Table Of ContentUrena Am-Grischatt
'WEAVE
on Four to Eight Shafts
Ursina Arn-Grischott
DOUBLEWEAVE
on Four to Eight Shafts
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Ursina Arn-Grischott
DOUBLEWEAVE
on Four to Eight Shafts
Ideas for weaving double and multilayered fabrics
tD4KEE LIBRARY
All
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«W¥IRS»Y OF WISCONSIN
INTERWEAVE PRESS «TVERFALLS,WT54022
Loveland, Colorado
Ursina Arn-Grischott is a respected textile designer and teacher whose work has
been published in European textile and craft magazines. She works tirelessly on
committees to develop educational activities in support of handweaving and
other crafts.
Her own work focuses on double and multilayered cloth, which she designs
and weaves on an electronically-controlled sample loom as well as foot-powered
handlooms. Recently, she has become interested in painting and screen-printing
on the warp. Many of her woven wall pieces are in public buildings and private
homes. She lives in Graubunden, Switzerland.
Photographs: Stephen Maddams, England
Illustrations: Christina Arn
Design and Layout: Niklaus Arn
Editor: Regine Balmer
English-language edition © 1999 by Interweave Press. All rights reserved
Interweave Press
201 East Fourth Street
Loveland, Colorado 80537
USA
Translation; Ursina Arn-Grischott Cover Photo: F=c= =
a stitched doubie ;
Project editor: Judith Durant warp- and weft-im
Technical editor: Jean Scorgie cotton (Denise Konicj,
Switzerland).
Originally published in German 1997 by Paul Haupt, Bern Frontispiece: Dc_;
linen, cotton, ar-.z s
warp painting anc 5
ISBN 1-883010-74-8 printing (Ursina A
TABLE OF COM
INTRODUCTION 11
TERMINOLOGY
DOUBLEWEAVE IN HISTORY
2 HANDWOVEN DOUBLE CLOTH
2.1 Structural Possibilities of Doubleweave
2.2 The Challenge of Doubleweave 31
:,;:
YARNS, SETTS, AND RATIOS 32
3.1 Yarn Choice :-
3.2 Warp Setts 38
3.3 Warp Ratios
3.4 Weft Ratios
THREADING, SLEYING, AND BEAMING
4.1 Threading Drafts
4.2 Sleying the Reed
4.3 Warping Both Layers Together 53
4.4 Beaming Separate Warps 54
HOW DOUBLEWEAVE WORKS
5.1 The Key to Weaving Double Cloth
5.2 Color-and-Weave Effects in Plain Weave 60
Alternating Dark and Light Warp Ends 61
Weaving Two Separate Layers 62
5.3 Tie-Ups 64
::
5.4 Warp Interchanges
5.5 Working with Mixed Warps 68
5.6 Using Four Warp Colors 70
The Six Shaft Combinations 70
Changing from One Combination to Another 70
Changing Colors to Produce Blocks 71
5.7 Weaving Ribs and Folds 74
The Drfference Between Ribs and Cords 75
Horizontal Ribs and Folds 75
: .z ' -g Double Cloth into One Layer 78
Joining the Layers with Plain Weave 79
joining the Layers with Twill 79
: : Zz =-s '- Str oss 80
) Working wfth Different Yarn Sizes and Setts 84
ON DESIGNING 88
bA Sources of Inspiration 92
:_ ~-=~s aiing Design into Cloth 94
6L3 Choice of Design Media 98
TUBULAR WEAVE AND DOUBLE WIDTH CLOTH 102
7.1 Tubular Weave in Plain Weave 104
7.2 Tubular Weave in Warpwise Cord 107
73 Tubular Weave in Twill 108
7.4 Double-Width Cloth in Plain Weave 110
7.5 Four Shaft Strucutres in Double-Width Cloth 112
7.6 Weaving a Fold in Twill 114
7.7 Weaving a Fold in Lace Weave 117
8
WARP AND WEFT INTERCHANGES 118
8.1 Definition 120
Block Width 121
Block Height 121
8.2 Profile Drafts 122
Designing Two-Block Doubleweave 123
Designs for Doubleweave with Three Blocks 124
Designs for Four-Block Doubleweave 125
8.3 Translating Profile Drafts into Threadings 126
Threading Two Blocks 127
Threading Three or Four Blocks 129
8.4 Tie-ups for Two Blocks 130
Weft Interchange in Plain Weave, 1:1 ratio 131
Warp and Weft Interchange in Plain Weave, 1:1 ratio 132
Joining Two Blocks 134
Weft Interchange Without Changing Warp Layers 138
