Kelly Casanova Weaving Lessons

Kelly

How to double your weft thread

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There are times that you will want to double your weft thread in order to achieve a balanced sett. Or, you may just be wanting to make the weft stand out and feature more.

If you only have one cone or ball of yarn to work from, you will need to think around how you’re going to load the shuttle to be double, rather than single stranded.

*This post contains affiliate links. For more information, please see my disclosure policy.

Today I’m going to show you how to easily double your weft when using a stick shuttle. I’ll cover a couple of different methods.

In my example piece, my warp is 8/4 cotton. For my weft, I want to use a lovely, bright yellow, I received recently from the brand new Australian cotton range from Thread Collective. This yarn however, is 8/2 cotton – quite a bit lighter than the 8/4 warp.

Considering it’s important to me that my pattern stands out and is nice and bold, the 8/2 as a single weft would not have the impact I’m wanting to achieve. I decided to double the weft.

I start by placing the cone of yarn that I want to use for weft on the floor next to the table I’m sitting at. I use my cone warping stand to hold the cone steady and to feed the yarn off freely. You can also stand your cone in a box or empty cylinder of the right size – whatever stops the cone from rolling all over the floor while you’re trying to feed yarn off it!

I’m going to be using my ball winder for this tutorial, but you do not have to have one in order to successfully load your shuttle with doubled weft.

Another suggestion is to use an empty cone cylinder to wind the yarn off your full cone by hand. This plastic one is handy because it has a grip, so it’s easy to wind fast by hand, but empty toilet paper rolls are also great. You can even wind off an amount of yarn just onto your hands, though that may be a more potentially tangly method.

A ball winder is simple to use and does the job really quickly. I just clamp the winder to my table, thread the yarn in through the side loop, up over the central cylinder and into one of the notches, which holds the yarn in place initially and also creates a centre pull ball once you’re finished.

You then just wind manually, using the handle until you have a quantity of yarn. A couple of tips I have for successfully ball winding:

  • Keep some tension on the yarn as it’s feeding off the original cone, but don’t make it really tight. This is a mistake I made initially, and it caused problems with the yarn rotations slipping off the ball and tangling. Now I keep it a bit looser and never have that issue.
  • Hold the yarn tail for the first few rotations (particularly if you’re using a finer yarn) so that it doesn’t slip out of the notch. After the first few rotations, you can let go and it will be fine.
  • When I’m using the ball winder for doubling my weft, I usually wind off relatively small amounts at a time. I can always come back and wind off a little more if I need to.

Now you have 2 sources of yarn to feed from. I place the yarn cake on the cone stand, next to the original cone and feed it up through it’s own round hook.

Yarn Donation

Now things get super easy! I just slip knot the two yarns together at the ends, ready to start loading onto my stick shuttle.

From this point on, you can treat the two yarns as though they are one, and simply wind them on together.

If you need help with how to wind a stick shuttle in a figure 8 (my favourite method), watch this video:

When you are ready to start weaving, you also just use the two yarns together as though they are one. So, each pick will have two threads instead of one.

This tutorial is available in video format, if you’re interested, click on the video below:

I hope this tutorial was helpful to you, leave your questions or comments down below.

Until next time…

Happy Weaving!

What is the difference between knitting and weaving yarn?

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One of the biggest challenges when starting out in weaving is determining which yarns are suitable for your project. There are is certainly a huge variety of yarn available to the modern weaver, but that can be part of the problem – how to choose?

Both knitting and weaving yarns can be used for weaving, in fact, I recommend that brand new weavers start out with knitting yarn because they are forgiving, affordable and readily available. Knowing the differences between yarns that are made specifically for knitting or for weaving will be a huge help to you when planning your next project.

*This post contains affiliate links. For further information, please see my disclosure policy.

Because choosing yarns is such an important (and sometimes puzzling aspect) of weaving, I have already made several resources on the topic, some of which you can find here:

Choosing and Using Yarns in Weaving…

3 Yarns Beginners should Avoid…

What do all the Numbers Mean?…

Now let’s have a look at what I consider to be some of the main aspects that differentiate a weaving from a knitting yarn.

  1. Appearance
  • Knitting yarns are often sold in a ball, yarn cake, hank or skein. These can all vary in size and total weight. They will often be wrapped with a label that details what the yarn is made of, country of origin, knitting and crochet information (like needle or hook size), the total weight and the washing or care instructions.

Some knitting yarns will be sold on a large cone, particularly yarn that is for flatbed knitting machines, as it’s important to the machine tension that the yarn feeds off freely.

  • Weaving yarns will usually be sold on a cone of some kind. These cones can vary in shape and weight according to the type and thickness of the yarn. Spools are more uncommon, but you will sometimes see weaving yarns sold that way too.

2. Yarn Thickness

In general, knitting yarns are thicker than weaving yarns. Knitting very fine yarn on needles is not for the faint hearted and most knitters will tend to go with thicker yarns for practical reasons (and for sanity!)

A weaving loom on the other hand, and in particular, multi shaft looms are really set up to accommodate much thinner yarns. On my floor loom, I never use a yarn that is greater in size than a fingering weight, as it would be difficult to thread through my texsolv heddles, which would be wearing on the yarn. I only have a 10 dent reed on this loom too, and that is fairly standard for a multi shaft. It’s the same with my table loom. So, there is the expectation that you won’t be weaving with very thick yarns.

The rigid heddle loom is more accommodating when it comes to thicker yarns, as the dent size varies from as high as 15dpi to 2.5dpi!

3. Amount of Stretch

Knitting yarns will generally have more elasticity and stretch whereas weaving yarns are often somewhat tough and rigid.

This makes sense when you think about it – a knitting yarn usually has a pretty easy life compared to a weaving yarn. A loom puts the yarn under tension and friction – it needs to be able to stand up to the process. Weaving yarns are also used to make a woven fabric for items like towels and clothing, that requires a tough and robust yarn.

That’s not to say that you can’t weave with an elastic yarn, you absolutely can, you will just need to factor in that stretch component to your calculations so that you’re not shocked to find your piece loses a lot of length once it’s no longer under tension.

4. Amount of Twist

A knitting yarn is most often used for wearables, and therefore needs to be very comfortable against the skin. Usually, it won’t have the same level of twist as a weaving yarn. Again, the weaving yarn is strong and hardworking, so the increase in twist gives it that extra durability.

