Brain Cramp

 

This is what I spent several hours the past couple of days doing - mucking about with twill 'lines'.

Then this morning I woke up (I use the term loosely because I hardly slept all night) I panicked and thought I had designed it for 36 epi and I wanted to only use 32.  Because reasons.

The density at which a weaver sets the warp has to take into consideration a number of variables.  There is a reason that density is generally given as a 'range' (e.g. twill 30-36 epi for 2/16 cotton).  While I sat and drank my coffee I decided I had better double check what I designed this warp for - 2/16 cotton at 32 epi.  This is a pretty 'standard' density for 2/16 cotton and I will go up higher depending on the weave structure.

This past year (nearly) I've been using 2/16 cotton and the fine singles linen from Lithuania.  The linen is quite a bit thinner than the 2/16 cotton and will be woven in some kind of 'fancy' twill.  However, the next warp is also meant to be tea towels. It seemed to me that 32 epi  for 2/16 cotton warp/weft with a 2:2 twill was reasonable, so that's what I'm going with.

I cut the other warp off yesterday, but was pretty achy after chiropractor.  I worked on some 'prep' work and in between the 'up/down' periods of insomnia overnight, I went down to the studio and inspected/repaired the cotton/linen towels.  They can now be tossed into the washer/dryer.  The spool rack is all kitted out with the tubes I'll be using to beam the warp.  I might begin beaming when I get home from a therapy session.  Although by then I might actually be tired enough that I will be able to sleep.  

As for the pain meds, I continue to ride the Mad Mouse.  I have no idea what my body is doing right now, but letting me sleep is not one of the things it is willing to do on a regular basis.  

However, I've just reviewed the draft.  There is an 'issue' at the selvedge because it divides unevenly to frame the body of the towel.  However, it will be very difficult to tell at any kind of distance that the selvedges are not identical.  I *could* force it, but it leads to some awkwardness in the threading and honestly?  I donwanna.  I just want something fairly simple but effective at illustrating the topic for the article.

I used to sweat bullets trying to get my warps 'exactly' 'perfect'.  Over the years I began to realize that something I was sweating bullets over were just not that big a deal.  

And why the weaver really has to wait until after wet finishing before making up their minds!  Even though I am used to the transformation - even with fibres that don't full - the last set of samples for the article I'm finishing writing proved once again that you really can't judge your results while the web is still in the loom.   

Seems like the lesson I need to keep learning.  

I see newer weavers worried because they don't have reeds to fit the density they wish to weave.  They want to know what size reeds they should have.  Personally, for most of my weaving, I have used 8, 9, 10, 12, and 15.  I use a 'compound' sleying if I don't have one that exactly divides into the number I need.  You can use more than one end per dent and can even cram more into each dent if you want/need a higher density.  Most of the time the reed marks will come out, but not always when weaving with linen (the special fibre that needs special handling!)  If I have used a 'standard' division of the threads, each with 4 for example, if the reed marks don't come out in the wet finishing, they will be consistent.  

And we all know that if we can't be perfect that we work to be consistent.  

As for what kind of reed?  If you live in a humid climate, stainless steel is 'best' to avoid rust starting.  My reeds are around 40+ years old, most of them.  Over the years I've accumulated other sizes, which I find useful in rough sleying when I beam a warp wound on a warping board.  They are expensive, but they should last a weaver for their entire lifetime if cared for properly.  

Yes, you can weave without a studio full of equipment.  Figure out what appeals to you, why you want to weave.  Then focus on that type of weaving and buying looms/equipment that best suits that type of cloth.  Weaving is full of things that behave a certain way, until something changes and then oopsie.  It is part of why I keep weaving, keep digging, keep weaving samples and experimenting.  This month is 50 years since I made the decision to quit working for someone else and become my own 'boss'.  I have gone through changes, some minor, some massive.  Some I've initiated myself, others have delivered an offer I couldn't refuse.

But always, I am always learning.  And that is why I keep weaving.