Silver 41 Manual

Using Fiberworks PCW4.
1 Silver
Weaving Software That Thinks Like Weavers Do
A variety of twills from 8 to 32 shafts designed by Ingrid Boesel. These are included with PCW Silver 4.1
Manual written by Ingrid Boesel and Bob Keates 20050401S4104
Software License for Fiberworks PCW4.1
Fiberworks PCW
27 Suffolk St W
Guelph, ON, N1H 2H9 Canada
phone: 519-822-5988
fax: 519-822-3095
email: info@fiberworks-pcw.com
website: http://www.fiberworks-pcw.com
2005 Fiberworks
Software is copyright protected. Making copies of this software is forbidden. You may
not sell, give, or assign this software without our written permission. You may use this
software on any of your personal computers, one at a time. We license the user, not the
computer.
Please abide by the spirit of good craftsmanship and do not copy this program. We
work very hard to give you the best software we can.
You may freely distribute any DEMO copies of Fiberworks PCW. That is what they are
for. If you need brochures or advertising material for your friends or weaving students,
we will be happy to send them to you.
Bob Keates and Ingrid Boesel, Fiberworks
The terms Microsoft, Windows, and Windows XP are trademarks or registered
trademarks of Microsoft Corporation, wherever referred to in this manual.
Note: This program runs on Windows
95, 98, Millenium Edition (ME), XP home edition

as well as Windows
NT4, 2000 Pro, XP Pro

Fiberworks 2005
Manual creation date: 2005/04/01, Updated: 2005/05/05
Table of Contents
19
New Drawdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
II-i
Section II: Menu Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
Printing order of multiple pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
Printing from Preview and Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
Printing with Print Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
Quick Guide to Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
Adding colors by keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
Picking a new color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
Adding color by mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
Basic Color Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
Drawing by Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
Drawing with Draw Tools by Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
Basic Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11
Summary: To save a design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11
Summary of File > Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
Summary: To open a design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
Quick Guide to Design Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
Mouse Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
Keyboard Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
File > Open Drawdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
Other parts of PCW4.1 window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
PCW4.1 Program Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
Description of the parts of PCW4.1 window . . . . . . . . . . . . . . . . . . . . . . . . . .
5
Getting to Know Fiberworks PCW4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
Navigating the Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3
Validation of PCW 4.1 Silver, getting your password . . . . . . . . . . . . . . . . . . . .
2
Upgrading PCW4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2
Creating a Shortcut on Your Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
Installation of PCW4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
Installing Fiberworks PCW 4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I-i
Section I: Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2005, Fiberworks Section I: Getting Started
Using Fiberworks PCW 4.1 Silver
36
Select: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36
Draw Mode: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
Transform: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
Paste as overlay: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
Interleaf Paste: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
Transparent Mode: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
Paste: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
Exploring Print Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
Design Page Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
Page Setup and Print Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
Preview and Print Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
Preview and Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
Print Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
How to Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
Save/Save As WIF files: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
Weaving file icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
File Types Used with PCW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21
Good file naming practices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21
Delete, Move or Rename a Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21
Managing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Exit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Recent Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Weave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Print Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
Preview and Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
Save and Save As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
Open Sketchpad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
New Sketchpad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
Open Drawdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
Warp Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
Warp Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
49
Color Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
48
Heddle Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
Notes: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
Notes and Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
Modify Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
Colors by Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
Changing the Color Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
Select Color Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
Warp Drawdown / Weft Drawdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
Double Weave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Weft Faced / Boundweave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Rep / Warp Faced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Interlacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Normal Cloth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Cloth Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
Misc. Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
Initial Print Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
New Design Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
Status Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
Compact / Expand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40
Grid in Cloth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40
Front / Back View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40
Color View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40
Magnification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40
View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
Link > Unlink: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
Delete: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
Insert: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
Copy Image: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
Color Picker or Pick up Color Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
Select All: (Keyboard: Ctrl + A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
67
Export to Sketchpad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
66
Shaft Shuffler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
66
Name Draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
65
Fold double . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
64
Edit Blocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
63
Substitution Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62
Block Substitution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62
Float search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62
Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61
Redraw on Network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Add Tabby, Remove Tabby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Weave as Drawn In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Reverse Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Make Symmetrical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
59
Weft Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
58
Weft Thickness Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
58
Weft Color Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
Weft Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
Weft Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
56
Shafts and Treadles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
56
Liftplan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
56
Tieup and Treadling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
Allow Multipedal Treadling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
Sinking Shed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
Turn Drafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
Change Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
Repeat by Quarters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
Twill Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
Tieup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
Redraw on network . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
Reverse Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
Make Symmetrical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51
Warp Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51
Warp Thickness Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
Warp Color Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
Designing an Advancing Twill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
85
Tieup with Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
84
Tieups with Repeat by Quarters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
84
Designing with Tieups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
Descending repeat: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
Advancing repeat: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
Drop repeat: 'R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
82
Rotated repeat: ^ R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
82
Mirror repeat: R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
82
Direct repeat: ' R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
82
Designing with Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
Designing with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
79
Combining colors from two designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
79
Entering complex color orders by Copy/Paste . . . . . . . . . . . . . . . . . . . . . .
79
New colors by changing the palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
78
Modifying the colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
78
Adding a simple color order by menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
77
Adding colors quickly - use keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
77
Adding more than two colors to a design . . . . . . . . . . . . . . . . . . . . . . . . . . .
77
Designing with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
III- i
Section III: How to Design ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
74
Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
73
Sketchpad Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
73
Sketchpad > Manual Color Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . .
72
Sketchpad > Automatic color Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
Sketchpad > Regrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
Sketchpad > Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
Sketchpad > Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
Sketchpad > View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
70
Sketchpad > Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
69
Sketchpad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
About PCW... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
Help Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
Help menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
Windows menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
111
Appendix 7: Name Draft Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
110
Appendix 6: Structures in Block Substitution . . . . . . . . . . . . . . . . . . . . . . . . .
109
Cloth Popup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
108
Popup Menu for Selection in the Tieup . . . . . . . . . . . . . . . . . . . . . . . . . . . .
108
Extend Selection Popup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
107
Unlink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
107
Insert extra threads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
107
Delete, close gap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
107
Blank out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
107
Selection Popups to Select Threading or Treadling . . . . . . . . . . . . . . . . .
107
Appendix 5: Popup Short Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
106
Transform of Tieup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
105
Transform in Color or Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
104
Transform in Threading or Treadling . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
104
Appendix 4: Transform Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
102
Appendix 3: Using Number Keys in PCW4 . . . . . . . . . . . . . . . . . . . . . . . . . . .
101
View Mode Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
100
Navigation keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
100
Appendix 2: Using the Keyboard in PCW4 . . . . . . . . . . . . . . . . . . . . . . . . . . .
98
Table 2, Image Manipulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
97
Table 1, Windows Standard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
97
Appendix 1: Mouse Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
IV-i
Section IV: Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
95
Design a Liftplan: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
94
Fabric Analysis: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
93
Draw Motif: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
93
Designing with Sketchpad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
Designing Shadow Weave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
91
Overshot with Networks Drafting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
89
Overshot by Block Substitution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
89
Designing Overshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
87
Designing a Network Draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
Treadling Draft with Weave as Drawn In . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
Tieup with Twill Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
Threading Draft with Warp Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Text Box or Edit Control Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Drop Down Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Check Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Undo Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Toggle Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Spin Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Radio Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
OK Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Close Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Cancel Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Apply Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Accept Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
Buttons and Tool buttons (Icons) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Popup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Flyout Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Drop Down Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
116
Drag and drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
115
Right Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
115
Moving the Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
114
Scroll Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
114
Resize handle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
114
Resize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
114
Close Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
114
Full Screen or Window button (Maximize) . . . . . . . . . . . . . . . . . . . . . . . . .
114
Minimize button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
113
Title Bar and Active Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
113
Finding Folders and Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
113
The names and functions of parts of Windows 98 to XP . . . . . . . . . . . .
113
Appendix 8: Some Windows Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . .
112
References for Name Drafts: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
111
Name Draft Codes by Fiberworks 1997 . . . . . . . . . . . . . . . . . . . . . . . . . .
125
Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
124
Problem: Screen colors do not match the printer colors. . . . . . . . . . . . . .
124
Problem: How do I make plain graph paper? . . . . . . . . . . . . . . . . . . . . . . .
123
Problem: How do I make graph paper . . . . . . . . . . . . . . . . . . . . . . . . . . . .
123
Problem: Areas of empty space in the final print . . . . . . . . . . . . . . . . . . .
123
Problem: Documents Format is Invalid . . . . . . . . . . . . . . . . . . . . . . . . . . . .
123
Problem: I cant open a weaving file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
121
Problem: I cannot find the PCW.exe program file . . . . . . . . . . . . . . . . . . .
121
Appendix 10: FAQs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
120
Software used for this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
120
Great Books for PCW Owners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
119
Weaving Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
119
Designs on Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
119
Designs on Web Sites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
119
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
118
Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Section I : Getting Started
18 Printing order of multiple pages
17 Printing from Preview and Print
17 Printing with Print Direct
17 Quick Guide to Printing
16 Adding colors by keyboard
15 Picking a new color
15 Adding color by mouse
15 Basic Color Use
14 Drawing by Keyboard
12 Drawing with Draw Tools by Mouse
12 Basic Drawing
11 Summary: To save a design
11 Summary of File > Save
10 Summary: To open a design
10 Quick Guide to Design Basics
9 Mouse Actions
9 Keyboard Actions
8 File > Open Drawdown
8 Other parts of PCW4.1 window
7 PCW4.1 Program Window
6 Description of the parts of PCW4.1 window
5 Getting to Know Fiberworks PCW4.1
4 Navigating the Manual
3 Validation of PCW 4.1 Silver
2 Upgrading PCW4.1
2 Creating a Shortcut on Your Desktop
1 Installation of PCW4.1
1 Installing Fiberworks PCW 4.1
Installing Fiberworks PCW 4.1
Note: Links to other parts of the manual are turquoise, bold, italic and underlined.
If you click on one, it will move you to that section of the manual. If you are using
the hard copy manual, we have tried to include page numbers.
Note: Windows offers two modes to Choose (or Select) or Open an item.
Single click mode: Point and rest the cursor on an item to choose it; Windows
acknowledges by highlighting the item. Click once with left mouse button to Open
it. (This mode is often the default setting in Windows XP)
Classic Windows mode: Left click once to highlight and choose the item. Double
left click to Open it. (A more positive way of using the mouse)
Various versions of Windows may have slightly different wording, but one of these
procedures will work. This manual will try to use Highlight and Open or Choose as
often as we can. Use the method you are comfortable with to Choose or Open.
Note: If you are upgrading your program from a previous version of PCW, please
go to Upgrading to PCW4.1 on pg 2 .
Installation of PCW4.1
1a. Insert Fiberworks CD into your drive. The CD should start in about 10
seconds. You may see the icon at the left when viewing the contents of
the CD drive.
1b. If starting from a copy of the program downloaded from the web, navigate
to and open it. This is a Self Extracting Zip file.
2. A dialog opens giving you instructions. Read them. Click OK. .
3. The WinZip Self Extractor appears. Find the Unzip to folder field and note as
to the location of the folder listed. It should be called C:\Fiberworks. If this is
satisfactory, choose Unzip (1). The next dialog will tell you that 30 files will be
unzipped. Press OK
(2). Press Close (3).
If you want the program in a
different folder or even a
different drive, change the
Unzip to Folder before using
Unzip. It is not a great idea
to move the program from
one file or drive to another.
Associations may get lost.
This dialog shows 41 files
are unzipped. This is an
arbitrary number, as this
changes from time to time
2005, Fiberworks 1 Section I: Getting Started
Creating a Shortcut on Your Desktop
You can create a shortcut either on your desktop or in a folder of your choice.
If you put the shortcut icon on your desktop, its always easily accessible. Look
for the small white arrow in the lower left corner, the mark of a shortcut.
4. Open My Computer and then open Local Disc (C:), open the folder
Fiberworks. The icon of a folder is shown at left.
5. Highlight the PCW icon. at left and right click.
6. Go to File > Send to > Desktop as a Shortcut.
7. The shortcut will now appear on your desktop called Shortcut to PCW.
Rename it to something like PCW4.1S or PCW Silver if you want.
If you look at the contents of the CD, you will notice that there are several
items. One item is the Self Extracting Zip file, pcw41Silver.exe. The icon is
at the left. This is not the program, it is the installation package.
The readme.txt file is another item. If you have any questions about installation
they may be answered there. The icon is shown at left. The other items are
utilities needed to open and identify the CD.
If you do not see file extension, eg. pcw.exe, then the file extensions are hidden. You
can turn them on, it makes life much easier. See Problems: I cannot Find the
PCW.exe program file, pg. 121
Editorial comment: Buy a good Windows "How To" Text. The series written by
Maran or Maran Groups under the general name of Teach yourself Windows xx
Visually, or Learn Windows xx Visually are excellent. Clear and visual. You can
buy one for your version of Windows.
Upgrading PCW4.1
Note: If you are upgrading a previous version of PCW4, it resides in a different folder,
and the new version will not automatically overwrite the old version, If you have an
existing desktop shortcut, it will point to the old, not the new version.
Return to Installation of PCW4.1 pg.1 to install the new program and desktop icon
If you are installing PCW for the first time, it is important that you run the PCW program
before attempting to open designs. This action identifies the design files so Windows
will know that they belong to PCW. If you attempt to open design files directly from the
folder before the PCW program has ever been used, Windows won't know what
program to associate them with and may associate them with inappropriate programs.
To run the PCW program click the desktop icon you have created (recommended), or
open the Fiberworks folder and click the PCW icon in the folder. Then open a file.
Validation of PCW 4.1 Silver
When you open PCW4.1 for the
first time, you will be see a dialog
that gives you Your program ID.
Copy this number carefully.
Open an email message and
paste the program ID into the
body of the message. Be sure to
include your name and
Registration number. Send it to
Fiberworks at
info@fiberworks-pcw.com.
If this is a first time purchase, or
an upgrade from a previous
version, be sure to contact us to
purchase your copy of the
program. No password will be
sent until payment has been
received.
If you want to use the program without
validation, just close the Validation dialog.
The message on the left appears. All
features of the program except Print and
Save functions can be used without a
password.
When you receive your password, carefully enter the code
into the respective boxes to validate your program. The
dialog at the left will appear when this has been done
successfully, and you will now have full use of the
program.
If you want to use the program on more than one computer, install PCW4.1 Silver on
the other computers and send the program ID codes as well as your name and
registration number to us. We will provide you with a new password. Each computer
will have its own program ID, and requires a new password.
If your computer crashes, or you need to replace your computer with a new one, again
we will need your registration number, name and Program ID to issue you with a new
password.
Navigating the Manual
Section 1: The basics: Draw, Save, Open, Print.
Section 2: The menu and submenus, and short descriptions of their use
Section 3: How To: more details in using some advanced features, such as How to
Design with Colors, How to Design with Repeats, and more.
Section 4: Appendixes on Name draft codes, blocks in Block Substitution, various
dialogs and popups, using the mouse, windows functions, FAQs.
References and Resources. Books, links and software useful for PCW
users.
Navigating the manual by links. Links are Bold Turquoise, italic and underlined. If
clicked, they will take you to the section named. We try to put the page number near the
link so that users of the printed manual can also navigate it.
Detailed Table of Contents allows you to click and move to that item. This is displayed
on the side pane in Adobe Acrobat
Chapters start with a blue bar with the title of the chapter. Headings in the chapter are
bold bluish green lettering larger than the paragraph. Subheading are black and
bold. Paragraphs contain bold words that are usually functions or items on the menu.
A note is something we want you to pay attention to. It is usually slightly indented and
headed by bold red word such as Note, Hint or Tip.
Menu commands are indicated by the following format: File > Open Drawdown.
This means open the File menu from the menu bar, and choose Open Drawdown.
Getting to Know Fiberworks PCW4.1
Open Fiberworks and choose File > Open Drawdown to open an existing design and
examine the various components of the window on your desktop. If you work full screen
you will see more of your design, the tool bar and the color palette.
Note: Some menu items may be greyed out if there is no data to act on.
Description of the parts of PCW4.1 window
1. Title bar for PCW4.1
2. Main Menu bar
3. Undo icon
4. Icons controlling the draw modes.
5. Select, Cut, Copy and Paste icons
6. Transparent Paste mode
7. Color Picker icon
8. Insert and Delete icons
9. Link / Unlink icon
10. View of cloth, front / back, structure / color and interlacement
11. Adding grid to cloth
12. Magnification icons (also on status bar)
13. Icons for expanding and compressing the drafts
14. New, Open, Save icons
15. Print icon
16. Status bar showing (L to R) shafts and treadles, number of ends and picks in
design, magnification, display mode, insertion point, and key pad entry mode.
17. Text messages that relate to position of mouse or current state. Important stuff is
shown here. Keep an eye on it.
18. Magnification slider will pop up on mouse over.
19. View Selector will pop up on mouse over.
20. Title bar of active Window: three types are possible. Drawdown or design window
(shown in the graphic), Sketchpad and Weaving (loom programs only). The title bar will
also show the name of the design that is open.
21. Active color patches: Main color on top left, and Alternate color to right and below.
22. Palette with 82 colors, showing 2 active colors popped up and 22 colors accessible
by keyboard. Colors 6, 7, 8, 9, 10 are used in the design shown in the active drawdown
window. The colors at the top of the palette are now White and Black, by popular
demand.
23. Position of insertion point. When the window is active the insertion point blinks and
two small red arrows mark its position. Two small numbers are also displayed over the
tieup. These also mark the insertion point. Unfortunately the blinking insertion point has
disappeared when the image was captured.
The position of the cursor is shown on the right side of the status line, next to the view
choosier. With the narrow window in this graphic, the last two items are not shown.
Note: This screen is presented as tall and narrow to make it convenient to print in
this document. When expanded, additional info can be seen in the status bar.
PCW 4.1 Drawdown Window
Fiberworks PCW4.1 will
open designs in a
window by default. The
Title Bar of the active
program window shows
the Program name and
the name of the active
design is at right.
The contents of the drawdown window shows the draft
consisting of the threading, tieup and treadling as well as
the cloth.
1) Threading draft on shafts 1-8, showing 11 ends.
Read right to left
2) Warp colors, immediately above threading draft.
(default white)
3) Warp thread thickness, immediately above color bar,
small toothed comb pointing up. (default 4 units wide)
4) Current insertion point in numbers (end 9, shaft 1).
Shown as a blinking grey square, marked with tiny
red arrows under end 9 and beside shaft 1. Keyboard
entries will be inserted here.
5) Tieup for 8 shafts and 8 treadles
6) Weft thread thickness (another comb) immediately to the right of the weft color
bar, showing thread thickness of 4.
7) Weft colors to the right of the treadling area (default bright blue)
8) Treadling draft showing 16 picks, immediately below the tieup.
9) Drawdown or cloth area. The cloth is shown in Structure view with a Grid.
May be shown in 6 other views.
10) Cursor, not shown. It can be a pencil, an arrow pointer, a pair of scissors, a
page with hand and several other symbols. Many functions have their own
shape of cursor. The blinking end at shaft 1 end 9 is the insertion point.
Keyboard entries will be inserted here.
Threading, treadling, color bars, thread thickness bars, tieup and drawdown are all live
editing areas. The cloth drawdown area can be edited if a threading is present.
Drawdown windows in Fiberworks, seen in the diagram above, use standard Microsoft
functions. The title bar shows the name of the design and what kind of design it is.
PCW4.1 Bronze has a Drawdown Window. PCW4.1 Silver, has two types of Windows;
a Drawdown Window and a Sketchpad Window. PCW4.1 Silver Plus also has a
Weaving Window showing which loom is attached. Drawdown Windows have their own
minimize, maximize and close buttons, scroll bars and resize spots, which all function in
a normal Windows manner. Detailed descriptions start on Windows Conventions,
page 114.
You may open as many design windows as you like and each can be individually sized,
and contain different designs (or the same ones). Each drawdown window can be
changed independently of the others: Views, colors, thicknesses or magnifications of
the designs may all be different.
Design Windows each consume working memory and slow your system slightly. If you
have too many open design windows, you may want to close the ones no longer
needed to free up your computer's resources.
Look at the Help > About PCW... pg. 68 menu to check the resources in use on your
system before you open tons of weaving designs. Then open a large number (50-100)
of designs to see how your system is affected. Check again after. If the amount of
memory in use has not changed much, you are OK. If memory in use is close to 100%,
close unused programs like word processors, browsers and email programs and/or
open fewer drawdown windows for normal use.
Other parts of PCW4.1 window
The Menu Bar lies across the top of the screen just under the blue bar indicating an
active window. The menu items have their own sections, in the manual: File, pg 19
Edit, pg 31 View, pg 40 Cloth, pg 44 Warp, pg 50 Tieup, pg 54 Weft, pg 57 Tools, pg
62 Windows pg 68 and Help pg 68, are all found on the menu bar. Click on each
menu item and explore it. Click on the links above to go to the individual sections for full
descriptions. In the printed manual, consult the Contents at the front of the manual.
When this manual refers to using individual menu items, we use the conventional
representation:
File > Open Drawdown
This indicates to open the File menu, then choose Open Drawdown from within it.
The Tool Bar or Tool Box can be found on the left or across the top of the window. It
can also be moved around the window. Click in an empty space on the tool bar and
drag it with the mouse to the top or bottom border of the medium grey area of the
program window. The bar will jump into place seamlessly if placed carefully. If not
quite so carefully, the bar will become a floating tool bar. Floating tool bars can be
dragged and resized to show 2, 3, 4, 5 rows of icons. Next time you open Fiberworks,
the Tools Bar will be back in the default position, on the left or top of the screen.
Placing the tool bar at the left side allows more picks can be displayed, and is the
default if your monitor resolution allows it (1024 x 768 pixels or better).
Otherwise the tool bar will appear across the top. If you cant see the print icon
at the bottom of the tools, enlarge your window or go to full screen. See
Appendix 8, for Windows Conventions pg. 113.
Keyboard Actions
Any part of the design screen is accessible from the keyboard. Keyboard entries act on
a point called the insertion point, marked as a small blinking square (see Drawdown
Window, pg. 6). Numeric sequences representing threading etc. can be typed in.
The arrow keys + + + allow you to move the insertion point within a design
region such as a threading draft, a tieup or a warp color bar. Single taps on the arrow
keys move the insertion point one at a time, but holding the key down to move rapidly.
To move the insertion point from one region of the drawdown to another, use
Ctrl+arrow key. The arrow symbol on the key indicates the direction that the insertion
point moves. For instance Ctrl + + moves the insertion point from threading draft to
warp color bar and then to thread thickness bar.
Note: If a command needs one (or more) modifying key to be pressed at the
same time as another key, it is written as two (or more) symbols joined by + signs.
The first key is pressed and held, then the second key is pressed briefly and then
released. The most common modifying keys for program use are Ctrl (Control),
and Shift. Alt is generally reserved for use by functions of Windows itself.
To move between two different open programs in Windows
, press and hold Alt

and tap the Tab key and then release the Alt key. This is shown as Alt+Tab.
Mouse Actions
Any part of the design screen is accessible by mouse.
There are two modes of mouse behaviour, because there are three actions and only
two buttons. The actions are:
draw - make a mark in threading, treadling and tieup or apply a color
undraw or erase - clear a mark in threading, treadling and tieup
popup menu - causes a context sensitive menu to appear at the point clicked
The default Windows behaviour uses left single click to draw, left double click to undraw
and right click to popup a menu. This method is familiar to previous users of Fiberworks,
as well as users of text-based or word processing programs. This method is set as the
default. The manual will discuss the various topics and use the Windows mouse
behaviour in descriptions.
The alternative method of data entry, the single left click draws as above, and single
right click undraws or erases. To show the popup menus and dialogs use the double
right click or Shift + right click. Those who are used to drawing and painting programs
may be more familiar with this method.
If you would like to change from one method of data entry to the other go to View >
Preferences > Misc and change the check mark to the alternative method.
For a more complete description see Appendix: 1 Mouse Actions pg 97.
Summary of File > Open

