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All structures will have a form of plain weave, although it may not be as simple as one up, one down. It could be two up, one down, or even three up, two down, depending on the threading. So when a pattern says “Use tabby,” it means that a simple interlacement can be found in the structure, given a one up, one down alternation. Overshot is an excellent example of this and uses alternate warp ends on alternate shafts to form tabby.
In this article, Jette explores and explains how to find plain weave in any structure.
The Oxford English Dictionary says to deflect is to “cause (something) to change direction; turn aside from a straight course.” In weaving, plain weave is the tightest of all interlacing, with each end and pick floating over and under just one end and one pick. This weave structure will not shift or “deflect” very much when washed, because there is no space for an end or a pick to move around. However, long floating ends and picks are free to move in any direction they wish, and generally they tend to collapse into themselves. When plain weave is adjacent to long floating ends and picks, then suddenly plain weave ends and picks have space to move. They deflect into the floating ends and picks. This combination of weave structures creates textured cloths with the plain weave areas turning into circles. There are several weave structures that fall into this category. This article explores and explains DD and gives a study gamp so you can learn even more!
Primaverde, or “new spring,” was an appropriate name for this two–block deflected doubleweave threading variation using ten treadles. Deflected doubleweave is a weave that has plain weave, warp floats, and weft floats. This beautiful scarf is much simpler than it looks!
The words “colour-and-weave” (C&W), mean magical patterns that appear in a weave structure created by using combinations of dark and light colours in the warp and the weft. These sequences of dark and light can be overlaid on top of any weave structure: plain weave, twills, units and blocks.
The best way to learn these patterns and see them as a language is by learning them on plain weave. When we become familiar with them on plain weave we start to recognize them like letters of the alphabet. Once they become part of our weaving vocabulary we can start using them in other surprising ways. Jane taches you this language in this wonderful article. You’ll learn seven magical sequences that will transform anything you’re weaving! Includes a study gamp.
Hand spinners can change the direction of their spinning wheels or spindles, placing twist into the fibres in either the clockwise (Z-twist) or counterclockwise (S-twist) direction. To create a yarn that is balanced, a single must be spun in one direction, then plied with one or more other single(s) in the opposite direction. This article explores whether the twist direction of yarns noticeably affects the fabric, whether it causes any tracking, and how well the yarns nestle into one another, closing gaps and holes in the plain weave (PW) fabric. The results are stunning!
The plain weave structure is one of the most honest arrangements in weaving. Warp and weft have equal representation on both sides of the cloth, a feature lending itself to exploration of specific design elements. The magic of this structure is how every small detail will reflect in the surface of the cloth; a change of beat, a slub in the yarn, or even a skipped thread cannot hide. This article explores texture and using it to our advantage.
Students often ask whether or not different fibers and different-sized yarns can be used together. In most cases, the answer is yes. However, when deciding how to mix and match different fibers – or even the same fiber that has been treated or spun differently, or is a significantly different size there are some important considerations, this article explores and explains what those are.
Plain weave might be the most basic weave of them all, but it can take you on grand adventures with even the humblest of looms.
When you look at plain weave in detail, it is beautifully simple. The weft travels a regular path over one warp thread and under the next. The warp follows the same pattern, over and under the weft, in a soothing rhythm.
This article covers the basics of plain weave, plain weave in other structures (like overshot, S&W, and undulating twill), and is just a gorgeous piece on this humble and brilliant structure.
We’ve all had it happen to us. During wet finishing, our cloth winds up with “permanent” creases – creases that refuse to come out, no matter what we do.
Are these creases really “permanent”? Are there methods to remove or lessen them when they do develop? Which of these methods work best (or at all)? Laura Fry experiments on the best way to diminish these “permanent” creases and how to keep them from presenting in the first place!
Jane Stafford jumped at the opportunity to share her deepest thoughts on one of her favourite subjects. In her humble opinion, plain weave is the best weave structure in the world. She tells you why it’s so great and what it’s meant in her life including how it’s perfect for new weavers, it’s a comfortable canvas to grow from, how it’s a continuous teacher in her weaving life, how she’s made 1000 plain weave mohair blankets, and more.
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