Handwoven Summer 2024 Freemagazines Top
Handwoven Summer 2024 Freemagazines Top
Handwoven Summer 2024 Freemagazines Top
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2 H A NDWOV EN handwovenmagazine.com
Content s
Handwoven Summer 2024, Volume XLV Number 3
F E ATU R E S
14 Notes from the Fell 28 Weaving a Twice-Woven Rug
Rag Rug Color Gamps C AT H E R I N E M A R C H A N T
T O M K N I S E LY Creating your own chenille-like yarn is easier than
Tom wondered what would happen if he wove a you might think. Catherine shares her method for
set of gamps using various colors for both the cot- weaving a crammed-and-spaced cloth from stash
ton warp and the weft fabric strips. His results yarn—and then cutting that cloth into strands of fluffy
showcase how different colors in warp and weft chenille perfect for weaving an extra-plush rug.
can affect even rag rugs—and will be an excellent
resource as he designs new projects. 48 Balancing Asymmetry
TIEN CHIU
18 Vintage Weavers Have you ever wondered why some asymmetric
Movement Challenges designs are visually appealing while others feel
C Y N T H I A E V E T TS A N D T I N A FLE TCH ER unsettling? It often comes down to balance. Tien
explains how she uses the concept of visual weight
Movement disorders that inhibit mobility and
to create cloth with balanced asymmetric patterns.
cause tremors or loss of coordination can be a
normal part of aging, but that doesn’t make them
any less frustrating. Cynthia and Tina look at the 58 Clasped Warp on 4 Shafts
ways in which these disorders can affect weavers, R O B I N LY N D E
and they offer advice on how to keep weaving After weaving many clasped-warp projects on her
through it all. rigid-heddle loom, Robin was curious: Could she
use this color-changing technique on her floor
22 Soaring Sensations loom? As it turns out, clasped warp isn’t just
S A R A V O N T R E S C KO W possible on a floor loom—it’s stunning! Learn
how Robin accomplished it.
To celebrate her son’s achievements as a pilot, Sara
decided to design and weave a special piece for him.
She describes how she turned a photo of his plane
into an image she could weave on her drawloom.
62 REGINA MCINNES
As I make my way through all 219 back issues of the MANAGING EDITOR Lavon Peters
PROJECT EDITOR Angela K. Schneider
magazine (spanning 45 years!), it’s clear that Susan E. Horton, Anita
TECHNICAL EDITORS Malynda Allen, Rona Aspholm,
Osterhaug, Madelyn van der Hoogt, Jean Scorgie, Jane Patrick, and Deanna Deeds, Greta Holmstrom, Merriel Miller,
Anita Osterhaug, Bettie Zakon-Anderson
Handwoven’s visionary founder, Linda Ligon, were (and still are) smart,
EDITORIAL ASSISTANT Katrina King
creative, and skilled weavers and editors. COPY EDITOR Katie Bright
Weaving trends have changed over the decades. Nevertheless, my per- PROOFREADER Deirdre Carter
sonal to-weave list grows longer with every back issue I read, precisely CRE ATIVE
because of the skill those editors used in covering this craft we love in a DESIGNER Samantha Wranosky
way that still feels relevant. My fondest wish is that my work here lives up PRODUCTION DESIGNER Mark Dobroth
to and builds on their legacies. PHOTOGRAPHY Matt Graves
PHOTOSTYLING Carol Beaver
4 H A NDWOV EN handwovenmagazine.com
Letters Stories, tips, tricks, and questions
LE T TERS
Project Index from Handwoven readers
I wish I knew then what I know now when I wrote my article “Warp
Speed: Winding Warps with Multiple Ends in Hand” (Spring 2024)!
Since writing that piece, I have learned how to warp a loom front to
back, or as Madelyn van der Hoogt puts it, “thread before you beam.” I
wound a test warp using the same stripe pattern as my Swift Serviettes
in the same Handwoven issue to iron out the details of warping multiple
Core Spun Comfort Rug Salts Mill Rug
page 42 page 44
ends front to back.
In short, I found that to warp a loom front to back with a mixed warp,
you need to sley the reed in the warp color order. In other words, you need
to reorganize the warp to form the pattern stripes in the reed. Here is
how to proceed:
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8 H A NDWOV EN handwovenmagazine.com
Favorite Finds
GOODS
A cute tool for knitting cord, an extra-fine heddle
for the rigid-heddle loom, a clip-on temple, and a
handcrafted double-bobbin shuttle
Photos by Matt Graves unless otherwise noted
Ba rn of Ka ns as
An Adjustable Aid
Need an extra hand to keep those selvedges in line? Try using
Leclerc temple clips from the Yarn Barn of Kansas. The set comes
Ph oto co urtes y of the Ya rn
with four clips, four eye screws for attaching to your loom, and
three sets of weights. Clip a temple to each edge of your cloth,
thread the cords through the eye screws, and add the right
amount of weight for your desired tension. yarnbarn-ks.com
12 H A NDWOV EN handwovenmagazine.com
Learn to weave with Enjoy 8 seasons of
Jane Stafford School of Weaving remarkable videos for all skill levels
A gamp is a marvelous weaving tool. What is a gamp? It’s like a sampler. weft colors interact with each other.
Rather than threading one pattern, you plan multiple threadings across the It is a far cry from mixing finger
warp. As you weave, often (but not always) using multiple treadlings, you paints together in elementary school,
get many different combinations of warp and weft. Weavers use gamps to but the idea is the same.
study twill threadings and treadlings, overshot patterns, and, one of my In the past, I have woven color
favorites, color interactions. gamps in plain weave and twill, but I
wove those gamps using the same
When you thread a color gamp, you green, blue, indigo, and violet. You threads in the warp and the weft. I
thread several colors in a warp- could thread a monochromatic gamp wondered what it would be like to
stripe arrangement. It can be any- in blues going from the lightest blue weave a color gamp for rag weaving. It
thing you would like to try. It could to the darkest. For your weft, you’ll could prove to be a valuable study to
be a gamp of different neutral colors weave the gamp in the same color see what happens when colored rags
or one with the primary and second- order as you warped it, or what is are woven into different color families
ary colors on a color wheel or a rain- called tromp-as-writ. As you weave, of warp ends. My excitement took me
bow order of red, orange, yellow, you’ll clearly see how the warp and to the fabric store to see if I could buy
14 H A NDWOV EN handwovenmagazine.com
NOTE S FROM TH E FELL
solid-colored fabrics in primary, sec- Some color blocks underwent drastic changes, and some
ondary, and tertiary colors. I was in were as expected. I am no longer afraid to use color in my
luck when I found the quilters’ cotton rug warps and have a much better understanding of how
fabrics. I used a color wheel to help
color plays into my woven pieces.
me pick out the 12 colors needed for
my experiment in addition to black,
gray, and white. Because I didn’t and purples, yellows and oranges, and 20 percent take-up and 36 inches for
know exactly how much fabric I blues and greens. Each piece of fab- hems and loom waste for a total of
would need, I purchased 5 yards of ric produced twenty-one 1½-inch 3 yards for the warp length.
each color so I would have long strips strips. I put aside five strips of each I try to weave efficiently, making
of fabric to work with. That gave me fabric color for each gamp. the most of my time and warp. How-
more than enough weft for this I started preparing myself to ever, this little experiment meant
experiment, with plenty of leftovers warp my loom four times for this that I needed to purchase 25 spools
for other rugs later. color study—I was not discouraged of 8/4 carpet warp in different colors.
I washed the fabrics in hot water but excited to do so. I knew that I Because there were 800 yards on
on a regular cycle to tighten them wanted to weave each of the weft each spool and I only needed 48 ends
up and dried them on a regular set- colors for about 4 inches and each of each color, I could easily afford to
ting. To prepare my weft, I tore each warp color would be about 4 inches make the warp a little longer. I made
length of cloth into 1½-inch strips wide. If I wanted to weave all 12 col- each warp 5 yards long so I could
and tapered the ends. I knew I ors plus the three neutrals, I would weave a rug on the added warp
wanted to warp and weave four dif- need 60 inches of warp for the color length. For my bonus rugs, I used up
ferent color gamps: neutrals, reds areas. I then added 12 inches for unrelated leftover rags from other
Even though the 8/4 cotton warp is relatively small compared to the thick rag weft, warp color can make a big difference in how the
weft appears.
Left: The value of warp yarn also affects the weft. Jewel-tone rags are the star of the show with a darker warp but fade to the
background when paired with a lighter warp. Right: Tom’s rag-weaving color gamps are invaluable resources when it’s time to
choose project colors.
