Slicker method to move patterns from Illustrator to Photoshop (repost- rewritten)

Apparently this blog  was hacked.

I have repaired the damage and put up more fences to prevent another event.

I combined the 2 posts that seem to have been affected/infected. What I so breathlessly shared a few days ago has turned into a kind of opus (at least in my mind)..

Rewriting  makes it hard to present the material with the fresh dewey eyes of “youth”. Meaning: I have some trepidation in sharing this method as factually and as flatly as before.  I have tried a few things that required some tweaking. I’d rather not get into those details in an introduction- tooo messy. So, consider this the first layer.

During a recent workshop, at Digital Weaving Norway, there was interest in this process. (you know who you are!) I was having “one of those days” aka- a very little brain function day, and hope this tutorial will offer some assistance to my dear, new friends. This is really just an overview. This means, if you are completely unfamiliar with Illustrator, you may not feel this tutorial is a tutorial. And…you know- I can go into detail…so….ask me…I can make another update. My goal here is to demonstrate what CAN be done. There are countless tutorials by super sharp teachers on youtube that can get you basic and even fancy-but, none of them address the needs of weavers- hence this little ditty. This is my little way of trying to push the envelope forward for us Jacquard weavers on Photoshop and the TC2. Industry software has ways of doing this. Been there- it’s nice. But- so it wrangling amazement this way….IMHO

For this to work,  I have to be aware of the how an object will look given the number of pixels used to express it. So…In order to have success and not introduce new problems, when starting in vectors, attention to settings and controls is in order.

Here we go again again:

In Illustrator preferences :

Uncheck anti- alias artwork

Screen Shot 2015-08-22 at 4.20.06 PM

under “General” in Preferences

Since I am discussing patterns….you will see a box: “Transform Pattern”

Basically- if you check it- the pattern will seem to move with the object you filled- if you move that object. Unchecked- the pattern will seem to stay in place- if you move the object you will “capture” different pieces of the pattern.  

(maybe there is a better way to put that?)

: to create patterns to export to Photoshop- I have left this box unchecked. 

Screen Shot 2015-08-22 at 4.20.23 PM

under “Units” in preferences

Set your units to pixels. You will have a better sense of how an object will look in thread (pixel) as well as the scale of the pattern repeat.

Screen Shot 2015-08-22 at 5.08.10 PM

under “Guides and Grid”

Here you can set another means of understanding how large or small your pattern will be in pixels. Just knowing the pattern tile size is not enough to know if your pattern will work in threads..err…pixels. Once a file is open, if you go to VIEW in the control Bar are SHOW GRID- you will see the grid.

Screen Shot 2015-08-22 at 4.49.35 PM

When you open a new file- Double check that it opens in Pixels. I set the artboard to open in a size that is visually approximately the size of my repeat. This is another way for me to understand my pattern. This artboard can be resized if you wish. Change the color mode to RGB and select pixel for the preview mode. 

After you click OK to open the file- go to the EFFECTS menu in the control bar- and go to Document Raster Settings

Screen Shot 2015-08-22 at 4.54.23 PM

Finesse the resolution to match your loom.

My loom is set to 90 epi

UNCHECK anti alias

0 the number of pixels around your object.


  • Make your pattern

a little note here- if you are completely unfamiliar with Illustrator you may not realize that it is very easy to make a little design motif element and scale it down or up and save that little bit as a symbol. I sometimes will make numbers of pieces of things to be combined and recombined. If you do this- you must break the link to the symbol before successfully using it as a pattern.

Additionally- Illustrator allows you to save palettes of colors, extract colors from images and organize them into folders. I haven’t seen a nice easy way to do this Photoshop.

Screen Shot 2015-08-19 at 12.50.39 PM

 Drag that pattern out from the swatches panel and on to workspace.

  •  Go to the Layers panel. Click on the arrow at the left of the icon to open the Group. At the bottom of the stack is the bounding box. If you have your pattern selected~ you will see 2 rectangular boxes surrounding your design. If your design has a seamless repeat that extends beyond the bounding box- you will see 2. If your repeat is complete inside the box- you will see one. The point is to locate the BOUNDING BOX. This defines the pattern tile.
Screen Shot 2015-08-19 at 12.50.57 PM

bounding box at the bottom of the stack

You can see what is what by clicking the eyeball to the far left in the layers.

