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 THE WEAVER'S
BOOK
 > THE WEAVER'S
BOOK

Fundamentals of

by HARRIET TIDE ALL

Collier Books
A Division of Macmillan Publishing Co., Inc.
New York
Collier Macmittan Publishers
London
 ig6i

All reserved. No part of this may be reproduced or

traiwmitletl In any form or by any means, electronic or mechanical,
recording or by any information storage and
system, without permission in writing from the Publisher.

Publishing Co,, Inc.

866 Third Avenue, New York, N.Y. 10022
Collier MacmiHan Canada, Ltd.

Flu? Weaver's Book is published in a hardcover edition by

Maemillaa Publishing Co,, Inc.

First Collier Boob Edition 1976

Library of Congress catalog card number:

to the United of America

 > AUTHOR'S NOTE

Textile technology, including its root, handweaving, is a subject with

no established or generally recognized vocabulary or set of symbols. This
fact occasionally creates confusion in the mind of the beginning weaver,
who in reading the literature or listening to different teachers may find
as many meanings for a word as there are users of it, or several
different
differentwords used for the same concept
This is not a troublesome problem if the weaver learns one system of
symbols and drafting, and one teacher's or writer's vocabulary at the
outset.Then as already known concepts are redefined or different symbols
are used in the literature, there is a solid foundation to which any
differences may be related and therefore understood.
Several terms used in this text might well be changed to help form a
more reasonable vocabulary. Most important is the word Tiamess*" for
one of the moving frames of the loom. This is a typically American word,
and in time it becomes irksome to see the word always defined as a term
often used by American handweavers for the word "shaft." ^Harness** is
the word of the handloom manufacturers, and therefore is most commonly
used. But one begins to wonder if the manufacturers are suitable au-
thorities for the establishment of vocabulary, especially when the word

they use hardly makes sense and there is a much more reasonable word
v

776896 WAY 1 1978

KANSAS CITY (MO) PUBLIC LIBRARY
vi Authors Note

that is almost universally used. The word "shaft" denotes something that
moves up and down vertically and therefore is more suitable for the mov-
ing frame that holds the heddles. This is suggested as a sound change
that American handweavers would do well to adopt.
Another confusion of vocabulary is the present state of shift from the
word "set" to "sett." In the past, "sett" has had a very specific meaning as
it referred to the arrangement of different yarn colors or different yarn
textures in both warp and weft. As example, the expression "Scotch tartan
sett" indicated the color arrangement of both warp and weft to form a
characteristic plaid pattern. The word "set" has, until recently, indicated
the number of ends per inch in a warp. However, the two words have
become hopelessly confused, and it is becoming increasingly common
practice to use the word "sett" to cover both meanings. This is a case
in which two specific meanings are lost to one general one, and is regretta-
ble. But that is the way with language, which is never static. In this text

the word "sett" is used for the noun, while the spelling "set" is retained
for the verb.

For the handweaver who

wishes to continue the study of handweaving
through short bulletins and monographs on specialized subjects, the
author of this text presents the periodical publications of the Shuttle
Craft Guild. These may be secured through annual subscription. For
information about the Shuttle Craft Guild write to Harriet Tidball,
Route 1, Box 204B, Lansing, Michigan.
 CONTENTS

Authors Note v
Introduction I
The Loom 4
Yarns 11
Designing 22
Preparation for Weaving 28
Dressing the Loom 38
Weaving 56
Drafting and Fabric Analysis 63
The Weaves and Pattern Draft 70
The Plain Weave Class 74
Controlled Weaves on Tabby Foundation 83
The TtiMl Class 91
The Ttwll Derivative Class 104
The Unit Class 133
The Grouped Thread Clam 147
The Double Weave Class 152
The Rhythmic Weave Class 156
Weaving Methods 160
Weaving SUB* 165
Index 169
vii
 THE WEAVER'S
BOOK
 INTRODUCTION

This mid-twentieth century world is a complicated place dominated

by the machines which make our way of life, by the routines of profes-
sion, business or home, and by the conventions of a complex social
structure. An office, a factory, a schoolroom, a home is no longer con-
ducted through the and ingenuity of the person who works in
initiative

it Machines, efficient
beyond the level of human fallibility, and the ever-

growing pyramid of personnel structure make the duties of everyday

living continuously more routine.
But with increasing standardization and mechanization, the individual
still exists as an essentially thinking and creating being. The necessity

for the expression of ingenuity and for the creating of a useful product
from raw materials may be removed from the home and business duties,
but the ability and the desire to create remain. They demaad, more
insistently with some people than with others, an adequate, expressive
outlet. Thus, more and more people are turning to the creative arts and
crafts for fulfillment of the inherent desire to create.

Among the numerous media of creative expression: ceramics, metal-

working, woodworking, silversmithing, sculpture, painting, needlework,

photography, music, acting, dancing, writing, carving, basketmaking,
and many others, handweaving has an honorable position. It is probably
the oldest and certainly the most universally practiced of all the crafts
1
 The Weavers Book

it* skills lie within the innate capabilities of most people. Textile
creation may almost be called an inherent urge in the human race.
Aside from the basic reasons for wanting to take up handweaving the
desire to create, the urge to make something beautiful, the need to make

something useful-there are others, such as therapeutic benefits, pleasure

in the of a pastime, the stimulation of sharing
congenial
knowl-
pursuit
edge and experience with other weavers, and the satisfactions of gaining
new knowledge and mastering new skills. These and other fulfillments
accompany the activity of converting threads and yams into beautiful,
useful fabrics through the skillful use of the tools of the craft.
The person who wants to learn to weave starts by acquiring a loom and
other necessary equipment, and begins immediately to use them. With-
out minimizing the importance of study, one may safely say that in the
handcraft fields one learns by doing. With the tools at hand the student
is ready to developing dexterity in handling them, knowledge of
start

fibers and their appropriate use, an understanding of the manner in which

threads interlace to form different textile types, taste in handling prob-

lems of color selection and harmony, a grasp of the principles of good
design in many styles, and judgment as to the suitability of a fabric for
its purpose. The weaver works from the beginning in these six inseparable
fields: mechanical skills, materials, interlacement theory, color, pattern,
and function.
The ultimate objective of the weaver's desire is probably to create in-

dividual, so-called original, fabrics that is, to design fabrics as well as

weave them. Designing in a simple way may start with the first weaving
through the selection of colors and materials within thejimitations of the
technical demands of the project. The scope of designing increases as
the weaver's experience increases and as he acquires knowledge through
study. But before a weaver can be truly creative, he must establish com-
mand over fundamental techniques and thread interlacement systems
and develop judgment in handling fibers, color, and design. The way
to develop proficiency the same for weaving as for other arts and
is

sciences: through copying classic models. Therefore the beginning weaver

should be to a certain extent a copier.
The classic model is a well conceived design, embodying the funda-
mental principles of a specific weave system, combining correct materials
and harmonious colors, demonstrating standards of good proportion in
line and mass relationships, and altogether suited to its function. In other

words, a classic model is sympathetic to the senses beautiful. Since the

 Introduction 3

classic model is a thing of beauty in itself and embodies the basic char-
acteristics and skills of the weave system, it should be copied at the outset
until the student has gained mastery over everything it can teach. After
this, and only after this, the classic model may become the foundation
for creating variations as dictated by the imagination of the weaver.
As the weaver's skills and knowledge increase, so also increases his
respect for the work of the countless weavers through past ages, He looks
with awe upon the achievements of primitive man who discovered, even
before he discovered writing, the skills and techniques and designs which
the modern weaver still uses. He learns to treat with great caution the
word "original,** as he realizes that in the weaving craft original usually
means merely something which the weaver has rediscovered for his own
self; uncounted people have discovered the same thing before him and
are discovering it at the same time he is working. He learns that new does
not mean new to the world or new to human experience, but merely new
to himself. He thus gains humility and perspective and is in more sym-

pathetic accord with the world in which he lives.

 > THE LOOM

The in its simplest sense, is nothing more than a frame to hold

called warp, at a tension In such a way that other threads,
weft, can be woven across them to make cloth. The earliest weav-
ing on a loom consisting of two sticks, one tied to an upright
as a tree and the other to the weaver's belt, between which a warp
stretched. The weaving was accomplished by picking up alternate

warp threads with the fingers and placing a weft thread through the re-
sulting division, or shed.
Early ingenuity> however, devised a system of making a shed by placing
a stick across the warp with alternate threads under It, the in-between
threads on top. The opposite shed was made by carrying a loop of cord
around each of the down threads and then over another stick, so that
raising this stick raised all the alternate warp threads. By placing weft
In these two compensating sheds alternately, the weaver could produce
any type of plain-weave fabric. A sword stick inserted into the sheds was
used to beat the weft into its desired position. Man's innate love for
decoration led to the invention of countless special techniques by which

designs could be woven into the simple web. This primitive loom is still
used in isolated regions of Central and South America and in other parts
of the world where the tools of our more highly mechanized society have
not yet supplanted those made at home,
4
 The Loom 5

Another form of primitive loom is used by the Navajo Indians and by

carpet weavers in remote districts of southern Asia. This loom is an up-
right frame of vertical posts, with horizontal stretchers between them to
serve as warp and cloth beams.
Some of the most amazingly intricate fabrics known have been woven
on the primitive belt loom and the upright carpet loom, but for producing
cloth in any quantity the primitive tools and methods are too time-

consuming and require too much manual dexterity to make them prac-
tical for modern weavers. Peasant weavers the world over have used the

large, treadle-operated loom with which modern weavers are more fa-
miliar. Intoa framework of heavy timbers are placed a horizontal beam
at the back on which warp is wound and a parallel beam at the front for

rolling up the finished cloth. Above each of these rolling beams are usually
plain stretchers, knownback beam and the front beams, around
as the
which the warp and the cloth are carried. Hung in the center of the loom
are two or four frames or harnesses holding heddles. These are cords or
wires with eyes in the center which are suspended from top to bottom
of the harness frames. Warp threads are carried through heddle eyes in

planned or drafted order. The harnesses are hung exactly parallel to the
warp, cloth, back, and front beams with the heddle eyes placed so that
there is no distortion of the tensioned warp as it extends through the

eyes from the back to the front beams. Harnesses are suspended from
overhead in pairs and are tied to treadles underneath by cords extending
from the bottom of the frames to the treadles; or more efficiently, both
treadles and harnesses are connected to lams, which are levers lying
under the harnesses and above the treadles. In a two-harness loom, when
a treadle is depressed, one harness is pulled down while the other harness
rises the same distance; the division of the warp threads which thus occurs
is known loom has four harnesses, pairs of harnesses
as the shed. If the
are attached to each treadle and act together so that all sheds have two
harnesses down and two up. Since there are six possible combinations of
four harnesses (1-2, 2-3, 34, 4-1, 1-3, 2-4), four harness looms may be
threaded anH operated to give patterns and textures of considerable com-
plexity. The peasant loom equipped with a beater suspended from
is also
overhead'in front of the harnesses, which carries at the bottom a horizontal
frame holding a reed through which the warp is drawn between the
heddles and the cloth beam. The reed (in early days actually made of

split reeds or bamboo) controls the density of the cloth by the systematic
arrangement erf warp ends through the dents or openings.
6 The WrurtrV Boofc

Thr piMutnt loom, though it must be constructed with precision, is a

nirtdrratdy Mmplr tool which can be
made by any semi-skilled wood-
the loom generally copied today by weavers who
wish
worker, and it is

convenience are
to build their own. Certain concessions to modern gen-
manufactured steel reed, steel bars in the
erally madein the use of a
harness frames to hold wire or flat steel heddles, and other steel parts such

as ratchetsand pawls on the warp and cloth beams. And with modern
of hard-
power tools, the home woodworker uses moderate-sized pieces
wood for the frame instead of the large hewn logs of the primitive model,
the over-all size of the loom. The bulk is further reduced if the
reducing
beater slung from the lower stretchers, as
is is commonly done, so that

the overhead framework may be omitted.

The peasant loom, with refinements, is the common four-harness coun-

terbalanced loom sold by many loom manufacturers today. The truly

modern loom, however, the jack loom in which each harness operates
is

the modern weaver who is

independently. There are several reasons why
interested in a wide range of weaves selects the jack loom instead of the
counterbalanced type. Because the independent harness action permits
each harness to be suspended with absolute precision, sheds are perfect
and the harness mechanism never requires adjustment. The jack operation
permits more compact styling so that jack looms
have less bulk; the har-
nesses may even be lifted from underneath, and the superstructure may
The itself to the use
thus be eliminated entirely. jack-lifting action lends
of space-saving, exactly-fitted metal parts compact folding frames
and to

which are as rigid when open as the heavy square frames of yore. But
perhaps the main reasons why modem weavers prefer the jack
loom are
that with four harnesses there are fourteen instead of six weaving sheds
(1, 2, 3, 4, 1-2, 2-3, 3-4, 4-1, 1-3, 2-4, 1-2-3, 2-3-4, 3-4-1, 4-1-2); and that
the looms may be extended to hold six, eight, ten, or more harnesses.

It may seem platitudinous to mention that good workmanship requires

good tools; but this is as true of hand weaving as of any other skill. Since
the loom is the handweaver s most important tool, the weaver's first con-
sideration is having as good a loom as he can afford to buy. There are
both good and bad looms in each type and price bracket. The erroneous
statement is often made that a beginner must sit at and try several looms
in order to determine which one will serve him best. This is a misconcep-
tion because suitability judgment can be made only after prolonged and
skillful trials. The experienced weaver will select a new loom through the
knowledge he has gained about the performance of looms in general The
 flue 7

is to rely on the of am
has the of
of an can be are a

by an
A of all be very it be of
as It the of lite
the of the The be so
catch. The be
and in
The a at
two at the
must evenly, In a
the to the front tie of the
To judge the correct position of an
cord from back beam to front a the of
the harnesses at rest must be exactly the the as
the eyes of the raised heddles are above the cord. On all the
must be firm and strong, and suspended from a as the as

The working parts of the loom, forming * perfect sned.

possible, about half-way between the harnesses and the breast beam. It
must have a shuttle-race sloped at the exact angle of the warp on tihe bot-
tom half of a shed, on which the lower threads of the shed will lie smooth
and with no displacement. The beater should be removable instead of per-
manently attached to the loom, and the reed must be easily removable
from the beater. The breast and back beams of the loom, the cloth beam,
and if possible the warp beam should be removable to facilitate threading.
S The Weaver's

There must he a lam hanging below each harness to which

the treadle

tit Mip is nude. There should he two more

treadles than there are harnesses

in a counterbalanced loom, at least four more in a jack loom. The treadles

should operate lightly and respomively. A current prejudice favors

front-

the greater leverage of rear-hinged

hinged over rear-hinged treadles, but
treadles gives theloom equipped with them a lighter action, and rear-
hinged treadles which are stabilized
and well engineered are as conven-
as front-hinged ones. The distance between the beater
at
ient to operate
restand the breast beam should be moderate, about ten or eleven inches;
since the warp position must be changed every four inches
or less for good
a
weaving, regardless of the weaving space, unnecessary depth requires
longer beater each and wasted energy.
The handsomest of all looms is the push-up jack loom with no super-
structure* With four or six harnesses this loom is one of the most satis-
factory, but for a loom with eight
ten or more harnesses, there should
be overhead jacks. In a four-harness loom one need not consider the
thickness and distance apart of the harnesses, but with more than six

harnesses, each one should take up a space of not more than one-half inch.
tied with
The treadle-lam tie-ups are usually made with double cords,
snitch knots to make adjustments
easy. This system is satisfactory
with
four harnesses, but looms should have efficient wire
multiple-harness
for and quick changes. Wire tie-ups never
tie-ups facilitating frequent

require adjustments. well built folding loom can be as solid and strong
A
as a rigid one, and when space and movability are considered, it is usually
less than a
preferable. A counterbalanced loom should cost considerably
loom. Its action is very sympathetic, particularly for a
comparable jack
long yardage of simple design. But the person purchasing a counterbal-
anced loom should be aware of the fact that the limitations of the two-
up-two-down harness action will eliminate any weaves which have
unbalanced sheds, such as three-up-one-down. This is an extremely impor-
tant consideration. People sometimes erroneously believe that a counter-
balanced loom quieter in operation than a jack loom; but a noisy jack
is

loom is usually an improperly operated ot*e; though it is true that in some

push-up models harness clatter cannot be obviated. Whether to have wire,
flat steel, or even string heddles is a matter of individual preference.
Suitable loom width is a problem which is discussed more than it de-
serves.The inexperienced weaver usually wants a loom of great width,
but he should keep in mind the fact that shuttles must be thrown and
caught This can be a slow and difficult operation on widths greater than
forty inches. Moreover, width adds bulk and operational weight to the
 The Loom

loom as well as cost. Although many experienced weavers prefer thirty-

two inch looms and find them adequate for almost all projects, if there is

one universally versatile and efficient width, it is probably forty

inches.
Some looms are supplied with a solid warp beam of small diameter and
others with a sectional warp beam of large diameter with pegs dividing it
into one-inch or two-inch sections. There is no need for discussing tbe
relative merits of chain warping onto a plain beam versus sectional warp-
ing, as the serious weaver uses both methods according to the demands of
the particular warp. Many looms are equipped with both beams; an excel-
lent arrangement, as this also permits the weaving of double-beamed
warps. But a sectional beam having smoothly rounded steel divider pegs
instead of wooden ones so that it may be used for chain beaming as well
as for sectional warping is the most versatile beam. The sectional beam
should be three-quarters of a yard or one yard in circumference, and never
smaller than two-thirds of a yard. The sections are measured from center
to center of the pegs. A good friction brake is the best tensioner for a
sectional beam, but a ratchet and pawl device is preferable to a poor
brake.
Additional equipment required for weaving includes shuttles ami bob-
bins with some kind of bobbin winder, a creel and a tensioner for sec-
tional warping, a warping frame or a reel for making chained warps, and
a swift for holding skeined yarns. There are many other items erf equip-
ment which are necessary for special processes or are useful in
available

reducing the effort or time a process requires. But the few items men-
tioned above are the fundamental took which the beginner should have at
once; further accessories may be purchased according to the weaver's de-
veloping inclinations.

A well designed warping frame.

10

pick-up slides

A creel or spool rack.

 YARNS

Yams and threads in infinite variety are the materials for weaving, Mid
the beginner has much to learn about yarns and their appropriate Mid
effective uses. Although some basic
knowledge of the characteristics of
fibers is necessary at the start, significant
knowledge comes only with the
sensitivity to different materials which develops as the weaver handles
one warp after another.
The most important textile fibers are the natural fibers: cotton, linen,
wool, and silk. Commonly a beginning weaver starts with cotton, which is
easy to handle. Linen and wool weaving are often erroneously considered
advanced work. This idea stems from the days of handspun yarns and
before good commercial yarns were available to handweavers, a situation
which no longer exists. As long as the yarns used are of the best quality
and intended especially for handweaving, the beginning weaver need
have no apprehension about weaving with wool or linen, even as an initial
project.
The "feel* and the handling of the three main
fibers are altogether dif-
ferent and therefore advisable for the beginning weaver to have
it is

experience with warps and wefts of all three types as near to the beginning
of his weaving career as possible. This will help develop his sensitivity to
11
12 The UViwrr* Book

filers more ami it will present the building tip of barriers of dis-
quickly,
like for one or another material because it is unfamiliar.
In addition to cotton, linen, wool and silk, the modern handwcaver uses
a wide range of fibers both natural and man-made. The rare natural fibers
and hemp, all bast fibers related to linen; mohair, cashmere,
are rami, jute,

angora, alpaca, and others of the minor

wools and hairs; and even such
oddities as woody plants, grasses, grain stalks, rattan, and raffia.
Man-
such
rayon ant! acetates and the non-cellulose
made fibers include fibers

as nylon, dacron, vicara, orlon, and dynel alone and in blends. Rayon is
a popular and useful fiber, but the beginning handweaver will do well to
avoid the newer man-made filers. Often they are not put up in forms suit-

able for handweavers and most of them require special finishes after
weaving which are not generally available. These fibers are so
new that
results are not predictable. Metallic threads, on the other hand, in their

modern form are superior in quality to the old ones and are available in

many exciting varieties and colors unknown to early weavers.

Cotton

For handweavers, cotton is the most widely used fiber and probably
the most satisfactory. It is strong, has good elasticity, is easy to handle as
both warp and weft, and comes in a generous variety of standard sizes and
fast colors. Cotton may be mercerized or unmercerized. Mercerization is

the treatment in caustic alkali which increases the strength of the thread,
increases its dye absorption, and adds gloss. Therefore the most fool-proof
material for a first warp is mercerized cotton.
Size 1 cotton has 840 yards per pound. Since the yardage increases with
the size number, size 10 has 10 times 840 or 8,400 yards per pound. The
cottons used by the handweaver are plied, that is, two or more strands are
twisted together. Sizes are indicated by two figures separated by a diago-
nal line, the strand size first and the number of strands twisted together
second. For instance, 10/2 cotton is two strands of size 10 yarn, 24/3 is

three strands of size 24 yarn. To determine tibe yardage per pound of the
tiiread, multiply the size number by 840 and divide by the ply number.
Thus, size 20/2 cotton (probably the most used by handweavers) has 20
X 840, or 16,800, yards of single-strand cotton divided by 2> or 8,400 yards
of thread per pound. Since the measuring is done with the single strand
and there considerable take-up in the twisting, allow for a loss of about
is

5 per cent when computing yarn yardage for a project

 yarns 13

Wool

W(K>1 is the fiber from the fleece of the sheep ami from the minor wool-

bearing animals such as the cashmere goat, the mohair goat, the llama,
the vicuna, the camel, and others. If the word Ls used without qualifica-
tion, sheep's wool is meant. The wool fiber is noted for great elasticity,

high luster, resilience, strength, highly insulating properties, receptivity

to dyes, resistance to crushing, felting and napping tendencies, high
moisture absorption, warmth, and general beauty. Wool yarns are avail-
able in three general types: woolens, which are the single-ply hand-spun

type yarns; English or Bradford spun worsteds, which are the glossy,
strong, crisp, smooth yarns spun from long fibers; French-spun worsteds,
which are very soft, fine-fibered, dull, and strong, and are the most ex-
pensive of wools. Handweavers use English-spun worsted more than any
other wool yarn, the woolen or tweeds and French-spun worsteds being

appropriate for specialized textiles. Qualities and specific characteristics

of yarns within each of the classes vary so greatly that generalities on
them cannot be made. The weaver must learn to seek the one which will
give the type of woven fabric he desires. Since woolens and worsteds re-

quire radically different processing after weaving, the two should never
be combined.
Woolen yarns, usually single ply, are most commonly sized in the
United States according to the Philadelphia system in which a 1-cut yarn
has 300 yards per pound, and accordingly a 10-cut yarn 3,000 yards per

pound, an 18-cut, 5,400 per pound, and so on. Sometimes woolen yarns
are sized by the American system in which a 1-run yarn has 1,600 yards
l
per pound, a 2-run, 3,200 yards per pound, a 2 /i run, 4,000 yards per
pound, and so on. There are several English count systems which differ
from both of these. Woolens are carded before spinning and the fibers ia
the finished yarn lie in all directions instead of parallel.
Dyeing is usually
done before the carding. Oil is added for the spinning, and to make the
yarns handle well on the loom the spinning oil is left in. Fabrics from
woolen or tweed yarns must be washed or fulled after they come from
the loom to remove the oil, loosen the fibers, and contract the cloth. Thus
woolen yarns produce soft, opaque fabrics with a somewhat obliterated
weave.
Worsted yarns, on the other hand, are made of the highest grade of
wool fibers, which are processed many times before spinning to make all
the fibers lie parallel. They produce crisp fabrics with dear interlace
14 The

The of uses the and

Oil Is for the but is as are

The uses the proc-

they arc
and dry. This a very soft yarn

but
The In use 580 yards per
to a to a Vtaount As are almost

the is to that for cottons except

that the ply Is first For 2/18 worsted means two

of slie 18 yam to give 13 X 560, or 10,080,

by 2, or per worsted yams are processed

so the washing required for woolen
is n for them. For the best worsted

a Is the only required, though inferior wor-

from a quick wash In clear, cool water.
The quality of woolen and worsted yams determines their weavability.
The handweaver should use only yam of the highest quality. Because
wool yarns cling it is necessary to weave wool warps under considerable
but the tension should always be released when weaving is not
in progress, Wool yarns deteriorate when held on the warp team under
for long periods, and so wool warps should be made relatively
short and woven off as soon as possible,

Linen

linen, the Tking of fibers/* comes from the flax plant It is noted for
its tremendous strength and for its glossy beauty, which increases with

use. As it is resistant to dyes, in the past it was used largely in natural

color (gray), boiled (creamy), or bleached (crystal white); but modern

dyeing now gives us many splendid Mnen colors. Dark and bright colors
are somewhat difficult to achieve and should be color-tested before they
are used in combinations. Colors do not combine well in linen fibers; so
most linens are woven in solid colors.
The count system for linen gives 1-lea linen 300 yards per pound, 10-

lea, 3,000yards per pound. Plied linens are numbered like cottons, with
the ply figure second. For instance, 14/2 linen has 14 300, or 4,200, X
divided by 2> or 2,100 yards per pound. Linen is spun either wet or dry,
the wet spinning producing the best and most expensive yarn. It is offered
as both singles, or line, linen, and plied, or round, linen; both suitable
 15

for or if the Is

not risk a 12/L The of

a ply a tie of
too for On the the
a will use and
a will use
be the
An and very is The
Is ironed, the It

is to the first but is if the is ex-

tracted between towels of by wringing. It be

wet with the hottest Iron until dry, and It is dry
with as much pressure on the iron as

Purchasing Yams

When purchasing yams, the beginning weaver is wise to stand-

ard sizes and types from the sample cards of a reliable distributor who
deals in yams specifically intended for the handloom. The novelties and
^glamour yarns** which come as special offerings from dealers specializing
in this service are job-lot odds and ends left over from the textile mils.

