March 2005

Copyright 2005 Three Springs Handworks. All rights reserved. 1

Weaving: The Complete Process From Thread to Cloth

Sandra Rude, Textile Artist Three Springs Handworks [Link] People often ask me. How long did it take to weave that? The answer I usually give is that the actual weaving, that is, the act of throwing a shuttle back and forth across the loom, is about 10 percent of a complex process. This process includes a lot of planning and preparation before the weaving phase begins, and a number of finishing steps after the last thread is woven. My reason for writing this document is to make it easier for anyone who is not a weaver to understand the process and to visualize the steps that are necessary to the process. 2 Copyright 2005 Form Follows Function

Form Follows Function

The first step in any weaving project is to decide what the cloths purpose in life will be. The intended function of the cloth guides the weaver in choosing the appropriate thread or yarn. For example, the yarn I use to weave a rug needs to be thick and hard-wearing, and the cloth must be stiff and flat. It must not roll up at the edges and trip everyone who walks on it, or if it is to be hung as decorative art, it must lie flat against the wall. A scarf, on the other hand, or any cloth worn next to the skin, should be smooth, soft, and very drapey so it conforms to the body. Because I weave primarily scarves and shawls, and my personal preference is for fine rather than bulky cloth, I choose very thin thread in natural fibers that are comfortable to wear next to the skin. Silk, lyocell, rayon, cotton, and fine soft wool such as Merino are good choices. There is no set standard for the size of a scarf - some people prefer long and narrow, others prefer a shorter, wider shape. The size of the wearer makes a difference, too. At six feet tall, I am likely to wear a longer, wider shawl than a woman five feet tall. Some women like to do the Isadora Duncan fling, with a dramatically long scarf wrapped around the neck once or twice. Some scarves look best

simply draped over the shoulders. Some scarves have long, twisted fringe, others have short, straight fringe or just a simple hem. In any case, I must make decisions about length and width and end treatment before starting to weave, because these factors determine the amount of thread Ill need. The design, or pattern, of the cloth also has an impact. Whats the scale of the pattern? Do I choose a nonrepeating pattern? Two repeats? Ten repeats? Fifty repeats? Once Ive decided what thread to use, I use two kinds of software to help in the planning and design phase: A spreadsheet helps me calculate the amount of yarn Ill need. Youll see an example in Figure 1 on the facing page. Weaving software lets me program the design of the cloth into the computer. Later, this same software will send the finished design to another computer attached to the loom. This means I dont have to remember each step of the design - which can be more than 2,000 threads long - the computer remembers it for me. Hey, this is why God made computers! Figure 2 shows an example of a design that you will see throughout this document in various stages. Form Follows Function Copyright 2005 3
Figure 1. Spreadsheet for yarn calculation Figure 2. Weaving design software

4 Copyright 2005 Dyeing the Thread

Dyeing the Thread

I usually buy undyed thread that is wound onto large cardboard cones. I must measure off the number of yards Ill need, based on the spreadsheet (with a bit extra just in case) and make skeins for dyeing. Then I get to play in the dye-pot! The pictures on the next page show the dye process at various stages. For the project Im planning, there will be two colors of warp threads, alternating thread by thread, so Ill dye half the warp yardage on one color, and half in the other. In this case, the colors are medium blue and deep blue-green.
Figure 3. Cone of white thread and a measured skein

Dyeing the Thread Copyright

2005 5

Figure 4. Skein, pot, and dye supplies Figure 5. Mixing dye Figure 6. Skein in dye-pot

6 Copyright 2005 Winding the Warp Threads

Winding the Warp Threads

The warp, that is, the lengthwise threads in the cloth, must be measured out to the correct length for my project, and the threads must be kept in order so that they can be wound onto the loom properly. Since its awkward to wind a warp with fine threads directly from a skein, I must first wind the thread back onto a cardboard cone. Then I begin winding the warp using a warping mill. Each thread follows the same path (based on a guide thread that is the same length as the warp will be) and is kept in order through the whole process.
Figure 7. Winding thread onto a cone Figure 8. Winding the warp on a warping mill

