Warping a sectional beam - #2: Winding onto the warp beam

Continuing from the last post on sectional warping, next those 24 spools are put on a spool rack.  If your "packages" are not spools but rather cones or spills, etc., they would go onto an appropriate apparatus to deliver the yarn off them instead.

From each spool, the yarn is run over to the tension box which is attached to the back of the loom near the warp beam.

The cords running vertically up the middle of all the spools are to keep the yarn from catching on the edges of its cardboard spool.  It's important that the yarn comes off smoothly and consistently.

I've also found that I need to keep the spools from wandering over to the frame of the rack.  In the column of spools closest to the camera, you can see some tiny wooden thread-spools I've put there to act like separators; these seem to do the job.



In this next photo you can see the yarn going through the tension box.  Each yarn goes through a bit of reed, then back and forth through those tensioning dowels, and out through another comb where they are all hanging down there now, tied together in a knot.

This is not the type of tension box designed for my loom.  It's just one I got for a cheap price.  It's designed by LeClerc Looms for use on a LeClerc loom.  My loom is a Macomber.

The tension box is normally supposed to sit so the yarn takes a more direct route to the beam, usually more horizontal.  Mine is sitting vertically, clamped on with grip clamps, because that's how I can get it to fit on my back beam.  I should invest in the right tool someday...

Here's that knot in the group of warp ends hanging down from the tension box.  I have attached it to the leader cord of one of the sections on the sectional beam, by making a "lark's head" knot in the leader and tightening it around the warps just above the knot in the warps.

As the warp beam is turned, the leader cord draws all the warp ends taut and starts to wrap them onto the warp beam.

The plastic tubing looking things are guides that I made from aquarium tubing.  I put them on the sectional beam "spikes" so the spikes don't pierce through the group and get some of the warps into the wrong section.


As the beam continues to turn and the knot is no longer affecting the group of threads, the warp section spreads out nicely.  This is where those guides come in handy to keep them in the right section.

As I mentioned in the previous post, this project needs 3 turns worth of warp in each section, so I turn the beam a total of 3 times.  My loom has a crank on the end of the beam, with a clicker-counter to count the turns, but for a shorter warp like this one I usually just turn it with my hand on the beam, and count out loud to myself every time I go past the knot.

When 3 turns are complete, I put a piece of masking tape across the group of warps, pressing to make sure I get them all stuck to the tape, and cut the warp just above the tape.

Then I stick the tape to the beam, tie a new overhand knot in the warp, move my guides to the next section, and I'm ready to attach to the next leader cord.

Repeat for each section across the width.  Next installment will be bringing the ends near the heddles to prepare to thread.

Warping a sectional beam - #1

When I first acquired my loom that has a sectional beam, I looked in the books I had, and then on the internet (searching "how do I warp my sectional beam") to find information on how to use it, and found that what is out there is a little short.  From what I was able to dig up, I've worked out my way of warping my sectional-beam loom.  So I thought I'd post here how I do it at least, with the thought it may help someone searching as I was.

Instead of putting the whole width of the warp on the beam at once, like you do on a standard warp beam, the warp gets put on in "sections" (hence the name "sectional warp beam").  The first thing you need to prepare is one "package" of yarn for each warp-end in a section.  These packages could be cones or spools, or I suppose even balls of yarn.

My sectional beam has 1-inch sections, and the project I am making is 24 ends per inch.  So I need 24 packages.  In my case, I am winding 24 of the cardboard spools in the photo.

The yarn I bought came on a cone, which I have sitting on the floor.  The yarn goes through a stick with holes drilled in it - the tension helps my yardage counter work better.  Then it goes through the counter and onto the spool which is fitted onto a bobbinwinder.

My sectional beam is 3/4 of a yard per turn, and I will be putting 3 turns worth of warp onto each section, 3 x 0.75 = 2.25 yards.  Adding 2 tenths of a yard for a knot and some overlap gives 2.45 yards per section.  I will be using 40 sections (since I want my project to be 40 inches wide in the reed), so I need to measure 2.45 x 40 = 98 yards onto each spool.  If you are used to doing the calculations for a standard beam, the math logic may seem kind of "sideways" until you get used to it.

I guess "yardage counter" is a bit of a misnomer since my counter actually counts feet and not yards.  Sigh.  98 feet x 3 ft/yd = 294 feet.  So I'm running the counter up to 300 feet "for good measure", as they say.

If you just buy a bunch of tubes or cones, then you could skip this whole step.  I don't buy yarn in anywhere near that kind of quantity, so I divide it up as I need it for each project.

Next installment, winding onto the beam, where you'll see my jury-rigged tension box and an alternative application for aquarium tubing.  Stay tuned...

Leaves in Summer and Winter

I spent a little time and yarn sampling on my table loom, using the structure known as "Summer and Winter", and made these leaf figures:

I want to use this structure to make a baby blanket, since Summer and Winter is a traditional weave for coverlets and throws.  I did the sample because I don't think I've ever actually done a project using Summer and Winter, and I wanted to test out the weights of yarn I thought I would need before ordering more (!) yarn.  I am using 10/2 cotton as warp and the tabby weft, and 5/2 cotton for the pattern weft, which is pretty standard I guess.  I think it is working fine.  I can see, though, that I am going to have to pay attention and make sure I am consistent in how I treat the selvedges in the real piece.

This weave is called Summer and Winter because, as it is traditionally woven, one side of the resulting fabric is darker than the other.  The other side of this sample appears as a white leaf motif on a green background.  The portions of white are where the white tabby weft is showing more, and the green areas are where the pattern weft is allowed to float over more of the warps.  There are several different treadling sequences that can be used, each giving a different shape to the little pixelated units.  Here I am using a sequence that gives each dot of color a kind of rounded shape.

