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Wet felted landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper felted to the surface.
More Experimentation with Felting and Paper

More Experimentation with Felting and Paper

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I have continued with my experimentations with mulberry paper and felting. My first post is here if you missed it.

Mulberry paper with embossed leaf laid out over green wool ready to felt.

I have had this mulberry paper with leaves embossed on it for quite a while. I loved the paper but never used it for anything. It is fairly thick and the embossed portions are really thick. The question was whether it would felt easily to the surface. I tore out a single leaf and placed it over a small torn piece of green, short fiber merino batt.

Mulberry paper with embossed leaf laid out over green wool wet down on felting surface.

The wool and paper were then wet down (sorry for the blurry photo) and I felted as I had on my previous paper samples, treating the paper as if it was fabric as in nuno felting. I wondered whether I would lose the embossed lines of the leaf, whether the paper thickness was too heavy to felt in easily and if it would felt differently than the thinner papers I had tried previously.

Mulberry paper with embossed leaf felted to green wool as a sample.

Here’s the end result. You can still see the leaf. It felted very easily and doesn’t seem much different than the thinner papers. I think if I had done a lot of wringing of the felt it would have distorted the leaf but I was careful to avoid fulling in that manner.

Hmmm… how can I use this leaf paper in a design? What would happen if I added ink or dye to the paper before felting? What if I dry brushed paint over the surface of the paper after felting? What else could I do to the surface to enhance the feel of leafiness? How would hand or machine stitching look on the surface? Will it be easy to stitch through? Any other experimental ideas for me? Obviously, more samples to follow.

Wool laid out for landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper on the surface of layout.

Next on to experimenting with paper in my landscapes. This is the layout of wool and a paper birch tree. (This also works for my spring tree for our year long tree challenge.) The piece is pretty small and ended up about 7″ x 9″ after felting.

Wool wet down for landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper on the surface of wool.

Here’s the piece after wetting down and curbing the edges a bit before felting. Again, I treated this gently to allow the paper to felt in.

Wet felted landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper felted to the surface.

Here’s the piece after felting. I plan to add some free motion machine stitching to add more interest in the tree and more branches as well. I will probably add a few more leaves to the tree as well and perhaps a bit of detail to the rest of the landscape. The tree worked well and the paper really stands out to make the tree the focal point of the landscape. I definitely need to do more experiments with landscapes and paper. How else could I use the paper besides tree trunks? How would scraps of green paper felt in to make foliage? What would a variety of colors of paper layered over each other and then felted look like?

I love asking ‘what if’ and trying out these ideas, which lead to new ideas and further experimentation. I haven’t even begun to scrape the surface with how paper and felt can be used together. I would love to hear your ideas for experimentation so please leave a comment with your “what if’s”.

 

Photo of green joomchi - layered and manipulated mulberry papers.
Experimenting with Paper: Felting and Joomchi

Experimenting with Paper: Felting and Joomchi

Comments 26 comments

Our local art group made some Joomchi a couple of months ago and since that time, I have been thinking about adding paper to the surface of felt. I realize that there is a well known online course about how to do this, but I have not taken the class and these are my experiments on adding paper to felt. If you haven’t heard of Joomchi before, it is made from layers of mulberry paper that are wet down and agitated. Essentially, wet felting layers of mulberry paper together. If you search online for it, you will find YouTube instructional videos and some beautiful artwork made with the technique.

Six pieces of mulberry paper laid out over yellow wool batt.

I have a variety of mulberry papers in my stash that I used. I cut a 2 inch square from the different papers and laid these out on a couple layers of short fiber merino batt. I figured that the pinks and reds would probably run from leftover dye in the paper but that didn’t concern me. I just wanted to see how the paper would felt in.

I covered the wool and paper with a synthetic sheer curtain on both sides and wet down with cold water. This seemed like nuno felting to me, so I followed my routine for nuno felting. I treated the piece gently, used cold water until the fulling process and rubbed over the surface of the paper pieces to encourage the wool to migrate through the paper. I fulled mainly by rolling but did do more aggressive fulling in hot water once the paper was holding in place.

