Subject: LOOM-page #.3 or; Simple Coverings

    Now that we are seated at the bottom end of our warps, and ready to tie them into the fixed, twisted cords at the ends of our piece. Three stout cords are needed.

  I find that using a double twisted warp for each of these cords is the proper size for this operation.
  In other words; to take and spin or 'ply' two of our previously prepared warp cords into one.

Double the width of our piece is the proper length for each.

With these three cords, we will set the end loops of warps into the traditional twisted cord that is found on the two ends of this primitive weave, and sets it apart from all others.

Twill-cords

  So to begin. It appears that the three have been tied to each other, at one end, and also to the two that that have yet to be mentioned, and that will make the two sides or selvage cords.

  These selvage cords will run the length of our piece and help in binding our edges. Similar to our ends, with but a little difference.   There will be two stout cords on each edge of our weaving, instead of the three we have at our ends. These two are both twisted and brought out of the weave, then into it. (Exposed, twisted once, then concealed under the woof, at the edge of our piece.)   The combination of the three "twilled" end cords, at top and bottom, and the two that bind each side or "selvage-cords", with all five coming to a single knot at each corner will give us a tassel of five cords at each corner of our piece. A five-corded tassel that will be one of the main telling signs of a primitive weave from the Navajo or Hopi, and that will set it apart from all other weaves.
    When one looks at the finished weave, and observes these five cords at each corner of this weave. Three from the twisted cord at each end of that weave and two coming down the sides and twisted in and out, along the edges of the weave. All tied in a single knot and forming a tassel of five cords at the corners. It is assumed that they are tied in that fashion from the start of the process of the weaving.     
As happens with many assumptions, one may be easily deceived.

  To see the way the two selvage cords are twisted and brought outside and then inside the weave, and to know enough about this process to know that what is twisted at one end must be UN-twisted at the other, and also to know that most all of these weaves are woven toward a place to the inside of its body, to finish it, will point to the impossibility of this being so.

  In other words, it is turned up-side down and right-side up, and woven at both ends first, before it is finished. As opposed to weaving from one end to completion at the other, as you would think. This will tell you that it is impossible to have these five cords tied together at all the ends from the start.

   Looking at the twilled end cord will show it to be three cords twisted together and around the end loops of our warp, at both ends of our piece. This is not so, either.

If we were to try and do what appears to have been done. We would not be able to skillfully place the warp cords apart from each other with the skill they have been set apart from each other for hundreds of years. What appears to have been done is not what has been done.

  The simple truth is that one of the three is passed through the inside, or behind the loops of warps and tied to something at both ends. While the other two wrap around this one and at every other wrap of it, they also take a wrap of a loop of the warp.
  After having wrapped several warps in this fashion. The one that was tied at both ends and through the loops of warp is exchanged for one of the two that was doing the wrapping. Using all three in this fashion. Until the other side is reached and all loops of warp have been incorporated into the finished twisted, end-cord.

  The process is repeated at the other end, and on the opposite side from where it was done previously.
It is necessary, because of the figure-eight configuration of the warp, that this be done on the opposite side and the same distance up from the bottom of the piece, in order for the two end cords to come out in the same place (the ends.) on the piece being woven. They will slip into position somewhat, when the piece is stretched. But may cause an uneven tension on some warp-cords if caused to be slipped much distance. So it is much preferred that they are placed as close to the proper position as can be achieved, from the start.

    We have yet to address the tying of these three cords, in order to start this process, however. So it will be mentioned, here.

  It is only necessary that the three cords be tied to something on the side of the edge one wishes to start from. Away from and out of the way of where the weaver is working. This is a temporary tie and should only be the same height on the piece that the twisted cording will be placed. Also away from the area that is being worked.

  As an example of this, picture a light rope that is tied between the ends of the poles the warps are looped around and going from top to bottom pole, so that you have a stout cord running beside the edges of your piece, but a distance from it.
  You now have a place to tie one end of your three cords at what ever height you wish to work them across the warps. Also a place to tie the other end of the one going through the loops, over on the other side of your piece.

It should also be mentioned at this point that these three cords are each wrapped into a ball or a "skein" to keep them separated from each other and to keep them from becoming tangled while working them. So it has become time to learn the function and use of a "Navajo Skein."
Also called a butterfly skein in other cultures.


edit: 07/16/01