Janet describes herself as textile designer rather than a hand weaver: she starts with a design brief, constructs the weave, then works out a threading and lifting plan, rather than the other way round. This is the way she learned to work in her first weeks at Galashiels. She uses a table loom to sample and works multiple section sample blankets, using different threading and lifting sequences. She studies the patterns produced, taking time to do this thoroughly, then selects the patterns she wants to explore further and samples again. She recommends using a light warp and dark weft for the initial sampling so that the patterns stand out clearly. (During her first year at college the students worked only in black and white, with the occasional red thread to define pattern areas.) For her second or third samples she may experiment with different colour combinations. Once she has decided on her design, she works on a 24-shaft dobby loom, but is tending to create designs which require no more than 8 shafts. She likes the cloth she designs to be functional.
To start a completely new design Janet draws a picture on a grid (e.g. a diamond) in two colours. The colours represent warp and weft, so only two are needed as either a warp or a weft thread will be on the surface of the weaving. She then looks to see how long the floats are likely to be and adjusts her drawing so that they are no more than three threads long. Next, she adds a range of notation marks to indicate different weave structures. Finally, she creates a lifting plan by looking at how the ends of the threads interlace.
As part of the sampling two or more patterns from the sample blanket may be combined as either stripes or blocks. Warp colours may be changed by cutting and joining in as if a thread had broken; threads such as ribbon yarns can be added as supplementary warps. Janet may cut all of the warp and rethread the reed to see the effect of a different sett, starting with 24 ends per inch, then 28, then 32.
Weaving a colour gamp will show how colours mix – opposites on the colour wheel tend to mix to brownish shades, closer colours enrich each other. Changing the background colour makes colours appear different. Weavers often do colour wraps, but a plait will give a better idea of how colours will combine in weaving. For stripes, Janet recommended using Fibonacci numbers, but not necessarily in sequence (this surprised me as I’d always imagined that it was done in sequence!). Janet likes to dye her own yarns. Using cold water dyes she can dye her prepared warp – a long length of guttering is useful for this!
Different types and qualities of yarn can add design elements: e.g. alternating bands of wool with bands of silk on a silk warp – when washed the wool pulls in, leaving the silk softly pleated. Use of energised or elasticated yarns give a naturally pleated fabric.
Janet summed up her approach to design:
– Work a multi section sample blanket on a table loom
– Study results, select and sample again
– Try different setts
– Use Fibonacci for stripes
– Use an idea source for colour and form – e.g. cut a strip from a photograph and use this to decide on colour proportions
– Join together samples you like
– Try colour changes in the warp
– Try mixing yarns of different fibre and weight
– Try using supplementary warps.