To get started with Fiberworks PCW, you will want a quick introduction to opening and
saving designs and the basics of drawing and printing
Summary: To open a design
Choose the menu item File > Open Drawdown
A dialog will appear allowing you to select a file to open:
1) Make sure that the Look in: text box shows the correct folder location for
your file. Use the down pointing arrow on right to change the location
2) Make sure that the Files of type show the correct file type. Use the down
pointing arrow on right to change the file type.
3) Click on the file to highlight it. Then click on Open. Or double-click directly on
the file that you would like to open.
Summary of File > Save
Summary: To save a design
If an existing file is to be resaved without changing the file name, file type and location,
choose the menu item File > Save. Saving happens immediately with no further action
needed on your part.
If the file is to be saved with a new name or in a new location or you are saving a new
unnamed design for the first time, choose the menu item on File > Save as
A dialog appears allowing you to type in the name and change the file type or location:
1) Type the new name in the File name field.
2) If the file is to be saved in a new location, click on Save in field and navigate
to the new location.
3) If the file is to be saved as a new file type, click in the Save as type field and
choose the desired file type: *.dtx files are used by only PCW, and *.wif files
can be exchanged with other weaving programs. If you are weaving on a
computer assisted loom, note that *.wif does not save weaving attributes such
as last pick woven.
4) When ready, click the Save button.
Basic Drawing
There are several ways to enter data into the draft, or Drawing a draft.
To enter a threading, a tieup or a treadling you may use single clicks of the mouse, one
square at a time. This is a good way to fix a design or to enter a new design where you
have to make many small changes.
You may use the numbers on the keypad or on the keyboard to enter the threading,
tieup, treadling, warp and weft colors and warp or weft thread thickness.
See Using the Keyboard pg. 100, Using the Mouse pg. 97.
The third way to draw uses the mouse with the drawing tools.
Drawing with Draw Tools by Mouse
The most common way to enter drafts into a design is by using the drawing tools. They
are on the Tool Bar and in the Edit menu. The tool buttons are shown below.
straight draw,
point draw,
line draw,
freehand draw,
network draw.
Choose a draw mode, click at the start of your drawing area, keep the left mouse
button depressed and drag to make the desired rectangle. (Click and drag.)
Each section below shows the use of a different tool. The red dots show the path of the
cursor. In straight draw, the cursor is dragged from the first end on the first shaft to the
last end on the last shaft giving one or more lines. With point draw, the action is the
same but a point is produced. Again in line draw, the cursor moves the same way, but
only 1 straight line is produced, no matter how wide the rectangle is.
The freehand tool and the network tool work in a different manner than the others.
When the curved line is drawn, the size of the red drawing box does not affect the
shape of the curve. The freehand draw gives a smooth curved line and the network
draw gives segments of twill that fit a curved line.
Experiment by trying each of the draw tools in turn, dragging the draw area from top to
bottom, or bottom to top and left to right as well as right to left. Make the rectangles
different sizes and start them on different shafts. Any of the five draw tools can be used
in threading, tieup or treadling. This allows a mix of different drafts in the same
threading or treadling. It is fast and easy. And fun too!
This figure shows an
area being filled with
a threading draft. The
right part of the
threading draft was
previously filled with
12 ends of 4 shaft
straight draw.
Note: In draw mode the cursor looks like a pencil. The pointy end is the active
part of the cursor. If you see an arrow pointer, you are using the selection Tool,
not a drawing tool.
(1) Points to the start of the drawing action. The cursor was clicked at shaft 8, end 13,
using the point draw tool.
(2) While holding the mouse button down, the cursor was dragged diagonally to end 32,
shaft 1. This creates the red box, which fills itself with point draw threading. It is not
necessary to trace the line of black squares with the cursor, which can follow the most
direct path from point (1) to point (2). As long as the left mouse button is held down,
you can change the drawing. As soon as it is released, the drawing is set into place.
And the red box disappears.
The grey blinking square is the insertion point. The insertion point always moves to
the last point at which the mouse button was released.
(3) shows a pair of numbers indicating current location of the insertion point. The
numbers over the tieup will not change until the location of the insertion point is
changed.
After drawing, you may still make changes with undo, insert, delete, or by drawing over.
To delete one or more ends, place the cursor on the first end to be deleted and click the
Delete tool or Delete key on the keyboard until the unwanted entries are gone. This will
delete the ends to the left of the cursor and close the gap. Backspace key can also be
used. It deletes to the right of the cursor. There is no Backspace tool for the mouse.
To undraw, or erase entries in the draft, double click on the entry. Double click and
drag a red rectangle; this will erase an area within the red rectangle, leaving an empty
area. The gap is not closed as when using Delete. The double click and drag can be
used a lot, once you master it.
You may insert one or more blank ends. Click and drag to form a rectangle where you
want the insertion, then use the Insert tool or Insert key on the keyboard. A gap opens
by pushing the existing threading to the left, or treadling downwards, so no existing
ends or picks are lost. Inserting with cut, copy, paste is a rather more laborious
process and usually reserved for larger insertions.
Drawing by Keyboard
Another easy way of drawing is to use the keys on the main keyboard or on the keypad.
Typing a number for each warp thread can be very efficient, especially if it is not twill
based weave. Its great for lace weaves and especially tied weaves like Summer and
Winter. Try entering S&W by single clicks, then try typing the numbers 1, 3, 2, 3, 1, 4,
2, 4.
The insertion point progresses automatically as you type (just like a word processor).
In the threading, progress is from right to left, and in treadling, from top to bottom.
A third way of entering the drafts can
be shown with the Ms and Ws
threading below. This is a keyboard
shortcut. If you type a number then
a period and a second number, the
program fills in the intervening numbers. For instance if you type 1.8.5.8.1 8.1.4.1.8
you will get the draft above. (Draft reads right to left.)
All operations for warp can be used for weft.
Some other drawing methods are explained later in the Edit > Draw menu pg. 36 and in
the Help files. For further description of drawing with the keyboard, see Appendix 2:
Using the Keyboard pg 100.
Basic Color Use
There are three main ways to add colors: Mouse, Keyboard or Menu. Each is suited
to particular tasks. When first beginning to work with colors, zoom in, so that the color
bar is large enough to show each end clearly. (Until you get used to it.)
Adding color by mouse
Using the mouse to add color is very simple. Before starting ensure that any one of the
draw mode tools is selected (pencil cursor visible).
Paint by clicking or clicking and dragging with the
pencil cursor positioned in the color bar. Click the
left mouse button once to paint with the main color
or double click
1
to paint with the alternate color.
These two colors are shown in the active color
patches. The colors of the threads are entered into
the color bar as you work. As you drag, the area
surrounded by the red rectangle is filled with the chosen color. As long as the button is
not released, you can drag it forward or back to fill the desired area.
Note: The pointy end of the pencil cursor is the active part. To draw with
the cursor, place the tip over the color bar and click.
Active color patches. Single click paints with color from the main or upper left
patch, and double click paints with the alternate or lower right color patch.
The two active colors also appear in the palette bar as raised patches and
seem to pop up, e.g. color 3 in this example is the main color patch.
Picking a new color
To use a color that does not appear in the active color patches, click on any other color
in the palette. The chosen color now become the new main color. Double click in the
palette to select a new alternate color. If you dont find a suitable color in the current
palette, change the color by Modifying the Colors, pg. 46 or choosing a new palette
pg. 45.
Tip: When using one dominant color, choose it with the double click. Then
double click and drag the color into the color bar. Choose another color with a
single click and place it everywhere that you need it, choose another, again with a
single click, and so forth. By leaving the background color in the alternate active
color patch, and changing the main color, you can easily correct mistakes as they
occur.
1
If you do not like using double clicks, Shift + left click does the same thing. Hold
down the shift key while clicking the left mouse button. Or you can change the View >
Preferences > Misc to allow right click to erase. Or if you have a three button mouse,
try programming and using the third button. See Appendix x page y
When you release the mouse button, the color just painted into the warp bar will then
appear in the cloth if Color view has been chosen.
To view the color in the cloth choose the color view tool icon. This view can be
set as the default view. See View > Preferences, pg 43.
To see the cloth as a colored thread by thread interlacement, click on the
interlacement view tool icon. See Cloth > Interlacement, pg 44.
Adding colors by keyboard
The first 20 colors in the color palette are linked to the keyboard, indicated by
the numbers and letters next to the color patches. To use the keyboard, first
place the insertion point in the warp or weft color bar (a mouse click will do
this). Then type the numbers and letters corresponding to the colors you wish
to use. The insertion point automatically advances left as you type in the warp
color bar, or down the weft color bar. This is useful when entering complex
color sequences where you would constantly have select new active colors
with the mouse.
To change the colors associated with the keyboard keys, see
Cloth > Change Color Group, pg 45.
To work with a color not present in the palette, see Cloth > Modify Color pg
46

Quick Guide to Printing
For a another look at various print functions see How to Print. pg 24
Printing with Print Direct
1. Choose File > Print Setup (Optional)
a. Choose printer, resolution, color mode
b. Choose paper size
c. Choose orientation
Click OK
2. Choose File > Print Direct
(the design will fit to page, with 1 margins and there will only be one page)
3. This opens the Print dialog
a. Only All will be available, i.e. one page.
b. Choose number of copies
Printing from Preview and Print
1. Choose File > Print Setup (these settings usually do not need to be changed)
a. Choose printer, resolution, color mode
b. Choose paper size
c. Choose orientation
Click OK
2. Choose File > Preview and Print
a. Format the design in the Page Setup and Options dialog
b. Click on Apply
c. Click on Print in the preview window
3. This opens the Print dialog
a. Choose which pages to print
b. Choose number of copies
c. Choose collation style
Click OK to print now.
You may change the printer in step 3. If you choose Properties at step 3 and change
the paper size or orientation, formatting will not be what you expected. We suggest you
do not do this in step 3, but at step 1.
Printing order of multiple pages
For two pages across and two pages down, page 1 will
contain the tieup and will be at the upper right. The
diagram at left represents the order that the pages are
printed.
For more details go to How To Print pg 24
Section II: Menu Descriptions
31 Copy
31 Cut
31 Undo
31 Edit Menu
30 Exploring Print Functions
29 Printing
26 Design Page Setup
26 Page Setup and Print Options
25 Preview and Print Window
25 Preview and Print
24 Print Setup
24 How to Print
23 Save/Save As WIF files:
22 Weaving file icons
22 File Types Used with PCW
21 Good file naming practices
21 Delete, Move or Rename a Design
21 Managing Files
20 Exit
20 Recent Files
20 Weave
20 Print Direct
19 Preview and Print
19 Save and Save As
19 Close
19 Open Sketchpad
19 New Sketchpad
19 Open Drawdown
19 New Drawdown
19 File Menu
2005, Fiberworks Section II: Menu Descriptions
45 Double Weave
44 Weft Faced / Boundweave
44 Rep / Warp Faced
44 Interlacement
44 Normal Cloth
44 Cloth Menu
43 Misc. Settings
43 Initial Print Settings
43 New Design Settings
43 Preferences
42 Status Bar
41 Toolbar
41 Compact / Expand
40 Grid in Cloth
40 Front / Back View
40 Color View
40 Magnification
40 View Menu
39 Link > Unlink:
39 Delete:
39 Insert:
38 Copy Image:
38 Color Picker or Pick up Color Tool
37 Select All: (Keyboard: Ctrl + A)
36 Select:
36 Draw Mode:
35 Transform:
34 Paste as Overlay:
33 Interleaf Paste:
32 Transparent Mode:
32 Paste:
58 Weft Thickness Fill
58 Weft Color Fill
57 Weft Fill
57 Weft Menu
56 Shafts and Treadles
56 Liftplan
56 Tieup and Treadling
55 Allow Multipedal Treadling
55 Sinking Shed
55 Turn Drafts
55 Change Face
54 Repeat by Quarters
54 Twill Repeat
54 Tieup Menu
52 Redraw on network
52 Reverse Sequence
52 Make Symmetrical
51 Warp Repeat
51 Warp Thickness Fill
50 Warp Color Fill
50 Warp Fill
50 Warp Menu
49 Color Count
48 Heddle Count
47 Notes:
47 Notes and Records
46 Modify Colors
46 Colors by Keyboard
45 Changing the Color Group
45 Select Color Palette
45 Warp Drawdown / Weft Drawdown
74 Analysis
73 Sketchpad Tools
73 Sketchpad > Manual Color Replacement
72 Sketchpad > Automatic color Reduction
71 Sketchpad > Regrid
71 Sketchpad > Size
71 Sketchpad > Image
71 Sketchpad > View
70 Sketchpad > Edit
69 Sketchpad
68 About PCW...
68 Help Topics
68 Help menu
68 Windows menu
67 Export to Sketchpad
66 Shaft Shuffler
66 Name Draft
65 Fold double
64 Edit Blocks
63 Substitution Preview
62 Block Substitution
62 Float search
62 Tools Menu
61 Redraw on Network
60 Add Tabby, Remove Tabby
60 Weave as Drawn In
60 Reverse Sequence
60 Make Symmetrical
59 Weft Repeat
File Menu
New Drawdown
Opens a new blank design with the default settings.
(Keyboard: Ctrl + N) When designs are started
with New, they get the title Pcw1, Pcw2, etc. These
may be changed with Save As.
Open Drawdown
Fiberworks PCW4 is able to open 3 different
formats. (Keyboard: Ctrl + O ). For details,
see Open Files pg 10, Open DTX files pg 22,
Open DES files pg 22 and Open WIF files pg 22.
New Sketchpad
Opens a blank grid which allows you to draw
directly into the gridded area using a variety of
tools. The sketch may be analyzed at any time and
converted to a drawdown.
See Sketchpad and Fabric Analysis pg 69-74.
Open Sketchpad
Opens an existing BMP file which was derived from an external image like a photo or a
scan, or a previous design saved in Sketchpad.
Close
Use this menu item to close a design or sketchpad. Standard Windows
function. If
you try to close a design that has not been saved since the last modification, you will be
prompted to Save As.
Save and Save As
Standard Windows
function. (Keyboard: Ctrl + S for Save) See Save > Save as