Although job-lot yarns are an excellent resource, they usually cannot be

reordered or guaranteed in any way. The beginner is apt to have costly
and disheartening experiences with them.

Estimating Warp and Weft Requirement

Before buying weaving yarns the weaver must know how much he
needs of each material he Is using. There is a simple formula for calcu-

lating yam requirements:

warp width X ends per inch X warp length = warp thread yardage;
thread yardage -f- yam count = yarn poundage for warp;
yarn poundage =
X 2 warp and weft requirement for any balanced
weave or warp and tabby weft for two-shuttle pattern weaves.

In detail: multiply the warp width in incites by the number of warp ends

per inch to determine the total number of warp ends needed. Multiply
the total warp ends by the planned warp length, in yards, to determine
the thread yardage needed. Convert this yardage into pounds and ounces
18 The Weavers Book

by dividing by the figure for the size yardage given in the warp set lists,

or by calculating from the count number for the particular yarn type. If
the weave selected has a warp-weft balance, multiply the warp poundage

figure by two to determine the total yarn requirement for warp and weft.
As an example, suppose one wishes to weave four sets of eight place
mats In formal 14 inch X 21 inch size, using a balanced weave in a yarn
set at34 ends per inch. A 15-inch wide warp of 360 ends is required. With
three Inches allowed for hems ami one inch for take-up per mat, each mat
will require 25 inches of warp; 32 mats will require 800 inches, or 22-plus

yards. One yard of warp must be allowed for loom waste and tie-ins,
another yard for shrinkage, and the good weaver will allow one yard for
experimenting. Thus a warp twenty-five yards long is planned: 25 yards
X 360 ends gives a yarn yardage of 9,000 yards. If the yarn is 20/2 linen
with 3,000 yards per pound, this means three pounds for warp. If it is
10/2 pearl cotton with 4,200 yards per pound, it means two pounds and
two ounces. Since warp and weft are balanced in the weaving, the amount
must be doubled to allow for weft too, making the requirement six pounds
of Knen or four and one-quarter pounds of cotton. But since the actual
yam yardage is somewhat reduced by the yarn twist and tension, there
should be a safety margin. Therefore, the actual yarn order should
be for six and one-half pounds of Bnen, or four and one-half pounds of
cotton.
If the warp is to be wound sectionally the calculation is done differ-

ently. Sectional warping is preferable for a cotton warp longer than

fifteen yards, particularly if the yarn may be purchased on two-ounce
tubes in sufficient number to provide ends to -fill one beam section. Our

warp requires 24 two-ounce tubes if the beam has one-inch sections, 45

tubes has two-inch sections. (Notice the discrepancy here: 45 tubes
if it

instead of the expected 48. This is due to the fact that every bout ( group
of threads) must contain the same number of ends; so it is necessary to
wind eight bouts of 45 ends each instead of seven with 48 and one with
24 to give a warp of 360 ends. The slight narrowing between the warp
beam and the reed will do no harm.) To determine how many yards of
warp can be wound from a set of two-ounce tubes, divide the number of
yards per pound by 8 to determine the individual tube yardage, and
divide this number by the number of bouts to be wound. For our cotton

warp, 35 yards (safer to estimate 33) can be obtained from one set of
tubesthis means that additional material has to be ordered for weft,
since the warp is to be twenty-five yards long; for two-inch sections the
 Yams 17

45 tubes would wind 63 yards of warp (safer to estimate 60) -this is ade-
quate for warp and weft with some to spare.
Linen warps are seldom wound sectionally because they are difficult to
tension adequately by this method, and because the high cast of linen
inclines one to close figuring. It should also be mentioned that linen warps
are seldom made as long as twenty-five yards; so this project in linen
would probably be done on two thirteen-yard warps,

Warp Setts

One of the greatest problems to the inexperienced weaverand to

many experienced weavers as well is that of determining the correct

warp setting for a particular warp yarn. If there were an easy answer to
thisproblem, weaving would be more of a craft and less of an art, as good
judgment in warp setts is one of the things which distinguishes a good
weaver from just a weaver. Special consideration is required for each
project because the selection of warp sett, or number of warp ends per
inch, depends upon the system to which the warp is to be threaded and
the effect the weaver wishes to achieve, as well as upon the size and the
type of the warp material. No table of warp settings is adequate. How-
ever, suggestions may be given as general guides. Three warp setts are
given in the list below for each of the most commonly used cotton and
linen warp sizes. For cottons, the closest or densest sett given is that suit-
able for twills or other single-weft weaves in which threads are raised
and lowered in groups. The medium sett is that which produces a per-
fectly balanced tabby fabric. The most open sett is that required for two-
shuttle weaves with a balanced tabby foundation and an added pattern
weft.

Warp Setts for Cottons

30/2 mercerized (12,600 yards par pound) or 50/3 (14,000 yards per pound)
Twill, 45; tabby, 42; pattern, 40.
Fine mercerized cottons, highly rewarding to the weaver with sufficient

patience to work with dose settings,

24/2 (10,000 yards per pound) Twill, 40; tabby, 36; pattern, 30.
A lightweight cotton, suitable for clothing and accessories and for
fine,
casements and many other household fabrics.

20/2 mercerized (8,400 yards per pound) TwiH, 36; tabby, 32; pattern, 30.
A beautiful and very strong warp, weaving about the same as 24/2 un-
mercerized but with more body.
IS IV VlVdtTM B*>olc

30 to 27.
20/2 IS.400 yards IK* pound) -Twill, 36; tabby, 32; pattern,
set at the medium
ProKiMy'thr most commonly used cotton warp, usually
30 ends p*T inch.

Twill, 27; tabby, 24; pattern, 22 V4 .

10/2 ( 4,200 yards par pound >

A for beginners. More attractive in mer-

warp especially good
versatffc
crciml than in plain cotton. Good In heavy clothing and accessory fabrics
and for decorating fabrics, particularly upholstery.

8 '2 (3,380 yards per pound) Twill 27; tabby, 24; pattern, 0.
This is a dull soft-twist cotton of good strength, excellent for a beginning
setts than most
warp. The soft quality gives a greater range for good warp
cottons.

Twill, 24; tabby, 22V4; pattern,

20.
10/3 (2,800 yards per pound )
Usually mercerized, and one of the best warps
for heavy projects. Very
for double weave and for other unusual weaves.
good

mercerized (2,800 yards per pound) Twill, 24; tabby, 22#; pat-
20/8 floss,

tern, 20.
With the same weight and settings as 10/3; but this is a soft, lightly
twisted yarn which gives a fabric a very different character
from the other.

Twill, 20; tabby, 18; pattern, 15.

5/2 mercerized (2,100 yards per pound)
Good for heavy, specialty fabrics. Not versatile,

Twffl, 18; tabby, 15; rugs, 12.

8/4 carpet warp (1,600 yards per pound)
A coarse, stiff material, useful for cotton carpets and for very coarse fabrics.

12; loose tabby, 10.

3/2 mercerized (1,260 yards per pound) Twill, 15; tabby,
A pearl cotton, very beautiful for heavy fabrics.

The pearl,or perle, cottons have a high gloss due to gassing and heavy
the threads which add sparkle
mercerizing. They take dyes well and are
to cotton textiles. Of all cottons they have the largest color range. In label-

usually omitted, but Number 20 can be

number assumed to
ing, the ply is

be 20/2, Number 10, 10/2, and so on. Pearl floss is usually 20/6; it is very
loosely twisted and therefore it flattens and
covers spaces much better

than 10/3 or threads of similar ply. Although heavy mercerizing makes

the threads slightly smaller in diameter, the setts are approximately those
for the corresponding unmercerized sizes, or slightly closer.

Warp Setts for Linens

The nature of the flax fiber permits a much wider warp-sett range than

greater for rough singles linens

than
is
possible for cottons. This range is
 19

for smooth round linens, The setts given below are for firm, medium, and
open tabby fabrics: the firm tabby sett being suitable also for t\vo- ami
three-thread float weaves, the medium sett for the traditional linen weaves
which combine a tabby and a texture area, and the open sett chiefly for
tabby and for inlay and pick-up open work, Weaves based on satin must
be denser than the closest setts given here,

50/2 (7,500 yards per pound) -Firm, 45; medium, 40; open, 36,
A beautiful linen for fine, elegant fabrics,

40/2 (8,000 yards per pound) Firm, 40; medium, 36; open. 30.
The standard size for medium-fine fabrics; very useful, versatile and easy
to handle.

18/1 (5,400 yards per pound) Firm, 36; medium, 30; open, 27,
A useful size for napkins.
Only the highest grade of wet-spun singles should
be used. Boiled and natural types should be preferred for warp as the
singles thread is weakened by bleaching and dyeing.

50/3 (5,000 yards per pound) Firm, 36; medium, 30; open, 27.
Notice that these setts are the same as for the finer 18 1. The reason is

that the round yarn usually requires a slightly closer setting than the same
size in singles; the singles will not withstand the friction of the closer warp
setts.

12/1 (3,600 yards per pound ) Firm, 30; medium, 24 to 27; open, 22 Mi.
One of the most versatile and pleasantest linen warps to work with. In high
quality wet-spun, 12/1 is sufficiently strong in both bleached and dyed
yarns for good warps.

20/2 (3,000 yards per pound) Firm, 27; medium, 24; open, 20.
This a standard material for medium-heavy linen fabrics. A practically
is

fool-proof warp which is excellent at the medium sett for a first linen
project.

10/1 (3,000 yards per pound) Firm, 24; medium, 22Vi to 20; open, 18.
An excellent warp for craft linens, as it gives a beautiful texture, partic-

ularly at the medium and firm setts.

14/2 (2,100 yards per pound) Firm, 22Vi; medium, 20; open, 18.
This is a linen with considerable body, excellent for table mats.

7/1 (2,100 yards per pound) Firm, 22Vi; medium, 20; open, 18.
For less smooth textures of the same weight as 14/2,

Mercerized linen is also available in plied yams. This is a very beautiful

and very expensive yarn, desirable for the finest of table linens.
m The

Stiff far

for can so that it is to give

a For a or a the sett be

to the of he to
by the
and this be a deal of

has rale is to be remembered: a wor-

is at the of per in the fabric;

a is set the of the final fabric

the is or it Is woven.
Al in the lists are OB balanced weaves*
in or in system* This means that they are

for as weft picks per inch as there are warp ends,

of the warp sett may be. The achievement of this perfect

for different warp setts, as outlined above, requires full control

the the most significant command of the good craftsman.

Heed Sleys

The wide range of given in the warp sett suggestions indi-

warp setts

plainly that a weaver must have several reeds of different dentages

if he is to weave a variety of fabrics. Probably the ideal sley for most
materials two ends per dent, though one pet dent is often advantageous
Is

for very smooth yarns. But to obtain maximum value from any single

reed, warps may be sleyed at three ends per dent, with one end and two
ends per dent alternating, with two ends and three ends per dent alternat-
in sley
ing, or with one end in each alternate dent. Further elaboration
arrangements will leave reed marks in the final fabric. There is one excep-
yams or for fabrics with heavy warp em-
tion to this; for very delicate

phasis or a
warp reps, very wide reed with a group of threads crowded
in each dent is advisable. For instance, for a warp rep with sixty ends

per inch one could use a 10-dent reed with six ends per dent, a 12-dent
reed with ends per dent, or a 6-dent reed with ten ends per dent.
five

For most weavers four reeds are sufficient, and the weaver who does
fairly fine work will prefer the first four. The weaver who specializes in

heavy warps will prefer a 9-dent to an 18-dent, and

may prefer a 7-dent or
an 8-dent to a 15-dent Most looms come equipped with a 15-dent reed, so
it is suggested that at least the 12-dent reed be ordered extra when pur-

chasing the loom.

 The lists In the of mrf w!nr**.
may be
with the
etch.
 DESIGNING

There are a few guides to over-all designing which will help the de-

signer-craftsman produce good textiles. These are not dogmas, as excep-

tions to all of them exist, but they are foundations for good designing

which the beginner will do well to build on. They are principles which
many handweavers learn to apply slowly through trial and error but they
must be grasped somehow because they make the difference between
good and poor designing.

1. Simplicity is the first rule of good design. Do

not confuse a design
with many different ideas. The simpler the concept, the greater the
chance for success.
2. Economy of means
goes hand In hand with simplicity. The fewer
the design elements in materials, colors, textures, patterns, the more suc-
cessful the design.
3. Pick one point for emphasis. Use all the different elements of

design to enhance the selected point of emphasis, allowing none to dis-

tract from it.

4. Preserve unity in composition. In other words, don't try to make a

display of versatility in any single textile unless the piece is a sampler
intended to illustrate many techniques.
5. Be restrained when using patterns. Use florid patterns if the func-
22
 23

tion of the textile specifically calls for such, but otherwise avoid over*
ornamentation.
6. A
rhythmic repeat is always good design, whether one is working
with patterns or with simple color stripes,
7. A rhythmic alternation of two different design elements, whether

interpreted in color, texture, or pattern, gives the most satisfying results.

8. A symmetrical balance of elements lends formality to any design,

9. An asymmetrical balance of elements is more restless and gives a

more and perhaps more modern ) impression than strict symmetry.

vivid (

10. The
casual-looking design which is not based on any formal ar-
rangement of the design elements is the most difficult to achieve effec-
tively, and requires the greatest sensitivity to balance,
11. Pattern can be comprehended by the average eye and mind,

whereas formless designs are difficult for most viewers to appreciate.

Therefore, a carefully worked~out pattern will give most people, both
weavers and viewers, the highest pleasurable reaction.
12. Plain surfaces, unbroken by pattern, are monotonous and likely to

be depressing to weaver and viewer.

13. Patterns are emphasized by being in contrast to plain areas.

14. Odd numbers of elements compose into better over-all designs than
even numbers. Three or five stripes or pattern repeats are better than
two or four.
15. Avoid the use of any pattern, color, or texture plan which places a
definite break or a strong emphasis across the center of an article, as this
tends to divide it
visually into two separate parts.
16. In setting proportions, the classical scale of two-to-three is always
safe. For instance, make an oblong two parts wide and three parts long.

Or divide an article into five equal parts, decorating two of these and
leaving three plain, or vice versa.
17. refined or sophisticated proportions may be determined
More
through the use of the summation series-l:2:3:5:8:13:21:34, and so co-
in which each figure is the total of the two preceding figures, This system

was developed in the thirteenth century from Greek sources. The use of
two or more adjacent figures gives good proportions for outlines or for
groups of stripes or masses.
18. Whenever possible make a
design structural by integrating the
elements of color, texture, pattern, and over-all proportions, instead of
adding color, texture, or pattern as superficial decoration.
19. In planning, harmonize the finishing elements with the design
where possible. For instance, the hem of a table mat or a towel should be
part of the over-all design.
24 Th& Wtwers Book

20. NYu*r irst* fringe on an article unless the fringe will actually be-

Inns to design of the article,

fJ
fc

21. Always he guided by the maxim, "Form follows function." The

which a textile is to be used is the starting point for the de-

purpose for
Mgnins; and sets many of the limitations.
and certain limita-
Every weaving technique has certain potentials
22.
Select a because of its for expressing the design
tions. technique potentials
This a knowledge of the char-
idea and serving the function. presupposes
acteristics of at least two techniques, though experienced handweavers
have many at their command.
23. Avoid trying to design beyond the limitations of the techniques
which you have already mastered. However, do not hesitate to master a
new technique in order to meet a specific designing idea.
There are certain patterns and drafts for handweavers which have
24.
been used over and over and over. The possibility of doing something new
with these is very slight, even though the articles woven on them are
basically attractive. These are the trite patterns.
Avoid them. Use patterns
which are less commonly seen, which still retain a quality of freshness,
and which still permit the weaver-designer to add something new in the
interpretation.
25. An important principle is that the more complex the starting point,
the less the possibility for variation, interpretation, and innovation. This
applies particularly to drafts. A complex
or florid threaded pattern limits
the designer to a few statements, while a simple pattern-block arrange-
ment opens up a flood of ideas for new interpretations.
26. Be concerned with expressing your own ideas and not with trying
to be original. With the history of textile creation almost as long
as the

history of mankind, there is slight possibility that any individual can

originate something which has not been known and done before. The
the handweaver can do is to bring a fresh interpretation and a new
thing
idea to something already knowm
27. Forced originality that is, the conscious effort to do something
different-will betray itself in poor designing and inadequate function.
As weaving experience and knowledge increase, the range of selec-
28.
tion widens. Take full advantage of this and allow the breadth of de-

signing to grow along with increasing skills.

Proportions for Handwoven Articles

A routine but important part of designing is knowing suitable sizes and

proportions for the various articles the handweaver

likes to produce. The
listbelow will be a useful guide to correct finished sizes. It must be re-
 25

membered, however, that one of the advantages of handweavini; B that

custom-designed articles to fit special places and unconventionally pro-

portioned areas may be woven. One must not become so devoted to con*
ventional proportions that freedom in designing is curbed or that an

unusually proportioned custom design is considered wrong.

Afghans: 54* X 72* (may be two or three strips)

38" X 72* (may be two strips)

Baby blankets: large crib 40" X 60"

medium crib 36* X 50" or 60*
small crib or carriage 30* X 42*
shawls 38* X 88"

Barbecue cloths: 30" X 72*, or 30* X 108* (two inches narrower than the
standard barbecue table)

Bath mats: standard-22* X 34*, or 24" X 36*

Bedspreads: double bed, floor to floor 96* X 108* (three strips)

double bed, regular 86* X 108* (three strips)
coverlet 76* X 100" (two or three strips)
twin bed, floor to floor 80* X 108* (two or three strips)
twin bed, regular 72* X 108* (two or three strips)
bunk bed 60* X 90* (two strips)

Blankets: luxury-size 72* x 90*

standard double bed 72* X 84*
single bed 66" X 84*
utility-size 60* x 80*

Buffet scarves: 18* X 56*, though seldom used now

Center runners: 14* X 28*, though seldom used now

Kitchen towels: linen tea towels 17* X 30", or 20" X 36*

small glass toweb 14* X 28*, or 16* X 32*
roller towels 17* X 96*

Napkins: dinner 18" X 18*

luncheon 14* X 14*
tea 12* X 12", or 10* X 10"
cocktail 5" X 8*, or 8" X 8"
Neck scarves: ascots 6* to 8* X 36*
average 12* X 42*
large 15* X 48*
man's 14* X 50*, or shorter to taste
head squares 20" X 20", to 36* X 36*
26 The OT* Book

Neckties: standard bia.v-2(T X 30" makes two tics

straight tw*s 3" or 4"
x 60", piece size
bow ties -3* X 36", piece size

Table doths: bruise- 36* v 36", occasionally 30" x 30*

luncheon^ 40" \ 40", or 52" x 52" (may be two strips)

formal 52" x 70" (two strips)

M "
63* x 83*
" "
63" x 104"
72* X 108* (two or three strips)

Table mats: formal 14" X 21"

informal-^" X 18"

Towels: beach size 36* X 72*

luxury size -30" x 60"
large-24* X 48"
standard -22* X 44*
hand 16" X 32"
guest X 24*
12"
fingertip X 16"
8"
washcloths 12" X 12"

Tray mats: tea tray 15" X 24", or as required

individual tray 12" x 18*

doth yardages which are to be tailored should be the standard single

width of 27 inches. However, the handweaver is wise to aim at 28 inches

in case of selvage irregularities or weaknesses. For woolens (tweeds) the

28-inch finished width requires a 32-inch-wide warp, as about one-eighth
is lost in narrowing and fulling. For correctly set worsteds a 30-inch-wide

warp wiU be adequate as there is no fulling and there should be no shrink-

ing in the steaming.

The average man's suit requires 7 yards of 28-inch fabric.

The average man's sport jacket requires 4 yards of 28-inch fabric.
The average man's slacks require 3 yards of 28-mcfa fabric.
The average woman's suit requires 6 yards of 28-inch fabric.
The average woman's full length coat requires 5 yards of 28-inch fabric.
The average woman's short coat requires 4 yards of 28-inch fabric.
The average wool shirt requires 3Vi yards of 30-inch fabric.

These average requirements are all given for finished length and width
of perfect fabric. Allow about one extra yard in eight for fulling loss in
tweed fabrics, and about three inches per yard for take-up loss in worsted
 An in the of a ht fc
vw
as a by as a as

up to an or a for
to a it is

Cotton, rayon for can be

on a 32-inch for a of ;30
for cut a
pattern. If a full Is the be
38 to 40 wide. Many be
fabrics 20 to 24 wide, if the is

Yardages for interior decorating be to

the demands of the project at hand. Rugs be to
the rules of proportion, or as the where the rug is to be re-

quires,
 PREPARATION FOR
WEAVING

The Draft
A draft Is a diagram or a system of notation which indicates the arrange-
ment of warp threads through the heddles on the several harnesses to
form a specific texture or pattern. A
pattern any organized effect
is

achieved through an integrated arrangement of warp and weft threads;

a draft is a threading guide for securing the effect.
Of the many draft writing methods 9 one system, the modern graphic
draft, is becoming standard. The modern graphic draft is written on

squared paper preferably with ten spaces per inch. For a four-harness
draft four horizontal spaces are required; they should be bounded top
and bottom with strong lines. Each horizontal space represents a harness
of the loom* harness 1 (toward the front of the loom) indicated on space 1
at tibe bottom, harness 2 on the second space, and so on. The vertical divi-
sions of the draft represent the warp threads. The proper harnesses from
which to select the heddles for threading are shown by the black squares,
each one placed at a point where a specific warp thread intersects a spe-
cific harness. Thus in draft 101 (page 151), reading and threading in

the conventional manner from right to left, one places the first warp
thread through the first heddle on harness 1, the second through the first
heddle on harness 2 ? the third through the second heddle on harness 1 ?
28
 fflr

the the on 2, th? fifth the

Irst on 3, and so on. The
In a are at a
aid in and is by the
The
the on 1 and to 2
to 4 on 4 and
to 3.

20 ,10

48

JEO

48
44444
33334 4 4
333 444 4 4 4 4 4
3 333
I V
2222
1111 II 11
2222 I 1 I,

44244 44244
6 4
44244 4 6
2 4 6

The graphic draft (top) rewritten In five different drafting

systems.

A draft is properly given in entirety, but with no repeat, even for some-
thing as short as the 4-thread twffl. When the end of a draft is reached,
one returns to the beginning and repeats it. The inclusion of selvage

threading, borders, or draft repeats indicates a specific threading sched-

ule for a planned article rather than a generalized draft
30 Th# Weavers Book

Other draft writing methods are significant to the handweaver who

ti*?s certain foreign publications or publications for
which the drafts
have been copied exactly from ancient or foreign sources without tran-

scribing them to modern form. The preceding diagram shows a modern

in five different conventions.
graphic draft and the identical draft written
The chance for inaccuracies and the difficulties of interpretation are ob-
vious from a brief study of these, although it is sometimes convenient to
draft
use one of these systems taking personal note. Since the first
when
has been literally transcribed, one characteristic of Scandinavian drafts

is not revealed This is theapparent backward motion due to the Scan-

dinavian convention of numbering harnesses from back to front of the
loom, top to bottom of the draft. A draft which seems
to read 4,3,2,1, or

4,3,4,3^3,2,1, should be read 1,2,3,4 or 1,2,1,2,3,2,3,4 through transcrip-

tion (reversal of the harness numbers) and thus set down in modern

graphic convention for threading. This seemingly unimportant detail

is of great importance to
(since the weaving will be the same in the end)
the weaver who is truly desirous of understanding drafts and textile theory
and understanding can be achieved easily only if consistent
analysis. This
conventions are used from the beginning.

