Last week we welcomed Woolsey, the first weaving yarn by Loom & Spindle.

But more notably, we welcomed COLOUR to the Loom & Spindle range - 8 glorious shades to be precise!

I’d thought we’d continue our exploration of Woolsey as a weaving yarn with a tapestry workshop in colour transitions.

It’s a technique I developed for working soft transitions between two solid weft colours.

It requires the weaver to visually divide up the area of colour transition and assign a ratio of weft colour to each section.

By determining the metric - how many times per row the weft rises over the warp, we can establish a percentage for each colour that’s to be woven and create the visual effect.

Once the intention of the technique is understood, the technique itself is quite freeform and can be woven without rigid structure.

So, grab a pair of your favourite Woolsey colours and let’s start weaving!

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TAPESTRY WORKSHOP: Weaving Colour Transitions

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INTENTION

Soften the transition between two solid weft colours by alternating weft threads over the horizontal plane.

SKILLS to practice and develop

• Plain weave

• Double half-hitches to secure weft

• Weft changes using the half-hitch method

• Maintaining weave sequence while alternating wefts

*To learn more about these skills you might like to check out our book - LINE SHAPE TEXTURE.

THE PLAN

• Make a tapestry sampler that will measure 10 cm x 10cm (or 4" x 4").

• The set-up will comprise a frame-loom warped with cotton thread at 16 ends over 10cm (4 ends per inch).

• Establish a ground weave using spare thread to evenly space the warp and provide a firm base to begin the sample.

• The weft will be secured with a row of double half –hitches at either end.

• Use half-hitches and weft-floats (behind the work) to manage wefts as the colour transition is worked.
  

MATERIALS

• Warp: Warp Thread, 100% Cotton

• Weft: Colour 1, Woolsey Yellow; Colour 2, Woolsey Natural
  

METHOD
 

STEP 1

Sketch out and dimension the weaving area, or area of colour transition. I've used our Weaver's Graph Paper (which is available as a free download here) to sketch out the sample.

In this instance, the weaving area is 10cm x 10cm and we’re creating a transition over the horizontal plane. 

Divide the piece into five equal horizontal sections (see diagram below).

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STEP 2
 

Plan out and assign a percentage for each section that will create a uniform transition between colours over the weaving area.

For this workshop, I've chosen a five-section transition to keep the weaving comfortable and percentages to be worked somewhat intuitive.  

Referencing the diagram below, sections 1 and 5 establish the transition colours and will be woven at 100% ‘saturation’.

The actual transition of colour occurs between sections 2, 3 and 4, the percentages for each section are detailed in the diagram below.

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STEP 3
 

Using colour 1 (Yellow), begin the sample by establishing a row of double half-hitches. Ensure each hitch is knotted firmly to secure weft to warp.

Using plain weave, weave in Section 1.

I’ve attached a loop of thread to the warp to mark the end of the section.

STEP 4
 

Hold-on to your bobbin, get ready to embrace your numbers…

In STEP 2 we established a colour percentage for each section. We now need to work out how many times the weft will pass over the warp and use this number to translate the percentages to actual weft coverage.

We know that the piece has 16 warp threads, so for each row woven in plain weave the weft will pass over the warp 8 times.

With this information we can convert each colour percentage to the corresponding weft coverage for each row.

This is the formula we use: 

Using our formula here are the weft coverage stats for each section: 

STEP 5

Armed with our weft coverage stats we can now break away from the scientific method and begin weaving the colour transition with a bit more feeling.

Beginning with Section 2 and utilising the half-hitch method for colour changes, weave-in (maintaining the established weave sequence) the first row by randomly placing two dots of Colour 2 (White).

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Then, complete the first row by filling in the remaining sequence with six dots of Colour 1 (Yellow).

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Our first row now reflects the colour percentage we specified for Section 2, 75% of dots are Yellow and 25% are White.

Repeat this step, row-by-row, maintaining the colour percentage and complete Section 2.

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STEP 6

Continue working the piece row-by-row, changing the percentages of weft colour as you progress through each section.

Again, use a loop of thread or stich marker to mark each section as you progress. 

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STEP 7

Once Section 5 has been woven, finish the sample with a row of double half-hitches to secure the fabric.

Cut the piece from the loom and finish as desired.

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A FEW TIPS

• I recommend that you work row-by-row and keep both wefts working in the same direction. This will make it easier to monitor the weave sequence, it can be quite easy to get lost once the second weft colour is introduced.

