overshot blanket factory

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.

Antique Colonial hand loomed Linsey Woolsey overshot coverlet in rust and moss chariot wheel/tables motif. The wool has retained great body and a fabulous depth of color. Linsey...

This woven coverlet is one of my treasured family heirlooms. It was produced at the Dayton Woolen Factory and has been handed down in the family for over 150 years. The pattern is an example of an overshot pattern, where the horizontal yarn shoots over several vertical yarns at a time. The slight discontinuity in the pattern (circled) shows where two lengths woven on a 36 inch loom were joined to make the full sized coverlet.

The factory made many kinds of cloth, as noted in this ad. Satinet was a satin-weave fabric made with cotton warp and wool filling; cassimere, a twill-weave, worsted suiting fabric; flannel, a fabric made in plain or twill weave, usually with carded yarns and napped for added warmth. My great-aunt remembered that the family was always well-supplied with stockings knit from factory yarn and the family clothing, as well as the blankets for their beds, were products of the factory. Fabric was obtainable in many colors, with basic grey, brown and black as well as blue, scarlet, green, and red. I also have another, light-weight, blanket from the factory which is a pale yellow. The products of the factory were of a high quality, as evidenced by the awards they won at cattle shows and county and state fairs, throughout Illinois and other states in the midwest.

The Lillian blanket is inspired by my great-grandmother who lived on a tobacco farm and worked at Chatham Manufacturing Company in the small town of Elkin, North Carolina. Chatham Manufacturing Company was the largest blanket manufacturer of its time and they were famous for their wool and satin trimmed Chatham blankets.

The warm color palette and subtle crackle overshot pattern creates a look that is simultaneously casual enough for a picnic in the park but elegant enough to be displayed in your living room or across your bed.

This rich deep shade of reddish brown blanket is patterned with black herringbone cross-hatching squares. Its original purpose was to fit a double size bed, it could also fit a twin or double or be used as wonderful throw for a queen. Hardly used but does have a few original moth holes. Betsey has organically hand washed this, and it’s ready for your home.

This homespun black and white check blanket has been created from two hand woven 27” strips. There is some wonderful character to this piece, including a 4” square patch. The hand embroidered name, Christopher Riheuby Stuart, was probably added later. Many of the Stuarts from Maine are descendants of Mary Queen of Scot.

This premiere woven baby blanket is a thick, luscious cotton with a 1 1/2 inch silk binding. It’s reversible and warm and cuddly to use in the baby carriage for a ride in the winter.

Originally made for a double size bed, this could also be used for a twin or full size bed or as a throw on any bed or sofa. This unused blanket has been organically washed and is ready to be taken home.

This blanket is two strips of the full width of the loom. The top and bottom are finished with a green woolen yarn in a buttonhole stitch. There is nothing warmer in the winter than a woolen blanket.

Coverlets, another name for blankets, were handwoven, often with unique design. Since most coverlets had to be large enough to cover a bed, they were often made of two panels stitched together in the center. For  decorative pieces such as this one,  many weavers would use a technique known as pattern weaving, which produced intricate designs woven into the fabric. In Southern Appalachia, most weavers used overshot patterns, where the weft (horizontal) threads were “floated” over the warp (vertical) threads, creating the blocks of color visible in this coverlet.

Woven by Leigh Alexander. This coverlet is number 4 in a series of five unique blankets published as a multiple by Dinaburg Arts LLC, New York. Exhibited in "Inner and Outer Space," Mattress Factory, Pittsburgh, Pennsylvania, curated by Dara Meyers-Kingsley, and "Huckleberry Finn," CCA Wattis Institute for Contemporary Arts, San Francisco, California, curated by Jens Hoffmann. Photo credit Cathy Carver.

Is it old Colonial blankets, usually white background with blue, black or red wool pattern and large, large designs? A corner box with the weaver"s initials and a date.They bring to mind an image of early residents of colonial America and also the British Colonies, later to be called Upper and Lower Canada.

