[00:00:00.000] – Janet
All righty. It is that o’clock, I think.
[00:00:04.140] – Dawn
I think so too.
[00:00:05.760] – Janet
All right. So spiel? Is it time for spiel?
[00:00:09.900] – Tien
It is time for spiel.
[00:00:12.920] – Janet
Okay. So why I’m not on gallery? So this is the November… No, it’s not November.
[00:00:20.236]
[laughter]
[00:00:20.920] – Tien
February, Janet. February.
[00:00:21.890]
[laughter]
[00:00:25.480] – Janet
It is the–
[00:00:28.750] – Dawn
February.
[00:00:29.640] – Janet
–97th of February, 2023 edition of the Live Q&A. The deal is that the first 30 minutes of the Q&A are dedicated to, or at least prioritizing questions related to, classes. So if you’ve got questions, toss them in the Q&A interface, which you will find, if you are on a desktop or last top or first top, which sits in your lap [inaudible 00:01:03]. Words, words, lots of words, menus, other things, devices. And the class-related ones, we’ll get to them first. But things that aren’t class related, we will see and answer. If there aren’t class-related ones or after 30 minutes goes by, then it’s just free for all, all the things.
[00:01:27.440] – Tien
Yep.
[00:01:28.500] – Janet
That was rough.
[00:01:29.880] – Dawn
You were good.
[00:01:31.380] – Janet
Thank you. I’m out of practice.
[00:01:33.340] – Dawn
You’ve been gone a long time.
[00:01:35.920] – Janet
Well, and I was sound asleep until a couple of hours ago until my calendar told me I had to get up because there was a webinar. I had to leave my purring cat, but that’s okay. Because my purring cat was–
[00:01:51.018]
[crosstalk 00:01:51]
[00:01:51.360] – Tien
The tremendous sacrifices you make, Janet.
[00:01:53.960] – Janet
What?
[00:01:54.220] – Tien
The tremendous sacrifices you make.
[00:01:56.910] – Janet
Oh, I thought you–oh, I don’t have my hearing aids or my headset on, so I thought you said something about tremendous faces.
[00:02:07.530]
[laughter]
[00:02:09.560] – Janet
Okay. So everybody speak up really loudly, all right? In your text. All caps. So we have a handful of questions that were submitted in advance, and I see one in the Q&A. There goes Dawn into moderator space. What order do you want to do these things in, Tien?
[00:02:30.590] – Tien
Well, do you want to tackle–the order is that three of them are yours and one of them is mine. Mine, however, is a four-part question.
[00:02:41.420] – Janet
Okay. Well, is yours related to class content?
[00:02:45.140] – Tien
Not especially. It’s about gradients.
[00:02:47.020] – Janet
Okay. So I’ve got a couple that are class content, so I’ll start there. Let’s see. So these are not in the order in which they were submitted, but rather in the order related to classes. My Screen Share is loading. Am I there? Okay.
[00:03:04.380] – Janet
So Joy Pate asks, this is regarding the class Cotton, in the section about how cotton is made and the comparison of 8/2 unmercerized and the 8/2 rug warp, it would seem that a more highly twisted and thus more compacted yarn might require a closer sett. Why is this not the case?
[00:03:26.360] – Janet
First of all, to clarify, it’s 8/4 rug yarn, which is compared to 8/4 unmercerized cotton. They are both unmercerized, but one has more twist in it and therefore is coarser and it’s stiffer. And, Joy, I think that is the key right there. It is less flexible. So it doesn’t want to bend around its friends and snuggle up quite as much. It has more personal space and wants it. Stay away. I think that’s what’s going on. The higher twist yarns tend to be more stiff and therefore just want a little more room to be.
[00:04:16.120] – Janet
Now, my hunch is that that is pretty much universal, that it’s a property of a high degree of twist and not something that is specific to cotton or rug warp or whatever. As it happens, though, rug warp and often those high twist–well, okay, I better not go there. But rug warp, if you’re using it for a rug, chances are good that you’re not using it at its regular plain weave sett anyway. Because often if you’re using that coarse, really high-strength rug warp kind of thing, you’re aiming for a weft face or at least weft emphasis rug, and so you’ve got the warp spaced out wide. I don’t know if that’s really relevant to your question, but it’s associated with it. So I made those words. Okay.
[00:05:14.400] – Janet
Let me just see if this next question is also–it’s class related, but it’s related to a class that hasn’t come out yet. Does that count?
[00:05:31.680] – Tien
Sure, Janet.
[00:05:33.370] – Janet
Okay. Why am I blurry again? I’ll share my screen and then you won’t have to look at blurry me. All right. Zoom is slower to share screens now, or maybe it’s just showing me how slow it’s always been for people.
[00:05:52.520] – Tien
It showed up pretty quickly online.
[00:05:54.840] – Janet
Okay. Okay. So MaryAnn Drake says, for some reason, I have it in my head that when one threads heddles for a tabby, you thread 1, 3, 2, 4. Odd, odd, even even. My daughter–I’m not even going to read that part. That’s not nice. Don’t laugh–said one threads 1, 2, 3, 4. What’s the best way to thread for tabby, and why is that the best way?
[00:06:20.980] – Janet
Well, I have good news and I have bad news for you, MaryAnn. The good news is that you are not wrong, and your daughter is no more right than you are. The bad news is that there is no best way to thread for tabby. There are a zillion ways to thread for tabby. Let me see here. My Screen Share is loading. Do you see my FiberWorks, everybody? Dawn?
[00:06:59.630] – Dawn
Yes.
[00:06:59.941] – Janet
Tien? Yes, I see a thumbs up. Okay, good.
[00:07:06.660] – Dawn
Yes. Yes.
[00:07:07.260] – Janet
Top right is MaryAnn’s Daughters vote, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4. Bottom left is MaryAnn’s vote, 1, 3, 2, 4, 1, 3, 2, 4, 1, 3, 2, 4. Top left is the simplest, most basic way to achieve tabby where we’re talking about plain weave, tabby as a synonym for plain weave. Notice that the drawdown for all of these is the same with the little checkerboard, the fine checkerboard, one thread up, one thread down in both directions all the time. They all achieve exactly the same thing.
[00:07:53.000] – Janet
Reasons why you might choose one or the other of these, the 1, 2, 1, 2, 1, 2, 1, 2, obviously that’s a good choice if you only have two sheds. Shafts. And it’s how you would accomplish that on a rigid heddle with slot, hole, slot, hole, slot, hole. And it’s the way that you get tabby on lots of other looms too. You have some shedding device, or you make a shed with your fingers to lift up every other thread while the other threads stay down, and then you do the reverse.