pg. 11 and Save > Save As DTX files pg 22 and Save > Save as WIF files pg 23
below.
Preview and Print
Opens the Preview and Print dialog. For descriptions of the Print Menus, go to
Summary of Printing pg 17 and How to Print pg 24.
2005, Fiberworks 19 Section II: Menu Descriptions
Print Direct
The active design will be printed, all of it. The defaults are fit to page and 1 margins.
If you have a design with 2000 ends and picks, and you have zoomed in and adjusted
your window to show only 40 threads and 60 picks, Print Direct will print the entire
design on one page at 233 epi. It may not look very good, but it will do it. This is the
quick and dirty, no think, way of printing. To get the print you want, with all the
adjustments, you should use Preview and Print.
Note: No adjustments can be made from Print Direct, other than paper size and
page orientation in your print set up dialog.
Weave
If your program has a loom driver, the next item on the menu is Weave. Consult your
Loom Driver e-manual. Only programs that have loom drivers will see Weave on the
file menu, others do not.
Recent Files
In the example on previous page, 5 recent designs are listed at the bottom of the File
Menu. Any one of these may be opened by double clicking on it. If you move, rename
or delete a design, the design file will not be found when you try to open it. To change
the number of recent files that are shown in the File Menu, go to View > Preferences
pg 43.
Exit
Exit will close all designs and the program,
with a prompt asking to save all unsaved
designs.
You may click on Yes, which saves the design
with the current name and location.
No closes the design without saving.
Cancel lets you change your mind and allows
you to use Save as to give new name or new location for the unsaved designs.
If you click on Exit button (x) at the top right, it will beep if there is anything to save.
Managing Files
Delete, Move or Rename a Design
First Select File > Open Drawdown to open the target folder. Select but don't open the
file you wish to manipulate. Right click to popup a menu which contains the delete,
rename, cut and copy options. To move a file from one folder to another, you must cut
it, then navigate to the destination folder, and then right click and paste the file back in.
Note: It's not generally recommended to delete, move or rename files from within
Fiberworks PCW. Windows prefers you to carry out these housekeeping tasks
within Windows using My Computer or Windows Explorer. The main advantage is
that you can have two or more folders open simultaneously which allows you to
drag files from one folder to another.
Delete a Design File: Using My Computer or Explorer, navigate to the design folder.
Highlight the file to be deleted. Either drag and drop to the Recycle Bin, or use
File/Delete.
Move a Design File: Using My Computer or Explorer, navigate to the design folder.
Highlight the file to be moved. Either drag and drop the design to the new location, or
use Edit/Copy to make a copy of the design, then navigate to the new location and use
Edit/Paste. This will make a copy of the file in the new location.
You may also use Edit/Cut and then Edit/Paste to move the file, without leaving a copy
in the original location.
Rename a Design File: Using My Computer or Explorer, navigate to the design
folder. Highlight the file to be renamed. Use File/Rename and type the new name into
the name text line. You can also use 2 single left clicks (slower than double click) to
access the name text line, but be very careful here to type the exact name and file
extension needed. If the file is described as pcw document, append .dtx to the file
name. If it's described as a WIF file, append .wif to its filename. If you run into
difficulties, it may be safer to use File > Save As to save a copy of the file under a new
name.
Good file naming practices
When designs are started with New, they get the title Pcw1, Pcw2, etc. If you Save, the
design will get the file name Pcw1.dtx, the next will be Pcw2.dtx. Each session begins
numbering with Pcw1.dtx. You can see that this might cause a problem with the most
recent design writing over the older one that you created in your last session. Choose
names that are meaningful to you. File names will be used to identify your design when
printing.
File Types used with PCW
There are three types of files associated with Fiberworks. DTX files are the native files.
They can be opened or saved. WIF files can also be opened or saved. DES files are
associated with PCW2 or 3. PCW4 cannot save DES files, however you can open
DES files with PCW4. The first time you open a new file type, you should open it from
within PCW. This sets up the association between the file and the program. Use the
menus as outlined below.
After the first time that a .DTX or .WIF file has been opened, the file type is registered in
the Windows
registry. The registry entry will allow you, in the future, to open .DTX files
with drag and drop or by double clicking on the file in any open folder. The same
procedure should be used to open WIF files. However, WIF files can become
associated with other programs (that's their function) so a double click on a WIF file in
Windows Explorer folder may direct it to the wrong program.
Weaving file icons
DTX files: DTX is the native file format used by PCW4 and comes
up automatically as the default. Icons have several forms: a white
box with a vertical or horizontal line like a tiny draft, a larger version
with representation of a draft (at left), the two turquoise skeins and the letters DTX. If
you have Silver Plus rather than Bronze or Silver, the icon shows a slanted shuttle with
a pink bobbin. The large icon versions are shown at the left. . Windows XP sometimes
uses a page with a tiny Fiberworks icon on it.
DES files: The icon looks like a tiny page with a representation of a window and
several colored dots. DES files were used in Fiberworks PCW2 and PCW3.
When you double click on the DES file, a dialog will come up listing the different
designs within the DES file. Each entry contains as many as 63 designs. Highlight and
Open one design at a time.
Note: Support for DES files will be discontinued with the next release. If there are
DES files still on your computer, we advise that you open each one and then save
each design found as a DTX.
WIF files: (Weaving Interchange Format) The icon usually looks like a tiny
landscape on a page.
The WIF file was developed by a group of software developers including Fiberworks to
make it possible to exchange files among weavers with different programs. WIF files
are just about the only way to interchange designs with other weavers who are not
using the same software as you are. Weavers using Macs and PC can now talk to each
other without having to copy long drafts by hand even if they have different programs.
There are limitations however: Some weaving programs do not support WIF files,
usually because they are too old and no longer under active development. The original
proposed format was v1.0 and some programs still use this format. v1.0 does not
support all the features incorporated into the later version. The final standardized WIF
format is v1.1. and that is what PCW 4.1 uses.
Not all weaving programs have the same features. For instance PCW4 has variable
thread thickness. Some weaving programs do not. If you save a design with thick and
thin threads as a WIF file, when your friend opens it with a different program that does
not support variable threads, it will show all threads as the same width.
PCW4 is able to save WIF files with liftplans. Some of the other programs cannot open
the design as a liftplan, only as a tie up and treadling. Some do not accept multi pedal
treadling. In both these cases, the design will not properly load into the other program.
In that case, you may have to convert your design into a tieup and treading plan. In
some cases this is not possible. Try converting to a direct single tieup with multi pedal
treadling and use the liftplan as a treadling plan.
WIF files save different things than DTX files. They are not capable of saving
information about weaving status. If you have a computer assisted loom, you need this
information. If you stop part way though a 93 pick repeat, you want it to save the
location of the last pick woven, and that it was using an auto insert Tabby, and that the
next one coming up is a B tabby. A WIF file is not designed to save that information.
Note: Make sure that a weaving file for your computer assisted loom is saved as a
DTX file.
Save/Save As WIF files:
The Title bar of a design
will indicate if the design
is a PCW4 (*.dtx) file or
WIF (*.wif) file. A PCW4
design (*.dtx) may be
converted to a WIF file
with Save As. Click on
File > Save As and
choose WIF (*.wif).
Similarly a WIF file may
be saved as a DTX file.
The Save As dialog box
appears. In the drop
down text box Files of
type will show PCW 4
Files (*.dtx). Press the
small down pointing arrow at the right and the WIF file option appears. Move the cursor
down to highlight this file type. Give your WIF file a name and click on the Save button.
Hint: Never use special characters in the names of files;
period ( . ) asterisk ( * ) question mark ( ? ) colon ( : ) semicolon ( ; )
comma ( , ) slash ( \ ) back slash ( / ) double quote ( ) or quote ( ).
Personally I would not use any characters that were above the numbers, any
of the brackets nor the < >. With 26 letters and 10 numbers there should be
enough characters.
How to Print
There are two methods of printing your designs. Preview and Print allows the size,
placement and number of pages to be specified. Print Direct fits the contents of the
active design onto one page with no adjustments. The settings in File > Preferences >
Print Settings will be used in Print Direct. These settings can be changed anytime
and will take effect for each new design opened.
Printing is What You See Is What You Get (WYSIWYG). The view on the active design
screen will determine what is printed. To print a color view of boundweave, the design
screen must show color and boundweave before going to any print function.
Print Setup
Go to File > Print
Setup to choose paper
size and orientation
before Preview and
Print or Print Direct.
The Print Setup dialog
has three areas.
Name: allows you to
choose a printer and its
Properties (see
below).
Paper lets you choose
paper size and where
the paper comes from.
The last section is
Orientation and allows
you to choose between Portrait and Landscape.
Properties lets you adjust such functions as contrast, brightness, dithering, resolution
and print quality depending on your printer. This step is best done before you go to
Preview and Print or Print Direct. Changing these functions may affect printing in any
Windows
programs. Some printer drivers are polite and reset to default conditions
when you close the program. Some are not. This is inconvenient because you are
continually resetting the conditions for each program that you use.
Note: Printer driver dialogs will vary with Windows version and with the type and
make of the printer. They will generally look something like the dialog above. The
printer shown in the above dialog, does not imply endorsement of this or any other
printer.
Preview and Print
If you need to have the printout of a specific size or particular placement on the page,
you should use Preview and Print. This takes you to the layout of the design as it will
appear on your printed page(s). The Design Page Setup and Print Options dialogs
appear, on the right one on top of the other. Move them apart if desired. Settings can
be adjusted. Print Tool: Shortcut to take you to Preview and Print. (Keyboard:
Ctrl + P )
Note: To print a specific part of a design, adjust the design before opening
Preview and Print. Magnify the design so that the section you want to print fits
the window approximately. Use the scroll bars to place the parts of the draft to be
printed into the window. Drag the border of the window to show only the part of the
draft you want to print. Adjust view. Go to Preview and Print.
Preview and Print Window
The Preview Window has a number of tools that let you examine the pages as they will
be printed. Again, the view on the design screen will determine what is printed. You
will also see the Page Setup dialog and Print Options dialog, discussed below. You
cannot adjust front/back, structure/color or specific views from Preview and Print.
This can only be done in the drawdown window
Print will print the page with the settings chosen in dialogs.
Next Page, Previous Page and Two Pages lets you examine the various pages that
will be printed and what they will look like with the current settings. If you see it, it will
print. But at better resolution than on your screen!
Zoom In and Zoom Out lets you view the pages at different magnifications. Since the
screen view has much lower resolution than the printer, the visual quality of the screen
view is never as good as on the printer.
Note: Zoom in and Zoom out does not change the size of the design on the page,
but allows you to view the page at different magnifications.
Note: The Preview shows an approximation of your page. It will show the layout of
the page quite well, and attempt to show the colors and the resolution as best as it
can. Use Zoom In to get a better idea of the details. Screen resolution is 72 to 96
dots per inch (dpi) and printer resolution is between 300 and 3000 depending on your
printer. So what you see in the preview is an approximation. So dont panic if your
design suddenly turns purple when you had a soft shade of lavender. Grids may
preview as solid black areas at 60 epi and higher. They will however print as grids if
possible.
Close returns you to the active drawdown window without printing.
Page Setup and Print Options
These are floating dialogs and will not close until Print
Preview window is closed. Click once on the title bar of
the Print Options dialog underneath to bring it to the top.
Then drag to move the dialog to an empty space (e.g. if it
obscures the print button). You can also move the Design
Page Setup dialog, instead.
Design Page Setup
This dialog allows you to set up the appearance of the
design on the page by adjusting size and the placement.
Apologies to our metric customers. All measurements are in
inches at the present time. A metric check box will be added
to Print Preferences in the next upgrade.
The first two items (the radio buttons) lets you choose
between screen view (the contents of the active drawdown
window) or whole design (including the portions of the
design that are currently scrolled out of view). Click in either
one so that a small dot appears in the one you want to use.
Print the whole design is the default.
Set Scale: This is the default setting controlling the size of
the printout. Set Scale lets you adjust the design to print
with a specific sett, in ends per inch. You may use the spin
button (arrow keys on the right of the box), type a number or
use the keyboard arrows to make adjustments. Default
setting is 12 epi. If your design screen shows a balanced
design, then the picks per inch will be the same. If your
design contains varied thread thickness, epi is the average
ends per inch of the whole warp.
Fit to Page: If you would like your design to print on one page and not worry about the
sett, use Fit to Page. This will not let you choose a specific sett, rather the sett will be
automatically adjusted to fit the page. Fit Width or Fit Height work the same way.
Margins: Set margins with the spin buttons on the right of each box, the arrow keys on
the cursor pad, or type a number into the box. Top margin and Left margin are
adjustable in all modes. Default settings are 1. Right margin and Lower margin are
also adjustable in the fit to settings. With Set to scale, changing the margins may
cause the design to overflow onto more pages if margins are set too wide.
Height and Width: These are shown in boxes beside the margin boxes. They show
the size of the design. You cannot set a specific size directly, instead adjust the
margins or the scale settings to obtain the desired height or width. They are information
boxes only.
Pages Across and Pages Down: Again these boxes are not directly adjustable, but
show the pages needed with the current settings. Change epi or margins to change the
number of pages. If a margin is too wide or the warp sett to large, extra pages may be
printed.
The boxes are displayed in different colors as the number of pages increases, going
from grey, to pale green (2-3 pages) to caution yellow (4-5 pages) and bright red (6
pages and over). This is a warning device so that you dont accidentally print your
design on 80 pages. Total pages is the number of pages across multiplied by the
number of pages down. 1 page down and 1 page across will print 1 page in total.
However 2 pages down and 3 pages across will print 6 pages in total.
Note: Page 1 will be the upper right hand corner containing the tieup, threading,
treadling, color bars, and thickness bars.
Apply: Click this button to make these settings take effect, both in the preview screen
and in the actual printout.
Note: The Auto Apply box is checked by default. If you have a fast system, leave
it checked and settings will take effect automatically. If the screen redraw is too
slow, uncheck the Auto Apply box and click the Apply button at the bottom after
making a series of changes. If you do not use either the Auto Apply or the Apply,
the settings will not take effect, and your printout will be formatted with the
previous settings. You only need this to happen once with 40 pages of printout!
This dialog initially lies behind the Design Page Setup
dialog. Click on the blue title bar of the Print Options to
bring the dialog to the front. Or use drag and drop to move
the dialogs so that they do not overlap.
Print Options allows the title, notes, heddle count and color
counts to be printed. It also controls which parts of the
design are printed.
The default settings will be to Include Design Title at the
head of the page, and Include Design / Full Drawdown,
Numeric if Possible and Fill page if possible. These
settings may be changed by clicking in the check box or the
text box.
The Design Title is the file name. Title may be printed at the
head or the foot of the page, or omitted.
To choose the drawdown options, press the arrow at the right of the
drawdown box and choose one of the items. The default setting is
Full Drawdown.
Threading only will print horizontal strips of the threading on the
page. If Fill page if possible is checked then as many strips as
possible will be printed on one page. The size of the strips can be
adjusted with the set scale option in the Design Page Setup.
Threading + Tieup will also print as a horizontal strip with the tieup
at the right.
If Landscape is set in Print Setup, the threading will print horizontal strips on the length
of the page. Do this before going to Preview and Print.
Similarly Treadling Only and Treadling + Tieup will print vertical strips on the page.
Tieup can be printed on a page without anything else. Or the Cloth Only may be
printed.
Numeric if Possible will allow you to print the threading draft, treadling draft, tieup or
liftplan with number rather than symbols. The sett should be 15 epi or less on most
printers. This is pretty small and you will probably be more comfortable with 12 epi. A
liftplan with numbers may be printed if Treadling Only, Numeric if Possible, and Fill
page if Possible are all checked.
Hint: If there are thick and thin threads in the design, do not use Numeric if
Possible. The numbers will be printed as the average set, often with lines
overlapping numbers. This gets very confusing.
The check boxes allow you to choose more than one option. You can print title, notes,
heddle count, and color count on the same page as the drawdown options if the page
setup options are adjusted to allow all the information to fit on one page.
Items in this dialog will be applied as they are checked, and are visible on the preview
screen. When all the settings are to your liking, click the Print button on Preview and
Print menu bar.
Printing
When you choose
Print Direct or the
Print button from the
Preview and Print
menu, the Print dialog
appears. Do not
confuse this with the
Print Setup dialog.
The Printer selection
allows you to choose
which printer to use.
Properties or Options
allows you to adjust
such functions as
contrast, brightness,
dithering, resolution, print quality and several other functions, depending on your printer.
Some printer drivers give you the choice of error diffusion or dithering. Error
diffusion will usually give better results. Some older printer drivers require these option
to be reset each time you go to print. Very annoying. If the color areas of your design
come out blank, check that the printer driver is not set for none, no dithering or Line
Art in the Properties or Options of the Print dialog.
Print Range allows you to choose which pages are printed. You may choose all,
current or specific pages, such as page 2 to 4. The last section, Copies, controls the
number of copies and how they are collated. This has no effect on the format of the
page. This can be done safely after preview, since the page formatting will not be
changed.
Printers are all different and will have different Print dialogs. Polite printers will generally
adhere to a similar format. Printer functions are beyond the control of Fiberworks. If you
set the DPI to 300 in the Properties dialog and you want to print your draft at 100 epi,
you will not get a very good print. It may be fine to print it at 15 epi. So experiment with
various settings.
Hint: If changing the Properties settings in the Print dialog, make note of all
settings before you make any changes.
Note: We advise against changing paper size and orientation after Preview and
Print adjustments have been made, since the image will reformat to fit the new
page settings. This may be done by choosing File > Printer Setup before going
to Preview and Print.
Your printer may print quite slowly. Remember these are graphics and not text. Text
prints quickly, since most of the page is white. Graphics print much more slowly.
Weaving is one of the most complex graphics forms. A design of 100 ends by 100 picks
has 10,000 intersections! Each intersection takes a lot of computing power!
Fiberworks sends its information to Windows
quite
quickly. The PCW dialog, to the left, describes the print
job: the name of the design, the printer and port being
used, as well as the page number it is currently working
on. It often appears only as a flash on newer computers.
Once the PCW dialog disappears, Fiberworks has
finished sending information. The rest is up to the
Windows
printer driver.
If your designs print too slowly, try using fewer ends and
picks, perhaps only two repeats instead of 5. You can
use larger magnifications and still fill the page. It is the number of intersections in the
design that determines the speed, not the area of the page filled. However large area
consume more ink, and cartridges cost a lot.
If it is still too slow, go to Help > About and look at the Resources on your system.
Fiberworks will report the amount of free space and % RAM in use. (RAM is
inexpensive to add and as the saying goes, you can never have too much RAM.)
Exploring Print Functions
Using one design of about 60 to 100 ends and picks, print it in various formats.
Use Preview and Print, change the Design Page Setup settings. Try several
variations of Set to Scale and Fit to Page. Resize the active drawdown window.
Check the Preview screen, and try various options.
Go back to the draft and change from structure to color. Try color with and without the
grid. Try it with interlacement view. Choose back of cloth. Make thick and thin threads.
Note: The view on the screen will determine what is printed. You can not adjust
front / back, structure / color or specific views from Preview and Print. Do this in
the design screen before you go to Preview and Print or Print Direct.
Try Print Direct with the same design. Save it and then make your design larger by
repeating the threading 2 times. Print Direct again. Now make the treadling 3 times
larger than it was and Print Direct yet again. Try a really really large design.
Using your best results, change the properties of your printer, by changing resolution or
quality, dithering or color pattern if available, change contrast or brightness if your
printer can control this. (Note the original setting so you can change them back.)
Compare everything carefully. Write settings on each print and file for future use. Use
the Title and Notes to do this.
For more details see Quick Guide to Printing. pg 17
Edit Menu
Many of these items are also on the tool bar.
Undo
Undo: You can Undo the last 31
actions taken on the design to
allow you to go back and correct a
mistake. (Keyboard: Ctrl + z ) Undo
counts Zoom as an action, and thereby
may reduce the number of undo steps.
Cut
Cut tool: Once the selected area
is outlined, it can be cut by clicking
on the Cut tool (or Edit > Cut or Ctrl +
X). Only the selected area will be cut,
leaving it blank. Any ends on shafts
above or below the selection will be left
in their original location. The gap in the
design is not closed. The delete tool
or delete key or backspace key may
be used to close the gap if needed.
Note: Selections may be made in the color bar and the thickness bar as well as
threading, treadling and tieup and then cut. selected areas may be copied and
pasted into other designs within Fiberworks. You may select an area in one
design, copy it and paste to another design. You can only paste between drafts
that share properties: you can paste a threading into a treadling, but you can't
paste a color sequence into a tieup.
Cut will place the contents of the selected area into the clipboard and leave a gap in the
draft where the selection was. Only one clipboard object exists at a time, and is
replaced when the next cut or copy is made. The current clipboard object may be
pasted to a new location, either in the same or another open design.
Copy
Copy Tool: Once the selected area is outlined, it can be copied by clicking on the
Copy tool (or Edit > Copy or Ctrl + C). Only the contents of the selected area will
be copied. Any ends on shafts above or below the selection will not be copied. The
area that was copied retains the original data, and is not cleared.
Copy will also place the contents of the selected area into the clipboard, but will leave
the original unchanged. It may be pasted immediately or later. Be careful. It is easy to
copy a second area before pasting the first selection, and then lose it. Subsequent
changes to the original do not affect the copy in the clipboard or any pasted copies.
Paste:
Paste Tool: (Keyboard: Ctrl + V) Click on the spot that you want the copy to
begin, the insertion point will blink, click on the Paste icon and the copy will be
pasted starting at the insertion point. You may move the cursor to a new area and
repeat. If your selection contains an empty area, it will be copied and pasted as well.
You can paste as many times as you want and you can move the insertion point to any
place. A copy of the selected area is pasted into the new area and the blinking insertion
point appears one end past the new copy. If you move the cursor one shaft higher than
the original, the copy begins one shaft higher than the original.
When pasting from treadling to tieup, warp order ends 1, 2, 3 becomes treadle order 1,
2, 3 resulting in a left to right flip or 180
o
. When pasting from threading to treadling,
warp order becomes weft order so that the copied image is turned 90
o
.
If the pasted rectangle is smaller than the total number of shafts or treadles, the areas
outside the pasted area may or may not be affected. Since there may be only one end
per column in the threading draft, all original ends will be overdrawn, except where a
blank space was copied in the original selection. In a liftplan draft, everything within the
pasted area will be overdrawn, but lifts outside will remain. If you want to overwrite all
the lifts, then the original selection should be as wide as the number of treadles, or an
area in the destination may be selected and then cut to clean it out first. Simple
treadling will be overwritten.
Crossover from warp to weft or weft to warp is allowed, but you cant paste thread
thickness order into a color bar. If you cut colors from one design and paste to another
design with a different color palette, the program creates a new palette that combines
source and destination colors.
Transparent Mode:
This menu item will work in the liftplan and the sketchpad. If using Tieup and
treadling, transparent paste can be used in the Tieup. If using Liftplan, the
Transparent paste can be used to combine two liftplans. The two do not have to be the
same length or the same number of shafts. When active, transparent paste modifies
the normal paste
behaviour so the
destination pattern
remains visible under
the white squares
being pasted
Select and copy an
area of one liftplan
(A), for instance the
circles on an empty
ground. Go to a
second liftplan such
as a fancy twill (B).
Activate the transparent mode, click at the start of the area you want merged in this
case liftplan A. Paste A into B. This was not just slap dash, but had to be well planned,
so that the two liftplans were compatible.
If the two circles are not spaced correctly, each could
fall on different picks of the twill and look deformed.
The repeats here were exact, in that the circles
repeated in 16 picks as did the twill.
To make sure that the two drafts line up, use the
same size in each design.
Interleaf Paste:
This tool allows two drafts to be merged
together, so that one or more ends (or picks)
from draft A are interleaved with one or more
ends (or picks) from draft B. The number and
order of ends or picks, the order, as well as the
position can be chosen from the dialog.
There are 10 different ratios of interleaving draft
A and draft B, so for example one thread of A
may be interleaved between 3 of B. However
1/1 ratio is the most frequently used.
The two drafts can be repeated so that they match in length. For instance if draft A is 20
ends long and draft B is 30 ends, the first 10 ends of draft A will repeat to make 30 ends
and the Interleaved draft will be 60 ends long.
The sequence of interleaving can be started on A or B if the sequence
box is checked or not.
The placement of the two drafts relative to each other is quite important.
There are 5 different ways.
A overlaps B: Both drafts use the same set of
shafts. If both start on shaft 1 then some shafts
will have doubled threads. Usually it requires that
one draft starts on a different shaft than the other
draft. The total number of shafts is the same as
the draft with the most shafts. Usually the drafts
use the same number of shafts and the total
number of shafts is not increased.
A below B: Draft A is placed on the lower shafts and draft B is placed on the upper
shafts, which have been added to the first set. The total number of shafts will be the
sum of A and B.
A above B: Draft B is placed on the lower shafts and draft A is placed on the upper
shafts, which have been added to the first set. The total number of shafts will be the
sum of A and B.
Interpolate AB: Draft A is placed on the odd shafts and draft B on the even shafts. Both
drafts should be on the same number of shafts. This doubles the total number of shafts.
Interpolate BA: Draft A is placed on the even shafts and draft B on the odd shafts. Both
drafts should be on the same number of shafts. This doubles the total number of shafts.
If interleaving the weft, the same rationale is used with the liftplan or tieup and treadling
as for the warp. You can use one method for the warp and a different method for the
weft.
Paste as Overlay:
The overlay function
works with liftplans only
(also called peg plans) .
The two liftplan can be
overlaid in 8 styles.
The most common styles
are Black dominant and
White dominant. The
other ones are mostly
used for making masks
for Network Drafting.
The Apply and Undo buttons within the dialog allow you to try out various combinations.
The help files in PCW are very useful here. Press F1 when the Paste as Overlay
dialog is open, to go directly to Overlay help.
Below are two drafts in liftplan mode that have been combined with Overlay mode: AB
side by side in the third draft below.
The entire liftplan A was selected and copied. The cursor was placed in the liftplan B
at the origin. Edit > Paste as Overlay was chosen. The dialog popped up and AB side
by side was chosen from the drop down dialog. The Shift A relative to B was not
needed as both liftplans were well aligned. The Repeat shorter pattern to fit was
checked but again was not needed. Apply was clicked. This gives the third draft which
combines the two starting drafts.
Transform:
Place your selection rectangle and outline the area you want to transform. Choose the
Transform item from the Edit menu. Transform may also be chosen by opening a
popup menu with right click into the selection rectangle. Transform is not on the tool
menu.
Figure 1 shows the threading or treadling transform menu. Figure 2 is for tieup and
liftplan. Figure 3 allows you to transform color order in the color bars or Thickness in
thread thickness bars. Figure 4 is active when the selection is made in the Sketchpad.
Reverse, shift and cycle are in all the dialogs. Reverse will change the entries in each
area so that the first entry is placed last and the last entry is placed first. In threading
the ends are turned left to right, whereas in the treadling they are turned up to down.
Shift moves the selected object and its selection rectangle in the direction indicated by
the radio buttons. Cycle moves the contents of the selection box in the direction of the
radio buttons, while the rectangle remains fixed.
Rotate 180
o
and Invert appear on all Transform popups except the color and thickness.
Change Face, Turn left and Turn right are on the Tieup and Sketchpad popups.
Smear and Echo is unique to the Sketchpad popup.
Draw Mode:
See Basic Drawing pg. 12 section for other details on drawing. Clicking and dragging
will make a red rectangle, which is filled with one of the five draw choices shown. The
rectangle can be any shape covering any number of shafts, treadles, ends or picks. It
works in threading, treadling and tie-up. These drawing modes also allow you to click
on single squares, you do not have to click and drag to use the tools.
Note: Straight draw, point draw are used in the weaving sense. Straight draw is
regular straight twill threading and point draw is regular point or reversing twill.
Draw comes from drawing in, a mill term.
Straight Draw: This icon allows you to draw diagonal lines to fill the rectangle in
the threading, tieup or treadling areas.
Point Draw: This icon allows you to draw points to fill the rectangle in threading,
tieup or treadling areas.
Line Draw: This icon allows you to draw a straight lines at any angle between
the start and end of the cursor path in the threading, tieup or treadling areas.
(Used primarily for profile drafts)
Freehand Draw: This icon allows you to draw lines that follow the curved path of
the mouse in the threading, tieup or treadling areas. (Used primarily for profile
drafts)
Network Drafting: allows you to make 1:3 network drafts easily by drawing a
curve in either the warp or the weft. Simply drag the mouse in a curved path and
the network draft appears automatically. If you lift the cursor and begin in
another place, the new segment continues on the network. It works only for the
1:3 twill network with the initial from lower left to upper right.
Note: You may enter threading one square at a time by clicking the left mouse
button.
To draw in the threading, treadling, tieup, color bars or thickness bars, one of the draw
modes must be active. This will give a pencil cursor and dragging will create a red
rectangle. If the mouse cursor is the standard Windows
pointer, and you get a blue

rectangle when dragging, you are using the selection tool. Change to the appropriate
draw tool.
Select:
Select, Cut, Copy and Paste operations can be used to copy or move part of the draft
such as the threading and then paste to another part of the threading, and into another
design altogether, e.g. to make repeats. Drag and drop may be used to move a
selected area to another area in the same design, either leaving a blank behind or
leaving the original unchanged.
Selection tool: (blue rectangle on a white ground) may be accessed from tool bar
or the menu: Edit > Select. To use Cut, Copy, Paste or Transform, an area
must first be Selected.
Click one corner of the area you want to select, and drag the blue rectangle until it
completely outlines the area to be manipulated. When you reach the opposite corner of
the block, release the mouse button. Select any number of ends and shafts. The
Select cursor is a standard Windows
arrow pointer. The point of the arrow is the

active part. When you see the arrow cursor, drawing tools are not active.
For instance, selecting 48 ends on the first 4 shafts of a 12 shaft design will only select
the ends on the four shafts marked, with blanks where the ends were on other shafts.
You must create the blue rectangle in one operation, you cant shrink it after releasing
the mouse button, but its easy to cancel and restart if you change your mind. To
cancel, click anywhere outside the blue selection rectangle. To expand a blue selection
box, hold down the Control key and click at where you want the rectangle to grow to.
The blue rectangle expands to include the square where you clicked.
With the threading area selected and outlined in blue, move the cursor inside the
selection; it turns into a pair of scissors. You may now Cut, Copy, Paste, Drag and
Drop, or Transform the selection. If you cut, the rectangle is left blank, but its contents
have gone to the clipboard. If you copy, it is placed into the clipboard to use again,
without affecting the original area. You may also drag and drop the selection to a new
place, leaving a blank behind, or Ctrl + drag to leave the original while dragging a copy.
The Select tool also allows you to insert or delete threads. With the Select tool active,
click into the draft where you want the insert or delete to take place. Insert tool will
open a gap to the left or below an end or pick selected. Delete tool will remove the end
or pick at the cursor and close the gap. These are useful when a block of several
threads must be inserted or deleted.
Note: Cloth cannot be selected. Areas in the color bar, thickness bar as well as
threading, treadling and tieup may be selected. selected areas may be cut, copied,
pasted, or transformed. An area may be selected in one design, copied and
pasted into another design.
Tip: To make a long selection in liftplan, activate the selection tool, click into the
top left corner of the area you wish to select, go (not drag and drop) to the bottom
of the area to be selected and CTRL + click in the bottom right corner. This will
select all ends or picks between start and end. Fast and easy! Especially useful
when the area to be selected is larger than the view.
Select All: (Keyboard: Ctrl + A)
This menu item allows you to choose one
to 8 items in a design. You can Copy or
Delete any or all of these items. Invert
will reverse all choices; if you click 2 items,
Invert, 6 are chosen instead.
With this menu, you can Copy and Paste
parts of one design into another design.
Copy and Delete are inactive (greyed out) if no selection has been made. The Select
button in the dialog is always inactive. (Dont ask!)
Color Picker or Pick up Color Tool
Place the tip of the eye dropper cursor on the color that you want to use. Click the
left mouse button and the selected color now appears in the main active color
patch. Choose the alternate active color with a double click. Since the draw cursor will
be restored when the action is complete, you must click on the Color Picker again to
choose another color. It is a one time tool.
Copy Image:
To paste an image of your designs into other programs, use Copy Image. (Keyboard:
Ctrl+M)
Set up the drawdown window as you want the image to appear in the destination
application. Set view to normal, color or interlacement. Rep weave, weft faced,
bound weave or double weave can also be used. Change the magnification to suit the
final required size.
Hint: Weaving designs do not take kindy to being resized in the
destination application. Detail may be lost, especially lines in the draft.
Adjust the original image by using the magnification in PCW. Or adjust
the size of the image to 100% in your destination application.
Adjust the size of the window to show only the part of the design you wish to copy.
See Windows
Conventions / Resize pg. 114