• Use the progression of colour in previous rows to influence how you ‘randomly’ place colour in the next row.

• As we’re using a small amount of Colour 2 in this first progression, it can be handy to use short cut-lengths of weft that wrap (half-hitch) around just one or two warps.

• Don’t feel bound by the colour percentages, they are a guide. Monitor the fabric and place the colour where it feels right for you. You’ll notice in my sample weft colours clump together, I felt this added to the randomness of the transition and contributed a certain character to the piece.

INSIGHTS AND OPPORTUNITIES

The length of the colour transition and the frequency at which the weft colour percentages change is highly adaptable.

Ideas for further experimentation might include – working over a much broader area, working in more percentages to progress the colour change more gradually, or perhaps even making the percentages non-linear.

This method is not limited to the horizontal plane either. You could work this technique over almost any angle and with a bit of planning even apply it to more complex rectangular and radial colour transitions.

Oh, so many possibilities!

More experiments await…

FOR MORE INFO ON THE TECHNIQUES USED IN THIS TUTORIAL, CHECK OUT OUR BOOK LINE SHAPE TEXTURE.

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As Valentine’s Day will soon be upon us, I was compelled to show you a method for weaving a woven heart.

A heart may seem complex at first, high and low stepping must be combined carefully to form both horizontal and vertical curving lines. Though, through careful planning this seemingly complex shape can easily be achieved.

I’ve outlined a simple foundation method for you below, it draws on the skills you’ve learnt in LINE SHAPE TEXTURE. You’ll also find a FREE heart template at the end of the post to get you started straight away.

Shaped weaving is a lot of fun. There are endless possibilities. I can’t wait to see how you incorporate this technique into your own pieces!

Project: Woven Ombré Heart

Intention

• Construct a heart shaped woven piece to test a methodology for shaped weaving.

• Gradually blend two colours across the surface of the fabric to produce an effect reminiscent of ombré – previously sampled here.
  

Skills

• Inserting a ground weave – To prepare the loom and evenly space the warp prior to weaving

• Double half-hitch - To secure the warp and weft

• Plain weave – For the filling

• Half-hitch - To secure weft threads as you start and finish a weft thread

• Low and steep-angle stepping - To work horizontal and vertical curving lines
  
  *To learn more about these skills and please check out my book - LINE SHAPE TEXTURE. It’s available to download now!
  

Planning

• My first step was to define the shape and prepare a template. It was important to consider the warp sett and how best to plot the shape to achieve the centre-line points of the heart, would I use an odd or even number of warps and how would that affect the design.
  

• I referred to my own notes in LINE SHAPE TEXTURE to refresh my skills on forming curved shapes. I noted in particular that curved shapes would work better over an even number of warp threads. Though, I concluded that an odd number of threads would be required to achieve the centre-line points. This led me to the assumption that if I pictured the heart as two overlapping circles that shared a common warp thread on their outer edge I could achieve both outcomes!
  

• On drawing up the design, I sketched out the warp sett first. I marked the dimensions I wanted to work with ensuring that I marked an odd number of warp threads to align the shape.

Sampling

• I wove a small sample heart, approximately 10cm (4’’) wide, to test the methodology and determine a procedure.
  

• I tested the assumption that double-half hitches would be viable for securing the warp and weft, particularly its durability once the piece was removed from the loom.
  

• I had previously tested weaving gradients of colour, swapping out two threads at a time. From this sampling, I decided to weave the gradient by swapping out one colour thread every couple of rows to see how this affected the gradient.

Materials

• Frame Loom – I used a Loom & Spindle 44cm Loom with a pre-defined warp sett of 4 ends per 2.5cm (4 ends per inch)

• Warp – Cotton Warp Thread

• For the double half-hitches - I used three strands of a cream coloured sewing thread. This fine thread will help hide the hitches from view.

• Weft - I chose a lace weight (2 ply) yarn in two neutral tones that were of similar contrast. I had used this yarn previously in my gradient samples so had a good idea of how they would behave when woven.

  • Colour 1: Morris Maya Lace Baby Alpaca, #3224 Erlicheer

  • Colour 2: Morris Maya Lace Baby Alpaca, #3201 Angelic
    

Method

STEP 1
Define the dimensions of your shape and warp the loom to a width that will accommodate your design.