A two-block profile draft

Another draft form is the profile draft used for threadings in the unit
class of weaves. These weaves have perfectly stylized threadings with no
overlaps, irregularities, or exceptions. In the profile draft each
horizontal

a
space represents pattern block and each vertical space represents a static
group of threads keyed one or another weave system. The profile is
to

thus a substitution draft requiring a key unit which is substituted for

each square of the profile draft in the threading. The draft thus shows the
pattern arrangement and proportions rather than the threading arrange-
ment (See drafts 77 through 88, pages 134-135.)
A third common draft form is the abbreviated draft, a type of personal
notation best used as a threading guide only. In this form, groups of
threads which are repeated are drafted only once and bracketed, with a

figure under the draft to tell the number of times the bracketed threads
are repeated. (See drafts 69, 70, 71, pages 127-129.) Although an effective
short cut for threading and for writing a long draft, the abbreviated draft
is not graphic, does not show proportions and relationships, and is not
suitable for study and analysis of technique or pattern in most cases. One
 for 31

it, as it Is as a in

Tie

The tie-up of a is the

to the of or
with the of to be and the for any
weave Is by a tie-up to a

ing draft. The tie-up for a has

each one representing a as in a
vertical spaces of a tie-up draft the and
are separated by blank spaces to facilitate As arc
read and made from left to right, the arc
numbered at the left and treadle numbers in left to
The symbols in the squares indicate which or ( by con-
necting the lams controlling the harnesses) be tied to the treadle*

(a)

1 2 3 4 a b

] 23456789 1011 121314

Four-harness tie-ups: (a) Standard tie-up for sinking shed, (b) Twill and tabby
tie-up (standard) for rising shed, (c) Single or skeleton tie-up, (d) Full tie-up.

The standard tie-up draft has either xs or c/$ representing tie-up con-
nections. If the tie-up is shed (counterbalanced loom)
given for a sinking
the tie-up is written with x's at the points where ties are made* For the

rising-shed jack loom, o's are used. Tie-ups for the rare countermarch
loom, in which both rising and sinking sheds must be tied and every
harness is attached to each treadle, use both the x*s and o's. The con-
version from a sinking-shed to a rising-shed tie-up is made by putting o*s
into the blank spaces of the tie-up draft and leaving the jfs untied, as the
two shedding motions are opposite or compensating.
The simplest tie-up attaches a single harness to each of the first four
treadles in 1, 2, 3, 4, order and is known as the skeleton tie-up. This tie-up
32 The Weaver s Book

b used when the shedding sequence of a weave requires the use of more
sheds than there *ire treadles. Two or three treadles can be operated with

one foot, or both feet can be used simultaneously to make a shed with two
or three harnesses, The true skeleton tie-up requires six treadles, the four
at the left for the single-harness tie-ups and the two at the right for the

tabbies. This tie-upis not made on a counterbalanced lootn, because there

is no advantage; cmmterbalanced harnesses must be operated in pairs.

Weaves which require the raising of a single harness or of three harnesses
together must therefore be avoided on the counterbalanced
loom unless
it has a special mechanism added to force unnatural sheds. For simple

twill weaving and for overshot and crackle, weaves derived from twill,

the harnesses are always operated in pairs; therefore these are the weaves
most commonly produced on counterbalanced looms. For these weaves
the standard tie-up is used.
harnesses. Four
The standardtie-up requires six treadles for the four
of the treadles (those numbered 1, 2, 3, 4 starting at the left side) are
tied to give pattern or twill combinations, and the two treadles at the right

are tied for plain weave, or tabby. The two groups are known as the

pattern treadles and the tabby treadles. To facilitate understanding

the

standard tie-up system, think of the harnesses as lying around a circle

instead erf parallel. The circle diagram shows the harnesses on the periph-

ery of the circle. The four pattern combinations are cords between pairs

Circle diagram for determining relationships

and progressions for twills and weaves de-
rived from twills.

of harnesses; the tabby combinations bisect the circle. This shows that
in the structure of the weave, harnesses4 and 1 have the same mutual
relationship as harnesses 1 and 2, 2 and 3, 3 and 4.
The tying of the pattern treadles at left and the tabby treadles at right
permits the development of the w^Bmg-motioH, touch system in treadling
 f&r 33

for is a
for If the Is to be in Use
on 2 3 be so the
be In 1, 3, 2, 4,

Tie
1 is to 1-2 or 3-4 for A,
2 is to 2-3 or 4-1 for B.
3 is tied to 3-4 or 1-2 for C,
4 is to 4-1 or 2-3 for D.
Treadle 5 is to 1-3 or 2-4 for a*
Treadle 6 is tied to 2-4 or 1-3 for fc.

Tabby combinations are always by a & to

distinguish them from pattern blocks or in

capitals.

Tie-ups cannot be made on a hand-operated as

is controlled by a separate lever. Therefore^ in
tions for such a loom one must substitute tie-up for

numbers. If the tie-up is for a sinking-shed, the

must be made.

Threading Schedules

A few small need merely be threaded in repeats for the entire

drafts
width of a warp. However, most drafts require some arrangements,, ad-
justments, balances and the addition of selvages to fit them to the needs of
a particular warp. The plan for an entire warp threading is known as a

threading schedule.
The selvage is concern in the threading schedule. A
usually the first

selvage is an edge finish and should be as narrow as possible. Its function

is to make the edges of a fabric stronger, neater, and easier to weave. It

should be closely interwoven and therefore, whenever possible, it is

threaded to plain weave. Because it is often more closely interwoven than
the textile the selvage must be narrow or its weaving will cause dis-
itself,

tortions in the body of the fabric. And because it is simply a finish and
not a part of the over-all design, it should be inconspicuous. The narrowest
possible plain-weave selvage is two threads to weave one-up-one-down.
The best selvage width is four to six threads; anything wider than six
threads should be avoided.
Certain bad selvage treatments should "be strictly shunned. These are
the threading of selvages with double warp ends, unless the warp is un-
34 The

fine and the be the

use of a for the use of a of for

that of the A will

to the are and

to
1, 2 in the warp, obviously

no and are weaves

for a is or But most of
the by the can be given a selvage. The
for the 1, 2, 3, 4 is an inversion of the
two to 1, 3, 2, 4 for the first and last repeats. This selvage is

if of the is to be in twill, but if tabby, or

is the should not be made.
For all from the twill chiefly the overshot, the hybrid
the weaves, the selvage threading is twill. Special selvage
weave systems are commonly given in any analytical
for specific
of the system. For instance, the selvages for the Atwater lace
weave are threaded 1, 2 alternately. Selvages for huck and NTs and O*s are
1, 4 alternately. For the summer-and-winter
weave there is no
satisfactory selvage threading, but the dose interweaving obviates the
necessity for a selvage.
next threading schedule problem is arranging the pattern elements
The
of the draft so that they wffl balance and give harmony to the over-all

design. This arrangement is not necessary when one is planning a simple

pattern for a yardage, and it may often be avoided if the pattern is asym-
metrical, but for small articles and for symmetrical pattern drafts it is

very important that both sides of the design be identical. Symmetry is

attained by adding a thread if the draftis a point twill, a pattern block if

a one-motif pattern, or an entire motif if it is the more usual pattern

it is

composed of alternating motifs. The addition of blocks at each side, to

accommodate to the exact number of threads in the warp or to complete
a pattern motif, is sometimes a necessary part of the threading arrange-
ment If a border is to be added at either side, the arranging is consider-
ably complicated, as a border which harmonizes with the pattern must be
selected, the suitable border width determined, the number of repeats of
the motif this width will require must be calculated, and the joining be-
tween border and pattern drafted harmoniously and identically for both
sides.
As an example of the method for making a threading schedule, look at
the draft given under the heading Developing Drafts on Paper, page 67.
 Preparation /or \V eating .35

This is selected localise the development of the hill draft phis a partial

repeat given, and it is only with the help of such a development that a
is

pattern can be effectively arranged. The project for which this pattern is
selected is table mats and hand towels, to be woven on a warp of 20 2
mercerized cotton set at 30 ends per inch, 14 inches wide, a total of 420
warp ends. The draft gives a simple star with a small cross at each corner.
The 28 threads as they are drafted form a single-motif pattern which re-
quires the addition of the first five threads of the draft to balance it It has
two points of symmetry, the main one at thread number 17, the center of
the star, and the secondary one at thread number 3, the center of the
cross. This draft could be written as two motifs by drafting the star first,
threads 9 through 25, followed by the cross, threads 26 through 28 and 1

through 8.

To determine the number of pattern repeats to be used, the number of

threads in the draft is divided into the number of threads in the warp:
420 -T- 28 = 15 even. This leaves nothing for the balance unit and selvages;
so 14 repeats must be made and 28 threads allowed for the adjustments.
First the 5-thread balance unit is subtracted, leaving 23 threads for
selvages, 12 forone side and 11 for the other (there is usually one more
selvage thread on one side but this irregularity is of no moment). As this
selvage is too wide, it is necessary to add a pattern block at each side,
which would be a B block, following the symmetry of the pattern. A 4-
thread block drafted 3,2,3,2 at the beginning and 2,3,2,3 at the end would
be natural, but since this would still leave an unpleasantly wide selvage
it iswise to add a further block, 4,3,4, at both beginning and end, an
arrangement which places the full cross at the warp edges and gives a
better finish to the pattern. The schedule becomes:

Right selvage (4,3,2,1) 4 warp ends

Right balance unit (4,3,4,3,2,3,2) 7 warp ends
Pattern, 14 repeats of 28 ends 392 warp ends
Left balance unit (1,2,1,2,1,2,3,2,3,4,3,4) 12 warp ends
Left selvage (1,2,3,4,1) 5 warp ends
420 total warp ends

Notice that the right selvage is drafted in 4,3^1 order and the left in
1,2,3,4 order. The direction of the selvage twill should always be the di-
rection of the pattern blocks with which it is most closely associated. Had
itbeen possible to start the threading at the beginning of the draft, the
right selvage would have been 1,2,3,4, following the A,B>G order of
blocks.
 DRESSING THE
LOOM

of
Dressing the loom means preparing the loom for weaving. It consists
winding a warp on a warping reel or a peg warping frame; transferring
this warp, spread! to the correct warp width, without thread twists and

under proper tension* to the warp beam of the loom; threading the bed-
dles; drawing in, or skying the reed; tying in the warp with correct ten-
sion to the cloth beam; and making the correct treadle-lam tie-up. The
only fundamental variation from this procedure is the substitution of di-
rect beaming from spools held on a creel to a sectional warp beam for the
two steps.
first

Hie methods must provide absolute

for accomplishing these processes

accuracy at every stage, but otherwise they are merely means to an end,
and the method the weaver selects has no significance in itself. Owing to
possible variations within each process, there are almost as many ways of
dressing a loom as there are weavers, and any method which produces the
desired results efficiently and accurately may be considered the right one
for the person using it. The beginner needs to follow an outlined method
with great exactness at the outset; as warping proficiency develops he
may introduce variations or short cuts to suit himself.
*
fi 7*
There is a traditional, ancient art, warping method used without varia-
tionby many weavers, but the modern equipment used by most present-
day weavers suggests different methods which are particularly advan-
36
 Drming the Loam -37

tageous to a weaver working unassisted. By the ^indent art" method, the

warp is wound on a reel or warping hoard with a cross, or Ieas*\ at each
end. Both crosses are secured hy cords before the warp is chained, A pair
of lease sticks is
placed through the cross at one end and the uncut ends
are then drawn through a raddle, which is a 4-dent reed with a remov-
able top; enough threads for one-fourth of an inch are placed in each dent
The lease sticks and raddle with the warp are then placed in the loom
(harnesses and beater removed) and the warp beam rod is run through
the uncut ends and attached to the beam. The warp is thus organized,
spread, and tied in, ready for beaming. Beaming requires one person to
turn the warp beam and add padding as the warp is wound onto it, and

another person (or two persons) to hold the chain, organize it as it un-
chainsby shaking or beating it or drawing the fingers through it, and
keep strong tension while the beaming is in progress. When beaming
a is

completed lease sticks are placed in the threading cross and tied so that

they hang just behind the harnesses, The threads are drawn in through
the heddles, sleyed through the reed, and tied in to the cloth beam rod.
The process is not as simple and easy as it may sound.

Step by step directions for a variation of this method, one which can
be accomplished by one person working alone, are given below.

1. Plan the project (warp material, length of warp, width of warp, number
of warp ends per inch, total warp ends) .

2. Tie the warp thread around the upper right-hand peg of the warping board.
Cany the thread over the first of the center pegs, under the second, and
around the left peg. Cross to the opposite peg and continue around pegs
on alternate sides of the board until the desired yardage is measured off.
Then retrace exactly, to the top of the board. Make a cross between the
two center pegs at the top by carrying the warp over the first peg and
under the second. The cross will always be perfect if, regardless of the

warp is carried over the first lease peg, under the second, and
direction, the
around the end peg. The cross should occur at about eighteen inches from
the end of the warp. Continue measuring off the warp, making the cross,
until enough threads are wound. To facilitate counting as one winds, sepa-
rate each ten threads with a chain made of a long double strand of heavy
cord. Hold the center loop around the first ten threads and pull a double
loop through it. Let the ends hang down, the loop up, until another ten
threads have been wound; then make a second chain around them. This
chain for counting may be placed at any convenient spot on the warp and
should be removed before the warp is chained off the board. Do not think
it necessary to make an entire warp in one chain. It is usually easier to
38

of 100 to 150 In winding on the pegs, be

the is uniform throughout, but do not make It so tight that
the are drawn out of lino.
3. Tic a piece of heavy cord loosely through the cross between the two center
to hold the cross in place. Tie a cord through the loop at the end of
the last peg.

The crosstie.

Chaining the warp.

4. With the left hand, grasp the warp firmly near the lower end and slip the
loop off the end peg. Place the right hand through the loop and grasp the
entire warp, pulling it through to form a new
loop. Ptit the right hand
through the new loop and pull through another, continuing thus to make
a chain of the entire warp* until the upper left peg is reached. Always hold
the unchained portion of the warp firmly so that it will not slip over the
 the Ln*

The cross Is at upper left, tied with white cord.

pegs. In chaining back and forth, always face the direction of the chain-
Ing.
5. Cut the loop around the peg at the upper right-hand comer, the first peg
of the warp.

Step 6. Two lease sticks holding cross tied to breast beam.

40 The

6. a r a 0n side of the as it is by
the Tie of the to the of the

Cut the flic and the the

so the not slip

7. the the to In the in

the Be sure to the of the and

start at tie will the the ends
the in or to the plan. If
ends per the in
a sky is

tic the is by the stick

flat the and it in this will

be up for
8. the and the from to left. Thread
or side of according to individual con-
the to the left side of the harness frames (be
are on frame for the complete thread-
at a somewhat to the right,
ing) and a it

it, and it to the right When ten warp ends

are (or more, if the larger groups) check
them
the draft for accuracy, tie the group behind the lieddles with a loop
and the to the right. Before tying the loop,
be
the are all of
9. Tie the ends of the warp to the attached to the warp beam (this
rod which is attached to the by cords or tapes must be carried
around the back beam) in groups of about one inch. Use the tie-in bow s
or tie with a half hitch or simple knot as desired.
10. Release the lease sticks but leave them in the warp, tying the ends together
so that they cannot slip out. Unchain as much of the warp as can be
stretched out at one time (five yards is a good length to handle if the space
in front of the loom allows), grasp the warp firmly as far from the loom as

possible, and pull it out with both hands until the tension is even through-

out and all the threads are lying in order. Shaking the warp often helps
organize it, but do not comb it with a comb. Draw the pair of lease sticks
about eighteen inches down the warp.
11. Go to the back of the loom and turn about one-half yard of warp onto the
beam, placing padding of corrugated cardboard, heavy paper, or lease
sticks into the *V* whore the warp goes onto the beam. Return to the
front of the loom, grasp the chain and pull it very firmly to tension the

warp just rolled onto the back beam. (The lease sticks, reed, and heddles
have already done part of the tensioning job, but not enough.) Then pull
the lease sticks down another eighteen inches, straightening the warp if
as
necessary, and turn on another half yard. Continue thus, unchaining
required, until the shortest warp ends hang just over the breast
beam. If
there are ragged ends, trim them off even, but if the warp has been kept
under perfect tension throughout, all warp ends will be approximately
the same length.
 the 41

Inserting dowels in tabby to as

The photograph shows an alternative and

method. Place four or six dowels Into alternate sheds. Let the pair or two
pairs nearest the reed be at rest to serve as tensianers and use the pan-
as warp straightenem
12. Tie in the warp to the cloth beam rod, which has been carried around the
breast beam, If using the tie-in bow, select groups of about one inch of

1234
The conventional tie-in bow method. Do not tie half hitch
'V

under bow,

warp threads and tighten all groups firmly and uniformly. First tie a group
at each end of the warp. Tighten the tension one notch on the ratchet. Tie
a group at the center. Then tie groups at left and right, working from the
center to the edges. Pull the beater halfway forward and test the tension

by passing the palm of the hand gently over the warp behind the reed. If
4S The tT^

of ti'if art* or the parts, out

tlie tonvs ami rHie tn tin* tension,
of tit'-in in the and
is by weavers. the it

Is to a tie to the to the

to

I 2 3

The or by pulling the cord.

Lashing the warp to the cloth beam rod.

 The Is ready for spreading the warp. Th& ma\ lit* *!* w
identieal to the or uith a heavy thread Midi as earpt-t warp,
the sheds alternately and throw jfoir weft ,<hr,ts, Then
short, sharp Iwuts. R**pe*it the sh?*K heat-
ing together, at the to

Probably the warp be perfeetly a

be If are no in the

Sectional warping, for an the fast

method of beaming a long warp with many threads, a or

spool rack, and a tensioner, in addition to a on the

The Brst step In sectional warping Is to on the as

many spools or tubes of warp yam as are to be in one

Threading the tensioner for sectional beaming.

44 The

of the of two
(Tho
and one Inch, to of the ) Be sure that all

in the In an at the

as one the on the side of the end of the

and each lube to top, each end, in turn,

the the of the

and the aad the at the

of the on the with a cross

two to order. the number of ends

to in of the all have

The set-up for sectional beaming with warping in progress.

entered, tie the entire group to the rod or the beam section cord at one

side of the beam. Adjust the tensioner, clamped to a low table or fastened

to the back beam of the loom, so that it just clears the pegs, and the
ribbon of warp will turn onto the beam without catching on any pegs.
Turn the warp beam the correct number of times to measure off the desired

length. Loosen the bout slightly and, holding it between

warp the lingers,

cut it a few inches above the last pegs. Drop the ends held in the tensioner
and loop the beam ends around the peg away from the position of the
next bout and pull firmly. Tie the warp ribbon in position for the next
section, adjust the tensioner, and wind in the same manner. Proceed in
this way to fill all sections needed for the warp width. Some weavers
prefer to fasten the warp ribbon in place with a strip of Scotch tape,

which serves also to hold the thread order, or with a bobbie pin around
the cut ends and slipped into the bout
 !k Tj\'"<m 45

to the
for a to a peg of the

To thread from a sectional beam, first the the

beam, and if possible the cloth the of the and
draw a low stool directly in front of the the
at the right, carry it completely around the warp to it

tional length, and make final length adjustments by the The

warp ribbon must be long enough to extend around the
forward eight or ten inches beyond the heddles. the
toasion to prevent any displacement of the thread order and It to

the back beam. From the heddles which have been shoved to the left of
the harnesses, select the exact number from each harness required for

threading the ends in the first bout and move these toward the right
With the left hand at the left of this group of selected heddles^ reach
back and pick up the warp bout and hold it in a comfortable position
under tension. With the threading hook in the right hand, select the cor-
rect heddle for the first thread, run the hook through the eye and back
to the warp ribbon and pick off the edge thread, drawing It forward
through the heddle eye. Push the heddle to the right, select the second
heddle, reach through the eye with the hook, pick off the edge warp
thread, and draw it through the eye. Continue thus until all the threads in
the bout are through heddles. If all the selected heddles have "teen used

by the threads, the chances are that no have been made, but a
errors

threading check is wise. Tie the threaded warp ends with a loop knot,
push the heddles to the extreme right, select the heddles for the next bout
and loosen the warp ribbon in the same manner. Some weavers prefer to
unwind all bouts at the beginning and tape them securely in place on the
back beam. After sufficient practice to make all motions sure and eco-
nomical, this is probably the fastest threading method there is, and it
46 IV W*vrr\
vJs very rapid!} if is *in to off each in

onlT place it in tho hwL

Threading without a cross. All warp bouts have been loosened, taped to the
back beam for security, then looped around a rod suspended behind the castle.

Horizontal Reel Warping

Warping by semi-sectional method through the use of a two-yard hori-

zontal reel attached temporarily to the loom is perhaps the fastest and
easiest warping and beaming method. The method is suitable for any
type of warp, plain or mixed or stripes, and for lengths up to about

twenty-five yards. For this method the warper sits comfortably during
the entire warping process, working alone. Beaming is merely a matter of

transferring thewarp from the reel to the warp beam; it is done quickly
by single person who turns the warp beam crank with one hand while
a

tensioning the warp by putting pressure on the reel with the other hand.
Equipment required for this method is a reel two yards in circumference
(usually folding) which can be attached to the breast-beam position on
the loom, a tensioner secured to a weaving bench or low table, and a
creel. Any number of spools or tubes of warp yarn may be used on the
 *
47

In of an ?ip to
the is usually m*ha!f AH
The fill! for is in

the the the at

the the in and the

'

Photo horn Bandwmmr and

Winding a ribbon of teesloned warp onto the hcraontal reel.

Warping is in progress. A ribbon of warp twelve threads wide from

twelve tubes on the creel, carried through the tensioner, is tied to the
reel's tie-in rod. The tensioner is placed close to the reel, with the warp

ribbon spaced about one-quarter inch to the left of the previous bout.
48 The

the the nofc the

it fe to cut the The reel is as in

the a of to

the
on 47 the use of a pin to
the the Slip the pin the

the a to give and

the pin the as Cut the the pin.
it to the right,
the In by
of the six red it the previous bout and

Photo from Handweaver and Craftsman

Making the tie-in from the horizontal reel to the warp beam rod. Notice the
long stick between loom arms and reel, securing the reel against moving.
 Drcwing the Lo&m 49

fillsthe correct amount of space for the desired number of ends per inch*

Measuring of the accumulated warp width should he done every three or

four bouts as a check on the progressing warp width. This checking is
facilitated if two or three plastic tape measures are cemented, with perf eel

precision, to the reel arms.

The photograph on page 48 is taken from the back of the loom and
above, looking down into the warp. The warp is completed, the hobbie
pins holding the ends are freed from the bouts, and by turning the reel
sufficient warp is released to reach across the castle to the warp beam tie-

in rod.A broomstick is a useful tool here. It is placed under the entire

loosened warp and used to lift the warp over the castle so that the hands
never have to touch or disturb it. In the photograph the broomstick may be
seen where it is then placed between the side pieces of the loom and the
reel tohold the reel perfectly stationary during the tie-in. The tie-in is
being made in the photograph. The lashing tie-in may be used if preferred.
An edge group, still held by the bobbie pin, is picked up, the bobbie pin
removed, and the bout tied to the warp-beam rod by one's favorite tie-in
knot Next the edge bout on the other side is tied, and the warp beam is
tightened a notch or two. The tie-in then proceeds bout by bout either
from each edge alternately toward the center or from the center alter-
nately to the edges. Since this tie-in sets the tension for the entire warp
it must be made with the same precision as the tie-in of warp to the cloth

beam.
The photograph on page 50 shows the actual beaming. The warper stands
at the right of the loom, removes the broomstick or whatever device has
been used to hold the reel stationary, and grasps the reel with the left hand.
The warp beam crank is turned with the right hand as the left hand
passes from arm to arm of the reel exerting the desired tension on the
warp. The process must be interrupted for inserting beam padding (sticks
in the photograph) but otherwise the beaming can proceed as fast as the
warper can turn the crank. If tension is never released enough to permit

thewarp to sag, all warp threads will pass onto the beam in perfect order.

The secret of the method, if there is one, is tension.

When aU the warp is beamed, gently place a stick slightly longer than
the loom width under the warp and bring it up to rest across the castle.
Make the reel stationary again and tighten the warp beam so that there
is neither warp slack nor heavy tension. Then secure the warp to the
lease stick by pressing a strip of masking tape firmly across it The warp
is BOW held in its beamed order ai*d it may be cut or untied from the reel
While turning the warp beam, move the lease stick with the warp taped
so

Photo from Hamtwmver and Craftsman

The warp being transferred from to warp beam.

to it to a position just behind the harnesses and tie or clamp it there with
the warp ends hanging down in the correct position for threading. A good
precaution is another strip of masking tape to hold the warp to the back
team. The warp is now ready for threading.

