Sewing with Handwovens

The weather is turning seasonably cold and wet here in the Pacific Northwest – perfect for indoor activities, like sewing something wearable from handwoven fabric.

I recently pulled out a length of yardage I made earlier this year from two silk yarns, of which I had almost two pounds each. They are both silk noil yarns, the kind of silk spun from short fibers, with a matte appearance and rougher texture, sometimes mistakenly called “raw silk”. In fact it is fairly soft and warm, but lacking the shine of reeled silk, it is less expensive. My warp yarn is a strong black bouclé and the weft yarn is a loosely spun turquoise thick and thin. I purchased the yarns long ago and forgot how many yards were in a pound, but I guesstimated the black was slightly more than, and the turquoise slightly less than 2,000 ypp.

Two silk noil yarns: black bouclé used as warp, turquoise used for weft.

My calculations predicted I could get around 6 yards of 30 inch wide fabric if I set the warp at 20 ends per inch and wove about 18 picks per inch. I wove plain weave fabric and got almost exactly the amount I expected! The yarn was dusty from sitting around so long, so when I washed the fabric, it brightened considerably. The combination of black and bright turquoise give the finished cloth a dark teal color, one of my favorites.

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Closeup of the finished fabric: the unevenness of the two yarns give a pleasing nubby texture.

I chose to make it up into a jacket using Vogue pattern no. 2915, a Koos van den Akker design that includes a lot of artsy appliqués, but I just like the simple shape of the jacket, so I made it unadorned with anything except pockets on the outside. To give the garment some reinforcing structure, I used a quilted lining. Bias-cut strips of thin black fabric finish the edges. The pattern calls for large buttons to close the jacket, but I thought slicing a buttonhole through the fraying handwoven, batting and lining would be courting disaster, so I went online to find some pretty metal hook and eye clasps to hold it closed. Check out Benno’s Buttons for more like these.

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The quilted jacket lining adds body and warmth; the metal clasps look nice without tearing up the fabric.

Stylish, warm and comfortable, from winter through spring!

 


 

Handpainting Handwovens

Painting on fabric is something I have always loved to do, and in recent years I have tried it with pleasing (to me) results on my own handwovens. I weave yardage with white, light- or natural-colored yarn, usually, but not always, in plain weave. With thickened fiber reactive dye, I use brushes, rollers and sprayers to create abstract designs in bright colors on cellulose fibers, e.g., cotton, linen, rayon. If the yardage is of adequate size, I can sew it into something wearable.

Recently I completed two items made from handwoven and dye-painted rayon. One was woven with a seed yarn originally dyed in a pale sage-green color. The seeds are made during spinning from a shiny rayon thread that is plied and allowed to build up a little bump on another ply; the result is they look like reflective little beads. Another item I made was woven from white rayon yarn in a textured twill, dye-painted and fashioned into a long-sleeved tunic.

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The original sage-green colored handwoven cloth.
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Close up of the seed yarn making little beads in the fabric.
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Dye-painted fabric.
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Poncho made from handwoven and hand-painted fabric.
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Handwoven and dye-painted rayon twill fabric. That was a fun day!
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Top made from handwoven and dye-painted twill fabric.

 


Basket Weaving on a Rigid Heddle Loom

Recently, after successfully busting down my yarn stash, I felt I was due for a reward: more yarn! I cruised my favorite online stores and ordered a few pounds of interesting items. One that caught my eye was a “straw yarn” I found at Made in America Yarns. I love working with unusual cellulose fibers and had to try it, so I ordered two skeins. When they arrived, I realized I now have a lifetime supply – each skein was over a pound! I couldn’t get them on my umbrella swift, so I carefully placed the skein on a table and wound off 14 balls per skein with my ball-winder. This yarn is sproingy and hard to control so I put each ball in a mesh bag to keep it from unwinding itself.

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The skeins explode out of their packaging like a jack-in-the-box.
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One skein wound into 14 balls between 1.5 – 2 ounces each.

The “straw yarn” is actually paper raffia. Unlike true raffia which comes from a particular kind of palm tree, this is man-made to look and act like raffia, but is much softer and it is still a natural fiber. I did a burn test and got a gray ash with a smell of burning newspaper. It is very strong when pulled along the grain, so I thought it would stand up to weaving in the warp. Now how to get this stuff on the loom: I briefly considered weaving it on a floor loom, but decided threading the heddles and sleying the reed would be asking for punishment, so I tried warping directly onto my rigid heddle loom. Surprisingly, it was not at all difficult! Having no elasticity, the warp has to have a little more slack than I would prefer, but weaving went pretty well. I set the yarn at 12.5 ends per inch and wove a plain weave, which gives a slightly warp-faced textile. I think a 10-dent reed would be ideal, but we weave with what we have.

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The basket fabric on the rigid heddle loom.

My plan was to weave a basket in two pieces, each about 9 by 30 inches. I centered them by crossing at right angles and I stitched the two layers together in a square for the bottom of the basket. Then I folded the long sides up and stitched them together, folded the hem-stitched edges down and stitched them in place. The first basket came out rather shorter and wider than I wanted, but it makes a good storage container for the remaining balls of yarn.

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Stitching up the sides of the basket.

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Kitty approves!

The second basket is made of two pieces 8 inches wide. One is about 30 inches long, the other about 32 inches. I made the basket the same way as the first, but left a wider hem on the two longer edges and threaded leather strips through them for handles. My basket is now the size and shape I originally wanted and ready to carry my sneakers, towel, etc. to the gym.

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Ready for duty.