Six pieces of mulberry paper felted to the surface of yellow wool.

Here is the result. All the paper types felted in very well. You can see that the red paper shared it’s dye with a couple of the white pieces of mulberry paper.

Two pieces of mulberry paper felted to the surface of yellow wool.

The close ups show that the paper does crinkle a bit but it is adhered well to the wool. I like the use of inclusions in the paper and the surface is interesting.

Two pieces of mulberry paper felted to the surface of yellow wool.

The fibers in the top pink paper almost look like a silk but I don’t think they are. It’s probably that the fibers take the dye differently than the paper pulp.

Two pieces of mulberry paper felted to the surface of yellow wool.

As you can see on the red piece, the “tinsel” or whatever the gold strands are, migrated almost completely out of the paper. If you pull on the gold strands, you can pull them right out.

Photo of pink joomchi - layered and manipulated mulberry papers.

Now on to the Joomchi. Most of my mulberry paper is red and pink. I used about 5 layers of paper, wetting down each layer as it was placed on a corrugated rubber surface. I then used a piece of pvc pipe and rolled over the papers. I kept turning the paper at right angles and also flipping over to the other side. Once the papers began holding together, I crumpled them in my hands, then gently pulled them back out flat and continued to crumple them. I thought the texture that developed due to the fibers of the paper beginning to break down was very organic and beautiful. The process also causes shrinkage of the papers, another similarity to felting.

Photo of green joomchi - layered and manipulated mulberry papers.

Here’s the piece that I made with our art group. I borrowed other paper colors so I didn’t have to use pink/red again. You can see a bit of my red at the bottom left corner.

It was fun experimenting and I’m happy with my samples. Now to consider how I can use this in my work. Have you done any experiments lately? We’d love to see or hear about them, you can upload a photo here.

First Quarter Tree Finished and I Got Mail.

First Quarter Tree Finished and I Got Mail.

Comments 12 comments

After some final fiddling with the width of the trunk and shadow and adding a little red bird for interest, I decided I am done with the winter tree.

Next is spring so I have to figure out what kind of tree I made. I wasn’t thinking of a particular tree when I started the experiment in making a tree. Here is the original tree experiment post. https://feltingandfiberstudio.com/2023/02/22/an-experiment-thinking-about-the-year-long-challenge/  After doing some picture searches I think it is most like an Oak tree. The other option was a Maple but the bark on a Maple is quite grey and Oaks have much more brown and textured bark. Naturally, neither of these makes the kind of flowers that pop into your head when you say tree in bloom. They make droopy green (sometimes red) tassels. Maples make maple keys and Oaks make acorns.  What kind of tree do you think it is?  I may decide it is a fantasy tree so I can make blossoms anyway. What do you think?

 

The other exciting thing Jan told you about too. I got my Package from Georgia (Russian Federation whether they like it or not).

Here are some unboxing pictures.

 

I was surprised it was all assembled. Jan had some assembly required with hers. The other fun thing is it is purple and has a cute little bee. It has 4 what look to be size 36 felting needles in it. It holds 4 of them.

Purple and a bee are all very well but how does it work? It took a little experimenting on how where to hold the machine in relation to the felt surface to get the best felting. It worked well but it is hard to engage all the barbs on such a long course needle. We decided to switch out my big needles for one of the smaller crown needles. This also helps with a comparison of Jan’s machine to mine as hers only holds one.  I like it. It is bigger than Jan’s and I like hers too.  I like the Chinese one the least. A lot of that is the way you hold it. It is a much slower machine and we all know that patience is not one of my stronger qualities. One thing I would recommend is that you get an awl or sewing stiletto or something similar to use to hold new fibres down so you are not getting your finger so close to the machine. Unless you have long talons like Jan for doing such things.

