In this section, I’ll consider the negotiation between yarn and design in the context of scale. You start wherever you are able to start, but – as I described in detail in part two – you need to be open to negotiating with your own ideas. Your loom is the place where your purpose, yarn, structure, and colour choices meet, so which of these do you tackle first? One of the challenges with weave design is that everything depends on everything else. Planning and scaleĪs I may have said a few times already… design is not a linear process. Your perceptions of light and lacy are your own, of course, but my personal preference would be to look for a yarn that yields 8000 or more metres per kilo (2/16 Nm or finer). Overall, the main consideration to bear in mind is that a light, lacy feel will not be achieved with a chunky yarn. There are some practical implications of your yarn choice, particularly with respect to sett and beat, and I will look at these below. If you like a particular fibre, why not try using it for lace? I could carry on listing different fibres – I’ve used alpaca for lace many times, for instance – but the point is really to say that you don’t need an approved list of suitable fibres. My Highland Summer scarves are woven in a blend of merino and silk, and either of these fibres would make a fabulous solo performance as well. These are lovely options, but by no means the only ones. We may typically think of linen or cotton as the appropriate material for summer lace. But how do we actually get this scarf on the loom and weave it? There are a few practical points to think about which are topic of this final instalment. So far in this series we’ve looked at ideas for design inspiration and the principles for working with block designs. Finishing Needles have the eye all the way along the length of the needle, so it's easier to weave in short or extra thick tails.Highland Summer lace scarf Planning a summer lace scarf: Part 4 If your tail is too short to weave in with a regular needle or too thick to fit into the eye, use a Susan Bates Finishing Needle. If the yarn needle is extremely exposed, your tail will be as well. Thread the yarn needle through the stitches, but then check the opposite side before you pull the yarn through. If you are not sure if the end will be visible on your fabric when you weave it in, use a yarn needle that is a different color from your fabric. Keeping them in their own color makes them more difficult to see. If you are working with multiple colors, for example in a striped pattern, keep the ends in the same color as you weave them in. This method may not work as well when you are changing colors, as depending on the stitch pattern the tail of the old color may show through the stitches of the new color. This method is not a substitute for traditional weaving-in ends, as you will still need to reverse the direction, but it may begin the process. If your yarn is quite thick, you may want to leave extra length.ĭepending on the pattern, you may be able to start the process of weaving in your ends by laying the end along your fabric and working stitches around it as you go. If you only weave the end under a couple of stitches it will not be secure. Leave at least 4" on the end to weave in securely. Changing the directions keeps the yarn more secure. Use whichever one you prefer.Ī good method of weaving in ends is to run the end under several stitches, then reverse the direction and weave it back under several more stitches. There are multiple options for yarn needles to use to weave in your ends: straight steel, straight plastic, and bent-tip steel. It's best to work in ends as invisibly as possible. Securely woven ends will not come loose with wear or washing. Weave in ends securely before blocking pieces or sewing seams.
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