overshot simply factory

Overshot is perhaps the most iconic weaving technique--think antique coverlets and fancy table runners--yet many weavers are intimidated by its complex-looking structure. But it doesn"t have to be difficult! In this book, Susan Kesler-Simpson makes overshot approachable by breaking it down piece by piece so that the weaver understands how it works, and then she puts it all back together so that weavers will have the confidence to make their own overshot patterns or to try any of the 38 overshot projects she has designed for the book.

Buy this book! This book is the answer to my dreams. All in one place there are 37 GORGEOUS, well-designed, projects. Beautiful photographs illustrate each item well, and Susan Kesler-Simpson clearly shows the draft, threading, treadling options, yarns she used and alternates, along with a discussion of what has worked for her and has not worked for her. I have several bookmarked projects to be what I weave next. I am really excited. The author"s work is modern in feel, even though overshot was what was hot in Colonial America. These are not our ancestors projects. These are modern designs using a traditional weave structure. The color combinations are lovely. There is nothing not to like about this book. You can weave a project exactly as presented or use the information provided and design your own or use her projects as a jumping off point to your own unique design. I come from the perspective of having been weaving only since 2015, so I am somewhere in the beginner to intermediate range of ability in weaving. Before buying this book, I had woven an overshot scarf, placemats in Monk"s Belt which is a simplified structure, related to overshot, plus an overshot gamp shawl in a workshop. Since starting weaving, overshot has been my favorite weave structure because I love the intricacy of the patterns, but due to my not-yet-advanced status, I find it difficult to design my own overshot. Chapter 1 explains the overshot weave structure, and specifics of how to make weaving overshot easier. Chapter 2 covers creating an overshot pattern from a twill pattern, and there are illustrations in both chapter 1 and 2 showing drafts to make her explanations clear. Chapter 3 explains how borders are designed. Chapter 4 explains how to change the pattern by changing the treadling, illustrated with drafts. Chapter 5 explains how to design an overshot gamp. Chapter 6 explains how to set up the loom. Chapter 7 explains treadling. Chapter 8 is a grouping of small items that can be woven using overshot, such as keyrings, buttons, necklace medallion, book covers, purse. After those 7 chapters are the projects. The 37 projects include baby blankets, shawls and scarves, curtains, table runners, belts, Christmas ornaments, coasters, tablecloth, napkins, cape, poncho.

There’s more to overshot than coverlets, and delving into this book will go a long way to dispelling your fears and misconceptions of a structure that looks more complicated than it really is. The author offers an in-depth discussion of the threading, treading and tie-ups for overshot, along with ways to manage selvedges and create borders. Twenty two projects offer much to inspire.

Overshot is perhaps the most iconic weaving technique--think antique coverlets and fancy table runners--yet many weavers are intimidated by its complex-looking structure. But it doesn"t have to be difficult! In this book, Susan Kesler-Simpson makes overshot approachable by breaking it down piece by piece so that the weaver understands how it works, and then she puts it all back together so that weavers will have the confidence to make their own overshot patterns or to try any of the 38 overshot projects she has designed for the book.

Others"Susan’s explanations are to the point and easy to understand. When you read through the chapters, it’s as if Susan is sitting there with you, telling you in a friendly voice how to weave overshot step by step."--excerpt from the Foreword by Tom Knisely

Overshot: The earliest coverlets were woven using an overshot weave. There is a ground cloth of plain weave linen or cotton with a supplementary pattern weft, usually of dyed wool, added to create a geometric pattern based on simple combinations of blocks. The weaver creates the pattern by raising and lowering the pattern weft with treadles to create vibrant, reversible geometric patterns. Overshot coverlets could be woven domestically by men or women on simple four-shaft looms, and the craft persists to this day.

Summer-and-Winter: This structure is a type of overshot with strict rules about supplementary pattern weft float distances. The weft yarns float over no more than two warp yarns. This creates a denser fabric with a tighter weave. Summer-and-Winter is so named because one side of the coverlet features more wool than the other, thus giving the coverlet a summer side and a winter side. This structure may be an American invention. Its origins are somewhat mysterious, but it seems to have evolved out of a British weaving tradition.

Multi-harness/Star and Diamond: This group of coverlets is characterized not by the structure but by the intricacy of patterning. Usually executed in overshot, Beiderwand, or geometric double cloth, these coverlets were made almost all made in Eastern Pennsylvania by professional weavers on looms with between twelve and twenty-six shafts.

America’s earliest coverlets were woven in New England, usually in overshot patterns and by women working collectively to produce textiles for their own homes and for sale locally. Laurel Thatcher Ulrich’s book, Age of Homespun examines this pre-Revolutionary economy in which women shared labor, raw materials, and textile equipment to supplement family incomes. As the nineteenth century approached and textile mills emerged first in New England, new groups of European immigrant weavers would arrive in New England before moving westward to cheaper available land and spread industrialization to America’s rural interior.