Bobbin Winding

There are three main types of shuttles: stick shuttles for special uses,
particularly with very narrow sheds or with very heavy weft; boat shut-
tles, which must carry a bobbin of thread and are thrown through the

shed; and belt shuttles, which not only hold weft but also have a beating
edge to be used for placing the weft. The usual shuttle is the boat shuttle
which comes in countless types and sizes and selection is a matter of the
weaver's preference. Boat shuttles require bobbins and bobbins must be
wound with weft; so some sort of bobbin winder is needed. Some winders
operate by hand, others by electricity. Electric winders may be bought or
may be devised by the insertion of a shaft into some kind of household
 tht 51

Thrtv stages in
on i

motor. The shows a sewing-machine

Illustration for a

winder. Commercial bobbins of wood, plastic, or are

available, but most weavers find it convenient to wind the on

of strong paper cut the proper width, called a quill.

Winding a bobbin.
 The

the in, the

Is to a Is often not
the After a few are In or sieving may
It Is be
be at the Sleying
of in the or too in a dent. If

of Is no but to remove the

the of the to the and resley
a In the the heddles and
the preventing the formation of a tabby and interfering with
the This sleying two or three threads in improper
to only the it actually involved in the cross need
be removed from the and resleyed in order* An error in the actual
is to correct. The most common threading
more complicated
error, one
easily missed in checking, is the selecting of a heddle from
the wrong harness. For instance, a tabby failure may mean that two ad-

jacent threads lie on harness 3 when one of them should be on harness 2.

The problem solved by drawing out the incorrectly threaded warp end
is

rethreading it on the correct harness. But since there is no heddle

available for it on the correct harness, a string heddle must be added.
Make the string heddle of carpet warp. Draw it around or loop it with a

43=
I 2 3
Steps in tying a string heddle.

snitch knot to the lower heddle bar. Tie a granny knot at a position exactly
in line with the bottom of the heddle eyes on the same harness, lay the
warp end across this, tie a second granny knot to correspond to the top
of the heddle eyes, and finish by carrying the cord over the top heddle bar
and tying in a granny topped with a square knot Another common error
 a b

(a) Cranny {!>) Sqiun* knot

is to correctly in tin*

the or if nccvs^ury, re-

tie In Occasionally by or
to or from the draft. Unless are st*vvr*is

of warp may be on the

Method for inserting a correction warp end.

with half hitches, the bobbins hung over the back beam with the
threaded through string heddles, and the warp resleyed from the of

the error. Such inserted threads are apt to be a nuisance during

but their use does present a method for avoiding rethreading.
threads may be drawn out and the warp resleyed from the created.

Extra unthreaded warp ends too may become a nuisance but are con-
trolled if hung over the back beam with weights on the ends so that they
cannot become tangled in the warp. Threading errors of a more extensive
nature can be corrected only by rethreading.
Another source of occasional 'error which requires correction as the
weaving progresses is broken warp ends. With a correctly beamed warp
ofgood quality and with good weaving technique there is little excuse for
broken warp threads. But accidents do happen and the weaver must be
54 The Werner's Book

able to handle them. Remove warp end from hecldle and reed,
the broken

tie a weight to the end of the thread and hang it over the back beam.

Wind a length of warp material on a bobbin or spool, hang the spool over
the back beam and draw the end through the heddle and the reed dent
Fasten the thread end by winding it crisscross around a pin inserted just

Wow the weaving edge, or fell. When the weaving has progressed far

enough that the broken warp end may be reattached, remove the sub-

Method for fastening correction thread

into fell

stitutethread and return the original, fastening it by crisscrossing around a

pin. The loose ends are carefully darned into

the fabric either on the loom
or after the fabric is cut off. Occasionally one may simply tie on a length
of thread to extend a broken end; but knots are generally undesirable as

they are apt to break in the reed, even though they can be cut out and
darned over later.

Tie-up and Loom Adjustments

The tie-up is made according to the tie-up draft for the threaded weave.
If the draft is twill, overshot or crackle, the standard tie-up is used. Tie-up
connections in the best jack looms are made with foolproof wire systems
which require only a few seconds to connect and need no adjusting after
being attached. Tie-ups of cords are satisfactory if two cords are used, one
attached to the lam and the other to the treadle, the loop of one and the
two free ends of the other to be joined by a snitch knot. Cord tie-ups are
somewhat laborious to attach and adjust, but the effort is reduced by the
use of the snitch knot. If the loom is an old-style counterbalanced one,
harness cord adjustments must be made along with the tie-ups to assure
that all harnesses operate evenly and with precision.
 The tie-up.
hoif

treadle freadta
 WEAVING

The mechanical
processes of weaving are soon mastered, though skillful
operation developed only with time and practice and careful attention
is

to correct form from the beginning. Weaving tabby is the start. Tabby is
woven on two opposite sheds, each of which raises alternate warp threads.
With the shuttle in the left hand, depress the a tabby treadle, beat, throw
the shuttle from left to right, beat, depress the b tabby treadle, beat,
throw the shuttle from right to left, beat; repeat continuously. The mo-
tions are all simple, relaxed, and rhythmic when the operation is skillful.

Since weaving perfect tabby requires the placing of exactly as many weft
shots per inch as there are warp ends, the force of the beat must be

adjusted to achieve this warp-weft balance,

Adjusting the Warp

For most looms the weaving line for the maximum weaving space falls
about two and one-half inches from the inside edge of the breast beam.
To adjust the warp s rest the beater against the weaving surface, release
the tension on the cloth beam, then release the catch on the warp beam,
and roll up the cloth until the beater just clears the breast beam. Regard-
less of the depth of the weaving space, only about four inches can be
woven perfectly between warp adjustments.
56
Warp Tension

Different types of warp require different temiom. Fti/./v w sticky ma-

terials such as wwl or singles linen require a rather sevrre? tension to
force sheds apart. Elastic materials such as most cottom HMV be wown
at a fairly loose, resilient tension. Inelastic materials like linen require suf-

ficient tension to prevent sag. Too severe a tension puts an undesirable

and unnecessary strain on the loom, the warp, and the weaver. The

heavier the tension the greater is the force required to depress the treadles;
the treadle action should be as light as possible. As the weaving surface

progresses from the breast beam toward the beater, the angle of the shed
increases and the warp is taken up in the weaving, so that the tension of
the warp increases. To obviate this, as soon as the treadles become notice-

ably heavier, the catch on the cloth beam should be released one notch.

Inability to weave a perfect tabby on a correctly set warp often means

too tight a warp tension,

Throwing the Shuttle

The shuttle should be thrown on the shuttle-race with a rhythmic mo-

tion,with neither the hands nor the shuttle touching the raised warp
threads at either edge. The shuttle is held lightly in such a manner that
the forefinger can be used to slow or stop the spinning of the bobbin when
it is caught. Different weavers hold the shuttle in different positions; it

need only be said that the grasp should be natural for both throwing and
catching. The shuttle when caught should be pulled far enough beyond
the arc of the beater so that the weft will lie on a loose diagonal in the
shed. Allow no tension on the weft during the beat. Economize motion as

much as possible. Except when weaving with two or more shuttles, avoid

bringing the hands toward the body; that is, keep the arms extended so
that the hands are in a position to throw the shuttle along the shuttle-race
and then move to the beater in a line almost parallel to the front of the
body,

Two-Shuttle Weaving

The handling of the shuttle is more complicated for pattern weaving

with two shuttles carrying different types of thread. The basis of most of
the two-shuttle weaves is tabby; so one shuttle carries weft like the warp,
SB Tfce Bodfc

the weft The

arc the left and the the right, In
a. the left

Correct warp and weft positions for the beat.

to right, beat,change the shed, beat, depress tie pattern treadle, beat,
throw the pattern weft from left to right, beat, depress tabby treadle b,
beat, throw tabby weft from right to left, beat, depress the pattern treadle,
beat, throw the pattern shuttle from right to left, beat; repeat continu-
ously. Sometimes the beat following the shed opening may be omitted.
The pattern weft follows the tabby, and in the same direction. Neat edges
are made by locking the two wefts at the selvages. The lock is accom-

plished by always laying the shuttles down in the same relationship: the
tabby shuttle toward the weaver and the pattern shuttle toward the
beater, or vice versa, as long as the system is consistent. For classic pat-

ternweaving the beat must be so adjusted that the final textile has a bal-
anced tabby background.
The Beat

The force of the heat is determined by the weight of the beater and
the speed with which it hits the fell, not by the amount of muscular force
applied. Always grasp the heater exactly in the center, never at the side.
Grasp it swings almost freely between the fingers and
lightly so that it

the thumb. Swing the beater with wrist and elbow motion, not with
shoulder motion. Control the strength of the beat through the sharpness
with whieh the beater is swung. A pair of short, sharp beats is more effec-
tive than a beat made with a great deal of muscle. No rules for **the
correct beat** can be given because each different situation requires a
different beat touch. Factors which influence the beat touch are type
of warp material, system of threading, warp sett, warp width, warp ten-

sion, and perhaps most important the effect the weaver wishes to achieve.
A large proportion of weaves are balanced and require that the beat be
perfectly adjusted to give exactly as many weft ends per inch as there are
warp ends. The weaver must experiment for each new problem to dis-
cover how tobeat in order to place the weft exactly as the textile re-
The
quires. beat may be a pair of short, sharp taps or a single tap; it may
be made before the shed is changed, both before and after, or at the exact
which the weft must be spaced
instant of the shed change; in fabrics for
rather widely may even be
itmade on a closed shed. The tap before the
shed change lays the loose weft into position and presses down the pre-
vious weft. The tap after the shed change gives additional packing and
clears the shed if the warp yarn is sticky. Beating only after the shed
change is not advisable because it places tension on the weft and may
strain the warp.

Selvages

Good selvages are not the result of careful adjustment of the weft after
each shot, or of fingering or of pulling the selvage edges, Good selvages
result from good weaving techniques; correct warp tension, properly
wound bobbin, correct shuttle throwing, rhythmic weaving, and above all
the developing of a TFeeF for the warp as the reed slides through it
Therefore the making of good selvages is not the primary concern of the
beginner. If the beginner concentrates on perfecting the weaving skffls
mentioned above, he wiU find that his selvages improve as his tedbnique
improves.
60 flat*

A i* in any not for

is
is by a
a bop nor In at the A few
the but the
may be to lie sett,

not he of an

of the is a It is

due to too a or to OB the the

or to Is a in of all

the of the and

of this by or is one of the
a can It

and IB the Such a

that the toward all the

Weft

must be inconspicuously but irmly. To

a weft end, throw the shuttle carrying the loose weft and beat
the weft Into leaving a short tail of weft at the edge. Without chang-
ing the carry this weft tail around the warp thread and into the
shed, under about four top warp threads, and bring it out on top for later

(a) Discontinuing and entering different wefts,

(b) Crossing old and new wefts of the same material.

clipping. A discontinued weft is fastened in the same manner. Insert all

new and discontinue all old weft ends in the selvage area, never in the

body of the weaving. If the change is merely the starting of a new bobbin
of identical material, it is sufficient to cross the old and new weft ends in
the new shed under about four warps at the edge.
 We twin % 61

Cutting the Fabric from the Loom

Before cutting a woven fa5>rie from the loom, lvxen the tetrsion on
the warp beam and draw the warp forward until the cutting line is about
at the breast beam. As .soon as the fabric Is cut, tie the tut warp in loop
knots in groups of two to four inches of warp, This prevents any acci-
dent to the warp; and the loop knots are untied when the new tie-in is
made by merely pulling the ends.
It is weaving from the loom with little loss of warp
possible to cut the
and without having to make a new tie-in. After finishing the last fabric,
weave about one-half inch of very firm tabby. Insert a wire { a small weld-
ing rod is excellent for this purpose ) into the shed and weave two more
shots to hold it in place. Then cut the fabric at the correct place. The rod
can then be lashed to the cloth-beam rod and the weaving resumed with

lashing cord

warp

Method for cutting fabric from loom and resecurmg it without making new tie-in,

the loss of little more than an inch of warp. The tabby can be "fixed** by

painting it with a solution made by squeezing a tube of Duco cement into

two ounces of acetone. This fixative, by the way, is very useful for the
edges of samples and for other edges which ravel easily.

End Finishes

End finishes for handwoven articles are very important because the
finish is part of the over-all craftsmanship of a place mat or a stole and
certain other articles. Common finishes are baas and tied or whipped
62 The

are fold a of heavy

as as the is to be It a shed. Or throw

and with
to the the start, with the

weaving.
The of a can be most neatly and quickly
the is still on the Thread a with a
bit of all of the so that the warp
the weaver, at the with a tiny knot in the
the the left, three warp ends and
two tabby and it through. Put the needle under the

warp ends, looping the thread under the needle. Pull the

stop 1

Whipping a fringe on the loom.

thread tight Then repeat, inserting the needle into the fabric under
the next three warp ends and below the second tabby row. This gives a

very neat, hemstitched edge. To hemstitch the beginning edge of a fabric,

weave about one inch, making the necessary unwoven allowance for the
fringe; then work the stitch upside down, but still from right to left.
For pieces which are to be finished with a hem, it is taken for granted
that the hems will be made as neat, as strong, and as nearly invisible as
possible. To indicate cutting lines for hemmed pieces, throw two tabby
shots of a different color and cut between them after the fabric is removed
from the loom. Always fold a hem along a single weft and hem it along a
single weft.
 > DRAFTING AND
FABRIC ANALYSIS

Drafts and development diagrams are on

best type is engineering
paper with ten squares
full inch square indicated by a heavy line. Equipment for

and developing includes India ink a ruling

s a crow-quill or a
line India ink fountain pen,a straight lettering with a of one-
tenth of an inch (the Estabrook #13, for instance), and a 4S~

degree triangle,

Writing Original Drafts

The method of writing original drafts is different for each weave sys-
tem and requires a technical understanding of the system. In the chapter
THE WEAVES AND PATTERN DRAFTS (page 70) an adequate tech-
nical analysis of each system taken up is given to enable the weaver to
write drafts of his own. Follow the conventions given in the section on
The Draft (page 28).

Developing Drafts on Paper

Before threading a pattern on a loom, if a development is not already

available, the weaver should always make one, A pattern development is
63
64 The Weavers Book

a thread-by-thread, woven-as-drawn-in diagram of the interlacements of

a weave, or weaving on paper. To be useful it must include a full draft and
warp and the weft directions. Developing on
a partial repeat in both the

paper helps one understand a weave, and enables one to see in advance

exactly what any pattern, orginal or otherwise, will look like. If the pattern
is it helps one to determine whether the arrangement and
an original one,
proportions are right or whether they need altering. It shows how the
motifs compose, where the threading should start and end, exactly where
motifs start and end (as motifs usually overlap this is particularly impor-
tant), what element of the pattern will serve as a good border repeat if a
border is needed, what the balance figures are, and what the block order

and proportions are for making a rose-fashion conversion. The diagram

often serves as a great time-saver, since any unhappy thing about a pat-
tern as adapts to a particular project is revealed in the diagram.
it

There is no
risk of wasting time in rethreading or of wasting warp if the

development is made in advance.

To make a draft development first set down the draft with a partial

repeat at the top of a sheet of cross-section paper. Be sure to draw ink

lines at the top and the bottom of the draft so that it is clearly set off and

the reading of the harnesses simplified. Draw another horizontal line two
or three spaces under the draft to define the top of the development.
Draw a perfectly accurate diagonal line starting with the first square of
the space under this line and under the first square or thread symbol
first

of the draft. It is imperative that the diagonal be perfectly accurate, bi-

secting from corner to corner every square through which it passes. One
is now ready to make the development according to the system in which
the draft is written.

A Profile Development from a Profile Draft

To make a profile development from a profile draft, in the first
(upper)
row development area put a dot under each square of the first draft
of the
block. In most cases this block will be on the A line of the draft. Next, in
the same row, place a dot in all the squares which are under squares on
the same line of the draft. This is similar to opening a shed for the first
block and weaving a shot of black weft through it, and it presupposes a
white warp and a white tabby. Next count the number of squares in the
first block to determine how many squares down the block must be de-

veloped to make it exactly square. Fill in this square block solidly. The

diagonal line should emerge from the point the accuracy check since
 A

all lie on the are by the

Next fill In all the by the for the

of rows, a
and all wefts one to the it is to

weave the second block. With an up the

square that the diagonal the first to

determine where the second block is it

w
*Weave it as a square on the "weave* all

blocks on this line (probably Mne B) for the of

Progress to the third block, and so on until the is a full

The pattern will be accurate if each square is the

line at the outset.

The diagrams for drafts 77 through 88 are all woven-as-drawn-in de-

velopments from profiles. (See pages 134-135.)

A proile development when used for sketching a pattern a
for which a profile cannot apply* is called a working profile
(contrasted to a threading profile). Drafts 71 to 76 are by
working profile developments. (See pages 129-132.)

Developments for TwiU Drafts

A development for a twill draft requires a predetermined shed se-

quence. For the basic twill this is 1-2, 2-3, 3*4, 4-1, repeated. Set down
several repeats of the draft and draw the diagonal line. As a signal,, place
the harness numbers 1-2 on the first development line at the right of the

draft. Then in the first space of the development fill in every square which
lies under threads on harnesses 1 and 2* In the second space write 2-8 at
 of tiic

fie and SIS in on 2 and 3,

In the ft-4 and on

1 and 4. In the 4-1 and on
4 and L the the

will be (two-thread are

the the pre-

just as the the

cine in the of the of at the corner. This

is a and is a of all weaving as drawn in

are the

few are not as in therefore the

Is not At the of tie set down the shed

to I* "woven" for "weave** It by the threads

for the line. The on 94-95 give fifty-six differ-

ent been diagramed in this man-
ner*

for

After of the draft and drawing the diago-

nal line "weave" the diagonal by drawing
(or the squares) of the draft on the shed
woven. Count the threads in the block which lies above the diagonal
at thedevelopment point, subtract one, "weave"* that many lines all

the way across. There is an Important difference here from the profile de-

velopment. Instead of weaving exact squares along the diagonal, one

counts the threads in the block, subtracts one, and ^weaves'* one shot less
than square. The diagonal will emerge one square in from the comer of
the block, but at the point where the new block starts. Like the twill >
overshot has blocks which share threads with adjacent blocks; there is
 10

Development for an overshot draft

always the horizontal overlap of one thread one must always

a single thread to compensate for it vertically*
In the illustrated development above, the first block Is on 1, 2
and has six threads* Therefore fill down, all the squares ly-
in, for five lines

ing under 1 and 2 threads in the draft. The square Just below the lower left
corner (the diagonal bisects it) is the "significant square** which indicates
the first thread of the next block. This, on the diagram, is a four-thread
2 3 block, so
S
all of the 2*s and 3*s across the draft are brought down three
lines, or shots; this places the significant square under the lower left comer

of the block, on harness 3, the first thread of a four-thread 3,4 block.

Notice that the next (4,1) is a turning block with five threads and is de-

veloped with four shots. All turning blocks have odd numbers of threads
and are developed with even numbers of shots, the opposite being true of
blocks in straight succession.
Drafts on opposites are developed with actual squares,, and the block

being developed is brought to the diagonal line at the point. The reason
for this is that opposites blocks have no common threads. In drafts which
combine opposites and overlapping blocks, the weaver must exercise a
68 The Weavers Book

certain amount of judgment in deciding from which blocks to subtract a

shot, but the diagonal is always there to serve as a guide.

Overshot twill hybrid drafts are developed exactly like overshot drafts.

Developing Crackle Drafts

Crackle drafts are seldom developed in thread-by-thread manner, as the

significant thing one needs to

learn about them is the block placement

threadings are woven as drawn in, it is

And since few crackle the working

profile which is generally used.

This is illustrated by thread-by-thread
for
developments for drafts 69 and 70 and working profile developments
drafts 71 to 76. (See pages 127-132.)

Developments for Other Draft Systems

Drafts for all weaves in the unit class are developed in profile manner
since profiles are used for the threading drafts. Pattern developments for
other weaves are either thread-by-thread or from working profiles. De-

velopments are usually avoided in shadow weave

and similar systems
which depend on color alternations for their pattern, as they tend to be-
come too complicated. They are unnecessary for weaves which depend

purely on small interlacements for effect, with the exception of twills.

Textile Analysis

Textile analysis is the process of taking the draft, tie-up, and treadle

sequence from a sample of cloth. For known systems in pattern weaves

this is simple. One need merely determine the correct block order, count

(usually under a textile magnifying glass) the number of threads in each

block, and set up the draft according to the rules for the system. The
determination of the block order is the important thing. If there is a

diagonal line of adjacent blocks, one merely calls the first block A and
the second one B. The third one will then be a return to A (one can trace
from the block downward to the first line to check this, or to the right,
above the first block, to find out if it weaves the same way A weaves),
or it will be a new block which one calls C. The fourth block on the

diagonal will be either A or B (determined by tracing down or across as

before), or it will be a new block called D. When four blocks have been
plotted, further blocks are discovered through comparison.
no diagonal development, the problem is a bit different. One
If there is

searches the sample until a place is found where all four blocks occur in
 Drafting and Fabric Analysis 69

sequence. These four blocks are marked off. (Two rulers, one placed at
the top and one at the bottom, are excellent for this purpose. ) The four
rows of blocks between the rulers are a perfect working profile of the
draft. One need only make the assumption of A and B for the first two

blocks a starting point having been determined and a full pattern repeat
(

having been marked off with pins ) count the threads under each block in
,

order, and set down the block in its relative position. Some people find
this method
easier than taking the draft from the diagonal.

Taking the drafts from fancy twills and from fabrics woven in unknown

techniques requires considerable knowledge of multiple-harness weaves.

This is not a part of the present work.
 > THE WEAVES AND
PATTERN DRAFTS

are of the for which

the the and by manipulation of

and the for the are gained

and shed
inlay, and open-work,
variations within these, most

of on two
A are discussed in the chapter,
PLAIN WEAVES, but the worked on four harnesses are
the of this and patterns requiring
four arc not up here, it is a mistake to think

weaving utilize different technical

of the weaves are simply extensions of the
weaves; by a understanding of the four-harness
one has a foundation for understanding the extensions.
The gtoup of structural weaves is divided into eight classes of

having similar technical characteristics. The first class is the plain

all systems under which may be done on two harnesses. Plain
weave is also the foundation for many weaves threaded OB more harnesses.
Next is the simplest of the four-harness threadings, the twill class with its

many varied systems. Third is the twSL weaves whidfa expand

70'
 The Weaves and Pattern Drafts 71

the overlapping twill combinations to pattern blocks. The unit class next
has pattern blocks which are individually independent; most of its system
structures do not derive directly from the twill. The fifth class is the
grouped thread weaves in which both warp and weft threads curve to-

gether into textured areas. The double weave class includes the many
textile forms in which two surfaces are woven simultaneously, sometimes

in two independent webs, sometimes interlocked, sometimes

fully joined.
The seventh class embraces the rhythmic weaves, a somewhat miscellane-

ous grouping of various threading systems which are not similar, but each
of which is based on a definite threading rhythm. The only class not taken

up here is gauze, a truly advanced technique when manipulated by har-

nesses. Gauze, or leno, is presented in its controlled weave variation
instead.
Each of the classessubdivided into systems according to the specific
is

threading arrangement, shed composition, and shed sequence which pro-

duce the characteristic textures. Thus there are three factors to consider
in each weave system: the threading order, the tie-up composition, and
the treadling sequence. The most important systems in each class are
taken up in detail, while more obscure systems of interest mainly to ad-
vanced weavers are omitted.
A further subdivision of the systems lies merely in the different pattern

arrangements; so several patterns or threading drafts are given under

each system. The basic, classic patterns which, in a general way, are
used by all weavers everywhere and have proved themselves through the
centuries are included. These are the simple arrangements. In addition
other patterns withmore elaboration are presented. These are new and
previously unpublished as far as can be ascertained and may provide
some adventures for the experienced weaver as well as the beginner.

The Classic Weave or Weaving As Drawn In

The handweaver who will understand his weave systems must recog-
nize that for each system there a basic shedding sequence and warp-
is

weft relationship which gives what is called the classic texture and pat-
tern. In broad generalization the classic interpretation of any weave has

balanced structure or background (there are exceptions to this but most

of the weaves given here are based on warp-weft balance) and a pattern

symmetry which makes the pattern identical whether viewed in the warp-
wise or weft-wise direction. The pattern may be a texture pattern pro-
72 The Weavers Book

duced by variations on thread interlacement, as in the lace

and grouped
of a contrasting
thread weaves, or it may be a pattern formed by floats
base as in overshot, summer-
yarn which pass over and under
the fabric,

and-winter, warp pattern and many other systems.

Weaving as drawn fundamentally the same for all the weave sys-
in is

in each different interlacement

tems, with differences of detail inherent
in for producing any classic pattern obviates
sequence. Weaving as drawn
that the
the necessity for written treadling directions. It presupposes
used. After that, one need
weaver knows the shed sequence for the system
as they occur in the develop-
only weave the pattern blocks systematically
ing textile on a 45-degree diagonal line.

