This towel was woven on a long warp of 496 threads in a 2 block design. Each block uses 8 shafts in a straight threading. I used several tie-ups to vary the look of each towel, and even included a tabby with one or two of them in the treadling.
I love towels with hanging loops, so I wove a narrow band on an inkle loom to sew into the hem. The threads on this are 10/2 cotton, with 8/2 color accents matching some of the weft colors.
Woven in Valley Yarns 8/2 variegated unmercerized cotton in the ‘Cotton Candy’ colorway. It was interesting to weave because of the variegated yarn. Six towels were woven then zigzagged on the sewing machine. They were washed and dried in the dryer then cut apart and hemmed. The hemming area was plainweave.
This towel was washed in the machine, dried in the dryer, ironed with steam and hand hemmed with cotton thread. Other notes on making the towel are included in the WIF. I might sett it a tad closer next time—22-24 epi. It offers a great opportunity for designing with color and for putting together colors that one might be uncomfortable using together!
I selected this pattern because I liked the geometry. I learned more about block patterns and how they are constructed. Strickler’s book notes that this draft, woven by Barbara McClanathan, is a 2 block twill adapted from Väv Magazinet, 1984, Nr.4, pages 20-21.
Here are more details on the loom set up, warping, and weaving.
Shaft 1 2 3 4 5 6 7 8
Count 46 46 46 46 80 80 80 80
Valley Yarns 10/2 Cotton—a very sticky yarn that made threading a challenge. Floating selvedges broke several times. Had to ease up on the tension. I’d recommend 2 floating selvedge ends per side.
This is my expression of pansies viewed through a window. Used Kathryn Weber ‘s Blazing Shuttles for warp with white cotton and purple accents for warp.
Structure was plainweave with two overshot accents in the weft—one narrow purple and one wider of white. Floating selvages were used with 411 ends.
Towel was hand washed in hot water, air dried, and pressed with a dry iron. Fringe ending and handstitched selvage edge hems.
I have not been able to weave at home for over five years and this project was a great challenge for renewing the weaving cells in my brain. A fun project.
I was influenced by the piece Vavstuga had for Bockens Egyptian 8/2 cotton on their website (store.vavstuga.com/product/yarn-bock-cot-8-2-dyed.html). Their current piece is actually a little different, as the one that influenced me had some red accent yarns in warp and weft. I liked the combination of yellow and light green, with the red accent.
It was my first experience with Bateman weaves. I looked at the following books to understand the technique and create my pattern:
I liked designing and weaving with this technique.
This is the oldest, simplest, and most traditional Scottish tartan. It is variously known as Shepherd’s Check, Houndstooth, or Northumberland (Northumbria) tartan, as that is the area where it originated. I can just imagine those early medieval weavers deciding to add a little variety to their monotonous weaving experience by alternating the wool of black and light sheep. I chose this pattern because Northumberland County (Virginia) is the county where our Guild is located. I first became fascinated with tartans and their history when I took Melissa Weaver Dunning’s Tartan class at MAFA 2019!
You can add any variation of trim detail that you’d like; I used a simple 1 inch all-white stripe about 4 inches from the bottom.
Changing the blocks in the tie-up and treadling can produce a variety of designs in the cloth while weaving on one warp. Towel designs are a good way to play with blocks in the tie up and treadling. I wove four different towels by changing blocks in both tie-up and treadling.
Warp (10/2 organic cotton) was 513 ends including floating selvages. Used #3 treadling. A rolled hem was machine stitched.