.
With the loom still lying
flat on the
ground, lay the
heddle rod
across the lifted
top warp
threads that are
in front of
the shed stick as
shown.
hcaxb410.gif (600x600)
2.
Move the heddle rod closer to the shed
stick so that
the bottom edge of the heddle
stick is even
with the top edge of the shed
stick.
Check this by looking at the loom
from the
side. The heddle rod
should still
be resting directly
on the raised
top warp threads.
3.
Place a block of wood or a flat
hcax42a.gif (486x486)
ended stone
of the right size at
each end of
the heddle stick so
that the
heddle remains at the
same height
as the shed stick.
If the loom
will be used on the
lap or in an
upright position
lash the
blocks or stones to the
frame.
Do not permanently fasten
them,
however, as the heddle rod
must move up
and down the loom
during
weaving. A simple lashing
that can be
untied easily works best.
On small
looms tape can be used.
4.
Tie the end of the cord
of string in
the groove
at one end of
the heddle
stick.
hcax42b.gif (486x486)
NOTE:
The next Steps 5, 6, 7 and 8
describe the
process
of attaching
the heddle to
the
warp. Read the directions
through and
study the
illustrations
before beginning.
Remember that
raised and
lowered warp
refers to the top
warp only.
5.
Loop the cord once completely around the
heddle stick,
bring the end
of the cord down, under the first lowered warp thread and then
back up
between the same two raised warp threads. <see picture>
hcax42c.gif (600x600)
6.
Continue the cord over the
heddle stick
again, and then
repeat the
process of going
between the
two raised warp
threads,
under a lowered one,
back up
between the same two
warps and
over and around the
heddle stick.
7.
As each lowered warp thread is
looped by the
cord, pull the
lowered warp
up to the same
height as the
raised warp
threads.
8.
Repeat the above process until all the
lowered top warp threads are raised to
the same
height by the cord. Tie the end of the
cord in the groove at the other
end of the
heddle stick. <see picture>
hcax43.gif (393x600)
E. Check the
Position of Heddle and Shed Stick
1.
Position the heddle stick relative to the shed stick so that there is
enough
room for your
fist behind the heddle rod.
2.
Press down on the warp behind the heddle
with your fist.
3.
This should create a shed or space in front
of the heddle and between the top warp
threads
that is large
enough to pass your shuttle
through.
4.
Lift up on the warp threads behind
the heddle
using your fingers and
palm.
This should also create a
shed big
enough for the shuttle.
5.
If your shuttle does not
fit through
easily, adjustments
can be made
in the
size of the
shed by moving
the heddle
and shed stick
either
further apart or
closer
together. <see picture>
hcax43a.gif (600x600)
F. Positioning the
Loom
hcax44.gif (600x600)
1.
Depending on the size and shape of the loom
it can be used in one of
three
positions:
1) Held on the
lap
2) Leaned against
a wall or tree, the weaver either sitting on the
ground or a
stool, or if the loom is tall, standing.
3) Laid flat on
the ground. As the weaving progresses
the weaver
can sit on the
finished cloth.
You Are Now Ready to Weave
How to Weave on a Frame Loom
You will need a Beater, Shuttle and a Stretcher to help you
weave.
Consult Chapter 6, "The Weaver's Tools" for
directions for making
these and other helpful tools.
Steps in Weaving
1. Wrap weft on to
shuttle.
2. Press down on
warp behind
heddle with fist.
3. Slide shuttle
into shed
created in front
of heddle.
4. Move fist to next
section
of warp, press
down and
slide shuttle
along.*
5. Repeat this
process until
shuttle has
reached other
side of the loom.
With
practice you will
develop a
steady rhythm.
<see picture>
hcax45.gif (600x600)
(*) On very large looms you may prefer to use a piece of
wood instead
of your hand.
6. Pull shuttle out
and beat
weft tightly into
place with
a Beater.
7. Repeat from Step
3, but start
at the other side
of the loom
and instead of
pressing down
on the warp, lift
it up using
the fingers and
palm.* <see picture>
hcax46a0.gif (600x600)
(*) On very large looms you may prefer to
use a piece of wood instead of your
hand.
8. Beat the weft in
after each row.
hcax46c.gif (437x437)
Remember to
alternate each row - one
pushing down, one
pulling up.
9. After you have
woven about 10cm of fabric,
put a Stretcher
in position as shown in
illustration at
left.
hcax46d.gif (540x540)
10. Continue weaving
until you reach the
heddle and can
no longer fit the shuttle
through the
shed.
11. Release the
tension on the warp by
removing the
blocks or rocks holding
the heddle
rod. Holding the
finished weaving
on both sides,
pull down slowly
and steadily so
that the
finished cloth moves down
and under the
bottom crosspiece AB. <see picture>
hcax47a.gif (486x486)
12. Adjust the
position of the heddle,
shed stick and
lease sticks so
that the shed is
the proper size.
13. Weave as before
on the new warp.
14. When you reach
the top beam of the
loom with the
lease sticks and shed
stick you can
advance the warp by
pulling down on
all the warp threads
so that the
finished woven cloth moves under the bottom beam and
around to the
back side of the loom. The unwoven warp
will slide
over the top
beam to the front. Adjust the diagonal
warps so
they are
parallel on the front side. (They will
remain twisted
on the back)
Move the heddle, shed stick and lease sticks into
proper position
and continue weaving. <see picture>
hcax47b.gif (486x486)
15. When the weaving
can be advanced no further, or the cloth
is the desired
length, the weaving is finished.
16. Cut the warp so
that there is an
hcax48a.gif (486x486)
equal length of
extra warp threads
on both ends of
the cloth. Remove
from loom and
tie ends to prevent
unraveling
<see picture> (See pages 145-155.)
hcax48b.gif (600x600)
Variations of the
Simple Frame Loom
The Pegged Loom:
This loom is suitable for places where the weaver
hcax49.gif (600x600)
can
work outside or where dwellings have earthen
floors.
Materials Needed:
Same as Frame Loom except instead of four crosspieces
only two are needed. These
should be
slightly longer than the desired width of cloth.
Prepare
the materials as described for the frame loom.
Warp the Loom
hcax50a.gif (486x486)
1. Put the two
crosspieces upright in the ground, slightly farther
apart than the
desired length of the weaving.
2. Place the two
lease sticks upright in the ground, between the two
crosspieces and
about 30cm apart.
3. Tie the end of
the warp to one crosspiece. Wrap the
warp around
the four uprights
as shown, until the desired number of warp threads
are reached.
Each warp thread is tied to the loom separately. <see
picture>
hcax50b.gif (256x600)
4. Untie the first
warp end and tie it to the other end.
5. Taking care to
keep the warp in place, pull up the crosspieces
and lease sticks
carefully from the ground and lay them flat
where the weaving
will be done. <see picture>
hcax51.gif (600x600)
6. Drive stakes on
the inside ends of each crosspiece.
Make
sure the warp is
stretched tightly.
NOTE:
An important difference between the Frame
Loom and
the Pegged
Loom is that the Pegged Loom does not
have a continuous warp.
This means that all the
warp
threads both top and bottom will be picked up
by the
shed stick and heddle as the weaver works.
Place the Shed Stick on the Loom
1. This is done the
same way as the Frame Loom except all the
warp threads are
used.
The Lease Sticks
The sticks are already in position because of the way the
loom was
warped.
The Heddle
1. The heddle is put
into position the same way as on the Frame
Loom.
2. The blocks or stones
that support the heddle will rest on the
ground, since
there is no frame.
3. When looping the
lowered warp with the cord, remember to pick
up all lowered
warp threads. <see picture>
hcax52.gif (600x600)
How to Weave on a Pegged Loom
Weaving progresses in much the same way as it does on the
Frame
Loom--except that the warp does not move.
Instead, as the cloth
approaches the heddle, the heddle, shed stick and lease
sticks are
moved back. The
weaver moves forward by sitting on the finished
weaving.
hcax53.gif (600x600)
4 The Inkle
Loom
The loom shown here produces
hcax55.gif (600x600)
strips of fabric about 1 meter
long by 2 to 18cm wide.
The
size of the loom can be increased.
DIMENSIONS: Height 25cm
Width
20cm
Length
45cm
LENGTH OF WARP HELD: 100cm
WIDTH OF FINISHED CLOTH: 2 to 18cm
Materials Needed
FOR THE FRAME
One (1) board 3 by
5 by 45cm long
Two (2) boards 3 by
5 by 25cm long
Two (2) boards 1 by
5 by 15cm long
Five (5) dowels or
rounded sticks 20cm long, 1.5cm in diameter
FOR THE HEDDLES
About 5 meters of cotton or synthetic string
TOOLS AND SUPPLIES
hcax56.gif (600x600)
Chisel
Drill
Screwdriver
10 Wood screws
Sandpaper
Oil
Construction
A. Prepare the Wood
1. Sand and smooth
all rough spots
and edges
2. Oil wood to prevent
splitting
B. Build the Base
1. With chisel,
carve out two rectangular
slots on the
bottom of
the 3x5x45cm
board exactly as
illustrated.
hcax57a.gif (393x393)
B. Build the Base (cont'd.)
hcax57b0.gif (393x393)
2. Place the two
1x5x15cm boards in the slots so that they are flush and
project equally
on both sides
3. Screw in place,
using three screws
for each board.
4. Turn the piece
over so that the two projecting boards become the base.
C. Build the Frame
1. Drill holes A
and D in the 3x5x45cm board. Holes should be 1.5cm in diameter
and spaced as
shown.
hcax58a.gif (108x393)
2. Drill holes B,
E, F in one 3x5x25cm board and hole C in the other 3x5x25cm
board.
Holes should be 1.5cm in diameter and spaced
as shown.
hcax58b.gif (317x317)
3. Screw the
3x5x25cm boards to the side of the 3x5x45cm board as shown.
Use
hcax58c.gif (393x393)
two screws in
each.
4. The base with
uprights should now look like this.
hcax590.gif (600x600)
5. Place dowels in
holes. They should be tight.
Loose dowels can be made
hcax60a.gif (486x486)
tighter by
wrapping paper around the ends before putting them in the holes.
(NOTE:
Right-handed weavers should have dowels projecting to right,
left-handers to
left)
D. Make the Heddles
1.
Place dowels in holes B and F
2.
Wrap a piece of string from the ball around
the dowels
and tie with a
square knot. Remove the string circle
from the
dowels. This is the heddle.
hcax60b.gif (486x486)
3.
Repeat for each heddle needed.
You will need half
as many
heddles (or string circles) as number of
lengths of
warp you will use. For example 18
heddles
would be
needed to weave a 18cm wide belt made up of
36 lengths of
coarse 2 ply wool. In general the
thinner the
yarn the more heddles you will need.
hcax60c.gif (393x393)
If you run out
of heddles, do not be concerned as
more can be
made at any time.