Determine by trial and error which pattern treadle weaves the first
of the warp, and weave this block
pattern block at the right-hand edge
until it is square. Then find the treadle which weaves the block lying just

to the left of the first block. In a properly tied loom be

this will generally

the treadle to the right of the first pattern treadle used, though it may be
the one to the left. Using this treadle for the pattern, weave the second
block until it is square. Then find the treadle which weaves the third block
and square the block. These first three blocks will lie corner-to-corner on
a hypothetical diagonal line starting at the right-hand selvage and pro-
gressing up and 45 degrees from the horizontal and
to the left at exactly

vertical (warp and weft). a good idea to make this hypothetical line
It is

to insert pins as the weav-

tangible by inserting a pin in it and continuing
to the left of
ing grows. Continue to select the block which lies exactly
the block just woven, so that the corners touch, and weave the new block
until a square isformed. In most balanced weaves the block squaring is
are warp
accomplished by weaving as many pattern weft shots as there
ends involved in the block. For weaves in which blocks overlap ( overshot,
for instance) a shot must be subtracted to compensate for the overlap.

Judgment by eye is the method for squaring blocks in unbalanced weaves,

crackle for instance.
The diagonal method is the only reliable method for
foolproof and is

accomplishing accurate pattern weaving. If the direction of the diagonal

wavers or deviates from 45 degrees, blocks are not being squared accu-
rately. If the diagonal breaks, a block or group of blocks has been omitted.
If the diagonal jogs, an extra block has been added.
The weaver who trains his eye to see the 45-degree diagonal bisecting
the pattern blocks and to select without hesitation the correct block for

extending the line is the knowing craftsman who can always weave a pat-
tern correctly, without any previous instructions or written directions,
 TAi? Weawa &nd Pattern

even if the nature of the threading Ls totally unknown to him, After a little

practice*, it brewers much easier to weave a* drawn in than to follow

written treadling directions.

Weaving Pattern and Texture Variations

The classic weave is the foundation for the variations and inteipreta-
tions of design which are the ultimate aim of most handweaver*. There
are certain systematic methods for approaching the field of creative weav-

ing and it is usually in the process of systematic experimental investiga-

tion, after mastery of the classic form has been attained, that the out-
standing new textile designs emerge. Random sampling leads to random
designs and effects achieved unwittingly through "happy accidents,**
though often attractive, have little content or signiScance, Below are listed
the means by which variations of design are achieved.

1. Rearrangement of the treadling sequence to give different patterns.

2. The use with one threading system of the treadling sequence charac-
teristic of other systems.
3. Experiments in color combination and polychrome interpretations
(coordinating three or more colors with the pattern or texture se-
quence to give special color effects).
4. Weaving by special methods for achieving special effects. These are
classic methods which differ from weaving as drawn in, and include

such weaves as bound, honeycomb, canvas, opposites.

5. The use of non-traditional materials and combinations of materials
for warp or weft or both.
6. Combinations of different types and sizes of yams in studied co-
ordination with the draft or treadling order or both.
7. Unusual spacing of weft or warp or of both.
8. Alteration of the tie-up to produce altogether different textures.

There is a very definite differentiation between the threading system

and the weaving method. Failure to understand this leads to considerable

confusion, particularly since there are many weaving techniques whicb

are not systems but are weaving methods. If the weaver misses among the

systems taken up here such weaves as honeycomb, bound, swivel* canvas,

waffle, the reason is that these are methods which are applied to many

systems through special handling of the sheds and treadle sequences.

They are not weave systems,
 > THE PLAIN WEAVE
CLASS

arc up and In both

to form
are in weave are
the we of or or In the warp
or to 0r a with a weft
to from alternating light
in rep log cabin. Plain weaves
are on any the two tabby sheds, and on
are on a twill or some other thread-
ing on the

Tabby is the of all weaves. It has a perfect warp-weft

and warp and of identical size and iber type,
Sfaictly speaking, tabby this plain weave fabric, but com-
mon has extended the meaning to apply also to the sheds which
weave tabby, the treadles which the sheds, the weft thread for

weaving tabby, and the draft in any system which weaves

tabby. These extended of the word are acceptable through
74
 U'ftVirr,* fta?<

mage, the wow! as to an x\

Is incorrect.

*".
" ^
'

"
'
"1L'* '*
''
'

''''"
* ;
"
*'
"

'
.

'-
.r*
'*"
1

'

-"' >'""
:
"'""
-**'.-*-'"# ;
*'.'.* -H"*'
'*
.#
: '--si ;
:
;

'.

A in

Unbalanced Plain Weaves

Some plain weaves lack warp-weft all the

from warp set so closely that the weft is completely rep)
all stages of
warp emphasis approaching all of
through
weft emphasis to weft rep, which is a The
reps are heavy fabrics with many interesting in up-
holsteriesj and costume accessories*

Warp rep patterns are formed by two in the warp*

then threading two ends of one color to create a shift from one to

the next. The illustration OB page 76 shows ten different warp-face border

patterns with the draft for each one.

Scandinavian people weave warp rep with allover patterns, called rugs,

Mattor or Matta, by arranging light and dark warp in the manner shown
under log cabin but spaced very closely. The patterns are woven by alter-
to place emphasis on one
nating a very heavy weft with a very fine weft
or the other of the color blocks. Here too block shifts are accomplished

either the heavy or die fine.

through two successive wefts of
 T

UK
Mf

10

iAAMAAD

9 10

rep

on a Is the
refi
use of a soft will to the
are

Two weft rep patterns.

throwing two shots of the color to accomplish the block shift Direc-
tions for the seven weft rep borders shown in the photograph follow.
 The Plain Weave Class 77

First border: light, dark 3 times

dark, light 3 times
dark
dark, light 3 times.

Second border: light, dark 2 times

dark, light 5 times
dark
dark, light 2 times.

Third border: dark, light 2 times

light, dark 2 times
light 2 times
dark 2 times
light, dark 2 times
light 2 times
dark, light 2 times.

Fourth border: light, dark 2 times

dark, light 2 times.

Fifth border: dark 2 times

light, dark 7 times
dark.

Sixth border: dark, light; light, dark

light 2 times
dark, light; light, dark.

Seventh border: dark 4 times

light 2 times
dark 2 times; repeat

Seven further borders are illustrated below. There are infinitely more
borders possible in two-color weft rep. By copying these few the learner
will gain understanding of the designing system and learn to compose

freely.

Two harness weft rep patterns.

78 The Weavers Book

Basket Weave System

Basket weave is the balanced plain weave In which pairs of threads are

alternately up and down. Basket weave has an exact warp-weft balance,

and as a consequence the beat requires great control unless the warp sett
is unusually close. Three-thread basket uses groups of three threads in
11 12

HSE?

Two-thread and three-thread basket weave.

111=111=111

warp and weft. Commercial monk's cloth is an example of four-thread

basket weave.

Spaced Thread System

Warp threads may be grouped by crowding certain reed dents and

'

:-^'"" li>,;;:-:,,,, ,'""' '"'"% -.^.,

Spaced warp, showing a method for weaving spaced weft.

 IV W,,;?v fL^:

15 14 13

? Iwjifo
Drafts fwr spaml uarp fntt'ir^,

sl;!ppin othors. Drafts 1*\ 14, 11 sn^e^t posMMr spat in 2 iirr.in^*-

meitfs. \\Vft lie bt\i! control rr t!ir-riti%h t}*o use rj
in*% {
lafrr rtinrwril )
in umvovon spaces,

A on a

A log cabin design.

as balanced tabby, Is descriptively known as log The two-block

patterns are f ormed by the juxtaposition of areas with vertical pin stripes
and horizontal pin stripes. The pin stripes are made by alternating dark
and light threads in both warp and weft. There are two drafting arrange-
ments possible: repeat sequences with dark on harness 1, light on harness
2; and with light on harness 1 dark on harness 2. The shift from on ar-

rangement (block) to the other is made by placing two threads, erf the
same color together. Thus the shifts may be made on either Bght or dark
 Si T?ir WY<mr*

,14 ,10
16

Draft 17
50 .40

israrfsffi^ffl!
61ii60

.40

17 and 18
t 3 , 5 i 14

A kg la two with its profila

at the weaver's will Weft 01 two in shots Is used* and

pattern block are by two successive shots of either
light or dark Log cabin are written in the manner of
draft 16, but they
may be from two-block profiles as shown by
drafts 17 and 18,

Log cabin is varied in several ways, A heavy and a Bne thread may be
alternated, or one of the colofs may be doubled to add emphasis as in
draft 18, Color stripes
may be added. Colors may be alternated in pairs
 tu tt' vjir n<Mj 81

__150 140 j30 '29 ;10 , ,

|1T9 nO )lf j90 jfO 75 ,

10

of 1 9
|2| 4

A log 21
its
threading

Draft 20

The paired color pattern.

Ck>mbinatioii of light and

In alternate singles and paira.
82 The Weavers Book

Draft 22 Draft 23
Drafts for pin stripes.

to give tiny spurred checks, as shown In draft 20, and these may be com-
bined with single alternations as in draft 21. Draft 20 is woven: 2 light, 2
dark, repeat. Draft 21 (a) is woven: dark, light 5 times; light, dark 5
times. The second figure (b is 2 dark, 2 light, repeated throughout. Drafts
)

22 and 23 make narrow stripes by grouping three light or three dark.

 CONTROLLED
>

WEAVES ON TABBY
FOUNDATION

Although this is primarily a of the a

of the controlled are so*

all weavers should know them.

Tabby Inlay

Free patterns, patterns copied and

sources, monograms In simple block and
scribed to squared paper may be to a

Inlays require a fairly open tabby warp and a soft

in addition to a tabby weft, usually like the warp. Short of
weft are used, as each separate of a pattern requires a

Inlay weft is laid into the tabby shed, as indicated by the

photograph, following each tabby shot or each pair of tabby shots, as
desired. The turns from one shed to the next may be on the
surface to strengthen th outline or under the warp by dropping the
pattern ^eft end through the warp after each row. Loops, as an
decorative detail, may be picked tip on a wire or small knitting
held on top of the warp by inserting the left Index linger through the warp
at the place a loop is desired and bringing the pattern weft over the
83
Patterns in simple inky with tunas made on undo: side. Top: May in each shed.
Cenler: inlay in alternate shed. Bottom: paired inlays.
 V/ Ww, i*n L^lt; f/v;./;' u

nviv of tiKK ,>.!v ^.^i ,, ?'<; j,,' 1, ;.

s Tlu* d.uti^^ t.uk^ !"hr \^j.s 4

nilay ufi u2J.ii.:iti, ^il% Wit

nui ^ m
$&&&.-* "

p[l{l{l{l-
lTlTrTi"Tl"Tr

TiTlTlT r ? i !_7lTlTlTl

Two styles of inlay

DukagJbag Inlay

Inlays in the Swedish Dukag&ng a

and usually employ a heavier inlay weft, is on a
twill threading or some other threading by wfaic!i 9 a
every fourth thread of the warp is fora the inlay
raised to It

however, be woven on two ham-esses by picMng up on a every fourth

thread in pattern areas. The inlay weft is dropped through the
each row to place turnings on the under side. Weave two tabby
open the inlay shed; place the lengths of inlay weft in the posi-
tions in the shed with the short ends at the left and the at the

rightj both ends pushed through the warp and dangling underneath;
weave two tabby shots; reach through the warp at the place where the
second inlay row sho-uld start and bring the long end into the shed, carry-
ing It In the left as far as the and it

the as by the the by

the technique

is and patterns in several

be be tabby shot if a
is

Lace

is the of all weaves and is partic-

ularly of the which it can be worked and the

charming it Use a which will slip easily in
and out of the top warp or a shuttle.

1. Weave a foundation of tabby and end with the shuttle at

the right, the up.
2* Open the next tabby shed warp thread down) and keep this
shed open while the row of bouqtiets is worked*
3. Take the shuttle into the shed, mnder four warp ends, and withdraw
it between the fourth and fifth threads.
 S7

ill!! !i ja ;jMj]Pj2 jjJ!;il!Jji

liil I i

jij jij
lHh li!

!
M i i I
ill

for
shown.

of
top

4 Carry the back to the right, tad

insert It into the again* it to left

warp ends, withdrawing it the

threads.
5. Carry the shuttle back to the right, over four warp and
itinto the shed at the point where it was first withdrawn, and under

eight warps.
6. Continue thus across the entire warp, always carrying the shuttle
under eight warp ends, then back on top over four warp
in the shed
ends.
7. Each time a bundle of four top warp ends is encircled, pull the weft
so that the threads are drawn tightly together.
8. When tibe left selvage is reached, beat to place the warps in an even
line and as close to the last tabby shot as possible,
9. Weave seven tabby shots; this will bring the shuttle to the right-
hand side again, ready for tibe next row of bouquets.
 warp distance to form
may be only part of the
and When this is it Is of even greater Importance

that the be so that the openwork row takes op only the

of one shot Do not be that the effect will be Insuffi-

as the and will rearrange themselves

ciently
into the is released. Work bouquets on a

warp.

Bouquet lace with only one tabby shot separating bouquets.

Pick-up Leno

Leno is particularly useful making beautiful, hemstitched-like

for
finishes and for lacy borders. The weave requires the use of a pointed
hardwood pick-up stick which is longer than the width of the warp. Many
variations are possible, including the working of all leno fabrics. Two-
around-two leno in successive rows is pairs are split
especially effective if

on alternate pick-up rows to form diagonal lines. Combinations of two or

more leno styles are an ancient technique as in Tarascan lace, with pat-
terns formed of one-around-two leno on a background of two-around-two
 o 89

l
1
f
IJLlJLlJLiJjJ TIL j JrjiirjiirjjLj CI^TJILJ^^ Tirurui

Three styles of pick-up leno: single leno, two-around-two leno, anci

buflt-up tabby areas.

Leno variations. Top to bottom: one-

around-two, three-around-three y two-
around-two, and one-around-one leno.
90 The

If Is to form patterns, the tabby areas.

be up on of leno.

1. Weave a with the shuttle at the right and the

down.
2. Change and hold the open while making the pick-up.
3. With the op the first thread of the bottom warp
finger pick
(second thread of the total warp) and bring it to the right and up
the thread of the top warp on the pick-up stick.
4. With the pick-up stick (or finger) reach between the first and second
of the top warp and pick up the second thread of the bottom

warp; pull it to the right and up on the stick.

5. Continue thus across the warp until every thread of the bottom warp
is held on the stick above the top warp exchanging the positions of
9

top and bottom warp.

6. Release the treadle; turn the pick-up stick on edge, push it against
the reed s and run the shuttle through the narrow shed.
7. Treadle the next shed. Beat very sharply so that the twists are forced
as tightly as possible against the tabby. Throw weft through this
shed and beat as tightly as possible. In correctly woven leno, the
twist requires the same amount of space as one weft shot.
8. Repeat the leno pick-up if desired, or continue with tabby weaving.

Leno has many variations; a simple one which makes a lacier effect is
the two-thread leno. This is worked in the manner described above except

that two threads are picked up together from the bottom shed and carried
to the right around two top warp threads, and the second pick-up is made
between the second and third top warp threads. Pick-ups are continued
iri pairs across the
warp. This is a larger twist which should require about
the space of two tabby shots.
The effectiveness of leno depends on the firmness of the weave. There-
fore the weft must be beaten sufficiently to prevent the
edge tabby shots
from moving toward the twist when warp tension is released. Contrary to
the inexperienced weaver's usual concept, sleazy leno is not as open and
lacy as firm leno.
 THE TWILL CLASS

Twill is the simplest of all threadings for more than two harnesses. The
basic twill employs the harnesses in regular succession repeated continu-

ously. Although twill may be threaded on three harnesses an example is

(

the common jeans or Genoa twill ) and also may be extended to as many
harnesses as the weaver wishes to employ, its widest use is in the four-
harness interpretation. And the use is very wide indeed, as twill ranks next
to tabby in importance.
The circle
diagram is a means for understanding the twill and all

weaves derived from it. A circle is bisected horizontally and verti-

cally and the harnesses are represented by the points where the four
spokes touch the circle's periphery. Harnesses are numbered clockwise in
the twill draft order: 1, 2, 3, 4. The continuous circuit of the diagram
represents the twill threading and shows the actual relationships of har-
nesses, with the interval from 4 to 1 identical with the other three in-
tervals. Theharnesses alternate odd-even, even-odd, regardless of the

starting point or the direction of movement around the circle. The func-
tioning twill, through its tie-up, uses pairs of adjacent harnesses. These
pairs necessarily combine an odd- and an even-numbered harness:

theA combination is 1-2, the B combination is 2-3,

the C combination is 3-4, the D combination is 4-1.
91
92 The

The the
and
are

Each harness of a combination is shared with the two adjacent combina-

tions. Thus the sequences always overlap as one progresses around the

circle. Two further harness combinations are possible, those which join

the odd-numbered harnesses and those which join the even-numbered

ones; these defy the twill and form tabby sheds, a characteristic of all

threadings related to twill.

Basic Twfll System

Basic twill as described above is drafted 1, 2, 3, 4, repeated continuously.

Fundamentally it is a balanced weave and thus it is usually used. How-
ever, it may be interpreted, like the plain weave, in the full range of warp
emphasis and weft emphasis. The twill selvage is a tabby threading of
two odd-numbered threads followed by two even-numbered threads:
1, 3, 2, 4. This selvage threading is employed however only if the weaving

is to be done in the
regular 1-2, 2-3, 3-4, 4-1 order.
Many known as fancy tmlh are made
variations of the balanced twill

through the use of a light-colored warp and dark weft, or vice versa,
tvoven with unconventional sheds and shed orders. The balanced
(two-up-
:wo-down) combinations of the circle diagram give, as has been pointed
 The

Twill stripes and tabby plaids on the same warp.

out, six different sheds. There however, eight further sheds of an

are,
unbalanced nature which may be used. These are made by raising a
single harness:1, 2, 3, 4; or by raising three harnesses together: 1-2-3, 2-3-4,

3-4-1, 4-1-2,Thus there are actually fourteen possible twill sheds, and
these fourteen sheds can be utilized in different groupings and orders to
form almost limitless patterns. Illustrated on pages 94-95 are fifty-six four-
harness twill patterns in diagram, and there are many more which the
weaver can discover at the loom. The threading for all of these is 1, 2, 3, 4,
repeated. The tie-up, or shed composition, and the shed order for each
are shown by the figures at the right of each diagram. These diagrams

presuppose a white warp and a black weft.

The Color Effect Twills

Another traditional method for introducing interesting pattern and

stripe effects into the twills is by the use of two or more colors
in both

warp and weft. The color effects are most striking when the values of
the

two colors are in strong contrast; the strongest combination is of course

 4321

Diagrams for straight and fancy twills.

94
33 4321

95
96 The

The are in

1 1 Twill, 25
2 2 dark
3 3
4 4 27
6 8 Check, 28

Several of as Indicated. Further traditional

are the Glen Urquhart which sections threaded

2> 2 4 4 as
S in 30 32, Another is the Gun Club Check
is two Hound's Tooth Check with dark
of the 4-thread
of two shown In draft 29, Draft 31 shows a 2,2
alternated,
color used in a manner similar to log cabin. This gives very
pattern effects when woven with different color sequences. The
Brst diagram shows one shot of light and one of dark alternated. The
second diagram shows 2 dark, 2 light twice; 2 dark; 1 light; 2 dark, 2 light
twice; 1 dark; repeat. The third diagram Is 4 dark* 4 light repeated. The
diagrams under draft 32 show similar variations on a 2,2 and 4,4 draft.
The Irst is woven dark, light, repeat; the second, light, dark, repeat. The

A twill color-effect
gamp or sample range.
 The Twill Class 97

28 27 26 25

Ss
30 29

IP
t!

15 8
times times

Drafts for color effect twills.

Draft 31
24 |10

A pattern for a color effect twiB.

 98 The
Draft 32

(28 1 20

A Glen Urquhart type two-

color twill threading with
pattern variations.
 The 99

is 2 dark, 2 light four times; 1 2 dark, 1 4

The fourth diagram is 4 dark, 4 light;
repeat. Weaving Is in twill

order.
w
The photograph on 96
a so-called **gamp or
is in which

equal sections are threaded in various arrangements then woven as

drawn in to show the typical patterns along the 45-degree diagonal and the
variations in the other squares. The threading is { 1 ) all black; (2)4 black,
4 white; (3)3 black, 3 white; (4)2 black, 2 white; (5)1 black, 1 white;
(8) all white. The treadling is always in standard twill order.

The Point Twill System

If a "return" is made at the end of a twill threading, the result is a

twill, which reads 1, 2, 3, 4, 3, 2, repeat. This is the simple point twill often
known as bird's-eye. The forward backward progression may be longer
or
than four threads as plotted on the circle diagram, but it must' be at least

Draft 34
8

Jtoiht Twills: Draft 33, birds-eye; draft 34, rosepath; draft 35, goose-eye.
100 The

the reverse, the point

the In that It has of three-thread and
at when woven with the balanced tie-up.

The six-thread, the and a point twill are shown on

33, 34 and 35, for Two developments are shown for the

one "woven" In twill order, the other with shed order duplicat-

ing the The eight-thread point twill is one of the most used
of and Is known as rosepatfa, or rosengang by the Swedish. When
are ten or threads forward with a symmetrical retain, the
is known as goose-eye, draft 35.

The illustration below shows how one of the fancy twill treadlings may
be used with point twill threadings to give patterns of considerable elabo-
ration.

14 (aj

8 (d) (c)

1 I

A fancy twill with draft and pattern extensions from it

The Extended Point Twill System

Twills with more than two returns, drafted in symmetrical or

asym-
metrical fashion, are known as Extended point
extended point twills.

twills form patterns of varying intricacy and are useful where a patterned

surface with close-woven texture in a single weft is desired. One of the

very useful threadings is chromatic textures, draft 36, so named because

 The TwiU Class 101

Draft 36
1
20 |]Q
Chromatic textures.

Stripes in chromatic textures

thread-
ing. Singles linen warp and weft.

of producing effective
itprovides a solution for the very difficult problem
multi-color borders in single-shuttle linen and wool weaving. Chromatic
textures is a classic progression of three-harness point twills, the first

starting on harness 1, the second on harness 2, the third on 3 and the

fourth on 4, with a return. Draft 37, Chinook, is one of countless similar
which are usually woven as drawn in, often with a tabby in the
patterns,
overshot manner.
Rules for extended point twills are the same as for point twill, but they
allow more freedom because a single pattern repeat has more than two

points and the arrangement need not be symmetrical.

102 The

Chinook, an extended point twill pattern.

Broken Twill System

Because the three-thread floats of the point will create a disfigure-

ment and also a weakness in the twill-woven fabric, weavers in ages past
devised a method for eliminating the break, and thus strengthening the
fabric and creating clear-cut lines. This was done by simply omitting one
thread of the point combination, a trick which required that the balance
of the point twillbe retained through number rather than through sym-
metry. Thus, the point twill changes from 1,2,3,4,3,2, repeat, to 1,2,3,4,2,-
1,4,3, repeat. The 3,4,3 and the 2,1,2 of the original draft have become

simply 3,4 and 1,2, and a break in the twill succession occurs, giving the
name, broken twill.
The broken twills form an exception to the circle diagram rule of odds
and evens. As a consequence, these threadings will not weave a tabby.
The broken twills, or dorniks as they are often called, are used in the
weaving of wool yardages and for producing special effects.
The photograph shows at the right the rosepath draft, in the second
square a simple extended point twill, in the third the broken goose-eye, in
the fourth the four-thread broken twill and at the left the crowfoot or two-
thread broken twill The weaving is in standard twill sequence.
 The 103

39 38

40
124

m
HI
Broken twill

41
1
20

Twill variations woven as straight twills. Left to right: Draft 38; draft 39;
draft 40; an extended point twill threaded 1,2,3,4,3,2,1,2,3,2, repeat; draft 34.
 THE TWILL
>

DERIVATIVE CLASS

Twitt derivative weaves are derived directly from the twill and follow
all the rules of the twill class. The threadings and txeadlings may be

plotted on the circle diagram; all progressions are from odd to even or
from even to odd; the standard balanced tie-up is used for weaving in
the classic manner. The exception of jumping from an odd to an odd or
from an even to an even which occurs in the broken twills is never used
in the drafting of twill derivative weaves, but it does occur in certain
weaving methods and is known as "weaving on opposites." This means
jumping from a 1-2 combination to the opposite 3-4 combination, or from
2-3 to 4-1, and so on. The classic method for weaving each of the twill
derivatives differs according to the draft type, even though the tie-up
is that used for twill, and
treadling progressions follow the circle diagram.
Selvages for all weaves derived from twill are the twill succession.