If you have a knitting yarn that seems to have a very loose twist, it is likely that it won’t be suitable for warping with. A good test to use if you’re unsure is the drift test.

5. Strength of the Yarn

This relates very much to the last point. Knitting yarns don’t need to be under a lot of tension. You hand tension a little as you knit, and the rest remains in the ball, waiting to be gently fed off and used.

A weaving warp undergoes a lot of tension, so using a weak yarn for your warp is almost a guarantee of an unhappy weaving experience!

6. Yarn Availability

There are thousands of knitting yarns available all over the world. Whatever colour, type, size you desire, you will not be too hard pressed to find it!

Weaving yarns are a bit more limited. This is improving over time as more home weavers take up the craft and weaving is seeing a bit of a resurgence in popularity (yay!)

There are also a lot more knitting yarn suppliers than weaving yarn suppliers, but again, this is on the improve. In Australia, we are blessed to have Thread Collective for a big range of weaving supplies. If you would like to find suppliers in your area, check my Weaving Suppliers List.

Available from Thread Collective

7. Measurement Systems and Terminology

This is one of the most confusing aspects for new weavers who are trying to make yarn choices.

The measurement systems for knitting and weaving yarns are different, and these differences can further change from country to country! Super confusing!

I recommend my Weaver’s Toolkit Ebooklet for charts that will help you convert yarn terms to navigate the confusion. My short class What do the Numbers Mean? will also be helpful for those of you who want to understand why certain measurement systems are used and what they mean.

The easiest way to determine whether the yarn you have is suitable for the project you want to weave is to determine the sett using an inch ruler. I have two resources that will show you how to do that:

What is sett?

How to determine sett…

I’ve made a video to compliment this post where you can see me talking about specific yarns from my personal stash and showing you what they look like:

I hope this was a super helpful post for you!

Until next time…

Happy Weaving!

How to lash on your warp to your loom

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Lashing on your warp to the loom is an alternative method to a direct tie on.

I’m going to show you exactly how to do that in a moment, but first I want to talk about why you would choose to lash on rather than tie the warp directly to the front apron rod.

There are certainly advantages and disadvantages to both methods and usually it comes down to a matter of personal preference.

  • This post contains affiliate links. For further information, please see my disclosure policy.

Firstly, let’s go over the pros and cons of each method.

Lashing on pros:

  • You can achieve excellent, consistent tension across you warp, regardless of the warp width.
  • The tension is very adjustable and simple to tweak
  • It’s the perfect method for dealing with slippery warp threads that don’t want to hold their direct tie on knots
  • It is very yarn efficient

Lashing on cons:

  • It takes additional time before you can begin weaving
  • You need a long length of strong cotton as the “lash on” yarn. This long length can be a bit of a handful when you’re threading it through your knotted bunches.

Direct tie on pros:

  • It’s fast and easy
  • If you tie on with surgeon’s knots, these will be adjustable
  • Works very well for most yarns

Direct tie on cons:

  • Slippery yarns (like silk or tencel) may not hold their knots. They can slip on the apron rod and come undone.
  • You have more warp waste because you need that extra length of warp to go around the apron rod and tie on. This is not a problem if you are planning to have fringes, as the tie on knots can be included in fringe allowance.
Yarn Donation

Now let’s have a look at the steps involved in lashing on.

Working from one side to the other, take approximately one inch sections fo warp and make an overhand knot, leaving a couple of inches of tail.

When you full extend your front apron rod, you don’t want the ends of the knotted bunches to touch it, as you need a bit of distance between the bunch and the rod for effective tensioning.

Try to make your knots at about the same place on the bunch each time, it’s helpful to compare the new bunch with the last knotted bunch to try to match up your knots.

Wind off some tapestry cotton or similar yarn to use as your lashing on yarn. You want this yarn to be strong and not elastic.

Measure around 6 times the width of your warp, and then double that over.

Place the fold of the doubled up yarn on the apron rod. Make sure your front brake is on!

Lift up your first knotted bunch. As you do, you will notice that some threads separate from others, giving you an opening. Insert your index finger into this opening to hold the place.

Take the cut ends of your lashing on yarn through the space and pull all the way through.

Take the waste yarn over the top and then underneath the apron rod, ready for the next bunch.

The lashing on yarn goes underneath the apron rod each time.

Continue going though your bunches and under the apron rod all the way to the other side of the warp.

To temporarily secure your lashing yarn, if you have a stand, you can take the yarn under the edge of the loom then around the side knob a couple of times.

Now is the time to perfect that tension! Starting at the right (or which ever side you made your first bunch) pull down on the lashing yarn firmly, the slack will transfer to the next bunch. Still holding the lashing yarn at the first bunch (to prevent losing that great tension), pull down on the yarn at the second bunch. Hold the tension there, while you go on to the next bunch and work your way across.

When you reach the other side, you should have a good bit of slack on the lashing yarn, and your tension should be nice and uniform across the warp. Don’t let go of the yarn at the end here until you have it fully secured.

This part is much easier to show than to explain, so definitely check out the video below. Basically, you are knotting and securing the end of the yarn to the apron rod in a way that is a very firm hold, but is undoable in case you need to adjust your tension again.

When you bounce your hand from one side of the warp across to the other, all the bunches should feel like they are under the same amount of tension. It feels like a nice light, bouncy trampoline. If you have any loose parts, adjust the tension again by pulling the lashing yarn at the loose section, and transferring the slack as before.

If you would like to see all this in action, check out the video I made for you:

Equipment used in the making of this tutorial:

Ashford Rigid Heddle Loom 24″

Ashford Tapestry Cotton

For detailed weaving lessons, check out my Online Weaving School.

I hope this is helpful to you, leave your questions or comments below.

Until next time…

Happy Weaving!

2021 Gift Guide

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As always, Christmas has arrived very quickly this year, but considering it’s one of the best times of the year, I don’t mind at all!

It’s also a lovely time to either treat yourself (yes, you are totally allowed to buy gifts for yourself, I give you permission!) or be treated with a weaving related gift.

This year I’ve decided to arrange the guide according to weaving types and categories, that way you can just hop straight to the section (or sections, nudge, nudge, wink, wink!) that is relevant to you.