[00:08:28.340] – Janet
All of that is true of both of the other options as well. Every other thread is lifted up, and the rest are down. And then on the next weft pick, it’s the reverse. The bottom left one, MaryAnn’s vote, would be easier to weave on a direct tie-up floor loom because then you only have to step on–you could step on the left two treadles with your left foot and the right two treadles with your right foot, and that would be easy-peasy and a walking tie-up and more balanced. Whereas the top right one, you’d have to step on one treadle with each foot on every pick. Also not terribly difficult, but not quite as easy as one foot at a time.
[00:09:20.180] – Janet
On the other hand, the one in the top right might be easier to keep track of. It would be easier to see as you were threading if you had threaded things in the right order because everything’s in little straight lines, kind of like in the diagrams in the drafting, the threading class.
[00:09:37.110] – Janet
Just parenthetically–let me open–these are all equally good ways of–and there’s one more under here somewhere. Come on. No, Cancel. These are all ways of threading tabby. You see, every one of them makes that checkerboard. And there are, of course, an infinite more ways of doing it besides.
[00:10:15.500] – Janet
So one of them, this one here is like Bronson, Bronson lace. You can weave plain weave on. Actually, no, let’s not do that. I have one–oops, I didn’t save. This one is like summer and winter. We have Rose Path. We have Point Twill. All of those are good ways of threading tabby.
[00:10:44.400] – Janet
The way to choose between them depends on what else you want to weave on the warp. If you’re not going to weave anything but plain weave on your warp, then pick whichever one is the easiest for you to keep track of while threading or while treadling. That’s it. And if you are going to weave something like summer and winter or Rose Path or a straight twill or broken twill or whatever, then choose one of the threadings that will give you tabby and whatever you want.
[00:11:15.010] – Janet
So here, this is the one I wanted to look at in a little more detail. Let me close all these others because I don’t want–oops, no. If I just expand it, I think the tie-up disappears under our pictures in the recording, so that’s why I’m trying to isolate it in the middle.
[00:11:43.400] – Janet
What this threading is telling you is that you have two sets of threads. You have one set of thread that we’ve put on Shaft 1 that will operate together, and then alternating thread and thread with those, you have a second set of threads that we have on Shaft 2 that are alternating with the first ones. The graph says first you lift up all the ones on Shaft 1, and then you lift up all the ones on Shaft 2.
[00:12:10.770] – Janet
You can reassign any one of these threads to another shaft as long as you connect it to the treadles that are going to lift its group. So if I’ve got these 1, 2, 1, 2, 1, 2, 1, 2, and for some reason I want this 1 up on 4, I can do that. I just have to connect it to the same treadle that was lifting all the 1s in order to still get tabby. Or instead of on 4, I could put it down on 3, still get tabby.
[00:12:39.150] – Dawn
So, Janet, you must have FiberWorks to play with that, right? Or weaving software?
[00:12:47.460] – Janet
Any weaving software will do it, but you can also do it with pen and paper, if you know how to do it. Yeah, you don’t have to have software.
[00:12:55.334]
[crosstalk 00:12:55]
[00:12:55.460] – Tien
If you use Handweaving.net, there is an online editor there, a draft editor, but you need a membership.
[00:13:02.140] – Janet
Yeah. And you can use graph paper, too. The point is that what you’re creating is a set of threads that alternate every other thread, whether they’re all on the same shaft or they’re distributed on other shafts in some way. As long as you connect them up to the treadles that are going to lift the shaft, the group, that alternates, you’ll get plain weave. I hope I could make all of that much more clearer when it comes to writing it all out in a lesson. And I hope that it helped some. The short answer to your question is you’re both right and there isn’t a best way.
[00:13:56.600] – Janet
That’s all I’ve got that is clearly class related. You want to do–do we have any in the Q&A queue that is–
[00:14:07.060] – Tien
Celia Quinn is asking about sett for a rug warp in a weft-faced rug.
[00:14:13.860] – Janet
Let’s see what we have that is [inaudible 00:14:22]. In the Ashenhurst calculator, you can choose–there’s a setting for weft faced. If you go way down to the bottom, the Very Open/Weft Faced, that is a place you can start for sampling. Does that help, Celia? Yep.
[00:14:51.980] – Janet
Perfect.
[00:14:53.360] – Tien
So why don’t I go next? I have a question from Mary Wood, which I will share. It’s actually four questions. The first question is, do single-thread gradients in plain weave lead to broken lines? I’m going to take that one first, along with the last question, which is, are some weave structures better for smooth gradients?
[00:15:25.400] – Tien
Let’s start with the broken lines and the smooth gradients. Here I have–let me move this off my screen. Hold on–some examples. There are two things that happen when you use plain weave with single threads. Sometimes it looks okay, like with this yellow here, the yellow stripe here, which looks like a continuous stripe. The reason it looks like a continuous stripe is that it’s the same value as the gray that is next to it. It’s also not that different in value from the background.
[00:16:09.740] – Tien
If you go over here, however, with the green stripes against the dark green, you can see that you get something that I call railroading. And what’s happening is that the warp and the weft color are about the same value, but they’re also much lighter or much darker. Usually it’s much lighter than the background. So what you get are what looks like these little crosses, like railroad ties, going up the length of the fabric. And if it’s in the weft, you get the same result. It’s just turned 90 degrees. So that’s what I call railroading.
[00:16:54.220] – Tien
Now, there’s another thing that happens. You can also get Log Cabin because Log Cabin is a color and weave effect where you alternate between–it’s a color and weave effect where you alternate between light and dark colors. And so if your gradient contains colors that have strong value contrast, like in this section down here with the red and the orange, you can see how you have a pattern here that looks a little bit like Log Cabin. You’ve got these longer stripes of orange and they run horizontally, and then suddenly they’re running vertically. And so that’s the other thing that can happen if you are doing gradients in plain weave. This really only happens with double gradients that are single thread.
[00:17:57.580] – Tien
You can also use double lines. This is a cowl in 3/2 cotton from my Gorgeous Gradients class. Notice how if you have groups of two lines–sorry, groups of two picks–Janet’s not the only one who’s losing her command of the language today. But if you make them two picks, you don’t get that railroad effect. However, your lines are thicker, and there’s not as much optical mixing, so you don’t get as smooth a gradient as you do when you’re using single threads.