Winding the Warp Threads Copyright

2005 7 Once all the threads are measured out to the right length, and in the right order, I put a rod through the loop at one end of the warp and spread the threads out in a toothed board called a raddle. This allows me to get the warp onto the loom at the width of the finished project. Then I begin winding the warp onto the loom. The two sticks in Figure 12 maintain the threading cross, which helps keep those warp threads in the same order as I placed them on the warping mill.
Figure 9. Spreading the warp in the raddle Figure 10. Winding the warp onto the warp beam Figure 11. Warp brought forward over warp roller Figure 12. The threading cross through the raddle

8 Copyright 2005 Winding the Warp Threads Heres a simplified drawing of the loom, so you can see the essential parts of the loom, and the path of the warp threads. Now I begin what is for me one of the most tedious (but most important) parts of the whole process: threading the warp through the heddles on the shafts. Each warp thread must go through the eye of a heddle attached to the appropriate shaft, according to the pattern design. If I make a mistake here, there will be an unsightly break in the pattern. The pictures on the next page show threading the heddles, drawing the threads through the reed, and tying the warp threads onto the apron rod. (The apron is a sheet of canvas that initially follows the path shown in green above. As weaving progresses, the apron and then the woven cloth wind onto the cloth storage beam at the back of the loom.) After tying on, I weave a few rows of waste yarn to check

that the threading is correct and to space the warp threads evenly.
Unwoven warp threads Woven cloth Cloth storage beam Warp roller Warp beam Pattern controller Shafts (24) and heddles Beater and reed Front beam Back of loom Front of loom Cloth rollers
Figure 13. Essential parts of the loom

Winding the Warp Threads Copyright

2005 9

Figure 14. Threading the heddles Figure 15. Threading (close-up) Figure 16. Drawing threads through the reed Figure 17. Warp lashed onto apron rod; waste yarn woven in with reed hook

10 Copyright 2005 Weaving

Weaving
Okay, now weve almost gotten to the fun part - weaving! First, I wind weft yarn onto a pirn, which fits into the fly-shuttle. The shuttle will carry the weft yarn across the loom, in the space created between threads that are raised and threads that are not. By the way, I never warp the loom for a single scarf. I always make the warp long enough for at least 3 and sometimes 8 or more items. I leave enough length unwoven at the beginning of the warp for the fringe of the first scarf, weave the first scarf, leave enough warp unwoven for the second fringe of the first scarf plus the first fringe of the second scarf, weave the second scarf, and so on, one after another. This particular project used a technique Id never woven before, so I only wove 3 scarves on the warp - some weavers call this full-sized samples. Even though all items woven on that warp share the same warp threads, the weft color and the design can be different for each one, so each is unique.
Figure 18. Winding the pirn Figure 19. Pirn loaded in shuttle .

Weaving Copyright

2005 11 Heres a simplified drawing that shows the raised warp threads and the space through which the

shuttle travels.

1. Pattern controller raises shafts according to programmed pattern, thus lifting all threads connected to those shafts. 2. Shuttle passes through space between threads that are lifted and those that are not. Beater then swings forward to press weft into place.
Figure 20. Pattern controller raises shafts, creating space for weft Figure 21. Weaving begins Figure 22. The pattern develops as I weave

12 Copyright 2005 Finishing 6s to 60s counts both hosiery & weaving speciality amsler slub yarns multicount yarns compact yarns elitwist yarns 100% cotton combed finer count yarns. lenzing 100% micro modal cotton/lenzing micro modal lenzing 100% classic modal cotton/lenzing classic modal lenzing 100% tencel cotton/lenzing tencel yarns 60s to 100s in single and double yarn - both hosiery & weaving 100% micro modal & micro modal/cotton blends 100% bamboo spun yarn, cotton/bamboo spun yarn. melange yarn: - colour melange & regular melange in 100% cotton, c/v, p/c & p/v blends. 100% cotton dyed yarn Dekorativ carpets and kilims , collectible, old and new

introduction to weaving and knotting

Home | introduction to weaving and knotting | collectible | Tribal : bags and more | textiles | carpets | kilims | runners: carpets and kilim | Pillow covers | carpet and kilim repair | buying and sending information, feedback | contact

us | links On this page you will find some information about some basically weaving techniques.

carpet knotting in Turkey

Warp is put on the loom and than weft is woven between this warps. This is basically the start of every weaving.