The number showing shafts and treadles in the upper right will be captured, as well as
the tiny red pointers which show the location of the insertion point.
Go to Edit > Copy Image, and your image will be placed into the Windows
clipboard.
You will hear a beep, nothing else seems to happen, but it is done. Open your
destination application and go to Edit > Paste. The image will now appear. Your
destination application may make changes to size, color, placement and proportions.
If size or resolution are wrong, These must be adjusted within PCW first, then in your
imaging program and lastly in the destination application.
We have tested a number of different applications. MS NotePad is unable to accept
any images ever. On our Windows XP system, Eudora Pro 6 and Corel Draw 10
and 11 either do not accept the image, or accept it with degradation. This may be color
depth specific or resolution specific. Other programs are better at accepting the image.
All the other programs that we have tried do accept the image without problem.
Note: If your destination application will not accept the image from the
clipboard without degradation, Paste it into a graphics or paint program, save
and then Select All > Copy from the paint program, open the desired
application and Paste. Every program has a different way of handling bitmaps
from the clipboard and they are not all compatible with each other.
You may use Print Screen, or Alt + Print Screen, or a screen capture program
instead of Copy Image if you want to copy something other than just the design in the
active Window. The screen capture program that we used to make the graphics such
as the menus and icons in this manual is Jasc Paint Shop Pro, which makes the whole
thing a snap.
Note: The Fiberworks weaving design may also be saved as a WIF file. This file is
designed to be opened in other weaving software. If you want to send a weaving
file to a friend, use WIF or DTX files, rather than graphic files from the Copy
Image function. WIF and DTX files are small, and designed to be sent by email,
and to be opened in weaving software. See File Menu > Save As WIF pg. 23.
Insert:
Insert: Click on the draft and a blinking insertion point will be created. Click on the
Insert tool and one thread will be inserted, click again and another will be
inserted. The thread will be inserted at the insertion point and move the rest of the
threading draft leftward, opening up a gap. If a blue selection rectangle is present, it will
insert as many blank threads as are in the entire selection. In tieup, the gap opens at
the insertion point and treadles on the right are moved further to the right, even off the
screen. In treadling, the gap opens at the insertion point and all picks below the cursor
move down.
Delete:
Delete: Click on the draft and an insertion point will be created. Click on the
Delete tool and one thread will be deleted, click again and another thread will be
deleted. The thread will be deleted at the insertion point and move the rest of the
threading draft rightward, closing the gap. If a blue selection rectangle is present, it will
deleted the entire selection.
In tieup, a treadle at the insertion point will be deleted, closing the gap. In treadling, the
pick at the insertion point will be deleted, moving the rest of the treadling draft upward
and closing the gap.
Link > Unlink:
Link is the default setting. If the threading, color order and thickness are linked,
insert or delete will affect all three as a unit. If however Unlink is active
(depressed), insert or delete affects only the area being worked on. For instance, you
want to delete one end, but the complex color order should remain the same, Unlink
the design, delete the selected end with the Delete tool. (Keyboard: Choose Link >
Unlink from menu and choose end, press Del key)
Note: As soon as you finish with the Unlink action, push Link again, or
you will be sure to perform more actions with Unlink on, even though you
do not mean to.
View Menu
All these items are on the tool bar except Preferences, Tool Bar and Status Bar.
Magnification
Zoom In: Clicking on this icon enlarges the design
in the active window. Keep clicking to further
enlarge the design. If nothing happens, you are at the
largest size (16). Check the status bar at lower right for
magnification. There are 16 steps. (Keyboard: Alt +)
Zoom Out: Clicking on this icon reduces the design
in the active window. Keep clicking to further
reduces the design. If nothing happens, you are at the
smallest size (1). Check the status bar at lower right for
magnification. There are 16 steps. (Keyboard: Alt - or
Status bar Slider)
Note: Do not try to drag the magnifier to the active window, just click on the tool
icon until the draft is the correct size.
Note: The threading, treadling and tieup are visible at all magnifications, but the
grid disappears at the smaller magnifications, but will print at most print settings.
Color View
When the icon is up, the view is structure, i.e. black warp and white weft. In the
structure view, black represents warp ends showing on the surface.
If the icon is depressed, then the color view will be shown in the active window. Default
colors are white warp and bright blue weft. Very traditional. (Keyboard: \ )
Front / Back View
When the icon is up the view is the front of the cloth, or that side facing up as it is
woven with this tieup. With the icon down, you see the back of the cloth.
(Keyboard: /.)
It is not the same as Tieup > Change Face. The view does not change the tieup nor
reverse the cloth, as it would if you turned a real cloth over; it just looks at the other side
of the cloth. The various views are also accessible from the popup on the status bar.
Grid in Cloth
This icon controls the grid in the drawdown or cloth area. Not available at all
magnifications, nor in interlacement, boundweave, weft faced weaves, repweave
view, warp faced weaves and double weave.
To print plain grids go to, How do I make graph paper pg 123.
Compact / Expand
If you want to see a bit more of your design at the current magnification, use the
Compact tool (Arrow pointing toward tieup) to shrink the threading, treadling and
tieup area. Useful for multishaft designs. To restore normal view press the
Compact tool again. These views work only at some magnifications.
Sometimes a design is too small to allow you to work comfortably in the drafts or
tieup, but you want to see a whole lot of the cloth, then you can use the Expand
tools to adjust this. To restore normal view press the Expand tool again.
The Expand tool is used to make
drafts easier to work on when
magnification and eyesight dont
match up <G>. These two screen
shots show how this is done.
The first draft shows a normal view
at a high zoom factor. Very hard to
see to do any work.
The second draft shows the
expanded view. The tieup
becomes large enough to work
with. Notice that the cloth area
has not changed. Play with both
the Expand and Compact tools to
see where they are useful to you.
Toolbar
By default this is checked and active. If unchecked, the Toolbar will not be shown, and
you have to use the tools from the menus. More working area will be available for
working with large designs on small screens. See Getting to Know PCW4.1, pg. 5
Status Bar
By default this is checked and active. If unchecked, the Status Bar will not be shown. It
is at the bottom of the PCW Window. This may be turned off to see more of the screen,
however much valuable information is found here.
At the left of the Status bar, Shafts, Treadles and total Ends, Picks in the design are
shown in the drawdown window, if the active cursor is in the draft. Otherwise it shows
For Help, press F1. If you press F1 the Help Window opens up to show explanations
of the function you are working with.
Magnification: If you click on the magnification box of the status bar, it will
show Mag= numbers from 1 to 16. The magnification slider can be moved by
dragging it up or down to increase or decrease the magnification with 1 being
the tiniest and 16 the largest. As you move the slider up and down the display
in the drawdown window changes. You can also click on the groove. For fine
control and moving up or down one notch, the magnifying tool may be better.
Cloth view: The next section of the Status bar is the View
popup. In the example on the status bar above it shows
Interlacement. Any of the views may be chosen allowing quick
changes among the various views. The views are Normal,
Interlacement, Rep/Warp faced, Weft Faced, Boundweave,
Double Weave and Warp Drawdown, and Weft Drawdown.
Changing between Interlacement and Double Weave view is a
very useful one and it cant be done as easily by menu. Only
normal/color view and Interlacement are available on the tool
bar. Cloth View popup has the same views as the Cloth menu.
The next box on the Status bar shows the location of the cursor, or the size of the
selection made by the selection rectangle. The 1,1 means that the cursor is at end 1,
shaft 1 in the threading; in the tieup at shaft 1, treadle 1; in treadling at pick 1 treadle 1.
The next box shows the number of ends in the threading and picks in the treadling that
are in the drawdown window. This changes with magnification and scrolling.
The last box will show a single # or a ##. # shows that the NumLock key has been
turned ON for single digit entry by keypad on the right of the keyboard. No enter key
needs to be pressed between numbers. This can only be used for entries between 1
and 10 (0 =10).
If two ## are showing, then both NumLock and ScrollLock are turned ON for double digit
entry by keypad. Each entry requires 2 digits. No enter key needs to be pressed
between numbers. Two numbers must be pressed for each digit. For instance, shaft 3
is 03 and shaft 13 is 13. Same for weft.
Preferences
This dialog allows you to set
functions to customize loom
preferences, the keyboard
layout, print preferences and
new files. Changes apply to
all designs opened
subsequently.
New Design Settings
This tab lets you set the
defaults so that each new
design comes up with the
views that you use most
frequently, the palette that you
want, and the configuration to
match your loom.
Initial Print Settings
The print options can be set
so that they reflect the most
frequently used settings.
Misc. Settings
The last option allows you to
set the Keyboard layout for
different languages. Menus
are all in English.
Setting the Numbers of
Recent Files will show the
last designs that were saved.
Checking the Reopen box will
start your next session with
the last file used. This can be
quite important when using
computer assisted looms.
Mouse Action allows you to
choose which way you want
the mouse to act. The first
choice is outlined in table 1
and the second in table 2 on
page 9-10. The manual is
written assuming Left double
Click
Cloth Menu
Various tools to view the cloth are found here
Normal Cloth
The normal view of the cloth can be either
structure or color. Structure and color can be
viewed with or without grid. Structure view and
Interlacement, Rep / Warp Faced view, Weft
Faced/Boundweave view or Doubleweave view are
not compatible. (Keyboard: Alt + N ) See View Menu
pg 40 as well.
Interlacement
Interlacement view shows the cloth as interlaced
threads. It will automatically change the view from
structure, or any other view to a color representation
of separate threads, interlacing as a real cloth does. At larger magnifications, the
threads are shaded to give a three dimensional effect. A favorite with many weavers,
so it gets its own button. Interlacement view is shown when the double weave display is
not able to show double cloth due to many areas of integrated cloth. (Keyboard: Alt +
I).
Rep / Warp Faced
Rep and Warp faced view shows the cloth emphasizing warp threads. To get a more
accurate view, leave the warp thickness at the default setting of 4 and set the weft
thickness alternately to 10 and 2 for thick and thin weft as needed. This will allow the
Rep view to compress the warp threads to cover the thick and thin threads. Anywhere
that the interlacement does not allow threads to be well packed, irregularities in the rep
weave view appear as black marks.
Weft Faced / Boundweave
These two items show the cloth with the weft closely packed to cover the warp.
Boundweave is more closely packed than Weft Faced weave. The longer surface
floats hide the short one thread floats.
Set Warp thickness to 8 to simulate spaced warp ends. Then set the weft thickness
to 2. This will show a warp covered by the weft if the structure allows Boundweave.
Anywhere that the interlacement does not allow threads to be well packed, irregularities
in the Boundweave view appear as black marks.
Note: If you have a solid colored warp, you will not see a pattern in Rep / Warp
Faced. If you have a solid colored weft, you will not see a pattern in Boundweave
or Weft Faced.
Double Weave
Double Weave view shows the face of the cloth as it appears if woven as double
weave. It displays any balanced double weave (i.e. equal numbers of alternating top
and bottom threads in units of 4 or 8 threads) such as can be created by the Block
Substitution tool or the Fold Double tool. It will not display Double Weave if derived
from Double Two tie weave or Networks.
To view the back, press the back tool icon, or go to View > Back of Cloth.
The double layer analysis can be thrown off by deletions or insertion of extra threads.
This may cause the display to go a bit peculiar while editing the drafts. If this is
bothersome, switch to interlacement view while editing, and then switch back to
double weave view when finished. Minor editing such as color changes which do not
add or subtract threads from the middle of the draft should not cause problems.
If the double layer analysis fails, the cloth will be displayed in interlacement view.
Warp Drawdown / Weft Drawdown
The Warp Drawdown uses the convention that a black mark on the draft is a lifted warp
thread. Most of the world and industry use this convention. Weft Drawdowns are
useful for designing supplementary weft weaves, such as Overshot. Both of these
views show the structure, not the color. However a more appropriate way is to use
color view with default white warp and dark weft.
Select Color Palette
This dialog lets you choose one of five palettes
each with 80 colors plus white and bright blue.
These palettes are each quite different. Choosing
one of these palettes changes the palette bar on
the right and all the colors in the current active
design. You cant add a custom palette to the list.
To save your own palette, or some other ideas,
see Combining Two Palettes pg. 78.
Changing the Color Group
If you are using a low resolution monitor, fewer than the 80 colors may be displayed.
The rest are there, but cut off at the lower end of the screen. To see more of them, use
the Ctrl + G to move the colors clockwise, in sets of 20, allowing you access to all of
them. In addition to the 80 palette colors, you get initial warp color (white) and initial
weft color (bright blue).
Colors by Keyboard
Beside each of the first 20 colors are numbers and letters. They allow you to enter the
colors by keyboard. If the color you want is in a different part of the palette, the Ctrl + G
keys let you move the colors so the ones you want are next to the letters and numbers.
See Adding Colors Quickly, pg. 77
Modify Colors
The dialog at left allows you to change any color on the active
palette bar. Right click any color on the palette bar or the currently
active color or use color picker. The Modify Colors dialog appears.
The top right of the dialog shows the color you picked to be modified.
The top left shows any changes you make to that color. In this
illustration, no changes have been made yet. The colors will be
updated as you work. All changes will be shown in the draft as you
work. If you have a slow system, the update will flicker. In that case
uncheck Auto apply box and your design will only be updated when
you click the Apply button. Revert allows you to undo all the
changes made to the current color.
In the Modify Color dialog, the top color bar allows you to choose
the Hue, i.e. one of the pure colors found in the color wheel. There
are 360 steps available.
The middle bar, Sat or saturation, controls the amount of white used
to dilute a color or lighten it. There are 100 steps.
The lowest bar, Bright, is Brightness or Value, controls the amount
of black added to a color or darken it. There are 100 steps.
To change the settings on the color bars, point and click on any
portion of the Hue, Sat or Bright bar, or click and drag the slider to
move it. Or click on the text boxes and change by typing a new
value. You may make fine adjustments with spin buttons on the right of the edit boxes.
The numeric values that can be used in Hue are 0 to 360, Saturation and Brightness are
0 to 100.
At the very bottom are the RGB values. You may use the RGB numbers if you are
familiar with that system. These are useful if making colors that are browser safe. RGB
scales are 0 to 255. Browser safe colors are those which if presented on a web page
will be displayed as clear colors, not dithered or dotted. Browser safe colors have
values of 0, 51,102, 153, 204 or 255 in R, G or B.
If Auto apply is checked, the draft will be automatically updated. The dialog does not
need to be closed for colors to be applied, or a color to be adjusted.
Keyboard Navigation: is possible by Tab and arrow keys on cursor pad and then
typing the Hue, Saturation and Brightness numbers into the text boxes.
Notes and Records
This dialog allows you to give the design a descriptive title, write notes for the project,
find the number of heddles on each shaft and the number of ends or picks of each color.
There are three tabs to access each of the different functions.
Notes:
The first tab opens the Notes page. The title is the file name and changes as you
change the file name of he design. You may type a descriptive title into the main text
box.
The font and size can be chosen from the drop down boxes. .Font and Size can be
changed, but prints much better at the default settings. There may be alignment
problems with larger fonts.
Insert notes template gives you a set of skeleton notes that you can fill in with the
relevant data. You may type anything into the Notes window and use your own format.
.
Note: Since Windows
reserves the Tab key for moving around a dialog, you

must type Ctrl + I (upper case i) to insert a tab in the body of the text.
Heddle Count
Heddle count will give you the number of heddles that are needed on each shaft. If you
have more than 8 shafts, shafts 9 - 16 are listed in the next 2 lines, and so forth. This
area cannot be edited, but may be copied and pasted elsewhere.
Note: If you have a design on the screen with 3 repeats, this is the number of
ends used to calculate the numbers of heddles required. If the cloth on your loom
will have 15 repeats, obviously you will have to make adjustments to the numbers.
Either enter the entire design, or multiply the figures by an appropriate factor. The
dialog cant know what you intend to do with the design, but only what you told it
was there.
Color Count
The colors in the design are displayed as they appear on the design screen. A short
descriptive name is assigned to each color (you may not like it, but we had to choose
something.) Also given are the color codes. Each color can be displayed in three
different systems. Hue, Saturation and Brightness is probably the easiest to
understand. Please see Cloth > Modify Color, pg. 46 for explanation of color codes.
You may use the color names to define a commercial name of a color. If you highlight
and copy the names, paste into notes and then add the color names of your yarns.
Warps and wefts are each listed in separate columns showing the number of ends or
picks of each color needed for the design in the active drawdown window.
Note: The same warning given in Heddle count applies here. The dialog will
calculate totals from the number of ends in the design in the active drawdown
window. It cant know how many ends will be on your loom.
Warp Menu
This menu controls the various functions for the warp,
including advanced Network drafting.
Warp Fill
Warp Fill allows you to fill the threading
draft with 4 different threading options;
straight draw, reversed straight draw, point
draw and rosepath. You can choose the
number of repeats or the number of threads
to fill. You can Add to end of an existing
threading draft, or Replace all.
Straight draw in the warp implies using each shaft in order, from 1 to 4 or 1 to 8 and
starting over again, depending on the number of shafts being used.
Straight reversed uses the shafts from 4 to 1 or 8 to 1, over and over again, depending
on the number of shafts being used.
Point draw uses the shafts from 1 to 4 to 1 or 1 to 8 and back to 1, depending on the
number of shafts being used.
Rosepath uses the shafts in order, 1, 2, 3, 4, 1 , 4 , 3, 2, 1 or 1 to 8, 1 and then 8 to 1,
depending on the number of shafts being used. In effect a slightly larger point.
Warp Color Fill
Warp Color Fill allows you to fill a
threading draft with one or two
selected colors in a number of
different ways. The most useful are
probably A-B and A-B-B-A. These
are good for many color and weave
effects.
Click on the arrow at the right end of the drop down
box and highlight the sequence you want to use.
There are 7 color sequences. A-A-A-B is shown.
The sequence and colors of the warp ends are shown in the square at the right.
Note: Use the scroll bars to choose your colors. The raised squares in the center
shows the active color(s). You may also click and drag any visible color into the
central square. Thread B will be grey if All threads are chosen, since there is
only one color.
Warp Thickness Fill
This allows you to fill a draft with one or two
thread thicknesses in a number of different
ways. The most useful are probably A-B
and A-B-A. These are good for many thick
and thin weaves that are so popular now.
The dropdown box displays the thickness order of A-A-B-B. The default thickness is 4
units. This is arbitrary and has nothing to do with an actual thread size. Your main
thread will be represented by 4, anything fatter will have a larger number and anything
thinner will have a smaller number. Use the spin buttons to increase or decrease the
numbers. Or type in a number into the thread boxes.
Note: Thread B will be grey if All threads are chosen, since only one thickness is
needed.
Note: Normal thread thickness is 4. That means a thread appears as a square in
the threading or treadling draft. e.g. 1 = quarter normal width, 2 = half normal
width, 4 = normal, 8 = double normal width etc.
You may type any number from 1 to 64 into the text boxes. .
Warp Repeat
Any threading draft or selected area may be repeated in 7 different ways. This applies
to the whole warp or a selection. The kind of repeats are shown in the dropdown box.
The choices are: Direct repeat, Mirror repeat, Rotated repeat, Inverted repeat,
Drop repeat, Advancing repeat, Descending repeat, Advancing and Descending.
Repeats can be stepped by one or more steps and repeated any number of times.
The default setting of No. of Repeats = 2 means the original and one additional copy.
A selection or entire draft can be repeated more than once by increasing the number of
repeats. Final number of Threads are shown in grey. This is for information only.
The check box for Repeat selected block, allows the operations on an area that is the
area surrounded by a blue rectangle. If the box is unchecked, the entire warp will be
repeated. Other check boxes allow repeats of Draft, Colors and Thickness. One or
more may be checked. See Designing with Repeats, pg. 82. for more details.
Make Symmetrical
This is essentially the same operation as Repeat >
Mirror repeat above. It allows you quick access to one
of the most common repeat operations. The sequence
1, 2, 3, 4, 5, 6 becomes 1, 2, 3, 4, 5, 6, 5, 4, 3, 2, 1. This
can apply to Draft, Colors and Thickness. Check as
many boxes as needed.
Note: Warp > Make Symmetrical will copy the entire threading, not selected
areas.
Reverse Sequence
This operation reverses the existing draft, rather than
making a mirror image. In other words, 1, 2, 3, 4, 5, 6 is
changed to 6, 5, 4, 3, 2, 1. This can apply to Draft,
Colors and Thickness. Check as many boxes as
needed.
Note: Warp > Reverse Sequence will copy the entire threading, not selected areas.
Redraw on network
Network drafting is a method of
converting a curve in the warp a series
of small twills that repeat to follow the
original curve. The design will be larger
and have fuzzy edges. The dialog lets
you choose the type and style of the
network. The original curve may have
more shafts than your loom.
For in depth study of network drafting
consult Schlein, Alice. Network
Drafting. Or Weavers, Issue 6, 7, 8,
10 and 11.
Method of reduction of the curve can be by No Reduction, Digitize or Telescope with
or without rollover. Rollover will be active only when needed. See page 23 for an
illustration of the methods of reduction
No Reduction: allows you to leave the number of shafts the same as the curve when
the button is depressed. If the button is not pressed Telescope or Digitize can be used
and a lower number of shafts may be are chosen..
No Rollover: It is not available when No Reduction or Telescope is used, only when
Digitize is chosen.
Telescope: To reduce the curve by from 16 shafts to 8 by telescoping; shaft 1 remains
1, 2=2, 3=3, 4=4, 5=5, 6=6, 7=7, and 8=8. But when you get to 9 you start over again,
so 9=1, 10=2, 11=3 and so forth. The curve is now turned into 2 nested curves. This
gives echo lines. Try them out, see what the differences are.
Digitize: reduces the curve by squishing it. If the curve is on 16 shafts, it can be
digitized by renaming shaft 1 and 2 on the original curve as shaft 1 on the new curve.
Similarly old shafts 3 and 4 go on new shaft 2, 5 and 6 onto 3 etc. When the conversion
is finished, the curve is a flatter version of the original, but the same kind of curve.
Set initial height and style: allows you to choose different sizes and different kinds of
initials. The most frequent initials are 4 and 8 shaft straight twills. The left and right
refers to straight twills.
The curve has been converted to 4 different network threadings below. Compare them.
All used a 4 shaft straight initial.
The curve is drawn on 12 shafts with the curve
draw tool.
Below, are the 4 different ways that the 4 end left
initial can be applied.
Explore the other options such as different initials, and various combinations of shaft
reduction and use of roll over.
Tieup Menu
This menu controls the various functions for the tieup.
Twill Repeat
This option will repeat one treadle (or more) onto all
the treadles in the tieup, moving it either up or down by
one or two steps. A group of 2 or more treadles may
also be repeated to give steep or flat twills.
Adjust number of treadles to be used with Tieup >
Shafts and Treadles in the dialog shown below. Go
to tieup and enter the first treadle into the tieup by
clicking into individual ties, typing a number or using + and - keys. Go to the Tieup >
Twill Repeat menu and choose Step up or Step Down. This will determine the
direction of the twill. One Step will give a straight twill. Two Step will give you a flat
twill. Play with this function. Instant results!
Try tying up treadle 1 and 2 to two very different twills, choose One Step, Step Up and
see what you get. Now, increase the number of treadles to 16 and repeat. You now get
a 16 treadle twill. Undo. Choose Two Step, Step Down, see what you get. Just play
with this for a while.
Repeat by Quarters
Fill one quarter of the tieup with a twill or a motif.
The various choices when clicked will repeat the
quarter in a variety of ways.
Design a twill in the lower left quarter. Simple will fill
the other 3 quarters with the same twill in the same
orientation.
The set up in this dialog allows the same orientation for all 4 quadrants, with a change
of face of two quadrants. Left-right flip will turn all quadrants in the specific direction.
Invert will also perform an up-down flip. The Change face has a very strong effect. You
can turn 1,2, or 3 quadrant. Lots of variable to explore.
Change Face
This function switches the faces or the cloth, by changing the tieup. The only change
that is made is in the tieup. With a rising shed loom, the shafts that were tied to the
treadles to raise the shafts are now not tied and the shafts will remain at rest. Those
that were not tied, now are tied up and will rise. If you weave with this tieup, you will be
weaving the back side on the face of the cloth.
Turn Drafts
This tool takes a threading draft and converts it to a treadling draft, and converts the
treadling draft into a threading draft. The tieup is also turned 90
o
and the tieup will
change face. This will work only if you are using a tieup and treadling draft, not a liftplan
or multi-pedal draft.
The number of shafts and treadles may change. Very useful in developing one shuttle
weaves from supplementary weft structures, such as overshot and Summer and Winter.
Threading, warp colors and warp thicknesses becomes treadling, weft colors and weft
thicknesses. And visa versa. The tieup changes face as well as being rotated a quarter
turn, so that the same face on the cloth is up.
For instance, in overshot there are 4 shafts and 6 treadles used. When turned, there
are 6 shafts and 4 treadles. It turns supplementary weft into supplementary warp.
Note: If a treadling uses more than one treadle per pick, it cannot be turned.
Liftplans. Multi-pedal (skeleton tieups) treadlings must be converted to standard
tieup with Tieup > Tieup and treadling.... below.
Sinking Shed
Sinking shed option can be used when designing for counter balanced looms, or
counter marche looms. When the Sinking Shed option is active, there will be a check
mark next to it in the menu.
Allow Multipedal Treadling
This option allows you to push two or more pedals at a time. When the Allow
Multipedal treadling option is active, there will be a check mark next to it in the menu.
Useful for skeleton tieup too. It requires that a tieup be entered. It is not a Liftplan. Do
not use Multipedal treadling with Interleaf weft or overlay.
Skeleton tieup and multipedal treadling are somewhat different. The multipedal
treadling just indicated that 2 or more treadles are pressed on some or all picks. This
includes such weaves as twills and double weaves.
A skeleton tieup usually means that some treadles are used in one part of the structure,
like tabbies or binders and other set of treadles develop the pattern. This usually
requires only 2 treadles to be pressed at once.
In a traditional tieup for 8 shaft summer and winter, you would have two binders and 6
pattern shafts. To tieup for a simple 6 block pattern, you need 2 tabby treadles and at
least 12 pattern + binder treadles, two for each block to give at least 14 treadles.
If you designed a skeleton tieup, then you would need 2 tabby treadles, 2 binder
treadles and 6 pattern treadles, easily accommodated by an 8 shaft 10 treadle loom.
This requires only 10 treadles and two feet.
Tieup and Treadling
This option allows you to set the draft to Tieup and Treadling. When the Tieup and
Treadling is active, there is a check mark before the item.
Liftplan
This option allows you to set the draft to Liftplan. When Liftplan is active, there is a
check mark before the item.
Liftplan, peg plan, and chain or lag chain are different names for displaying the same
information. Liftplan is derived from the action in direct tieup looms such as table
looms, where each lever or treadle is tied to a single shaft and more than one lever or
treadle is used.
Peg plan, lag chain and chain is the name used with mechanical dobbies, where the
lifting of shafts is controlled by pegs in a series of lags fastened together to form a
chain. No specific name has been developed for the shafts lifted with each pick on a
computer assisted dobby. They are usually called a liftplan or peg plan.
We represent the liftplan, peg plan and lag chain as a column of lifts to the right of the
cloth, below the tieup area. There is however no actual tieup here. A direct tieup going
from lower left to upper right is assumed. This format is also what is used to send
information to the computer controlled dobbies.
Shafts and Treadles
If the pattern has a tieup, the dialog for
Shafts and Treadles shows two sliders,
each independently controlling the numbers
of shafts or treadles. (directly at left) If the
drawdown is set to Liftplan, only one slider
is seen, since the number of shafts is equal
to the number of possible lifts per pick.
(below, left)
Click on the slider and drag it to choose the
number of shafts from 2 to 64. The spin
buttons may also be used to increase or
decrease the number of shafts (or treadles).
The slider is fast, but sometimes the spin
buttons is the better tool to change the
number by one or two. You may also type a
number into the text box. Treadles can be
any number from 2 to the 64.
Weft Menu
This controls the various functions for the weft including Add
Tabby and Remove Tabby, as well as advanced Network
drafting.
Weft Fill
Weft Fill allows you to fill the treadling draft
with 4 different threading options, straight
draw, reversed straight draw, point draw
and rosepath. You can choose the number
of repeats or the number of picks to fill. You
can Add to end of an existing treadling
draft, or to Replace all.
Straight draw in the weft implies using each treadle in order, from 1 to 8 or 1 to 16 and
starting over again, depending on the number of shafts being used.
Straight reversed used the treadles from 8 to 1 or 16 to 1, over and over again ,
depending on the number of shafts being used.
Point draw uses the treadles from 1 to 4 to 1 or 1 to 16 and back to 1 , depending on
the number of shafts being used.
Rosepath uses the treadles in order, 1, 2, 3, 4, 1 , 4 , 3, 2, 1 or 1 to 8, 1 and then 8 to 1,
depending on the number of shafts being used. In effect a slightly larger point.
Weft Color Fill
Weft Color Fills allows you to fill a
treadling draft with one or two
selected colors in a number of
different ways. The most useful are
probably A-B and A-B-B-A. These
are good for many color and weave
effects.
The sequence and colors of the ends are shown in the drop down box at the right of the
menu. Click on the arrow at the right end of the drop down box and highlight the
sequence you want to use. There are 7 options. A-A-A-B is shown, with A as green
and B as dark magenta.
Note: Use the scroll bars to choose your colors. The raised squares in the center
shows the active color(s). Dont click on the individual color patches to choose
them. Thread B column will be greyed out if All threads are chosen, since there
is only one color in use.
Weft Thickness Fill
Weft Color Fill allows you to fill a
threading draft with one or two selected
thread thicknesses in 7 different
sequences. The most useful are probably
A-B and A-B-B-A.
Click on the arrow at the right end of the
drop down box and highlight the sequence
you want to use. All threads is shown. All
the sequence of thickness of the warp ends are shown in the drop down box at the right.
Note: Thread B box will be greyed out if All threads are chosen, since only one
thickness is needed, as shown above.
Note: Normal thread thickness is 4. That means a thread appears as a square in
the threading or treadling draft. e.g. 1 = quarter normal width, 2 = half normal
width, 4 = normal, 8 = double normal width etc. You may type any number up to
64 into the text boxes.
Weft Repeat
Any treadling
draft or selected
area may be
repeated in 7
different ways.
This applies to
the whole
treadling or a
selection.
The choices are shown in the drop down box above.
Direct repeat, Mirror repeat, Rotated repeat, Inverted repeat, Drop repeat,
Advancing repeat, Descending repeat. Advancing and Descending repeat can be
stepped by one or more steps and repeated any number of times.
The choices are shown diagramaticly below: The arrow on right represents the
original motif, the one on the left, the new manipulated and repeated motif. To relate
the arrows to the weft, please turn page counterclockwise. It was hard enough to
design this page without having the arrows turned too.
y Original
y Direct repeat:

y Mirror repeat: The motif is made symmetrical on the vertical axis.
y Rotated repeat:
y Inverted repeat:
y Drop repeat: The motif can be dropped half the height of the motif.