[00:18:30.050] – Tien
Now, if you go from there to a finer yarn–so this is in 3/2 cotton, which is relatively thick yarn. If you go to a thinner yarn, this is 10/1 cotton, and again, we’re still using the two thread lines, but it looks a lot smoother than it did in the other one. So that’s another thing to keep in mind. The fineness of your yarn makes a big difference.
[00:18:59.200] – Tien
Now, if you move on to another structure like twill, you don’t get that railroading in twill. This is a 2/2 twill. The price you pay is that if you have a balanced weave, more of your sort of larger chunks get taken out of your lines. Here you have it go over two and then under two. The result is that the dashing of the lines is a little more prominent in 2/2 twill than it is in the plain weave. So let me back up to–you can see that the lines here are more continuous than they are in the 2/2 twill because they’re only floating over one and under one.
[00:19:52.670] – Tien
Now, if you go from there to a 3/1 twill, then on one side you have that almost continuous line because you’re seeing three strands of warp on top for every strand of weft. So if you want the smoothest possible gradient, something that is very warp emphasis, so a 3/1 twill or a 4/1 twill or a 5-end satin will give you that much more warp dominant, much more straight, continuous line gradient. Of course, the downside is that the flip side is a 1/3 twill, and so you’ve mostly got dark colors showing.
[00:20:37.920] – Tien
However, you can exploit this because what you can do is do one gradient in the warp and the other gradient in the weft. This towel is made with two gradients. This is the warp gradient down here, and it is done with, I think, two threads. I think it’s done with two threads in a 3/1 twill because it’s meant to be a curved gradient, which looks a little bit like a curve.
[00:21:09.660] – Tien
Then if you look at the weft, the weft also has a gradient in it. But because the 3/1 twill is so warp dominant on one side, on this side most of what you see isn’t going to be the weft gradient, but you’ll see mostly the warp gradient. And on the other side, you see mostly the weft gradient. So you essentially have a two-sided piece. So that’s one of the reasons that I’m particularly fond of 3/1 twill for making gradients, because it’s something you can do on four shafts. You get a piece that basically is two sided. So if you’re doing a double gradient, that makes it much more interesting.
[00:21:51.950] – Tien
If you’re doing a single weft, or if you’re doing a solid color weft, then you have one warp-dominant side and one weft-dominant side, so that doesn’t work quite as well. I think that was–is that–no, it’s not my last example.
[00:22:09.600] – Tien
The other thing is that if you want to make a really smooth gradient, it helps to be using fine yarns. This is done with a single-thread gradient. And it has the added element that instead of having a featureless draft, because I think Mary was asking also about what drafts are most suitable for gradients.
[00:22:30.300] – Tien
There are places in this shawl where the gradient is not super smooth. If you look at this section here and–let’s see. Is it this section? No, it was a different section. Hold on. No, wrong one. Okay. So let’s just zoom in on this piece.
[00:22:51.960] – Tien
If you zoom in a lot, you can see that in this section here where the purple is transitioning to the blue, there are actually spots where the purple and blue, the blue kind of sticks out a bit. If I were doing this in plain weave or 3/1 twill or any draft that is not a patterned draft–this one has this brocade-like pattern woven into the cloth. Because there’s a lot going on in that pattern, you don’t notice the strands of blue running through the purple. Whereas if it were a plain weave, then you would really notice it because there’s nothing else for your brain to get distracted by. So that’s something else to keep in mind.
[00:23:40.940] – Tien
Then the last thing is that the fineness of the yarn also matters. This is woven in 20/2 cotton, which is 8,400 yards per pound, so that’s pretty fine. As a result, the stripes of blue that are in the purple here don’t really show that much because of optical mixing. You have these small lines of color, and they tend to blend together, especially at a distance. As a result, especially if the colors are close together in value, having this busy woven pattern and colors that are relatively next to each other in hue and value allows me to get a really, really smooth-looking gradient. It’s a combination of the fine threads, the colors being relatively close together, and the pattern hiding minor stripes and discontinuities in the gradient.
[00:24:39.420] – Tien
Then the last thing I wanted to show is that sometimes it doesn’t work so well. This is a double gradient with a fairly complex pattern. You can see the pattern on the left side where the warp and the weft are relatively solid.
[00:24:59.080] – Tien
But what happens when you’re crossing two gradients, you always have the danger of the color changes obliterating the pattern, the woven pattern. In general, double gradients with designs that have complex patterning are tricky. I’m not saying you can’t do it.
[00:25:21.980] – Tien
But in this particular case, it’s not well designed because the colors, the warp and weft gradients kind of cross each other in value. And since value contrast is what creates a clear pattern, over here where you have the yellow-green and the yellow-orange crossing each other, the pattern pretty much disappears because there’s no value contrast between those two colors. And similarly, through much of this, there isn’t enough value contrast to show the pattern clearly.
[00:25:58.900] – Tien
And then here where you’re getting the yellow alternating with the black, the pattern disappears because you have a very strong pattern in the warp colors. And then you have the draft pattern, which is a fairly delicate pattern. And what’s happening is that they’re kind of canceling each other out. You can’t see either pattern clearly because they’re colliding. So those are things you want to keep in mind if you’re working with gradients. And that answers that question. Janet, do you want to take the next one?
[00:26:40.740] – Janet
Sure. And actually, there was one that’s currently hanging out on the answer tab because I tried to answer with follow-up questions of my own. Miriam? Miriam? Miriam?
[00:26:52.310] – Dawn
Lebby?
[00:26:53.030] – Janet
Lebby. Lebby. You had a question about heavy twill threadings. Do you mean that they are heavier to lift, like when you step on the treadles? Or do you mean they’re visually heavier? Or did you mean some other kind of heavy? If you can clarify that, then I can try to answer the specific question. Otherwise, I’ll just ramble at length about anything it might possibly be and hopefully hit the target in there somewhere. While we’re waiting to see if Miriam can–the finished fabric feels heavier. Ah-ha.
[00:27:33.240] – Janet
Let’s see. The longer the float length, the thicker the fabric can be, which is why plain weave, which has the shortest float length possible, is also the thinest fabric possible. More shafts means longer floats, often, and therefore thicker, denser fabric. It may not be heavier, like the entire article of cloth might not be heavier because it’s the same amount of yarn that went in there. But any specific piece of it or a 6-by-6 square of it, could certainly be heavier because it’s thicker, and it has more material, more yarn in the same square inches, so to speak. I hope that makes sense and answers the question.
