colonial overshot in stock

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 Weavingby 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.

Overshot gained popularity and a place in history during the turn of the 19th century in North America for coverlets. Coverlets are woven bedcovers, often placed as the topmost covering on the bed. A quote that I feel strengthens the craftsmanship and labor that goes into weaving an overshot coverlet is from The National Museum of the American Coverlet:

Though, popular in many states during the early to mid 19th centuries, the extensive development of overshot weaving as a form of design and expression was fostered in rural southern Appalachia. It remained a staple of hand-weavers in the region until the early 20th century. In New England, around 1875, the invention of the Jacquard loom, the success of chemical dyes and the evolution of creating milled yarns, changed the look of coverlets entirely. The designs woven in New England textile mills were predominantly pictorial and curvilinear. So, while the weavers of New England set down their shuttles in favor of complex imagery in their textiles, the weavers of Southern Appalachia continued to weave for at least another hundred years using single strand, hand spun, irregular wool yarn that was dyed with vegetable matter, by choice.

And, due to the nature of design, overshot can be woven on simpler four harness looms. This was a means for many weavers to explore this technique who may not have the financial means to a more complicated loom. With this type of patterning a blanket could be woven in narrower strips and then hand sewn together to cover larger beds. This allowed weavers to create complex patterns that spanned the entirety of the bed.

What makes overshot so incredibly interesting that it was fundamentally a development of American weavers looking to express themselves. Many of the traditional patterns have mysterious names such as “Maltese Cross”, “Liley of the West”, “Blooming Leaf of Mexico” and “Lee’s Surrender”. Although the names are curious, the patterns that were developed from the variations of four simple blocks are incredibly intricate and luxurious.

This is only the tip of the iceberg with regard to the history of this woven structure. If you are interested in learning more about the culture and meaning of overshot, check out these resources!

The National Museum of the American Coverlet- a museum located in Bedford, Pennsylvania that has an extensive collection of traditional and jacquard overshot coverlets. Great information online and they have a “Coverlet College” which is a weekend series of lectures to learn everything about the American coverlet. Check out their website - coverletmuseum.org

Textile Art of Southern Appalachia: The Quiet Work of Women – This was an exhibit that traveled from Lowell, Massachusetts, Morehead, Kentucky, Knoxville, Tennessee, Raleigh, North Carolina, and ended at the Royal Museum in Edinburgh, Scotland. The exhibit contained a large number of overshot coverlets and the personal histories of those who wove them. I learned of this exhibit through an article written by Kathryn Liebowitz for the 2001, June/July edition of the magazine “Art New England”. The book that accompanied the exhibit, written by Kathleen Curtis Wilson, contains some of the rich history of these weavers and the cloth they created. I have not personally read the book, but it is now on the top of my wish list, so when I do, you will be the first to know about it! The book is called Textile Art of Southern Appalachia: The Quiet Work of Women and I look forward to reading it.

In its simplest form – overshot is a weaving technique that utilizes at least 2 different types of weft yarns and floats to create a pattern. These patterns are often heavily geometric.

Ground weft– plain weave pattern that is used between each row of your overshot pattern. This plain weave gives the textile structure and allows for large areas of overshot to be woven without creating an overly sleazy fabric. Without the use of a ground weft on an overshot pattern, the weaving would not hold together because there would not be enough warp and weft intersections to create a solid weaving.

They were most popular though in southern Appalachia and continued to be so even after textile technologies advanced. When other parts of colonial America moved to jacquard weaving, the weavers of southern Appalachia continued to weave their overshot coverlets by hand.

Since the overshot coverlets were most often woven at home on smaller looms they usually had a seam down the middle where two woven panels were sewn together.

The thing about overshot is that no matter the application, it is pretty impressive. Perhaps that is just my opinion, but due to how complex it can look, I feel that it is pretty safe to say.

The discontinuous weft yarns will float onto the back of the weaving until you are ready for them in their next pick. This does make your overshot weaving one sided since it will have vertical floats on the back. Keep this in mind if you want to try this technique out.

Also seen in the image above, the overshot yarn that I used was not all one color! This is a really simple way to get extra dimension and interest in your overshot if that is something you are looking for.

