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OVERSHOT HANDBOOK Reading drafts Balancing drafts Creating drafts 20 4 1 Madelyn van der Hoogt Madelyn van der Hoogt
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OVERSHOT HANDBOOK
Reading draftsBalancing draftsCreating drafts
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Madelyn van der Hoogt
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1 2 3 42/2 STRAIGHT TWILL
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Circle the pairs of shafts 1-2, 2-3, 3-4, 4-1.
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1 2 3 4
2/2 STRAIGHT TWILL
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Compare the circled pairs with the 2-span �oats.
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4 2
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1
4 2
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4 2
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AD
BC
THE TWILL CIRCLE
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Threading repeats progressin circular fashion, 1-2-3-4-1-2-3-4, etc.
2/2 twill treadling repeats are also progressin circles, 1-2, 2-3, 3-4, 4-1, 1-2, 2-3, etc.
Overshot blocks work very muchthe same way: A, B, C, D, A, B, C, D, etc.If the sequence changes direction, the block on which it turns is calledthe turning block.
In A, B, C, D, A, D, C, B, A
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–A is the turning block.
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333444
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34 4 4
12 2
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a b 1 2 3 4ABCD
A
B
C
D
A
B
C
D
4-SHAFT, 4-BLOCKOVERSHOT
Because the blocks share shafts, �oats in one block also cover the threads on one shaft in two other blocks. If shafts 1 and 2 are down in Block A, for example,shaft 1 is down in Block D and 2 is down in Block B.
Because a speckled e�ect shows in these blocks, they are called halftones.
It’s easier to see the appearance of the halftonesin a diagram that showsonly the pattern weft.
4
3344
33222 2 2
44 44 4 44333
433 3 33 3
222 2 22111111
221
21 1 11
1 2 3 4A B C D
A B C D
a b
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1 122
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112
334
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333333322222
44 444444
11111 1
34 4 4
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a b 1 2 3 4AC BD
A
B
C
D
SHOWING PATTERN WEFTS
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Drawdowns showing both the pattern and tabby wefts in overshot don’t really show how the cloth looks. Computer drawdowns are most helpful when they show the pattern weft only.
The number of pattern picks to weave in each block must be adjusted to weave “to square” (i.e., produce symmetrical motifs).
Notice that pattern-weft floats in one block overlap the two adjacent blocks by one thread. For symmetrical motifs (i.e., as tall as they are wide), the rule is to weave one fewer pattern pick per block than there are warp threads in the circled threading block. For Block A in the lower draft, for example, that would mean 11 pattern picks. Weaving this num-ber will also result in the same number of tabby picks per inch as warp threads per inch. However, it is usually difficult to beat the weft in that firmly.
For a warp set of 24 ends per inch, for example, that would mean weaving 48 picks per inch (24 tabby, 24 pattern). Removing a pick or two from the larger blocks usually helps produce symmetrical motifs. Sometimes a more open sett is required (20 ends per inch rather than 24, for example). In general, the shorter the floats, the more interlacements take place, making a firm beat more difficult to achieve.
OVERSHOT IS A BLOCK WEAVE, NOT A UNIT WEAVE
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Overshot is a block weave but not a unit weave. In unit weaves, threading and treadling units of the same block can be threaded or woven succes-sively as many times as desired. The entire interlacement of the unit weave, summer and winter, for example, takes place inside each unit, each group of four threads (1-3-2-3 for Block A, 1-4-2-4 for Block B, etc.). Also with unit weaves, any block can produce pattern or background with any other block.
In overshot, however, the number of times the threading for Block A (1-2) can be repeated is limited by the practical length of a pattern-weft float. This is because the pattern weft does not interlace at all within the group of threads in Block A to make pattern, but floats completely over it. Also, in over-shot, usuallly only one block produces pattern at the same time, limiting design possibilities.
When overshot blocks produce pattern in the same order as they are threaded, the treadling is called “as drawn in” or “star fashion”; see the upper draft. Another common treadling method is “rose fashion”; see the lower draft. Rose fashion treadlings also follow the threading order, except blocks are exchanged in the treadling: where Block A is threaded B is woven, where C is threaded D is woven, and vice versa. The exchanged block is woven as tall as the width of the original threaded block. Compare these two drafts.
