Getting back on the loom with lace weaving

I am ALWAYS so intimidated to start a new weaving project. Especially if it has been awhile. Guaranteed procrastination every. single. time. The setup is usually so intricate, it can take a while to get any momentum. Sometimes it feels like weaving is only a fraction of the whole process. In this exercise, however, because I was experimenting with hand-manipulated, lace weaving techniques, my weaving set up did not require too much planning and calculation. I set up my loom for an easy 1234 tabby, and jumped in quicker than usual.

"Lace" weaving is not really lace at all. We call these techniques lace weaving techniques, because they create an airy, loose, gauze-like cloth. Actually the Leno weaving structure, which seems to be the oldest of the lace weaving structures, has a history rooted in being used as gauze and cheesecloth. I like the opposition of those purposes. Lace: delicate for decoration, gauze: blood and gore, and cheese cloth: cheeses and nut milks. What a dynamic cloth! Lace weaving can be divided into two different types, hand manipulated and loom-controlled. Regardless of the category, but mainly in hand-manipulated, you will need to weave with a shed stick, and a stick shuttle for your thread instead of the typical shuttle and bobbin.

Using the book The Handweaver's Pattern Directory by Anne Dixon (which I highly recommend as a weaving reference for weavers of any stage), I explored four different hand-manipulation weaving techniques. Leno, wrapping, Brooks Bouquet, and Danish medallions. Below are illustrations of the different techniques that I recreated from the book. I initially also used Dixon's pattern specifics like how many tabby rows should be in between each manipulation row, but I soon changed my numbers and overall pattern based on the outcome I was seeing with the thread. For example with my Leno weaving, I found I needed to double the amount of tabby rows that came in between the manipulation row for the cloth to feel sturdy, or for the pattern to really show. For my Danish medallion experiment, instead of sticking to a uniform size of medallion, I varied the medallion size in a gradient pattern.

Here are some process pictures of my weaving experiments. It was interesting to use my loom in a different way; to not use the reed or peddles that much. Weaving lace patterns was a lot of fun. There is a lot of instant gratifications because the structure takes form pretty quickly and easily, and the maker has a lot of control with little expertise needed.

Overall I really enjoyed learning these new structural weaving techniques. This new knowledge has given me a lot more confidence on the loom, and I see a lot more opportunity for creative expression in weaving. It's also exciting that I can use these techniques with essentially any threading pattern, so I want to explore combining these techniques with other woven structures. Additionally, I like how the lace cloth feels delicate and somewhat deteriorated, especially when the techniques are used in sporadic ways, and in contrast to a more structured weave. I already know what my next experiment will be...