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You can use a computer to generate a drawdown, but there’s no better way to learn how the structure works than by drawing it out by hand. This is an eight-leaf satin binding as commonly used for linen damask in the UK. Note the irregularity of the boundaries between ground and figure which create soft, less blocky edges.

You can use a computer to generate a drawdown, but there’s no better way to learn how the structure works than by drawing it out by hand. This is an eight-leaf satin binding as commonly used for linen damask in the UK. Note the irregularity of the boundaries between ground and figure which create soft, less blocky edges.

I finally got around to darning the “temple burst” on this napkin. Even I’m surprised by how good it turned out.

I finally got around to darning the “temple burst” on this napkin. Even I’m surprised by how good it turned out.

Fermentation indigo vat status update. The skein all the way on the left was the first test skein, now going along for the ride with the rest on the stick. It’s navy verging on black, I doubt it can take any more color.

Fermentation indigo vat status update. The skein all the way on the left was the first test skein, now going along for the ride with the rest on the stick. It’s navy verging on black, I doubt it can take any more color.

Dyeing has become less important for my work (thank you natural linen damask), but indigo continues to fascinate. I was taught by my mentors to make “indigo” vats using lye crystals, thiourea dioxide, and synthetic indigo powder. Although color was achieved in an alkaline vat in a reduced state, there were no natural ingredients in this “natural” dyeing. Since then I’ve been tinkering around with the odd fermentation vat from time to time and finally decided to level up this season.

Now, don’t mistake scale for precision. This vat started off half as big, in a plastic trashcan. I made it in May with lime and bran, and mostly neglected it. A month later it finally started doing something. Meanwhile I made a smaller lime and fructose vat because we needed results immediately @newburyschoolofweaving.

By the time this hogshead (a 53 gallon cask for beer/ale, a barrel is half as big) arrived I felt inspired by Catherine Ellis to move away from a lime fermentation vat. I decanted the liquid from the bran and the fructose vats and combined them, added potash as a base, and finally some used madder to supplement the bran. After a few days it started to go into reduction and in three dips produced the blue on the skein in the second slide. Next up is to use the lime from the original vats to make a copperas (iron) vat so as not to waste any indigo in the sediment. Stay tuned.

Dyeing has become less important for my work (thank you natural linen damask), but indigo continues to fascinate. I was taught by my mentors to make “indigo” vats using lye crystals, thiourea dioxide, and synthetic indigo powder. Although color was achieved in an alkaline vat in a reduced state, there were no natural ingredients in this “natural” dyeing. Since then I’ve been tinkering around with the odd fermentation vat from time to time and finally decided to level up this season.

Now, don’t mistake scale for precision. This vat started off half as big, in a plastic trashcan. I made it in May with lime and bran, and mostly neglected it. A month later it finally started doing something. Meanwhile I made a smaller lime and fructose vat because we needed results immediately @newburyschoolofweaving.

By the time this hogshead (a 53 gallon cask for beer/ale, a barrel is half as big) arrived I felt inspired by Catherine Ellis to move away from a lime fermentation vat. I decanted the liquid from the bran and the fructose vats and combined them, added potash as a base, and finally some used madder to supplement the bran. After a few days it started to go into reduction and in three dips produced the blue on the skein in the second slide. Next up is to use the lime from the original vats to make a copperas (iron) vat so as not to waste any indigo in the sediment. Stay tuned.

Man + machine.

Man + machine.

It’s a hot weaver summer. Like, 90°+ in the attic kind of hot.

It’s a hot weaver summer. Like, 90°+ in the attic kind of hot.

@engineeringknits paid @theburroughsgarret’s ca.1860 Jacquard machine a visit to begin the process of creating a digital model of this piece of equipment. Using a very cool 3D scanner, Maike was able to create virtual renderings of the machine that she will then use to create digital models of each of its parts. We met Maike as a student @newburyschoolofweaving, and our hope is to use these models to create patterns from which new components may be cast. This won’t be a quick process, but it’s exciting to use such cutting edge technology to document the great-great-grandma of computers itself.

@engineeringknits paid @theburroughsgarret’s ca.1860 Jacquard machine a visit to begin the process of creating a digital model of this piece of equipment. Using a very cool 3D scanner, Maike was able to create virtual renderings of the machine that she will then use to create digital models of each of its parts. We met Maike as a student @newburyschoolofweaving, and our hope is to use these models to create patterns from which new components may be cast. This won’t be a quick process, but it’s exciting to use such cutting edge technology to document the great-great-grandma of computers itself.

Through @deborahwhite7481’s research I’ve learned that this unfortunate blemish is/was known as a “temple burst,” and at least it has a good name. This napkin will be joining the home use pile.

Through @deborahwhite7481’s research I’ve learned that this unfortunate blemish is/was known as a “temple burst,” and at least it has a good name. This napkin will be joining the home use pile.

The year’s most anticipated film. Cinema’s crowning triumph. Oscar buzz abounds. Presenting Homemade Shuttle #1.

The year’s most anticipated film. Cinema’s crowning triumph. Oscar buzz abounds. Presenting Homemade Shuttle #1.

Glamor shuttle shots.

Glamor shuttle shots.

It turns out that shuttle making isn’t THAT hard, though I’ve got plenty of room for improvement. Swipe to the end to see what the wheels are really for. Sure they give you speed and easy propulsion, but if set correctly they should turn the shuttle towards its reed side so the shuttle reliably boxes. Many thanks to Ciaran and Donna @lisburnmuseum for so throughly measuring and photographing one of their shuttles for me.

It turns out that shuttle making isn’t THAT hard, though I’ve got plenty of room for improvement. Swipe to the end to see what the wheels are really for. Sure they give you speed and easy propulsion, but if set correctly they should turn the shuttle towards its reed side so the shuttle reliably boxes. Many thanks to Ciaran and Donna @lisburnmuseum for so throughly measuring and photographing one of their shuttles for me.

Metalwork in from the machinist. Still many parts and finishing ahead.

Metalwork in from the machinist. Still many parts and finishing ahead.

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