Set Up the Loom for Weaving
NOTE: Before warping the loom, choose a weave and/or pattern
to set up. Plain
weave and a
striped pattern are good choices for a first weaving project.
A. Warp the Loom
1. Note the
letters on the accompanying
drawing of the
loom. Each letter represents
hcax61a0.gif (486x486)
the hole and
the dowel in that
position.
This will be used to help
you guide the
warp on to the frame.
2. Move the dowel
from hole F (where it
was for making
the heddles) to hole E.
3. Make one ball
or easily undone skein
of each color
warp to be
used.
4. Tie the end of
the first color to
dowel A, in an
easily undone knot
such as a
half-hitch.
5. Wrap the warp
three times around dowel A, clockwise.
6. Take the warp
from dowel A, between dowels B and E, and then over dowel
C as shown.
7. Bring yarn down
and around dowel D and then back along bottom of dowels
to A.
8. Pull warp taut.
9. Repeat this
winding from A, between B and E, over C and down to D
returning to A
with the second warp. <see picture>
hcax62a.gif (486x600)
10. Bring third
warp thread from A up and over B, then over C, down to D and
return to A.
11. Lay ball of
warp down.
hcax62b.gif (486x600)
12. Place a heddle
(string
circle) over
the third
warp as
illustrated.
hcax63a.gif (600x600)
13. Bring the two
loops of the heddle
down and over
the end of dowel E.
Slide back
toward frame.
hcax63b.gif (600x600)
14. Pick up ball of
warp. Bring yarn
from A to C
around D and return
to A.
15. Repeat Steps 10
through 14
until warp is
desired width.
Remember to
alternate one
warp with a
heddle and
one without.
<see picture>
hcax64a.gif (600x600)
16. To end: For
last two warps wrap the yarn around twice from
A to C to D to
A, without heddles. Locate the first
warp end and
untie it. Cut other end from ball.
Tie in a square
knot under dowel A. <see picture>
hcax64b.gif (600x600)
NOTE: If your pattern calls for changing
the color of
the warp,
procede as
follows:
a. Lay aside the first
color when the
warp
is at dowel A.
b. Tie new color to A
using half-hitch,
wind around A
three
times in a
clockwise
direction.
c. Continue warping as
before (Steps 10
to
14)
d. When desired number has
been wound, lay
aside color
and either take up
the previous
one or tie on the
next new color and
continue warping
as
before.
Do not cut off any
balls
of warp.
e. To end: Locate all ends
and untie from
A. Cut
off balls of warp
leaving
enough to tie a
knot.
Knot the ends
together in
one knot, using
the square
knot. <see
picture>
hcax64c.gif (486x486)
Your Loom is Now Warped
How to Weave on an Inkle Loom
You will need a Beater
and a Shuttle for weaving.
Consult Chapter 6, "The
Weaver's Tools" for directions
for making these
and other helpful tools.
hcax65a.gif (486x486)
Steps in Weaving
1. Wrap weft on
shuttle.
2. Move the dowel in
hole E to hole F. This will pull the
warp much
tighter.
3. Place hand under
warp behind
dowels
B and F.
Pull
up as
illustrated.
hcax65b.gif (486x486)
This creates
the shed (or
space) in front
of dowel F.
4. Pass shuttle
through shed.
5. Place hand on top
of bottom warp
threads behind B
and F, as illustrated.
hcax66a.gif (600x600)
6. Push down.
Pass shuttle through.
hcax66b.gif (600x600)
7. Beat weft into
place with a Beater.
8. Repeat Steps 3 to
7 until you can no longer fit shuttle
through shed.
<see picture>
hcax67a.gif (600x600)
9. Advance warp by
grasping it in your hands between A and B
and pulling
toward yourself. The woven cloth will
go under
the loom and the
unwoven warp moves forward between A and B. <see picture>
hcax67b.gif (600x600)
10. Continue weaving
until the beginning of the cloth is
behind dowel
B. Cut warp between A and B at the
heddle. <see picture>
hcax68.gif (600x600)
11. Slide heddles
off (they can be reused) and tie end of
warp to prevent
unravelling (See pages 145-155).
5 The Foot-Powered
Loom
There are two versions of the Foot-Powered Loom presented
here. Directions
are given first for building the frames for the Pit Loom
(which can be fixed to a wall or ceiling) and the
Free-Standing Loom.
Instructions for constructing the moveable parts and for
warping and
weaving on the looms follow and are the same for both of
these foot-powered
looms.
Pit Loom Version <see picture>
hcax69.gif (600x600)
DIMENSIONS: Height: 120cm or height from floor to ceiling
Width: 100cm
Length:
200cm
LENGTH OF WARP
HELD: 200 to 3600cm
WIDTH OF FINISHED
WEAVING: 2 to 100cm
Materials Needed
For the Frame of both wall-mounted and
hcax70a.gif (600x600)
ceiling-mounted types:
Four (4) appropriately shaped forked
tree branches at least 15cm in
diameter at the base, and at
least 60cm in length from the
base to the bottom of the fork.
Commercial lumber, 5x20x75 with
a notch cut out as indicated,
hcax70b.gif (600x600)
may be substituted.
For the Frame of the wall-mounted
type only:
One (1) forked tree branch at least 15cm in diameter at
base and 120cm long.
Commercial lumber 5x20x120cm with a
notch cut out as indicated, may be substituted.
One (1) piece of
wood 115cm long
and 5cm in
diameter.
Tools and Supplies (for both types)
hcax71.gif (317x317)
Sandpaper
Oil for Wood
Wood Preservative
Shovel
Cement (Optional)
Pit Loom Construction
A. Find a Site
This loom is permanently built into the house or other
building.
Locate so that it will not interfere with other activities
and where
the weaver will be comfortable while working.
1.
Locate the loom in a building with an
earthen floor. After
the loom is
constructed the floor may be cemented over.
2.
Place the front of the loom in such a way
that light from a
door or
window will come from the weaver's side or over his
or her
shoulder.
3.
Leave clear access to both ends of the loom
from at least
one side.
4.
Build a loom supported by a wall so that one
of the long
sides of the
loom runs along the wall.
5.
Build a loom supported by the ceiling so
that there is a
beam about
midway over the loom from which to hang the
harnesses.
B. Prepare the Wood
1.
Remove bark
2.
Sand and smooth any rough places or edges
3.
Put wood preservative on the bases of the
five forked posts
4.
Oil the wood to prevent splitting
C. Erect the Frame
hcax72a.gif (353x353)
1.
Mark off a rectangle one meter wide by two
meters long on
the floor
where the loom will be located.
2.
Dig a hole in each of the four corners.
The hole should be
about 30cm
deep.
3.
Place the four short forked posts in the
holes and fill the
earth firmly
around them. Clay or mixed clay soils
will
provide the
firmest base. Make sandy soils firmer
by adding
clay or
cement.
D. Build the Pit
hcax72b.gif (353x353)
1.
Mark off a second rectangle 20cm in from the
front of the
loom, 60cm
wide, 80cm long.
2.
Dig the pit 40 to 50cm deep, about the
length of the
weaver's leg
from the back of the knee to the sole of the foot. <see picture>
hcax73a0.gif (353x353)
E. Attach the
Wall-Supports for the Wall-Supported Type
1.
Dig a hole 30cm deep midway along the
outside edge of
the
rectangle.
2.
Place the end of the 120cm forked post in
hole and fill
as described
earlier.
3.
Place the meter length of wood in the fork
and push until
it touches
the wall. It should be parallel to the
ground
and at right
angles with the wall. Mark the wall
where
it touches.
4.
Remove pole and make a hole in the wall at
that spot, the
same diameter
as the stick.
5.
Put pole back into the fork and push until
it is firmly
in the wall.
6.
Seal with plaster or cement.
The Wall Supported Frame Is Now Complete <see picture>
hcax74.gif (353x353)
OPTIONAL: If desired
the floor and pit can be coated with a
smooth
layer of cement.
THE MOVING PARTS FOR THIS LOOM AND THE WARPING AND WEAVING
TECHNIQUES
ARE DESCRIBED STARTING ON PAGE 84.
Free-Standing Version <see picture>
hcax75.gif (600x600)
DIMENSIONS:
Height: 130cm
TOOLS AND SUPPLIES:
Width: 98cm
Length: 200cm
Drill
Wood Glue
Saw
26 Wood Screws
LENGTH OF WARP HELD:
200 to 3600cm Hammer
Sandpaper
Rasp
Oil for Wood
WIDTH OF CLOTH WOVEN: 2 to 90cm
Screwdriver
Materials Needed:
For Frame: (Letters are used to identify pieces in text)
hcax76.gif (600x600)
(A) Four pieces
of wood - 110cm long, 6cm in diameter OR 4x6x110
(B) Four pieces
of wood - 132cm long, 8cm in diameter OR 8x8x132
(C) Two pieces of
wood - 5x10x30
(D) Two pieces of
wood - 200cm long, 8cm in diameter OR 6x8x200
(E) Two pieces of
wood - 4x9x30cm
(F) Two pieces of
wood - 200cm long, 6cm in diameter OR 3x6x200
(G) Two pieces of
wood - 3x4x55
(H) One board -
32x110, thickness ranging from 2 to 5cm
(J) Two poles or
sticks - 110cm long, 2cm in diameter
Fourteen (14)
wooden pegs or dowels 15cm long, 3cm in diameter
Free-Standing Loom Construction
A. Prepare the Wood
1.
Remove bark of unmilled tree limbs
2.
Sand and smooth all rough spots and edges
3.
Oil wood to prevent splitting
B. Build the Frame
(all dimensions in centimeters)
1.
Trim both ends of pieces A as illustrated.
hcax77a.gif (486x486)
2.
Cut four slots in each of the four B pieces
using the dimensions
indicated. Slots must go
completely through piece. <see picture>
hcax77b.gif (486x486)
3.
Shape piece C as illustrated.
Drill hole as
diagramed. Sand
inside until
smooth. <see picture>
hcax78a.gif (486x486)
4.
Trim ends of piece D as illustrated.
Cut a slot 2x7cm 32cm
hcax78b.gif (486x486)
in from one
end of each piece D. Slot should be 7cm
long.
5.
Trim bottom ends of E
as shown. Cut
out
hcax79a.gif (486x486)
notch as
shown on
pattern. Sand
inside
until smooth.
6. Trim ends of
each piece F as illustrated.
hcax79b.gif (486x486)
C. Join the Frame
1.
Attach each piece C to piece B in the
position diagramed
using two
wooden pegs and glue. <see picture>
hcax80a.gif (486x486)
2.
Place the trimmed end of piece E in the slot
in piece D.
The notch
must face toward the shorter end as shown.
hcax80b.gif (393x393)
Glue and peg
in place. Make sure it is securely attached:
this piece
undergoes great stress during weaving.
3.
Place pieces A into the corresponding slots
of pieces B. Note the position
pieces C in
illustration glue and screw together.
hcax81.gif (587x587)
4.