Southern coverlets almost always tended to be woven in overshot patterns. Traditional hand-weaving also survived longest in the South. Southern Appalachian women were still weaving overshot coverlets at the turn of the twentieth century. These women and their coverlets helped in inspire a wave of Settlement Schools and mail-order cottage industries throughout the Southern Appalachian region, inspiring and contributing to Colonial Revival design and the Handicraft Revival. Before the Civil War, enslaved labor was often used in the production of Southern coverlets, both to grow and process the raw materials, and to transform those materials into a finished product.

Overshot: The earliest coverlets were woven using an overshot weave. There is a ground cloth of plain weave linen or cotton with a supplementary pattern weft, usually of dyed wool, added to create a geometric pattern based on simple combinations of blocks. The weaver creates the pattern by raising and lowering the pattern weft with treadles to create vibrant, reversible geometric patterns. Overshot coverlets could be woven domestically by men or women on simple four-shaft looms, and the craft persists to this day.

Summer-and-Winter: This structure is a type of overshot with strict rules about supplementary pattern weft float distances. The weft yarns float over no more than two warp yarns. This creates a denser fabric with a tighter weave. Summer-and-Winter is so named because one side of the coverlet features more wool than the other, thus giving the coverlet a summer side and a winter side. This structure may be an American invention. Its origins are somewhat mysterious, but it seems to have evolved out of a British weaving tradition.

Multi-harness/Star and Diamond: This group of coverlets is characterized not by the structure but by the intricacy of patterning. Usually executed in overshot, Beiderwand, or geometric double cloth, these coverlets were made almost all made in Eastern Pennsylvania by professional weavers on looms with between twelve and twenty-six shafts.

America’s earliest coverlets were woven in New England, usually in overshot patterns and by women working collectively to produce textiles for their own homes and for sale locally. Laurel Thatcher Ulrich’s book, Age of Homespun examines this pre-Revolutionary economy in which women shared labor, raw materials, and textile equipment to supplement family incomes. As the nineteenth century approached and textile mills emerged first in New England, new groups of European immigrant weavers would arrive in New England before moving westward to cheaper available land and spread industrialization to America’s rural interior.

Southern coverlets almost always tended to be woven in overshot patterns. Traditional hand-weaving also survived longest in the South. Southern Appalachian women were still weaving overshot coverlets at the turn of the twentieth century. These women and their coverlets helped in inspire a wave of Settlement Schools and mail-order cottage industries throughout the Southern Appalachian region, inspiring and contributing to Colonial Revival design and the Handicraft Revival. Before the Civil War, enslaved labor was often used in the production of Southern coverlets, both to grow and process the raw materials, and to transform those materials into a finished product.

This project was really popular when I posted it on Instagram, so I thought I would share it here also. It is a simple overshot pattern - with a twist. Also a great way to show off some special yarn. The yarn I used for my pattern was a skein of hand spun camel/silk blend. I wove the fabric on my Jack loom but you could also use your four or eight shaft loom.

Overshot is a weave structure where the weft threads jump over several warp threads at once, a supplementary weft creating patterns over a plain weave base. Overshot gained popularity in the turn of the 19th century (although its origins are a few hundred years earlier than that!). Coverlets (bed covers) were woven in Overshot with a cotton (or linen) plain weave base and a wool supplementary weft for the pattern. The plain weave base gave structure and durability and the woollen pattern thread gave warmth and colour/design. Designs were basic geometric designs that were handed down in families and as it was woven on a four shaft loom the Overshot patterns were accessible to many. In theory if you removed all the pattern threads form your Overshot you would have a structurally sound piece of plain weave fabric.

I was first drawn to Overshot many years ago when I saw what looked to me like "fragments" of Overshot in Sharon Aldermans "Mastering Weave Structures".

I wanted to use my handspun - but I only had a 100gms skein, I wanted to maximise the amount of fabric I could get using the 100gms. I thought about all the drafts I could use that would show off the weft and settled on overshot because this showcases the pattern yarn very nicely. I decided to weave it “fragmented” so I could make my handspun yarn go further. I chose a honeysuckle draft.

Overshot is perhaps the most iconic weaving technique--think antique coverlets and fancy table runners--yet many weavers are intimidated by its complex-looking structure. But it doesn"t have to be difficult! In this book, Susan Kesler-Simpson makes overshot approachable by breaking it down piece by piece so that the weaver understands how it works, and then she puts it all back together so that weavers will have the confidence to make their own overshot patterns or to try any of the 38 overshot projects she has designed for the book.Weavers will learn:

"Susan’s explanations are to the point and easy to understand. When you read through the chapters, it’s as if Susan is sitting there with you, telling you in a friendly voice how to weave overshot step by step."--excerpt from the Foreword by Tom Knisely

Efficiently attach accessories to wire rope of 1100 and 1800 lb winches with the Geoprobe® quick change hook and clevis. This exclusive offering eliminates the time required to respool winch with a wire rope equipped with overshot attachment. With the quick change hook and overshot clevis, simply unthread a retainer cap and swap out the swivel hook for the overshot clevis – all by hand. See video below for more details.

