I finished designing the water-lily napkins a few days ago. I’m very pleased with them:
For reference, here’s the original painting:
I’m particularly happy because it’s a four shaft pattern, which means that more people are able to weave it. There’s a myth that in order to do complex, interesting work you have to have a more complex, expensive loom with lots and lots of shafts – this shows you can do it on a much simpler, four-shaft loom.
This is important because I intend to get these published in a magazine, so the design has to be weavable by their readers. I kept this in mind while designing. It will be easier to weave on six shafts than four, but it’s doable on four.
I then got interested in what you could do in plain weave (e.g. a on a rigid heddle loom). So I designed this water-lily alternate interpretation – place mats in plain weave. I’m quite happy with these as well: they’re not as pictorial as the first set of water-lilies, but I think they capture the feel and the overall motion of the painting. And MUCH quicker and simpler to weave.
I might make the design a little smaller, though, so it’s more practical to weave with thicker threads, which would be more suitable to rigid heddle weaving.
At some point I might design and weave a full set of table linens – place mats, napkins, and table runner – in the more complex water-lily pattern. Not sure though – it would be a LOT of work, and I almost never entertain.
On to the next design!
I have been thinking about what else to put on Grace (the jacquard loom). I want to put on a warp that is guaranteed to be long enough for Unraveling, which probably means at least four yards (after subtracting loom waste). However, Unraveling itself is only two yards long, so that probably leaves quite a bit of leftover warp. What to do with it?
I’m thinking VELVET.
Velvet and I dated briefly about 8-10 years ago, when I took a velvet weaving workshop with Barbara Setsu-Pickett. I fell in love, but velvet played hard-to-get and eventually I gave up. It requires specialized equipment and a LOT of time, and I didn’t have either.
However, some very generous friends helped me build the necessary equipment, and I think I will now have the time to experiment with it. So my plan is to put on a long warp in black 60/2 silk. Once Unraveling is done, I can swap out the pink threads for velvet pile, and (potentially) weave polychrome figured velvet on the loom.
This sounds SO incredibly fun! Also complicated and time-consuming. I expect that getting to the point where I weave any finished pieces will take at least a year. But SO worth it when I do. And it will make a fun adventure. I’m sure I’ll learn a lot.
My other interest right now is, oddly, natural dyeing. I investigated natural dyeing a bit back in college – which is to say, over 30 years ago – but soon gave it up for synthetic dyes, which gave me a wider range of colors with much better reproducibility.
However, after doing Renewal, the scarf woven out of handspun silk, I got fascinated by the idea of combining ancient techniques with my thoroughly modern jacquard loom. This is unusual for me – usually I’m all about producing a great finished product. What materials you use and how you get there aren’t relevant to the finished piece, which stands by itself.
Lately I’ve gotten interested in the process, though, so I’m liking the idea of using natural dyes for at least some of my yarns.
Towards that, I’m taking a natural dye workshop with a Mexican weaver/dyer this week. I found her on AirBNB of all places – she was advertising a half-day “learn to do simple weaving” workshop, and I signed up for it because I thought it would be interesting to meet her. We hit it off, and eventually agreed that she’d teach me in a three-day class on natural dyeing using traditional Mexican techniques. It’s just me, so we’ll have plenty of time to talk about the technical aspects. It starts later this morning – I’m super excited and expect to learn a lot.
Marcelo (the knife-maker) and I have been talking about the Damascus steel knife set he’s making for me. He proposed using a Japanese technique, shou sugi ban, on pecan wood for the knife handles. With shou sugi ban, you basically char the wood and then rub away the char. It brings up the grain and (reputedly) also makes the wood more durable, though that’s been disputed.
On softwoods like pine, shou sugi ban produces dramatic results, with strong bands of light and dark, following the grain. On hardwoods such as pecan, the result is much more subtle – but subtle will go well with the patterning in Damascus steel.
Marcelo sent me a photo of a sample he created using shou sugi ban. The left photo shows the charred wood before and after sanding, and the second photo shows what the finished wood will look like.
I love it.
We’re also talking about other details – what to use for the rivets going through the handle (bronze, I think), and whether to inset a small gemstone in the center rivet (yes). Marcelo suggested chrysocolla, which is a blue-green semiprecious gemstone similar to turquoise or malachite, and I agreed. I can’t wait to see the samples.
Off to my natural dye workshop! More later.
