Loaded With Possibility

Box Loaded With Possibility

My friend Khris has been reorganizing his studio space and decided this box had to go. It came to him years ago from a friend who was an avid collector of any number of things, sewing thread among them. Now it has come to me in similar fashion and I couldn't be more pleased. It is difficult to say what will happen next. As both a sewer and a weaver, I will enjoy contemplating the possibilities.


By way of thanking Khris I tatted him a bookmark using some of the variegated thread from the collection. It isn't thanks enough for the huge box of beautiful threads but it does take up a lot less space and he appreciated the gesture. Thank you, Khris!

Two Tatted Bookmarks

Here you see the sewing thread bookmark beside one previously shown in progress. This white one is tatted using DMC Cecelia size 30. The pattern is a favorite designed by Jon Yusoff with an ingenious plaited center. These bookmarks are fun to make and fun to use. Here you see them posing atop my current read, Bleak House by Charles Dickens. This particular book is one of a complete Dickens set once owned by my mother who also loved his stories. When she moved to a retirement home, these books came to me. Reading from them makes me happy.

Youngest Grandchild Napping 'Neath Wee Swedish Coverlet

This is my youngest grandchild putting her Wee Swedish Coverlet to use. Though she lives too far away for arms to reach, she is wrapped in my love. I am a happy Grandmama.


Another Pine Tree warp is woven, off the loom and finished. Photos will have to wait for a bit while I prepare to lead a workshop this weekend. More about both later.

Warp On/Weave Off,

RepWeaver

Ahem, a Hem

Have you been trying to get my attention? After all, I did promise hemming photos and you have been patiently waiting. But life has a way of interfering with my plans.

The first delay occurred on October 15th. At 14½ years of age, our sweet Jenny had been ailing for quite a while. She was the best of company all her life, especially for the two years while my husband was away working on the East Coast. She was always here for me and sounded the alarm that saved our house from even worse damage in the midnight washing-machine flood. She came to us as a feral rescue cat and proved herself a lady in the best sense. Our time together came to an end the Saturday before last. My husband and I are still grieving her loss. Oh, JennyCat, how I miss you.

That same weekend my mother took two falls. I did not hear of this until Monday morning when she called to ask for a ride to the Emergency Room. Doctors there discovered a compression fracture in her spine. Poor Mom is in terrible pain. She lives in a nearby retirement home but she has needed my time and assistance.

Whenever possible I have been weaving and doing my best to be ready for the Seattle Weavers’ Guild Sale later this week. My latest Wee Coverlets are finished and I wove two stacks of little Rep Weave coasters for the sale. Watch for more photos in a later post.

In the meantime here are a few pictures to show hemming techniques that work for me. At the very least I aim to give you the confidence to finish your handwovens as you please. Remember, there is no right or wrong way, only what works best.

Here is how I weave a hem at the beginning of a Wee Coverlet:

After a contrasting weft to mark the cut line weave

11 shots tabby weft

1 shot variegated weft

12 shots tabby weft

1 shot variegated weft

14 shots tabby weft

Weave the body of the piece. At the end reverse the above weave order for another hem.

Showing contrasting dividing shot (white)
Triple stitch zig-zag overcast on cutting edge
Variegated shots to mark fold lines for the hem

Fold the hem twice, once on each variegated marking line and machine stitch close to the folded edge. I tuck a label end inside the hem and sew both with a small regular-type zig-zag stitch. My labels don't shrink so I wait to stitch the other end down after the first washing/shrinking of each piece.

Label placement has me puzzled. I used to put it in the lower right corner on the back of a piece as if it were the artist signature on a work of art. Here I decided to place it in the "return address" position as if it were on an envelope. Maybe I will go back to the first way of doing it. Maybe.

Label tucked inside and sewn down with the hem

On a side note, being rather the introvert I strive to maintain a low profile. But here you see my label  in detail and there it is (horror of horrors), my name.

A weaver friend recently asked where I got my labels which sent me searching for a web link. They were woven by Xpresa Labels. Here is what I found on their website: Xpresa Lable Examples

Uh-oh, my cover is blown!

Tamer at Xpresa was incredibly helpful. The whole process was done electronically. I created my own design using Adobe Illustrator software and sent a .pdf file to Tamer. Xpresa even wove and sent sample proofs for my approval. Their customer service is top shelf.