Carpets ______ Carpets have warp and weft, and add design by making knots on 2 strands of adjacent warps. Two different knots :
The symmetric, Turkish or Smyrna knot

And the asymmetric or Persian knot

Now in detail : Warp is put on the loom and weft woven (a system on the loom can bring up every second warp...) Than a line of design is made by making knots, each knot can have a different color if the design needs this. When this line is finished, again wefts, and again knotting the design, So working up in horizontal lines. Different materials can be used, and the warp on the loom can be of different density. The more knots the more intricate design can be made. Quality of a design is defined by number of knots per cm2. The quality of a carpet is defined by the material used.

Kilim (or flat weave) __________________ Weaving a kilim starts from the same base: warps and wefts. In kilim there are more different techniques.

flat weave kilim

Basically kilim is simply weaving the design, using different colors in making the weft on the warp, and turning back at the end of each design. So we will see typical vertical open spaces between two different colors when the design needs a vertical line. This vertical open places can not be to high, so different solutions are used to make vertical division of color for example in borders. This can be by making slanting lines, or by working with a 'zip fastener' design. A kilim in this basically technique must not be woven in horizontal lines. Parts of the design can be finished, later adding the colors of designs between.

Again horizontal working necessary for the following brocading techniques:

'cicim'

Cicim: ______ On a basic kilim, usual one color but not necessary, little strands of color are added while weaving, the basic kilim can still be seen between the designs. Characteristic are diagonal steps making the design. This technique is sometimes used to make small designs on a normal flat weave kilim.

'zili'

Zili: ___ On a basically weaving, design is added using pre-selected warps to put in the design threads. Vertical lines are typical. And usual, but not necessary, the basically kilim is completely covered with design.

sumak

Sumak: _______ Again on a basically weaving, this time 'wrapping' of different colors makes the design. The design can cover completely the warp and weft. Also possible: on a flat weave kilim lines of sumak design, or individual sumak designs can appear. Weft substitution weave: _____________________ Wefts are forming the design on the warp. When a color is needed to form design this color is used for the weaving, where not used to make design this thread is floating on the backside. Characteristic backsides, you can compare with Jacquard knitting : knitting designs with more colors. Warp substitution
weft substitution back and frontside

________________ When we use this same system with the warp we have warp substitution: the warp is made in two colors, or stripes of two colors. The thread of the color needed to make the design comes up while making a warp faced weave. Some words about wool dyes __________________________ For centuries vegetable dyes have been used giving beautiful colors to wool used in carpets and kilims. The first chemical dyes appeared in the second part of the [Link]. In the beginning these colors where flashing, to strong for the eyes. Today producers know better how to mix colors and the used qualities are much better. We can discus a long time about vegetable against chemical colors but I want to give you this advice: When you want a carpet becoming nicer through the years and when you can afford to make a bigger investment than choose for the vegetable dyes. If you want a carpet to fit in your house, a decorative piece what you might replace changing the interior, you just follow your feelings of what you like. As long as the price is in a correct rate with what you get for it. The vegetable dye is much more work intensive and the material used more expensive, so a vegetable dyed product will be more expensive than a chemical dyed piece.
If you are interested you can read some of my articles at 'Jozan-Magazine on Oriental Rugs' : Basic rules when buying a decorative carpet in Turkey Carpet sale in Turkey

Finally a word about old and new pieces. ___________________________________ A carpet with good wool and vegetable dyes will become nicer by using. The wool becomes shiny and the colors warm So if you are patient enough you will see your new carpet becoming nicer with the years. When you want to enjoy this kind of patina immediately you can look for an old carpet. The commercial new kilims are sometimes of very good quality, fine and vegetable dye...but I miss the 'soul' of the kilim made by woman for their own use...It is up to you to make your choice! When dating the pieces I like to speak clear and honest. Sometimes I use words as : older, this means not new but I do knot know...; old, means old but I do not know how old... Hopefully you can accept that I can not know everything! I hope you like your trip through this WS, take your time and enjoy!

__________
Dekorativ carpets and kilims , collectible, old and new

introduction to weaving and knotting

Home | introduction to weaving and knotting | collectible | Tribal : bags and more | textiles | carpets | kilims | runners: carpets and kilim | Pillow covers | carpet and kilim repair | buying and sending information, feedback | contact us | links On this page you will find some information about some basically weaving techniques.

carpet knott

Warp is put on the loom and than weft is woven between this warps. This is basically the start of every weaving.