Place the trimmed ends of D and F into the
appropriate slots in pieces B.
Hammer them
so that the trimmed end projects as far as possible.
5.
Drill a hole 2cm in diameter, as close as
possible to the
crosspiece at
each point where the trimmed ends project.
6.
Taper the remaining eight pegs so that they
are 3cm at the
top and 2cm
at the bottom.
7.
Drive the tapered peg into the drilled holes. <see picture>
hcax82a.gif (486x486)
8.
Place Piece H, the seat, between the end of
the loom and
piece E.
D. Make and Attach
the Rod Holder
1.
Cut ten semi-circular notches out of the top
edge of piece G
with the
dimensions illustrated.
hcax82b.gif (486x486)
2.
Smooth inside edges of cutouts with rasp and
sandpaper.
3.
Glue and screw pieces G to the top of pieces
F in the location
illustrated.
hcax83a0.gif (393x486)
4.
Place pieces J, the rods, across the top of the
loom frame,
resting in
the notches of piece G.
The Moveable Parts for Both Loom Designs
The following parts--the beams, beater, comb and
heddles--are designed
to be interchangeable for both foot-powered looms. These
parts are
not a permanent part of the loom frame. When necessary they
can be
removed--even when there is still cloth being woven--and
stored away.
This means that more people can weave than might be possible
otherwise;
it is not necessary for each weaver to have his or her own
frame. It
is possible to construct a set of moveable parts for each
weaver so
that several people can share the same loom frame.
I. Cloth Beam (SEE
ILLUSTRATION ON PAGE 85)
A. Materials
Needed:
One (1)
straight tree limb - 125cm long, 10cm in diameter,
or milled
lumber - 10 x 10 - 125cm.
B. Construction
1. Trim the
piece of wood to 6cm in diameter for 115cm of
its length.
2. Leave the
remaining 10cm in diameter, but drill and
chisel a
hole 2cm by 5cm completely through one side.
3. Drill a
similar hole from the other side at right
angles to
the first.
4. Cut a notch
2cm by 90cm completely through the beam in
the 6cm
diameter section.
The Cloth Beam Is Now Complete <see picture>
hcax84.gif (486x486)
II. The Warp Beam
hcax85a.gif (600x600)
A. Materials
Needed:
One (1)
straight
tree limb,
125cm
long, 10cm in
diameter, or
milled lumber
10x10x125cm.
B. Construction
1.
Construction proceeds as described for the cloth beam
from Step 1
to Step 3.
2. Cut groove
2 x 90cm only to a depth of 2cm; do not cut
completely
through the beam. <see picture>
hcax85b.gif (600x600)
The Warp Beam Is Now Complete
III. The Beater (SEE ILLUSTRATION ON PAGE 85)
A. Materials
Needed:
Two (2)
pieces of wood - 5 x 5 x 120cm
(labelled A).
Two (2)
pieces of wood - 1 x 4 x 120cm
(labelled B).
Two (2)
pieces of wood - 1 x 2 x 4cm
(labelled C).
B. Construction
1. Drill and
chisel a hole 1cm by 4cm
in each
end of both pieces A.
Smooth the
insides of the
holes.
2. Carve a
groove 1cm deep the length
of both
pieces A between the two
holes as
shown.
hcax86.gif (600x600)
3. Nail piece
C to the bottom of
each piece
B.
4. Sand and
smooth each piece B.
Taper the
top end to a point,
to ease
assembly.
5. Slide
pieces B into the holes in pieces A so that the
grooved
edges of pieces A face one another.
The Beater Is Now Complete <see picture>
hcax870.gif (600x600)
C. Attach the Beater
to the Loom
Pit Loom
1.
Ceiling type: suspend
a rod one (1)
meter long
from 2 hooks
in a ceiling
beam. <see
picture>
hcax88a.gif (486x486)
2.
Wall type: suspend from
a crosspiece
which is
attached to
the wall and
supported by
a fork. <see picture>
hcax88b.gif (486x486)
3.
Free-Standing:
Attach to rod
(J)
which rests
across top of
frame on
pieces G.
<see picture>
hcax88c.gif (486x486)
a) Tie arms
of beater to rod as illustrated. A leather
hcax88d.gif (486x486)
shoe sole
may be used to create a simple hinge.
b) The beater
should swing freely at the same height as
the top
edge of the cloth beam. <see picture>
hcax89.gif (486x486)
IV. THE COMB
A. Materials
Needed:
1.
Four (4) pieces of lightweight wood - 0.2 x
0.8 x 100cm.
2.
Reed - 220 pieces - 0.3 x 0.5 x 12cm for
heavy two-ply warp.
OR
- 380
pieces - 0.15 x 0.5 x 12cm for medium cotton warp.
OR
- 500
pieces - 0.1 x 0.5 x 12cm for fine cotton warp.
NOTE: The size
and number of reed pieces is determined by
the
diameter of the warp thread used. You may have
to make
adjustments in the above recommendations to
suit
your particular warp.
3.
Two pieces of wood - 0.5 x 2 x 12cm
4.
Cotton string, about 20 meters, and the same
diameter
as that of
the warp to be used.
5.
A sharp knife.
B. Construction
1.
Take two of the pieces A and one piece C and
place
them
together sandwich style as shown.
hcax90a.gif (486x486)
2.
Securely knot the end of
the cotton
string around
one piece
A at the end
as shown.
A small notch
can be
made with the
knife to
prevent slipping
if necessary.
3.
Loop in and out of the two ends of
pieces A
in a figure eight about six
hcax90b.gif (486x486)
time.
4.
Bring the string parallel to piece A
on one
side past piece C.
5.
Holding it in that position with
one
finger, bring the rest of
the string
under and up around the
top of it.
6.
When it meets the string being held
by the
finger thread it through the
loop as
shown.
hcax90c.gif (486x486)
7.
Pull down and then up to tighten the
loop.
Knot should be on the side
of the
meter length.
8.
Repeat Steps 1 through 7 with the
other two
(2) pieces of A, attaching
them to
the bottom of piece C.
hcax91a.gif (486x486)
9.
Place one of the slivers of reed between
the two
sticks. Loop the string
around as
diagramed.
10.
There should be a space of about 0.1cm
to 0.2cm
created by the string. If
there is
no space, or if the space is
too small
for your warp, either start
over
using the string doubled, or make
a second
loop as done in Step 9.
11.
Repeat Step 9 at bottom, fastening the
reed in
place at both ends.
12.
Place another sliver of reed in position.
Repeat the knot
as shown
in Steps 9 through 11.
hcax91b.gif (486x486)
13.
Continue, doing both top and bottom, until
you are 3cm from
the end.
You may not be able to fit all the reed because
of
variation in the spacing, or for the same reason you may
need a
few more pieces to complete the length.
14.
Place the remaining piece C at the end and
tie off the string
as You
did in Step 3 with a figure eight, and a secure knot.
At this
point the string should hold all of the reeds
securely
enough so that they do not slip out.
The Comb Is Now Complete <see picture>
hcax92a.gif (540x540)
V. The Heddles (SEE
ILLUSTRATION ON PAGE 85)
A. Materials
Needed for two (2) Heddles.
Note: Both
looms may use up to
eight (8)
heddles each.
1. Four (4)
rods of strong wood
2-4cm in
diameter, 130cm long.
2. One (1)
kilo of strong cotton
string
divided into four equal
balls.
3. A board
similar to the rod in
width, 15cm
high and 60cm long, to serve as a form.
B. Construction
1. Cut a
groove 3cm from the end of each rod.
hcax92b.gif (353x353)
2.
Cut a piece of string 140cm
long and tie
it in the notch
at one end.
3.
Tie one end of a ball of
string to the
same notch.
4.
Place the rod on top of the
board.
5.
Hold the shorter string taut
along the top
length of the
rod.
(This string is shown as
black in the
illustrations).
hcax93a.gif (437x437)
6.
Steps a thru f show the "looping"
process. Pass the
ball of
string under the board as shown in Step f.
hcax93b0.gif (600x600)
Every ten
loops pass the ball between the rod and
the board to
fasten it to the rod.
NOTE: The
total number of loops made should be even
and
they should be double the number of spaces
in your
comb.
7.
As the loops are made they are slipped off
the board and
the board is
moved forward.
8.
When the desired number of loops is reached,
tie both
strings in
the groove at the other end. <see picture>
hcax94a.gif (437x437)
9.
Using the second rod, repeat
the above
except this time
when each
loop is passed
under the
board pick up a
loop from the
first rod
and pass the
ball of
string
through that as
well.
10.
When all the loops are
picked up,
one heddle is
complete.
Tie off in
the grooved
end.
11.
Repeat all of the above
directions
for the second
heddle.
<see picture>
hcax94b.gif (486x486)
The Heddles Are Now Complete
hcax95.gif (486x486)
VI. Machinery for
the Harnesses
A.
Materials Needed:
hcax96.gif (486x486)
1.
Two (2) small
pulleys.
2.
Light rope, 1cm
in
diameter.
3.
Four (4) hooks,
either
of heavy
wire or
appropriately
shaped
twigs.
4.
Two (2) pieces of wood about 3cm x 8cm x
20cm.
5.
Heavy rope, 2cm in diameter.
6.
A piece of pipe, metal tubing or strong
wood
30cm long, and about 1.5 - 2cm in
diameter.
B. Foot Pedal
Construction
1.
Drill holes 2cm in
diameter in
the
top of the two
wooden pieces
as
shown.
hcax96c.gif (486x486)
2.
Drill holes 2cm
in diameter in
the side of
the
same wooden
pieces
as shown.
C. Machinery Set Up
1.
Tie a loop of light rope to each end of the
heddles about
10cm in from
the end on the top rod.
2.
Tie a similar loop in the center of the
heddle from the
bottom rod.
3.
Hang pulleys from the same rod the beater is
attached to
on the pit
loom and to a separate rod laid across pieces
N on the
self-supporting loom.
4.
Cut two pieces of light rope, Tie one end to
a hook, thread
it over the pulley wheel and
tie the other
end to another hook.
5.
Hang heddles by loop from the hooks.
<see picture> They
hcax97a.gif (486x486)
should hang
evenly and at the same height
or slightly
higher than the beater and the
comb.
Adjust lengths of ropes if necessary.
<see picture>
hcax97b.gif (600x600)
6.
Put a secure knot in the ends of
two short
pieces of heavy rope.
Thread them
through holes in
drilled blocks
of wood so that
the knots are
on the bottom.
7. Thread metal
pipe, tube or stick through holes in
the side of
wooden blocks.
8. Tie two pieces
of rope to the ends of the pipe.
9. Tie rope at
front of the blocks to the loop in the
bottom of the
heddles.
10. Tie rope at
back of blocks to the cloth beam supports.
The Harness Is Now Functional
NOTE: During warping, the
hcax97c.gif (600x600)
heddles are removed
from the
machinery
for threading.