The finished hem

I always hem or edge finish pieces before I wash them because I think it gives a more polished finishing. Then on the first washing those stitches shrink right along with the piece. That makes the hem more secure.

Next time I will share another hemming technique and I will share photos of my latest Wee Coverlets and Rep Weave coasters.

Warp On/Weave Off,

RepWeaver (a.k.a. Claudia)

Wee Coverlet in Action

Grandbaby enjoys her Wee Coverlet

This is our newest grandchild snoozing beneath her Wee Swedish Coverlet. Mama says little one spends time examining her blanket, looking at pattern and color changes, and doesn't cry right away on waking. This makes her GrandMama very happy.

Next you see another photo of the six Wee Coverlets from my bright green warp. It was very special to me that one of my weaving friends wanted the yellow one for her new grandson, Jasper. I wish him many pleasant slumbers over a long happy childhood.

The third color way of this warp is in progress. I'm not sure if I will like this version, the colors are a bit dark. But who says baby colors must be pastel? I don't understand because babies are good at making stains. Why shouldn't their clothing and bedding be colorful to begin with? That way keeping baby things looking nice and clean is easier for parents. Colorful wraps set off a baby's natural beauty. Bright colors are happy colors.

Another view of bright green Wee Swedish Coverlets

I intend to offer one or two Wee Coverlets at the Seattle Weavers' Guild annual sale October 27-29, 2016 at St. Marks' Cathedral. If you are interested and in the area, please stop by. Our guild is a group of many talented weavers whose incredible work will be on display. Even if you do not wish to buy, you will not be disappointed with the show of beautiful handwovens. And, as a bonus, weavers are very nice people. Stop by and say hello.

Warp on/Weave off,

RepWeaver

Each One Precious

Wee Swedish Coverlets for Baby by RepWeaver

Weaving Wee Coverlets takes time. Each one is a labor of love. And that is how it should be. Time spent weaving these is perfect for contemplation. For me it really, truly is about devotion. It is my way of adding color, texture and warmth to new lives. Most importantly, it is my expression of love for little ones. Babies are so very precious. May babies and children ever be wrapped in love; may they ever feel precious and cherished. That is my wish for every child wrapped in a Wee Coverlet.

When UKI discontinued 20/2 perle cotton in colors, I ordered several cones from The Georgia Yarn Company. Choices were limited and, without sample cards, color names were all I had. Maybe there was a thumbnail shot of each color, but screens vary. So when the yarn arrived I was surprised at the intensity of this green. The color name is “Kelly Green”. I’d imagined it would be darker. Here was a challenge.

Wee Swedish Coverlet by RepWeaver
Showing Front Side

The warp and Tabby are Kelly Green with purple and yellow stripes plus occasional variegated ends. This particular variegation wasn't as bright. It has teal green, yellow, purple and white and was a bit of a stretch. The two sides of each piece are very different from one another. Variegated ends show more on the underside.

Wee Swedish Coverlet by RepWeaver
Showing Reverse Side

Recently I showed these latest Wee Coverlets to a group of my weaving friends. One of them asked if I thought there were any bad color combinations. I took this as a compliment as it is an excellent question. After a moment’s thought I replied, “Yes”. My idea of a bad color combination is one in which color values are too similar. If value and intensity are too close, pattern and structure can be lost. Scale also plays a part. Equal parts of similarly valued colors compete equally for attention. It is better to use more of one or the other. The “bad colors” question is food for further thought. What a great question!

Weaving this warp of Wee Swedish Coverlets was pure joy. The brightness of the warp and frequent color changes in the included variegated ends added interest. I wish for these six little blankets to swaddle six precious infants well into childhood. Younger siblings may enjoy them, too. That is if the older isn’t a “Linus”, clinging to his blanket for security. Or perhaps a beautiful beloved blankie will be too treasured to relinquish.

Warp On/Weave Off,

RepWeaver

Wee Swedish Coverlets by RepWeaver

Wee Swedish Coverlets, Continued

Wee Swedish Coverlets by RepWeaver

After lengthy procrastination, finally I have a few more photos of my Wee Swedish Coverlets. For the longest time they sat in a neat folded stack on my kitchen island. My camera sat atop the stack.

These blankets are crib sized but still large enough to challenge my photographing capabilities. Perhaps if I had a crib it would have been easier to stage them. These are not excuses so much as evidence of my lack of confidence. In any case, here is what I managed to capture today. Perhaps these photos will give you a better sense of my Wee Coverlets. Now I can email photos to my daughter so she will be able to choose one of these for our tiny grandchild.

