WeaveMaker Mi User’s Guide and Reference Manual for Macintosh and Windows
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WeaveMaker Mi
User’s Guide and Reference Manual
for Macintosh and Windows
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©1992-2001 Designer Software, Inc.
All Rights Reserved. No part of this publication may be reproduced, transmit-ted, transcribed, incorporated into software, stored in a retrieval system, ortranslated into any language in any form by any means without the priorwritten approval of Designer Software, Inc.
This manual is the property of Designer Software Inc., and is licensed for usewith WeaveMakerMi software (please refer to your license agreementfor details). No other use is permitted. The manual may not be sold, rented,loaned, or otherwise used apart from a validly licensed copy of WeaveMaker Mi.
The Tagged Image File Format (TIFF) import/export feature of WeaveMaker incorporatessoftware created and owned by Sam Leffler and Silicon Graphics, Inc. For the TIFFsoftware, please note:
©1988, 1989, 1990, 1991, 1992 Sam Leffler
©1991, 1992 Silicon Graphics, Inc.
“The names of Sam Leffler and Silicon Graphics may not be used in any advertising orpublicity relating to the software without the specific, prior written permission of SamLeffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED "AS-IS" AND WITHOUT WARRANTY OF ANY KIND,EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WAR-RANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANYSPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, ORANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS,WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORYOF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCEOF THIS SOFTWARE.”
WeaveMaker MI are trademarks of Designer Software, Inc.
AVL Looms, Inc.3851 Morrow Lane, Suite #9
Chico, CA 95928-8305
(530) 893-4915 • (530) 893-1372 fax #http://www.avlusa.com
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WeaveMaker Mi is easy to use, forgivesmistakes, and makes sense to weavers.If you understand how looms work andhow to do drafts by hand, and youknow your way around the computer,you can jump right into creating yourown designs, treating this manual as areference for additional information.
Be sure you note these features ofWeaveMaker:
Undo Don’t worry too muchabout making a mis-take. You can “undo”the last five things youdid (and Redo them).
Cornucopia WeaveMaker Mi createsdesigns on its own.Using this feature willsave you countlesshours of labor, and willshow you new, freshweave structures andcolor arrangements.
Color Color control is exactingand thorough inWeaveMaker. A readingof the sections of themanual on color willgreatly help you workwith color.
So please explore.
If You HateReading Manuals…
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ContentsThe WeaveMaker Mi Audience 15
You, the Designer ..................................................... 16Prerequisites ............................................................ 16The Advanced Designer ............................................ 17Surface Patterns....................................................... 17
Getting Started 19
Design Window 23
Design Window......................................................... 24Threading Pane ........................................................ 24Denting .................................................................... 25Stop Motion.............................................................. 25Treadling or Peg Plan Pane ....................................... 25Float Diagram .......................................................... 26Color Bars ................................................................ 26
Tools Window 29
Pencil ................................................................ 30
Cornucopia ....................................................... 31
Marquee ............................................................ 32
Eyedropper........................................................ 33
Hand (Resize a Marquee) ................................... 34
Hand (Harness Shuffle) ..................................... 34
Insert Threads................................................... 35
Delete Threads .................................................. 35
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Wrap ................................................................. 35
Change Scale ................................................ 35
Float Intervals .......................................................... 36
Repeat Blocks 37
Introduction ............................................................. 38Repeat Block Example .............................................. 38
Block Tools 41
Controlling a Block................................................... 42Actions..................................................................... 43Block Repeats .......................................................... 43Types of Repeats ...................................................... 44Hand Tool (Resizing a Block)..................................... 46Resizing Arrows ........................................................ 46
Using Repeat Blocks 47
Horizontal Mirror Repeat .......................................... 48Straight Repeat ........................................................ 48Vertical Mirror Repeat .............................................. 49Drift Repeat.............................................................. 49Drift by N Repeat...................................................... 49Straight Draw Threading .......................................... 50Basket Weave ........................................................... 51Hound’s Tooth.......................................................... 51Herringbone ............................................................. 52
File Menu 53
New Design .............................................................. 54Open ........................................................................ 54
File Type.............................................................. 54
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Save As .................................................................... 55Save ......................................................................... 55Close ........................................................................ 55New Palette .............................................................. 55Open Palette............................................................. 55Save Palette.............................................................. 55Save Palette As ......................................................... 55Export (Fabric, 3-D, Grids) ....................................... 55Grid Options… ......................................................... 56Print Options............................................................ 56Print Preview ............................................................ 56Page Setup ............................................................... 56Print......................................................................... 56Continue .................................................................. 56Quit ......................................................................... 56
Edit Menu 57
Undo ........................................................................ 58Watch Out for...................................................... 58
Cut, Copy, Paste, Clear, Select ................................. 58Lock Warp, Lock Weft............................................... 60Algebraic (Input)....................................................... 61
Threading, Treadling............................................ 61Color Arrangement (Warp/Weft)........................... 62Denting ............................................................... 62Beaming .............................................................. 63
Remarks Window ..................................................... 63Preferences............................................................... 63
Loom Menu 65
Setting or Querying the Loom Size ............................ 66Threads/Picks per Inch ............................................ 67Stop Motion.............................................................. 67Tie-up-Peg Plan Conversion ...................................... 67
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Tromp as Writ .......................................................... 68Normal ................................................................ 69Tabby .................................................................. 69Overshot.............................................................. 69
Jacquard.................................................................. 70Color Tromp ............................................................. 70Turn Fabric 90°........................................................ 70Turn Weave 90°........................................................ 70Exch Warp-Weft Colors ............................................ 70Back Side ................................................................. 71Omit Structure ......................................................... 71Omit Color ............................................................... 71Warp Floats/Weft Floats........................................... 71Float Controls .......................................................... 72
Dobby Menu (Dobby Loom Controls) 73
Courteous v. Fast (Dobby Type) ................................ 74SLIPS Looms ............................................................ 76
Dobby Bell (Audible Go-ahead) ............................ 77Normal Treadling ................................................. 77Abnormal Treadling (Incorrect lift) ....................... 77Reversing Direction.............................................. 77
AVL Looms ............................................................... 78AVL Dobby Weaving ................................................. 78AVL Loom Switches .................................................. 78
SKIP Switch......................................................... 78REVERSE Switch................................................. 78PATTERN Switch ................................................. 78SAVE Switch ....................................................... 78RESUME Switch .................................................. 78TABBY Switch ..................................................... 78
Open AVL Cartridge ................................................. 79Close AVL Cartridge ................................................. 79AVL Soft Reset ......................................................... 79
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Views Menu 81
Design Window Elements ......................................... 82Showing or Hiding Windows ..................................... 82Denting .................................................................... 83Stop Motion.............................................................. 84Show Cursor Position ............................................... 84Active Window Names .............................................. 84
Library Menu 85
Special Menu 87
Heddles/Harness ..................................................... 88Repeats .................................................................... 88Float Histogram........................................................ 89Split Harness ........................................................... 90Show Fabric in 3-D .................................................. 90Fabric Swatch .......................................................... 91
One Pixel Per Thread ........................................... 92Weave Simulation ................................................ 92On-Screen Simulation ......................................... 92
Of Mills and Money… 95
“Yes, We Can Weave YourDobby Design…We’ll Do It asa Jacquard”.............................................................. 96Keeping it Dobby ...................................................... 97Designing for the Loom............................................. 97
Simple Warp, Complex Weft 97Have the Color Meet the Weave 97Weft Blankets 97Warp Blankets..................................................... 98Benign Simplification........................................... 98Automated Looms................................................ 98
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Cornucopia Structure Schemes 99
Introduction ........................................................... 100Schemes Window ................................................... 101Turning Schemes On & Off ..................................... 101Automatic Mode ..................................................... 102Scheme Examples .................................................. 102
Random Walk Peg Plan ...................................... 103Twill Overlay Peg Plan........................................ 104Slashes Peg Plan................................................ 104Twill Walk Peg Plan............................................ 105Tabby Twill Peg Plan .......................................... 105Double Twill Tie-up............................................ 106Twill Tie-up ....................................................... 106Huck Tie-up ...................................................... 107Wrapped Twill Tie-up......................................... 107Latin Square Tie-up ........................................... 108Symmetric Tie-up .............................................. 108
Threading Schemes Catalog 111
Network ................................................................. 112Step Walk............................................................... 114ZigZag .................................................................... 116Stutter Twill ........................................................... 118
Tie-up Schemes Catalog 121
Twill Tie-up ............................................................ 122Double Twill Tie-up ................................................ 122Wrapped Twill Tie-up ............................................. 122Symmetric Tie-up ................................................... 123Latin Square Tie-up................................................ 123
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Peg Plan Schemes Catalog 125
Twill Overlay .......................................................... 126Twill Walk .............................................................. 127Random Walk......................................................... 128Ripple .................................................................... 129Slashes .................................................................. 130Tabby Twill............................................................. 131
Whole-Fabric Schemes Catalog 133
Summer-Winter...................................................... 134Huck ...................................................................... 136Divided Designs ..................................................... 138Moire Scheme......................................................... 140
Creating Color 143
Color Overview ....................................................... 144Step 1 (Palette) .................................................. 144Step 2 (Colorway)............................................... 144
The Challenge of Color............................................ 144Palettes .................................................................. 144Creating a Palette ................................................... 145Naming Colors........................................................ 148Color Matching....................................................... 148Using Color ............................................................ 150Sorting Colors ........................................................ 151Editing Colors ........................................................ 152
Using Color 153
Colorway Window ................................................... 154Color Dragging ....................................................... 155Adding Colorway Color Chips ................................. 155
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Coloring Fabrics ..................................................... 156Manual Coloring ................................................ 156Cornucopia Coloring .......................................... 156
Colorway Tools ....................................................... 157Multiple Colorways ................................................. 157
Cornucopia Color Schemes 159
Color Cornucopia ................................................... 160Scheme Selection............................................... 160Major/Minor/Accent.......................................... 160Marquees and Repeat Blocks ............................. 160
Getting Started....................................................... 160Color Scheme Selection .......................................... 161Scheme Colors ....................................................... 162Color Emphasis ...................................................... 162Blends.................................................................... 162
Color Schemes Catalog 163
Color Schemes Table .............................................. 164Alternate ................................................................ 165
Two Color Arrangements.................................... 165Major/Minor Arrangements ............................... 165Major/Minor/Accent Arrangements ................... 165
Partition ................................................................. 166Two-Color Blend..................................................... 166Blocked Blend ........................................................ 166Partition blend ....................................................... 167Thin stripes............................................................ 167Math ...................................................................... 167
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Printing 169
Printing .................................................................. 171Custom Forms ....................................................... 171Print Options.......................................................... 173Hybrid Print Options .............................................. 173Creating a Custom Form ........................................ 173Fabric Printouts Overview ...................................... 174
Fabric Summary................................................ 174Threading and Peg Plan ..................................... 174Warp Yarn Description ...................................... 175Warp Color Arrangement ................................... 175Drawdown ......................................................... 175
Diagram Symbols ................................................... 176Diagram Sizes ........................................................ 176Printing Warp and Weft Colors ............................... 177Page Annotation ..................................................... 177Drawdown .............................................................. 178Threading Diagram................................................. 179Peg Plan Diagram ................................................... 180Tie-up Diagram ...................................................... 182Fabric Swatch In Color ........................................... 182Warp/Weft Colors Table ......................................... 182
Analysis 183
Analysis ................................................................. 185
Jacquard 187
Conversion to Jacquard.......................................... 189Jacquard Editing.................................................... 189Jacquard Printing .................................................. 191Sample Jacquard Printout...................................... 192
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Facts and Figures 193
Colorways.......................................................... 194Designs ............................................................. 194Ends, Picks ....................................................... 194Harnesses ......................................................... 194Palettes ............................................................. 194HSL ................................................................... 194RGB .................................................................. 194Treadles ............................................................ 195
Technical Assistance 197
Index 199
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TheWeaveMaker Mi
Audience
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You, the DesignerWeaveMaker is the perfectsoftware tool for you, the inter-mediate to advanced designer ofwoven fabrics, working for a millor as a free-lancer, designing byhand or with CAD software, andwanting to
• increase your personal pro-ductivity
• spend more time on designand less on tedious thread-by-thread editing
• create fresh, new looks
• use longer repeats
• use color more effectively
• tackle complex weave struc-tures and color arrangements
• generate full-featured milltickets
WeaveMaker is highly auto-mated. Much of the work younow do by hand, it does auto-matically. And communicatingyour ideas to the mill is a snap.
WeaveMaker puts enormousemphasis on color accuracy.Used carefully, WeaveMakerhelps ensure that the color yousee on the screen, and the coloryou see on paper, match thecolor of your yarn samples.
PrerequisitesYou do not have to be a weaverto be a designer. But to dowoven design, you have to under-stand the essentials of what theweaver and the loom do.
Thus, to make effective use ofWeaveMaker, you need somebasic weaving design knowledge.WeaveMaker is a rather technicaldesign program, emphasizingweave structures and color ar-rangements. If your only interestis recoloring designs done byother people, or doing colorarrangements that consist ofbroad, simple stripes on a plainweave, you will find WeaveMakerhelpful, but there will be parts ofit which you will never touch.
But by learning a bit more aboutweaving, you can get into thosemore advanced parts ofWeaveMaker, and this will helpyour designs, your profits, andyour value as a designer.
And because WeaveMaker gener-ates detailed mill tickets whichhelp ensure that your designsare effectively communicated tothe mill, you do not have towaste time writing out lengthydescriptions of your design.
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Surface PatternsIf you are interested in surfacepatterns, but not weaving perse, you will find WeaveMakeruseful in its “automatic” mode.Without learning a thing aboutthreadings, tie-ups, draw-downs, ends, or picks, you canstill generate lovely designs inWeaveMaker. And when yousee an on-screen design youlike, you can immediately turnit into a full-color TIFF or PICTfile, and transfer it into yourfavorite Macintosh surfacepattern design program (suchas Surface Magic™ from De-signer Software).
The Advanced DesignerFor the advanced designer,WeaveMaker is heavenly. Neverbefore have you been able togenerate dozens of designs perminute (rather than per day).You can navigate instantly be-tween just structure, just color,and full color-and-weave views ofyour design.
You can do things in whateverorder appeals to you. Want tostart with a color arrangementand add a weave later? No prob-lem. Or do the structure first,and then drop in color. Or goback and forth: design a struc-ture, add color, then adjust thestructure (temporarily takingcolor away if you wish), then domore color. No problem.
And powerful whole-fabric floatanalysis lets you quickly sort outimpractical designs. Or, sincethe whole-fabric float displayinstantly reacts to your changes,you can take a float-ridden de-sign and edit it manually, gettingimmediate feedback on the effectyour changes make in the floats,so in the space of a minute ortwo you can salvage a designwhich before you would haveabandoned.
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Getting StartedAn introduction to the tools you willuse to create your new designs.
Draft
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Draft
Sample Design window(above) and Fabricswatch window (right).
Colorway Window Schemes Window
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When you launch WeaveMaker,you see five windows and a set ofmenus. The windows are de-scribed below (and see illustra-tions on these two pages).
Tools Tools for drawing, color-ing, and repeating.
Design Similar to a hand-drawndesign, with grids forindicating threading, tie-up, and treadling (or pegplan).
Fabric A swatch of fabric at 72ends per inch.
Colorway Color chips forcolors which will appearin the fabric.
Schemes Controls for thedesign cornucopia.
Tools Window
In designing weaves, you willspend most of your time work-ing in the Design window, withtrips to the Tools windows tocontrol color, repeats, and copy& paste editing.
When you want WeaveMaker tocreate patterns on its own, youwill turn to the cornucopia tool(second from the top left in theTools window) and theSchemes window. HavingWeaveMaker create spontane-ous patterns is very easy(please see “Cornucopia” in theIndex for places to find moreabout this topic).
To create your own fabricdesigns, or modify ones whichWeaveMaker creates, youshould read the next two sec-tions (“Design Window” and“Tools Window”).
WeaveMaker gives you power-ful tools for incorporatingcolors into your designs. Col-ors are created within palettes.Think of a palette as a colordatabase which stores colorsuntil you need them. Colorsare (literally) dragged from apalette into a colorway for usein a fabric. Creating multiplecolorways is quick and conve-nient. Please see “Color” and“Colorways” in the Index forplaces to find more about thistopic.
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Design Window
Draft
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Threading PaneThe threading pane (bottomillustration on facing page) con-trols the threading. You specifyhow the warp passes through theheddles, the color of each warpthread, and indicate denting.
In the threading pane, eachhorizontal row corresponds toone harness (or shaft). Eachcolumn represents one thread inthe warp. A black square means
Design Window—Exploded
Design WindowThe Design window mimics atraditional fabric design as youwould draw it on graph paper.The window is made up ofseveral parts which you canexplore separately in thissection. Start with the “ex-ploded” view of the DesignWindow below.
Threading Pane
Peg Plan Pane
Grow Icon
Vertical SliderDrawdown pane
Horizontal Slider
0 . 25
. 5
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0.25 0.5
Threading Pane
1
1
234
Each row represents a harness, #1
is at the bottom.
242015105
Each column represents a warp end, #1 is at the left.
This black square means “thread 2 goes through a heddle on
harness #3.”
Warp color bar
One-thread float diagram
Thread ruler
Denting
Treadling Pane
1 2 3 4
Each row represents one weft end, #1 is
at the bottom
Each column represents one treadle, #1 is at
the left.
0 . 25
. 5
1
5
10
15
StopMotion
Treadling or Peg Plan PaneThe treadling pane (see illus-tration below) is similar to thethreading pane, except thathere rows represent weftthreads and columns indicatetreadles.
the warp thread represented bythat column is controlled by theharness represented by that row.
Since the threading pane has avariety of levels of magnification(“zoom” levels), the ruler is use-ful in helping you judge the real-world appearance of the fabric.
DentingThe denting grid lets you markdenting groups in the threading.Please see “Denting” in the Indexfor places to find more aboutthis topic.
Stop MotionThe stop-motion grid lets youspecify how closely the weft isbeaten. Please see “Stop Motion”in the Index for places to findmore about this topic.
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The heavy line represents a single weft thread passing through a fabric. It weaves in and out of the warp threads.
Each dot represents a warp thread running through the fabric (coming straight at you).
Here the thread is on the top of the fabric, floating for 3 threads.
Here the thread makes an appearance on the back of the fabric.
Float DiagramThe single-thread float diagram(illustration below) shows howa single thread passes throughthe fabric (for other ways ofviewing floats, please see“Floats” in the Index). Theexample given here is of adiagram of a weft thread pass-ing over and under 24 warpthreads. Notice that the floatis at most 3, and this thread ismostly on the front of thefabric (the front is at the top).This tells you something aboutthe structure of the fabric atthis thread. It also suggeststhat the color of this threadwill mostly affect the front ofthe fabric, because this threadspends most of its time there.