  •  Drag that box to the top of the stack. Still inside the Group.
  •  Make sure all paths of the group are selected by clicking on the ball at the far right.
Screen Shot 2015-08-19 at 12.51.24 PM

bounding box is dragged to the top of the stack…and here is where things can get tricky- depending on the pattern repeat you have designed and how you designed it.

A short note here- When you go to Photoshop- you will define this rectangular box as a pattern. It will be tiled out -just like your weaves- upper left hand corner L to R line by line like text on a page. Depending on how you grouped things when you made your initial for the repeat- and the repeat type- you may find that some fiddling is in order. The first time you try this- keep it simple to get the idea into your head- there are a lot of pieces to be aware of. I have seen a few repeats that were more difficult to copy because I grouped objects when I first drew them….it was tedious to track back to so that objects could be split.   I am also a little suspicious of certain types of repeats…I need to research this a bit and get back. Even so- If you UNDERSTAND what you are doing- you can finagle your way thru to the light (so to speak). These kinds of questions are what had me holding this method somewhat close to my chest. I have finally figured out that I don’t have to have ALL the answers- just some.

  •   Copy
  •  Go to Photoshop
  •  Open a New file  If you can’t copy into Photoshop or you get weird text instead- go to the preferences/ file handling and clipboard and uncheck – the box that says “include SVG text”.
  •  Adjust the resolution to match your loom. You did this in Illustrator.  I adjust the color mode here as well and decide if you want a transparent background. I often leave the background of a pattern transparent because I have something going on in the image that demands it (overlay) or I know that I can very easily add a fill layer of color in Photoshop.
  •  Paste
  •  Select smart object  Before you accept the paste LOOK up at the control bar at the top of the interface – UNCHECK anti alias. After I had all my settings in order- I didn’t have to uncheck this devilish box which seems to be everywhere just waiting to  waste my flavor.

Now you can avoid many of the hours of clicks and tears in my misbegotten youth.



Crack it open a little

It usually starts out innocently enough- I suppose. In this case, I am sharing what should perhaps be kept under a rock- or wraps. I think I’ve explained the process a few times here and there- so I will spare the details here- except for some new juicy bits.

girls J.B. #1- Ambition is Deadly.

In this case, I decided to go to another level- and work on a diptych – a format I have used before, basically because the loom I was using was narrower than the thing I wanted to make. Here- I actually was thinking even further than that. I was thinking it would be interesting to create separate but linked images. Not just a too big piece for one loom. Logic tells you that you should work on the piece as one and THEN split them. This keeps colors consistent and aligned. Somehow- logic failed me…at first. SO I had to start again. I learned this lesson once before – but I suppose that was just too much to ask that it stay with me for a while.

J.B.#2  Images with issues – have issues that you have to deal with.color burn version2

The image you start with is the image you will be living with, sleeping with, eating with, showering with, walking with, banging your head on the wall with. It is what it is. In my case, I was, “Damn the Torpedoes! FULL SPEED AHEAD!”

Why? Because me. I could see with the eyes that are in my head, presumably, that my starting image was overexposed…but I also liked that.

So….I deal and dealt with issues of color and color separation interminably.  I even decided to split my 2 brocade areas into 3 which I have done before- but you know- it really has to be worth it – because that is really challenging. It was really hard!!!  And eventually I realized…I was giving myself fits – for why?

Here’s the truth. I was getting high on the complexity. Some people brag about how simple they like to make things.  They even intimate that you are somehow deficient if you work too hard on a thing.

Whatev’s honey- find your bliss.

Some people like to brag about how awesome they are that they can do hard things. It’s probably easier to be annoyed about that- but still. Rock on. I tend to complicate things. it’s just part of my process. I go all crazy until I see the simple truth.  Sometimes the truth is pretty complex.  My files are probably not very simple. The trick for me is staying with the complexity- because that is what is required- without artificially complexifying it. (wow….just let that ride.)

J.B. #3 If a thing is TOO hard- it is probably wrong.  Complex is not the same as hard.

one little piece of the most recent file. note the magical folders

one little piece of the most recent file.
note the magical folders

Start over- again.  Suddenly….it wasn’t so hard. Still complex of course, but now I could trace the path of my multi shuttles. Which was totally impossible before.

Why? Let’s make a theory.

  • I think it was because I just really know this file inside out now- and that is why.
    •  (Can you see me looking earnest and are you suppressing a patronizing smirk? I am.)
  • I had cleared my head (wall banging) and so now I could think clearly.
  • I had already made every other confusing choice and decision and learned from that. (result: confusion not clarity. FYI)
  • Mars moved out of regression
    • (? Not even sure what I just typed. Is that even right?)