16 H A NDWOV EN handwovenmagazine.com
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Get a Move On! Working with Movement Challenges
C Y N T H I A E V E T T S A N D T I N A F L E TC H E R
Forbes magazine reports that maintaining mobility and movement control LE ARNING THE LINGO
is one of the eight challenges of aging. While this may not be news we want ABOUT BODY MOVEMENTS
to hear, that same article also tells us that technology and innovation are Movement challenges span a wide
making life easier and better for those experiencing movement challenges. range of conditions that can affect
Let’s look at what that entails and how it impacts our weaving lives. our daily lives and weaving activi-
ties. For simplicity’s sake, let’s put
ME ET VIK TORIA without splashing. Weaving became them under two umbrellas: things
Viktoria is a 62-year-old weaver liv- progressively more difficult, but she that are associated with fast or
ing in New York City. As a proud was reluctant to abandon her fami- uncontrolled actions (movement-go),
descendant of a long line of Ukrainian ly’s tradition of spinning wool and and those that make it hard to move
weavers, she enjoys working in the creating intricate woven designs. (movement-slow).
traditional Ukrainian style. Two Viktoria’s children and husband Movement disorders usually
years ago, Viktoria noticed her were convinced that weaving might involve ataxia (a loss of coordina-
hands trembled when she held a be nearly as important for her satis- tion), dystonia (the presence of
glass of water. She was diagnosed faction and well-being as doctor’s twisting or repetitive movements),
with Parkinson’s disease (PD), and appointments, therapy sessions, and tremors (shaky movements typi-
soon she needed a straw to drink and medication schedules. cally associated with the head,
18 H A NDWOV EN handwovenmagazine.com
VINTAG E WE AV ERS
voice, tongue, or legs). Each disrup- Clinic, about 5 percent of adults over tend to develop compact handwrit-
tive movement pattern can vary in the age of 65 have essential tremors. ing to offset the impact of tremors on
intensity, parts of the body involved, Usually, they increase over time, and their larger writing style.
and when they occur. while they are successfully accom-
Conditions such as arthritis, stroke, modated in the early years, even BA S I C M OV E M E NT
and muscular sclerosis can cause basic actions such as reaching for IM PROVE M E NT STR ATEG IE S
movement restrictions because of items can be challenging later in life. Moving slowly and struggling to con-
weakness, pain, or lack of control. Essential tremors tend to quiet trol movements can frustrate even
down when a body is at rest and flare the most patient and methodical
M OV E M E NT- GO up during voluntary movements weaver. LSVT BIG is a training pro-
In hyperkinetic or movement-go dis- such as warping a loom; these are tocol that encourages folks with PD
orders such as essential tremors known as action tremors. They can to change their perception of the size
(involuntary tremors), the body calls also affect actions such as holding of their movements. Going big with
in too many muscle fibers for a still while reading a pattern draft; movements may help to overcome
desired action, leading to shaking or these are known as postural tremors. struggles with fine motor control.
writhing. According to the Cleveland Music and rhythm can assist move-
M OV E M E NT-SLOW ment and coordination, so dancing
PD is a classic hypokinetic or move- to music with a strong beat is fre-
Weavers are not alone when it ment-slow condition because it quently recommended. Many occu-
comes to experiencing tremors results in a stiffening of the body, pational and physical therapists can
while working. Tremors and face, and hands. People with PD tend assist in learning these and other
other muscle disorders are
to develop balance challenges, have techniques to improve functional
famously associated with:
stooped posture, and often may live movement.
• Pistol shooter’s cramps
with resting tremors in their fingers, Moving with shaky tremors can
• Golfer’s yips
thumbs, and even chins. Their trem- bring frustrations of a similar
• Runner’s dystonia
ors involve the legs and feet instead nature. Gaining stability through
• Oyster shucker’s dystonia
of the head and neck motions seen in weight bearing can be helpful—such
• Speed skater’s English-mop
essential tremors. as adding weight to tools or materi-
foot
As opposed to movement-go con- als, or even wearing wrist weights
• Pianist’s dystonia
ditions, PD can seem worse when a to dampen tremors. Using your own
• Writer’s cramp
body is at rest. People with PD also body weight can help if you are able
to lean on your elbows or forearms to
steady your hands.
Regardless of whether you are
struggling to get moving or to keep
Photo courtesy of Wikimedia commons, CC BY 4.0
These spirals were drawn by a patient with an essential tremor on one side of his body. Use your experience and know-how
The spiral on the left was drawn with his left hand, the one on the right with his right. to get around movement challenges.
Here are some common hacks as • Prop it. Prop hands and arms Tr y Some Apps
applied to weaving. when threading fibers or passing Technology can help people man-
• Weight it out. Use larger and heavier shuttles. More stability in big arm age movement challenges in a vari-
shuttles. A bit of weight and a larger muscles and joints will allow for ety of ways.
surface to grasp can ease the better control in the smaller mus- Because lack of sleep, too much
weaving process. Alternatively, if cles that control your hands. Sta- caffeine, low blood sugar, anxiety,
you don’t want to change your bility leads to mobility. and some medications can all cause
tools, you can wear small wrist movement challenges, it makes
weights to help dampen tremors. WORK WITH YOUR sense to consider using technology
Rest often, as the extra weight MOVEMENT CHALLE NGES to address these factors. Here are
can be tiring for your muscles. Watch What You Eat and Drink some helpful resources:
• Partner-up to set up. When set- One way to stay in front of movement • Accessibility options through the
ting up your next project, offer to disorders is to eat well. Research Apple Store (apple.com/accessibility
read the draft and oversee the shows that dietary choices can slow /mobility) include apps providing
work while steadier hands thread the onset and severity of conditions voice control and switch control
the warp through the reed and such as PD and essential tremors. to operate devices, predictive text
heddles. Weaving partnerships A Mediterranean diet of veggies, to make writing easier and faster,
can be satisfying when the pro- fruits, whole grains, fish, and olive and activity or workout trackers.
ductivity is shared. oil seems to be a front-runner in Some of our favorite accessibility
• Size matters. Experiment with this area, and a diet containing soy features are assistive touch,
your warp width and fiber size. protein, yogurt, spinach, and sweet which customizes gestures such
Try going narrow and tight to potatoes also shows promise. as a clench or pinch; alternative
deal with resting tremors, or wide Caffeine and tobacco consumption input, which tracks eye and other
and loose when challenged by can make tremors worse, so put movements to control phones and
intention tremors caused by a aside that cup of coffee or cigarette tablets; and touch accommodations
range of conditions. Consider when completing detailed finish to make touch screens less sensi-
bulky fibers to avoid the frustra- work, such as knotting fringe, to help tive to movements such as trem-
tion of fiddling with thin threads keep your hands and head steadier. ors. A visit to a local phone store
that can be easily tangled, Drinking 2 to 4 ounces of wine is may be helpful in setting up
crossed, or broken. known to improve essential tremors accessibility features on a tech-
• Step on it. Use a loom with foot but should not be used as a remedy nology device, but a little
treadles or one with hand levers for those with PD. advanced planning can help tech-
to compensate for tremors. nology users develop a
clearer picture of what they
While there is no substitute for medical intervention to address movement
need most. Phrases to use in a
challenges, weavers can adopt movement-healthy habits at home to aug- computer search include phone
ment their medical care. accommodations for movement
• Design weaving patterns • Practice relaxation and disorders and accessibility apps for
for success. mindfulness. shaking hands.
• Adjust tension on the loom; • Stay strong by using your muscles • Parkinson’s LifeKit (apps.apple
make it tighter and heavier to rather than overprotecting yourself. .com/mm/app/parkinsons-lifekit
optimize control. • Use rhythm. Allow music or sing- /id1226151783) tracks the many
• Alter size and/or weight of shut- ing to set a comfortable pace that
aspects of movement disorders,
tles or add weight to your active helps your body move.
including when a voice sounds
body part(s).
faint, tremors act up, or dexterity
• Avoid caffeine, tobacco,
and alcohol. seems challenged. Monitoring
these things can help weavers
20 H A NDWOV EN handwovenmagazine.com
VINTAG E WE AV ERS
Together, CYNTHIA E VET TS and TINA
FLETCHER have 83 years of weaving
experience, 78 years of occupational
therapy practice, 47 years in higher
education, and 19 years of friendship
and shockingly similar interests. They
are definitely vintage weavers.
RESOURCES
Adams, J. L., K. J. Lizarraga, E. M.
Waddell, T. L. Myers, S. Jensen-
Roberts, J. S. Modica, and R. B.