(Note: the float diagrams are onlydisplayed at magnification “8.” Ifyou change to another displayscale the float diagrams disap-pear. They reappear when youreturn to magnification 8. See“Change Scale” in the Index forinformation on changing scales).
You select which thread to dis-play by moving the thread selec-tor. There are two selectors, onefor warp threads and one forweft. They are the marks
shaped like and whichappear along the inner edges ofthe threading and treadling grids(see illustration on facing page).The thread next to the threadselector is the one which ap-pears in the float diagram. Movethe thread selectors by clickingand dragging them with themouse.
Color BarsThe color of each thread isshown as a box within the colorbar (lower illustration on facingpage).
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Float Diagram Thread Selectors
Color Bar (on a color monitor these show the thread colors.
Here, each warp thread is black and each weft is white).
Threading PaneTreadling Pane
Treadling PaneThreading Pane
This selector picks out the warp thread for display in this float diagram.
This selector picks out the weft thread for display in this float diagram.
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Pencil
Cornucopia
Marquee
Eyedropper
Hand (Resize a Marquee)
Hand (Harness Shuffle)
Insert Threads
Delete Threads
Wrap
Change Scale
Float Intervals
Tools Window
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The Tools Window is a smallwindow which floats above theothers whenever WeaveMaker isactive (see detailed view on thenext page). Its tools help youmanipulate structure and color.You choose a tool by clicking onit. It turns black, confirmingyour choice.
The cursor also changes itsshape (to remind you of whichtool you have activated) whenyou position it over a part of thescreen where it’s appropriate touse the selected tool. So, if youclick on the pencil tool, thecursor will remain the standardarrow cursor ( ) until youmove it over one of the grids inthe design, at which point thecursor will change to the pencil.This behavior helps you deter-mine where it is appropriate touse the tool. The next few pagesexplain all the tools in detail.
You can move this windowaround on the screen, or hide itby clicking in its close box.Make it visible again using“Show Tools” in the “Windows”menu.
PencilUse the pencil tool to edit thethreading, treadling, tie-up, orpeg plan grids. Click with thepencil to attach/detach a threadfrom a harness, add/remove atie-up or peg, or edit the trea-dling. Clicking on a squarereverses its color. If you holdthe mouse down and move itaround, the change occurs ineach place the pencil passesover.
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CornucopiaUse the Cornucopia to “pourout” weaving elements createdby WeaveMaker’s spontaneouspattern generator.
Click on the Cornucopia tool andthen position the cursor over anyof the grids in the design window(threading, tie-up, treadling, pegplan, or color bar). The cursorchanges to a cornucopia. Clickand watch WeaveMaker generatea new design. If you click in thethreading, WeaveMaker gener-ates a new threading and thendraws the new fabric. Its behav-ior is similar if you click in thetie-up, treadling, or peg plan. Ifyou click in the color bar, you
Pencil
DeleteThreads
Hand
InsertThreads
MarqueeEyedropper
Cornucopia
FloatIntervals
ThreadingMarqueeControls
Peg PlanMarqueeControls
Tie-upMarqueeControls
ChangeScale
get a new color arrangement.You can click over and over withthe Cornucopia; each time youget a new pattern.
Unless you restrict it, the Cornu-copia fills the entire grid. Youcan restrict its range of operationusing the marquee tool (pleasesee “Marquee” in the Index forplaces to find out about usingthe marquee). If you draw amarquee, the Cornucopia can beused inside the marquee, andwhatever pattern it puts there isthen repeated following therepeat block rules (please see“Repeat Blocks” in the Index forplaces to find more about usingrepeat blocks).
WrapThreads
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MarqueeThis tool marks out portions ofthe threading, tie-up, treadling,or peg plan grids for manipula-tion by the Block tools (pleasesee “Repeats” in the Index formore about the block tools), theActions (flip, rotate, invert, andso on), the Copy and Clearcommands, and for confiningthe area of operation of theCornucopia tool. So, for ex-ample, if you wish to clear aportion of a grid, first select thepart to be cleared (using themarquee tool) and then invokeClear from the Edit menu.
When a marquee tool is selectedthe cursor turns into a plus sign(+) which is skinny ( ) or fat
( ) depending on the scalethat is in effect.
Click and drag this cursor inany of the grids in the designwindow to form a marquee (or“block”). First, click with theplus cursor at one corner of yourdesired block (illustration on theright).
Through the Schemes windowyou can encourage the Cornuco-pia to draw certain kinds ofpatterns (please see “Schemes”in the Index for more about theschemes window). In addition,of course, you have control overwhere you click with the Cornu-copia. For example, if you havealready threaded your loom youprobably do not want a newthreading generated spontane-ously, so you would be careful toavoid clicking in the threading insuch a case.
WeaveMaker also has an “auto-matic” mode where the sponta-neous pattern generator (theengine which drives the Cornu-copia) creates a complete fabricevery few seconds. Each patternstays on the screen long enoughfor you to “freeze” it in place ifyou like it. Please see “Schemes”in the Index for more aboutautomatic spontaneous patterngeneration.
Regardless of how you use it,any design created by the spon-taneous pattern generator maybe further edited, just as youwould edit a pattern you createdfrom scratch. All the power of allthe WeaveMaker tools is avail-able for making modifications.
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EyedropperThis tool “picks up” a color fromthe warp or weft colorbar. If youhave several colors which aredifficult to distinguish among bytheir appearance on the com-puter screen, the small amountsof color displayed in the warp orweft colorbars are not useful fordistinguishing the exact shade ofcolor assigned to a thread. Inthis situation, use the eyedrop-per to pick up a color in ques-tion. The name of the color isdisplayed at the bottom of thecolorway window. The color isalso loaded into the crayon,which may then be used to clickthe color into other threads.
Next, keep holding the mousebutton down and drag the pluscursor to where you want theother corner of the selection tobe. A dashed box will appear asyou do this (second illustrationbelow). You have now success-fully established a block.
(Although you cannot see it here,when you do this for real youwill see the dashed box outline“crawl.” The Macintosh termi-nology for this is “marquee,”because it’s like the lightsaround a movie theater or hotelmarquee.)
Dismiss the marquee byunchecking the marqueecheckbox in the Tools window(please see “Marquee” in theIndex for details).
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Hand (Resize a Marquee)In a grid with an active marquee(please see “Marquee” in theIndex for details), this toolchanges the size or position of themarquee. Click on the Hand tooland then move the cursor over anexisting marquee. The cursor willchange to a hand or an arrow.Click and hold down the mousebutton (when the cursor is ahand) to reposition the marqueewithout changing its size. Or,when the cursor is an arrow, clickand hold down the mouse buttonand then move the mouse tochange the size of the marquee.
You can also change size of amarquee through the Tools win-dow. Please see “Marquee,resizing” in the Index for details.
The keyboard cursor keys willmove a marquee by exactly itswidth or height. A marquee inthe threading, for example, ismoved to the left (right) by the left(right) arrow cursor key. If themarquee is 20 threads wide, itwill move by 20 threads each timethe cursor key is pressed. Simi-larly, the up (down) keyboardcursor keys move a marquee inthe weft by exactly its height.
Hand (Harness Shuffle)In a grid without a marquee, thistool helps you rearrange theorder of the grid elements. Forexample, in the threading gridyou can change the order of theharnesses. To do so, click in thethreading. The entire harnesswhich is under the fingers of thehand turns blue. Now move themouse vertically. Notice thatyou are literally dragging theharness into a new position.Release the mouse when youhave moved the harness to itsdesired new position.
A similar effect is possible in anyof the other grids.
Also, note that as you move agrid element around, parallelchanges take place in the othergrids. This ensures that yourshuffling does not change thefabric design one whit.
The shuffle may be used tosimplify threadings ortreadlings. It can also help youstudy your design by letting youmove harnesses next to eachother, which may make it easierto compare them. If you aretraining an assistant in dobbyweaving, the shuffle is a goodteaching tool, as it helps illumi-nate the relationship among thegrids.
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Insert ThreadsThis tool adds one or morethreads in either the warp orweft. Click on the tool, thenmove over the threading, trea-dling, or peg plan. Click at theboundary between two threadsand hold the mouse buttondown. A line appears (green oncolor monitors). Move the mouseto the side (threading) or verti-cally (treadling or peg plan) andthe grid will open up. Create asmuch space as you wish for newthreads.
Delete ThreadsThis tool deletes threads fromthe warp or weft. Click on thetool, then move the cursor overthe threading, treadling, or pegplan. Click next to the threadyou want to delete, then movethe mouse over the thread whilecontinuing to hold down themouse button. The thread to bedeleted will be darkened (red oncolor monitors, otherwise black).If you want to delete a group ofthreads, move the mouse overthe entire group. When yourelease the mouse button, thedarkened threads will be deleted.
WrapThis tool shifts the threading,treadling, or peg plan left-to-right and top-to-bottom; thatis, shifting can occur in anydirection as the tool is clickedand dragged. Click on the tool,then click in the threading,treadling, or peg plan and holdthe mouse button down. Nowmove the mouse. As you do so,you will see the contents of thegrid shift to follow the mouse.
If used within an active mar-quee (please see “Marquee” inthe Index for details), only thearea within the marquee isshifted.
The Wrap tool does not throwanything away; ends or picksshifted out of one end re-enteron the opposite end.
Change ScaleClick in the “Change Scale” boxto change the display scale ofthe design. The letters “T”stand for “ten” and “twelve.”
Aside from the obvious changein how much of the drawdownyou can see, the only othereffect of changing scale is thatthe float diagrams do notappear at any scale other than8.
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Float IntervalsWhen displaying all of thefloats at once (please see“Floats” in the Index for de-tails), the colors used to repre-sent various float lengths areset in the Tools window. In thediagram shown below (whichalso appears in the Toolswindow), there are three tri-angles which indicate threefloat lengths:
the left triangle indicates 3, themiddle 5, and right one 8. Thismeans that WeaveMaker willuse these rules in showingfloats:
a) floats of less than 3 will bein white,
b) floats from 3 to 5 will be ingreen,
c) floats from 6 to 8 will be inblue,
d) floats of more than 8 will bein red (despite the face that thefloat scale ends at 15, floats ofany amount above 8 will be inred, even floats of more than15).
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Repeat BlocksDraw a partial threading or tie-up ortreadling and have it copied overand over, automatically and quickly,throughout your design.
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A
A A AA A A
Repeat Block ExampleThe illustrations on the facingpage show a threading grid with25 threads and 8 harnesses.Part of the grid (6 threads wide)is outlined with a dashed line(second illustration) created withthe marquee tool (please see“Marquee” in the Index for de-tails). The outlined area is theblock.
The plain block, as drawn by themarquee tool, is then convertedinto a repeat block (third illus-tration) by clicking on the repeatrectangle in the Tools window.The appearance of the gray“wings” alongside the marquee isconfirmation that this is a repeatblock. In the gray area,WeaveMaker repeats everythingdone within the block.
Select the pencil tool and move itover the grid. You’ll find it hasthree properties:
a) Clicking on a square in theblock area fills in the square.
b) Filled-in squares within theblock are repeated to the edgeof the grid (that is, throughoutthe shaded area in the abovefigure).
c) Clicking again in any filled-in square erases it and itscopies.
Suppose that with this pencilyou mark three cells in the block(the ones which are blackened in
IntroductionA repeat block lets you draw apartial threading or tie-up ortreadling and have it copied overand over, automatically andquickly, throughout your design.Repeating a block is the basicway you build patterns by handin WeaveMaker. The size andextent of the repeat are underyour control, and you can use asmany different repeat blocks asyou wish within a single design.
If you already know aboutblocks and want detailed infor-mation on using the block tools,you can skip ahead to “BlockTools” (please see “Block Tools”in the Index). Examples of usingrepeat blocks to build somefamiliar patterns is given in the“Using Repeat Blocks” section.
The 3 by 3 cell straight drawthreading illustrated at theright is an example of a block.Such a block can be auto-matically copied (byWeaveMaker) to form the thread-ing illustrated below.
In fact, any rectangular array ofcells can be a block.WeaveMaker lets you mark outan area (using the marquee tool)to be a block. This markingpersists until you dismiss theblock.
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Here is a 25 thread portionof the threading grid:
The marquee tool marks out a plain block:
which is converted to a repeat block:
Now anything drawn in the repeat block:
…gets repeated in the shaded sections
Creating a Repeat Blockthe fourth figure on thefacing page). Notice thatthe cell you clicked, and theones at regular intervals tothe right and left, areblackened. This kind ofmagical graph paper wouldmake drawing designsquick, precise, and fun.
Any actions you take insidethe block are automaticallyrepeated throughout thegray part of the grid.
There are several variationson the straight copyingillustrated here (the repeatscan be reflected in variousways, or they can creep upor down). These optionsare taken up in detail in thenext section.
Please see “Repeats, ex-amples of using” in theIndex for examples of usingblocks to create somecommon fabric patterns.
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Block Tools
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Ending (right-most) threadnumber
Starting (left-most)thread number
Click arrowsto expand/shrink theleft edge ofthe block.
Click here to turnthe marquee intoa repeat block.
Number ofthreads withinthe block.
Check to extendblock into thecolor bars (so thecolor participatesin the repeat).
Click arrowsto expand/shrink theright edge ofthe block.
Click here totake someaction insidethe block.
Uncheck todismissthe block.
This part of the Tools windows…controlsthis block in the threading.
Controlling a BlockOnce you create a plain blockusing the marquee tool (pleasesee “Marquee” in the Index fordetails), you control its behav-ior and fine-tune its size usingthe “Blocks” part of the Toolswindow.
The illustration on the rightshows a threading grid with anactive block (the white areaoutlined with the dashed line isthe block). Immediately aboveit is a diagram showing thepart of the Tools windowthrough which you control thethreading block. Below is anexpanded view of the Toolswindow, showing the functionperformed by each of thethreading marquee controls.
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ActionsActions can only be done whenthere is a block active.
If you click on the actions tri-angle in the Tools window, amenu of actions pops up (left).
Run the mouse over the actionsmenu while holding the mousebutton down. Note that theaction under the mouse turnsblack. Releasing the mouse overa blackened action directsWeaveMaker to proceed (to nottake any action, move the mouseoff the pop-up window and re-lease the mouse button).
When you release the mousebutton, the pop-up menu disap-pears. The action you selected, ifany, is then performed.
Actions are done once, immedi-ately upon releasing the mouse.They do not affect the grid in thefuture (in contrast with blockrepeats, which are described inthe following section).
Block RepeatsIf you click on the repeat rect-angle in the Tools window, amenu of block repeat types popsup (left).
Run the mouse over the typeswhile holding the mouse buttondown. Note that the type underthe mouse turns black. Releas-ing the mouse over a blackenedtype directs WeaveMaker to
No repeat
Straight Repeat
Mirror Left/Right
Mirror Up/Down
Drift by 1
Drift by 1
Drift by n
Drift by n
Flip Vertical
Flip Horizontal
Rotate 180°
Clicking inthis triangle…
…pops up thiswindow of actions.
…pops up this windowof repeat types
Clicking in thisrectangle…
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A reminder of the repeat type ap-pears here. This remains even ifyou dismiss the marquee. If you re-select the marquee, this repeat typeimmediately applies. You may setthe repeat type (or set it to “norepeat”) at any time, regardless ofwhether there is a marquee active.
These are the available typesof repeats. They apply in thethreading and in the trea-dling/peg plan. There are norepeats in the tie-up.
No repeat
Straight Repeat
Mirror Left/Right
Mirror Up/Down
Drift by 1
Drift by 1
Drift by n
Drift by n
proceed (to not take any action,move the mouse off the pop-upwindow and release the mousebutton).
When you release the mousebutton, the pop-up window disap-pears. The repeat type you se-lected, if any, is then performedand the reminder rectangle isfilled with a picture of the tool youselected (illustration at right).
Each grid (threading, treadling,tie-up, or peg plan) has its ownset of block tools. These areexplained in detail in the followingsection.
When you first select a repeattype, it takes place immediately(that is, the contents of the blockare repeated). The repeat persistsuntil you dismiss the block or setthe repeat type to “no repeat.”
When you dismiss the block, therepeat type is not forgotten. Itspicture remains in the reminderrectangle (as illustrated aboveright). If you reactivate the block,the repeat type immediately isresumed, as though you had justselected it with the mouse via thepop-up menu.
Types of RepeatsEach grid has its own set of blockactions and block repeats, asshown in the illustrations on thisand the facing page. Repeats oractions with an identical icon
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have identical effect, regardlessof which grid they are in. Thus,the section “Using RepeatBlocks” (please see “Repeats” inthe Index) explains the operationof each tool without regard towhich grid it is used in.
Repeat blocks can be used in thethreading, treadling, and pegplan. Use as many different onesas you wish.
Repeat blocks apply to color aswell if they are extended into thecolor bar.
The block tools listed below all carry out atransformation within the block. Each pictureis meant to suggest an action. For example,
shows the contents of the block beingflipped upside-down.
Flip upside-down.
Flip right-to-left.
Rotate 90°.
Rotate 180°.
Rotate 270°.
Interchange black and white.
All Black.
All White.
Copy upper left triangle to bottom right.
Copy lower left triangle to upper right.
Copy lower right triangle to upper left.
Copy upper right triangle to lower left.
Summary of Block Actions
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Tools Window
Thesearrows move
this edge
Thesearrows move
this edge
Thesearrows move
this edge
Thesearrows move
this edge
Resizing ArrowsThere are eight hollow arrows inthe Tools window which are usedto adjust the size of a marquee(please see the illustration be-low). Each time you click in anarrow, it moves the edge of themarquee by one thread.
Hand Tool (Resizing a Block)You can change the size of a blockwithout redrawing it from scratch.Please see “Repeats, resizing” inthe Index for details.
You can also make refinements tothe size of a block by clicking anyof the hollow arrows in the Toolswindow (see right and below).
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UsingRepeatBlocks
Each of the repeat block types of-fered by WeaveMaker is used here toconstruct a familiar fabric. Thediscussion emphasizes blocks in thethreading, but the same techniqueworks in the peg plan or treadling aswell (repeat blocks are not used inthe tie-up).
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There are seven kinds ofblocks which differ in howthey copy to the right andleft.
The next three columnsillustrate the basic opera-tion of each type of repeat.
Each repeat is repre-sented by a small iconwhich reminds you of howthat particular block styledoes its repeats. Thesmall “backwards L” figure inthe icons helps illustrate howthe repeats work.
For example, in the first iconeach of the three L’s is in thesame orientation, suggesting arepeat in which each block is anexact copy of its neighbor(straight repeat). The second
icon (the figure) shows arepeat in which successivecopies of the block are flippedright to left (horizontal mirror).The third type of repeat flipssuccessive images top to bottom(vertical mirror). The last fourtypes of repeats (the ones withthe arrows) shift each repeat byone or more threads up or down(drifts).
The first two drifts (without the“N”) drift by 1 each time theyrepeat. The last two drifts (withthe “N”) drift by an amount youspecify.