Use folders for layer groups. (that is your tech tip for today.)

J.B. #4  Ambition is deadly. Part Deux.

I have learned this week that my iMac has insufficient VRAM (VRAM…OMG.) to run Photoshop CC on the file sizes I am now making. Granted- the file size in pixels is consistent. Width is fixed. Height varies by 1- 2,000 pixels. But it turns out I have more layers-  because more colors, because 2 warps. At least that is the theory this week. I am not really buying it- but how can I refute this?

I have  been dealing with slow response times- which can cause devastating misalignments of layers and loads of confusions about whether I did something or not. This has  caused me to fork out some lettuce for more RAM. Which I installed myself.

(It wasn’t hard- but DUDE! WHY do I have to become such a freaking WIZARD!!!!! I just want to weave.)

testing aspect ratio- and learning that what I thought I knew - was probably true- but not anymore.

testing aspect ratio- and learning that what I thought I knew – was probably true- but not anymore.

So, I moved onto my laptop- which was sufficient for all of the complexity I could throw at it all last year…but, now that is maxed out. It has enough VRAM..(VRAM….pht!) but may have been suffering from insufficient RAM (only 8GB), so I figured out how to partition a new scratch disk and optimize the system and it is marginally, MARGINALLY better. Only 8GB…I gotta crack a smile about that one. Latest recommendation is to go to 16 GB.

AGAIN. seriously? None of this is hard. The info is on the internet, it was the path to awareness that took so long, not the task itself…and yet. I am almost boiling over with resentment that rooms in my artist brain castle have been occupied. I want my vague and airy/ish/kinda/you know/sortof ways back.

testing colors, breaking threads...but getting hopeful that there is a light at the end of this tunnel.

testing colors, breaking threads…but getting hopeful that there is a light at the end of this tunnel.

I now know things that I would rather not. well…at least until dinner. (see JB #1).




So – how do I end a post that reads like a baby whine crank post -in a nice positive way?

Well- in the midst of all this I went to Chicago and saved the day – correcting some issues on the looms there. AND – I have been torn away from my work this week preparing to go off to India for a trade show with the TC-2. (if my Visa arrives in time).

Putting the application together for that was amusing also BTW.

The process included the use of a selfie stick.

Mic drop.



Workshops with my TC-2

After many months of thinking and imagining how I might do it. I finally sat down and refused to get up until I had calendared and created a flyer. Sounds like so little…and yet.

So… Gilda is ready to see you now.

Jacquard Weaving with the TC-2

I had thought that my lack of frolicking sheep and ancient stone foundations disqualified me from offering workshops. Then I realized that in my own humble way- I am actually hooked up. And…I know things. So I am opening up the studio. Here is the announcement.


The System approach

I am back at the loom after a break from conferencing in Netherlands. I should write about that – but that is not why I interrupted my activities today. no pictures just words…sorry.

When I returned to the loom, I opened my logbook (which I advocate quite fiercely) and realized that for all my writing in it- I am still confused and hunting for the file I need. What was I doing so busily with that pen?

Believe it or not, for all my efforts, I still find myself with multiple files in multiple locations. Shocking!
How does this happen?

Here are my theories:

1. When I start a new project, I have a general name for the piece/s I will make. So the project starts out with one name- which changes during the course of making it.

2. I have found it is a great help to be able to look at the file in color with guidelines marking where I am during the weaving on another lap/desk/top. So I need 2 current copies. Sometimes I think I am too clever and I will just leave an earlier version on the desktop and then the 2 versions are out of sync and that is just so fun I can’t tell you how much I love it.

3. I always make changes..which means, I must make these changes to 2 files- because – (see above) and so far, wireless hasn’t worked consistently enough for me to work on it consistently.

I DO have a system..but it is complex. It works..but I think after this morning when I began to wonder who that woman was who was working on my files before I left for the conference…I might be tweaking it further.

When I first start the file it is saved first as a .psd (getting it out of .jpg). Why do I work in .psd? that is another separation point for me…early development in a native file format.

Image development takes names like:



the iterations in imagery get numbers.

Color reduction and size changes are noted in the file name. Another separation for me. This allows me to “breadcrumb” the trail because it is more often the case that I need to back track a couple of times as I work through my decision process for color areas and aspect ratios.

File names will shift to one with a name like:

Avenger 36.psd…which then might shift to

Avenger 9600.psd

36 being the number of colors and 9600 being the number of picks.

