weaving | Tien Chiu's Blog

April 24, 2021 by Tien Chiu

Shifting gears: Gradients on Grace

Radio silence this week, for which I apologize, but it’s been a busy time with the teaching business! The Stash Busting Scarf Weave-Along has started, and with nearly 4,600 students both Janet and I have been hopping to keep up. I have had neither time nor brain to do any design work.

Nonetheless, progress has been inching along on the less brain-intensive stuff, and things are going well on the loom prep. Last week I switched from tying on 2,640 threads on Maryam to beaming on and threading 1,760 heddles on Amazing Grace. It went amazingly well!

Here’s a pic of the beaming process. I’m weaving three sets of samples, side by side, with different colors in each sample. Each sample is double density, enough yarn to weave two layers of cloth, because I want to weave stripes in two colors. The idea is you lift threads of certain colors to form the stripes in the top layer and then the remaining threads form the warp for the bottom layer. (If that makes no sense, don’t worry; it will become more obvious how this works once I start weaving and can demo it.)

As a result, there are six bouts, two for each sample, going onto the loom at once:

Warp being beamed using a trapeze — Warp being beamed

You may be wondering about the white spots in the warp. That’s where I tied off the warps when I wound them, to mark the color changes and also to prevent the dyes from running into each other at the color changes. The idea was to sync up the color changes so that they would line up perfectly. You can see the lined-up color changes and the ties in this photo of the dyed warp:

Dyed warp showing synchronized color changes and tied-off sections

You can see the tied-off sections in the foreground, just as the warps change color, and how the color changes line up at the ties.

Now, getting the color changes to sync up precisely is tricky. And getting the color changes to sync up precisely after beaming on 14 yards of warp is even more tricky. Which is why I was so pleased to see this at the end of beaming on said 14 yards of warp:

Beamed warp with nearly perfectly synchronized color changes

As you can see, the color changes are synchronized to within about 4” of each other. With four bouts, over a 14-yard warp, that’s pretty darn good! Of course I hope to do as well or better next time – I already have some ideas on how to improve. But this is very good, and since every color is about 1.5 yards in length this gives me plenty of “good” area to weave on.

You might wonder what I’m planning to weave on this. The answer is “color gradient samples”. These will be examples of color gradient striping, in every combination of weave structure, color combination, and warp and weft color gradient I could think of. Here is a simple example showing two possibilities in plain weave:

There are lots more possibilities, of course. I plan to spend 14.5 yards exploring them.

First, though, I have to get the loom threaded. After a week’s work, I’m about halfway done (astonishingly fast progress, honest!):

I’m almost done with the first half. Alas, half the heddles are still en route to me. Through a series of tedious delays (mostly DHL’s fault – NEVER ship with DHL if you can avoid it, it’s been a nightmare!), my heddle kits are nearly two weeks late in arriving even though it’s an express international package. But unless DHL finds another creative way to delay my package, it should arrive on Monday or Tuesday, and I can resume threading then.

Until then, I can work on tying on Maryam’s warp. 31.2% done. Not that anyone is counting! 😉

Fortunately I have gorgeous flowers to comfort me. Others may still be stuck in snow, but it’s late spring in Northern California!

Soon we will be on to early summer; in another two weeks or so, the first apricots and peaches will be coming to the farmer’s market. I can hardly wait.

April 6, 2021 by Tien Chiu

Philosophical musings

Two or three more hours of threading have moved me along to here in the tying-on:

warp with about three inches of yarns tied on — Progress on “Fire” warp

I’ve finished tying on about three inches of the 29″ wide warp, so I’m about 10% done. At 2,640 threads, that means I’ve got 264 threads tied on, or about 45 seconds per thread. That’s awfully slow, but I’m taking my time, pulling each thread through the original cross to make sure I’ve got the right thread before taking another thread. I’m alternating between orange threads and black threads, and I’ve lost count of the times I’ve mistakenly grabbed an orange thread when I should have grabbed a black one! I guess I naturally gravitate towards orange. 🙂

Also, I’m in a wrist brace, battling tendinitis in my right arm. It’s getting better since I switched to a left-handed trackball, but it does make tying knots more awkward. So it will likely take me 30+ hours to tie on this warp, and another 5 hours or so to pull through and sley the reed. (I had to take the warp out of the reed while swapping out loom guts.) And then, of course, I’ll have to weave several inches and spend a few hours debugging everything before I can weave anything. Patience, grasshopper!