STEP 2
Weave in a ground weave to establish a firm base on which to begin your piece, distribute the warp evenly.

STEP 3
Using a marker, trace your shape onto the warp. I have placed the heart shape upside-down.

• Mark your centre thread so you have a reference point as you align your shape against the warp.

• Orientate your shape so you have the fullest part of the design at the base. This provides a firmer and flatter base on which to weave, this will help you control the curves and establish that all important weave sequence.

STEP 4
Using three strands of sewing thread, about an arm’s length long, secure the warp by outlining the base of the shape with a series of double half-hitches.

• Work steadily and carefully, maintaining the warp spacing.

• Ensure the hitches are secure by tying the double half-hitches tightly on each warp thread.

• Keeping the tension on the sewing thread as you work the double half-hitches will help control the positioning the hitch.

STEP 5
Using plain weave or other desired stitch, fill in the body of the shape working your passes and stepping the weft as the shape requires.

• If using plain weave, weft direction can be utilised to maintain weave sequence to create a seamless appearance on the face of the fabric.

• In my piece, I began by weaving-in the base of each horizontal curve. I wove each side as if they were a mirror image. This ensured my weft threads would be travelling in opposite directions, very important when working adjacent shapes.

• I had to play around with the passes to figure out how to bring the wefts together seamlessly. I found that if I kept the passes on one side lower than the other I was then able to bring the weft over from the right side and pass seamlessly over the left side of the shape. Play around with it and you should be able to find the sweet spot on your piece too.

STEP 6
Once the shape is complete secure the warp and weft by outlining the shape with a series of double half-hitches. The piece is now ready to cut from the loom.

Finishing

• The warp and weft ends can be secured against the back of the piece using a sewing needle and thread. I found that by incorporating some hitches into the sewing stitches I could grip the warp threads and anchor them down more firmly.

• As there is not a lot of natural spring in alpaca fibre and the yarn is quite dense, I didn’t feel the need to steam block the pieces in this instance.

Insights and Opportunities

• Sampling the project and working through the challenges this piece presented helped reinforce the theory behind weaving curved shapes.
  

• The method proved very versatile and I can see that it has endless opportunity for further experimentation!

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Thank you for reading!

I’ve put together a template so you can try this technique for yourself. 
The template contains three heart sizes and features positioning points for the outer warp threads.
This will help you align and orientate your template for best results!

Click here for your free template

TEMPLATE DOWNLOAD

FOR MORE INFO ON THE SKILLS USED IN THIS TUTORIAL, CHECK OUT OUR BOOK LINE SHAPE TEXTURE.

WHY NOT CHECK OUT OUR FREE SAMPLE VIA OUR BOOK PAGE!

LINE SHAPE TEXTURE

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In today’s tutorial I’ll show you a technique for weaving a simple two-colour gradient that you can use to create an ombré effect in your woven pieces.

An ombré effect is created by weaving multiple strands of yarn simultaneously and gradually swapping in a different coloured thread as your weaving progresses.

It is a technique commonly used by tapestry weavers to blend colours or adjust the weight of the weft yarn.

The project I’ve chosen is a simple sampler. My only objective was to experiment with the technique and test how the yarn behaves before applying it in my final piece.

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Project: Woven Ombré Sampler

Intention

• Gradually blend two colours across the surface of the fabric to produce an effect reminiscent of ombré.

• Make a small woven sample to test the effects of colour transitions and to see how the chosen yarn behaves when woven.

Skills

• Plain weave

• Colour changes – Half-hitch method

• Building a yarn – see ‘Sampling and ‘Method’ below

Planning

My set-up comprised a frame-loom warped to a width of approximately 10cm (4 inches), with 4 warp ends per 2.5cm (4 ends per inch).

I wove in a ground weave using spare warp thread. This helped space the warp and provided a firm base to start weaving.

My plan to secure the warp and weft was to start and finish the piece with a row of double half -hitches.

Materials

I decided on a lace weight (2 ply) yarn in two neutral tones that were of similar contrast.

Colour 1: BLUE - Morris Maya Lace Baby Alpaca, #3213 Winter Sky
Colour 2: CREAM  - Morris Maya Lace Baby Alpaca, #3224 Erlicheer

Sampling

The method relies on grouping a number of strands of lightweight yarns, which are then worked as one weft yarn within the piece.

I tested grouping 8, 10 and 12 strands, weaving a few rows of each yarn to see which would sit best within the warp.