Confusing? That is what the logbook if for (supposedly) AND Once I get things past the color reduction phase to the color separation by layer phase,  I change the file format to .tif This allows me to know where I was in the process. IF it is a tiff- it has colors in layers.

Of course a huge part of this process is COMPLIANCE. That’s right.

I can make the rules but not always count that I will abide by them.


apparently ’cause that’s how I roll. (insert badass sad face)

Then begins the .tif iterations as testing ensues:

note- within the file in the layers I also have procedures for supporting hypotheses

my hidden layers with names that tell me this is a possible color concept…I can turn them on or off and test if I like it better or this is a layer that is for checking alignments.

Back to the testing

I am moving “quickly” now. As I test, I learn about my hypotheses for this color area and other fun things. I  am changing 1 color or making a series of small corrections and moving between the 2 computers. I can find at this point that my idea about the height of the file was not right….and so I have to go back….sometimes really far depending on how the image reacts to being resized after color reduction. (sometimes the results are tragic, other times, not badly at all.)

The file moves from photoshop on the desktop to a drive (like a usb or my external hard drive- named SWEETIE (holla!). One folder is made on each drive so I can find the iterations.

I could install photoshop on the laptop that runs the loom- but that is sitting on top of the loom. It is annoying to work with your hands in the air and I KNOW what happens next. I bring the laptop down off the loom and sit even more uncomfortably on a stool or other random painful device. I have even just pulled up a chair and stood on that.  When I am satisfied with my changes, I rise or step down creaking LOUDLY wishing I had just done what I now do….take the file to a proper location and work out the changes there.

I haven’t got the nerves to delete previous versions of the file until the piece is completed- and that is when I learn even more funny things about how aberrant I can be while I work. I find all kinds of version names, and sub folders. It is like I was possessed by some chaos machine- even while I am thinking I am so orderly.

In the end, the system does work for me- and it is a good system. It must be…. cause even when I look at my own work (files I mean), I can be astounded by the complexity. I am not boasting here- it is pretty interesting to me how the brain operates limiting fear in the midst of crazy chaotic environments. Seriously….how do we do it?

Because I work with so many people who are just starting out, I try to help them realize they need to develop their own system that is logical and traceable. That is the most important thing- to know yourself and how you think and to make a system that operates on those pathways. Every file can’t have the same file name with no hint of where it is in the flow of creation- I may make a dozen files in a day so dates don’t help me much -for example. And then of course write that down- because apparently, those pathways shift with every new adventure. And if you WANT to follow your own rules- that must be your choice.




1 1/2 days in the chair


I’ve revised my website. Once again, I am a temporary expert. Hence the title of the blog entry. I am launching 2 more pieces with the 2 colored warp. Each time I weave I try to find ways to bend my own rules. This time, I want to see if I can weave more than the allowed number of brocades (2) and also use the unwoven warp as an element in the design. I am writing this down so that I can look back on it and laugh or cry.

This week, I saw one of my pieces in a magazine. I have another piece that is in a show. I just recovered another from a show that just came down and I am off to teach and conference in Europe.

“so I got that going’ for me – which is nice.”

yup….quoting caddyshack.

First piece off

What am I even doing right now? Classes are over. Now is my time to catch up.  Catch up with what exactly? I feel like it is time to make stories. Yeah. And I should sing them kinda loud and maybe off key ’cause HEY- YO!


Don’t know the name of this…and yet I worked on it for many hours.

 Make you stand back a bit…but, also encourage you to sing back maybe even a little worse. Alternatively, I could also  start 20 different things all at once and then take the kind of nap that wipes the mind. That is where I am at. Kinda nappy- kinda ready to try something epic- ready to stay up all night and fight the good fight with the machine. Ready to lay on the floor and look at the cracks in the ceiling.

White and black warp and how my weaves interact with that.

This month, I finally was able to complete a piece on my loom. It felt like a long time coming.  I began a collaboration with a digital artist- long (depends on what you call long) distance. It worked. I received a file. I sent email. I worked on the file. I sent updates. I wove some more. I developed a new set of weaves for my new loom set up. I cracked open the door a little more.

 Tried a new warp- SEWING thread. I sent images of the work in progress and then I finished the piece and sent that along as well. ‘Course my collaborator should receive a lot of credit for her faith, optimism and imagery. Carolyn Frischling

I need to muse on that for a moment. I did it. I was overworked, not quite making it, got sick, got better, basically carried on- used all my tools and built others and in addition…

I wove. I weaved. I loomed.

