A new post after a long absence, being
- Sorry I was away, and
- Weaving from the ground up.
- Sorry I was away
Back in mid-2015 I noted an “inner-tube replacement, new valve, timer mechanism reset and air intake filter cleaned. A busy few months!” – which referred to a replacement stent, a new heart valve, a pacemaker and an asthma attack. Even so, I still don’t understand why my GP’s referral’s call me “an elderly gentleman with multiple problems…” Elderly? Multiple problems? Pshaw!
More recently there have been the minor inconveniences of losing my voice for a number of months, until finally a growth was removed from my vocal cords, and then that thunderstorm which set off another bout of asthma. An asthma attack can lose me a month of time, during which sleep becomes less and less possible as the prednisolone builds up – and with it the weird semi-hallucinations.
So prednisolone became the town of Prednyi Solonyi in my last delirious post on the Phoenix Rescue Mission – Palmer 2.
a week or so ago my younger daughter took me to the Australian Tapestry Workshop’s 40th anniversary donor’s night (she works in philanthropy administration – has a great blog at https://ozphilanthropy.com ). Had an interesting chat with one of the three new interns – a young woman who had done the first two years of the Warrnambool diploma (as I myself did) finishing at the end of last year just as the course closed down.
And talking to her and seeing those huge looms again and the smaller sampler looms, my appetite was re-aroused… so:
2. Weaving from the ground up
- Do I have stuff to weave with – checking the stash.
- Design selection.
- Loom selection and producing the cartoon.
- Warp calculation and warping on.
- Heddle bar and leashes and cartoon setup.
- Do I have stuff to weave with – checking the stash
This is the stash:
A large part of my stash is still a hangover from before I began the Warrnambool course, when I had been doing a fair bit of weavette style continuous warp work on home-made little pin looms. I knew nothing about wools, and collected a lot of, to my jackdaw mind, lovely bright colours mainly in 8-ply! I used a lot of it in my course work, so it is possible to use it (judiciously) for tapestry. Much of the rest comes either from Warrnambool or from the mixed off-cut bags they sometimes sell at the Australian Tapestry Workshop.
Anyway, it looks to me like it’s strongest firstly in greens/yellows, and then in blues.
- Design selection.
So – now for something greeny yellow!
I have a number of potential designs already stored in their own file on computer. They are of two kinds:
Firstly are designs I have drawn myself, either on paper or on computer. The hand-drawn ones were either photographed or scanned in. The programs I use for computer drawing have usually been the old Naturepainter or Microsoft Paint.
Secondly are designs derived from photos I have taken. I use two main programs to manipulate photos – Picasa has sufficient flexibility for most of my purposes, leaving it to Mtpaint to resize the results up to an acceptable pixel count.
For my current project I selected a design based on this photo:
This is looking down on the rainforest from the Kuranda skyrail in Far North Queensland. Applying various filters and crops in Picasa produced this image:
Printed on A4 this will be the maquette or reference image I will use.
Loom selection and producing the cartoon.
I’ve currently got four tapestry looms, three home-made wooden ones and one steel frame from Warrnambool, ranging in size from open frame dimensions of 9 cm x 22 cm to 52 x 73 cm.
Notwithstanding the fact that Skyrail has a couple of prominent near-verticals, I have decided not to weave the image on the side – but I want it as large as I can manage. So it will be the Warrnambool steel frame.
To produce the cartoon I segmented the original image into quarters by cropping it four times in Picasa. Each quarter was pasted on screen into an A4 page (landscape format) in Microsoft Word, and reduced to a width of 22 cm, using the Word rulers as a guide.
After printing the pages and trimming them, I sellotaped them onto a thin cardboard backing sheet.
Warp calculation and warping on.
I am using a fairly heavy warp (3×6) at 7 epi. I used Archie Brennan’s method of epi calculation: number of close wraps per centimetre = warps per inch. Total warp length is calculated as ((individual warp =frame length plus frame thickness) x (tapestry width in inches x 7)) plus (individual warp x 6 – this gives 3 blank warps on each side) plus (enough to tie on and off – say another individual warp length).
After measuring the width of the actual loom I divided that into the calculated warp length. Using the loom itself as a warping board that gives me the number of half turns needed to measure off the required length – nearly two hundred! After winding that onto the loom across its width, near the top of the loom, I then rewound it all onto a home-made wide wooden shuttle:
Then came the actual warping up. In order to be able to pass the warp easily below the bottom bar, I set the loom as a bridge on two equal height boxes on the garage floor. I tied the warp end onto the left hand end of the top bar, and began winding from top to bottom and up again in a figure of eight – crossing the warps on each turn.
The tie on is done either as a larkspur knot (neat) or as a surgeon’s knot – a reef knot, sometimes called a square knot, plus an extra half-hitch. Not so neat, but more Irish (to be sure to be sure.) Winding in a figure eight means that a shed is automatically built in. As I wound on, every half dozen turns I would pull down on all the warps in sequence from the left to keep up the tension and remove any slack.
