Production Backlog

Back in October, I had made a series of plain weave rugs on the Gilmore loom for sale at the holiday markets.  Of the five, I sold two in November and one in January.  I thought I should probably take photos and share before they’re all gone and I have no record of them.

The first is a rug similar to an earlier one with what I was calling tie dyed yarn.  This one uses some green/yellow/brown yarns plied together that created a grainy effect.  Nice rug, if you like yellow. The rug also uses a design scheme that I have use a few times before and I think the proportions work well.  One of the sold rugs used this same design, but with red and black stripes and a black and orange tie dyed yarn.

rug yellow black stripes

Yellow black stripes - detail

The fringe features my go to finish, the Celtic braid.  I know it’s not, but a neighbor once it looked like some kind of Celtic knot, so for lack of another name, that’s what I call it.

Yellow black stripes - fringe

rug yellow black stripes

The other one features some simple stripes using a rustic, bulky yarn.  rug brown stripes

This one has no fringe, which usually doesn’t work well with a plain weave rug.  But in this case, the yarn was bulky and fluffy enough that it could stretch and accommodate the fringe threads being darned back into the rug.  rug brown stripes detail

rug brown stripes detail

I’m still playing around with developing a good setting for photographing my work.  For some past works, I have just laid them on the bare studio floor, which is vinyl but painted over.  I have nothing against it in principle, but really, who paints a floor brick red?  Ugh.  This set features a white table cloth on the floor.  Mrs. Daylight had the idea of stretching it tight and holding it down with weights.  Overall, it worked out well.  There are skylights and lots of windows in the studio and the light is generally pretty good.  But it was cloudy and getting late in the day, so my background ended up with a blue tint.  Even so, I think the rug colors are pretty accurate.

 

Next up: from the Cranbrook loom

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More Twill

Work is moving along and Burning Daylight Studios is keeping me plenty busy, and is proving to be a suitable home to Daylight Weaving. I know it sounds confusing, but I really like both names, so I kept them both, on for the physical studio, and one for the business. My goal here is to try to post at least a couple times a month, so stay tuned.

Last we met, I was finishing a series twill rugs.  This is just a short post as an excuse to share photos of the last in that series.

Twill weave rugI used some random grey yarn that I had lots of, but it turned out to be rather a pain to weave with.  It didn’t behave well – kept getting tangled and didn’t pack down consistently – but it did create an interesting ropy effect.  And I have to admit, it took me a while to warm up to this rug. I had it hanging in the studio unfinished for months because it had so annoyed me while weaving.  I have come to think of this rug as being inspired by the sea. The pattern in the previous rug had a wheat shaft look to it, whereas this rug’s pattern reminds me of seaweed.

Twill weave rug detail

I finished it with a folded hem.

Twill weave rug end detail

Twill weave rug detail

In all, it ended up as a nice sturdy rug that will make the right person happy to walk on in its new home.

Up next: Production work

 

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.

 

Plain Weave Continues

This is the second of a series of plain weave rugs.  I have three more rugs to this series, one off the loom and almost complete, one on the loom now, and one whose design is still to be determined.

This rug is similar to the other color-blending rug I finished back in May, but a little more subtle.  In the other rug, I was trying to use up some of the blah colors that I have.  For this rug, I was trying to use colors that I see during a sunset or sunrise, or in this case, maybe both?

Rug 38.05

Here it is under construction.

Rug 38.01

I was really excited when I started, and for some reason less so as I went along.  Once I took it off the loom, though, I was happy with the result.  I think maybe I get focused on just what’s in front of me while I weave, and don’t envision the work as a whole.

Up next:  fancy yarn. Well, different anyway.

More Stripes

Finished this rug last week and only just now getting around to posting photos – brown, red, gold, and bits of purple and maroon.  Rug 37

I found some variegated yarn (tie-dyed?) that I used for accent, which happened to have some gold that matched the other gold yarn:

variegated yarn

Rug 37 details

Rug 37 details

Playing around, I made this little chain and decided to just leave it as is.Chain detail

Up Next: sunset-inspired color blending.

Block Weave

Not a whole lot to write about, just lots of pictures.  This new rug is the second in a series that was supposed to be another shaft switching design.  But after the difficulties in the last rug, I opted instead to do a block weave with “virtual shaft switching” – essentially retying the pedals for each section.  It uses a 4-end block weave.  I’m really happy with the results.

Block weave rug

This is a new version of a rug I did a while back.  The idea is to use two colors to create a virtual third color.  I particularly wanted to use two similar colors – light and dark brown, light and dark green, and so on.

rug yarn

The “third” color is really just stripes.  But if you squint, it kind of works.

three colors

detail

Again, the back is the same, but with colors reversed.

reverse

reverse

Next: more strips and tie dye.