Wee Swedish Coverlets showing both fronts and backs

Weaving progresses on the second color way of these coverlets. I am working on the fifth one on the bright green warp and chose a bright pink for the pattern weft. We’ll see how that combination works. Until it is finished and washed I will not know for sure.

Warp On/Weave Off,

RepWeaver

Wee Swedish Coverlets

Wee Swedish Coverlet

Wee Swedish Coverlets by RepWeaver

With the arrival of our newest grandchild I needed to weave another Wee Coverlet. Since the Swedish Kitchen draft has been a success, I thought it would be nice to try it as a baby blanket. Mom’s favorite colors are blue and yellow and our baby is a fair, blue-eyed bundle of joy.

Here is a photo of the stack of five Wee Coverlets from this warp. Now all that is left is for me to snap more photos. I’ll post those when they are available. After that my daughter will have to choose one Wee Coverlet from the bunch for her sweet baby girl.

Corner Block of Wee Swedish Coverlet

Nearly glow-in-the-dark warp

Since these are finished, I am working on the next color-way of this design. This one is going to be eye-popping bright. I had been pondering how to use this kelly green 20/2 Perle Cotton from UKI. Paired with a variegated yarn plus yellow and purple this ought to be a winning combination. This new warp is so bright it might just keep me awake at night. Let's hope it doesn't have the same effect on babies. It is going to be fun choosing pattern weft colors.

Warp on/Weave off,

RepWeaver

Marled Madness

Already it is April but the whole "March Madness" hype still rings in these ears. So I decided to make my own version and changed it to "Marled Madness".

Swedish Kitchen Towels with Marled yarn warp ends

Do you remember my puzzlement over how to use marled yarn? What is marled yarn? It is yarn of two or more colors plied together. The tube I have consists of one ply of navy blue and one ply of white spun together.

While pondering this question I decided to try using marled yarn in my Swedish Kitchen towels. It is in the places where I previously used variegated ends. This warp was maddening to weave because it was difficult to see where I was when doing the border.

While on the loom these did not impress me at all. In fact, they were hard to weave because they did not excite me.

Fortunately, initial impressions are often mistaken as was the case here. The finished towels are nicer than anticipated. Doing these was a good experience and I like them very much now.

In two of these towels I added marled tabby ends throughout. Weaving with three shuttles was fussy but the result is nice. The red and gold towels were done this way.

Detail of Swedish Kitchen Towel using marled ends in warp and tabby weft

Swedish Kitchen Towel

I put another new idea to use on the hems. You can see a couple of marled weft shots in the photo. They are spaced in such a way to mark the fold lines. This worked very well for me and I like the way it looks. Having that marled end near the sewing line at the top of the hem helped keep my sewing in a nice straight line.

For my next warp I am looking at colors and drafts for another of my "Wee Coverlets". There is a precious new addition to our family. I want to swaddle her in my love even though she lives very far away.

Warp On/Weave Off,
RepWeaver

Back in the Saddle (Or Back on the Loom Bench)

Hello, again!

Swedish Kitchen, Detail

It has been a long, long time. For several weeks I have been away. I spent three weeks over Christmas in Washington, D.C. Then most of February I was with our daughter and son-in-law who just gave us our third grandchild. Their new little sweetheart joins an older sister and brother so they are a very busy family. Mine was a working visit but loads of love and fun.  Now I am home again and missing them, yet, home is the very best place. And I am back at my loom.

Here are a few quick shots of my latest towels. I will take more but first I need to iron that stack of towels. Here also is a shot of the third iteration of this design. I am going out on a limb here and using a plied yarn in place of the usual variegated ends. Time will tell if it works. I will be sure to let you know.

Swedish Kitchen Towels by RepWeaver

There are no travel plans in my immediate future but there will be visitors. Oh, and we will be having our siding replaced and the house painted. Neither of these will take me away from home but may limit weaving time. The excitement continues!

Warp on/Weave off,

RepWeaver

Warp #110

Hip to Be Square

Borrowing from the song by the great Huey Lewis and the News, it is "Hip to Be Square". Weaving to square is of primary concern and ever my goal.

