On Craft and Weaving by Ang Ser

Craft and Weaving Angela Maria Serna Geitz

Contents Abstract Colombian Craft A Textile Learning to Weave The Loom Dressing a Loom Woven Works Weaving a Pattern Multi - Layer Weaving A Loom for Multi-Layer Weaving The Process of Making Appendix B: References

Abstract This thesis aims to understand craft through the making and theory of weaving. The act of making engages the mind in a manner that cannot be accomplished by other means. The knowledge, discovery, and work is in making. By learning a method and working within its conventions, the inherent limitations become apparent. This study is a continuous exploration that works to redefine those limits through the design of methods and tools. It aims to show a connection to architectural principles.

“The several arts are composed of two things – craftsmanship and the theory of it. Of these the one, craftsmanship, is proper to those who are trained in the several arts, namely the execution of the work; the other, namely theory, is shared with educated persons. Throughout all the sciences many things, or indeed all, are in common so far as theory is concerned. But the taking up of work which is finely executed by hand, or technical methods, belongs to those who have been specially trained in a single trade.” - Indra Kagis McEwen “Socrates’ Ancestor: An Essay on Architectural Beginnings”

C olom b ian Craft A study of vernacular weaving techniques of Colombia, South America. Colombia is a country of rich cultural and biological diversity. Hand crafts are highly valued and allow for a source of income to native tribes and many artisans throughout the country. The cultural identity of each region and tribe is kept alive partly through the fascinating artefacts they create. The following pages will give you a very small insight in to a few weaving techniques used in Colombia.

Town : Finlandia, Quindio Region : Andean Craft : Basket Weaving Materials : Bejuco

In the small town of Finlandia a strong presence of basket weaving has been around for generations. This small town, nestled in the Andes, has a strong agricultural tradition focused on coffee. Coffee in Colombia is handpicked and therefore required baskets for coffee picking purposes. Each coffee picker straps a basket around his/her waist which allows for the coffee to easily be collected. The baskets use a material called ‘bejuco’ which is a vine that hangs from trees in the region’s forests. The vine is taken from the forest, peeled, and moistened to make pliable. Beginning with a set of a minimum of five interwoven pieces that compose the warp, the weft is later introduced to wrap around and bind the warp together. One’s hands are instrumental in shaping the basket in to the desired form. Therefore, not one basket is alike any other.

Town : Cabo de la Vela, La Guajira Tribe : Wayyuu Region : Caribbean Craft : Crochet Weaving and Ply-Splitting Materials : Cotton Ply-Split Braiding This Technique uses tightly wound chords to create sturdy straps for belts. The process of ply-split braiding calls for one twisted cord to pass through another twisted cord or cords and therefore splitting the plies of the latter cords. Unlike weaving, patterns are formed by cord color, and splitting order. Crochet Weaving: In order to achieve seamless patterns in crochet weaving, one must begin the weaving with all the colors needed for the specific pattern. The desired color is used to weave and encompass the rest of the yarn needed for the pattern. This allows for a very tight weave while still having thickness. It also allows for a quick and seamless transition between colors.

A Textile The Process of weaving produces textiles. A textile is made by the interlacing two sets of threads that are perpendicular to each other. The first set of strings, usually held taught between two rigid members, is called the warp. The second set of strings, called the weft, weaves back and forth between the warp to create a series of interlocking threads. The most basic textile pattern is the plain weave. In this weaving pattern each weft member interlaces with each warp member, going over one warp member and under the next, for the entire set of warp strings. The next weft member will follow reciprocal sequencing, i.e. under instead of over and over instead of under.

Learning to Weave A loom is a simple machine that makes the weaving process more eďŹ&#x192;cient and easier to control. There are two main advantages to using a floor loom vs. weaving completely by hand. The first can be clearly illustrated by observing the path taken by the weft string. By hand, the weft member has to pass over then under each warp member. For textiles that have many warp members, i.e. very wide fabrics, this would be a very cumbersome task. Instead, the floor loom can quickly separate warp members, creating a gap called the shed, which allows the weft member to pass through the warp in an unobstructed path. When weaving by hand the weft yarn must travel a longer distance to reach the end of the textile, whereas when using a loom, the path the weft yarn must travel is significantly shortened. This is achieved by a system of levers, shafts, and thin wires called heddles, which individually hoist a warp member. When the lever is engaged the heddle raises the warp member connected to it. Depending on how the loom is set up, or dressed, each tab will control a number of warp members. Using a sequence of different tab combinations allows for different patterns in the textile to be easily repeated. This is the second major advantage of using the loom.