*This post contains affiliate links. For more information, please see my disclosure policy.

At the end of the list, I’m also going to list my personal favourite suppliers so you can click and check out all the wonderful weaving and fibre arts related supplies they have available.

In no particular order, here we go!

Rigid heddle weavers

Ashford Rigid Heddle Loom

The available widths are 16, 24, 32, 48″ so this gives plenty of choice for budget and weaving goals.

The Weaver’s Idea Book by Jane Patrick

This book remains one of my favourite rigid heddle books. It was the first RH book I ever bought and it is definitely my most used!

Weaving Project Kit

This makes a great gift for a weaver because it allows them to do what they do best, but the hard work is taken out of it for them. Many kits come with pre-measured warps, all the colours and yarn amounts are taken care of plus instructions for a project are provided.

Online Weaving School Gold Membership

Gain access to the full online class library of 70+ classes. Learn in your own time, in the comfort of your own home. Many rigid heddle classes are available!

Inkle weavers

Ashford full sized Inkle or Inklette loom.

Both are excellent options, depending on budget and the size of band you want to achieve. I have the full sized inkle and I do recommend a larger size if you can afford as it just gives you more wiggle room.

Weaver’s Inkle Pattern Directory by Anne Dixon

Just an awesome book, simple enough for beginner inkle weavers and complex enough for those who are more advanced. It includes over 400 patterns and a huge variety of weaves to explore (not just plain weave).

Annie MacHale’s Etsy Shop

Annie has been inkle weaving a really long time and she knows her stuff! Her Etsy shop contains her books and inkle supplies.

Inkle Weaving on an Inkle Loom Online Course

My online course takes you right from the beginning to ensure the student will successfully weave their first inkle band!

Tablet Weaving Cards

A lot inkle weavers will naturally branch into tablet weaving, as it offers even more and intricate patterning possibilities. If you already have an inkle loom, all you need is a pack of cards to get started.

For the weaver who wants to fast track their learning, my Tablet Weaving on an Inkle Loom is the perfect gift!

Band weavers

Historically, bands were woven with simple materials and often used body tensioning in conjunction with environmental items (eg. a tree trunk) to tie onto or around.

A band weaving kit is a great way to get started if you don’t want the investment of purchasing an actual loom just for bands. There are different styles, but the basic Saami weaving setup uses a small heddle (similar to a rigid heddle) made of plastic or wood. The warp is attached to the body with a band and tensioned around another object.

If you are hesitant to buy a loom or just like the idea of stripping your weaving right back to basics, this could be a great option for you.

Weaving Patterned Bands by Susan Foulkes

Disclaimer – I do not own this book, but if I wanted to get started in Band Weaving I would purchase this book.

Norwegian Band Weaving by Heather Torgenrud

I do own this most excellent book, but for absolute beginners, I would first recommend the previous book. This book is very extensive, very inspiring and contains a plethora of patterns and ideas.

Tapestry weavers

Mirrix Tapestry Looms are awesome, I love my Big Sister. The tension is excellent, they are well made and thought out by an actual tapestry weaver, and it is so great to have a dedicated tapestry loom so that lengthy projects aren’t taking up space on other looms.

If you would like to learn more about Mirrix, read my interview with Claudia Chase. I also have a review of my Mirrix Big Sister here.

If you are interested in playing around with tapestry on your rigid heddle loom, check out my Tapestry on a Rigid Heddle Loom Class.

Tapestry beater

While you can get away with using a household item like a fork or comb to beat down your weft, if you want to do it in style with a purpose built tool, a tapestry beater is a beautiful piece of equipment and quite affordable. I like the look of the Navajo beaters, I think I need one of those on my Christmas Wishlist!

Floor/ Table loom weavers

It’s hard to know where to start in this category, as the choices are enormous. I’ll go with what I know and have used myself.

David by Louet

My floor loom is an 8 shaft, 35″, sinking shed David 2 by Louet. This loom was indeed gifted to me by my husband as my very first floor loom! This is the kind of luxury gift to be remembered, the initial investment is large but the years of enjoyment and learning are worth the cost in my opinion!

Ashford 8 shaft table loom

Available in 16, 24 or 32″, I have owned a 32″ in the past (I sold it to help fund the floor loom!) and now own a 16″, which is perfect for teaching classes, weaving samples and narrower projects like scarves. These are great looms, relatively easy to set up and learn on, and a great bridging step between a rigid heddle and floor loom.

The Handweaver’s Pattern Directory

Yes, I talk about this book all the time and that is because it’s SO good! My most used multi shaft weaving book, for sure. It’s not a “how to weave” book but rather is full of 4 shaft patterns and techniques, as the title says, it really is a directory.

Learn to weave on a floor loom online class

This is my online class that helps weavers get started on a floor loom. It is very comprehensive, step by step and designed to help the student gain confidence and fall in love with their loom!

Learn to weave on a table loom online class

This is one of my mega popular classes and has rave reviews! For beginner table loom weavers or those who just feel they need help to get going.

Boat shuttles

These make a great gift for a weaver. Every multi shaft weaver needs one, and buying a boat shuttle will not break the bank. I still use the two Ashford boat shuttles I bought with my first floor loom and they have been fine, but I encourage you to look around and see what is available – there are a lot of shuttles out there, all at different price points and specifications.

Now, for my favourite suppliers!

The Woolery

My Amazon Shop

Thread Collective

Knit Spin Weave

If you are interested in my Weaver’s Gift Guides from previous years, you will find 2020 here and 2019 here.

I hope this guide has been helpful to you! If you have questions about any of the items in the guide, I’m more than happy to advise, just pop your comment down below and I’ll respond.

Until next time…

Happy Weaving!

5 Life Lessons from a Difficult Warp

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I started my latest project full of enthusiasm and confidence.

I often feel at the beginning that whatever I’m working on is going to be my best piece yet. This is an important motivating tool for me and I’m sure that many of the projects I’ve undertaken would not have come to life without this initial confidence.

You could say that I felt super confident going into this new project. Experience with the weave structure? Check! Experience with the yarns? Check! Experience with the loom? Check, check, check!!

I thought I was cool with the long and wide warp. First mistake!