[00:28:36.220] – Tien
I think you had one more in the slide deck.
[00:28:38.480] – Janet
I do, yeah.
[00:28:39.350] – Tien
Miriam was asking if she should use a different sett for that.
[00:28:45.140] – Janet
If you are not happy with the hand of your fabric, you can adjust the sett. That’s why the Ashenhurst class has a description of how you figure out what the actual interlacement is of your particular 8-shaft twill. So you can determine if it’s got that same, like, 66 % interlacement value that most 4-shaft twills or many fabrics woven on a 4-shaft straight-draw threading have, anyway. And then if it does not have that number, then you might want to choose a different sett, a closer sett. An 8-shaft twill–hmm.
[00:29:35.910]
[crosstalk 00:29:36]
[00:29:38.640] – Janet
Things that have longer floats tend to want a closer sett. But a lot of 8-shaft twills sneak in some plain weave too, so that would want a more open sett so they kind of average each other out. It depends on whether you’re happy with the fabric. If you open up the sett, your fabric is not going to be less heavy. It’s going to be less stable, if that makes sense. So that may not be the endgame you want to head for. It may not match your goal.
[00:30:16.810] – Janet
Okay. My sent-in question. Speaking of 8-shaft twills, Barb Thoreson sent this draft. Are you seeing the slideshow now?
[00:30:36.860] – Dawn
Yeah.
[00:30:37.110] – Janet
Okay, there’s the draft. Stop moving slideshow. There we go. This is an 8-shaft twill. It has, let’s see, a 2, 3, 2, 1 interlacement. So it’s mostly 2s and 3s with one little float that’s only 1. So it’s probably going to want something slightly closer than a four-shaft 2/2 twill sett-wise. But that was not Barb’s question at all.
[00:31:04.860] – Janet
Barb’s question was, how do I know when to use a tabby? Does tabby always have to be plain weave? When you have to use a tabby–well, if your treadling has several picks on the same treadle in a row, that is usually a pretty good indication of one of two things. Either you should use a tabby or, two, it’s a profile draft and not meant to be used as a draft for threading and treadling your cloth as written at all.
[00:31:45.180] – Janet
Most of the time, an author who’s put out a draft will say somewhere, use tabby. It may be a little note at the beginning of a section all on overshot or all on crackle or all on whatever structure uses tabby, however, so you might have to go hunting for it. Or it may be just some little icon dot or some notation mark that in the key somewhere in the book or at the beginning of the draft or the end of the pattern says, this means you need to use a tabby.
[00:32:25.840] – Janet
If you are weaving along and one pick starts pulling out the one just before it, that’s a good clue. This fabric does not need a tabby because it doesn’t have any repeated picks. But I noticed that your fabric, while lovely, is maybe more weft faced than you were aiming for. And if you had added a tabby, though it is not necessary, if you had added a tabby, it would have kept those twill picks further apart and would have given you a different quality of fabric that might have been nice. Not to say this isn’t nice. It would have been a different quality of fabric.
[00:33:12.220] – Janet
The thing is, though, about this one–let me think, now that I–it’s an undulating twill, which means it’s got curvy lines. The angles change from sharp to shallow to sharp again. It also has repeated threads on the same shaft. I can see it starts out 1, 2, 3, 3, 4, 4, 5, 5. So you won’t get a true plain weave tabby on this draft. You could still add what amounts to something like a plain weave tabby if you wanted to. And it would still perform a lot of the same function of adding some stability to the cloth, but it wouldn’t be a true plain weave.
[00:34:04.040] – Dawn
Can you define tabby?
[00:34:08.470] – Janet
Yes. That is the next part of the question. Does tabby always have to be a plain weave? Tabby is a name that used to be used for a silk taffeta fabric that was woven with a plain weave construction. It has evolved over time to just mean plain weave. We often also use it to mean the ground weft in a compound weave structure where you have a pattern weft that’s doing something decorative and then a ground weft that is interlacing with the warp to provide a structural stability to the cloth. An example is overshot or summer and winter or crackle or lots of different things.
[00:35:03.120] – Janet
We commonly call that ground pick that alternates in some regular ratio with the pattern pick a tabby pick. Usually, that thing interlaces like plain weave. But no, it doesn’t have to. It can interlace in some other way.
[00:35:23.580] – Janet
Do you call it tabby in that situation? Some purists might object. Others wouldn’t. The goal is to communicate clearly what the purpose of that weft is. Most of the time people are going to know exactly what you mean if you call it tabby, even if it’s not interlacing as plain weave. The definition of tabby and plain weave is one of those things that seems inocuous and yet will get the weaving community up in arms and combative more readily than just about anything.
[00:36:09.920] – Tien
I don’t know, Janet, do you think warping back to front or front to back is better?
[00:36:15.690] – Janet
Yes. No.
[00:36:16.400]
[laughter]
[00:36:17.740] – Tien
I was just saying that in terms of controversy.
[00:36:21.450] – Janet
Right. Should the weft come off the bobbin from the top or below? Do you warp with paper, or do you warp with sticks? All these things. If it works for you, great. And in the matter of vocabulary, if the people you are communicating with understand you, great. So hopefully that has answered both, does tabby always have to be plain weave. I mean, if you look it up in a dictionary, it’s going to say this business about watered silk taffeta plain weave fabric. But people think of it as being the ground weft. That doesn’t necessarily always have to be plain weave. In that case, is it tabby? Unh. And yeah.
[00:37:14.940] – Tien
There was an interesting–I was at Complex Weavers Seminars one year and I think it was Kay Faulkner presented a–did a presentation about ground that is— let me see. It was about patterning in the ties, actually.
[00:37:31.110] – Janet
I took [inaudible 00:37:32].
[00:37:32.780] – Tien
Yeah. Yeah. And I took that one and actually did something that was interesting. So it’s a tied weave, but the ties and the ground cloth have ripples in them.
[00:37:47.420] – Janet
Yeah.
[00:37:47.590] – Tien
That’s an example.
[00:37:52.780] – Janet
It’s an example. Technically, those ties are not–
[00:37:58.280] – Tien
Tabby.
[00:37:58.980] – Janet
Well, they’re also not in the weft. They’re in the warp.
[00:38:04.100] – Tien
True.