In the loomâ&#x20AC;&#x2122;s normal position no levers are engaged and therefore no warp members are raised.

One half of the levers are engaged and therefore raise one half of the warp members creating the shed.

The second half of the levers are engaged and therefore raise the other half of the warp members.

Dressing a Loom To dress a loom is to set up a machine for a desired product. When dressing the loom, The warp threads are carefully placed in a manner that will yield a specific woven product. After each warp thread is measured to a desired length, they are wrapped around the back beam, slid through each individual heddle, strung through the reed, and attached to the front beam. Careful and equal tensioning among all threads is important in this process.

TOOLS 8 Shaft Table loom & Warping Frame

MATERIALS Cotton

Measuring the Warp

The warping frame allows for the measuring of the warp threads to a desired length and amount. By crossing each thread at the top and bottom pegs, the threads are kept in the order they are strung on the frame. It is essential to maintain the order of these threads.

Maintaining Order

As the warp threads are moved on to the loom, it is essential to maintain their order by keeping the crossing of the threads. Two wood pieces are used in place of the pegs once the desired amount of warping threads are counted. One end of the warp threads is connected to the loomâ&#x20AC;&#x2122;s warping beam.

Thread Count

Once the warping threads are attached to the loom they must be laid out to a desired density. The rake has spacers every inch to help maintain the spacing of the warp threads. The black elastics help maintain the threads in place. Once all the warp threads are laid out, turn the warping beam to wrap the full length of warp threads on the beam.

Threading Heddles

Pass each warping thread through one heddle maintaining the order of the threads. Each heddle is held in place by a shaft which moved up and down to create the shed (a space between raised and non raised threads that allows for the passage of a shuttle).

Threading the Reed

Each warp thread needs to pass through the reed ( a comb-like metal part that helps maintain the spacing of the threads and tightens the weft thread in place). Either one, two, or three threads can pass through the reed to maintain the same spacing as when laying out the warp threads on the rake.

Tie & Tension

Lastly, the warp threads need to be connected to the front warping beam. This is usually done through a rod that is attached to the warping beam. Tie small sections of warp threads to the front rod and make sure that each group is tensed equally. Equal tension among all warp threads is key in weaving.

Woven Works The following woven artefacts demonstrate the various explorations of the thesis. The knowledge behind each woven artefact is built upon the last and therefore shows a clear distinction in the process and development of the accumulated knowledge of weaving. Each of these explorations lead the project in a unique direction. “If the nature of architecture is the grounded, the fixed, the permanent, then textiles are its very antithesis. If, however, we think of the process of building and the process of weaving and compare the work involved, we will find similarities despite the vast difference in scale. Both construct a whole from separate parts that retain their identity, a manner of proceeding fundamentally different from that of working with metal, for instance, or clay, where parts are absorbed into an entity. This basic difference, however, has grown less clearly defined as new methods are developing, affecting both building and weaving, and are adding increasingly to fusion as opposed to linkage.” -Anni Albers “The Pliable Plane : Textiles in Architecture”

Basic Weaving : A Plain weave where each weft goes over and under every warp. Using 1mm, 2mm, and 3mm thread for exploration.

Finding order in a weave that began without a planned outcome. Even purely experimental work can find ordering systems.

weaving a Pattern Achieving a desired pattern requires a good deal of planning before any weaving beings. The way you dress a loom dictates what type of patterns you are able to weave. Stringing the warp members through different sets of heddle shafts allow for many different designs, the more shafts available, the more possibilities in pattern design. The pattern shown below uses 8 shafts and shows the sequential use of each shaft individually.

