Handwoven - SeptemberOctober 2023

Flip the Color Switch with Iridescence p.
30
September/October 2023
Lum i n o u s
& Lu s tr o u s
RADIANT
PROJECTS
6 ing
S t un n
Autumn
Pearls
p. 42
Light-Catching
Scarves
WEAVE CHENILLE
with Confidence! p. 66
SHOW OFF
YOUR WORK!
Photography Tips
for Weavers p. 26
longthreadmedia.com
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Content s
Handwoven September/Oc tober 2023, Volume XLIV, Number 4
F E ATU R E S
14 Spotlight 26 Photography for Weavers
Toshiko Taira: Reviving a K E L LY C A S A N O V A
Cultural Tradition You don’t need fancy equipment to take good
BETH ROSS JOHNSON photos of your work; you just need to follow a few
simple rules to take clear, well-lit images with your
In 1946, Toshiko Taira’s love for weaving, dyeing,
smartphone. Kelly shows the importance of light,
and a unique bast fiber took her from Tokyo back
composition, and clarity in fiber photography.
to her childhood home in Okinawa. There, she
worked tirelessly to revive bashōfu. In 2001, Beth
traveled to Okinawa to meet Taira. During that 30 Exploring Multicolor Iridescence
visit, Beth learned more about this determined BOBBIE IRWIN
woman and the weaving tradition she saved. After accidentally weaving a sample with
iridescence, Bobbie became intrigued. She began
18 Notes from the Fell studying how to purposefully create those same
Sheep-to-Shawl Basics color effects. Use what she discovered in your
own designs.
T O M K N I S E LY
One of the main events at many state fairs is a
sheep-to-shawl competition. If you want to join in
66 Weaving with Rayon Chenille
the fun, Tom offers his advice about organizing a DEBORAH JARCHOW
team, designing a quick-to-weave warp, picking Deborah has been weaving with chenille for many
your fleece, delegating jobs, and preparing for years and has learned how to do so successfully.
the big day. Read her tips for working with and caring for rayon
chenille, from warping through wet-finishing
22 Bioluminescent Yarn? and beyond.
H E AT H E R M AT T H E W S W I T H D R . S W E TA I Y E R
Heather heard about bioluminescent fiber and
74 Yarn Lab
decided to investigate further, resulting in an Prairie Spun DK Neons from
interview with Dr. Sweta Iyer, a scientist in Sweden Brown Sheep Company
who is exploring fibers that light up as well as LIZ MONCRIEF
fibers that react to light.
Love bright colors but not always sure how to use
them effectively? Liz tested the new DK-weight
neons from Brown Sheep Company, combining
them with neutrals. She found that the pops of
color added interesting effects to otherwise
traditional patterns.
PROJ E C TS D E PA RTM E NTS
33 Shimmering Crackle Scarf 54 Ray of Light Placemats 4 From the Editor

BOBBIE IRWIN and Napkins 6 Letters
37 Neon Incandescence
M A LY N D A A L L E N
6 Project Index
DOROTH Y TUTHILL 58 Northern Lights Tote 8 Goods
42 Autumn Pearls
S A R A PAT E
12 What’s Happening:
Weaving at Black
JENNIFER SARGENT 62 More Echoes, Please
BARBARA GOUDSMIT Mountain College
45 Perfect Pairing CH RIS TIN A G A RTON
BRENDA GIBSON 70 Heavenly Harvest 77 Reader’s Guide
Chenille Poncho Project Directory
50 Dreaming of DEBORAH JARCHOW
Yarn Suppliers
Butterflies Wrap
MERRIEL MILLER Finishing Techniques
80 Endnotes
62 EILEEN LEE
SEPTEMBER/OCTOBER 2023 H A NDWOV EN 3

Recently, I traveled to northern California for a wedding.
Not wanting to drive that far, I took the train to San SEPTEMBER /OC TOBER 2023, Volume XLIV Number 4
FROM TH E EDITOR
Luis Obispo, where I met my sister. The train ride takes

longer than the drive, but I used the six hours wisely,
hemming two towels, working on an inkle-band EDITORIAL
pouch, and then getting inspiration from the views EDITORIAL DIRECTOR Anne Merrow
EDITOR Susan E. Horton
outside the window. After Los Angeles, the train goes up
CONTRIBUTING EDITOR Christina Garton
the coast and at times crosses areas of California that have MANAGING EDITOR Laura Rintala
never been developed and are, for the most part, inaccessible. It’s almost sur- PROJECT EDITOR Angela K. Schneider
real to see beaches filled with flocks of birds rather than people, cliffs so rug- TECHNICAL EDITORS Malynda Allen, Rona Aspholm,
Deanna Deeds, Greta Holmstrom, Merriel Miller,
ged that you doubt anyone has ever scaled them, and coves tucked into the Anita Osterhaug, Bettie Zakon-Anderson
cliffs that have never been visited by a person. When I arrived in San Luis EDITORIAL ASSISTANT Katrina King
Obispo, it was a foggy, quiet day, and I was still thinking about the sagebrush COPY EDITOR Katie Bright
PROOFREADER Deirdre Carter
and beaches.
Coming home in the evening three days later, my view started in the wilds CRE ATIVE
ART DIRECTOR Charlene Tiedemann
of the California coast but eventually shifted to the nighttime scenes of urban
PRODUCTION DESIGNER Mark Dobroth
life. When I arrived home, it was close to midnight, and I was mostly just anx- DESIGNER Samantha Wranosky
ious to be home. But thoughts of the changing scenery with shifting colors PHOTOGRAPHY Matt Graves
stayed with me. PHOTOSTYLING Carol Beaver
When I think of color shifting, I’m reminded of the holographic cards from
the 1980s that changed depending on the viewing angle. Many of the nine proj-
ects in this issue have that same type of color shift. Look at them from one side
and they look like one color; move them slightly and they seem to be another
color altogether. If you want to weave similar types of cloth, with pearlescence,
iridescence, and even fluorescence, this issue will guide you. We’ve included an
article about weaving with shimmery chenille, another on planning for irides- FOUNDERS Linda Ligon, Anne Merrow, John P. Bolton
cence, a Yarn Lab on strategically using neon yarn colors from Brown Sheep PUBLISHER John P. Bolton
Company, and some tips on what not to do in the Endnotes. In other articles, DIRECTOR OF MEDIA SALES & BRAND PARTNERSHIPS Julie Macdonald
DIRECTOR OF MARKETING Haydn Strauss
you’ll learn how to take better photos of your weaving, about Toshiko Taira,
DIRECTOR OF DIGITAL CONTENT & STRATEGY Tiffany Warble
who was instrumental in preserving the Japanese Rachel Martin
FOLLOW & SHARE
DIRECTOR OF EVENTS & CUSTOMER SUCCESS
textile tradition bashoˉfu, how bioluminescent yarns
may become a thing in the future, and some basics of Find us online
Handwoven® (print ISSN 0198-8212; online ISSN 2381-2303) is published
@Handwoven bi-monthly, except July/August, with a total of 5 issues by Long Thread
sheep-to-shawl competitions from Tom Knisely. Media LLC, 1300 Riverside Ave, Ste 206, Fort Collins, CO 80524; phone
@longthreadmedia
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Venn Diagrams Bast and Friends
Sometimes something simple Shops: If you are interested in carrying this magazine in your store, email
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V of a flock of geese flying at handwovenmagazine.com
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Letters Stories, tips, tricks, and questions
LE T TERS
from Handwoven readers
I would like to give the Handwoven March/April 2023 issue a big round of
applause. I have so many architectural photos (of natural and man-made
structures) waiting for me to design with them, and these articles were
so inspiring. On top of that, the fact that these weavers were kind
enough to share their creative problem-solving processes—and you were
willing to give them the space to do it—was spectacular!
—Gillian Miller
Project Index
I have a unique story that I thought
might serve as a warning to others
about a potential danger with looms.
I have my loom near a window in an
upstairs bedroom. Recently, I went up
to work on a project and found a sec-
tion of the warp broken. At first, I
could not imagine how the ends had Shimmering Crackle Scarf Neon Incandescence
page 33 page 37
broken as no one else had been in the
Photo by Jill Ellson
room. As I looked more closely, I saw

that the broken threads were black on
the ends! I could not imagine what had
happened and called my husband to
Jill’s burned warp come up to look.
As he sat on the bench looking at
the threads, he looked around and said, “You are not going to believe
Autumn Pearls Perfect Pairing
this. . . .” At that moment, I saw what he was looking at—a magnifying page 42 page 45
light standing between the window and the loom. As unbelievable as it
was, we determined that the sun coming through the window and then
through the magnifying lens had burned the threads. I later noticed
burn marks on the beam as well.
We were very fortunate nothing burned enough to actually catch on
fire, and I was grateful that it did not affect more of the warp than it did.
With help from a friend who is an experienced weaver and mentor, I was
able to repair the burnt threads and complete the project. Dreaming of Butterflies Wrap Ray of Light Placemats
And my magnifying light is now far away from the window! page 50 and Napkins, page 54
—Jill Ellson
With all the WIFs available in the Handwoven All Access Subscription in the
Handwoven library and at handweaving.net and miscellaneous project ideas
received from fellow weavers or what I create on my own, I’m wondering
what suggestions Handwoven has for managing the electronic files. Sort by
fiber? Type of project? The number of shafts? Project name? And what file-
naming convention would be most effective? I have more WIF files than I Northern Lights Tote More Echoes, Please
page 58 page 62
could weave up in several lifetimes, but when there’s that one WIF I
remember storing away but I’m not sure where, the search begins.
Help! I’m drowning in WIFs! Thanks for your suggestions.
—Susan Favro
From the Editor: With regard to my own collection of WIFs, I’m in the
same predicament as Susan. If you have any great tips for how to orga-
nize your WIFs, please send them to handwoven@longthreadmedia.com.
Heavenly Harvest Chenille Poncho
Maybe our collective minds can come up with a great solution! page 70
Favorite Finds
GOODS
Sometimes a simple object can make your weaving life

easier. These four tools can be used at the loom to help
you warp, repair warp ends, manage your tie-up, and
keep track of where you are while you thread and weave.
Lease-Stick Brackets
We all could use a helping hand from time to time, especially when
warping our looms and wrestling with lease sticks. Angel Wings
from Handywoman Shop slide onto your lease sticks and hold them
parallel. Holes in the brackets allow you to lash them to your loom,
stabilizing the whole setup. Available in three sizes and either maple
or cherry, a set of two will be a welcome addition to your toolbox.
handywomanshop.com
Warp-End Repair Assistance

It happens to us all: the dreaded broken warp end that somehow
always appears smack-dab in the middle of your warp. Find the guilty
culprit and then hold the neighboring strands out of the way using
Windhaven Fiber Tools’ warp string separator made from walnut
or cherry. Simply slide the polished wood tool between the intact
threads and then turn it to isolate the broken end, creating a space for
working your repair. windhavenfibertools.etsy.com
Photos by Matt Graves

Colored Tie-Up Cord
Transform your loom with color! Glimåkra USA now offers
colored Texsolv cord. Each spool contains 55 yards of
polyester loop cord and is available in yellow, blue, orange,
black, or the original white. The cord can be secured with
either arrow- or anchor-style pegs. Use different colors to
mark your shafts and easily identify which shafts you are
tying up when you are under your loom. glimakrausa.com
Keep Your Place

The world is full of distractions, and the Weaver’s Perfect Memory
is designed to help keep your place when they happen. Print your
treadling or threading draft, wrap it around the tool’s cylinder, and
gently roll it along with each throw of the shuttle or threading of an
end. The tool, which comes in a variety of woods, sits on or can be
clamped onto your loom either vertically or horizontally, depending on
your needs. Come back to your loom knowing exactly where you left
off and quickly return to your rhythm. weaversperfectmemory.com
More Weaving
to Love EXPE RIME NTS IN
Deflected
Doubleweave
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New from Ashford
Brooklyn Four Shaft Loom
Introducing the latest multi shaft table loom from Ashford -
the Brooklyn Four Shaft Loom! This loom has been designed
to be an economic stepping-stone for rigid heddle weavers
who are ready to expand their weaving skills and explore the
wonderful world of multi shaft weaving. It makes weaving
multi shaft patterns simple and easy.
The Brooklyn Four Shaft Loom provides new and experienced

weavers with all the features they need to weave amazing fabric.
• Popular 16" (40cm) weaving width.
• Large beam to beam depth of 281⁄2"
(73cm) the same as all our table looms.
• Smooth, quiet overhead beater with
auto bounce-back for even beating
at the fell.
• Generous rising shed.
• Smooth action levers for light and
easy pattern changes.
• Texsolv cord lifts shafts
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through frictionless nylon
loom cord guides, and
allows easy shaft height
adjustment.
• A total of 320 Texsolv 811⁄16"
(22cm) heddles are supplied
giving 80 heddles per shaft, enough
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• Stainless steel 10dpi reed.
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W H AT’ S H A PPE N I N G
Weaving
Photo by John Harvey Campbell, courtesy of Western Regional Archives, State Archives of North Carolina
at Black
Mountain
College
by Christina Garton
The history of handweaving in

America is incomplete without
mention of the weaving program
at Black Mountain College.
Though the program lasted a rela-
tively brief 22 years, the impact it
had (and still has) is immeasur-
able. Founded by none other than
Anni Albers herself, the program
boasted Trude Guermonprez,
Marli Ehrman, and Else
Regensteiner among its students
and faculty, just to name a few. In
honor of this incredible program
and the impact it had on the art
Students weaving on backstrap looms at Black Mountain College, 1945
world, Black Mountain College has
created a new exhibition, Weaving
at Black Mountain College: Anni
Albers, Trude Guermonprez, and
Photos courtesy of the Collection Black Mountain College Museum + Arts Center
Their Students.
Given the import of the weaving
program, it might come as a surprise
to some that Weaving at Black
Mountain College is the first exhibi-
tion to spotlight the program, its
teachers, and its students. Along
with a focus on the works created by
those within the program, the exhibit
also explores the way the program
affected the rest of the art and de-
sign curriculum within the college.
unless otherwise noted
Originally downplayed as “women’s

work” and as a craft rather than true
art (and therefore deserving of less
funding and respect), the weaving
program is finally being recognized.
On display from September 29
This handwoven bookcloth, titled Bookbinding: Johannes Brahms; Fifty Selected
through January 6 at the Black Songs, was woven by Janet Heling Roberts circa 1945.
W H AT’ S H A PPE N I N G
Western Regional Archives, State Archives of North Carolina
Photograph by Will Hamlin, Martin Duberman Collection,
John “Danny” Deaver weaving,

circa 1941–43
Photo by Alice Sebrell
Elizabeth Schmitt Jennerjahn, Cross, Bay Area by Joan Potter Loveless, circa 1960–70
1949, Wool, 121⁄2" × 10"
Mountain College Museum + Arts Porfirio Gutierrez, Kay Sekimachi, More information on the exhibit,
Center, the exhibit showcases ob- and Susie Taylor, whose works have including hours and how to purchase
jects from both the college’s perma- been influenced by the Black the book, can be found at black
nent collection as well as pieces on Mountain College weavers. A book mountaincollege.org/weaving.
loan from private collections and by the same name as the show fea-
other institutions and includes turing works within the exhibit, es- CHRISTINA GARTON is the editor of Easy
many objects on display that have says by the curators and others, and Weaving with Little Looms. When she's not
never been publicly shown before. archival and other historical photo- editing, you can usually find her chasing her
There are also works by contempo- graphs is being released in conjunc- children, having outdoor adventures,
rary artists such as Bana Haffar, tion with the exhibit. or hiding away with a good book.