I went with 10 strands as it seemed to fill the space between warps evenly - 8 strands lay too flat, and 12 strands was too bulky. 

I also tested the visual effect of the gradient by swapping-in one or two strands of colour two. I went with a two-strand swap-in as it was more time effective and achieved similar results.

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Method

My sampling produced six colours within the gradient of blue to white.

The thread composition of each yarn is as follows: 

• Yarn 1: 10 strands blue

• Yarn 2: 8 strands blue, 2 strands white

• Yarn 3: 6 strands blue, 4 strands white

• Yarn 4: 4 strands blue, 6 strands white

• Yarn 5: 2 strands blue, 8 strands white

• Yarn 6: 10 strands white

To build each weft yarn I measured out ten lengths* of each thread. Holding the strands at one end I carefully wound them on to my bobbin^.

*My lengths were about six arm lengths long, enough for multiple samples.
^A shuttle, weaving needle (for shorter lengths) or winding the yarn into a butterfly would also be appropriate.

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Application

Using Yarn 1 (blue), I wove a row of double half-hitches to secure and space the warp.

Continuing in Yarn 1 I wove in seven rows using plain weave. I finished the row and secured the yarn tail using a half-hitch.

Progressing with Yarn 2 I wove another seven rows, hitching-off on the opposite side from which I started – alternating the ‘hitch-on, hitch-off’ point will help space the weft evenly across the face of the fabric.

I continued this pattern, working through each colour change methodically.

On completing the last colour change I used a row of double half-hitches to secure both warp and weft before cutting the piece from the loom. 

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Finishing

No finishing techniques were applied but I might use this sample in the future to test the effects of steam blocking on this particular yarn.

Opportunities for further experimentation

• I could use this stranding technique to incorporate more lightweight yarns into my work.

• It opens up a wide range of yarns that could be used in my work, this means more colours and textures to choose from!

• Blending yarns could be used to introduce subtle colour variations.

• Possibility to create really interesting colour and texture combinations.

• Use stranding to create the yarn I want!

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For more info on the techniques used in this tutorial, check out our book LINE SHAPE TEXTURE.

You’ll find an in depth discussion on a range of topics, including plain weave and the versatility of the half-hitch.

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My first book, LINE SHAPE TEXTURE, is very much a technical guide in which I introduce you to the key skills and methods of frame-loom weaving.

Having provided a comprehensive framework, I feel that we can now begin to explore how these various elements come together to create unique woven pieces.

This week we’ll be taking a look at a simple wall-hanging project that uses angular shapes and soumak outlining to create an elegant geometric design.

I've drawn on the Weaver's Methodology to show you the framework I used to develop this project.

You'll find a FREE pattern download at the end of the post so you can recreate this piece for your self!

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DESIGN

This piece incorporates a geometric design of intersecting diamonds. Outlining with soumak produces a slightly raised surface delivering a subtle relief of the angular shapes.

SKILLS

• Plain weave

• Forming angular shapes using the diagonal slit method

• Single (2:1) soumak

PLANNING

The design was roughly sketched on paper and the proportions translated to the weaving area of my loom.

SAMPLING

A small piece was woven to test the concept and proportions of the design.

MATERIALS

The final piece was woven in an off-white acrylic novelty yarn with gold flecks. It was chosen for its calming neutral tone, the gold flecks adding some warmth and interest to the piece.

CONSTRUCTION

• Foundation warping method

• Foundation construction method

APPLICATION

Simple angular shapes were woven and then outlined using a variation of Oriental soumak.

The soumak variation I used is commonly known as single (2:1) soumak. The ‘2’ in (2:1) refers to the number of warp threads the weft travels over before returning and encircling, in this case,  ‘1’ warp thread.

On completion of each shape, the Soumak stitches were applied to the decreasing slope of the shape (see pattern download).  

Two strands of weft were used for the soumak stitches as this produced a slightly bulkier stitch, allowing the soumak to rise above the plain weave surface. 

FINISHING

Simple steam blocking was used to set the fibres and straighten the edges (see page 53, LINE SHAPE TEXTURE)

INSIGHTS

• The success of this design really relied on working the decreasing shapes first. I needed to ensure I always had a base on which to apply the soumak outlining.

• Sketching my design was really useful in working out the order the shapes had to be woven.

• Knowing the weaving order then helped ensure I was mirroring the design on each side and that the proportions were even as the piece progressed.

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