Fibre Burn Test

Today I sorted threads and yarns…bins of them.  I got rid of all the knitting yarns.  For the ones that were left the burn test assisted me in determining some of the identities that I, as a novice, could not tell by sight…

I acquired all of this thread through my loom purchases.  I have a great amount of this yarn.  It is a two-threaded wool…each of which is two-coloured.  It may have mohair, but will need someone more experienced to show me how…

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Canadian Red Cross, Leclerc 20″ Jano Table Loom: Winter Project

Today I purchased a Leclerc table loom for $70 from some photos through the Manitoba Weavers guild.  It is in need of reconditioning, but overall it looks in sound shape.  It is said to be missing the reed, but it might be missing the entire beater.  Not to worry…I can produce a beater and a reed can be purchased.  Definitely some rust on the harness frames/attachments.  It will be a great winter project…

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What type is it?  It looks similar to a Dorothy, but some of the construction is wrong.  I believe that it is a  Jano.  What gives it away is the metal lateral cross member like the one in the pic of the one I bought.  It was Leclerc’s first table model.  It does not fold.  It is 20″ wide.

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http://www.camillavalleyfarm.com/weave/leclerchistory.htm

There is a Red Cross – Canada, sticker on the loom…

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Here are some links to Red Cross usage of looms.  The first one cites a MB Weavers member in the use of looms at Deer Lodge Centre (originally the Red Cross Arts and Crafts Centre):

“Margaret Groff

“Margaret Groff’s work at the Red Cross Arts and Craft Centre (later renamed Deer Lodge Centre) sparked her interest in learning to weave.”  (http://www.mbweavers.ca/about-us/our-history/)

And other Canadian Red Cross histories of looms on the internet:

http://www.galtmuseum.com/media/Woven-in-Time_MediaKit.pdf
http://www.jmccentre.ca/uploads/about_us/history/history_windsor_redcross_school.pdf

Warping The Loom

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cross ties
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laying the warp through the harnesses
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tying up the cross sticks
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cross sticks installed, cross at the back of the loom
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installing the raddle

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centring the warp on the raddle
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counting ends to the half inch
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beaming the warp – after the warp is laced, heavy paper is used on the rear roller to keep the warp strands from wrapping in on themselves unevenly and creating uneven warp strands as one weaves

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teasing out warp strands at the front of the loom
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using a teasing stick
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tensioning knots and winding the warp

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grouping of heddles and threading with a hook
grouping of heddles and threading with a hook – using 4 harnesses to assist spreading
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threading reed – 3 stands/2 openings
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tying in the warp

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A Word About My Weaving Teacher

There is a point in loading the rear roller of a loom when tension needs to be kept on the thread/yard. In order to accomplish this the weaver need only put a simple knot in the warp on the breast beam. That’s what is seen here in the video, but it’s not the reason why I shot this more-than-brief scene. I shot this sequence to highlight the beautiful nature of my mentor, Susan. Both she and her husband are artists…retired now, but still deeply involved in various art communities. Really wonderful people who walk with others as they learn. Comprehensive knowledge. Practical. Compassionate. Deeply hospitable. I am just so fortunate to have her for my weaving mentor. There’s no doubt in my mind that I could read a book and figure out wool, spinning, and weaving…but why? Doing hands-on teaching rounds out the experience into something truly human that actually does appropriate service to the activity itself. Words are good, but fall short of the actual doing of actual art. You can describe art with words, but you can teach art without any words, and the art itself is of course, sheer expression in its own right. Deep calling to deep. Here’s just a brief snippet of our time the other day.  There is no substitute for a good teacher…