Then, of course, there is the question of WHAT to weave. And that gets me to the philosophical question.

One of the things I want to do in my work is explore the limits of jacquard weaving. When I see jacquard weaving in exhibits, I see a lot of work that is basically using the loom as a low-resolution printer: creating imagery in cloth, using fairly simple structures. While there’s nothing intrinsically wrong with doing that, it barely scratches the surface of what is possible with such a powerful tool. I feel that if I’m going to own a loom that can do virtually anything, I should explore all the “anything” that it can do. (Kind of like owning a Ferrari – if all you’re going to do is commute to work on surface streets, why did you spend all that money on a car that can go from 0 to 60 in two seconds flat?)

Of course this is a logical fallacy. Just because you own a tool doesn’t mean you have to be “owned” by the tool, creatively speaking – even if you have a fancy hammer, everything doesn’t have to be a nail. But beyond the guilt engendered by having an expensive tool that you aren’t using to its full potential, I also feel drawn to explore the intriguing and complex technical spaces opened up by having a jacquard loom.

For example: most woven shibori is done with relatively simple, repeating patterning because of the limitations of shaft looms. What happens when you do more complex patterning? Imagery? Double weave with one layer drawn up and the other left loose? Combine that with imagery in the drawn-up layer? Double weave with different drawn-up patterns in each layer?

Any of these would be difficult to do with a shaft loom, but can be woven with a jacquard loom. (Admittedly, it may involve significant contortions in setting up the design.)

From an artistic standpoint, the question is whether all that technical exploration is really necessary to art. And, of course, it isn’t. Art is about what you are saying, not how you got there. Which is probably why most art exhibits feature the low-resolution printer type of jacquard weaving. The artist was focusing on message, not exploring technique. Which is fine, if your purpose is art.

I’m not so convinced that my purpose is art. As I said on my recent Textiles and Tea interview with the Handweavers Guild of America, I think of myself as a researcher. I seek to explore, to learn things, then I publish and teach what I’ve learned. The art is important to me, but it’s more a part of the exploration and research than an end in itself. And that’s just fine.

It’s taken me a long time to get to this realization, but I’m good with it.

I’m still deciding what to explore with the Fire warp. Fortunately, with 35 hours of physical work to go before I can weave anything, I’ve got plenty of time to think about it. I’ve also got parts arriving late this week for Grace, which will enable me to put on the Color Gradients sample warp. So I’ve got plenty of time to decide what I want to explore.

April 3, 2021 by Tien Chiu

Tiger warp?

It took some doing, but I beamed on the Fire warp a few days ago. I’m starting to think I should have named it the Tiger warp. I bet you can guess why!

Black and orange warp, beamed on in stripes

Of course those rich orange and black stripes are making me think of fabulous tigers. I recently cleaned my office (which was literally buried two feet deep in Stuff!) and found a copy of Sally Eyring’s 3-D Handloom Weaving: Sculptural Tools and Techniques, which I had been meaning to read for quite some time now. I was thinking that something three-dimensional would be fun to do with that gorgeous orange and black (I was thinking phoenix wings at the time), so I picked up the book and started paging through it. Alas, most of the techniques that Sally outlines use warps that are used up at vastly different rates and are thus not beamed together, so I set the book aside after a brief glance.

But the idea of three dimensions has captured my attention. So far I’ve paged through the origami-with-fabric book Shadowfolds, and am about to dive into Lotte Dalgaard’s Magical Materials to Weave and Ann Richards’ Weaving Textiles that Shape Themselves. I have visions of a wild tiger mask, woven with silk-wrapped copper or brass wire as weft (I have a bunch of it that I bought at Habu Textiles many years ago), which would allow me to shape it into a face. It could be embellished, or not. I fancy the idea of raw, frayed edges around the outside, perhaps with extra shaggy threads attached, even, like a tiger pelt.

Or perhaps a glorious Carnival mask, orange and black and with areas of iridescent blue, using a painted weft with the black warp. Throw in some wildly colorful feathers and it could be a lot of fun, too. Heck, it could be the basis for an entire series of pieces!

I will have to think about this.

Of course, I will have time to think about it. Lots of time. After all, I have 2,640 threads to tie on. After about 45 minutes of work this morning, this is where I stand:

Lease sticks at the back of the loom, with warps ready to tie on and a few warps already tied on

Americans of a certain age*** may recognize the tune I’ve been humming to myself:

“2,640 threads to tie on,
2,640 threads to go,
Take one down, tie it around,
2,639 threads to tie on!”