S P OTLIG HT
Photos by Beth Ross Johnson unless otherwise noted

Left: Toshiko Taira, circa 2001. Right: Checking an indigo vat
Toshiko Taira
Reviving a Cultural Tradition
BY B E T H R O S S J O H N S O N
The fiber for the distinctive Okinawan cloth bashoˉfu comes from the War II, nearly put an end to the pro-
banana species Musa balbisiana (known as ito-basho in Japanese). duction of bashoˉfu. It is thanks to
Centuries ago, the plant was brought from Southeast Asia to the Ryukyu the work of skilled artists and weav-
archipelago, whose largest island is Okinawa. Today, ito-basho can be ers, including Toshiko Taira (1921–
found at nurseries and landscape companies in the United States. 2022), that bashoˉfu lives on today.
The soft yellow of the natural designs such as arrows, birds, and A LIFETIM E OF WE AVING
bashoˉfu contrasts with the kasuri diagonals, was the original inspira- Originally from Kijoka in Ogimi,
(a Japanese form of ikat) motifs and tion for the blue and white cotton Okinawa, Toshiko Taira learned to
the stripes in the cloth, both of kasuri commonly associated with weave bashoˉfu and cotton cloth
which are dyed blue-black (using mainland Japan. The time-consum- from her mother. At the end of the
indigo) or dark brown (using dyes ing processes to make the fabric— war, she was a young woman work-
made from hawthorn plants native which, when first woven, resembles ing on the Japanese mainland at a
to the island). Okinawan kasuri, stiff linen—made it vulnerable to spinning mill. The founders of the
which uses shifts in the weft- and advances in industrialization. That, Japanese mingei, or folk-craft move-
warp-dyed threads to produce and the disruption caused by World ment, recruited her to join their
S P OTLIG HT
Ito-basho plants in Kijoka Bashōfu on the loom in Kijoka
efforts to revive the bashoˉfu tradi- then immediately peel the stalks, The fibers, dyes, temperature,
tion on Okinawa, and in 1946, Taira separating the layers of fiber into and even humidity influence
returned home to the island. outer, middle, and inner grades; the
the making of this cloth
Taira began the revitalization of inner layer is reserved for the finest
bashoˉfu by restoring the ito-basho textiles. They then boil the strips
that is so suitable to the
fields that had been decimated by before scraping and separating them tropical climate.
the American army in its attempts to into long filaments to be knotted
control malaria. Taira, in addition to together. The long threads are twisted
weaving fine bashoˉfu for kimonos, on a spinning wheel and then wound suitable to the tropical climate. The
wove coarser cloth for domestic into warps or skeins to be tied and limitations of material, pattern,
items such as table runners and dyed for kasuri. After weaving, the and technique have produced a
cushions. In 1974, the Japanese Agency cloth is finished and sewn into kimo- cloth whose design is inevitable
of Cultural Affairs recognized the nos, obis, noren (door curtains), and and unselfconsciously beautiful.
bashoˉfu she produced as an Impor- various small items.
tant Intangible Cultural Property, Soˉetsu Yanagi, founder of the Jap- VISITING KIJOK A
and in the same year, the Kijoka anese mingei movement, said of When I lived in Japan from 2000 to
Preservation Society was established bashoˉfu, “Anyone cognizant of the 2001, I jokingly said I needed to
to teach the various processes neces- beauty of textiles could not possibly make a pilgrimage to Okinawa to
sary to produce the cloth. pass by bashoˉfu without taking a visit the original birthplace of
In 1986, Taira, along with 11 other second look. Such a person would kasuri. As this was before the
weavers, established the Kijoka be enthralled by the excellence of advent of smartphones, a hotel clerk
Bashoˉfu Industrial Cooperative the materials, the distinctiveness circled the Japanese character for
Association. Taira was named a Liv- of the design, and the subtlety of Kijoka on my paper map, leaving it
ing National Treasure in 2000. the coloring.” You cannot separate up to me to find it with my rental
Kijoka bashoˉfu from its place of ori- car. Once I got there and was able to
BA SHŌFU gin. The fibers, dyes, temperature, explain in my limited Japanese that
To produce the threads for bashoˉfu, and even humidity inf luence the I was in Japan learning to weave
workers cut the ito-basho plants and making of this cloth that is so kasuri and loved bashoˉfu, Toshiko

S P OTLIG HT
At the workshop, even the laundry hanging to dry was worthy of Adding a twist to ito-basho filaments
capturing in a photo.
Taira offered me a tour of the work-

shop (which was closed to the pub-
lic that day), showed me the banana
fields, and served me tea. I’ll never
forget being surrounded by this
beautiful cloth in various stages of
completion with Taira and the dedi-
cated artisans who continued to
make it. It turned out to be a pil-
grimage after all.
Toshiko Taira passed away in
September of 2022 at the age of 101.
Today the bashoˉfu weavers led
by Taira's daughter-in-law, Mieko
Photo by Lynton Gardiner, 2001-23-006

Taira, continue to grapple with the
all-too-common issues of not
enough young people learning the
craft and shortages of materials.
Toshiko Taira’s legacy is the
preservation of this craft within an
industrialized society. Its revival
after World War II has made it
a symbol of peace, and it is
recognized as an art form that
embodies the unpretentious beauty Weaving with Bird Motif by Toshiko Taira, 14½" × 14¾", banana fiber, weft kasuri. Gift of
revered by the Japanese. Barbara C. Adachi. Image courtesy of Mingei International Museum
BETH ROSS JOHNSON has had two exten-

sive stays in Japan to weave. She teaches,
weaves, and researches in Black
Mountain, North Carolina. Find her
online at bethross johnson.com.
Learn to weave with
Jane Stafford School of Weaving
ENJOY 7 SEASONS
OF REMARKABLE VIDEOS
FOR ALL SKILL LEVELS
all-inclusive subscription
www.schoolofweaving.tv

Photos courtesy of Pennsylvania Department of Agriculture unless otherwise noted
NOTE S FROM TH E FELL
The Fidget Spinners of Adams County competing in the 2019 Sheep-to-Shawl competition at the Pennsylvania Farm Show. They
chose the theme of Singing in the Rain and dressed accordingly.
Sheep-to-Shawl Basics
BY TO M K N I S E LY
I think just about everyone enjoys an old-fashioned country fair. Fairs have One of the biggest events at the
been held all around the world for hundreds of years. They’re a chance to Farm Show is the Sheep-to-Shawl
show off agricultural skills and artistic talents. You will also find friendly competition. People fill the stands
competitions for the best canned goods, baked items, and needlework. There in the arena to cheer on their favor-
is plenty of livestock to visit as the animals await judging. Cattle, horses, ite team like it’s a pro-sports event.
poultry, and, my favorite, sheep are there for viewing, and it’s a great time to If you’re not familiar with sheep-to-
ask their owners any questions you might have about the animals. You might shawl competitions, let me tell you
even be lucky enough to see sheepshearing followed by someone demonstrat- all about them.
ing spinning wool, and then others weaving it into a piece of fabric.
THE TE AM
Fairs can be local, but many are heated building that encompasses A team consists of five individuals:
official county or state fairs. You many acres under one roof. When I a shearer, three spinners, and a
might think of them as summer asked an official why we have the weaver. Most competitions have a
events, but fairs can be held at any Farm Show in January, the answer time limit to produce a shawl, typi-
time of year. Pennsylvania, where I was quite simple: winter is the cally two and a half or three hours.
live, holds its state fair the second farmers’ slowest time of the year At the start of the competition, the
week in January. They call it the and allows them to participate shearer shears the sheep. The spin-
Farm Show, and it’s been held annu- without guilt about being away ners then spin the raw, unwashed
ally since 1917. The fair is in a from their farms. fleece into thread. Because the
Because you are weaving a
soft and luxurious shawl, your
team should pick a breed of
sheep that reflects those wool
qualities—not a rough, tough
carpet-wool breed.
shearer’s job is done and the weaver

is waiting for thread, the two help
card and comb the fleece to assist
the spinners. As soon as there is
enough thread to get started, the
weaver takes the spun thread and
begins weaving it into a shawl on a
prewarped loom. That’s how the
team produces a shawl that is 22
inches wide and 80 inches long in
that short amount of time. No pres-
sure, you think? Well, let me tell you
Photo courtesy of Tom Knisely

more about it from a weaver’s point
of view.
In the early 1980s, I was the desig-
nated weaver on a team called the
Wool Wizards. It was a lot of fun, I
must say, but I gave up my post when
I realized I was competing against
my former students—people I had Tom weaving during a sheep-to-shawl back in his competition days
taught to spin and weave. It didn’t
seem ethical. During that time,
though, I learned what it takes to be competition loom will need to have rough, tough carpet-wool breed.
competitive. It takes the efforts of a weaving width wider than Check the rules to see if your sheep
the entire team to make a winning 22-inches, and it will need to fit in needs health papers to enter the
shawl. It takes the shearer’s expertise your car warped and ready to competition. Being careful helps
and the spinners’ skilled hands to weave. Measure first to make sure it everyone; you never want to have an
make a thread that the weaver can fits! When shopping for a new car, infected or sick sheep in a livestock
use to weave a beautiful shawl. my wife and I hit the lots with a venue, no matter how short a time it
Here are a few pointers if you tape measure in hand. If the loom will be there. On the other hand,
want to gather some friends and we want to carry doesn’t fit in a there is no need to worry about that
become a team. car we like, we move on to the next. if you are competing in a fleece-to-
First, read the rules and work Your team’s shearer often doubles shawl competition, which eliminates
those into your weaving plans. For as the source of the sheep you will be the beginning shearing portion
example, if the rules state that the using. Because you are weaving a of the contest. Your spinners are
finished shawl needs to measure soft and luxurious shawl, your team spinning from a shorn fleece they
22 by 78 inches, you must take should pick a breed of sheep that brought and not from a recently
draw-in into consideration. Your reflects those wool qualities—not a shorn animal in the ring. Instead of a

HE LPFUL TIPS
It is rare that something goes terri-
bly wrong while competing, but be
prepared and take a toolbox con-
taining the tools you might need to
keep you going. Know your loom
and all its bolts and screws. Check
whether it uses straight-, Phillips-,
or Robertson-head screws. Have
extra tie-up cords readily available.
Don’t forget to have a few extra
yards of the warp in the event that
you break a warp thread. Always
have duct tape, scissors, extra drive
bands, and cords for the possibility
Friends through Fiber, the winners of the 2023 competition, pose with their winning
shawl. The sunflower design was painted on the warp before weaving.
of a wheel breakdown, and a can of
silicone spray to keep everything
moving smoothly when it doesn’t
shearer, the fifth individual on the and easy to treadle and weave. want to.
team can be anyone who can help Although we tossed around ideas as Remember to take good care of
with the wool preparation. a team about the design, my team- yourself and your team. Drink
Your spinners should be able to mates ultimately said, “It’s you that plenty of water and have snacks
spin uniformly so that one person’s has to weave it; you pick the colors available. Provide disinfecting hand
yarn doesn’t stand out as thicker or and pattern for the shawl.” My wipes to clean your hands. Everyone
thinner than the others. It takes approach was to spend a bit more is working with raw wool with
practice. As a weaver, I don’t want time to make an attractive warp so plenty of unspeakable inclusions
the fabric to have weft-wise stripes that I could then weave plain weave within those beautiful wool locks.
due to weft threads that are different or a simple twill without getting off Wipe your hands.
in size. You shouldn’t be able to look track. Although an advancing twill Starting your own sheep-to-shawl
at the fabric and point out that this might knock the socks off the team can be a whole lot of fun. The
section was from Jean’s bobbin and judges, something less complicated competitive rivalry between the
that section was Betty’s. One solution might be a wiser choice for weaving teams is good-natured, and you will
is having two team members spin under the pressure of competition. make new friends and share ideas.
single-strand yarns and a third spin- Choosing colors for a warp is a per- What’s more, you are showing fair-
ner ply them together to even out the sonal thing, but if in doubt, I always goers that spinning and weaving are
differences in the two sizes. This not went with cool colors. It seems many not dreaded chores of the past but
only balances the thread but also people like blues and greens. If the something fun to do and very much
relaxes the tension in the finished shawls are auctioned off at the end of part of modern times.
thread making the weaving much the competition, you are more likely Ready? Start!
easier. And as a bonus, the com- to receive a large bid for a shawl that Go, team, go.
pleted shawl is much less likely to appeals to a broader audience. I Tom
look wrinkled or corrugated as it planned ahead, and if I thought a gray
might from a single-strand yarn. or dark fleece would add more interest TOM KNISELY is the resident weaving
to the shawl’s design based on the and spinning instructor for Red Stone
DESIG NING THE WARP warp I was planning, I would go back Glen Fiber Arts Center. He is a regular
As the weaver on my team, I looked to the shearer and ask for a natural contributor to Handwoven and has
for patterns that were interesting gray, black, or chocolate-colored sheep. written five books on weaving.
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BIOLUMINESCENT YA RN
Photo by Biswajeet Mohanty

An example of bioluminescence as found in nature
Bioluminescent Yarn?
BY H E AT H E R M AT T H E W S W I T H D R . S W E TA I Y E R
On a warm, moonlit evening several summers ago, a friend and I sat on a To my surprise, I recently came
beach in the south of France, relishing our rare time together. We’ d eaten a across an article describing a
delectable Indian meal, shopped for souvenirs from Provence, and in our researcher who has experimented
conversation, solved all our—and the world’s—problems. As we sat there with natural bioluminescence in
on the beach during what felt like a magical moment, I noticed something textiles. My heart beat faster when I
strange: the water was glowing in the dark. Somehow, unbelievably, the read the first few sentences. Textiles
whites of the waves were sparkling! that could light up? Now that yarn
would be something I’d want to
Since then, I’ve learned a little predators. And then there’s my weave with!
more about the phenomenon of favorite: firef lies f lickering in a Dr. Sweta Iyer works in the
natural bioluminescence and mar- warm summer sky. That things can Department of Textile Technology
veled at it. Several species of sea- naturally glow in the dark seems at the University of Borås in Swe-
water algae light up when they are impossible, yet the memory of that den. Her foundational research
agitated. Marine plankton do it night in France looms brightly, focuses on the topic of functional
when they’re distressed, a defense reminding me that it is, in fact, and smart textiles, particularly
mechanism used to evade very possible. those that prioritize sustainability.
Creating fabric that can light up has we see futuristic technologies and and feel a great sense of pleasure.
applications in many areas, which is things. Later, through research, That excitement and anticipation
why she was funded by a European what we once saw in movies or triggered in our brain is due to chemi-
research commission to explore this dreamt of turns out to be real. cal reactions happening in our body.
line of inquiry. She would also like The other type of luminescence is
to acknowledge Professor Nemesh- What exactly is bioluminescence? photoluminescence, which is when
waree Behary, Professor Jinping The scope of my research focuses on light is emitted from a material in
Guan, and Professor Vincent Nier- two different types of luminescence. the presence of an additional light
strasz for constant guidance and To understand it in a simplified way, source. A great textile-related
support throughout this project. bioluminescence is a chemical example is neon T-shirts that illu-
We sat down with cups of tea and reaction that, when activated, emits minate under black light.
a nine-hour time difference to video light and can be seen by our naked
chat about Dr. Iyer’s research and eye. It happens in living organisms So, it’s not just about what living
what it could mean for people who (therefore, the prefix “bio”). Organ- organisms do. Making fabric light
make things out of yarn. isms light up for mating or defense up does not require something in
purposes or even communication. the fabric to be alive.
Heather Matthews: How is it even The chemical reaction often occurs Right. Everything around us is sci-
possible to think that fiber could be in the presence of oxygen. ence, whether living or not. The basic
luminescent and in a natural way? A good example of a chemical reac- understanding of chemicals reacting
Dr. Sweta Iyer: That’s science! What tion in humans is dopamine. We in living organisms to emit light
you think is impossible can happen! might smell cookies baking in the helps us to obtain the same feature,
In the movies (or our imaginations), oven, which could make us excited or mimic it, on textiles/fibers.
Photo by Sweta Iyer
For this cloth, the bio-based, luminescent-producing chemical was screen printed.

that I am aware of. I am doing the

“foundational research”—the very
beginning of an idea. Other types of
luminescent textile development
and research have been done but
have also been shown to possibly be
toxic and demand a lot of resources,
like water. Even though I’ve only
shown the “proof of concept” so far
(the fact that this can be accom-
plished at all), I am excited about
bioluminescent textiles because
they are more sustainable and safer
for humans to interact with.
Photo by Sweta Iyer
So, they’re safe? If someone wore a

bioluminescent textile against
their skin, would they be okay?
Yes. The chemical we are using is
completely safe because it is made
This textile was coated in bio-based, luminescent-producing chemicals.
of enzymes and bio-based products,
just like our bodies are made up of.
We use enzymes, which are bio- energy—which makes them more Europe, particularly Sweden, highly
based chemicals. They incite a faster sustainable! For luminescence, the regulates the substances that scien-
reaction and can be reused, which is fabric is immersed into the chemical tists can work with. These chemi-
part of a sustainable solution to overnight in a petri dish. Then we cals already exist—I am just
develop luminescent fabrics. measure the intensity [of the lumi- applying them in a new way.
Enzyme science is a hot topic nescence] using a light-detecting
because it is considered sustainable. instrument. As a side note, the What are the current limitations
application of the bioluminescent of this work?
What fibers are being tested in chemical to a fabric does not drasti- Well, to begin with, we are just at the
this science? cally change the feel of the fabric. beginning phase. The biolumines-
For the bioluminescent part of the cent effect is impossible to see with-
project, we use a polyester nonwo- What about luminescent textiles out applying additional chemicals
ven. For our photoluminescence makes them interesting to indus- and doing more to the fabric. I have
project, we use fabrics such as cot- try—and to you? confirmed the proof of concept, but
ton, silk, wool, and polyester. As an example, what if textiles in there is still more work to do!
the form of a mask or gloves could The scientific structures of differ-
What is the process of making light up to indicate contamination ent fibers are a limitation. Various
fibers luminescent? around us? Light-emitting textiles fibers react in unique ways, which
As a weaver, you might know some can be useful in defense situations take time to understand.
of our application techniques, such or for design purposes, in workwear, Enzymes are currently quite expen-
as dyeing and printing. Inkjet print- for safety, and also in biomedical sive to use in research. More research
ing and spraying are the latest tech- applications. is being done to investigate less
nologies that people at an industrial To me, bioluminescent textile expensive ways of developing and
level are excited about because they research is exciting because noth- synthesizing enzymes—this will
require so much less water and ing like this has been done before, eventually make them more affordable.
How long until a luminescent yarn chemicals are sensitive and cannot
is available to us weavers to start handle a lot of pressure, which is a
experimenting with? consideration for weaving.
As a researcher, I’d say 20 years, but it Through collaboration and the
could be faster because of the way combining of ideas, perhaps by
others might engage with the science. 2024, our timeline for biolumines-
Creating a bioluminescent yarn for cent yarn could change to being just
weaving is a different process than 10 years away.
creating a fabric—almost like creat-
ing different doughs for two baking HE ATHER MAT THEWS is a weaver and the
projects. Your dough for bread will current president of the Northern
be different from your dough for Colorado Weavers Guild. She enjoys
Photo by Ida Danell
cookies, with unique ingredients, relating complex scientific ideas to

textures, and chemical reactions. everyday situations.
Yarn may have different characteris-
tics than fabrics—it may lose certain DR. SWETA IYER lives and works in
Dr. Sweta Iyer is a research scientist who effects of luminescence or have Borås, Sweden. You can learn more
specializes in bioluminescent textiles.
new effects that didn’t occur in a fab- about her work at researchgate.net
ric application. Also, bioluminescent /profile/Sweta-Iyer.
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PHOTOG R A PH Y FOR WE AV ERS
Photos by Kelly Casanova

Kelly’s silk scarf photographed outside during the golden hour
Photography for Weavers