 

In this last picture, you can see how much ( the white fibres) gets punched through when you fully engage all the barbs of the large 36 triangle needles and how big the holes are even when you only engage the first barbs( yellow fibres).

You will get to hear about the rest of the testing later. Jan is making a chart and doing some analyzing of data. Better her than me. 🙂

Collage in oranges, yellows and reds
Bad “art”

Bad “art”

Comments 33 comments

If you’re anything like me, you’ll find it very hard to stick to one hobby alone. After all, there are too many temptations out there, and each creative endeavour fuels the brain differently – it’s fun to discover new materials to play and interact with, and see what comes out of the experimentations.

I rediscovered the love of journaling last October, and have since then filled two notebooks of ramblings, ideas, memories and opinions. As I progressed in my writing however, I noticed I was also very attracted by the notion of doing something visually creative with paper and stationery.

Now, I must add a disclaimer here: I don’t think the pages I filled are special. They’re not particularly beautiful or unusual, and that’s definitely not a negative thing – I started doing collages simply for the joy of playing with images and colours, and these were the space for me to have some non-commercial, creative fun. It was my way of relaxing and letting go of expectations, of “what will others think of this,” of any idea that one’s creative endeavours must always be amazing. I just wanted to get messy with glue and glitter.

A closed notebook on a white wooden surface

This is the cover of my A5 size notebook. It’s decorated with some leftover fabric (featuring cats, obviously) and the artwork from a tin of… Sardines? Cod? I might add more stuff to it as I go along, since I don’t consider any of the pages here “finished.”

Side view of my notebook, with all the wavy and textured pages

This notebook came with different types of paper, so I play with it depending on the “canvas” I want. As you can see, the middle pages have been used the most, and apparently I’ve not much love for plain white paper.

Open notebook, showing two pages of a collage

I tend to go by colour and texture, more than whether the things make sense together. My brain seems to enjoy adding stuff to paper until it looks filled enough and has things to make the eye wander.

Another two pages of my collage notebook, on a white wooden surface

Fabric scraps and teabags are game. See the eye on the lower left corner? I stole that from my husband’s studio, he’d removed it from one of his paintings – does this count as artistic appropriation?

Two unrelated pages of my collage notebook open

Collages made using medical information leaflets and other bits and bobs

If you can’t read the weird Balzac quote above, it is as follows: “No man should marry until he has studied anatomy and dissected at least one woman.” What a weird fellow he was (and I hope no one followed his advice!)

Collage using glitter, ink and paper

Collage in oranges, yellows and reds

I say this again proudly: none of these collages are groundbreaking or particularly good. What they are, is FUN. I loved making them with no end game in mind, no agenda and, until I decided to share them here, I was perfectly convinced none would ever see the light of day. It’s very liberating to create with full freedom from our inner critic and, if you’ve never tried, I urge you to give it a go. It might even fuel your creativity for the more “serious” stuff you make.

How many hobbies do you have? Are they all fibre- or textile-related? Let me know what’s tickling your crafty mojo lately in the comments section.

 

 

First Quarter Tree Challenge well on its way.

First Quarter Tree Challenge well on its way.

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After doing my tree experiments( here if you missed it Tree Experiment ) and being happy with the results I am moving on to doing the first quarter challenge. If you haven’t seen the challenge it is here: https://feltingandfiberstudio.com/2023/01/01/2023-first-quarter-challenges/

I picked a piece or felt I had and added the sky and snow backgrounds. I used 3 shades of natural white wool for the snow so that it wasn’t so flat. I used Merino, Corriedale and something strong and shiny. the shiny wool may have been BFL or even Mohair.

 

Then I started working on the tree. I worked on a separate surface so as not to disturb the background too much as it is only lightly needle felted. I decided to work in two layers for the tree so this is the darker back layer. I started by just fluffing it up and then using a knitting needle to move fibres around to get a better tree shape. then gave it a dry felting ( just flattening and wiggling it a bit so the fibres stick together) to move it onto the background.