Straight RepeatA straight repeat copies whatyou do, over and over, to bothleft and right.
If you draw this…
WeaveMaker does this…
If you draw this…
WeaveMaker does this…
Horizontal Mirror RepeatA horizontal mirror repeat flips itscopies left-to-right at each repeat. Italso eliminates one thread right atthe point where it repeats.
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Vertical Mirror RepeatA vertical mirror repeat flips itscopies top-to-bottom at eachrepeat. The block is repeated asa whole; nothing is deleted alongthe edge.
If you draw this…
WeaveMaker does this…
WeaveMaker does this…
Drift RepeatA drift repeat slides each copyup or down by one harness (upin one direction; down in theother). If you draw this…
When a drift repeat runs out ofharnesses, the repeat “wrapsaround,” as this example shows.
If you draw this…
WeaveMaker does this…
Drift by N RepeatThe drift can also shift eachrepeat by more than one har-ness (these have an N in theirsymbol).
If you draw this…
WeaveMaker does this…
N=2
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thirdcopy
firstcopy
secondcopy
harnesses. So it looks like thisafter the top square in it hasbeen clicked:
But this is a repeat block, sowhatever you do in it gets cop-ied to both right and left. Inthis case copying to the left isn’tpossible, but copying to theright is. The copies are notexact copies, because youselected the fourth kind of
repeat ( ), which shiftsthe squares down by one gridposition in each copy made tothe right (the shift is upwardsin copies made to the left). Sothe sequence of copies lookslike this:
Eventually the repeat has towrap around because it reachesthe bottom edge of the grid.This sequence of events leads tothe “straight draw” threading.
Straight Draw ThreadingYou can create a straight drawthreading with three mouseclicks:
1. Draw a block which is onethread wide and applies to all 8harnesses:
2. Select the repeat. Thescreen now looks like this:
Click with the pencil tool in thetopmost square of the block toproduce a straight threading (thedashed line and the gray havebeen removed to make thisillustration clearer):
To see why this works, note thatthe block in this case is just onegrid square wide but covers all
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Hound’s ToothThe illustrations at the bottom ofthe page show the repeat blocksused to construct a hound’stooth pattern. The warp andweft are identical. A repeatblock covering 8 threads is used;note how the colors are repeated.
Basket WeaveHere is a typical threading forbasket weave:
This can be built from a repeatof a 4 by 4 block. Using the
straight repeat block tool ( ), set up this block:
Blacken the four squares of thebasket weave threading in theblock. WeaveMaker copies thisthroughout the rest of thethreading:
Hound’s ToothHound’s Tooth
Illustration of “marquee” parts ofTools window while drawing
Hound’s Tooth
A checkmark here indicates that themarquee extends into the color bars.
Hence the repeat block applies tocolor as well as structure.
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HerringboneConsider the threading and pegplan for the herringbone fabricshown below. The threading isbuilt using the horizontal mirror
tool ( ), while the peg plan
is very easily done with the
tool, as illustrated immediatelybelow.
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File Menu
New Design
Open…
Save
Save As…
Close
New Palette
Open Palette…
Save Palette
Save Palette As…
Export Fabric…
Export Grids…
Grid Options…
Export 3-D…
Print Options…
Print Preview…
Page Setup…
Print Palette…
Continue
Quit
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New DesignSets up a new, blank design of300 warp and weft threads, 8harnesses, and 10 treadles.Please see “Loom Menu” in theIndex for more information onchanging the size of the design.
You can specify some otherdefault size and type of design tobe created by New Design usingthe Preferences command in theEdit menu. Please see “Prefer-ences” in the Index for details.
New Design
Open…
Save
Save As…
Close
New Palette
Open Palette…
Save Palette
Save Palette As…
Export Fabric…
Export Grids…
Grid Options…
Export 3-D…
Print Options…
Print Preview…
Page Setup…
Print Palette…
Continue
Quit
File
OpenReads a saved design from disk,allowing you to pick up workwhere you left off after you did aSave (see below).
You may repeat New and Openuntil you have a total of threedesigns active. Then both Newand Open will gray out, indicat-ing that you have to Close adesign before using New orOpen.
File TypeIf you click on “Normal” and holdthe mouse button down, a list ofreadable file types pops up:
Normal shows files created byWeaveMaker. When Normal isselected, WeaveMaker only listsdesign names that are inWeaveMaker format.
All Files shows you the names ofall files on disk, regardless ofhow created. Not all of these willnecessarily be valid design files.
List designs of type
Hard Drive
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Save AsPuts a copy of your design oneither your hard drive or floppydisk, and allows you to nameyour new design. This lets youquit out of WeaveMaker, goaway, and come back later andpick up where you left off (useOpen to recover your design).
Similarly to Open, both Save(see below) and Save As allowyou to specify the file format.WeaveMaker defaults to .wmdfiles, the standard WeaveMakerformat.
It is beyond the scope of thisdocument to describe the idio-syncrasies of design formatsother than that used byWeaveMaker. If you understandother formats that may be listedand need to create designs inthose formats, please do so.However, you are cautionedagainst routinely savingWeaveMaker designs in anyformat other than “.wmd.”There are subtle differencesamong formats, andWeaveMaker cannot alwayswarn you when you have se-lected a format which is notsufficiently robust to contain allthe required information aboutyour design.
SaveIf you are working on a previ-ously saved design, Save willsave over that copy, destroyingthe way it looked when youopened it. If you want to keepboth the original and the newform, use Save As and give thefile a new name.
CloseRemoves a design’s windowsfrom the screen. To resumework on the design use Open. Ifyou have made changes to thedesign and have not Saved thosechanges, Close will ask youwhether it should save them.Reply yes or no.
New PaletteOpen PaletteSave PaletteSave Palette AsPalettes, which are WeaveMakercolor databases, are the subjectof a separate series of sectionsdevoted to color. Please see“Color” in the Index for details.
Export (Fabric, 3-D, Grids)Use these commands when youwant to take information fromWeaveMaker into another pro-gram, by creating a TIFF filewhich can then be opened,imported, or placed in someother program.
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Export Fabric creates an a filerepresenting just a fabric, with-out the accompanying threading,tie-up, treadling, or peg plangrids.
Export 3-D creates a file whichcaptures the image created bythe “Show Fabric in 3-D” com-mand (please see “3-D” in theIndex for details).
Export Grids creates a file whichresembles one of the design grids(threading, tie-up, treadling, orpeg plan).
Grid Options…Determines precisely how a gridis exported.
Print OptionsLets you select the way you wantyour design to be printed. Print-ing is covered in full in a sepa-rate section (please see “Print-ing” in the Index for details).
Print PreviewShows you (on the screen) whatyou would get if you did a Printcommand. Use this to verifythat you got your Print Optionscorrect.
Page SetupLets you select the paper orien-tation (normal or sideways),paper size, and print scalingprior to printing. Use PrintPreview to verify your selections.
PrintSends a copy of your design tothe printer. Printing is coveredin full in a separate section(please see “Printing” in theIndex for details).
ContinueShuts down WeaveMaker, auto-matically saving your work in atemporary (unnamed) file. Thenext time you start WeaveMaker,your designs are automaticallyreloaded, so you can start inworking again, just as thoughyou had not shut downWeaveMaker.
QuitShuts down WeaveMaker. Allopen designs are closed. If youhave unsaved changes, you willbe asked whether they should besaved (reply yes or no).
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Edit Menu
Undo
Redo
Cut
Copy
Paste
Clear
Clear Colorway
Clear Entire
Select Entire
Lock Warp
Lock Weft
Algebraic
Remarks
Preferences…
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recolored with the currentlyselected color).
While Undo works on pencil andcrayon clicks, it’s generallyeasier just to click again withthe tool rather than using Undo,because both tools have theproperty that a second click inone spot is an Undo of the firstclick.
Cut, Copy, Paste, Clear, SelectThese commands duplicate,move, or erase pieces of thethreading, peg plan, tie-up,treadling, or drawdown. Youcan copy and paste withinWeaveMaker or into other appli-cations such as a word proces-sor or drawing program. Andthese commands work across
UndoUndoes whatever you last didin WeaveMaker. If you click inthe threading, for example,Undo will reverse the effect ofthat click. Undo handles evenlarge-scale changes. If youchange the size of the loom,Undo will put it back the way itwas.
You can repeat Undo up to fivetimes; each time you click it, itundoes one more thing. Redohas the opposite effect of Undo.
Watch Out for• Undo cannot reverse theeffects of Close or Save. If youclose a design without savingit, and you reply “no” to thequery “Save changes toWeaveMaker design?”, thosechanges are lost for good. In asimilar vein, if you do a Saveusing the name of an existingfile, and you reply “replace” tothe query “Replace existingfile?”, the old version of the fileis destroyed for good.
• Undo only remembers thelast five things you did. Itcannot undo something youdid earlier.
• Undo applied to changes toindividual thread color changesundoes all color changes madesince you touched the colorpatch in the Colorway window(it undoes everything you
Undo
Redo
Cut
Copy
Paste
Clear
Clear Colorway
Clear Entire
Select Entire
Lock Warp
Lock Weft
Algebraic
Remarks
Preferences…
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If you paste between thethreading and the treadling orpeg plan, the image will berotated by 90° (a “tromp aswrit” effect).
Clear erases the selected areato white.
Cut combines copy and clear.First it copies the selection tothe clipboard, then it erasesthe selection from the grid.
Clear Colorway puts thecolorway back to the way itwould be on a new design.Only two colors are defined,black in the warp and white inthe weft.
Select Entire creates a selec-tion exactly enclosing one partof the design (the entirethreading, for example). Thisis useful for copying an entirethreading, treadling, or pegplan.
Clicking on Select Entire “popsup” a small submenu asshown, to permit you to selectjust the grid you desire.
grid boundaries, so you can (forexample) copy a threading andpaste it into a tie-up or treadling(and vice-versa).
Cut, Copy, and Clear operate onan area you have designatedwith the Marquee tool or withSelect Entire. Therefore, beforeusing them you must set up aselection (please see “Marquee”in the Index for details). Cut,Copy, and Clear are grayed out ifyou have not established aselection.
Copy copies your selection to theclipboard. From there it can bepasted into any grid withinWeaveMaker, or into other appli-cations such as word processorsor painting programs.
Paste copies the clipboard intothe threading, tie-up, treadling,or peg plan at one or moreplaces you select. To paste, firstselect Paste from the menu. The
cursor shape changes to indicating that you can nowpaste (this is the Paste cursor).Move the paste cursor to theupper left hand corner (thread-ing) or upper right hand corner(peg plan, tie-up, or treadling) ofwhere you want to paste, andclick. The contents of the clip-board will overlay the selectedportion of the design. You maypaste over and over again, asmany times as you wish.
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Clear Entire combines SelectEntire and Clear. It permitsyou to conveniently clear thethreading, tie-up, treadling,peg plan, or color bars.
Lock Warp, Lock WeftSome designs naturally divideinto two parts, for example, apattern and a ground (or tie-down). In WeaveMaker, youcan divide your design into twoparts and then temporarilylock either part while you workon the other.
For example, you might inputthe ground for a design, andthen lock it while you work onthe pattern. This is particu-larly useful when working withthe Cornucopia tool (please see“Cornucopia Tool” in the Indexfor details). You can createand lock a ground, and thenuse the Cornucopia tool to tryout various patterns.
In the threading, you canseparately lock harnesses andindividual ends. For example,you might want to lock the firsttwo harnesses. Or, you canlock every third end. Thesewill typically be done in combi-nation.
In the peg plan, you can sepa-rately lock pegs and picks.
When you click on Lock Warp,a pop-up menu appears:
If you choose Lock Ends, thecursor changes to a small pad-lock. Move the cursor over thethreading and click on any endsyou wish to lock. Locked endswill turn gray. Continue clickingwith the padlock cursor untilyou have locked all the ends youwish to lock. Clicking on alocked end unlocks it. Then,click on any of the tools in theTool window to deselect thepadlock cursor and end lockingmode.
If you choose Lock Harnesses,you will then be asked to specifythe range of harnesses you wishto lock. Those harnesses willturn gray as well.
Once you have established yourlocks, notice that you can nolonger edit the grayed-out endsand harnesses. If you click withthe Cornucopia tool in thethreading, only the unlockedthreads/harnesses change.
You can temporarily remove thelocking by choosing “Unlock.”You can restore the locking byclicking “Relock.” Use “ReverseLocks” to lock every unlocked
EndsHarnesses…
UnlockRelockReverse LocksClear Locks
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thread and to lock every un-locked harnesses.
Locking in the peg plan or trea-dling follows these same rules.
Algebraic (Input)Algebraic input is used to createthreadings, tie-ups, peg plans,treadlings, dentings, beaming,and color arrangements bytyping the harness/treadle/end/pick/color numbers and lettersrather than clicking in a grid. Ifyou have a threading, for ex-ample, which consists of a list ofharness numbers, you can usealgebraic input to convert thosenumbers into a WeaveMakerthreading.
When you click on Algebraic, youpick one particular part of yourdesign to input algebraically.
The rules for Algebraic inputdepend on the design elementyou are entering. Please consultthe following sections for details.
Threading, TreadlingAs an example, the expression“1-8 5-8 1 3 5 7 2 4 6” yieldsthis threading:
Here are the exact rules:
a) The values you type specifythe threading from left to right,starting with end number 1(treadling is from bottom to top,starting with pick 1).
b) Harnesses (or treadles) areidentified as a number, so (forexample) 1 means “harness 1”.Put a blank between successiveharness numbers.
c) Straight draws can be speci-fied by giving the starting andending harness numbers. Forexample, 1-8 means “a straightdraw from harness 1 to harness8.”
d) Repeats are indicated usingparentheses and a repeat num-ber. So, for example, the expres-sion “3(1-8 1-4)” means “make a1-8 straight draw followed by a1-4 straight draw, and repeatthat sequence 3 times.” Repeatscan be nested.
e) If the expression specifiesfewer ends than are in the de-sign, the ends you have specifiedare repeated across the design.For example, if you have speci-fied 200 ends in your design andyou enter “2(1-8) 1 2 1 2” asyour threading expression,which only defines the threadingfor the first 20 ends, the resultwill be your 20-end patternrepeated 10 times, as thoughyou had actually entered“10( 2(1-8) 1 2 1 2).”
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Color Arrangement (Warp/Weft)a) The values you type specifythe color arrangement from leftto right, starting with end num-ber 1 (weft is from bottom to top,starting with pick 1).
b) Colors are indicated by lettercodes. You may use eitheruppercase or lowercase letters.Warp letters will automaticallybe converted to uppercase, andweft to lowercase. The left-mostwarp color chip in the Colorwaywindow is chip “A,” the next is“B,” and so on, without regard tothe major/minor/accent divi-sions. The weft colors aretreated similarly, with the left-most chip being “a.” You mayput a blank between color codes,but this is not required.
c) Repeats are indicated usingparentheses and a repeat num-ber. So, for example, the expres-sion “4(ABC)” means “color 12threads by repeating the colorarrangement ABC four times.”Repeats can be nested. Repeat-ing a single letter can be done byusing the repeat count withoutparentheses (“AAA” can be writ-ten “3A”).
d) If the expression specifiesfewer ends (or picks) than are inthe design, the pattern you havespecified is repeated across thedesign.
Dentinga) The values you type specifythe denting arrangement fromleft to right, starting with endnumber 1.
b) Denting is indicated by anumber, which indicates thenumber of ends to place in thedent. For example, “2 2 2 2”means “put the first two ends inthe first dent, then the next twoends (threads 3 and 4) go in thenext dent, et cetera.” Use 0 toskip a dent (in effect, you aresaying “put no ends in thisdent.” For example, “3 0 1 1”means “put the first three endsin the first dent, then leave thenext dent empty, and then putone end in each of the next twodents.”
c) Repeats are indicated usingparentheses and a repeat num-ber. So, for example, the expres-sion “4(2 1)” means “put twoends in the first dent, and thenput one end in the next dent,and repeat this pattern fourtimes.” Repeats can be nested.
d) If the expression specifiesfewer ends than are in the de-sign, the pattern you have speci-fied is repeated across the de-sign.
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Beaminga) The values you type specifythe beaming arrangement fromleft to right, starting with endnumber 1.
b) Beaming is indicated by usingthe letters “b” and “t” to mean“bottom beam” and “top beam.”You may put a blank betweencodes, but this is not required.
c) Repeats are indicated usingparentheses and a repeat num-ber. So, for example, the expres-sion “4(bbbt)” means “put thefirst 3 ends on the bottom beam,and then put one end on the topbeam, and repeat this patternfour times.” Repeats can benested. Repeating a single lettercan be done by using the repeatcount without parentheses. Theexpression used just above couldalso have been written as 4(3bt).
d) If the expression specifiesfewer ends than are in the de-sign, the pattern you have speci-fied is repeated across the de-sign.
Remarks WindowWith each design you create,you may type comments whichare kept along with the design(so when you save your designto disk, your comments aresaved along with it). The Re-marks window is illustrated atthe bottom of this page.
PreferencesUse this menu item to definethe characteristics of yourloom, so when you launchWeaveMaker or use New, youwill get a blank design with theright number of harnesses,treadles, and the proper choiceof tie-up or peg plan.
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Loom Menu
12 Harnesses20 Treadles600 Warp Threads500 Weft Threads50 Ends per inch80 Picks per inch
Turn Fabric 90°Turn Weave 90°Exch Warp-Weft Colors
Peg PlanTreadlingTromp as WritColor TrompDouble Beam
Back SideOmit StructureOmit Color E
Warp FloatsWeft Floats
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Setting orQuerying the Loom SizeThe first six items in the Loommenu control the size of theloom (number of harnesses,number of treadles, number ofwarp ends, number of weft ends,and threads per inch). They alsoshow the current settings ofthose values.
The example given here dealsonly with querying and settingthe number of treadles, but thesame approach is used with anyof these items.
Clicking on “Treadles” causes asubsidiary menu of sizes to popup (illustration below). The
checkmark by the“10” shows thedesign is sized for that numberof treadles. To change the size,release the mouse over thedesired size.
If the size isn’t one of the stan-dard ones then it appears inparentheses after “Other….” Aloom with 13 treadles wouldhave a checkmark on the lastentry, which would read “Other(13)….”
To set a nonstandard size select“Other.” You will be asked totype in the desired number oftreadles.
12 Harnesses20 Treadles600 Warp Threads500 Weft Threads50 Ends per inch80 Picks per inch
Peg PlanTreadlingTromp as WritJacquardColor TrompDouble Beam
Turn Fabric 90°Turn Weave 90°Exch Warp-Weft Colors
Back SideOmit StructureOmit Color
Warp FloatsWeft Floats
E
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Threads/Picks per InchSelecting either “Ends per Inch”or “Picks per Inch” brings up adialog box (see illustration below)where these values may be en-tered.
Values may be entered to thenearest 1/10 of an inch.
