Date   

Re: Sandpaper Beam?

Elizabeth Arthur
 

I had a similar thing happen recently. The problem was the finished cloth beneath the harnesses had caught on the springs which hold the harnesses down. I hope your problem is something simple too.

Liz

On October 24, 2020 3:48:13 PM "bigwhitesofadog" <sandra.eberhart@...> wrote:

I just had the tension\warp advance system (live tension) suddenly stop working.  The brake has been set at the same tension for several warps and has worked perfectly.    Now, when I try to advance the warp with the ratchet lever, the sandpaper beam just spins against the cloth, which has been winding up on cloth storage.   I have checked the warp beam for obstructions, anything wrapped or caught on a peg; checked the brake.; everything looked good.  It's as if the sandpaper suddenly lost it's tooth, but it seems to be pretty rough to me.  This loom is about 35 years old.  Anyone got any ideas?
Sandra




Re: Sandpaper Beam?

Lorelei Caracausa
 

Check to see if the apron rod is  caught in the treadle cables


On Sat, Oct 24, 2020, 4:25 PM Lorelei Caracausa <beeweaverstudio@...> wrote:
If the cloth take up has quit, sometimes my sandpaper beam will not advamce

On Sat, Oct 24, 2020, 3:48 PM bigwhitesofadog <sandra.eberhart@...> wrote:
I just had the tension\warp advance system (live tension) suddenly stop working.  The brake has been set at the same tension for several warps and has worked perfectly.    Now, when I try to advance the warp with the ratchet lever, the sandpaper beam just spins against the cloth, which has been winding up on cloth storage.   I have checked the warp beam for obstructions, anything wrapped or caught on a peg; checked the brake.; everything looked good.  It's as if the sandpaper suddenly lost it's tooth, but it seems to be pretty rough to me.  This loom is about 35 years old.  Anyone got any ideas?
Sandra






Re: Sandpaper Beam?

Lorelei Caracausa
 

If the cloth take up has quit, sometimes my sandpaper beam will not advamce


On Sat, Oct 24, 2020, 3:48 PM bigwhitesofadog <sandra.eberhart@...> wrote:
I just had the tension\warp advance system (live tension) suddenly stop working.  The brake has been set at the same tension for several warps and has worked perfectly.    Now, when I try to advance the warp with the ratchet lever, the sandpaper beam just spins against the cloth, which has been winding up on cloth storage.   I have checked the warp beam for obstructions, anything wrapped or caught on a peg; checked the brake.; everything looked good.  It's as if the sandpaper suddenly lost it's tooth, but it seems to be pretty rough to me.  This loom is about 35 years old.  Anyone got any ideas?
Sandra






Re: Sandpaper Beam?

margcoe
 

What yarn are you using? Some yarns sort of slide on the sandpaper without gripping.

Marg

Sent from iDevice
coeweaves.com
e-weave-online.thinkific.com

On Oct 24, 2020, at 1:48 PM, bigwhitesofadog <sandra.eberhart@...> wrote:

I just had the tension\warp advance system (live tension) suddenly stop working. The brake has been set at the same tension for several warps and has worked perfectly. Now, when I try to advance the warp with the ratchet lever, the sandpaper beam just spins against the cloth, which has been winding up on cloth storage. I have checked the warp beam for obstructions, anything wrapped or caught on a peg; checked the brake.; everything looked good. It's as if the sandpaper suddenly lost it's tooth, but it seems to be pretty rough to me. This loom is about 35 years old. Anyone got any ideas?
Sandra





Re: Sandpaper Beam?

bigwhitesofadog
 

I just had the tension\warp advance system (live tension) suddenly stop working. The brake has been set at the same tension for several warps and has worked perfectly. Now, when I try to advance the warp with the ratchet lever, the sandpaper beam just spins against the cloth, which has been winding up on cloth storage. I have checked the warp beam for obstructions, anything wrapped or caught on a peg; checked the brake.; everything looked good. It's as if the sandpaper suddenly lost it's tooth, but it seems to be pretty rough to me. This loom is about 35 years old. Anyone got any ideas?
Sandra


Re: Janet Meany

Linda Madden
 

It is sad news that Janet Meany has passed away.  She was a wonderful warm woman who was so generous with her time and knowledge of weaving.  We were blessed by her life.
 