MACHINERY IN PLACE ON FRAME LOOM SIDE VIEW
hcax98a.gif (600x600)
MACHINERY IN PLACE ON CEILING-SUPPORTED LOOM
hcax98b.gif (600x600)
Warp the Foot-Powered Loom
NOTE: Before warping
the loom, read Chapter 7: Weaves Patterns and Finishing
Touches for help with selecting a weave
and/or pattern for a first project.
Plain weave,
basket weave and/or a striped or plaid pattern are
recommended
for the first weaving. It is also
necessary to have the
raddle (p.
115) ready before beginning.
I. Measuring the Warp (See also Warping Board pp. 31 &
124.)
A. Equipment
Needed:
Four wooden or
metal stakes about 30cm high
B. Measuring
Procedure:
1.
Place two stakes in the ground: the total
distance apart
desired for
the piece of weaving (2 to 36 meters).
2.
Place two more stakes about 30cm inside the
two stakes.
3.
Tie the beginning of the warp (wound in a
ball) to one
of the
outer stakes. Walk between the stakes
wrapping
the warp in
the pattern illustrated.
hcax99a.gif (437x437)
4.
Count each length.
It helps to tie warp threads in
groups of
tens when working with a large number of
threads. When desired number is
reached, untie the
beginning
of the warp and tie it to the end.
5.
Tie a string around the warp where it
crosses between
the stakes.
<see picture>
hcax99b.gif (486x486)
6.
Ending: when the desired number of warp
threads have
been
counted, untie the beginning end and tie in a
weaver's
knot to the other end.
7.
Changing color: Warp colors can be changed
as was
cribed for
the frame loom (page 38, Steps a-h).
C. Gather up Warp in a Warp Chain.
1. Slide the loop
off at one end of the stakes.
2. Open the loop
and put your hand through. Draw up a
section of warp
and bring it through the first loop
to make a
second loop. <see picture>
hcax100.gif (600x600)
3. Continue until
end is reached. Pull the end through
and pull
snugly, but not tight.
4. To undo: Take
the end out of the last loop and pull;
chain will
release.
II. Wind the Warp
A. Equipment
Needed:
One (1) stick
cut to fit the groove in the warp beam.
One (1) stick
that fits the hole in the end of the warp beam.
Several thin
sticks - 90cm long.
B. Procedure:
1.
Place one of the open loops over
the end of
the warp beam. Slide
to center.
2.
Place warp beam on either of the
beam
supports of the loom. It
does not
matter which support or
which
direction the warp is going
as long as
it can be extended full
length. This, of course, will
depend
on the
location of the loom. <see picture>
hcaxa101.gif (486x486)
(If it is impossible to use the loom supports because of
inadequate space, you can
set up two forked posts similar to the beam supports on the
pit loom (see page 97)
in an open space.
These can then be left in place permanently for future warping.
3.
Prevent the warp from slipping as it is
wound by:
a) Cutting
a stick to fit into the groove in the warp beam.
b) Pushing
the stick against the warp and into the groove.
c) Turning
the warp beam in a clockwise direction so that the stick
is
locked into place by the covering warp. <see picture>
hcaxb101.gif (600x600)
4. The
following steps require two or three people:
a) One
person inserts a stick in the hole in the
warp
beam and slowly turns the beam in a clockwise
direction winding on the warp.
Every turn or so,
he or
she inserts a thin stick between the layers
of the
warp.
b) Another
person holds the end of the warp extended
at full
length, keeping it taut and straight as
it is
wound.
c) A third
person opens the raddle and lays groups of
warp
threads between the nails. The raddle
is
closed
and tied shut. Then, holding the
raddle,
he or
she guides the warp as it is wound, making
sure it
is evenly spread. If no other person is
available to assist, the raddle can be tied to
the
other beam. <see picture>
hcax102.gif (600x600)
5. Place the
lease sticks (two (2), one meter-lengths of
reed or
bamboo) in the positions shown just before
winding the
end of the warp on to the beam. Tie
together as
shown.
hcax103.gif (600x600)
III. Thread the Heddles and Comb
The following process requires two people if
it is to be done
quickly and
efficiently. (It is possible for one
person to
perform the task
if he or she threads small sections of the
warp - - first
through the heddle and, then, reversing his or
her position,
threading the warp through the comb.)
A.
Equipment Needed:
Small size
crochet hook or bent piece of wire or sharp knife.
B.
Threading Procedure:
1. Two
people sit facing one another with the two heddles
(removed
from the loom) and with the comb suspended
between
them from the backs of two chairs or from the
beam
supports. <see pictures>
hcax104.gif (600x600)
2. One
person holds the warp
beam,
warp and lease sticks
in his or
her lap, and faces
the
heddles. The other
person
faces the comb.
3. Cut the
end loop of the warp after
sliding
the two lease sticks back to
free
about 30cm of warp.
4. Take one
piece of warp at a time
in order
check order against
lease
sticks) and thread it
through
the heddles following
the steps
below:
hcax1050.gif (600x600)
5. In Plain
Weave, every other
thread is
inserted through a
twist in
the near heddle. The
alternate
thread is inserted in
a twist in
the far heddle. (For other weaves, and
in cases where
more than
two (2) heddles will be used, see Chapter 7).
6. Insert
(second person) a crochet hook, needle or sharp knife edge
through one
of the dents of the comb after the thread is inserted. <see picture>
hcax106.gif (600x600)
Loop the
thread over and pull
it
through. Take care not to
miss any
threads or spaces,
nor should
threads cross.
7. Tie every
group of ten
threads in
an overhand
knot to
prevent them from
slipping
out of the comb.
8. Put two
warp threads
through the
same heddle
at both
ends.
IV. Place the Warp
on the Loom
1.
Place the warp beam on its supports
so that the
warp extends out to the
cloth beam,
and unrolls from the top
of the beam.
<see picture>
hcaxa107.gif (437x437)
2.
Use a pole such as a broomstick
to wedge
between the hole in the
warp beam
and the floor, to prevent
it from
turning.
3.
Replace the heddles on the pulleys
and attach
the footpedals (see pages
96 &
97).
4.
Open beater and insert the comb in the
grooves. Close it snugly so that
the comb is firmly caught
and does not
bend or move when the warp is pulled.
5.
Place the cloth beam in position.
Find a stick that fits
the hole in
the beam. Drill a small hole in the end
of
it and
insert a strong piece of wood. Tie the
beam in
position as
shown above.
hcaxb107.gif (486x486)
V.
Attach the Warp to the Cloth Beam
1.
Tie a piece of cord to one end of the
beam.
Wrap it loosely around the
beam twenty
to thirty times. Tie off.
hcaxc107.gif (486x486)
2.
Sit down at the loom.
Tie each group of ten (10) warp threads
to the
looped cord on the beam (do not undo the knots made
during
threading). <see picture> Use the following knot to tie them.
hcaa1080.gif (486x486)
3.
Tighten the tension on the warp when all
have been tied on
by removing
the cloth beam counter clockwise and tying in
place.
4.
Test the tension of the warp by running your
finger across
the warp threads.
5.
If necessary, release the tension on the
warp slightly and
retie any
loose bunches of warp.
6.
Tighten the warp as much as possible.
You Are Now Ready
to Weave
How to Weave on a Foot Powered Loom
You will need a shuttle and stretcher for weaving.
Consult Chapter 6
The Weaver's Tools, for directions for making these and
other helpful
tools.
Steps in Weaving on Both Looms
1. To start or end
weft: take end and bring
through several
opposing warps. After
weaving several
more rows cut off end
even with
weaving. <see picture>
hcaxa109.gif (486x486)
2. Wrap weft on the
shuttle.
3. Depress right
footpedal and feed weft through shed. <see picture>
hcaxb109.gif (600x600)
4. Place weft at
oblique angle
to the warp.
<see picture>
hcaxa110.gif (600x600)
5. Depress left
footpedal.
6. Push weft firmly
into place
using the beater.
(below)
hcaxb110.gif (600x600)
7. Feed weft through
from opposite side with left foot still depressed.
8. Depress right
footpedal. Beat weft into place.
9. Release tension on
warp and adjust. <see picture>
hcaxc110.gif (600x600)
10. Repeat steps 2
to 7 until there is about 10cm of woven fabric.
11. Put the
stretcher into place and
continue
weaving. <see picture>
hcaxa111.gif (600x600)
12. Release the warp
beam and cloth beams
and turn them
forward one hole when
there is no more
space between the
fabric and the
beater. Refasten and
continue
weaving.
13. Untie the warp
from the beam and thread the
cloth through
the slot in the beam as shown
hcaxb111.gif (437x437)
after 1/2 meter
of cloth or more has been
woven.
Cross section of
cloth beam showing
cloth wrapped around.
14. As the warp
shifts to the cloth beam on the free-standing loom,
it may be
necessary to balance the weight of the weaver and the
cloth by placing
a rock on a board at the back of the loom. <see picture>
hcaxc111.gif (600x600)
6 The Weaver's Tools
Each loom requires certain tools to help with the process of
weaving.
The following chart lists these tools as well as which looms
require
them. Instructions
for making the tools follow.
TOOLS NEEDED FOR EACH LOOM
TOOL
FRAME LOOM INKLE
LOOM FOOT-POWERED LOOM
Beater
yes yes
no
Raddle
no no
yes
Shuttle
carpet
yes
yes
yes
boat
optional
no
optional
Skeiner
yes yes
yes
Skein Winder
optional
optional
optional
Stretcher
yes no
yes
Warping Board
no no
optional
The Beater
While it is extremely important that
the warp be kept taut during the
weaving process, it is equally important
that the weft threads be put
in as close together as possible.
In general, the more threads per
centimeter of cloth, the more durable
and long wearing the fabric
will be.
A "beater" is used to push the weft
hcax113.gif (486x486)
threads together.
There is no set
design for a beater for simple looms.
It is usually a toothed tool
which can be slipped between the warp threads and beaten
against
the weft. It should
have some weight behind it, but at the same
time not be so heavy as to tire the weaver's hand.
The frame loom and the inkle loom both require similar
beaters.
Beaters can be constructed specifically for the looms, or
they
can be made from objects found about the home.
A. Improvised
Beaters
1.
Forks:
metal table forks make
hcaxa114.gif (230x353)
suitable
beaters, especially when
used with a
medium warp on a fairly
narrow piece
of weaving.
2.
Metal Hair Comb:
a metal toothed
hcaxc114.gif (317x600)
hair comb can
be used for weavings
having rather
fine warps.
B. Constructed
Beaters.
1.
Nail and Wood Beater:
drive a
hcaxd114.gif (437x437)
row of nails
completely through
a length of
wood about 30cm long.
The heads of
the nails should
project
evenly. Sand and smooth
the wood to make it easy on the
hand.
2.
