This sounds very interesting. This warp will be about 8 feet on a Harrisville rug loom. I look forward to your guidance. I just spritz the warp in front of the reed. When using this tensioning method for a linen warp. Spritzing then weaving the header, should I remove the lee stricks before I begin the header? Or is it ok to leave them in? There are no lease sticks here. I spritz, then start weaving the header. To avoid that, spritz. Let me know if you still have questions. My lease sticks are behind the castle.
I was wondering if it mattered when you removed them while warping? Do they affect the warp tension? I had great success with the spritzing earlier this summer. This time I am having trouble with saging warp threads.
Double weave. I tthreaded the heddles and reed and tied the slip knots. Then went on vacation for 3 weeks. I tried lacing on and spritzing then weaving the header in tabby and in the double weave pattern. No luck this time.
Lots of sagging warps. I tried retying the knots and re lacing on and still the sagging threads. After the warp dries, I think I might cut off the knots and tie the warp on this time. Then spritz again and weave the header… What do you think? As you beam, thread, and weave your own project, you will gain confidence working with this beautiful fiber and learn skills needed to keep it all going smoothly.
Also weave on two shared looms. Explore the entire process of growing flax, spinning yarn, and weaving it into cloth. Ground retting produces deep rich darker tones, while water retting produces a light creamy color. Every crop is different, and every retted batch comes out differently, giving an unbelievable array of colors and textures to weave with. You do not need to be an experienced spinner to enjoy this week. Flax is a long fiber, which makes it an excellent place to start. You are welcome to bring your own spinning wheel if you have one that you are comfortable with.
We also have several spinning wheels of various styles for participants to try out. Linen is a magical fiber and this is a chance to get to know it intimately.
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Meals may be purchased at our day student rate. Being careful not to un-thread your work, move your original rigid heddle, located in the rear neutral position, into the neutral slot directly behind the second rigid heddle, which should have been in the front neutral slot.
What you are going to do next is grasp both rigid heddles together with both of your hands. Very gently, so as not to un-thread your work, set them both in the up position.
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One will rest in the up slots, the other directly in front or behind as you prefer. The goal here is to minimize tension issues. And since during the weaving process, the threads in the holes are either up or down, it makes sense to tie on while in this position. Linen does not have a lot of stretch, and this will help your threads sag less, especially as you reach the end of your warp.
You are now ready to tie onto your front apron bar. Working in one inch sections starting in the center of your threads, tie onto the front apron bar. I tie all of the sections on, and then return to where I started and re-tighten each section before securing with a bow. As I do this, I gently press my hand against the warp threads to see if the tension feels right, making adjustments along the way. Once tied, you will want to throw three picks then beat to see if you can spot any inconsistencies in your tension.
Cotton Vs. Linen: What's the Difference? | Brahms Mount Blog
The edge of fabric created each time you beat is your fell line. The idea is generally for this to be straight and level.
When you make your three initial picks and then beat them all at once, you may notice that the line of weaving you just created has sections that undulate up or down relative to the fell line. If they fall below the fell line, that section of threads is too tight and needs to be untied and loosened just a bit. If there are sections that fall forward of the fell line, they are loose and need to be tightened.
Once your tension is even across your warp, you are ready to weave. To weave plain weave with two heddles, simply grasp them together and treat them as though they are a single unit. For this project, I started with the mustard linen.
I wanted to alternate between 32 picks of mustard and 32 picks of eggplant so that I could easily see how balanced my weaving was as I went along. I decided to test out the spritzing with water theory. I wove seven sections of 32 picks each, beginning with the mustard linen. During this process I tightened my Flip as much as possible.
To get good tension I used two hands to really crank on the rear beam. I also advanced frequently.