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Fixed Warp Leg Adjustment

11/6/2019

 
Picture
My favorite way to weave
is to sit on the floor
with a bit of old camping foam mat under my butt, 
tools, teacups and yarn within reach,
​and a growing tapestry in front of my nose.
Picture
To work comfortably and ergonomically
on a fixed* warp on a pipe loom, however
(at least if the tapestry in progress
is more than a few inches tall),
regular height adjustments are necessary --
both of the loom and of my seat.
Picture
Not sure what I was stewing about, but I've no doubt that some time at the loom helped chase those clouds away...
The seat is easiest to change.

Beginning on the floor, 
I perch on progressively taller 'tuffets'
until the wooden box in the images above,
is upright -- its tallest dimension.
Picture
When that is no longer comfortable
​ I shorten the loom legs.
Picture
With the loom laid flat
I twist off the feet  and legs
Picture
then choose the length I'll use next.

If I make the loom too short,
I'll be uncomfortably hunched over
when I begin weaving again.
If not short enough,
 I don't get to sit on the floor.
Picture
This time, I went for the shortest legs I had--
hardly a piece of pipe at all,
​but just the thing
for getting back
to my funky blue mat.
Picture
The fell is now  a few inches above
where it was in these photos
and I am once again
climbing the tuffets--
hoping to be back on the box
weaving the words "whole wheat"
​before too terribly long.
Picture
But there still many ingredients
between me and all those 'w's.
 and today I'm going for
"1 t baking powder".
So far, I have the  "1 t b"
Back to it, then!
Picture
*A Fixed Warp
 has the warp anchored to the top and bottom of the loom.
To change position (as shown in the photos above)
the weaver must move herself
in relation to the fell. 

A Continuous Warp, 
can be rotated around the loom,
allowing the weaver to stay in the same position,
and move the fell to suit her body.

Both have advantages and disadvantages --
--the first allows the weaver to see the entire tapestry the entire time
which makes spontaneous design decisions much easier,
(at least for me).
It also, potentially,  has less loom waste.

--the second allows one to weave a long/tall tapestry on a relatively short loom,
and to always sit/ stand in whatever way is  most comfortable.

Me -- I like both.
How lucky is that?

ps. as ever, to see other posts about pipe looms and various warping systems,
use  the search bar at the top of the page and see what comes up
Beverly Weaver
11/6/2019 12:36:20 pm

Yes, get back to it....nothing is a much fun as continuing to work on something you love

Michele Fandel Bonner link
11/6/2019 03:49:58 pm

I look forward to seeing the finished weaving so I can bake the digestives!

Mary
11/6/2019 04:24:42 pm

I love how clean and crisp your letters are. What is your sett on this piece?

Sarah
11/8/2019 10:51:40 am

The sett is 10 epi

Lynda Bass
11/6/2019 06:11:04 pm

I love your work!!! I feel like I can see your heart, in your work. The subject matter, the colors and the sheer details you observe are lovely. Thank you for sharing the way you do!! LOVE your letters, woven and blogged!!

Cheryl Silverblatt
11/6/2019 07:29:04 pm

How nice to see Archie's name in your email message. it made me think of my one and only workshop with he and Susan. He was quite intimidating for me and when looking at my little sample said, "you weren't weaving in here, but you are weaving in there. Do what you did before, not what you're doing now." It sounds cryptic, but was actually the right advice for me at the time. Yes, I'll 2nd Sarah's thank you, Archie, wherever you are.

Eileen Van B
11/6/2019 09:11:14 pm

Love the European weight system. And the way you are weaving the "7" as the European way! I write my 7's that way too!! And, Sarah, the explanation of the pipe loom adjustment of the legs - great for ergonomics for each body! Love it!!

Cate Markey
11/6/2019 10:40:40 pm

Ah it looks as if the the current lovely lovely is fringeless on the bottom (or do I imagine a lime green supplemental warp?) - and perhaps none on top...so it can grow like jack and his bean? Love this wip.

Sarah
11/8/2019 10:51:22 am

Yes indeed — fringeless at the bottom. I used a 3-selvedge technique I learned about from Archie Brennan and Susan Martin Maffei — similar to the 4 only you don’t get doubled warps and the top of the tapestry is not defined ahead of time.

Janet Kovach
11/7/2019 06:59:32 am

At present i am weaving a portrait of myself at about age 8 or 9.sometimes i tend to get lost in the shading of my purple dress trimmed with lace, pigtails, and white shiny hair ribbons circa
1940's. Yes i am in my 80's and weaving and fibering all the time.
When that happens i go to your posts of lettering and realize if you can conquer letters and tablespoons i can certainly conquer this purple dress. Thanks
From the Atlantic coast.

Linda Clum link
11/7/2019 09:13:03 am

Dear Sarah,
Inspired by your weaving words and in a stuck/slump of "nothing I weave is good-enough", I decided to weave my first Thank You note. I decided to face my fear and weave the "THANKS" first, on the bottom and I was suddenly happy with each imperfect, struggling letter and so pleased with myself that I had tried this. Now I am working up the warp and doing a bike trail along the lake scene, since the thank you is for the young man who refurbished my old bike so I can do just that, but didn't want anything in return.
The letters are in the color of my bike (hunter-safety orange) against a solid gray background. Now above it I will hatch a scene and try to have as much fun as with the letters. Thank you for this jump-start in the midst of unhelpful perfectionism.
Linda Clum

Sarah
11/8/2019 10:50:15 am

Oh this is just marvelous to hear. So glad the post was helpful to you.
One of the things I love about words and letter forms is that we already accept that each of us writes entirely differently, so the letters just get to be themselves. On this subject, I totally recommend a brand new book by Lynda Barry called Making Comics. She starts off talking about kids drawings and the way that letters are a kind of drawing — indeed that small children seem to approach words and images in teh exact same way.


Comments are closed.
    Picture

    ​Sarah C Swett 
    tells stories
    with
    ​ and about

     hand spun yarn. 


    Picture
    Click for info on
    my four selvedge
    warping class
    with
    ​ Rebecca Mezoff  
    fringeless


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