THE WE AV E R S

Inkle Pattern Directory

ANNE DIXON

warp-faced weaves

4 00

Warping
Originally the modern inkle loom would have been warped with one continuous single-color thread, alternately passing the warp thread over and then under the top peg and tying the end of the last pass onto the beginning of the warp. The main disadvantage of a single continuous warp is that the warp tends to become tighter with each successive wind, even when heddles are added (or threaded through) during warping. Sometimes people like to emulate the continuous warping, even when using different colorseither tying on the new color at each change, or wrapping the ends of the warp threads around different nails near the front of the loom, unwrapping to continue with that color when next needed, and again tying all ends to the beginnings of the warp colors. When several different colors or threads are used for warping the extra tying-on or securing/releasing of each new yarn, the entanglements that can ensue (resulting in crossed threads at the end of the warp), plus the tensioning problems, hardly justify strict adherence to the original method. The following method seeks to eradicate the disadvantages and is at least just as fast as tying-in the different threads, plus it is always easy to see exactly where to place the heddle. See page 15 for tying a knot by yourself. These instructions assume that the first and last warp thread is a heddled thread. If the first warp thread is unheddled, start at 2 (a or b). If the last warp thread is unheddled, finish with a single warp thread under the top peg.

Loom with Heddles 1. 2a. 2b. Warp the first thread over the top peg, along the chosen pathway, push the thread to the frame of the loom at all points, cut off and tie securely with two or three knots. Place a heddle over the heddle peg, take the loop behind the warp thread, back down and loop over the heddle peg, with the knots under the peg. If the next two warp threads are the same, first wind one pathway under the top peg, then continue with the next over the top peg: push both warp threads to the frame of the loom at all points and tie as above. Place a heddle on the last (over peg) warp thread. If the next two warp threads are different, then hold both threads together and take in their correct pathway around the loom, placing the first (unheddled) thread under and the second (heddled) thread over the top peg. Push both warp threads to the frame of the loom at all points, and tie together as above. Place a heddle on the last warp thread. If you find that the heddled thread is always too tight, tie the beginnings of the warp threads together and at the finish place one thread through the loop above the beginning knot and then tie the ends of the two threads together.

Repeat using either 2a or 2b. Adding heddles as you go along is far quicker and more accurate. Warping only two threads at a time helps to reduce the tendency for the warp to tighten.

the weave r s i nkl e pa t te r n d i re c to r y

Minimum and Maximum Length

The warp on any inkle loom has a possible minimum and maximum length, with variations between the two. The minimum length for any warp is from the starting peg, to the joining peg, around the tensioner, and back to the starting peg, without interfering with the heddle peg. The maximum length winds zigzag around the tensioner and all the pegs on the loom, without interfering with any of the other pegs or the pathway of the warp.

time). Weave both the tail and the shuttle into this next shed, then change the shed and continue weaving. The tail of the weft will remain secure and can be trimmed later.

Finishing
At the penultimate pick, weave the weft through a shed, and into the SAME pick insert a loop of smooth thread with the loop at the opposite side to the shuttle. Change the shed, beat, and tug. Weave the shuttle through this final pick.

Starting and Finishing

If the ends of the weft are left loose, then the edges of the inkle will move outward when it is removed from the loom, making the selvedges uneven. So a secure start and finish is best.

Cut the weft, leaving about 8" (20 cm). Insert the very end of this tail into the loopnot too farso that it creates a loop clasped with the first. Now, holding both loops gently in opposite hands, pull the clasped loops through the shed, positioning the upper (final) weft into place, and pulling the weft completely through the previous pick. Again, change the shed and beat. Discard the extra loop of thread. The weft will remain secure and can be trimmed later. This saves having to darn the weft into place after the inkle has been cut off the loom and is extremely secure. There is no need to secure the ends of the inkle any further when the inkle is removed from the loom, but sometimes a decorative or braided edging is required. Remember to leave enough unwoven warpgenerally braiding uses about 1 times the finished length. See page 27 for further information.

