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  • Blog 2014-2021

Four Selvedge Warping Instructions

1/5/2016

 
Picture
  Because sometimes you just don't want fringe.


PictureFour Selvedge Warp on an 1/8 inch Galvanized Pipe Loom,
I learned about four selvedge warping from 
Susan Martin Maffei .
The method I describe here
is my variation 

of Michael Rohde's variation 
of Susan's technique.

Making tapestries without  thrums, fringe or edge finishing has changed my weaving life in myriad ways, the most obvious of which has been my relationship with small format tapestry--once  a distraction I could neither like nor leave alone and now the focus of my work.  

I hope it is useful to you.


Note: This is a long and detailed post. In it I have assumed some familiarity with basic tapestry technique: warp, weft, ends per inch and the like. To define everything would  make it even longer so to learn more about tapestry weaving I recommend The American Tapestry Alliance website, the posts showing up on the current ATA Blog Tour, the classes taught by these bloggers (on line and off), or some of  the myriad  blogs and videos on the web that come to us by the grace of  that amazing source of information --Google. 


Four Selvedge Overview:
1. Wind your warp around a jig
​2. Lash that warp to a loom, top and bottom, with supplementary warps
3. Weave your tapestry
4. Remove the supplementary warps
5. Done!

The resulting tapestry will have no fringe  and thus need no hemming. This technique resembles the Navajo approach to warping except that one can  easily open the shed all the way to the top of the tapestry so there is no need to cram in the last rows.
​
Picture
Bottom to top: supplementary warp warp one (green), actual warp (grey), supplementary warp two (green)
You will need:

-Fine, Strong warp (Actual Warp)
-Fine strong cord for supplementary warps (I use Fly Line Backing)
-Loom with a tension mechanism
- A Jig
-Shed Sticks
-Tape (masking or painters blue)
-Scissors
-Ruler/ tape measure
- Weft for your tapestry!

Picture
Actual Warp: merino/silk singles (not recommended for your first one); Supplementary Warp (Fly LIne Backing in two colors) on bobbins; Jig made by Michael Rohde and modified by me
At the end of these instructions is an appendix of sorts with more info on warp, jig and loom variations.  
​
1.  Wind Actual Warp
​

a. Measure out your warp of choice and wind it onto a bobbin.
Calculation: Jig Circumference x sett x width of tapestry= ammt. of warp you will need
 --jig circumference = tape measure circled once around the bars of the jig--

b. Tie a half bow on the bottom bar of the jig (something you can undo easily)
and wind 1 complete round for each warp end planned. 
 --The warp should be even and snug but not tight--
​Make sure the strands so not overlap
Picture
Tie Half Bow on Bottom Bar of Jig
-b. When done,  break off warp leaving a 6 - 8 inch tail
Attach the  tail to the bottom bar of the jig in some way that can be easily undone and adjusted:
--Half bow, two half hitches, or tape as below--

c. Attach Jig to Loom if not already there
Picture
Note Michael Rohde's handy dandy velcro system for firmly but temporarily attaching the jig to the loom
d. Adjust warp tension.
Pull on alternate strands with even pressure
taking up the slack as you go across.
I usually do this 2 - 3 times 
using the same amount of tension with my fingers each time.

----The strands should be firm and even but not tight.-----
Do NOT make it tighter and tighter with each trip across.
Try not to bend the bars of your jig.
If you run your finger across the warp you can feel the tight and loose places, if any.


e. Adjust spacing at top and bottom of jig
Picture
Adjusting warp tension
PictureWinding fly line backing onto a bobbin
2. Supplementary Warp #1

a Wind fly line backing onto a bobbin, or slim stick--a pencil would probably work
--It doesn’t matter if you run out as you can knot one piece of supplementary warp to another--

b. Untie half bow at beginning and tie it to the fly line backing.
--I use an overhand bow, my go-to knot for this technique--

