[00:00:00.510] – Janet
Now to the slide show. The first question–that was not a good example of the closed captioning and the transcript working. It said you had said, “How was this, Bill?” instead of “That was the spiel.” Okay, sharing my screen. Sharing my screen. I’m clicking the button that says Share My Screen. There it goes. I don’t want to see that. I love that it now shows me what screen is being shared so that I can tell right away if I’ve stuffed it up.
[00:00:44.680] – Janet
Our first question is from Christine Hanson, and it came in minutes before or after the last Q&A started, so it didn’t get into the last month’s Q&A. It’s connected to the Weave-Along. But since it’s just a generic physical weaving question and it hadn’t gotten in the last one, here we have it this month.
[00:01:06.300] – Janet
Her question is, in one of the stripes in her Weave-Along scarf, but it could be any fabric, I don’t have the right color in 8/2, could I double 10/2 and use it as one? I think she means use the double threads as a single thread through the heddles and the reed and everything. It would just create a little texture, right?
[00:01:29.370] – Janet
Yes, that is right. You could do that, and it would just create a little bit of texture. But 10/2 and 8/2 are really not very different. So doubling the 10/2 is going to be almost like doubling the 8/2. But because 8/2 and 10/2 are so close, I personally would be inclined to just use the 10/2 singly instead of doubling it. It would be a little thinner there instead of a little thicker as the double would be. But it would be–the difference between the thin spot of the 10/2 and the thicker spot of the 8/2 would be less extreme than the thin spot of the 8/2 and the thick spot of the doubled 10/2, if that makes sense. That make sense?
[00:02:15.340] – Janet
The doubled 10/2 would tend to–I’m sure the captioning loves that–the 10/2 would tend to not beat in as well because you have effectively there a 5/2 instead of a 10/2, but sett like for an 8/2. The weft is not going to want to beat in as much, so you might wind up with little hills wherever those stripes are.
[00:02:46.940] – Janet
On the other hand, the 10/2 singly will be a little bit looser, so it might beat in a little bit more there. But the majority of your scarf would be forming the edge that the beater hit rather than just individual little hills. Does that make sense?
[00:03:06.690] – Janet
I don’t know which of your colors you were talking about swapping around. My answer doesn’t change significantly, regardless, except if it’s your selvedge color, then it might be better to double rather than single so that the–although I don’t know. I would still probably go single because the difference is so slight. But if the non-standard thickness, whether it’s thicker or finer, is at your selvedge, then you might potentially run into some trouble. So if we could rewind in time before you put this warp on the loom, if that was your situation, I might consider adding some 8/2 stripes at the sides. Okay.
[00:04:04.160] – Dawn
We have a related question here.
[00:04:06.460] – Janet
Great.
[00:04:07.020] – Dawn
And I’m not sure I understand it. Diane asks, is it necessary to double the 8/2?
[00:04:13.110] – Janet
No. Well, if you were doubling the 10/2, you could double the 8/2, but that’s a different question. I think that Christine’s plan was to just use the 8/2 singly as normal, and she was wondering how best to use the 10/2. And if she was doubling the 10/2, I still probably wouldn’t–well, you could. I mean, it would just be a different texture. The whole scarf would be heavier. But it’s not necessary.
[00:04:53.460] – Dawn
Okay, then.
[00:04:59.220] – Janet
Okay. Next one is a question from Joy Hogg. And I understand this was a question that came up at the Peer Support recently and had lots of conversation and then wants some additional information. So Joy’s question is, could I wind one-inch sections on my warping mill and then direct them straight from the warping mill to the sectional beam on her loom? So in effect, using the warping mill kind of like a warping wheel.
[00:05:36.030] – Janet
So I put a picture here of an AVL warping wheel. And there’s a link there as well, so you can see where to find more information about the warping wheel. I have not personally used a warping wheel, so I don’t have personal experience. Tien, do you have experience using one yourself?
[00:05:52.660] – Tien
I actually did all my warping with a warping wheel for quite a few years. I had an AVL Workshop Dobby Loom. The thing with winding the segments from the warping mill to the sectional beam is that you will need a tension box. Because to get it to work, you have to have really two things. You have to have a way of putting on the warp completely flat that is completely evenly spaced across the width of the section. And you have to have some way of putting it under tension as you put it onto the beam.
[00:06:30.180] – Tien
Now, when you’re using a warping mill, you can wind the one-inch sections. But then when you want to get them to the loom, you’ll still have to put them through some raddle and a fairly fine raddle to get them into the sections in a way that they lie flat.
[00:06:52.340] – Tien
Now, if you’re using this with a spool rack, you wind up using a tension box to tension the yarns. And then you have a little comb that you put things into. That’s how you wind on to the sectional beam.
[00:07:08.050] – Tien
Now, if you wanted to go from your warping mill to the sectional beam, basically what I would do is–and I should say that I haven’t done this, but I have heard from people who have done it–is take it from the warping mill, run it through a tension box, and then wind it that way.
[00:07:22.420] – Tien
The only thing that you might run into trouble with is that you might have tangling depending on how you’ve wound things on your mill. Because instead of sending it through a raddle with quarter-inch segments, you’re sending it through something that has a lot finer resolution. A tension box doesn’t have that issue because you’re winding them from a separate spool, so it kind of knows that they’re not tangled. But when you wind something on a mill, it’s possible for the threads to overlap, and so you might run into trouble with that.
[00:07:59.450] – Tien
With the warping wheel, it’s not so much an issue because you wind it into a comb, and you wind each combed section separately. Even then, I’ve had an occasional–you don’t wind it separately, but each round of the wheel goes through a part of the comb. And so it’s easier to get it to unwind later. I’ve still run into some minor problems with tangling with the warping wheel, and there are some tricks. But with a warping mill, it might or might not be worse. I would say try it. Do some experimenting, but don’t do it when something valuable is at stake. Give it a try first.
[00:08:43.460] – Janet
Yeah, try with a short and narrow warp, a low-stakes, short and narrow warp. I tend to assume that given pieces of equipment that are readily available to a lot of people, if a method is not already being used and talked about, that probably means that people have tried it and run into problems and prefer something else. But they are not you. So certainly try it.
[00:09:13.490] – Tien
Another thing to keep in mind is that if you have a warping mill and a sectional beam, you can beam that sectional beam just like a regular beam. The trick is that you can use the edges of the far left and far right sections as a substitute for packing sticks. So if I have a 24-inch beam, I’ve got 22 inches–a 22-inch piece, then I can make it run from one to the other on the beam. Then what happens is that you don’t have to worry about packing sticks because the sectional dividers are holding it in on the edges. The whole point of the packing sticks or paper or whatever you use is to keep the edges from falling off. With the sectional beam, you don’t have to worry about that. So that’s what I do a lot.