ABCD
ABCD
Star fashion
Rose fashion
DRAFTING FORMATS
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The number of overshot drafts available in weaving texts is incredibly vast. Check the Overshot Bilbliography, pages 16–17, for a complete list of sources. The heyday of overshot weaving took place from the settling of the American colonies up to the Civil War. (After that time, industrial textile production brought an end to most handweaving, except for some areas of the south and, according to Mary M. Atwater, Weaver Rose in the North.) Much creative invention went into the patterns created so long ago, so much in fact, that it is very challenging to create any overshot design more satisfying. Wonderful collections of historical drafts appear in Mary Meigs Atwater’s Shuttle-Craft Book of American Hand-Weaving and Recipe Book and Marguerite Davison’s A Handweaver’s Pattern Book. The drafts in these books can be used exactly as they are for excellent results.
ABCD
Davison
Burnham
Wilson
Pro�le draft
222
222
22
2
2
22
22
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122
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32
32
34
34
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43
433
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ABCDCA B
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433
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ABCDCA B
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1
43
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2 32 1 2 134 34
2x2x2x2x
2 3
2x2x
14
2x
Three other very useful sources give the drafts in a format that has to be translated into actual threadings and treadlings: Marguerite Davison’s A Handweaver’s Source Book, Dorothy and Harold Burnham’s Keep Me Warm One Night, and Sadye Tune Wilson and Doris Finch Kennedy’s Of Coverlets. The methods they would use to show the threading for the Profile Draft at the top of the page are shown below it.
The most common method for translating their shorthand drafts, which is the one that was used historically, produces what is called an “unbalanced” draft.If you leaf through the photos of historical coverlets, you’ll detect the “unbalanced” motifs in almost all of them. A shorthand form was necessary for these very long threadings in an era of limited paper and quill-and-ink pens.
Watch the video to see how to circle the blocks in the draft at the bottom of this page, which is written the way it would have been translated historically.
UNBALANCED VS BALANCED
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Compare your circling of the blocks on page 7 with the upper draft on this page. The draw-down shows the threads that will be covered by floats as each block is woven. Notice that the mirrored blocks on each side of the “v” motif are different from each other by two threads.
The lower draft shows a drawdown in which the floats on each side of the motif are the same size. Page 9 gives the steps for deriving a balanced draft from the threading drafts given in Davison’s A Handweaver’s Source Book, Burnhams’ Keep Me Warm One Night, and Wilson/Kennedy’s Of Coverlets.
Remember that Atwater and Davison (in A Handweaver’s Pattern Book) balanced all the drafts before publishing them.
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4433
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ABCDCA B
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433
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ABCDCA B
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BALANCING A DRAFT
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To thread overshot from a profile draft (or from Burnham, Davison, or Wilson/Kennedy), thread each block the number of times indicated, but count the last thread of one block as the first thread of the next.
Turning blocks will have an odd number of threads to make the last shaft in the turning block the first thread of the next block. Either add or subtract one thread from each turning block.
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a. Count the last threadof one block (2 when goingfrom A to B) as the �rst thread of the next.
b. To go from D (a turningblock) back to C, the �rstthread of the C block mustbe on shaft 4, not 1. Add a 4 as in Step c, or subtracta 1 as in Step d.
c. Add a 4 to produce the draft in e.
d. Subtract the 1 to produce the draft in f.
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ABCDCA B
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ABCDCA B4
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e. The completed draft with a 4 added in the turning block.
f. The completed draft with a 1 subtracted in the turning block.
D ABC
AB
D ABC
D ABC
*
*
C
C
To thread A-B-C-D-C-B-A:
C
C
ABCD
Pro�le draft
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ABCD
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2 44
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2 2 23 3 3 2 3 2 3 2 3 2 3 2 331 1 2 1 2 14 4 14 144 34 34 34 3434
2x2x2x2x2x2x2x2x2x 4x 4x 4x 4x 4x 4x 4x 4x2x2x2x
DRAFTING PRACTICE
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The draft at the top is part of a draft called Johann Lud-wig Speck No 33 (p. 189 in Marguerite Davison’s A Handweaver’s Source Book. It is shown here as it appears in Davison, as it would ap-pear in Wilson/Kennedy and in Burnham, and as a profile draft. See if you can rewrite the draft so it is balanced. Answers are on page 11.