BY K E L LY C A S A N OVA
As weavers, we invest time, effort, and love in our projects, from the initial Capturing iridescence in your
ideas and planning to the final wet-finishing. It’s rewarding to share the weaving through photography takes
finished project, whether in an online weaving group, on personal social some work, but it is worth the effort
media, or by selling the piece. Whatever your reason for sharing, you want because when you get it right, your
to present your woven piece in the best way possible. Although a photo cap- cloth will seem to glow. In the “old
tures a still moment, certain photography techniques can really bring a days” of photography, I used an SLR
woven piece to life. camera and developed my prints in
a darkroom. While it was all great
For my examples, I’m using a scarf occurred by combining three ele- fun, nowadays you don’t even need a
I wove using 60/2 silk in an undulat- ments: fine and lustrous silk with a camera to take great photos—just a
ing twill. The warp is a dark purple, gleaming quality; a combination of smartphone. Even my six-year-old
and for the weft, I wound together three colors that pop when used dinosaur, waiting-to-die phone
one strand of magenta and one together; and an undulating, wave- takes lovely, high-resolution pho-
strand of orange silk on my bobbins. like twill pattern that seems to tos—and it’s what I use for most of
The iridescence in my scarf move and shimmer. my social media sharing.
Taking a good photo is like My advice is just don’t do it. Flash can In photography, the
baking a cake: with quality ingredi- work well for professional photogra-
“golden hour” is either
ents and the right setup, you can phers with top-notch equipment in a
be successful. studio setting. But for the home pho-
the time just after
tographer, it tends to wash out colors sunrise in the morning
LIG HT and warm tones, leaving you with a or just before sunset in
Light is king in photography. Ameri- stark-looking photo. the evening.
can photographer Jerry Uelsmann
once said, “Photography is just light CL ARIT Y
remembering itself.” It’s not only the No one wants to look at a blurry focus, so be patient; then, when the
ability to adequately light a photo- photo. It’s unappealing to the eye image looks nice and clear on
graph but also the type of light that and will cheapen the appearance of the screen, take the photo.
plays a crucial factor in the final the piece you are trying to show. If The two enemies of crystal-clear
image. Many newbie photographers you are photographing an item to photos are low light and movement.
think that the need for good lighting sell, an in-focus photo is essential. Combine the two and you are guar-
means waiting for a sunny day so If you are frustrated by the lack of anteed to take a blurry photo!
they can photograph outside, but this clarity in your photos, don’t worry; • Be sure that you have adequate—
is not the case. In photography, the clear photos are easy to achieve preferably natural (if possible)
“golden hour” is either the time just with a few tips and tricks. —lighting.
after sunrise in the morning or right • Make sure your phone is set to • It seems obvious, but the phone
before sunset in the evening. The light autofocus. Phones do an awesome and item you are photographing
at these times of day is frequently job of focusing on whatever you’re need to be as still as possible to
soft and warm, making it friendly for pointing at, as long as the autofo- ensure a clear photo. If you find
photographers. Look at the photos cus is turned on! that you can’t hold the phone still
throughout this article for examples • Wait for your phone to focus enough (a more common issue
of how light affects a photo. before rushing in and taking the than you would think), consider
Before I move on, I want to say a photo. It may take a couple of sec- investing in a simple and afford-
word about using the flash feature. onds to find the best point of able phone tripod.
Taken outdoors in the full sun. The colors Taken on a sunny day, indoors, next to a Taken underneath an open veranda with
are a little washed out, and there is high large window. The light was indirect and darker bricks as background
contrast due to shadows. filtered.

Iridescent fabric looks

wonderful draped, rippled, or
crumpled. This can be careful
or careless. Experiment with
picking up and dropping your
woven piece or carefully
forming ripples or soft folds
with your hands.
COMPOSITION
Think of your photograph as an art-
work. You want to arrange all the
elements of the picture so that they
An example of using editing to adjust a photo. On the left is the unedited photo;
appear harmonious and balanced. on the right, the edited photo.
Try not to clutter your photos and
make sure that the woven item is
the centerpiece. Including too many
other elements or a busy back- but near enough that the lovely will either take my photographs
ground can distract the viewer. detail of the wave pattern would not inside or wait for a more suitable day.
Use a background that is appropri- be lost even when cropped. I draped
ate to the piece you are photographing. the scarf so that the viewer could WHAT ABOUT E DITING?
While it makes sense to photograph appreciate the lightness of the fab- Never use editing as a crutch. The
a picnic blanket spread out on some ric and the perceived movement of purpose of editing is to enhance
nice green grass, kitchen linens are the colorplay. rather than fix a photo. A bad photo
better positioned on an orderly, clean will always be a bad photo. Start
surface. You will notice that in the G E NE R AL TIPS FOR PHOTOG R APHING with a good photo, applying the key
two photos on this page, I chose a IRIDESCE NT PIECES SUCCESSFULLY elements I’ve discussed, and then
neutral but still visually interesting Ensure your item is not creased. use editing to make a good photo
background. The neutral background Iron or steam it before the session great. I use free editing software to
showed off the iridescence of the if needed. edit my photos.
scarf beautifully. Iridescent fabric looks wonderful Some colors are challenging to
For the photo at the top of page 26, draped, rippled, or crumpled. This photograph. Keep the woven item
I waited until the golden hour in the can be careful or careless. Experi- beside you as you look at it on the
evening. I carefully arranged the scarf ment with picking up and dropping editing screen. Adjust slowly and
with folds and ripples to best display your woven piece or carefully forming stop when you feel that your photo
its iridescence. Although you can’t tell ripples or soft folds with your hands. looks most like the actual item.
from the close-up, I chose to position I live in an area that is some I hope I’ve inspired you to look
the mannequin near, but not right up degree of windy most of the time. I at photography in a new but
against, the wooden wall. Putting it choose to photograph at times of day simple way!
around 5 feet from the wall ensured that are less breezy. I also use strate-
that any shadow cast on the back- gically placed weights or pins to help KELLY CA SANOVA is a weaving teacher
ground was minimal. keep the item in position. Some days from a beautiful coastal region of
I made sure that I was far enough are just too blustery, and it’s too Australia. She loves weaving, creativity,
away to photograph the whole scarf much of a battle. On those days, I and family beach walks.
Constructed
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MULITCOLOR IRIDESCENCE
Photos by Reed Irwin

Woven in a plaited twill on eight shafts at 60 epi, this 60/2 silk scarf glows with four colors.
Exploring Multicolor
Iridescence
BY B O B B I E I R W I N
Add excitement to your weaving by including optical effects. Yarns such as transmission in sheer and layered
Mylar create a sparkle of spectral colors, metallics (natural and synthetic) cloth. Movement helps us see shift-
magnify light reflection, and some new yarns can even change colors or ing colors as we view the fabric from
intensify in sunlight. In addition, there is woven iridescence, the effect that different angles. (I’ve mastered what
most interests me. I call “artful crumpling” for still
photography and effective display.)
Back in 2002, one of my woven sam- WOVE N IRIDESCE NCE BA SICS The fabric must contain at least two
ples unexpectedly produced striking At first, I concentrated on color colors or a yarn that reflects more
iridescence. Since then, I’ve been fasci- relationships: complements, triads, than one color. Most importantly,
nated by the phenomenon. I wanted to tetrads, and the like—but I’ve sim- you need visual contrast. This is
know why iridescence happens and, plified the requirements for seeing commonly achieved through color
more importantly, how to make it iridescence in fabrics. First, you variation, but iridescence can also be
happen when I want it. More than two need light. What we think of as iri- influenced by other factors including
decades later, I’m beginning to appre- descence is primarily the result of differences in luster and value; exag-
ciate the many variables involved and light reflecting off the valleys and gerated textures, such as pleats; and
the vast number of amazing ways to ridges in our cloth, although some- even contrasting thread sizes with-
make iridescent fabric. times it also incorporates light in a fabric.
The space-dyed weft in this 20/2 rayon scarf ranges from green At a low angle, this four-color scarf in Bronson lace looks pink on
to blue, and the warp from red-violet to red and pink, with a touch one side and blue on the other, although every intersection has
of silver. The colors shift in constantly changing combinations. the same four colors. Bobbie wove this scarf using 30/2 silk sett
Bobbie sett this eight-shaft plaited twill scarf at 40 epi. at 36 epi.
T WO - COLOR COMBINATIONS AND Some combinations of two colors color segments and yarns from dis-
COLOR M IXING give the effect of three through color tinct color families rather than
I started my study by crossing two mixing. Crossing red-violet with those with a wide range of colors.
colors, the easiest way to produce yellow adds orange to the mix while
the apparent color shift that defines retaining the iridescence of the COLOR ORIE NTATION
traditional iridescence. Although original combination. Blue and red Color orientation can dampen or
my first samples were plain weave, give violet, and other combinations enhance iridescence in otherwise
I quickly discovered that floats also mix visually. Crossing comple- identical fabrics. My early samples
increase light reflection and magnify mentary colors (opposite on a color with turquoise warp and red weft
the magic. We have endless possi- wheel), such as red and green of worked well. In similar samples
bilities working with two colors similar value, can give a brown cast with red warp and turquoise weft,
along with many different weave to the fabric, which may not be the red dominated, and the irides-
structures and fiber variables, what you’re after. Avocado green cence was subdued. Orientation can
including luster, value, and relative crossed with blue-violet can make make an even more significant dif-
thread sizes! gray. I call these bonus effects ference with more colors involved or
Early on, I discovered that some “sophisticated,” because you aren’t with warp- or weft-dominant struc-
of my favorite two-color combina- actually weaving with all the colors tures. The greater the number of
tions were the hues that fall you see. This phenomenon is most colors you use, the more combina-
between the pure primary colors on apparent a few feet away and when tions there are to try; some will
the color wheel. Hues such as blue- viewed at a low angle. Color mixing work better than others. It’s a good
green and red-violet contribute works best in balanced plain weave, idea to weave a gamp to sample
their component colors to a woven one of the few instances when I pre- color combinations and orientations.
mix and make it more interesting. It fer that structure for iridescence. Sampling different color orienta-
wasn’t long before I wanted to cre- You can expand the two-yarn color tions with an inexpensive yarn,
ate iridescence with multiple colors, range by crossing space-dyed yarn such as 10/2 pearl cotton, is pru-
and for starters, I found ways to with a contrasting solid or by cross- dent, especially if you are planning
cross two yarns that would give the ing two space-dyed yarns. This a project with more expensive or
illusion of additional colors. works best with relatively short finer yarns.

but I’ve had success with heavier 8/2

Tencel at 24 ends per inch (epi).
PAR ALLE L THRE ADINGS

Many weavers are entranced with
“echo” patterns using different col-
ors on parallel threadings. (The
term echo was introduced in the
1930s for a different woven color
effect. See Note on Echo.) Often
with intricate curved patterns,
many of these fabrics have little or
no color shifting, although the mul-
ticolor effect is similar to some static
patterns in natural iridescence.
Using contrasting weft color (or col-
ors) adds traditional color shifting.
So little time, so many possibili-
ties to explore! Although my
research is winding down, a new
The wefts of these 8/2 Tencel scarves with parallel threadings on eight shafts produce temptation comes along every so
iridescence with the two warp colors.
often. A recent workshop with
Susan Wilson on polychrome crackle
induced me to experiment with iri-
THRE E - COLOR IRIDESCE NCE This became one of my favorite descence in yet a new way.
I learned about the old French method games. With two warp colors, I can
of creating three-color iridescence in use up to three additional weft col-
fine silk. These half-basketweave fab- ors before floats become too long (so NOTE ON ECHO
rics had a warp of one color and two much for the idea of using one shut- According to Helene Bress
(The Weaving Book, 1981), the
weft colors used together in the tle!). These fabrics are most magical
term echo was introduced by
sheds. The doubled wefts were not with fine threads, when thread inter-
Bertha Needham for a color
allowed to cross, and the weft order sections are almost imperceptible, effect in twill-based struc-
remained the same in each pick. which encouraged me to use much tures, using two pattern yarns.
Could I alternate two colors in the finer threads and closer setts than It is most effective with closely
warp and weave with a single shut- ever before. Containing all the com- related colors, especially lighter
and darker versions of the
tle? What isn’t practical with very ponent colors at every thread inter-
same hue. Bress’s book shows
fine threads on factory looms section, every part of the fabric is iri-
echo variations for huck,
becomes workable on handlooms descent. My first experiments with monk’s belt, overshot, and
with heavier threads. I paired warp my modification of the French tech- other twill treadlings.
colors on the same shafts but in nique were in plain weave, but I
separate heddles, and sampling found that structures with floats
determined that those pairs could that better reflect light produce even RESOURCES
not share dents in a reed or they more excitement. The denting Bress, Helene. The Weaving Book. New
would twist. The only possible sley restrictions can make it challenging York: Charles Scribner’s Sons, 1981.
order is one per dent or two per to find yarns to double-sley at appro- Irwin, Bobbie. Weaving Iridescence:
dent, keeping the paired warps sep- priate setts for the reeds you have Color Play for the Handweaver.
arated in adjacent dents. and the structure you want to use, Lanham, MD: Stackpole, 2017.
4 -S H A F T
Shimmering
Crackle Scarf
BOBBIE IRWIN
STRUC TURE YARNS selvedges (allows 5" for DIME NSIONS

Polychrome crackle. Warp: 8/2 Tencel (100% lyocell; 3,360 yd/lb; Valley take-up, 29" for loom Width in the reed: 73⁄12".
Yarns; WEBS), Gold, 514 yd. waste; loom waste in- Woven length: (mea-
EQUIPME NT
Weft: 8/2 Tencel (Valley Yarns; WEBS), Aquamarine, cludes fringe). sured under tension on
4-shaft loom, 8" weaving
202 yd; Blueberry, 201 yd. 8/2 Tencel (100% lyocell; the loom) 74".
width; 12-dent reed; 3 SET TS
3,360 yd/lb; Brassard), #5214 Magenta, 202 yd. Finished size: (after wet-
shuttles. Warp: 24 epi (2/dent in a
finishing) 6" × 71" plus
WARP LE NGTH 12-dent reed).
7" fringe.
169 ends 3 yd long, 2 ends 3½ yd long for floating Weft: 36 ppi.
After studying iridescence for many years, finding a new approach 3 Leaving a tail 4 times the width of the
made me happy! A workshop with Susan Wilson inspired this scarf, warp, with the Aquamarine weft, weave 2
which includes my own modification of one of her workshop thread- picks of plain weave using treadles 5 and 6.
ings. This iridescent fabric glows with four colors, while displaying
a repeating diamond pattern of color blocks. Weaving polychrome 4 All shuttles start at the same side and
crackle “in the Italian manner” creates shifting pattern blocks, each follow each other across the warp, always
featuring two of the weft colors, interspersed with background in the same order. Begin pattern block A
blocks where the gold warp is more prominent. While not all color with Aquamarine. Follow with Blueberry,
combinations produce good iridescence, these colors shimmer as then Magenta, tucking the weft tails
you view the scarf from different angles. around the floating selvedge and back into
Requiring only four shafts, this scarf is not difficult, but with the same sheds. Beat firmly after each
three shuttles, it is also not a quick project. Once I was comfortable pick. Hemstitch over the first 2 plain-
with the treadling and color sequences and able to recognize the weave picks in groups of 6 ends, adding
pattern, I enjoyed the methodical rhythm of the weaving. the floating selvedges and the 1 leftover
warp end to the hemstitching groups at the
1 Wind a warp of 169 ends 3 yd long. Wind 2 additional ends selvedges. Weave the 3-pick sequence a
3½ yd long for floating selvedges and set them aside. Warp total of 6 times to square the pattern.
the loom using your preferred method following the draft in
Figure 1. Centering for a weaving width of 73⁄12", sley 2 per 5 Continue weaving, following the draft
dent in a 12-dent reed. Sley the floating selvedges through in Figure 1, changing blocks after repeat-
empty dents on each side of the warp and weight them over ing each sequence 6 times. Weave about
the back beam. 72" and end with block A (this may take
slightly less or a little more than 72"). Tuck
2 Wind stick shuttles, quills, or bobbins with each of the weft Aquamarine and Blueberry tails around
colors. Leaving at least 9" of unwoven warp for fringe, spread the the floating selvedge and back into their
warp with scrap yarn. Note: To avoid the bulk of regular shuttles, last picks. Weave 2 picks of plain weave
Bobbie used narrow stick shuttles; slim shuttles with quills would with Magenta and hemstitch as you did at
also work well. the beginning.