The Design window rulers (pleasesee “Design Window” in the Indexfor details) are scaled based onthe values set for ends per inchand picks per inch. The on-screen rulers are quite accurate.
Stop MotionIf you wish to have portions ofthe weft beaten more tightly thannormal (so-called “stop motion”)you can indicate a second picksper inch value (see illustrationabove) which indicates the tighterspacing.
To use this alternate value, makesure the stop motion grid isvisible in the weft (please see“Stop Motion” in the Index fordetails). White squares in the
stop motion grid indicate normalweft spacing, while blacksquares indicate stop-motionand use of the secondary picksper inch value.
Tie-up-Peg Plan ConversionWeaveMaker will convert a tie-up/treadling design to a pegplan form, and vice-versa. If youare presently using the tie-up/treadling form, you will see acheckmark by “Treadling” in theloom menu, or by “Peg Plan” ifyou are in peg plan mode. Toconvert from one to the other,select the new form you want inthe Loom menu.
It is always possible to convert atie-up/treadling to a peg plan.However, not all peg plans canbe converted to tie-up/treadlingswith a reasonable number oftreadles. If the peg plan can beconverted to a tie-up/treadlingthat is within the number oftreadles you have assigned tothe loom, the conversion pro-ceeds without further ado. Ifnot, WeaveMaker deals with theproblem by calculating thenumber of treadles that arerequired, and then asking you toselect one of two options. Anexample of the type of message itdisplays appears at the bottomon the next page.
If you elect to proceed with theexisting number of treadles, clickthe radio button (small circle)
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conversion. In this example,you would have to edit 250treadlings in the converteddesign. You can easily find theomitted treadlings, as they areentirely blank (that is, youwould expect in this case tofind 250 weft threads which donot have any treadling).
If you want to increase thenumber of treadles in thedesign (thereby reducing thenumber of edits necessary),click the second radio buttonand then click Proceed.WeaveMaker will not increasethe number of treadles beyond32 in any circumstances, soyou may still get a partialconversion if the number oftreadles needed exceeds 32.
Of course, you can always clickCancel and abandon the con-version effort altogether. Inthis case, no change is made toyour design.
Tromp as WritThere are several forms fortromp as writ. All of thesederive the treadling from thethreading, which is the generalmeaning for tromp as writ.
While tromp as writ is in effect,any changes made to thethreading are reflected immedi-ately in the treadling. Thetreadling is displayed but isgrayed out, reminding you thatyou cannot edit the treadling.
Upon entering this mode, anyexisting treadling is discarded,although you will be first askedfor your permission through amessage (see illustration below).
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OvershotSimilar to “tabby,” but thethreading is modified slightlybefore being placed into thetreadling. For example, “points”in the threading are flattened, asshown in the following example.
becomes
NormalMakes the treadling and thread-ing equivalent for as long as it’schecked.
TabbyCreates the treadling by inter-leaving the threading with atabby on two treadles. Thetreadling is thus twice as long asthe threading and two moretreadles than there are har-nesses. For example, thestraight draw threading
becomes
in the treadling.
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JacquardHelps you treat a WeaveMakerdobby design as a jacquardweave.
WeaveMaker is designed as adobby weaving program, not as ajacquard design program. Butsome of the cornucopia patterns,while beautiful, have such longfloats that they will not success-fully dobby weave. One solutionto this problem is to weave themas jacquards. WeaveMaker’sjacquard mode is provided tohelp you do this.
This topic is treated at length inthe “Jacquard” section (pleasesee “Jacquard” in the Index fordetails).
Color TrompMakes the weft colors and colorarrangement a precise copy ofthe warp colors and color ar-rangement as long as this item ischecked. Any changes made inthe warp coloring are instantlyreflected in the weft.
This feature makes it easy tocreate square plaids.
Turn Fabric 90°Interchanges the threading andtreadling and the warp and weftcolor arrangements, which isequivalent to turning the fabric90° on a loom.
This option is only available for atie-up design. In general, a pegplan cannot be used as a thread-ing, which is the reason for thisrestriction.
Turn Weave 90°This is similar to Turn Fabric90°, except that the warp andweft colors and color arrange-ments are not altered.
Exch Warp-Weft ColorsInterchanges the warp and weftcolors and color arrangements.
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Back SideAs its name suggests, when thismenu item is checked the draw-down shows the reverse side ofthe fabric. This does not actu-ally reverse the fabric, it merelytemporarily reverses the display.
Omit StructureChecking this menu item casesthe drawdown to be displayed asthough you were working strictlyin plain weave. Whateverthreading, tie-up, treadling, orpeg plan in place is temporarilyignored.
Use this display setting if youwant to see just the effects ofyour warp and weft color ar-rangements, without beingdistracted by how they interactwith the structure of the fabric.
Omit ColorChecking this menu itemcauses the drawdown to bedisplayed in black and white.This gives the clearest possibleview of the structure of thefabric.
Use this display setting whenyou are doing complicatedcolor-and-weave design andyou temporarily want to seejust the structure you havecreated.
Warp Floats/Weft FloatsWeaveMaker provides severalways to analyze floats (pleasesee “Floats” in the Index fordetails). This section dis-cusses how to see all the floatsin your fabric at once.
The Warp Floats and WeftFloats commands show you allthe floats in the entire fabric,all at one time. By clicking ona particular float that you seein this view, you can immedi-ately shift to the more detailedfloat view and fix the problem.Indeed, both float modes canquite naturally be active at thesame time.
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Warp/Weft Floats finds all floatsin the fabric and then colorsthem according to the followingsystem (which you are free tomodify to suit your needs):
Float Length Colorup to 3 white
3-4 green5-7 blue
8 and over red
The illustration on the facingpage shows how such a displayis formed (the horizontal white
Design Window with “Weft Floats”Checked in the Loom Menu
This 11-float is colored blue.
This 20-float is colored red.
This 6-float is colored green.
This 5-float is ignored—that is, colored white.
Detailed float diagram.
The colors shown illustrate the weft floats display with the float controls (in the Toolswindow) set to give green for floats of 6 to 10, blue for 11 to 15, and red for 16 and over.
boxes would be solid colors onthe computer screen).
Because the float displays usecolor to show float locations, youmay wish to use “Omit Color”(see at left) so your fabric colorsdo not get mixed into the floatdisplay.
Float ControlsYou can control both the floatlengths which are displayed andthe colors used to display them,using the Tools menu (please see“Tools” in the Index for details).
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Some looms have electronic devicesbuilt in which permit them to beconnected directly to a computer,which then controls the lifting of theharnesses. The Dobby Menu has thecommands you need to directly drivevarious dobby looms.
Dobby Menu(Dobby Loom Controls)
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With WeaveMaker, you can useyour computer to drive yourloom at the same time someoneis using your computer for anentirely different purpose.Details on the loom controlsand simultaneous use of yourcomputer are on the followingpages.
There are three entries in theDobby menu which give youtools for controlling the loom:
These are considered here inreverse order.
Use Dobby Port to indicatewhich port on your computer isconnected to the loom: modemor printer.
Use Dobby Type to indicatehow your loom operates. Theloom hardware expects to re-ceive information fromWeaveMaker in a certain form.
This menu item lets you instructWeaveMaker in the proper proto-col for signalling information toyour loom. Dobby Type is morefully covered in the followingsection. WeaveMaker drivesAVL, Macomber, and SLIPSdobby looms.
Once you have Dobby Port andDobby Type set properly, useDobby Weave when you areready to start weaving. You canweave from either a peg plan or atie-up design.
Courteous v. Fast (Dobby Type)With WeaveMaker, you can useyour computer to drive yourloom at the same time as some-one else is using other softwareon the computer. So, for ex-ample, you can sit at your loom
When Dobby Weave is set, thisheavy bar appears in the PegPlan to mark the active pick.
To changethe activepick, clickwith themouse nextto thedesiredpick. Thebar willmove toconfirmyour selec-tion.
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and weave while someone elsedoes word processing or playsgames on the computer. Or, ifyou are the one doing wordprocessing, you can weave usingWeaveMaker while you wait for along document to print. If youwant to do this type of simulta-neous use, select “Courteous”mode in the Dobby Type menu.This tells WeaveMaker to sharecomputer time with other appli-cations you have launched.
A difficulty with courteous modeis that sometimes the computerwill be busy doing somethingelse when you are ready totreadle the loom. In this case,you have to wait. If you haveexclusive use of the computer,there is no need to be courteousto others, and you should select“Fast” mode in the Dobby Typemenu. This directs WeaveMakerto take over the computer com-pletely, fully devoting it to com-municating with the loom, whicheliminates the delays which canarise in courteous mode.
If you select Fast mode,WeaveMaker will not update thecomputer’s display screen as youweave (it puts all its energy intokeeping up with the loom). Incourteous mode, however,WeaveMaker keeps the screenupdated. Depending on whatyou are weaving, you might wantto select courteous mode just forthe fact that you can visuallytrack what you are weaving.
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Current Pick
Direction of patternadvancement
Hilighted if “gear” is pressed while“lift” is active, indicating that the nextlift will repeat the current pick.
Hilighted when gearbutton is pressed.
Hilighted if lift in progressActivePort
SLIPS LoomsSLIPS is a set of rules whichdescribe how a computer anda dobby loom communicate.Several manufacturers useSLIPS. The discussion whichfollows centers on the BabyWolf loom from SchachtSpindle, but any SLIPS-com-pliant loom will follow thesame general outline of opera-tion.
For Schacht Spindle Looms,such as the Baby Wolf, set theDobby Type (Dobby menu) toSLIPS.
There are two basic strategiesfor using WeaveMaker with aSchacht loom. If you wish toweave rapidly (more than 15picks per minute, say), makesure Fast is checked and Bellis not.
Here is how the Tools window looks while you are weaving on a SLIPS loom:
If you do not weave extremelyrapidly, select Courteous mode.This lets other applications runon your Macintosh even whileyou are weaving, and it providesbetter screen updating, so youcan easily and accurately trackyour weaving by consulting thescreen of the computer.
Suggestion: on SLIPS (e. g.,Schacht Spindle) looms, turnon your loom electronics beforeputting WeaveMaker intodobby weave mode (if you do itin the reverse order, the start-up signals from the loom areseen by WeaveMaker, andthese look just like a normal“gear” button signal, whichfools WeaveMaker into advanc-ing to the second pick. Thisdoes not cause any damage,but it is inconvenient to thenhave to put WeaveMaker backinto pick 1).
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the communication between theloom and the computer, or thedobby mechanism may fail toengage properly.
To recover from an incorrect lift:
a) Press and release the Gearbutton before releasing thetreadle. The computer will givetwo short beeps, tellingyou that it is going torepeat the lift. Nowrelease thetreadle, wait forthe computerto beep (startof a normalcycle), andthen treadle the loom normally.
b) If you do not or cannot usemethod (a), you can use the upor down arrow on the keyboardto move forward or backwardone thread (depending on thedirection you are weaving). Thecomputer will then beep tosignal the start of a normalcycle.
Reversing DirectionIf you are using a SchachtCombby unit, you can reversedirection at the start or end ofany normal lift (that is, at anytime when the harnesses are inrest position). Simply press andrelease the Gear button. Youwill hear two long, slow beeps,at which point you can start anormal treadling cycle.
Dobby Bell (Audible Go-ahead)WeaveMaker has both a visualand an audible way to help youwhile you are actually weaving(that is, when youare Dobby Weaving).
The audible signals are providedin case you cannot see yourcomputer screen from your loom(there is no need to take youreyes off your workto look at the computer).
Normal TreadlingThe normal cycle of treadlingconsists of hearing the computerbeep, then treadling the loom (seeillustration below).
When you release the treadle, theharnesses return to rest,WeaveMaker calculates the nextlift. You then hear the beepwhich signals you that you canonce again treadle the loom.
Abnormal Treadling (Incorrect lift)There are several reasons whynormal treadling can fail. Thecomputer may not send the liftinformation to the loom fastenough, static may interfere with
When the computer beeps,
you treadle the loom.
To repeat a lift, press Gear while holding the treadle down.
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AVL LoomsAVL Compu-Dobby looms canbe driven directly fromWeaveMaker, or you can trans-fer information about your pegplan from WeaveMaker into anAVL cartridge, whereupon youcan dobby weave withouthaving your computer con-nected to the dobby unit. Theimmediately following sectiondeals with directly driving theloom. If you are interested inAVL cartridge operations,please proceed to the sectionentitled “Open AVL Cartridge”on the next page.
AVL Dobby WeavingMake sure you set the DobbyPort menu item to correctlyreflect how you have cabledyour computer to the loom.AVL users can ignore theearlier discussions of “Fast”and “Courteous”—either modeworks well with AVL looms.
AVL Loom SwitchesAVL Compu-Dobby looms havesix push-buttons located on acontrol box mounted on theright-hand side of the castle (nearthe black dobby box).WeaveMaker responds to thesebuttons during weaving (if youare weaving from a cartridge, thebuttons have somewhat differentmeanings).
SKIP SwitchSkip the next pick.
REVERSE SwitchReverse the direction of weaving.
PATTERN SwitchGo to pick #1 and set the weavingdirection to forward.
SAVE SwitchRESUME SwitchTABBY SwitchThese are all ignored.
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Open AVL CartridgeDobby looms from AVL have acartridge (a box the size of apack of cigarettes) which storesup to five peg plan patterns.Storing patterns in the cartridgelets you weave without havingyour computer connected to theloom. WeaveMaker fully sup-ports AVL cartridge operations.
When you ask to open the car-tridge, you will see a window likethe one shown below. The fivecartridge storage areas arerepresented by the five rect-angles on the left of the screen.Here, only the first storage areais in use; the others are allempty.
You move information betweenWeaveMaker and the cartridgeusing copy and paste. Clickingon any of the five storage areasblackens it. Use Copy to pick upinformation from the cartridge
and then use paste to put it intoa WeaveMaker design. To putinformation into a cartridge,reverse the steps.
Close AVL CartridgeTells WeaveMaker that you aredone reading or writing informa-tion to the cartridge. Remem-ber: no changes actually occurin the cartridge until you click“Save” in the cartridge window.
AVL Soft ResetSends a “software reset” com-mand to the loom. This ishelpful in switching the loom’sdobby device between regularweaving mode and cartridgeread/write mode.
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Views Menu
ThreadingDentingWarp RulerBeamingWarp ColorbarWarp Color GridWarp Float Diagram
Peg PlanTreadlingWeft RulerStop MotionWeft ColorbarWeft Color GridWeft Float diagram
Design WindowFabric WindowTools WindowColorways WindowSchemes WindowRemarks WindowCursor Position
names of active designs
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The View menu controls theamount of information displayedon the screen. You can show orhide entire windows, or in thecase of the design window,various parts within the window.
Design Window ElementsThe first two sections of theViews menu control the amountof information displayed in theDesign window.
The illustration on the facingpage shows these parts.
Showing or Hiding WindowsThe third block of entries in theView menu control the display ofentire windows. Releasing themouse over one of these itemsmakes the corresponding win-dow come to the front and be-come visible. Windows may beclosed by clicking the mouse intheir close box (the small box atthe top-left corner of the win-dow).
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DentingSelecting “Denting” in the Viewsmenu reveals the denting gridimmediately below the threading(see illustration at bottom ofpage).
The denting is shown as tworows of X’s, aligned with thethreading (one X per end). Aseries of X’s in the same rowindicate that the correspondingends are to be placed in thesame dent. When an end’s Xswitches to the opposite row,this indicates that the endshould be placed into the nextdent. For example,
X X X X X X X X XX X X X X X X X X
indicates that each thread goesin a separate dent, while
XX XX XX XXXX XX XX XX
indicates that there are twothreads per dent.
0 . 25
. 5
Weft Float Diagram
Stop Motion
Weft Ruler
Weft Colorbar
Peg Plan or Treadling
Warp Float Diagram
Warp Ruler
Beaming
Warp Colorbar
Threading
Denting
When the cursor is over thedenting grid, it turns into asquare. Clicking on any Xmoves that X to the oppositerow. Typing 1, 2, 3, or 4 on thenumeric keypad while thesquare cursor is over an Xcauses a red line to appear tothe left of that position, indicat-ing a skipped dent. The numberof dents skipped corresponds tothe key value typed (1 to skip 1dent, 2 to skip 2 dents, and soforth). Type 0 (zero) to eliminatea skipped dent.
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Stop MotionIf you are designing for a loomthat provides stop motioncontrol, you can indicate thatyou want to trigger the loom’sstop motion on a particularpick by blackening the squarenext to that pick in the stopmotion grid (see illustration onprevious page).
The effect of setting stop mo-tion depends upon the designof the loom. In general, what“stops” in “stop motion” is theadvance of the fabric. Normalweaving and beating goes on asusual, but since the fabric isn’tadvancing, the fill (weftthreads) gets packed moretightly at this point in thefabric, which creates a distinc-tive texture at that point. Or, ifcolors are chosen appropri-ately, the extra threads cancreate a visual effect on thesurface of the fabric.
The stop motion grid is printedout alongside the peg plan.
Show Cursor PositionThis controls the display of thecursor position when the cursoris positioned over one of thegrids in the Design window. Thedisplay occurs in the Toolswindow.
Active Window NamesThe names of all active (open)designs and palettes appear atthe bottom of the Windowsmenu. The one with thecheckmark is the frontmostdesign, the one you are presum-ably editing. Clicking on anunchecked design name causesits windows to come to the front.
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Library Menu
An extensive collection of fixed weavestructures is available through theLibrary menu. Note that, unlikeWeaveMaker’s cornucopia, the Li-brary weaves are static—they alwaysgive the same weave, each time youuse them.
ThreadingTie-upTreadlingPeg Plan
Plain WeaveBasket VariationsStraight Twill VariationsPoint Twill VariationsDiamond variations
AlternateCheck VariationsLog Cabin Variations
NetworkAbout Network…
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The library menu provides acollection of standard, fixedweave structures: threadings,tie-ups, treadlings, and pegplans.
The first four items in the Li-brary Menu help you quickly setup certain standard loom warpor weft configurations, such astabby (plain weave), straightdraws, and point draws. Astheir names suggest, thesechange only the threading, tie-up, treadling, or peg plan.
The remainder of the Librarymenu are whole-fabric designs.Each of these fills in all of thethreading, tie-up, treadling, andpeg plan, which in turn gives anentirely new weave structure.
Several color arrangements arealso provided in the Librarymenu.
Those items which end in theword “Variations” generate adifferent weave or color arrange-ment each time they areclicked. There will be a familyresemblance among the pat-terns they create, but you canclick again and again to getcountless variations.
If you have a favorite weavestructure you’d like to see addedto the Library menu, you caneither send Designer Softwarethe design elements (threadingand peg plan, for example) or asample of the fabric, the latterapproach being the more expen-sive.
