Squares

Today, I finally got around to taking photos of one of my more recent rugs.  It was kind of an experiment, and if it works, I have two more in the queue that may get the same treatment. The studio generally has excellent lighting.  So, when it comes to taking photos, light isn’t a problem.  And, I have a pretty nice camera, a tripod and other equipment.  Even so, I can’t seem to get good photos of my work.  I see pictures of other weaver’s work all the time, and they tend to look great.  Let’s just say that mine kind of have that homemade look.  The problem is partly colors and surface textures.  My work table has a semi gloss finish on it, so I always have to work around reflections and glare.  The floor produces some glare, too, but not as bad.  The problem there is the floor is a sort of brick red.  Modern cameras always want to assist you by helpfully correcting the colors for you and that red really messes up all the other colors.  Although I finally figured out how to overcome the camera’s helpfulness, the red just doesn’t look appealing as a photo background.  The mosaic studio next door has white vinyl flooring.  It’s a fine floor, but it’s pretty shiny and looks kind of sterile in photos.

Back at the house, we have traditional wood flooring that is fairly neutral.  In addition, we have an eclectic mix of funky and sort-of antique furniture that might make for a good setting.  I rolled up the carpet and set up a nice chair with a bookshelf as the background. Now, that’s a photo.  Probably not professional level, but it suits me fine.

Rug with chairThe globe wanted in the action, so I put him in there, too.  Normally, the sun would be beating through, but today was cloudy, so that I had perfect conditions.

This rug is a full-blown version of one of the samples I did back in February and has worked its way up the the top of my favorites list.  It uses a tapestry technique called compensated inlay.  As with many of my projects, there were problems along the way and I had to un-ply about a hundred yards that I had previously wound together.  But, it would have added more colors to the background, and I particularly like the rug as it is.  So, extra work, but better results.

Rug 44 square

Rug 44 Fringe

 

Up Next: my Spring “vacation”

 

 

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Samples

It’s been a hectic winter involving lots of traveling, new equipment, and family business.  But I’m finally back home for a while and ready to get to work.

In the studio, I spent the winter trying out a few new weaving techniques. These are techniques I had read about, but never got around actually using. So I created a series of small sample rugs. Samples are nice because you can try out different weave structures or designs without committing to a full-blown work. Though they should be fairly quick to complete, my samples took me almost as long as complete rugs.

I’ve done samples in the past and it was usually random – try this color, now that one, then a different pattern, and move on once I get the idea. I would also tend to use colors and yarn I don’t like much, figuring that they weren’t much use otherwise. The result was usually not that attractive – random patterns and ugly color combinations. This time I was determined to make something I can use for inspiration, hang on the wall, or just show off. I planned out each miniature rug as a stand-alone piece and ended up with some rather nice little samples.

For all of these samples, my resources were Peter Collingwood’s “The Techniques of Rug Weaving” and “Rug Weaving Techniques: Beyond the Basics”.

The first sample involves what is called crossed wefts.  It has to do with the order of the different weft colors and how they change in the middle of the piece.  The technique allows the weaver to, among other things, weave horizontal and vertical stripes side by side. In this particular variation, there are limitations to what can be done, which I discovered only after I began.  I tried out some different braids for this sample, too.

Crossed weftsThe second sample used a similar technique, but a variation that allows a little more flexibility.  In this example, I created two different styles of dotted patterns.

Crossed wefts in parallel motion

The third sample uses a method called compensated inlay.  It is not quite a tapestry technique, but is sometimes used in tapestry work, if that makes sense.  One of the features of this technique that I particularly like is the ridge that runs along the left side of the design pattern.  The reverse side of the sample looks the same, but without the ridge.

compensated inlay

The first three samples are all plain weave.  The last sample is a twill weave that provides a different set of design possibilities.  This is not my design – it is pretty much straight from Collingwood’s book.  But I really like the three-dimensional effect.

crossed wefts in parallel motion twill

Up next: A second set of samples yielded one interesting piece – I’ll share once it’s all tidied up.