From Davison
As it would appear in Wilson/Kennedy
As it would appear in Burnham
As a profile draft
BALANCING, REDUCING, ENLARGING
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33344
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Compare your work on page 10 with the drafts shown below. For further practice, try creating some small designs in profile draft form and see if you can write your own drafts. Notice that most motifs in overshot are created by alternating two blocks and varying their sizes and/or threading the four blocks in point order.
When you have created a draft, check the total number of warp threads. If you need to add or remove threads for your purpose, simply add or subtract pairs of shafts within the circled threads, remembering to maintain the original proportions of th e blocks.( / = a pair of shafts added or a pair crossed out.)
Balanced draft from page 10 with 1 thread subtracted from each turning block.
Balanced draft from page 10 with 1 thread added to each turning block.
Add pairs of shafts to enlarge a draft, maintaining block proportions.
Subtract pairs of shafts to reduce a draft, maintaining block proportions.
FROM FOUR TO EIGHT SHAFTS
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Halftones appear in 4-shaft overshot because blocks share shafts. If the same four blocks are threaded on eight shafts, it is possible to weave an overshot cloth without halftones. Compare the two drafts shown here.
88 88 8 887 7777 7 776666 6 66 6 66
5555555 5 5 5444 44 443333
4433 3 3
433
22 2 2221111
221
21 1 1
211
1 2 3 4A B C D
a b
3344
33222 2 2
44 44 4 44333
433 3 33 3
222 2 2211111
4
1122
12
1 1 11
1 2 3 4A B C D
a b
= shafts down to show pattern-weft float.
Notice that if you circle the blocks on eight shafts, the circles will not overlap. There will therefore be one more thread in each block on eight shafts than on four. Notice, too, that if there are no halftones, the back of the cloth will show very long floats.
DESIGNING HALFTONES ON EIGHT SHAFTS
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Realizing that halftones are necessary for cloth stability leads to realizing that they can become a design feature. In the upper draft, the halftones are placed in adjacent blocks, the way they would appear on four shafts. Floats overlap adjacent blocks by two warp threads, however, instead of one.
88 88 8 887777 7 776666 6 66 6 66
555555 5 5 5444 44 4 443333
4433 3 33
222 2 2221111
221
21 1 11
1 2 3 4A B C D
a b
= one shaft left down in the non-adjacent block
8 88 8 887777 7 776 6666 6 66 6555555 5 5 5444 44 44
33344
33 3 3 33222 2 22
11122
12
1 1 111
1 2 3 4A B C D
a b
= one shaft left down in both adjacent blocks
In this draft, halftones are placed in non-adjacent blocks.
DESIGNING “TABBY” HALFTONES ON EIGHT SHAFTS
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Since two shafts alternate in each block and odd shafts always alternate with even shafts, half-tones can create a checkerboard look rather than a gridded look. Two treadles are used for each block so that as one block weaves pattern, the two shafts in the halftone blocks alternate.
8 8 8 8 87 7 7 7 76 6 6 6 6
5 5 5 554 4 4 4 43 3 3 3 3
2 2 2 2 21 1 1 1 1
1 2 3 4 5 6 7 8
8 887 77
6 665 55
4 4 43 33
22211 1
1 2 3 4 5 6 7 8
8 88 8777 7 7
666 6 66 655555 5 5
44 44 4333
4433 3 3
22 2 2111
221
21 1 1
A B C Da b
= shafts left down for “tabby” halftones, non-adjacent block= block weaving pattern
8 88 8777 7 7
666 6 66 655555 5 5
44 44 4333
4433 3 3
22 2 2111
221
21 1 1
A B C Da b
= shafts left down for “tabby” halftones throughout= block weaving pattern
If all blocks except the block weaving pattern produce “tabby” halftones, the background is a solid mix of pattern-weft/tabby weft color. On the reverse, only the warp and tabby weft show in each block, a creating durable fabric suitable for upholstery (no floats!).