Picture
Actual Warp and supplementary warp tied together. Note: I didn't adjust the warp spacing very well on the jig. Below you can see that I am more careful when lashing to the loom
c.  Center First Warp
​Bring the bobbin around the bottom bar of loom,
  circle it around itself, then back around the bottom bar to the front.
​(see two photos below)
The warp end end is now centered on the bottom bar of the loom 
Picture
Picture
d. Begin Lashing on
Slide the bobbin through the front of the first warp loop,
down and around the bottom bar
then up to grab the second warp loop.
--Pull each loop so that the bottom of the actual warp loop is ever so slightly below the jig. This is an easy way to tell that you are putting the same amount of tension on each loop and that the supplementary warp is neither too slack nor too tight--
Picture
e. Continue across, carefully spacing the supplementary warp and keeping the tension consistent.
Picture
 f.  When you reach the last warp
Untie the end of the Actual Warp from the jig and use the supplementary warp to circle around and center it on the bottom beam as you did at the beginning. 
Wind both strands in opposite directions around the bottom beam then tie together firmly.
​ --I use a half bow as usual with a half hitch around the loop to make sure it doesn’t come untied--
(
see photos below)
If you are not a knot person, it is possible to use tape to hold the ends in place, but make sure it is good and solid as there will be increased tension as you weave and it is not fun if your warp loosens up and you are fighting with it rather than appreciating its wonderousness.


-- Before untying the end tail, I sometimes put a temporary piece of  masking/ blue tape over the loops at the top of the jig to keep the tension even while the end is untied--

Picture
Centering the warp tail at the end
Picture
Tying off after winding around bottom beam
3.  Supplementary Warp #2
Note: there should be 12 - 18 inches between the top of your jig and the top of the loom. This allows you to get a good shed to the top of your tapestry which is, after all, the point of this whole enterprise.
a. Wind more fly line backing onto a bobbin if necessary
b.  Tie the end to the top beam of the loom
Picture
Supplementary Warp #2 tied to top beam of loom
c. Bring the supplementary warp down, scoop up a loop of warp at the top of the jig,
 bring the bobbin back up and over the top of the loom.  Repeat across

--this is just like what you did with supplementary warp #1 only with longer strands and without the  tension tension of the loose tails at beginning and end--  

Picture
Scooping loops with the supplementary warp #2
d. Tie to top of loom
Picture
End of Fly Line Backing Tied to Top Beam of Loom
e. CHECK to make sure you have grabbed every loop at both top and bottom of jig.
​ If you have missed one, fix it either by redoing or by making an an individual loop of fly backing for the missed warp (much the easiest choice)
Picture
Actual Warp Lashed to the loom at top and bottom, just before removing jig.
4.  DISMANTLE and REMOVE JIG
Picture
a. Add tension as warp will be floppy
Picture
Warp can be twisted and messy looking after jig comes out. Tension helps as does thrumming your finger across the warp, or teasing the twisted strands apart. Some warps become more twisted than others.
Picture
Wing Nuts: such an easy tension mechanism.
5.  Weave in Shed Sticks
​— you can see that each warp end consists of  two strands together--
Picture
 6. Add Guide Strings if you like them
-Once upon a time I thought I didn't need them but have since become addicted to the ease of having a constant visual selvedge reference, esp. on small work where slight variation is so obvious--

7.  Weave your tapestry. 
Picture
The first pass settles neatly into the loops of the continuous warp
After a few passes the warp loops become almost invisible.
Picture
Weave as you would with any other warp, fixed or continuous,
treating the top supplementary warp like an extension of your actual warp
which, though temporary, it actually is.
Picture
Picture
  FINISHING
8.  Build your tapestry until the weft is slightly above the top of the  loops of the actual warp.  Ideally, you will have to press gently down on the weft to access the loops

9.  Remove Shed sticks
​
10. Lock the tapestry in place
a. Select a piece of yarn several inches longer than the width of your warp. 
--This could be the weft you are using if it is strongish, or a piece of the actual warp, if it is wool--
Thread it on a blunt needle and either bury the end in the body of the tapestry or leave it dangling to weave in later.

b. Untwist each supplementary warp loop
then slide the needle through the Actual Warp loop.