Carpets ______ Carpets have warp and weft, and add design by making knots on 2 strands of adjacent warps. Two different knots :
The symmetric, Turkish or Smyrna knot

And the asymmetric or Persian knot

Now in detail : Warp is put on the loom and weft woven (a system on the loom can bring up every second warp...) Than a line of design is made by making knots, each knot can have a different color if the design needs this. When this line is finished, again wefts, and again knotting the design, So working up in horizontal lines. Different materials can be used, and the warp on the loom can be of different density. The more knots the more intricate design can be made. Quality of a design is defined by number of knots per cm2. The quality of a carpet is defined by the material used.

Kilim (or flat weave) __________________ Weaving a kilim starts from the same base: warps and wefts. In kilim there are more different techniques. Basically kilim is simply weaving the design, using different colors in making the weft on the warp, and turning back at the end of each design. So we will see typical vertical open spaces between two different colors when the design needs a vertical line. This vertical open places can not be to high, so different solutions are used to make vertical division of color for example in borders. This can be by making slanting lines, or by working with a 'zip fastener' design. A kilim in this basically technique must not be woven in horizontal lines. Parts of the design can be finished, later adding the colors of designs between.

Again horizontal working necessary for the following brocading techniques:

'cicim'

Cicim: ______

On a basic kilim, usual one color but not necessary, little strands of color are added while weaving, the basic kili still be seen between the designs. Characteristic are diagonal steps making the design. This technique is sometimes used to make small designs on a normal flat weave kilim.

Zili: ___ On a basically weaving, design is added using pre-selected warps to put in the design threads. Vertical lines are typical. And usual, but not necessary, the basically kilim is completely covered with design.

Sumak: _______ Again on a basically weaving, this time 'wrapping' of different colors makes the design. The design can cover completely the warp and weft. Also possible: on a flat weave kilim lines of sumak design, or individual sumak designs can appear.

Weft substitution weave: _____________________ Wefts are forming the design on the warp. When a color is needed to form design this color is used for the weaving, where not used to make design this thread is floating on the backside. Characteristic backsides, you can compare with Jacquard knitting : knitting designs with more colors. Warp substitution ________________ When we use this same system with the warp we have warp substitution: the warp is made in two colors, or stripes of two colors. The thread of the color needed to make the design comes up while making a warp faced weave. Some words about wool dyes __________________________ For centuries vegetable dyes have been used giving beautiful colors to wool used in carpets and kilims. The first chemical dyes appeared in the second part of the [Link]. In the beginning these colors where flas the eyes. Today producers know better how to mix colors and the used qualities are much better. We can discus a long time about vegetable against chemical colors but I want to give you this advice: When you becoming nicer through the years and when you can afford to make a bigger investment than choose for the veg If you want a carpet to fit in your house, a decorative piece what you might replace changing the interior, you ju feelings of what you like. As long as the price is in a correct rate with what you get for it. The vegetable dye is much more work intensive and the material used more expensive, so a vegetable dyed prod expensive than a chemical dyed piece.
If you are interested you can read some of my articles at 'Jozan-Magazine on Oriental Rugs' : Basic rules when buying a decorative carpet in Turkey

Carpet sale in Turkey

Finally a word about old and new pieces. ___________________________________ A carpet with good wool and vegetable dyes will become nicer by using. The wool becomes shiny and the colors warm So if you are patient enough you will see your new carpet becoming nicer with the years. When you want to enjoy this kind of patina immediately you can look for an old carpet. The commercial new kilims are sometimes of very good quality, fine and vegetable dye...but I miss the 'soul' of th to make your choice! When dating the pieces I like to speak clear and honest. Sometimes I use words as : older, this means not new but I do knot know...; old, means old but I do not know how old... Hopefully you can accept that I can not know everything! I hope you like your trip through this WS, take your time and enjoy!

________________________________________________
Textile techniques are traditionally worked with fibers such as linen, cotton and silk. However, they can also be applied to metal. I weave high karat gold and platinum sheet and wire by hand. The process of weaving creates "fabric". I shape that "fabric" into ribbons and ruffles, spirals and loops, which become earrings, brooches, necklaces and pendants. I create two collections of limited production and one-of-a-kind jewelry, each based on a different technique.

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Figure 1 Plain Weave: sheet warp and continuous wire weft (over 1, under 1) Schematic adapted from Arline M. Fisch Textile Techniques in Metal class diagrams, San Diego State University, Fall 1991. Used with permission.