HEDDLE COUNT 1. DRAFT
Shaft 4 44 2x
Shaft 3 49 3x 3x 3x 3x 3x 3x 3x
1 2 3 4 5 6
Shaft 2 40 4 4 4 4 4 4 4 4 4 4 4
Shaft 1 36 3 3 3 3 3 3 3 3 3 3 3 3 3
Total 169 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1
floating selvedge
Aquamarine
6x
Weaving tips A
Blueberry
• Weaving this scarf requires Magenta
6x
concentration, minimum dis- B
tractions, and careful atten-
6x
tion to where you are in the C
72"
pattern. Treadling errors can
be subtle and are difficult to
6x
D
repair off-loom. Check fre-
quently for slight differences
6x
in the position of floats within C
a block or colors woven out
of order, and make correc-
6x
B
tions as you work. Bobbie
keeps a note card with the
6x
A
color and treadling sequences
written out, using a paper
clip as a marker. She tilts
the clip upward or downward
for blocks B and C to remind
herself whether she is mov-
ing up to the middle of the
block sequence (D block) or
down from the middle.
• It takes several inches before
the diamond pattern becomes
evident, and it’s more ap-
6 Leaving at least 9" for fringe on scarf to soak for about 10 minutes
parent a little away from the both ends, cut the fabric from the before rinsing in clear water.
loom—a good excuse to get loom and trim the fringe to 8". Pre- Line-dry.
up and stretch every so of- pare a twisted fringe from each
ten! The A treadling puts the
hemstitched group. After twisting RESOURCES
Aquamarine/Blueberry blocks
on the selvedges, which clockwise about 30 revolutions, Wilson, Susan. Weave Classic Crackle &
helped Bobbie keep track of pinch the ends tightly and deliber- More. Atglen, PA: Schiffer, 2011.
where she was in the pattern. ately twist counterclockwise 25 rev-
• When weaving with two or olutions before tying the ends with BOBBIE IRWIN, of Montrose, Colorado,
more shuttles, take the shut- an overhand knot. Just letting the has been weaving for 50 years and spe-
tle you just used and place strands ply back on their own would cializing in iridescence for the last 20.
it closest to you, using the
shuttle closest to the fell for result in considerable loss of the She is the author of Weaving
the next pick. This trick is clockwise twist and a fringe that Iridescence: Color Play for the
especially helpful with three isn’t tight enough for this slick yarn. Handweaver. She is a former contrib-
shuttles. The wefts will wrap uting editor to Handwoven and has
automatically at the sel-
vedges, helping you avoid
7 Wet-finish in a basin of warm taught in 40 states as well as Canada
tangles and frustration. water with a drop of mild shampoo and Australia.
and gentle agitation, leaving the

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8-SH A F T
Neon Incandescence
D O R OT H Y T U T H I L L
STRUC TURE YARNS WARP LE NGTH

Deflected doubleweave Warp: 2/14 Alpaca Silk (80% alpaca/20% silk; 3,472 yd/lb; Valley Yarns; WEBS), Light 454 ends 4 yd long
and networked twill. Gray, 528 yd; Amethyst, 464 yd; Black, 376 yd. 8/2 Tencel (100% lyocell; 3,360 yd/lb; (allows 10" for take-up,
Valley Yarns; WEBS), Aquamarine, Ruby, Burnt Orange, and Lemon Grass, 64 yd each. 30" for loom waste; loom
EQUIPME NT
8/2 Tencel (100% lyocell; 3,360 yd/lb; Brassard), Mauve, 64 yd. 8/2 bamboo (100% waste includes fringe).
8-shaft loom, 19" weav-
rayon from bamboo; 3,360 yd/lb; Brassard), Magenta, 64 yd. 20/2 silk (100% spun
ing width; 12-dent reed; SET TS
silk; 4,900 yd/lb; RedFish Dyeworks), bright green, 64 yd.
3 shuttles; 10 bobbins. Warp: 24 epi (2/dent in
Weft: 2/14 Alpaca Silk, Light Gray, 500 yd. 8/2 Tencel (Valley Yarns), Aquamarine,
a 12-dent reed).
65 yd; Ruby, Burnt Orange, and Lemon Grass, 56 yd each. 8/2 Tencel (Brassard),
Weft: 24 ppi.
Mauve, 65 yd. 8/2 bamboo, Magenta, 65 yd. 20/2 silk, bright green, 65 yd. Hatfield
(100% baby alpaca; 437 yd/50 g; 3,900 yd/lb; WEBS), Charcoal, 349 yd. Crystal DIME NSIONS
(85% polyester/15% cotton; 144 yd/25 g; 2,600 yd/lb; Stacy Charles Fine Yarns, Width in the reed: 1811⁄12".
WEBS), #03 Silver Mist, 125 yd. Woven length: (mea-
Note: Amethyst 2/14 Alpaca Silk is no longer available. Substitute Eggplant, a darker sured under tension on
purple, or another color. The 20/2 silk is an odd color lot, use your choice of bright green. the loom) 104".
Finished size: (after wet-
8½" fringe.
This shawl, woven in the depth of winter, brings to mind much of

Weaving tip
what is delightful about the sun—colors refracted through rain-
Without a floating selvedge, some of
drops and ice crystals as rainbows or sundogs (patches of concen-
the wefts will not weave the two outer
trated light sometimes seen on either side of the sun), sunlight or ends in the twill section. Dorothy did
even moonlight (which is technically also sunlight), or light reflected not find this to be a problem, but if you
from water, rock, and snow. For me, this shawl brought light— are concerned, add floating selvedges
incandescence—into my dark-day doldrums. of Light Gray Alpaca Silk to each edge.
Just as light needs to interact with matter to be seen, two weave struc-
tures interact in this shawl. Deflected doubleweave brings spots of color
to the shawl, while the twill adds drape. I wasn’t at all sure what would 1 Wind a warp of 454 ends 4 yd long fol-
happen when I wove the two structures as one, but what happened looks lowing the warp color order in Figure 1.
to me a lot like sunsets, sunrises, and shadows on wildflowers. Warp the loom using your preferred method
There are 10 colors in the warp, and the same number in the weft. following the draft in Figure 2. Centering
This may seem daunting, but I suggest that you start with the yarns for a weaving width of 1811⁄12", sley 2 per
you have on hand, picking colors you like to create a fabric you’ll dent in a 12-dent reed.
wear. I chose colors without much regard to fiber content, choosing
yarns instead based on if they were of more-or-less comparable size. 2 Wind bobbins with each of the weft
You should, too. Just avoid wools—they can stretch and shrink colors. Leaving at least 10" of unwoven
much more than the other yarns. The mixture of alpaca, Tencel, warp for fringe, spread the warp with
silk, and bamboo presented here is an artifact, not a decision. scrap yarn.
Unfortunately, there’s nothing to be done about all the cutting and
tail-tucking; just know it’s worth it for the opportunity to be 3 Leaving a tail 1½ yd long for hemstitch-
wrapped in light and color later. ing, weave 2 picks of plain weave using

the Light Gray Alpaca Silk, then 4 Continue weaving following unless a number in the box indi-
begin the pattern treadling. Use the draft in Figure 2 and the weft cates 2 picks or 105 picks. End
the tail to hemstitch in groups color order in Figure 3 until the with 2 picks of plain weave
of 4 warp ends. Place 1 group of pattern is complete, about 104". and hemstitch as you did at
5 ends in the center of each Note that the colors in the weft the beginning.
twill section. color order are repeated 4 times
HEDDLE COUNT 1. WARP COLOR ORDER

Shaft 8 62 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x
Shaft 7 60
16 4 4 bright green
Shaft 6 22
16 4 4 Aquamarine
Shaft 5 26
16 4 4 Mauve
Shaft 4 54
94 47 47 Black
Shaft 3 58
116 29 29 29 29 Amethyst
Shaft 2 88
16 4 4 Magenta
Shaft 1 84
16 4 4 Ruby
Total 454
16 4 4 Burnt Orange
16 4 4 Lemon Grass
132 8 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 8 Light Gray
454 ends total
2. DRAFT
2x
4x
2x 2x 2x 2x 2x 2x 2x 2x
1 2 3 4 5 6 7 8 9 10
8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 7 7 7 7 7 7 7
6 6 6 6 6 6 6 6 6
5 5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1
2x cont’d
2x
2x 2x
2x
8 8 8 8 8
20x
7 7 7 7
2x
6 6 6
5 5 5 5
2x
4 4 4
3 3 3 3 3
2x
2 2 2 2 2 2 2
1 1 1 1 1 1
2x cont’d
2x
2x 2x
2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x
2x
8 8 8 8 8 8
7 7 7 7 7 7
6 6 6
5 5
2x
4 4 4 4
3 3 3 3
2 2 2 2 2 2
1 1 1 1 1 1 1
Light Gray Light Gray or Silver Mist

Black Charcoal
Amethyst bright green, Aquamarine, Mauve, Magenta,
bright green, Aquamarine, Mauve, Magenta, Ruby, Ruby, Burnt Orange, Lemon Grass, or Charcoal;
Burnt Orange, or Lemon Grass; see warp color order see weft color order
2x
2x

2. DRAFT (CONT’D) 3. WEFT COLOR ORDER
1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10
2 pw 6x Light Gray
cont’d
cont’d
2x cont’d
Silver Mist
Charcoal
bright green
Aquamarine
Mauve
Magenta
Ruby
Burnt Orange
Lemon Grass
2x
Weave 4 picks of
each color in each
row unless otherwise
indicated. Read rows
left to right.
2x
5x
105 twill
6x
2x
2x
2x
2x
2x
44x
2x2x
5x
2x
105 twill
2x
6x
2x
2x
2x
2x
2x
2x
2x
2x
20x
2x
6x
2x
2 pw
2x
105 twill
5 Leaving at least 10" for fringe on
both ends, cut the fabric from the
loom. Trim the fringe ends to 10".
Prepare a twisted fringe using 2
hemstitched groups of the same
color in each fringe (i.e., twist
Light Gray with Light Gray, Ruby
with Ruby, etc.).
6 Wet-finish in warm, soapy water

by gently agitating and then leaving
the scarf to soak for 20 minutes.
Rinse well in clean warm water. Lay
flat or hang until damp, then press
with a wet cloth.
DOROTHY TUTHILL is a naturalist and

weaver living on the high plains of
Wyoming. She teaches weaving at
Cowgirl Yarn, her local yarn shop.
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6 -S H A F T
Autumn Pearls
JENNIFER SARGENT
STRUC TURE YARNS WARP LE NGTH DIME NSIONS

Plain weave with warp Warp: 8/2 Tencel (100% lyocell; 3,360 yd/lb; Valley 200 ends 3 yd long Width in the reed: 84⁄12".
and weft floats. Yarns; WEBS), Ecru, 153 yd; Lemon Drop, 105 yd; Straw (allows 5" for take-up, Woven length: (mea-
and Whipple Blue, 72 yd each; Lemon Grass and Birch, 29 inches for loom sured under tension on
EQUIPME NT
63 yd each; Silver Gray, 36 yd. 10/2 pearl cotton waste; loom waste the loom) 74".
(4,200 yd/lb; UKI; Yarn Barn of Kansas), #76 Tea, 36 yd. includes fringe). Finished size: (after
width; 12-dent reed;
Weft: 8/2 Tencel, Birch, 224 yd; Lemon Drop, Lemon wet-finishing) 7½" × 70"
2 shuttles; 6 bobbins. SET TS
Grass, Straw, and Silver Gray, 10 yd each. 10/2 pearl plus 6" fringe.
Warp: 24 epi (2/dent in
cotton, #91 Flaxon, 170 yd.
a 12-dent reed).
Weft: 22 ppi.
The word pearlescence immediately conjures up the image of pearls 1 Wind a warp of 200 ends 3 yd long fol-
in my mind, so naturally that’s what I thought of when designing lowing the warp color order in Figure 1.
my project. In terms of its history, the milky-white shimmery pearl Warp the loom using your preferred method
is thought to be the world’s oldest gem. As early as 2300 BCE, pearls following the draft in Figure 2. Centering
were given as presents to Chinese royalty. Their use in decoration for a weaving width of 84⁄12", sley 2 per
can be traced back to 420 BCE based on a fragment found in the dent in a 12-dent reed.
sarcophagus of a Persian princess. Julius Caesar passed a law in the
first century BCE that said that only the ruling class could wear 2 Wind bobbins with each of the weft col-
pearls, although considering their great cost (as all pearls at the ors. Leaving at least 8" of unwoven warp
time were natural), that law may not have been strictly necessary. for fringe, spread the warp with scrap yarn.
Ignoring Julius Caesar’s injunction, I own two pearl necklaces. I love
their pale, colored richness and how they reflect the light with their 3 Weave following the draft in Figure 2 for
luster and brilliance; it is both a surface brilliance and an internal about 74". Note that each color stripe pick
brilliance. I wanted to bring some of these rich qualities into the in sections A and B refers to the weft color
autumn season and exchange the wearing of a pearl necklace order in Figure 3. Rotate through the colors
for the pearlescent color and warmth of a scarf draped softly around as indicated in the weft color order as you
the neck. treadle. End with 20 picks of plain weave.
The weft color sequence is simply a suggestion for weaving this par- Weave a few picks of plain weave with
ticular scarf. Play with your own ideas for changing the color order. scrap yarn to protect the weft.
1. WARP COLOR ORDER

3x 3x 3x 3x 3x 3x 3x 3x 3x 3x 3x 3x 3x 3x 3x 3x
12 1 6 1 Tea
12 1 6 1 Silver Gray
24 1 6 1 1 6 1 Straw
21 1 6 1 6 1 Lemon Grass
51 1 1 6 1 1 6 1 1 6 1 1 6 1 Ecru
24 1 6 1 1 6 1 Whipple Blue
21 1 6 1 1 6 Birch
35 6 1 1 6 1 1 6 1 2 Lemon Drop
200 ends total

4 Allowing at least 8" for fringe on HEDDLE COUNT
Shaft 6 36
2. DRAFT
8x
both ends, cut the fabric from the Shaft 5 36 4x 4x 4x 4x
1 2 3 4 5 6
loom. Trim the fringe ends to 8". Shaft 4 32 6 6 6 6 6
Shaft 3 32 5 5 5 5 5
Prepare a twisted fringe using Shaft 2 32 4 4 4 4
2 groups of 8 or groups of 8 and 9 Shaft 1 32 3 3 3 3
Total 200 2 2 2 2
in each fringe, for a total of 12 fringes
1 1 1 1
at each end of the scarf.
5x
3. WEFT COLOR ORDER
5 Wet-finish by handwashing in
5x
Sil w rass
Str n G p
m o ro
ray
Flaxon
Le o n D
4x
hot water with a mild detergent
rG
Le xon
Birch
5x
Fla h
A
ve
m
a
c color stripe pick:
(Jennifer used a few drops of
Bir
5x
Refer to the weft color
Dawn dishwashing liquid), rinse 10 order for the color
4x
with warm water, and hang to dry. 10 rotation for sections
8 A and B.
5x
Press with a steam iron. 10
8
4x 4x
11x
B
10
2x
RESOURCES A
8
10
Sutton, Ann. The Structure of Weaving.
8
10x
Loveland, CO: Interweave, 1982, 10
8
4x
148–149. 18
8
4x
18
JENNIFER SARGENT can be found either 8
5x
in the garden or at one of her looms or 18
2x
3x
4x
sometimes teaching workshops. B
18
Whether weaving scarves or tapestries, 8
4x
18
she is always exploring ideas of pat- 8
5x
18
tern, texture, and color.
8
4x
4x
10x
4x
4x
3x
4x
4x10x
10x
4x 4x
19x
10x
8-SH A F T
Perfect Pairing
B R E N DA G I B S O N
STRUC TURE OTHE R SUPPLIES WARP LE NGTH DIME NSIONS

Satin. Yarn swift and ball/cone 403 ends 5 yd long for Width in the reed: 103⁄10".
winder for winding the two scarves or 3 yd long Woven length: (mea-
EQUIPME NT
silk into balls or cones; for one scarf (includes sured under tension on
8-shaft loom, 11" weaving width; 10-dent reed; 2 shuttles.
PVA (polyvinyl acetate) floating selvedges; the loom) 140".
YARNS glue also called white or allows 14" for take-up, Finished size: (after
Warp: Carmelina 30/2 silk (100% muga silk; 6,800 yd/ wood glue, optional. 26" for loom waste). wet-finishing and
lb; Treenway Silks), Natural, 1,495 yd. Taiyō 30/2 silk Note: Winding the silk will hemming) two scarves,
SET TS
(100% bombyx silk; 7,500 yd/lb; Treenway Silks), be easier if you position 9" × 58" each.
Warp: 40 epi (4/dent in a
#57 Raven Black and White, 260 yd each. the axis of the swift
10-dent reed).
Weft: Blocks scarf: Taiyō 30/2 silk, White, 750 yd; horizontally, like a Ferris
Weft: 38 ppi.
#57 Raven Black, 60 yd. wheel, rather than
Shaded Satin scarf: Taiyō 30/2 silk, White, 670 yd; vertically, like a
#57 Raven Black, 167 yd. merry-go-round.
Note: One 100 g skein of each yarn is sufficient for
warp and weft for both scarves.
Satin and silk are a marriage made in heaven. It was no surprise

when these two silks spoke of satin to me. I set myself a challenge of Notes on satin
creating two different designs restricted to eight shafts on the same Based on a rearranged warp-faced
twill, satin is ideal for showcasing a lus-
threading: one based on satin blocks and a second based on very
trous yarn as the warps are closely sett.
gradually shaded satin. This is a project in which silk and satin The weft stitching points are scattered
could live happily ever after. so that there is no obvious twill line.
Eight shafts would normally be considered too few for satin
blocks, but by using a combination of partial and full blocks of five-
end satin, it was possible after all. Where blocks meet, both in the progress. Note: WIFs for both scarves are
warp and in the weft, there must be a clean break to avoid unsightly available for subscribers in the Handwoven
floats spoiling the effect. This means that the partial blocks can Library, handwovenmagazine.com/library.
only be three threads wide, so I emphasized those blocks by outlin- Lift plans for both scarves that can be used
ing them in a color contrast—white three-end warp stripes are out- with table looms are available as free PDF
lined in black, and black three-end blocks are outlined in white. downloads at LT.Media/SO2023-Extras.
The weft stripes at each end of the Blocks scarf reverse the weave
structure from warp-faced to weft-faced; one end of the scarf has 1 Wind a warp of 401 ends 3 yd long for
black stripes, the other white. one scarf or 5 yd long for both scarves
The technique I use for shaded satin creates a very gradual transi- following the warp color order in Figure 1.
tion from warp-faced to weft-faced and vice versa, and it is some- Wind 1 additional end each of white and
thing I have made a particular study of over the last few years. The black Taiyō to be used as floating sel-
draft for the Shaded Satin scarf uses 20 treadles and is particularly vedges and set them aside. Warp the
suited to a dobby loom. If woven on a treadle loom, it requires loom using your preferred method follow-
changing the tie-up several times. Another option is to use a table ing the draft in Figure 2. Centering for a
loom with a lift plan and weaving software to keep track of your weaving width of 103⁄10", sley 4 per dent in