As a weaver, accomplishing a perfectly squared design is one of my joys and agonies. Some structures take extra care to come out just the way they look on graph paper. Perfect squaring requires an ideal combination of structure, yarn size, sett and beat. A good example is plain old straight-draw twill in which a diagonal line is easy to see. That diagonal line must lie at a perfect 45˚ angle in the finished cloth. Using the same yarn for both warp and weft, it can be assumed shrinkage will be even in both width and length. While the cloth is on the loom and under tension, the even or uneven balance can be tough to judge. It is necessary to check that 45˚ angle with released tension.

Overshot is a structure that demands careful planning in order to square up. But if you think of it in terms of the underlying ground cloth it becomes easier to understand. Traditional Overshot requires use of a Tabby weft. Pattern weft is superimposed on top of a plain weave structure, known as the ground cloth. The goal is to create a perfectly balanced plain weave underlayment to carry the pattern wefts along and hold them in place. If you choose an appropriate pattern weft of approximately twice the grist of the warp and tabby yarn and if you weave a balanced plain weave, Overshot will be a piece of cake and a joy to weave.

A nationally well-known speaker (yes, you would know who this person is) at a recent meeting of my local guild mentioned that if an overshot block doesn’t weave to square one should simply throw an extra pattern shot or two. Pardon me for disagreeing, but I cannot take that view. Overshot is to be “Tromp as Writ” for a reason and throwing an extra shot would throw off relative proportions throughout the structure. If the ground cloth is balanced plain weave, unless an inappropriate sized pattern weft is used, the blocks cannot help but weave to square. And if they do not, then a change of sett or beat is in order.

Just my two cents . . .

Next time I'll admit to missing the mark in the "Squared weaving design" department.

Warp On/Weave Off,

RepWeaver

Miniature Norse Kitchen - Third Warp

Miniature Norse Kitchen towels

Darker teal yarn used as both warp and tabby in borders

Here you see finished towels from the third warp of my Miniature Norse Kitchen draft. This warp was shorter than usual due to limited supply of yarn. Look closely and you will see a darker shade of teal blue added into the borders. Sometimes I mix in other colors of warp for design interest. Other times I mix in additional solid warp colors due to limited supplies of yarn. It is a great way to use up small bits of yarn. Each of these reasons was relevant with this warp.

Third color way of Miniature 

Right side of Miniature Norse Kitchen

Both sides are beautiful. The variegated and darker teal is more obvious on the reverse side. If you ask me, either side could be considered the "right" side.

Warp On/Weave Off,
RepWeaver

Reverse side of Miniature Norse Kitchen

To Variegate or Not To Variegate

To Variegate or Not To Variegate?
Yes, that is the question (with my apologies to William Shakespeare).

Since I was very young, variegations have attracted my eye. It's innate if you ask me, I truly can't help wanting to include as much color interest as possible in everything I weave.

Every available color way of variegated yarn, especially 20/2 cotton, must join my collection. Call it compulsive if you must. I don't care. It doesn't matter whether I have a particular use for it or not, if it is available it must come home to my studio.

Considering color choices for my current warp

When planning a project, all my colors come out on parade. They line up on the loom bench where they can be arranged, re-arranged and contemplated. Out come the variegated yarns along with the solid colored. I arrange the variegated yarns with likely base colors. If you ask me, the most important thing about using variegations is to use them sparingly. A little really does go a long way.

Variegated from reds to oranges to yellows
Solid yellow or solid red to coordinate

The goal is to find a solid colored yarn to match one of the mid-range colors contained in a variegated color way. This variegated yarn is a combination of shades from reds and oranges through to yellow. My preference would be to pair this variegation with an orange solid color. Right now I don't have any orange. So red or yellow solid can do and I have used both. But neither are my actual first choice.

The variegated yarn is wrapped around the solid yarn cone to get an idea of how they would work together. My aim to use a mid-range color is so the colors come and go within the whole of the warp. That is, I want there to be one main color into which the variegated ends seem to appear and disappear. Ideally I want these magical color highlights to be both darker and lighter than the solid main color.

Trying to decide a solid color to pair with this variegated yarn

Here are a few possible base colors to pair with a variegated that morphs from white to yellow, teal, green and purple. Since there are so many colors included in this variegation, there are lots of possibilities for solid pairings. These are the choices that happened to be on my shelf. I like the brighter teal, second from left. But there wasn't enough of it to use for the entire warp. So I used it as border stripes combined with the more dusty teal.