There are, of course, a thousand variants to the verses, which is good, because I suspect I will have sung every one of them at least twenty times by the time I am actually done!

***do schoolkids even know the song “100 Bottles of Beer on the Wall” anymore, in this anti-drug age? And who on earth ever came up with the idea of having a bus full of 8-year-olds belting out what is clearly a drinking song at the top of their lungs on their way to every school field trip??

While on the subject of 3rd grade bus trips, here’s another earworm (this to the tune of that endless, how-on-earth-did-summer-camp-counselors-survive this?-song, “The Wheels on the Bus Go Round and Round”):

“The shafts on the loom go up and down,
Up and down,
Up and down.
The shafts on the loom go up and down,
All over town.

The shuttle in the hand goes through the shed,
Through the shed,
Through the shed,
The shuttle in the hand goes through the shed,
Til weavers go to bed.”

And with that, I’ll get off to my own bed and spare you any more terrible weaving songs!

March 31, 2021 by Tien Chiu

41 miles of yarn

41.47 miles, actually, according to my calculations, but who’s counting?

Three-quarters of it is hand-painted, the other quarter is black. There are two warps.

Here’s the one for Maryam, the one you saw in the last blog post, finished and ready to go. I think it’s breathtakingly beautiful and can’t wait to weave on it!

"Fire" warp for Maryam — “Fire” warp for Maryam

It’s set up for double weave – one layer of warp will be black, so I can weave any color in combination with black, and the other layer will be the “fire” warp, in all its glorious shades of orange, red, and yellow.

The black warp isn’t as limiting as it sounds – by weaving a very weft-dominant fabric, I can actually transform it into virtually any other color. It will have dots of black in it, to be sure, so very light colors would be difficult to achieve, by medium to dark colors wouldn’t be too hard.

This warp is 2,680 threads (2,640 plus 40 extras to cover breakage), each of which is about 15.5 meters long. That’s 41,540 meters, or about 25.8 miles of yarn.

This warp is simply “Fire.”

And here’s the warp for Grace – that’s the sample warp for the Color Gradients class. I’m calling it “Gradients” for short. (You can attribute the names to a plethora of imagination – hey, I’m pre-coffee!)

Gradient warps for Maryam — gradient warps for Maryam

Each of the warps is about 12.5 meters long – 4 wraps round my 3 meter circumference mill, plus a few inches more traveling down the length from top to bottom of the mill and around the warping pegs. There are 1,760 ends (threads) in the warp, and it’s set up for double weave. The bottom layer will be 880 threads – that’s the big warp on the left – and the top layer will be three side by side sections of about 290 threads apiece. Those are the smaller warps. Put together they will allow me to weave gradients in whatever color sequences and weave structures I want, three color combinations across.

The Gradients warp is also not a traditional painted warp. Most painted warps are designed to blend colors into each other at the boundary between colors, to give a painterly effect. With the Gradients warp, I basically want to simulate solid colored warps, so I want abrupt, synchronized color changes across the entire warp. I want to weave multiple solid color samples on the same warp, so the goal is to get the color changes to line up precisely so there’s no waste. This is a bit of a trick.

What I did was wind the warp and tie it off while it was still on the warping mill, using ikat tape and a guide string to make sure that all the ties were in exactly the same place along the warp on every bout (or as close as I could get, anyway). This, at least in theory, will make sure that the color changes line up with each other.

It was difficult to show how this works because the color areas are relatively long in the warp, but I spread it out on a table and lined things up as best I could:

painted warps lined up so the color changes synchronize — synchronized color changes

It’s not perfect, but you can get the idea – the color changes synchronize across the length of the warp, so when Warp One changes colors, Warp Two (and Three, and Four) changes color at the same time.

The ikat tape (the plastic stuff wrapping the warp at the color changes) is designed for, well, ikat weaving, in which portions of the warp are bound off before dipping in dye (usually indigo). The bound areas resist the dye, creating patterning. Since ikat tape is specifically designed for this kind of work, it’s perfect for my much less stringent needs. (If you’re wondering where I bought it, I got it from John Marshall’s booth at Convergence. I don’t think he sells it mail-order, though, so you’ll have to try to catch him at a show. Before I found it I used Dharma Trading Company’s artificial sinew, which also works, though not as well.)