The Overshot System

Of the weaves for simple or elaborate patterns, overshot is the best

all

known, the most used, and therefore the most important. It is popular
because it can easily be adapted through both drafting and treadling se-
quence to the widest imaginable variety of patterns and textures, and
because it is so perfectly expressed in four-harness threadings with the
104
 The 105

tie-up. In the use of the for the

coverlet to it and but the
has the
centuries.

Classically woven-as-drawn-in overshot showing the pattern blocks in weft

floats,the background areas in balanced tabby and half-tones separating the two.

The new weaver who troubles to study drafts is always amazed at the
realization of the simple manner inwhich the overshot draft system de-
velops from the point twill draft, and the weaver who does understand
this isimmediately equipped to draft his own patterns and to take the
draftfrom any fabric or photograph of one woven In overshot. The secret
of the whole matter lies in the odd-even progressions and the odd-even
combinations.
The draft at the top of page 106 is the twill draft ( with the first thread of
the repeat added) and the four twill (odd-even) combinations circled.

Next, each one of the combinations is enlarged by repeating the pair of

threads once before passing on to the next combination. The result is the
twelve-thread draft of the twill succession of blocks, each block of mini-
108 The

42

in (A,B>C,D, repeat)
order.

mum four-thread size. Each or any combination might have been repeated
more times to form blocks of six, eight, ten or more threads. Note that
shares a thread on
every block has an even number of threads, and each
both sides with its neighboring block, making one-thread overlaps. When
any one of thet,e blocks is woven, the weft will float over the four threads
of the block, or "shoot" over hence the name overshot. The diagram
it;

under the twill succession draftshows exactly how the pattern weft
threads compose, supposing that one is using a white warp and tabby

and a black pattern weft Notice that there are three distinct areas: solid
black or pattern weft blocks, solid white or tabby background areas, and
intermediate areas in which pattern weft passes over alternate warp
threads to form half-tones. Larger blocks would have more half-tone lines
above and below them. As may be observed, there is a half-tone to the
right and to the left and also at the bottom and the top of
each block.
Each block overlaps its adjacent blocks by the width of one warp thread.
These are the fundamental characteristics of the overshot technique.

One further overshot characteristic shows up only when the combina-

tion enlargement system is applied to the point twill. The "rosepath" point
twill is at the top of page 107 and below it the four-block diamond which
results when enlarged. Notice that the turning, or return, blocks con-
it is

tain five threads, the additional thread being the one which changes the

draft direction. The diagrams are made as normal woven-as-drawn-in de-

velopments along a diagonal. Exact squares are not woven, but the blocks
are under-squared by one line to compensate for the overlap. Observe that
 10?

DCBA

The four-block overshot diamond, derived

the point twill.

In drafting, blocks in straight progression have an even number of threads

and turning blocks have an odd number of threads, while in weaving this

convention is reversed.
The minimum size for an overshot block is set by the twill combination
plus a single repeat and is therefore four threads. Turning blocks have the
combination repeated and the return thread added, so that the minimum
block would normally be five threads. However, it is common practice to
use the three-thread return block if this enhances the character of the
pattern. The determined by the number of times the
size of the block is

twill combination is repeated, and this in turn is determined by the prac-

tical length for a weft float. This limitation must be considered since

blocks are formed of full length weft floats; the density of the warp sett

helps determine what is practical: a ten-thread float would be only one-

quarter of an inch long at forty ends per inch, but would be two-thirds
of an inch at fifteen per inch.
Overshot is a two-shuttle weave with a tabby foundation.tabby shot A
of weft identical to the warp precedes each shot of pattern weft and
tabbies alternate. The beat must be sharp to place the tabby at exactly as

many shots per inch as there are warp ends and to force the pattern weft
into the minute spaces between tabby shots. Because of this crowding, a
light weight woolen or worsted yarn is good material for pattern weft,
and soft strand cottons and mercerized floss can be used. The Swedish
108 The

a of In all linen using a

as If the is be heavy or inflexible

to it

is to the than one normally would.

Draft 44
26 20

Overshot diamonds illustrated by

working diamond,
profiles: four-block
draft 43; five-block diamond, draft
44; six-block diamond, draft 45.

Above is a reduced working profile development of the four-block

diamond with several repeats, and similar diagrams for the five-block
(draft 44) and the six-block (draft 45) diamond. The five-block dia-
mond develops from a point twill with six forward moving threads, the
 The 109

from a point twill

The motifs are the foundation for all

w w
The second motif is the table by at the

of a diamond and drafting back forth for or Draft

46 shows this table on blocks D and A, all blocks of Draft

Diamond and table, two simple overshot motifs combined.

46 also shows the third overshot motif, the cross, a five-block return ar-

rangement appearing here as C-B-A-B-C.

Draft 47 (page 110) is similar to 46 but each diamond is centered with
a star instead of a table. The photograph shows part of a sampler with pat-
tern borders which are variations instead of woven-as-drawn-in develop-
ments.
The star motif is a five-block alternation between two draft blocks in
which the center block is smaller than the two on each side of it. Draft
48 (page 111) shows two stars drafted together to form a complete pat-
tern. The first star is blocks A,B,A,B,A; ^ second one, blocks D,CyD,C,D.
have the becoming roses if the woven
Stars significant characteristic of
blocks are inverted while star proportions are retained. The second dia-
gram shows the same draft woven as roses by using the treadles in
B,A,B,A,B and 0,0,0,0,0 order instead of in the drafted order, but retain-
ing the exact proportions (number of shots per block) of the star develop-
110 lite

Borders woven on star and diamond threading.

Draff 47
30 20 iIO
n
1
}
Star and diamond (or cross). . . - l:

ment. Rose-fashion is actually another method of weaving as drawn in, but

a rather tricky method which usually requires the working out of the
it is

weaving directions in advance and treadling from them. First work out
the woven-as-drawn-in directions for star-fashion development on paper,
and determine through examination of the development which pair of
blocks will form the main rose figure. Then set up a conversion table for

switching the block order. The conversions must be complete, meaning

that the two blocks not involved in the main star figure must also be re-
versed in the weaving. If the main star is on A B or C,D,
3
 Tim HI
Block B Is woven where A in the
Block A Is woven where B in the
Block D is woven C occurs in the
Block C is woven where D occurs in the
If the main star is on B C or DA
S

Block A is woven where D occurs in the star,

Block D is woven where A occurs in the star,
Block C is woverf where B occurs in the
Block B is woven where C occurs in the star.

"in"
IT II

II Mil
If II
it i

II II

11 II II I III 1
II I If, il si
II II

II I . II Mi!"
Staggered stars developed as stars and roses.
112 The

Stars and roses.

Draft 49 which weaves roses and stars simultaneously will help illus-

trate the rose-fashion system. In this case the two figures are drafted, so
that the rosesweave without any conversions being made. Notice that one
motif is drafted A,B,A3>A and the other one B,A,BA,B. A transition fig-
ure is added to separate the star from the rose, of necessity an asymmetri-
cal figure that adds a slight irregularity to the pattern.

Christmas Star or Christmas Rose > as draft 50 is called, is an elaborated

diamond and star with emphasis achieved through the use of blocks of
different sizes. The rose-fashion diagram given below shows how dia-
monds often recompose to form the wheel motif when this weaving
method is employed. Draft 51 (page 114), Hot Springs, shows another
variation of diamond with table and cross, a small pattern which weaves

very handsomely. Further draft variation with emphasis provided by one

large block forms the elaborate flower figure of draft 52 (page 115) called
Morning Glory. This pattern is delicately beautiful and yet strong.
A further motif is the multiflora, Multiflora is two flower motifs of mini-
mum size used alternately; it is so simple that it is
subject to a wide
range of technical variations and is one of the most versatile of drafts.
Draft 53 (page 116) is the basic multifloral. The perceptive weaver will

recognize this draft as a variation of the five-block diamond, strengthened

through the use of large and small blocks.
 The 113

50
1
48 1 40 1
30 i20 ilO

Christmas Star with both star-fashion and rose-fashion developments.

 114 Fie

Hot Springs.
Overshot Opposites

Because the opposite differ In both draft and treadling from the funda-
mental overshot system, they are best understood if taken up as a separate

system, though some prefer to consider them simply a variation of over-

shot
The opposites principle is easily understood. Opposites are compensat-
ing pairs: 1,2 and 3,4 are opposites whether drafted as blocks, connected
as tie-ups or woven as sequences. Likewise 2,3 and 4,1 are opposites, and
also 1,3 and 2,4.
There are two types of opposites overshot patterns, two-block and
four-block. An example of the two-block is the historic Monk's Belt pat-
tern which
is simply a
single star drafted on opposites, followed by alter-
nating two-thread "blocks." As seen in draft 54 (page 117), the star is
drafted on A,C,A,C,A. Blocks B and D
are not included. A study of the
diagram, which gives Monk's Belt border arrangements ( star-fashion at the
top, rose-fashion at the bottom), shows what happens when the intermedi-
ate blocks are eliminated: all half-tones are eliminated. The pattern is

strong and clear-cut, unblurred by the half-tone value. Patterns for two-
block opposites may be drafted from two-block profiles
through substitut-
ing 1,2 for A and 3,4 for B, but the longest block of a profile can be no
longer than the maximum feasible float length.
 The 115

Morning Glory.

Four-block opposites add a complexity and a resulting distortion to

the opposites weave. The theory is that intermediate blocks omitted from
an opposites draft may be employed in a separate position as another set
of opposites. Draft 55 (page 118) illustrates this principle. It shows also
that the half-tones, in the two-block opposites, return when the
missing
two intermediate blocks are added, but The
in unconventional positions.
more
that they have and more
advantage of drafts of this type is strength
than ordinary overshot because the main black and white areas
sparkle
are adjacent.
Observe the development for the opposites drafts 56, 57, and 59 (pages
twill floats and two-
118-120). Within the half-tone areas occur two-thread
thread tabby. These are called accidentals, as they are unavoidable tech-
nical resulting from the forcing of the draft. They
can be con-
irregularities
trolled through careful drafting, but cannot be eliminated.
118 Ttut

Morning Glory with border made by Draff 53

repeating threads 18 to 27. Warp and ,30 1
20 lO
tabby of 20/2 cotton at 30 ends per mjgJQ LJEJ
......

L.--I.I-I-CI..
........

inch, pattern weft of 2/18 worsted. L_ ______ III

i y 1 1 1 \ \ n ni

Multiflora.
 The 117

Draft 54

|44 |30 ,20

|40_ i

nJ ill T ''-PiJLKjLlTPPCrL
ul.4l~.i-..
I- 1

l~CII-I.ZEI.-E
u-l J,l,IJ P'M- ilTrll
LJLJJi. P_PJB L i !...*
i
i.JTp; j
i I I

Monk's Belt, a classic opposites pattern. A few

Monk's Belt borders showing stars at top, roses at
bottom.

Draft 56 (page 118) shows two opposites stars drafted with even-
number blocks (though there is a transitional irregularity here too). Draft
57 (page 119) is two stars drafted with an odd number of threads in each
block, a technique which obviates the irregularity and also organizes the
accidentals better than when blocks have an even number of threads.
Draft 58 (page 120) shows the little multiflora drafted on opposites j it
has been possible to eliminate the transition block used in draft 53. The first

development shows it woven in the conventional manner as opposite flow-

ers but with overlapping centers. The second development interprets it as a
true two-block opposites pattern by weaving the centers as one-thread

1,2 and 3,4 blocks. Draft 59 (page 120) is another symmetrical opposites
multiflora with the two figures placed on adjacent rather than opposite
118

repeat
7 times

A "patchwork" opposites pattern.

Draft 56

Opposite stars, a redrafting of draft 48 to shift the half-tones away from the
pattern blocks. Illustrates occurrence of accidentals along with half-tones.

blocks to introduce the softening effect of half-tones. The first diagram

shows a true opposites development while the second diagram shows a
softened interpretation made by weaving the transition twill in strict over-
shot manner.
 The Twill 119

57

Symmetrical draft for opposite stars. Developed also as roses.

Occasionally drafts will combine normal overshot motifs with opposites

motifs, as illustrated by Moon Wake, draft 60 (page 120). For such a

threading it occasionally happens that the design will be handsomer if the

entire pattern woven in normal overshot manner and the
is transition in-

tervals are woven as twills.

120 The

Draft 58

Opposites multiflora drafts. The diagrams illustrate the two methods for inter-

preting small woven-as-drawn-in-overshot opposites.

Moon Wake, an opposites pattern.

The Overshot-Twill Hybrid System

Drafts combining twill successions with overshot blocks might be

looked upon as overshot (and too often erroneously are) were it not for
a technical peculiarity. The twills interweave very closely, whereas over-
shot blocks interweave relatively openly. Therefore the weaving of thread-

ings in which blocks are interspersed with twills requires a somewhat

wider warp sett, a relatively finer warp thread, or a much stronger beat
than overshot threadings. Another difference is that these threadings, be-
 The 121

of the
a much closer attention to the in are
woven with an odd number of an
number of shots. Failure to obey this hybrid
ings results in the disfigurement of the pattern recovery,

Draft 61

Prijnrose* a hybrid (overshot-twOI} pat-

tarn.

Dewy Web, a hybrid pat-

tern.

with overshot tfareadings there is no disfigurement, merely the possibility

of a slightly unsymmetrical pattern.
122

China Doll hy-

brid
twffl).
(overshot- '**#****

$Fmm 3Q 20
(40

Magnolia, the classic

leaf motif in hybrid
(overshot-twill) .
 The 123

Draff 65
1 36 30 120

Oriole, hybrid (overshot-twill).

Draft 66
,28 20

Candlelight, hybrid (overshot-twill).

124 The Weavers Book

Contour hybrid (overshot-twiH).

s

Shish Kebab, hybrid (overshot-twfll).

 The 125

Hybrid patterns are popular for on, as

towels, mats, scarves, for
The asymmetrical arrangements are

The Crackle System

Crackle is a weave derived from the in an differ-

point twill
ent manner from overshot. The repeat unit for of the four crackle
blocks is a three-harness point twill diagram The circle the arrange-
ment and association of each of these blocks plain. Block A Is the three*
harness point twill starting on harness 1; therefore it is 1,2,3,2; B is

2,3,4,3; block C, 3,4,1,4; block D, 4,1,2,1. Any of these unite may be

drafted alone, or may be repeated at will to compose blocks of any desired

The four crackle units with their transition

threads.

size. However, since each block ends with the starting thread of the next
block, it is necessary to add a transition thread at the end of a block, and

this isplaced on the same harness as the first thread of the unit Thus,
the transition thread ending block A is on harness 1, that for block B on
harness 2, for block C on 3, for block D on 4. The diagram above is simply
the diagram of these units with the transition thread for each, but it may
be used as a draft by repeating each unit as desired.
Crackle may be woven with tabby and pattern shots alternating, like
overshot. However the classic crackle method omits the tabby and follows
the rhythm of the draft with the use of three shuttles, each carrying a
different color of thread. Treadle in the following sequences using the
standard tie-up:

Block Atreadle 4, background color,

first

1, main color,
*
2, second background color,
a
1, main color,
**
end with 4, first background color, for the transition.

Block B treadle 1, firstbackground color,

*
2, main color,
*
3, second background color,
**
2, main color,
**
end with 1, first background color, for the transition.
126 The

C treadle 2, first color,

"
3, main color,
**
4, second background color,
**
3, main color,
w
end with 2, first background color, for the transition.

Block D treadle 3, first background color,

*s
4, main color,
**
1, second background color,
*
4* main color,
**
end with 3, first background color, for the transition.

Crackle woven in classic manner (above) and in overshot method (below).

 The 127

The photograph shows a crackle woven in the

manner and in the classic no-tabby crackle a heavy

two fine light colors. The draft for this is an irregular as
A once, B once, C twice, D five times, A once, D twice, C twice, B ive
times, repeat.

Weaving as drawn in is not commonly attempted in crackle, the

Swedish books contain many crackle (called Jamtlandsvaev) for

elaborate symmetrical patterns, symmetrically woven. For the American

way of weaving crackle, warp-weft balance need not be a concern. The

chief design advantage is beautiful color blendings and gentle movement
of the dominant color from block to block according to the pattern the

weaver desires.

Draft 69 is a crackle arrangement from the small profile of the time-

Draft 69
103 I 186 53

44744
times times times times times

2-3

A crackle draft based on a seven-block diamond, with thread-by-thread

development.
128 The

as The woven-as-drawn-in develop-

the craclde is woven with
an tabby. Is down by every fourth warp
so are no three threads. This develop-
the peculiarity of this two-texture weave, which Is that
two always weave as pattern and the remaining two as background.
There is no way to avoid this comradeship of blocks except to omit draft-

ing one block, as was done in draft 73 (page 130). When block A is
woven. Block D weaves with it; when B is woven, A weaves with it;
C carries B with it; and D> C.
use the block comradeship advantageously by drafting
It Is possible to

crackle on opposites through omitting block B between A and C, omitting

D
C between B and ? and so on. The diamond on opposites drafted at 70
shows how this is done. Notice that whenever a block is omitted it must

Draft 7

Ixilxt x x xffxj
times times times times times times

A crackle draft adapted from, the opposites diamond.

stillbe recognized by including its transition thread. Drafts 71 and

72 are formal patterns which incorporate the opposites principle.
Perhaps the most interesting of all crackle patterns comes from the

threading of large A, B, C, and D blocks to divide the warp into four equal
areas. The eight diagrams accompanying draft 73 (page 130) indicate the
modernistic effect of the designs which result These, like other crackle

patterns, are easily copied by eye through comparing the diagram with the
developing weaving. The blocks are always so large and stylized that there
is no difficulty in
using this visual method, while following written direc-
 128

Draft 71
i!39 103 92 68 i 46

9 times 6 times 9 times

184 160

6 tiroes
D C A B

4-1

A crackle pattern on opposite^

[2-3
4-1
1-2
3*4

-JL- 'J
*
2-3
I
4-1
2-3

or.
WW
, . 13-4
1-2
4-1

A cradkle pattern on opposite, by Mary M. Atwater.

130 The

Draft 73

x times x times x times x times

Building blocks pattern and

pattern arrangements (crackle
blocks in A,BCDorder).

Draft 74

X s
X I I
X I I X I I X I I X II X ' '
X I I
X

Lattice, a crackle pattern developed

from overshot draft 42.
 The 131

tions is slow, subject to error,

classic draft Is Lattice, draft 74. The origin of is In the

overshot twill blocks, draft 42 (page 106). If only the

are read, one finds this twelve-thread overshot draft
Weavers frequently need a stylized for a

panel or runner. The traditional Pine Tree borders of

were woven In eight-harness summer-and-winter and are the

capacity of most looms. The problem of designing stylized on four

Draff 75
86,85 ,72 51 ,
46 ,
25 12

3 '
5 3 I l
3

Arboretum, a crackle pattern for

weaving stylized tree and shrub
forms.
 132

be with a crackle draft; an attractive one is given

in 75. Three different styles from this draft are shown on the
but the weaver after copying these will be able to
other forms.
For weaving a cross design is often desirable and crackle
proves an medium for this form, as sho'Wn in draft 76. The crosses

A crackle pattern for ecclesiastical uses.

may be drafted in any desired size by increasing the number of repeats

in the B,C,B part of the design, but good proportions indicate that B
should be three times the size of C, and five times the size of C is a
good
proportion for the separating square. The border may be threaded or
not, as one wishes, and
may be added at the top and bottom by treadling
it

A,C,D in repeat. Trees and crosses are most effectively woven in the
overshot method with a binder, and it is not necessary to
obey the
balance rule of placing as many tabby weft shots per inch as there are
warp ends.
 THE UNIT CLASS

Although the actual textile types found in the unit class vary widely,

all the threadings share important technical characteristics. The unit

systems are all drafted without exceptions, overlaps, accidentals, transi-

tion threads, or other irregularities. All unit systems may be threaded
from profile drafts by substitution of a key unit characteristic of the sys-
tem. Each system has its own unit key, a static group of threads varying

only in pattern block placement, which is substituted in the pattern

squares of the profile. Each system also has its characteristic tie-up and
treadling sequence. There are more individual systems within the unit
class than in any other class, but many of them are weaves requiring

more that four harnesses, or are obscure weaves of interest to the advanced
weaver only.
Three members of the unit class are taken up here, three weaves which
differ greatly in characteristics but which have in common the regularity
of their draft systems and the fact that each is composed of threads placed
on foundation harnesses to weave the base fabric and other threads on
pattern harnesses to control placement of pattern blocks. In all three
weaves two harnesses are required for the foundation, so that patterns with
A and B blocks only may be used on a four-harness loom. As with other
unit weaves further pattern complication requires more harnesses.
Drafts 77 through 88 are all profiles. This means that they serve as
133
134 Tie

78

Droll 79

Draft 80

Draft 81

Draff 82

Draft 83

Draft 84

Draft' 85

Draft 86

Draft 87 tx

Draft 88

Two-block profile patterns. Substitution drafts for unit weaves such as summer-
and-winter, Atwater-Bronson lace, and warp pattern.
 The Unit Class 135

I It II

84
136 The

for the but do not show placement of individ-

ual threads. Each of a draft represents a single threading
unit; the appropriate unit must be substituted for the square in the actual
The of in the unit varies with the individual
the summer-and-winter having a four-thread unit, Atwater-
a unit, and warp pattern a three-thread unit. To thread
79, for instance, regardless of the system being used, the group of
comprising the A unit is threaded first, then the B group; then
follow five of the A group and five repeats of the B group; then
the whole thing is repeated. Thus, though the profile draft has only twelve

squares,, the actual' threading of it in suramer-and-winter requires forty-

eightwarp ends, in Atwater-Bronson sixty warp ends.

Accompanying each profile draft is a profile development of the woven-
as-drawn-ro pattern. All the patterns are unbalanced as they appear in
full repeats. To complete the
arrangement of any one of them for thread-
ing (unless for some reason the asymmetrical pattern is desired) one
must break the pattern into two motifs and repeat the first motif at the
end to balance the design. Another method for
balancing a pattern, one
which adds complication to some of the arrangements, is to use the last
block as a return block and make the repeat in reverse direction.

Hie System

Summer-and-winter easy to understand because of its regularity and

is

freedom from exceptions. The threading key, or substitution units for both
blocks, is
given below. The standard sinking-shed tie-up is at (a). The full

tie-up at (b), and the skeleton tie-up at (c) for rising-shed indicate that
though summer-and-winter can be woven on a counterbalanced loom, its
full expression is attained
only on a jack loom. The draft unit has four

(a) (b) (c)

BB
a b x 2 3 4 a b
t_j i_j 5
y 1 6 1 2 3 4 a b

Summer-and-winter threading key and tie-ups.

 lie Uftff 137

the of Is as x on 1, the
tie-down t/ on 2. Full one be
to The
of the are on or the other A
by 3 B by 4. The
to form the a tabby the two tie-downs the b tabby. When a
is alone, weft entirely al to
the opposite block. Therefore, to tie the pattern the fabric a
tie-down harness lifting every fourth thread be a
harness. When a tie-down harness is raised alone, the entire warp
in the pattern texture. When a tie-down baraess is lifted with tabby a,

background texture weaves across the entire warp.

The skeleton tie-up is a common convention for summer-and-wfoter
and for other weaves which utilize more sheds than there are treadles.

Each harness is tied individually to a treadle, in left to right order, and

the tabbies are tied as usual to the two treadles at the far right. Pattern
combinations are made by operating two or three treadles together. Ad-
jacent combinations may be operated with one foot, or two feet for sepa-
rated treadles. Thus it is possible to make all the fourteen four-harness
sheds on only six treadles.
The many ways to weave summer-and-winter, each one producing a
different texture, give it a versatility that makes this one of the most

useful techniques. There are four different classic textures, each one
achieved by a different treadling sequence and each one based on an exact
balance between warp and tabby weft. Hie different textures do not
harmonize well and therefore they cannot be combined in the same fabric.
The irst method is in 'the overshot manner with tabby and pattern weft
alternating, illustrated at (a) in the photograph on page 138. A single tie-
down, which may be either x or y, is used, so that the two pattern blocks
are woven with treadles 1 and 3, or 2 and 4. The sequence is:

Block A treadle a, tabby weft Block B treadle a, tabby weft

**

1, pattern weft 3 pattern weft

" *
b, tabby weft b,tabby weft
"
1, pattern weft 3, pattern weft
repeat. repeat.

Tie-down x makes each threaded unit stand out independently as at the

tie-down y
top of each block at (a) in the photograph on page 138, while
creates an extra unit as shown in the lower halves of the blocks, and the

edge units have two-thread instead of three-thread floats.

138 The

(a) Single tie-down method* x tie-

down at top of blocks, y tie-down at
bottom,

(b) Alternate tie-down method.

(c) The x-y-y-x method 'Starting on

tabby B.

(d) The x-y~y-x method starting on

tabby a.

The classic summer-and-winter textures.