[00:10:13.680] – Janet
Concur. I really liked having sectional beams on my big looms because then I didn’t have to faff about with the packing.
[00:10:23.290] – Tien
Right. Okay.
[00:10:26.720] – Janet
Okay. Just one footnote to that. There’s a group of weavers near here that I know has a warping mill with some kind of a brake system on it. And it’s designed such that they can wind their entire warp, not an inch at a time, and use the mill as a sort of tensioning, braking device and beam straight from the mill onto their loom. Their loom is not sectional. They’re not doing it one inch at a time. But it’s sort of like an intermediate step between winding on a mill and taking it off and beaming and what you’re thinking of doing. Whether that’s useful to you or not, I don’t know. But that does mean that it’s at least possible to put a brake like that on a mill. So maybe that’ll be helpful to you.
[00:11:20.960] – Dawn
Joy is wondering if she could tension one-inch sections with her hand.
[00:11:27.160] – Janet
My concern about that–yes, you could do it. My concern is that it might be pretty hard to keep consistent tension on them with your hand. So I would be inclined to try to find an inanimate tensioning device, such as a weight. The weight is going to be consistent. It’s always going to apply the same drag or same pull. Or a set of smooth rods that you can wind the inch between to create some friction rather than trying to judge it yourself. Because if you’re tired or you’re excited or you’re happy or you’re worried, any of those things can affect how much friction you’re putting on those little groups.
[00:12:19.230] – Dawn
Joy’s next question is, what if a partner was helping?
[00:12:22.780] – Tien
Same thing, though.
[00:12:23.800] – Janet
Yeah. Your partner’s probably human, too, therefore–humans are just not necessarily going to be able to put really consistent tension on things.
[00:12:33.260] – Tien
Do not under any circumstances get your cat to help.
[00:12:43.260] – Janet
Sonia’s question I just see in the Q&A, I think it’s related to that first question from Christine Hanson, the 8/2 and the 10/2.
[00:12:50.028] – Dawn
Yeah.
[00:12:50.820] – Janet
She’s asking, if it’s more than one shot, would it distort the section? And, yeah, it will certainly feel different, and it may take up differently. It may do different things. 10/2 and 8/2 are so similar in size that it’s not likely to have a big impact, but it will. The 10/2 weft stripes will be a little narrower than the 8/2 ones. And the warp stripes might get a little shorter. Probably not enough that things will ruffle. But, yeah, for sure.
[00:13:30.040] – Janet
She was prepared for some texture. Texture didn’t seem to be a concern. She actually said–oh, I meant to say, she mentioned in the Chat that she did that. She used the 10/2 singly, and then it worked great. Yay.
[00:13:43.100] – Tien
Yay.
[00:13:44.680] – Janet
Okay. Next, we have a question from Sandy Lincoln. This is about twills. She’s got a project on her loom. She’s weaving–she says it’s a fancy twill. I’m not sure if she means fancy twill in the technical sense of fancy twills or just that it’s a twill that’s fancy. I’m guessing the latter, but it doesn’t really matter. She’s wondering about some different treadling systems that we covered in my Overshot Departures class a couple years ago. Has it been a couple years? Oh, my God. Timey wimey is so wibbly wobbly.
[00:14:23.680] – Tien
You’ve been having so much fun, Janet.
[00:14:25.420] – Janet
I have. I have. Those treadling systems, and she mentioned specifically shadow fashion echo, but there were others. There was swivel and petit point and woven like Bronson and woven like summer and winter and woven like the blah, blah, blah, blah. Italian fashion and boundweave, all kinds of things. And she’s wondering, could those same things be applied to her fancy twill?
[00:14:54.340] – Janet
And the answer is absolutely they can. An overshot threading and overshot the structure is really just–it’s an offshoot of twill. It is a twill at heart. It’s got a lot of the same properties as twill, structurally speaking. Definitely these same things apply to twill without the plain weave ground.
[00:15:22.060] – Janet
The big asterisk and footnote, though, is if your fancy twill is on four shafts, then you’re golden. Just use the same tie-up and general treadling concepts, and use them for your twill threading.
[00:15:40.320] – Janet
Where the particular treadling system that you’re working with depends on there being floats of a certain length, though, and less interlacement–and one of the examples is on opposites or boundweave, those things–the twill is not going to have floats to speak of. It will. It will have very short floats, two-end floats, maybe three-end floats, but it’s not going to have the four- or five- or six-end floats that overshot has. So they’re not going to beat in as well and cover as much. You can still do them. They’ll just look a little different.
[00:16:19.300] – Janet
If your twill is on more than four shafts and presumably more than four treadles, then you’ll need to do one of a couple of things. You’ll either have to figure out how to pretend like it’s really a four-shaft twill, or you’ll need to adapt the concept of the tie-up from four shafts to eight shafts. Knowing how to do that is not a straightforward, simple thing.
[00:16:53.800] – Janet
So the easiest thing to do, probably, would just be to treat your eight-shaft twill like it was a four-shaft twill, meaning that you take the 2/2, two up, two down, tie-up interlacement, the tie-up ratio, and apply it–so instead of going–well, it would go two up, two down, two up, two down. The first treadle would be 1 and 2 up, say, 3 and 4 down, then 5 and 6 up, and 7 and 8 down. Then the next treadle would be that same thing but shifted up one. And the next treadle would be that same thing, but shifted up one. That’s going to treat your eight-shaft threading like a four-shaft twill.
[00:17:39.560] – Janet
We will be talking about this in the twill classes coming up. This may just sound like a bunch of word salad to you at the moment. Don’t worry about it, if that’s the case. I’m hoping that you’ve just got a four-shaft twill on your loom, in which case then you’re home free. But the answer to your question is, yes, you can apply the other treadling systems to an eight-shaft twill. You just have to think about it a little bit more and figure out how to get the spirit of the structure applied to a larger tie-up.
[00:18:13.880] – Janet
Final question sent in advance was from Joy Hogg, who was wondering what we think of Tim’s Treadle Reducer. If you are not familiar with Tim’s Treadle Reducer, I will show you. It’s a website. He calls it his Rudimentary Treadle Reducer. I don’t know. It’s not very rudimentary.
[00:18:34.450] – Janet
The idea is that you build a little grid that is the tie-up for your project. So that means you have to tell it the number of shafts that’s required, so the number of rows in your grid, and the number of treadles in your grid. Then you tell it the number of treadles you actually have available. Then you tell it to make the grid.
[00:18:57.910] – Janet
So let’s see. If I say I have eight shafts and it needs 16 treadles, for instance, but I only have 10 treadles because that’s what eight-shaft looms usually have if they are treadle looms, it makes a little grid. Then you have to click on this little thing in all the spots to make this 8-by-16 grid match your tie-up. Then you say, okay, figure out for me if I can weave this thing on fewer treadles–with fewer treadles, if I don’t need all 16 by making a skeleton tie-up, by separating some things and producing a skeleton tie-up.