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Weaving is the interlacing of two sets of elements, one vertical and one horizontal. In my first collection, the vertical element - the warp - is sheet that is cut into strips or wedges. The horizontal element - the weft - is multiple strands of thin wire twisted together. The pattern is a Plain Weave (Figure 1), in which the wire crosses over the sheet, then under the sheet, continuing over one warp, under one warp. The strong color contrast in my Large Ruffle Brooch (Figure 2) makes it easy to read the Plain Weave: the warp, the vertical element, is sterling silver sheet; the weft, the horizontal element, is comprised of red magnet wire (resin coated copper) twisted with black silk thread.

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Figure 2 Large Ruffle Brooch Barbara M. Berk

Would you When the warp and the weft are the same metal, as in the 18kt gold Ruffle Brooch (Figure 3) it is supplies, s not as easy to read the pattern. The lighting on the brooch highlights the warp strips; the wire weft Please requ can be seen at the end of the bottom ruffle: it is composed of four strands of thin wire twisted Ganoksin's together. This creates a thicker weft, which is more malleable than a single wire of the same diameter. As the twisted wire weft crosses under the sheet, the sheet is pressed down over it, which locks the weft in place and adds strength to the piece. (The Ruffle Brooch warp is 36 gauge sheet, the weft is 26 gauge round wire.)

Figure 3 Ruffle Brooch (18kt gold) Barbara M. Berk; photo credit Ralph Gabriner My second collection is based on a technique that also uses two elements, but both elements are single strands of wire: a thin wire weft and a thicker wire for the warp. The pattern is called Soumak: it is an ancient rug weaving technique named for Shemakha, the city in Azerbaijan in which it originated. Figure 4 shows the weft traveling over two warps and back around one warp, thereby wrapping around each of the warps in turn. The Bow Brooch (Figure 5) is a Soumak weave: the pattern is easiest to see where the ends flare out, in the lacy area above the pearls. The thicker warp wire (20 gauge) is 18kt gold, providing the strength; the thinner weft wire (28 gauge) is 22kt gold, providing the malleability needed to do the tight wrapping that creates a dense weave. The warp is the skeleton, the weft is the skin; the two alloys in combination create a structurally sound piece.

Figure 4 Soumak: continuous wire weft wraps around each wire warp With both Plain Weave and Soumak, each piece is woven individually. The weaving is done flat: the Plain Weave rests on a thick sheet of plastic, so as not to mar the metal during weaving, and the

Soumak is supported in a small vice. Neither pattern is woven on a loom. Rather, both patterns rely on an open-ended warp system, which allows the weft to be easily placed over and under the warps without distorting the warps in the case of the Plain Weave, or easily wrapped around and pushed down the warps in the case of the Soumak. When the weaving is completed, the edges are finished and then the woven "fabric" is shaped into a sculptural form. While the metal is soft enough to weave and manipulate with fingers, it work hardens in the process of weaving and again in the process of shaping, resulting in a stable piece.

Figure 5 Bow Brooch Barbara M. Berk; photo credit Dana Davis Weaving can be executed with sheet as both warp and weft; with sheet warp and wire weft (as I do in my Plain Weave); with wire warp and sheet weft; with wire as both warp and weft (as I do in my Soumak); with combinations of sheet and wire warps and/or wefts; and either on-loom or off-loom. One can create patterns in the weave by changing the interaction between warp and weft, i.e., varying the number of warps the weft "skips" and varying the rotation of the "skips". One can weave the metal flat and then shape it, or one can create a 3-dimensional form during the weaving process. Textile techniques in general, and weaving in particular, offer the opportunity to work in new ways with familiar forms of sheet and wire. In the process of mastering these techniques, one can explore color, pattern, texture, structure and scale. --Back to Top-All rights reserved internationally. Copyright Barbara Berk. Users have permission to download the information and share it as long as no money is made-no commercial use of this

information is allowed without permission in writing from Barbara Berk Copyright 1996 - 2011, The Ganoksin Project If you believe in what we're doing, you can help! | About Us | Term