Schneider. “Digital Technology in
Movement Disorders: Updates,
Applications, and Challenges.” Current
Neurology and Neuroscience Reports
21 (2021): 16. ncbi.nlm.nih.gov/pmc
/articles/PMC7928701/pdf/11910_2021
_Article_1101.pdf.
Cleveland Clinic. “Essential Tremor.”
my.clevelandclinic.org/health/diseases
/11886-essential-tremor.
Dance for PD. danceforparkinsons.org.
Fike, Katy. “The 8 Challenges of Aging.”
Forbes, April 6, 2018. forbes.com
Propping your arms and hands when passing the shuttle can give you more stability /sites /nextavenue/2018/04/06/the-8
and more control over your movement.
-challenges-of-aging/?sh=277f443c1f4a.
Michael J. Fox Foundation for Parkinson’s
decide when their body is most RE ME MBE R VIK TORIA? Research. michaeljfox.org.
ready for weaving and how well Over time, Viktoria learned she has a Mind, Music, and Movement Foundation
movement interventions are work- better time with weaving if she does a for Neurological Disorders. m3f.org.
ing. This app costs $99.99. little prep work before she starts, Parkinson Foundation of the National
• Beats Medical Parkinson’s Therapy including dancing with her husband Capital Area. parkinsonfoundation.org.
(beatsmedical.com/parkinsons) to relax her muscles and switching Ray, A., and D. A. Biswas. “Association of
uses a metronome to deliver her traditional happy-hour highball Diet with Essential Tremor: A Narrative
rhythmic beats to trigger for some herbal tea. She’s learned to Review.” Cureus 14, no. 9 (September
smoother mobility, dexterity, and match her pattern choices with her 14, 2022): e29168. ncbi.nlm.nih.gov
speech for people with movement shakes and finds that she enjoys /pmc/articles/PMC9567235.
challenges. This app has a free weaving large and bold styles. She has Yin, W., M. Löf, N. L. Pedersen, S.
14-day trial. even allowed her daughter to do some Sandin, and F. Fang. “Mediterranean
• Staybl (staybl.app) uses an accel- of the detailed handwork on hand- Dietary Pattern at Middle Age and Risk
erometer to counteract unwanted woven skirts. Keeping Viktoria weav- of Parkinson’s Disease: A Swedish
tremor-induced smart device ing has become a real family affair, Cohort Study.” Movement Disorders
movements by instantly moving and they have found that working 36, no. 1 (January 2021): 255–260.
its on-screen browser in the together has provided them with movementdisorders.onlinelibrary
opposite direction. This app is a many happy times—especially .wiley.com/doi/epdf/10.1002/mds
free download. the dancing. .28314.
Soaring Sensations
Portrait of a Glider
BY S A R A VO N TR E S C KOW
To celebrate my son’s achievements as a pilot, I wanted to design and weave a takes a digital image and reduces the
piece that recognized his experiences with sailplanes and motorized aircraft. I number of pixels to match the num-
developed the woven image from a photograph of the glider on the ground at a ber of warp threads on the loom, in
gliderport in Elmira, New York. After extracting the plane and reducing the this case, enough threads to produce
colors, I rotated the figure so that the plane appeared to be flying. The dragonfly 150 pixels for the 150 drawcords, with
represents the logo of the glider model, a vintage German “Libelle” or dragonfly. each cord controlling five threads.
The number is the tail number specific to that plane. Photo applications such as Photo-
shop, Elements, and other graphic
The weaving itself defies easy After sampling, I realized I could design apps can do this. While there
classification; though it is a woven accomplish my vision by brocading are functions to reduce pixels auto-
graphic, it’s not a tapestry. Instead, a five-end twill in selected areas matically, doing so can distort the
I wove it on a single-unit drawloom. using a separate set of five treadles. image. At each reduction step, care
My first attempt in damask failed to To weave a design such as this must be taken to keep the basic
allow for the shading needed to requires preparation. Rather than the design and silhouette intact by manu-
make the image more interesting. usual structural draft, the weaver ally adjusting pixels bit by bit.
22 H A NDWOV EN handwovenmagazine.com
SOARING SENSATIONS
My first attempt in damask in the Complex Weavers Complexity SAR A VON TRESCKOW learned to weave
exhibit in Knoxville, Tennessee, in while living in Germany for 20 years.
failed to allow for the shading
2022, and it now hangs in our son’s She is the author of When a Single
needed to make the image
home. He recently returned from Harness Simply Isn’t Enough, a guide
more interesting. the 37th FAI World Gliding to setting up and designing with
Championships in Narromine, drawlooms for double-harness weaving.
Australia, where he participated as a
Once a graphic has been simpli- crew member for the US team.
fied, it can be worked into a textile
using half-heddle sticks, drawcords,
pick-up sticks, or similar tools.
While slow, using a simple standard
structure as the ground allows for
the creation of many images on a
single warp by varying the graphed
representation of the desired image.
This type of graphic design is not
confined to a drawloom; for exam-
ple, finnweave or doubleweave pick-
up would work as well.
Damask on the drawloom often
consists of basic satin weaves, as
they allow for areas of distinct col-
ors to form. I chose to work on
what is normally the “back” side,
using the blue of the weft yarn for a
weft-faced, five-end satin back-
ground and the warp-effect satin
in white for the plane, clouds, and
tail number.
I wove using a chart created in a
design program for beading and
fiber artists that prints the image
on 11" × 17" paper for easy reading. I
picked each row on the drawcords
and then marked it as woven. The
brocaded areas needed two trea-
dled picks with the ground pick
first. Because this thread showed
up mainly on the back side, I did
not need to select a specific color.
Then, I treadled the corresponding
twill pick. I used small bobbins of
the correct color to fill the desig-
nated pattern areas. Light gray and
black provided additional detail. Top: Along with simplifying the image, Sara added clouds above and below the aircraft so it
looked like it was flying. After editing the image, Sara used the file to guide her work as she
The finished piece was displayed pulled the drawcords on her drawloom. Bottom: Detail of brocaded shading
repeat
/
/ Motif 6
Motif 1
floating selvedge
3. MOTIF ORDER
1" Natural
Center Motif
RESOURCES
Baizerman, Suzanne, and Karen Searle. Finishes in the Ethnic
Tradition. St. Paul, MN: Dos Tejedoras, 1994. Motif 5
Greenlaw, Debby. Krokbragd. Self-published, 2019.
natural
———. Krokbragd Patterns. Self-published, 2021. very dark purple
dark red
light gold
SANDI LEMONS is the owner of Tabby Tree Weaver in Fishers,
For each row, weave the color sequence, treadling 1-2-3,
Indiana. She gets to weave between teaching, managing repeated 3 times (9 picks total each row).
inventory, and serving customers . . . so basically never. Of Columns 2 and 1 are shown repeated above simply to help you
visualize the pattern.
course, her favorite weave structure is the slowest one to weave.
26 H A NDWOV EN handwovenmagazine.com
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Weaving fabric to then turn into a fluffy, chenille-type yarn is a technique shrank. I had to get serious. I dug
for every weaver with a floor loom. New weavers will appreciate the simple out my notes from that long-ago
plain weave structure with the bonus of no worries about selvedges. More guild meeting and got started.
experienced weavers will rejoice in using up stash yarns. I pulled out bins of yarn and saw I
had lots of red, so I started there.
My experience with this technique Judy, wove several that I admired, Digging through other bins, I pulled
started with a guild program back but it took me 30-odd years to get out oranges and purples and the
in the 1990s with the idea of creating around to weaving one myself. odd ball of turquoise and made a
the weft of the rug by first weaving At the outset of the COVID-19 pile of yarn on the floor.
a crammed and spaced fabric, cut- pandemic shutdown, I thought it There is no need to worry about
ting it up into long strings of che- would be an excellent time to use the fiber content or diameter of the
nille, and then weaving the result- up some of my stash. I wove and yarn. Wool or cotton, laceweight or
ing fluffy strings into a lovely, wove and wove, but thanks to inter- bulky knitting yarn, all of it goes
shaggy rug. My weaving neighbor, net shopping, my stash hardly together. This is a good project for
28 H A NDWOV EN handwovenmagazine.com
WE AV ING A T WICE -WOV EN RUG
There is no need to worry
about the fiber content
or diameter of the yarn.
Wool or cotton, laceweight
or bulky knitting yarn, all of
it goes together.
Notes on Chenille
Chenille yarn has two compo-
nents: fine core threads and the
thicker, short lengths of pile the
core threads hold on to. The result
is a fluffy yarn that looks a bit like
a caterpillar. In fact, the name
chenille comes from the French
word for caterpillar. Another great
description of chenille comes
from Deborah Jarchow in her
Handwoven article “Weaving
with Rayon Chenille” (September/
October 2023), in which she says
it is “like a pipe cleaner but with a
softer core.”