y Advancing repeat: each new repeat starts one or more treadles to the right of
the previous repeat.
y Descending repeat: each new repeat starts one or more treadles to the left of the
previous repeat.
The default setting of No. of Repeats = 2 means the original and one additional copy.
A selection or an entire draft can be repeated more than once by increasing the number
of repeats. Final number of Threads are shown but cannot be edited; it is for
information only.
A check box allows the operations on the selected area only, that is the area
surrounded by a blue rectangle. If the box is unchecked, the entire warp will be
repeated. Other check boxes allow repeats of draft, colors and thickness. One or all
may be checked. Play with an asymmetrical motif and see what happens. Any of these
can be repeated more than once by increasing the number of repeats. Final number of
threads are shown.
See Designing with Repeats, pg. 82 for more details.
Make Symmetrical
This is essentially the same operation as Repeat >
Mirror repeat above. It allows you quick access to one
of the most common repeat operations. The sequence
1, 2, 3, 4, 5, 6 becomes 1, 2, 3, 4, 5, 6, 5, 4, 3, 2, 1.
This can apply to Draft, Colors and Thickness. Check
as many boxes as needed.
Note: Weft > Make Symmetrical will copy the entire threading, not selected
areas.
Reverse Sequence
This operation reverses the existing draft, rather than
making a mirror image. In other words, 1, 2, 3, 4, 5, 6 is
changed to 6, 5, 4, 3, 2, 1. This can apply to Draft,
Colors and Thickness. Check as many boxes as
needed.
Note: Weft > Reverse Order will copy the entire threading, not selected areas.
Weave as Drawn In
Exactly As Drawn is thread by thread. Every time an
end is on shaft 1, treadle 1 is used. This is great for
weaving twill based drafts such as crackle.
Overshot Style
analyses the draft
and every time 1,
2, 1, 2 threading
block is found, treadle 1 is used 3 times for the
treadling block. The tieup may have to be adjusted
to star or rose tieup.
Overshot style does not adjust the turning points to
even number of picks. This must still be done by
hand. It can be made much easier if you turn on
the grid tool. Or use a profile draft and Block
Substitution. Final draft using Overshot style on
the right.
Add Tabby, Remove Tabby
Add tabby may be used to add two tabby treadles either on the left or the right.
It is a smart tabby, in that the program analyses the structure and inserts the best tabby,
or the tabby usually associated with the structure.
Remove tabby will analyze the structure and remove the two treadles and the tabby
from the draft.
Redraw on Network
Draw a line (to left) using the Freehand tool. It can be on any number of shafts
or treadles up to 64. This is not the number of shafts you want to use in the final
weaving, but rather it is the depth of the curve.
You may also use Weft/Weave as drawn in/Exactly as
drawn in to use the original threading curve as shown at far
left, to make a treadling curve. This gives you a chance to use
a different network in the threading and treadling.
Once the curve is finished, just click on Redraw on Network
to choose the variables to develop different kinds of network
designs.
See Designing a network draft, pg. 87 for more details.
The dialog lets you choose the method of reduction of the
curve either by Digitizing or Telescoping, with or without
rollover, the number of shafts or treadles that will be used, the
height and style of the initial. The small window within the
dialog shows the style of the initial.
To convert your curve to a network, choose any and all options, click on Apply to see
the curve converted to a network, Undo to restore the curve and allow you to try other
options, and Done to return to the drawdown window. This curve was converted by
Telescope, no reduction, no roll over, 4 shaft initial, left.
Note: See Network Drafting by Alice Schlein for a complete treatment of network
drafting.
Tools Menu
Tools contains some very interesting and useful functions.
Float Search is very important tool for designing stable
fabrics. Block Substitution and Shaft Shuffler add great
versatility to the design process. Fold Double and
Namedraft are both really fun to use. Export to
Sketchpad allows you to edit your design in both the
drawdown window and the sketchpad
Float search
This tool allows you to search and change long
floats, in the warp, weft, front or back. A turquoise
highlight surrounds the longest float in the cloth.
You can either left click to make a mark, or double
click to remove a mark. It is MUCH easier to work in the structure (normal) with a grid
or interlacement mode. To switch from front to back, just click on the front / back tool
icon. The dialog will not close until Close is clicked. The dialog must be closed before
opening another file to examine the floats, or it will report on the last design. The length
of the float is reported at the bottom left end of the Status bar which is at the bottom of
the program window. See Status bar, pg.42
Note: A Windows
quirk may keep the cyan marker visible after the Float Search
is closed. It will disappear when the screen is redrawn, after any other action is
taken. (Usually only affects systems with 16 or 24 bit color)
Block
Substitution
To use Block
Substitution, a draft
must be present in the
drawdown area.
Any draft can act like a
Profile draft or Block
diagram.
Block Substitution will be greyed out if no draft is present.
To turn a block design into a weavable draft, enter threading and liftplan or threading,
tieup and treadling into a drawdown area. colors may also be used.
On the left hand side of the dialog, a list of weave structures is shown. They are divided
into categories. Click onto the small + sign to expand the category to show the various
types of drafts under the headings. Use the scroll bar to see more categories and types
of structures. A list of all the structures available in Block Substitution can be found in
Appendix 6, pg 110
The illustration shows the expanded Twill weaves which contains Broken twill, Diamond
Twill, 3-thread turned twill, and 4-thread turned twill.
To the right of the list of structures are various buttons that lets you control what you
would like to see.
One or more of Threading, Treadling and Use colors can be checked. On the right,
one of Normal Tieup, Skeleton Tieup, Liftplan or No Tieup can be clicked. Only one
at a time can be used. You will no be able to use Skeleton tieup, if the draft cant use it.
At the top of the dialog, the number of shafts and treadles needed for that structure will
be shown. It changes as required. If too many shafts are required, try a different
structure or click on cancel, reduce the number of shafts used in the original structure.
The number of shafts and treadles required are not editable, but for information only.
The button for Edit blocks will be discussed later on Pg 64.
If there are too many treadles try using the liftplan option, or skeleton tie option if it is
available. This works for table looms, direct tieup looms, dobby looms or computer
assisted loom. Also for pickup. If your draft ends up with more than 64 shafts or
treadles, a popup will appear warning you of the fact that some detail will be lost.
Rework the profile, or choose another block structure. When satisfied that you have the
correct setup, click on OK. A new dialog will popup.
Substitution Preview
This dialog allows you to look at the structure of the
blocks as well as the cloth. You can view them in
color or structure, front or back, and at different
magnifications. The Taquet check box is greyed
out because it cannot be woven with the chosen
structure. This check box could also show Samitum,
again depending on the structure. These options are
available for certain tied weaves only.
A spin box allows you to set the number of treadling repeats for some structures. The
drop down box allows you to set the tabby order. The tabby orders vary with the
structure chosen. In this case, the tabby order AxBx is chosen where A and B are the
two different tabbies, and x represents the pattern threads. Structures, such as Double
Weave, Taquet and Samitum, some laces and most twills, do not require tabby to be
woven and the Tabby Order box will be greyed out.
The next line shows check boxes to change the face of the original profile or of the
substituted cloth. Try your profile with Lace weaves > Atwater Bronson Lace, to see
the effects of these functions clearly. Some structures show dramatic differences when
one or the other check box is active, others have little effect.
An information line showing the number of ends and picks in the final design is shown
but cannot be edited.
When everything is set up as required, choose OK. If you want to try a different
structure, click on Try Another. To abandon this substitution, click on Cancel.
Edit Blocks
In the Block Substitution dialog there is an Edit Blocks button just above the OK button.
When this is pressed, the dialog below appears. A bit formidable, but easy to use. Each
grey line in the threading or treadling draft shows the Block Key for one unit of the
weave structure. The blocks can be changed by clicking in the block keys, both in
threading and treadling. The upper right corner shows the Tieup that is used in the
substituted weave. The design of blocks can be changed by working in the tieup, but
the actual structure can be changed if the tiedowns or binders, or tabbies are changed.
Separate controls for Threading Blocks and Treadling Blocks give a lot of flexibility. You
can set the maximum shafts and treadles, the number of ties (where applicable) and
ground structure. The advance from block to block can be varied from the standard. You
can add or subtract Ends or Picks per unit. Both Threading Blocks and Treadling
Blocks have Apply and Revert. These are pretty obvious. The last button is Double the
Unit. This may act the same as the Ends per unit spin box. Double the unit is fast and
easy, but if you start with 4 ends, then double unit will give you 8 ends. But you may
want 6 or 10 ends in the unit. That can only be done with ends per unit. Similar
functions are available for Treadling blocks.
The third panel allows you to change the magnification of the Block Keys so that you
can work more easily or see more.
Common threads, Incidentals and balanced controls can be activated by clicking in the
boxes. Overshot type of structures have common threads between blocks, crackle has
Incidentals. Shadow weaves and some tied structures may need to use Balanced to
make the block transition run smoothly often from odd to even.
The last buttons are OK and Cancel.
Fold double
Any pattern up to 32 shafts can be folded on itself to Fold
Double, Tubular or Separate layers. This is a quick easy way
of making that wide afghan on the narrow loom.
Fold Double is double wide, open on the right, with one shuttle
using the following order: top left, bottom right, bottom left, top
right. For the opening on the other side, switch the entry point
for the weft from the right to the left. If there is a different color
stripe at the right edge, switching the shuttle only will put the
stripe in the middle. To keep the stripe at the edge, go to Warp > Reverse sequence
after Fold Double has been completed. Then thread the loom. This will keep the color
order the same.
Tubular is closed both sides with one shuttle used in the following order: top left,
bottom right, top left, bottom right.
Separate layer is just that, and needs two shuttles, with shuttles used in the following
order: top - shuttle 1, bottom - shuttle 2, top - shuttle 1, bottom - shuttle 2. You can
enter them both from the same sides, or opposite sides. The cloths are independent.
If your draft has 99 ends, then there will be 49 ends in one layer and 50 in the other.
Odd numbers are preferable in double wide fabrics. This prevents a doubled end on the
fold. The other two may have even numbers in each layer.
Name Draft
This is a very popular tool! It allows you to
create a overshot pattern that represents a name
or phrase of importance to you. You may use
characters, numbers, spaces and punctuation in
your phrase, up to 40 characters. Avoid long
strings of the same characters, because they
end up on the same shafts and give long floats.
Start with a blank design screen, open Tools > Namedraft and type a name into a text
box, 8 to 40 characters. Then choose one of the 6 codes by pushing the button A to F.
Choose the star or rose tieup. This gives you 12 different possible designs. Lastly you
may choose from 8 symmetry operations in the drop down dialog, to further refine the
design. And use the zoom tools to change the view while working.
A name draft of Fiberworks PCW with the above
settings, but the back is shown here. Easy and
fun to do.
The codes can be found in Appendix 7: pg 111.
Shaft Shuffler
Shaft Shuffler allows you to move shafts up and down. The ties on the treadles will
move with the shafts. You can also move the treadles left or right. This allows you to
make a threading that is easier to thread and the easiest possible tieup to treadle. The
other useful thing is to rearrange shafts so that you dont have to move as many
heddles. Sometimes it is easier to see how the design can be modified if the treadles
are rearranged.
To move the shafts, go to Tools > Shaft Shuffler. This activates the Shaft
Shuffler. When the cursor is placed in the draft, the pencil changes to a
double headed arrow as shown at left with a red line extending along the
shaft. Place the cursor over the shaft to be moved, click and drag it to the
new location. You will see that the ties on the treadles also move. Release
the mouse button and go to the next shaft to be moved. The treadles may be moved in
the same manner.
If the magnification is set too small, it will be much harder to place and move the cursor
accurately.
To stop shuffling shafts, click in one of the draw tools. To undo, use the undo tool. All
drag and drop maneuvers will be undone at once, back to the start of the shuffling.
Any draft can be shown in four different ways. The original draft can have a rearranged
threading draft, a rearranged treadling draft and both parts rearranged. In each case the
tieup will be different, but the cloth will remain constant.
Export to Sketchpad
This function exports the cloth from the Drawdown window into the Sketchpad. You
can then work on the design in the sketchpad. The tools in Sketchpad are suited to
freeform designs and defined shapes, making some designing much easier.
When your modifications are finished, go to
Analyze > Make Drawdown. A dialog pops up
allowing you to Make New Drawdown, Update
Drawdown or Cancel.
There are a number of ways that you can ask the
information in the sketchpad to be displayed in the
drawdown window. Pegplan may be checked or
unchecked. If unchecked, it will try to show a tieup and treadling if there are 64 or fewer
treadles. Use colors will only transfer colors from the Sketchpad to the drawdown. Any
colors present in the original drawdown will be lost.
If you want to keep the original drawdown, then use Make New Drawdown.
When you want to export the design again, a
new dialog pops up. If you choose Open new
sketchpad it will give you a history of
changes to the drawdown each step on a
different sketchpad. If you choose Update
existing sketchpad, you will use fewer resources on your computer.
Windows menu
Windows menu allows you to see which designs are
open and switch among them.
Tile and Cascade arranges open designs on your
window, to Windows
preferences. Tile arranges

windows side by side. Cascade arranges the windows
to stack one on top of the next in a diagonal from upper
left to lower right. Clicking in the title bar brings a
window to the surface.
Arrange Icons will order the minimized designs at the bottom of the program window. It
does not actually arrange them, it just moves the minimized designs to a more compact
arrangement.
Help menu
Help Topics
Help Topics give descriptions of the most common operations. You
can use it the same way as Help in other Windows programs. It
shows tabs labeled Contents, Index and Find tab. Contents takes
you through a cascading arrangement if the topics. Index is a list of
topic. A typed word will take you to the place in the list where the
word is. Find is searchable database of words in the Help Files. Try it and see if what
you want is easy to find. Between Help and this manual, you should find that most of
your questions are answered.
About PCW...
This dialog shows the name of the program,
and, our URL:
http://www.fiberworks-pcw.com
as well as the version number.
If you have a problem, it would be helpful to
have the information in this dialog handy
when you contact us.
The Resources box lists free physical
memory (RAM) and free disc space on your
hard drive, as well as showing the
percentage of RAM in use. With this you
can see if you should be closing other programs before running a complex print job, or
not opening a lot of different design pages.
Sketchpad
To open a sketchpad, go to the File menu and choose the New Sketchpad to open a
blank page or choose Open Sketchpad to open an existing file. When a new sketchpad
is opened, it opens with a grid of 80 x 80 squares, set by the Preferences dialog. The
size of the sketchpad window can be changed with the resize handle, pg 114 at the
lower right of the frame. The size of the grid can be changed with the magnification
tools.
Note: Only BMP files can be opened with Sketchpad! Drawdowns can be
exported to the Sketchpad.
When the sketchpad is opened a new menu bar appears, as well as a new toolbar.
A, B, C, D. Open new Sketchpad, Open a saved image, Save an image and
print an image.
E. Undo last 32 steps.
F, G, H. Cut, Copy, Paste.
I. Transparent Paste mode.
J. Selection tool.
K. Pick up color tool.
L. Freehand Draw tool.
M. Eraser tool.
N. Local fill.
O. Global fill.
P. Draw lines tool.
Q. Draw Arc tool.
R. Draw Rectangle tool.
S. Draw Rounded Rectangle tool.
T. Draw diamond tool
U. Ellipse or circle tool.
V, W. Magnification tools.
X, Regrid tool.
Y. Reduce colors tool.
Z. Count shafts and treadles tool.
. Make drawdown tool.
Sketchpad > Edit
The Edit menu contains items like
draw tools and various copy and paste
tools.
Cut and Copy work in the same
manner as the Cut and Copy in the rest
of PCW. The copies are placed into
the Fiberworks clipboard and are
usable only by Fiberworks. You may
paste into the Sketchpad, or you can
paste into the liftplan of the tieup of a
weaving design. Cut, Copy, and Paste
all work the same way as the
drawdown window. Transparent mode
allows the new selection to add to the
old, but does not overwrite it.
The image on the Sketchpad
represents the Cloth. If you paste the
contents of the sketchpad into the
liftplan, the cloth will appear with the
top line of the sketchpad image as the
first pick. If you paste the image into the tieup, you may be asked to increase the
number of shafts. The image them appears upright in the tieup, giving a reclining motif
in the cloth. See How to Design in Sketchpad, pg. 93.
Drawing mode tools are on a flyout menu. These are also on the sketchpad tool bar.
Delete unselected allows you to keep an area of interest but clears the rest of the
Sketchpad in a fast and easy erase. You may also right click into the sketchpad to
choose Delete Unselect.
Transform allows you to Reverse, Invert, Rotate, Change face, Turn left, Turn right
and Cycle inside the selection. It also allows you to Echo the image, and Smear the
image.
Selection rectangle allows you to select part of the sketchpad using the blue selection
rectangle.
Select all selects all of the Sketchpad.
Pick up color is also on the tool bar as an eye dropper. It is a one time use tool. It
places the chosen color in the main or alternate color patch above the palette bar. It
works in the same manner as in the drawdown window.
Copy Image allows you to copy the visible contents of the Sketchpad. Adjust
magnification and size of drawing window to control the image. The image is put into the
Windows clipboard and may be pasted into your paint program. It works in the same
manner as in the drawdown window. It cant paste anything into the drawdown.
Sketchpad > View
The View menu contains the Zoom tools which are also on
the status bar and the tool bar.
The Toolbar and the Status bar will be visible when the
check mark appears beside them as shown. The Status Bar
contains a lot of information for each function. Keep an eye
on it.
Preferences is the same menu item as in the drawdown window. If you change it here,
it will also change the preferences in the Drawdown portion of the program
Sketchpad > Image
This menu controls the Sketchpad Size, Regrid... (the
relationship of the image to the grid), auto and manual
color reduction.
Sketchpad > Size
Resizing allows you to set the
number of squares in the sketchpad
with the slider. The spin buttons
may also be used for fine
adjustment. The default can be set
to your preferences.
The Aspect ratio can be set to 25
different settings. This allows tall
skinny stitches and wide thin
stitches. The first number is width of
a stitch and the second is the height.
When setting the size of the Sketchpad, it can be chosen to be the default size, so that
each new Sketchpad starts with this size.
Sketchpad Regrid
Use Image > Regrid can be used to reduce an
image to fit the warp width that you have.
Default value in the Scaling % is 100. Moving
the slider or using the spin button to the left will
reduce the number of stitches in the image. The
Final Image size is reported in the information
box. Aspect ratio is the same as the one found
in the Sketchpad Dimensions dialog. This sets
the parameters for this design only.
Use Align grid to move the image relative to the grid to give a better image.
Sometimes one click on the set of alignment arrows can make a lot of difference.
The final image size box is information only. You cannot change it here.
For Analysis, you must reduce the image to 2 active colors. If you want to use the
image as a cartoon, reduce the colors to the appropriate number. A colored sketch can
be used for drawloom diagrams, tapestry cartoons, bead loom weaving diagrams,
knitting, cross stitch and needlepoint charts. Remember ratio of stitch size can be
adjusted to suit the diagram to the use.
Sketchpad Automatic Color
Reduction
There are 4 sliders: each slider combines colors
in different ways. The sliders can be moved by
dragging or by clicking in the vertical line. The
active colors are reported in the top right corner.
This is an information only box, and cannot be
changed directly.
Near black: causes dark colors to merge. The further the slider is dragged, the more
colors turn black, beginning with the darkest. Moving the slider all the way down makes
the entire image black.
Near white: causes light colors to merge. The further the slider is dragged, the more
color turn white beginning with the lightest. Moving the slider all the way down makes
the entire image white.
Similar colors: colors that are very close to each other are merged to one color, no
matter how large a proportions. Similar means similar in hue, value and brightness. The
further down the slider is moved, the more colors are merged.
Least used colors: Dragging the slider down causes the least used colors to merge
with similar colors.
Since editing is live, you can watch what is happening, both in the graphic and the
information box. To use these sliders more effectively, begin with the Least used
colors. This eliminates most of the small spots.
As a second step, use Near black and Near white to make some gross changes, then
go to Similar colors. Repeat these steps until there are only black and white areas and
the image is the best you can get. It is usually better to reduce the colors before
regridding.
Sketchpad Manual Color Replacement
This dialog box shows the number of
colors that are active. Each active color is
shown on a recessed patch. Black and
white will always be present.
The active colors are reported in the top
right corner. This is an information only
box, and cannot be changed directly.
Undo erases all changes since the last
OK.
Click on a color that you want to remain in the image and drag it to cover one that is to
be eliminated. The patch will then be divided in half. The top half shows the original
color that will be replaced. The bottom half shows the new replacement color. Repeat
with as many colors as you want, then click on OK. Check the state of the graphic and
then proceed with more reduction as needed.
Sketchpad Tools
The sketchpad at the left
shows examples of what
each of the tools can do.
1. A curved shape using
the Freehand draw tool.
2. Straight line tool. Click
anywhere and drag the line
to any other part of the
sketchpad. The angle of the
line is determined by the
start and end.
3. Arc tool. With the arc
tool active, draw a line. Click
and drag the central area of
the line away from the
original line in any direction.
The further it is dragged the
more curved the line will be.
If the left button is released,
the tool is turned off, and
the curve is fixed. Fun!
4. Echo and Smear tool. Echo is shown in 4, a curved line that has been echoed.
Draw a freehand line, select with the blue selection tool, right click inside to get
transform dialog. Click on the direction that you want the echo to go, and then click the
Echo button. Echo gives individual lines that are duplicates of the original and one
space away. Smear makes the original line wider in the direction set in the dialog. (No
illustration shown).
5. Rectangle. This tools allows you to draw a rectangle or a square. Click where you
want one corner to be and drag the mouse to the opposite corner. A rectangle appear
with a one square border and unfilled inside.
6. Rounded Rectangle. With this tool the corners are rounded. The larger the
rectangle, the more the corners are rounded. It is used exactly as the simple rectangle
tool is used.
7. Diamond. The diamond can be long and thin, or broad and short. To draw the figure,
click at one corner, not the points. Drag the cursor to the opposite corner. If you
imagine a square that fits between the original and final location, the diamond will fit
inside it.
8. Ellipse. Again click in the corner of an imagined square surrounding the ellipse and
drag the mouse to the opposite corner. If you are good, you can make a circle. If you do
not drag exactly on the diagonal, then you get an oval. Practice makes perfect.
Hint: Choose a color other than black or white. Draw a line at a 45 degree angle
with the straight line tool. Using black, click into one end of the colored line and
drag the cursor to the opposite end of the line. Presto! A circle. It has a colored
line going through it, which can changed to white with global fill, or by erase. If
you redraw it as a white line it will still be an object; it is still a line. If you erase it, it
is a blank. This makes a difference when doing Analysis.
9. Local fill. Draw several shapes inside each other. Fill each area with a color.
10. Transparent paste. A circle is made, selected, then copied. The Transparent
paste tool is turned on, and the circle is pasted into the center of the sketchpad. It can
be moved without affecting anything underneath the selection rectangle, as long as the
selection rectangle is active. Drag and drop the circle back onto the original circle
slightly overlapping. Then color the various shapes made. color the outside of the
circle, either by global fill, or manually.
Analysis
If you analyze an actual piece of cloth, the analysis should give you a final drawdown
with a weavable structure. You may also use the sketchpad for free-form design of
small images to weave. (If you dont have gazillions of shafts, keep the sketch small!).
Analysis will handle both of these, and export it to the drawdown window.
Fabric analysis involves examining an actual piece of cloth with a magnifier and
recording each thread whether warp goes over or under weft. The best way to do this is
to enlist a friend and work together, one calling out the overs and unders while the other
works the mouse in the grid. The analysis assumes that each black square is a warp
crossing over a weft. Each white square is a weft over warp.
You must analyze a complete rectangular block - if you enter results for five complete
wefts and then part of a sixth row, the program will assume that the rest of weft 6 is a
huge float. You dont need to fill the whole grid from edge to edge, so long as you fill in
a complete rectangle. The rectangle may be anywhere on the sketchpad grid.
If a small sketch or doodle is analysed, it is unlikely to result in a weavable structure
straight off. However once you have analysed the sketch, the threading, treadling and
tie-up will appear in the drawdown window and you may treat these as profile drafts.
Use the Tools/Block substitution to change the analyzed sketchpad image to a
weavable structure.
Analysis > Count shafts and treadles counts the numbers needed to weave the
current drawing. The information appears on the status bar at the bottom left of the
screen. Click to depress the icon to get the latest report. While the icon is active, each
change you make in the design will update the number of shafts and treadles needed
for that particular sketch, and be shown on the Status Bar.
Analysis > Make drawdown generates the actual threading, treadling and tie-up, and
imports it into the drawdown frame in a second window. The sketchpad and drawdown
frame remain linked, so you can continue to edit the sketchpad. Click Make drawdown
again each time you wish to transfer the results to the drawdown frame.
Section III: How To Design ...
95 Design a Liftplan:
94 Fabric Analysis:
93 Draw Motif:
93 Designing with Sketchpad
92 Designing Shadow Weave
91 Overshot with Networks Drafting
89 Overshot by Block Substitution
89 Designing Overshot
87 Designing a Network Draft
86 Treadling Draft with Weave as Drawn In
86 Tieup with Twill Repeat
86 Threading Draft with Warp Repeats
86 Designing an Advancing Twill
85 Tieup with Transform
84 Tieups with Repeat by Quarters
84 Designing with Tieups
83 Descending repeat:
83 Advancing repeat:
83 Drop repeat:
82 Inverted Repeat
82 Rotated repeat:
82 Mirror repeat:
82 Direct repeat:
82 Designing with Repeats
80 Designing with Drag and Drop
79 Combining colors from two designs
79 Entering complex color orders by Copy/Paste
79 New colors by changing the palette
78 Modifying the colors
78 Adding a simple color order by menu
77 Adding colors quickly - use keyboard
77 Adding more than two colors to a design
77 Designing with Color
2005, Fiberworks Section III: How to Design ....
Designing with Color
Adding more than two colors to a design
There are only 2 active color patches, however you can design with any color in the
color palette. You can add more colors in any of the methods described above. You
can use as many as you like, up to 82.
Choose a color x with single click. This places the chosen color into the main active
color patch. The same may be done with a double click and color y. Color y will
placed in the alternate active color patch. This allows you to quickly and easily enter
any two colors in any order, by mouse or keyboard.
Adding colors quickly - use keyboard
Note: When using the keyboard, the small grey blinking square is the insertion
point. Any keyboard entry will be made at this location, and the insertion point will
advance one square.
The main keyboard can be one of the most efficient ways to add color to a design.
Keys 1 to 0 and q to p are used. The letters q -p lie directly below the numbers and are
used to represent the number 11 - 20. The palette bar shows these characters next to
their associated colors. You may use the number pad on the right of the keyboard.
NumLock must be on for numeric entry from the keypad, or the number pad acts as
cursor keys.
Beside each of the first 20 colors in the palette are tiny numbers and letters. If the
colors that you want are in a different part of the palette bar, press Ctrl + G to choose a
new Group of colors for keyboard use. In addition, the - key is the default warp color
(white) and the + key is black.
Or choose a different color palette (see Cloth > Select Palette, pg. 45), or modify
colors to your liking (see Cloth > Modify Colors, pg. 46).
It is easy to make the colors that you need on the keys that you want to use. For
instance, use 1 and 2. Since they happen to be two very similar blues, modify one or
both of these colors. Or choose a different palette where they are quite different. Make
the entry into the color bar and modify the colors once all the entries are complete.
When you are done, and want to save this palette, give the drawdown a name like blue
and green palette and save it in a Palette folder.
To correct a color, draw over it, delete it.
Caution: If you delete a color, it will delete a thread in the draft, its color and its
thickness setting as well. See Edit > Link > Unlink, pg. 39, to delete or insert
color, thickness and draft separately. Remember to turn off the Link / Unlink tool
after use. Lots of problems arise from leaving it open.
2005, Fiberworks 77 Section III: How to Design ....
Adding a simple color order by menu
The Warp > Color fill or Weft > Color
fill dialogs add one or two colors in 6 of
the most common color sequences, as
well as all threads. Although not as
versatile as the mouse or keyboard
entry, it is most useful for color and
weave work, double weave, shadow
weave and other color ordered weaves.
Very easy and very fast.
See Warp > Color Fill, pg. 50 and Weft > Color Fill,
pg. 58 , for details.
Pattern is a drop down field that allows you to choose the
color order that you want to use. There are 7 available
orders are shown at left.
Modifying the colors
To change a color on the existing palette, shown at right,
choose it using the Color Picker tool below. Then go to
Cloth > Modify Colors or simply right click on the color in
the palette bar.
Color Picker: To choose a color in the design, click
on the Color Picker tool, and place eye dropper
cursor over the desired color in warp or weft color bar or in
the cloth. Single or double click on it. Single click will place
the desired color into the main color patch. A double click
will place it into the alternate color patch. It will also place it
into the Modify Color dialog so that it can be changed.
(Menu: Edit > Pick up Color, pg. 38)
Note: Color Picker tool is active for one operation only.
It has to be activated each time another color is to be
chosen.
The Modify Color dialog pops up. If you use the menu item,
it will modify the color currently chosen in the main or active
color patch. To change to a different color simply choose a
color patch from the color palette. It automatically becomes
the new mail color patch. Using the modify dialog changes
all instances of that color in the active design, no matter
where it occurs. See Cloth > Modifying Colors, pg 46.
New colors by changing the palette
If there are no colors to your liking in the current palette, you may chose a new palette
by going to Cloth > Select Color Palette. A dialog with a drop down box will appear.
Click on the down arrow and choose another palette of the 5 sets in Fiberworks
palettes. Use undo to go back to the previous palette, including all the custom changes.
Note: All colors in the active design will be changed to new colors from the new
palette. They will be on the same square on the palette.
Entering complex color orders by Copy/Paste
To enter color x into the design, click with the left mouse button into the color bar above
the threading draft area. To use color y, double click in the color bar. Now add those
two colors to your color bar in any order that you like. Make a small repeat of a color
order. Choose the Selection tool, and make a selection by pointing at the start of the
color repeat, dragging the blue selection rectangle to the end of the repeat an then
clicking on Copy.
Paste to other areas of the warp color bar, or to the weft color bar or to another design.
See Transform Dialogs pg. 104 for using Select, Cut, Copy and Paste. Warp and
Weft menus have other repeats that you may find useful.
Select, Copy and Paste will work from warp color to weft color or visa versa.
Combining colors from two designs
If you would like to use colors from two different palettes in the same design, there is a
slightly devious way of doing it. Open design 1 with palette 1. If you want to move 20
colors, just click on those colors and enter them in order into the warp color bar in
design 1 or use the keyboard entry. Using the Selection tool, select the colors in the
color bar, and Copy them. Open design 2 with palette 2. Paste the warp colors into a
blank area of the warp or weft color bar of the second design. The new colors will
replace unused colors in the second palette.
All operations for warp can be used for weft.
Since there are 80 colors allowed in a palette, the combination of colors from the two
designs must be 80 or less. If there are more than 80 colors, nearest color matching
and frequency of use will be used to reduce the number to 80 colors.
Designing with Drag and Drop
Drag and Drop achieves the same as Cut, Copy and Paste with fewer clicks. Data is
manipulated directly and does not go through the clipboard.
To move a selected area, choose
the Selection tool, click and drag
the blue rectangle until the area
to be moved is completely
enclosed. To drag and drop the
contents of the blue rectangle
place the cursor into the blue
selection rectangle, where the
cursor will change to a pair of
scissors. The selection is now
ready to be moved.
Click and drag to move the
selected rectangle to a new
place. No copy will be left behind
with this method. The cursor will
change to a hand holding a page.
To drop the selection to the new
location, release the mouse
button. If it is not in the right
place, repeat. You may do this
as long as the blue selection
rectangle is visible. If it
disappears, just reselect it.
The rectangle can be shifted up
or down as well as left or right.
When it is shifted up or down the
draft will roll over. This is shown
in the two figures at left and
below. Notice that the blue rectangle is shifted down 4 shafts, by choice.
When the selection is dropped it is not permanent. Just click outside the blue rectangle
and the selection becomes fixed in place and the cursor should become a standard
arrow pointer. Moving via Drag and Drop is equivalent to using the cut and paste tools.
Note: After Move, the original location is left empty and the drawdown is unwoven.
To copy with drag and drop,
choose the area to be copied and
moved. Press the Ctrl key and
hold. Move the cursor into the
selection rectangle. The cursor
will change into two overlapped
pages containing a + sign. The
Ctrl key may also be pressed
after the cursor is inside the
rectangle, but before the move is
started. The mouse may have to
be slightly nudged before the
copy cursor appears. No matter
which way you do it, the Ctrl key
must be pressed before the left
mouse button is first pressed.
The Ctrl key may be released
after the move begins.
The contents of the blue selection rectangle can then be moved by dragging the mouse,
and this time the original remains in place as the copy is moved.
To drop the selection to the new place, release the mouse cursor. If it is not in the
correct place, its easy to move. You can do this as long as the mouse is not clicked
outside the blue selection rectangle. For each new click within the selection rectangle,
the block may be moved again; if you hold down the Ctrl key before you click, a copy of
the block is left behind; if you dont press Ctrl, the block can moved without disturbing
the surrounding contents, but a gap is left.
Drag and Drop can be repeated any number of times, since the blue selection
rectangle is left in place each step. To terminate the Drag and Drop process, click
anywhere outside the blue selection rectangle, or choose one of the drawing tools (the
tools with the red rectangles).
Designing with Repeats
Warp Repeat copies selected areas or the entire drafts using 7 different choices. Any
number of repeats, up to 9996 ends or picks, can be made. If you start off with a small
asymmetric motif, you can experiment with these different repeat functions. Study them
carefully to see how they differ. Look at Appendix 4: Transform dialogs pg. 104. and
compare that process. To make duplicates, you must select, copy and paste. Repeat
takes one area, duplicates it, then manipulates the duplicate in one operation. And as
many copies as you want may be made in one operation. Repeats do not have a cycle
operation but there is a step operation.
The arrows on the right represent the original motif, the ones on the left, the new
manipulated and repeated motifs.
Original: shows a small twill hook that is 14
ends wide and 8 shafts high.
Direct repeat:

