weaving overshot redesigning the tradition for sale

Currently enrolled in the Master of Fine Arts Program at the University of Missouri at Columbia, Donna Lee Sullivan is a recipient of the Master Level Certificate of Excellence in Weaving, awarded by the Handweavers guild of America. Besides serving as a graduate assistant, she continues to teach and exhibit throughout the US and Canada, as well as finding time to explore the possibilities of various weave structures. Donna Lee"s other books include more than one hundred articles, two other books ("Summer and Winter: A Weave for all Seasons" and "Pique: Plain and Patterned"), and a videp )Colour Interaction for Handweavers)

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Weave structures often have specific threading and treadling patterns that are unique to that particular weave structure and not shared with others. This book takes you out of the traditional method of weaving overshot patterns by using different treadling techniques. This will include weaving overshot patterns as Summer/Winter, Italian manner, starburst, crackle, and petit point just to name a few. The basic image is maintained in each example but the design takes on a whole new look!

Each chapter walks you through the setup for each method and includes projects with complete drafts and instructions so it’s easy to start weaving and watch the magic happen! Try the patterns for scarves, table runners, shawls, pillows and even some upholstered pieces. Once you"ve tried a few projects, you"ll be able to apply what you"ve learned to any piece you desire!

So, now that you are weaving overshot on your loom- what exactly is overshot? Where did it come from? What makes it so cool? The origin of the technique itself may have started in Persia and spread to other parts of the world, according to the author, Hans E. Wulff, of The Traditional Crafts of Persia. However, it is all relatively obscured by history. In The Key to Weaving by Mary E. Black, she mentioned that one weaver, who was unable to find a legitimate definition of the technique thought that the name “overshot” was a derivative of the idea that “the last thread of one pattern block overshoots the first thread of the next pattern block.” I personally think it is because the pattern weft overshoots the ground warp and weft webbing.

From heirloom coverlets to dazzling contemporary household textiles and garments, overshot is one of the most handsome of weave structures. Whether woven in miniature on a towel or large-scale in a rug, overshot is striking. In this video, Madelyn van der Hoogt teaches everything you need to know to explore the many faces of overshot.

Along with Madelyn’s video workshop, this video download gives you a printable booklet on overshot weaving, complete with planning exercises, reference materials, and overshot projects you can learn from and use. Instantly download your copy of Weaving Overshot today!

I’m trying to understand the rules regarding tabby and floating selvedges in Donna Lee Sullivan’s Weaving Overshot: Redesigning the Tradition (Loveland, Colorado: Interweave, 1996). On page 16 she writes, “The tabby weft should enter over the floating selvedge when the adjacent warp is up and under the floating selvedge when the adjacent warp is down to maintain an over-one, under-one sequence at the selvedge.”

The usual practice with floating selvedges is for the shuttle to enter the shed over the floating selvedge and exit under it. The main reason for this is that on jack looms, shafts are not weighted to be as far down out of center as they are raised out of center. The floating selvedge (which is not threaded through a heddle) therefore rests lower than the centerpoint of the open shed. This makes it easy to place the shuttle over it to enter the shed. On the exit side, you can easily pick up the floating selvedge with your catching hand.

In some cases, depending on the threading draft you are using, the last warp thread on the edge will be down as you enter the shuttle over the floating selvedge (see Photo a); this is the “adjacent: warp thread. The floating selvedge will therefore weave with that warp thread—they will act as a doubled thread (see Photo b). This might be unsightly in some fabrics (an open plain weave, for example), in which case you would need to choose a different method of entering and exiting the shed (this could be under/over instead of over/under, or it could even be over/over/under/under).

In the case of overshot, however, it is usually very difficult to distinguish that doubling of the edge threads, so I’d use whatever method you prefer in dealing with floating selvedges. My favorite has always been over/under.