This makes it simple to be able to only weave overshot in certain parts of your weaving. If you want to do this then you can continue to weave your plain weave across the entire width of your weaving, but only weave overshot in specific areas. This creates a overshot section that functions similar to inlay.

Since the overshot pattern is strongly influenced by the weft yarns that are used it is important to choose the right yarns. Your weaving will be set up to the specification needed for a balanced plain weave. Make sure you understand EPI in order to get the right warp sett for your overshot weaving.

The ground weft used is almost always the same yarn as your warp. This allows the overshot weft to really be able to shine without contrasting warp and weft plain weave yarns.

In order to get the full effect of the overshot, it must be thick enough that when you are weaving your pattern it covers up the ground weft between each pass. If it is not thick enough to do this, it will still be overshot, but the full effect will not be seen.

What this warp thread does is serve as an all-purpose selvedge that does not correspond with your pattern. Instead, you would make sure to go around this warp thread every time to make sure that you are able to weave fully to the selvedge. Without this, your overshot weft will float awkwardly on the back of your weaving whenever the pattern does not take it to the edge.

I have mentioned this book multiple times because it really is such a great resource for any weaver looking to weave patterns of all types. It contains 23 pages of different overshot patterns (among so many other patterns) that you can set up on your floor or table loom.

Weaving overshot on a frame loom or rigid heddle loom will require the use of string heddles and pick-up sticks that you have to manually use to create a shed.

Ask most people what “overshot,” and most weavers think of American colonial weavers and their coverlets. While coverlets are represented here, this collection also includes projects that dazzle with color, drape with luscious softness, and take overshot in new directions. Scarves and shawls, runners (for table and floor), tablecloths and clothing—all appear in this comprehensive collection. Overshot, even in its colonial interpretation, was a miracle weave, allowing unbelievable patterning on only four shafts. Add to pattern the use of color and fine and luxurious yarns, and you’ll start your own love affair with overshot. This is the second eBook on overshot (see also A Baker"s Dozen: Top Projects in Overshot eBook)

As weavers it’s not uncommon to come across weaving drafts that are decades or even centuries old. In her article for the November/December 2017 issue of Handwoven, Madelyn van der Hoogt teaches you how to decipher old overshot drafts. Check out the issue to discover more vintage drafts and projects inspired by famous weavers. ~Christina

Overshot is a miracle of design potential on only four shafts. Somewhere, sometime long ago, a weaver looked at 2/2 twill and said: What if I add a tabby weft and repeat each two-thread pair for longer floats? Incredible patterns evolved, shared by colonial weavers with each other on small pieces of precious paper. Luckily, many of these drafts were saved and have become part of our weaving literature. In some of the older sources, the drafting format looks very confusing. Here is a guide to using them.

In the days when paper was hard to come by and writing was done by dipping a quill in ink, drafting formats for weaving were as abbreviated as possible. Overshot patterns are so elaborate that they can’t be communicated by words or short repeats the way simple twills can (point, rosepath, straight, broken, etc.). Complete drafts are necessary. Threading repeats are often long—some with as many as 400 threads. A number of shorthand methods thereby evolved that are similar to our use of profile drafts for other block weaves. But the way overshot works doesn’t allow a strict substitution of threading units for blocks on a profile threading draft.

Overshot drafting formats: Figure 1 is from Davison’s A Handweaver’s Source Book, Figure 2 is from Weaver Rose, and Figure 3 is from Wilson and Kennedy’s Of Coverlets.

Figures 1–3 show the most common early drafting methods. (Compare their length with the thread-by-thread version in Figure 5.) In shorthand drafts, each overshot block contains an even number of threads, four per block in these. (Block labels in red are added to Figures 1, 2, and 3 for clarity.) In Figure 1, from Marguerite Davison’s A Handweaver’s Source Book, the numbers tell how many times to thread each block; the rows tell which block to thread (A = 1-2, B = 3-2, C = 3-4, and D = 1-4). Note how the blocks always start on an odd shaft to preserve the even/odd sequence across the warp. The first column of numbers on the right (2/2) means to thread Block A (shafts 1-2) two times, then thread Block B (shafts 3-2) two times, etc.