Multi Layer Weaving Sparked by an intriguing design of a seamless dress made by Lucy Ferrari, the thesis began to explore the idea of weaving more than one layer of cloth at the same time on a traditional floor loom. The process of weaving multiple layers of cloth at once requires for the use of multiple sets of weft strings to be used. Each set of weft strings corresponds to one layer. 8 shafts allow for the weaving of four layers of cloth at one time and requires the use of four sets of weft yarn. The process of weaving multiple layers is an additive process of the warp threads. In order to work on a single plane, all the warp threads used on planes above must be raised.

The diagram above explains how to weave the artefact shown to itâ&#x20AC;&#x2122;s right. This traditional diagram of weaving was used to plan and execute the intended multi layer weave. The number at the top of the diagram corresponds to each lever being used. The colors represent the type of yarn used for each weft. The arrows point in the direction which the weft must travel. The depth refers to the amount of inches you should repeat this specific pattern.

This series of joint studies is for the frame that displays the multi layer woven artefact in a manner that allows for the artefactâ&#x20AC;&#x2122;s qualities to be fully experienced. The drawing on the left shows the joint used to create the box frame.

The Loom Looms can take many forms and shapes. Throughout our existence we have been continuously improving and modifying this tool to help us create textiles more eďŹ&#x192;ciently. In order to refine the craft we must also refine the tool. The process of weaving lead to a study of the loom. It was evident that the traditional floor loom was designed for weaving only one plane of cloth at a time. By understanding the components and mechanics of a traditional loom, the study began to be guided by the design of a loom for weaving multiple layers of cloth at one time. The loom shown in the following pages is a compact floor loom. It is made mainly from ash with an accent of mahogany for the turning handles. This creates a beautiful yet subtle contrast between the two wood types which will become a starker contrast in time as the mahogany handles darken with light. The ash provides strength and stability for a sturdy and lasting tool while the mahogany is soft to the touch yet its strength is essential for its constant use. The loom uses finger joints along with mortise and tenon, and bridle joints to make a permanent connections between two wood members. For non permanent connections, stainless steel threaded inserts and screws are used. The ratchet and lever system used to lock the warping beams are 3-D printed in white polymer. The precision, flexibility in design, and strength in material made 3-D printing the best method for this component. The heddles and reed are made from stainless steel as they must have strength in slender dimensions.

Levers

Heddles

Turning Handles & Ratchet

Reed

Warping Beams

Bridle

Mortise and Tenon

Finger

Heddle Frame Bracing

4” x 7/4” Hardwood

Leg Bracing

Frame Structure

The frame is made from 4” x 7/4” ash wood members to make it as sturdy as possible. Rigidity is required to minimize racking. The heddle frame acts as a crosss bracing system to the structure of the loom. Additional bracing between the legs also help keep the loom frame square.

1 3/4"

1/2"

2'-10 1/2"

1/2"

2'-10 1/2"

1 3/4"

1 3/4" 3'-2"

3'-2"

1 3/4"

3'-2 1/8" 3'-2 1/8"

7/8"

1 1/2" 7/8"

1 1/2"

1 1/4" 1 1/4" 1 5/8" 1 5/8"

1 1/4" 3"

1/2"

1/4"

2'-9"

1'-11 5/8" 1'-11 5/8"

1" 1"

2'-9"

1 1/4"

3 1/2"

2 5/8" 2 5/8"

1 3/4" 1 3/4"

1/2"

3'-2"

1 3/8"

1 3/4" 1 3/4"

1/2"

3'-2"

2'-2"

2 1/2" 2 1/2"

1/2"

1 3/8" 1 3/8"

3'-2 3/4" 3'-2 3/4"

3/16"

2'-8 7/16"

1 1/8"

1/2"

10 5/16"

9/16"

1/2"

1/2" 5 1/2"

1'-5 1/2"

1/2" 5 1/2"

2'-10"

1/2"

5/16"

1/2"

5 1/2"

11/16"

1" 2'-8 15/16"

1/2"

1/4" 1" 3"

5 1/4"

1/4"

1/2"

1 1/2" 1 1/2"

3 1/2"

3/8"1 3/4"