30 H A NDWOV EN handwovenmagazine.com
WE AV ING A T WICE -WOV EN RUG
the last strand to the beginning
of the next. This keeps the butt ends
tight together. Pay attention to the
selvedges. The edges will be fluffy
and loopy, but you don’t want them
to be too loopy. Repeat the hem at
the end of the rug. Cut the rug off the
loom. Fold the hems over twice and
stitch by hand or machine.
To wet-finish, I filled my top-
loading washing machine with hot
water and washed on the delicate
cycle. I laid the wet rug on my patio
to dry in the sun.
This rug is resilient and cushy on
bare feet, perfect for next to the bed.
While hunting up all the red yarn
I could find in my stash, I discov-
ered a ton of gray yarn. I feel
another rug coming on, this time
gray with white, black, and lots of
that glitzy novelty yarn I hoarded
After the chenille yarn is cut, it makes for an extra-fluffy weft, perfect for weaving rugs. back in the nineties.
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SUMMER 2024 H A NDWOV EN 31
2- OR 4-SH A F T
Twice-Woven Rug
C AT H E R I N E M A R C H A N T
My shaggy rug is inspired by a desire to reduce my out-of-control 3 Cut the weaving off the loom, leaving
yarn stash. First, I weave a fabric with stash yarns, then I cut it up 4"–6" of warp ends to tie the strips
into a chenille-like bulky yarn that becomes the weft of the rug. together later. Knot each group of 4 warp
Even though this technique involves warping the loom twice, the ends to prevent raveling.
plain-weave structure makes the threading and weaving easy.
For the chenille, I make a pile of yarn put-ups on the floor. I select 4 Slice the fabric into strips, cutting
a dominant color and a couple other colors to serve as contrast. Yarn down the center of each gap between
weights can vary from fine weaving yarn to bulky knitting yarn. The warp-end groups.
fibers can be anything, natural or synthetic. Several years after
weaving my first twice-woven rug, it is still cushy and has held up 5 Wind the second warp with 180 ends
through repeated vacuuming. Because the rug has pile on both 2¾ yd long, using a color that coordinates
sides, it is also reversible. If you’re using it on a smooth or slippery with the first weaving. Thread for plain
floor, just make sure to put a nonslip rug pad underneath. weave using your preferred method. Cen-
tering for a weaving width of 30", sley
1 Wind a warp of 288 ends 5 yd long using a color that will go 1 per dent in a 6-dent reed or 1 in every
with the weft yarns you’ve chosen. Warp the loom using your other dent in a 12-dent reed.
preferred method, threading for plain weave. Centering for a
weaving width of 352⁄15" in a 15-dent reed, sley 4 ends in one 6 Wind the weft for the hems using 5
dent and 4 ends in the next dent, then skip 13 dents. Repeat strands of 8/4 cotton carpet warp on the
across the warp. boat shuttle. Wind a chenille strand onto
the rag shuttle. Spread the warp with
2 Take enough strands of yarn that, when held together, they scrap yarn.
are the width of your pinkie finger (see the bottom photo on
page 29). Wind them together onto a rag shuttle. Weave until you 7 Weave 3" of plain weave for the hems
can no longer get a good shed, changing yarns as they run out. using the 8/4 cotton. Begin weaving with
Leave loops sticking out of each selvedge with every pick. the chenille in plain weave. The fuzzy weft
32 H A NDWOV EN handwovenmagazine.com
will show on both sides of the rug. 10 Finish by machine washing CATHERINE MARCHANT of Alpine, Utah,
As you reach the end of each with hot or warm water on the deli- looks forward every morning to weav-
strand, tie the warp ends of the cate cycle. Air-dry. Any wool pile ing in her studio. Consequently, she
chenille weft to the next strand. will not shrink appreciably, and the needs all the stash-busting projects she
Continue for about 54" or until you yarn will bloom, making the pile can find. She is a member of the Mary
run out of chenille weft. feel denser. Meigs Atwater Weavers Guild in Salt
Lake City, Utah, and the Westfield
8 Using 5 strands of 8/4, weave RESOURCES Weavers Guild in Westfield, New Jersey.
3" of plain weave for the hem. Ignell, Tina. “Intimations and Sensa-
tions.” VÄV 2 (May 27, 2022), 51–53.
9 Remove the rug from the loom. Meany, Janet. “Twice Woven Rugs.”
Trim ends and fold them over 1" Complex Weavers Newsletter 47
twice to enclose the raw edges. (January 1995), 18–20.
Stitch the hems by hand or machine.
shuttle. Leaving 6" of warp for fringe, spread the warp with
scrap yarn. 5 Leaving at least 6" for fringe, cut the
rug off the loom.
3 Twine the beginning of the spread warp following the instruc-
tions in How to Twine on page 36. 6 Braid the warp ends. Suzie used 3
paired warp ends per braid and then
4 Weave following the draft in Figure 1. Twine the end as you did braided the tails of the twining yarn to
at the beginning. match the fringe. Do not wet-finish.
handwovenmagazine.com/team-colors
it into place against the
5¼"
SUZIE LILES has taught weaving for over After you cut the rug off the
35 years. She owns Eugene Textile loom, braid the warp ends
and twining tails to secure,
Center and co-owns Glimåkra USA
as noted in Step 6 of the
with her daughter Sarah Rambousek. instructions.
36 H A NDWOV EN handwovenmagazine.com
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8x
Note: Thread the last 4 ends on each
side plus the floating selvedges doubled
in both the heddles and the reed.
3 Wind your rag shuttles with each of the
rag wefts. Spread the warp with scrap yarn.
4x
cont’d
RESOURCES
4x
Books, 2014.
———. Weaving with Rags: Making Rag Rugs and
HEDDLE COUNT More. Video. Long Thread Media.
Shaft 8 18
Shaft 7 18
Shaft 6 18 TOM KNISELY weaves and teaches weaving and
Shaft 5 18 doubled floating selvedge
Blue Ashes spinning at Red Stone Glen Fiber Arts Center.
Shaft 4 32
Shaft 3 32 Hunter Green He lives with his wife and two cats near New
Shaft 2 32 Adriatic Blue
Shaft 1 32 Tobacco Brown Cumberland, Pennsylvania.
Total 200 Caramel
40 H A NDWOV EN handwovenmagazine.com
www.GlimakraUSA.com
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Visiting my friend Julie at Fuzzy Ewe Farm is always an adventure. threading doubled ends in each heddle.
There are beautiful llamas and Leicester longwool sheep to ooh and Centering for a weaving width of 317⁄8",
aah over while contemplating the bounty of the next shearing. And sley a doubled end in every other dent in
there is always a good chance that Julie has received a fresh ship- an 8-dent reed.
ment of milled yarn from the previous year’s shearing. I discovered
the amazing core-spun yarn I used in my rug on one such visit. 2 Wind a stick shuttle with the Churro for
Not one for waste, Julie had the mill process the leftover britch the ends of the rug. Wind another large
and rump wools (combined from the llama and sheep) into this one- shuttle with a few yards of the core spun
of-a-kind rope of core spun. The result is a wonderful mélange of weft yarn. Because it is so thick and bulky,
natural colors that I could not resist. It is perfect for a thick, heavy, only a few yards will fit on a shuttle. Take
and soft rug—just what I need to keep my feet cozy on the chilly
winter floor of my studio.
Weaving with this type of yarn does create some challenges. A
weighted beater is a must for packing in the heavy, thick yarn—my
husband added an 8-pound steel bar to my Leclerc loom, and that
helped quite a bit. Also, due to the thickness of the yarn, only small
amounts will fit on a stick shuttle, which means frequent splicing and
joining. I did find the joining process easy, though, and virtually in-
visible. Finally, you need to be careful not to twist the yarn as you
bring the shuttle in and out of the shed at the selvedges. Keeping the
twisting to a minimum will keep your rug from curling. Overall, I am
thrilled with the results, and I hope you are inspired to give it a try.
42 H A NDWOV EN handwovenmagazine.com
care that you do not get so much following method: On the cut ends an overhand knot in each pair of
on the shuttle that it does not fit of the core-spun, tease and pull doubled warp ends (4 threads)
through the shed. Spread the out about 2 inches of the outer close to the weft or prepare a
warp with scrap yarn. layers beyond the cotton core. twisted fringe using 2 doubled
This provides a thin, flat piece for ends in each fringe bundle.