The repeat is stamped to the left of the original in the
same orientation and on the same shafts. Total
ends = 28.
Mirror repeat:
The repeat is symmetrical on the vertical axis. The
last end of the original becomes the first end of the
repeat by overlap. Total ends = 27.
Rotated repeat:
The repeat is made symmetrical on both the vertical
and horizontal axis. That is, the motif is turned end
for end and top to bottom. Notice the first end of the
original on shaft 1 has become the last end of the
repeat on shaft 8. Total ends = 28.
Inverted repeat:
The repeat is made symmetrical on the horizontal
axis. That is, the motif is turned top to bottom.
Notice the first end of the original on shaft 1 has
become the first end of the repeat on shaft 8. Total
ends = 28.
Drop repeat:
The repeat is stamped to the left of the original in

the same orientation, but starting on shaft 5 instead
of 1. The start of the new repeat is always down
half the number of total shafts. Total ends = 28
Advancing repeat:
Each repeat is stamped to the left of the original in
the same orientation and one or more shaft above
the previous repeat. In this case, one step up has
been chosen. Notice the repeat starts on shaft 2.
Total ends = 28.
Descending repeat:
Each repeat is stamped to the left of the original in
the same orientation and one or more shaft below
the previous repeat. In this case one step down has
been chosen. Notice the repeat starts on shaft 2.
Total ends = 28.
Any of these can be repeated more than once by increasing the number of repeats.
Final number of threads are shown in a non-editable text box.
Repeats apply to Draft, Colors and Thickness. Check as many of the boxes as you
need. Obviously some repeat types, like rotated, inverted, drop, advancing or
descending do not work in color or thickness.
Designing with Tieups
Tieups with Repeat by Quarters
Some interesting designs can be made when all four quarters of the tieup are repeated
after transforming them. This can be seen in Transform in the tieup. The tieup menu
has a very useful item. Turned twill tieups can be made easily by filling in one quarter if
the tieup and using the dialog to designs a variety of different tieups.
Below right is a 8x8 square where the lower left is filled with a 3/1 twill running to the
upper left. This is the original module of the tieup. If we use the settings shown in the
dialog below we get the tieup shown in the draft below right.
The new tieup shows the lower right quadrant, and upper left have changed face as well
as turned 90 degrees. The upper right quadrant repeats the lower left.
Note that the original quadrant does not change its orientation, but can change face if
desired.
Another example shows the same original quadrant. The dialog is set to change the
face of the original quadrant and its opposite. All quadrants have the same orientation.
The Flip and the Invert check boxes can add more tieups.
Explore these. The possibilities get greater with larger number of shafts!. This tool is
ideal for Designing Turned Twills or twill blocks.
Tieup with Transform
Play with this 8x8 square using Transform. Each diagram shows a single transform
operation done on the original tieup.
Using the
various
Transform
functions to
develop a 8x8
design.
Combine the tieup variations in
various ways and make a 16 x 16
tieup. Final design is shown at
right.
Try doing a similar thing with
Tieup > Repeat by Quarters, pg
54. You can get similar designs
with fewer steps.
Designing an Advancing Twill
You can make lots of different Advancing twills using these simple tools. Study the
example below. The process outlined below uses only the repeat menu tools on 5 ends
entered into the threading. Enter threads on shaft 1, 2, 3, 4, 5 as shown in Original.
Threading Draft with Warp Repeats
Go Warp > Repeat and choose Advancing Repeat, 9 repeats, and 1 step. The
threading draft was completed by Warp > Repeat > Inverted 2x.
Tieup with Twill Repeat
Go to Shafts & Treadles and choose 8 shafts and 8 treadles. Enter the ties into the
first treadle, then go to Tieup > Twill Repeat and choose up or down, one step.
Repeat Up is shown above. This ideal to use for advancing twills.
Treadling Draft
with Weave as
Drawn In
Complete the draft by
using Weft > Weave as
Drawn In > Exactly As
Drawn. To see how
interesting this draft is,
repeat 3x in both
directions. Then you get to
add colors too! And maybe
even weave it.
Designing a Network Draft
Network Drafting allows you to enlarge your designs without elongating the floats, or
using larger yarns or wider sets, or larger blocks. The designs usually have fuzzy edges
rather than sharp delineation between pattern and ground areas. See Network Drafting
by Alice Schlein for a complete treatment on this method of designing.
Draw a line using the Freehand tool. It can be
on any number of shafts up to 64. This is not
the number of shafts you may want to use in the
final weaving, but rather it is the depth of the
curve. This curve is on 12 shafts drawn with the Freehand Tool.
See Edit > Draw mode > Freehand, pg. 36.
Once the curve is finished, click on
Warp > Redraw on Network to choose
the variables to develop different kinds
of network designs.
The dialog lets you choose the method
of reduction of the curve either by No
Reduction, Digitize or Telescope with
or without rollover.
Digitize and Telescope are two
methods of reducing a curve on many
shafts to fewer shafts. Rollover will be
active only when needed.
No Reduction: allows you to leave the number of shafts the same as the curve when
the button is depressed. If the button is not pressed Telescope or Digitize can be used
and a lower number of shafts may be are chosen. This allows you to choose the final
number of shafts in the networked curve.
No Rollover: It is not available when No Reduction or Telescope is used, only when
Digitize is chosen.
Telescope: To reduce the curve by from 16 shafts to 8 by telescoping; shaft 1 remains
1, 2=2, 3=3, 4=4, 5=5, 6=6, 7=7, and 8=8. But when you get to 9 you start over again,
so 9=1, 10=2, 11=3 and so forth. The curve is now turned into 2 nested curves. This
gives echo lines. Try them out, see what the differences are.
Digitize: reduces the curve by squishing it. If the curve is on 16 shafts, it can be
digitized by renaming shaft 1 and 2 on the original curve as shaft 1 on the new curve.
Similarly old shafts 3 and 4 go on new shaft 2, 5 and 6 onto 3 etc. When the conversion
is finished, the curve is a flatter version of the original, but the same kind of curve.
Set initial height and style: allows you to choose different sizes and different kinds of
initials. The most frequent initials are 4 and 8 shaft straight twills. The left and right
refers to straight twills.
Initial: is the structure that you are building the network on. Often twills, but not always.
The curve has been converted to a network threading using 4 shaft straight left initial,
using telescope and no reduction. It therefore remains at 12 shafts. The rollover check
box was not chosen.
Once the curve has been converted, click on Apply to see the curve converted to a
network, Undo to restore the curve and allow you to try other options, and Done to
return to the drawdown window.
To the left is a network draft derived from the
design curve above. The draft is a telescoped
curve, no reduction, on 12 shafts, using a
straight draw 4 shaft initial. (the first network
threading draft above)
The tieup is done by typing in the first treadle
and using Tieup > Twill repeat, Down.
To make the treadling plan, go to Weft >
Weave As Drawn in > Exactly as drawn.
Many other variations can be designed form
the basic curve. This is lots of fun and easy to
weave (only 12 treadles for 12 shafts and one
shuttle.)
Different tieups also give very different design, even one as simple as using the tieup
that is as simple as above. Play around with twill tieups going in the opposite direction
as well.
For further reading on Network drafting, consult Alice Schleins Network Drafting book.
A wonderful book!
Designing Overshot
Overshot by Block Substitution
One method of designing 4 shaft overshot is by Block Substitution. Using the same
curve is a bit more complicated, but gives a draft with 4 ends per block. This is
considered by many people as the traditional overshot. There is nothing wrong,
however with this simple method
Using the curve from Network drafting (shown
at left), select all shafts from 5 to the top, in this
case 12. Do not select any extra ends on either
side. Right click into the blue selection
rectangle and shift the selection down by 4
shafts until the selection rectangle sits on shaft
1 to 8, as shown at left and nests between the
first 6 ends and the last 4 ends.
Repeat this with the next four shafts selecting
the original shafts 9 to 12 and moving them
down to shafts 1 to 4. Again those last ends
from shafts This last move will now give a 4
shaft draft.
Go to Tieup > Shafts and treadles and reduce
the profile draft to 4 shafts and 4 treadles. To
complete the Profile, go to Weft > Weave as
Drawn In > Exactly as drawn. The finished
profile is at left.
There is no special profile mode. Any design
can be used as a profile for block substitution.
You may use a threading, treadling and tieup,
or threading and liftplan. If your profile is in
liftplan, then the final design will be in liftplan. If
your profile is in Multipedal Treadling, Block
Substitution will convert the final design to
liftplan.
Now proceed to Block Substitution.
See Appendix 6, pg 110. for the complete list of blocks.
In the Block Substitution dialog, choose 4 Shaft weaves > Overshot. You will
probably have to scroll down to see this option.
Click on Threading,
Treadling, and Normal
Tieup. Use Colors is
optional here. Near the
top of the dialog, the
number of shafts and
treadles need for the
design is shown. You
cannot change these
numbers, they are for
information only. Click
on OK.
Substitution Preview allows you to see the draft in
color / structure, at different magnifications and
the back / face view. It allows you to add the
appropriate tabby in a number of different orders. No
tabby was chosen here. It is up to you. OK to accept.
The last options show Change face of profile or of
cloth. In some structures this make little difference. In
others this is dramatic. Options that are not available
in this structure are greyed out.
This draft is 180 ends long, has
longer floats and lots of half
tones. The original curve has 51
blocks in the profile.
Compare this with the network
derived draft on next page.
Overshot with Networks Drafting
Warp/Redraw as Network can be used to
convert a warp curve to Overshot, on 4 shafts.
The curve on the left is a 12 shaft curve used
for the Network draft above. The threading
draft below is derived from the 12 shaft curve
by setting the Redraw on Network to
Telescope, (digitizing will result in longer floats)
4 shafts and an initial of 2 and choose left.
Note that the threading has the same number of ends as the profile, giving simple and
small motifs. Each block in the profile is represented by 2 ends but Overshot has
overlapping blocks which results in a draft that is the same length as the original curve.
To complete the weft draft, go to Weft > Weave as
Drawn In > Overshot Style. Add the tieup for
standard overshot. Remember to add tabby while
weaving. You can also go to Weft > Add tabby and
it will show the tabby picks in the draft.
Eight shaft overshot can also be designed with this
feature. The tieup of course will be classic 8 shaft
overshot tieup.
Note that this draft is very small in comparison with
the more traditional overshot, derived by lock
substitution. This draft would be very good for
miniatures, where patterns are required to be
reduced to keep the coverlets to scale. Very handy feature.
Designing Shadow Weave
Diagram 1 at left below is a common way of writing shadow weave drafts. Some may
find this draft easy to thread, but very hard to treadle.
Diagram 2 shows the threading being rearranged to make a different threading draft.
The tieup has changed but not the cloth. The treadling draft is unchanged. Note the red
line and double headed arrow. This is done with the shaft shuffler. It grabs a shaft and
allows you to drag it to a new location.
Note: In diagram 2, above right, the red line with the double headed arrow, marking the
shaft that is being moved.
Tip: To make the rearrangement easier, click the lowest shaft to be moved and drag it
to the top of the draft. Repeat with the next lowest and drag to top. This works really
well in a lot of situations.
Diagram 3 (left) shows that the threading and
treadling draft has been completely rearranged.
Again the tieup is changed, but the cloth has not.
Any of these can be threaded and treadled.
Some are easier to treadle for some people,
other for other people. I like the threading and
treadling in diagram 3. The tieup is also easy to
understand.
To make the pin stripes run in the other direction,
go to Tieup > Change Face.
Designing with Sketchpad
Draw Motif:
Open the Sketchpad from File > New Sketchpad. The screen displays a grid that is 80
x 80 squares. This allows you to experiment in the grid.
Click on the Pencil draw tool. Doodle around until you get something you like. Use
a small area of the sketchpad.
Click on Count shafts and treadles. A dialog pops up and shows the shafts and
treadles. If the number of shafts is too high, look for columns that are nearly the
same and make them duplicates. If the number of treadles is too high, look for rows that
are near duplicates and make them the same. Count shafts and treadles again.
Repeat until the shafts and treadles match the loom.
Or switch to a loom with more shafts and treadles such as a table loom where you can
use liftplan. Or keep reducing the motif until it is small enough. This is much cheaper
than buying a new loom, but not s much fun.
To design a motif in the sketchpad that can be woven on your loom is not as easy as it
seems.
If you want to make the motif as an overall design, then the weave structure must be
considered, and the loom that it will be woven on.
If you have a 12 shaft loom and want a profile design for it, you will need at least 2
shafts for tiedowns. This leaves 10 shafts for the profile design. If that same loom has
14 treadles, two must be preserved for the tabby and 2 for the skeleton tieup. That
leaves 10 treadles.
If the design is to be simple repeat rather than a mirror repeat you will probably need
one shaft reserved for the spacer. For mirrored designs, you can use 10 treadles, and
your motif will be a total of 18 blocks wide. Just some thoughts to keep in mind.
The graphic at the left is from a Corel Draw 3 file of clip art. It was reduced
in size from 500 x 800 pixels to 82 x 133 pixels in a paint program. It was
then saved as a BMP file. The penguin looks fairly simple but would
require at least 88 shafts to weave.
The Sketchpad makes it much easier to keep making the image smaller
and simpler.
Open the penguin image in the sketchpad and go
to Image > Regrid. Move the slider to about 60%
and OK. Fix the image a bit by filling in some
areas and erasing other areas. Continue doing
this until the image still looks like a penguin but is
simpler and fits the loom and structure.
When the image in the Sketchpad looks right, go to Analyse > Make drawdown. The
image in the Sketchpad appears in the cloth with threading and liftplan analysed to fit
on the fewest shafts and treadles. If you want to switch to treadle, go to Tieup > Shafts
and treadles. Unfortunately, it will take 22 treadles just for the image. For the Summer
and Winter version with a skeleton tieup, 16 shafts and 26 treadles are needed. Below
are the profile drafts. On the left is the draft with a liftplan and on the right, with tieup
and treadles. To get a weavable structure use Block Substitution and choose
something like Summer and Winter and a loom with more treadles or one with a direct
tieup, or a dobby loom.