Carved Wooden Beater:
from a piece
of
well-seasoned, fine-grained
wood, carve a
toothed fork as
illustrated.
hcaxe114.gif (353x353)
3.
Iron:
if iron-working is done in
your area,
have a blacksmith fashion
a beater as
illustrated.
hcaxb114.gif (393x393)
The Raddle
The
"raddle" is used to guide the warp evenly onto the warp beam
during the warping of the foot-powered loom.
Materials
Needed:
2 pieces of
wood about 3 x 3 x 100cm
Nails
Chisel
Hammer
Construction:
1.
Hammer nails 5cm apart, in an even row into
one of
hcaxa115.gif (437x437)
the
pieces of wood.
2.
Chisel a groove in the other pieces about
1/3 the
depth of
the projecting nail heads.
3.
Grooved piece should fit snuggly over the
nail heads.
Use:
1.
Place the piece with the nails upright under
the warp.
2.
Put even amounts of warp in the spaces
between the
nai1s.
3.
Place grooved piece
on top.
4.
Tie pieces together
with
string or strips
of
cloth. <see picture>
hcaxb115.gif (486x486)
The Shuttle
A shuttle is often used to thread the weft through
the warp. Stiff
fibers, such as cane,
hcaxa116.gif (486x486)
reed, straw and leaves, can probably
be pushed through the shed by hand
and no shuttle is needed.
Coarse,
but flexible fibers such as goathair,
jute, old rags and plastic strips as
well as some finer threads can be put
into place using a "Carpet Shuttle."
hcaxb116.gif (393x393)
Very fine wefts such as linen, cotton
and silk can be put into place using
a "boat shuttle."
The Carpet Shuttle
Materials Needed:
Flat pieces of wood
60cm long or smaller if your loom is smaller
(You will probably
require one for each color weft).
Knife
Sandpaper
Oil for wood
Construction:
1.
Sand the wood as smooth as possible.
2.
Cut a notch at each end of the stick as
shown.
3.
In the notch at one end, make a small cut
to hold the end of
the weft. <see picture>
hcaxc116.gif (393x393)
4.
Oil wood to prevent splitting.
5.
Wrap weft around shuttle as shown.
hcaxa117.gif (486x486)
The Boat Shuttle
Materials Needed:
One piece of light,
easily carved wood about 5 x 8 x 20cm
Carving knife
Small, hollow tubes
7cm long such as bamboo or plastic tubing.
Piece of wire 15cm
long
Construction:
1.
Shape the wood so that the two
ends come to a
graceful
taper, like
the bow of a
boat. <see
picture>
hcaxb117.gif (486x486)
2.
Sand smooth.
3.
Carve out a retangular
hole in the
center, 4x8cm.
4.
Using the knife point, drill
a small hole
in the front
side opening.
5.
Dig a groove about 5cm long at
back opening.
Use:
1.
Wind yarn on to the tube - or bobbin.
hcaxa118.gif (486x486)
2.
Slide the wire through the tube.
3.
Place bobbin in hole in shuttle, putting
one end of the
wire in the hole and
the other in
the groove. <see picture>
hcab1180.gif (587x587)
The Skeiner
In almost all weaving, there are times when yarn has to be
measured.
The "skeiner" will help you measure continuous
strands of yarn and
also make skeins to prevent the thread from tangling.
Materials
Needed:
hcaxa119.gif (486x486)
A tree
branch 60cm long which has two
smaller
branches projecting from the
same side
which are at least 40cm
apart.
Construction:
1.
Trim off any other branches and
cut the
two selected ones so that
they
project 5 to 10cm.
2.
Remove bark and sand and oil
wood.
Use:
1.
Yarn is wound onto the skeiner,
looping
it around the two projecting
branches. If necessary,
the
thumb holds bottom Toops in
place.
<see picture>
hcaxb119.gif (540x540)
2.
To determine the length of yarn:
a.
Measure the distance between the two
projecting
branches.
b.
As you wind the yarn count the number of
turns you make (T).
c.
Multiply the number of turns by the distance
(D)
between the two projections.
T x D = length of yarn
3.
Before removing a completed
skein, tie at top and bottom
as
shown.
hcaxc119.gif (486x486)
The Skein Winder
The "skein winder" is used to hold and turn skeins
of yarn as they are
unwound either into balls for warping, or onto shuttles and
bobbins.
The skein is opened up and placed over the top, so that
there is no
chance of it tangling, and then rotated so that the weaver
can stay
seated at the loom as the yarn is unwound.
Although it is not an essential tool, it is an extremely
useful one,
and well worth the effort of construction.
It will save many hours of
untangling skeins of yarn.
Materials
Needed:
Two (2)
pieces of wood (A) 1 x 4 x 30cm
Two (2)
pieces of wood (B) 1 x 4 x 50cm
Four (4)
pieces of wood (C) 1 x 4 x 60cm
One (1)
length of pipe 2-3cm in diameter, 120cm long
One (1) old bucket or gallon can with lid
removed
Cement, saw,
hammer, drill, nails
Construction:
1.
Place pipe in center of bucket or can.
Make
sure it is perpendicular. <see picture>
hcaxc120.gif (486x486)
2.
Pour cement around pipe until container
is
full. Let set.
3.
Take pieces of wood (A).
Drill
a hole
in the center of one
piece,
the diameter of the pipe. <see picture>
hcaxa120.gif (353x353)
4.
Overlap both pieces (A) at right
angles
so that they form an X.
Nail
together. <see picture>
hcaxb120.gif (437x437)
5. Take pieces of
wood (B). Drill a hole
through the
midpoints of both pieces. The
hole should be
slightly larger than the
diameter of the
pipe. <see picture>
hcaxa121.gif (353x353)
6. Overlap both
pieces (B) at right angles
so that the holes
line up and the pieces
form an X.
Nail together. <see picture>
hcaxb121.gif (353x353)
7. Nail pieces (C)
from the ends of cross-pieces
(A) to the ends
of the crosspieces
(B) as shown.
hcaxc121.gif (437x437)
8. When cement is
set, slide
frame over
pipe. Pipe should
hcaxd121.gif (486x486)
pass through
bottom hole and
rest in the top
hole. The
wood frame should
spin
freely.
Use:
Open the skein into a circular shape and
drop over the frame.
Untie the strings
holding the skein together and find the
outside end. Pull on
the end to rotate
the winder.
The Stretcher
You may add the weft in one of two ways.
(1) Each length of weft can be a single strip
slightly longer than the width of the loom.
Each length is put in individually and the
ends hang freely on each side and later become
a fringe on the finished piece.
This technique
hcaxa122.gif (437x437)
is often used with mats.
(2) Or you can
wrap a much longer weft on a shuttle and pass
it through the shed.
When it reaches the
other side, the shed is changed and the
shuttle is turned and put through the shed
in the opposite direction.
This technique
produces a finished edge called the Selvedge,
hcaxc122.gif (437x437)
which makes the cloth much stronger.
However,
there is a tendency for the edges of the cloth
to pull in slightly as the weaving progresses.
You can make a "stretcher,"
described below, to keep
hcaxb122.gif (437x437)
the edges parallel.
A - Cloth with non-parallel selvedges.
B - Cloth with parallel selvedges.
Materials Needed:
Two (2) very
strong straight pieces of wood of the same diameter.
Together, their
combined length should be slightly wider than
the weaving.
Piece of string
or leather.
Sandpaper, knife.
Construction:
1.
Sand both pieces of wood.
2.
Cut three deep teeth in one end of each
piece of wood. <see picture>
hcaxa123.gif (353x353)
Use:
1.
After weaving progresses about 10cm from the
beginning,
hook the
teeth of each stick into the selvedge or end
warp threads
just below the last row of weft.
2.
Push downward on both sticks until the edges
are parallel.
hcaxb123.gif (486x486)
3.
Bind the sticks
together
where they
overlap,
using the
string or
leather. <see picture>
hcaxc123.gif (486x486)
4.
Where the two ends meet, make a mark with a
pencil or
a light
scratch in the wood to facilitate resetting
the stretcher
when it must be moved up. <see picture>
hcaxd123.gif (486x486)
5.
After every 5cm of weaving, move
the stretcher
up to the new edge
of the
weaving. <see picture>
hcaxf123.gif (486x486)
NOTE: A similar
stretcher
can be made of
iron
by an iron
worker.
Design is
shown in
the
illustration.
hcaxe123.gif (486x486)
The Warping Board for a
Foot-Powered Loom
If it is inconvenient because of climate, or space to
measure the
warp outside on the ground (as described on page 99), the
following
tool can be used. It
may be made of wood or built directly into
the wall of a house.
Materials
Needed:
Two (2)
pieces of wood 0.5 x 4 x 60cm (A).
Two (2)
pieces of wood 0.5 x 4 x 100cm (B).
Eighteen
(18) dowels or rounded pieces of wood,
2cm in
diameter by 15cm long.
Nails or
screws or four (4) bolts and wing nuts
if the
warping board will be taken apart for
storage.
Drill,
hammer, sandpaper.
Construction:
1.
Nail, screw or bolt pieces (A) and (B)
together
to make a
rectangle that measures about 50 x 90cm
on the
inside.
2.
Drill holes in the positions shown on the
illustration.
hcaxa124.gif (486x486)
3.
Sand and smooth all wood.
4.
Place the dowels in the drilled holes(*)
(*) Note: If the
warping "board" is built into a wall, all that is
necessary
is to put dowels or sticks into the wall in the
pattern
shown.
Use:
1. Determine the
length the warp will be.
2. Measure a piece
of yarn or string the length of
the warp.
3. Wrap it around
the posts on the board to determine
how many posts
will be used. Follow the pattern
of wrapping shown
in the diagram.
4. Tie warp end to
first post A. Follow pattern set
by string.
When you reach last post reverse and
retrace your
steps back to A.
5. Continue
wrapping, counting each length. Tie
into
bundles of ten
(10) or twenty (20), to prevent losing
count.
6. When done, tie
the end of the warp to the beginning
of the warp.
7. Tie a piece of
contrasting string where the warp
crosses between A
and B and R and Q.
8. Remove from board
by chaining as described on pages
99-100.
7 Weaves, Patterns
and
Finishing Touches
Planning the Fabric
Before warping the loom, it is necessary to decide:
-- Width
-- Length
-- Amount of warp
and weft needed
-- Weave to be
used
-- Pattern
-- Finishing
needed or desired
Determining Length and Width
Cloth
Width: The width of the loom frame
limits the maximum
width of the
cloth, but the same loom can be used to make
narrower
cloth. It is wise to use an uneven
number of warp
threads; in
this way both edge warps are in the same position
and patterns
can be more easily centered.
Cloth
Length: The ranges of warp lengths for
each loom are
listed on page
19. The cloth cannot be the maximum
length
because it is
necessary to leave some warp at the beginning
and end for
fringe or ending off. However, weaving
several
articles on the
same warp is possible, if you make articles
less than the
maximum length; for example, on a warp of
3,000cm, you
could weave ten rugs 270cm long with a 10cm
fringe at each
end.