Here’s a closeup of the ikat tape, showing how it binds the warp and prevents the dye from running between sections:

ikat tape bound section of warp — ikat tape-bound section of warp

That probably doesn’t look that interesting if you aren’t a dyer, but if (like me) you’ve spent a ton of time trying to figure out how to keep one section of a painted warp from bleeding into another, getting that sharp and clean a demarcation between sections is nothing short of amazing. The Holy Grail, achieved.

The other secret is to blot excess dye out of the warp after painting. I can’t believe it took me that long to figure it out. The few resources on warp painting I could find all said simply to put on enough dye to cover the warp but not so much that it was dripping. I have never been able to reach a happy balance point where the dye reaches full coverage but doesn’t run more than I like it to during batching or steaming, so if avoiding running is critical, I blot my warps with a bit of paper towel after painting to pick up excess dye. It shouldn’t be dry, but it shouldn’t be dripping wet, either. No more problems!

Here’s what the warp looks like after the ikat tape is removed:

warp immediately after removing ikat tape

See how clean the line is?

And here’s the warp after it’s been spread out and fluffed a little:

fluffed out warp showing white areas where the ikat binding was removed

Obviously the white sections can’t be used in finished samples, but if I’ve done my job right, they should be lined up pretty closely so not much yarn should be wasted. I’ve budgeted about six inches of waste per color for the synchronization, which should (at least in theory) be plenty. It’s not actually completely wasted because I can use that section for testing, refining, and sampling the weave structures and stripe patterning for that particular section of samples. That would be waste in any case, so it all works out in the end.

I wound up with a little lagniappe at the end of all that warp-winding and dyeing. I had mixed up four gallons of dye for all that warp – which I knew was overkill, but dyes are relatively cheap, and running out of dye midway through painting a warp section would have been disastrous. (Let’s not even go there.) When I have excess dye, I simply add to my wardrobe. 90% of the time I run around in tie-dyed T-shirts and jeans, basically because if you’re a five-foot tall woman, with broad shoulders, and can deadlift 245 pounds and squat 200+ pounds, nothing off the rack is going to fit you anyway. And I live in California, where nobody dresses up for anything. So when I’m dyeing, and I have leftover dye, I just grab some T-shirts and some short-sleeve, button-up men’s shirts (that’s what passes for formal wear around here 😉 ), and throw them into the leftover dyes. I generally do low-water immersion dyeing, because it takes five minutes and no brains to dye a shirt and the results usually look great.

And here’s what I got out of it:

That’s the formalwear (hey, it’s California!), and I’m madly in love with all three of them, especially the fuchsia/orange and the blue/green shirts. Heck, all three are wonderful. It’s hard to pick a favorite.

Then there are the T-shirts. I’m less enthused by them, not because they aren’t pretty, but because the colors aren’t really “me”. This one, for example, is pretty, but far too conservative for magpie me:

And this one is a little too chartreuse (in real life it is brilliant yellow-green with patches of bright and rusty orange):

Fortunately, though, Jamie fell madly in love with the last T-shirt and immediately carted it off to her lair, so everything has found a home except the red-and-blue T-shirt, which I will probably give away. I have lots of T-shirts already, and T-shirts are cheap at about $2.50 apiece, so one more or less makes very little difference. And the excess dye got used!

Next step is to put the warps onto the loom. Jamie and I spent a full day over my vacation (I’m back to work now) swapping out the guts of the looms – we still need to rearrange some parts, which I’ve ordered from Tronrud Engineering in Norway, but meanwhile I can get started beaming the warps, and threading up Maryam. With 2,640 warps to tie on, that’s going to take quite awhile. And after that, I’ll need to thread 1,760 heddles on Amazing Grace. Better find some good audiobooks!

March 18, 2021 by Tien Chiu

A journey of 4,400 warp threads….

…begins with a big honkin’ warping mill.

This is my three-meter circumference Glimakra warping mill, which is as-yet nameless (somehow only my looms seem to have enough personality to warrant names). In theory it’ll wind a 50-meter warp, though trying to wind 17 rounds around that warping mill seems like it would be rather fussy to me. As you can see, though, a 15-meter, 1,320-thread warp in fine threads is no problem!