I picked a redder brown for the second layer. I forgot to take a picture of it when it was separate. I must have been in the felting zone. I put the tree slightly off-center. I tried it in the middle and I didn’t like it.

Here’s a close-up so you can see the 2 layers

 

I poked the tree all over to tack it in place and started fiddling with the roots, so it won’t fall over in the wind.

and some more  snow

And that was as far as I am right now.  I will probably fiddle with it more before wet felting it and then fiddling more, of course. I am thinking of adding a shadow but not sure how to tackle it. I am not sure where the sun is.  I may have to go out to the field and look at shadows.

Have you started your tree challenge or maybe you’re going with making something useful or both?

We would all like to see photos of challenge pieces and if you are unable to upload photos directly onto The Felting and Fiber Forum ‘studio challenges’ thread, then please use the link below.

https://feltingandfiberstudio.com/community-photo-submissions/

An Experiment-thinking about the year long challenge

An Experiment-thinking about the year long challenge

Comments 19 comments

One of this year’s challenges is divided into the 4 seasons. A tree in each of the four seasons. Now I like evergreens so I could have cheated and made the same identical evergreen 4 times but thought that was a bit too easy. I had seen online someone say they had been shown how to do a tree by Andrea Hunter, Creating Felt Picturesblackwells.co.uk/bookshop/product/ It’s a great little book.  What I saw was just a picture of the finished layout. I thought I can figure that out. That was months ago. On Monday I finally gave it a try.

Monday was a Holiday here, so I gathered up my supplies and headed into the guild to meet Jan. We were going to do our felting machine comparison so she could blog about it and I wanted to try making the tree.

I brought a new rolling mat I had just picked up because it had a nice little lip to help me keep things dry. I was not going to need a lot of water. I used some prefelt for the background and some black merino for the tree.

I decided to do the first one quickly and without any fiddling around. I just held the trunk portion firmly and fluffed out the rest. Part of what I wondered was: would the rolling cause movement that would make some thicker branches?

 

I think it would have been better if I had taken out the two blobs in the branches but I was quite pleased and if I would going to lay some green over it to make a summer tree it would have been fine.

tree finished still wet
Finished, wet
Tree finished , dry
Finished dry

Next, I tried wetting the prefelt and the black wool to see if it would spread out any better but it was so terrible I just pulled it off and tossed it before I even started. It would make a good start for a flower.

I squeezed most of the water out of the prefelt and got some new black. I also grabbed a knitting needle to manipulate the wool. the wool picked up moisture from the wet prefelt and that made it easier to have the wool stay where I wanted it.

manipulating wool with a knitting needle manipuating wet wool into branches

This is much better I fiddled around with making bigger branches and trying to make it look less like a small child drew it. I was quite happy with it and decided to add a little mixed brown wool for some texture and Jan suggested adding a thin haze of green to give it a spring haze look like just before the trees get their leaves.

 

I am quite happy with how it turned out. I like the way the thicker trunk area kept some of its 3dness( I am sure that’s not a real word) You know, they stick up a bit. The trunk needs work but I think this will work well for the challenge. Now I need to go shopping for some brown wool or I need to get on with some dying. I have almost nothing in the way of brown wool.

Tree finished , wet
Finished, wet
Tree finished, wet
Tree finished, dry

Oh, and since Jan is always posting pictures of me I thought I would share one of her in her octopus hat at the Chesterville Spin-In a few weeks ago.

Jan wearing her octopus hat at her sale table at the Chesterville Spin-in
Jan at her sale table at the Chesterville Spin-in

 

 

Doing Some Teaching

Doing Some Teaching

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The last couple of weekends I have been teaching some workshops. Last Sunday was Nunofelt Scarves. This was originally scheduled for December. But I caught whatever nasty head cold was going around, it came with a very annoying cough. I did a test for Covid and it was negative.