I should have asked someone to hold the warp for me so I could focus on winding it on. But no, being the “independent to my own detriment” kind of person that I am, I forged ahead alone.

Let me share some more details about this project. Those of you who have been around here for a while will be familiar with my bordering on obsessive desire to weave a full sized overshot coverlet, heavily influenced by the early American Woven Coverlets.

My main stumbling point to weaving my own coverlet is the seaming. Traditional coverlets were woven in panels, usually 2 or 3, then joined. Most looms were not wide enough for the full piece, and my 90cm width Louet David is no different.

The threading for the panels has to be arranged to be able to match up when the seams are joined. This usually consists of a centre panel and 2 panels either side (if weaving 3 panels). Then the seaming method has to be chosen with the view of minimising visibility – a really good coverlet weaver will have almost invisible seams.

Another essential aspect of successfully seaming the panels is to ensure a very consistent beat so that the pattern woven is continuous once the panels are joined. That means measuring picks per inch, something I’m not particularly fond of doing.

So, my idea was to weave just one panel and to practice rearranging threading and weaving a pleasing pattern. I even had the thought initially that I could use the panel to cut into pieces and make a patchwork quilt. I’m not sure the pattern lends itself well to a quilt, but I’m not too fussed about that. I will decide what to do with the piece once it’s off the loom.

For my warp I chose 8/2 cotton in white. I have a lot of experience with this yarn and have used it extensively in other overshot projects. Normally I pair it with a fingering weight wool for the pattern weft, but this time I decided to try Australian 3ply, which is in between a lace weight and fingering weight. In retrospect, I would have been better to sett a little closer than the 20 ends per inch I chose. There is more space between pattern wefts than I would like.

I found the weaving draft in Carol Strickler’s book “American Woven Coverlets”. I made some adjustments to the draft with plenty of calculations. Yet, when it came to the threading, I found that my warp was 16 threads short! I measured out the extra threads and weighted them over the back of the loom.

After threading and sleying the 650 ends I was looking forward to weaving! But my less than ideally tensioned warp came back to bite me at this point. I had to take the initial weaving very slowly to avoid floats and boat shuttle warp dives.

Initially I felt quite angry about all this. The project was meant to be a happy and relaxing experience. It was supposed to help me progress in my coverlet ambitions.

As I sat there weaving today, I started to think. The anger had subsided to disappointment, and that put me in a reflective mood.

There are so many life lessons in weaving. Challenges, frustrations are all part of the process.

I wanted to share some of my reflections from working on this piece.

Lesson 1 – Things don’t always go according to plan and that’s OK

I once heard someone say “you expected ABC and you got XYZ”. I expected this to be a fun, rewarding project, but it was harder than I thought. It’s my reaction to the unfulfilled expectations that matters. The problem is not the problem, the problem is how I deal with the problem!

You’ve probably heard me say before that there is no perfection in this world. That doesn’t mean that we shouldn’t strive for high standards and excellence, it just means that we should have more hope than we do expectation.

Lesson 2 – Accepting responsibility

My first reaction was to lay blame elsewhere or make excuses. I was tired, I was rushed, I didn’t want to bother one of my family members to help me, I thought I’d be fine to do it myself. While there may be some truth to some of these elements, ultimately it is my project and my decision making lead to a warp that wasn’t adequately tensioned and is now causing me more difficulties in the weaving process.

I have to accept that responsibility and work to overcome and undo the problems that I made.

Lesson 3 – Patience and persistence pay off

I could have given up on this warp. But aside from not wanting to waste all that beautiful cotton that I had paid for, I also didn’t want to let the project defeat me. I know from past experience that if I give up on a project I will feel far worse than if I decide to battle through it.

I guess I have a bit of a stubborn streak, but in weaving that works for, rather than against me. Because it forces me to do uncomfortable things. Things that make me angry and frustrated. If I stop at the angry stage, then I’m suspended in that anger and negativity. If I keep going, I’m forced to work through the frustration and come out the other side, much happier and with a sense of satisfaction that even though it was hard, I did it.

Beautiful things are such a treasure that they should take time and shouldn’t necessarily be easy to achieve. They are worth the time and the effort.

Lesson 4 – Learning is a journey

Learning to weave is a journey of stepping stones, walking, then running, but never stopping and sitting down. The journey is every changing and building. Just as life is a constant striving to be better that doesn’t finish. You don’t just wake up one day and say “now I’m the person I should be”. You wake up and prepare to work and practice all the good things you know will make you better. And you repeat that each and every day, building, changing and adapting.

There may be a tendency in weaving to feel like you should know more by now, you should be producing perfect pieces by now. Instead, try to recognise and enjoy the journey and keep building everyday. I’ve talked about Slow Learning before, you can check out this video to learn more-

Lesson 5 – Adversity is good for us

This is one of those hard life lessons and not one that everyone will agree with me on. But if we spend our whole lives being pampered, having it easy and getting what we want, when we want it, we become soft and spoiled.

Difficulties help us to build character. They allow us to develop empathy. They make us strong. We don’t like hardship, because it doesn’t feel good – but that doesn’t mean it isn’t good for us.

This challenging project has certainly been good for me. Right now, I’m at a better place with it, slowly weaving (slower than I would like, but that’s just how it is) and making adjustments as I go. I feel at peace with my progress. I’ve gained confidence that I can deal with pretty much anything my loom throws at me.

I would still rather that this was the easy and enjoyable project that I originally envisioned, but I’ve shifted to a place of gratitude.

I am grateful that:

  • I have a loom and can use it
  • I have supplies to weave with
  • I can figure out how to fix things when I need to
  • I have the time to devote to this wonderful craft
  • Most of the time, I end up with a beautiful piece of weaving

And lastly, that I learn so much more from weaving than just how to weave.

If you would like to see this post in video format (and see me weaving the project itself!) please click on the video below.

Now it’s over to you. What life lessons have you learned from weaving?

Please share your thoughts or comments down below, I love to hear from you!

Until next time…

Happy Weaving!

Studio Sign with Cricut Maker 3 Tutorial

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Ever since I moved into my very first studio this year, I’ve wanted to put up an official studio sign. I thought about purchasing one online, but couldn’t decide on one that I liked.