Linda Madden


Re: Janet Meany

Sharon Alderman
 

I'm sorry to get this sad news.  She was helpful to many of us.
Sharon Alderman


Re: The World-Changing Technology of Textiles - WSJ

Tien Chiu
 

I read an advance copy of this book (disclaimer: she also interviewed me for it). It's the most interesting book about the history of textiles that I've read in the past 10 years, on par with Elizabeth Wayland Barber's Women's Work: The First 20,000 Years. Utterly fascinating and definitely worth reading.

Tien



The World-Changing Technology of Textiles

The fabric of modern life is more than a metaphor: The cloth we make and wear has driven the development of new laws, inventions and social arrangements.

By Virginia Postrel
Oct. 23, 2020 10:05 am ET

—This essay is adapted from Ms. Postrel’s new book, “The Fabric of Civilization: How Textiles Made the World,” which will be published by Basic Books on Nov. 10.

image1.jpeg

Air


The World-Changing Technology of Textiles - WSJ

jody Williams
 


~~~~~~~~~~~~~~~~~~~~~
Jody Williams
jody@...
1245 W Calzada Court
Tucson AZ 85704

520 505-4468
~~~~~~~~~~~~~~~~~~~~


The World-Changing Technology of Textiles

The fabric of modern life is more than a metaphor: The cloth we make and wear has driven the development of new laws, inventions and social arrangements.

An illustration of an English spinning wheel, 1790.

Photo: Getty Images

In a 1991 Scientific American article, the influential computer scientist Mark Weiser predicted a coming era of “ubiquitous computing,” operating as seamlessly in the background as the electric motors in a modern car. “The most profound technologies are those that disappear,” he wrote. “They weave themselves into the fabric of everyday life until they are indistinguishable from it.”

With his invocation of seamlessness, weaving and fabric, Weiser nodded, probably unconsciously, toward a far older, equally ubiquitous and rarely acknowledged technology: textiles. The word itself comes from the Indo-European root teks, which means to weave—the same root that gives us the word “technology.” From cave-dwellers twisting plant fibers into string to scientists embedding computer chips into threads, the story of textiles is the story of human ingenuity in all its manifestations: technical, artistic, economic and cultural. 

The conflict between highly productive new technologies and fears of mass unemployment—“the robots are taking our jobs”—started with textiles. The Luddites, English weavers who smashed mechanical looms in the early 19th century, gave their name to technological resistance. Ironically, however, those weavers owed their own well-paid jobs to an earlier disruptive technology: spinning machines, which produced the yarn that weavers turned into cloth.

French patterned silk, ca. 1725-75.

Photo: Getty Images

Before the Industrial Revolution, spinning wool into yarn was by far Britain’s largest industrial occupation, employing as many as 1.5 million people in a total workforce of about 4 million. Keeping a single weaver supplied with yarn required about 20 spinners. “The spinners never stand still for want of work; they always have it if they please; but weavers sometimes are idle for want of yarn,” an observer wrote in 1768.

Spinners were paid miserably, yet their labor constituted a greater proportion of the cost of cloth than anything except the raw material. That’s because cloth consumes staggering amounts of yarn, and hand spinning takes a long time. The denim in a single pair of jeans, for instance, consumes about 6 miles of cotton yarn. The best spinners would have taken about 100 hours to produce that much. That’s nearly 13 eight-hour days.

The invention of spinning machines in the late 18th century broke the bottleneck. Yarn production soared even as quality improved. But the inventions also threw people out of work: A petition to Parliament complained that thousands of families were “pining for want of Employment.” Protesters smashed machinery and demanded government relief. The town of Wigan halted the “use of all Machines and Engines worked by Water or Horse, for carding, roving or spinning of Cotton.” 

After commissioning a report, lawmakers decided against action. Despite the upheaval, they judged, spinning mills were creating new kinds of jobs and benefiting the nation in other ways. From clothing to sails, bed linens to flour sacks, essential items were suddenly much cheaper, more varied and more easily obtained. It was the beginning of what economic historian Deirdre McCloskey calls “the Great Enrichment,” the economic takeoff that over the next two centuries lifted global living standards by 3,000 percent.