Determining Amount of Warp and Weft
It is not easy to determine the exact quantity of thread
needed for
weaving a particular article.
A formula for making rough estimates
of the warp and weft needed was given on page 119.
The formula is
summarized below:
Number of
vertical threads per [cm.sup.2] x width x length = warp needed
Number of
horizontal threads per [cm.sup.2] x width x length = weft needed
There are several adjustments which can be used to get a
more accurate
result from this formula.
Fringe
Allowance: Make an allowance for fringe
at both
ends of each
article woven. Even if the edge will be
hemmed,
leave at least 10cm for tying off the
warp before hemming.
Very elaborate
fringes will, of course, require much more
than 10cm of
warp at each end.
Fiber
Allowance: If using more than one type
of fiber for
the weft,
adjust the amount of thread needed to take into
account the
different diameters of weft being used:
1.
Determine the number of horizontal threads
per cm for each fiber.
2.
Determine the length of cloth containing
each fiber.
3.
Multiply the result of step 1 by the result
of step 2 for each fiber.
4.
Multiply the result of step 3 by the total
width of the cloth. <see picture>
hcaxa128.gif (486x486)
EXAMPLE:
The total length of this piece of fabric is
30cm; the width is 9cm. The warp
is a 2 ply
wool, the weft a 2 ply wool with three stripes
each of heavy goathair 3cm wide.
The number
of threads per cm2 for the wool is 3 and for
the goathair 2.
SOLUTION:
1.
Wool threads per cm = 3
Goathair
threads per cm = 2
2.
Length of wool weft = 30 - 9 = 21
Length of
goathair weft = 3 x 3 = 9
3.
Number of wool threads needed = 3 x 21 = 63
Number of
goathair threads needed = 2 x 9 = 18
4.
Total length of wool needed = 63 x 9 = 577cm
Total
length of goathair needed = 18 x 9 = 162cm
Keeping Records
It is hard to remember all the different threadings, yarns,
patterns,
etc. that are used in weaving a piece of cloth.
Keep a record (as
illustrated) of this information on a card or in a
notebook. Then
it will be possible to make the same cloth again without
doing the
calculations over again each time.
If there is a small piece of
the fabric left, attach that to the record as well.
SAMPLE WEAVING RECORD
Article:
Dates Woven:
Warp:
type -
# per cm -
total length -
Weft:
type -
# per cm -
total length -
Threading:
Pattern:
Finishing:
Sample:
Types of Weaves
Interesting textural patterns can be created by varying the
ways in
which the warp and weft interlock.
In this section a number of
different weaves will be described.
The following chart lists these
weaves and the looms for which they are best suited.
Loom
Weaves
Frame Loom
Plain weave
Basket weave
Rib weave
Inkle Loom
Plain weave
Basket weave
Rib weave
Foot-Powered
Loom Plain weave
Basket weave
Rib weave
Twill weave
Herringbone twills
Double weave
Drafting Threading Patterns
After chosing a weave or pattern, the warp is threaded
through the heddles in the proper order to produce that
weave. The diagram
shows the order in which the warp
hcaxa130.gif (81x486)
will be threaded.
This order, or pattern, is called the
draft of the weave or pattern.
The long rectangle or bar represents the heddle rod.
Each
square represents one heddle eye or hole.
A black square
means a warp thread passes through that hole.
The white
squares represent a thread that does not pass through the
heddle.
In all drafts two squares at each end will either be black
or white. This is
because two warps should be threaded
together at each end to strengthen the selvedge and to make
the cloth longer wearing.
The pattern is indicated between the double selvedge
squares.
Some patterns will require an even number of warp threads;
others require an odd number of warps.
The Inkle and Frame looms have only one heddle rod - so only
one draft will be shown.
The foot-powered loom, on the other hand, has two or more
heddle rods. Every
thread must pass through one, and only
one, heddle. Drafts
for this loom will show two or more
hcaxa131.gif (540x540)
bars. The lowest bar
on the page represents the rod closest
to the weaver. The
numbers represent the foot pedals running
left to right (make sure the foot pedals are tied in this
order.
Plain Weave
hcaxb131.gif (486x486)
In plain weave the weft crosses over and under alternate
warp
threads.
Drafts of Threading for Plain Weave
hcaxa130.gif (393x393)
Basket Weave
hcaxc132.gif (486x486)
In basket weave two or more adjacent
warp threads are lifted together
and two or more weft threads are
inserted together, in other words,
2 warp/2 weft or 4 warp/2 weft.
Drafts of Threading for Basket Weave
hcax132b.gif (486x486)
Rib Weave
hcaxa133.gif (486x486)
In rib weave, different numbers of
warp are lifted alternately; for
example 3 warp/1 warp or 4 warp/2
warp.
Drafts of Threading for Rib Weave
hcaxb133.gif (486x486)
Twill Weave (Foot-Powered Loom only)
Twill can only be woven on a four-heddle loom.
Twills are very sturdy
and durable and this weave is suitable for heavy woolen fabric
used
in pants, jackets and suits.
Draft of Threading for Basic Twill
hcaxd133.gif (486x486)
Draft of Threading for Herringbone Twill
hcaa1340.gif (486x486)
Variation of Twill Weaves
hcaxc134.gif (486x486)
After a twill is threaded, different twill weaves can be
created by
pressing the foot pedals in a different order.
For example, if the
loom is threaded in the herringbone twill above, a diamond
twill can
be produced by pressing the foot pedals in the following
order:
A basic twill threading treadled
in a different order might
produce the following:
1/3 Broken Twill:
hcaxa135.gif (486x486)
1 2 4 3 1 2 4
3, etc.
Two foot pedals can be pressed
together. For example: (1-2)
(2-3) (3-4) (4-1) will produce
a 2/2 twill.
hcaxb135.gif (486x486)
Color Pattern Weaves
Use different colored warps and/or wefts in the same article
to
make attractive patterns. Because it is important to know
what
kind of facing--warp or weft--the finished cloth will have
when
planning a color pattern, facings are discussed first. If
this
step is overlooked it is possible that warp or weft threads
may
hide some of the pattern.
Facings
Balanced weave: Both the warp and
hcaxa136.gif (486x486)
weft show equally: most looms
produce this kind of weave when
the warp and the weft are the
same diameter and evenly spaced
Warp-faced weave: Only the warp shows
hcaxb136.gif (393x393)
on the finished cloth: usually produced
when the warp is thicker than
the weft, or if the weft is more
widely spaced than the warp. The
Inkle loom usually produces a warp-faced
cloth.
Weft-faced: Only the weft shows
hcaxc136.gif (393x393)
on the finished cloth: it is
usually produced when the weft
is thicker than the warp and
the warp is more widely spaced
than the weft.
Color Pattern Weaves
Stripes: Thread the loom for
hcax137.gif (587x587)
plain weave but alternate the
color of either the warp or
weft. The facing can be either
warp or weft-faced. If the
warp varies in color, the result
will be vertical stripes; if the
weft varies in color, horizontal
stripes will result.
Broken Stripes: On warp or weft-faced
hcaxa138.gif (600x600)
cloth, one thread of a contrasting
color placed between groups of
another color produces a broken
or dotted line.
Simple Check: On warp or weft-faced
hcaxb138.gif (486x486)
cloth, alternating single threads
of two different colors produce a
feathery check design.
These three stripe patterns presented above can be combined
to
hcax138.gif (600x600)
produce a great variety of attractive designs.
Plaids: When the color of
hcaxa139.gif (486x486)
both the warp and the weft is
varied, and the facing is
balanced a plaid will result.
Threading as for plain weave.
hcaxb139.gif (540x540)
True Checks: Checks are most
hcaxc139.gif (486x486)
suitable for balanced weave
cloth: use the same type of
warp and weft in two contrasting
colors. Thread as for
plain weave.
Tapestry Weave
Tapestry weave is used to create designs or pictures in the
cloth
as it is woven. The loom is threaded for plain weave. The
cloth
must be weft-faced (thin warp, thick weft).
In plain weaving, the weft is threaded back and forth across
the
entire width of the warp. In tapestry weave, wefts of
different
colors are woven within selected areas of the planned
design.
1.
Planning the Design:
hcaxa140.gif (486x486)
Draw the design
on paper
and lay it
beneath the
warp threads.
Using a
water soluble
material,
draw the design
directly
on the warp.
This will
help guide the
weaver.
2. Putting in the
Weft:
a.
Shuttles are not used in tapestry
weaving.
Rather, lengths of
colored weft
are tied in "butterflies"
(see
illustration) and
hcaxb140.gif (486x486)
worked in the
area needed.
b.
In tapestry weaving, all the colors of the
pattern are
put in row by
row. In other words, if the row has part
of a red
flower, a green leaf and a yellow background,
then you must
put in red, yellow and green weft for that
row before
you change the heddle position (see illustration.
hcaxa141.gif (587x587)
c.
Within the row the adjacent colored wefts
can be interlocked
in one of
several ways.
Slit Method: This
method creates
hcaxc141.gif (486x486)
a slit between the two colors.
Although this method produces a
clean definition line between
areas of the design, it weakens
the fabric and should, therefore,
not be used where weakened
strength or slits in the cloth
would be undesirable--as in
sacks or in blankets. It is a
useful method for rugs or decorated
bags, where the slits
do not extend more than 8cm.
Interlocking over Common Warp:
hcaxa142.gif (486x486)
Produces a strong, continuous fabric;
the edges between the different colors
of the design are feathery or saw-toothed
in effect and not as sharp
as in the slit method.
Interlocking Wefts: Produces a
hcaxb142.gif (486x486)
strong, continuous fabric; the
edges between the design are
sharp, but a slight raised bump
may show at the join.
Knotted Weaves
Knotted weaves produce a pile or shag-faced cloth. Thread
the loom
for plain weave. Knot short lengths of weft around two warp
threads,
as shown. The knots are illustrated below. After a row of
knots,
hcaxa143.gif (587x587)
several rows of plain weave are woven to strengthen the
cloth. Then
the tails of the knots are trimmed to produce the pile or
are left
long to produce a shag.
Knotted weaves are used generally for heavy rugs and
carpets. They
can also be used for Jackets and blankets. When worn with
the shag
on the inside, an insulating effect results and the garments
are
extra warm.
1. Varieties of
Knotted Weaves
a.
Velvet Pile: The velvet
hcaxc143.gif (486x486)
finish of
oriental type rugs
is produced
by using a good
wool for the
knotting and
by tying about
40-150 knots
per square
centimeter. After
several rows
of knots are
tied and two
to three rows
of plain
weave are in place,
the pile is
cut very short--about
0.5 to 1.0cm.
b.