Run your finger down between each strand of supplementary warp to remove the twist that has accumulated as pictured below. The twist will go into the actual warp.
--
 Not every bit of twist has to be gone, but removing a highly twisted supplementary warp is harder than an untwisted one and can put undesired pressure and friction on your actual warp loops--
(See next three photos for details).
Picture
Pressing twist down into tapestry
Picture
No twist in supplementary warp
Picture
needle slides through loop of Actual Warp
c. Repeat across top of warp
CHECK to make sure you have caught all the loops
​

d.  Bury the end in the body of the tapestry, or leave dangling to sew in later
Picture
Picture4 selvedge tapestry ready to be removed from the loom
11. Release the Tapestry

a. Untie the end of supplementary warp #2 from the top of the loom and pull it out of the loop at the top of the tapestry.
--Pull GENTLY — if you yank you could potentially snap the loop.  This is fixable, but not desirable--

b. Continue  across.
If you come to a knot, snip it.
--As you free the loops of the tapestry, the strand of removed supplementary weft will become awkwardly long, so even if there are no knots yet (on your first one for instance), you’ll eventually want to cut the fly line backing. You can tie the ends together using an overhand knot looped twice. Test the knots for strength the next time you make a supplementary warp. 

c. Repeat at the bottom, removing supplementary warp #1
I have a video of this on my Instagram Feed (@sarahcswett)

d. Your tapestry is now free.

Picture
12. Weave in tails.

13. Let your tapestry rest.

14. Wash or steam or whatever it is you do to finish.

15. Put on another warp.  


Picture
Appendix:
More on Warp Yarn, Looms and Jigs

1. Fine, strong warp — definition of fine is loose. Experiment.
I generally weave at a sett of 8 - 10 epi.
Yarn I’ve used: 
Brown Sheep Weaver’s Warp (1,100 yards per pound)— a singles
Brown Sheep Fingering 2 ply at 2800 yards per pound
(yes, it is knitting yarn but  if you're gentle it works well for very small tapestries).
Handspun in a variety of weights — usually two ply at 2-3000 yards per pound,
Romney, Coopworth, Lincoln, Wenslydale or some other strong fleece is recommended to start.

Cotton seine twine works and is popular, but I don’t use it for tapestry so can’t speak to what size would be appropriate. Wool is my warp fiber of choice for a number of reasons, not least how good it feels on my fingers.


2. Cord for supplementary warp
My favorite: Fly Line Backing
— very fine, very strong, slightly waxy so holds tension well and is easy to remove--
Fine Seine twine works here too but in my early experiments I found that it wore out after only a few uses (snapping at inappropriate moments), and as I said above it annoys my hands. 
But you get to experiment and make up your own mind.
 And do me (and others) know what you discover.


3. and 4.
LOOMS and JIGS


Picture
3/4" PVC Loom (12" wide) with Camping Strap Tension Device; Jig = Dowels held in place with string.
Picture
1/2 " galvanized and black pipe loom (18" wide) with a quick-and-dirty-but-remarkably-functional pvc and dowel jig
3. LOOM with Tension Mechanism
As I've mentioned before, most of my weaving is done on black or galvanized pipe looms
based on Archie Brennan Plans (link below)
For big tapestries I use 1 +" pipe.
The looms pictured here are built of 1/2" or 1/8" pipe

--black and galvanized pipe come in the same sizes so work together though the black is less expensive--

Here are links to Archie's plans
Archie Brennan Style Copper and Archie Brennan Galvanized
(Both sets of loom plans are on this page -- scroll down)

Here are links to inexpensive variations
-PVC version of Archie's Copper Pipe Loom from Vancouver Yarn
-PVC loom with strap tension from Kids Weaving
-Simplified version of PVC Strap Tension Loom as in photo above

Mirrix Looms are also excellent frame looms with adjustable tension.
-- I've never woven on one myself but many of my students swear by them and have used them for four selvedge warps with great success-- 

A rigid heddle loom genius could probably figure out how to use one for four selvedge warping but as I've never done it, I don't really know.  Let me know if you do though!


Jig
-A tied on jig (pictured above left with the PVC Loom)
-​A quick and dirty jig using dowels and pieces of PVC Pipe
(pictured above right. Click here or more photos and discussion of this).
-Michael Rohde's Jig (sounds like a dance tune) pictured below and in most of the photos in this  blog post. Note that there are several sets of holes in the side bars of this jig so it can be used for a variety of tapestry sizes, or to weave a bunch of tapestries exactly the same size--
-Some cool new variation you just thought of and can't wait to try.
Picture
Michael Rohde's Jig with my addition of longer cross bars --slightly too long for their thickness, truth to tell, and with a tendency to bow, so I'm thinking about other possibilities...
So here we are at the end of a very long blog post.
I'm glad to have this out in the world
If you have questions, ask.
Next week, I'll aim for something a teensy bit shorter...