Blumenthal, Betsy. “Overshot Upholstery.” MJ98: pp. 34, 96–97. [8*]
Bradley, Louise. “Scandinavian-Influenced Upholstery Fabric.” MJ90: pp. 61, 91–92. [4]
Bruhin, Terri. “Designing on the Loom for Folklore Vests in Overshot.” JF04: pp. 64–67. [4]
Dixon, Anne. “Overshot Waistcoat.” SO98: pp. 52–55, 78–81. [8]
Eppinger, Lin. “Overshot Placemats.” FW80: pp. 44–45. [4]
Greaves, Lynne. “Color Blanket for a Baby.” MJ93: pp. 67, 89–90. [4]
Hagenbruch, Rita. “Ribbons of Overshot for a Soft Spring Shawl.” MA07: pp. 48–50 [4]
Horton, Susan. “Pillow and Table Squares in Overshot and Ducape.” MJ08: pp. 54–56 [4]
Houghton, Sylvia. “Undulating Overshot for Scarves.” ND02: pp. 56–58; errata JF03, p. 14 [4]
Hutchison, Jean. “A Son’s Coverlet.” JF94: pp. 59, 94–95. [4]
Killeen, Leslie. “Fiesta Cloth: Coloring by the Numbers.” MA07: pp. 56–58 [4]
Jaastad, Sandee. “Toddler Dresses with Overshot Yokes.” MA99: pp. 54–55, 73–75. [8]
Jones, Janice. “Country Pillow.” SO85: pp. 48, 49, IS: 7–8. [4]
Kaulitz, Manuela. “Blanket Weave.” SO93: pp. 69–71, 94; errata ND93: p. 77. [8]
Ligon, Linda. “Carpetbag Briefcase.”JF84: pp. 49, 91. [4]
Liles, Suzie. “Fiesta Tablewear for Fiesta Dinnerware.” MJ05: pp. 56–59 [4]
Norris, Scott. “Color and Pattern in Overshot.” MA11: pp. 56–59 [4]
O’Connor, Marina. “Batch of Baby Bibs.” MJ93: pp. 68, 90–91. [4]
__. “Thousand Flowers Towels.” MJ98: pp. 35, 98. [4]
Palson, Patricia. “Color with Overshot Blocks.” MJ00: pp. 48–51. [4]
__. “Overshot Baby Blanket.” MA92: pp. 66, 88–89. [4]
__. “Overshot Elegance: A Shawl and Hat.” MJ01: pp. 74–77; errata MJ02, p. 14. [4]
Patrick, Jane. “Country Overshot.” SO85: pp. 48–51.
Scorgie, Jean. “Designing Fair Isle Patterns with Overshot.”SO91: pp. 76–77, 95–96. [4]
Stahl, Yvonne. “Overshot Gets a Makeover: It’s All about Color.” MA07: pp. 52–54 [4]
States, Diantha. “Overshot Patterns Woven in Two Colors.” JF94: pp. 52–53.
Sullivan, Donna. “Overshot Borders with Eight Shafts.” MA95: pp. 80–82.
Sundquist, Wendy. “Twenty-Five Snowballs Coverlet.” JF94: pp. 51, 92–93; errata SO94: p. 82. [4]
Tardy, Vicki. “A Color Gamp in Overshot.” JF04: p. 51. [4]
Thompson, Anita. “Samples Can Be Beautiful—Turn Yours into Heirloom Accessories!” MJ10: pp. 40–42 [8]
___. “Cornucopia Placemats and Napkins.” SO14: pp. 38–40 [8]
Wertenberger, Kathryn. “Overshot Coverlet.” FW80: pp. 47, 70–71. [4]
OVERSHOT PROJECTS FROM HANDWOVEN THAT EMPHASIZE THE USE OF COLOR
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*numbers in brackets indicate numbers of shafts required for the project
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Atwater, Mary Meigs. A Book of Patterns for Hand-Weaving by John Landes. Hollywood: Southern California Handweavers’ Guild, 1977. Pattern book of a professional 18th century weaver with many 4-shaft overshot threading drafts.