3 Weave 5 picks of plain weave splicing with a new yarn and
using the Churro. Beat firmly after makes a clean, invisible transition. 7 Do not wet-finish. To clean the
each pick. rug, shake it and hang it to air out-
5 End with 5 picks of plain weave side as needed.
4 Begin weaving with the core- in the Churro. Weave a few picks
spun yarn. Weave approximately of scrap yarn to protect the weft. CYNTHIA COX enjoys weaving functional
90 picks or about 30", beating items in her home studio, The Wild Weft.
firmly after each pick and being 6 Leaving at least 4" on both She is inspired by the beauty of West
careful not to twist the yarn as you ends for fringe or a knotted finish, Texas and the variety of unique and
begin each row. For joins, use the cut the fabric from the loom. Tie natural fibers produced in the region.
A photograph I took looking over the roofs of the Salts Mill loom 1 Wind a warp of 200 ends 3 yd long.
sheds in Saltaire, West Yorkshire, inspired my rug. I grew up a few Warp the loom using your preferred method
miles from Saltaire, and the zigzag pattern of mill roofs was a famil- for a straight draw, either 4, 3, 2, 1 on a
iar sight throughout my childhood in the industrial textile district 4-shaft loom or 2, 1 on a 2-shaft loom.
of the West Riding. Centering for a weaving width of 323⁄6",
Salts Mill was the heart of a model village built on the banks of and following the sleying chart in Figure 1,
the River Aire by Sir Titus Salt in 1853 to house his mill workers. A sley a doubled end in every other dent,
few miles from the center of Bradford, Saltaire provided the work- with a tripled end in the first and last
force a healthier environment than that endured by mill workers in dents (see Resources).
the middle of the city. Salt built housing, a chapel, a library, a
school, a laundry, a mechanics institute, and a park around his mill, 2 Wind a shuttle with 4 strands of Gun-
which at its peak employed 3,000 workers and produced 30,000 metal Gray held together. Wind a second
yards of fabric a week. After it ended production in 1987, the mill shuttle with 2 strands of Light Khaki rug
was bought by a local businessman to house the work of his friend wool (see Weaving Tips). The doubled
and fellow Bradfordian, David Hockney. Saltaire is now a UNESCO khaki weft will be doubled again when
World Heritage Site, with the mill housing Hockney’s work along weaving the clasped-weft technique.
with stores and a restaurant. The surrounding housing is still a
thriving residential village. 3 With scrap yarn or extra rug weft,
I learned the techniques used to weave my rug at Jason weave about 2" of plain weave, bubbling
Collingwood’s class on rug weaving held at Yadkin Valley Fiber the weft so that it has plenty of length to
Center in 2019. They are also described in Peter Collingwood’s book cover the warp comfortably. This section
The Techniques of Rug Weaving. will be removed when the rug is finished,
As I noodled around with the design, I found it more pleasing the so it’s a good opportunity to practice your
simpler it became, but that simplicity became the main technical beat. Push the outer 2" of weaving down
challenge—there are fewer places for mistakes and inconsistencies from the fell toward the breast beam, creat-
to hide! ing two triangles of bare warp at each side.
46 H A NDWOV EN handwovenmagazine.com
Fill these triangles by weaving scrap
yarn back and forth until the fell is the
same height all the way across the
warp. Beat firmly to create a firm
base for your rug. Install the temple.
5 Begin the clasped-weft band (see 6 Weave 9 picks with the first 10 Work the Maori edge starting
Resources). Using the rug schematic warp end on the left woven in the with the rug face down or prepare
in Figure 2 as a guide, mark the triangle color. On the next pick, a fringe (see Resources).
warp where the joins in the colors move the clasp over so that the
should land. The beginning of the next warp end is woven in the tri- RESOURCES
triangle is woven over 1 end; the angle color. Weave 9 picks on that Collingwood, Jason. Rug Weaving with
upper edge is woven over 16 ends. end. Repeat this pattern, weaving Jason Collingwood. Class handout
Place 2 balls of Spiced Mustard yarn 9 picks for each step until you fin- from Yadkin Valley Fiber Center,
in a bowl or bag on the floor to the ish on the 16th end. The diagonal North Carolina, 2019.
left of the loom and draw 2 strands edge of the triangle comprises 16 Collingwood, Peter. The Techniques of
up. Send the Light Khaki yarn on the steps of 9 picks each. Rug Weaving. New York: Watson-
shuttle through the shed from the Guptill, 1972.
right and link it around 2 strands of 7 Weave 1" of Gunmetal Gray.
the Spiced Mustard before sending Repeat the triangle/gray pattern FR ANCES RICHARDSON, former textile
it back to the right through the same until you have woven 6 triangles. conservator and teacher, lives in
shed. The Spiced Mustard yarn Rockbridge County, Virginia. She recently
passes into the shed and back to 8 After the 6th triangle, weave undertook research on a collection of
the left. You will end up with 4 2" of dark gray, leaving extra room local historical weaving drafts.
Balancing Asymmetry
BY T I E N C H I U
Symmetric designs can be beautiful, with the bonus of being relatively easy designs typically look better when
to design; however, when you want a more lively, less regular feel to your they feel balanced between the right
piece, it’s time to experiment with asymmetry. and left sides and/or top to bottom.
Symmetric designs, as in Draft 1,
Asymmetric designs are often more In my handwoven coat, Autumn are easy to balance. You simply do
visually intriguing than similar sym- Splendor (shown above), I wanted a the same thing on both sides and
metric designs. The irregular forms dramatic sense of sweeping move- voilà! It all works out. However, if
produced by asymmetry make us ment, like a leaf blown about in the you want to create balance without
want to look longer at them to figure wind. That sense of freedom would the formal look created by symme-
out what they mean, visually speak- have been hard to achieve with a try, you’ll have to work out asym-
ing. As a result, asymmetric projects symmetric pattern, so I decided on metric balance.
often feel more dynamic, intriguing, an asymmetric design. The result is
and casual than symmetric pieces. much more free-flowing than a HORIZONTAL BAL ANCE
(That doesn’t mean they’re better symmetric design would have been. Let’s start by discussing horizontal
than symmetric pieces, though—it When you opt for asymmetry, balance, the balance between the
depends on your tastes and creative though, design becomes a little right and left sides of a piece. Hori-
goals for a piece.) more challenging. That’s because zontal balance in asymmetry is
48 H A NDWOV EN handwovenmagazine.com
BA L A NCING A S Y M M E TRY
Draft 1 Draft 2
hard to define in words but easy to
see. Some design elements have
more visual interest than others.
You can think of them as having
more visual weight; they attract the
eye more than other elements. If you
put all the interesting parts on one
side of a piece, it will feel unbal-
anced, like a seesaw with only one
person on it.
The design shown in Draft 2, for
example, is unbalanced—the most Draft 3 Draft 4
visually interesting part is all the
way on the left, and there’s nothing
interesting on the right side. Unbal-
anced designs often feel unsettling.
Sometimes, that’s what you want—
but if not, you’ll need to balance
your design.
One way to balance a design is by
putting similar stripes at roughly
the same distance from the center
to create a piece that is almost, but
not quite, symmetric. For example,
you can put a stripe on one side and
then put a similar-sized stripe with
equally assertive colors on the
other, placed symmetrically as in
Draft 3. This gives the project a
more dynamic appearance while
still feeling balanced.
The principle of weight can also
help with designing balanced asym-
metric designs. Think of balance as
a seesaw: you can put a weight any-
where on the seesaw, but the farther
from the center it is, the more force
it exerts. Put another way, a weight
on the end of the seesaw arm will
push the arm down farther than the
same weight right next to the center
of the seesaw. The same principle
applies in design; a small stripe far
from the center of a piece can
balance a wider stripe closer to
the center.
Draft 5 Draft 6
about making sure that the weight
of a piece is distributed in a way
that feels comfortable to our visual
brain. Putting bigger, darker objects
on the bottom and smaller, lighter
design elements on top creates a
sense of vertical balance.
Designs with big, dark areas sus-
pended on the top of the piece
almost seem to be floating in midair
and can look unsettling and lacking
Draft 7 Draft 8 in vertical balance. That’s because
we look at them and instinctively
think the unsupported dark areas
will fall. As a result, vertically bal-
anced designs that are asymmetric
generally can’t be flipped upside
down and retain a balanced feel.
For example, Draft 7 is vertically
balanced, with the darker, heavier
parts on the bottom and the lighter,
smaller ones on top. Draft 8, how-
ever, is not vertically balanced; the
colors have been flipped from top to
bottom, putting the darker, heavier
If you’d like something more symmetrical, you don’t have to elements at the top, so the design
balance the draft using the same stripes or the same colors. feels unsettling.