​And don't forget to go to Terry Olson's Site
tomorrow (Wednesday, 6 January 2016) on the ATA Blog Tour
Can't wait to hear what she has to say!


Lyn link
1/6/2016 07:08:58 am

That's so interesting, and very clearly explained. Thanks for taking the time to share that!

Sarah
1/6/2016 09:23:33 am

You are so welcome Lyn. I'm particularly delighted to hear that the instructions are clear as of course that is the trickiest bit of writing them. Thanks!

Nancy
1/6/2016 11:34:52 am

You know, I've been wondering what those two-tone warps were on your website with the funny little ties. Now I know. And am eager to try this approach. Thanks so much.

Sarah
1/7/2016 08:48:15 am

You are so welcome Nancy, I never thought about how odd the supplemental warp knots must have looked! Glad it is finally cleared up. Enjoy.

Linda
1/7/2016 06:32:16 am

Beautifully explained! Thank you for demystifying this for me (and I suspect, many others who will read this).

Sarah
1/7/2016 08:49:07 am

I'm so glad it makes sense, Linda. I couldn't ask for anything more.

Traudi
1/7/2016 07:11:35 am

Thank you for helping me revisit this technique, Sarah!
I did it once in a class with Archie and took careful notes, but it so helpful to have pictures too.

Sarah
1/7/2016 08:55:24 am

You are so welcome Traudi. I'm glad it is helpful. FYI, my approach is more like Michael's than Susan and Archie's. They put the top supplemental warp on first, then add the other two at the same time, the bottom supplemental warp lashing the actual warp onto the bottom beam of the loom. This has some advantages but can also be awkward as you have to control the tension of two warps at the same time rather than dealing with just one at a time. Susan has some good drawings on a pdf linked at the bottom of the first paragraph of the post.

Doris Florig link
1/7/2016 09:22:07 am

thank you

Janie Payne
1/7/2016 12:05:34 pm

Thank you Sarah!
This made perfect sense to me finally with your step by step information. I would sure like to see this in a printable form to keep.

Sarah
1/7/2016 01:11:53 pm

You are so welcome Janie. And thanks for the encouragement; I actually had planned to do it in a printable form -- a downloadable PDF or a booklet with drawings like my Bag-on-a-Box instructions--but this method got it 'out there' sooner. Perhaps having done this will help push the printable version higher on my to do list...I so appreciate your interest.

Janet Austin link
1/7/2016 03:24:30 pm

AHA!

Gillian Whittle
1/7/2016 03:45:48 pm

Thank you so much for this post! I'm already trying to figure out how to do it on my rigid heddle!

Sarah
1/13/2016 03:13:02 pm

Oh wow, Gillian. Can't wait to see what you figure out. Do let me know, please!

Victoria Stone
1/7/2016 03:58:39 pm

Sarah,
Thank you, thank you, thank you for this and for all that you do!
I can't wait to try a four selvedge tapestry. Happy 2016!

Sarah Swett
1/7/2016 08:22:00 pm

oh goody-- can't wait to see what you do. kimonos? or something completely different.

Ercil
1/8/2016 12:42:32 pm

Dear Sarah,
Wow! Thank you so much!!!! This is an incredible 'post'.. mini-ebook! Thank you for taking so MUCH time to put this together for us and share it openly. This opens things up so much for me and I can't tell you how much I appreciate it! I know that many people will appreciate this!. For these small pieces are you using some kind of shedding device on the pipe loom? On the small pieces it is fairly easy not too, but I'm wondering how you do your sheds? I'm familiar with the Navajo style, the Andean Backstrap method, and the Warp Wt'd loom method. Are you using one of these or are you doing something different? Years ago I took a retreat session with you at SOAR. I treasure your work! best!

Sarah
1/8/2016 05:02:22 pm

Hello Ercil, what a treat to hear from you. Makes me pine for SOAR... As for shedding devices, oddly I was just thinking about doing a blog post on this -- my shedding device evolution. Lots to say on teh topic, but for now I'll jsut say that I use the simplest method imaginable: finger picking. I do put a stick in the warp to create one slightly open shed which helps differentiate the two by feel, and it really is super fast once you get used to it. No sticks to pull or treadles to tromp or heddles to make or leashes to wind. I've been doing this for years now -- just can't be bothered with shedding devices which take my attention away from the fell where it wants to be. And honestly, with most tapestries there is so much going on that I rarely go miles and miles with one color, so picking up an inch worth of warp and passing the weft through goes pretty fast. Plus I get to feel every inch of my lovely wool warp, and that is a treat.... But enough for now. Back one of these days with more on this scintillating topic!