Starting
Open one of the shedsit doesnt matter whichand insert a shed stick. Change the shed, push the first shed stick down to the starting peg and insert a second stick. Repeat so that there are three shed sticks in place. Change the shed once more. Insert the shuttle through the open shed (from the side that suits you) and leave a tail of the weft hanging at the side. Change the shed, beat and tug (both edges this

Vertical Lines

Even Single & Double

H U x3 x3 H U

Triple

x3

Warp: 3x2/16, dark green and pale blue Weft: pale blue 3x2/16

Warp: 3x2/16, dark green and pale blue Weft: pale blue 3x2/16

All lines curve the same way

All lines curve the same way

Single & Double: In Opposition

H U contd
H U

Triple: In Opposition

x3 x2

x3

x2

x2

x2

Warp: 3x2/16, dark green and pale blue Weft: pale blue 3x2/16

Warp: 3x2/16, pale blue and dark green Weft: pale blue 3x2/16, pale blue

Lines curve the opposite way to the adjacent line Lines curve the opposite way to the adjacent line

the weave r s i nkl e pa t te r n d i re c to r y

Runic

Runic 1
H U x2 x27 x3

Runic 2
H U x2 x26 x3

Warp: 2/16, border pale blue multicolor where shown as orange Bar: brown Weft: 2/16, pale blue Alternate single Y shape and inverse Length of upright (float) always 16 pick-up Alternating 2xY and inverse Random lengths

Warp: 2/16, border brown striped red and orange where shown as red Bar: cream Weft: 2/16, brown Alternating 3xY and inverse Random lengths

Y shape and extra short lengths Random

Sunrise, Sunset pattern completely random

Includes short lengths and gaps Random

reverse of sample

reverse of sample

For Runic technique, see page 35.

Repp Weave

A
H U

Repp 1

x3

x16

x3

Single Insertion Method Warp: 2/16, dark green and cream Thin Weft: 2/16, dark green Thick Weft: 4 strands dark green 3x2/16 wound onto one shuttle A. Alternate thick weft with thin weft, weaving a thin weft into all sheds. To change color order in blocks, throw 2 thick wefts or 2 thin wefts in succession.

Cross-Over Method Thin Weft: 2/16, dark green Thick Wefts: 2 shuttles each wound with 2 strands 3x2/16, dark green. B. Alternate thick wefts with thin weft, weaving a thin weft into all sheds. For thick weft, take both thick shuttles through the shed, starting them from opposite sides. To change color order in blocks, throw 2 thick wefts or 2 thin wefts in succession.

the weave r s i nkl e pa t te r n d i re c to r y

Pick-up, Pairs, Unheddled

A
H U x3 x14 x3

Pick-up 1
A
Balance Repeat

Pick-up 2
G
Balance

Warp: 2/16 navy and lime green Weft: 2/16 lime green

Balance
Repeat

H C
Repeat

Balance

Repeat
Repeat Balance

D D

J
Repeat

Repeat

Balance

Repeat

K K

Repeat

Balance

Repeat

For Pick-up technique, see page 47.

Repeat

Contents
Foreword
by Madelyn van der Hoogt Inserted auxiliary thread manipulation
Gathering and Pleating Scrunching and Shibori

Introduction About This Book Basic Equipment Basic Techniques Pattern Directory
Basic warp color patterns Warp manipulation
Pick-Up Lettering: Compensating Runic Lettering on Checks Baltic-Style South American Pebbles Monks Belt Krokbragd

Weft manipulation
Dukagang Inlay

Selvedge treatments Beads

Fancy Yarns Clasped Wefts and Cross-overs Tablet Edging Fringes

Width of inkle Finishings

Charts for Designing Your Own Inkles

Warp changes Additions to warp surface

Auxiliary Warp Threads Scribbling Embroidery Soumak and Loops Turkish and Other Knots

Glossary Resources Credits Index

More Than 400 Patterns for Weaving Enthusiasts

From highly praised author and expert weaver Anne Dixon comes the ultimate resource for inkle weavers.
Anne Dixon weaves, lectures, and teaches throughout the United Kingdom and abroad. She is the author of The Handweavers Pattern

Directory (Interweave),and has published booklets on inkle weaving,

contributed articles to a number of publications, including Handwoven magazine, and exhibited both in the United Kingdom and the United States. She is a guild member of the Association of Weavers, Spinners, and Dyers and a founding member of The Braid Society.

Hardcover with concealed wire-o 7 x 9, 176 pages ISBN 978-1-59668-647-2 $29.95

Available June 2012