1. WARP COLOR ORDER
299 50 12 7 2 157 2 7 12 50 Carmelina Natural
51 9 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Taiyō Raven Black
51 3 3 3 3 3 3 3 3 3 3 3 3 3 3 9 Taiyō White
401 ends total
2. DRAFT
Blocks scarf
2x 9x
1 2 3 4 5 6 7 8 9 10
8 8 8 8 8
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
2 2 2 2 2
1 1 1 1 1
31x 2x cont’d
3x
7x
10x
cont’d
2x
3x
2x
3x
cont’d
10x 2x
6x
3x
HEDDLE COUNT
floating selvedge
9x
Taiyō Raven Black

Shaft 8 14 Taiyō White
Shaft 7 14 Carmelina Natural
Shaft 6 14
Shaft 5 77
Shaft 4 77
3x
Shaft 3 77
Shaft 2 64
Shaft 1 64
Total 401

a 10-dent reed. Sley the floating 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10
Blocks cont’d
Blocks cont’d
selvedges through empty dents
15x
3x
on each side of the warp and
weight them over the back beam.
2 Wind bobbins with each of the
6x
3x
weft colors. Minimize the front loom
waste by lacing onto the apron rod
and spreading the warp with simi-
24x
3x
larly sized yarn. For the header,
Brenda recommends throwing 2 or
3 picks and beating them together
3x
3x
with a tapping motion.
3 Begin weaving following the
repeat for
about 40"
3x
draft in Figure 2. After weaving
about 1", hemstitch or apply PVA
glue to prevent fraying, either of 13x
3x
which will later be concealed
inside the sewn hem.
4 Continue weaving following the
24x
3x
draft in Figure 2 for about 70". Hem-

stitch or glue the last couple of
picks as you did at the beginning.
3x
7x
5 Weave a pick with contrasting

thread for a cutting line, then
15x
weave another scarf following the

same treadling, a treadling you
devise, or use the WIF for the
3x
Shaded Satin scarf available at

handwovenmagazine.com/library
or the lift plan available as a PDF
9x
as noted previously. Glue or hem-

stitch the ends as you did with the
first scarf. 7 Wet-finish in warm water with a
little mild handwashing detergent
6 Cut the fabric from the loom suitable for silk. Gently agitate
and cut the two scarves apart and leave to soak for 20 minutes.
along the cutting line. Fold the Rinse twice, adding a little fabric
hems under 1½" from the ends, conditioner to the final rinse.
then fold under again for ¾" hems. Squeeze out water, then blot in a
Press and pin the hems into posi- towel and air dry. Steam-press
tion and handsew. when almost dry.
RESOURCES
Alderman, Sharon. Mastering Weave
Structures. Loveland, CO: Interweave,
2004.
Keasbey, Doramay. Pattern Techniques
for Handweavers. Eugene, OR: self-
published, 2005.
van der Hoogt, Madelyn. The Complete
Book of Drafting for Handweavers.
Petaluma, CA: Unicorn Books and
Crafts, 1993.
BRENDA GIBSON determined, on retiring

from her first career, to “take weaving
seriously.” She lives in London, where
she now weaves prolifically and
teaches weaving.
dje handwovens
Play with pattern and color with
“Easy Weaving with Supplemental
Warps” by Deb Essen!
Available wherever books are sold.
Please check her website
www.djehandwovens.com/teaching
for her schedule and classes
Kits for handweavers • Swatch Critters kits for pin looms

Kits for Rigid Heddle, 2, 4 and 8 Shaft Looms include pre-wound warps!
VISIT: www.djehandwovens.com/retail-shops.html
FOR A RETAILER NEAR YOU!
Seasonal classes
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tools & equipment
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web store
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413-625-8241
Shelburne, Massachusetts


4 -S H A F T
Dreaming of
Butterflies Wrap
MERRIEL MILLER

Echo weave. Warp: 8/2 Tencel (100% lyocell; 3,360 yd/lb; Valley 607 ends 3½ yd long Width in the reed:
Yarns; WEBS), Amethyst, 413 yd. 8/2 Tencel (includes floating sel- 204⁄10".
EQUIPME NT
(100% lyocell; 3,360 yd/lb; Brassard; Eugene Textile vedges; allows 10" for Woven length: (mea-
Center), Marigold, 452 yd; Dark Royal, 763 yd; take-up, 28" for loom sured under tension on
width; 10-dent reed;
Limette Pale, 497 yd. waste; loom waste the loom) 87½".
1 shuttle.
Weft: 8/2 Tencel (Valley Yarns), Blue Purple, 912 yd. includes fringe). Finished size: (after wet-
OTHE R SUPPLIES SET TS
8" fringe.
Color-catcher laundry sheets or dye-fixative solution Warp: 30 epi (3/dent in
such as Retayne. a 10-dent reed).
Weft: 16–17 ppi.
Last year, my guild hosted a class by Robyn Spady on the functions

and features of Fiberworks weaving software (see Resources). If you Notes on structure
haven’t taken a class from Robyn, I recommend it. She has a huge Four-color echo weave uses color,
sett, and threading to create irides-
wealth of knowledge and methodically presents information in bite- cence. The sett in the reed is very
sized chunks that are easy to understand and digest. tight, sometimes up to 150 to 180 per-
Robyn showed us how to develop parallel threadings using the soft- cent of a normal plain-weave sett. The
ware and apply the network drafting methods that Jannie Taylor tight sett produces a thick, luxurious
cloth that glistens with a different color
described in her article “Four-Color Echo Weave (Echo-4)” (see
when viewed from various angles.
Resources). Robyn expanded on Jannie’s concept by adding an over-
shot treadling to the mix to create an interesting overall design.
After the class, I studied Jannie’s article and reviewed her exam- using your preferred method following the
ples. Soon I was happily creating my own drafts and sampling color draft in Figure 2. Centering for a weaving
palettes. I was amazed at the complex designs that were possible width of 204⁄10", sley 3 per dent in a 10-dent
using only four shafts. After I applied an overshot treadling sequence reed. Sley the floating selvedges through
to one of my threadings, the outline of a butterfly emerged. empty dents on each side of the warp and
In this warp, four colors rotate in some places and not in others, weight them over the back beam.
requiring concentration during winding and threading. Treadling
also requires some patience because although it’s a one-shuttle 2 Wind a bobbin with the weft. Leaving at
weave with one weft, some pattern picks are repeated and others least 10" of unwoven warp for fringe,
are not. For ease of weaving, I placed my pattern picks on treadles spread the warp with scrap yarn.
1 through 4, and the tabby picks on treadles 5 and 6, which allowed
me to alternate feet as I wove. 3 Leaving a weft tail 2 yd long for hem-
Whether you, too, are dreaming of butterflies or simply want to stitching, weave 3 picks of plain weave
create a beautiful echo weave, this wrap is the perfect project. using treadles 6 and then 5, then begin
the pattern treadling adding a tabby
1 Wind a warp of 605 ends 3½ yd long following the warp color pick before each pattern pick. Note: To
order in Figure 1. Wind 2 additional ends of Dark Royal to be weave the shawl exactly as shown, your
used as floating selvedges and set them aside. Warp the loom next pick (which will be your first tabby

pick) should be on treadle 6. color-catchers or a dye-fixative RESOURCES
After you have woven several solution, such as Retayne, to the Spady Studios, spadystudios.com.
inches, use the tail to work a row water to avoid color migration. Roll Taylor, Jannie. “Four-Color Echo Weave
of Italian hemstitching in groups of the fabric in a towel and squeeze (Echo-4).” Heddlecraft, May/June 2018,
15–16 warp ends over the first out any excess water. Lay flat or 3–43.
2 weft picks. hang to dry. Hard-press with a
warm iron to bring out the shine in on Facebook
LOOK FOR MERRIEL MILLER
4 Continue weaving following the the Tencel. and Instagram at Handwoven Designs
draft in Figure 2 to about 87½". by Merriel.
Weave 3 picks of plain weave and
hemstitch as you did at the begin-
ning. Note that the numerals in the
treadling indicate pattern pick
repeats. Weave tabby between
pattern picks.
5 Remove the fabric from the

loom. Trim the fringe ends to 9"
and prepare a twisted fringe.
Note: Merriel divided the warp
ends in the fringe, placing Ame-
thyst and Dark Royal in one ply
and Marigold and Limette Pale in
the other ply, so the twist in the
fringe is distinct.
6 Wet-finish in warm water by gen-

tly agitating and then leaving the
fabric to soak for 10 minutes. Add
HEDDLE COUNT
Shaft 4 148
Shaft 3 151
Shaft 2 150
Shaft 1 156
Total 605
1. WARP COLOR ORDER

2x 2x 54x 54x 2x 2x
118 1 1 1 1 1 1 1 1 Amethyst
142 5 1 1 1 1 5 1 1 1 1 5 1 1 1 1 5 Limette Pale
129 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Marigold
216 22 5 1 1 5 18 1 1 18 5 1 1 5 22 Dark Royal
605 ends total
2. DRAFT
5x
1 2 3 4 5 6
4 4 4
3 3 3
2 2 2
1 1 1
/ tabby
cont’d /
2x 2x 4x 1
1
1
1
2
1
cont’d 1
3x 2x 3x 3x 3x 2x 2x 2x 1
1
1
1
2
1
cont’d 1
2x 2x 2x 2x 3x 3x 1
3
3
3
1
2
cont’d 1
2x 2x 2x 2x 2
1
2
3
3
3
10x
cont’d 1
2x 3x 3x 3x 2x 3x 3x 3x 1
use tabby
1
2
1
1
1
cont’d 3
4x 2x 2x 2x 2x 3
3
2
1
2
1
2
cont’d 1
3
3
3
1
1
1
floating selvedge 5x cont’d 2
Amethyst 1
Limette Pale 1
Marigold 1
Dark Royal 1
Blue Purple 1
2 Repeat number of pattern 1
picks, using tabby between 2
1
1
1
1

4 -S H A F T
Ray of Light Placemats

and Napkins
M A LY N DA A L L E N

Modified M’s and O’s. Warp: 8/2 cotton (3,360 yd/lb; Georgia Yarn Company), 380 ends 5¾ yd long Width in the reed:
Natural, 2,185 yd. (includes floating sel- 1511⁄12".
EQUIPME NT
Weft: 8/2 cotton (3,360 yd/lb; Valley Yarns; WEBS), vedges; allows 15" for Woven length: (measured
#3611 Red, #5637 Pacific, and #7198 Burnt Sienna, take-up, 39" for loom under tension on the
ing width; 12-dent reed;
187 yd each; #1205 Banana, 82 yd; #2574 Heather, waste and sampling). Add loom) napkins about 19"
2 shuttles; 4 bobbins.
216 yd. 8/2 Cotton (3,360 yd/lb; Yarn Barn of Kansas), 22" for each additional each; placemats about
#04 Plum Green, 164 yd; #5214 Magenta, 187 yd. napkin or placemat. 19¼" each, or about
6/2 cotton (2,520 yd/lb; Valley Yarns; WEBS), Red, Royal, 153" total woven length.
SET TS
Magenta, and Sienna, 90 yd each; Sage, 135 yd; Finished size: (after wet-
Warp: 24 epi (2/dent in
Banana, 68 yd. finishing and hemming)
a 12-dent reed).
four napkins about
OTHE R SUPPLIES Weft: 33 ppi for napkins;
13¼" × 14½" each, and
Double-bobbin shuttle (optional); sewing thread 20 ppi for placemats
four placemats about
in Natural. (18 ppi for placemat 3).
13½" × 14½" each.
Lately I have been exploring M’s and O’s, so for this project, I thought
I would play with color interaction in a modified M’s and O’s draft from Notes on M’s and O’s
Marguerite Porter Davison’s A Handweaver’s Pattern Book. A natural Typically, M’s and O’s has alternating
blocks of plain weave and ribs; in
warp allowed me to experiment with weft colors of my choice. By using
Malynda’s version, the plain-weave blocks
colorful wefts, I was able to explore color interplay and see how differ- are replaced with a textured weave.
ent color combinations reacted to light.
As often happens, I got bored weaving the same pattern over and
over, so I began to play with different treadling and color place-
ments. A thicker weft made one of those new patterns perfect for 3 Following the draft in Figure 1, weave
placemats, so I wove a set to coordinate with the napkins. the hem of napkin 1 for 1½". Weave the
By adjusting the color order when weaving M’s and O’s, you can body of the napkin until it measures about
create a variety of patterns. Feel free to explore other color place- 16", ending with the balance block (the 48
ments and combinations. This design is just as beautiful in a single picks after the 4x repeat). Weave the final
weft color, which causes the solid pattern to emerge. hem for 1½". Your napkin should measure
about 19" total. Weave 2 picks of contrast-
1 Wind a warp of 378 ends 5¾ yd long in Natural 8/2 cotton. ing yarn to mark a cutting line.
Wind 2 additional ends of Natural to be used as floating selvedges
and set them aside. Warp the loom using your preferred method 4 Repeat step 3 for each of the three
following the draft in Figure 1. Centering for a weaving width of remaining napkins using the weft colors
1511⁄12", sley 2 per dent in a 12-dent reed. Sley the floating sel- listed in Figure 1.
vedges through empty dents on each side of the warp and
weight them over the back beam. 5 For placemats, wind bobbins with the
6/2 weft colors. As with the napkins, fol-
2 Spread the warp with waste yarn. For napkins, wind a bobbin low the weft color suggestions listed in
with 8/2 cotton in each of the two weft colors. For napkin 1, Red Figure 1. Weave the hem in 8/2 cotton for
is the main color and Banana the contrast. 1½". Switch to the 6/2 cotton weft. Weave

HEDDLE COUNT 1. DRAFT AND WEFT COLOR ORDER
Shaft 4 113 4x
4x 4x 4x
Shaft 3 76 Napkins
Shaft 2 76 2x 2x 2x 2x 2x 2x 2x 2x 2x 2x
1 2 3 4 5 6
Shaft 1 113 4 4 4 4 4 4 4 4 4 4 4 4
Total 378 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1
hem
floating selvedge
MC = main color
Placemat 1 Placemats CC = contrast color
MC 6/2 Red 1 2 3 4 5 6
CC 6/2 Banana 4 4 4 Napkin 1
6x
8/2 Red 3 3 3 MC 8/2 Red
8/2 Banana 2 2 2 CC 8/2 Banana
1 1 1
Placemat 2 Napkin 2
hem 3x
4x
MC 6/2 Royal MC 8/2 Pacific
CC 6/2 Sage CC 8/2 Plum Green
8/2 Pacific 2x
8/2 Plum Green 11x Napkin 3
6x
MC 8/2 Magenta
3x
2x
Placemat 3 CC 8/2 Heather

MC 6/2 Magenta
CC 8/2 Heather (doubled) Napkin 4
3x
2x
8/2 Magenta MC 8/2 Burnt Sienna

8/2 Heather CC 8/2 Plum Green
hem
Placemat 4
6x
MC 6/2 Sienna
CC 6/2 Sage
8/2 Burnt Sienna
8/2 Plum Green
hem
Weaving tips
• Placemat 3 uses 8/2 Heather
doubled in the body instead
of 6/2 cotton. Wind your
bobbin holding two ends
together or use a double-
bobbin shuttle. The doubled
8/2 weft weaves at a slightly
lower sett (18 ppi). To weave
a placemat that matches the
length of the other place-
mats, weave one fewer re-
peat. Malynda couldn’t find
6/2 cotton in a similar blue,
but 6/2 cotton in an alternate
color could be used instead
of the doubled 8/2 cotton.
• These placemats are almost
square. If you prefer a wider,
more traditional placemat,
weave a few more repeats.
This will require additional
weft and a longer warp.
the body of the placemat follow- items and tumble dry until damp
ing the draft until it measures dry. Press and allow to air-dry. Cut
about 161⁄4", ending with the bal- napkins and placemats apart
ance block (the 14 picks after the along the contrasting yarn picks.
11x repeat). Using 8/2 cotton,
weave the hem for 1½". The fin- 8 Fold hems up 1" and press. Turn
ished placemat should measure raw edges under to meet the fold
about 19¼". Weave 2 picks of con- and press again. Sew the hems in
trasting yarn to mark a cutting line. place by hand or machine.
6 Weave the remaining three RESOURCES

placemats as you did the first, Davison, Marguerite Porter. A Hand-
using the alternate weft colors weaver’s Pattern Book. Rev. ed.
(see Weaving tips). Weave about 1" Swarthmore, PA: M. P. Davison,
of scrap yarn to secure the weft. 1971, 63.
7 Cut the fabric from the loom. A mother of nine, MALYNDA ALLEN grew
Zigzag both ends of each napkin up in the sunshine of the American
and placemat to secure the weft. Southwest. She now basks in the
Wet-finish by machine washing as warmth of the firelight on snowy
you intend to wash the finished winter days in the Rocky Mountains.

'#!
!