[00:19:41.280] – Janet
But notice you also have to tell it how long you’re willing to wait because a lot of the time there is no solution to the question and it cannot be reduced. Sometimes there’s a solution, but it takes the computer a long time to figure it out.
[00:19:57.440] – Janet
So you just need to say, okay, tell me quickly, if it’s easy, I’ll wait 10 minutes, or it looks like you can even tell that I will wait a day while you work on this problem. Then it will give you an answer, or it won’t. It’ll tell you then which treadles you need to step on in combination to get one of your old treadles. Very cool and spiffy if it can find a solution, but just as disappointing as a draft that requires 16 treadles that you don’t have when it can’t find a solution. All right, that is the slide show.
[00:20:44.400] – Dawn
We have one question in the queue.
[00:20:46.790] – Janet
Okay.
[00:20:47.020] – Tien
Add more questions. Add more questions.
[00:20:47.884] – Janet
Add more questions.
[00:20:48.100] – Tien
Bring out your questions.
[00:20:53.940] – Dawn
Diane says, as we develop our twills, will you be suggesting using 8/2 threads?
[00:21:02.520] – Janet
At this point, have we picked a fiber for the project?
[00:21:12.880] – Tien
We’re doing tea towels, so I assume that its–so I assume that it’s cotton.
[00:21:17.080] – Janet
Yeah. The twill classes are going to be, we’ll call it, yarn agnostic. They apply to any yarn you’re going to use. And 8/2 is inexpensive and readily available compared to many other things. So that’s usually my go-to choice for experimenting with new things.
[00:21:41.500] – Janet
For the project class that we have at the end of this first twill arc, or learning path, rather, we are doing tea towels. And so 8/2 or something unmercerized will probably be the recommended choice. But that doesn’t mean that’s what you need to use. If you’re wondering about stocking up, though, then, yeah, I mean, 8/2 is always a good thing to add to your stash or to have in lots of colors because it’s not very expensive comparatively. But as for suggesting it, in so far as it will be the recommended thing for the end-of-project path, yes.
[00:22:27.720] – Dawn
We are out of questions.
[00:22:29.710] – Janet
Okay, kids.
[00:22:31.220] – Dawn
This is the Q&A, kids.
[00:22:36.420] – Tien
While we’re waiting, I’ve got a question.
[00:22:39.500] – Janet
Okay.
[00:22:39.740] – Tien
I am working on a project right now, and we could ask for people’s opinions in the Chat.
[00:22:49.230] – Janet
Yeah, I was thinking that.
[00:22:51.030] – Tien
Okay. So let me share my screen, screen one. Here we have the warp, and there’s two options. Actually, let me show you what the warp looks like. This warp is very interesting because I did it in a mix of four different fibers, and that was intentional. And then I sort of dripped dye onto it kind of at random in fuchsia and red and orange.
[00:23:19.400] – Tien
Because I was using three different fibers, the yarns all took the dye slightly differently, which is why–let me zoom in–you can see that there are some sections where the color is similar, but it’s different levels of intensity, depending on what this is. These light threads here are mercerized cotton, which doesn’t take dye nearly as darkly as this fine silk fiber here that’s darker red. Anyway, that’s the warp. And so put in your Chat what color you think–oh, it’s going to be in stripes. I forgot to mention that, very important.
[00:24:08.970] – Tien
The stripes are going to look like–let’s see. This is the stripe pattern. The red will be here, and then the other color will be in the other sections. So the $24,000 question, of course, is what other color? I was choosing between blue and orange, yellow-orange, first. I’m leaning towards yellow-orange. I love amber. Amber is asking my question, what mood are you going for?
[00:24:40.340] – Tien
The short answer is that I’m actually planning on doing a lot of experimenting with this warp. I thought it over, and I decided that the mood I was probably looking for, this was a little bit too contrast-y. I wanted something a little more harmonious.
[00:25:00.040] – Tien
So I arrived here and was trying to decide whether to use the yellow-orange or the yellow-orange bordered with a little bit of yellow-green to give it a little more definition. This is where I’m stuck right now.
[00:25:19.950] – Dawn
Joy says, how far away will we see the pattern?
[00:25:23.550] – Tien
Another one of my classic questions. It’s going to be a shawl, so probably about 6 feet away, which is why I was thinking that this might blend in a little too much and need something to define it.
[00:25:37.220] – Janet
Amber says zoom more on the right image.
[00:25:39.550] – Tien
Zoom more on the right image. Let’s just maximize the right image.
[00:25:44.010] – Janet
And Joy wants to know how big is the motif?
[00:25:47.680] – Tien
The motif is probably anywhere between half-inch to three-inch stripes. Yeah, half-inch to three-inch because this is going to be, I think, 23 inches wide. Then the structure is going to vary, as well.
[00:26:03.320] – Tien
So here’s one possibility. If I’m using yellow-orange, of course, it wouldn’t be that color. This is in twill blocks. Then this would be with, I think, a 2–no, that’s also twill blocks. That’s just different colors. There was another option with 2/2 twill and another option with–this is the 3/1 twill tie-up. I’m planning on doing a lot of experiments with different weave structures. That’s part of the purpose of this project, to explore weave structures.
[00:26:39.720] – Dawn
Let’s see. [inaudible 00:26:41] says, the greenish-yellow is a nice pop that would define the stripes well.
[00:26:45.740] – Tien
That’s what I’m thinking. I’m thinking what I might do is take this and then thread it up using the yellow-orange. And then if I don’t like it, then I could just throw in some afterthought threads, pull out the edge threads and put in a green thread instead. That gives me the most options.
[00:27:06.920] – Janet
So the greenish-yellow you’re thinking would just be, like, single threads on either side of the yellow?
[00:27:14.070] – Tien
Yeah, and maybe two threads.
[00:27:17.680] – Janet
Okay.
[00:27:19.520] – Tien
Anyway.
[00:27:19.850] – Dawn
Joyce says, how jolly do you want it to be? Do yellow and red and–
[00:27:24.450] – Tien
And a zinger.
[00:27:25.320] – Dawn
And a zinger.
[00:27:27.100] – Tien
Yeah.
[00:27:28.490] – Dawn
Sue says, the orange-yellow does look nice.
[00:27:31.640] – Janet
I think it’s interesting that you thought the red and blue was more contrast-y than the red and yellow because to me, they are less contrast-y.
[00:27:42.430] – Tien
It’s a different kind of contrast. Here you have value contrast, and here you have hue contrast, but they’re about the same darkness. The thing is that because of that looking at it kind of makes my eyes hurt because my eyes generally get a little confused when you have something that’s the same value but is too different–but is radically different hues. I call it the zombie hellmouth effect because it can actually feel almost like it’s vibrating.