ThreadingTie-upTreadlingPeg Plan
Plain WeaveBasket VariationsStraight Twill VariationsPoint Twill VariationsDiamond variations
AlternateCheck VariationsLog Cabin Variations
NetworkAbout Network…
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Special Menu
Heddles/harnessFloats HistogramsRepeats
Split Harness…
Show Fabric in 3-DFabric Swatch
Yarn Conversions…
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Heddles/HarnessThis displays a chart showingthe number of heddles assignedto each harness. For example,here is the chart for a particulardesign done on 8 harnesses:
From the chart, you can seethat harness #1 has very fewheddles in use (2, actually), andharness #2 has fewer heddlesthan most of the rest.
This chart may be useful inhelping you decide whether yourdesign could be woven on fewerharnesses. In the exampleshown here, harness #1 prob-ably could be eliminated with-out seriously altering the de-sign.
Another use for the chart is tohelp you estimate the liftingweight of each harness.
RepeatsThis command brings up awindow in which repeats for theweave structure and color ar-rangement are displayed. Asyou work on your design, youcan refer to this window at anytime to see what repeats youhave created.
This function is most usefulwhen you have been using avariety of tools to create a design(the marquee, pencil, copy/paste, insert/delete), and nowyou want to begin analyzingwhat it is that you have created.
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Float HistogramThis displays a chart showingthe float lengths in the design(see illustration below). All fourfloat types are shown simulta-neously (the types are: warpfloats on the front of the fabric,weft floats on the front, warpfloats on the back of the fabric,and weft floats on the back).
This bar indicates that thereare about 600 floats of
length 3 in the warp on thefront of the fabric.
This Weft/Back chartsuggests that most (about4,000) of the weft floatson the back of the fabric
are of length 2; about halfthat many are of length1, and a few (600 or so)
are of length 3. None arelonger than 3.
The length of each black bar isproportional to the number offloats of that length and type.The chart does not tell youwhere these floats appear in thefabric, simply that they appearsomewhere. For a way to di-rectly look at where the floatsoccur, please see “Floats, wholefabric” in the Index.
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Split HarnessThis command helps you redis-tribute the heddles withoutaltering your fabric design. Theheddles which are presently onone harness are rearranged sothey are on two harnesses.
Splitting a harness adds oneharness to the design. The newharness receives half the heddlesfrom the harness you split; therest stay on the original harness.
For example, if you split harness#2 in an 8 harness design, youwill then have 9 harnesses.Harness #2 will have half asmany harnesses as it did before.The heddles removed from har-ness #2 are moved to harness#9.
If you do not want the newharness to remain as harness#9, use the Hand tool to do aharness shuffle (please see“Hand Tool” in the Index fordetails).
Show Fabric in 3-DThis brings up a window (seeillustration below) displaying ahighly magnified view of thefabric structure and color ar-rangement, using a very smoothyarn (monofilament, for ex-ample). Various levels of magni-fication are provided.
Only the bottom-left corner ofthe design is shown.
The intent of the “3-D” view iseducational: it is a great way toshow people the details of afabric structure, and it can alsohelp you understand the fabricbetter.
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Draft
The format of this window is controlled by the“Fabric Swatch” menu item in the Special menu.
Fabric SwatchThis controls how the back-ground Fabric window displays acolored example (swatch) of yourdesign (see illustration at bottomof page).
When you click on this menuentry, it reveals several options:
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One Pixel Per ThreadThis view shows the color andweave as though the fabric werewoven at the same ends andpicks per inch as the dots on thescreen (roughly, 72 ends/inchand picks/inch). The primaryvalue of this view is that it iscreated nearly instantaneouslyon nearly any model of com-puter. Thus, it is most usefulwhen you are working rapidlyand need to get a rough check ofyour design.
Since it is easy for the computerto create this view, using it doesnot slow the computer down,and thus your design work is notdisrupted by the computerstealing time away to work oncreating a rendered image of thefabric.
Weave SimulationThe term “weave simulation”means creating a picture of whata fabric would look like if it werewoven, without actually weavingit, taking into account the weavestructure, thread colors, threadspacing, and yarn characteris-tics.
The resulting picture can bedisplayed on the screen orprinted out.
WeaveMaker will do a weavesimulation using several differ-ent types of uniformly dyedyarns of equal size and spacing.
On-Screen SimulationTo create a weave simulation onthe computer screen, select”Weave Simulation.”
The Fabric window will immedi-ately gray out and several hori-zontal white bars will appear.These turn black as the weavesimulation progresses (see illus-tration at left).
After the weave simulation iscomplete, the Fabric window fillswith the weave simulation pic-ture (see facing page).
As the computer screen is fairlylow resolution (70 to 80 DPI), thefabric detail can be difficult tomake out. For this reason, youcan temporarily double the sizeof the display by selecting the“Fabric Simulation (2X)” option.It shows the same simulation
Fabric Window with WeaveSimulation in Progress
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The “gassed” yarn is smooth,with few loose fibers. The “fuzzy”yarn, as its name suggests,simulates a quite fuzzy (forexample, wool) yarn. The “hairy”yarn is even fuzzier.
When printing a weave simula-tion, some printers fail to pro-duce convincing black areas(areas of solid black may have awashed-out, gray appearance).If this happens, try using the“Solid Blacks” setting. Thisreduces the quality of the simu-lation, but gives more solidblacks.
picture blown up to twice itsregular size.
Several styles of yarn are avail-able in the simulation. Youcannot, however, design yourown yarns, nor scan them infrom real life.
The ends per inch and picks perinch settings are taken fromthose set in the Loom menu.
The Settings entry lets you selecta yarn type for the simulation.Selecting Settings brings up thiswindow:
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Of Mills andMoney…
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d) Use a color cornucopiascheme which doesn’t repeat.
If you want to try this, just as anexperiment, do the design in pegplan format with “Random Walk”as the peg plan scheme. Theresulting designs, while wild, areperfectly dobby weaveable.
Indeed, Designer Software has aclient who uses WeaveMaker todirectly drive the dobby unit ona delightful Macomber 32-har-ness pneumatic-assist dobbyloom. For each pick, the com-puter sends the harness lift datato the loom’s dobby unit, andcompressed air then actuallyraises the harnesses. Theweaver merely has to throw theshuttle and bring the beaterforward. Only the weaver’shands move; her feet are at rest.
So Where’s the Rub?There are two rubs, actually.First, little (if any) commercialfabric is hand-woven on 32harness looms! Many readersmay be in the situation of neverhaving seen such a loom, andfew production studios canboast of owning one. Second,and more seriously, regardlessof the number of harnessesinvolved, some designs areeasier to thread and weave thanothers. And mills tend to chargemore for things which takelonger to weave or place addeddemands on their weavers.
“Yes, We Can Weave YourDobby Design…We’ll Do It asa Jacquard”Only one of the following state-ments is true.
#1. Every design created withinWeaveMaker is weaveable on adobby loom, assuming the loomhas the same number of har-nesses as the design.
#2. Every design created withinWeaveMaker is equally easy toweave on a dobby loom.
The first statement is literallytrue. If you design a fabric inWeaveMaker, it will have athreading and peg plan, whichmeans it can be placed onto adobby loom (although you candesign something with suchextreme floats that it will fallapart). All the WeaveMakerschemes produce dobby-weavable fabric designs.
But the second statement isfalse, at least given the currentstate of automation of looms(more on that point later). Herein fact is how you can go aboutcreating a fabric which fails the“easy to weave” criterion:
a) Set WeaveMaker to 32 har-nesses.
b) Use a ZigZag threading, withno marquee (so there is norepeat).
c) Put 15 colors in the warp.
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Keeping it DobbyThere are some practical guide-lines to follow to ensure that adobby design is indeed dobby-weaveable on a commercialscale.
The goal here is necessarilylimited. It is beyond the scopeof this manual to fully explorethe intricacies of the relation-ship among designs, mills,prices, and commercial successas a designer. But in usingWeaveMaker, the power of theschemes is such that designswhich are beautiful on thescreen but are hard to weavecan easily crop up. So whatfollows are suggestions abouthow to approach the Weave-Maker schemes so as to avoidthe problem of paying jacquardprices for designs which areweaveable on dobby looms.
Designing for the LoomMost commercial dobby loomshave some form of advancedautomation applied to theshuttle and the dobby mecha-nism. In many cases there isdirect computer control. So thecomplexity of the peg plan isusually not a factor financially.If the shuttle can automaticallypick up its thread, then the weftcolor selection is also fairlyhighly automated, so complexweft color arrangements areokay.
Hand warping and threading arecommonplace, however. Acomplex color arrangement orthreading slows down the pro-cess of getting the loom ready toweave, and increases the likeli-hood of mistakes creeping in.Mills naturally wish to chargemore for designs which slowthem down or increase theirliability for mistakes.
From these observations come afew very general suggestionsabout harnessing WeaveMaker’spowerful structure and colorschemes:
Simple Warp, Complex WeftKeep the threading as simple aspossible. Put the complexityinto the peg plan.
One of the nice features ofWeaveMaker is that you canwork out a threading, lock it inplace, and then use the cornuco-pia to explore many peg plans.
Have the Color Meet the WeaveEnsure that the warp colorrepeat and the threading repeatfit together. One should be aneven multiple of the other.
Weft BlanketsWeave several different fabrics insuccession on one threading.WeaveMaker’s tools make it easyto explore a wide variety ofdesigns which can be builtagainst a common warp.
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a given threading. Look forthreadings which give a richvariety of designs.
In doing this, you can either givethe warp a very simple colorarrangement (like, all black, say),or discuss with your mill thepossibility of tying a new warponto the existing one (sometimesit is relatively easy to stop theloom, tie a new warp onto theexisting warp, and thus changethe warp color arrangementwithout actually re-threading theloom).
Warp BlanketsUseful effects can be achieved byinserting short stretches of com-plex threadings into a threadingwhich has overall simplicity. Totry this yourself, first set up astraight draw threading. Thendraw a marquee around a part ofthat threading and click insidethe marquee with the cornucopiatool. Notice how WeaveMakerconfines the effect of the cornu-copia to the boundaries of themarquee.
By carefully using this feature ofWeaveMaker, you can easilybuild warps which have substan-tial stretches of simple threading,interspersed with more challeng-ing arrangements.
Benign SimplificationWeaveMaker often will give youideas which you can then im-
prove upon. One way this hap-pens relates to complexity. Sup-pose, for example, you use acornucopia and like the effect itcreates, but the resulting designis too complex. Use the penciltool and carefully click away atthe complexity (try turning jaggythreadings, for example, intostraighter draws). Often you canmake a significant simplificationof the threading without sacrific-ing the nifty visual feature thatWeaveMaker originally showedyou.
Automated LoomsLooms are getting increasinglyautomated. As they do, thepower of WeaveMaker to createunconventional designs can bemore readily harnessed. Todaymost looms are more highlyautomated in the weft than in thewarp. But seek out mills whichhave robotic threaders. Somesuch threaders require a humanto thread the first repeat, with therobot then doing the rest of theloom. If that is the case for you,then design fabrics which makestrong use of warp repeats.
As looms in general become moreautomated, and as mills replaceolder equipment with such newerdesigns, you should be able touse more and more ofWeaveMaker’s full powers in thewarp. Meanwhile, always designwith one eye firmly fixed on therealities of weaving in commercialmills.
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CornucopiaStructureSchemes
Controlling the Cornucopia’sSpontaneous Generation
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IntroductionSchemes are the groups ofrules WeaveMaker uses toautomatically generatethreadings, peg plans, tie-ups,treadlings, and color arrange-ments (in what follows, theterm weave element will beused to mean any one ofthese).
By using schemes effectively,you can rapidly create complexfabric structures and colorarrangements which would betedious (to say the least) to doby hand. As a result, you cancreate fabric designs which areunlikely to be created by any-one who is not usingWeaveMaker. Moreover, youcan create designs more rap-idly with schemes than youcould manually. Conse-quently, understanding andusing schemes is important.
Because schemes are rules forgenerating a design element,there is no way to catalog allthe designs a scheme cancreate. Schemes are by theirnature open-ended. By way ofcontrast, if WeaveMaker had adictionary of 200 threadings,for example, they could all belisted in this manual. But ascheme is not like a dictionary;a scheme is not simply a list.A single WeaveMaker threadingscheme can generate thou-sands of distinct threadings.
And there are lots of threadingschemes. So just listing all thethreadings WeaveMaker cancreate would be challenging (thebooks would fill many shelves).Since WeaveMaker has schemesfor color arrangements as well asfabric structures, all told thereare millions and millions ofdesigns which the WeaveMakerschemes can create.
Still, it is possible to give ageneral sense of the types ofdesign elements each schemecreates. In the following pagesyou will find descriptions of eachscheme. Each scheme is char-acterized by a general descrip-tion (in words) followed by someexamples of the types of designelements and fabrics which thatscheme typically generates.
Schemes in WeaveMaker are add-on modules (sometimes called“plug-ins”). Some of the schemesillustrated here are optional, andmust be purchased separately fromthe base WeaveMaker Professional.Please contact the Sales departmentat Designer Software for details onoptional and custom schemes.
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with the Cornucopia tool, whichthen changes just that elementof the design. In the latter case,you exercise complete controlover where and when new pat-terns are generated.
Turning Schemes On & OffWhen you click with the cornu-copia tool, or when WeaveMakerautomatically generates a pat-tern, one of the eligible schemesis chosen at random and itsrules then do the actual patterngeneration. Through theschemes window, you controlwhich schemes are eligible foruse.
For example, when you click on“Threading” in the schemeswindow, the threading entry“opens up” and you will then seea list of threading schemes(please see illustration at left).Because schemes are constantlybeing added to WeaveMaker,your copy of the software willdoubtless have more schemenames than are illustrated here.
Any scheme name which has anX in its checkbox is eligible forselection. If you temporarily donot want a particular schemeused, remove its checkmark byclicking on the checkbox or thescheme name. Click again torestore the checkmark.
Some of the scheme names,such as Summer-Winter, will
Schemes WindowThe Schemes window check-boxes (see illustration of theSchemes window below) and theCornucopia tool control theWeaveMaker schemes. For moreinformation on the Cornucopiatool, please see “CornucopiaTool” in the Index.
There are two ways you canhave WeaveMaker generatedesigns. In “automatic” mode,WeaveMaker takes over opera-tions and generates a new pat-tern every few seconds, until youintervene and stop it. Alterna-tively, “manual” mode lets youmore explicitly use the sponta-neous generation feature byclicking in any grid (threading,tie-up, treadling, or peg plan)
Schemes Window
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look familiar to any weaver.Others, such as Random Walk,may not. But whatever thename, each scheme is a set ofrules for generating a patternusing a combination of strictrequirements and an element ofrandomness. So each time youuse a scheme, you get a patternwhich is reminiscent of theprevious use, but with somenew twist.
To learn more about the char-acteristics of a particularscheme, try using it. Uncheckall the other schemes (theeasiest way is to click the whitebox next to the word “All”) andthen click on the scheme name,and then use the Cornucopiatool to click in any grid.
Automatic ModeClicking on Automatic in theschemes window reveals a setof controls for handling auto-matic mode. Clicking in the“Automatic” checkbox starts (orstops) automatic mode. In thismode, a new pattern is gener-ated once every few seconds.You can sit back and watch thepatterns go by. If you see apattern you like and want to“freeze” it, just exit Automatic
mode. The pattern will remainon the screen, so you can edit itor save it.
The patterns generated in auto-matic mode respect the schemerestrictions you specify throughthe other parts of the schemewindow.
Automatic mode normally altersall the design elements and thewarp/weft color arrangements.Click on the padlocks (not pic-tured) to “lock in” design ele-ments you want to keep as theyare.
Scheme ExamplesThe next few dozen pages showexamples of the “base” schemes(which are shipped with everycopy of WeaveMaker) and op-tional schemes (which may beseparately purchased).
There are also special-purposeand proprietary schemes (whichare developed for the exclusiveuse of a particular customer)which are not illustrated here.Please contact the Sales depart-ment at Designer Software forthe particulars.
All the examples are in blackand white because these allshow structure schemes (which
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determine the weave). Schemesfor doing color arrangements arecovered in the “CornucopiaColor Schemes” section (pleasesee “Color, Schemes” in theIndex).
The early examples are all basedon a straight draw threading on8, 12, or 16 harnesses. Morecomplex threadings are intro-duced later in the section.
Various peg plan schemes are shown, applied against a simple straight draw thread-ing. These examples show how complex fabrics can be created which remain inex-
pensive to dobby weave, because they confine the complexity to the peg plan.
Random Walk Peg PlanRandom Walk Peg Plan
Schemes based on tie-ups areillustrated separately (pleasesee “Schemes, Tie-ups” in theIndex for details). All tie-upfabrics can be automaticallyconverted to peg plans forcommercial mill weaving(please see “Conversion” in theIndex for details).
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Various peg plan schemes are shown, applied against a simple straight draw thread-ing. These examples show how complex fabrics can be created which remain inex-
pensive to dobby weave, because they confine the complexity to the peg plan.
Twill Overlay Peg Plan
Slashes Peg Plan Slashes Peg Plan
Twill Overlay Peg Plan
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Various peg plan schemes are shown, applied against a simple straight draw thread-ing. These examples show how complex fabrics can be created which remain inex-
pensive to dobby weave, because they confine the complexity to the peg plan.
Tabby Twill Peg Plan Tabby Twill Peg Plan
Twill Walk Peg Plan Twill Walk Peg Plan
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Various tie-up schemes are shown, applied against a simple straight draw threading.The treadling varies from example to example. These samples show how complex
fabrics can be created which remain inexpensive to dobby weave, because they arebased on a simple threading.
Twill Tie-upTwill Tie-up
Double Twill Tie-upDouble Twill Tie-up
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Huck Tie-up
Wrapped Twill Tie-up
Huck Tie-up
Wrapped Twill Tie-up
Various tie-up schemes are shown, applied against a simple straight draw thread-ing. The treadling varies from example to example. These samples show how
complex fabrics can be created which remain inexpensive to dobby weave, becausethey are based on a simple threading.
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Various tie-up schemes are shown, applied against a simple straight draw threading.The treadling varies from example to example. These samples show how complex
fabrics can be created which remain inexpensive to dobby weave, because they arebased on a simple threading.
Symmetric Tie-up
Latin Square Tie-up
Symmetric Tie-up
Latin Square Tie-up
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These show how a slight increase in the threading complexity (“straight draw withoccasional reverses”) makes a large change in the fabric appearance. All use tie-upschemes applied against the threading shown below (entire threading is not shown).
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ThreadingSchemes
Catalog
Threading and treadling schemes areno different, aside from which gridthey work within. The examplesgiven here are all for threadings, butturned sideways they are equallyvalid as treadlings.
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NetworkThe Network scheme givesthreadings (or treadlings) whichare straight draws which (a) donot cross all harnesses and (b)systematically shift their start-ing harness number (see illus-trations below).
Used in place of a traditionalstraight draw in a twill, theeffect is to give complex twill-like structures (top two fabricson facing page).