Stash reduction garment

The blue mixed warp fabric I was weaving "just to weave" has become something to wear after all.  This was my first experimentation with making a pattern using a draping method.  It's a simple and non-fitted style, so it wasn't that complicated; a good intro for me.

My concept was to use the fabric left from cutting the asymmetrical hemline to make the triangular gussets on the sides.  Those triangles turned out to be too wide, so there was still a strip of fabric left over there.  I also cut armholes and facings, so while I used up some tubes and balls of yarn, I still have a pile of scraps in my stash.  Oh, well.

Those horizontal lines in the front piece aren't flaws or weaving errors; I just couldn't let well enough alone and had to introduce some random weft variations to relieve the monotony of weaving plain weave with a single yarn.

The hand of the fabric is a little heavier than I would have liked, but it's wearable, I had fun and I'm happy with the pattern I created.

Today's (?) Weaving Trend

I've blogged about guild challenges before; I know many weaving guilds (and perhaps spinning and knitting guilds as well) do these.  Another great activity you can do if you're a member of a group is a focused study group.  I'm certainly getting a lot of mileage out of the color study group that is a spin-off group of my guild.

Here is an excerpt from an old weaving bulletin of the 1950s. The periodical was called "Loom Music" and was published by two Canadian women, Mary Sandin of Edmonton and Ethel Henderson of Winnipeg.

Today's Weaving Trend - Experimentation

One of the most rewarding ways of weaving, in terms of time spent, is a directed, concerted effort by a small group of enthusiastic weavers. In such an experimental effort, weavers of little experience work on an equal basis with those of greater knowledge. Why? One reason is, surely, that in being expected to experiment widely without reference to accepted rulings, the junior craftsman is free from the penalty of being told she is "wrong". In experimentation, nothing is wrong, unless it is deficient in utilitarian qualities. In this way, new designs are brought to attention.
We have noticed, by long observation, that a great many weavers consider themselves unavailable for these experimental sessions for several reasons:
1. "I don't know enough" -- to counter which, see opening paragraph.
2. "I don't want to tie up my loom"-- we say, a small experimental loom becomes almost a "must" for a serious student. They can be homemade with string heddles for a very small sum, and are easily stored.
3. "I haven't the time this coming month". Most people can make time -- it's thinking about it that's the deterrent. Once begun, the fascination grows.
Let us say, then, that it is the duty of each weaver to spare one period per year for non-objective weaving, so far as a finished article is concerned.

The language may seem quaint and outdated today, but I think the sentiment still applies.  Consider it, is it the duty of each weaver?  If not, there still must be a benefit, both to yourself as a weaver and to the growth of today's weaving community.  To some extent you could participate in such a study on line, but there's so much more to be gained if you can actually get together, see each other's work and discuss "in real life".  Do you belong to a weaving, spinning, knitting or other craft guild?  Have you participated in a small-group study?  If not, is there a study group that you might start?  Have you participated in an online study group, and was it as rewarding as a real live group?  Leave a comment here about your experiences or ideas.

You can read archived copies of "Loom Music" at the handweaving.net Digital Archive, along with other out-of-print weaving literature.

Weaving to weave

Lately I've been working toward some deadlines, and right now it seems right to take a break.  I have some more ideas I want to explore, and some specific goals I want to pursue next, but it seems like all those need to percolate a little.  So I got the urge to do what I am calling in my head "weaving with abandon".  No real plan, no definite end project in mind.  No sprang.  (What!?  No sprang!?)

I took a bunch of odds and ends from my stash mostly from the cool side of the color wheel, measured a color until I ran out, picked up the next color... until I had enough warp ends measured to make the width I wanted at 20 ends per inch.  How did I pick 20 epi?  I don't know; it just seemed right.  If this were a "real" project, I would have measured each yarn on the McMorran balance, taken a weighted average of their yards per pound, and used Ashenhurst's formula to figure the sett.  But I didn't.

I sleyed the reed with each color randomly until it was full, threaded, wound, tensioned, tied it up for plain weave.  Yes, just plain ol' plain weave.  The weaving of this fabric is taking me back, remembering what it felt like to be a beginning weaver, teaching myself from books some 20-odd years ago.  Right now I am weaving and enjoying the simple pleasure in the wonder of taking yarn and making cloth.  Finding a rhythm in throwing the shuttle, laying the weft, pressing the beater back.

If I like the cloth when it is done, maybe it will become something to wear.  Maybe not.  Either way, I think it will have purpose.

Warp weighting for weaving with sprang

Remember my initial tensioning system for weaving with sprang, using soup cans?  Since then I have acquired quite a little collection of fishing weights.  And last Christmas, my Secret Santa added some more to that collection.  Plus he introduced me to something really cool called Tool Dip.  I guess it's for coating your hand tools with a rubberized coating.  But it works great at coating lead fishing weights, too.  You can get it in clear or colors, but I found a kit with the clear stuff and additives so you can mix your own colors.  My weights are all different shapes and sizes, so I color-coded them according to weight.

When I am weaving with weighted sections of warp, I will experiment to find the "right" weight to tension a section to weave well, and adjust the tension on my beamed warp with the warp beam and brake system.  Then I will use a weight proportional to the width of each section I am weighting.  For example, if I had sprang sections with 24, 36 and 48 threads in them, I might use 8 oz, 12 oz and 1 lb weights on them respectively.

You will often use weights to tension supplementary warp as well, especially if whatever you are doing with the supplementary warp causes it to "take up" at different rates.  The same approach would work for that type of application.