Anyway, after a couple of years of no workshops and a delay, it was good to be able to teach people in person again. I am still rusty when it comes to taking pictures during class, so there are not very many of this one.

rubbing nuno felt scarves

students with finished nuno felt scarves

 

Yesterday I taught Wet Felt Birdfeeder/house.

This is the picture we use to advertise it.

Everyone in the class chose to do a feeder( larger opening) in a gourd shape.

I remembered to take a few more pictures but I still had a hard time remembering.

Laying out the base wool.

laying out wool for a felt birdhouse Two people laying out wool for a felt birdhouses two people laying out wool for a felt birdhouses

 

Decorating

 

The finished birdfeeders. I think some of the holes may need to be enlarged. They have balloons in them to hold the shape while they dry.

 

 

All in all, we had a great time on both days. It was so nice to teach again to interact and answer questions and see people be amazed when it really does work.

 

A little slow stitching

A little slow stitching

Comments 10 comments

I like slow stitching. Just stitching for fun and to relax. No big purpose or major projects. Just do it as you feel like it. This suits me as I am not a great stitcher and I can pick it up and put it down without any guilt. I belong to a group on Facebook and some people are amazing artists and some just do random stitching on a piece of cloth and everything in between.

I decided I wanted t make some snowflakes and at least one tree. I had seen an interesting one in my Pinterest suggestions. To this end, I took the ripped-up sheet out of the donations box. You know what they say if you want to know what you intended for something just give it away and next week you will know what you needed it for. I was lucky that we are very slow with these things and they hadn’t made it to their destination. I am still not sure what the original idea was for these wide strips of sheet.

One piece was a little grubby looking so I chose it for the proof of concept (practice) piece. I have a nice small free-standing embroidery hoop I got at a garage sale (I think). It means it’s hands-free and can sit beside my chair and the hoop doesn’t go missing.

 

Snowflakes. I drew 3 stars onto the cloth to use as patterns. I used some thick gold polyester thread from Gutermann.

PATERN FOR SNOWFLAKES gold thread spokes for stitching snowflakes Finished gold stitched snowflake

That was easy enough so I moved on to some clean fabric

I drew the stars a little bigger and I did gold again

Patterns for snowflakes gold snowflake partially donegold snowflake finished

Then I moved on to what would be the problem thread. It is something I picked up because it was shiny but it has no markings it is just on a plane cardboard tube.  It’s a copper/bronze kind of colour and it is terrible to work with. it seems to be a wrapped thread and it kept breaking. There are a lot more knots in the back of this one. and there was a lot more cursing with the rethreading of the needle. I would have liked to add more to this but I was done with the thread.

bronze stitched snow flake

 

Next was some nice silvery embroidery thread. DMC rayon S712. I used 3 strands. It was very nice to use.

silver stitched snowflake

 

And here they are together

3 stitched snow flakes together

I switched back to the practice cloth to work on the tree. this is the trunk( obviously) I tried to do varying lengths of stitches to help it look more like bark. It is very hard to deliberately make random stitch lengths.

brown stitched tree trunk brown stitched treetrunk close up

 

This is what the back looks like where the backstitching is. I think I like it better for bark. The problem is I am having a hard time wrapping my head around doing backstitch upside down. It probably has another name with you do it that way.

back side of stitched tree trunk backside of stitched tree trunk, close up

Next is the evergreen bows. I will see how that goes. As I said it’s slow stitching.

demo display. demo basket, weaving samples, kick spindles, table loom
Weaving Overshot all wrong

Weaving Overshot all wrong

Comments 10 comments

Many years ago, I finally got to try weaving. I took the Beginning to Weave workshop through the Ottawa guild. At that time, 1989, the OVWSG did not have a studio space to house what guild equipment we had acquired. (The Guild had an old second-hand 100 inch loom and 6 or 7 table looms. There may have been a floor loom too but I was distracted by the 100 inches of loom, so do not remember). All the looms lived in one of our guild members’ very big basements. On weekends, she either taught weaving workshops or hosted weavers working on the 100 inch loom. It sounded like a busy basement! I remember 4 weekends of driving to a little town just east of Ottawa. I took the table loom home each week to do homework. I still remember the sound of the mettle heddles rattling as I drove down the highway, back and forth to the classes. Then I think there were two more weekends of Intermediate weaving and Dona sent me off and I was weaving!