The second method illustrated at (b) in the photograph uses alternating

tie-downs, so that all four pattern treadles are employed in the following

sequence:

Block A treadle a, tabby weft Block B treadle a, tabby weft

1, pattern weft 3, pattern weft
"
b, tabby weft b, tabby weft
2, pattern weft 4, pattern weft
repeat. repeat.
 The Out 130

The third (c in the one of the

textures known is one of the of se~

quences. This method requires as an in a

shot will alter the entire of the fabric, it. The
textures are quite different on top are
so either side may be considered the right one one for and
the other for summer, if you Ike, The classic double tie-down is

woven and each eight-thread

in eight-shot sequences unit of
four tabby shots and four pattern weft shots must exactly four

warp ends. This means that the interweaving is very close, this

one of the strongest, firmest fabrics. The sequence is:

Block A treadle b, tabby weft Block B treadle b, tabby weft

*
2 pattern weft
S (y) 4 pattern weft
" **
a, tabby a, tabby
**
1, pattern (x) 3, pattern
" *
b, tabby b, tabby
**
1, pattern (x) 8, pattern
**
a, tabby a, tabby
**

2, pattern (y) 4, pattern

repeat. repeat

Reverse the tabby relationships (start with the a tabby and use the
weave the underneath texture on top.
treadles in x, y, y, x order) to
The fourth method, illustrated by (d), uses the (c) pattern-treadle or
tie-down order but reverses the tabby relationship. Actually there are four
different double-tie textures but two always occur together as top and

bottom.
A further treadling which gives very modem effects and is never found
among the classic weaves, though it is fairly common in primitive weav-

ing, is the no-tabby summer-and-winter sequence. The four pattern

treadles are used in repeat order without interruption. Many
1, 2, 3, 4,

unique effects may be gained through using two or more colors in syn-
chronized and progressing fashion with this treadling, and through using
wefts of contrasting textures and sizes. This is a fruitful weave for experi-

menting for color and texture effects rather than pattern.

Summer-and-winter is the richest of all weaves for the experimenter.
The reason for this lies in its close interweaving, the controls one can
exert through the two tie-downs, and the independent nature of the two
pattern blocks with their ability to combine for full pattern texture. The
full background texture also helps increase the versatility.
140 The

The no-tabby twill sequence method for weaving summer-and-winter, shown

with four colors* four shots of each.

'The Atwater-Bronson Lace System

This is the ever popular lace weave which modem handweavers prob-

ably use more than any other weave for linens. It is equally adaptable
for

use with wools, cottons, and synthetics.

A&water-Bronson is a single-shuttle, balanced weave having two tex-
an open lacy texture in which six warp and six weft threads group to
tures,
form open spaces and tabby areas which contrast pleasantly with the
open texture. Atwater-Bronson is seldom woven except in the classic
manner. Its versatility lies in its adaptability to different materials and to
a wide range of warp settings from very open to very dense. The lace
texture has floats in both warp (wrong side) and weft (right side) over
five ends, so that the maximum openness must be the practical five-thread
float for the material being used. The limit for density is the closeness at

which perfect tabby can be woven, and although very close settings lose
the lacy openness, they develop a very deep texture which is remarkably
beautiful.
Four-harness Atwater-Bronson threadings are made from two-block
profiles and the lace effect is enhanced if no single-unit blocks are in-
cluded. Each alternate thread of the entire draft placed on harness 1,
is

known as the tabby harness (the first, third and fifth threads of the six-
thread unit) and every sixth thread (the last thread of the unit) is placed
on harness 2, known as the tie-down harness. The remaining threads (the
second and fourth of the unit) are placed on a pattern harness. The unit
 141
3 i 3 A

The Atwater-Bronson threading key and tie-up, with thread-by-thread draft

key is shown above. Draft 89 shows a thread-by-thread draft as well

as a profile. The scope of the system is enlarged by the fact that tabby

stripes, borders, and selvages may be added by threading 1,2 alternately.

As this weave produces a tabby by raising harness 1 alone, the opposite
tabby is formed by the pattern and tie-down harnesses. This unbalanced
harness arrangement cannot easily be woven on a counterbalanced loom.
One treadle is required for weaving each pattern block through tying to
it the harness which is to weave as
tabby background as well as the tie-
down harness. The tie-down harness is operated alone to weave the lace
texture across the entire pattern threading.
One popular design is especially adapted to the Atwater-Bronson sys-
tem, the picture frame pattern, whereby a border may be woven around
all four sides of an article such as a table mat, a head scarf, or a baby

blanket. The two styles of picture-frame borders are shown at drafts 00

and 91 (page 142). The simple border illustrated in the photograph (page
143) is drafted at 90 and a more complex border with cross bars at 91.
These two profiles have two peculiarities. There is an additional block
indicated at each side, under the block A draft line. This is the wide band
of tabby which is threaded 1, 2 alternately. Second, the block sizes and

proportions are implied but are not given specifically. The reason for this
is that both of these designs must be adapted to the number of threads in
the specific warp and also to the width of the border, relative to tibe tabby
edge and to the tabby center. Picture frame designs are woven on two pat-
tern treadles. The horizontal border, having no tabby background except
that threaded on 1,2 alternately, weaves when one raises the tie-down har-

ness alone. The side borders, which are threaded as block A on harness 3

and have B areas woven as tabby background, weave on the treadle which
raises harness 4 plus the tie-down.
142 The

Draft 90

Profile draft for simple picture frame.

Draff 91

Profile draft for cross-barred "picture frame."

The Atwater-Bronson system may be employed for weaving crosses

in a lightweight single-weft fabric, and so the system is a favorite for
on the
ecclesiastical linens. Crosses either large or small are drafted

two pattern blocks and spaces between the crosses are threaded 1, 2
alternately. Thus, a linen may be threaded with a large cross in the
center, with a small cross in each corner, or with a repeat
arrangement of
allover crosses. These arrangements are shown in drafts 92, 93, and 94

(page 144).
The Atwater-Bronson treadling is in a six-shot sequence which is com-
parable to the six-thread draft unit. It is tabby b, pattern,tabby fo, pattern,
 The Unit 143

Corner of '"picture-frame** mat in Atwater-Bronson lace.

tabby by tabby a. For the pattern one may use treadle 1 (the tie-down
alone), which weaves lace texture in both pattern blocks; treadle 2 (tied
to harnesses 2 and 4), in A areas, tabby in B areas;
which weaves lace
treadle 3 (tied to harnesses 2 and
3), which weaves lace in the B areas,
tabby in the A, Notice the characteristic which applies to other weaves in
which the pattern floats are of weft, that raised pattern harnesses weave
their areas as background, unmoved harnesses weave their areas as pat-
tern texture. Great care must be taken to beat Atwater-Bronson for an
exact balance, and the weaving of the full lace texture requires particular
restraint since there are no tabby areas to provide resistance to weft

packing.
The effect gained by this weave is at its best when warp and weft are
identical in both thread and very definitely a single-color
color. This is

weave and even the use of two closely associated values of the same color
detracts from rather than enhances the beauty of the texture. Sometimes a

contrasting thread placed on harness 2 (each sixth thread) and woven

is

on tabby a (each sixth shot), and metallic in this position adds a pleasant

glitter.
144 The

Draft 93

4- 4-

t t
Draft 94

Atwater-Bronson lace drafts of ecclesiastical weaving.

The Warp Pattern System

This a tabby foundation weave in which patterns are formed through

is

extra warp threads instead of by the more usual means of pattern weft.

Although allover patterns may be woven in this system, and frequently

 The Unit Class 145

,
,,.
HHiTxiiris

1 2 a b S A B A

Warp-pattern threading keys tie-up.

WWW
-

Warp pattern stripes, from draft 96 (page 146),

are in the multiple-harness interpretations, four-harness warp is

usually used for designed pattern stripes.

There are two types of threading used for making warp pattern borders,
both shown in their key units above. Both utilize a foundation fabric
of tabby, threaded on harnesses 1, 2 alternately, and pattern threads

placed on harnesses 3 and 4 to form simple designs. The first method, (a),
used in the photographed sample, threads two base tabby ends followed
by a single pattern warp end in a three-thread unit The second, (b), has
a more closely set pattern warp with a pattern warp thread alternating
with each base tabby in a four-thread unit. A special sleying method is
practical for this weave. Sley the entire tabby fabric at one per dent or
two per dent, according to the design plan, and tie in the base warp. Then
sley the pattern threads, adding threads to already sleyed dents accord-
ing to the pattern arrangement (with base warp sleyed 2 per dent, the
pattern stripes are sleyed 3 per dent for the three-thread unit, 4 per dent
for the four-thread unit ) The pattern, it is clear, is composed of superficial
.

decorative threads which form design rather than fabric.

There is a certain problem in the beaming of a warp which contains
added pattern stripes. If not handled carefully, the warp will build up at
the places where the extra pattern warp occurs and destroy the tension.
For short warps, this may be obviated by using very substantial beam
padding such as a continuous roll of corrugated cardboard or many lease
146 The Weaver's Book

sticks.For long warps it is advisable to beam the pattern warp on a second

beam, if such is available, or even on a separate loom. But there is another
method which is altogether practical; this involves beaming the base warp
alone and winding each pattern warp stripe in a separate chain. The
pattern warp chains are then hung individually over the back beam and
supplied with suitable weights to give adequate tension. If each is un-
chained to within a few inches of the floor and hung with a weight at that
position, weaving may progress until the weights reach the back beam
before the pattern warp need be readjusted.
Draft 95 Draft 96

Profile drafts and a few de-

signs for warp pattern stripes.

K *
Drafts 95 and 96 show suggested pattern stripe arrangements, and
under these are several patterns from the many which may be woven on
each. Any two-block profile may be used as the threading draft.
 THE GROUPED
THREAD CLASS

The weaves of the grouped thread class are often known as linen weaves
because of their traditional use for household linens. All of them alternate
tabby areas with texture spots. All are balanced weaves for which warp
and weft should be identical They are also single-color weaves, but often
the visual depth of the texture areas may be increased by using one color
for warp and a different though close value of the same color for weft
Though they are first of all considered linen weaves, the grouped thread
systems are excellent for wool and may be used for cotton, silk, or any of
the synthetics.

The Huck System

Classic the single simple draft 97 (page 148). It weaves to an

buck is

allover texture which is firm but soft and absorbent. The curving of both

warp and weft threads which occurs when tension is released and the
fabrics have been washed a delightful feature. Variations of the draft
is

may be made by using three-thread or seven-thread units instead of the

more usual five-thread unit. Tabby for selvages, borders, and plain stripes
is threaded on harnesses 1, 4 alternately.
Huck is woven in a shed sequence which resembles the draft units:

*, .1, a, 1, a; b, 2, b, 2, fe; repeated continuously. This weaves the classic

147
148 The

stripes with tabby between.

Draft 97

T 2 3~4~ a, b

The basic huck draft and tie-up.

texture which is huck, but treadle 3 may be tied to 1-2 and treadles 3 to

3-4 for creating special effects and borders,

Since huck a closely interwoven fabric with curved threads and has
is

no pattern in the general sense, it is a good foundation threading for

special effects in textiles using unconventional materials and combinations
of materials and colors.

The Spot Branson System

The $pot Bromon is a classic linen weave used by our forefathers for

handspun linen towels and table linens.

Each alternate thread of the draft is on harness 1 and the intermediate
threads are placed in pairs on the other three harnesses to control design.
Like other linen weaves, it has a perfect warp-weft balance, utilizes iden-
tical material for warp and weft, and is best if woven in a single color or

in two closely associated values of a color. The draft unit has four threads,
which through an overlap, group into five-thread spots with two floats.
Though somewhat resembling huck, spot Bronson differs from it in that
two-thirds of the texture is tabby instead of one-half, the warp and weft

threads curve less,and the system has more design potential since it is
possible to draft three spot-units on four harnesses. Various arrangements
of the three pattern units may be made, but the designing is limited by
the fact that no unit may be repeated to form a block. Draft 98 shows a
typical arrangement in which two units alternate for a certain distance in
 The 149

Draff 98

SE5
I 2 3 a b

Spot Branson with unit.

Draft 99
i40 (30

Spot Branson tabby stripes alternated.

Spot BronsoB diamond.

a table-like motif, separated by the third unit Draft 99 shows the A unit
repeated for twenty-six ends. In a draft of such character, the A wait is
used to form tabby and cannot be woven as a texture spot, but B and C
are grouped to form small spot motifs completely surrounded by tabby,
The treadling is simple, a four-shot sequence similar to the threading
units. The sequence is

Unit A tabby b Unit B tabby b Unit C tabby b

pattern 1 pattern 2 pattern 8
tabby b tabby b tabby b
pattern L pattern 2. pattern 3.

The a treadle is used only when alternated with b to weave plain tabby.
Modern variations in this weave vary the block sizes but place the weft
in classic sequences. An interesting variation is achieved through thread-
ing a different type of material on the tabby harness froiyi that used on
the pattern harnesses. This is another weave which is so simple that it is
an excellent foundation for experiments in texture and color effects.

The M*s and O's System

M $ and O's, though not as versatile nor as generally practical a weave

9

as huck or spot Bronson, should not be omitted from a treatment of the

ISO The

or the 0*5 can produce

a fabric, not it is so poorly

that its is The of the weave lies in the

fact thai it Is and the only one of the common linen

M's and O*s from draft 101, woven with alternating colors.

weaves which may be done conveniently on a counterbalanced loom. A

balanced weave of identical warp and weft, it has texture blocks of four-
thread opposite floats, which should weave as weft rep, contrasted to in-
termediate tabby blocks. This difficult texture combination requires an
unusually closely set warp and a very sharp beat, and also limits the
vertical development of the texture blocks to avoid their becoming sleazy
at the top. Because large blocks have a tendency to become soft, spongy
and stringy looking, they are better avoided and the drafting and weaving
restricted to small pattern areas. Draft 101 is the simple, alternate texture

arrangement repeating the two eight-thread units. Draft 102 shows a

different way for handling the two design units.
The weave will not produce a tabby, even though the intermediate
blocks weave as tabby. The selvage threading is 1, 4 repeated, and this
threading may be used to introduce tabby stripes into the pattern. An in-
 151

101

123456
AB A
Squares.

-Draff 102
,40 i30 ,20 ,10

Squares with cohoxms.

Squares with tabby tie-down.

Basic drafts for M's and O's with tie-up.

teresting drafting variation is the placing of a 1, 4 threading between each

pattern block as is done in draft 103. Pattern blocks always have an eight-
thread grouping: 1,2,1,2;3,4,3,4, which may be repeated, for A; 1,3,1,3;
2,4,2,4, which may be repeated, for B.
M's and O's is woven on the opposites principle, using the balanced
tie-up as given with draft 101. Block A
areas are woven by alternating
treadles 1 and 4 ( 1-2 and 3-4) and Block B areas by alternating treadles 2
and 5 ( 1-3 and 2-4) Treadles 3 and 6 (2-3 and 4-1 ) are not used in weav-
.

ing classicM's and O's, but they are useful when this threading system is
used as a foundation for fabrics of a free texture weave. It is plain that the
weaving may be accomplished on the standard tie-up by alternating
treadles 1,3 for A and a, b for B,
 THE DOUBLE
WEAVE CLASS

The four-harness doubleweave has many useful applications, since it

produces simultaneously two independent tabby fabrics which may be
of different colors and even of different materials. The two surfaces of plain
double weave fabrics may be woven completely independently or they
may be joined at one side or at both sides. When joined at one side only,
the result a single fabric twice the warp width. When joined at both
is

sides, the result is a seamless tubing. Or it is possible to interchange the

surfaces of the two fabrics in horizontal stripes which join the fabrics

horizontally wherever the surface interchange takes place. The imagina-

tive weaver finds many uses for the double weave.

Draft! 04

l!234t |5678, 123456

A B

Draft and tie-up for single-alternation double weave.

Double fabrics are woven on a four-harness twill threading. If surfaces

of two different colors or two different yarns are desired, thread one ma-
terial on the odd-numbered harnesses and the other on the even-num-

152
 The 153

Draff 105

t1234ii567a I 23456
A I

Draft and fiie-up for paired-alternation double weave.

bered ones so that the two threads alternate throughout. The double
weave tie-up is the skeleton tie-up for six treadles, one to attach to each
harness and two to form the a (2-4) and b (1-3) tabby sheds. Draff 104
shows the threading and tie-up. Plainly this is another weave for the jack
loom. A second threading places one color on harnesses 1 and 2, the
other on 3 and 4, as on draft and tie-up 105.

Since two fabrics are woven simultaneously, the warp sett should be
twice as close as the normal tabby. The best sley is four threads per dent
The principle of the double weave is that one tabby fabric is woven on
the odd-numbered harnesses at the same time another tabby fabric is
woven under it on the even-numbered harnesses* To weave the top fabric
one need merely alternate harnesses 1 and 3, while all threads carried on
harnesses 2 and 4 loat uninvolved under the surface. To weave the under
fabric necessary to get the top fabric out of the way by raising har-
it is

nesses 1 and 3, and then treadle sheds 2 and 4 alternately. Since the beat
would be interferred with if either surface were built up independently
forany distance, smooth weaving requires alternate shots on the top and
bottom surfaces, or at least alternate pairs of shots. For draft 104 the
tabby treadles are used to raise an entire surface and hold it out of the
way while the under surface is being woven, rather than to make weaving
and 3-4 do this for draft 105.
sheds. Treadles raising 1-2

Supposing a warp of light threads on harnesses 1 and 3, dark on 2 and 4,

woven with two shuttles carrying light and dark weft, the treadling with
draft and tie-up 104 is as follows:

Light surface on top:

(a)
Or (b)
treadle 1, ligKt; treadle 1, light;
" "
b and 2 (1-2-3), dark; 3, light;
* "
3, light;
b and 2 (1-2-3), dark;
* *
b and 4 (1-3-4), dark;
b and 4 (1-3-4), dark;

repeat repeat
154 The

on top:

(a) Or (b)
2, 2, dark;
" "
a and 1 ( 1-24), light; 4, dark;
u M
4, a and 1 ( 1-2-4 ) , light;
* **
a and 3 (2-3-4),
a and 3 (2-3-4), light;

repeat.

If the may be closed by locking the two wefts after each

shot In the manner used to make good edges for any two-shuttle weave.
The separated and padding inserted between
may be them be-
fore they are permanently closed through interchange of surfaces, by
the appropriate tabby treadle, 1-3 for light on top, 2-4 for dark on

top.
Double-width fabric is produced by using a single shuttle with either of
the (b) treadle sequences. Seamless tubing is woven by using either of
the (a) sequences with a single shuttle. However, on a warp with alter-
for weaving a uniform
nating colors a different shed sequence is required
fabric with alternating color on both sides. Harnesses 1 and 2 must be
used for the top surface, and 3 and 4 for the under surface. The sequences
then become:

(a) Or <b)
treadle 1, treadle I,
" "
b and 2 (1-2-3), 2,
* *
2, a and 1 (1-2-4),
" *
a and 1 (1-2-4), b and 2 (1-2-3),
repeat. repeat.

As above, (a) weaves the seamless tubing and (b) the double-width
fabric, both with a single shuttle.

The simple block patterns characteristic of early colonial double-woven

coverlets require multiple harnesses. The elaborate double weave patterns
seen in mid-nineteenth century coverlets are made on a Jacquard loom,
while elaborate primitive and peasant patterns, as well as modern ones,
are done by a complex pick-up method, directions for which are not in

keeping with a book on weaving fundamentals.

The Double Face Twill Weave

Double face tuntt is a method for weaving 3/1 twill fabrics of one color

on one side, another color on the other side, a common blanket technique.
 The 155

the tie-up is for the the

is set at a twill density. Two are for

may be from the warp color, as the is

The top surface is woven with one color in the 3/1 twill which
permits the weft to over warp ends. The sur-

face, which is completely interwoven with the top surface, the

color and is in the 3/1 twill which raises three so that the weft
floatsover only one warp end. The two colors must be used alternately In
the following sequence,

treadle 1, dark weft;

*
b and 2 ( 1-2-3) , Mght weft;
2, dark weft;
**
a and 1 ( 1-2-4) , Mght weft;
**
3, dark weft;
"
b and 4 ( 1-3-4) , Mght weft;
**
4 dark weft;
a and 3 (2-3-4) , Mght weft;
rep-eat.
 THE RHYTHMIC
WEAVE CLASS

This is a catch-all class containing a number of rather obscure and un-

related weave systems. The only characteristic these weaves share is that
they do not follow the rules for any other classes, but in each the thread-
ing is based on a rhythmic sequence characteristic of itself only. There is
one very important weave in this class, the shadow weave, and a minor
one, the blanket weave, which have appropriate places in this study.

The Shadow Weave System

Shadow weave may be compared to the two-harness log cabin, as it

consists of pattern blocks formed of alternating light and dark threads
lying either horizontally or vertically, exactly as in log cabin. But there are
four pattern blocks, and in arrangement these resemble crackle since com-

panion blocks weave together, two blocks weaving in horizontal pin

stripesand the remaining two in vertical pin stripes, and adjacent blocks
have a complete overlap.
The threading requires that light and dark threads alternate throughout.
Block formed by harness threading shifts, without alteration of
shifts are

the color sequence. Block A has dark on harness 1, light on 3; B has dark
156
 The Weave 157

|
-

Iffff
I f k >.
MifcaL''
r^^^" 1 f
*p
"f I twwi.. | |

? l^*|ia *'<s ^i*'i S f |6*i**

Shadow weave double diamond, draft 108.

Draft 106

[44 1
40 30 20 lO

1234
Shadow weave, irregular diamond.

Draft 107

58 150 40 ,30 ,20 |10 f

pra fengi
finHHTONIJUlHKU^N I
-PHg-bH-F HUbrlnbjyinn U-irt

Shadow weave, large diamond.

Draft 108
60 50 1 30 1 20 ilO i

uuiBBymnuu
i "in _
Ip__ g _.lLl-|-|5-SZ s
loi pi i n n y,M

.80 TO

Shadow weave, double diamond. 1

158 The Book

m 2, light on 4; C has dark on 3, light on 1; D has dark on 4, light on 2.

is on the four of the standard tie-up, with

in an rhythm which duplicates the threading sys-

tem. Thus, block A is woven by throwing dark weft in shed 1, light in 3

and as desired; block B has dark in shed 2, light in 4 ? repeated;

C has dark on 3, light on 1; D has dark OB 4, light on 2.

The shadow weave tabbyfabric is where two-

except at the block edges
thread floats form interesting light and dark outlines for the blocks. Be-

cause of the very close weaving of the near-tabby, shadow weave is an

excellent technique for lightweight fabrics, particularly light woolens and
worsteds. It weaves to a handsome, rather subtle fabric if threaded and

woven in all one color. Interesting color effects are gained by using weft
colors differentfrom the warp colors, The tabby dominance might make
this seem to be an excellent weave for linens, but this is not generally the

case. Since the effect is one of alternating colors and colors do not blend

well in linen, only through extensive sampling is it

possible to create a

good linen effect in shadow weave.

The blanket weave, draft 109.

 The 159

Tie Blanket Weave System

The blanket weave is an odd and little known weave that forms a inn
bet soft fabric suitable for certain types of drapery and for blankets; it

123456
A diamond in blanket weave.

makes charming baby blankets. The patterns resemble overshot woven on

the opposites principle except that there are six rather than four blocks
and the interlacement does not form a tabby. The blocks are the four
drafted for overshot plus two additional ones which alternate the even-
numbered harnesses and the odd-numbered ones. Because of the peculiar
overlap caused by the insertion of these last two blocks, half of the blocks
are composed of even numbers of threads and half of odd numbers. Dia-
mond patterns draft most effectively and the extra blocks must be placed
between B and C and between D and A, in the order shown in the draft,
if a smooth pattern flow is to be attained. Otherwise the pattern is con-

fused with awkward opposites. The draft shows all blocks of four- and
five-thread size, and patterns are usually more effective if the block size
is kept uniform, but they may be six and seven threads, or seven and eight,

and so on. This is not a balanced weave and warp is usually fine and set
about twice as wide as for twill. Two colors of weft, heavier than the warp,
are used alternately. The tie-up for the six treadles follows the harness
combinations of the blocks. Treadling is on opposites ( alternate treadles
1 and 4, 2 and 5, 3 and 6, 4 and 1, 5 and 2, 6 and 3) with a h*$it weft in

one shed and a dark in the other to create two interlacing pattern figures,
one of light and one of dark. Blocks ar built up as desired, since this
weave has no balance rules,
 > WEAVING
METHODS

Single-Shuttle Weaving

Beyond rhythm in aH the motions of weaving, there would be

stressing
little weave as obvious as tabby were it not for the fact that
to say about a

tabby combines with pattern in two-shuttle pattern weaves. To form the

right weaving habits so that a tabby error can never occur in a two-shuttle
weave, there is one unbreakable rule to follow. When the shuttle is in the
left hand, ready to pass from left to right, always press the a or left tabby

treadle. When the shuttle is in the right hand, ready to travel from right
to left, always press the b or right tabby treadle. This rule holds true
whether the tabby treadles are being operated in walking-motion or with
the right foot only.