%)*+, &
$ '
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8-SH A F T
Northern Lights Tote

S A R A PAT E
STRUC TURE OTHE R SUPPLIES DIME NSIONS

Twill. Crafty Carry-All pattern from Serendipity Studio’s Artful Width in the reed:
Bags pattern booklet (see Resources); 2½ yd commer- 322⁄15".
EQUIPME NT
cial fabric (cotton or poly/cotton); 1⅛ yd Pellon Peltex; Woven length: 50".
8-shaft loom, 33" weaving width; 15-dent reed;
3 yd Pellon 911FF fusible facing; fastener; jeans/denim Finished fabric size:
1 shuttle.
sewing needle. (after wet-finishing)
YARNS 26" × 44".
WARP LE NGTH
Warp: 10/2 pearl cotton (4,200 yd/lb; UKI; Yarn Barn of Finished tote: about
962 ends 2½ yd long (includes floating selvedges;
Kansas), #154 Forest Green and #12 Red, 303 yd each; 16" × 14½" × 6", with
allows 4" for take-up, 36" for loom waste).
#139 Chamois, #11 Tangerine, #23 Nassau, #53 Scarab, 24" handles.
#109 Bermuda, and #80 Oleander, 300 yd each. SET TS
Weft: 10/2 pearl cotton, #136 Wintergreen, 982 yd. Warp: 30 epi (2/dent in a 15-dent reed).
Note: #154 Forest Green, #139 Chamois, #23 Nassau, and Weft: 20 ppi.
#80 Oleander are discontinued. Try #136 Wintergreen or
#28 Hunter, #91 Flaxon or #139 Champagne, #63 Yale
Blue or #21 Soldier Blue, and #3 Fuchsia as substitutes.
Rather than look for the perfect bag that would allow me to carry Green and Red, to be used as floating
my weaving and craft supplies with me, I decided to make my own. selvedges and set them aside. Warp the
This bag has a very strong large interior pocket designed to hold a loom using your preferred method fol-
heavy object, such as a bobbin winder. The other two interior pock- lowing the draft in Figure 2. Notice that
ets and four small exterior pockets are great for smaller items, in- one of the repeats is 3x and not 2x like
cluding shuttles, scissors, thread, my guild nametag, and tea bags. the rest of the repeats. Centering for a
The aurora borealis, or northern lights, that we see so often in my weaving width of 322⁄15", sley 2 per dent
home state of Alaska inspired me to design and weave the fabric us- in a 15-dent reed. Sley the floating sel-
ing the iridescence weaving technique described in Weaving with vedges through empty dents on each
Echo and Iris by Marian Stubenitsky. The iridescence creates a side of the warp and weight them over
sense of motion in the design as it transitions through eight colors. the back beam.
Stubenitsky’s book includes tips on how to select colors for your
warp and weft to obtain the visual effects that you desire.
I used a warping paddle, so that I could wind eight threads at a
time to speed up the process, and wound a warp long enough to al-
low me to weave 6 yards of fabric, which was plenty to sample and
make both a vest and this bag. I figured if I was warping 962
threads, I should make more than one item. I used the handwoven
fabric for the body of the tote, putting one treadling pattern on one
side and another on the other side. I used a poly/cotton fabric for the
interior, handles, and exterior pockets.
1 Wind a warp of 960 ends 2½ yd long following the warp color

order in Figure 1. Wind 2 additional ends, 1 each of Forest
2 Spread the warp with scrap 6 Wet-finish by machine washing HEDDLE COUNT
yarn. Wind a bobbin with the weft. in warm water. Tumble dry. Press. Shaft 8 120
Shaft 7 120
Shaft 6 120
3 Weave 8 picks of plain weave, 7 Sew the bag following the Shaft 5
Shaft 4
120
120
then begin the pattern treadling. Crafty Carry-All pattern (see Shaft 3 120
Shaft 2 120
Resources).
4 Weave following the Diamond
Shaft 1 120
Total 960
treadling in Figure 2 for 25" for RESOURCES
one side of the tote. Weave a few Stubenitsky, Marian. Weaving with Echo 1. WARP COLOR ORDER
picks of contrasting yarn, then and Iris. Randwijk, Netherlands: 120x
continue following the Rounded Weefschool De Hoeve, 2014. 120 1 #12 Red
120 1 #139 Chamois
pattern treadling for 25" for the Whitt, Kay. Artful Bags. Serendipity 120 1 #80 Oleander
second side of the tote. End with 8 Studio, 2012. sewserendipity.com 120 1 #11 Tangerine
120 1 #109 Bermuda
picks of plain weave. /artful -bags-pattern. 120 1 #23 Nassau
120 1 #53 Scarab
5 Remove the fabric from the

120 1 #154 Forest Green
SAR A PATE lives in Alaska and weaves 960 ends total
loom. Zigzag stitch the ends. in the winter, fishes in the summer,
and hikes with her dog year-round.

2. DRAFT
2x
2x 2x 2x 2x Diamond Treadling
1 2 3 4 5 6 7 8 9 10
8 8 8 8 8
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
2 2 2 2 2
1 1 1 1 1
/
pw
2x cont’d /
2x 2x 2x 2x 2x /
/
3x
/
/
/
/
/
3x
/
/
/
/
2x cont’d /
3x
2x 2x 2x /
/
/
/
/
3x
/
/
/
/
/
3x
/
2x cont’d /
2x 2x 3x 2x 2x /
/
/
3x
/
/
/
/
/
/ 3x
/
/
2x cont’d /
2x 2x /
4x
/
/
/
/
/
3x
/
/
/
/
3x
/
2x cont’d
/
2x 2x 2x 2x 2x
/
/
2x
/
/
/
/
3x
/
/
/
2. DRAFT (CONT'D) 2x cont’d
2x 2x 2x 2x
floating selvedge
Diamond Treadling
Red
cont’d
Chamois/Flaxon
cont’d
/
Oleander/Fuchsia
/
3x
Tangerine
Rounded Treadling /
Bermuda
1 2 3 4 5 6 7 8 9 10 /
Nassau/Yale Blue
8 8 8 8 8 /
Scarab
7 7 7 7 7 /
2x
Forest Green/Wintergreen
6 6 6 6 6 /
5 5 5 5 5 /
cont’d
/ 4 4 4 4 4 /
/ 3 3 3 3 3 /
3x
/ 2 2 2 2 2 /
/ 1 1 1 1 1 /
/ / /
/ / /
5x
2x
/ / /
3x
/ / /
/ / /
/ / /
6x
2x
/ / /
2x
/ / /
/ / /
/ / /
6x
/ / /
2x
/ / /
/ / /
3x
/ / /
4x
/ / /
2x
/ / /
/ / /
2x
/ / /
3x
/ / /
6x
/ / /
/ / /
3x
/ / /
5x
/ / /
5x
/ / /
/ / /
3x
/ / /
4x
/ / /
8x
/ / /
/ / /
3x
/ / /
/ / /
7x
/ / /
/ / /
2x
2x
/ / /
/ / /
3x
/ /
/ /
2x
/ /
/ /
4x
/ /
pw
/ /

12-SH A F T
More Echoes, Please

B A R B A R A G O U DS M I T

Twill with parallel Warp: Cotton Ne 20/2 mercerized (1,840 yd/100 g; 632 ends 3 yd long Width in the reed:
threading. Venne-Colcoton Unikat; Lone Star Loom Room), (includes floating sel- 1614⁄15".
#3020 Raspberry and #4024 Deep Purple, vedges; allows 8" for Woven length: (mea-
EQUIPME NT
318 yd each; #2009 Orange, #5052 Shamrock, take-up, 24" for loom sured under tension on
#4064 Peacock, and #4062 Cobalt, 315 yd each. waste; loom waste the loom) 76".
ing width; 15-dent reed;
Weft: Cotton Ne 20/2 mercerized, #4072 Red Violet, includes fringe). Finished size: (after
1 shuttle.
1,400 yd; #4062 Cobalt, 4 yd. wet-finishing) 15" × 67"
SET TS
plus 5" fringe.
Warp: 37½ epi (sley 2-3
per dent in a 15-dent reed).
Weft: 37½ ppi.
While studying Weaving with Echo and Iris, a book by Marian

Stubenitsky, I was inspired to experiment with finding iridescence
Lift plan for table looms
A lift plan for this scarf that can be
through echo/parallel threadings and network treadlings.
used with table looms is available as
I started out on eight shafts by applying her techniques of echo-4 a free PDF download at LT.Media
and echo-8 using four and eight parallel lines respectively. When /SO2023-Extras.
I got a 12-shaft loom, I continued playing around with echoes and
iridescence using the additional four shafts at my disposal.
Stubenitsky’s echo-4 technique for eight shafts uses four parallel 1 Wind a warp of 630 ends 3 yd long fol-
threadings that are each two shafts apart. It was only a small step lowing the warp color order in Figure 1.
to try out six parallel threadings on my 12-shaft loom. The irides- Wind 2 additional ends, 1 each of Deep
cence I obtained in this way was truly exciting. Purple and Raspberry, to be used as float-
For this project, I designed a shawl with six parallel threadings on 12 ing selvedges on the right and left sides
shafts and used a design line of small star shapes as a basis for both of the warp, respectively, and set them
warp and weft. I then made six parallel lines out of this design line for aside. Warp the loom using your preferred
the warp, each two shafts apart. I developed the treadling by redrawing method following the draft in Figure 2.
the design line on a straight twill network with a four-end initial. I Centering for a weaving width of 1614⁄15",
opted for a bright combination of colors: pink, orange, green, turquoise, sley 2-3 per dent in a 15-dent reed. Sley
blue, and purple in the warp and red-violet as weft. I landed on this the floating selvedges through the reed
color combination after trying out numerous color options in my weav- on each side of the warp and weight them
ing software. (Isn’t it great that we can turn design lines into parallel over the back beam.
threadings and network treadlings while endlessly playing around with
color with just a few clicks of the mouse?) 2 Wind a bobbin with the weft yarn. Leav-
I love weaving these echo projects because it is so satisfying to ing at least 7" of unwoven warp for fringe,
see the interaction of colors emerge on the loom. One of the nicest spread the warp with scrap yarn.
things about this weaving structure is that both sides of the cloth
have different interactions of warp and weft colors. I think it is 3 Weave 9 picks for the border, then
amazing to see how the same colors create two equally beautiful yet begin the pattern treadling following the
unique sides of the shawl. draft in Figure 2. Use a 2 yd piece of
Cobalt for double hemstitching adding a strand of scrap yarn to HEDDLE COUNT
over the border picks in 68 groups the last pattern pick.) Shaft 12 52
Shaft 11 53
of 9 warp ends and 2 groups of 10 Shaft 10 52
ends. Note: For ease in distin- 5 Leaving at least 7" for fringe on Shaft 9
Shaft 8
53
52
guishing between the border and both ends, cut the fabric from the Shaft 7 53
Shaft 6 52
pattern picks during hemstitching, loom. Trim the fringe ends to 7". Shaft 5 53
add a strand of contrasting-color Prepare a twisted fringe using 2 Shaft 4 52
Shaft 3 53
scrap yarn to the first pattern pick. hemstitched groups in each fringe. Shaft 2 52
The border picks will be easily rec- Shaft 1 53
ognizable below the contrasting 6 Wet-finish in warm water by Total 630
scrap yarn. Remove the scrap yarn gently agitating and then leaving
after hemstitching. the scarf to soak for 20 minutes. 1. WARP COLOR ORDER
Line-dry. 105x
4 Continue weaving following the 105 1 #4024 Deep Purple
draft in Figure 2 for 13 pattern RESOURCES 105 1 #4062 Cobalt
105 1 #4064 Peacock
repeats (about 75"). End with 9 Stubenitsky, Marian. Weaving with Echo 105 1 #5052 Shamrock
picks for the border and double and Iris. 2nd ed. Randwijk, Nether- 105 1 #2009 Orange
105 1 #3020 Raspberry
hemstitch as you did at the begin- lands: Weefschool De Hoeve, 2017. 630 ends total
ning. (See the note in step 3 about

2. DRAFT
3x 1 2 3 4 5 6 7 8 9 10 11 12
12 12 12 12 12
12 12 12 12
11 11 11 11 11 11 11 11 11
10 10 10 10 10 10 10 10 10
9 9 9 9 9 9 99 9
8 8 8 8 8 8 88 8
7 7 7 7 7 7 7 7 7
6 6 6 6 6 6 6 6 6
5 5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1
3x cont’d
12 12 12 12
11 11 11 11
10 10 10 10
9 9 9 9
8 8 8 8
7 7 7 7
6 6 6 6
5 5 5 5
4 4 4 4
3 3 3 3
2 2 2 2
1 1 1 1
3x cont’d
12 12 12 12
11 11 11 11
10 10 10 10
9 9 9 9
8 8 8 8
7 7 7 7
6 6 6 6
5 5 5 5
4 4 4 4
3 3 3 3
2 2 2 2
1 1 1 1
3x cont’d
12 12 12 12
11 11 11 11
10 10 10 10
9 9 9 9
8 8 8 8
7 7 7 7
6 6 6 6
5 5 5 5
4 4 4 4
3 3 3 3
2 2 2 2
1 1 1 1
3x cont’d
12 12 12
Deep Purple 11 11 11 11
Cobalt 10 10 10
Peacock 9 9 9 9
Shamrock 8 8 8
Orange 7 7 7 7
Raspberry 6 6 6
floating 5 5 5 5
selvedge 4 4 4
3 3 3 3
2 2 2
1 1 1 1
2. DRAFT (CONT'D)
1 2 3 4 5 6 7 8 9 10 11 12
13x cont’d
13x cont’d
10 9 12 12
12 12 12 12
11 6 11 11 11 11 11 11
2x
3x
12 7 10 10 10 10 10 10
1 8 9 9 9 99 9
2 5 8 8 8 88 8
11 6 7 7 7 7 7 7
12 7 6 6 6 6 6 6
1 8 5 5 5 5 5 5
2 5 4 4 4 4 4 4
3 6 3 3 3 3 3 3
12 7 2 2 2 2 2 2
1 4 1 1 1 1 1 1
2 5 4
2x
3 6 5
4 3 6
5 4 7
border
6 5 8
border
2x
7 2 9
8 3 10
9 4 11
10 1 12
11 2 1
3 2
4 3x 3
5 12
6 1
3 2
2x
4 11
5 12
2x
6 1
7 10
2x
8 11
5 12
6 9
7 10
3x
8 11
9 12
10 9
7 10
8 11
9 8
10 9
2x
11 10
13x
8 7
9 8
2x
10 9
2x
7 6
8 7
9 8
2x
6 5
7 6
8 7
3x
5 8
6 9
7 10
3x
8 7
9 8
10 9
7 10
BARBAR A GOUDSMIT loves to experiment 8 11
with weave structures and yarns. She 9 8
2x
10 9
writes about her weaving adventures 11 10
2x
on her blog, awovenworld.com. 12 7

9 8

WE AV ING WITH R AYON CH EN ILLE
Photo by Matt Graves

Weaving with Rayon Chenille
BY D E B O R A H JA R C H OW
As soon as I discovered rayon chenille, I was fascinated. In fact, for many years, CHE NILLE’S CONSTRUC TION
AND CHAR AC TE RISTICS
I was a production weaver, specializing in rayon chenille garments and
accessories. The yarn weaves into cloth with wonderful qualities: beautiful Understanding the yarn’s construc-
drape, soft and snuggly texture, and iridescence created by the fabric reflecting tion is critical to successfully weav-
light. For me, these attributes make rayon chenille worth any extra effort when ing rayon chenille fabric. The sett is
working with it. The yarn sometimes seems to have a mind of its own, requiring based on the size of the core thread
some special attention when weaving. Understanding the yarn’s idiosyncrasies rather than the width of the pile
is helpful in successfully weaving gorgeous chenille fabric. threads. Why? The pile threads get
mashed down and do not contribute
Rayon is a type of fiber made from lengths (pile threads) in the twists. to the integrity of the woven cloth. In
cellulosic plant substances (such as Think of it like a pipe cleaner but with Photo 1, some of the pile threads
wood pulp) that are chemically pro- a softer core. Chenille can be made have been stripped from a strand of
cessed into a filament. Chenille refers from many types of fibers, but rayon chenille. Notice the dramatic size
to a subset of yarn created with tightly chenille, made from viscose, has the difference between the core threads
twisted core threads that trap short lustrous appearance that I love. and the yarn with pile threads still
Photos by Deborah Jarchow unless otherwise noted
Chenille garments for sale in Deborah’s booth at a retail show
attached. In addition, the tightly

