As a weaver, I could read this chapter over and over. It makes me so happy to think of them weaving together on the deck.
It was a cloudy, sultry afternoon; the seamen were lazily lounging about the decks, or vacantly gazing over into the lead-coloured waters. Queequeg and I were mildly employed weaving what is called a sword-mat, for an additional lashing to our boat. So still and subdued and yet somehow preluding was all the scene, and such an incantation of reverie lurked in the air, that each silent sailor seemed resolved into his own invisible self.
I was the attendant or page of Queequeg, while busy at the mat. As I kept passing and repassing the filling or woof of marline between the long yarns of the warp, using my own hand for the shuttle, and as Queequeg, standing sideways, ever and anon slid his heavy oaken sword between the threads, and idly looking off upon the water, carelessly and unthinkingly drove home every yarn: I say so strange a dreaminess did there then reign all over the ship and all over the sea, only broken by the intermitting dull sound of the sword, that it seemed as if this were the Loom of Time, and I myself were a shuttle mechanically weaving and weaving away at the Fates. There lay the fixed threads of the warp subject to but one single, ever returning, unchanging vibration, and that vibration merely enough to admit of the crosswise interblending of other threads with its own. This warp seemed necessity; and here, thought I, with my own hand I ply my own shuttle and weave my own destiny into these unalterable threads. Meantime, Queequeg’s impulsive, indifferent sword, sometimes hitting the woof slantingly, or crookedly, or strongly, or weakly, as the case might be; and by this difference in the concluding blow producing a corresponding contrast in the final aspect of the completed fabric; this savage’s sword, thought I, which thus finally shapes and fashions both warp and woof; this easy, indifferent sword must be chance—aye, chance, free will, and necessity—nowise incompatible—all interweavingly working together. The straight warp of necessity, not to be swerved from its ultimate course—its every alternating vibration, indeed, only tending to that; free will still free to ply her shuttle between given threads; and chance, though restrained in its play within the right lines of necessity, and sideways in its motions directed by free will, though thus prescribed to by both, chance by turns rules either, and has the last featuring blow at events.
IMAGE ID: A woven rectangle with four stripes, one of yellow, one of pink, one of purple ish brown, and one of blue, resting on someone’s legs. END ID.
This weaving came to me in a dream, fields upon fields of lush flowers, of life all around me in so many small forms, the sun setting in the background
calling me home.
This piece is 12” W x 24” L
Includes a mixture of wools, silk, angora, recycled sari silk ribbon, recycled cotton rope, hand-spun yarns, core-spun yarn, velvet ribbon
Would love to go back in time and have a lil chat w me from the past to ask her why she thought a 22.5 dpi 10/2 cotton warp w a handspun Wensleydale single weft would be a good idea.
Well…..I did do a much better job warping this time. The tension is good and all I really had to fix was a missed dent, but I was, like, So Done with warping by then so I just moved one of the warps over from its original 1:2 threading, so there is a lil bit of a gap there.
My other issues is that the single keeps twisting back on itself, and the part in the middle where the twill "bends" wasn't really planned out well on my part, causing to look very obviously bunched instead of a nice clean point. All that said I think between the slight thick thin effect of the warp, and subsequent dyeing and possible embroidery if Iever finish my current embroidery project its all gonna be much less obvious.
I do forsee one more issue which is that this is a very fine fabric; much finer than I was expecting but I was hoping to sew this into a shrug and add bulky ribbed edging on the body and cuffs, but now I think bulky would be way too thick and kinda ugly so Ill have to think on what weight would be better.
Never fear, I also still make things with my own two hands! I warped for the tree skirt I’ve been promising to make for like…ahem let’s not calculate. Anyway! I was going to do just regular buffalo plaid but then I decided to match the colors of our stockings; there are 4 of us, so the stockings are a white colorwork pattern on either red, maroon, grass green, or dark green backgrounds. Like this:
So the plaid tree skirt will use all those colors, which I plotted out on a plaid planner online first and then marked out with washable marker on my heddle so I didn’t have to keep counting while doing a very wide warp.
I’m not sure that it will be wide enough, actually - I may end up making two cloths and sewing them together, but we’ll see. There will be a ruffle along one of the selvedges so that will give me some length but I’ll have to test to make sure it actually covers the tree stand. Anyway here is a plaid reveal! I’m really pleased with how it’s looking, the colors look great and my squares are squaring lol.
I’m also just cutting the threads on the right side instead of carrying them; that’s where the ruffle will be attached so I’m just going to use my serger to finish that side before I wash and sew it. My sides turned out super wavy on my last plaid so I’m hoping to avoid that this time!
My mother is a costume designer and textile artist, I was born into it.
2. Do you do art in any professional capacity? (Graphic design, commissions, animation, etc.)
I complete commissions in collage: paper and epoxy; as well as weaving.
3. What are your favorite subjects to draw? (OCs, your fan faves, etc.)
I am a poor drawer but I practice weekly.
4. What's your least favorite part of the body to draw, if any?
All of them.
5. What piece of art are you still proud of to this day? (Show or describe)
I made a drum head that was played at at Cake show, it currently lives next to a Travis Louie drum head.
6. Favorite and least favorite angles/perspectives to draw?
I hate them all.
7. Who are some artists that have inspired you?
Martha Stewart.
8. How would you describe your art style?
Paper: I glue tiny pieces of paper in sacred geometric patterns.
Weaving: Tweed. I make tweed.
9. What's the longest you've ever suffered from artblock?
Years.
10. How do you deal with art block?
Take a shower.
11. Have you ever drawn a meme with your OCs or canon characters from a fictional media?
No.
12. Ever participated in a multi-artist collaboration (3 or more) such as a multi-animator project?
Not like you think.
13. What kind of art do you personally not see the appeal of, and why?
No.
14. Do you prefer to make fan content or original content?
I make original content.
15. Do you/have you participated in Artfight or art trades in general?
No.
16. What was something you used to struggle to draw with confidence/ease, but have now mastered?
I do no draw well.
17. Your personal favorite works of art (not made by you) are...?
I really love monsters, comic panels, whimsy, doom, and color. I own a breathtaking painting by Rachel M. Bray.
18. Do you typically use filters on your art?
No.
19. What's your biggest insecurity when it comes to your artwork?
I don't have any.
20. What motivates/inspires you artistically? (topics, emotions, etc)
I put on this record, Pleasure Forever, and my mind gets blown. I've listened to it weekly since 2003. Their drum beat and piano plink are my marching orders. https://pleasureforever.bandcamp.com/album/pleasure-forever