So when Cricut Australia contacted me recently and asked me to partner with them, my first thought was “Awesome! I can make a studio sign!”

If you have never heard of Cricut before, (pronounced “cricket”) you are missing out! I admit that I wasn’t sure exactly what to expect when my Cricut Maker 3 arrived and even felt a bit intimidated by the thought of learning new technology, but I have been very pleasantly surprised.

*This post contains affiliate links. For further information, please see my disclosure policy.

The machine has been very easy to learn and I’m excited by how much more I can explore. Cricut also included a rotary cutting tool that fits into the machine so that I can experiment with cutting out shapes with my hand woven fabric. I can’t wait to do that!

Here are some of the things I’m loving about this machine:

  • The design possibilities are awesome. In addition to the availability of the app, Design Space, which has hundreds of images and fonts, you can also upload your own designs.
  • The Cricut Maker 3 doesn’t just cut paper and vinyl. It can cut fabric, leather, balsa wood – a total of over 300 materials can be used.
  • The Adaptive Tool System matches the cutting direction and pressure to match the material you’re cutting. Tools can be changed according to what you want to do.
  • Design Space is compatible with iOS, Android, Windows and Mac (I use it with my MacBook Pro).

My husband and I worked together on this project so it was double the fun – I love any excuse to work together!

My idea for the studio sign was to repurpose everything to make it a low to no cost project. Thanks to finding materials around our property and of course to Cricut for sending me the Maker 3 plus tools and materials, I am happy to report that the final result was a NO cost project!

We found some planks of wood that had been stacked on top of a low shed. Absolutely perfect, as I wanted to use naturally distressed wood and these planks fit the bill perfectly. We also used some waste wood as the braces at the back of the sign. My husband already had an old sheet of MDF (medium density fibre board), and that was used for the front of the sign.

The cut pieces of distressed wood measured around 18 x 4″ each, with a depth of just over 1.5″.

We loved the rustic look of the timber, so we left it rough without sanding, but we did need to remove the rusty nails!

My husband nailed on two short and narrow pieces of wood (also found on our property) as a brace to hold the two main pieces together. These measure about 7.5 x 1.5″ with a depth of around 1.25″.

Then we took some MDF (plywood would also work) that we had lying around to use as a front plaque on the wood frame. This was an important step, as the Cricut vinyl I wanted to apply to the front of the sign needed a smooth surface to adhere to.

My husband eyeballed the MDF to match the size of the wooden backing. He drew up some quick measurements, then cut the piece, which ended up measuring around 13.5 x 5.5″. He also cut the corners off using our scrollsaw. Then he gave it a good sand with a fine sandpaper to smooth rough edges.

We painted the MDF plaque with some old paint we found in one of our sheds. It just happened to be a great colour that would set off the gold vinyl lettering perfectly! We let this paint dry completely before the next step.

The plaque was then nailed to the wooden backing.

The rest was up to me! I measured the plaque in order to get accurate measurements for my vinyl lettering.

I went into the Cricut Design Space to get my text organised. This is really simple to do using the Design Space app. I simply typed in the text (“Studio”), chose the font, then adjusted the measurements to suit my plaque.😊

My laptop is paired with the Cricut Maker 3 using Bluetooth, which works really well with no need for cables.

Following the prompts from the Design Space app, I lay in the material I’m wanting to cut, in this case Smart vinyl in Champagne. The Smart materials from Cricut don’t require a cutting mat, it simply feeds into the machine, cuts out the design, then feeds out again.

The next step is to peel away the excess vinyl from the design using the handy weeding tool (the hook) to pull up any vinyl still stuck to the backing.

The Transfer Tape is placed over the top of the design. This allows you to peel up your design and place it precisely where you want it to go.

I positioned the design onto the plaque, smoothed it down and removed the transfer tape. All that was left to do was to hang my beautiful new sign outside my studio. I love the way it looks, and it makes my studio feel really official.

I had so much fun making this sign that I couldn’t stop at just one! In Design Space there are so many great images to choose from, so I wanted to take advantage of some of those.

I got my girls involved so that we could work together to make some signs relevant to their own hobbies and spaces.

For my 14 year old horse lover, it was a no brainer to make a sign for her tack room.

My youngest daughter is chicken crazy and the caretaker of our chicken coops.

These signs were all no cost projects for us, thanks to Cricut Australia and New Zealand, and thanks to repurposed materials.

What I’m really looking forward to now is checking out the Cricut rotary cutter tool with some of my handwoven fabric. Stay tuned for that!

If you would like to see the full free video tutorial for how I made the studio sign, click on the video below:

The Cricut Maker 3 can be found at Spotlight or Harvey Norman in Australia. In New Zealand, suppliers are Spotlight and Warehouse Stationary.

You can also find Cricut here-

Instagram: https://www.instagram.com/cricut_anz/

Facebook: https://www.facebook.com/cricutanz/

YouTube: https://www.youtube.com/channel/UCffy4UQ9lfgQPDlyEUCgWPA

Until next time…

Happy Weaving!

Do you want to start selling your weaving?

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There are numerous reasons why a weaver may decide it is the right time to begin selling their work. These are some of the most common reasons:

  • An ambition to make a living doing what you love

  • You have more woven items than you know what to do with (I think we can all relate to this one!)

  • You would like some spare money to buy more yarn or weaving supplies
  • Although there is a lot to learn when it comes to beginning to sell your work and it can feel intimidating, you can start out very small and learn as you go along. Don’t feel as though you need to know “all the things” before you start selling.

I’m going to talk about a few key points to think about when you start selling. It’s not an exhaustive list, but more of a guide to get you thinking in the right direction.

Key Points to begin selling:

The Why?

Have a serious think about your personal reasons for wanting to sell your hand wovens. This will help to determine the kind of approach you might want to take when starting up.

For example, if you are a hobby weaver and wish to make a little money on the side to fund your hobby, your approach will be quite different to a weaver who wants to work towards making a full time income from selling.

Deciding on what level of selling you want to get into will help to determine all of the next steps.

Space

Many weavers will begin by weaving items in their own homes and then selling them. Consider whether you have the right space and enough space to house your woven pieces ready to sell. Do you have a good work flow, or is your space a total mess? Do you need to rejig your space to make it more viable, or find a different space within your home that is more conducive to weaving for a business?