[00:28:20.630] – Janet
Well, unless you’re going for zombie hellmouth then, maybe not the blue.
[00:28:26.155]
[laughter]
[00:28:27.280] – Janet
Miriam and [crosstalk 00:28:28]
[00:28:28.830] – Tien
All right.
[00:28:29.240] – Janet
Oh, go ahead, Dawn.
[00:28:33.320] – Dawn
Miriam and Dayamitra both felt like the blue was distracting from the red-yellow.
[00:28:39.660] – Tien
Yes.
[00:28:40.130] – Dawn
And Amber thinks the blue gives it more of an art feel.
[00:28:45.650] – Tien
Interesting. Okay, that’s helpful to know. Thank you all.
[00:28:49.660] – Dawn
What are you going to wear it with, Tien?
[00:28:52.670] – Tien
Probably black jeans because that’s what I wear with everything. All right. Now, if I can just figure out where my–oh, there we go–Stop Share button is located.
[00:29:05.140] – Dawn
We’ve got a couple of questions in.
[00:29:07.163] – Janet
Yay.
[00:29:07.910] – Dawn
How about that? Let’s see. Joy Hogg says, I’m starting to use my eight-shaft Baby Mac. I added heddles and have about 30 more on each shaft than I need for this draft. I noticed raising the shafts tied to each treadle using usually three is heavy. Is this normal or due to my extra heddles? I’m used to a four-shaft lift plan loom.
[00:29:34.060] – Janet
It is probably not due to 30 extra heddles. 30 heddles on a shaft doesn’t add a ton of weight. A whole lot of extra heddles, that might affect the weight. I bet it’s just more heddles than you’re used to in general, perhaps. You didn’t say that. I’m inferring. And it’s more shafts.
[00:29:58.580] – Janet
If you’ve ever woven–or folks who have woven Bronson lace on more than four shafts, or even just on four shafts, doesn’t matter, you’ll know that there’s one treadle that’s tied up to just shaft 1, which is half of the threads. Then there’s a second treadle that’s tied up to shaft everything else, which is half of the threads. Those two treadles are lifting the same number of threads and, in theory, have the same amount of tension on them from the warp and all of that. But the one that is lifting shafts 2, 3, 4, plus, plus, plus, plus is a lot heavier. That is usually–it’s mostly due just to the weight of the shaft frame plus whatever heddles are on it.
[00:30:43.840] – Janet
So if you have lots and lots of extra heddles on each shaft, that will be a significant extra weight. But I don’t think 30 is probably worth doing anything about unless you have–like, you need to be very careful with your hips or your knees. In which case, yeah, it’s a great idea to eliminate any extra weight that you can.
[00:31:10.230] – Tien
One thing that might be a factor is that it’s a Baby Mac. And Macombers, if I recall correctly, have metal frames, and those are heavier than wooden frames.
[00:31:22.060] – Janet
Baby Macs, though, are pretty lightweight, pretty small. They’re not like the big add-a-harness ones, which are those heavy steel crazy–I love those great big steampunky Big Macs, but they are heavy as stink. Baby Mac is not like that so much. It’s not really that much–I don’t think of it as being very different from a Baby Wolf, say. That might be partly because it’s narrower than a Baby Wolf. I think you will find as you use your Baby Mac more that it is just a fact of having more shafts. It’s a fact of multi-shaft jack loom life.
[00:32:09.720] – Janet
A counterbalance loom, and I can’t remember, your Dorset was a direct tie, so I don’t imagine–it’s not counterbalance. It must have been–but it’s a direct tie. So it should be similar to your Baby Mac in that respect. A counterbalance [inaudible 00:32:26] loom or a countermarch loom takes a lot of the weight out of the opening of a shed because the shafts are balanced against each other. So the shaft’s a counterweight rather than your leg having to do all of the work. But on a jack loom, your leg has to do all the work.
[00:32:49.860] – Janet
That is one reason why in the class on tie-ups, I made mention of turning the tie-up over. If your tie-up, in general, is tied to a lot more shafts–if it’s tied to more than half the shafts on more than half the treadles, then it will actually be lighter if you turn your tie-up over and you intentionally weave your fabric upside down because you have to lift fewer frames on each pick or on many of the picks.
[00:33:25.250] – Dawn
Feedback from Joy. She has metal frames that add harness, and they were added. She’s talking 90 extra heddles because it’s distributed over three shafts.
[00:33:37.090] – Janet
Yeah, I know. But 30 extra heddles is still–it doesn’t strike me as being that many. But if you think it might make a difference, by all means, you could take them off. But it sounds like–I’m assuming you already have your warp on there. And taking heddles off when the warp is already on is a lot of–it could be swear-y. So I might finish the current project and then next time, maybe take off the extra heddles and see if it feels different to you. And then you can just judge for yourself. At some point you’ll figure out how many extra heddles makes a difference for you.
[00:34:19.800] – Janet
I, personally, would be fine with the extra 30 heddles, but I’ve got good, strong, relatively young, though less young all the time, knees and hips. So I don’t have to worry about that so much as, for instance, I don’t think Mom would mind if I mentioned Mom has to worry about those things. She’s got bionic hips and knees now, so she has to be careful with her mechanical parts.
[00:34:52.320] – Dawn
All righty, then. Moving right along. Eda Lee–we talked about this a little bit in the peer support session, too. What about double beams? How do you wind them and thread both through the heddles and reed to tie them front? Can you wind front to back with a double beam?
[00:35:15.580] – Janet
I imagine this varies or could vary from loom to loom and how the beams are arranged and perhaps in how the structures function. When I have done it, I did it some on a Glimakra, which have the two beams. One beam is up, and one beam is down. Then on my little Minerva, both the extra beams are down. On Mom’s Big Macs, both the extra beams are down. I’m hesitating here because I don’t very often–hardly ever do I use a second beam.
[00:35:57.050] – Tien
I do it sometimes, so maybe I should take this one.
[00:36:01.260] – Janet
Go for it.
[00:36:01.990] – Tien
I warped them back to front. I don’t think it’s possible to warp them front to back, but I’ve never tried, and I don’t warp front to back.
[00:36:12.060] – Janet
[inaudible 00:36:12] should be possible.
[00:36:14.340] – Tien
Okay. But in terms of winding them, I wind each warp and beam it on. I guess it depends. If I’m using both beams equally, like about 50% of the threads on one beam and 50% of the threads on the other beam, then I just spread the warp out over the full width as you would expect.
[00:36:38.630] – Tien
Then when I’m threading, I just have two sets of lease sticks, and I take them off each in whatever the threading pattern happens to be. If I’m using the thread that’s on beam one, then I just thread the section on beam one until I get to the part that’s on beam two, and then I just start threading off the lease sticks for beam two. Then, of course, you just sley it normally.