Combining Mixed Warps and Solid-Color Areas 139
8.5 Pockets and Single-Layer Cloth 140
8.6 Designing Three or More Blocks 144
TABLE OF CONTENT
8.7 Working with Different Yarns and Ratios 146
8.8 Different Weave Stuctures 148
8.9 Colors, Color-and-Weave Effects, and Stripes 152
8.10 Folds 154
MULTILAYERED CLOTH 156
9.1 Warp Setts, Ratios, and Denting 158
9.2 Warp Stripes 159
9.3 Threading 160
9.4 Weaving Three Layers in Plain Weave 162
9.5 Weaving Four Layers in Plain Weave 164
9.6 Shaft Combinations and Tie-Up Diagrams 165
9.7 Weaving Three-Dimensional Cloth 167
10
STITCHED DOUBLE CLOTH 170
10.1 Joining the Layers 172
10.2 Raised Stitching Ends 174
10.3 Lowered Stitching Ends 180
10.4 Raised and Lowered Stitching Ends 184
10.5 Center Warp or Weft Stitching 186
Center Warp 186
Center Weft 186
BIBLIOGRAPHY 190
192
PREFACE
Preface
Handweaving continues to fascinate people in the late twentieth century. A
craft such as handweaving speaks a direct language, one that we can learn to
speak fluently through careful observation. Although it may take a dedicated
specialist to fully understand the potential of a computer-controlled loom, a
few lessons and some hands-on work are all many people need to understand
how cloth is produced on a handloom.
Our relationship to cloth has deep roots. For thousands of years, humans
have produced textiles. Our skin is in contact with textiles all our lives, from
the cloth we are wrapped in after birth to the cloth we are laid in after death.
The way we dress speaks a textile language. Through our clothes, we assign
ourselves to cultural, religious, military, or geographic groups. With cloth, we
demonstrate protest, express happiness, or show grief.
During the industrial revolution about 150 years ago, machines replaced hand-
looms. From that time, handweaving ceased to be necessary to produce the
cloth we use in our daily lives. Why, then, do we continue to produce hand-
woven textiles?
In industrial production, many specialists work together to produce a
product: forecasters, designers, technicians, managers, accountants. In hand-
crafts, the emphasis is not on production with time and cost factors kept to a
minimum, but rather on the uniqueness of the product. The creative potential
that lies in the hand and eye of the designer working directly with colors, yarns,
and structures is what's important. Last minute changes during production can
be made to create a special textile. The craftsperson is the coordinator of all
the factors that influence the creation of a textile. The craftsperson chooses
the scale of production to allow for the unexpected and leave room for seren-
dipity.
A beautifully designed handwoven fabric for clothing or a one-of-a-kind
piece for the home will always be special and distinctly different from mass-
produced cloth. Handwoven textiles remind us of values deeper than mate-
rialistic and economic ones and call for a responsible use of our resources.
But for the craftsperson, the end product is not the only reward—creating
and making it are just as satisfying. To translate our own ideas by means of
drawing and painting into a design and then into threads and weave structures
can be a real challenge. The act of learning, discovering, and being creative is
of great value to everyone.
All over the world, dating as far back as two thousand years, we find highly
perfected doubleweave cloth that was woven on simple equipment. Anything
that people before us created—whether long ago or recently—can be a rich
source of inspiration. Through our own understanding and our own back-
grounds, we can create something new.
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