Network Sample Threading #3
Network Sample Threading #2
Network Sample Threading #1
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Step WalkThe Step Walk scheme givesthreadings (or treadlings) whichare modified point draws (seeillustrative threadings below,and sample fabric designs onthe facing page). The threadingconsists of straight draws inalternating directions, withwidely varying draw lengths.
Unless you constrain them witha marquee, step walk threadingsdo not have natural repeats.
Drift Sample Threading #1
Drift Sample Threading #2
Drift Sample Threading #3
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ZigZagThe ZigZag scheme givesthreadings (or treadlings) con-sisting of short straight draws ofunequal, but systematic, length(see examples below). They canhave a natural repeat.
A wide range of fabric designsare possible with this scheme(see facing page).
ZigZag Sample Threading #1
ZigZag Sample Threading #2
ZigZag Sample Threading #3
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Stutter TwillThe Stutter Twill scheme givesthreadings (or treadlings) con-sisting of normal point draws,except that they have hiccups(see examples below). The effectof this is to give a slow variationin the pattern across the fabric.The illustrations here show thiseffect across the warp.
The amount of variation acrossthe fabric is different each timeyou invoke the scheme; try itseveral times to get exactly theeffect you want.
Stutter Twill Sample Threading #3
Stutter Twill Sample Threading #2
Stutter Twill Sample Threading #1
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Tie-upSchemes
CatalogProduction weaving on tie-up loomsis no longer done, but many design-ers still like to design with a tie-up(some designs just make more sensethat way). A tie-up allows for tromp-as-writ designs, which are oftenlovely. And the treadling which goesalong with a tie-up frequently has amore obvious repeat than would theequivalent peg plan.
Similarly, the rules which Weave-Maker schemes employ are some-times more easily stated for a tie-upthan for a peg plan. So WeaveMakeroffers many tie-up schemes.
Since WeaveMaker will instantlyconvert any tie-up design into a pegplan design, feel free to design ineither format.
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WeaveMaker tie-ups may bebroadly divided into two groups.One group, illustrated here, aregeneral in nature and work wellwith a variety of threadings andtreadlings. The second group(for example, summer-winter,overshot, huck, moire) arespecial-purpose ones designedto be used with specificthreadings and treadlings.These are discussed in the“Whole-fabric Schemes Catalog”(see “Schemes, whole fabric” inthe Index for details).
Twill Tie-up
The Twill tie-up scheme providesa wide variety of simple twills.
Double Twill Tie-up
The Double Twill tie-up schemegenerates two twills within asingle tie-up (one is on the eventreadles, the other is on the oddtreadles). Use these with astraight draw threading andtreadling and notice that twodistinct twills often appear (theeffect is most obvious when thetwills are strongly defined andrun at a distinct angle to oneanother).
Wrapped Twill Tie-up
The Wrapped Twill tie-upscheme treats the tie-up like abarber’s pole, creating a twillwhich endlessly spirals withinthe tie-up. The effect combinesleft and right slanting twillswhich strongly connect, givinglong, pronounced twill lines (thisis particularly evident if the tie-up is square).
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Latin Square Tie-up
The Latin Square tie-upscheme, while based on amathematical concept com-pletely unrelated to weaving,nonetheless produces a hugevariety of fine-grained patterns.Works only in a square tie-up.
Try these with a tromp-as-writtreadling, using a straight drawthreading, point draw (forlarger figures), or one of thethreading schemes which givesfairly long straight draws.
The scheme produces tie-upswith large blocks of black andwhite, which in turn lead tolong, adjacent floats. Whilethese produce strongly definedstructures in the weave, theymay not be acceptable fabrics.Using the pencil tool, you canquickly insert tabby into the tie-up, which usually will bring thefloats under control withoutdestroying the design.
Symmetric Tie-up
The Symmetric tie-up schemeproduces tie-ups which aresymmetric about the diagonal,hence the name. Works only ina square tie-up.
Try these with a tromp-as-writtreadling, using a straight drawthreading, point draw (for moresymmetry), or one of the thread-ing schemes which gives fairlylong straight draws.
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Peg PlanSchemes
Catalog
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Twill OverlayThis scheme gives an un-structured, random-walkdouble-twill peg plan. Usedwithout constrain it producesa mess, but it works wellwhen confined within a mar-quee (as in the examples givenhere).
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Twill WalkThis scheme gives a unstruc-tured, wandering twill pegplan, without repeats. Itworks best when confined to amarquee and repeated (as wasdone in the examples givenhere).
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Random WalkThe Random Walk peg planproduces a restless, non-repeat-ing pattern which always looktangled (a “deranged cat’scradle”).
Watch for long floats in the weft,which are easily fixed by insert-ing plain weave with the penciltool into the white gaps and solidblack areas in the peg plan.
Random walk peg plans are hard
for the eye to follow; considerusing them sparingly with amarquee to impose a repeat.
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RippleThese peg plans are unbalanced;they give above-average expo-sure to the warp in some places,in others the weft is more pro-nounced. There is a slow drift
from one condition to the other.In the illustrations at the left,the warp is shown in black, sothis effect is particularly easy tosee.
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SlashesAs its name suggests, thisscheme gives many short twillstrokes which either crisscross(top illustration at right) or runparallel (bottom illustration atright).
There is not usually any natu-ral repeat in this effect, so use amarquee and a repeat block toimpose more order.
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The examples shown here wereselected because they show the“tabby & twill” effect clearly;many of the fabrics generated bythis scheme are more complexand subtle than those shownhere.
Tabby TwillThis scheme creates a blend oftabby and twill. The illustrationson the left show horizontal bandsof nearly pure tabby separatedby bands of twill-like regions.
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Whole-FabricSchemes
Catalog
Some schemes need to used togetherto get the most out of them. Suchschemes are covered here.
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Summer-WinterThis classic design requires acoordinated threading, tie-up,and treadling. WeaveMakerprovides a scheme called “Sum-mer-Winter” for each of theseweaving elements. Weavingelements appear here for 8, 12,and 16 harnesses (treadlings atright, tie-ups and threadingsbelow), and sample fabricscreated from them appear on thefacing page.
Summer-Winter Tie-ups,8, 12, and 16 harness
Summer-Winter Sample Threading #3, 16 harnesses
Summer-Winter Sample Threading #1, 8 harnesses
Summer-Winter Sample Threading #2, 12 harnesses
Summer-Winter Sample Treadlings
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Ex #1
Ex #3
Threading: Summer-Winter (16)Tie-up: Summer-Winter (16 by 18)Treadling: Summer-Winter (18)Harnesses: 16
Threading: Summer-Winter (8)Tie-up: Summer-Winter (8 by 10)Treadling: Summer-Winter (10)Harnesses: 8
Threading: Summer-Winter (12)Tie-up: Summer-Winter (12 by 14)Treadling: Summer-Winter (14)Harnesses: 12 Ex #2
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HuckThis generalization of a classicdesign requires a coordinatedthreading, tie-up, and treadling.WeaveMaker provides a schemecalled “Huck” for each of theseweaving elements. Weavingelements appear here for 4, 8,12, and 16 harnesses (treadlingsat right, tie-ups and threadingsbelow), and sample fabrics cre-ated from them appear on thefacing page.
Huck Sample Threading #4, 16 harnesses
Huck Sample Threading #2, 8 harnesses
Huck Sample Threading #3, 12 harnesses
Huck Sample Threading #1, 4 harnesses
Huck Tie-ups, 4, 8, 12,and 16 harness
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Ex #1
Threading: Huck (16)Tie-up: Huck (16 by 18)Treadling: Huck (18)Harnesses: 16 Ex #4
Threading: Huck (8)Tie-up: Huck (8 by 10)Treadling: Huck (10)Harnesses: 8
Threading: Huck (4)Tie-up: Huck (4 by 6)Treadling: Huck (6)Harnesses: 4 Ex #1
Threading: Huck (12)Tie-up: Huck (12 by 14)Treadling: Huck (14)Harnesses: 12 Ex #3
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Divided DesignsIt is possible to independentlydesign two fabrics and thencombine their threadings, tie-ups,treadlings (or peg plans) into asingle design and weave them asa single fabric on a single loom.The resulting weave structurewill, under certain circum-stances, retain some properties ofthe original ones, and new (andunusual) features are also likelyto appear.
This technique of combining twoseparately-designed fabrics iscalled a “divided design.”
The two designs at the bottom ofthis page illustrate two suchseparate fabrics. Note that eachdesign omits every other thread, aconvenience when subsequentlymerging the designs. The fabricon the left uses seven harnesseswhile the one on the right usesfive harnesses.
The two designs are merged intoa single design by alternatingthe threadings, putting the tie-ups corner-to-corner, and usingthe treadlings side-by-side. Thefigure on the facing page showsthe resulting design.
Divided design fabrics can havelong floats once the merger iscompleted. Use WeaveMaker’sfull-fabric float analysis tools todetect and correct this problem.
Because the final fabric has tobe woven on a loom which hasas many harnesses as the sumof the harnesses for the originalfabrics, creating interesting finalfabrics tends to require a highharness count.
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This is the tie-up fromthe right-hand fabric.
This is the tie-up fromthe left-hand fabric.
The left-most 5 treadles are fromthe left-hand fabric, the right-most7 are from the right-hand fabric.
The bottom 5 harnesses are from the left-hand fabric, the top 7 from the right-hand
fabric. Because every other threadingposition in the original fabric designs wasblank, a complete threading appears here.
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Moire SchemeWeaveMaker has coordinatedthreading, tie-up, and treadlingschemes, under the name Moire,which create a divided designfabric design (see the previouspage for a definition of “divideddesign”).
Weaving elements appear herefor 12, 15, and 19 harnesses(treadlings at right, tie-ups andthreadings below), and samplefabrics created from them ap-pear on the facing page.
Moire Sample Threading #4, 19 harnesses
Moire Sample Threading #3, 15 harnesses
Moire Sample Threading #2, 12 harnesses
Moire Tie-ups, 12, 15,and 19 harness
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Threading: MoireTie-up: MoireTreadling: MoireHarnesses: 12 Ex #1
Threading: MoireTie-up: MoireTreadling: MoireHarnesses: 19 Ex #3
Threading: MoireTie-up: MoireTreadling: MoireHarnesses: 15 Ex #1
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Creating Color
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Color OverviewBringing colors into a fabric is atwo-step process in WeaveMaker.
Step 1 (Palette)Colors are created, named, andedited (matched) in a Palette file, atype of WeaveMaker file devotedexclusively to color. Once definedin a palette, a color may be conve-niently used in many differentfabrics.
Step 2 (Colorway)To use color in a fabric, the de-sired colors are dragged from apalette file into the fabric’scolorway window (see “Color Drag-ging” for more about this). Fromthe colorway, colors are assignedto individual threads in the warpand weft either manually (usingthe color crayon) or automatically(using the cornucopia tool).
The Challenge of ColorAchieving a precise color matchbetween the computer screen andthe printed page is difficult.Matching both the screen andprinted color to a yarn sample isespecially challenging.WeaveMaker’s approach to colormakes this process manageableand effective, although it does notmake it trivial.
For professional results with aminimum of effort, carefully con-
struct a color palette before put-ting colors into a fabric. Scatter-ing ill-defined colors (ones whichare not correctly screen/printmatched, or which are unnamed)through a library of fabrics cre-ates a difficult color managementchallenge, and will inevitable leadto errors which, if they reach tothe mill, will have disastrousconsequences.
It is especially important to assignmeaningful names to your colors.WeaveMaker tracks colors by thenames you give them, and by thenames of the palette files in whichthey are stored. If you thought-fully assign color names, then anycolor you see in a fabric can beeasily and reliably traced back toa color chip within a palette.
PalettesA WeaveMaker palette is a colordatabase in which you can create,name, match, and save colors. Apalette is quite separate from andindependent of any fabric youdesign. Colors you define in apalette will probably wind upbeing used in many differentfabrics. Colors defined in a pal-ette become associated with aspecific fabric when they aremoved into that fabric’s colorwaywindow (see “Color Dragging” fordetails).
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A color definition consists ofseveral kinds of information:
1) Screen color. This is a set ofred/green/blue (or hue/satura-tion/value) numbers which causethe computer to correctly displaythe color on your monitor.
2) Printer color. This is a set ofred/green/blue (or HSV) numberswhich cause your printer to printthe same color as appears on thescreen. Rarely if ever would theseprinter values be identical withthe screen values.
3) Color name. This is the nameyou use to describe the color.
4) Technical Description. This is adescription you can send to a millor dyer so they correctly matchyour color when they produceyarn.
5) Group Codes (up to 3 per color).These are codes you assign to thecolor. Group codes are completelyarbitrary. You may use them (ornot) as you wish.
For example, if you have somecolors which are to be used forwall coverings and others to beused on the floor, you could groupcode all the wall colors as “W” andall the floor colors as “F.” Thisstill leaves the second and thirdgroup codes available for someother use. You might thereforeuse the second group code to tagall reds as “R” and all blues as“B.” You might then use the
group three codes as, for ex-ample, “C” for cool colors and “W”for warm colors.
WeaveMaker uses these codes togroup and sort colors, which canhelp you quickly locate the rightcolor within a palette. So, youcould ask to see all the colorswhich are for use on walls, or allthe reds, or all the warm colors.
You may define as many palettesas you wish. Any two palettescan be simultaneously available(display on screen) withinWeaveMaker. A given fabric candraw its colors from as manydifferent palettes as necessary.
Once you define a color,WeaveMaker keeps its descriptionintact wherever you use it. Thismeans in particular that theprinter color codes are alwayskept associated with their corre-sponding screen color. Thus,careful construction and calibra-tion of colors within a palette willpay off when it comes time toprint fabric samples.
Creating a PaletteA palette is displayed and editedin a Palette window (see illustra-tion at bottom of next page).
Select New Palette in the Filemenu to start defining a newpalette. A new palette windowwill be displayed. It contains twopermanent colors, black and
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white. These colors will alwaysbe the first two colors in thepalette.
To define a new color, click theword “New” at the bottom of thepalette window. The ColorPicker window will be displayed(see illustration on facing page).
The Color Picker has a color boxthat displays hue and saturationsimultaneously. The scrollbar atthe right controls the brightness(value) of the entire box.
Click in the color box and movethe mouse around while holdingdown the mouse button. Noticethat the color in the rectanglejust below the box changescontinually to show you the coloryou are defining. Move thebrightness slider down to addblack to the color (decrease
brightness) or towards the top toremove black.
If you know a specific set of“color numbers” for the color youwish to define, type them directlyinto the HSL (hue/saturation/lumens) or RGB (red/green/blue) text fields.
Once you have defined the exactcolor you want, click the OKbutton. The Color Picker win-dow disappears, andWeaveMaker adds the new colorto the palette.
You can immediately use thisnew color in a fabric. However,your new color is not yet com-pletely defined. It is only ascreen color: it lacks a name, adescription, and it has not yetbeen color matched to yourprinter. Some suggestions:
Sort Colors
Display Color Chips OnlyFull Display
Color Blend
Define aNew Color
Palette Name
Palette Window: Full Display
ScreenColorChip
ColorDescription
PrinterColorChip
ColorName
GroupCodes
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The color youdefine appears
here
These valueschange in response
to clicking in thecolor wheel or
moving the bright-ness slider. Or,
you can typedirectly into thesefields to define a
color “by thenumbers.”
The Color Picker
c) If you are using colors whichmust be accurate, especially ifthey must print accurately,you should finish the printercolor matching (describedbelow) before using the colorsin a fabric.
Having said all that, however, itis worth noting that you candefine colors in any order youwish. WeaveMaker does notimpose a requirement thatcolors be defined in any specificorder or way. You can start byroughly defining your colors,then add names as that becomesappropriate, and leave printer
a) If you are working at a roughdesign stage, and approximatecolors are good enough, then itshould be sufficient to define apalette of screen colors. This isparticularly true if the colorsyou are using are far apart inappearance (that is, they canbe distinguished strictly byhow they look on the screen).
b) If you have colors which areclose together in appearance,at the very least you shouldname each of them. You canthen use the names to double-check yourself if you havetrouble distinguishing closecolors.
Clicking anywherein this wheel
“picks” a color
(Your “Color Picker” may not appear precisely as illustrated here, asMacintoshcomputers ship with any of several differing pickers.)
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color matching (for example) forlast. It is slightly more work to takethe latter approach, and there issubstantially greater risk of makingmistakes, but you can try variousapproaches to defining colors to seewhat fits best with your workingstyle.
Naming ColorsTo name a color, click in the “Name”box to the right of the screen coloryou are naming (see illustrationbelow). Similarly, click in the
“Technical Data” box toenter a technical descrip-tion of the color.
Colors which do not havefull descriptions (name and techni-cal data) have a dashed diagonalline through them as illustrated tothe left.
Color MatchingWhen you first define a screencolor, the corresponding printercolor is set equal to the screencolor. In an ideal world, thiswould insure that the printerprinted a color which exactlymatched the screen color.
However, real printers (and realvideo displays) are imperfectdevices. In practice it is usuallynecessary to send a differentcolor value to the printer than issent to the screen. Color match-ing, then, involves finding theright combinations of colorvalues so displayed and printedcolors closely match each other.
The first step in color matchingis to print the entire palette. Usethe Print Palette command in theFile menu. For newly-definedcolors, the color values sent tothe printer will be identical tothe screen values you havedefined.
Next, examine the printed pal-ette. Some of the printed colorswill be close to correct, whileothers will be remarkably wrong.
To get a better color match, workwith one problem color at a time.The overall strategy involveshaving WeaveMaker print a setof color chips, each slightlydifferent from the target color(WeaveMaker calculates a set ofRGB values each differingslightly from the ones used to
Click in this box to start enteringa name for this color (the third
color in the window)
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Printer Color Matching
1. Initially, the screen and printer colors are identical:
ScreenColor
PrinterColor
2. In Print Options, select “Variations on Selected Color.” Now, “Print Palette.” The printout will consist of a large number of color chips, each slightly different in color:
111102323240432
122202323240432
111102432240432
111102323254232
111103396240432
221102433250432
3. Pick the color chip which is closest to the desired color. Next to it are three numbers (red, green, blue). In the Palette window, double-click on the printer chip, which brings up the Color Picker window. Enter the three numbers from the printout in the Red, Green, and Blue fields. Click OK. Now the new printer color is associated with the original screen color:
ScreenColor
PrinterColor
fabric colorway or anotherpalette file, the printer colorgoes along with it. Wheneveryou print a fabric containingthis color, WeaveMaker auto-matically substitutes theprinter color for the screencolor when sending color infor-mation to the printer. This isone reason it is important tocorrectly define your colorsbefore using them in a fabric—there is no easy way, after aperiod of time, to examine acolor chip and ascertainwhether its printer color codesare correctly set.
print the problem color). You theninspect these printed color chips andpick the one which looks closest towhat you want. You then use theRGB values for that chip as the newprinter values. The procedure isdiagrammed below.
Use the Print Options dialog to tellWeaveMaker to print variations on asingle color rather than printing theentire palette (see illustration on thenext page).