Fabric Analysis:
To analyse a fabric, there are two strategies, destructive and Aunt Lydias couch.
In both methods, mark the start of the repeat, both in the warp and weft direction. This
may be done by pulling a thread out of the fabric at the start of the repeat or basting
with a smooth colored thread. Obviously Aunt Lydia will not let you unravel the
upholstery, so stick to the basting (as long as she does not catch you at it).
Determine which direction is warp and which is weft. If the selvedge shows, it is easy. If
not, there are a few hints. More fragile thread is usually the weft. The face of the fabric
is the usually the fancier one with more of the decorative thread showing. In a
commercial fabric the fancy thread is usually in the weft. In handweaving it may be in
the warp or the weft.
Begin in the upper left hand corner of the sketchpad. Follow one weft thread from the
beginning of the repeat to the end. Continue on for about of another repeat. For
every warp end on the surface make a black mark. Leave a white space for every weft
on the surface. If you use two colors, it may make it easier to keep track.
With destructive analysis, pull the thread out. This makes following he next thread
easier. Repeat making black marks for every warp over. When you have done more
than one repeat in warp and weft, go to Analyse > Count Shafts and Treadles. If the
number looks fine, and the pattern of warps on the face looks regular, then go to
Analyse > Make drawdown.
The Drawdown Window appears with threading, treadling and tieup, or with liftplan.
Hint: It is much easier if two persons work on this together, one calling out: up,
up, down. up. down, down etc. and the other clicking in the sketchpad black mark
for warp up and white for warp down..
Design a Liftplan:
Designing a liftplan or a profile in liftplan form is different than designing a cloth. The
drawing tools in sketchpad make designing a complex liftplan much easier.
One strategy is to change the size of the sketchpad to the size of the number of shafts
x number of lifts. For instance, you might want 16 shafts by 100 lifts. Go to Image >
Sketchpad size. This will give you an area the same as the area to be filled in the
liftplan.
You can then use the tools that you need, such as draw arc, circle and other shapes,
add diamonds and freehand lines or straight twill lines. Or draw a diamond and echo it.
Draw another diamond, smaller and smear it. And so on. Use copy, paste and
transform to flip a shape and then move it to a new location.
Alternately, you can use a larger Sketchpad and draw figures into it to use as templates.
Then mark off an area the size of the liftplan with a colored line. Draw, copy and paste
shapes into the liftplan areas. Copy and Paste and transform the original into a larger
figure, or a fatter, or one that is laying down. You can also use Paste with the
Transparent mode turned on. This allows two shapes to be nested closely without
blocking out a part of the first image. When you have enough shapes. Copy them into
the liftplan area.
When you have an interesting design, select the area of the liftplan and paste it into a
liftplan of a design in the weaving window. Fill in threading. You now have a complete
design or profile.
Clear the Sketchpad of any doodles or drawings you made that are not part of the
design. When you analyze the design, all the marks in the sketchpad will part of the
cloth. Erase all marks that are extraneous.
For more details see page 69 File Menu > Sketchpad
Section IV: Appendices
114 Resize handle
114 Resize
114 Close Button
114 Full Screen or Window button (Maximize)
113 Minimize button
113 Title Bar and Active Window
113 Finding Folders and Files
113 The names and functions of parts of Windows 98 to XP
112 Appendix 8: Some Windows Conventions
111 References for Name Drafts:
111 Name Draft Codes by Fiberworks 1997
110 Appendix 7: Name Draft Codes
109 Appendix 6: Structures in Block Substitution
108 Cloth Popup Menu
108 Popup Menu for Selection in the Tieup
107 Extend Selection Popup
107 Unlink
107 Insert extra threads
107 Delete, close gap
107 Blank out
107 Selection Popups to Select Threading or Treadling
107 Appendix 5: Popup Short Cuts
106 Transform of Tieup or Liftplan
105 Transform in Color or Thickness
104 Transform in Threading or Treadling
104 Appendix 4: Transform Dialogs
102 Appendix 3: Using Number Keys in PCW4
101 View Mode Keys
100 Navigation keys
100 Appendix 2: Using the Keyboard in PCW4
98 Table 2, Image Manipulation Mode
97 Table 1, Windows Standard
97 Appendix 1: Mouse Actions
2005, Fiberworks Section IV: Appendices
125 Technical Support
124 Problem: Screen colors do not match the printer colors.
124 Problem: How do I make plain graph paper?
123 Problem: How To Make Graph Paper
123 Problem: Areas of empty space in the final print
123 Problem: Documents Format is Invalid
123 Problem: I cant open a weaving file
121 Problem: I cannot find the PCW.exe program file
121 Appendix 10: FAQs
120 Software used for this manual
120 Great Books for PCW Owners
119 Weaving Organizations
119 Designs on Disc
119 Designs on Web Sites
119 Resources
116 Terminology
116 Drag and drop
115 Right Click
115 Moving the Window
114 Scroll Bars
2005, Fiberworks Section IV: Appendices
Appendix 1: Mouse Actions
There are two modes of operating the mouse. Change from one mode to the other by
going to Cloth> Preferences> Misc tab.
Table 1 shows the method we have been using in PCW4.0. Many people commented
that it would be much easier to design on PCW if the left button drew marks in the draft
and the right button erased marks. This makes sense if you are used to imaging
programs. Windows system is geared to use the left click to do a positive action, like
insert. To delete text or an entry in a database, you use the left double click and all
popup menus are accessed by using the right mouse button
In a word processing program the most common action, using regular menus and
inserting mouse cursor into a text is done by a left click. The next most common action
is manipulating text by accessing popup menus and dialogs. Microsoft chooses to use
the right click as a secondary key and the art world chooses to use the right key for
erasing. Both are sensible in context. Se we leave it to you to choose which way you
want to use the mouse.
Table 1, Windows Standard
No assigned action No assigned action Double right click
No assigned action Creates drawing rectangle
(red) and Selection
rectangle (blue) in
threading, treadling, tieup,
color bars and thickness
bars.
Click and drag (Click on
the start of the object, and
without releasing the button,
drag the mouse to the end
of the object, and then
release the button.)
Calls up Color Modify
dialog for color chip
Selected
Calls up context sensitive
popup menus.
Single right click (Right
mouse button, clicked
once.)
Chooses alternate color Makes a white mark in draft.
Paints alternate color in
warp or weft color bar.
Halves a thread thickness.
Double left click (Left button
on the mouse clicked twice
in close succession.)
Chooses main color Makes a black mark in draft.
Paints main color in warp or
weft color bar.
Doubles a thread thickness.
Single left click (Left button
on the mouse clicked once.)
In the Color Palette In the drawdown window Mouse Action
2005, Fiberworks 97 Section IV: Appendices
Table 2, Image Manipulation Mode
No assigned action No assigned action Double left click
No assigned action Creates drawing rectangle
(red) and Selection
rectangle (blue) in
threading, treadling, tieup,
color bars and thickness.
Click and drag (Click on
start of the object, without
releasing the button, drag
the mouse to the end of
object, and release button.)
Chooses alternate color. Erases.
Makes a white mark in draft.
Paints alternate color in
warp or weft color bar.
Halved thread thickness.
Single right click (Right
button on the mouse,
clicked once.)
Calls up Color Modify
dialog for color chip
selected.
Calls up context sensitive
popup menus.
Double right click or
Shift+right click. (Right
button on the mouse clicked
twice in close succession.)
Chooses main color Enters.
Makes a black mark in draft.
Paints main color in warp or
weft color bar.
Doubles a thread thickness.
Single left click (Left button
on the mouse clicked once.)
In the Color Palette In the drawdown window Mouse Action
If you have a three button mouse, and the center button is active, but not programmed
for a special function, the center button may be used to substitute for a double click.
See quick review at Mouse Actions, pg. 9.
Point: Place the active cursor (usually the point of the pencil or tip of the
arrow) over the target.
Click: Push and release the left mouse button while pointing at the target.
Most common action. Takes a positive action.
Left Click: Same as Click above.
Right Click: Push and release the right mouse button while pointing at the target. A
context sensitive popup menu will appear. Also opens Modify Color
dialog.
Double Click: Erases the entry in threading drafts, treadling drafts, in tieup and cloth,
and changes color and thickness entries. Can be used in Windows
functions, such as opening files.

Click and Drag: Place cursor over the target, click on the left mouse button and without
releasing it, move the cursor, so that the point is in the new target area.
This is used to control the colored rectangles in draw modes and
select mode.
Click and drag is used to make the rectangles so that you can use
draw, cut, copy paste, transform etc. Also used in highlighting text in
Notes and Records. Can be used in most other Windows
programs.
Drag and Drop: Move or copy a selected zone by clicking and dragging; the contents of
the selection moves with the mouse cursor until the left mouse button
is released. It is also used to move an open drawdown window so that
it reveals what is underneath. Point to the blue Title Bar on an active
window and drag it to its new place.
Drag and drop is used for moving any selection, such as moving a
selected rectangle within a design, moving design or program
windows and moving a selected file in Windows
from one folder to

another, or opening a file by using drag and drop to move the file into
an open compatible program, such as a .DTX file into PCW4.
Scrolling: Many mice have a wheel between the left and right mouse button that
allows you to scroll without the scroll bars. Scrolling works in the main
drawdown window to scroll up and down but not side to side. It works
in a lot of other dialogs, like Warp Color Fill. It also works in Modify
Color dialog in a very different way. When you click into one of the
color bars, or the text boxes, the color will change. Interesting.
Control Selection technique: To select an area that is partially off the screen, using
the selection tool, click on the lower right hand corner of the threading
draft that you want copied. Scroll to the end of the area you want
selected. Press and hold the CTRL key and click with the mouse into
the upper left corner of the end of the selection. Release the CTRL
key and a selection rectangle will now surround the entire portion of
the draft. to be manipulated.
The same thing can be done with the treadling draft.
Appendix 2: Using the Keyboard in PCW4
Many functions in Fiberworks PCW 4.1 may be controlled by the keyboard, rather than
the mouse.
Note: The Ctrl, Alt and Shift keys are used in combination with other keys.
For instance if using Ctrl + X, depress the first key (Ctrl) and hold down, then
press the second key (X) briefly. Release the second key before the first key.
The - symbol in Ctrl + X indicates that this is a combination: do not type the +
key.
Navigation keys
Cursor keys: Left, right, up and down arrow keys control the cursor placement or
insertion point on the screen. Used for navigation within a draft. These
are the 4 arrows on the upside down T between the main keyboard and
the numberpad.
Ctrl + arrows: Using the Control and any of the four arrows on the cursor key pad
moves cursor from one draft zone to another, e.g. Ctrl + Right arrow to
move from threading to tie-up. Ctrl + Down arrow and then Ctrl + Right
arrow (2 times) moves to the color bar and then the thread thickness bar.
Home: Jumps one screen right.
End: Jumps one screen left.
PgUp: Jumps one screen up.
PgDn: Jumps one screen down
Arrow Keys: Move the cursor one thread at a time in any area of the design.
Ctrl + Home: Moves the insertion point to beginning of threading draft.
Ctrl + End: Moves the insertion point to end of threading.
Ctrl + PgUp: Moves the insertion point to the beginning of the treadling draft.
Ctrl + PgDn: Moves the insertion point to the end of the treadling draft.
Ctrl + PgDn: Shifts the colors in the palette bar so that a different group of 20 colors is
adjacent to the key labels.
Important Editing Keys
Tab: Moves the insertion point from one area to another, threading to warp
color to warp thickness to tieup, to weft thickness to weft color to
treadling to cloth and back to the start,
Ins: Adds an empty gap at the insertion point.
Del: Deletes at the insertion point and closes the gap.
Backspace: Deletes entry prior to the insertion point, backs up one space and closes
the gap.
+ (Plus): Makes a black square at the insertion point. Use for tieup.
- (Minus): Makes a white square at the insertion point. Use for tieup.
Ctrl + O: Open design
Ctrl + S: Save
Ctrl + P: Preview and Print
Ctrl + Z: Undo
Ctrl + X: Cut
Ctrl + C: Copy
Ctrl + V: Paste
Ctrl + A: Select All
Note: Selection for cut, copy, paste must still be done with the mouse.
Ctrl + L: Unlink / Link threads, colors and thickness for independent editing
Ctrl + G: Move color group in palette
View Mode Keys
\ : Slash key switches between structure and color view.
/ : Backslash key switches between front and back of cloth.
Alt + N: Switches between regular view and other views.
Alt + I: Switches between interlacement view and other views.
Alt - : Zoom Out
Alt + : Zoom In
Appendix 3: Using Number Keys in PCW4
Number keys are used for entry of threading, treadling, tieup, colors and thickness.
(Great for threading; try entering Summer & Winter with a mouse!)
Keyboard: numeric keys across the top or on the number pad may be used. (Num
Lock ON to use the numeric pad.) Entry takes place at the insertion point", which
appears as a blinking gray square in the draft to allow thread entry, tieup entry, color
entry and thickness entry. (Laptops use a Function key to activate the number pad. It is
easier to use the numbers at the top of the main keyboard.)
Main Keyboard: This way entries can be made with a single keystroke. For numbers
greater than 10, use the row below the numbers:
I.e. 1 - 0 is 1 to 10
q - p is 11 - 20.
a - ; is 21 - 30.
z - n is 31 - 36. (Higher numbers are rarely used)
Use View > Preferences > Misc to adjust for non-USA/UK keyboard layouts.
Number Pad: May be used for single digit entries (Num Lock ON, Scroll Lock OFF) for
entries 1 to 0 (which equals 10) only. No enter key is required. Status line will show #
at lower right when the Num Lock is on.
Double digit entries (Num Lock ON, Scroll Lock ON) for entries 1 to 99 may be made
without the use of the enter key between entries. E.g. with Scroll Lock ON, using the
number pad. Right end of Status line shows ## when Num Lock and Scroll Lock are
on.
Type 1 6 for 16
Type 0 6 for 6
The . (period) key: when typed between two numeric keys, causes the all the
intervening numbers to be generated. The period key only works in threading or
treadling draft. Main keyboard number keys and Number Pad can be used.
e.g. With Num Lock On, type 1 . 8 . 1 in the threading, you get a point draw
1, 2, 3, 4, 5, 6, 7, 8, 7, 6, 5, 4, 3, 2, 1
Or
With Num Lock On, Scroll Lock ON, type 01 . 16 to get straight draw
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16
Note: The bottom right of the Status bar will show the state of numeric entry. One
# (Num Lock On) means that the number pad may be used for numeric entry form
1 to 0. When two ## (Num Lock On, Scroll Lock On) appear, then two numerals
can be used for each entry. Type 02 for an end on shaft 2 and 12 for an end on
shaft 12. No need to press the Enter key between each end.
Color Entry: Type any number 1 - 0 or q - p (see the palette bar on the right of the
program window to see which colors is associated with each key) to insert colors in the
color bar. Insertion point advances with each entry. Change the section in the current
color palette by using the Ctrl + G. See How to Design with Color.
Thread thickness: Type in numeric values to control thickness on a thread by thread
basis. The normal thread has a value 4; so 1 gives a width thread, 2 gives width,
8 gives double width, etc. Insertion advances with each entry.
From threading, type Ctrl + to move the insertion point into the warp color bar; a
second time moves it to the warp thickness bar.
From treadling, type Ctrl + to move the insertion point into the weft color bar; a
second time moves it to the weft thickness bar.
Note: Some Windows systems font sizes are set for comfortable viewing, but
may cause alignment problems with the numbers next to the color palette. Either
adjust the font size or count and match the keys.
Appendix 4: Transform Dialogs
There are different context sensitive transform dialogs for each different function. One
for threading and treadling, one for color and thickness and the last for tieup and lift plan
are the most commonly used. The cloth area cannot be selected, nor transformed.
Sketchpad also has its own Transform dialog with two extra items on it unique to the
Sketchpad.
To use Transform, a selection must be made first. A blue selection rectangle must be
visible in order for Transform to work. This selection should be at least three ends
wide or three picks high. One thread would be hard to transform and two are easier by
simple clicking.
Transform in Threading or Treadling
This dialog has five options to change the selected area. Underneath
this are 4 radio buttons that control the direction. Only one can be
active at a time. The threading will be used to illustrate the
Transform functions. Similar functions are available for treadling.
To explore these options, begin with a simple design. An asymmetric
draft was made. It is a 11 thread by 7 shaft area suitable for an 8
shaft design. A selection of the entire asymmetric draft was made.
Note that the blue selection box has a height of 7 shafts not 8.
Different transformations are made using the original
draft. Compare the diagrams below with the original.
Each gives a different result. Compare carefully.
Clicking some of these buttons a second time gives
the original again.
Reverse, rotate and invert are fairly clear but the others need some study. Carefully
compare Shift Up 3 and Cycle Up 3. They are different.
Shift moves the selection rectangle either up, down, left or right, depending on which
radio button is checked. It moves the entire rectangle and displaces the unselected
threads around it. Clicking the button again repeats the action, so that the box is moved
further. Click Undo until you return to original.
Cycle moves the contents of the selection within the rectangle either up, down, left or
right, depending on which radio button is checked. The Selection Rectangle does not
move, only the contents. Clicking the button again repeats the action, so that the
contents of the rectangle are moved further. Click Cycle until you return to original. Or
use Undo.
Similar options are available for treadling but turned 90
o
, that is Reverse applies to warp
or weft thread order, and Invert applies to shaft or treadle placement. If multipedal
treadling is checked in Tieup > Shafts and Treadles, the Threading > Treadling
dialog will appear, not the Tieup dialog.
Transform in Color or Thickness
The area of the draft to be manipulated must be selected and the blue rectangle must
still be visible. The dialog has 3 options.
Reverse will switch the first color and the last and so forth with all
colors changing places.

Shift will move the selected colors. In the threading, left or right
should be used to move the selection in the indicated direction.
Type 1,1,2,2,3,3,4,4,5,5,6,6,7,7,8,8,9,9,0,0 into the warp color bar
and select the first ten threads - 1,1,2,2,3,3,4,4,5,5.
Using the Left radio button, press Shift 10 times. The selected area
will have moved so that it is now to the left of the unselected colors. The bar will now
show 6,6,7,7,8,8,9,9,0,0,1,1,2,2,3,3,4,4,5,5. Pressing the Shift button some more will
move the selection past the colors entered. It can move all the way to the end of the
draft area (9996 ends). Right will move the selection to the right, but only till it reaches
thread 1.
Cycle will do other interesting things. Using the same selection and the Left radio
button, press Cycle four times. The selected area will remain in the same location but
the contents of the selection will move within the selected area. The selected area will
show 4,4,5,5,1,1,2,2,3,3. Right will move the colors within the selection to the right.
Up or down may have weird but interesting effects since colors are shifted or cycled
around the available color palette. Experiment with it until you get something that you
like. Using the same selection, with the Up radio button checked, press Shift 5 times.
The colors showing in the selection will be 6,6,7,7,8,8,9,9,0,0 without affecting the area
outside the selection. Cycle with the same conditions will do the same thing.
You can make a selection, center the colors and the structure easily using both Shift,
Cycle and the radio buttons.
Similar operations are possible in the treadling color and thickness bar. Up, down, left
and right apply as you see them.
Transform of Tieup or Liftplan
The area of the draft to be manipulated must be selected
and the blue rectangle must still be visible.
Make a selection, then go to Edit > Transform and the
relevant dialog pops up.
The dialog has 8 options. The first 5 are the same as those
in the threading and treadling dialog discussed above.
Change Face is obvious. Turn left and Turn right work only
with square selections.
Each of the options available can be used in various ways.
Some give similar results, but one way may be easier for a
particular manipulation.
Transform in the Tieup
In the 12 shaft, 12 treadle tieup shown below blocks of 3/1 and 1/3 twill are repeated in
various ways. The tieup below can easily be made with Copy and Paste or Drag and
Drop Copy or with Transform. The 16 shaft tieup on the next page would be difficult to
do without the Transform function. Also see the Designing by Quadrants for additional
tricks.
. 1. First the 4 x 4 rectangle in the lower
left is selected and copied (Upper left
figure) and pasted three times. (Upper
right figure)
2. select the second rectangle as
shown below left. Open the Transform
menu, then Turn Left, or Rotate 180
o
.
Then press Change Face. All the black
marks turn white and visa versa. Close
the Transform menu. (Lower left figure)
3. Then use the selection tool again to
select the new area. Copy and Paste
five more times to fill the tieup. (Lower
right figure)
4. Any of the 4 x 4 areas may be
reselected and manipulated to change
orientation
If used with a straight twill threading and
treadling a simple 12 shaft twill block
design will result. Fancier designs may be made with more complex threadings and
treadlings.
Appendix 5: Popup Short Cuts
Popup menus are context sensitive menus that contain an appropriate collection of tools
also found in the main menus. The only novel items are those relating to extending the
selection area, which is not available in edit menu or tools. The popup menu that
appears is context sensitive and depends on which drafting area your insertion point is
in and whether a selection exists or not.
Selection Popups to Select Threading or
Treadling
Make a selection of more than 3 threads in the threading,
treadling, liftplan, color bar or thickness bar. Right click outside
the selection, and the menu at the left will pop up.
Warning: If you right click within the selection, the menu will
probably pop up where you click and cover the selection.
Popup menus allows quick access to drawing tools and cut,
copy, paste and transform and extend selection.
Blank out
The selected area is cut, the gap remains, but the clipboard is not affected. This allows
you to erase a section of threading or treadling without changing the contents of the
clipboard, unlike the Cut tool.
Delete, close gap
Deletes the selected area of the draft, but this time no empty area remains. This is the
same as the Delete tool, which can delete selected blocks and closes the gap. The
Delete from the popup menu requires a selection, whereas the Delete tool can also
delete a single end with no selection and close the gap.
Insert extra threads
Allows you to insert a blank space as large as the selection rectangle. This is the same
as the Insert tool, which can insert a space as large as the selected block. However
the Insert tool can also be used to insert a single thread without a selection being
made.
Unlink
Allows you to separately delete thread, color or thickness. Draft, color and thickness
are linked by default, i.e. deletion deletes the threading only, not the color or thickness
sequence unless in unlinked mode.
Extend Selection Popup
This dialog will enlarge the selection rectangle to the limit of the
direction chosen.
If the selected area is seven ends on shaft 4, from ends 13
to 17. Right click Extend Selection in the popup dialog.
Click the right arrow to extend the selection. This extends
the selection to the right edge of the screen, but restricted to
shaft 4. (draft below left)
If you want all the shafts selected, then push the Up (center draft) and the Down arrows
(draft at right), Now all the shafts from the beginning of the screen to end 19 are
selected. Now do your manipulations.
To select to the right or left of the visible threading draft, click the right or left arrows. To
select the all the way to the start or end of the draft, even if it is not visible, click the
relevant arrow twice.
To make similar selections in the treadling, use the up or down arrows once (for visible
treadling draft) or twice (to start or end of treadling draft).
Popup Menu for Selection in the Tieup
The menu on the left appears when you make the selection in the
tieup. It is similar to the one above, but the Unlink and the
Extend Selection are gone. Also insert has changed to the
Insert extra treadles.
All the menus above appeared when three or more ends, picks
or treadles are selected.
If the Selection tool is active but no selection has been made, a
right click into the threading, treadling, color and thickness bar,
pops up the menu at the left. The new items that appear here are
the selection modes that allow all or part of the draft to be
selected. With the selection tool active and clicked in the
threading, Select start to cursor will select all threads on all
shafts from the cursor to the start, including the cursor. Likewise,
Select cursor to end will select all ends from the cursor to the
end, including the cursor. Select all threads is obvious.
If the single selection was made in the tieup, then the menu on
the left appears. Pickup color and unlink are gone as well as
the three select modes. Instead there are menu items for
Change Face, Turn Draft and the dialog to allow Shafts and
Treadles to be changed. The Insert and Delete are changed to
Insert one treadle or Delete one treadle.
Cloth Popup Menu
Right click in the cloth pops up the menu on the left. It contains
various view tools. It will come up if the select tool is on or off.
See Status bar for a more popups.
Note: You may ask why these popup menus are necessary.
They are intended to be handy but not essential. Everything
that pops up is in the main menu bar in some form (except
Extend Selection). It also allows you to hide the tool box or
bar and still have full access to most tools easily and quickly.
Appendix 6: Structures in Block Substitution
Classic Weaves:
Crackle, block form; Crackle as Summer and Winter; Crackle, twill form; M's and
O's; Overshot; Overshot, multishaft; Overshot, multishaft, balanced; Overshot, all
tabby ground; Overshot, tabby ground, balanced; Overshot, tabby halftone;
Overshot, tabby halftone, balanced; Overshot, single unit tied; Overshot, paired unit
tied.
Damask Weaves:
4 shaft damask; 5 shaft damask; 6 shaft damask; 8 shaft damask.
Double Weaves:
Double weaves; Double weave, paired threads; Beiderwand; Beiderwand, half
blocks; 1:4 Lampas, stitched; 1:4 Lampas, stitched, half blocks; 1:2 Lampas, twill
order; 1:2 Lampas, stitched; 1:2 Lampas, broken order; 1:2 Lampas, stitched,
broken.
Lace Weaves:
Atwater Bronson; Bronson spot; Huck blocks, lace effect; Huck blocks, spots;
Huck lace effect; Huck lace effect variant; Huck spot; Swedish lace
2-Tied Weaves:
Double two-tie; Double two-tie, reversing; Summer and Winter, alternating;
Summer and Winter, birdseye; Summer and Winter, X-style; Summer and Winter,
Dukagang; 1:2 Extended Summer & Winter; 1:3 Extended Summer & Winter; 1:4
Extended Summer & Winter; 1:2 Extended S&W Dukagang style; 1:3 Extended
S&W Dukagang style; 1:4 Extended S&W Dukagang style; 4:2 paired-tie straight;
6:2 paired-tie straight; 4:2 paired-tie alternating; 6:2 paired-tie alternating.
3 - and 4 - Tied Weaves:
Bergman; Bergman, half blocks; Quigley, diamond; Quigley, points; Quigley, half
blocks; Single 3-tie, straight; Single 3-tie, rosepath; Single 4-tie; Single 4-tie, half
blocks.
Twill Weaves:
Broken twill; Diamond twill; 3-thread turned twill; 4-thread turned twill.
Bateman Weaves:
Park weave on opposites draft 90; Park weave, draft 49 style; Park weave, draft 71
style; Boulevard on opposites draft 56; Boulevard, draft 72 style.
4 - Shaft Weaves:
Crackle, polychrome; M's and O's (4 shaft); Overshot (4shaft); Overshot as
Summer and Winter; Overshot 2 block polychrome; Overshot 4 block polychrome;
4 block Summer & Winter, alternating; 4 block Summer & Winter, birdseye; 4 block
Summer & Winter, X-style; 4 block Summer & Winter, Dukagang; Swedish lace
(4shaft).
Appendix 7: Name Draft Codes
In all codes: Spaces are counted as characters. Incidentals between two entries on the
same shaft, insert the next highest one. Between two odd or two even entries inset the
missing one.
1-1=2, 2-2=3, 3-3=4, 4-4=1
1-3=2, 2-4=3, 3-1=4, 4-2=1
The following are represented by the special codes (however the codes themselves are
special characters when used in the names
^ space, - hyphen, ' apostrophe, * all other weird characters,
dhlpswz cgknrvx^-'* bfjmqt djovwy* Code F
djovwy* bfkuz^' aginprx- cehlmqst Code E
bhirsz* aegluv^' cfkmpwy- djnoqtx Code D
dhlptxyz cgkosw^-'* bfjnrv aeimqu Code C
stuvwxyz-* mnopqr^' ghijkl abcdef Code B
stuvwx^- mnopqryz'* ghijkl abcdef Code A
Shaft 4 Shaft 3 Shaft 2 Shaft 1
Name Draft Codes by Fiberworks 1997
Code A is derived from (but not exactly like) that given by Norma Smyada in her articles
in 1983 and 1992.
The rules for incidentals was developed by Ena Marsden, published in SS&D 1981.
The different codes were developed to also work names from different languages, since
most published codes work best with letter distributions in the English language.
These codes are copyright and you must quote our name (Fiberworks) when you
distribute them, either on the sample sheets, in teaching handouts or demonstration
materials.
REFERENCES FOR NAME DRAFTS:
BLIVEN Jeannette and Norma SMAYDA. Merry Christmas. Handwoven S/O 83 pg 74.
FUCHS, Rudolph. Hanging based on HGA name draft to decorate the new offices.
SS&D Fall 74 Issue 20 pg 14.
MARSDEN, Ena. A New HGA Name Draft. SS&D Su 81 Issue 47 pg 12-13.
MITCHELL, Peter. ABCDraft. Unicorn, 1992, 1993 2nd ed.
MITCHELL, Peter. Name Drafting. Handwoven M/A 82 pg 34-37.
MITCHELL, Peter. Overshot: A Manual for Creative Drafting and Weaving.
Chesebro-Mitchell Associates, 1994.
SHEPPARD, Margaret. Miniatures from Memories. Handwoven S/O 91 pg 80-82.
SMAYDA, Norma. Commemorate with a Name Draft. SS&D Su 92 #91 pg 42-45.
SMAYDA, Norma. Macroblocks in Overshot. Weavers Su 97 #36 pg 20.
SWEIGART, Marjorie. Easy Overshot Checks. Weavers Su 97 #36 pg 24.
Appendix 8: Some Windows Conventions
The names and functions of parts of Windows
98 to XP
Everyones opening screen looks different, but there are some common features. The
area that you first see is called the Desktop. There will be a few items that are on most
Desktops; My Computer and the Start or Task Bar and a Recycle Bin, Internet Explorer
and a few others.
To open a program, you can go Start Bar > Programs and then run all up and down that
list in there. Or you can place a shortcut icon on your desktop. When you want to use
the program, doubleclick on the icon and it opens. Directions for making a shortcut for
Fiberworks are at the start of this manual. Frequently used programs should have an
icon on the desk top. Especially if you are a visual person.
Finding Folders and Files
This is one of the best things in Windows 95/98
. Go to Start Bar > Find > Folders and