[00:37:05.410] – Tien
The place where it gets a little sticky is if you have warp one is here and then warp two is out here, although that’s an unusual circumstance, so I wouldn’t worry too much about it. In that case, you might run into problems with distribution on the warp beam. I never had to do that because most of what I’m doing with double beams is something like either it’s doubleweave with some sort of intriguing combination between the two layers or something like that, and that tends to be more evenly distributed.
[00:37:50.350] – Janet
Excuse me. I know I had a video in the Stash class about how to thread back to front from two different sets of lease sticks. In that case, they were all wound–both warp chains, both warps were beamed together. That’s how I usually do things. Even if I know I’ve got two warps, essentially, they’re going to take up differently, I usually beam them together and then plan to tension them a little bit differently, if necessary.
[00:38:27.750] – Janet
Regardless, if they’re beamed together, they’re beamed on two different beams, then you’ll have two sets of lease sticks. So there’s a video showing how to do that from the two sets of sticks. And I will make sure that that appears in the toolbox sometime soon because I don’t know that it’s there right now. But it already exists, so it would be easy enough to put in there.
[00:38:52.460] – Dawn
All righty. Eda Lee said it’s a Woolhouse table, and she’s using Zephyr and tencel.
[00:39:06.740] – Janet
But are you beaming them onto two different beams, or are you putting them all on one beam and they might need different tension? Well, let’s move on until Eda Lee is able to–oh, there. Do you have two separate back beams, Eda Lee?
[00:39:38.050] – Tien
One of the challenges that I have when I’m working with two back beams is equalizing the tension over each beam. I tend not to do it unless I have a good reason to.
[00:39:47.580] – Janet
Wait. What do you mean by equalizing the tension over each beam?
[00:39:51.400] – Tien
Well, so the challenge for me is that if the beams are not synchronized–and this may be an issue that I only have to deal with because I’ve got a Jacquard loom and those are funky. But because the beams are tensioned separately, the threads may wind up at different tensions, which, of course, you want if you’re doing something like seersucker. But if you’re trying to get something that looks like it has even tension, then that can be an issue.
[00:40:22.240] – Janet
Yeah, I think that’s a fact of life with having two back beams, possibly unless they’re both lightweight tension. I’ve never had a lightweight tension on two beams, so I don’t know how that would work out. But, yeah, because if you’ve got two separate beams, then you have to release the tension on them in advance and do all of that for each beam. So you have, in addition to just keeping the tension consistent in one set, you’ve got to keep it consistent in both and at the right tension for the project. Because a lot of times, a lot of the cases where having two beams is really critical is when one of the warps takes up much more rapidly than another, like a pile weave. I wouldn’t even know how to begin tensioning those. I have not woven pile.
[00:41:11.730] – Tien
When I wove velvet, we wound up tensioning every thread individually with fishing weights.
[00:41:18.820] – Janet
And that right there is why I don’t weave that stuff.
[00:41:22.100] – Tien
Oh, it’s so gorgeous.
[00:41:23.740] – Janet
I admire that stuff. It’s beautiful. I love that other people weave it. I am not built with that kind of an attention span.
[00:41:34.580] – Dawn
Eda Lee does have a second beam, but it’s not on her loom at the moment, just in answer.
[00:41:40.560] – Janet
And I see that you’re weaving deflected doubleweave. I, personally, would just use one beam. I use one beam for deflected doubleweave. If one of the sets of threads takes up differently, then I would tension that differently.
[00:41:56.500] – Janet
In deflected doubleweave, usually the take-up that is coming from the interlacement of the threads equalizes across both kinds of threads because, yes, this one interlaces here and that one doesn’t, but then they reverse roles. So they both interlace the same amount over the length of the project, even though they’re not interlacing at the same time.
[00:42:22.100] – Janet
So the only difference you’re going to have in tension is going to come from the stretchiness of your fibers. When you have silk and Zephyr or Zephyr and whatever the other one was, yes, one’s going to have a little more stretch than the other, but probably not so much more that you can’t manage that with an extra dowel or something for tension on the one that gets looser, assuming you’re not weaving yards and yards and yards and yards without stopping. If you’re doing a scarf length, even if you’re doing multiple scarves, you can sort of reset the tension between each thing when you get to the fringe. So I, personally, would be inclined to just use a single beam.
[00:43:05.560] – Dawn
All righty, then. Let’s see. [inaudible 00:43:12] Eda Lee says, one beam it is.
[00:43:14.860] – Janet
Let us know how it goes. We will be watching the What’s On My Loom thread.
[00:43:20.280] – Dawn
All right. And following up with Joy Hogg, she does think it’s the metal shafts, and she has ski legs. She’s from Northern Michigan, don’t you know?
[00:43:30.370] – Janet
All right.
[00:43:32.180] – Dawn
And then we have a question from Diane that maybe–I’m going to read it and see what you think. When I find a four-shaft pattern and it also includes a four-shaft tie-up, but the tie-up has six columns with an indication of another move.
[00:43:50.170] – Janet
I was with you right up until tie-up has six columns, and I don’t know what the indication of another move is. I’m guessing it was an auto correct or something, Diane. If you can clarify, that would be good. I’m just going to plunge ahead and answer what I think you might have typed in spite of your helpful auto correct.
[00:44:13.270] – Janet
If your tie-up has six columns but your treadling only uses four of them, then you can safely ignore the other columns unless there’s a notation somewhere on the draft that says something like “use tabby.” And then it expects you to know what to do in order to use tabby. And as often as not, use tabby requires those extra two columns that don’t appear to get used. If that is not what you meant, additional clarification in the Q&A interface, and then we’ll be able to address the real question.
[00:44:58.280] – Dawn
All righty. Then we’ll answer Beth’s question. I am weaving the scarf on the current Handwoven cover called Shifting Shadows. I’m using 10/2 for both warp and weft. I’m not getting a good definition. If I used a thicker weft, like 8/2 light/dark weft, would I see a better definition?
[00:45:19.820] – Janet
I am going to see if I can–
[00:45:22.580] – Tien
Find the scarf?
[00:45:24.690] – Janet
Yeah, bring that up real quick so we can look at it. Oops. I logged in with a profile that doesn’t have my password memorized. Give me a second. If you folks are subscribers of Handwoven, and I highly recommend, then you may be aware, and if you’re not, you should be aware, that you have access to all of the back issues since the dawn of time online, which is amazing. Okay. I am a subscriber, so I have just turned to the current issue, which I don’t think I’ve even received in the mail yet.
[00:46:24.390] – Tien
Ooh, that’s pretty.
[00:46:25.850] – Janet
It’s awfully pretty. I will share it up and then–hide that, and there we go. Seeing it?
[00:46:43.340] – Dawn
Yep.