The weaver who is more serious about selling may have to consider other avenues for making a space just for weaving. When I was selling physical handmade items, I did have a space within our home, but it was a shared family space. This became increasingly difficult over time, as my tools and items made their way into other parts of the home, and other items of the home made their way into my space. It was a great way to start out, but not all that viable over time.

If you don’t have a dedicated space for your weaving, you may also find the constant set up and storing away of tools and materials difficult.

Time

Are you in a position to devote the time to selling? Being realistic about the time you need to put into selling is important. It’s not just the weaving of items to sell, but possible liasing with customers, wrapping and packing, set up and pack up for markets, business recording requirements.

Sustainability

Is a weaving business going to be a positive thing for you? Are you prepared for the bookkeeping, packing and shipping, photography, travel and all the possible necessities revolving around being a business owner? I don’t detail any of these points in order to put you off, but I think it’s fair to say that many people have no idea what goes into a business behind the scenes – this has certainly been an eye opener for me over the years!

As I pointed out earlier, all of these things can be learned, but some weavers, after consideration, may well decide that they would be more content keeping their weaving as a hobby.

Will it pay?

This is very relevant to sustainability, but also deserves it’s own section because it’s a major consideration when selling your work.

I have experienced first hand how difficult it can to have to let go of a business idea because it is not financially viable. Many years ago, when my children were small, I handcrafted Waldorf style dolls for sale. I started out making dolls for my children, but really loved the creative process and so began selling them also.

These dolls were a really big time investment, you can’t hurry the process of first making the doll, embroidering the face, sewing on (and sometimes knitting the wig first to sew on!) the hair, then completing further details like sewing a full outfit. I chose to use beautiful, natural materials like the best quality cotton tricot for the skin, mohair for the wigs, gorgeously carded wool for the stuffing and European fabrics for the clothes.

It was after a my first negative experience with a customer who felt the customer doll I made for her did not look enough like her daughter (!!!) that I started to ponder how much time I was spending making a doll and what I was actually getting paid for all that work.

I used a calculation formula and was absolutely dumbfounded with results. I was making negative $1AUD per hour! That is correct, it was actually costing me $1 per hour to run that business.

I was a little bit heartbroken, but I stopped offering my dolls for sale.

The point is, I never did my research in the first place to determine if it was a viable business venture, and so I learned the hard way.

Here is a basic formula to get you started:

Supplies cost + labour (your time) + 10% (other costs eg. fees, packaging, insurance)

Here is a practical example for how you might use this formula for a weaving business (these calculations make the assumption that you already have a loom and all the tools you need to actually weave the project, and also that the customer is paying for shipping, if applicable –

The item – A bamboo scarf

Materials cost –

  • Warp – 2 cones Bambu 7 @ $18AUD each = $36
  • Weft – 1.5 cones Bambu 7 @ $18AUD each = $27

Total materials cost = $63 AUD

Labour cost-

This is how much you wished to be paid per hour. This is a very personal decision, but for the sake of this exercise, I will put my desired hourly rate at $20AUD.

Now is the tricky part – how much time does it take to weave a scarf? In this example, I’m using a floor loom, which takes a good while to set up! I also have to allow for weaving time, things like hemstitching, wet finishing, packing time and even liasing with the customer if that applies. I’m going to estimate 5 hours for this, though that is probably too low. I never time a project, so it’s just an estimation.

5 hours of labour at $20 per hour = $100AUD.

So far we have total materials cost of $63 + labour of $100 = $163

Now we take that figure and add an extra 10% to allow for other, often hidden or forgotten costs.

So, $163 + $16.30 = $179.30

If you would like a quick and easy way to know your costs, check out my free interactive Weaving Cost Estimator.

Here I’m going to insert my personal opinion again 😊 You can take it or leave it, I’m just sharing thoughts. Pricing is a delicate and sensitive issue, it’s essential that you do what works for YOU. I’ll make a couple of points to ponder over:

  • It’s very important to not “cheapen the weaving industry” by charging too little. People complain that non weavers don’t understand the time and skill that goes into a woven item. Well, the best way to change that perception is by charging appropriately for your work.
  • When you are starting out selling, it is likely your work will not be as good as someone who has been weaving professionally for some time. That is OK, there is absolutely nothing wrong with selling pieces that are “not perfect” but be realistic in your pricing. I’m not talking about being cheap. But you may expect to price your work lower than someone who is known as a professional weaver, has an excellent reputation and consistently delivers high quality. You can adjust your pricing over time, as your work improves and there is nothing wrong with that. Everyone has to start somewhere!
  • Your time is valuable. If you are weaving as a business, make sure your hourly rate (labour) is an amount that is sustainable for you and that you feel good about. Again, this can always be adjusted over time, but trust me, you are not going to feel motivated to weave beautiful things for customers if your hourly rate is below minimum wage or worse.

There are many more points to discuss when it comes to selling, some of which include:

  • Avenues for selling and finding the right avenue for you.
  • Legal and tax requirements.
  • Getting the word out.
  • Copyright issues.

If you would like to dive deeper into this subject, have a member’s only class – Selling Your Weaving class, which is a 40 minute discussion workshop to get you thinking about whether selling is right for you.

I also have a video that discusses many of the points listed here, plus more:

And if you are interested specifically in selling on Etsy, I have this Youtube video from the perspective of 10 years of selling there:

In addition to my Etsy shop I now have my own store Kelly Casanova Designs. I use Shopify to host this store and I think it’s a great option for weavers who want to sell and have an interested audience already.

You can get your first month for just $1 when you sign up to Shopify for a free trial.

If you are ready to start your own email list, I recommend using Convertkit. This is the company that I use for my mailing list and I think it’s awesome. Perhaps you want to see what my emails to my list actually look like? You can do that by signing up to my mailing list.

I hope this post was helpful to you! I would love to continue the discussion, so if you have any comments or questions, please leave them in the comments section down below.

Until next time…

Happy Weaving!

The Heart Scarf Free Project

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The Heart Scarf is my free project for the year of 2021. Let me give you a little bit of background as to why I’m doing this and how I came about designing this project.

Last year, when the pandemic hit, I released the Wash Your Hands Towels project, which was a hugely popular project. I know that all of you appreciated so much, having something concrete, beautiful and creative to be able to fix your minds on in a time where there was such uncertainty.

