This is something that I’m not so good with. Any decision is a difficulty and when you get a heap thrown at you when you are sewing a garment from your handwoven cloth it’s not easy. With the six metres of green wool and silk that I wove last winter it suddenly came to me what I should make. I used the number 3 vest design in the Fuku no Katachi ni Suru book but modified it because I made it longer, just because I could with all that fabric. But then I needed more fabric at the front so also added wedge shaped pieces for better coverage. When I’m underway sewing these garments, I soon leave the security of a pattern then trip into something more like a sculpture to fit the body. Adding, cutting, reworking. It can be a feeling of desperation or liberation! Read more
The warping process is a beautiful one! I know some don’t agree with this but it can be very meditative and affirming in a slightly bizarre way. The way the yarns follow each other in a precise path around the warping board pegs, ordered by a cross and creating a design of the imagination but in the process of becoming a physical cloth. The Saori way of purposely using a random selection of yarns keeps our mind attentive to colour and texture too. The absolute order and rhythm of warping creates, I think, a right mind for the weaving ahead. A mind of order and peace. The warping isn’t a free form thing as far as getting those yarns onto the loom in an ordered and even tension for weaving. The Saori set up is more forgiving than others on the loom but you have to have the yarns ordered and thread and sley the loom correctly. There are a few ways to warp up the Saori looms. Read more
Last month I had the pleasure of being with Saori weavers at Morisset Spinners and Weavers in NSW. A few of the weavers had already ‘caught’ my Saori addiction and the cloth discoveries were so interesting. Two full days of weaving and getting to know each other eventuated in metres of expressive cloth destined for clothing, wall, warmth and just plain ‘looking at joy’.
The Morisset weavers are a growing and particularly keen group of weavers. They seemed to lap up everything and their interests in different types of weaving are diverse.
Morisset weavers have a dedicated storeroom and a space to meet and learn weaving and spinning. Many small places in Australia have these and I’m always heartened that handweaving opportunties survive in pockets everywhere. We’re all thirsty for hands-on craft skill learning and doing it in happy, supportive and conflict free social gatherings. Morisset is managing this well. The historical basis for these groups is the guilds system from England and although this has greatly changed in that the guilds aren’t like unions or political like in previous times, it’s spirit of teaching and passing on skills remains. This history is a very significant one and perhaps one that we don’t promote enough. Read more
The WX90 has just been released for customers interested in w i d e. I’m not a wide cloth girl and always looking to narrow cloth for dynamic design when I join it and for the limits on my body when I’m weaving it. After many years of weaving wide I found that 40-60cms was the comfy width for me. However I am a bit taken aback by the WX90. As it is the same simple counterbalance two shaft system of the WX60 looms with the normal chair height, (unlike the big European floor looms) it is quite delightful, easy on the body and fast for weaving. It also folds up and out of the way like the WX and SX60’s.
Of course wider means using more yarn. The warps use more yarn and the weaving does too. But the loom will certainly be a great fit for many weavers out there doing two shaft weaving for wraps, baby wearing designs, small blankets and simple coat style garments. The loom allows 90cms in total width in the reed. There will be pre-wounds available and also 4 shaft conversion kits but everything including the loom is a special order at this time.
I took the loom for a run on a wide cloth x 6 metres and it is weaving up very fast with the light, gravity tandem of the counterbalanced action. The warp went on like a dream and everything just worked! This test warp was set with a 4 dents per centimetre in the 5dpc reed which comes with the loom. To do this just thread the reed dents (slots) with a 1,1,1,0, configuration and your sett will be wider and lighter which is great for thicker yarns.
The internet and social media is full of advice and opinion on what to do, what not to do and if you are doing it – you’re probably not doing it right.Â The news is overwhelmingly full of opinion and solutions based on narrow personal observations. Â So how could I possibly qualify to answer “should you weave everyday?”
I also have a personal world with personal observations that I could inflict on you all. But I can see how variable and different people are in their approach to everything. Â I think you do something everyday because you want to (or you have to). You’re drawn to it and it gives you a ‘spark’. Some people are more goal centred and disciplined in their approach to weaving, and others like to dabble and slowly meld into the world of creating textiles. Â It works all ways. Â Weaving isn’t a chore (at least for most of us)…its a time away from other things to enjoy and savour. Â If this isn’t how it feels, a break or looking to doing something different on the loom may re-ignite your resolve.
I had a few warpers in the studio of late. This step in weaving gets you designing your own fabric from the beginning and can be a mesmerizing and relaxing process. Certainly a rewarding one. Especially if you are warping for a saori style cloth.
I’ve also had some weavers in the studio as groups or couples, enjoying a few hours or Â a day away from the usual. Sometimes doubling up as a celebration. What better way to spend some time with people than enjoying colour and entwining. Â I think it’s better than Scrabble because you get to take a cloth home. Â Groups can spark and trigger your own ideasÂ so weaving with others is relaxing and rewarding.
Maybe you would like a ‘kicker’ to weave with. Â This has to be something connected with our senses. For example a piece of music can make a basis for a woven cloth. Â Music has dynamics, tone and colour. It’s a feeling created in you and felt with our hearing. Â This approach isn’t for everyone, and natural images are probably the most often used for inspiration. Another one is our sense of taste. Â Can we create a beetroot cloth?? One cloth I’m not going to make is a green bean one as I don’t like the taste…but then that might make the best cloth of all.
Should you weave everyday? Â Maybe. Â Some days I just daydream about it, and that’s nice too.
Learning to create your own warps has always been an integral part of the weaving process. And although the Saori looms have the unique pre-wound warps, there may come a day when you just need your own mix of colours, styles of yarn or different texture. Some people find the whole process meditative and Saori has some equipment that offers some more comfortable ways of building the warp and preparing for weaving. I’ve written an overview of the four different approaches and the equipment needed for each of them here. Read more
There are times when incidentalÂ asymmetry in my weaving starts to erode into my imagined feelings of control over things we do and experience in life. Â So I’ve recently set up my loom to do some ordered and predicable work, knowing that the more free style ideas will then push themselves to the fore. The Saori loom can do all manner of weaving and it might be of interest to new weavers that have come to weaving through Saori that the loom can be used for any type of conventional cloth weaving.
Colour and weave work is really fascinating. Â I’ve got Ann Sutton’s book (Color and Weave Design) with seemingly every different mix of effects which I’ve always gravitated to. So I set up one of the Saori inside sets with a black and white colour and weave, framed with the red to square it all off. Â It’s a common design. It uses only two shafts but the patterning comes from the order of the colours used. Â This example is woven in 2/22 cottolin sett at 10 epc.Â This means threading two ends through each dent in the reed (size 5dpc) rather than one. So it gives a balanced weave and the warp is closer than the usual sett in Saori style weaving. Â It’s also a good idea, perhaps, to tie the warp ends onto the front rod as the clipping rod may not be sufficient to hold the larger number of threads at times. I have used the clipping rod here but there may be times when you can just tie it on. Read more