Asymmetric, vertically balanced
projects often have a definite top
and bottom. If you don’t mind
In the example shown in Draft 4, stripes that are internally symmetric— arranging the item “upright” (or
the large stripe to the left is bal- but working with asymmetric stripes don’t mind it feeling upside down!),
anced by the small stripe at far works, too, and produces a less rigid this isn’t an issue. If you’d prefer
right. The small stripe, farther from feel. In Draft 6 you can see two groups something that can be flipped top
the center than the larger stripe, of stripes in similar colors. Notice the to bottom, such as a scarf, then ver-
gains visual weight due to its loca- formal, ordered, and calming look tical symmetry or near-symmetry is
tion, causing the design to balance of the symmetric stripe on the left. your best option.
out even though one stripe is larger. Then, on the right, notice the infor- Of course, if you don’t mind a
If you’d like something more sym- mal, dynamic look of the asymmetric piece that feels unbalanced, you can
metrical, you don’t have to balance stripes. That’s the difference between arrange your design however you
the draft using the same stripes symmetry and asymmetry! like! Weave it your way.
or the same colors. The drawdown
in Draft 5 shows an example of a VERTICAL BAL ANCE RESOURCES
balanced stripe design that uses dif- Top-to-bottom balance, or vertical Pentak, Stephen, and David A. Lauer.
ferent stripes and colors. balance, works differently from hor- Design Basics. Boston, MA: Cengage
Thus far, we’ve been playing with izontal balance. Vertical balance is Learning, 2015.
50 H A NDWOV EN handwovenmagazine.com
4 -S H A F T
If you’re just starting out weaving with asymmetry, this scarf is a reed. Sley the floating selvedges through
perfect introduction as it combines symmetric stripes into an empty dents on each side of the warp and
asymmetric design. A wide stripe on one side is balanced by a pair weight them over the back beam.
of smaller stripes on the other, giving it a fun, casual feel.
The challenge in designing this scarf lay in combining the three 2 Wind a bobbin with the weft. Tien rec-
stripes—all different widths—with the woven pattern. I experi- ommends winding several bobbins of weft
mented with aligning the stripe width and placement with the pat- to make it easy to switch bobbins as they
tern repeat (32 threads), but this resulted in a stiff, rigid feel. Placing run out. Leaving at least 6" of unwoven
the stripes with no care for the woven pattern, though, felt disjointed. warp for fringe, spread the warp with
The symmetric colors in each stripe seemed to “want” a symmetric scrap yarn.
woven pattern to go with them. What to do?
I decided to center each stripe around an element in the woven pat- 3 Leaving a tail 1 yd long for hemstitching,
tern to align the two types of symmetry: color and weaving pattern. begin weaving the pattern following the
However, I made the stripes different widths, which changed the ap- draft in Figure 2. Use the tail to hemstitch
pearance of the motifs. The large stripe runs across what looks like a in groups of 4 warp ends, including an
series of four-pointed stars. The medium-size stripe creates large occasional 3- or 5-thread unit to keep the
“eyes,” and the thin stripe produces a tiny series of Xs and Os. colors neat in the striped areas.
If you are designing with a draft that creates motifs (as opposed to
an “allover” draft such as 2/2 straight twill), think carefully about how 4 Continue weaving following the draft
to align those motifs with your color pattern, especially when design- for about 72", ending at the end of a pat-
ing asymmetrically! Thinking about how color and woven pattern coor- tern repeat. Hemstitch as you did at the
dinate can make all the difference in designing a piece you love. beginning.
1 Wind a warp of 288 ends 2¾ yd long following the warp color 5 Leaving at least 6" for fringe on both
order in Figure 1. Wind 2 additional ends of Noir (black) to be used ends, cut the fabric from the loom. Trim
as floating selvedges and set them aside. Warp the loom using the fringe ends to 5". Prepare a twisted
your preferred method, following the draft in Figure 2. Centering fringe using 2 hemstitched groups in
for a weaving width of 1010⁄12", sley 2-2-2-3 per dent in a 12-dent each fringe bundle.
2. DRAFT
2x 2x 2x 2x 2x
1 2 3 4
4 4
3 3
2 2
1 1
3x cont’d
2x 2x 2x 2x 2x 2x
2x
2x
cont’d
2x 2x 2x 2x 2x 2x
72"
2x
cont’d
2x
2x 2x 2x 2x 2x 2x 2x
floating selvedge
Bleu Moyen
Jaune Or
Orange Pâle
Fuchsia
Mauve Pâle
Black/Noir
Royal
8x
2x cont’d
2x
3x 3x 3x 3x 2x 2x 2x 2x 3x 3x 3x 3x 3x 3x 4x 4x 4x 4x 4x
2x
8x
2x
2x
2x
2x 2x 2x 2x 2x 2x 2x 3x
repeat until piece measures about 73"
cont’d
repeat cont’d
2x 2x 2x
2x
2x 2x 3x 3x 3x 4x 4x
2x
2x
2x
2x
Chanel
2x
3x
November Maverick
2x
3x
2x
3x
2x
2x
HEDDLE COUNT
2x
2x
Shaft 8 40
11x
Shaft 7 40
2x
3x
Shaft 6 38
Shaft 5 38
2x
2x
Shaft 4 36
Shaft 3 36
2x
2x
Shaft 2 42
Shaft 1 42
2x
2x
Total 312
2x
2x
8x
2x
2x
2x 2x 2x 4x 3x 4x 5x
156 8 6 6 8 6 4 6 8 6 4 8 Chanel
156 8 6 8 6 4 6 8 6 6 4 8 #226 November Maverick
312 ends total
56 H A NDWOV EN handwovenmagazine.com
following the draft in Figure 2. You
may find it easier to wind 2 sepa-
rate warps, 156 ends of each color,
and combine them either in the rad-
dle or in the reed according to your
warping method. Centering for a
weaving width of 13", sley 2 per
dent in a 12-dent reed. Note: While
many deflected-doubleweave proj-
ects require a floating selvedge,
this one does not, nor is it recom-
mended by the designer.
The clasped-warp technique allows you to change colors midway in a warp in CL A SPE D -WARP DESIG N
either a random or purposeful design. This unique method is most often used It’s perfectly acceptable to let clasped-
along with direct warping on a rigid-heddle loom. In fact, I first saw the idea in warp joins happen randomly, but
an advertisement for a rigid-heddle loom. I wove several pieces using the tech- there are factors you should consider.
nique, experimenting with color and design ideas, and then wrote an article Where will the joins occur? Joins
about clasped warp for Easy Weaving with Little Looms (Summer 2020). in the middle part of your piece may
be evident in a shawl but not in a
I experimented with clasped warps Clasped-warp weaving gives me the scarf that is tucked around the neck.
on a multi-shaft loom, and I enjoy the best of both worlds: the fun of chang- Also, think about the ends of the
way pattern appears and disappears ing color with direct warping; and piece—will there be fringe or hems?
when you use a weft yarn that seeing a woven-in pattern come and Joins close to the ends disappear in the
matches one of the warp yarns. I have go as the warp color changes at each fringe area and can even disrupt the
now used the direct-warping tech- clasp or join. Here are my tips for integrity of hems or fringe.
nique for four-shaft shawls and success in the design and execution You have many options for creat-
scarves using a variety of yarns. of such a project. ing designs based on the join
58 H A NDWOV EN handwovenmagazine.com
CL A SPED WA RP ON 4 SH A F TS
placement. The joins may create an shows pattern in the center and percent as the starting point for the
overall diagonal, zigzag, or vertical solid colors on the outer triangle sett. Based on my experience with
design or a shape that is more ran- shapes. Shawl 2 uses Design 5 with a clasped-weft projects and these
dom. Consider using more than two light weft, so it has light edges and yarns, I sett Ashford DK (12 wpi) at
yarns or trading the positions of the center stripe shows pattern 6 ends per inch (epi); locally grown
the yarns (see Figure 1). As I write, as the light weft crosses the dark TR yarn (14 wpi) at 8 epi; Harrisville
I’m thinking of more ideas to explore! warp. You can even experiment with Designs Shetland (14 wpi) at 8 epi;
adding a third color for weft. and Jagger Spun Zephyr wool-silk
Yarn Color (30 wpi) at 15 epi. When planning
As in any other weaving, hue and Sett the sett, remember that each warp
value have huge effects on the I weave a lot of wool blankets and end is doubled.
resulting cloth. For the most dra- shawls, using a somewhat open sett I recommend against mixing
matic results, consider using yarns and light beat to produce a light- warp yarns in each project because
of quite different values. If one warp weight fabric with good drape yarns with differing elasticity can
yarn is light and the other is dark, after fulling. give unexpected results. You can use
and you choose to repeat one of Looking back over past projects, a different weft yarn, but I have
those yarns in the weft, you’ll see the my rule of thumb is to measure used the warp yarns (not doubled)
pattern where one yarn crosses the wraps per inch (wpi) and use 50 for weft in all of my projects.
other but will notice mostly texture
where the weft yarn is the same as
the warp. 1. PLACEMENT OF JOINS
The diagrams indicate warp yarns. Weft choices will impact appearance.
