Designing Handwovens

Some planning is needed before starting to weave an article.  The intended use of the weaving guides the choices of fiber, weave structure, and perhaps color.  Often, what is desired is a fabric that fits unobtrusively with, or complements, an existing decor.  In this case, simple weaves and highlighting some colors in the decor are a good place to start.  Other times, the weaving is the centerpiece of the setting and more complexity and a bolder statement are right.

Beyond the functional considerations, my personal design philosophy is that  the most appealing weavings combine theme and variation.  The human mind loves to find rules and at the same time enjoys complexity and subtlety.  Themes arise from limits such as a simple weave structure, a single fiber, or an obvious color combination.  Variety and unexpected use of colors, weaves, and fibers introduce complexity.

The design process involves collaboration with the weaver to plan the project.  The process moves from outlining some possibilities, to examining yarn and pre-woven samples.  If needed, custom samples are woven to get the clearest picture of what the finished product will look like.  Then the final piece is woven and finished.  Small, simple items like placemats are easy to design, while larger, more complex items like rugs will likely take more steps and time.

The rest of this page describes a few weaving basics if you are interested in learning about some of the technical aspects of weaving.

Woven fabric is composed of two sets of threads.  The warp threads are the vertical threads that show in the fringe.  The weft threads are perpendicular to the warp threads. 

The simplest of all weaves is the plain weave  - over one thread and under one thread.  This weave is strong, and has minimal give when pulled in various directions.  Many pleasing effects can be achieved in the humble plain weave through the use of multiple colors, textured yarns, combining different fibers, hand- painted warp, or simply by using a very beautiful yarn in a well-planned item.

Another simple weave is the twill family.  In the basic twill, the weft passes over two warp threads and under two warp threads.  Each weft thread is shifted by one warp thread from the previous weft, resulting in the typical diagonal step pattern shown at right. Twills tend to be denser and drape better.  There are many variations of the basic twill - points, small diamonds (one of which is called rosepath), stripes of the diagonal going in opposite directions, to name a few. 

A balanced weave is one in which the warp and weft threads are about the same weight and are set to the same number of warp and weft threads per inch.  Weaves need not be balanced.  Furthermore, if the weft is much denser than the warp, so that the weft covers the warp, then the weave is called weft-faced.  If it is the warp that is much denser and covers the weft, then the weave is warp-faced.  

The Gallery tapestry rugs are weft-faced plain weave. Tapestry is a technique which allows sharply defined color changes along nearly arbitrary boundaries.  The photo at right shows the sparse white warp threads under high tension and soft, thick weft kept loose so that it bends over and under the warp.  The weft is then packed tight, enveloping the warp completely and making a weft-faced weave.  A diagonal orange/purple color boundary starting to be formed is just visible at the left edge of the the photo.

Color

Color is a major component of weaving.  A few effects multiple colors can achieve:   warp stripes, weft stripes, warp and weft in different colors for a fine-grained blend of color or for a multi-color pattern, and variegated yarns.  

Art color theory defines the basic six, twelve, or twenty-four colors, plus neutrals. There are rules, called color harmonies, for grouping colors .  For instance, analogous colors are a small number of closely related colors.   Two color harmonies are at work in Navajo chief blankets.  The black and white stripes are a simple, but striking example of the monochromatic color harmony, while the colored bands use other color harmonies or no particular harmony.

Color theory goes only so far of course.  Personal preferences play a very important role too.  

Fiber:

Yarns come in many diameters, strengths, and textures as well as from different plants, animals, and chemical processes.  The fiber can interact with both color and the weave structure appearance.  For instance, a highly napped surface can be achieved using a fuzzy yarn such as mohair and this will blur color and weave patterns.  The primary consideration in choosing fibers should be the intended function of the item and the desired strength, feel and general appearance.

Finishing

Most fabric is finished by washing, drying and steaming or pressing.  Fabric just removed from the loom is often fairly stiff, with visible spaces between the warp and weft.  The finishing process - called fulling - relaxes and fluffs the yarn, allowing it to fill in the spaces, and generally softening the fabric.  Fleece fibers, in particular, soften and improve significantly after fulling;  but care must be taken not to over-wash as this leads to felting. The kind of finishing is dictated mainly by the fiber and color-fastness of the dyes.

Fringe ends are finished either by twisting and knotting or knotting and leaving the fringe loose.  For hemmed items, a row of machine stitching reinforces the cut end, the hem is pressed into place and then stitched by hand.

Tapestry rugs are the exception in finishing in that they are not washed.  The largest finishing task for a tapestry is darning in ends (hundreds, usually) left by the numerous color joins.   Then, if the rug is to be hung, a cotton channel is hand sewn on the back and a hanging stick inserted.  A rug not finished for hanging is nearly reversible because the back is finished cleanly and is almost indistinguishable from the front.

How Long Does It Take?

This may be the most frequently asked question of a weaver!  The answer of course, is:  it depends.  The most time- consuming items I do are the 4'x6' tapestry rugs, which take between 30 and 50 hours each, including dressing the loom and finishing, but not including design time or sampling.