1 2
twisted core threads make the yarn
want to twist back onto itself.
Because rayon is a slippery fiber,
if you base your sett on the yarn
with the pile, strands often escape
from the woven fabric and make
twisted loops above and below the
cloth. These are called worms (see
Photo 2) and are the bane of chenille
weavers. I like to use rayon chenille
that is 1,300 to 1,450 yards per
pound, setting the warp at 15 to 16
ends per inch to weave stable cloth
that doesn’t worm. Chenille yarn with missing pile A “wormy” chenille scarf
Chenille’s construction also
affects how it reflects light. When
the pile threads are inserted in the However, if you are sectional warp- WINDING AND WARPING
core threads, a slight “V” is created ing, the nap might go in different Rayon stretches, so be aware of its
where the center of the pile crosses directions in different sections, elasticity when weaving with it. As
through the core. This directional V which can cause problems. It is dif- you wind the warp, keep your ten-
can cause differences in the way ficult to tell the nap orientation in sion loose, and don’t leave the warp
light reflects from the finished fab- the yarn, but directional variances on the board or reel for too long.
ric, creating nap. If the warp is will show up in the finished cloth. Wind each chain in one session to
wound back and forth on a warping For this reason, I do not sectional avoid overstretching any areas of the
board or reel, there is no problem. warp when using chenille. warp. Tie loose choke ties to avoid

crushing the pile threads. When more than one project. I warp the when on the loom, but I know from
weaving, loosen the tension each loom using carpet warp in four experience it will soften nicely dur-
time you get up from the loom to colors, placing a different color on ing the finishing process.
allow the yarn to relax and avoid each shaft. Following the threading Although you can weave different
stretching out any sections. order for my intended project, I bring structures with chenille, I prefer to
those warp ends through the heddles use plain weave because it does such
Tying on to a working warp and reed. a good job of securing the fibers and
minimizes loom waste Then, after I wind my chenille preventing worms. A structure with
warp chains, I tie them onto the floats may allow the yarn to twist
because I can weave right
working warp using weaver’s knots out of the fabric. To avoid the
up to the weaver’s knots. (see Resources) to secure the joins. I dreaded worming, you can alternate
Depending on your loom, find having inserted eye heddles on between weaving the pattern with
that can save a substantial my loom helps as they are large and the chenille and plain-weave ground
amount of chenille. allow the knots to pass through cloth with rayon sewing thread. The
them easily. Tying on to a working ground cloth traps the strands and
When warping the loom, be care- warp minimizes loom waste keeps them secure.
ful to wind with even tension. The because I can weave right up to the
chenille wants to twist back on weaver’s knots. Depending on your FINISHING THE E NDS
itself, so take extra time to ensure loom, that can save a substantial End treatments can be tricky with
all ends are straight and tensioned amount of chenille. Photo 4 shows rayon chenille because the strands
properly as you wind. Being diligent the end of my warp where it is tied want to twist and worm out of typi-
during this step will pay off when onto the working warp. cal methods. If you are twisting or
you are weaving. braiding the ends, do so extremely
My preferred method of warping is WE AVING tightly or threads will work their
to have a working warp on the loom, I beat firmly to achieve 12 to 14 way out of the bundles. I prefer to
sometimes called a dummy warp picks per inch. The warp ends are either hem or crimp the fringe.
(see Photo 3), which works well if you close together, so this takes some To crimp, I weave the area for
will be using the same threading for extra effort. The fabric is very stiff fringe at the ends of my piece with a
3 4
Warp chains ready to tie onto the working warp Weaving right up to the working warp so there is no warp waste
at the end
5
Weaving with acrylic yarn and then removing it after wet-finishing creates crimped fringe.
worsted-weight acrylic yarn. After WET- FINISHING dry-cleaned in the future. It may
I’ve removed the fabric from the Wet-finishing is key to creating the seem appealing to handwash and
loom, I zigzag stitch across the end beautiful drape chenille fabric is the fabric will probably be okay for a
of the fringe area and then wet-finish known for. After securing all the few times, but at some point, the
as usual. After the piece comes out of raw edges with zigzag stitching, pile threads will have loosened
the dryer, I cut off the zigzag stitch- wash your fabric in a washing enough that many will fall out of
ing and remove the acrylic yarn. The machine on a delicate cycle, with the core threads, leaving a fabric
chenille fringe will be kinky, as you cold water, but without detergent. that looks like cheesecloth. Instead,
can see in Photo 5. This crimped look Carefully remove it from the washer; follow my advice about dry-cleaning
lasts for several years but will even- rayon can be delicate when wet. to ensure many happy years of
tually relax. In addition, some of the Place the fabric in the dryer and dry wearing your beautiful chenille
pile threads will fall out over the on permanent-press cycle until the garments!
same period, and the fringe will look fabric is completely dry. I like to use
rather messy. At that point, I cut off a fabric-softener sheet in the dryer. RESOURCES
the fringe and hem the piece. Plan Check the dryer filter and clean it a “5 Simple Weaving Knots Every
for your end treatment before warp- time or two during the cycle as Weaver Should Know,” Warped Fibers,
ing the loom, including the possibility quite a bit of lint will come off the July 22, 2020. warpedfibers.com
of crimped fringe that is replaced cloth. After this finishing process, /weaving-knots.
with a hem in the future. the fabric will need to be

4 -S H A F T
Heavenly Harvest
Chenille Poncho
D E B O R A H JA R C H OW

Plain weave. Warp: Rayon Chenille Deluxe (100% rayon; 1,300 yd/lb; 384 ends 3½ yd long Width in the reed: 24".
Silk City Fibers), #242 Aegean Blue, 420 yd; (allows 8" for take-up, Woven length: (mea-
EQUIPME NT
#882 Garden and #074 Wild Chestnut, 294 yd each. 36" for loom waste). sured under tension on
Rayon Chenille 1300 (100% rayon; 1,300 yd/lb; Silk City the loom) 82".
ing width; 8-dent reed; SET TS
Fibers), #672 Golden Sun, 336 yd. Finished size: (after
1 shuttle. Warp: 16 epi (2/dent in
Weft: Rayon Chenille 1300, #003 Celadon, 722 yd. wet-finishing and sew-
an 8-dent reed).
ing) 20" × 34" (each side
OTHE R SUPPLIES Weft: 12 ppi.
when folded as poncho).
1¼" × 1" piece of Ultrasuede or similar fabric.
This project combines my love of rayon chenille with a desire to 1 Wind a warp of 384 ends 3½ yd long
wear a soft, comforting wrap. The fabric hugs your body, feeling lux- following the warp color order in Figure 1.
urious and soothing against your skin. While rayon chenille may Warp the loom using your preferred method
have a reputation for being difficult to work with, the results are and threading for plain weave. Note: You
worth any extra effort. (Also in this issue, I have a companion article will need 96 heddles on each shaft. Cen-
with detailed steps to help you succeed when weaving with rayon tering for a weaving width of 24", sley
chenille, see page 66.) 2 per dent in an 8-dent reed.
I designed a basic pattern for this poncho that emphasizes the
qualities of the fabric rather than the complexity of the construc- 2 Wind a bobbin with Celadon. Spread
tion, resulting in a beautiful garment where the handwoven cloth the warp with scrap yarn.
can shine. It can be turned to drape in different ways depending on
your preference. 3 Weave for 82" in plain weave with
As I explain in my article, it is crucial to sett the warp at 15 to 16 Celadon. There is no need to hemstitch
ends per inch (epi). I prefer 16 epi because there is a synergy be- because the piece will be hemmed.
tween the threading and the denting. I can group 4 sets of shafts (1–
4) as I thread the heddles, giving me 16 ends per set that are in turn 4 Weave about 1" with scrap yarn to
sleyed in 8 dents and equivalent to 1 inch of width in the reed. With protect the weft.
an 8-dent reed threaded 2 ends per dent, I find it easy to check my
threading as I go along. 5 Cut the fabric from the loom. Zigzag
Because the sett is dense, you must beat firmly to achieve 12 stitch along the ends of the woven fabric
picks per inch. While weaving, the fabric will seem very stiff, but to secure the warp ends. Wet-finish by
don’t worry; it will soften up delightfully during wet-finishing. machine washing in cold water on a deli-
Many weavers fear cutting their fabric to fashion a garment, but cate cycle. Do not add any detergent or
this poncho only requires folding the finished piece and stitching a soap. Tumble dry on permanent press
seam along one side. Because the weft is a lighter color than the dark cycle until completely dry. Trim warp and
teal warp threads at the edges, any irregularities in the selvedges are weft tails as well as the warp threads
noticeable, so I chose to fold under the neck and bottom edges. beyond the zigzag stitching.

1. WARP COLOR ORDER
14x 12x 12x 14x 14x 12x 12x 14x
6 Fold the fabric in half width-
wise. Pin and then stitch one sel-
84 1 16 1 1 16 1 #074 Wild Chestnut
96 1 24 1 1 24 1 #672 Golden Sun vedge edge together, leaving 12"
84 1 16 1 1 16 1 #882 Garden unstitched for the neck opening.
120 24 1 1 16 1 1 24 #242 Aegean Blue
384 ends total Adjust the size of the neck open-
ing if desired. The seam allow-
ance should be about ⅝", which
will be half of the Aegean Blue
stripe along the edge.
7 Using a press cloth to protect

the chenille, press the seam open.
8 Working on the inside, hand-

stitch the edges of the seam
allowances to the fabric. Then work
around the neck opening, folding
⅝" of the selvedge toward the
wrong side, pinning, and stitching.
This allows any uneven selvedges
or contrasts in warp and weft yarns
to be hidden inside the garment.
9 At the neck edge, where the

selvedges come together, sew a
small rectangle (1¼" × 1") of Ultra-
suede or similar nonstretchy fabric
over the inside of the seam to
reinforce it and protect it from
pulling apart (see photo at left).
10 If desired, fold the lower sel-

vedge toward the wrong side, pin,
and stitch ⅝" along the bottom
edge of the garment.
11 Hem the side of the poncho

by folding under the cut edges of
the fabric ¾", then 1", and hand-
stitching.
DEBORAH JARCHOW loves helping people

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YA RN L A B
Prairie Spun
DK Neons
from Brown
Photos by Matt Graves

Sheep Company
BY L IZ M O N C R I E F
Thirty years ago, I visited Brown Sheep Company in Mitchell, Nebraska, perhaps too elastic to be used for a
with a northern Utah band of merry spinners on daylong field trips— long warp. I found that under ten-
more like pilgrimages—for yarns, of course, but also for bags of carded sion, a 10-inch sample at rest could
and combed wool for spinning. So it was with fond memories that I began stretch to upward of 13½ inches,
this Yarn Lab adventure. causing the woven piece to condense
Prairie Spun DK is a luscious, three- Energized Purple, Molten Magenta, considerably when the tension
ply wool yarn available in several and Electric Lime are very close to was released.
heathered shades reminiscent of being tetradic on the color wheel— THE YARN
Prairie Spun DK: 100% 3-ply wool,
Nebraska’s prairie landscape, as that is, these are three of four colors worsted spun; 256 yd/100 g;
stated on the Brown Sheep website, on the wheel that are evenly spaced 41 colorways.
a description that couldn’t be truer. (the fourth color is turquoise). As you The wool in this yarn comes from
Brown Sheep has done a beautiful can see, my palette choice is based sheep raised in the United States and
job in dyeing and carding the wool to on color theory, so there is some was dyed at the Brown Sheep mill in
bring out every hue I enjoyed on the rhyme to my reasoning. Nebraska. The set of five neon colors
drive to the mill outside of Mitchell. I wove all the samples using four currently available—Molten
For this exercise, however, I am ex- shafts and four treadles or less. Off Magenta, Cadmium Yellow,
perimenting with a brand-new offer- the loom I trimmed the samples and Energized Purple, Dragon Fire, and
ing of neon colors in the Prairie Spun then sprayed them lightly with wa- Electric Lime—has an interesting
DK line and how best to use them ter to allow the yarns to bloom be- backstory. Wool sheds water until
with the more subtle shades. Therefore, fore pressing them with a warm it’s saturated and therefore tends to
I’m not focusing on typical weave iron. The yarns are extremely soft, float. One of Brown Sheep
structure or weaving suitability but full, and lofty, as would be expected Company’s owners, an avid fly fish-
on the color combinations and how of a Brown Sheep product. As you erman, developed these colors for
to exemplify the palette. I knew that will see in my descriptions, I didn’t fly-fishing strike indicators (a visual
this combination of fluorescent col- venture into shrinkage calculations cue on the top of water that shows
ors would work well because the because this is a knitting yarn and when a fish has taken the fly).
YA RN L A B
2/2 twill
Warp and weft: Rain Cloud, Energized Lime is so bright, it needed to be coaxed
Purple, and Electric Lime. into a suitable accent and works nicely for a
Setts: 12 epi; 12 ppi. flash of color. The twill could be too
This is such a well-known twill mundane without the energy brought by
that I knew I had to include it in the lime. I found it was just right for a stripe
this exercise, and I was pleased in the warp.
to see that it works well with the
chosen colors. Because Electric
Dogtooth twill, behaved similarly as in the first sample. The

aka houndstooth Rain Cloud and Energized Purple stripes
Warp and weft: Rain Cloud, Energized balance each other when used in both warp
Purple, and Electric Lime. and weft, and the flash of Electric Lime is
Setts: 12 epi; 12 ppi. even better in this sample than in the first
There was no need to cut and one. Because I used a very moderate beat,
rethread the warp for this second the yarns fulled into the negative spaces
effort. I simply changed shuttle without being dense. At this sett, I imagine
colors every four picks for a the cloth would be well suited for a blanket
checked pattern, and the threads or lap robe.
Swarthmore check check was just the ticket. It also fulfilled my

(canvas weave with desire to combine two of the neon colors with
some doubled warp a more subtle grey. As you can see, this draft
and weft threads) allows for each of the three colors to mingle
Warp and weft: Rain Cloud, Energized with the other two while still giving each sin-
Purple, and Molten Magenta. gle color a square of its own. In addition, each
Setts: 12 epi; 12 ppi. color is featured as either a float or as part of
I wanted to try a draft with sur- the ground cloth, providing the fabric the
face floats to give the weaving structure that is needed when there are a lot
some loft, and Swarthmore of floats involved.
Swarthmore check Swarthmore check’s doubled weft picks.

and twill This sample ended up being a bit like a
Warp and weft: Rain Cloud, Energized combination of a twill gamp and a color gamp
Purple, Molten Magenta, and using the three colors from the last sample
Electric Lime. plus Electric Lime. Because of the reduced
Setts: 12 epi; 12 ppi. thickness of the cloth, it would be very
Swarthmore check can be woven suitable for a small blanket in whatever hues
in a variety of ways to enhance you choose, and the Electric Lime used
color use without the bulk of the sparingly works well at accenting the blocks.

YA RN L A B
Plain weave with Energized Purple and Misty Mountain (mossy

color-and-weave green) was a nice combination, but I wanted
Warp and weft: Energized Purple, that flash factor found in the previous
Misty Mountain, and Electric Lime. sample—the Electric Lime was just what I
Setts: 10 epi; 10 ppi. needed. The lime outline fell into place for
For plain weave, I reduced the the weft sequence and could have perfectly
sett to 10 epi and kept a gentle balanced the vertical rows if I’d used more
beat. Doing so allowed me to shafts. As it is, I’m happy with the outcome.
maintain the needed negative The cloth is soft and pliable and would work
space at the intersections of nicely in a short, woven blanket. Did I
each thread and helped to mention that it can be woven on two shafts?
balance my blocks. The What a boon to rigid-heddle weavers.
Shadow weave Magenta would combine well with the purple,

which looks nice with Misty Mountain. Misty
Warp and weft: Energized Purple, Mountain is a medium green that has been
Misty Mountain, and Molten Magenta. toned using gray in its base, and in this case,
Setts: 10 epi; 10 ppi. the yarn looks as though it was carded with
Using the same warp but gray wool. This subtle shade reminds me of
changing some of the threading, the heathered hills of Nebraska. As in the last
I tried Molten Magenta alongside sample, this cloth has a very nice hand for a
Energized Purple and Misty small blanket.
Mountain. I knew Molten
Krokbragd Unfortunately, I can’t recommend using this

Warp: 5/2 cotton used doubled. structure for this yarn, as the yarn is soft and
Weft: Energized Purple, Misty Moun- energized and this structure collapses it to the
tain, Molten Magenta, Electric Lime, point of being indistinguishable. Still, I’m using
Rain Cloud, Lilac, and Owl Gray. it as a sample to feature the colors, and in fact, I
Setts: 6 epi; 48–50 ppi. was considering my knitted Icelandic sweaters
For my final piece, I wanted to see of 30 years ago as I lined up the combinations—
all the hues I had been working I may need to take up knitting again. The
with together in a strong combi- magenta, lime, and purple add the flash needed
nation, and krokbragd seemed to to draw the eye in and are a fun factor whether
be the right structure. you’re weaving or knitting with them.
FINAL THOUGHTS
Prairie Spun DK is a glorious yarn, suitable for a long warp, but as a the yarn’s suitability for all weave
and knitters will recognize it for its short warp, I think it works well. structures, and I was delighted to
superior softness and lofty hand. I recommend a flat surface such play along. Setting the warp at 10
In warping a loom, the yarn will as in the color-and-weave and and 12 epi also reminded me that
release that energy by stretching shadow weave samples. The goal one need not weave with superfine
up to 3 inches for every 10 inches of this Yarn Lab was to feature the yarns to enjoy playing with a “box
at rest; therefore, it may not be new color line and not necessarily of crayons.”
LIZ MONCRIEF teaches weaving and pattern drafting and designs kits for The Silk Weaving Studio on Granville Island
in Vancouver, British Columbia. She works on 8-, 12-, and 24-shaft looms.
PROJEC T DIREC TORY
Designer/Weaver Project Page Structure Shafts Levels
RE A DER’S GUIDE
Allen, Malynda Ray of Light Placemats and Napkins 54 Modified M’s and O’s 4 All levels
Gibson, Brenda Perfect Pairing 45 Satin 8 I, A, D
Goudsmit, Barbara More Echoes, Please 62 Twill with parallel threading 12 I, A, D
Irwin, Bobbie Shimmering Crackle Scarf 33 Polychrome crackle 4 AB, I, A
Jarchow, Deborah Heavenly Harvest Chenille Poncho 70 Plain weave 4 AB, I, A
Miller, Merriel Dreaming of Butterflies Wrap 50 Echo weave 4 AB, I, A
Pate, Sara Northern Lights Tote 58 Twill 8 All levels, D
Sargent, Jennifer Autumn Pearls 42 Plain weave with warp and weft floats 6 All levels
Tuthill, Dorothy Neon Incandescence 37 Deflected doubleweave and networked twill 8 I, A, D
Levels indicate weaving skills, not sewing skills. AB = Advanced Beginner, I = Intermediate, A = Advanced. “All levels” includes very new weavers.
D = Dobby suggested but not required
YARN SUPPLIE RS FINISHING TECHNIQUES

