- this time woven with the fan reed.
First small sample, just cut off:
Still wet, sitting on a marble slab, after (what I thought was a very vigorous) hand wet finishing, in the hottest water I could manage. Obviously not vigorous enough, as all reed marks still are too visible. (And the flash making it blue, instead of the greener it "really" is)
Day two, dry and pressed (actually, pressed when still damp, left to dry), in natural light. Not quite as "reedy" as I thought - and some of it can come from the fact I had (of course!) three slightly different nuances in the warp.
I started with the idea of making 12 picks (or three "through-treadlings") between each moving of the reed. Very soon it became apparent I could not count to neither 12 nor 3, so I went down to 8 (or 2 "through-treadlings"). Much easier!
Now to decide if it is worth going on with a longer project, how/where to place the "turns" lenghtwise, whether to back down the contrast to give it a more traditional look...
1 comment:
I like the contrast- and I like the trapezoids, and the split down the middle. A nice change from the sine curves that are often associated with fan reeds.
How many elevation changes are you using between lowest and highest positions? What so you do to get a good shed when at the extremes of the reed movement? I have difficulty getting a good shed at the top and bottom.
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