Files. A dialog will pop up with a text field called Named: Type whatever you want to
find here. Underneath it will be a Look In text box. Choose the drive or folder to search
in. Then click on Find now. At first it will say nothing found, but if the spy glass is still
wiggling, it is still working. A window pops up underneath the Find dialog with the
results of your search.
It may show large or small icons or a list with names or a list with names, path, size and
dates. This last one is the one you want. If yours does not show the detailed list, go to
the Menu bar of the Find dialog and click on View and Choose Details. Hopefully
whatever you were searching for is there and there are only a couple of things found.
Details allows you to see which is the most recently created, the size of the file and the
Path to get it. If it is a program, double click it to open it. If it is a file either double click
to open it or drag and drop into an open window of the suitable program. Or you may
make a note of the location, open the program, got to File > Open and type the location
of the file into the appropriate text box. Personally I type poorly and my memory is not
that good that I can remember a convoluted path. So I double click a lot.
Title Bar and Active Window
Title bar of the active window is blue in the default setup of Windows 95
. It is several
shades of blue on Windows 98
.
. It can be any color if you played with the setup. It is
grey on inactive windows. If you click anywhere on an inactive window, it becomes
active. The safest place to click is in the title bar or on the bottom right corner. Try to
avoid the menu bar or the scroll bars.
The title bar contains a small icon on the left, called the System
Icon, which has a drop down menu allowing you to restore, move,
size, minimize, maximize, close or go to next window. All these
functions are replicated by buttons or mouse actions elsewhere.
On the right end of the title bar are three small buttons; Minimize, ( - )
Widow / Full Screen and Close ( x ).
Minimize button
The first button, a small dash ( - ), minimizes the view.
Minimizing the drawdown window turns it into a tiny title bar
within the program window, with buttons to maximize and
restore to full screen and the title of the design. You can restore it by a quick double
click, or single click and use of a popup menu or a click on the System icon.
If you minimize a program, it will place an icon into the Start Bar. Restore with a single
click. If you keep an eye on the Start Bar, you can see how many things are open and
easily switch among them.
Full Screen or Window button (Maximize)
The middle button, with one large square or two small overlapping squares, is the
button that toggles between full screen versus floating window.
Close Button
The last button (with an X) will close a window. If there is any unsaved work, you will be
asked if the design should be saved. Saved designs are just closed. If it is a program
window it will ask if you want to save any unsaved designs and then terminate the
program.
Resize
To change the size of the floating window, take the cursor over the
edge of the window. When the cursor changes from a pointer to a
double headed arrow, click and drag the border until the window is
the right size.
Resize handle
There is also a square with hatched marking on the lower right corner
that allows you to drag in a diagonal direction to resize the window. It
is a larger area and may be easier to control. It is also a safe place
to click to make a window active.
Scroll Bars
In Fiberworks, scroll bars are always visible on the right and on the
bottom of the design screen. Other programs may not have them if
all the data can be displayed in the current window.
There are several ways to move around in the drawdown window. If
you would like to make relatively small movements in the design, click on the scroll
buttons (the buttons with the triangles in them. This will take you one step at a time in
the direction that the arrow points. If you click and hold, the scrolling will become faster.
To make larger movements, click into the pale grey part of the scroll bar. This will move
you about a page at a time.
To move really fast, click on the thumb spot, and drag it along until you get to where you
want to go. The size of the thumb spot will often vary in proportion of visible part to
total. In Fiberworks it does not vary in size, but position.
Moving the Window
The floating window can be moved from one part of the desk top to another, by clicking
in the blue bar, and dragging it to a new spot. The window can only be moved by using
the blue title bar. A window within a program (like a PCW design) can be moved
anywhere within the program window in the same way. Sometimes if you resize the
program window, the blue bar of the design will disappear. If this happens, try
maximizing the program window, dragging the design into view and resizing with the
double headed cursor on the margins.
Right Click
A really nice feature to know about. If you right click on the empty desk top a popup
menu appears. Among other things it lets you can create new Shortcuts, adjusts
settings, etc.
If you right click on a shortcut, a dialog pops up that has, among other things,
Properties. This dialog can show you the date created, modified and other useful
attributes. There may be tabs along the top of the Properties dialog. Check them out.
There could be useful things like Find Target which can tell you where your program
actually is. Explore but until you know what you are doing back out of all these
dialogs with Cancel. Do not OK. Just have a look, dont change anything until you
know what it is for.
If you right click on a file, Properties will show you the size of the file, the type, and
again dates. Some may show more. Lotus WordPro shows a preview of the first page,
and a description that you wrote when you saved the file. Its great for sorting and
finding too.
Anyway there is lots to learn about Windows
, and some of it is very useful too.

Warning: Keeping lots of things open may be convenient, but uses lots of
memory. If you are running Windows 95/98 on a computer with limited
resources, like 16 Mb of RAM, close unused programs, folders, browsers. It will
save you from crashes.
You can drag and drop files into an open Window so that if the program recognizes it, it
will open it. Or drag and drop a file or folder to the Recycle Bin. Point the tip of the
cursor at the target and disregard the faint outline of the dragged image. The point of
the arrow is the active part.
Note: Dont practice this on your program files, or on your financial records.
Make some junk files and practice putting them into the waste basket, one at a
time with menus. Then try one at a time with the mouse. Then highlight 3 or 4
and click and drag them all to the Recycle Bin. Here practice makes perfect.
Remember, junk files. Do you know how to get garbage back out of your Recycle
Bin???
Drag and drop
Drag and Drop is used to move or copy files from one area of your computer to another.
Like from A:\ to C:\ drive. It can also be used to view graphic files like .GIF and .JPG
with your browser. Open the folder containing the graphic file on your desktop, then
open your browser, resize and arrange the windows so that you can see the folder with
your graphics files. Point to the graphic file, click and drag the file to the open browser
window (the grey area where the web pages usually appear) and drop it. Viola. You
see a picture.
Not all programs will do drag and drop. You will see a circle with a diagonal line
through it if it does not allow drag and drop. Fiberworks PCW4 supports drag and
drop of files.
Terminology
Menus
Menus allow you to use various functions in the program. These may be duplicated by
icons or buttons in the tool box, or by keyboard shortcuts. Several types of menus are
used in Fiberworks.
Drop Down Menu
This menu appears when an item on the menu bar is clicked. It is a compact way of
giving many choices to the user. The items are grouped into functions by convention.
Moving the cursor down will highlight each item in turn. Moving the cursor right or left
makes other menus drop down. This is the normal way that the main menu bar
operates.
Flyout Menu
This menu appears to the side of a drop down menu item. A small right pointing arrow
indicates that there are choices for that menu item. This appears in Edit > Draw Mode
which has four choices in a fly out menu. To use this, move the cursor down until the
Draw Mode has a blue highlight. The flyout menu appears. Move the cursor to the right
and then down to pick the item that you want. Moving the cursor diagonally will make
the flyout menu disappear.
Popup Menu
This is a context sensitive menu that pops up under specific conditions. Choices may
be made and a dialog may appear that allows further choices. In Fiberworks, popup
menus allow access to functions relevant to the area clicked. Popup menus cannot be
moved, but appear where you click.
Dialog
A dialog is a free floating box that allows the user to make choices on a specific
function. It will have various buttons and boxes that allow different kinds of choices.
You may drag the dialog to other locations, by click and drag in the blue bar at the top of
the dialog. Most dialogs exclude actions anywhere else than within the dialog. Often
this will result in a beep.
Buttons and Tool buttons (Icons)
Buttons are small rectangles that you click to take actions. They vary in
color or shades of grey. They may have three dimensional borders. Tool
buttons on the tool bars, such as those down the left side of the
Fiberworks window are also buttons. Buttons may act when clicked, (the
Undo button) or they may act as a toggle to turn a function on or off. (Grid button)
Accept Button
Click this button to take the actions chosen in the dialog box. Dialog then closes.
Found in Name Draft dialog.
Apply Button
Click this button to apply actions chosen in the dialog box. It is different than OK or
Accept; the dialog stays open until you are finished with all actions. Then click Close or
OK. Found in Modify Color.
Cancel Button
Click this button to close the dialog box without applying the settings. This is found in
many dialogs. Clicking the X at the top right of any menu has same effect as Cancel.
Close Button
Click this button to close the dialog after all desired action is complete. Usually found in
dialogs that produce an immediate visible effect on the active design. Found in Modify
Color.
OK Button
Click this button to take the action chosen in the dialog box. It is also used on
information dialogs. Dialog closes. Found in the About dialog and some warning
dialogs.
Radio Button
Click to turn the option on or off. This is a toggle button. A
mark in a circle means that the option is on. An empty circle
means that the option is off. Only one option may be chosen
at a time. See Transform dialog.
Spin Button
Up and down pointing arrows at the right hand side of a number box. Click
singly to increase or decrease the number value by one, or hold the button
down for more rapid change. You may also type a value into a spin box.
See Modify Color dialog.
Toggle Buttons
Some buttons look like the regular function buttons, but are on/off toggles like radio
buttons. They are depressed looking and light grey when active. Inactive buttons are
flush with the surface and medium grey. See Warp Fill dialog.
Undo Button
Click this button to undo the actions taken in the dialog. Dialog stays open for further
actions. See the Tieup Repeat dialog
Check Box
Click to turn options on or off. A check mark in a square box indicates
that one option of a set is active, a blank that the option is inactive.
More than one option may be checked. See Edit > Select All.
Drop Down Box
This box allows you to choose among numerous options. Click on
the down pointing arrow to see all the choices. Click on one of the
items to choose it. There may be a scroll bar so that all items can
be seen. No text may be entered by the user. See Print Options
dialog.
Slider
This allows you to use the cursor to drag a slider to increase or decrease settings. See
Modify Color dialog, although this is a highly specialized version of the standard slider.
Text Box or Edit Control Box
A text box allows you to enter text such as numbers for margins, or letters for name
drafts. See Preview and Print > Page Setup dialog.
Tabs
These are like the index tabs on file
folders. They allow choices and more
information to be shown in one dialog.
Clicking the tab opens a new page. See Cloth > Notes and Records.
Appendix 9: Resources
Some interesting tidbits for you.
Designs on Web Sites
Kris Bruland Weaving Net: thousands of designs. http://www.handweaving.net
This site also has many of the drafts and manuscripts that are posted on Ralph
Grizwolds site, with permission.
Designs on Disc
Thrilling Twills by Fiberworks:
CD of more than 4000 designs, fully indexed, by shafts and type. WIF and DTX
files with a graphic view of each design. For 5 to 32 shafts.
e-mail: info@fiberworks-pcw.com http://www.fiberworks-pcw.com
CDs by Loomshed, Charles Lermond. All with permission of authors or estates.
e-mail: loomshed@oberlin.net webpage: http://www.loomshed.com
LOOMSHED, 26 S Main St, Site 5, Oberlin, OH, 44074, USA.
Marion Powells 1000+ Shadow Weaves for 4, 6, and 8 Shafts
Data in *.wif format 2005
Atwaters Shuttlecraft Book of American Handweaving,
Data in WIF and DTX format.
Marguerite Porter Davisons Handweavers Pattern Book,
Data in WIF and DTX format.
Elmer Hickman manuscripts. By Sigrid Piroch
e-mail: Sigrid_Piroch@cs.com webpage: http://www.artsstudio.org/
ARTS Studio, Box #308, Harvey Rd, Foxburg, PA, 16036, USA.
Books & WIF CDs: thousands in color. 2-32 shafts, by Eleanor Best
Ask for the brochure as a PDF file. e-mail:engbest@comcast.net
BESTUDIO, 7130 Eastwick Ln, Indianapolis, IN, 42256, USA.
Weaving Organizations
Complex Weavers. International organization of weavers interested in unusual and
interesting cloth. Also sells some CDs with designs
http://www.complex-weavers.org
Handweavers Guild of America. Publishes of Shuttle, Spindle and Dyepot. Hosts
Convergence in even number years. Many member services.
http://www.weavespindye.org
Ontario Handweavers & Spinners. Membership benefits include The OHS magazine,
Fibre Focus, Home Study Weaving Course.
http://www.OHS.on.ca
Great Books for PCW Owners
Inouye, Bonnie. Exploring Multishaft Design. Weavingdance Press, 2000. ISBN:
0-9678489-0-3. Super book that covers many topics in a clear and friendly manner.
Available from your local weaving shop
e-mail: bonnieinouye@yahoo.com website: http://www.geocities.com/bonieinouye
Keasbey, Doramy. Designing with Blocks. Alta Vista Press, 1993. ISBN: 0-9611136-1-8
Available from your favorite weaving supply shop or you may order directly from the
author, Doramay Keasbey, 5031 Alta Vista Road, Bethesda, MD 20814, USA.
Available from some weaving shops. It is out of print but some copies are still available.
Piroch, Sigrid. The Magic of Handweaving. Krause Publications, 2004. Available from
your favorite weaving supply shops or directly from the author.
e-mail: Sigrid_Piroch@cs.com webpage: http://www.artsstudio.org .
Schlein, Alice. Network Drafting. Bridgewater Press, 1994. ISBN: 0-9644474-0-1
Available from Unicorn Books or you may order directly from the author, Alice Schlein,
Bridgewater Press, 307 Bridgewater Dr., Greenville, SC, 29615 USA. May be out of
print
van der Hoogt, Madelyn. Complete Book of Drafting. Shuttle Craft Books/Unicorn
Books, 1992. ISBN: 0-916658-51-1. (Retail: $23.95 in US funds)
Available from your local weaving shop. Also look for the books based on Weavers
published by XRX press. 4 in the series so far (2005).
Software used for this manual
Lotus WordPro
The best word processing/desktop application. Great for adding

graphics and keeping it all straight. Very biased opinion <G> but true.
http://www.lotus.com
Paint Shop Pro
. Powerful image editor and paint program that is not very expensive.
Used to capture the graphics to produce this manual.
http://www.jasc.com/index.html
Adobe Acrobat
.
Adobe Acrobat Pro 6 was used to assemble this manual. It allowed us
to send you a full manual by web download, and mallow less expensive printing for the
paper version. The manual on CD is in color with the bookmarks and links to help you
find stuff in the manual. (It also keeps the cost of the program down)
http://www.adobe.com
Adobe Acrobat Reader 5.0 or higher. This is what you are using to read this manual.
A free copy of Acrobat Reader can be downloaded from:
http://www.adobe.com
WinZip
WinZip was used to make a compact file of the program and its supporting files
so that it can be downloaded from the web, and easily installed on your system.
http://www.winzip.com
Appendix 10: FAQs
Problem: I cannot find the PCW.exe program file
On some Windows systems, program files are hidden to keep users from doing
anything to them. Windows protects you from yourself, in spite of what you want to do. If
you go to the Fiberworks folder on the Local Drive C: and if you see pcw or Pcw or
pcw, your computer is hiding the descriptive 3 letter file endings from you. It may also
be set so that no bubble help is given or the Explorer side panel does not tell you what
you are pointing at.
Look for pcw, Pcw or PCW. If you find the program icon, shown at left, then it is
probably the correct file. If you have bubble help turned on, or view the folder
contents with details, you should see PCW MFC application and some other
details.
Some of the settings on your
computer should be changed.
If you want to see more
information, and have more
control over your computer,
adjust the setting in Folder
options.
Go to My Computer > Control
Panel > Folder Options > and
choose the General tab as
shown to the left.
Set Tasks to Use Windows
Classic folders; set Browse
folders to Open each folder in
its own window; set Click
items as follows to
Double-click to open.
Click on Apply button at the
bottom. The panel should
remain visible and you can
work on the other half of the
solution. These changes make
navigation, opening and using
programs easier.
Note: Dont be afraid to make these changes. If you make a careful note of the
original settings and he changes you made, then you can restore them if you dont
like what happens. I would like to suggest, the change to Browse folders is very
useful, and the use of Double-click will make it easier to open the correct item.
Choose View tab on the Folder
Options panel.
The panel at the left show the
settings to control how files and
folders are displayed. Again,
make notes as to the original
settings, just in case.
The 5 items checked under
Files and Folders are not all
essential to solving your
problem but help generally as
well.
We definitely encourage you to
check Display file size in
folder tips, and Display the
contents of system folders.
The other choices make it
easier to keep track of where
you are. You might want to
check those as well.
Under Hidden files and
folders, check Show hidden
files and folders.
Note: We highly recommend that you make sure that Hide extensions for known
files of type is unchecked. If it is checked, you will not see the file extensions on
any files.
For instance the two types of weaving design files can have 3 or 4 different icons and it
will be hard to identify them. If you leave the item unchecked, the files will show
weaving designs with an extension of .dtx or .wif and all your programs will show the
.exe extension at end, making it easy to identify them.
Go back to the top and look at Folder views. Set Apply to all folders. Otherwise it
may not do apply to all folders.
When finished, click on Apply then OK.
Note: Windows offers two modes to Choose (highlight) or Open an item.
A) Point and rest the cursor on an item to choose it. Click once with left mouse
button to Open it. (Often the default setting in Windows)
B) Highlight the item with a single left click to choose it. Double left lick to Open it.
(A more positive way of using the mouse)
Problem: I cant open a weaving file
When you try to open weaving design file for the first time, you must open these files
from the File > Open menu within the PCW 4.1 program, the first time.
If you try to open the DTX and WIF files by a double click, you will be asked to find a
program to open the file with. On older computers, Fiberworks or PCW may be on the
list, however in Windows XP, PCW will not be listed. To make the connection between
the DTX file, WIF file and the weaving program you must open these files from within
PCW.

Problem: Documents Format is Invalid
Unfortunately .WIF is also a file type for Kodak Imaging Software provided on
Windows
98. If you double click on a WIF icon and Kodak Imaging window will open
and it will report a weaving WIF as an incorrect format. There is nothing wrong with the
WIF file, its just not intended for Kodak Imaging. Correspondingly weaving programs
wont be able to open a Kodak Imaging WIF files.
Problem: Areas of empty space in the final print
When using Include Screen View Only there may be areas of unwoven warp or weft.
These may be empty areas or areas of color below and to the left of the design when in
Print Preview. These areas will print when Include screen view only is chosen.
Solution: Resize the window, or print the whole design, whichever is more
suitable. Magnification of the view affects only the amount of white space
when printing include screen view only.
Problem: How To Make Graph Paper
Printing a threading and treadling draft with plain graph paper instead of cloth, can be
done in a fast easy way. First open the design, click on the grid tool, click on the Color
view tool. Go to Warp > Color Fill and set all warp ends to white and the Weft > Color
Fill and set all the weft picks to white. The design screen should now show a draft with
ends, picks and treadles all marked properly and a grid in the place of the cloth. The
design really is there, but it shows white ends and white picks.
Go to Preview and Print, choose Print whole design and adjust Set scale. Click on
Print.
Problem: How do I make plain graph paper?
To make plain graph paper, repeat the above set of directions. Size the drawdown
window with zoom and resizing to include only the number of ends and picks that you
want on your sheet of graph paper. A graph paper view, no matter its magnification in
the drawdown window, will print the image as large as you specify in the Set box in the
Print dialog.
Go to Preview and Print, choose Screen view only, and adjust Set scale. Then go to
Print Options and ask for Cloth only. Click on Print and away you go.
Problem: Screen colors do not match the printer colors.
First decide if you want to make color decisions for your weaving on the screen, or from
the printed page. For designing, the screen may be the best place to make decisions.
If designing for presentation to a client, the printed page is probably the best.
Print a Color Standard, by making a design with blocks of colored threads that match
yarn colors or Color Aid paper on your screen. Save the design as a color standard.
Print these color standards on your printer. Some colors will not match at all. Change
the colors to so that they match the printed page to the sample. This will take much ink
and lots of printer ink.
Remember, printer inks are not the same as screen colors. A pigment is different than
a phosphor glowing on the screen, just as crayons are different from watercolors. The
red on the screen may be vastly different than the red from your printer. You can make
small adjustments to the screen to better reflect the printer colors but then the blue may
be off. So you just live with the differences, either design for the screen or for the
printed page. You may also investigate color profiles from your monitor manufacturer,
printer manufacturer or from certain print shop color services. This may take a lot of
time or a lot of money.
Technical Support
If you cant find it in the manual either hard copy, e-manual, or in the help files try our
website.
Website: http://www.fiberworks-pcw.com
If all else fails, please contact us.
Email: info@fiberworks-pcw.com
Phone: 519-822-5988, Fax: 519-822-3095
Have your registration or customer number handy for help by phone, fax or email.
Remember, if you dont tell us, we dont know that you may have a problem. We will
probably be able to help.
Have fun designing with Fiberworks PCW. Have fun weaving your designs.
Occasionally let us know what you are doing. We would love to have a picture of your
work with a draft. Perhaps, we can put it up on the web!
Once you are warped, whats weft
Bob Keates and Ingrid Boesel, Fiberworks
Fiberworks PCW
27 Suffolk St. W.,
Guelph, ON, N1H 2H9
Canada
phone: 519-822-5988
email: info@fiberworks-pcw.com
web page: http://www.fiberworks-pcw.com
Happy Virtual Weaving

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Using Fiberworks PCW4.

95, 98, Millenium Edition (ME), XP home edition

NT4, 2000 Pro, XP Pro

, press and hold Alt

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reserves the Tab key for moving around a dialog, you

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The repeat is stamped to the left of the original in

functions, such as opening files.

from one folder to

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, and some of it is very useful too.

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