Shag Finish: A shaggy finish
hcaxa144.gif (486x486)
does not
require as many
knots per cm2
as does the
pile. A good
range is from
4 to 5 per
cm2. Wool, mohair
and soft
synthetic mixes
produce
attractive shags.
Tails of
knots should be
about 5 to
8cm.
c.
Looped Shag: A shag can also be
produced by
putting a weft
through the
warp and then pulling
the loops out
of the weft (as
shown left).
This row is alternated
hcaxb144.gif (486x486)
with several
rows of very
tightly woven plain weave. The
tightly woven
plain weave is
necessary
because there is no
knot to hold
the loops of weft
in place.
2. Cutting the Weft for Knotted Weaves
In order to cut uniform lengths of yarn
for knotting, make a gauge from a piece
of wood or heavy cardboard. Wrap yarn
around so no loop overlaps another and
slice off with a knife as shown.
hcaxc144.gif (486x486)
3. Placement of
Knots
a.
Knots can be alternated to
avoid small
openings on the
back as shown
(left).
hcaxd144.gif (486x486)
b.
At the selvedge, take the yarn over
hcaxa145.gif (486x486)
and under the
two outside warp
threads. Do
not make a knot. This
will give you
a smooth edge.
Finishing Touches
This section describes techniques for finishing off woven
articles.
After an article is woven, it is necessary to secure the
weft at both
ends to prevent it from unraveling. Several methods of tying
off the
warp are presented here. You will also find directions for
joining
two woven pieces of cloth as well as suggestions for bag
handles.
Overhand Knotted Fringe
1. Cut the warp at
both ends; leave about 15cm.
2. Separate the warp
into groups each having the same
number of threads
in each. Groups should not be wider
than 1cm.
3. Take one group and
make a loop as shown below.
hcaxb145.gif (486x486)
4. Pull ends through
loop.
5. Push knot as
close as possible to the end of the cloth
as you tighten
it.
6. Repeat for each
group until all warp is tied.
7. Make sure all
knots are made in the same direction.
Simple Hemming
hcaxa146.gif (486x486)
1. Cut the warp at
both ends, leaving about 8cm in length.
2. Separate the warp
into groups having the same number
of threads in
each.
3. Tie each group
with an overhand knot.
4. Fold over the
edge to the back.
5. Tuck under the
tied warp.
6. Hem with an
overcast stitch.
Variations on Overhand Knotted Fringe
The following illustrations show some of the many
possibilities
hcab1460.gif (486x486)
longer the warp must be left.
1. Cut a piece of
weft six times the
width of the
cloth.
2. Mark the center
of this length and
wind each end
into a butterfly.
3. Place midpoint of
yarn around the
first 4 warp
threads at right edge. <see picture>
hcaxb147.gif (486x486)
4. Bring end on top
of the warp under
the next group of
four.
5. Bring end below
warp, up and over
the same 4 warp
threads.
6. Repeat steps 4
and 5 until the left
edge is reached.
Turn and return
to right end
continuing twining the
warp.
Philippine Tie
1. Separate warp
into groups of eight.
2. Begin at left
edge.
3. Take the fifth
and sixth ends of the
first group and
wrap around the first
to fourth ends
making a half-hitch as
illustrated
(right).
hcaxc147.gif (486x486)
4. Take the seventh
and
eighth ends and
wrap
over and back the
third
to sixth ends.
5. Repeat for each
group of eight
warp. <see
picture>
hcaxa148.gif (486x486)
Square Knotted Fringes (Macrame)
1. Secure the weft
using twining or the
Philippine Tie.
2. Separate the warp
into groups of four, or multiples of four.
3. The following
illustrations show how to make a square knot.
hcaxb148.gif (486x486)
4. After the first
row of knots,
divide the warp
from each knot
into halves and
make a knot
using the half
from two adjacent
knots.
5. Square knots can
be used in
patterns similar
to these
shown for the
overhand knot.
6. More patterns and
techniques for macrame can be found in
some of the sources listed at the end of this manual.
Finger Woven Edges
hcaxa149.gif (486x486)
This technique, although time-consuming, produces a strong,
durable edge very suitable for bags where the warp edge
forms the opening of the bag.
1. Leave about 8cm
of warp on each end.
2. Lay fabric on
flat surface and separate the first 5 or
7 warp threads.
3. Take the first
thread and weave it in and out of the
next four
threads. <see picture>
hcaxb149.gif (486x486)
4. Pull end down
toward the fabric.
5. Pick up next warp
thread, so that you continue to have
an odd number of
threads. <see picture>
hcaxc149.gif (486x486)
6. Weave second
thread through the next four. Pull
down toward
fabric.
7. Repeat steps 3 to
6 picking up a new thread each time
one is woven and
pulled down.
8. With this
technique the warp lays against the fabric.
It can be braided
and tacked down to produce an
attractive edge.
<see picture>
hcaxa150.gif (486x486)
Adding Fringe
Sometimes you may want to put a fringe on the selvedges, or
you may wish to make a fringe of yarn different from the
warp threads.
1. To Add Fringe to
Warp Ends.
a.
Hem edge as described under hemming (page
146)
b.
Cut yarn for fringe twice as long as
desired.
c.
Using a needle, insert each piece of yarn
into
edge from
front to back, and then through front
again as
shown (below).
hcaxb150.gif (486x486)
d.
Fold ends over and pull through loop.
e.
Repeat for each piece of fringe desired.
2. To Add to
Selvedge.
a.
Skip step 1 above, and continue as described
in
steps 2-5.
Handles
Handles for bags of all kinds can be made in many ways.
A
handle should meet the following requirements.
Support the
weight of what will be carried in the bag.
Be attached well.
Match the yarn
and colors used in the bag.
1. Monk's Cord
This is the
easiest and quickest way to make a handle.
Use a strong but
flexible fiber that will stand heavy
use - such as 4
ply carpet wool, heavy linen or cotton.
a.
Determine how many strands you need, by
taking
two or more
pieces of yarn and twisting them
together
tightly to see how thick a handle it
makes.
b.
Cut the desired number of strands three
times the
finished
length.
c.
Put an overhand knot in one end and place on
a hook
on a wall or
stake in the ground. <see picture>
hcaxa151.gif (486x486)
d.
Twist as tightly as possible for the entire
length.
e.
Take the end you are holding and fold it
back to
the end on
hook.
f.
Remove hooked end and let the two pieces
twist together. <see picture>
hcaxb151.gif (486x486)
g.
Whip stitch the ends (see below).
hcaxa152.gif (486x486)
2. Braids
a.
Select a number of strands to make
the handle
the thickness desired.
b.
Cut into lengths twice as long as
desired
handle.
c.
Separate into 3 groups for a three-strand
braid, or
into 4 groups for
a four-strand
braid.
d.
Braid as illustrated.
(It is helpful
hcab1520.gif (587x587)
it to a hook,
while you are braiding
it.)
J. Attaching the
Handles
Attach the
handles securely to the body of the
bag.
The following method offers the most
strength, plus
the option of quickly adding a
new handle if the
original breaks or becomes worn.
1.
Detachable Handle.
a.
After bag has been sewn together and all
edges finished,
take a piece
of cord and with a heavy needle insert
it into the
right corner of the bag opening. Go
through
both front
and back of bag, several times making a loose
ring.
b.
Tie into ring.
hcaxc153.gif (486x486)
c.
Select a sturdy yarn that matches the bag
and tie
end around
cord.
d.
Draw end of yarn through cord ring and then
back
through its
own loop making a half-hitch.
e.
Repeat, making half-hitches completely
around the
cord until it
is completely covered. <see picture>
hcaxa154.gif (540x540)
f.
Repeat steps 1 to 5 on the left corner.
g.
Tie handle to loops.
2. Permanent Handles
Other methods
involve
sewing the handle
to the
bag.
Use very heavy
thread and a
large eye
needle.
A 3" shoemaker's
needle is helpful on heavy
woven
fabrics. The styles
hcaxb154.gif (600x600)
of handle
attachment presented
here are in order
of strength.
Joining Two
Pieces of Woven Fabric
Most looms make
cloth of only limited width; therefore, it
is sometimes
necessary to join woven pieces together for
larger articles
such as rugs, bedspreads, sheets, or
tablecloths.
When joining two
or more pieces, weave each section so that
the pattern and
weave match on the edges being Joined.
Use
strong thread or
yarn in a color that either matches or
contrasts with
the fabric, depending upon the effect desired.
Ball Stitch
1. Butt the
selvedges of the pieces to be joined together so
that the pattern
matches.
2. Baste lightly
with large stitches to keep
hcaxb155.gif (353x353)
the pieces in
place.
3. Fasten thread on
right selvedge at top.
4. Bring needle
diagonally across left to
right. <see
picture>
hcaxa155.gif (486x486)
5. Go under left
selvedge and push needle from back to front
2-3 threads lower
than beginning stitch. <see picture>
hcaxc155.gif (393x393)
6. Repeat steps 4
and 5 going from right
to left.
7. Stagger the
stitches so no stitch is opposite one on the
other selvedge.
<see picture>
hcax156.gif (353x353)
8. Continue steps 4
to 6 until bottom is
reached.
Tie off Joining thread.
8 Where to Find More
Information
Books
Bress, Helene. Inkle
Weaving. New York:
Charles Scribner's Sons, 1975.
Complete
information for creating all kinds of patterns using the Inkle loom.
Contains plans
for a floor model Inkle loom that weaves longer strips than the
loom in this
manual. An invaluable tool for anyone
interested in all the
possibilities of
the Inkle loom.
Channing, Marion L.
The Magic of Spinning. New
Bedford, Mass.: Reynolds-DeWalt,
4th edition 1971.
Directions for
spinning with an emphasis on wool and its preparation.
Information
on using
traditional English and American spinning wheels.
Davenport, Elsie G.
Your Handspinning. Tarzana,
California: Select Books, 4th
edition, 1971.
Most
comprehensive book on spinning. Covers
a wide variety of wheels and
their use.
Describes several methods of spinning, with
an excellent section
on spinning
fibers from rabbit, camel, angora goat, silk, cotton, jute, hemp,
sisal and flax.
Duncan, Molly. Spin,
Dye and Weave Your Own Wool. New
York: Sterling Publishing Co.,
Inc., 1973.
Very good
description of preparing wool for spinning.
There is also a discussion
of spinning
wheels and handspinning. Weaving
section gives plans for an
inkle loom of
unusual design made from plywood, and tells how to weave on a
small commercial
table loom. Warping section is
well-illustrated and pictures
some useful tools
for winding and measuring the warp.
Garrat, Cay. Warping
- All By Yourself, Santa Rosa,
California: Thresh Publications,
1974.
Describes how to
warp a two- or four-harness loom with just one person.
Uses
more elaborate
technology than presented in this manual, but it is clearly
illustrated and
written and may prove helpful to those attempting to warp a
large loom by
themselves.
Gilly, Myriam.
Free-Weaving. New York:
Charles Scribner's Sons, 1976.