[00:46:45.430] – Janet
Okay. Now. Using 10/2 for warp and weft, not getting good definition. You mean in the log cabin that the lines aren’t showing up well? If I used a thicker weft 8/2 light/dark, would I see better definition? Using a heavier yarn would increase the scale, and that might make designs show up a little better. But really, this is shadow weave and log cabin, and the essential component of those designs is good value contrast between the two colors.
[00:47:32.740] – Dawn
Beth says the log cabin is good, but the blocks, not so much.
[00:47:37.070] – Janet
Yeah. I [crosstalk 00:47:37]
[00:47:38.120] – Tien
The blocks don’t have as good value contrast.
[00:47:40.080] – Janet
Yeah, even here, they just don’t. I don’t think changing your thread size is going to make that big a difference. I think changing your colors might. So maybe staying in the same color family but going for a darker green or a lighter green or a darker blue or a lighter blue and seeing how that works. What would you say, Tien?
[00:48:04.930] – Tien
That’s pretty much what I would do. The two greens up near the top–yeah, those two–really don’t have a ton of value contrast, and they have no hue contrast, which means that your pattern is really not going to show super well. I think the intent of the writer was to create a more subtle pattern and let the log cabin pattern sort of give you squares of not quite solid color, interestingly textured color and emphasize the larger pattern of the log cabin.
[00:48:46.920] – Tien
If you’re already weaving it, there’s not a ton you can do. You could try using a much lighter and much darker weft, and that might help. But it will also change the pattern because shadow weave pretty much depends on having different values in warp and weft. I don’t know how it would interact if you changed the weft.
[00:49:13.210] – Janet
I have woven shadow weave with, for instance, an oatmeal and a dark blue in the warp and a natural close to white and light blue in the weft, and it worked fine. It was a little more lively than just the same colors each way. But that meant I still had a light and a dark in each direction, and I still had a neutral and a blue in each direction.
[00:49:43.280] – Tien
Right.
[00:49:47.120] – Janet
I don’t know what would have happened if I’d had two colors in the warp, and then I’d gone a step lighter and a step darker in the weft, rather than both of them a step lighter.
[00:50:00.460] – Tien
Right.
[00:50:01.080] – Janet
But Beth can tell us if she experiments.
[00:50:05.800] – Tien
I was just going to say weave a sample and come back with it. Beth is saying use more intense difference between the two colors. Yes, but it should be value difference, so light and dark difference. Difference between red and green, not so much.
[00:50:20.860] – Janet
If you look here, there’s a lot of difference between her light blue and her dark blue. So this shows up. There’s a little difference between her light green and her dark green, and this shows fairly well. Up here, at least in this angle of the photograph, there’s not much difference between her light pink and her dark pink. And so that looks almost like–there’s a lot of optical blending there, and the structure of the cloth is kind of fading away.
[00:50:52.290] – Tien
I think the most telling one is the pink and green sections because in those sections you have almost no value difference, but you have a lot of hue contrast. Pink and green are very different colors. They’re opposites in the color wheel. And you still can’t see the pattern.
[00:51:08.790] – Dawn
Beth says the under side looks a bit better. Might flip tie-up.
[00:51:14.840] – Janet
Or you could just flip the cloth over once you’re done. But that means you got to look at the side you don’t love as much as you’re weaving. I think it’s a beautiful scarf. I mean, that’s a lovely project.
[00:51:28.973] – Tien
I think it’s lovely.
[00:51:29.180] – Janet
And I’m very curious to see what it looks like in the colors you chose. Did you choose blue, pink, and green kind of like this, or did you choose something different?
[00:51:41.480] – Dawn
All right. While we wait for Beth to get back to us, we’ve got Diane back about her extra moves in the tie-up. I lost her camera. She says, tie-up box indicates notation for more pattern.
[00:52:00.140] – Tien
I’m wondering if she’s thinking of a book like Davidson Green where they have multiple patterns on a single threading. So what it will do is it might have 10 treadles, but this one only uses four, this one uses six. It’s just a way of compacting the design.
[00:52:19.410] – Janet
It could be. Yeah. Diane, can you take a picture of it? Scan it or take a picture with your phone or somehow take a picture and send it to us?
[00:52:31.000] – Tien
Email it.
[00:52:31.690] – Janet
Yeah, send it to–you should have gotten a confirmation email when–oh, no, sorry, you didn’t submit this. Yeah. If you go to the page for the next Q&A event, there’s a button there to submit your question. When you submit a question, you can attach pictures. And then we can see, and then we can answer.
[00:52:54.320] – Dawn
All right, we’ll bounce back and forth. While you do that, Diane, Beth says she is using pretty close to the same colors. Blue square does look pretty good. Pink does look the least defined.
[00:53:05.150] – Tien
Well, yeah.
[00:53:12.170] – Janet
Yeah. Yeah. Okay, we got three minutes left. Anybody got a question?
[00:53:20.180] – Tien
Is this an hour or an hour and a half?
[00:53:21.890] – Dawn
This one’s actually scheduled an hour and a half this time.
[00:53:25.220] – Janet
Oh.
[00:53:27.300] – Tien
Got some Cheetos, Janet?
[00:53:30.070] – Janet
I don’t, but I have popcorn.
[00:53:33.430]
[laughter]
[00:53:34.630]
[crosstalk 00:53:35]
[00:53:38.560] – Janet
I thought we had 60 minutes.
[00:53:41.860] – Dawn
Janet will light the popcorn, if you come up with some more questions.
[00:53:46.140] – Janet
Wait. Am I lighting if they do or if they don’t?
[00:53:48.860] – Dawn
No, they have to have some questions. Beth says she might throw in some purples to see what happens. That’s not a question. Come on. I need a question.
[00:53:57.100] – Janet
I think Beth’s purple was in relation to Tien’s–
[00:54:02.380] – Tien
Idea. Yeah.
[00:54:03.350] – Dawn
Oh. That’s an old one?
[00:54:05.760] – Janet
Hot pepper. The picture you showed, I don’t know if it was here in this webinar or earlier and you showed me, but that had the red and the yellowy-green, that looked like chili peppers to me.
[00:54:18.430] – Tien
Interesting. I think I know that one.
[00:54:21.340] – Dawn
Okay, we got a question. Sharon Gardner says, how searchable is the Handwoven database? I have all the copies of the magazines, fun to look through, but hard to find specific things.
[00:54:35.000] – Janet
So for that, I don’t know the answer to that. I have not searched through the Zinio app, if that’s even possible. But Handwoven does produce an index. I don’t know how recently they’ve put one out. But you can search through the index by topic, by author, by various things, and it will tell you what issues you can find articles by that author or articles on that topic in. Then you can go find them in Zinio. They’re in Zinio in date order, so it’s easy enough to find the issue you want if you know which issue that is. And something else that you can do–
[00:55:12.260] – Tien
Actually, I’m on the site right now, and it turns out once you log in, it’s searchable.