9/16"

3/16"

1/4"

3/4"1 1/2"3/4"

3/4"

1'-1/2" 3/16" 5"

1/8"

1/2"

5/16" 1"

5/16"

5/16" 5/16"

5/16"

1" 6 1/4" 6 1/4"

5/16" 5/16"

5/16"

7 9/16"

3/8"3/8"

7 9/16"

3/8"3/8"

6 1/2"

6 1/2" 7 9/16" 5/16"

7 9/16"

6 1/2" 5/16"

6 1/2"

1" 3" 3"

5/16" 5/16"

3/8"3/8"

6 1/4" 6 1/4"

1" 3" 3"

6 1/2"

3/8"3/8"

3" 3"

6 1/4" 6 1/4"

5/16" 5/16"

6 1/4" 6 1/4"

3/8"3/8"

3/8"

3/8" 1"

1 1/16" 3/8" 1 1/16"

5/16"

3/8"

3/8"3/8"

6 1/4" 6 1/4"

5/16" 5/16"

5/16" 5/16" 3/8"

3/8"3/8"

3" 3"

6 1/4" 6 1/4"

7/16"

4 5/8"

R = 5/8 " 3"

1" 1" 1"

1 1/8"

7/16" 5 15/16"

3/8" 3/8"

3/8"

2'-6"

1 1/4"

1" R = 1/2 "

1" 1"

1 1/4"

7/16"

7/16" 7/16" 6 3/4"

1 1/4"

5/16"

1/4"

6 3/4"

1/4"

3/8"

7/16"

5/16"

7/16"

1 1/4"

1/2"

1/4"

1 1/4"

1 1/2"

2 1/2" "

1/4"

2 2 1/

2 1/2"

1/4"

1 1/2"

1/8"

1/4"

3/4"

1 1/2" " 1 1/2

1/8"

1/4"

3/4"

" 1 1/2

1/4"

6" 3/16"

3/16" 3"

1/2"

1/4"

1/2"

4 1/2"

1/4"

2 7/8"

1 1/2"

1/2"

The traditional loom with reed on a swinging arm from above comes in contact with the weave at an angle.

A loom with new perpendicular reed movement to ensure contact with all layers at the same time.

The Reed

The purpose of the reed is to push the weft yarn securely in to place as it is woven. It also separates the warp threads and keeps them in place. On a traditional loom the reed is connected to an arm on a hinge. The point of contact between the reed and weft yarns always occurs at an angle. This is not an issue when weaving one layer of fabric but becomes a problem when there are several layers. The issue lies in the fact that the reed comes in to contact with the woven artefact at different points for each layer. This causes gaps to form in the fabric. The solution is to have a reed that comes in contact with the weave in a perpendicular manner so that each layer of yarn is struck at the same point.

First attempt at mounting brackets for precision steel rods failed due to the fact that wood could not provide the level of tolerance needed for this assembly.

Second attempt at mounting brackets for precision steel rods made out of milled aluminum. This system provides the level of precision required for the adequate levelling of these rods.

2 1/2"

3/8"

2 1/2"

1/4"

9/16"

1 1/2"

1/2"

21/2" 1/2"

2 1/2"

1 3/4"

1/4"

3/8"

9/16"

1/2"

1 1/4"

Type 2

Type 1

1/4"

Full Assembly

1 1/2"

1/2"

1 1/2"

1/2"

1/4”

5/4" 3/4"

D = .125”

1/2"

D = .125”

D = .125” 120

12 D = 1.25” D = 1.25”

This modification of the milled aluminum mounting brackets is introducing the ability to adjust the system in order to compensate for the lack of precision available in the wood frame and other components. They allow for one rod to move in three dimensions, while the other can move in two directions.

79 79

Instructions for proper delrin installation To allow for linear movement and prevent binding.

Tight on side A Prevents non linear movement. Machining instructions for Delrin bushing - Side “A”

Cut to length of reed frame width ( 1”).

Lathe outer diameter to match that of the hole in the reed frame. Lightly tap in to place with mallet Tolerance of (+/- .001 ).