I loved doing that project so much for you that I wanted to do something similar this year. And something that has really been on my heart and in my mind for most of this year in particular, is that I know there are so many people out there that as a result of everything that’s been happening in the world are chronically lonely.

*This post contains affiliate links. For further information, please see my disclosure policy.

So I wanted to create a project whereby you as the weaver would be weaving this beautiful scarf called The Heart Scarf. And you’d be weaving it with someone in particular in mind, someone who may be struggling with loneliness, perhaps they’re not able to get out and see their family and friends like they normally would.

Or you might know someone who’s struggling, feeling down, perhaps they live alone, or they have some other difficulties that cause them to feel that loneliness, really, that’s one of the most heartbreaking things for me to think of is that there are people out there who are just desperately lonely.

If we, as the makers of beautiful things, can do anything to make someone’s day a little bit brighter, then that’s definitely something that I want to be a part of. And I know that many of you would want to as well.

I’ve written a short poem from my heart. This poem is available to print out in either cursive or print, along with the free pattern. Once you’ve finished your scarf, you can package it up with the poem if you so choose, or perhaps with something that you want to write yourself and send it off to the recipient.

Perhaps you’re feeling really lonely yourself, perhaps it’s been an awful year for you, perhaps you’re having a hard time for other reasons. If that’s the case, I would love for you to weave this scarf for yourself and you can consider the words of the poem from me to you.

Let’s get down to the nitty gritty and go over the project details, starting with what you need to complete this project:

A rigid heddle loom.

Now, the width of my scarf on the loom is 11″ and I used my 24″ rigid heddle loom. BUT, if you have a smaller loom, you can absolutely weave this scarf. If you have a 10″ Sampleit or a Cricket, just warp the full width of the loom for a slightly narrower, but equally lovely scarf.

A 7.5 dent heddle/reed.

Again, this doesn’t have to be sett in stone. (Get it? Sett in stone?) If you don’t have a 7.5 dent heddle, you can use your 8 dent. If you want to change the heddle size completely, yes, you can – but you would also need to change to a more appropriate yarn size, so just bear that in mind.

Pick up stick

We use a single pick up stick to create the beautiful, textural scarf pattern. The pattern is simple to pick up with your stick and also simple to weave with a 4 step repeating weaving sequence.

Stick shuttle

You only need one stick shuttle for this project, as we use the same weft yarn and colour throughout the project. As long as it’s wider than the width of the piece on the loom (11″), you’re good to go.

Tapestry needle

This is an essential for hemstitching. My favourite tapestry needle of all time is the Clover Gold Bent Tip Needle. I’ve talked about these needles before, but I love them for several reasons:

  • They slide through hand woven fabric beautifully
  • The bent tip makes it really easy to dive down and come up through the fabric without having to perform hand contortions!
  • They are affordable
  • They are gold! Who wouldn’t love that?! (And if you’re prone to, ahem… losing things, the gleam of the gold is quite helpful!)

Fringe Twister

Whether you twist your fringe or not is optional, but it is a beautiful way to finish your scarf. I talk about some other options for fringes in the finishing video if you want to choose a different way. There are many brands of fringe twisters available, I have had a LeCLerc Fringe Twister for many years and have been very happy with it.

Reed and threading hook

Most rigid heddle looms will come with one or both of these, but I would like to recommend the Ashford Doubled Ended Hook for it’s durability, ease of use and affordability. I have a whole bunch of these little hooks around my studio and my old metal threading hook that used to split all my threads doesn’t get a look in anymore.

Yarn

To see all the yarn details, please download the pattern. For the warp, I used Lion Brand Mandala yarn in Gnome, dk weight. This yarn is an acrylic, but I have some other suggestions in the pattern if you prefer to look at other options. My weft yarn was a super wash wool in dark grey in a fingering weight.

Weaving level

I designed this project to be achievable for beginners but interesting enough for more experienced weavers. If you are an absolute beginner, I recommend that you take my Woe to GO! Beginner’s class before attempting a project like this.

How to get the pattern

The file underneath has a “download” button at the bottom. Click on that to download, then choose either to print the file or view it on your screen. The pattern PDF includes all the details you need for the project, including yarn amounts, materials, pick and weaving sequences plus the poem in either cursive or print – your choice!

The-Heart-Scarf-Free-Pattern-1Download

You can view the first of 6 videos on Youtube –

The full video lessons and printable pattern are also available all in one spot at the Online Weaving School if you would prefer to watch there.

I hope you love this project and bring joy to someone’s life (or to your own!) by taking part.

Until next time…

Happy Weaving!

Tablet Weaving for Beginners: Essential Tools and Set Up Guide

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Tablet weaving is a fascinating and versatile technique that lets you create strong, decorative bands with intricate patterns. Whether you’re a complete beginner or transitioning from another type of weaving, this guide will walk you through everything you need to start tablet weaving—including must-have tools, setup tips, and beginner-friendly advice!

What is Tablet Weaving?

Tablet weaving (also called card weaving) is an ancient technique that produces narrow, sturdy bands with often complex and intricate patterns. Unlike rigid heddle or frame looms, it uses typically square tablets or cards (other shapes are also sometimes used) with holes to manipulate warp threads, creating unique designs.

This method has been used for centuries across different cultures, and it remains a favorite among modern weavers for its portability and creative potential.

Let’s go through what you need to get started with tablet weaving.

Essential Supplies for Tablet Weaving

To get started with tablet weaving, you need just a few tools and materials:

1. Weaving Cards (Tablets)

  • You can buy commercially made weaving cards or create your own from playing cards or cardboard.
  • Most tablets are square with four holes, however different shapes and hole arrangements may be used for various techniques.

2. Warp Yarn

  • Choose strong, smooth yarn that resists fraying—cotton, wool, or linen are excellent options. 8/2 cotton is one of my go to yarns for tablet weaving.
  • A contrasting color pattern helps make designs more visible for beginners.

3. Weaving Surface or Loom

  • Tablet weaving can be done without a loom by anchoring warp threads to a stable object, such as a table leg or belt.
  • However, using an inkle loom or backstrap setup can make the process more controlled and ergonomic.