In Figure 1, Designs 4 and 5 use Yarns A and B are at different ends in 1, 2, and 3.
the same layout, but dark and light 1 The simplest method for your first project is to let the joins fall
warp yarns have traded places. Visu- in random locations.
alize how that center stripe would 2 This version places joins along a single diagonal.
look in each design depending on the 3 Joins can create one or more points.
hue or value of the weft yarn. 4 The light yarn appears to move diagonally through a dark background.
With my project (page 62), Shawl 1 5 Same as 4 but the dark and light yarn positions are reversed.
uses Design 4 with a dark weft that 6 Light and dark yarns create squared-off shapes as they trade places.
7 This join is more complicated, with two points and a third warp color.
1 2 3 4 5 6 7
Left: The completed warp for Shawl 1 is ready to wind on to the loom. Notice the warping guide string with clips attached and the
clips on Shaft 4 that indicate threading repeats. Right: The warp for Shawl 1 wrapped on the peg. Each end is wrapped an extra time
around the peg to maintain even tension and so the join position doesn’t slip.
60 H A NDWOV EN handwovenmagazine.com
CL A SPED WA RP ON 4 SH A F TS
Left: Halfway through warping Shawl 2 and ready to change yarn colors from one end to the other. The warping guide string with
clips is visible. Compare the position of the bench in these two photos. Even though I wind without high tension, the warp tension on
Shawl 2 has built up enough to shift the shelf where I attached the peg. I moved the bench to hold the shelf in place while I finished.
Right: The full warp for Shawl 2 is ready to wind on to the loom.
position where you want the join, you finish each repeat of the thread- Winding Warp
bring the entire ball of Yarn B ing draft. After you have threaded all the warp
through the loop and back around The most difficult part of this ends, cut and tie the last end of each
the peg. Wrapping it around the peg process may be learning to keep color to the back apron bar or warp-
a second time makes it easier to even tension across the warp ing peg. Wind the warp onto your
maintain the position of the join because care is needed with warp beam as normal, making sure
and the tension. That’s your first stretchy yarns. You do not want a that the joins don’t catch on the
warp end! tight warp—you want an evenly heddles or reed. Using some tension
Repeat this process for the rest of tensioned warp. Pay attention to the helps as you wind on. If the warp is
the warp. Notice that the Yarn A process, and you will discover tricks too wide to hold while winding, wind
loop will alternate starting posi- to keep your warp tension even. a few inches at a time, then add ten-
tions as you warp, coming from over Wrapping Yarn B around the end sion to groups sequentially.
and then under the back apron bar. peg twice helps me focus on the ten- Tie to the front apron bar and you
Use the markers on the warp sion of Yarn A as I pick up and are ready to weave!
measurement string to aid in plac- thread the next loop.
ing the joins as you move from one Make sure the loom and peg stay RESOURCES
side of the warp to the other. in place. A lightweight loom or a Lynde, Robin. “Clasped-Warp Weaving.”
Remember to allow for fringe and warping peg that is not firmly Easy Weaving with Little Looms, 2020,
waste yarn when determining attached may shift as warp tension 107–109.
where to place the joins. builds up—another reason to ———. “Green Pastures Scarf.” Easy
Use binder clips or sewing clips keep the warp tension consistent Weaving with Little Looms, 2020,
on the heddle bar to keep track as but light. 52–53.
/
If you prefer, you can use ASHFORD DK SHAWL HEDDLE COUNT /
90"
64 H A NDWOV EN handwovenmagazine.com
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AbilityWeavers.com Lowell, Michigan
Want More
Weaving?
PRESENTS
G E T G R E AT D E S I G N S F O R 4 - S H A F T,
8 - S H A F T, A N D M O R E O N L I N E !
Access patterns, eBooks, and WIFs Top photos by George Boe (left), Caleb Dane Young (right)
Bottom Photos by Caleb Dane Young (top left), Harper Point (bottom left and right)
66 H A NDWOV EN handwovenmagazine.com
in Figure 2 and the weft color Green, following the draft and towel on each side of the con-
order in Figure 3. Continue weav- weft color orders and separating trasting picks.
ing the towel body until the towel the towels with 2 picks of con-
measures about 27½". Weave trasting yarn. 7 Wet-finish as you intend to wash
the hem. the finished towels. Tumble dry
5 Weave several picks of scrap until damp-dry. Press and allow to
4 Weave 2 picks of contrasting yarn to secure the weft. Cut the dry completely.
yarn to separate the towels. fabric from the loom.
Weave the remaining towels in 8 Cut the towels apart between
Cherry Red, Cherry Red with 6 Zigzag-stitch the ends of the contrasting yarn lines and trim
Warm Navy accents, and Olive weaving and the ends of each scrap yarn.
3x
floating selvedge 3
4
4
3
hem
4x
2
1
1
2
4x
3
4
1
2
3
repeat
3. WEFT COLOR ORDER 4
1
Towel 1 Towel 2 Towel 3 Towel 4 4
3
Ch ural een
Na rry Ravy
tur avy
tur avy
vy
tur ed
Na rm N ed
N a rm N e d
rm e d
2
Na
Wa rry R
Wa rry R
Wa y R
Na e Gr
C h rm N
al
al
al
1
err
e
v
t
Wa
Oli
Ch
Ch
4
3
4x
44 hem 44 hem 44 hem 44 hem 2
4 28 4 29 1
3x
3x
1 9 1 4 1
3 7 3 7 2
hem
4x
4 1 4 1 3
3x
4 7 1 7 4
1 1 7 4 4
4 7 1 1 3
3x
7 9 3 3 2
1 body 8 1 1
3x
3 44 hem 1 3
1 7 1
3 1 4
1 8 7
7 3 1
4 1 7
1 4 4
4 7 1
9 Turn the hems up 1" and press.
4x
68 H A NDWOV EN handwovenmagazine.com
Unlo ck a with Long Thread
World of F iber Media All Access
You’ll get all the weaving you love, plus unlimited access to
Spin Off, Little Looms, PieceWork, and Farm & Fiber Knits.
70 H A NDWOV EN handwovenmagazine.com
1. WARP COLOR ORDER
3x 2x 4x 3x 3x 2x 2x 4x
8 8 #10 Gold
8 8 #102 Magenta
8 8 #03 Fuchsia
8 8 #37 Bali
8 8 #63 Yale Blue
8 8 #5 Green Yellow
8 8 #148 Caribbean
8 8 #114 Indies Orange
8 8 #67 Lt. Orange
256 8 8 8 8 8 8 8 8 24 8 8 8 8 8 8 #01 White
264 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 #07 Black
592 ends total
1 Wind a warp of 592 ends selvedges and set them aside. 2-2-3 in a 12-dent reed. Sley the
4 yd long following the warp Warp the loom using your floating selvedges through empty
color order in Figure 1. Wind preferred method, following the dents on each side of the warp
1 additional end each of White draft in Figure 2. Centering for a and weight them over the
and Black to be used as floating weaving width of 214⁄12", sley back beam.
repeat cont’d
repeat cont’d
7 7 7 7 7
6 6 6 6 6
5 5 5 5 5
4 4 4 4 4
3 3 3 3 3
2x
2 2 2 2 2
1 1 1 1 1
14x
repeat cont’d
2x
4x
4x
repeat until 96" long
5x
2x
5x
6x
2x
2x
2x
3x
3x
5x
8x
8x
3x
3x
4x
5x
7x
10x
7x
2x
2x
2x
2x
2x
floating selvedge
Black
2x
Yale Blue
White
72 H A NDWOV EN handwovenmagazine.com
2. DRAFT (CONTINUED)
repeat cont’d
repeat cont’d
6x
2x
2x
HEDDLE COUNT
Shaft 8 74
3 Weave following the draft in Figure 2 until the
Shaft 7 74 piece measures about 96". Leaving at least 8" for
Shaft 6 74 fringe on both ends, cut the fabric from the loom. Trim
Shaft 5 74
Shaft 4 74 the fringe ends to 6". Prepare a twisted fringe using
2x
Line-dry.
