So this is the new scarf and supplementary warp project…
I lurve it! On the loom it was looking so much like a pencil or charcoal rubbing of some highly textured surface that I almost stopped weaving to get out some charcoal and paper; such was the inspiration! Thankfully, I kept weaving and am very happy with the result.
Of all the colours of that Noro Silk Garden comes in, you might think me mad to have picked the “Solo” and in brown (!!!!), but this was a yarn that just spoke to me. I’m not much of a browns person, but I do like the colour and particularly flecked like this.
Being me though I’d forgotten that you can’t warp with this yarn! (I know, I know…) Thankfully, my stash had an appropriately matching 4ply in it. I could have put grabbed the appropriate reed and used the 4ply as 4ply, but I didn’t think the sup’ warp Noro would survive that much abrasion. So I threaded it double using a 30/10 reed.
So happy with the result. Such is the serendipity of my approach to weaving!
I got interested in supplementary warps almost as soon as I got weaving! It’s such a cool way to add texture to your cloth and the possibilities are almost endless. So what is a supplementary warp?
Well, it’s where you take a yarn and add it to the warp yarn you’re already using. Typically it will be some combination of different colour, weight or texture. Here was my first go at it, with a fantastic thick/thin yarn (Pixie Dust) from Knit College:
The trick with weaving using this technique is to warp the supplementary yarn separately and – unless you have a second back-beam – that means weighting it. This is how I’m tackling a current sup’ warp project:
Of course if you’re using a different colour of the same yarn as the warp then you can just warp it with the rest, but the fun of this technique is mostly in the crazy yarns I think!
In my first project, because I was moving the warp under and over the web, I actually didn’t weight it. Instead, I pinned it to the fell line each time it crossed over/under to achieve a small amount of tension. The result of this is that the thick sections have a lovely bit of slack so they can move with the cloth.
For the current project, because I’ve threaded the Noro yarn through the heddle, the weights are keeping it under an acceptable amount of tension. I do occasionally give each one a little tug (gently!) too, but obviously the Noro Silk Garden will drift/snap under not much tension at all, so I’m being careful.
In this case, the Noro is also my weft and the affect I’m after is far more subtle than with the Knit College yarn. Keep an eye out for pictures of the finished project!