Posts Tagged With: monochrome pick-up lampas

Monochrome Lampas Finished

The weaving is off the loom and through the wash (delicate, warm, low spin).  The wash shrinks up the threads, and shifts them to the place of least resistance.  Fabric can completely change appearance and texture after finishing.

Unfortunately, it’s still really hard to photograph well.

Lampas

Finished lampas

This is all 8/2 tencel.

I think for my next sample I’ll double the pattern weft, as that was usually done in a thicker thread and it’s just not filling in enough for full coverage.

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How to Weave Lampas on a Four Shaft Loom

People have been asking me about my technique, so I thought I’d try to explain it here.

The loom is warped using the plan described in a previous post. I added an extra treadle sequence to lower 1 and 2 (the binding warps) to make pick up easier. This system uses pick up sticks to maintain the pattern while the binding warp is raised.

Step 1
Lower shafts 1 and 2 (or raise shafts 3+4 if you have a jack loom) – this moves the binding threads down and out of the way.
Use a pick up stick to pick up your pattern.

pick-up

Picked up pattern

Raise the pick up stick and treadle pattern 1. This will raise one half of the binding warps. The shuttle needs to go in the smaller shed.

warp

Raised patterm warp and lifted binding warp. The arrow points to where the shuttle goes.

Step 2
Transfer the pick up stick to back behind the heddles while maintaining the threads.

pick-up-behind

Pick up stick behind the heddles

Treadle and weave ground 1.

Step 3
Transfer the pick up sticks with pattern back to the front.

Raise the pick up stick and treadle pattern 2. This will raise the other half of the binding warps. As before, the shuttle needs to go in the smaller shed.

Step 4
Remove the pick up stick. Treadle and weave ground 2.

Step 5
Repeat steps 1-4 for the next pattern row.

Lampas_Progress

On an angle, you can see the pattern in the weave. This should show up much better after finishing the fabric.

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Lampas In Progress

The loom is warped using the plan described in a previous post.  I added an extra treadle sequence to lower 1 and 2 (the binding warps) to make pick up easier.  This system uses pick up sticks to maintain the pattern while the binding warp is raised.

warp

The shuttle needs to go through the small opening – this is the pattern plus the binding warps.

I’m doing 2 pattern repeats, -1 to even them out, an inch of ‘plain weave’ on either side.  I’m adding another binding warp on the far end to balance the fabric.

So far it’s coming along nicely. I can’t really see the design, but I’m hoping that will show up much better with wet finishing – this is often the case with textured textiles.

progress

Weaving so far. This took 20 minutes. I hope I get faster – I expect I will.

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Lampas Fail

Well, big fat weaving fail.  I underestimated the difficulty of picking up the main warp through the binding warp.  I’ve cut off what I’ve done, and I have enough warp for one more attempt.

This time, I’ve added another treadle to lift just the main warp – I will do pick up here (unencumbered by the binding warp), then raise the binding warp afterwards and run the shuttle in the small space in between.  This should work.

I’m also realizing the time it’s  going to take to complete this project.  I will have to cut down the size of my samples, I think.  1 inch of plain plus two repeats of the pattern instead of 3 2/3 repeats.  That should still make a nice sample 8 inches wide before finishing.

I’m also concerned that the tencel will not bloom enough to show the pattern nicely.  It worked great in the cotton sample, but the tencel is a different animal.  I’m going to forge ahead and see how it goes, as fabric often looks completely different after finishing.

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Threading the Heddles

I find this to be the most tedious part of weaving.

13 inches with 48 threads per inch means 624 + 4 (to center the pattern) gives me 628 threads.  Each thread needs to be threaded into the eye of one heddle, in a pattern.

Threading

1/4 of the way done.

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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.

lampas_draft

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:

Lampas1

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_Front

Lampas test front

Lampas_Back

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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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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Lampas Design #1 (Monochrome)

John Becker (Pattern and Loom) states that the key in choosing a lampas design is to choose a pattern that has no large areas of plain background.  I had thought about designing my own, but my artistic talents really don’t lie in that direction.

Since I’m sure I’m not the only one with that challenge that ever existed, I did what someone from history might also have done – I copied them from a book.  I have selected several designs from various 16th century modelbuchs that I liked the look of.

I need to pick three, one I will do monochrome (single color), one duochrome (two color) and one polychrome (three colours)

First up is monochrome so i can learn the weave before adding the complexity of additional colours.

Here are some ideas:

Modeulbuch

From La Vera Perfettione del Disegno, compiled by Kathryn Newall

Burato1

From Il Burato

Modeulbuch

From Gli Universali Dei Belli Recami, compiled by Kathryn Newall

Hm… how to choose?

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