It’s not a very inspiring name, but I fell in love with this Bertha Gray Hayes pattern. To me, it looks a little like Mickey Mouse on a slant. The ears and the asymmetry take me to a happy place.

The draft came from Weaving Designs by Bertha Gray Hayes Miniature Overshot Patterns (page 179). If you haven’t seen Bertha Gray Hayes’ overshot designs, you are in for a treat. The collection contains over 90 original designs, all drafted by hand and woven on a small Structo Loom on 4 harnesses.

I have really been enjoying myself with this draft. The draft has a repeat of 38 threads and 38 treadle sequences.  I’m glad I wound on extra warp because it took me a little bit to get the sett right (I went to 16 epi instead of 18), correct a mistake in my tie up, and then find the rhythm of the treadling sequence. Now that those are fixed, it’s been a joy to watch the fabric grow with each person’s yarn.

What you see above are the tail end of Teddie’s square (teal) and Ruth’s square (cinnamon) building.

As for Ruth’s question, my yarn is a handspun Blue Faced Leicester single that I dyed teal.

My pattern is apparently formally called “Primrose in Diamonds” and it was made (designed or woven we wonder?) for Mariss Cottrell, 1813 by Weaver Rose, his No. 125. Found on page 146 in Davison, as suggested by Barbie in one of her samples handed around a few months ago.

I’d love to know what yarns everyone is handing around, now that most of them have been swapped, and we’re getting warped.

Mine is the rusty “Cinnamon” in Cascade Heritage 150, a nice superwash, colorfasst sock yarn that fit the bill for wpi and squishiness; I’m feeling I’ll have far greater success with this than the cotton I was messing about with last year for table linens. I get it now that-and-why they say wool for the overshot supplemental weft in an overshot pattern; the doubled cotton I tried was not any kind of squishy. Anyone who’d like to wince at a sample of less than skillful overshot fiber planning, I have one—they’re just fine as what they are, really, I just don’t *love* them.

This: I have a good feeling about.

What are your wefts?

-Ru

What is it?

In the fall of 2011, members of the Black Sheep Handweavers Guild decided to undertake a cooperative friendship coverlet project. In the end, each weaver will end up with an overshot coverlet in the yarn of her choice. It will be made up of many squares. Each square will be woven by a different weaver, using a different overshot pattern. It is both a sampler and a memento of friendship.

The squares will all share a common background and tabby weft of unmercerized 8/2 Valley Cotton from WEBS in a natural, off white color. The pattern weft will be the choice of each weaver. Some will buy a yarn that they like. Others will spin their yarn.

Why overshot?

Overshot was chosen for several reasons. It gives excellent dimensional stability, since there are the same warp type threads running in both the warp and weft directions. It also offers a wide range of patterns. There are many traditional patterns available in overshot that reflect its prominence as a Colonial American art form. There are also modern versions. And, truth be told, any twill pattern can be converted to overshot by running alternating plain weave picks between the pattern weft picks. An inch of plain tabby weave is woven between each square to provide space for lines of stabilizing machine stitching.

How do the squares become a coverlet?

Once the squares are all woven, the participants will gather with the collection of squares that they have each woven in all the different weft colors. The long strips of many squares of different colors will be cut apart in between the lines of machine stitching. The squares will then be exchanged with the other weavers until each weaver has all of her own weft yarn back.

Each weaver will then assemble her coverlet from the squares she has gathered from the other weavers who wove with her chosen weft. Some may chose to sew them directly side by side. Some may insert fabric between the squares. Others may crochet a border around each square before sewing or crocheting them together. Some form of material between the squares helps adjust for possible differences in size and squareness.

Each weaver has a different pattern and a different weaving style. Even though every effort is made to avoid pulling in, squares may come out different widths. Some patterns may lead to more draw in than others. Each weaver also has to adjust to a different weft for each square. This presents challenges as well. The beat that makes a perfect square in one weft may be a bit too hard or too soft for the next one. Checking pick counts can help a lot, but some variation in dimension is to be expected, regardless.

The guild coverlet

Each weaver in this project will also be weaving one extra square in her own yarn to donate to the guild. These squares will be connected by a number of volunteers into a single coverlet. The guild coverlet will reflect both the pattern and yarn color choices of the participants. It will be auctioned or raffled off at a guild meeting or event.

The wrap up

This project fits the guild to a tee. It fosters cooperation, encourages memories, and provides a crash course in many nuances of overshot weaving. After a number of months full of finding or spinning weft, dressing looms, weaving a wide range of wefts and doing the inevitable head scratching and deep breathing, we will each emerge with a memento of some wonderful weaving friendships. Weave on!