Throughout Project 9, which is all about weaving, I’ve been referring to numerous books to give me more techniques and weaving possibilities. The course manual has quite a lot of good information but I thought it worthwhile to pick up more tips in other places as well.
The Woven Bag by Noreen Crone Findlay is quite interesting as it concentrates on small looms and introduces the beginner to numerous different types including wrapped & interlaced, pinboard, backstrap, frame & peg and potholder – most of which I had never heard of before.
It has a comprehensive section on warping up with step by step instructions and goes on to show weaving in detail and how to manually pick up the warp to make patterns. One of the main differences between the techniques shown in the book and the way I am working on my frame is the continuous warp method used by Noreen.
You can see from the pictures that the looms featured all have teeth or pegs and the warp (and the weft in the case of the potholder loom) is wound around these pegs.
This enables the warp to be removed later with a loop at the end. The weaving can start and finish very close to the ends of the warp and once they are removed from the pegs they can be chain stitched or crocheted into a neat edge.
With the frame I am using the warp wraps around the frame and must be cut later. The only way I can think of to finish it off neatly, and have read about elsewhere, is to weave a few extra rows, cut and knot the warp and then turn the excess weaving to the underside and slip stitch in place trapping the cut warp end within the seam. It could look fine but I wonder about the bulk in the seam. My warp thread is pretty sturdy and thick so I’m not convinced I would get a good finish this way.
I guess if I were weaving a small rug or mat and turned the ends under as described, without trapping the knotted ends under the extra rows, and then backed the piece there wouldn’t be too much of a thickening of the end edges. If anyone reading this has good ideas for ‘hiding’ cut warp ends I would be interested to hear them.
The other thing the book has introduced me to is the way to draw charts to create a design by picking and weaving different warps on each pass. In my next posting I will be using three charts I have drawn to add some textural interest to my tribal theme piece.
Noreen Crone-Findlay, The Woven Bag, Krause Publications, Cincinnati, Ohio, 2010
Permission to use photos from Noreen Crone-Findlay.