asket Weaving - An Introduction

Buzzle author Earnest King, offers an introduction to the ancient art of basket weaving. Introduction to Basket Weaving Basket weaving is a beautiful art form, and also a wonderful way to relax and reduce stress. Some people make their baskets to sell at fairs or online, while others make them for the pure enjoyment of it. There are many different methods for making baskets, and in this article we will try to touch on the basics of the craft, describing the materials used, and how each method differs from the others. Materials Baskets are made from a variety of naturally occurring fibers, including grasses, woods, and vines. Different methods of basket weaving are dependent on varying mixes of materials. Some very traditional artisans gather their materials by harvesting the plants themselves, but most people choose to buy their supplies at craft shops or online dealers. Methods There are many different approaches to basket weaving, and as a beginner it is advisable to choose the one that appeals to you the most, and master it first before taking on others. Coiling is one of the most common techniques, and it allows for a lot of artistry on the part of the basket weaver to create interesting patterns. Coiled baskets are mostly made from flexible materials like grasses. Strands of fiber are spiraled out in a circular pattern from a central point, and stitched around with another material. The stitching methods vary, and there are a lot of things you can do to make your basket unique. The next method is simply called weaving, and it involves creating ribs of a firm material like bamboo, or vines and then weaving around the skeleton with more vines. This method makes sturdy baskets, suitable for heavier use. Twining is very similar to weaving in that you create a strong skeletal base from vines, but more flexible materials like grasses are wrapped around that base with a special twisting kind of weave. Often there will be 3 or more of these elements twisted together. Wicker log baskets are often made using this method.

Plaiting is a very straightforward method which involves a basic over and under pattern of two materials that are essentially identical. It creates a simple but elegant looking pattern of squares. Some plaiting is horizontal while some of it is diagonal. Wide thin materials are used for plaiting, and in some cases people prefer to do plaiting with synthetic replacements instead of natural fibers. In Conclusion... One of the great things about basket weaving is that even after you master one method, you can still learn the others, and it can provide an ongoing challenge. Getting a basic level of skill in any particular method isnt that difficult, and with a little practice, youll find that basket making is a great outlet for your creative energies. By Earnest King Published: 3/26/2010 Ads by Google Free Crafting Magazine Over 75 projects for you try today! Paper crafting and many others. [Link]/freedigitalmag Wax Melting Systems Rapid Melters / Stirrers / Feeders 0.7 Litres to 1000 Litres [Link] ClayCreations by ArzuMusa Beautiful handmade accessories for you & for your home. Free Shipping. [Link] Art/Craft Classes - Kids Hobby Classes -Art & Craft Classes Free Online Listings. Join Quikr [Link] Art & Craft for Children Art & Craft activities for kids. Make, learn, discover, enjoy... [Link] Demma Light Mesh WireMesh baskets,container,shelving animal cages manufacturer exporter [Link] Needlecraft Galore 7000+ craft products available at competitive prices and discounts [Link] weft (w ft) n. 1. a. The horizontal threads interlaced through the warp in a woven fabric; woof. b. Yarn used for the weft. 2. Woven fabric. [Middle English, from Old English wefta; see webh- in Indo-European roots.] The American Heritage Dictionary of the English Language, Fourth Edition copyright 2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved. weft [wft] n

(Clothing, Personal Arts & Crafts / Textiles) the yarn woven across the width of the fabric through the lengthwise warp yarn Also called filling woof [Old English, related to Old Norse veptr; see WEAVE] Collins English Dictionary Complete and Unabridged HarperCollins Publishers 1991, 1994, 1998, 2000, 2003 ThesaurusLegend: Synonyms Related Words Antonyms Noun 1. weft - the yarn woven across the warp yarn in weaving woof, filling, pick cloth, fabric, textile, material - artifact made by weaving or felting or knitting or crocheting natural or synthetic fibers; "the fabric in the curtains was light and semitransparent"; "woven cloth originated in Mesopotamia around 5000 BC"; "she measured off enough material for a dress" thread, yarn - a fine cord of twisted fibers (of cotton or silk or wool or nylon etc.) used in sewing and weaving weave - pattern of weaving or structure of a fabric Based on WordNet 3.0, Farlex clipart collection. 2003-2008 Princeton University, Farlex Inc. (n.) A thing waved, waived, or cast away; a waif. (n.) The woof of cloth; the threads that cross the warp from selvage to selvage; the thread carried by the shuttle in weaving. () imp. & p. p. of Wave. (n.) A web; a thing woven.