[00:55:22.330] – Janet
Oh, great.
[00:55:22.800] – Dawn
Cool.
[00:55:23.230] – Tien
So I will share my screen and Share Screen, that button there. You can tell I’m good with technology. If I go to My Library–oops–all right, let’s try that again. Did it log me out? What you can do is just click on this and search for whatever you want. And ta-da, everything involved with shadow weave.
[00:55:59.720] – Janet
Fabulous.
[00:55:59.720] – Tien
Now I can throw away my index, and I can also get rid of that–I have an entire collection, every Handwoven magazine ever published, which is currently occupying something like two full or maybe three full shelves. So now I can get rid of it. Awesome.
[00:56:21.520] – Janet
I’ll take it.
[00:56:23.060] – Tien
Oh, well, sure.
[00:56:24.640]
[cheering]
[00:56:27.840] – Tien
There we go. We got a deal.
[00:56:30.690] – Janet
Now we’re going to figure out how to get it from California to–
[00:56:34.200] – Tien
I was going to say now let’s talk postage, Janet.
[00:56:38.580] – Dawn
Sharon’s going for signing up for Handwoven, so we should let them know.
[00:56:43.000] – Janet
So, Sharon, just so you’re aware, what we’re talking about is just a subscription to the magazine. Handwoven has other subscriptions you can do there, an all access pass or other things for their website. And those are great too, but they’re not required for what we were just talking about.
[00:56:57.450] – Tien
That’s right.
[00:56:57.810] – Janet
What we’re talking about is just a straight-up subscription to the print magazine. You get the digital archives along with.
[00:57:04.370] – Tien
Right.
[00:57:04.730] – Janet
But check out the other, too.
[00:57:09.600] – Dawn
All right. So we got a question, Janet. Are you ready to light that popcorn?
[00:57:13.250] – Janet
I just–
[00:57:14.110] – Dawn
Ate it?
[00:57:14.880] – Janet
No, well.
[00:57:16.247]
[crosstalk 00:57:16]
[00:57:16.466]
[laughter]
[00:57:16.490] – Janet
I’m still confused. Is lighting the popcorn the reward for questions or was it–
[00:57:24.840] – Dawn
It was the reward for questions, yes. And we got one. We’d like some more. Wow, it’s remarkable.
[00:57:34.960] – Janet
Well, yeah, but it’s dissolving quickly. It does not last as long as a Cheeto.
[00:57:39.890] – Dawn
[inaudible 00:57:40]
[00:57:41.020] – Janet
Oh, sorry. I don’t have it–I’m trying to move it over.
[00:57:44.920]
[laughter]
[00:57:46.780] – Janet
Oh. And now I have charcoal.
[00:57:51.410]
[laughter]
[00:57:51.410] – Dawn
Don’t set the house on fire.
[00:57:54.040] – Janet
And my chopsticks are burnt.
[00:57:58.980]
[laughter]
[00:57:58.980] – Janet
Cheetos definitely better for fire starters.
[00:58:07.340] – Dawn
Sharon has had a subscription from the beginning, so now she knows how to get all the good stuff online. Have fun.
[00:58:13.120] – Janet
You may need to create a separate login and password. I’m not quite sure how that whole infrastructure works on their site. But I do know that my browser remembers who I am to look at the back issues of magazines, but it doesn’t remember who I am to look at the current website. So I suspect they’re in some way not integrated. You might still need to create an account in order to read the Zinio things.
[00:58:41.940] – Janet
So Zinio is the service that they use to display the back issues and stuff. So it may be that you need a Zinio account. But as I recall, it was pretty straightforward for how to set that up. I got to put this down.
[00:59:00.170] – Dawn
[inaudible 00:59:00] is a test for natural fiber, so I guess you’ve got natural corn there.
[00:59:06.660] – Janet
I hope I didn’t burn my [inaudible 00:59:08]
[00:59:08.550] – Tien
Next episode, we’re going to dye popcorn because clearly it’s a cellulose fiber.
[00:59:13.650] – Dawn
Nice.
[00:59:14.640] – Janet
Well, it’s corn. Oh, good. My chopstick got shiny again.
[00:59:19.520] – Dawn
Oh, good.
[00:59:20.640] – Tien
No, chopsticks were harmed in the making of this video.
[00:59:23.440] – Janet
Not permanent.
[00:59:24.170] – Tien
Why did Janet do that?
[00:59:26.770]
[laughter]
[00:59:29.110] – Tien
You may have missed the last episode–
[00:59:31.500] – Janet
That is a question that gets asked perpetually in my environment. My husband has been asking that question for almost 30 years. Why?
[00:59:46.810] – Tien
Eda, if you missed the last episode, the last episode involved Janet eating Cheetos, at which point somebody remarked that they made great fire starter.
[00:59:56.450] – Janet
So we tested that theory. We are empirical scientists after all.
[01:00:02.420] – Tien
All right.
[01:00:04.910] – Dawn
All right. Who has some more questions?
[01:00:07.890] – Janet
Okay.
[01:00:08.744] – Dawn
Eda Lee says okay. Okay, Janet.
[01:00:08.870] – Janet
It’s better just to take these things in stride and just say that’s just Janet. Let’s move on. I think this chopstick might be burnt. Oh, no, no, no. It comes off with a little spit.
[01:00:24.780] – Tien
All right. Remind me to tell you some time about–
[01:00:30.320] – Janet
Is it 9:30 yet?
[01:00:32.460] – Tien
Remind me to tell you some time about the time that I bet my sponsors for a charity ride that if they would donate $5,000, that I would ride 600 miles in a tutu.
[01:00:48.680] – Janet
And nothing else?
[01:00:51.020] – Tien
No. No. No, no, no. The tutu turned into this whole thing where I wound up doing lots of different costumes because God forbid that you should be seen in the same tutu twice.
[01:01:04.460] – Janet
As you do. How can you have just one tutu?
[01:01:08.000] – Tien
Yup.
[01:01:08.000] – Dawn
I actually think tutus should be standard wear, frankly.
[01:01:12.030] – Janet
When COVID first started, I was seriously tempted to get one of those big hoop skirt things. You get them for wearing under whatever. They’re petticoats, I guess. But they’re, like, 6 feet across. I’m like, here’s my personal radiance–radius, folks. Do not come inside my hoop skirt boundary. I thought about getting it with toxic radioactive fabric printed all over it.
[01:01:44.640] – Tien
Okay. Miriam has a question.
[01:01:46.060] – Dawn
We actually have a question now.
[01:01:47.780] – Janet
Thank goodness. Saved by Miriam. The pros and cons of an electric bobbin winder. I don’t have any cons. They’re just pros.
[01:01:56.770] – Tien
Pros, everything. Cons, none.