Spinning technology migrated to the U.S. in 1789, when 21-year-old Samuel Slater, who had been an apprentice in an English mill, illicitly exported his knowledge. Industrial espionage is a textile tradition, dating at least as far back as the Nestorian monks who smuggled silkworm eggs into the Byzantine Empire from China in the 6th century. In the early 1700s, the English brothers John and Thomas Lombe conspired to copy Italian silk-twisting machines, establishing a factory in Derby. In the early 19th century, an adventurer named William Burling smuggled cotton seeds out of Mexico, introducing the variety that made the crop viable throughout the American South.

Textile history also illustrates the tension between codified knowledge and tacit know-how. Slater succeeded because he not only knew how to design a spinning machine, he knew the subtle tricks needed to operate it effectively. The silk thread produced in Derby was never as good as the best Piedmontese product, because English manufacturers lacked the hard-won expertise of the Italian women who reeled silk from cocoons. After the British chemist William Perkin invented the first synthetic dye in the 1850s, he spent much of his time teaching textile makers how to get his neatly formulated chemicals to work with the messier reality of varied fabrics, water sources and desired effects.

A priestly vestment made from dyed Indian cotton, ca. 1750.

Photo: Alamy

Textiles are sources of status and signals of identity, and people will go to great lengths to get the fabrics they want. In the 17th and 18th centuries, Europeans went crazy for printed cottons from India. The colorfast dyes, beautiful patterns and soft, lightweight fabrics surpassed anything Europeans could achieve—threatening silk, linen and wool producers. 

In response, some countries, including Britain, banned the imports. In France, where the silk industry was running the show, the government went even further, banning all cotton imports, even plain cloth, and all printed textiles, even if they were made in France. From 1686 to 1759, France treated calico essentially the way the U.S. treats cocaine: Traffickers could be sentenced to years rowing in the navy’s galleys. Major offenders were executed. People caught wearing calico could be arrested and imprisoned without trial.

Whether purchasing cloth, making it for themselves or seizing it from others, textile consumers have always been ready to break laws and flout traditions. 

But prohibition didn’t work. Calico was worn by the country’s most fashionable women within sight of its most powerful men, and its popularity never dimmed. Instead of building the kingdom’s wealth, the ban turned countless citizens into outlaws.

Whether purchasing cloth, making it for themselves or seizing it from others, textile consumers have always been ready to break laws and flout traditions. Sometimes they even start wars. A nomadic people who wore furs and felt, the Mongols of the 12th century didn’t weave. But they treasured woven textiles, and their desire for fine fabrics motivated many of their conquests. “The common thread running through all the inventories of plunder is rare and colorful textiles, tenting and clothing,” writes historian Thomas Allsen. Mongol leaders greeted visitors in enormous white felt tents lined with their favorite cloth, a brocade made with gold threads.

In 1221, the Mongols invaded Afghanistan. One of their prizes was the city of Herat, a weaving center known for its cloth of gold. Capturing as many as a thousand skilled weavers, the Mongols took them 1,500 miles across Central Asia to the Uyghur capital of Beshbalik, where they established a weaving colony. Along with their skills, the captive weavers brought their religion, Islam. Beshbalik had been a town of Christians and Buddhists, but it soon had a thriving Muslim community, seeded by the captive weavers from Herat. Later, Islam spread from the south and west, becoming the region’s dominant faith. But the transformation started with cloth. In this as in so many other instances, textiles changed the world.

—This essay is adapted from Ms. Postrel’s new book, “The Fabric of Civilization: How Textiles Made the World,” which will be published by Basic Books on Nov. 10.

image1.jpeg

Air


Re: Janet Meany

kathyo
 

I did not know Janet personally, but she helped me, through her webpage, find much needed information not available elsewhere.

Janet was gracious with her time and always always friendly and giving.

We grieve for her family’s loss.

kathyo and Peter
Granbury TX


Re: Janet Meany

Kati Meek
 

What a gift to our weaving community Janet was. What a legacy she left us.  May she rest in peace, with tears, Kati
Kati Meek
Treehouse Studio
Alpena on the 45th


Re: Soy milk as a mordant for cellulose yarns

Diane de Souza
 

I have used soy milk on cellulose yarns - particularly with warp painting and iron oxides.  Also with indigo.  It is a binder, not a mordant so the process is a little different than using a mordant.  I would suggest you look at John Marshall's www site for more info.  http://www.johnmarshall.to


Re: Janet Meany

Elizabeth Moncrief
 

I depended on Janet and her loom manual library to help me investigate old looms, make repairs, and bring them back into service. She’ll be missed by so many, for so many reasons.  
Hugs to you, Paula. 