However, in overshot, blocks share shafts. That is, Block A (on shafts 1-2) shares shaft 2 with Block B and shaft 1 with Block D. Block B shares shaft 2 with Block A and shaft 3 with Block C, etc. When, for example, Block B is woven, a pattern-weft float covers the four threads that have been threaded for Block B and the thread on shaft 2 in Block A and the thread on shaft 3 in Block C. The circled blocks in Figure 5 show the warp threads that will actually produce pattern in each block using the drafts in Figures 1–4. Notice that Block B on the right will show a weft float over six threads, but on the left over only four. The same imbalance occurs with Block C; see also the drawdown in Figure 8. In the drafts derived from these shorthand drafts, float lengths over blocks in symmetrical positions always differ from each other by two warp threads.

The overshot drafts in Marguerite Davison’s A Handweaver’s Pattern Book and in Mary Meigs Atwater’s The Shuttle-Craft Book of American Hand-Weaving have all been balanced; see their drafting formats in Figures 11 and 12.

Tied overshot, often called stars and diamonds weave, evokes images of pretty weaving patterns.  Having read several articles about it, I learned that tied overshot is well known for being a traditional Colonial coverlet weave used in Pennsylvania in the nineteenth century.  It looks like overshot, but is more closely related to summer and winter.

I read Clotilde Barrett’s article, “Coverlet Weaves Using Two Ties” (Weaver’s Journal, April 1979 issue #12, downloadable from handweaving.net).  This excellent article has photos of various samples with drafts and notes, and I was particularly interested in the photo of the sample in Plate 6.  The article mentions Dorothy K. and Harold B. Burnham’s notable book, Keep Me Warm One Night, that refers to the weave of this sample as “stars and diamonds.”  To better understand how to design such a weave, I closely studied the chapter on tied overshot in Madelyn van der Hoogt’s book, The Complete Book of Drafting for Handweavers, one of my favorite books on drafting.  I then designed and wove a bunch of samples and three tied overshot table runners.  In this post I’ll be sharing, among other things, photos, drafts, and notes about these runners starting with this blue runner:

To design the 12-shaft draft shown above, I adapted the tie-up from the draft in Figure 7 in Clotilde’s article, and the threading and treadling from the chapter in Madelyn’s book on tied overshot, Figure 11b:  “Uneven 2-tie overshot: 5 thread half-unit.”  In other variations the size of these units can vary.  I also want to mention that you can design new patterns using the same threading and treadling by simply making changes in the tie-up.  For example, in the partial draft above you can make changes to the tie-up within the area marked by the yellow rectangle to design new patterns.  That’s what I did and wove the other two runners on the same warp.  There are no stars in the red one and the mauve one is mostly just diamonds:

I also found online a PDF version of Tom Knisely’s March/April 2006 article in Handwoven magazine, “Stars and Diamonds – for a show towel on fourteen shafts.”  I think the John Landes draft was used for the towel.  This is a nice article with detailed drafts and step-by-step instructions.  For more on tied overshot and related weaves there are many excellent articles in Weaver’s magazine issue #19 (4th quarter 1992), the theme is friendship coverlets.

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 is an intricate weave structure in which pattern weft “shoots over” a grounded plain weave cloth to create a huge range of patterns. From undulating waves to dashing circles, the weaver can create complex patterns on only 4 shafts. This weave structure has been used all over the world, but developed most widely in Appalachian coverlets and table linens during early colonial America. In this class, students will learn more about this beloved weave structure and weave their own overshot table runners, placemats, or samples using cotton and wool on 4 shaft floor looms. Explore blending colors, manipulating patterns, and practicing weaving this two shuttle weave structure. No weaving experience is necessary, but some experience is helpful.

This particular ‘favorite things’ post may be viewed as a little self-serving; however, I’m solely motivated to get more weavers intrigued with overshot.  In the current May/June 2014 issue of Handwoven I have a project that is a pair of overshot gamp dish towels.  I’m so pleased with how they turned out . . . if you haven’t seen them, below is a picture of one of the towels hanging from the bar on my oven.

The first thing I ever wove was a fingertip towel with an overshot border.  Over the 45 years since I’ve learned to weave, I have woven a lot of overshot.  I’ve always remained fascinated by the multitude of patterns possible . . . even on four shafts.  Yes, the above towel was woven on merely four shafts.