___. Recipe Book: Patterns for Handweavers. Salt Lake City: Wheelwright Press, 1975. Contains recipes (with weaving specifics) for many fabrics (cov-erlets, rugs, clothing, wall hangings, bags, etc.), including several in overshot.
___. The Shuttle-Craft Book of American Hand- Weaving. Petaluma, California: Shuttle-Craft Books, 1951. Includes history and drafting theory and 147 overshot threading drafts, some illustrated with photos or pattern-weft drawdowns.
Black, Mary. Key to Weaving. New York: MacMillan Publishing Company, 1980. A chapter on overshot gives the basics on drafting 4-shaft overshot and a variety of treadling variations (flame point, Italian, honeycomb, etc.).
Bress, Helene. The Coverlet Book. Gaithersburg, Maryland: Flower Valley Press, 2003. Two volumes. Vol. I contains almost 500 pages of analysis of 4-shaft overshot coverlets including drafts, draw-downs, and construction details. Vol II includes the same information about multishaft overshot coverlets (and coverlets in other structures).
___. The Weaving Book. New York: Scribner’s, 1981. Good discussion of overshot theory with 20 overshot coverlet drafts including treadling instructions.
Burnham, Harold B., and Dorothy K. Burnham. Keep Me Warm One Night: Early Handweaving in East-ern Canada. Toronto: University of Toronto Press, 1972. Includes coverlet-weaving history in eastern Canada and 123 threading drafts, description, and provenance for nineteenth-century overshot cover-lets with accompanying photos.
Davison, Marguerite Porter. A Handweaver’s Pattern Book. Revised edition. Swarthmore, Pennsylvania: Marguerite Porter Davison, 1977. Chapters (Monk’s Belt, Block Designs, Diamonds, Rose Designs, Overshot Novelties, Large Overshot, and Squares with Borders) give 131 complete overshot drafts with black-and-white photos of the woven cloth.
___. A Handweaver’s Source Book. Chester, Penn-sylvania: John Spencer, Inc., 1953. Includes 224 overshot threading drafts (from the Laura M. Allen collection) with drawdowns of the pattern blocks (not including halftones).
Drooker, Penelope B. Samplers You Can Use: A Han-weaver’s Guide to Creative Exploration. Loveland, Colorado: Interweave Press, 1984. Includes the original sampler/pillow project featured in the vid-eo with eleven different treadling systems (among twelve project samplers in other weave structures).
Estes, Josephine E. Miniature Overshot Patterns for Hand Weaving Parts I & II. Boston: Josephine E. Es-tes, 1956. Includes threading drafts, treadling orders, and pattern-weft drawdowns for 48 overshot patterns (24 per volume). Also available in a new edition edited by Peter Mitchell and Marjie Thompson. Boston: Weaver’s Guild of Boston, 1995.
Frey, Berta. Designing and Drafting for Handweavers. New York: Macmillan, 1958. Includes discussion of drafting 4-block designs in overshot.
Jarvis, Helen N. Weaving a Traditional Coverlet. Loveland, Colorado: Interweave Press, 1989. Gives steps for choosing overshot patterns and adapting the drafts in order to weave an overshot coverlet.
Keasbey, Doramay. Designing with Blocks for Handweaving Bethesda, Maryland: Doramay Keasbey, 1993. Comprehensive discussion of block designs with a brief description of drafting overshot on four and more shafts.
___. Pattern Techniques for Handweavers. Eugene, Oregon: Doramay Keasbey, 2005. Comprehensive discussion of drafting 4-shaft and multishaft over-shot including treadling variations.
Hayes, Bertha G. The Complete Book of Bertha Hayes’ Patterns: 75 Drafts and Design Effects. East Berlin, Pennsylvania: The Mannings, 1957. Gives drafts (threading and treadling) and black-and-white pho-tos of the woven cloth.
Mitchell, Peter. Overshot: A Manual for Creative Drafting and Weaving. West Newton, Massachu-setts: Chesebro-Mitchell Associates, 1994. Over-shot theory with many techniques for creating original designs.