[00:38:04.980] – Janet
So yeah. I was just making sure that I was not telling you any lies. I got out my Emery, “The Primary Structures of Fabric”, which is like the reference that the people who get really picky about these terminologies refer to. And, yeah, the difference between ties and binders and tabby and da, da, da, da, da, da.
[00:38:31.400] – Dawn
Well, we have more.
[00:38:33.100] – Janet
Okay, I’m going to stop sharing this picture.
[00:38:37.440] – Dawn
Sonya asked, might the tabby change the appearance of the pattern noticeably?
[00:38:46.010] – Janet
Yes, it certainly can. It could change it in lots of ways. It would change it based–the color of the tabby, the size of the tabby. Now we’re talking about tabby as a synonym for the ground weft in a compound structure, which means a structure that has more than one warp and/or more than one weft. We usually run into those, like, in the–as structures that have more than one weft. So a pattern weft and a ground weft like overshot, crackle, summer and winter, Beiderwand, many, many of them. And, yeah, the tabby has a significant impact on the appearance of the fabric and therefore the size of the motifs or the color of the motifs, if that’s what you mean by pattern. Yeah, it can have a profound impact, even though it is not the pattern weft.
[00:39:56.880] – Janet
Delia asked how often–it’s still on the tabby question–how often does tabby get woven into a draft that requires it? Well, as needed. Usually in regular overshot, summer and winter, lots of them, the ratio is one pattern pick, one tabby pick, one pattern pick, one tabby pick, one pattern pick, one ground weft pick. Those ground wefts are usually in plain weave sheds. That is not always true. In double tabby overshot, it is one pattern pick, two tabby picks, one pattern pick, two tabby picks. If you’re weaving echo, then it’s two pattern picks, one tabby pick, two pattern picks, one tabby pick. So it depends on your treadling system and the look you’re aiming for.
[00:40:54.260] – Tien
I have one last–let’s return to the other half of my question.
[00:41:01.520] – Janet
Oh, sorry, I thought–
[00:41:03.040] – Tien
No, no, no. I just thought that before I went on for half an hour, I should probably give you a chance to get a word in edgewise.
[00:41:12.000] – Janet
So instead, I went on. Okay.
[00:41:13.220] – Tien
It’s okay.
[00:41:14.510] – Janet
[inaudible 00:41:16] back to you.
[00:41:19.430] – Tien
Okay. So the last question–and by the way, people, start putting in your questions because we’re running out of questions. There are two other questions that Mary had. One was, is the best design element for plain weave stripes? The other one is, does plain weave have maximum interlacements, thereby maximizing optical blending?
[00:41:41.740] – Tien
I think I’ll answer the second one first. Does plain weave have maximum interlacements, thereby maximizing optimal blending? Sort of. The idea with plain weave is that plain weave has the smallest possible dots, produces the smallest possible dots of fabric. Let me see if I can get back to where I was. Not there. Here we go. It produces the smallest possible dots.
[00:42:14.380] – Tien
If you look here, the individual threads produce little humps, these short one-thread floats. Because they’re so small, you don’t really see them. Instead, the fabric blends into this blueish-gray. If you were to zoom in larger, you would be able to see them much better because the dots of color are smaller. For any given set of threads, plain weave will produce the smallest possible dots of color. But depending on the size of your thread, of course, it’s going to blend more or less.
[00:42:58.880] – Tien
Now, if you go from plain weave–oh, Celia wants to know if that would be good for iridescence. I believe this particular sample is iridescent, yes. Actually, it’s pretty iridescent. I think I have a picture of it somewhere.
[00:43:11.850] – Tien
Now, if you go to another structure, one that has longer floats, then the longer float produces a bigger dot of color, if you think about it, than the plain weave does. This is a fancy twill. It’s got some two-thread floats. It’s got a few four- or five-thread floats. The end result is that it does not blend colors nearly as much because you’ve got those larger chunks of color.
[00:43:38.920] – Tien
Now, if you were to zoom this one out, you can see that as you get smaller and smaller, the colors start blending together more and more. So if you were to weave this in fine threads, it would still tend to blend together because scale also matters. But in terms of a draft, if you’re using the same size threads for this fancy twill versus this plain weave, then you would get a lot more color blending with plain weave.
[00:44:11.350] – Tien
Now, this is another example with a slightly less saturated warp and weft. If you go to twill, twill not only has less color blending, but it also is warp dominant on one side and weft dominant on the other side. This is actually warp dominant, but you get the idea. These are the same fabric, they’re just flip sides of each other. And so the optical mixing comes out differently. This is a much heavier on the blue version than the plain weave in the same colors. So you can have blending, but you also have to think about what proportions things are blending in.
[00:45:02.890] – Tien
Now, let’s see. What else do I have here? Oh, yeah. I wanted to show that when you have–oops, no, here we go. On the left here, you have a draft that has a lot of plain weave in it. These are those small dots that you see all over the star. As a result, the colors blend together, not 100 % closely, but pretty closely. Whereas over here, where you again have those large dots, those large chunks of color, the colors blend together a lot less than they do on the left, where there’s a lot of plain weave with all those short floats and small dots of color. That hopefully answers the questions about optical mixing.
[00:45:49.960] – Tien
Now, the other question, getting back to my other question, is the best design element for plain weave stripes? That depends on what you’re trying to do. If you’re doing colors, if you’re only changing the colors, then stripes are sort of your biggest option in plain weave.
[00:46:13.230] – Tien
But you can also do other things. For example, you can dye the warp or the weft. This is ikat. I think this should be turned 90 degrees because I think this is actually a weft ikat. This is where you tie off and dye parts of the cloth and then you simply weave it so that all the tied elements line up with each other, and so you get a pattern like this.
[00:46:41.820] – Tien
If you want to get truly fancy, you can go with double ikat and have dyed patterns in the warp and the weft, which superimpose on each other and produce some really interesting fabric.
[00:46:59.510] – Dawn
Wow.
[00:46:59.710] – Tien
So that’s one option. But you don’t have to restrict yourself to color. This is a textured thing where you have, I think–I forget what the ground cloth is, but it’s got two or three threads of loop mohair every inch or so. This is plain weave, but it’s a really interesting plain weave that has no color changes.
[00:47:35.260] – Tien
Here’s another example where you have plain weave with a slub yarn and some very light color striping, but the color striping is so subtle that the texture kind of partners with it. Neither of them is dominant.