It all starts with yarn, wind it carefully, attach it to the back beam, wind on, thread the heddles, slay the reed, tie on to the front beam, check the tension and then start to weave. It sounds like a lot of work but it is all worth it as you start to pass the shuttle through the shed and the cloth begins to appear. Weaving was like Magic! From a pile of string to POOF, actual cloth!!!

During the workshop, I found pickup seemed strangely familiar as my brain watched my fingers happily lifting and twisting threads for the various lace and decorative weave patterns. The other thing that my brain went “ooh this is cool!” was Overshot. It is a weave structure that requires a ground and a pattern thread, (two shuttles). One is fine like the warp and the pattern thread is thicker and usually wool. I was still reacting to wool so I used cotton for both.  My original goal was to draft and weave a Viking textile for myself but I put that aside for a moment, I will get back to that later.

The first thing I wove after my instruction was a present for my Mom. she had requested fabric to make a vest. I looked through A Handweaver’s Pattern Book by Marguerite Porter Davison and found an overshot pattern that I thought we both would like. I wove it in two shades of blue (Mom’s favourite colour), at a looser thread count than usual. (Originally the overshot weave structure was used to make coverlets, so were tightly woven and a bit stiff, while I liked the pattern I wanted the fabric to be much more drapey.) Even worse, I did not want it to be as hard-edged in the pattern as it was originally intended so I tried a slub cotton as a test and loved it.

1-3   Cover of Marguerite Davison’s Book, an interior page showing overshot patterns, and a close-up of “Weaver Rose’s Coverlet no.28”

So, for any sane weaver, it was all wrong! Wrong set, wrong fibre, wrong colour choices! It was fabulous and perfect. I kept the sample as a basket cover and at either the end of 1989 or the beginning of 1990, I gave Mom the yardage for her vest. “Oh this is too nice to cut” Mom Said, so it lived on the back of her favourite reading chair as a headrest until her most recent move (2015?) it never did get to be a vest but it has been well enjoyed.

I don’t have a picture of her yardage but I do have pictures of the sample I kept.

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4-7 My demo basket with cover at Plowing match demo, Algonquin demo, Richmond fair, Carp fair and Farm show.

My sample piece, which became my main demo basket cover, has been in the background of many demo photos. This year it was used as an Old example in part of the guild Exhibition. You can see the subtle distortion of the pattern when a slub yarn is used.

Overshot sample of overshot cloth in blue and grey on Left and Inkle woven band in purple and blue with suplemental warp of fuzzy slubs.8 Exhibit from the 2022 guild Exhibition and Sale

In the Exhibition The Inkle band, hanging beside the overshot, I wove much more recently. I used an Inkle loom and a supplemental warp thread. This means weaving with an extra separate thread that was not part of the main warp on the loom.  I used a yarn with a fuzzy caterpillar-like slub.

Close up of Inkle woven band with slubs woven in Inkle band on Inkle loom. suplemental warp is weighted and hangs over back peg, 9-10 close up of Inkle woven band with inserted slubs from the supplemental warp, Inkle loom set up with the supplemental warp slubs.

You may be able to see how I wove the weird slubby supplemental warp. The yarn is weighted and left hanging over the back peg of the Inkle loom. It comes over the top peg (usually labelled B in diagrams) and floats above the weaving.  In the areas where the Caterpillar (Slub) is not present I catch the yarn with the shuttle and weave it into the band. In the area the caterpillar appears I would leave the yarn above the warp and then start weaving it in again as I reached the end of the caterpillar. I hope that explanation doesn’t sound like mud and makes a bit of sense. Using a supplemental warp on an Inkle loom is not quite normal but it is a lot of fun.