I have two goals with these warps. The first is to reconfigure the arrangement of the jacquard looms. I’ve been going back and forth over how much to get into this, because explaining exactly what and how and why I’m doing what I’m doing involves quite a bit of technical discussion about how TC-2 jacquard looms work. The last few people I’ve tried to explain this to have gotten a glazed expression about 30 seconds into the discussion and discovered an urgent need to go clean their bellybutton lint after about 90 seconds, so I’m taking that as a sign that perhaps skipping that part of the discussion might be okay. 😉

Anyway, skipping the navel-scrubbing details, the first project is to reconfigure the jacquard looms, the end result of which is that I’ll eventually be able to weave easily at three different densities: 90 ends per inch, 60 ends per inch, and 30 ends per inch. This would be extremely useful to my weaving life, BUT in order to do that, I have to cut off the warps that are on both looms, swap the guts (heddles) of Grace into Maryam’s frame (still threaded), swap the guts of Maryam into Grace’s frame (still threaded), and add 880 more heddles to Grace.

Then, of course, I need to put warps onto both looms, to the tune of 4,400 threads. Whee!!

Grace is basically going to become my sampling loom. She is eventually going to have one 14.5″ wide warp threaded at 60 ends per inch, and one 29″ wide warp threaded at 30 ends per inch. I can do that because Grace is 43″ wide, with two warp beams. The idea is that I keep one side of the loom beamed and threaded at 60 ends per inch on one warp beam, and the other side of the loom beamed and threaded at 30 ends per inch on the other warp beam. The warp that is being woven goes through the reed, and the warp that is not being woven gets removed from the reed and tied off.

On a regular loom this would create all sorts of problems with the loom geometry, because regular looms are made out of wood and the uneven tension would warp the beams out of shape eventually (among many other things). However, I’ve been assured (by the manufacturer) that this isn’t an issue with the TC-2 jacquard looms, because the loom is made of heavy gauge steel and isn’t even going to notice any torsion from off-centered warps. (Those Norwegian engineers, they do not mess around!)

Most of my samples for classes are woven out of cotton, usually from 22-30 ends per inch. The advantage of weaving those samples on a jacquard loom, of course, is that I can sample many different drafts/woven patterns on the same warp, without having to rethread. Weave a simple twill? No problem! Switch out to overshot? Sure, why not? Weave an intricate, nonrepeating networked rosepath twill curvy something-or-other? Load ‘er up! I can even change the sett by leaving some threads unwoven, reducing the number of threads per inch.

More subtly, I can also weave complicated stripe patterns by threading up for double weave, one layer of Color A, one layer of Color B, and then selectively choosing which threads of Color A or Color B weave in the top layer. This means that, if I am threaded at 60 epi, I can weave whatever two-color stripe pattern I want at 30 epi on the jacquard loom without rethreading. So having a section of the jacquard loom dedicated to weaving at double-density makes a lot of sense for weaving samples.

So Grace’s setup will save me a HUGE amount of time and effort in weaving samples for my color classes. Without a jacquard loom, I’d have to rethread every time I wanted to sample a new weave structure, and rewarp every time I wanted to try a new stripe combination. That would make creating samples prohibitively expensive. Grace will let me create the samples I need in a timely and efficient manner.

Maryam, on the other hand, is going to switch out with Grace and become my loom for artistic weavings. Grace is currently threaded at 90 ends per inch, 29″ wide, and I’m swapping that configuration into Maryam.

So what, exactly, is going onto the looms?

The warp that’s going onto Grace is destined to be samples for an upcoming class about designing with color gradients. (Coming this fall!) I want to get 72 samples off that warp – there will be 3 samples across and 24 different samples along the length of the warp. I want to get a LOT of different color combinations, so rather than put on a bazillion warps, I’m splitting the warp into three bouts and painting each bout with a different sequence of colors corresponding to the color samples I want to make. I tied off each bout at carefully marked intervals so the color changes would be synchronized across all three warp bouts once the warps were on the loom. That way I can do three samples across, each with a different set of colors, using the same weft. Because the color changes are synchronized, each set of samples will start and end in the same place, color-wise, so I won’t wind up with any half-samples or overlaps.

Sounds complicated, but it’s really not that complicated.

But – ha ha! – that’s not actually what I’m doing. Because why do anything the moderately complicated way when you can do it the even more complicated way??

I mentioned earlier that, on a jacquard loom, if you set up your warp at double density, with one “layer” of warp in one color, and one “layer” of warp in another color, you can do arbitrary stripe patterns by picking which threads of which color weave into the top layer. And I’m doing a class on color gradients, so I need to weave samples that show the different kinds of color gradients you can create by alternating threads. For example, you can do a linear gradient, like this:

Or you could alternate threads to give the illusion of curvature, like this:

So what I’m ACTUALLY doing is winding six bouts of painted warps, painting them so the colors synchronize three bouts wide across the warp and two layers deep. Then I’m going to interleave them to get a lot of color combinations, and then weave samples that show different possibilities of stripe patterns combining the different color combinations.