Adapting weaves for a new arrangement.

I have moved into the next phase of work. Hard at work, hardly dressed I have been drafting new weaves for my new warp.

My new set up is a black and white warp (1 and 1) set at 90 epi (36 epc). My weaves are built to enhance optical mixing. Last year, I worked at 60 epic (24 epc) with weft backed satins. I use 8 shuttles and leave two spaces in my weaves for supplementary weft insertions. I’ve been calling it brocading because these wefts are not going across the entire warp.

I tested a variety of satins and realized I should have paid more attention in math class. Drafting satins requires that you know prime numbers, factors and multiples if you step outside the usual 5, 8 and 12 end satins. Seems like I’ve been weavsplained the way to do it many times. If my intuition isn’t signaling I yank out the books, and yank  and yank until I feel I “get it”. This book was given to me by a friend~ Lois Kane. I really only took it because frankly- it looked cool. (judged it by the cover)

IMG_4885Somehow- the grammar spoke to me.

I am now weaving color blankets that use either the white or the black warp as a face bind. (made that up).  I use base colors that are pretty bright and primary /secondary. IMG_0994

For some reason my blanket is devilishly hard to shoot. Hopefully it can be seen that while the color blends are not strikingly different- the sum seems to be greater than the part. Meaning- the black warp yields a richer color and seems as though there is more texture there. I figured out a way to draft many weaves using visibility in layers in photoshop. Once everything was in place- I was able to draft – this seems crazy- 152 x 2 weaves. (152 using the white 152 using the black) I did this in a couple of hours- actually I had to redraft most of them twice because of a rookie move. The learning curve was days…the finesse happened pretty quickly. (yeah. that was bragging…sorry). After tomorrow- I will post a picture that will I hope will demonstrate my hopes more than my chagrins.



Warping the TC2

This is one of those posts that I hope will operate as a kind of reference post.

Every studio situation presents special benefits and challenges. In my case, the challenges I face are low ceilings and a smaller space. My last loom was an AVL compu-dobby with sectional warp beams. For this loom, I needed to develop systems that are efficient and functional and from scratch. I never was one to collect looms or tools- so when I sold the loom- I sent all with it- so the guy who bought it could get going.

The benefits? I can weave in my pajamas…if I am disciplined enough to wear them.

IMG_3978 I  wind my warps with a paddle, wind the warps on from back to front, and wind many bobbins with multiple threads for end feed shuttles. Peggy Osterkamp has written 3 books that should be on everyones shelf. The relevant one here is: “Winding a Warp and Using a Paddle”.  Get it.


Gilda…undressed. Ikea carts that I am loving more and more each day.


So, as I am putting on the first warp, I am building and testing systems that I can operate by myself (or teach others to use ) that are inexpensive easy to store and adaptable. Doing these tasks are more fun with others- and when I get that studio assistant- we are going to soldier on together. But for now…..

First step meant I needed to develop a cone and feeding system to the mill. It is interesting to me that I could possibly have anything to add to this multi century long development. But, apparently, after searching, and researching and finding either very expensive and/or not quite right tools…it is possible. At least it seems so.

Because of the small space, I need to be able to dismantle or repurpose the set up for the various process stages. So. The rack I devised is using my photo lamp tripods. The rack slides down onto the uprights. The rings are huge and easy to thread. IMG_4317I think it will work for the threads for the bobbins although I may need to make a minor modification when I get to that point.  I wind back to front. I can tie on from the front- and do so in other situations, but, in the past I have made a pretty mess of that – with my particular warps and etc, so until I change the type of warp I use…this is the rule for me.


cones sitting on a shelf that has cute little legs and rods to keep the cones from toppling. Smaller spools will stay in place when I get to that point.


You? You’ll have to make make your  own rules.

So, I prepared a raddle to space the yarns. I screwed in about 90 eye hooks 1/2″ a part onto a board.

42″ / 1/2 ” Because they are in a line, the wood began to split a bit (even with pre drilling.) So I filled the split with wood glue. This worked well. I really wanted to make a copy of the fabulous ARM loom raddle. I tried and tried, but I ended up with bloody fingers.

I wind no more than 440 ends per bout. I used a warping mill. My mill is too small- it holds barely 15 yards- so I may (probably will) be doing something else next time. I experimented with vertical and horizontal mills – in the end the one that took up the least amount of real estate won. The veritical.  Which was too bad – because I got pretty clever with the modifications.  No romantic “but I spent so much time on it ” rationalizations!

