Spinnhuset - solid colur?

- About 4-shaft counterbalance looms (Scandinavian style)
- About multi-shaft (dräll pulley) CB looms
- About jämtlandsdräll
- Thoughts about "overshot"
- Some rag weave facts
- Om vadmal
- Om färgeffekt
- About fabric analyis
- bindningskonstruktion (opens in new window)
- About construction of double layers
- About weaving double width
- Double width, part 2
- About profile patterns
- How to expand a profile pattern
- More about profile patterns
- Om tagelvävning
- About differential shrinkage
- Solid colour?
- Om datoriserad vävstol

- About old wooden reeds
- About reading old literature
- About Hulda Peters vävbok
- threading notations, part 1
- threading notations, part 2
- About horsehair
- Tageltyg från Småland
- ideas about displaying
- "Original", kopia eller plagiat?

- A survey of Swedish weaving books

- Om tyst kunskap
- Nog nu!

in English:
- Serial weaving
- "TWILL"
- Block substitution
- Vadmal

Solid coloured?

It was a long time since I had a solid colured warp on my loom - if solid coloured means that all ends have the same colour number. They can be all red, or grey - but not the same red (or grey).

There are several reasons for that: one is tht I am lazy... It is faster to wind a warp with several ends, and it is faster to take out all red yarns than to try to find just ONE red. (Not to mention that one does not have to mark all cones, spools and quills that are going back into the cupboard...)

Another advantage is that the web/product becomes "better" with several colours/nuances. Something happens to the surface, it gets depth; the eye gets something to discover.

But (someone is always asking): then it gets striped? Well, that obviously is true. But is it the stripeyness that gets to be the most important feature? The answer is, as always, in the eye of the beholder.
Left picture: detail from a "bubbly" neck warmer.
Right picture: the same neck warmer seen from a distance.

Above: a thin cotton fabric (18 ends per cm), warp has three different blue colous, ecru cotton (solid colur!) for weft. While the "stripes" are clearly visible, they are not (not to me, anyway) the dominant feature...

Detail of a "solid coloured" >V-shawl.
The idea was that it should look solid-coloured, but I wanted depth in the solid colour. With two close nuances, used crosswise in warps and wefts, the two nuances are not easily seen except for the fringes.

Some cotton spools that, together with a couple of dark brown and moss green wool yarns, might be the making of a "stone wall in Småland".
To the right: ready, posing on a stone wall...

Even black becomes different if combined from various makes and grists. Then add some dark blue...

Using a system (planned beforehand) it is easy to make gradations from one colur to a totally different one.

Here are two examples - the left constructed in weaving software, the right one is a photo of a triptych I called "The Flame".

My favourite system for colour transitions is described here - serial weaving - once written for Complex Weavers.

Ideas get better by sharing - here's hoping I can inspire someone with mine!

på svenska home clothing accessories home furnishings horsehair fabrics academic dress articles - About 4-shaft counterbalance looms (Scandinavian style) - About multi-shaft (dräll pulley) CB looms - About jämtlandsdräll - Thoughts about "overshot" - Some rag weave facts - Om vadmal - Om färgeffekt - About fabric analyis - bindningskonstruktion (opens in new window) - About construction of double layers - About weaving double width - Double width, part 2 - About profile patterns - How to expand a profile pattern - More about profile patterns - Om tagelvävning - About differential shrinkage - Solid colour? - Om datoriserad vävstol - About old wooden reeds - About reading old literature - About Hulda Peters vävbok - threading notations, part 1 - threading notations, part 2 - About horsehair - Tageltyg från Småland - ideas about displaying - "Original", kopia eller plagiat? - A survey of Swedish weaving books - Om tyst kunskap - Nog nu! in English: - Serial weaving - "TWILL" - Block substitution - Vadmal about weaving materials about Spinnhuset Kerstin's blog	Solid coloured? It was a long time since I had a solid colured warp on my loom - if solid coloured means that all ends have the same colour number. They can be all red, or grey - but not the same red (or grey). There are several reasons for that: one is tht I am lazy... It is faster to wind a warp with several ends, and it is faster to take out all red yarns than to try to find just ONE red. (Not to mention that one does not have to mark all cones, spools and quills that are going back into the cupboard...) Another advantage is that the web/product becomes "better" with several colours/nuances. Something happens to the surface, it gets depth; the eye gets something to discover.
	But (someone is always asking): then it gets striped? Well, that obviously is true. But is it the stripeyness that gets to be the most important feature? The answer is, as always, in the eye of the beholder. Left picture: detail from a "bubbly" neck warmer. Right picture: the same neck warmer seen from a distance.

	Above: a thin cotton fabric (18 ends per cm), warp has three different blue colous, ecru cotton (solid colur!) for weft. While the "stripes" are clearly visible, they are not (not to me, anyway) the dominant feature...
	Detail of a "solid coloured" >V-shawl. The idea was that it should look solid-coloured, but I wanted depth in the solid colour. With two close nuances, used crosswise in warps and wefts, the two nuances are not easily seen except for the fringes.
	Some cotton spools that, together with a couple of dark brown and moss green wool yarns, might be the making of a "stone wall in Småland". To the right: ready, posing on a stone wall...
			Even black becomes different if combined from various makes and grists. Then add some dark blue...
	Using a system (planned beforehand) it is easy to make gradations from one colur to a totally different one.
		Here are two examples - the left constructed in weaving software, the right one is a photo of a triptych I called "The Flame".
	My favourite system for colour transitions is described here - serial weaving - once written for Complex Weavers. Ideas get better by sharing - here's hoping I can inspire someone with mine!

Bergdala Spinnhus

Solid coloured?