Over the years I tried out other two harness techniques that you normally don’t see with an Inkle loom. It turned into an entire 2 day, with a week in between days, workshop (with a homework assignment) and lots of samples!! I think it’s the fault of my dyslexic brain wandering off into odd thoughts again.

I was going to tell you about my original goal in learning to weave, the mysterious Fragment #10 from a Viking excavation from around the year 1000, but  I have likely confused you with weaving enough for one day. So I will save that for another chat. (don’t forget the Inkle loom I would like to tell you a bit more about that in another post too. I promise I will get back to felting in the not-too-distant future)

Weaving with hand spun, again!

Weaving with hand spun, again!

Comments 12 comments

Jan Scott documented the Sale and Exhibition put on by our Guild in early November, kudos Jan.  It was a great success and inspired me to try to answer a recurring question asked by so many of my clients.  I was embarrassed that I didn’t have the information for them.  Will this skein make a hat, scarf, mittens, socks, etc?  The response was always – ‘that depends’ and it does.  It depends on technique, the width of the weaving, stitch size, needle size, size of hands for mittens, and all sorts of variables.  It’s so frustrating to not have an empirical answer, so I decided to use my handspun and make a scarf, standard 14 inches wide by 40 inches long.

I calculated I had 234 yards/215m of brown and 495yds/457m of burgundy and silk.  I would need 106yds/98m brown for the warp and 214yds/196m burgundy and silk for the other part of the warp.  Based on that I had lots for the weft.  We’ll see. Math and I are not on speaking terms.

Just to keep the learning curve vertical, I also decided to use a warping mill along with my sectional beam.  If you have ever watched videos of industrial weaving facilities you will see huge walls of bobbins feeding into the back of looms.  A sectional beam is one step down from that.  All the threads you want are wound onto a single inch of the back beam of the loom.  So if you want to weave something with 20 threads per inch you need 20 bobbins full of thread to wind onto that little 1 inch spot.  You wind on for as many yards/meters as you want, then move to the next slot in the beam, wind on another twenty threads/inch and continue on.

The warping reel lets the weaver measure a single thread for the whole length of the project, change the colour as needed and then keep measuring for the whole length of the project.  It’s perfect for smaller projects. The craftsperson will have to decide when it’s time to move onto a different warping technique to suit their purposes.  This time I wanted to try a hybrid method of warping.

When using a warping reel you must keep the warp from tangling.  It can become the weavers’ worst nightmare.  I know in my early days I did lose the cross on one of my warps and nearly lost my mind.  It did get untangled but I swore it was never going to happen again, so I do double crosses on all my reeled warps.  Tie the cross at both ends of the warp.  Better to be safe than very, very sorry.

I also didn’t want to waste any of the handspun if possible since it was in very, very short supply, so I used a salvage technique of tieing onto an old warp.  This can save up to 24 inches or nearly 3/4 meter of handspun wool per thread.  That’s a huge amount of handspun. It’s also a ridiculous amount of work, so I’ll have to rethink this, but once done I was pleased with the result.

I still had to check for threading errors and there were some.  Don’t thread the loom late at night, don’t thread the loom late at night….and don’t thread the loom late and night.

The next morning, a quick check of the basic threading by lifting the threads at an angle shows that everything is in order, literally, and the threads are ready to be tied up and woven with a test thread.

And finally woven with the real stuff. I wish you could see this in real light, daylight, oh my goodness, it shimmers.

What a load of work, and what a great result!!  I had no idea my hand spun could be so lovely, I’m so pleased, but there is the last bit of finishing that I need to do and hopefully that will be successful too.  This will make a great display piece for the next Sale and Exhibition!

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