Suzanne Griffith link
1/8/2016 09:57:33 pm

I have been having trouble with the beginnings and endings of little weavings. You have pulled the thorn from my side! <bowing in gratitude>

Sarah
1/10/2016 04:32:38 pm

Gosh Suzanne, it feels like I'm in the fable about the mouse and the lion. How satisfying.

Pam Hutley
1/10/2016 03:55:28 pm

I want to add my thanks for your time, and wonderful explanation of 4 selvedge weaving Sarah. I learned the technique from Archie and Susan in the first workshop I ever attended with them, back in the early 2000's.
I changed it somewhat to more like your 'quick and dirty' technique, but I reckon Michael Rohde's jig is very practical; I will be creating one myself!
Thanks again,
Best,
Pam.

Sarah
1/10/2016 04:33:59 pm

You are so welcome, Pam. You were the first person to mention four selvedge warping to me, and I'm thrilled to be able to return the favor.

Bonnie Klatt link
1/13/2016 11:51:02 am

Well, I'm finally getting around to reading this through thoroughly. Gave it a quick look when it was posted. I've used Susan's method before and this is hands down much more to my liking. I like the idea of a PVC jig, since I've got extra PVC around these days. But I think I will also construct a jig like Michael's for I see the benefit in using it to warp and weave all those tiny little tapestry pins. Thanks for all your effort in putting this post together - the attention to detail, the great photos, and the conversational-style writing. It's delightful!

Sarah
1/13/2016 03:11:42 pm

Thank you Bonnie! How satisfying to know that it opens such possibilities. I'm sure there are infinite variations, and the fun part is that each person gets to adopt the one(s) that suit. NO big rules.

Judith Lombardi
1/14/2016 10:27:22 am

Sarah, thank you for this information. After working in 2-d and 3-d art for 4 decades I am wanting to return to weaving/tapestry. I enjoyed my classes in this medium when attending the University of Hawaii. Your post has answered many of my questions and I look forward to beginning to implement your advice soon.

Sarah
1/14/2016 12:42:10 pm

You are so welcome, Judith. I'm delighted to hear that you have been drawn back to tapestry and that this post was helpful. It inspires me to think up some more topics and try again. Week after next, of course, is my stop on the ATA blog tour by which tie I hope I will have something to say about Value.... Weave on!

Angie
1/15/2016 07:23:04 am

Now I get it! Thank you for the great explanation. Add me to the list of those hoping you will soon add a booklet on your approach to 4-selvedge warping to your shop.

I think I will suggest a gift of a jig from my woodworking husband for Valentines Day...or Presidents Day.

Sarah
1/15/2016 10:25:26 am

You are so welcome Angie. I'm so glad! And thank you for your encouragement about doing a booklet. It is a good idea.

Woodworking husbands (and sons) are the best!

Linda
1/15/2016 06:58:11 pm

Susan, thank you so much for this post. I feel like I've just had a personal class. I learned more than I have in classes I've paid to take.
I can't thank you enuf. Just a quick question...do you have tiny fingers? I seem to be having a problem picking with my "sturdy Eastern European" fingers. Or is there hope with lots of practice?

Sarah Swett
1/17/2016 03:30:25 pm

I'm so happy that is has been helpful to you Linda. I can't ask for more than that. as for finger picking the sheds-- it does get easier and my fingers are not particularly small. A little push- pull motion develops over time and my fingers can feel their way along.

linda
1/18/2016 12:55:04 pm

Thanks, again. Will keep working on it. (Sorry about the second post!)

Linda
1/15/2016 08:18:09 pm

Susan, thank you so much for this post. I feel like I've just had a personal class. I learned more than I have in classes I've paid to take.
I can't thank you enuf. Just a quick question...do you have tiny fingers? I seem to be having a problem picking with my "sturdy Eastern European" fingers. Or is there hope with lots of practice?


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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