Monthly Archives: December 2012

Green Skirt Progress

Now that the green doublet has been started, I can think about the skirt.

I’m using the skirt pattern from the gown of Dorothea Sabina von Neuburg in Patterns of Fashion (without the train).  It consists of four straight panels of fabric, and four tapered side pieces. The velveteen I have is only 35″ wide, but this should still give me a nice full skirt.


The top of the skirt with the attached linen

I was going to fold over the velvet at the skirt edge before cartridge pleating, but forgot to extend the skirt tops to accommodate that.  An easy fix was to sew a strip of linen along the top to fold over.  This might be a better option in the long run, as the extra fabric will reinforce the stitched where there skirt is attached to the doublet – the velveteen alone looks liable to tear.

I am also adding couched gold cording along the front and hem of the dress.  I will do this after the skirt has been added to the doublet, because I want to make sure the embroidery is parallel to the ground when the dress is worn.

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Green Doublet Progress Continues

I have the embroidery hashed out now, except for the panels and the chevronning inside of the vertical stripes on the lower half of the doublet.  I still need to re-fit the neck a bit, and I may pad stitch some batting down along the inside of the collar for stiffness.

I’m still not entirely sure what design I want to put in the panels.  I’ll be getting my cord soon, and then I can start embroidering what I have while I mull it over.


Doublet front


Doublet back

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Green Doublet Progress

I was debating between applying the trim before cutting out the fabric, but looking at the original again it appears that many of the corded lines of trim go over seams, so I’ve put together the outside of the doublet and will couch the trim onto that.

The basic doublet is sewn and fitted over the petticoat bodies and I’m ready to start applying trim.  The dashed yellow lines show where the gold cord is going to go – this is just the beginning.  Here is my inspiration.


Doublet in progress

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Lampas – Weaving Draft Explained

I have had a request for more information about my lampas weave setup.  Like with anything, diagrams explain more than text, so I’ve sketched up a draft of what I mean.  This is the backside of the fabric, which shows more information about the fabric that the front.  When weaving, I will reverse the tie-up (rising become falling, and vise versa) to put more threads on the bottom (3 vs 1) so the shuttle is less likely to fall through.  Also, I prefer weaving face-up.


This is the draft I am using for my lampas.
This has been reversed to show the backside, which gives more information about the fabric.

A: The pattern.  

This is the charted pattern that I am weaving.  Blue represents the pattern, and white is the background.  Each square is equal to four warp ends and four weft picks.  This is reversed in the drawdown, because it shows the back of the fabric.

B: The tie up

The threading is a repeat of 3,4,3,2,4,3,4,1.

C: The treadle tie up

This is how I am tying up my treadles.  O is a raising shaft, X is falling.  Black means no tie up (the warp will stay in the middle of the shed).

This is the key to my theory.  On the pattern (blue) weft picks, half of the black threads will rise, and half will lower.  The red threads will stay in the middle of the shed, grouped in threes.  I will then manually pick out the pattern in the red weft.  The black threads act as the tabby warp for the (blue) pattern weft.

D: The treadling pattern

This is treadled in the following repeat:

  • Pattern1: 2 down, 1 up, 3+4 centre
  • Ground1: 1, 2, 3 up, 4 down
  • Pattern2: 1 down, 2 up, 3+4 centre
  • Ground2: 1, 2, 4 up, 3 down.

E: The threading colors

These are for illustrative purposes, and do not represent the colours I will actually use to weave my design.

Red = ground warp
Black = binding warp
White = ground weft
Blue = pattern weft

F: The drawdown

If you think about double weave, you are weaving two layers of fabric at the same time.   Red and white threads represent the ground layer, and blue and black represent the pattern layer.

On the left-side of the drawdown the two layers do not interlace and a true doubleweave fabric is produced.  On the right-hand side (where the blue pattern threads are visible on the front) the key to notice is the little blue dots.  The black binding warp (which is the warp for the pattern layer of doubleweave cloth) goes through both layers of fabric, binding them together into one.

Lampas Textile from book: Pattern and Loom

Image – Lampas Textile from book: Pattern and Loom page 171 (image has been cropped).
The face is shown on the left. The backside is on the right side, showing the doubleweave.