Brown Sheep Company, brownsheep Silk City Fibers, silkcityfibers.com, Twisting (or plying) the fringe
.com, (800) 826-9136 (Moncrief 74). (551) 298-5104 (Jarchow 66, 70).
Divide the number of threads for each fringe into
Georgia Yarn Company, gayarn.com Treenway Silks, treenwaysilks.com, two groups. Twist each group clockwise until it
(Allen 54). (888) 383-7455 (Gibson 45).
kinks. Bring both groups together and allow
Lone Star Loom Room, lonestar WEBS, yarn.com, (800) 367-9327 (Irwin them to twist around each other counterclock-
loomroom.com, (888) 562-7012 33; Miller 50; Sargent 42; Tuthill 37). wise (or twist in that direction). Secure the ends
(Goudsmit 62).
Yarn Barn of Kansas, yarnbarn-ks.com, with an overhand knot. (Use the same method to
Maurice Brassard et Fils, mbrassard (800) 468-0035 (Allen 54; Pate 58; make a plied cord by attaching one end to a
.com (Miller 50; Tuthill 37). Sargent 42). stationary object.)
RedFish Dyeworks, redfishdyeworks
.com (Tuthill 37). Italian (double) 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
four times the warp width, cut, and
thread this tail into a blunt tapestry
needle. Take the needle under a selected
group of warp threads above the fell and
bring the needle back to encircle the ends.
Next, pass the needle under the same
ends but come up two or more weft rows
down from the fell. Then bring the needle
back around the same group of ends
below the fell. Repeat, encircling the next
group of ends.
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,
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.
Photo by Matt Graves
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.
Perfect Pairing, p. 45

Contact Michaela Kimbrough for magazine standing order opportunities.
Retail Shop Directory mkimbrough@longthreadmedia.com
ALASKA G E O RG I A M A RYL A N D Weavers Guild of Minnesota

Black Sheep Yarn Shop 1011 Washington Ave S, #350
9602 Deereco Rd. Minneapolis, MN 55415
Timonium, MD 21093 (612) 436-0463
(410) 628-9276 weaversguildmn.org
blacksheepyarnshop.com
Georgia Yarn Company MISSOURI
4991 Penfield Rd Hillcreek Yarn Shoppe
Union Point, GA 30669 4093 E. Ketterer Rd
(706) 453-7603 Columbia, MO 65202
Untangled Yarn & Fiber gayarn.com Michelle Follett’s Textile
1624 Tongass Ave (573) 825-6130
Selling cotton, linen and silk yarns. Teachings hillcreekyarn.com
Ketchikan, AK 99901 452 Race Street
(907) 225-YARN (9276) Cambridge, MD 21613
www.untangledyarnandfiber.com I DA H O (630) 967-4214 NEBRASKA
Ketchikan’s key stop for fiber art- Lunatic Fringe Yarns, Inc. michellefollett.com Plum Nelly
ists. Ashford dealer. Looms, wheels, 2291 SW 2nd Ave The Delmarva region’s only shop 743 W 2nd Street
supplies, hand-dyed yarn local and Fruitland, ID 83619 dedicated to the textile weaving Hastings, NE 68901
sourced directly from dyers. Open 800-483-8749 arts, where both the serious and the theplumnelly.com
year-round or see our website. www.LunaticFringeYarns.com curious come to explore, experiment,
and learn.
NEW HAMPSHIRE
A R I ZO N A ILLINOIS Harrisville Designs
Fiber Creek Fine Line Creative Arts Center M A S S AC H U S S E T TS PO Box 806
Suite 123, 1046 Willow Creek Rd 37W570 Bolcum Rd. Harrisville, NH 03450
St Charles, IL 60175
The Fiber Loft
Prescott, AZ 86301 9 Massachusetts Ave (603) 827-3996
(928) 717-1774 (630) 584-9443 harrisville.com
Harvard, MA 01451
fibercreekprescott.com fineline.org
(978) 456-8669
thefiberloft.com Lilac + Finch Yarn and Weavery
Tempe Yarn & Fiber INDIANA 66 Hanover Street,
1415 E University Dr Vävstuga Weaving School Suite 303
Tempe, AZ 85281
Spinnin Yarns
145 N Griffith Blvd 80 Bassett Road Manchester, NH 03101
(480) 557-9166 Shelburne, MA 01370 (603) 856-5457
Griffith, IN 46319
tempeyarnonline.com (413) 625-8241
(219) 924-7333
spinninyarns.com www.vavstuga.com NEW JERSEY
CALIFORNIA The Spinnery
Alamitos Bay Yarn Company Tabby Tree Weaver WEBS - America's Yarn Store 33 Race St
174 N. Marina Dr 9832 North by Northeast Blvd 75 Service Center Rd Frenchtown, NJ 08825
Long Beach, CA 90803 Fishers, IN 46038 Northhampton Rd, MA 01060 (908) 996-9004
(562) 799-8484 (317) 984-5475 (800) 367-9327 thespinnery.square.site
yarncompany.com tabbytreeweaver.com yarn.com
MICHIGAN N E W YO R K
CO LO R A D O KANSAS Daft Dames Handcrafts
Blazing Star Ranch Yarn Barn of Kansas Heritage Spin & Weaving 13384 Main Rd
3424 S Broadway 930 Massachusetts 47 E Flint Akron, NY 14001
Englewood, CO 80113 Lawrence, KS 66044 Lake Orion, MI 48360 (716) 542-4235
(303) 514-8780 (800) 468-0035 (248) 693-3690
blazingstarranch.com yarnbarn-ks.com heritagespinning.com Fiber Kingdom
137 E Broadway
Entwine Studio Leelanau Fiber
K E N T U C KY 310 N. St. Joseph St.
Salem, NY 12865
4003 North Weber St (518) 854-7225
Building H
LSH Creations PO Box 52
1584 WELLESLEY DRIVE fiberkingdom.com
Colorado Springs, CO 80907 Suttons Bay, MI 49682
Lexington, KY 40513 (231) 271-9276
(719) 761-1211 Spinning Room of Altamont
(859) 321-7831 www.leelanaufiber.com/
entwinecos.com 190 MAIN ST / PO BOX 427
lshcreations.com
Altamont, NY 12009
Lambspun of Colorado Stash Crafters Lounge (518) 861-0038
1101 E Lincoln Ave
The Woolery 113 Cleveland Avenue
Ste 1A, 859 E Main St spinningroom.net
Fort Collins, CO 80524 Ishpeming, MI 49849
Frankfort, KY 40601 (906) 458-0626
(800) 558-5262
lambspun.com
(800) 441-9665 N O R T H C A RO L I N A
woolery.com The Hen House Quilt Shop Silver Threads & Golden
Longmont Yarn Shop 211 S Cochran Ave Needles
454 Main St. MAINE Charlotte, MI 48813 41 E Main St
Longmont, CO 80501 Belfast Fiber Arts (517) 543-6454 Franklin, NC 28734
(303) 678-8242 171 High St., Suite 8 thehenhousemi.com (828) 349-0515
www.longmontyarn.com Belfast, ME 04915 silverthreadsyarn.com
(207) 323-5248 M I N N E S OTA Studio 256
Serendipity Yarn & Gifts belfastfiberarts.com Bella’s Flock
PO Box 5120 106 S Greene Street
11 Division St E Wadesboro, NC 28170
Buena Vista, CO 81211 Halcyon Yarn Suite 200
(719) 395-3110 12 School St (704) 507-1160
Buffalo, MN 55313 Studio256.online
serendipityyarn.com Bath, ME 04530 (612) 741-6437
(800) 341-0282 https://bellasflock.com
F LO R I DA halcyonyarn.com
Sheep Thrills
4701 North University Dr
Sunrise, FL 33351
(954) 742-1908
sheepthrillsknitting.com
The Tail Spinner Sunshine Weaving and Fiber W YO M I N G
109 North Wilmington Street
Richlands, NC 28574
Arts
327 W. Main Street
Advertiser Index
(910) 324-6166 Lebanon, TN 37087 Ability Weavers ......................................57
www.thetailspinner.com 615-440-2558 The
sunshineweaving.com Fiber Adopt-A-Native Elder ..............................7
House
T E XA S The Fiber House Ashford Handicrafts LTD .................10–11
Hill Country Weavers 146 Coffeen Ave
4102 Manchaca Rd Sheridan, WY 82801 Brown Sheep .........................................29
Austin, TX 78704 Vendors for Schacht, Ashford, and
(512) 707-7396 Kromski wheels and looms. Supplies dje Handwovens ....................................49
Yadkin Valley Fiber Center hillcountryweavers.com
321 East Main Street for all fiber arts needs. Individual
and group classes. See our website Eugene Textiles ......................................21
Elkin, NC 28621 Yarnivore
our mailing address: for more.
2357 NW Military Hwy (877) 673-0383 Fiberwood Studio Ltd. ...........................73
Post Office Box 631 San Antonio, TX 78231
Elkin, NC 28621 thefiberhouse.com
(210) 979-8255 Fiberworks.............................................29
(919) 260-9725 yarnivoresa.net
yadkinvalleyfibercenter.org AU S T R A L I A Georgia Yarn Company ..........................78
Fostering creativity in the fiber arts Yarnorama The Lucky Ewe
with beginning to advanced classes, 130 Gonzalez St 50 High Street Glimåkra USA.........................................36
Master Weaving Program and guest Paige, TX 78659 Oatlands, TAS 7120
instructors throughout the year. (512) 253-0100 402 149 404 Halcyon Yarn ..........................................C4
yarnorama.com www.theluckyewe.com/
OREGON Handweaving.net ..................................25
Eugene Textile Center U TA H J A PA N
2750 Roosevelt Blvd Kakara Woolworks Harrisville Designs, Inc...........................21
Needlepoint Joint
Eugene, OR 97402 241 25th St 580 Yagami
(541) 688-1565 Akaiwa-shi, Okayama-ken
Jane Stafford Textiles .............................17
Ogden, UT 84401
eugenetextilecenter.com (801) 394-4355 709-0734
+81-(0)86-995-9988
KCL Woods .............................................49
needlepointjoint.com
Little Hawk Yarns kakara-woolworks.com
544 SE Main Street Leclerc Looms ...................................C2–1
Roseburg, OR 97470 V I RG I N I A
(458) 262-0046 Sparkbug Hollow UNITED KINGDOM LoftyFiber ..............................................41
www.littlehawkyarns.com 39506 Bolington Rd Coorie Creative
Lovettsville, VA 20180 Marches Mall, Thistle Centre Lone Star Loom Room ...........................41
Pacific Wool & Fiber (571) 560-0220 Stirling, Scotland, UK, FK8 2EA
13520 SE Southwood Drive sparkbughollow.com +441786 450416 Louet BV ................................................C3
Prineville OR 97754 www.coorie-creative.co.uk/
Lunatic Fringe Yarn ................................36
(503) 538-4741 W I S CO N S I N George Weil & Sons
pacificwoolandfiber.com Icon Fiber Arts Old Portsmouth Rd Michelle Follett Textile Teaching............78
590 Redbird Cir Peasmarsh, Guildford GU3 1LZ
Web-sters De Pere, WI 54115
11 N Main St 01483 565 800 Mountain and Valley Wool Festival........29
(920) 200-8398 www.georgeweil.com
Ashland, OR 97520 iconfiberarts.com
(541) 482-9801 Pacific Northwest Quilt & Fiber Arts
yarnatwebsters.com The Handweavers Studio and
Fiber Garden Gallery Museum..............................................36
N5095 Old Hwy. 54 140 Seven Sisters Road,
P E N N S YLVA N I A Black River Falls, WI 54615 London N7 7NS Purrington Looms..................................73
The Speckled Sheep (715) 284-4590 020 7272 1891
2707 Old Philadelphia Pike fibergarden.com handweavers.co.uk R & M Yarns............................................73
Bird in Hand, PA 17505
(717) 435-8359 Fiberwood Studio Weft Blown Ltd Schacht Spindle .....................................29
thespeckledsheep.com 2709 N. 92nd St 17 Ailsa View
Milwaukee, WI 53222 West Kilbride North Ayrshire Silk City Fibers........................................41
Twist Knitting & Spinning (414) 302-1849 Scotland, UK, KA23 9GA
5743 Route 202 fiberwoodstudio.com by appointment only The Fiber House .....................................79
Lahaska, PA 18938 +44 (0) 7930 657900
(215) 794-3020 The Woolgatherers info@weftblown.com The Woolery...........................................17
twistknittingandspinning.com Weaving studio and fiber shop. Mak-
ers of DutchMaster table looms, spin- The Woolgatherers ................................79
ning stools; Weaving, spinning, fiber,
S O U T H C A RO L I N A knitting, needlework—convenient
LoftyFiber Treenway Silks .......................................36
downtown location. Individual in-
415 E 1st Ave struction. Books. Gallery. Fine Fabrics.
Easley, SC 29640 Untangled Yarn and Fiber ......................78
35 N. Main St.
864-810-4747 Fond du Lac, WI 54935
loftyfiber.com Vävstuga LLC..........................................49
920-907-0510
www.woolgatherers.com Vermont Weaving Supplies ...................57
TENNESSEE
Smoky Mountain Spinnery WEBS .......................................................5
466 Brookside Village Way Ste 8
Gatlinburg, TN 37738 Yadkin Valley..........................................79
(865) 436-9080
smokymountainspinnery.com Yarn Barn of Kansas .................................2

ENDNOTE S
To be
iridescent
or not to be
by Eileen Lee
To explore weaving iridescent

cloth, I began by choosing
complementary colors, which
almost always produce iridescence.
Above: #1 Too many complementary color
pairs caused this cloth to fall flat. Top right:
In Bobbie Irwin’s book Weaving Iri- #2 Though purple and red created
Photos by Eileen Lee

iridescence, the purple dominated the red
descence, she mentions that even in this twill at this sett. Right: #3 Eileen’s
though you will probably get irides- favorite weave structure created a
beautiful cloth in orange and blue, but the
cence from these contrasting colors, colors don’t interact enough to create an
iridescent effect.
you might not like the outcome. In
other words, just because your fabric
is iridescent doesn’t mean you’ll
think it’s attractive. complementary color pairs, I believe bands created by alternating areas
My plan was to weave several it would have been much prettier. of warp- and weft-dominance.
structures that I hoped would pro- Trying to do too much in one fabric It was silly to think that I could
duce a variety of iridescent fabrics. was a mistake. achieve iridescence from this structure
In most cases, I achieved beautiful #2 FLOATS because the complementary colors
iridescent cloth, but I also wove For this project, I used a handweaving (blue and orange) do not actually
some cloth that didn’t meet my ex- .net draft that was an undulating twill intersect with each other—but it
pectations. Should I have sampled? and tromp-as-writ. As with the previ- made a beautiful scarf!
The simple answer is yes. ous sample, I used 8/2 Tencel and sett I am one of those people who learn
I discovered multiple iridescent it at 24 epi. The red and purple created from their mistakes. Curiosity and
color combinations. I also discovered an iridescent fabric. the passion to learn new things mo-
three ways not to weave iridescence, However, because of the many tivate me. I never lose hope but, in-
each one having a different flaw that f loats, the fabric appears weft- stead, experiment with new ideas.
kept me from achieving my goals. dominant and looks truncated. Even though these three examples
# 1 OVE RDONE While it is iridescent, it’s not very did not achieve the iridescence and/
In this cloth, I wove with shiny pretty. I found the fabric to be heavy or other qualities I was looking for,
8/2 Tencel and sett it at 24 ends per and thick, with a terrible hand. the cloths are still respectable. Every
inch (epi). I used complementary Perhaps it would make a nice table time I weave, I acquire new under-
colors twice in the fabric, crossing runner, but it doesn’t work as the standing and skills.
red-violet and violet with lime green scarf I was intending to weave.
and gold. #3 UNSUITABLE DR AF T EILEEN LEE’s designs have appeared in sev-
Attempting to use two In this cloth, I used a turned broken- eral publications including Handwoven,
complementary-color sections in twill block draft, also known as Easy Weaving with Little Looms,
one fabric produced an unappealing false damask, which gives the opti- Knitting Traditions, and PieceWork.
result. I especially found the places cal illusion of a woven basket. False Many of her patterns are available on
where the warm gold crossed with damask is one of my favorite struc- mzfiber.com and Ravelry (mzfiber). She
cool lime green unattractive. If I tures. I enjoy the three-dimensional lives in Grass Valley with her husband,
had used only one of the effect of seemingly interwoven Bill; son, Eric; and border collie, Dizzy.

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Handwoven - SeptemberOctober 2023

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Flip the Color Switch with Iridescence p.

A BURST OF COLOR IN YOUR FAVORITE COTTONS!

HALCYON YARN PACIFIC WOOL AND FIBERS

Winder Tension Device Jack Loom with 8 or 12 Harnesses.

See it working in www.leclerclooms.com

Machine washing makes it lofty and soft!

YARN BARN of Kansas

PROJ E C TS D E PA RTM E NTS

33 Shimmering Crackle Scarf 54 Ray of Light Placemats 4 From the Editor

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Luis Obispo, where I met my sister. The train ride takes

Postmaster: Please send address changes to 1300 Riverside Ave,

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Your favorite yarns for weaving!

Toika, Schacht, Louet, and more!

WEBS offers a huge selection

from Handwoven readers

room. As I looked more closely, I saw

Sometimes a simple object can make your weaving life

Warp-End Repair Assistance

Photos by Matt Graves

Keep Your Place

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digital back issues, exclusive articles, and more Tom Knisely

with Janney Simpson

s ! Long Thread Media

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The Brooklyn Four Shaft Loom provides new and experienced

The history of handweaving in

Originally downplayed as “women’s

John “Danny” Deaver weaving,

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Photos by Beth Ross Johnson unless otherwise noted

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Taira offered me a tour of the work-

Photo by Lynton Gardiner, 2001-23-006

BETH ROSS JOHNSON has had two exten-

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shearer’s job is done and the weaver

Photo courtesy of Tom Knisely

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Scan to learn more.

Ships free from

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Photo by Biswajeet Mohanty

Photo by Sweta Iyer

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that I am aware of. I am doing the

So, they’re safe? If someone wore a

cookies, with unique ingredients, relating complex scientific ideas to

Modern tools for

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Photos by Kelly Casanova

Photography for Weavers

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Iridescent fabric looks

Available from your