So far today, I've woven three of these small hangings. I'll probably make a few more, then start on the scarves.
Here's a look at hanging #3, which has a weft of tramm silk in a sort of greyed blue-green. Because the yarn isn't twisted or plied, it is amazingly glossy compared to the twisted-and-plied silk yarns in the warp, and at some angles it really stands out visually. And as usual, the interleaved threadings generate a lot of iridescence, so the cloth looks quite different from one angle than from another.

Here you can see the design area plus a little of the hem area.

I couldn't convince myself that a threading like this one would weave a nice tidy 2/2 broken twill, but here's the draft for the hem area. The effect of the 3-color warp, which is threaded "odd-even-even" (or even-odd-odd) throughout, is very interesting.

I remember Bonnie Inouye teaching a class on advancing twills, and reminding us that the way to be sure your design line falls correctly on the 4-end-initial network is to make the tie-up all plain weave. You can see right away if there's an error in the design line. Well, the same thing is true for interleaved threadings on a 4-end initial network. There are doubled threads where you'd expect them because of the "odd-odd-even" nature of the threading, but the structure is really a 2/2 broken twill - it just has doubled ends in regularly occurring places.
2 comments:
In my classes on advancing and network drafted twills, the tie-up used to check structure is a 1/3 twill, not plain weave. See page 55 in my book. With 2 interleaved or parallel threadings you get doubled warps. Interesting to see 3 threadings this way.
Bonnie Inouye
Hi Sandra, What IS a cloth safe finish anyway? I've always covered the wooden slats that I hang things from with fabric - but I don't allow them to show and I think having a wood accent would be lovely - and I know a woodworker too!
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