Speaking on the Golf Central, former pro Brandel Chamblee said Augusta National simply doesn’t suit DeChambeau’s game, whose best finished was back in 2016 when he was tied-21st as an amateur.

We started the system with the tank empty and a setpoint of 50% full. We watched the liquid level indication move slowly toward the 50% setpoint on the strip chart as the tank filled. It took a little more than 10 min for the liquid level to reach the 48% mark and maintain that level. We felt that the result of our first experiment was not acceptable. While the liquid level never overshot the setpoint, which was a good thing, the gain was set so low that it took a very long time to fill the tank to its setpoint. Also, the liquid level came close to the setpoint, but it never really reached it. Tim explained that it is typical to have some error—2% in this case—when running a control loop with only proportional control. This error is called offset.

We ran the experiment again with the integral time set at 50 sec and watched as the liquid level reached the setpoint in about 2 min and overshot to only 52% before correcting itself. The liquid level signal oscillated between 52% and 48%, reducing the overshoot with each cycle for about 10 sec, and then settled at the setpoint of 50%. This adjustment had produced some very good results, we were happy with the progress that we had made, and I realized we would be back at the shop before lunch after all. Tim’s third lesson for me was that the integral time acts like an error eater. It can help reduce the oscillation time and remove the offset, but mis-adjustment can cause an increase in overshoot as well as lead to the system having oscillations. Increase the integral time value in small increments until the oscillations and the offset have been eliminated.

Overshot wheels are a type of waterwheel that can be built if there is a significant height drop in the river or body of water being used to move the wheel. Generally, these are built on the side of a hill as a drop of at least 4.5 meters.

The cotton factory’s largest concern at this time was workers. There simply weren’t enough people (girls, mostly) in Dover to run all the looms and spindles that the company was installing. Advertisements were placed in area newspapers, calling for "50 smart, capable girls, 12-25 years of age, to whom constant employ and good encouragement will be given." The company recruited farm girls from all over New Hampshire and southern Maine to come and work for good wages at the Dover factories. The factory provided boarding houses for the girls to live in (the 1830 Dover Directory lists 112 boarding house operators, mostly widows) and strict rules of conduct that assured the girls’ families that they would be well taken care of, both physically and morally.

In 1840, the mills began to switch from woodfires to coal. From their inception in 1815, only wood had been used in the factories and most of the north side of Third Street served as the huge company woodyard. When the B&M Railroad reached Dover in 1842, the woodyard was abandoned and coal began arriving on trains as well as in schooners. Large coal pockets along the Landing’s riverbanks and near the railroad station were developed. The overshot waterwheels which supplied power to the looms were replaced, by 1850, with turbines. Huge boilers were placed in the west end of #5 mill when the printery department moved to new quarters. A new belfry was built atop #5 to house the new factory bell. (The old one was much smaller and hung in #2.) Also during the 1840s and 50s, most of the machinery in Mills 2—5 was refurbished, repaired, or replaced. Part of old #2 was converted to a machine repair shop and much of the work was done in-house by talented machinists.

Zimri Wallingford also oversaw operations at the Cocheco Print Works, but the real work there was under the direction of Superintendents John Bracewell (till 1880) and later, Washington Anderton. If business was steady and stable at the cloth manufacturing facilities, it was simply booming at the Print Works. Cocheco Prints became known worldwide for their fine quality and originality of design. The Print Works developed over 10,000 different pattern designs (many of which can be seen today at the Museum of American Textile History in Lowell, MA). The company was known for their ability to "fake" materials: they still worked only with the cotton calico produced across the street but their expertise in fabrication invented imitation wool, imitation seersucker, and satine, a shiny cloth created by heat pressure. The Print Works had machines capable of laying down 12 glorious colors onto a single piece of cloth.

In 1909, Pacific Mills of Lawrence, Massachusetts bought the company for $75 a share and the factories became known as the Cocheco Division of Pacific Mills. H. Arthur Newton was appointed as agent. The printery operations were moved to Lawrence in 1913 and the velvet mill and all of the Print Works buildings in Dover’s Henry Law Park were torn down by 1915. Production in the cloth manufacturing mills along Main, Washington, and Central diminished each year. By this time, the majority of the workers (49%) were French-Canadian. The Irish contingent had dropped to just 13% and Greek immigrants made up 10% of the factory population. Another 20% simply listed themselves as American. Eleven other nationalities comprised the remaining 8%. There was a brief upturn during World War I when the company made fabric for military uniforms and blankets (producing 35 million yards of cloth in 1916…far less than the 65 million that were produced annually during the 1880s). Business declined further after the war’s end.