When winding the warp sometimes I will add a variegated end at random intervals. But this time I was using my Miniature Norse Kitchen draft and carefully planned where I wanted those extra colors to "peek-a-boo" within the weave structure.

Miniature Norse Kitchen Overshot
"Peek-a-boo" variegated ends placed at intervals
Bright teal added in as border stripes

This combination is what I am weaving at the moment. I'll show you how the towels turn out once they are off the loom and finished.

One last note. Recently a weaving friend asked me if there was a difference between variegated and space-dyed yarns. Perhaps there is a difference in process or color arrangements. I guess I'd assumed they were the same. But I honestly don't know. Do you?

Warp On/Weave Off,
RepWeaver

Norse Kitchen Miniature - Second Warp

Miniature Norse Kitchen by RepWeaver, Group photo

Miniature Norse Kitchen by RepWeaver, Group photo

Norse Kitchen in miniature was such a satisfying weave project I couldn't wait to get back to the loom for another round.


This time I chose a warp of 20/2 UKI perle cotton in color #52 Chestnut. To this I added variegated ends at specific spots in the draft across the warp. These warp ends range in color from brown to gold to olive green to red. Click on the detail photos for a closer view of how these variegated colors seem to magically appear and disappear in the finished towels.


Even though overshot is a two-shuttle structure, weaving these was a lot of fun. Watching the variegations morph from one color to the next adds interest during the process. When warping I don't try for any Ikat effects but sometimes this happens. Serendipity is part of the fun.

Warp On/Weave Off,
RepWeaver

Norse Kitchen Miniature
Detail showing variegated warp ends

Norse Kitchen Miniature
Detail showing variegated warp ends

Norse Kitchen Miniature
Detail showing variegated warp ends

Conundrum Solved

How did I solve those four problems that bothered me about "Norse Kitchen"?

Miniaturized "Norse Kitchen" (red)
"Norse Kitchen" original towel (blue)

Recently I have been inspired by the work of Josephine Estes and Bertha Gray Hayes and have been weaving a lot of Miniature Overshot. So the ideal solution was already on my radar - write my own miniaturized version of "Norse Kitchen".


Once I'd finalized my Mini "Norse Kitchen" draft I needed to adjust the number of center repeats to maintain the same width as my original towel warp. Then I cut off the first few towels I'd woven using the old draft and rethreaded the remainder of that warp with the revised design. This required three additional warp ends. I also decided to add one more twill repeat at each selvedge which added another eight ends.

Miniaturized "Norse Kitchen" towels

While I was at it I changed the direction of some of the border twill lines so each border is symmetric. You can see the change in the red towel above the original blue one. It is even clearer in the detail of the magenta towel below.

Weaving the rest of the warp was thrilling because the result brought me great joy. Never again will I view an overshot draft without wondering how it would work in miniature. Such fun!

Miniature "Norse Kitchen" - Detail

Miniaturized "Norse Kitchen" towels showing the reverse sides.
It's hard to decide which side is my favorite.

Warp on/Weave off,

RepWeaver

Bother Number Four

This is the last one, I promise. Going by the level of annoyance, this really is number one on the list.

After the first few inches weaving this problem really stood out. It was especially apparent in the repeating middle section. Take a close look and you will see what I mean.

"Norse Kitchen" from draft in A Handweaver's Pattern Book by Marguerite Porter Davison

The ground interlacements on either side of each little white cross are not even. Checking the draft from the Davison book, one side of the center repeat section has six ends alternating on shafts two and three and eight ends on those two shafts on the other side. This problem pops up in the border sections as well but isn't as noticeable.

If you look at the photo accompanying the draft in the Davison book you will see that sample also shows this problem. I guess this is a lesson to look very carefully at sample photos as well as at drafts. It's dangerous to make assumptions.

The Davison sample photo is curious. It is so different from other samples in the book. It appears to be an entire woven piece and clearly shows crease marks. This made me wonder if the draft had been copied from the woven article and not actually woven by Davison herself. At the top of page 186 is a notation "Adapted from Caroline Halvorsen's Page 106 - No. 185".

Last week I did a search and discovered a book by Caroline Halvorsen and placed an order for a used copy. I do not know if this particular book is the source of inspiration for the Davison draft. But I aim to track it down.