I have marked off in permanent marker both top and bottom bars in inches. As I wound, I checked to keep seven crossovers in each two inches – which would give seven individual warps per inch.
It was incredible that even while paying strict attention to what I was doing, I still managed to miss-wind, forgetting to do the crossover, several times, and having to correct. Weaving is a painstaking process – how many times during the actual weaving have I noticed a missed warp three or more picks back and had to unpick to that point!
Tie off at the end with the same knots.
Heddle bar and leashes and cartoon setup.
The loom is now in from the garage and clamped onto an ironing board. This is a tip I got from Glennis Leary (she has a blog at http://windingthread.blogspot.com.au but does not seem to have been active recently) . Rather than having to have a number of different height seats as the weaving level goes up the loom, one just readjusts the board height.
I then put in several rows of ‘floor’, which will be pulled out at the end. I decided not to do a fold-over, but to braid as usual at the end, and after sewing in will colour the braids.
Did a row of double half-hitches in a green blend – these will show.
Then dismounted the loom and placed it flat on the garage work-table, with cardboard padding on which is placed the cartoon below the warps. Traced the major lines of the cartoon onto the warps with thick permanent marker.
Re-clamped the loom to the ironing board (not the one used for our ironing by the way – this one was off the nature strip, and is stripped down to the metal.)
This loom did not come with a heddle bar, so I improvised one. I cut a piece of dowelling the width of the loom, and nailed a strip of ply about 8 cm x 2.5 cm to each end. At each end of the dowel I screwed in a small hook which I had prised open slightly. I then clamped the two side pieces to the top of the loom very tightly with a couple of small clamps. I straightened out a metal clothes hanger and cut a length just over the width of the loom and set it into the hooks on the dowel.
Now for the leashes. First I wove a single strand of household string high up the loom, maybe 14 cm below the heddle bar and tied it to the frame on both sides. This brought the back warps forward, so I could catch them when putting on the leashes.
I used the same cotton that I used for the warp and made continuous string heddles using Laverne Waddington’s page at https://backstrapweaving.wordpress.com/tutorials/tutorial-continuous-string-heddles/ as a guide. I looped the cotton onto the strip of coat hangar from the right-hand end. When I had done I ‘lashed’ the coat hanger strip to the dowel with simple household string every three or four inches – and removed the guide string I had woven.
Finally, the cartoon was mounted and set just above the row of double half hitches.
All these steps together were spread over about four days.
The next step is to start the actual weaving.
A previous post (under ‘Digital’) published an aerial view of Prednyi Solonyi found in the archive of Rescue Mission Palmer 1. This was the image:
We now have an image of one of the oldest buildings in the colony, the Old Krankenhaus, or hospital:
Prednyi Solonyi was the first settlement established on Teitelbaum 5, known as Phoenix (Teitelbaum = date palm, Latin Phoenix dactylifera.)
The Old Krankenhaus was built by Dr Ernst Loebe entirely from local materials. Loebe also established the faience works, and tiled the hospital roof with the rare red-tinted tiles, and finished the outer wall with the commoner blue-green in the coping work.
This drawing was in the archive brought back by recovery vehicle Palmer 2. It can be dated fairly accurately as the sky colour is typical of the middle stage of the second major solar flare (Teitelbaum Event TF 17.) The artist (or cartoonist if you like) was evidently a member of one of the dissident groups opposing roboticisation. This can be seen from his lampooning robotic servitors as ‘tin men’, and in the wry notices on the outer wall.
The drawing gives a good impression of the ubiquitous nitro-converters. These were originally torus-shaped when installed in the fields. However when it was decided to put them within the built-up areas they had to contend with the overhead wiring. The inverted crescent shape was designed to accomodate this, and turned out to be more efficient than the original torus.
The kerb-stones in the drawing are clearly Sick Rocks from the first quarry opened. The radiation danger from these when used in the construction of buildings was not realised initially. After the ban on their use for housing they were still often used in kerbing and for field fencing.
Librarian, Palmer 2 Recovery Material.
Gleneira Artists Society had an all-day love-in called Cityscape, in Koornang Rd on Sunday the 8th of November. About fifteen of us, scattered up and down the shopping strip. Second time we’ve done it there.
Here are my two pieces:
- Koornang tripleview, 40x50cm, Texta on canvas!
2. Koornangg street signs. 30x40cm. Also texta on canvas, but ruined with a little bit of fixative…
12 x 14.5 inches, 8 epi. Undyed wool, 4 strands.
Even tho’ all one colour, at one stage 10 bobbins were dangling!
Clearly only an apprentice piece with lots of egregious errors – but a hell of a learning experience with sumac, chaining, twining and pseudo-twill all jumbled up together. But, ah, the texture!!!
It was a privilege to be present this morning at the formal cutting off of the huge tapestry “Avenue of Honour”, designed by Imants Tillers for the Canberra War Museum, and woven by the weavers of the Australian Tapestry Workshop. Weaving commenced last October, and had to be completed for installation for this Anzac Day, April 25th.
Imants Tillers in front of the tapestry still mounted on the loom: