Professional Documents
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4 00
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.
If the first warp thread is unheddled,
start at 2 (a or b).
If the last warp thread is unheddled, finish
with a single warp thread under the top peg.
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.
2b.
time). Weave both the tail and the shuttle into this
next shed, then change the shed and continue weaving. The tail of the weft will remain secure and can be
trimmed later.
Finishing
At the penultimate pick, weave the weft through a
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
Open one of the shedsit doesnt matter whichand
insert a shed stick. Change the shed, push the first shed
stick down to the starting peg and insert a second stick.
Repeat so that there are three shed sticks in place.
Change the shed once more.
Insert the shuttle through the open shed (from the side
that suits you) and leave a tail of the weft hanging at the
side. Change the shed, beat and tug (both edges this
Cut the weft, leaving about 8" (20 cm). Insert the very
end of this tail into the loopnot too farso that it
creates a loop clasped with the first.
Now, holding both loops gently in opposite hands,
pull the clasped loops through the shed, positioning
the upper (final) weft into place, and pulling the weft
completely through the previous pick.
Again, change the shed and beat.
Discard the extra loop of thread. The weft will remain
secure and can be trimmed later. This saves having to
darn the weft into place after the inkle has been cut
off the loom and is extremely secure.
There is no need to secure the ends of the inkle any
further when the inkle is removed from the loom, but
sometimes a decorative or braided edging is required.
Remember to leave enough unwoven warpgenerally
braiding uses about 1 times the finished length. See
page 27 for further information.
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
Alternating 2xY and inverse
Random lengths
Y shape and extra short lengths
Random
reverse of sample
reverse of sample
Repp Weave
Repp 1
A
H
U
x3
x16
x3
Cross-Over Method
Pick-up 1
A
A
H
U
x3
x14
Balance
Repeat
x3
Pick-up 2
Balance
Balance
Repeat
H
C
Repeat
Balance
Repeat
Repeat
Balance
Repeat
J
J
Repeat
Balance
Repeat
Balance
Repeat
Repeat
Repeat
Contents
Foreword
by Madelyn van der Hoogt
Inserted auxiliary
thread manipulation
Introduction
Weft manipulation
Basic Equipment
Dukagang
Inlay
Basic Techniques
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
Selvedge treatments
Beads
Fancy Yarns
Clasped Wefts and
Cross-overs
Tablet Edging
Fringes
Width of inkle
Finishings
Glossary
Resources
Credits
Index