Liz Moncrief,    www.aweaversway.com
Instagram address: moncriefliz
 


On Oct 23, 2020, at 3:26 PM, Joe P <rugsbyjoe@...> wrote:


Hi Everyone 

Janet Meany and Paula Pfaff are the two authors of a weaving book called Rag Rug Handbook.  
Janet, helped weavers with her loom manual library. Published weaving newsletter twice a year called the Weavers Friend. Janet Meany has passed away. Her family with her at the hospital. No covid-19 

Paula Paff, Paula you have my condolence in the passing of you friend Janet.  

Janet will be missed

Joe Bear  

 


Re: Janet Meany

Alaire Rieffel
 

I’m so sorry!  She enriched my life!

On Fri, Oct 23, 2020 at 6:26 PM Joe P <rugsbyjoe@...> wrote:
Hi Everyone 

Janet Meany and Paula Pfaff are the two authors of a weaving book called Rag Rug Handbook.  
Janet, helped weavers with her loom manual library. Published weaving newsletter twice a year called the Weavers Friend. Janet Meany has passed away. Her family with her at the hospital. No covid-19 

Paula Paff, Paula you have my condolence in the passing of you friend Janet.  

Janet will be missed

Joe Bear  

 

--
Alaire Rieffel


Janet Meany

Joe P
 

Hi Everyone 

Janet Meany and Paula Pfaff are the two authors of a weaving book called Rag Rug Handbook.  
Janet, helped weavers with her loom manual library. Published weaving newsletter twice a year called the Weavers Friend. Janet Meany has passed away. Her family with her at the hospital. No covid-19 

Paula Paff, Paula you have my condolence in the passing of you friend Janet.  

Janet will be missed

Joe Bear  

 


Soy milk as a mordant for cellulose yarns

Louise Yale
 

Anyone use this on scoured cellulose yarns?

Louise in NorCal


Re: Cotton Yarn breaking

Lorelei Caracausa
 

BUT, here is the issue.  Any very darkly dyed yarn may be an issue.  Even stuff just out of the dye bath and new to the retailers shelf.  Everyone needs to be acquainted with the fact that dyes can be detrimental to the strength of the yarn.  Age may not be the issue.  The only thing that may be in the purchaser's favor is if the seller stands by or qualifies the quality of their sales.  Because it matters naught, if you create masterpiece that disintegrates for your customer, and your supplier feigns ignorance 


On Wed, Oct 21, 2020, 12:21 PM Louise Yale via groups.io <cafeina=pacific.net@groups.io> wrote:
Agree with Matt.

Buy new from a trusted supplier. Don't waste your time, effort and money
on a "good deal" or mystery yarn.

Louise in Northern California

--------


> I think it’s good to point out that this discussion applies to any fiber
> at all. This may be paranoid, but I am suspicious of anything that I
> didn’t buy new from a trusted supplier. Not to say I would trash
> anything else; it’s easy to test whether a yarn works for a certain
> purpose, and find some other way to use it if it doesn’t.
>
> Matt in California
>
>
>
>
>
>








Re: Cotton Yarn breaking

Louise Yale
 

Agree with Matt.

Buy new from a trusted supplier. Don't waste your time, effort and money
on a "good deal" or mystery yarn.

Louise in Northern California

--------

I think it’s good to point out that this discussion applies to any fiber
at all. This may be paranoid, but I am suspicious of anything that I
didn’t buy new from a trusted supplier. Not to say I would trash
anything else; it’s easy to test whether a yarn works for a certain
purpose, and find some other way to use it if it doesn’t.

Matt in California






Re: Wool Yarn breaking

beadermaybe
 

Thank you for your responses. I will test it before using it. This is something I had never heard about. I did know about moths. My weaving teacher told us about that a long time ago!
Carmen Martinez


Re: Cotton Yarn breaking

Sharon Alderman
 

I am writing about blace 2/20s worsted yarn.  I was weaving Suthland clan tartan using a black yarn that had probably been made by overdyeing a "failed" dye lot.  Just making a shed would result in 2 or 3 snapped ends.  I painstakingly repaired each break without any showing in the cloth, but it made the job take a long, long time.  The next time I was asked to weave that tartan (by the brother of the first commissioner) I got a 2/14 worsted that was sound and was almost amazed by how fast it went.  Cotton isn't alone in being tender!
Sharon Aldlerman