[01:01:58.830] – Janet
Yeah.
[01:01:59.300] – Tien
The cons are the expense, really.
[01:02:00.930] – Janet
Expense. Yes, that’s fair.
[01:02:02.920] – Tien
But you can get two of them–
[01:02:03.710] – Janet
Okay, here’s another one. When the power is out, you can’t wind bobbins unless it’s battery operated, I suppose.
[01:02:09.850] – Tien
If the power is out, you probably have other problems.
[01:02:14.300] – Janet
Well–and yet you still might want to weave rather than focusing on those problems.
[01:02:22.490] – Tien
True. True.
[01:02:23.690] – Janet
When the power goes out frequently, you might still want to be able to weave.
[01:02:28.310] – Tien
Double ended and single ended are different. I like double ended because you can wind pretty much anything on it.
[01:02:39.280] – Janet
If you’re going to go for the expense of an electric bobbin winder, I would also recommend the double ended because it just holds things more securely. A single-ended one tends to vibrate. The double-ended ones mean that in addition to a bobbin or a pirn, you can wind spools, like for your spool rack, if there’s enough space. You can wind–I just happen to have a box of them here, depending on the style of the winder, paper quills, or in this case, paper straws. You can wind–if you have a Brassard or whoever, if your stuff comes on those cardboard spools, you can wind back onto the cardboard spools.
[01:03:30.860] – Tien
You can also wind cones, if you have a cone adapter.
[01:03:37.260] – Janet
Yeah. Yeah. Beth says she has an attachment so she can wind bobbins on her Electric Eel spinning wheel.
[01:03:42.410] – Tien
That’s nice.
[01:03:44.190] – Janet
Cool. It’s sort of tangentially related. At the first Convergence I went to, I took a little mini workshop on spinning shifu, the paper for weaving with for the Japanese fabric shifu, spinning that. And we did it on a manual bobbin winder, kind of like a charkha, using it like a charkha.
[01:04:12.620] – Janet
Oh, Eda Lee has a broken arm. Yes, you definitely need a hoop skirt. For one thing, it would keep people from banging into you, and for another, you would be completely expected to do the whole Scarlett O’Hara. Oh, alas, alack, my arm, it is broken.
[01:04:35.400] – Janet
So going back to the electric bobbin winders, if you’re going to get a single-ended one, various companies make those, too. But an electric drill works great as an electric bobbin winder. And it’s a whole lot less expensive than electric, like, buy the electric winder from the company kind of deal. And you can put holes in things with it when you’re not–or screw things together when you’re not winding bobbins with it, and that’s nice. That’s what I used for years and years and years.
[01:05:04.800] – Janet
But then I did get a double-ended one. And I have the Schacht one, which has fairly big knobby things on the ends that come down to very fine little points at the ends, which means I can put any size thing, no matter what the diameter is, I can wind onto it.
[01:05:26.890] – Janet
Whereas my guild has a Leclerc one, and you can’t wind something this narrow on it because it has not pointy points, but sort of cylinders that the thing has to fit onto. It also doesn’t work as well for the cardboard spools that come inside lots of yarns.
[01:05:46.750] – Tien
I’ve got an AVL, which has handled more or less anything I’ve thrown at it. I’m very fond of mine. You will pry it out of my cold dead hands. But do it very carefully because I plan to come back as a zombie.
[01:06:07.560] – Dawn
Miriam says it might be time to retire her 40-year-old Harrisville winder.
[01:06:12.270] – Janet
Is it a manual? I think the manual ones–
[01:06:18.600] – Tien
I keep the manual ones on hand.
[01:06:21.060] – Janet
Yeah. When Mom and I teach in her studio, we always have a couple of drills, and we have a couple of manual winders. Some people prefer one over the other. Sometimes, especially for newer weavers, the speed of an electric is too much. But if you’ve been weaving for 40 years, then I think you’re probably ready to take on the speed.
[01:06:44.800] – Dawn
Miriam’s manual keeps getting stuck mid turn.
[01:06:47.280] – Janet
Yes. Yes. You can only wind them one way, or the gears get messed up and blah, blah, blah, blah, blah. Go for the electric. You’re worth it. It’s like the–Maybelline, is that the “you’re worth it?”
[01:07:07.050] – Dawn
L’oreal.
[01:07:07.590] – Janet
Okay. It’s makeup. I don’t really know from makeup.
[01:07:11.300] – Dawn
Me neither.
[01:07:16.010] – Tien
Okay.
[01:07:17.740] – Janet
Yes, good for your husband.
[01:07:19.190] – Dawn
Yes, we like your husband, Miriam. He’s an enabler and says, just buy it.
[01:07:23.000] – Janet
Just buy it. Okay. I have more popcorn here, folks. Just saying.
[01:07:35.740] – Tien
Janet.
[01:07:38.380] – Dawn
Anyone?
[01:07:39.280] – Tien
I’m calling them to take you away, Janet.
[01:07:42.170] – Janet
All right. Should we wrap up early if we don’t have more questions?
[01:07:50.180] – Tien
I think we wrap up early rather than burning more popcorn. I will–
[01:07:59.600] – Dawn
All righty.
[01:08:03.500] – Janet
You’ve got about 30 seconds until she comes back with a cat to ask any more questions.
[01:08:13.420] – Dawn
Eda Lee says, thanks. You’re welcome.
[01:08:18.080] – Janet
I hope your arm heals quickly. I love that the captioning thinks your name is Italy.
[01:08:28.430] – Tien
Here she is.
[01:08:29.910] – Janet
Italy, the entire country, has just said, thank you.
[01:08:32.870] – Dawn
Oh, look.
[01:08:33.600] – Janet
Hello.
[01:08:35.880] – Dawn
Hello. Such a handsome guy.
[01:08:37.660] – Tien
Such a handsome fellow. You would never imagine that he would have been on his back with all four legs in the air looking terribly, terribly undignified and asking for a belly rub.
[01:08:48.490] – Janet
I would totally imagine that.
[01:08:49.680] – Tien
Just earlier this afternoon.
[01:08:51.510] – Janet
Oh, I thought you meant, like, 10 seconds ago.
[01:08:54.950] – Tien
Oh, no. All right, shall we–
[01:09:00.560] – Janet
Okay.
[01:09:00.560] – Dawn
I am copied.
[01:09:02.000] – Janet
Bye, folks. See you next month.
[01:09:05.200] – Dawn
Wait a minute. Do we have a question that just popped up?
[01:09:07.260] – Janet
Yeah, it’s just Eda Lee saying the Italy.
[01:09:09.920] – Dawn
Okay.
[01:09:11.640] – Janet
All righty.
[01:09:12.640] – Dawn
Bye, everybody.
[01:09:12.938] – Janet
Bye, everybody. Thanks for coming.
[01:09:14.450] – Tien
Bye, everyone.