Oh, and I’m also demonstrating the effects of different weft colors, setts, and weave structures, too, in combination with all of the above.

You can see that 72 samples, while a seemingly large number, is actually quite a small number, not nearly enough to explore all the possibilities. If I were exploring at random, I’d throw up my hands completely.

Fortunately, I’m not exploring at random. At this point I have a very good understanding of What Goes Down with color in weaving, so I can pretty well predict what happens when you do X with Y under conditions A, B, and C. So I think I can make 72 samples cover MOST of what I want to illustrate. A few samples and some finished pieces will have to be woven on the Ruth, my Baby Wolf loom. (As powerful as Grace and Maryam are, there are some things that jacquard looms don’t do well. For those things, well, Ruth to the rescue!!)

Next, there’s Maryam. Maryam is getting the “art” warp.

I haven’t really had time to plan out the art project. I’ve shelved Tourmaline Butterfly for now, basically on the grounds that it is going to take more time and effort than I can realistically expect to have available. I need to put on a warp that I can produce small projects on in spare moments – which, for me, means a project that “only” takes a month or so and maybe 40-100 hours to complete. (Moderation, after all, is best done in extreme moderation. 😉 ) I also need a warp that is attractive and interesting enough to seduce me away from working on the teaching business nonstop, which is a tall order most days. And I need a warp that is flexible enough that I can produce both more conservative pieces and caution-to-the-wind pieces on it.

So I think what I’m going to do is put a double weave warp onto the loom, two layers at 45 ends per inch, and make one layer plain black 20/2 cotton at 45 ends per inch, and the other a wild-woman warp, four strands of different yarns randomly dyed in shades of brilliant orange, red, gold, and yellow. My theory is that since it’s double weave, if I want a boring, conservative warp on which I can weave just about anything, I can use the black warp on the surface and bury the orange warp on the back. If I want to go hog-wild, I can weave the orange warp on the surface. And of course, I can do layer interchange and do really cool stuff with the black warp alternating with the orange warp in areas. Monarch butterfly? Tiger? YES PLEASE!!

Why orange-red-yellow-gold? Because (as a quick look at either my work or my wardrobe will tell you) brilliant orange is my favorite color, and if I want a warp that will lure me to work on it, bright orange tie-dye is definitely the way to go.

I liked the textured effect of the warp I put on for Bipolar Prison, which was one strand of 10/2 unmercerized cotton, two strands of 16/2 mercerized cotton, and one strand of 30/2 silk. It was randomly dyed, and because the different fibers took up the dyes differently, and the yarns were of different sizes, the resulting cloth had a wonderfully textured look to it:

The unmercerized cotton shed lint that created little fuzzy rings around each warp thread, so I won’t be using that again.

Instead, for this warp, I’ve wound one strand of 10/2 natural mercerized cotton (4200 ypp), one strand of bleached white mercerized 20/2 cotton (8400 ypp), one strand of fine 4-ply silk cord (8400 ypp), and one strand of 60/2 silk (15,000 yards per pound). Here they are:

Yarns being used for double weave warp — Left to right: 60/2 silk, 4-ply silk cord, bleached white 20/2 mercerized cotton, natural 10/2 cotton

I wound the threads in a 4×4 cross, holding the threads between my fingers, and plan to thread them in random order to give more texture to the fabric. Will that be a dreadful mistake? Only one way to find out!

Anyway, here is where the Journey of 4,400 Warp Threads currently stands:

3/4 of the warp for Maryam and Grace, neatly wound into chains

I have wound the entire warp for Grace, and half the warp for Maryam, so the current warp thread count is 3,136 (I always wind a few extras when winding painted warps, for fixing broken threads). I’m now at the point where I can start painting the warps. (The remaining warp to be wound is the layer of black warp for Maryam.) Unfortunately, the table on which I would have painted the warp has been removed since we cleared out the back yard yesterday, and the new table hasn’t been purchased/delivered yet, so warp-painting will have to wait, perhaps until early next week.

I guess I will have to settle for giving Fritz a belly rub. Here he is, practicing cat yoga while waiting:

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