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Inkle Pattern Directory
finish with a single warp thread under the top peg. start at 2 (a or b). plus the tensioning problems. Push both warp threads to the frame of the loom at all points. back down and loop over the heddle peg. If you find that the heddled thread is always too tight. and tie together as above. the entanglements that can ensue (resulting in crossed threads at the end of the warp). plus it is always easy to see exactly where to place the heddle. push the thread to the frame of the loom at all points. hardly justify strict adherence to the “original” method. cut off and tie securely with two or three knots. When several different colors or threads are used for warping the extra tying-on or securing/releasing of each new yarn. 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. Repeat using either 2a or 2b.Warping Originally the modern inkle loom would have been warped with one continuous single-color thread. or wrapping the ends of the warp threads around different nails near the front of the loom. even when using different colors—either tying on the new color at each change. Loom with Heddles 1. These instructions assume that the first and last warp thread is a heddled thread. then continue with the next over the top peg: push both warp threads to the frame of the loom at all points and tie as above. Adding heddles as you go along is far quicker and more accurate. first wind one pathway under the top peg. tie the beginnings of the warp threads together and at the finish place one thread through the loop above the beginning knot and then tie the ends of the two threads together. 2a. Sometimes people like to emulate the continuous warping. Warp the first thread over the top peg. If the next two warp threads are different. Place a heddle on the last warp thread. See page 15 for tying a knot by yourself. • If the first warp thread is unheddled. and again tying all ends to the beginnings of the warp colors. Warping only two threads at a time helps to reduce the tendency for the warp to tighten. placing the first (unheddled) thread under and the second (heddled) thread over the top peg. • If the last warp thread is unheddled. along the chosen pathway. even when heddles are added (or threaded through) during warping. with the knots under the peg. Place a heddle over the heddle peg. Place a heddle on the last (over peg) warp thread. 2b. 2 the weave r ’s i nkl e pa t te r n d i re c to r y . The main disadvantage of a single continuous warp is that the warp tends to become tighter with each successive wind. If the next two warp threads are the same. take the loop behind the warp thread. The following method seeks to eradicate the disadvantages and is at least just as fast as tying-in the different threads. unwrapping to continue with that color when next needed. then hold both threads together and take in their correct pathway around the loom.
making the selvedges uneven. then the edges of the inkle will move outward when it is removed from the loom. time). and pulling the weft completely through the previous pick. change the shed and beat. The tail of the weft will remain secure and can be trimmed later. Insert the shuttle through the open shed (from the side that suits you) and leave a tail of the weft hanging at the side. without interfering with any of the other pegs or the pathway of the warp. to the joining peg. Weave both the tail and the shuttle into this next shed. Now. pull the clasped loops through the shed.Minimum and Maximum Length The warp on any inkle loom has a possible minimum and maximum length. holding both loops gently in opposite hands. Change the shed. Change the shed. 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. without interfering with the heddle peg. The maximum length winds zigzag around the tensioner and all the pegs on the loom. See page 27 for further information. Weave the shuttle through this final pick. but sometimes a decorative or braided edging is required. beat and tug (both edges this 3 . The minimum length for any warp is from the starting peg. and tug. Repeat so that there are three shed sticks in place. beat. Remember to leave enough unwoven warp—generally braiding uses about 1½ times the finished length. Starting Open one of the sheds—it doesn’t matter which—and insert a shed stick. So a secure start and finish is best. with variations between the two. and back to the starting peg. Change the shed once more. around the tensioner. The weft will remain secure and can be trimmed later. then change the shed and continue weaving. Discard the extra loop of thread. weave the weft through a shed. leaving about 8" (20 cm). Change the shed. Again. Insert the very end of this tail into the loop—not too far—so that it creates a loop clasped with the first. Finishing At the penultimate pick. and into the SAME pick insert a loop of smooth thread with the loop at the opposite side to the shuttle. Cut the weft. Starting and Finishing If the ends of the weft are left loose. positioning the upper (final) weft into place. push the first shed stick down to the starting peg and insert a second stick.