Once you have achieved a colormatch between the screen and color,WeaveMaker will remember thecorrespondence. Whenever you dragthat particular screen color into a
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Using ColorOnce you have built a palette, itscolors may be used within fab-rics. A color is moved from apalette into a fabric colorway bydragging a color chip from thePalette window into the Colorwaywindow, and then, from thecolorway, assignments are madeto individual thread colors.
The palette display can bechanged to a more compact form
in which just the screen colorchips are shown. Click the leftdisplay button at the bottom ofthe palette window (“DisplayColor Chips Only” in the illustra-tion at the bottom of the facingpage). This palette format mini-mizes the amount of screenspace used by the palette win-dow, and is very convenient forselecting colors and draggingthem into the colorway window.
Print Options Dialog
This is the Print Options(from the File menu) forpalettes. The “EntirePalette” prints all colorswithin the palette in thefrontmost window, usingas many pages as neces-sary. “Variations onselected color” prints anumber of color chips,each a slight variation onthe currently-selectedprinter color chip.
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Display Color Chips OnlyFull Display
Color Blend
Define aNew Color
Color Chips
Palette Window: Display Color Chips Only
Sort Colors
Color chips with a low huenumber (pure red, for example,has zero hue in WeaveMaker’snumbering system) will appearat the front. This will be fol-lowed by colors of blue hue andon into the greens.
Note that some reds have highhues (reddish purples are a goodexample) and so will come last,while others (with a slightlyorange cast) have low hue num-bers and so come near the front.You will thus see “reds” at boththe front and the rear of the sortorder.
Light Gray/Dark Gray - sort thecolor chips by brightness(amount of black). Low bright-ness color chips come to thefront.
Red/Pink - sort the color chipsby saturation. Low saturationcolors (those nearest to thecenter of the color wheel) cometo the front.
Sorting ColorsColors within a palette can besorted by clicking any of thesorting buttons (see “Sort Col-ors” in the illustration at thebottom of this page). Note thatpermanent black and white (thefirst two colors in every palette)do not participate in sorting.
G1,G2,G3 - sort into alphabeti-cal order by group codes. Forexample, clicking G1 sorts allthe palette color chips so thattheir G1 codes are in ascendingalphabetical (or numeric) order.
N - sort into alphabetical orderby color names.
T - sort into alphabetical orderby technical description. If youhave assigned technical codesfrom any of several commer-cially-available color classifica-tion systems, this sort order willlikely also sort the colors into auseful visual order.
Red/Green/Blue button - sortthe color chips into hue order.
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Editing ColorsTo edit an existing color in apalette, double click either on apalette color chip or on a set ofRGB numbers (see illustrationbelow).
Warning! Editing a color in thepalette does just that: it edits thecolor in the palette. It does notedit the color in the design. Toedit a color within a design, firstedit it in the Palette window, andthen drag the new color into theColorway window of the design.
To visually edit a color usingthe color wheel, double click onthe color chip you wish to edit.
To edit the RGB numbersdirectly, double click on them.
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Using Color
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The preceding section (“Creat-ing Color”) explained howcolors are created, named, andmatched to the printer througha WeaveMaker palette file.
The following material assumesyou have successfully createda palette and now wish to usethose colors in a fabric.
To use color in a fabric, thedesired colors are dragged froma palette file into the fabric’scolorway window. That topic iscovered in the section entitled“Color Dragging.” From thecolorway, colors are assignedto individual threads in thewarp and weft either manually(using the color crayon) orautomatically (using the cornu-copia tool). See “ColoringFabrics” for the details.
Colorway WindowThe colorway window has anumber of fields and controls.These will be explained in detailin the following sections. Buthere is an overview of how thewindow is organized.
The colorway window has sixcolumns and one or more rowsof color chips (opposite page,bottom). Each row is a colorwayfor your fabric, so the number ofrows depends on how manycolorways you want to workwith.
The columns divide the colorsinto six groups, which help thecolor cornucopia schemes assigncolors to the fabric. If you arenot planning on using the cornu-copia for color, you can ignorethe columns and put color chipswherever you wish.
Across the bottom of thecolorway window are a set ofbuttons. These add colorways,delete colorways, and deleteindividual color chips.
Click on the gray color chip to get thisgray cursor (which is always the color
of the chip you clicked on).
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the black chip in the warp/major area of the colorway. Notethat the black chip turns gray.Release the mouse while thechip is gray, and it will remainthe new color.
Any color chip may be draggedin this fashion. Color chips maybe dragged within a palette,within a colorway, or betweenpalettes.
All information associated withthe color chip (such as its name,technical description, andprinter color value) go along withthe chip when it is dragged.
Adding Colorway Color Chips To add a color chip to thecolorway (rather than changingone which is already there), draga color from the palette onto oneof the column headings (such as“Major” or “Minor”). The head-ing turns black. Release themouse. A new color chip willappear under that category.
Color DraggingColors chips are moved from thepalette into a fabric colorway bydragging them with the mouse.Colors can be dragged the otherdirection as well, that is, from acolorway to a palette.
When you click on a color chipthe cursor changes to a fat cross(illustration on facing page).Hold the mouse button downand move the mouse. The colorcross follows the mouse. Movethe cross cursor over a colorchip in the palette or thecolorway, and the chip changesto the color of the mouse. Re-lease the mouse button to makethe change permanent.
For example, suppose you havethe palette and colorway win-dows illustrated here (below andfacing page). You wish tochange the black in the warp(colorway window) to the grayshown in the palette window.
Click on the gray color chip inthe palette, then drag it on top of
Fabric’s colorway window beforedragging (below) and after (right). The
gray chip from the palette will bedragged on top of the black chip in the
warp/major position, which turns theblack chip to gray. Releasing the
mouse button while the chip is graymakes the color change permanent.
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Coloring FabricsOnce a color has been estab-lished within a colorway, it canbe assigned to individualthreads in a fabric. There aretwo ways to do this.
Manual ColoringMomentarily clicking on anycolor chip within the colorwaywindow gives a colored crayon(the cursor changes into acrayon). Click with this crayonin the color bars of the designwindow to assign color to indi-vidual threads (see “Color bars”in the Index for more about thecolor bars).
Cornucopia ColoringClicking with the cornucopiatool in the color bars of a fabriccauses WeaveMaker to assigncolors automatically. The colorsare drawn from the appropriateparts of the colorway (warpcolors from the pool of warpcolors, weft colors from the poolof weft colors).
For most cornucopia colorschemes, most of the threadswill be colored using colorschosen from the “major” cat-egory, some threads will begiven “minor” colors, and just afew threads will have “accent”colors.
Add NewColorway
DeleteColor Chip
DeleteColorway
Each color chip is assigned a lettercode (used in printing and algebraicinput). Under the letter code is thecount of threads assigned this color.If this color is not used in the design,no number appears.
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Two Colorways
Colorway ToolsThe tools at the bottom of theColorway window (see illustra-tion on facing page) create anddelete colorways and eraseindividual color chips
To use the delete tools, firstclick on the tool to select it, thenmove the cursor into the part ofthe Colorway window whichholds the color chips. Thecursor changes shape to matchthe tool you selected. Click themouse button to activate thetool. The color chips which areto be deleted turn red. Releas-ing the mouse button deletes allthe highlighted chips.
Multiple ColorwaysWeaveMaker provides a simplemechanism for associatingmultiple colorways with a fabric.
Each row of color chips acrossthe colorway window defines adistinct colorway (all the ex-amples shown so far have justone row of colors, meaning thefabric has one colorway).
To start a new colorway, clickthe “New” button at the bottomof the colorway window. Asecond row of color chips ap-pears:
The colors in the fabric arealways taken from one row of thecolorway at a time. Thecolorway number (at the extremeleft of the window) outlined inblack is the active colorway.Clicking on a colorway number(such as the “2” in the illustra-tion) makes it the activecolorway.
If the second colorway in theexample is changed by draggingcolor chips from a palette andrearranging color chips withinthe colorway window so it lookslike this,
then there are two ways thefabric might be colored.
If the first colorway is selected,the warp will be colored withsome threads black and somegray (depending on what coloringyou did with the crayon or a
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color cornucopia). The weft willbe entirely white.
If you then click on the secondcolorway to make it active, thefabric will be recolored. Everywarp thread which was black willnow be gray; every gray warp
thread will become white; andevery weft thread will changefrom white to black.
These changes are immediatelyreflected in the on-screen fabricdisplays. You can set up a num-ber of colorways and rapidlycompare them by simply clickingon the colorway numbers andstudying the changes you see inthe fabric display.
When you print a fabric in color,the active colorway is used todetermine the fabric colors in theprintout.
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CornucopiaColor
Schemes
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Color CornucopiaThe cornucopia tool creates awide variety of color arrange-ments automatically. Whenyou click with the cornucopiatool in the color bar of the warpor weft, a selection of colors,chosen from the color chips youhave placed in the colorwaywindow, is used to construct anentirely new color arrangement.
In creating a color arrange-ment, the cornucopia followsone or more sets of rulesknown as “schemes.” There arefour ways you influence howcolor arrangements are con-structed:
Scheme SelectionBy judicious selection ofschemes, you can moststrongly influence the types ofcolor arrangements the cornu-copia tool gives you. Someschemes give fine-grained colorarrangements, others give boldstripes, and still others dosweeping “fades” where onecolor gradually dissolves intoanother. Some schemes followthe weave, building a colorarrangement based on theweave structure.
Major/Minor/AccentThe “major/minor/accent” colorcategories in the colorway win-dow strongly influence the colorcornucopia.
Marquees and Repeat BlocksThe color cornucopia tool obeysthe rules of repeat blocks (Pleasesee “Repeats” in the Index formore about controlling repeats).So you can use the cornucopiatool to build a small color ar-rangement, which then getsrepeated over and over to buildup the entire fabric color ar-rangement.
Getting StartedJust to get started exploring thecolor cornucopia, you may tem-porarily ignore the schemes,because until you specify other-wise, all the scheme rules are ineffect.
• To try the cornucopia tool, firstdrag some color chips into yourcolorway window (please see“Colorway” in the Index formore about Colorway window).Put at least two colors in theWarp/Major area.
• Click on the cornucopia tool inthe Tools window (it will turnblack. Please see “Tools” in theIndex for more about the Toolswindow.
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• Position the cursor over thewarp colorbar in the designwindow (please see “Colorbar”in the Index for more aboutthe colorbar). Notice that thecursor changes into a cornu-copia shape.
• Click with the cornucopia onthe colorbar.
Notice that a new color ar-rangement is created, using thecolors you placed in the “warp”columns of the colorway.
Color Scheme SelectionA “scheme” is a set of ruleswhich define how colors areselected from the colorway,and how the selected colors areassigned to individual threads.
Each copy of WeaveMakercomes with a set of colorschemes built in. You canelect to use as many of theseschemes as you wish. Throughthe Schemes window, youmark schemes as being eligibleor ineligible (see “Schemes,turning on and off” in theIndex for more on this topic).
Each time you click with thecornucopia tool, WeaveMakerpicks exactly one scheme fromthe list of eligible schemes, anduses that scheme to build anew color arrangement.
The individual scheme rulesvary widely in complexity. Acomplete description of eachscheme is given in the “ColorSchemes Catalog.”
Color schemes are enabled ordisabled the same way weavestructure schemes are enabledor disabled (see “Schemes,turning on and off” in theIndex for more on this topic).
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Scheme ColorsA scheme has to “know” whichcolors are available to partici-pate in the new color arrange-ment. If you click in the warpcolor bar, the scheme respondsby only using colors from thethree “warp” columns of thecolorway window. Similarly,colors from the weft columns areused to build weft color arrange-ments.
The same color can appear inboth the warp and the weft.Indeed, the same color canappear multiple times, for ex-ample, in both the Major and theMinor areas.
Color EmphasisWhen building a color arrange-ment, the color schemes use lotsof the “major” colors, less of the“minor” colors, and the “accent”colors are used sparingly. Agreat deal of control can beexercised over the color schemesby carefully considering howcolor chips are places within thesix columns of the colorwaywindow.
BlendsA “blend,” as performed byWeaveMaker, creates a gradualchange of color across a series ofthreads, such that the eye isfooled into seeing one color fadeinto another color. A blend onlyinvolves two colors of dye (twoyarn colors), but by carefullyplacing the colors within thefabric, a dithered color effect iscreated (just as a dot matrixprinter uses a handful of inkcolors to simulate a much largerrange of colors).
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ColorSchemes
Catalog
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Color Schemes TableThe table of color schemes (below)summarizes how the various schemesinterpret the position of chips in thecolorway window.
Color Scheme
Alternate
Partition
Two-Color Blend
Blocked Blend
Stripe Blend
Thin Stripes
Partition Blend
Math
Major/Minor/Accent
Successive thread colors comefrom different color catego-ries.
Ignored; all colors are used.
Uses pairs of colors, one frommajor and one from minor. Ifno minors, pairs are major/accent.
Uses pairs of colors, one frommajor and one from minor. Ifno minors, pairs of majors arechosen.
Ignored; all colors are used.
Ignored; all colors may beused.
Color pairs chosen from twodifferent classes, unless onlymajors are present, in whichcase they are used in pairs.
Stripes of a minor color arebordered by (typically) by amajor and an accent.
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Major/Minor/Accent Arrange-mentsIf colors are present in all catego-ries, Alternate becomes quitecomplicated. It follows two rules:
(a) No two consecutive threadsreceive colors from within thesame Major/Minor/Accentgroup. So, if a thread is col-ored using a Major color, thenext thread will be colored fromeither the Minor or the Accentcolors.
AlternateThis scheme is a generalizationof traditional “end-on-end” color-ing (e. g., Chambray).
Two Color ArrangementsIf there is exactly one color chipin the Major, one in the Minor,and none in the Accent, Alternateassigns every other thread everyother color (or, equivalently, allthe odd numbered threads aregiven one of the colors and theeven numbered threads the othercolor).
This is the simplest way to useAlternate, and is what is usuallymeant by the term “end-on-endcolor arrangement.”
Major/Minor ArrangementsIf there are more than two colors,but all colors are in either theMajor or Minor (no Accent), thenAlternate assigns all the oddnumbered threads from colors inone category and the even num-bered threads from the othercategory.
Since this rule leaves consider-able leeway, especially if thereare many color chips present,each time you use this schemeyou will get a different colorarrangement. But they will allhave a fine-grained look which ischaracteristic of Alternate.
Schemes in WeaveMaker are add-on modules (sometimes called“plug-ins”). Some of the schemesillustrated here are optional, andmust be purchased separately fromthe base WeaveMaker Professional.Please contact the Sales departmentat Designer Software for details onoptional and custom schemes.
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Two-Color BlendA two-color blend (see “Blends”in the Index for a definition ofblends).
The two colors are taken fromthe majors if there are neitherminor nor accent colors present.If there is at least one minorcolor, then the two colors areselected by taking one major andone minor color. If there are nominor colors but there is at leastone accent color, then the twocolors are selected by taking onemajor and one accent color.
The area to be colored is brokenup into a series of stripes, ofwidely varying widths. Withineach stripe the two colors areblended (see “Blends” in theIndex for a definition of blends).
Blocked BlendCreates a series of wide stripesof roughly equal width and doesa two-color blend within eachstripe.
If only major colors are present,pairs of them are used to createthe blends. If both minor andmajor colors are present, eachblend uses one major color andone minor color. Accent colorsare ignored.
See also “Partition Blend.”
PartitionCreate a series of stripes ofwidely varying widths, using allcolors regardless of their classifi-cation.
The order in which the colorsappear is different each time youuse this scheme, but the order isfixed within each specific colorarrangement. For example,suppose you have four colorscalled A, B, C, and D. The firsttime you use this scheme itmight choose to use the colors inthe order CABD. It will use thatorder across the entire width, socolor C would not appear next tocolor B anywhere. But the sec-ond time you use the scheme, itmight decide to use the orderDABC. In this case, every timeyou saw a stripe of color B itwould be immediately followed bya stripe of color C.
Note: because of the mathemati-cal constraints on this scheme, itonly works on certain counts ofthreads. If you give it a numberof threads which it cannothandle, it acts like the PartitionBlend scheme instead (see facingpage).
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Thin stripesCreates relatively thin stripes ofcolors taken from all color cat-egories.
MathCreates a smooth mathematicalfunction and uses the value ofthe function at each thread todetermine which color class touse and which color from theclass. This produces stripes ofwidely varying widths. Some-times the stripes are arrange-ment symmetrically about thecenter of the area being colored,and sometimes not.
Faithfulness to given color classproportions varies with shape ofthe function.
Creates surprisingly conservativestripes when used with a smallnumber of major and minorcolors, but can also generatewildly asymmetric patterns.
Partition blendCreate a series of stripes, nar-rower than those used inBlocked Blend and unequal inwidth, and does a two-colorblend within each stripe.
Colors are chosen in pairs forthe blends. The two colors comefrom different color categories,unless there are only majorcolors, in which case the majorcolors are chosen in pairs.
See also “Blocked Blend.”
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Printing
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Print Options Dialog Box (Fabric)
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PrintingWeaveMaker can print out fabricdesign specifications in a widerange of formats. It can createcustomized pages which closelyresemble the typical forms onewould have professionallyprinted.
Broadly speaking, there are twoways to approach printing of afabric design in WeaveMaker.These are called “Custom Forms”and “Print Options.” Note thatfor printing a palette, you willalways use Print Options (thereis no custom forms option forpalette printing). It is also pos-sible to combine some aspects ofCustom Forms with Print Op-tions. All these possibilities aremore fully explained below.
Custom FormsA “custom form” tellsWeaveMaker exactly how theprintout is to appear on a page.When you are using WeaveMakerwith a custom form, you simplygo to the Print command in theFile menu when you are ready toprint. Since WeaveMaker al-ready knows how the page is toappear, you do not have to taketime to specify the layout.
The description of the customform is created in advance by thedevelopers at Designer Software.Typically, a custom form is
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Print Options Dialog Box (Palette)
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created on behalf of a customerwho runs a business whichalready has an established wayof printing out fabric designspecifications, and wishes tohave the software create aprinted page closely resemblingthe one already in use.
To tell if you are using a customform, look in the File Menu. If“Print Options” is grayed out,then you have a custom forminstalled, and you can go directlyto Print Preview or Print.
Custom form information iscontained in a file named “Lay-out” in the Customize folder.When WeaveMaker is launched,it first looks for a Customizefolder, and then for a Layout filewithin that folder. If you moveWeaveMaker to a new locationon your hard drive, make sureyou move the Customize folderalong with it; otherwise,WeaveMaker will not be able tofind the Layout file, and you willno longer be able to use yourcustom forms.
Print OptionsUsing the Print Options, youselect information to be printed,and then WeaveMaker creates aprinted output containing ex-actly that information. In addi-tion to selecting what to print,you also can influence the ap-pearance of the printed page,but the degree of control is much
less than with a custom form.