OVERSHOT BIBLIOGRAPHY
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Safner, Isadora M. The Weaving Roses of Rhode Island. Loveland, Colorado: Interweave Press, 1985. Gives the history and letters of early twentieth-century Weaver Rose and his wife Elsie and 245 overshot threading drafts with block drawdowns.
Safner, Isadora M., and Diane Piette. The Weaving Book of Peace and Patience. Brewster, Massachu-setts: Two Cape Cod Weavers, 1980. Contains 23 overshot coverlet drafts from the early 1800s.
Saltzman, Ellen Lewis. Overshot Weaving. New York: Van Nostrand Reinhold Company, Inc., 1983. Includes extensive drafting theory and twenty-five overshot drafts with drawdowns.
Sullivan, Donna Lee. Weaving Overshot: Redesigning the Tradition. Loveland, Colorado: Interweave Press, 1996. Gives extensive drafting and designing theory for 4-shaft and multishaft overshot.
Smayda, Norma and Gretchen, White, Jody Brown, Katharine Schelleng. Weaving Designs by Bertha Gray Hayes: Miniature Overshot Patterns. Atglen, Pennsylvania: Schiffer Publishing Ltd., 2009. A collection of 92 miniature overshot patterns, each including draft and photos in color of actual-size woven samples.
Strickler, Carol. American Woven Coverlets. Loveland, Colorado: Interweave Press, 1987. A collection of twenty-seven 4-shaft overshot coverlets with pho-tographs, drafts, computer-generated drawdowns, and all weaving information.
___. A Portfolio of American Coverlets, Vols. I–V. Boulder, Colorado: Carol Strickler, 1978—1983. Five folders each containing 25 coverlet descrip-tions with a photograph and/or computer gener-ated drawdown, threading and treadling instruc-tions, and known historical background for each.
Strickler, Carol, and Barbara Taggart. Weaving in Miniature. Loveland, Colorado: Interweave Press, 1980. Tells how to miniaturize drafts and includes 32 drafts for miniature coverlets in many struc-tures with photographs.
Tovey, John. Weaves and Pattern Drafting. New York: Van Nostrand Reinhold, 1969. Good discussion of drafting 4-block designs for overshot.
van der Hoogt, Madelyn. The Complete Book of Drafting for Handweavers. Petaluma, California: Shuttle-Craft Books, 1993. Drafting and designing 4-shaft and multishaft overshot.
___. Overshot is Hot. Sioux Falls, South Dakota: XRX Inc., 2008. Forty 4-shaft and multishaft projects plus articles on drafting and designing from Weav-er’s Magazine.
___, ed. Handwoven Magazine, Issue 134, March/April 2007. Loveland, Colorado: Interweave Press, 2007. Projects and technique information for drafting and weaving overshot.
Voolich, Erica. Playing with Blocks: An Exploration of Multiharness Overshot. Peabody, Massachusetts: Cross Town Shuttle, 1977. Extenisve theory for expanding 4-shaft overshot to more shafts.
Wilson, Sadye Tune, and Doris Finch Kennedy. Of Coverlets: the Legacies, the Weavers. Nashville, Tennessee: Tunstede Press, 1983. Historical Tennessee coverlets with photographs, threading drafts, and information about the weavers.
Windeknecht, Margaret. Creative Overshot. Shuttle Craft Guild Monograph 31. Petaluma, California: Shuttle-Craft Books, 1978. Drafting and design for unique patterns on four and more shafts.
Worst, Edward F. Weaving With Foot-Powered Looms, New York: Dover Publications, 1974. Contains 50 pages of overshot theory, drafts, and photographs of overshot fabrics.
Young, Helen Daniels. A Study of the Relationship Between Borders and Patterns. Brewster, Massachusetts: Two Cape Cod Weavers, 1982. In 22 pages, describes how to draft borders for over-shot designs with photographs of examples.
Zielinski, S. A. Contemporary Approach to Traditional Weaves: Overshot and Summer & Winter. Master Weaver Library Volume 7. Ottowa, Canada: Robert LeClerc, 1980. Gives thorough information about drafting 4-shaft and multishaft overshot including ‘code’ drafting (name drafting).
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