My loom has 2640 ends. In TC2 speak- this is 12 modules. I have 2 back beams. I set up the loom at 90 epi. So I can weave 29″ wide. I am winding 2 colors- black and white. The following images depict me winding 1 beam at a time @1320 ends each- so 3 bouts of 440 ends. It turns out, that getting even tension across the span needed me to split the bouts. So- I had to get six 5 lb weights to tension the warp. To spread the tension over the length of the warp, I needed to stretch the warp as much as possible.


Note the 3 bundles- rising over the loom. After past struggles, I’ve determined never to wind more than 440 ends. BUT- the bundles are too broad for even tension.



The raddle made from eye hooks spaced 1/2″ apart. 1 cm would be time.










yup…that is a board broken like Bruce Lee or the Hulk. Probably that weight caught under the crossbeam (as shown)

I built a frame to stretch the warp out. The first frame failed.

Yea- it was a lot of trouble. I have figured out – the simplest solution is the right one.    The second one was a model of minimalism: 2 boards and a pole. It is attached to the loom at the breast beam using bolts and washers. I did’t think I could attach anything to the loom, which is why I didn’t first build or buy Katie Meeks excellent trapeze.

I have also raised the loom on wood blocks. I saw a video of me weaving last year and saw myself as a bent woman. It looked painful and unflattering.  And as we all know – we must always look pretty and perky- even while weaving 11 hours at a time. In Norway, they kindly made this accommodation- raising the loom up just a couple of inches- which made a world of difference to my neck and upper back.  I had a fantasy of doing something more elegant for my own loom- but it is done and good enough.

I posted these some of the following images to Facebook, but I wanted to post here – as a kind of wrap up and record of my activities.

To wind the warp, I struggled with slip knots hand weights

IMG_4840and zip ties to weight the bouts – but felt there had to be a better way- the yarns got yanked. Sometimes the slip knots wouldn’t release easily and it was scary to yank and yank at them. After a late night inspiration I visited a store that sold climbing supplies (R.E.I.). I learned 2 new knots: double fisherman and prusik (a loop that is employed to hoist ) and upgraded my old approach.


2×4 boards screwed with washers into the loom frame.


plumbers pipe – note there are now 6 bundles. Height is 78″ (my “studio” has an unromantic low ceiling)



Threading the loom presents a different set of requirements (behaviors ) because of the fixed nature of the heddles which are secured with springs- one can’t simply shove heddles to the side. After much fiddling, I devised a simple way to hold onto threads while I reach for the next thread without rubbing the previous and causing wrapping and tangles etc. Although this may not be a problem for others, I have found that I spend a lot of time tidying yarns and fiddling and rearranging my fingers, etc as I grasp yarns while I thread.

It is a spring and a cord. wrapped around a bunch of heddles to create an opening.IMG_4862

The S hook

You know those funny things you always find yourself using- and can’t have too many or too much of? Some people use a lot of duct tape. (Maybe not for securing yarns)  but for everything else – others use windex or…rubber bands..or vodka. Me? I go for the S hook.  So, as I thread, I  collect bundles of 6 (in my case) until I am ready to move the whole set up down. Then I make a slip knot, and grab an S hook and hold the bundles by hooking it onto heddles. (as shown).   I have switched to threading without the motor on. I used to thread with a file that would lift one thread at a time, but, I have found I make less errors when I thread “by hand” so to speak. It is quiet and meditative.

Threading is what it is- must be done correctly and you can’t do anything without it.

So- I have decided to live while I thread- not just try to get through it.

I grab 6 heddles, 6 threads- thread a heddle, push the thread into the spring to get it out of the way and repeat till all 6 are threaded. I snap the threads out of the spring, pull up to make sure my threading is correct, make a slip knot, loop it onto the S hook and repeat- until I need to change the music, find a new podcast or make some more coffee..or…..  The spring needs to be supple but firm, when you snap the thread into it – bend it ( by slipping your thumb behind it-to open the coils) when you release- the coils close around the thread. If the spring is too firm- you have to yank too hard and that can snap threads.


Here is the nifty, “can it get simpler?” tool that really helped me out. I made up a kind of release knot- that I couldn’t explain if I tried….and I also learned a new knot: the bowline.




It was a really amazing year- followed by a hard landing (mostly time management and the realities of reality). After sitting for several hours, I think I have finally worked out how send notifications to Facebook that I’ve posted to my blog.  I have been not so secretly updating my nearest and dearest via a photo stream….and I aim to consolidate that as well. IMG_3556