4. Shuttle

  • A small, flat belt shuttle with a bevelled edge is used to pass the weft thread through the warp and help maintain even tension. If you have an Inkle Loom, normally you will receive a belt shuttle with the loom purchase.

5. Tensioning System

  • Good tension control is crucial! Again, the Inkle Loom is an excellent tool for weaving bands and can achieve a high tension.

How to Set Up for Tablet Weaving

  1. Prepare Your Warp Threads – Cut yarn to the desired length, ensuring even tension.
  2. Thread the Tablets – Pass warp threads through the holes in each card according to your pattern.
  3. Arrange the Tablets – Stack them in the correct order with an even distribution of tension.
  4. Anchor the Warp – Secure one end to a fixed object and the other to a belt or loom.
  5. Start Weaving! – Rotate the tablets in a sequence to create your pattern, passing the shuttle through after each turn.

For more detailed instructions specific to an Inkle Loom, keep reading ⤵️

I have a free printable checklist for you to download and use. You can tick the set up steps as you go, ensuring you don’t miss anything important!

Checklist for setting up your inkle loom for tablet weavingDownload

Tips for Beginner Tablet Weavers

Find The Warping Style that Best Suits You – Yes, there is more than one way to warp and thread your tablets. My online tablet weaving course shows you two methods that work really well.

Practice Turning Direction – Some patterns require alternating forward and backward turns to achieve the correct design.

Start with a Simple Pattern – A basic forward-turning design helps you learn the technique without frustration. There are many exciting options for weaving with cards, but starting simply is the way to go.

Maintain Even Tension – This prevents distortions and ensures a uniform band width.

Use High-Contrast Colors – They make it easier to see how the pattern is forming.

TABLET WEAVING FURTHER RESOURCES

My Tablet Weaving on an Inkle Loom course is the perfect learning tool. With step by step instructions and over 4.3 hours of video content, multiple printable PDF’s and links to additional resources, you will be weaving beautiful bands in no time.

I also recommend the book Card Weaving by Candace Crockett if you’re just starting out.

If you’re looking for an Inkle Loom to purchase, I recommend the Lojan Inkle Loom. Not only is it easy to use, it also has extra options for tablet weaving, like a tablet weaving board, cardboard tablets and the ability to re-configure pegs specifically for card weaving!

If you are in Australia I am a reseller for Lojan products here. Please contact me with enquiries. If you’re in the US, you can find Lojan inkle looms and tools here. Find locations for other resellers on the Lojan website.

You can check out my assembly video and Lojan Inkle Loom review here (as well as nab yourself a free inkle pattern! 😉)

Only just starting out on an Inkle Loom? It’s best to get to know your loom by completing some plain weave bands before attempting tablet weaving. Check out my Inkle Resources Page for heaps of free and some paid resources.

I hope this post was helpful to you, if you have any comments or questions, I would love to hear from you in the comments section below.

Until next time…

Happy Weaving!

*This post contains affiliate links. For more information, please see my disclosure policy.

*Updated 3/4/2025

Make your own roll on perfume

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I’ve never been a great fan of commercially available perfume. It’s very challenging to find a scent I actually like enough to wear and I find a strong scent is overpowering and sickly.

I do love essential oils though, so when I made my first roll on perfume, I was hooked!

*This post contains affiliate links. For further information, please read my disclosure policy.

I think roll on is an awesome alternative to shop bought perfume for several reasons:

  1. There are so many essential oils available so it’s not hard to find scents you enjoy.

2. It’s cost effective. Yes, good quality essential oil can be expensive, but you only use 20 drops per 10ml roller bottle.

3. A bottle lasts a long time and the scent lasts well on your skin.

4. The ingredients are all natural.

5. The scent is less “cloying” and more subtle than many commercial perfumes.

6. You can custom make your own scent combinations.

I know a lot of people talk about the health benefits of essential oils and I’ll be completely up front about the way I personally use them. I have never discerned any physical health benefits from my use of essential oils. I just like the scents, both on my skin and diffused into the air. Nice scents make me happy, and that is why I use them!

You don’t need to be daunted by the idea of making your own perfume, it’s really so simple you won’t believe it!

You will need a few key ingredients though, and you may not have these already.

For Australian readers, these products can all be purchased from an Australian based company:

  • Essential oils You can purchase these as either single oils (eg. lavender) or blended (will usually have a name eg. “harmony blend”.)
  • Fractionated Coconut oil (This oil is formulated to not solidify at room temperature. This is important, as we need a liquid carrier).

Or, for my international visitors, these products can be purchased on Amazon.

  • Essential oils. You can purchase these as either single oils (eg. lavender) or blended (will usually have a name eg. “harmony blend”.)

Safety warning:

Not all essential oils are recommended for use on the skin. Many can be used safely when mixed with a carrier (as we do to make the perfume roller bottles) but you should always spot test before you start using them routinely, just to ensure there is no reaction. There are some oils that should not be used during pregnancy.

There is a really good article here that lists the potential dangers of oils if not used correctly, and this page lists oils that are either safe or not safe during pregnancy.

Let me show you how easy it is to make these!

The recipe for the bottle I’m making here is my absolutely favourite. It’s like candy floss without the sickliness! This is for one 10ml roller bottle:

Firstly, gather all your ingredients together, including the essential oils (if using more than one) you will need. Remove the lid and the roller seal from the top of your bottle so that it’s open at the top.

Pour in the coconut oil until the bottle is around halfway full.

Now drip in your chosen essential oils. If you have a larger bottle of essential oil without a stopper, you may want to use a drip tool for better precision.

Continue to fill the bottle with your coconut oil, but don’t fill to the very top, as this leaves no room for shaking and could overflow when you put your roller top back on.

Place the roller top back on, pushing it down so that it seals. Replace the lid.

Give the bottle a light shake and you’re good to go!

I like to roll my scents onto my wrists and on my neck, below my ear lobes.

I also love to diffuse scents in my studio while I’m working or in my bedroom, it feels so luxurious. I use a diffuser similar to this one, which is great for someone as forgetful as me, as it shuts off automatically if the water dries out. I hope you enjoy making your own perfumes! If you make some of these, I would love to hear what you think of them, so be sure to come back and leave me a comment 😊

Until next time…

Happy Weaving!