Professional Documents
Culture Documents
400
warp-faced
weaves
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.
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start at 2 (a or b).
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with a single warp thread under the top peg.
1.
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.
2a ,IWKHQH[WWZRZDUSWKUHDGVDUHWKHVDPHUVW
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.
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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
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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.
time). Weave both the tail and the shuttle into this
next shed, then change the shed and continue weavLQJ7KHWDLORIWKHZHZLOOUHPDLQVHFXUHDQGFDQEH
trimmed later.
Finishing
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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
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secure and can be trimmed later. This saves having to
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off the loom and is extremely secure.
Vertical Lines
Triple
H
U
H
U
x3
x3
x3
Triple: In Opposition
H
U
H
U
x3
contd
x3
x2
x2
x2
x2
Runic
Runic 1
Runic 2
H
U
H
U
x2
x27
x3
x2
x26
x3
Bar: brown
Bar: cream
Random lengths
reverse of sample
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Random
reverse of sample
Repp Weave
Repp 1
A
H
U
x3
x16
x3
Cross-Over Method
B.$OWHUQDWHWKLFNZHVZLWKWKLQZH
ZHDYLQJDWKLQZHLQWRDOOVKHGV)RUWKLFN
ZHWDNHERWKWKLFNVKXWWOHVWKURXJKWKH
shed, starting them from opposite sides. To
change color order in blocks, throw 2 thick
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Pick-up 1
A
A
H
U
x3
x14
Balance
B
Repeat
x3
Balance
Balance
B
Repeat
Pick-up 2
H
C
B
Repeat
Balance
B
Repeat
B
Repeat
Balance
D
B
Repeat
J
J
B
Repeat
Balance
B
Repeat
Balance
B
Repeat
B
Repeat
B
Repeat
Contents
Foreword
by Madelyn van der Hoogt
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thread manipulation
Gathering and Pleating
Scrunching and Shibori
Introduction
About This Book
Basic Equipment
Basic Techniques
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Selvedge treatments
Pattern Directory
Basic warp color patterns
Warp manipulation
Pick-Up
Lettering: Compensating
Runic
Lettering on Checks
Baltic-Style
South American Pebbles
Monks Belt
Krokbragd
Warp changes
Additions to warp surface
Auxiliary Warp Threads
Scribbling
Embroidery
Soumak and Loops
Turkish and Other Knots
Dukagang
,QOD\
Beads
Fancy Yarns
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Cross-overs
Tablet Edging
Fringes
Width of inkle
Finishings
Glossary
Resources
Credits
Index