I just did a weave with silver thread for the design and black for an overwrap. Some of the silver threads show through the black due to gaps that could not be burnished. After the first coat of epoxy has anyone ever taken a black sharpie marker and drawn over these gaps to hide the design threads underneath then epoxy the second coat??

I don't think ANY BODY here will admit to doing that !!!!!!!!!!!!! ahahahhah (I have) no one knows but you !!!!!!!!!!!!

I have on one occasion. On a personal rod. Were I did not see the gap until I had already epoxied my first coat. It is not that obvious but you can see it if you look for it. I don’t think I would do it to a customers rod. I do how ever use it to coat the feet of black guides that I’ve ground the ends down on. On wraps that are going to be translucent. So that the metal does not show through the wrap.

I've done it, and will never do it again. On mine, as well as on others, you can plainly see where the marker was. I think you have a better chance of hiding it....if you pack teh threads better next time.

This morning I tried it and quickly wiped the marker off. I believe that you would be able to tell I used a marker (even though this was the pure black A thread, see one post down) and would rather see a little silver through the wrap than black marker over my epoxy. Billy, I tried burnishing the threads for an hour and couldn't get all the metallic from showing thru. The first and last time I will use A thread for a weave.

Scott; If there aren't too many places that show through just inlay a piece of thread using invisible thread to hold it in place until the finish or CP dries enough for you to trim off the ends. Then remove the invisible thread. How to is in Vol. 5 #4 or Vol. 6 #5 of RodMaker Magazine.



Edited 1 time(s). Last edit at 04/21/2006 10:28PM by Jim Upton.

When you say "burnish" do you mean you rolled or rubbed teh thread tool or burnisher on top of teh thread? Or did you pack the interlock point? I haven't doen any weaving, so I do not know how you guys go about packing threads. I know with a butt wrap there is a MAJOR difference in the results when you pack or when you burnish.

Jim

Thanks for the reply I remember you describing how this is done in Charlotte, however the problem I am having is not gaps in the design thread it is gaps in the overwrap.

Scott; You can do the same thing with the wrap. Just squeeze the thread in there to fill the gap.

Billy,
On the weaves I usually first burnish then use the roll technique after a couple of coats of CP. Just the way I do it. Randy.

Jim's technique makes sense to me for gaps in the wrap threads. In fact, I plan to use the techinque on my present practice weave, which has wrap thread gaps which probably can't be overcome by compression or flattening..

On this particular practice weave, I decided to use white size C NCP Gudebrod ( which is prrobably D in diameter) , with Gudebrod size A design threads. A bit of disconnect between between the two threads diameters I suspect.

Weaving is time-consuming and challenging for the elderly, but a lot of fun trying to get experience doing it. A bit frustrating at times, but that goes with learning a new thing. Better than weaving baskets!

Stan

I've been using Black A nylon for background or turning thread and gold or silver metallics in HT A for weave threads for years. The secret to no or small gaps fixable by burnishing, is to pack the black thread to the left after EVERY turn. sometimes easier said than done but if you do, and then burnish well, gaps will be minimized or not visable I like minimal black thread on either side of the weave and sometimes will get a gap at the left where I cut off the threads. Before putting on finish, I cover the metallic gap with black india ink, then cp over the ink, then finish. It does not show up after more finish applied. If it does, a diff shade of black looks better than gold metallic peeking through the black.
Using C for the turning thread and A for weave threads results in a blockier looking weave plus it will be longer and thinner. Reversely, once I wanted a rockcod weave to be fatter so I used A for the turning thread and Gold metallic D for the weave threads. WEave was much fatter which is what I wanted but by using the A for the turning thread it still didn't get the blocky look you get with using larger threads for the turning thread. I will admit, it is easier to use C thread for weaves just as its easier to use C thread for buttwraps or guides wraps. Just doesn't look as nice to me. Expensive clothes use the finer grade threads for the same reason. Factory wrappers under the gun to produce have no choice but to use C or larger which is much quicker to wrap. jmo

Jim,

Do you add extra turns of the black wrap threads at intervals to adjust image length? If so, how do you work this out without multiple practice weaves?

Stan

Stan,
I do not add extra turns, I don't know if I was lucky or what , but years ago I got graph paper that i've been copying ever since, to do the weave patterns and they just turn out to look on the rod just as they do on graph paper. But I've also done many of Doc's patterns esp his std yft and bft weaves in A and A and they turn out just fine also-many times I've had to alter his patterns when using A as his are designed for C and D and often use single threads which look ok in C or D but disappear in A thread.
Send me your address, snail mail and I'll send you a copy of the paper to try