Name Draft: An Example

Marcy Petrini

April, 2018

In the previous blog we discussed the schemes and the rules for designing a name draft, using overshot. The information may be made simpler by using an example. I used the first scheme (A = 1; B = 2; C = 3; D = 4; E = 1, etc.) on my name:

 

M	A	R	C	Y	P	E	T	R	I	N	I
1	1	2	3	1	4	1	4	2	1	2	1

 

It is easier to see it as a threading 

 

					4		4
			3
		2						2		2
1	1			1		1			1		1

 

We can mark the trouble spots, where two odd threads or two even threads occur next to each other.

 

					4		4
			3
		2						2		2
1	1			1		1			1		1
⇑			⇑				⇑

 

 Next we need to make adjustments; here is a possibility:

 

					4		4
			3
		2						2		2
1	1			1		1			1		1
⇑  2			⇑  2				⇑  1

 

This is the resulting threading:

 

							4		4
				3
	2		2		2						2		2
1		1				1		1		1		1		1

 

I prefer overshot patterns that are symmetrical, so I can do one of two things: 1) I can choose the 1, 4, 1, 4, 1 block (block D) to be my middle and adjust the threading on either side to make them mirror images of each other by adding 3, 2 on the right side of the middle. Or, 2) I can pick the end of the threading and make that the middle point and reverse it.

Let’s try the first option, adjusting the threading on each side of the middle to make the motif symmetrical:

This is the resulting threading:

 

							4		4
				3								3
	2		2		2						2		2		2
1		1				1		1		1				1		1

 

We repeat the threading at least once to see what happens at the junction, here we combine the beginning and ending block, avoiding a float too long:

 

							4		4												4		4
				3								3						3								3
	2		2		2						2		2		2		2		2						2		2		2
1		1				1		1		1				1		1				1		1		1				1		1

 

The tie-up for overshot is generally for a sinking shed loom since we want the threads in a block to be lowered so they can be covered with weft. We will follow this convention; for a rising shed loom, tie the opposite shafts: for example, for shafts 1 & 2 sinking, raise 3 & 4 instead.

To treadle, we “tromp-as-writ” (star fashion), that is, we weave each block as we encounter it: shafts 1 & 2 are block A; 2 & 3 block B, etc., generally using one shot less than the number of threads in the block since one thread is shared between blocks. For example, the first block is 1, 2, 1, 2, so we use three shots. This means that the turning block is treadled with four shots – and yes, that is correct, per Peter Mitchell and Barbara Miller, the overshot gurus.

Below is the drawdown; what may appear as long warp floats really aren’t, they are plain weave areas because in weaving we use a tabby weft, which is not shown in the drawdown in order to emphasize the design.

 

 

  Click here for the full-sized draft (a PDF will open a new window)

 

We tend to think of overshot blocks as woven to square, and in the drawdown they appear rectangular, not square. However, the loftier yarn of the supplementary weft and the tabby in between makes the squares the appropriate proportions.

We could add borders, but this is such a small design that I don’t think borders would add much.

Another common way to treadle overshot is rose fashion. In this case, we transpose the treadling as follows:

 

To weave block	We Treadle
A (1, 2)	1 & 4 (block D)
B (2, 3)	3 & 4 (block C)
C (3, 4)	2 & 3 (block B)
D (4, 1)	1 & 2 (block A)

 

Here is the drawdown. Whether one treadling method is preferred over the other depends on the threading and personal aesthetics.

 

Click here for the full-sized draft (a PDF will open a new window)

 

Try your name or a saying! Next time we will explore the other way to make a symmetrical design, using the mirror image.

 

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