[00:47:51.000] – Tien
You can also do crammed and spaced weaves. This one has a much looser sett every inch or so. So that produces another pattern. So that’s another thing you can do with plain weave.
[00:48:03.310] – Tien
You can also do collapse weaves. This is plain weave. This section over here that looks a little like window screening is woven with a, I think, a 10/2 cotton or something like that, anyway, a non-shrinking yarn, while the blue and white parts and the thicker thread, white parts, are with a Lycra yarn. So when you dunk it in water, the Lycra shrinks up, and you get these ruffles where the cotton doesn’t shrink. That’s another option for pattern in plain weave.
[00:48:41.660] – Tien
Then, of course, you have iridescent. This is a very iridescent rainbow scarf. I think it was woven with the Mini Mochi yarn, which is a color-changing yarn. So that’s another thing you can do with plain weave.
[00:48:54.720] – Tien
If you are–I think–is that? No, it’s not. Oh, yeah. So I think that’s all my examples of the many things you can do with plain weave. There was one other thing–oh, right. I remember what I wanted to mention.
[00:49:10.360] – Tien
There’s a new book out actually about plain weave that has something like 60 or 70 projects, 60 patterns, for things you can do with plain weave. It’s by Tina Ignell. It was reviewed in the most recent issue of “Handwoven”. If you are interested in plain weave, then I would suggest getting that. It would probably be fantastic for anybody with a rigid heddle loom. I have not read the whole thing, I should say, but I’ve been very impressed by what I’ve seen. She is mostly weaving with finer yarns than you would use for a rigid heddle loom. But the principles that she’s showing also apply on a rigid heddle loom.
[00:49:52.780] – Dawn
Cool.
[00:49:54.420] – Tien
Okay.
[00:49:54.530] – Dawn
All right. So I have an ikat question from Celia. If work ikat is done, is a smaller weft yarn used with what I assume is warp-faced weave?
[00:50:09.300] – Tien
It doesn’t have to be a warp-faced weave. There’s a lot of different ways to do warp ikat. I’ve seen some phenomenal things that have been done with warp and weft ikat. I’ll see if I can dig them up again while Janet is answering the next question. But if you are working on a backstrap loom, those tend to be warp faced, if I recall correctly. Yes, it would be warp faced, but that’s more due to the construction then because you have to do it with warp ikat. I think Japanese ikat is generally done with a balanced weave, but I’m not sure. I’m treading on very thin ice there. I’ll see if I can find the examples of some interesting things done with a balanced weave with warp and with weft ikat. So, Janet, you want to take the next one?
[00:51:03.940] – Dawn
So I have one for you, Janet. Or do you have one? You’re done.
[00:51:09.450] – Janet
Go ahead. Go ahead.
[00:51:11.120] – Dawn
Sheila Roberts asks, complementary weave versus overshot patterned doubleweave. If I thread a straight twill alternating dark and light colors as is done in overshot patterned doubleweave and weave the straight twill using the same tie-up for the overshot version, will I get complementary plain weave? Nothing to do with class, something I’d like to try.
[00:51:41.120] – Janet
Yes.
[00:51:43.180] – Dawn
That was easy.
[00:51:45.050] – Janet
Well, I have a lot more to say about it, but yes. And in fact, complementary plain weave is just a different and better, in my opinion, name for overshot patterned doubleweave. It’s the same structure. The name overshot patterned doubleweave implies that it’s somehow restricted to overshot. And it’s not at all.
[00:52:08.110] – Janet
You can do it with any twill and turn that twill into a complementary plain weave fabric, which is a fabric that is reversible negative images on two sides in two colors, or more colors, and has no floats on either surface. And it does not take more shafts than the original fabric did. So overshot patterned doubleweave can be done on four shafts. It’s nicer if you have lots of treadles, but you don’t need more than four treadles or six.
[00:52:54.060] – Janet
So, Sheila, yes, you can. And if you have a straight twill threading and a straight–well, you don’t say a straight twill treadling, but you can, and you’ll wind up with just a straight twill–well, I’ll just show you. How about I just show you? Let’s do that. I have it queued up.
[00:53:20.040] – Janet
So I wasn’t sure, first of all, if you meant on four shafts or eight shafts or what, or if you meant this version, here is a 4-shaft straight twill, alternating light and dark in the warp and then the 8-treadle tie-up I like to use for overshot patterned doubleweave or complementary plain weave. But you don’t need it. You can do it on six. You can do it on four.
[00:53:54.560] – Janet
And its structure is plain weave on both sides. If I flip it front to back, what you’re seeing is the difference in the color play. I wasn’t sure, though, if you meant this or if you meant expanding the straight twill further.
[00:54:14.120] – Janet
Here’s how I would go through the whole process from start to finish. So a straight twill, I’m going to start with four. The tie-up I would start with and the threading I would–treadling, rather, I would start with for just a straight twill.
[00:54:34.120] – Janet
So this is FiberWorks, and I have Silver so I have the parallel threading option. So then I would say in my warp, I’m going to do Parallel Repeat. And you can add shafts above. If you don’t have more shafts, you can just do extended parallel, and the shafts shift by two or half the number you’re using, which case it will just reuse the same shafts you already have. But if you have the spare shafts more than what you have on your threading, as you might with overshot if you have an 8-shaft loom, I would add the shafts above. Close. And then repeat the same tie-up in the four new shafts. Then I would parallel the treadling as well–I have to keep moving our pictures out of the way here–and add more to the right.
[00:55:34.900] – Janet
And now what you want to do–Close–you tie up these new treadles so that they–really what it is is the same shaft plus the plain weave shed that is not already tied up. So if it’s one, you’re going to tie up the evens. If it’s even, rather, you’re going to tie up the odds.
[00:56:03.180] – Janet
But the impact, the result is that you are tying up–wait a minute. There we go. And there and not there. Sorry. Apparently, I can’t make words and make a tie-up at the same time. It’s as if the original quadrant has been–the face has been changed and then it’s been rotated up two steps or half the steps, and then I paste that in this top right quadrant too.
[00:56:38.370] – Janet
I realize if you don’t know from overshot patterned doubleweave or complementary plain weave that this is all just gibbersh, and I’m going way too fast. I’m speaking now to the people, Sheila and others, who have some familiarity already with this structure. Someday we’ll do classes on this, and I’ll go through it slowly and carefully so that it all makes sense to everybody.