Vertical Lines Even Single & Double H U x3 x3 H U Triple x3 Warp: 3x2/16. dark green and pale blue Weft: pale blue 3x2/16 Warp: 3x2/16. dark green and pale blue Weft: pale blue 3x2/16 Warp: 3x2/16. dark green and pale blue Weft: pale blue 3x2/16 All lines curve the same way All lines curve the same way Single & Double: In Opposition H U cont’d H U Triple: In Opposition x3 x2 x3 x2 x2 x2 Warp: 3x2/16. pale blue Lines curve the opposite way to the adjacent line Lines curve the opposite way to the adjacent line 4 the weave r ’s i nkl e pa t te r n d i re c to r y . pale blue and dark green Weft: pale blue 3x2/16.
Sunset’ pattern completely random Includes short lengths and gaps Random reverse of sample reverse of sample For Runic technique. see page 35. brown Alternating 3xY and inverse Random lengths Y shape and extra short lengths Random ‘Sunrise. border pale blue multicolor where shown as orange Bar: brown Weft: 2/16. pale blue Alternate single Y shape and inverse Length of upright (float) always 16 pick-up Alternating 2xY and inverse Random lengths Warp: 2/16. border brown striped red and orange where shown as red Bar: cream Weft: 2/16. 5 .Runic Runic 1 H U x2 x27 x3 Runic 2 H U x2 x26 x3 Warp: 2/16.
throw 2 thick wefts or 2 thin wefts in succession. dark green Thick Weft: 4 strands dark green 3x2/16 wound onto one shuttle A. B. For thick weft. weaving a thin weft into all sheds. throw 2 thick wefts or 2 thin wefts in succession.Repp Weave A H U Repp 1 x3 x16 x3 Single Insertion Method Warp: 2/16. To change color order in blocks. starting them from opposite sides. Cross-Over Method Thin Weft: 2/16. weaving a thin weft into all sheds. dark green Thick Wefts: 2 shuttles each wound with 2 strands 3x2/16. To change color order in blocks. dark green and cream Thin Weft: 2/16. B 6 the weave r ’s i nkl e pa t te r n d i re c to r y . take both thick shuttles through the shed. dark green. Alternate thick weft with thin weft. Alternate thick wefts with thin weft.
↑ Repeat 7 . Pairs. see page 47.Pick-up. Unheddled A H U x3 x14 x3 Pick-up 1 A Balance ↑ Repeat G Pick-up 2 G Balance H Warp: 2/16 navy and lime green Weft: 2/16 lime green B B Balance ↑ Repeat H C ↑ Repeat C Balance I ↑ Repeat ↑ Repeat Balance I D D J ↑ Repeat ↑ Repeat J E E Balance ↑ Repeat K K ↑ Repeat F Balance F ↑ Repeat For Pick-up technique.
and teaches throughout the United Kingdom and abroad. and Dyers and a founding member of The Braid Society. 176 pages ISBN 978-1-59668-647-2 $29.95 Available June 2012 .and has published booklets on inkle weaving. Anne Dixon weaves. She is a guild member of the Association of Weavers. and exhibited both in the United Kingdom and the United States. contributed articles to a number of publications.Contents Foreword by Madelyn van der Hoogt Inserted auxiliary thread manipulation Gathering and Pleating Scrunching and Shibori Introduction About This Book Basic Equipment Basic Techniques Pattern Directory Basic warp color patterns Warp manipulation Pick-Up Lettering: Compensating Runic Lettering on Checks Baltic-Style South American Pebbles Monk’s Belt Krokbragd Weft manipulation Dukagang Inlay Selvedge treatments Beads Fancy Yarns Clasped Wefts and Cross-overs Tablet Edging Fringes Width of inkle Finishings Charts for Designing Your Own Inkles Warp changes Additions to warp surface Auxiliary Warp Threads Scribbling Embroidery Soumak and Loops Turkish and Other Knots Glossary Resources Credits Index More Than 400 Patterns for Weaving Enthusiasts From highly praised author and expert weaver Anne Dixon comes the ultimate resource for inkle weavers. Spinners. Hardcover with concealed wire-o 7 ½ x 9½. including Handwoven magazine. lectures. She is the author of The Handweaver’s Pattern Directory (Interweave).
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