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Lampas #1 Charted

I have decided to go with the first design from my ideas.  I think the geometric nature of the pattern will make it an easier place to start.

I have redrafted one repeat of the pattern here to make it easier to work from:


36 x 36 chart

The pattern is 36 blocks wide and high.  I will do 3 2/3  repeats, plus an inch of ‘plain’ on either side of the pattern.  At 48 epi, with 4 threads per block , this will give me a sample that is 13 inches wide before finishing.

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Lampas – Loom Setup Trials

Since I’m having a hard time visualizing my proposed setup, I am doing a small test swatch to confirm my understanding before starting the real project.

So, I’ve threaded 40 ends of cotton at 40 epi for a 1 inch band.  I’m using 40 epi rather than the 48 for tencel, since tencel should be set tighter than cotton.

The loom uses shafts 1 and 2 for the binding warp, and 3 and 4 for the ground.  It will be threaded in a repeat of 3,4,3,2,4,3,4,1.

It will be treadled in the following repeat:

  • B1: 2 up, 1 down, 3+4 centre
  • G1: 1, 2, 3 down, 4 up
  • B2: 1 up, 2 down, 3+4 centre
  • G2: 1, 2, 4 down, 3 up.

I tested my theory using the color coded threads they used in Pattern and Loom. Red for the ground warp, black for the binding. White for the ground weft, blue for the pattern.

It worked as intended.  The background separated into a doubleweave while the pattern weave merged into one fabric (you can see black stripes going over the white threads on the back, look at the top center of the bottom photo).


Lampas test front


Lampas test back

So now all I need to do is draft out my pattern more clearly, and wait for my 12 dent reed to arrive before I can actually start my project.

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Fancy Twill Scarf Finished

The scarf is done, fringed, and wet finished.

Fancy Twill Scarf

Fancy Twill Scarf

The tencel was lovely to work with, but near the end I found my selvedge ends kept fraying and snapping.  And I didn’t see a lot of my treadling mistakes until after wet finishing.

After doing some more reading, I have found out that tencel does not like high tension (which I tend to use), and is stronger when wet.  So for my next project I will use less tension and try dampening the threads.

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Lampas – Loom Setup Theory

In ‘Pattern and Loom’, John Becker proposes a way to weave lampas with a pick-up technique on a four-shaft loom as a doubleweave set-up.  When a pattern row turns up in the draft, a fifth patterning treadle is used to lift the whole of the main warp.  The pattern is then picked out with a shed stick.  The stick is held flat against the reed while the treadle for one of the binding warps is raised.  A new shed stick is inserted behind the reed.  The end result is a shed that consists of  the pattern and one half of the binding warps. The pick is thrown and the stick is removed.

I have decided to alter his method to take advantage of my countermarche loom.  Instead of raising the main warp threads, I will raise half of the binding warp and lower the other half (as for a normal tabby weave).  This leaves the main warp suspended in the middle of the shed.  I then use a tapestry bobbin to thread my pattern warp through the main shed.  This also results in a weft that goes above all of the patterned area of the main warp and one half of the binding threads, as above, but without the use of the two shed sticks.  This method of weaving pick up would not be possible on a jack loom (which is the more common type found in North America).

The loom will use shafts 1 and 2 for the binding warp, and 3 and 4 for the ground.

It will be threaded in a repeat of 3,4,3,2,4,3,4,1.

It will be treadled in the following repeat:

  • P1: 2 up, 1 down, 3+4 centre
  • G1: 1, 2, 3 down, 4 up
  • P2: 1 up, 2 down, 3+4 centre
  • G2: 1, 2, 4 down, 3 up.

I plan to use sett of 24 epi per side (a common plain weave sett for 8/2 tencel), doubled for 48 epi in total.

Since this is a theory, I plan to do a small warp in cotton to test the weave structure before warping up for my project.

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A Little TLC

Since I had to take apart the wheel to pack it, I’ve decided to wax it up to restore the finish before putting it together again.

The finish added a new sheen and hid the superficial scratches.


Spinning wheel

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