Weaving overshot reminds me of how important the tie-up and treadling is . . . not just the threading.  If you’ve never woven overshot, there are a multitude of resources available.  To get you started, here are a few you may enjoy.

Available for download is a pair of overshot publications by Josephine Estes titled Original Miniature Patterns for Handweaving.  This is a wonderful collection of many of the smaller overshot threadings.  I have always gotten a kick out of overshot pattern names . . . such as Young Lover’s Knot, Royal Crown, Queen’s Delight, and more!  They sound rather grand, don’t they?

The two publications each provide 24 different overshot drafts.  Pretty cool!  What I really like about these patterns is how accessible these patterns are because of the relatively short threading sequences.  Check out some of the pages . . .

An overshot threading is really a type of a twill threading and just because you’ve threaded for overshot doesn’t mean you have to weave it as overshot by alternating a pattern weft and a tabby weft.  In the article above, it outlines a few more ways to weave an overshot threading, such as on-opposites, twill, and honeycomb.  Below is the threading in the article, but these treadling approaches may be done on other overshot threadings.

Last, but certainly not least, is an article Six Block Overshot on Four Shafts – http://www.cs.arizona.edu/patterns/weaving/periodicals/zmw_42.pdf . . . you will need to scroll down through this November 1958 issue of Master Weaver to page 8.  No, it’s not the prettiest article, but it’s definitely worth checking out.  Six blocks on four shafts???!!!  Hopefully, more than a few weavers will be intrigued to see how to get more out of less.

Overshot sometimes gets a bad rap since many people equate it with Colonial coverlets, but overshot is so much more than that.  If you haven’t tried weaving overshot, give a chance . . . you may be pleased with the results.

Accomplished weaver and long time friend of WEBS, Ute Bargmann, designed this Celebration Overshot Runner for Valley Yarns in honor of our 40th Anniversary. Worked in a stunning combination of white Valley Cotton 10/2 and deep red Valley Cotton 5/2 and designed for a 4 shaft loom, this is an overshot name draft derived from the phrase “WEBS - 40 Great Years for Weavers”.

In the fall of 2011, members of the Black Sheep Handweavers Guild decided to undertake a cooperative friendship coverlet project. In the end, each weaver will end up with an overshot coverlet in the yarn of her choice. It will be made up of many squares. Each square will be woven by a different weaver, using a different overshot pattern. It is both a sampler and a memento of friendship.

Overshot was chosen for several reasons. It gives excellent dimensional stability, since there are the same warp type threads running in both the warp and weft directions. It also offers a wide range of patterns. There are many traditional patterns available in overshot that reflect its prominence as a Colonial American art form. There are also modern versions. And, truth be told, any twill pattern can be converted to overshot by running alternating plain weave picks between the pattern weft picks. An inch of plain tabby weave is woven between each square to provide space for lines of stabilizing machine stitching.

This project fits the guild to a tee. It fosters cooperation, encourages memories, and provides a crash course in many nuances of overshot weaving. After a number of months full of finding or spinning weft, dressing looms, weaving a wide range of wefts and doing the inevitable head scratching and deep breathing, we will each emerge with a memento of some wonderful weaving friendships. Weave on!

Our King’s Arms coverlet is slightly adapted from an American coverlet woven in in a technique called “overshot.” The antique inspiration, now in the collections of the Colonial Williamsburg Foundation, was likely made in the second quarter of the 19th century by a professional weaver (rather than a home weaver.) While the original textile was made of wool and cotton, our version is made in all cotton.

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.

I have seen some stunning coverlets quietly doing their job in movies: "The Patriot" with Mel Gibson and Heath Ledger. I had to watch it again and freeze frame the movie to get a good look! It was a natural setting for a colonial coverlet. The coverlet that was wrapped around Dakota Fanning in "War of the Worlds", featuring Tom Cruise was a pleasant surprise! Are you one of those weavers who"s eye scans movie scenes for textiles and gets excited when you spot something handwoven ?

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:

The prices of assets such as stocks have overshot due in part to record low interest rates and money printing by major central banks, and will see a correction “at some point”, a top Fed official said on Thursday.

“I believe markets have overshot and we’re in for a correction at some point,” said Dallas Fed President Richard Fisher, answering questions after a lecture in London.