 


 

Working with Woven and Dyed Panels

Another project involving woven panels. For this one I made two warps of a rayon/flax blend yarn. I folded the warps into packages, then bound each bundle tightly with plastic strips, and dyed in indigo, for an ikat-like effect. Thinking the weaving would go quicker if I dressed the loom with two similar warps, separated by a few inches, I threaded the loom with side by side warps about 8 inches wide and approximately 4 yards long. Live and learn – this did not hasten the process of weaving, which required throwing the shuttles separately on each warp for every row. I used a navy fine rayon boucle yarn for a textured weft.

This project is similar to the Mexican-inspired one, but I added enough extra warp for sleeves. I wove two long panels and 4 shorter ones: two for the center panels and two for sleeves. I folded over one short edge of the center panels and trimmed the warp ends to an inch. I just overlapped the long edges and zig-zagged with navy thread. The sleeves are made by folding one short edge on a 45° angle and stitching the other short edge to the folded portion of the long edge. See Virginia West’s A cut above: Couture clothing for the fibre artist for an illustration of the technique. The top is soft, drapey and comfortable, and will be cool for summer.

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Dressing the loom with two side by side warps.
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Weaving the separate warps with two shuttles.

 


 

Indigo Shibori Jacket: Handwoven and Dyed

A recently completed jacket made from cloth I wove and dyed over the last couple of years.

A few years ago I acquired some wonderful yarn on sale as a close-out. It is a blend of alpaca and Tencel, both of which are soft (and slippery) fibers. I wove a few yards – enough to cut and sew a jacket, but I learned what other weavers probably already know, which is that alpaca does not full like wool does when wet-finished. The fabric is fragile and unravels easily because alpaca, unlike wool, has no little scales reaching out to grab onto their neighbors. About a year or so after taking the fabric off the loom, I folded and clamped it and dyed it in indigo, itajime-style.

Another year on, I serged the edges of the pattern pieces as I cut them out, but if I pulled a bit too hard on the serger thread, that slipped right off too. I primarily used Vogue 8676, designed by Marcie Tilton, with elements from a couple of other patterns as well. I stitched every seam twice for strength, but that ended up perforating the cloth. This yarn was really meant for scarves and shawls, not tailored clothing. But I persisted toward my goal of a jacket, which I lined with Bemberg rayon, and fitted with snaps instead of buttons for closures.

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Detail of jacket collar, snap closures and lining.
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Detail of resist-dyed indigo on handwoven fabric.

 


 

Inspiration from Mexico

Almost a year ago I attended the 10th International Shibori Symposium in Oaxaca, Mexico. I learned a lot, ate well and visited many beautiful and fascinating places, but I did not come home with any Mexican textiles. Not that I wasn’t tempted; there were vendors selling gorgeous textiles everywhere: in the markets and on the streets. The day I left, two other symposium participants stood next to me in line at the airport. I checked my tiny suitcase that I could have carried on board, but for the contraband packed within (a bottle of mezcal). They were shocked that I could leave Mexico without buying anything, even for gifts, if not for myself! But I have too many textiles already, and I keep making more. So I came home with ideas, not things.

We were in Mexico just a week after our 2016 presidential election – like the rest of the civilized world, Mexico was not pleased with the result and consequently the peso dropped against the dollar temporarily, giving us a beneficial exchange rate. I tried to leave some of my good fortune behind by tipping generously and giving money to beggars. The ideas I brought home are starting to manifest slowly. My first one is a variation on a Mexican huipil; by no means authentic in any way. It was simply a starting point for a design.

I wove this (slowly!) on my rigid heddle loom with two heddles and yarn set at 25 ends per inch. The warp yarn is 8/2 Tencel and the weft is 10/2 Tencel. I wove two pieces approximately 49 inches long and a few inches of fringe. Two more pieces are approximately 19 inches long. I centered the shorter pieces with an opening for my head, then stitched the garment into a rectangle with openings for my arms. The seams on Mexican huipiles are covered with bright embroidery thread; I overlapped and topstitched the pieces with contrasting thread and a decorative stitch on my sewing machine. I left about 6 inches of fringe at center front and back, and added beads as I knotted the fringe. I thought it was elegant enough to wear to a party a week ago!

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The two completed pieces to the left of the loom. One of the shorter pieces in progress on the loom. Slow going!
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Knotting and beading fringe.
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About 200 warp ends of fringe, knotted and loaded with beads for sparkle!

 


 

Fiber Artistry at MAC Gallery

Portland Handweavers Guild

Group Show: Fiber Artistry

June 2 – July 3, 2017

Multnomah Arts Center Gallery

Portland, OR

Friday evening, June 2, 2017, was the opening reception of the PHG Group Show, Fiber Artistry at the Multnomah Arts Center Gallery in Multnomah Village. The well-attended reception opened the exhibit, which features the work of approximately 30 Portland-area weavers and fiber artists. The work spans the gamut from functional items such as scarves, jackets, rugs and table linens to wall hangings and sculptural items. Professional and emerging artists, as well as seasoned hobby weavers, have a chance to show off their work in a beautiful neighborhood gallery, in an exhibit artfully hung by dedicated guild volunteers. Many works are offered for sale; don’t miss it!

Below are just a few of the works in the show…

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Diane’s textured landscape.
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Francisco’s graphic black and white rug.
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Robin’s shimmering jacket of many colors.
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Judith’s scarf of colorful squares.
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Pam’s tapestry wall hanging.
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Bonnie’s winding river scarf.
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Debbie’s wheat stalk wall hanging.
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Rep weave by Rosalie.
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Franklin’s black and white runner.
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Black and white scarves by Kim and Teresa.
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Betty’s purple scarf and Rosalie’s thread sculpture.
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Scarves by Kathleen; shawl by yours truly.