Reading the "Understanding Overshot" chapter in The Complete Book of Drafting for Handweavers by Madelyn van der Hoogt it looks as if this draft may have originated in an abbreviated form. If you read the section "Variations in Drafting Format" on page 41 there is a clear explanation of how an unbalanced draft could occur.

When the Halvorsen book arrives I'll let you know what I discover. Then I will show you my solution to the problems with the Davison draft.

Bother Number Three

Take a close look at the double narrow wavy lines that define each border area. After sitting at the loom weaving those narrow lines really got to me. The twill threading for each of them in the original Davison draft is 4, 3, 2, 1 meaning that each curvy line all the way across the warp curves in the same direction. This is especially noticeable in the corner block in the borders. Perhaps this would not bother others but I did not like it.

"Norse Kitchen" towel - draft from A Handweavers' Pattern Book
Notice the way the twill lines all curve in the same direction. It's especially noticeable in the corners of the borders.

Bother Number Two

The second thing that really bothered me while weaving "Norse Kitchen" with my usual set-up was the floats. They were too long to be practical for use as a towel. I kept thinking how my rings would snag those floats. This was clearly unacceptable.

Here is the first towel. Warp is 20/2 cotton sett at 30 e.p.i. with 10/2 red perle cotton for pattern weft.
Those floats are far too long. After wet finishing they weren't just long, they were loose. Awful!

Bother Number One

The first thing that annoyed me about this draft was the way the corner pattern blocks compressed. To my way of thinking, that corner ought to be perfectly square. Since I was using the same combination of yarns and the same sett as I had been on other Overshot projects, I expected the pattern to weave to square. Wrong.

Too compressed!
This corner block did not weave to square.

Then I tried using heavier pattern warp yarns to force the issue. In the photo above I switched my pattern weft from 10/2 mercerized to 8/2 unmercerized cotton. The problem persisted. Changing the sett from 30 e.p.i. to 36 or 40 e.p.i. would also be worth trying but then the towels would be narrower. That idea was quickly dismissed.

Another strategy would be to throw more shots for each treading block. I admit to being a purist on this idea -- with the right yarns, setts and beat the design should square itself. Once you manipulate the draft in this way other areas of the design tend to go out of whack. So I discarded this idea almost as soon as it came to mind.

Bother!

A Christmas Conundrum

In my earliest weaving days a draft in the classic Marguerite Porter Davison "A Handweaver's Pattern Book" caught my eye and my imagination. The draft, called "Norse Kitchen" is on page 186 of the chapter Squares with Borders. The draft is simply stunning: a lovely center ground with classic, intricate borders.

First few "Norse Kitchen" towels.
Pattern Wefts:
Red - 10/2 perle cotton
Green - 8/2 unmercerized cotton
Blue - Cottolin

Lately my weaving adventure has led me to several projects using Miniature Overshot. You will find a few of them here on my blog. As I was considering this year's Christmas, overshot was definitely on my mind. Norse Kitchen's time had come. Using the same set-up as those Miniature Overshots I've been weaving I set out on November 10th with excitement both in the project and in my early start. There would be no midnight oil this year -- no, not for me.

I warped 10 yards of bleached white 20/2 cotton sett at 30 e.p.i. and set to work. That's when Norse Kitchen began to sour. Something about this draft was different. All along I had been using 10/2 perle cotton as pattern wefts at 30 e.p.i. But it quickly became clear that 10/2 cotton would not work as the pattern weft for Norse Kitchen. It wasn't heavy enough to square the design. What to do . . . ? I would either change the sett or change the pattern weft. Choosing the latter I wove a green towel using 8/2. Still the design would not square. It didn't square when I used a royal blue cottolin, either. Rats!

My first "Norse Kitchen" towel using 10/2 perle cotton as pattern weft.

I don't know how it goes for you, but it is near agony when my weaving goes wrong. For days I pondered the puzzle -- how do I make this work?

There were a few other issues with this draft that really bugged me. I knew for certain I could not continue weaving as it was. How would I ever meet my Christmas deadline?

Wee Coverlet in Action

Our daughter chose one of my Maltese Cross Wee Coverlets for her little guy. We had the chance to see her and both of our grandchildren in August. Wish they lived closer. Handwoven blankets are one way I can wrap them in my love from 2300 miles away.

This is my little grandson napping with his Wee Coverlet.

So far his blond curls have not seen a scissors. I'd have a hard time snipping them, wouldn't you?