weave4fun

almost just finished my last final woven bit on the looms at college. that's 8 technical samples and 5 final samples (usin colours from pictures i pulled off the web, cos i use the web to do pretty much all my research and imagery scavenging) all the samples are based on natural stuff that happens in nature. in order - 1 dying star, 1 lake with hills in front, 1 bunch of trees in summer, 1 largest/coldest large-sun-sized-but-really-cold object as seen through hubble telescope (discovered the other month), 1 rocky/heathery hillside somewhere up north presumably with the purple heather and all that jazz and 1 big green nebula thing with all bits of orange and some pale blue in it i particularly like the hubble stuff. gas nebulas rock the fabrics should be getting cut off the looms tomorrow evening, and i'll have to do yarn wraps and weft plans. of course, not having written the weft plans down while i was weaving, i now have to painstakingly look at the fabrics to figure out exac

i love it when a plan comes together

hey! guess what! pretty much everything i've been doing so far as weaving goes is grossly inefficient! hooray! i kinda figured that would be the case so far i've learned better ways of making the warp, better ways of putting lease rods into the warp while it's on the board, better ways of stretching the warp, better ways of packaging the warp for transport, better ways of winding the warp, better ways of threading the heddles, better ways of sleying the reed at some point in the future i'll probably attempt to illustrate these methods in a comprehensible manner, though i find it difficult to imagine i could reasonably expect to show anyone how to use a warping rack consisting of two levels of yarn alternating 1,2 in an up, down manner in order to make a cross between thumb and forefinger for ease of quickly putting onto a warping frame. not without standing there and making sure. it looks like magic when an experienced weaver does it, until you figure out how it's d