Two-Shuttle Weaving

To weave two-shuttle pattern systems, follow the rule given above for
the tabby direction. The rule for pattern direction is that the pattern
shuttle follows the tabby, and in the same direction.
Weft locking at selvages important for making good edges. The lock
is

is accomplished by laying shuttles down in the same relative positions

after shots. Common practice is to lay one shuttle on the textile and then
160
 Wearing 161

pick up the other one for the next shot. If the tabby shuttle is always
placed toward the beater and the pattern shuttle toward the weaver, the
wefts automatically lock. The lock occurs for the reverse order too. The
important point is to be consistent
The same rules hold true for two-shuttle opposites weaving.

Three-Shuttle Weaving The Italian Method

When weaving with three shuttles, it is advisable to place a small table

at each side of the loom to hold theThree wefts are locked by lay-
shuttles.

ing the shuttles down always same order.

in the

The most important three-shuttle weave is known, for some obscure

reason, as the Italian method. This is the method given in detail under the
crackle weave as the classic method for weaving crackle. It may also be
used as a no-tabby method for overshot, and is a good sequence to try
when experimenting with other threadings with four pattern treadles.
Some find the weaving easier if four shuttles are used in the manner given

below, with two shuttles carrying identical weft.

Four-Shuttle Weaving Bound Weaving

When weaving with four shuttles, the pair of loom-side tables is neces-

sary. In classic four-shuttle weaves, the shuttles follow each other in se-

quence and it is imperative that wefts be locked at the edge through the
shuttle order. The best system is to start all wefts at one side. As each
shuttle caught on the opposite side, lay it down in back of the previous
is

shuttle until the four lie in a row. Then pick up the front shuttle to throw.
It often happens that two threads of the same color occur in the four-weft

sequences. be avoided, do not throw both shots with the

If trouble is to

same shuttle. Put bobbins of the same weft in two (or three, if necessary)
shuttles and retain the shuttle order.
Bound weaving is four-shuttle weaving with no tabby, in which the
four pattern treadles are operated in 1, 2, 3, 4, order. Classically the weave
uses a weft as fine as the warp, or finer, and the fabric is beaten to give a
full warp coverage in a weft rep. The weft must be extremely loose in the

shed and is wide curving arc from selvage to selvage,

usually placed in a
sometimes '^bubbled" down into scallops all across the warp with the
index finger. Patterns in bound weaving are made by shifting the color
order through picking up the front shuttle and moving it to the back
162 The Weavers Book

M'j
JaW^T-i''
9*t7fT%'f
trHAUffc.
''
,
1
*. 0M ,
i
'
,-11
'

'
I
S' , i i i
' "

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Second
Sampler woven on draft 44. Top border: two-shuttle opposites method.
border: four-shuttle bound method. Third border: three-shuttle crackle method.
Others: patterns in bound method.

where it will by rearranging shuttles in

weave fourth instead of first, or

some other systematic way. Colors may be added and subtracted at will,
but never more than four can be in use at one time. The fabric has a right
and a wrong side.
 Weaving 163

The No-Tabby Sequence Weave

The no-tabby sequences woven on the four summer-and-

are generally
winter pattern treadles, but they can be used with some other systems.
Pattern treadles are operated in 1, 2, 3, 4, order, without interruption,
but with more interpretive freedom than for classic bound weaving. For
summer-and-winter, the colors are usually used in pairs of shots, and one
of the more interesting color sequences uses three colors in pair rotation.
Weft the same warp or much heavier than the warp may be used;
as the

in fact, almost any kind of weft is suitable, right down to sticks and

grasses. This is a free weave, one for the imaginative weaver.

Opposites Weaving

Opposites may be woven, without tabby, on overshot, crackle, summer-

The rule of opposites is that all
and-winter, and certain other threadings.
four harnesses must be involved once in two treadle tie-ups, so that the
two treadles compensate each other. For overshot threadings and the
standard tie-up treadles 1 and 3 are opposites, and treadles 2 and 4, just
as the a and b tabbys are opposites. By using these in alternate order,

with a dark weft in one shed, a light in the other and weaving any pair
until a block is built up, unusual texture and pattern effects are achieved.

The best opposites weaving uses a soft weft beaten to form a strong weft

emphasis.

Honeycomb

Honeycomb is a special effect, sometimes called overshot lace, usually

woven on overshot threadings but very good on M's and O*s. Honeycomb
requires a very heavy weft of the same color as the warp, and a fine weft
which may be in a contrasting color or value. The tie-up is made with
harnesses 1-2-3 on treadle 1, 2-3-4 on 2, 1-3-4 on 3, 1-2-4 on 4, plus tabbies.
To weave treadle: a, b with heavy weft; 1, 2, repeat as desired, with fine

weft; b, a heavy weft; 2, 3, repeat, fine weft; a, b heavy weft; 3, 4, repeat,

fine weft; b, a heavy weft; 4 } 1, repeat, fine weft. The unusual requirement
is that tabby treadles are used in a, b, then in fe, a order, so that the same
outline shot lies on both sides of any spot. The strongest honeycomb effects

are made on two-block overshot opposites or M's and O's drafts with long
164 The Book

Honeycomb woven on a six-block overshot diamond.

blocks. For Ms and 0*s the outline weft is thrown in the 3-4 and 4-1 sheds.
The overshot honeycomb fabric has a definite right and wrong side.

The Swivel Weave

The swivel method uses the four pattern treadles in unbroken 1, 2, 3, 4,

order, with the same unbalanced tie-up required by

overshot honeycomb.

Treadle 1 combines 1-2-3, treadle 2 is 2-3-4, treadle is 1-3-4, treadle 4 is

3

1-2-4, with no tabbies. Weave with two colors, throwing pairs of shots
with each color:

Block A treadle 1, 2 with dark weft, treadle 3, 4 with light weft;

Block B treadle I with light, 2, 3 with dark, 4 with light;

Block C treadle 1, 2 with light, 3, 4 with dark;

Block D treadle 1 with dark, 2, 3 with light, 4 with dark.

Use a fine or a soft weft which will beat to cover the warp.
 > WEAVING SKILLS

Weaving is a rhythm, a rhythm which can carry much of the expressive

feeling of dancing. For many, the highest pleasure can be attained from
weaving only when the various movements of treadling, beating, shuttle-
throwing, and shuttle-catching are so coordinated that they flow as if to
music. Each of these movements plays an important part in the full weav-
ing cycle.

Treadling

Treadling, to be rhythmic, must be in left-right walking order, at least

as far as possible, and it must be by the touch system. The touch system is

developed through making the tie-up so that treadles are operated by the
leftand right foot alternately. The standard tie-up does this for all tabby-
foundation weaves derived from twills, and the characteristic tie-ups for
most other weaves, as they are given here, are for walking order. For
weaves which alternate tabby shots with pattern shots, including not only
the two-shuttle pattern weaves but such single-shuttle weaves as Atwater-
Bronson, and the grouped thread weaves, the convention of placing tabby
treadles at the far right and pattern treadles at the left takes care of the

walking order. Occasionally someone will challenge this order on the

assumption that tabby is treadled more than any other weave and that
165
166 The

the should be tied in the center where they are

conveniently operated. An
experienced weaver immediately sees
the of this contention, for the versatile weaver is able to
treadle slightly off side as easily as in the center of the loom, and does
not find it a and b alternately with left and right foot,
difficult to treadle

or 1 and 2 in the same manner. For a prolonged tabby project it is un-

deniably true that center tabbies are easier, but one should make a special
tie-up for such projects, a tie-up not used for other weaves. Balanced twill
on treadles repeated is an undeniably awkward operation on the
1, 2, 3, 4,

standard tie-up, but the tie-up is easily arranged for efficient right-left
treadling. Simply tie treadle 2 to 3-4 and treadle 3 to 2-3. Then weave
1, 3, 2, 4-left, right, left, right, continuously. Special touch-system tie-up
and treadling methods are used for multiple-harness weaves with many
treadles, but these need not be taken up here.

Shuttle Throwing

Shuttle throwing should be without awkwardness. No discussion of the

right way to hold a shuttle is given here because weavers disagree on this

subject and the truth seems to be that different people prefer different

methods and use them with equal efficiency. It is sufficient to say that the
shuttle must be held easily and lightly, so that it may be thrown the full
distance of the shed without awkwardness or undue effort. It must be

caught so that it may be rethrown with a flowing motion without a full

change of hand
position, and
should be caught in such a way that a
it

finger is available to stop the spinning of the bobbin when this is neces-
sary. The bobbin, while the shuttle is in motion, must give off weft suffi-

ciently freely to prevent drag where the weft turns at the selvage and to
allow the weft to lie on a loose diagonal in the shed without the slightest
tension.

Beating

Perhaps the greatest skill of weaving lies in the beating. The beater
should be held lightly between the fingers, instead of with a fist, and in
the exact center. The throwing motion should be free, like that of a ball-
player throwing a ball, as beating with tense muscles is fatiguing, destroys
the weaving rhythm, and reduces the weaver's sensitivity to the feel of
the warp as it slips through the reed, a sensitivity which is necessary for
 107

smooth and perfect weaving. The beater is thrown swiftly if the weave
is firm, gently if it is soft.

Skillful combination of these three operations leads to rhythm and ulti-

mately to good textiles. The coordination of the beat with treadling and
shuttle throwing is a problem for many novices, who wonder if the beat
should be a single or a double tap, if it should precede the shed change or
follow it or both. The answer is that a good weaver must know how to
beat in many ways, because different fabrics require different beats. The
object of the beat is to place a loosely lying weft into the position the

fabric requires. To do this the shed must be open as the reed carries the
weft forward to the (the weaving line), since the tension of a changed
fell

shed prevents the weft from taking its natural position and may cause
serious narrowing across the fabric. However, the open shed beat may not

give the weft its correct position and so an additional beat may be re-
quired after the weft has been locked into position by the shed change.
This gives a rhythm: treadle, beat, shuttle, beat; repeat. Sometimes this
rhythm, even with a very fast, sharp beat, is not sufficient to place the weft
close enough, in which case each beat may be a double tap. This extra
beat is often needed with classic summer-and-winter or the overshot-twill
hybrid. On the other hand, if a single beat is sufficient to place the weft
correctly, the beat should be on the open shed in the order: treadle,
shuttle, beat; repeat This may be a double beat if needed. A very skillful
weaver whose work has become completely rhythmic learns to make a
single beat so coordinated with the shed change that the reed touches the
fell at the exact instant the shed changes. This is probably the most effi-

cient beat there is, especially for single-shuttle weaves. There are certain
cases of extremely open warps for which it is difficult to place weft cor-
rectly owing to too little friction. Additional beat friction
gained for is

such warps by closing the shed (not changing the shed) and beating, or
pressing the beater lightly with the full warp in the rest position.
A word more about rhythm. Rhythm is never achieved until the in-
dividual motions of the cycle are perfected and natural. Therefore weave

very slowly at putting the effort on making all the motions economi-
first,

cally. Maintain a perfect rhythm, no matter how slow, until the speed in-
creases naturally through the body's familiarity with the motions. The
motions will soon become unconscious responses.
 INDEX

abbreviated draft, 30 boat shuttle (See shuttle)

accidentals, 115, 117 bobbie pin, 44, 48
afghans, 25 bobbin, 9, 50, 166
analysis (See textile analysis) bobbin winder, 9, 50
"ancient art" methods, 36 bobbin winding, 50, 60
Arboretum (crackle, draft 75), 131 border, 34, 101, 125, 131, 141
Atwater-Bronson lace weave, 34, 134- bound weaving, 73, 161
135, 140-144 bouquet lace, 86-88
Atwater, Mary M., pattern (draft 72), bout, 44, 45, 47, 48, 49
129 breast beam, 5, 7, 8, 45
brocade, 70
baby blankets, 25, 159 broken twill, 102-103; (draft 37), 102;
back beam, 5, 7 (drafts38 and 39), 103
balance, pattern, 35 broken warp ends, 53
balanced weaving, 56, 59 Bronson (See Atwater-Bronson lace
(See also warp- weft balance) weave, spot Bronson)
barbecue cloths, 25 bubbling weft, 161
basket weave (drafts 11, 12), 78 buffet scarves, 25
bath mats, 25
Building Blocks pattern (draft 73), 130
beaming, warp, 37, 40, 49, 50, 141
beams, 5-9
calculations, warp, 16, 35; yarn, 16
beater, 5, 7, 45
Candlelight pattern (draft 66), 123
beating, 58, 59, 166-167
canvas, 73
bedspreads, 25
99 carding, 13
bird's-eye (draft 33),
weave castle, 46
blanket (draft 109), 159
chain warp, 9, 37, 38
blankets, 25
block (See pattern block) checks, 82, 96
block comradeship, 128 China Doll pattern (draft 63), 122
block squaring, 64-67, 72 Chinook pattern (draft 37), 101-102
 170 Index

Christmas Star (draft 50), 112- double beam substitutes, 145-146

113 double face twill, 154
Chromatic Textures (draft 38), double sley, 40
101 double weave, 71, 152-155
circle diagram, 32, 91, 99, 104, 125 double weave pick-up, 154
classic Interpretations, 71, 72, 104, 137, double width cloth, 152
140, 147-148, 151, 161, 163 draft, 28-33
cloth beam, 5, 7, 45 draft writing, 28, 30, 63; equipment for,

collecting board, 44 63; systems of, 29-30

colonial coverlet, 105 drawing in, 86, 37
color, 23, 143, 147 dressing the loom, 36-50
color effect weaves, 75-77, 79-81, 93, dry spun linen, 14
150, 158, 159, 163; (drafts 20 dukagang, 85
and 21), 81; (drafts 22 and 23), 82; dyeing, 13, 14
(drafts 25 to 31) ,97
Contour pattern (draft 67), 124 ecclesiastical patterns (draft 76), 182;
controlled weaves, 70, 83-90 (drafts 92, 93, 94), 144
conversions, rose-fashion, 110; shed, 33 efficiency in weaving (See skills, weav-
coordination, 167 ing)
correcting errors, 52-54 end finishes, 61-62
cotton, 11, 12, 17, 18, 27 entering weft (See weft fastening)
count numbers, 12, 13, 14, 16 errors, correcting (See correcting errors)
counterbalanced loom, 6, 7, 8, 31, 32, 141 extended point twill, 100-101; pattern
countermarch loom, 81 (draft 36), 101
counting chain, 37, 88
crackle method, classic, 125-126 fancy 94-95, 100
twills, 92,
crackle weave, 32, 34, 68, 125-132, 163 finishes (See end finishes)
creative weaving, 78 finishing, 23
creel, 9, 10, 43, 44, 46, 47 Five-Block Diamond pattern (draft 44),
cross, 37, 38, 39, 40 108
Cross pattern (ecclesiastical) 132, 142, fixative solution, 61
144; (draft 76), 132; (drafts 92, 93, flax (See linen)
94), 144 (See also Diamond pattern) floats, 72
cross-section paper, 28, 30, 63 folding loom, 8
Crowfoot pattern, 102; (draft 38), 103 forty-five degree line (See diagonal de-
curved threads, 147 velopment )
cutting from loom, 61 Four-Block Diamond pattern (draft 43),
107
decorating textiles, 27 four-shuttle weaving, 161
dent, 5, 37 frames, 5
designing, 22-24 free patterns, 83
developments, draft, 63-69 fringe, 24, 62
Dewey Web pattern (draft 63), 121 front beam, 5, 7
diagonal development, 65, 68, 72 fulling, 13, 26
diagrams (See developments, draft)
Diamond pattern: in blanket weave ( draft gamp, 99, 103
109), 159; in double shadow weave gauze (See leno)
(draft 108), 157; five-block (draft 44), Glen Urquhart Check, 96; (draft 32), 98
108; four-block (draft 43), 107; seven- Goose-eye pattern (draft 35), 99
block (draft 69), 127; six-block (draft graphic draft (See draft)
45), 108; in shadow weave (drafts grouped thread weaves, 71, 147-151
106 and 107), 157; in spot Bronson Gun Club Check, 96
(draft 100), 149
Diamond and Table pattern (draft 46), half-tone, 114-115
109 hand-operated loom, 33
discontinuing wefts (See fastening wefts) hand spinning, 1$
 171

harnesses, 5, 6, 7, 8, 28, 45 Moon Wake pattern (draft 60), 119-120

5, 8, 36, 40, 45 Morning Glory pattern (draft 52), 115-
heddle eye, 5 9 7 116
hems, 61 motif, 34, 35
honeycomb, 73, 163-164 M's and O's weave, 34, 149-151, 163;
Honeysuckle pattern, 128 (drafts 101, 102, 103), 151
horizontal reel warping, 46-50 multi-color borders, 101
Hot Springs pattern, 51, 114 Multiflora pattern (draft 63), 116-117;
Hound's Tooth check, 96 (draft 60), 120
huck, 34, 147-148
hybrid weave ( See overshot-twill hybrid ) napkins, 25
narrowing (selvage), 60
inlay, 70, 83-86 neckties, 26
inserted threads, 53 no-tabby weave, 125-127, 139-140, 161-
interlacement systems, 70-167 162
Italian method (See three-shuttle weav- notations (See draft)
ing) novelty yams, 15

jack loom, 6, 8, 31 open-work weaves, 70, 86

jeans twill, 91 Opposite Stars pattern (draft 56), 117-
job-lot yarns, 15 118; (draft 57), 119
opposites drafts, 67, 114-120, 128-129
key, unit, 30, 125, 133, 136, 141, 145 Opposites crackle patterns (draft 70),
kitchen towels, 25 128; (drafts 71 and 72), 129
knots: granny, 52-53; half-hitch, 55; Opposites Multiflora pattern (draft 58),
snitch, 52; square, 52-53 120; (draft 59), 120
knotted pile, 70 opposites system, 114-120, 163
opposites weaving, 104, 159, 163
lace, 70 (See also Atwater-Bronson lace) original designs, 63, 83, 105
lams, 5, 8, 31 originality, 24
lashing, 42 Oriole pattern (draft 65), 123
Lattice pattern (draft 74), 130-131 overshot, 32, 34, 66, 104-120, 161
lea, 14 overshot lace (See honeycomb)
lease, 37 (See also cross) overshot-twill hybrid weave, 34, 120-125,
lease stick, 37, 39, 40 163
leno, 71
leno, pick-up, 88-90 padding, warp beam, 37
linen, 11, 14-15, 27 patchwork pattern (draft 55), 118
linen weaves (See grouped-thread pattern, 22-23, 28, 34
weaves ) pattern block, 34, 35, 71, 105-107, 125
locking edges (See two-shuttle weaving) pattern development (See development,
log cabin, 75, 79-81; (drafts 17 and 18), draft)
80; (draft 19), 81 pattern harnesses, 137, 140-141
loom, 4-9 pattern treadles, 31
loom adjustments, 54 pattern variations, 73
loop knot, 45 pearl cotton, 18
loops, decorative, 83 perle (See pearl)
pick-up, 70
Magnolia pattern (draft 64), 122 pick-up stick, 10
matta or matter, 75 Picture-frame pattern, 141 ^drafts 90,
mercerized, 12, 18, 19 91), 142
metallic threads, 12 Pine Tree border (See Arboretum)
methods of weaving, 73, 104, 137-140, plain weave, 34, 70, 74-90
160-164 plain weave patterns, 74
Monk's Belt pattern (draft 54), 117 plied yarn, 13, 14, 15
monograms, 83 point twill, 34, 99-100, 105
172

pattern (draft 61), 121 spaced warp (drafts 13, 14, 15), 79
profile, working working profile) spinning,, 13
draft, 30, 64, 133-136, 140-142 spool rack ( See creel)
proportions, 23, 24-27 spot Bronson weave, 148-149; (drafts
push-up, jack loom, 8 98, 99, 100), 149
spreading warp, 36, 40, 43
raddle, 37 Squares pattern (draft 101), 151
rayon, 27 Squares with columns pattern (draft
reed, 5, 7, 20, 40 102), 151
reel, 9, 46, 47, 48 Squares with tie-down pattern (draft
rep 75
s
108), 151
return twill (See point twill) squaring (S&e block squaring)
rhythm, 23, 56, 47, 58 3 165, 167 Staggered Stars pattern (draft 48), 111
rhythmic weaves, 71, 156-159 standard tie-up, 31, 32, 33, 104, 105
rigid loom, 8
Star and Diamond pattern (draft 47),

rising-shed tie-up, 31
110
star motif, 109
rolling beams, 5
rose-fashion, 110-113 star-fashion weaving, 110-113
Stars and Roses pattern (draft 48), 111;
Rosepath pattern (draft 34), 99, 100, 102
round linen, 14 (draft 49), 112
rugs, 27 steaming, 14
stick shuttles (See shuttles)
runners, 25
string heddle, 52
seamless tubing, 152 Stripes pattern (drafts 95, 96), 146
structural weaves, 70
scarves, neck, 25, 125
sectional warping, 36, 43-46 substitution units (See key, unit)
sectionalwarping beam, 9, 42, 45 summer and winter weave, 34, 134-135,

securing wefts (See fastening wefts) 136-140, 168

selvage threading*, 33-35, 92, 104, 141, swivel weave, 73, 164
147 sword stick, 4
selvage weaving, 58, 59, 60, 166 symmetry, 34, 71
sequences, treadling, 137-140, 142-143, symmetry points, 35
147, 149, 163 system of weaves, 70, 71
sett, warp, 17-21, 140
Seven-Block Diamond (draft 69), 127 tabby weave, 32, 56, 57, 74, 165, 166
shadow weave, 68, 156-158; (drafts 106- table cloths, 26

108), 157 table loom, 33

shed, 4, 5, 7, 57 table mats, 26, 125
Shish Kebab pattern (draft 68), 124 table motif, 109
shuttle, 57, 166 table with separating unit pattern (draft
shuttle-race, 7, 57 98), 149
shuttles, 9, 10, 50 tapestry, 70
significant square, 67 tension, warp, 36, 37, 42, 48, 49, 57, 60,
silk, 11, 27 145-146; weft, 57, 161
simplicity, 22 tensioner, 9, 43, 44, 46, 47, 60
single-shuttle weaving, 57, 160 textile analysis, 68, 105
singles linen, 14, 15 texture, 71
sinking-shed tie-up, 31 Texture Stripes pattern (draft 99), 149
Six Block Diamond pattern (draft 45), texture variations, 73
108 textures, classic, 138-139
sizes of articles, 24r-27 thread-by-thread development (See de-
skeleton tie-up, 31-32, 137, 153 velopment)
skills, weaving, 56-61, 165-167 threading, 28, 36, 40
sieving, 20, 36, 37, 40 threading hook, 45, 46
snitch knot, 52 threading schedule, 33-35
spaced thread system, 78 three-shuttle weaving, 125-126, 161
 Index 173

tie-down, x and y, 137, 140, 141 warp adjustment, 56

tie-in, 49 warp beam, 7
5,
tie-in bow, 40, 41 warp beam rod, 37
tie-in, lacing or lashing, 42 warp calculating, 15
tie-up, 8, 31-33, 36, 54, 165 warp emphasis, 20, 75, 92
tie-up conversions, 33 warp pattern system, 134-135, 144-140
tie-up draft, 31 warp rep, 20, 75; (drafts 1-10), 76
touch system treadling, 33, 165
warp ribbon, 44, 45, 47, 58
towels, 26, 125 sett (See sett, warp)
128 warp
transition thread, 125,
26 warp-weft balance, 56, 71, 74, 78, 92,
tray mats,
31 140
treadle, 5, 8,
165 warp winding, 36, 87
treadling, 32-33, 58, 137,
Tree pattern (See Arboretum) warping equipment, 9, 36, 37
trialand error, 72 washing, 13, 14, 15
tweed, 26 weaves, cksses of, 70
twill, 32, 34, 65, 70, 92, 104, 166; double- weaving, 56-62
face, 154-155 weaving-as-drawn-in, 64, 65, 72, 99, 110-
twill derivative weaves, 70, 104-132 113, 136
Twill Order Blocks pattern (draft 42), weft, 4
106 weft calculating, 15
two-block profiles (drafts 77-88), 134- weft emphasis, 75, 92, 163
135 weft fastening, 60
two-harness weaves, 70, 74-90 weft rep, 75, 76, 161
two-shuttle weaving, 57-58, 154, 160 weft tension ( See tension, weft)
two-tension warp, 145-146 wet-spun linen, 14
tying-in, 36 whipped fringe, 62
wool, 13, 20
unit class weaves, 30, 68, 71, 133-146 woolen, 13, 20
unit key, (See key, unit) working profile, 30, 108, 114
worsted, 13-14, 20
variations, 150
yardage per pound, 12, 13, 14, 15-16
waffle, 73 yardages, 26
wall hanging, decorative, 131 yarns, 11-21 v
122396