[00:57:02.700] – Janet
Now I’m taking the top half of the tie-up and I’m going to rotate it up, cycle it up by two because that is what would have happened if it had just reused the same four shafts. It would have offset by two. It wouldn’t have offset by four. Then you can turn it into doubleweave. Because I haven’t yet alternated the colors, the colors in warp and the…that was in the weft, okay, in the warp as well.
[00:57:44.180] – Janet
Now you’ll see we have the same twill that we started with, a 3/1 twill, front and back, but the surface of the cloth is plain weave. You can do it with overshot. You can do it with any twill. Do it with crackle. I was all excited for my crackle class. I thought, I’m going to do crackle patterned doubleweave. Then I realized it’s exactly the same thing as overshot patterned doubleweave. It was not exciting at all. Yeah, that was a lot of words that hopefully made sense to Sheila. How do I stop sharing?Stop sharing.
[00:58:24.060] – Tien
Okay. I have found my examples. Let me share my screen. Here is an example. This is kasuri. I’m not exactly sure how to pronounce it, but this is Japanese double ikat, which they obviously call by a different name. But as you can see, the threads here, it’s alternating between the dyed weft and–no, it’s not actually. But you can see that it’s a balanced weave. The warp and the weft are about equal size. Warp and weft are approximately equal size, so it comes out as a balanced weave with both parts showing.
[00:59:10.020] – Tien
If you go to this website, they have a bunch of different other examples of ikat. These are mostly warp and weft ikat. I’m not an expert in Japanese textiles. But if you look at this, you can see that there is a pattern in the weft and there’s a pattern in the warp, and they overlap. That’s my very short commentary on that. Okay.
[00:59:40.120] – Dawn
All right, let’s see. I have two questions. Diane says, did I already do this?
[00:59:49.900] – Janet
Celia had a quick follow up on the ikat.
[00:59:53.680] – Tien
Cloth Roads, I’ll put it in the Chat. If you Google kasuri, K-A-S-U-R-I, you’ll find plenty of examples.
[01:00:05.500] – Dawn
Boggles my mind.
[01:00:08.500] – Janet
Yeah. Me, too.
[01:00:08.860] – Tien
Okay.
[01:00:13.140] – Dawn
All right, let’s see.
[01:00:16.460] – Janet
There was a question from Diane that–
[01:00:20.800] – Dawn
I think we answered.
[01:00:24.440] – Janet
A demo… Diane, I’m not sure if I understand exactly what you’re asking. The way I’ve interpreted it is, can we see an example of a fabric that has a tabby-like thing that is not interlacing in plain weave? Assuming that that is what–that’s what I’m going to answer. If that wasn’t what you meant to ask, ask again. We’ll do an attempt again.
[01:00:48.690] – Janet
But here is an example from a class I just finished teaching that is woven in classic crackle, if you have the book “Classic Crackle and Weave Classic Clackle”–Classic Clackle. That’s what we started calling it in the class. “Weave Classic Crackle and More” by Susan Wilson. It’s also known as Italian fashion. It’s one of the Italian fashions.
[01:01:21.640] – Janet
This is one where–so the heavy red is the pattern weft, and the hot pink and the orange are the ground weft, which we’re going to call tabby, binder tabby. They are interlacing in the twill sheds. In the overshot class I taught last–no, some time ago, Overshot Departures, we also did an Italian fashion there. It’s the same Italian fashion on overshot, where the fine ground wefts went in the twill sheds instead of in a plain weave shed. So that’s why these are not floating over one, under one, over one, under one. They’re not floating. They are floating over three under one, over three under one everywhere. If that wasn’t what you asked, ask again, and I’ll try again.
[01:02:33.700] – Tien
Okay.
[01:02:33.850] – Dawn
We are quiet.
[01:02:35.740] – Tien
I forgot I had one other example of the cool things you can do with ikat, so I’m going to share that.
[01:02:39.680] – Dawn
You have lots of cool things.
[01:02:42.820] – Tien
Let’s see. This is by a Bay Area artist named Ulla de Larios. She does warp and weft ikat, but she deliberately offsets the patterns. So you get kind of this ghostly shadow on either side. Her work is exquisite. She works with indigo. And she showed me her set up for winding the weft. Because when you do weft ikat, especially with the selvedges showing, which is what she’s got here, you have to be absolutely precise about the length of each thread versus the width of your warp, because otherwise they’re not going to line up, and you’ll wind up with zigzags all over the place. So being able to do it with this precision is pretty impressive.
[01:03:31.640] – Tien
If you look at the selvedges, the selvedges are relatively neat. While you can adjust your threads to make the pattern line up, if you do that too much, then you wind up with ragged selvedges. So I just wanted to show that one. I love the idea of ikat. I just have never had the time to explore it.
[01:03:52.110] – Dawn
Oh, wow.
[01:03:55.120] – Janet
I’ve done the tiniest bit, but not where I did any kind of planning, just some resist dyeing in the warp and some resist dyeing in the weft. And wherever it landed is where it landed.
[01:04:04.720] – Tien
I cheated and painted a warp. I stretched it out over a long table and painted it. That actually came out pretty well. But I never did it as much as I wanted to because it’s also unbelievably messy. I was dyeing it with fiber-reactive dyes, which you want to rinse out of the fabric before you weave with it, because you don’t want to be breathing the dye. When you’re trying to do that on a warp that’s spread out on a 6-foot by 3-foot table and half woven and a whole bunch of other stuff, it just gets ugly. Anyway. What do you want to do now, Janet?
[01:04:54.380] – Janet
I don’t know.
[01:04:55.100] – Tien
Shall we sing?
[01:04:56.160]
[laughter]
[01:04:57.780] – Janet
No.
[01:04:58.600] – Dawn
It’s time for singing. There’s no questions. Folks, hello. Are we still here? Well, there’s lots of us. Come on.
[01:05:16.320] – Janet
Oh. Dayamitra wants to sing for us.
[01:05:17.210]
[laughter]
[01:05:19.980] – Dawn
I think she loves to sing. Yes? We’re eating dinner.
[01:05:26.460] – Tien
Eating dinner.
[01:05:28.160] – Janet
Oh, dinner. I haven’t–I slept until after 4 PM today, and then I think I ate something, but I have no memory of what [inaudible 01:05:36].
[01:05:37.450] – Dawn
Janet, I have no idea where you’ve been in the last few days, like, layovers and weird places. Can’t keep track of you.