RESOURCES
7x
project might not have turned out “good” in the way you ex-
pected—it’s just a different kind of “good.”
On the official agenda were classes room admiring the finished pieces
covering a broad range of techniques others brought with them, as well as
for rigid-heddle, multi-shaft, tablet, projects woven and finished in classes
inkle, pin-loom, and tapestry weav- that week and even in-progress
ing (to say nothing of adventures in items still on the loom. There were
visible mending and making Dorset scarves and tapestries, designs full
buttons), with teachers familiar to of texture and color, and an incredi-
Handwoven readers, including Deb ble array of bands—including a
Essen, Sara Goldenberg White, memorable lace-adorned, jewel-
Bobbie Irwin, Sarah Neubert, John embellished inkle band made from
Mullarkey, Gabi van Tassell, Kate handspun tussah silk described as a
Larson, and Angela K. Schneider. “gown-less evening strap.” The cre-
On the unofficial agenda were ativity and humor of weavers never
good conversations with weaving cease to amaze!
friends old and new, a marketplace We hope the work you see here and
full of goodies to shop for, and many, online delights and inspires you as
many door prizes. much as it enchanted us. You can see
Perhaps the best part was the more pictures and a short video from
combined show-and-tell/low-key Weave Together at LT.Media/Weave
fashion show that wrapped up the -Together-2024.
event. Weavers walked around the
YARN SUPPLIE RS
Baah Yarn, baahyarn.com (Hubbart 77). Handweavers Studio, handweavers Quilt Lizzy, quiltlizzy.com (Fox 77). Treenway Silks, treenwaysilks.com
Eugene Textile Center, eugenetextile .co.uk (Gibson 54). R&M Yarns, rmyarns.com (Gibson 54).
center.com (Liles 34). Lunatic Fringe Yarns, lunaticfringe (Richardson 44). WEBS, yarn.com (Fox 77).
Fuzzy Ewe Farm, FuzzyEweFarm.etsy yarns.com (Heyman 70). Rainbow Fiber Co-Op, rainbowfiber Yarn Barn of Kansas, yarnbarn-ks.com
.com (Cox 42). Maurice Brassard et Fils, mbrassard coop.org (Cox 42). (Fox 77, Gibson 54, Heyman 70,
Georgia Yarn Company, gayarn.com .com (Chiu 51). Red Stone Glen Fiber Arts Center, Richardson 44).
(Allen 66). Meridian Jacobs, meridianjacobs.com redstoneglen.com (Knisely 38).
Halcyon Yarn, halcyonyarn.com (Lynde 62). Tabby Tree Weaver, tabbytree
(Lough 77). weaver.com (Lemons 24).
FINISHING TECHNIQUES
Simple hemstitching
Weave several picks of plain weave (or the basic structure of the piece), ending with the shuttle on the right side if you are
right-handed, the left side if you are left-handed. Measure a length of weft three times the warp width and cut, leaving the
measured length as a tail. Thread the tail into a blunt tapestry needle.
Take the needle under a selected group of ends above the fell and bring it up and back to the starting point, encircling the
same group of ends. Pass the needle under the same group, bringing it out through the weaving two (or more) weft threads
below the fell. Repeat for each group of ends across the fell. Needle-weave the tail into the selvedge and trim.
76 H A NDWOV EN handwovenmagazine.com
B E YON D TH E PRINTED PAG E
1 Bonus Projects for
Handwoven Subscribers
If you enjoyed this issue, head over to the
Handwoven website for even more projects!
Get your downloads now at
LT.Media/HWSU2024-Extras.
A Slice of
2.
Layer Cake Runner
R E B E CC A F OX
Strips cut from a quilt-fabric layer cake make up the
weft in this sweet table runner. To show off the fabric’s
sophisticated neutral palette, designer Rebecca Fox
opts for a crammed-and-spaced warp that locks in the
weft while giving it room to shine.
M ix It U
p Mu g
geti Rugs
e Seren A Slice of Layer Cake Runner L AU R
A LO U
on th
G H
Z ebra sCARLA
JEANN
E HUB
BA RT R E B E CC A F OX
A R I ZO N A ILLINOIS MICHIGAN
Fine Line Creative Arts Center
N E W M E X I CO
Fiber Creek Fibershed Yarn and Fiber Arts Espanola Valley Fiber Arts
Suite 123, 1046 Willow Creek Rd 37W570 Bolcum Rd. 111 S. Lake St
St Charles, IL 60175 Center
Prescott, AZ 86301 Boyne City, MI 49712
(630) 584-9443 325 South Paseo de Onate
(928) 717-1774 (503) 209-0431
fineline.org Espanola, NM 87532
fibercreekprescott.com michiganfibershed.com (505) 747-3577
www.nmfiberartscenter.org
Tempe Yarn & Fiber INDIANA Heritage Spin & Weaving
1415 E University Dr 47 E Flint
Tempe, AZ 85281
Spinnin Yarns N E W YO R K
145 N Griffith Blvd Lake Orion, MI 48360
(480) 557-9166 (248) 693-3690 CeCe’s Wool
Griffith, IN 46319
tempeyarnonline.com heritagespinning.com 2080 Western Ave
(219) 924-7333
spinninyarns.com Suite 138
CO LO R A D O Leelanau Fiber Guilderland, NY 12084
310 N. St. Joseph St. (518) 779-9985
Blazing Star Ranch www.ceceswool.com
PO Box 52
3424 S Broadway KANSAS Suttons Bay, MI 49682
Englewood, CO 80113
Yarn Barn of Kansas (231) 271-9276 Daft Dames Handcrafts
(303) 514-8780
930 Massachusetts www.leelanaufiber.com/ 13384 Main Rd
blazingstarranch.com
Lawrence, KS 66044 Akron, NY 14001
Entwine Studio (800) 468-0035 The Hen House Quilt Shop (716) 542-4235
yarnbarn-ks.com 211 S Cochran Ave
4003 North Weber St
Charlotte, MI 48813 Fiber Kingdom
Building H
(517) 543-6454 137 E Broadway
Colorado Springs, CO 80907 K E N T U C KY thehenhousemi.com Salem, NY 12865
(719) 761-1211 LSH Creations (518) 854-7225
entwinecos.com 1584 WELLESLEY DRIVE fiberkingdom.com
Lexington, KY 40513 M I N N E S OTA
Lambspun of Colorado (859) 321-7831 Bella’s Flock Spinning Room of Altamont
1101 E Lincoln Ave lshcreations.com 11 Division St E 190 MAIN ST / PO BOX 427
Fort Collins, CO 80524 Suite 200 Altamont, NY 12009
(800) 558-5262 The Woolery Buffalo, MN 55313 (518) 861-0038
lambspun.com Ste 1A, 859 E Main St (612) 741-6437 spinningroom.net
Frankfort, KY 40601 https://bellasflock.com
Longmont Yarn Shop (800) 441-9665
454 Main St. woolery.com Weavers Guild of Minnesota N O R T H C A RO L I N A
Longmont, CO 80501 1011 Washington Ave S, #350 Silver Threads & Golden
(303) 678-8242 Minneapolis, MN 55415 Needles
www.longmontyarn.com MAINE (612) 436-0463 41 E Main St
Belfast Fiber Arts weaversguildmn.org Franklin, NC 28734
Serendipity Yarn & Gifts 171 High St., Suite 8 (828) 349-0515
PO Box 5120 Belfast, ME 04915 silverthreadsyarn.com
Buena Vista, CO 81211 (207) 323-5248 MISSOURI
(719) 395-3110 belfastfiberarts.com Hillcreek Yarn Shoppe Studio 256
serendipityyarn.com 4093 E. Ketterer Rd 106 S Greene Street
Halcyon Yarn Columbia, MO 65202 Wadesboro, NC 28170
12 School St (573) 825-6130 (704) 507-1160
Bath, ME 04530 hillcreekyarn.com Studio256.online
(800) 341-0282
halcyonyarn.com
78 H A NDWOV EN handwovenmagazine.com
The Tail Spinner Sunshine Weaving and Fiber C A N A DA
109 North Wilmington Street Arts Advertiser Index
Richlands, NC 28574 327 W. Main Street
(910) 324-6166 Lebanon, TN 37087 Ability Weavers ......................................65
www.thetailspinner.com 615-440-2558
sunshineweaving.com Anson County Fiber Arts Festival ...........27
Textile Waste
by Weaving
80 H A NDWOV EN handwovenmagazine.com