Describes history
of loom design and construction and gives directions for
techniques used in contemporary style
wall-hangings.
Gonsalves, Alyson Smith ed.
Weaving Techniques and Projects.
Menlo Park, California:
Lane Books, 1975.
Good discussion
of weaving problems and techniques, with plans for a very
simple loom.
There is a large section of patterns and
projects usable with
the looms
presented in this manual.
Harvey, Virginia I.
Macrame: The Art of Creative
Knotting. New York:
Van Nostrand
Reinhold, 1967.
Complete
information on macrame, with many suggestions for fringes.
Hope, Elizabeth, Estine Ostlund and Lisa Melen.
Free Weaving on Frame and Loom.
New York:
Van Nostrand Reinhold,
Mainly deals with
tapestry weave techniques. Many color
illustrations.
Ingers, Gertrud.
Flemish Weaving. New York:
Van Nostrand Reinhold, 1967.
Guide to
techniques and patterns for pictorial tapestries.
Innes, R. A.
Non-European Looms. Halifax,
England: Halifax Museum, 1959.
Catalog of
African and Oriental looms should interest those looking for other
styles of looms
that are basic in design and simple to construct.
Not all
looms are
illustrated; however, many details such as pulleys, heddles, reeds
and beaters are
pictured. The Mende Tripod Loom from
Sierra Leone and the
Egba Narrow Loom
from Nigeria are interesting versions of the foot-powered
loom presented
here.
Kluger, Marion. The
Joy of Spinning. New York:
Simon and Schuster, 1971.
Emphasis is on
preparing and spinning wool. Includes
directions for spinning
with a drop
spindle and a treadle spinning wheel.
Brief section on other
fibers - flax,
cotton, dog hair, quivit.
Marlin, Shirley. Off
the Loom: Creating with Fiber.
New York:
Viking Press, 1973.
Directions for
using the Inkle Loom; plans for a simple frame loom and techniques
using macrame.
Mosely, Spencer, Pauline Johnson and Hazel Koenig.
Crafts Design.
Belmont,
California:
Wadsworth Publishing Co., Inc. 1962, 1967.
Chapter 4 offers
clear, well-illustrated directions for building very simple
looms.
Good section on weaves and patterns for the
Inkle loom. Weaves for
two- and
four-harness foot-powered looms are well-diagramed.
Knotted weaves
and tapestry
weaves are also discussed. Sections on
decorated textiles and
leatherworking
may also be of use to weavers.
Well-illustrated.
Murray, Rosemary.
Practical Modern Weaving. New
York: Van Nostrand Reinhold, 1975.
Well-illustrated
collection of patterns and weaves for all types of looms.
Parker, Xenia Ley.
Creative Handweaving. New
York: Dial Press, 1976.
Techniques and
patterns suitable for the Frame, Inkle and Foot-Powered Looms.
Pendleton, Mary.
Navajo and Hopi Weaving Techniques.
New York: Macmillan, 1974.
Describes Navajo and Hopi rug weaving
techniques. Special attention paid to
techniques of
putting in the weft in creating tapestry patterns.
Patterns
presented for the
belt loom can also be used on the Inkle Loom.
Plath, Iona. The
Craft of Handweaving. New York:
Charles Scribner's Sons, 1972.
Patterns and
weaves intended for use on a jack harness loom.
Some are suitable
for use on a
four-harness, foot-powered loom.
Redwood. Backstrap
Weaving of Northern Ecuador. Redwood,
1974.
A limited edition
of a very beautiful book giving complete and easy to follow
direction for
building and weaving on a backstrap loom.
(Available from The
Unicorn)
Regensteiner, Else.
The Art of Weaving. New
York: Van Nostrand Reinhold, 1970.
Covers all
aspects of weaving. Brief discussion of
animal, vegetable and
mineral fibers
and their use in weaving. Most looms
discussed are commercially
made, although
there are rather complicated plans to make a backstrap loom in
the Appendix.
Deals extensively with types of weaves and patterns with a good
section on
tapestries and rugs.
Reed, Tim. Loom
Book. New York:
Charles Scribner's Sons, 1973.
Directions for
building a foot-powered loom slightly more complex in design
than the one
presented in this manual.
Reichard, Gladys A.
Weaving a Navajo Blanket. New
York: Dover, 1974.
Directions for
building a Navajo loom with patterns and techniques for
weaving Navajo
rugs and blankets.
Rubenstone, Jessica.
Weaving for Beginners. New York;
J. B. Lippincott, Inc., 1975.
Describes
construction of a very simple loom - a rigid heddle backstrap type
loom using tongue
depressors.
Schery, Robert W.
Plants for Man. Englewood, New
Jersey: Prentice-Hall, Inc., 1972.
Chapter 7
discusses a wide variety of vegetable fibers and their potential
for use in
weaving. Good source of information for
those looking for new
sources of fiber
from domestic and wild plants throughout the world.
Scabey, Joan. Rugs
and Wall Hangings. New York:
Dial Press, 1974.
Excellent section
on the historical significance of tapestry weaving throughout
the world.
Many illustrations.
Contains techniques and patterns for
rugs based on
traditional designs.
Svinicki, Eunice.
Step-By-Step Spinning and Dyeing.
Racine, Wisconsin: Western
Publishing Co.
(Golden Press), 1974.
Very clearly
illustrated methods of spinning using several types of drop
spindles.
Includes section on dyeing fibers and a very
brief section on
simple weaving
techniques.
Swanson, Karen.
Rigid Heddle Weaving. New
York: Watson-Guptill, 1975.
Describes
construction of a rigid heddle loom of the backstrap type (similar
to Rubenstone's)
but on a larger scale. The patterns and
techniques presented,
however, are
suitable to any loom and may interest those constructing
any of the looms
in this manual.
Tacks, Harold and Sylvia.
Band Weaving. New York:
Van Nostrand Reinhold, 1974.
Techniques and
patterns for weaving strips of cloth such as those produced
by the inkle
loom.
Tidball, Harriet. The Weaver's Book.
New York:
Collier, 1977 (soft-bound).
Instructions for
weaving on a multiple harness loom.
Some techniques may be
useful on the
Foot-Powered Loom presented in this manual.
Weir, Shelagh.
Spinning and Weaving in Palestine.
London: British Museum, 1970.
Looms described
here are similar to the Frame Loom in this manual.
Those
interested in
constructing it may find the photographs of the looms in
use very
helpful. A Foot-Powered Pit Loom is
also illustrated. (Available
from The Unicorn)
West, Virginia M.
Finishing Touches for the Handweaver.
Newton, Mass.: Charles
Branford, 1968.
Directions for making fringes and handles
and for Joining woven fabrics
together.
Wigginton, Eliot, ed.
Foxfire 2, Garden City, New
York: Doubleday, 1970.
"From
Raising Sheep to Weaving Cloth" describes the preparation of wool for
spinning, the
spinning of the wool on a wool wheel, and gives plan for
building a skein
winder (vertical), a spool rack, a boat shuttle similar in
design to the one
in this manual, and a warping board.
Photographs and
drawings are of a
foot-powered loom slightly more complex in design than
the one in this
manual. Brief directions for warping
and weaving may
interest builders
of the foot-powered loom.
Wilson, Jean.
Weaving is Fun. New York:
Van Nostrand Reinhold, 1971.
Excellent section
on fibers, especially animal sources, and their preparation.
Geared toward
teaching children to weave with Simple looms.
Interesting
section on
basketry.
Wilson, Jean. The
Pile Weaves. New York:
Van Nostrand Reinhold, 1974.
Detailed
descriptions for making and using twenty-six different pile weaves.
Very useful for
anyone considering making pile rugs.
Worst, Edward. Foot
Treadle Loom Weaving. Mayne Island,
British Colombia, Canada:
Cloudburst Press,
1976.
Collection of
traditional weaves and patterns, many suitable for use with
the Foot-Powered
Loom in this manual.
Zielinski, Stanislaw.
Encyclopedia of Handweaving. New
York: Funck and Wagnalls,
1959.
(Soft-bound)
Definitions and
illustrations of the many confusing terms used in describing
weaving.
Znamierowski, Nell.
Step-By-Step Weaving. New
York: Golden Press, 1967.
Very complete
book which includes plan for a frame loom (different in design
from the one in
this manual), directions for warping, planning a fabric,
dyeing yarns and
directions for many types of weaves.
Contains suggested
projects for the
frame loom and for a four-harness, foot-powered loom.
Book Distributors
Most of the books listed, plus a great many more, can be
obtained from the following
Craft Book Distributors.
Earth Guild, Inc.
15 Tudor Street, Cambridge, Massachusetts.
(Catalog $2.00)
The Mannings
R. D. 2, East Berlin, Pennsylvania 17316 (Catalog $.50)
The Unicorn
Box 645, Rockville, Maryland 20851 (Catalog $.50)
Periodicals
The following periodicals often contain articles of interest
to weavers.
The Mother Earth News, P.O. Box 70, Hendersonville, North
Carolina 28739 (One year
$12.00)
Back issues can be
ordered. Articles of interest are
listed below.
Lindeman,
Joan. "A Very Primitive Loom"
Mother Earth News. No. 22, July 1973,
p. 49-51.
Describes the
construction of a very simple loom, built into the ground,
suitable
particularly for weaving mats of heavy fibers.
Lichtenstein,
Bernie. "We Built A Spinning Wheel
for $2.50" Mother Earth News.
No. 39, May 1976,
p. 106.
Describes
construction of a spinning wheel (wool wheel type) using a
bicycle
wheel. Very rough design, but may get a
creative person
thinking of
other possibilities.
Shuttle, Spindle and Dyepot.
Published by the Handweavers Guild of America, Membership
includes
subscription. 998 Farmington Avenue,
West Hartford, Connecticut
06107.
($12.50 in U.S., $12.50 outside)
LENGTH CONVERSION
The chart in Figure
3 is useful
hcax164.gif (600x486)
for quick conversion from meters and
centimeters to feet and inches, or
vice versa. For more
accurate results
and for distances greater than 3 meters,
use either the tables in Figure 2 or
hca2x163.gif (600x600)
the equations.
The chart in Figure
3 has metric divisions
of one centimeter to three meters,
and English units in inches and feet
to ten feet. It is
accurate to about
plus or minus one centimeter.
Example:
An example will
explain how to use
the tables. Suppose
you wish to find
how many inches are equal to 66cm.
On
the "Centimeters into Inches" table look
down the leftmost column to 60cm and then
right to the column headed 6cm.
This
gives the result, 25.984 inches.
FIGURE 1
Equations:
1 inch = 2.54cm
1 foot = 30.48cm
= 0.3048m
1 yard = 91.44cm
= 0.9144m
1 mile = 1.607km
= 5280 feet
1cm = 0.3937
inches
1m = 39.37 inches
= 3.28 feet
1km = 0.62137
miles
= 1000 meters
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