[01:05:48.880] – Janet
Well, I always was progressing.
[01:05:50.420] – Dawn
I know, but I don’t know.
[01:05:54.740] – Tien
Janet is renowned for having problems when she flies.
[01:06:00.120] – Janet
Janet usually flies in the winter, so that’s a bad idea.
[01:06:04.600] – Dawn
Oh, Dayamitra was a trained singer. I don’t know what that word is, though.
[01:06:11.240] – Janet
[inaudible 01:06:15]. Got to go Google that.,
[01:06:24.940] – Tien
Anyway.
[01:06:25.020] – Janet
So should we–
[01:06:25.020] – Tien
Singing competition.
[01:06:25.590] – Dawn
Oh, there’s one.
[01:06:28.060] – Tien
Kathy has a question. I looked for inspirational photos today. Any tips on great places to look? Yes, as it happens, there’s a couple of different places that I like. The first one is Google Image Search. If you type into Google, oh, I don’t know. Let’s just say robin, okay, Robin Hood, and you click on Images, it will give you a whole bunch of images of something I don’t care about.
[01:07:00.120] – Tien
Let’s try robin, which is what I planned. You can find a whole lot of images that way. If you go to Splash.com, this has images that you can see–that you can use without worrying about copyright stuff because it’s all been released. If you search for, I don’t know, love, you’ll get all sorts of images that might be a good source of inspiration. I often spend a lot of time here when I’m trying to think about something.
[01:07:37.150] – Tien
Lately, there has been this thing called DALL-E, which is one of those AI generators, image generators. These are not to be mistaken for anything that will produce a finished piece, but they can be really fun to play with. Let me just log in here. Because you can type in whatever you want, like blue robin with Marilyn Monroe, and it’ll generate something all right. It may not be exactly what you are thinking of, but sometimes what you want is–see–sometimes what you want is interesting results. So here we have what looks like Marilyn Monroe mixed with Marilyn Manson, was it? With a blue robin. But if you want to generate sort of random images, this is a great thing to play around with. So that’s another option.
[01:08:51.560] – Tien
I mostly use Google Search most of the time because I tend to work in themes. When I was doing the example that I did for the live lecture, I was thinking about drought, and so I was looking for images that were related to drought. I was thinking this one would be interesting here to do in deflected doubleweave with a shrinking bottom layer to give the cracks in the fabric. That’s another way of getting things if you want a particular theme.
[01:09:22.340] – Tien
I was also looking at wildfire because I was thinking about something that had multiple themes. If you use the Google Image Search, you can find any number of photos of wildfire. Then if you go from here, let’s say you click on this photo, Google Image Search–come on–will also show you related content and related images and things like that. So those are a couple places I go when I want visual inspiration.
[01:09:56.900] – Tien
Another thing you can do is–let’s see if it’s still there. I used to use this place called Design Seeds. Yeah, there we go. What they do is they take photos and they extract palettes from them. This is a great place to go for visual kind of palette inspiration. And that’s Design-Seeds.com.
[01:10:21.440] – Dawn
Wow.
[01:10:21.440] – Tien
And so if you’re looking for colors that are interesting together, this is a great place. I think you can sign up and–oh, I guess she’s done creating new seeds. So this is an archive. It used to be that she would send them out once a day or once a week or something like that.
[01:10:45.620] – Tien
But there’s other palette generators, too. There’s a lot of places where if you upload an image, it will produce a color palette for you. Canva will do it. I think Adobe used to have this thing called Color that would–Manage Cookies. Pardon me. Save and continue. Okay. Again, these all have different palettes. You can create your own. They’ve got apps and plug-ins and all of those things. So that’s another way of finding interesting colors. Those are some of the places that I go.
[01:11:27.700] – Tien
Then when I collect those images, I will often just drop them into a–let me see if I’ve got a project in progress. If we look at–I was thinking about doing this thing with a monarch butterfly on one side and with either a moth or some other–or a chrysalis on the other side. And so I just started collecting images of moths and butterflies and things like that. I just threw them all into a folder.
[01:12:06.440] – Tien
There’s another piece that I’m working on now, which is what I was talking about in the live lecture, where I–aside from the soap recipe, which has nothing to do with it. But I was collecting images of–this is an image of a deflected doubleweave thing that I thought would be interesting for that cracked mud drought motif. So I’ll just grab a whole bunch of photos and just dump them into a folder.
[01:12:37.600] – Tien
Then sometimes I go to museums and I collect inspiration there. Then with those, I’ll often drop them into a Google document and just write down what inspired me about the photo. Those are all things you can do. I think that’s most of what I have to say on the subject. The only other thing is that it doesn’t have to be an image. It can be yarns. It can be an object. It can be an event. It could be lots of things. Okay.
[01:13:13.580] – Dawn
We are out of questions.
[01:13:16.180] – Tien
Is it time to get the cat?
[01:13:18.760] – Dawn
I don’t know. Folks? We have 25 people here.
[01:13:26.940] – Tien
Nobody has questions? All right.
[01:13:29.020] – Dawn
Hello.
[01:13:30.140] – Tien
Well, today–come on, Tigress.
[01:13:34.500] – Dawn
Special guest?
[01:13:36.280] – Tien
Yes, special guest. Currently pulling down all my clothes in an effort not to be the special guest. Here’s Tigress.
[01:13:44.380] – Dawn
Hi, girl.
[01:13:45.060] – Tien
Wonderful cat, still attached to some of my clothes. I love you too, sweetie. But yeah, she’s not quite as friendly as Fritz, but Fritz thinks everybody is–
[01:13:56.230] – Dawn
oh, there she is. Look, she looked. Hi.
[01:13:59.500] – Janet
Hi, boody-boo.
[01:14:00.580] – Dawn
Hello.
[01:14:00.720] – Tien
All right. You can go down now.
[01:14:09.160] – Dawn
All right, no more questions.
[01:14:15.460] – Janet
Then I guess. Yeah. [inaudible 01:14:22] somebody else asked a minute ago about putting a link to them in the Toolbox. Yes, we can–
[01:14:30.640] – Tien
Yes, I can do that.
[01:14:32.520] – Janet
Yeah. For sure.
[01:14:36.190] – Tien
Okay.
[01:14:37.840] – Dawn
Okay.
[01:14:37.900] – Tien
Off we go.
[01:14:39.300] – Dawn
Good night.
[01:14:40.900] – Janet
Good night, everybody.