Lathe inner diameter to match that of the precision rod ( 1”).

Delrin should only move linearly once on rod and should be very tight to reed frame.

A very tight fit for the delrin bushing on the rail as well as on to the frame will allow for linewar motion but prevent the holder from going askew.

Side “A” Keep as tight as possible

Side “B” Allow for movement

Loose on side b compensates for non perfect alignment of rails. Machining instructions for Delrin bushing - Side “b”

Cut to length of reed frame width ( 1”).

Lathe outer diameter so there is some play between bushing and hole (should be -.1” or slightly smaller than hole.

Lathe inner diameter so that there is some play between the rod and the bushing.

Allow for as much play as necessary around the rod and in the wood frame. The reed frame should still move linearly and not bind.

Allow “slop” or a looser fit for non perfectly spaced or out of parallel rails.

Side “A” Keep as tight as possible

Side “B” Allow for movement

The traditional loom being tensioned by the warping beams.

The Clamp

The traditional loom with multiple layers being tensioned by the warping beams.

New clamping system to maintain equal tension among all layers during the weaving process.

Even tension in the warp strings on a loom is necessary. Without tension, the warp yarn cannot be separated to create the shed through which the shuttle pulls the weft members. Traditionally floor looms use rotating beams to tension the string in either direction. As multiple layers of cloth are tensioned with this system, the outermost layer of cloth becomes well tensioned, however the innermost layer is not tensioned at all. The warp on the innermost layer to will begin sag and prevents the separation required for a proper shed. The clamp is placed before the front beam and allows for all layers to be tensioned equally. The front beam is still used to collect the woven cloth but no longer has the duty to tension it.

2 1/4"

2'-7 3/4"

1 1/8"

1 3/4"

1 1/4"

1 1/4" 1 3/4"

1/2"

2'-4 7/8"

1/2"

3 1/2"

2'-4 3/8"

2 3/4"

2 1/4"

1 3/4"

3 3/4"

3/4"

1 3/4"

2'-2 5/8"

1/8"

1 1/4" 1"

1 3/4" 1"

1/2"

5/8"

3/8"

5/8"

7/8" 5/8"

1/8"

4 1/2"

1/4"

1/8"

3/8"

1/2"

Collapsibility

This loom has been designed in three main parts to allow for ease in transportation. The use of threaded inserts allows for the loom to be repeatedly taken apart and re-assembled without damaging the wood.

The Process of making Ultimately, the thesis is exploring the art of making. Its about letting the saw decide how it wants to cut by creating a relationship with the tool which starts with one’s hands. It’s about allowing the materials that compose architecture tell us how they want to be treated, molded, worked, or applied. This intimate relationship between our hands, minds, tools, and materials allow us to create architecture of integrity. A tree’s beauty is inherent. How can man use the tree in building without removing it’s fascinating qualities.

Ap p e n dix B: Re fe re nces Albers, Anni, and Brenda Danilowitz. Anni Albers: Selected Writings on Design. Hanover: U of New England, 2000. Print. Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient times to the Present. New York: Van Nostrand Reinhold, 1979. Print. Chandler, Deborah. Learning to Weave. Loveland, CO, USA: Interweave, 1995. Print. Duque, Cecilia Duque, and Eric Bauer. Lenguaje Creativo De Etnias IndĂgenas De Colombia. N.p.: Grupo De Inversiones Suramericana, 2012. Print. Hjert, Jeri, and Paul Von Rosenstiel. Loom Construction. New York: Van Nostrand Reinhold, 1978. Print. McEwen, Indra Kagis. Socratesâ&#x20AC;&#x2122; Ancestor: An Essay on Architectural Beginnings. Cambridge, MA: MIT, 1993. Print. Rogowski, Gary. The Complete Illustrated Guide to Joinery. Newtown, CT: Taunton, 2002. Print. Seike, Kiyoshi. Japanese Joinery. New York, NY: Weatherhill, 1993. Print. Weber, Nicholas Fox, Mary Jane. Jacob, and Richard S. Field. The Woven and Graphic Art of Anni Albers. Washington, D.C.: Smithsonian Institution, 1985. Print.