Once you have selected youroptions, use Print Preview to seewhat your printout will look like,and finally use Print to actuallyprint.
If a design window is front-mostthe printing commands in theFile menu (Print Options, PrintPreview, and Print) will be appro-priate for a fabric design print-out (see illustration on previouspage). If a palette window isfront-most, they will be appropri-ate for printing a palette (seeillustration on facing page).
Hybrid Print OptionsIt is possible to have some partsof the printout controlled by acustom form, and other parts becontrolled by the Print Options.A typical example would involvecontrolling the Summary infor-mation through a Custom Form,and having the remainder of theprintout be controlled throughthe Print Options.
Creating a Custom FormCustom forms are controlled bya Layout file contained in theCustomize folder. Typically, aLayout file will be created byDesigner Software. Please con-tact our Sales department fordetails.
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Fabric Printouts OverviewThere are various kinds ofinformation which can beprinted for a fabric design.You select what to print bychecking any combinationfrom the items listed downthe left edge of the PrintOptions window. Ex-amples of the available printoutformats are illustrated here andon the following pages.
Fabric SummaryThe printout starts off with anoptional fabric summary (illus-tration at top). This gives anoverview of the fabric dimensionsand construction. You printoutmay not have exactly the samefields as show on this summary(you may have a custom layoutthat changes the appearance),but the information printed willbe appropriate for your design.
If you have included any writteninstructions for the weaver (inyour public remarks window),they will print in the summarysection.
Threading and Peg PlanThe threading and pegplan are printed next, asillustrated here.
Date
Reference
Harnesses
Ends per inch
Picks per inch
Ends
Picks
5-29-95
JMF-32-95
8
42
22
280
84
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Warp Yarn DescriptionThe warp yarn description (illus-trated below) shows the yarnsused in the warp. A very similarchart shows the weft yarns.
Warp Color ArrangementThe illustration at the left shows
a typical warpcolor arrangementchart (with twocolors and arepeat, in thisexample).
The weft colorarrangementappears in asimilar chart.
DrawdownA drawdown can be useful togive the weaver a summary ofthe weave structure of the fabric.A typical drawdown is illustratedat at the left.
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Solid Boxes
Digits
Diagram SymbolsWhen creating a diagram,WeaveMaker uses one of fourpossible ways of marking posi-tions (solid, open, digits, X's). Inthe Print Options dialog, clickon the “Items” popup to selectthe style you want.
Only one option can be in effectat a time. Here are examples ofeach marking option:
Diagram SizesSeveral diagram sizes are avail-able, as controlled by the Sizepopup (and see illustrationsbelow).
You can specify whether youwant a heavy ruled line every 8position (see the examplesbelow):
Open Boxes
X’s
Small grid, thin lines
Small grid, thick every 8
Grid size #4
Large grid, thick every 8
Grid size #7
Suggestion: the “digits” optioncombined with a small gridproduces rather tiny characters.Use this only on a very highquality printer for under-40viewers.
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Here the colors are shown by position, each column corresponding to a different color. The left-most column corresponds to color "a," the second to color "b," and so on.
Weft Thread Colors
These show the colors as letters. "aaa" indicates that threads 1, 2, and 3 are all one color (whatever color is denoted by "a", which you will need to make note of).
Treadling
Pick #
Page AnnotationEach printed page can be anno-tated with the date, the name ofthe design, the save date of thedesign file, and a page number.These are controlled in the“Headers, Footers, Margins”section.
Put a check mark next to anycombination of the annotation
Printing Warp and Weft ColorsThread colors can be indicated bya letter code or with a grid. Check(in Print Options) the option youwant (you may check them both ifyou wish to have the colors dis-played both ways at once).
Below is an example of each, for afabric in which each color is usedon three successive threads:
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DrawdownSelecting “Drawdown” in PrintOptions directs WeaveMaker toprint the entire drawdown,including threading, tie-up (ifappropriate), treadling or pegplan, and the fabric drawdownproper.
This will likely take up multiplepages of output unless yourfabric is quite small (under 50ends and picks).
The pages are printed in such away that they can be taped orglued together to produce a
single large sheet which fullydescribes the fabric. The intentis to let you describe every detailof the threading and warp/weftcolor assignments, the treadingor peg plan to use for the actualweaving, and show the fabric wellenough to let the weaver or milldouble-check their work as theyactually produce the fabric.
Here is an example of a fulldrawdown printout for a fabric of24 ends and 24 picks on 8 har-nesses and 10 treadles on a tie-up loom (for clarity, the threadcolor codes have been omitted).
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Threading DiagramSelecting “Threading Diagram”in Print Options directsWeaveMaker to print the thread-ing as a diagram.
The threading diagrams followthe same basic plan as do thepeg plan diagrams, and have thesame size, labeling, and format-ting options.
Please turn the page for a com-plete description of these op-tions.
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Peg Plan DiagramSelecting “Peg Plan Diagram”in Print Options directsWeaveMaker to print the pegplan as a diagram. Whatfollows are samples showingthe formats WeaveMaker canproduce.
The diagrams below illustratethe basic forms of a peg plandiagram.
Pick #1 is at the bottom, har-ness #1 is at the left. Afterevery four harnesses or picksthere is a line; this alternatesbetween being a thin line anda thick line, which helps youreye track through the diagramwithout error. Several sizes ofsquares are available.
The three diagrams (oppositepage, left) show variations onthe basic diagram (they all
represent the same information,however). The one on the ex-treme left uses harness numbersin place of the solid blacksquares. The middle diagramuses X’s, while the one at theright uses open squares.
Color can be shown with a lettercode by each pick (oppositepage, right, shown in largeformat), or in its own separategrid. Note that each of thesediagrams is showing the samecolor information.
Note: if you want only thin sepa-rator lines, uncheck “thick lines”in Print Options.
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Warp/Weft Colors TableSelecting “Color Table” in PrintOptions adds one page to theprintout. The page holds twotables, similar to the examplebelow, giving the color codesused in the warp and weft, thecount of ends or picks in eachcolor, and the percentage ofends or picks which are of eachcolor.
The example shows a warparrangement of 50 ends, using 7separate colors. Each color isidentified by an arbitrary codeletter. In this example, eachcolor is used for either 5 ends or10 ends.
In the actual printout, there willbe two tables; one for warp andone for weft.
The code letters, while arbitrary,are consistent throughout allWeaveMaker printouts for agiven design. Thus, color “g” inthis table names the same coloras the color letter “g” where itappears in a warp or weftthreading table (n some otherdesign, however, “g” would be adifferent color that that used forthis design).
Tie-up DiagramWeaveMaker does not at thistime provide a separate tie-updiagram. However, the draw-down diagram includes a tie-up.
Fabric Swatch In ColorSelecting “Fabric Swatch” inPrint Options causesWeaveMaker to produce a singlepage of output showing thefabric drawn at a scale of 72ends per inch. A typical page ofoutput (letter size) is largeenough to show about 500 endsand picks.
Alternatively, you can select the“Weave Simulation” option,which directs WeaveMaker toprint a realistic fabric swatch.
This output will normally bedone in color. You can force it toblack and white (necessary ifprinting to a non-color printer)by selecting “Omit Color” in theLoom Menu. This converts theon-screen drawdown to blackand white, and causes the “Fab-ric Swatch” print option to sendonly the colors black and whiteto the printer (warp will be inter-preted as black, weft as white, oryou can select “Back Side” in theLoom menu to reverse this color
assignment). Weave simulationsrequire a color printer.
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Analysis
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To use Analysis, first create a threading(draw it yourself, use the Cornucopia tool, orselect a threading from the Library menu).
Then draw your design in this area usingthe pencil tool (as illustrated below).
WeaveMaker figures out thepeg plan for your design.
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AnalysisAnalysis is the process of deter-mining the threading andpegplan, or threading, tie-up,and treadling, that produces agiven weave. In other words, inanalysis, you start with a weaveand work backwards to thethreading and peg plan whichwill produce that weave.
WeaveMaker will perform ananalysis at any time. When youwant to edit the weave, click inthe drawdown area of the designwindow, and the peg plan (or tie-up, if you are designing for a tie-up loom) will be changed toreflect what you drew. Note thatthis happens immediately andautomatically; you do not haveto tell WeaveMaker to analyzeyour design, it just does it.
For example, consider the se-quence of steps illustrated on thefacing page. In the top figure athreading has been filled in.Then, as illustrated in the lowerfigure, you use the pencil tool todraw a design. WeaveMakerfigures out an appropriate pegplan.
If you then repeat the figure withvertical mirroring (see “Repeats”in the Index), you get the designillustrated at the bottom of thispage.
You may click in the weave atany time. For example, it isperfectly reasonable to changethe threading, then edit theweave, then change the thread-ing, then edit the peg plan, thenchange the weave, and so on andso forth. WeaveMaker does notimpose rules on you: you cancreate and edit your design asthe spirit moves you.
The design analyzed on thefacing page yields this fabric:
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Jacquard
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There are several possible solu-tions to this dilemma. Onewould be to use WeaveMaker’sCAD tools to improve theweaveability, a quite practicalapproach but one which mayreduce the qualities of the de-sign which make it so attractive.Another would be to interpretthe design as a knit fabricrather than a woven one. An-other would be to use a jac-quard loom in place of a dobbyloom.
This section deals with the latterapproach—recasting aWeaveMaker design for dobbyweaving.
32 harnesses, tromp-as-writ, Random Walk threading, Wrapped Twill tie-up.
WeaveMaker is fundamentallya dobby weaving program.However, its cornucopia gener-ates designs which can stretchthe limits of dobbyweaveability. Indeed, used at,say, 32 harnesses, some com-binations of cornucopia set-tings are practically guaran-teed to generate unweaveabledesigns.
And yet many of these designsare beautiful, and certainlythey tend towards the unusual.Thus, designers usingWeaveMaker will see designsthey like but which they aredisinclined to dobby weave.
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Jacquard EditingWhile in jacquard mode, youwill use the crayon tool to setcolors (weave types) in thedrawdown. But you can alsouse the crayon tool to changethread color assignments inthe warp and weft (just as youwould in a dobby design). Inthe former case, you are usingcolor as a code to show theweave type, while in the latterthe colors stand for them-selves.
If you edit the colors in theTool window, you will be edit-ing both the weave-code colorsand the thread colors.
Clicking a square in the draw-down with a crayon changesthat square to the crayon color.
Hold down the command keyand note that the cursorchanges to a pencil. Use thisto set a square to black orwhite (click once for black,click again for white, clickagain for black, et cetera).
Conversion to JacquardSelect “Jacquard” in the Loommenu to convert a dobby designinto a jacquard design. You maywish to save your dobby designfirst, as there is no generalmethod available to convert ajacquard back to a dobby shouldyou change your mind (but youcan use Undo if you accidentlyconvert a dobby to a jacquard).
When you do this, the followingchanges will occur to the designwindow:
a) The existing threading, tie-up,treadling, and peg plan will beerased, as these are irrelevant injacquard weaving. The gridswhich held these elements arestill present in a one-harness orone-treadle form, but this is onlydone to enable you to continueto use the selection tool andthus create repeat blocks; thegrids themselves will always beempty.
b) The drawdown is converted toblack and white. In aWeaveMaker jacquard draw-down, color denotes a type ofweave, not the color of the fabricat that point. Thus you start offwith two types of weave (theassignments of weaves to colorsis up to you, so “white” and“black” weave types will bewhatever you wish them to be).
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In the jacquard design, each square in the “drawdown”represents a space which will be filled with a particulartype of weave. The color of the square is a code whichdescribes the kind of stitch used in this area. Here thereare only two colors (black and white), so there are just twokinds of stitches. Use the color crayons to assign colors(see text for details).
In a dobby design,each square in thedrawdown repre-sents a place wherea warp threadcrosses a weftthread. Blackconventionallysignifies the warpthread going over(on top of) the weftthread, while whitemeans the weftthread is on top.
DobbyDesign
JacquardDesign
In either design,these colorsshow the color ofthe threadswhich make upthe fabric.
This grid, which in a dobby design would show the threading, does not containany information in a jacquard design. However, you can use the selection tool inthis area to set up repeats just like the repeats WeaveMaker offers for dobbydesigns.
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If you hold down the control(“ctrl”) key and click, the squareunder the crayon changes to thecolor of the crayon, plus allsquares which are in contactwith that square and are thesame color as it also change tothe new color (see illustration atright).
This lets you set large, con-nected areas of the design to anew weave quickly.
Jacquard PrintingThe diagrams on the facing pageillustrate some points aboutWeaveMaker’s jacquard printing.
Note in particular that the weavecodes, which are represented byvarious colors in the jacquarddrawdown, are converted toweave symbols in the printout.These guide the mill in settingup the loom.
The thread colors appear in theprintout just as they would in aWeaveMaker dobby printout,and all the same options of gridsize and formats for showingcolors are available to you.
Clicking here with agray crayon withthe ctrl key helddown yields this:
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White squares in the jacquard drawdown appear here as blankspace; black squares are black here; and colored squares becomesymbols (such as triangles or diamonds).
Sample Jacquard Printout
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Factsand
Figures
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Facts and Figures
ColorwaysAn individual colorway (one rowacross the colorway window) cancontain up to 16 color chips.This means that WeaveMakerlimits a fabric to 16 colors (totalacross warp and weft) in its colorarrangement.
A single fabric cannot have morethan 40 distinct colors, total, inall its colorways. This is thesame as saying that the totalnumber of unique colors whichcan appear in the colorwaywindow is 40.
If a given color appears in sev-eral different colorways, it stillonly counts as one color.
A fabric can have up to 5colorways (there can be up to 5rows of color chips in thecolorway window).
DesignsUp to 3 designs (designs) may beactive at one time.
Ends, PicksThe number of ends or picks canbe as few as 1 or as many as1,000.
Note: special versions ofWeaveMaker are available whichcan handle more than 1,000ends or picks.
HarnessesWeaveMaker handles any num-ber of harnesses from 4 to 32.
PalettesUp to 2 palettes may be active atone time.
A palette may contain up to 72screen colors. Note that theprinter colors do not count to-wards this limit (in some strictsense, then, a palette might besaid to contain up to 144 colors,counting both screen and printercolors). Permanent black andwhite count towards this limit(restricting you to 70 colors ofyour own creation).
HSLWeaveMaker uses the standardnumbering system for encodingcolors as hue/saturation/lumens(HSL).
Each color component rangesfrom 0 to 65,535. White has avalue (brightness) of 65,535 anda saturation of 0. Black has avalue (brightness) of 0.
RGBWeaveMaker uses the standardMacintosh numbering system forencoding colors as red/green/blue (RGB).
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Each color component rangesfrom 0 to 65,535. White hasred, green, and blue all set to65,535. Black has red, green,and blue set to 0.
TreadlesWeaveMaker handles any num-ber of treadles from 4 to 32.
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Phone: (530) 893-4915(800) 626-9615
Internet: [email protected]
We welcome your questions,comments, and suggestions forimprovements. When you call us youreach someone who knows theproducts inside out, because we alldesign and help create the products.
Improvements in our products comepartly from our own ideas, but moreso from suggestions from ourcustomers. So we would love to hearfrom you.
AVL is located in the Pacific timezone of the United States.We answer the phone unlesswe’re asleep, so call us anytime.Our answering machine is alwayson alert, and we return phone calls.We monitor our electronic mailfrequently, so that’s another greatway to get in touch with us.
TechnicalAssistance
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Symbols3-D, Show Fabric in 90
AActions 43Algebraic 61Analysis 185Automatic Mode 102AVL Dobby 78AVL Soft Reset 79
BBack Side 71Blends, color 162Block Tools 42. See also Marquees
CCartridge, Close AVL 79Cartridge, Open AVL 79Change Scale Tool 35Changing
tie-up to peg plan 67Clear 58Clear Colorway 59Clear Entire 60Close 55Close AVL Cartridge 79Color
changing 152dragging 155editing RGB’s 152exchanging warp/weft 70matching 148naming 148omitting 71overview 144palettes 144scheme selection 161sorting 151tromp 70using in a design 150
IndexColor Bars 26Colorways
adding color chips to 155multiple 157window 154
Continue 56Converting
tie-up to peg plan 67Copy 58Cornucopia
color 160overview. See also Schemes
Cornucopia Tool 31Courteous (Dobby) 74Custom Forms 171Cut 58
DDelete Threads Tool 35Denting 83Design Window 24, 82Divided Drafts 138Dobby
AVL 78AVL Soft Reset 79close AVL cartridge 79Macomber 74open AVL cartridge 79SLIPS 76
EEnds
setting number of 66Examples
weaves 51Exch Warp-Weft Colors 70Export 55Eyedropper Tool 33
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FFabric Swatch 91Fast (Dobby) 74Flip. See Marquees: actionsFloats
diagram 26histogram 89interval, setting 36whole fabric 71
GGrid Options 56
HHand Tool (Harness Shuffle) 34Hand Tool (Marquee Resize)) 34Harnesses
setting number of 66Heddles/Harness 88Help, technical assistance 197Hiding Windows 82
IInsert Threads Tool 35
JJacquard 189
LLocking 60Loom Menu 65
MMacomber (dobby) 74Marquee Tool 32Marquees
actions 43
NNetwork Drafting 112New Draft 54New Palette 55
OOmit Color 71Omit Structure 71Open 54
Open AVL Cartridge 79Open Palette 55
PPage Setup 56Palettes
creating 145overview 144
Paste 58Pattern Menu 99Peg Plan, changing to tie-up. See
ChangingPeg Plan Pane 25Pencil Tool 30Picks
setting number of 66Picks per inch 67PICT
exporting 55Preferences 63Print Options 173Print Preview 56Printing 171
colors 177fabric swatch 182jacquard 191symbols 176threading 179
QQuit 56
RRemarks 63Repeats
controlling 42examples 38
Basket Weave 51Hound’s Tooth 51
introduction 38. See also Mar-quees
resizing 46types of 44
Repeats Window 88
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SSave 55Save Palette 55Save Palette As 55Schemes. See also Cornucopia
automatic mode 102examples of using 102introduction 100turning on and off 101whole fabric 133
Select 58Select Entire 59Show Cursor Position 84Show Fabric in 3-D 90Showing Windows 82Simulation, weave. See Weave
SimulationSLIPS 76Soft Reset, AVL Dobby 79Split Harness 90Stop Motion 67, 84Surface Patterns 17Swatch, fabric 91
TThreading Pane 24Threads per inch 67Tie-up, changing to peg plan. See
ChangingTIFF
exporting 55Tools
change scale 35cornucopia 31delete threads 35hand (harness shuffle) 34hand (marquee resize) 34insert threads 35marquee 32pencil 30
Treadlessetting number of 66
Treadling Pane 25
Tromp as Writ 68colors 70weave structure 68
Turn Fabric 70Turn Weave 70
UUndo 58
WWarp Threads
setting number of 66Weave Simulation 92Weft Threads
setting number of 66Windows
hiding 82showing 82
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