It is thought that overshot was brought over from Europe with the early arrivals to the New Land. Settlers brought many ideas and tools with them and adapted them to the new life here. With a colder climate and long winters, overshot blankets meant you had a thick stable cloth, woven on four shafts, that kept the sleeper warm and also served as a decorative bed covering.

Lets get back to our weaving with overshot and some of the basics with the four shaft variety. I need to point out here that these are simple guidelines and by no means complete. Just a small primer to pique your interest. I will post reading / study material list at the end. These notes are based on an overshot study I undertook some years ago.

Most new weavers are introduced to overshot at an early newbie weaver stage and usually start with a draft from Marguerite Davison"s classic: A Handweaver"s Pattern Book.Itsstill available to purchase after all these years. The drafts in this book are for sinking shaft looms such as counterbalance looms. You can flip the tie up for jack looms. If you don"t, it means you will be weaving the pattern upside down, which isn"t a problem but it would be nice to see the front as you weave. This little detail would make it confusing for new weavers starting on overshot for the first time, in addition to handling two shuttles!

Overshot is a twill derivative using two threads to create a unit block. This means you can have four blocks on four shafts. One thread in each block, is shared by the next block. This one thread in common creates half units in between blocks of either all pattern or all tabby. (This can be expanded through to eight shafts but we"ll stick with four shafts for this post) See what I mean by this in the picture below:

Overshot is actually two pieces of cloth, being woven simultaneously; one is a tabby or plain weave cloth, the second is the pattern that "over-shoots" the plain weave. You throw one shuttle for the plain weave and a second shuttle for the pattern weft, beating *very* firmly between each shot. If you were to take away the pattern weft, you would find a perfectly balanced 50/50 plain weave cloth. The pattern weft should compact well but be "lofty" to cover and produce blocks of solid colour with no plain weave peeking through. Normally the pattern weft is twice the size of the tabby yarn. Traditionally, cotton for tabby and with wool for pattern.

I keep the "odd" tabbies of treadles one and three to enter from the left hand side, and the "even" tabbies of treadles two and four from the right hand side. Also I work with both shuttles, tabby and weft, on one side of the warp. If you end up with divided shuttles then you have a treadling error to find!. The shuttles can be awkward to coordinate at first but you soon develop a rhythm. Be aware that many overshot drafts may say "use tabby" but don"t show it in the treadling. Then there are some that don"t mention the tabby at all. They are assuming you know to insert it.

The majority of overshot is woven "as drawn in" which means you repeat the exact threading as your treadling. Old drafts say "tromp as writ" which is the same thing.

Twill fashion is where you treadle a block over again to produce exact squares. This may be more repeats than is in the threading. You can also follow twill treadlings such as: rosepath ( 1, 2, 3, 4, 1, 4, 3, 2, 1), point twill (1, 2, 3, 4, 3, 2, 1) , or broken twill (1, 2, 4, 3). Its then called overshot treadled as rosepath, or treadled as summer and winter. There are many other ways to vary the treadling and these all make very pretty borders! The following examples are from my first level of the Guild of Canadian Weavers Test. I took portions of the treadling and created these border patterns. They had to have a purpose for being woven. Click to enlarge...

When designing overshot patterns you can place many identical units together and then continue through to other blocks but the turning point block in your design will have an uneven number of threads. When treadling, the turning blocks are treadled one extra repeat.

So besides bed coverlets, what else can you make with overshot? I have seen beautiful modern looking table runners, scarves, overshot style borders on placemats and towels. I saw a beautiful (apparently) plain weave table cloth that had inlaid overshot motifs scattered like stars! They looked like snowflakes on the royal blue cloth.

I always thought it would be a neat challenge to weave overshot and have it look totally modern and comfortable in today"s home. ( Its on my "to-do" list..)

So if you have followed me through to this point and are now thinking it might be nice to try some overshot study yourself. Perhaps try inventing some borders for towels? Here are a few books on overshot that are on my library shelf: