Kelly

Which weight of yarn do I choose?

For newer weavers, yarn choice has to be one of the biggest conundrums. We are totally spoilt for choice when it comes to variety of yarns available these days, but there are some important aspects to consider before you start shopping.

I often recommend that newer weavers start out by using knitting yarns. There are a couple of reasons for this.

Knitting yarn is readily available.
It is usually economical.
Many new weavers have a knitting background and therefore will often have a healthy stash of yarn!
Knitting yarn often has a nice amount of elasticity and are therefore quite forgiving to work with.
And finally, it’s usually thicker than weaving yarn, so for first projects it is an excellent choice – it will make your warping and weaving faster and easier.

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

When you purchase a weaving specific yarn online or in a shop, the recommended sett for that yarn will often be provided. Not so with knitting yarns, which tend to come with knitting needle or crochet hook recommendations instead. But, this is no problem to the savvy weaver who knows how to figure out the sett for her/himself! All you need is your chosen yarn and an inch ruler.

If you’re not familiar with the concept of sett in weaving, I explain it in this video:

And if you need an easy demonstration of how to figure out the sett for your chosen yarn, I recommend this video:

The demonstration in this video refers to balanced plain weave, the twill equation is a little different.

The next consideration after you have figured out the ideal sett is what you’re actually weaving. A scarf, for example may require a different approach to a table runner or placemat, even if you’re using the same yarn.

Let me give an example:

Say I have a light worsted weight (Australian 8 ply, DK) cotton that is lovely and soft. Say that I’ve done my wrap test to determine the sett and it showed me that my 7.5 heddle/reed is the best option. I go ahead with this sett because I want a soft and slightly flow-ey scarf.

I like the yarn so much that I decide to also use it for a table runner. But I want my table runner to have a firmer feel, so that it stays put on the table and is somewhat solid. Given my experience with weaving the scarf at a sett of 7.5, I decide that I’m going to use my 10 dent heddle/reed for the runner, as it will ensure that my warp and weft interlacement is closer than it was with the scarf, giving me a firmer fabric.

Here is a little tip when selecting a yarn for a woven piece you intend to wear eg. a scarf. Hold the yarn to your cheek and lightly rub back and forth. If the yarn feels scratchy or unpleasant to your skin, it will not be suitable to wear. If the shopkeeper and patrons are knitters, crocheters or weavers, they will understand what you’re doing. If not, you may get some odd stares!!

There is another, basic test you can perform if you’re unsure of yarn to heddle/reed suitability.

That is to grab your yarn and thread a single of it through a slot. If the yarn doesn’t fit through the slot, it is too thick. If it doesn’t fit, but you have to encourage it to get through, it is likely too thick. If you rub the yarn up and down in the heddle/reed and it seems a bit squashed, it is likely too thick.

Remember that your yarn has to deal with that friction for the entirety of your project, so if there is too much friction you increase the likelihood of broken warp threads and a less than comfortable weaving experience.

Likewise, if you thread your yarn through a slot and there is a heap of space leftover and your yarn seems very loose in the slot, it may not be the right heddle/reed for your project. Unless of course you are trying to achieve an open and airy fabric!

So, what if you don’t have a heddle/reed that is the equivalent sett for your yarn?

This can happen when using a finer yarn. The finest heddle/reed currently available for a rigid heddle loom is a 15 dent. But the recommended sett for my yarn is 30. Well, you can simply double your ends to achieve the right sett.

Then you have the choice for the weft, if using the same weight of yarn as warp, whether you double the weft as well or not. And this choice comes back once again to the purpose of the project and the type of fabric desired. Which brings me to sampling.

I used to think that sampling was a big waste of time. I’m not sure at what point I became a sampling convert, but it was probably somewhere in the throws of another project that did not turn out as anticipated.

Sampling is an absolutely failsafe method to guarantee the success of your project. It allows you to try the yarn at a particular sett, in particular colours, experiment with weft density, take the project off and wet finish. So, you get a mini glimpse of what your actual project will look like. It’s a very valuable education tool!

There is a lot to cover when it comes to the topic of yarns and this post really only scratches the surface.

If you found this post interesting and want to delve further into choosing yarns and understanding all the numbers, I have an online class that could be just the ticket. This is a short and sweet class that includes PDF charts for selecting the correct heddle/reed for your project and converting yarn terms for different countries.

You can purchase the class by following this link.

I have some other yarn related resources that will be helpful too.

The Weaver’s Toolkit is an ebooklet that includes all kinds of useful charts and information that are invaluable to the weaver.

I also have an “All about Yarn” playlist on Youtube, which includes 11 free videos:

I hope this post has been helpful to you, and as always, comments and questions are welcome.

Until next time…

Happy Weaving!

Colour and Weave

by Kelly 12 Comments

Recently I was talking about patterns for the rigid heddle beginner (you can read that post here if you missed it). I briefly mentioned Colour and Weave as an additional technique to jazz up your weaving, but decided that it would need to have it’s own discussion, as it is so versatile and varied.

Firstly, what is colour and weave?

Well, it’s very simple. It’s the introduction of colour, usually in a set sequence, first in the warp and then also in the weft. When you begin weaving, that is when the magic happens!

The prearranged colours cross paths and have a party on your loom 🥳

Plaid, which I discussed recently is a type of colour and weave, as you have set colours in set amounts in the warp and then cross with the same colours and amounts in the weft. Take a look at this post if you want to see some examples of plaids I made on my weaving software.

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

When the warp and weft colours cross over each other, they can produce some very interesting effects. You can use colour and weave in all kinds of weave structures, but it works great for plain weave and is perfect for the newer weaver. You are still weaving your familiar plain weave, but it can look very different! My Candy Store Scarf is the perfect example of this.

Colour and weave is wonderful for the rigid heddle weaver as it is such a simple “next step” once you have practiced plain weave and are looking for a new and interesting challenge.

Some of the most famous and popular examples of colour and weave are Log Cabin and Houndstooth. These are often considered a “next step” for weavers venturing out from limited colour plain weave.

Although you can use multiple colours for both of these weaves, it can be a good idea to limit the colours to two that contrast well, otherwise the beauty of the crossing colours can become a bit lost.

Houndstooth colour arrangement is very simple, whereas log cabin is a little more complicated and warping can take quite some time. So, if you are a newer weaver, definitely have a go at houndstooth before attempting log cabin.

Jane Patrick’s “The Weaver’s Idea Book” is a great resource for getting started with this technique. She has a section on weaving a colour and weave sampler and it includes many examples or suggestions for colour arrangements.

If you’re interested in exploring colour and weave, you have come to the right place! Here is a list of resources I have that can help.

Log Cabin Table Runner Class

Log Cabin Rable Runner PDF

Houndstooth Placemats Class

Candy Store Scarf PDF

The Town Bag PDF

The Weekend Scarf PDF

Finally, I want to mention the applications of colour and weave beyond 2 shafts. Pinwheels are an easily recognisable example of this and can be woven on 4 or 8 shafts. Even though there are more shafts, the initial warp colour setup, then weaving colour sequence is still an essential aspect. My Pinwheels Table Topper class shows you how to set up your rigid heddle loom to weave this beautiful 4 shaft pattern.

When you get into 4 shafts and beyond, you can play around with your colour placement in the warp and weft in order to highlight certain areas of pattern. When I wove some bread towels for myself, I included a contrasting strip of red in the warp.

This is really not a colour and weave because I had already threaded the loom with the intended pattern – the pattern didn’t appear strictly because of my colour placement.

But I still think it’s worth mentioning to highlight how patterns can appear or at least become more prominent when selective colour arrangement is used. If I had planned this piece better, I would have ensured in the design process that the strip of red was going to be wide enough for one full repeat of the pattern – you can see part of the pattern has been cut off.

Another example from a 4 shaft project for the floor loom or table loom weavers is the Bright and Beautiful Towels.

This project uses a twill weave structure but strategically uses colour in the warp and weft so that they meed at specific points of the pattern AND so that they weave squares. This twill pattern is beautiful to begin with, but playing with the colour arrangement makes it truly unique and eye catching.

I think it’s a wonder that so many fascinating patterns can appear just by the meeting of colour!

I hope you enjoyed this post, and please leave any thoughts of questions you may have in the comments below – I would love to hear from you!

Until next time…

Happy Weaving!

High Hopes

by Kelly 14 Comments

I read a quote recently that really impressed me. I don’t make New year’s resolutions, but the end of the year is a perfect time for a bit of reflection. Homeschooling has finished for the year and I try to take a break from making classes and just be peaceful and restful. With this gear change comes thoughts of what I did well during the year and what I could have done better.

The quote was “Have high hopes and low expectations“.

At first glance, it may seem a little defeatist. But something that 43 years on this earth has taught me is that life is a roller coaster. Many wonderful things happen and there are many, often bitter disappointments.

I don’t think it’s life that needs to change though. I think it’s the way we look at it that needs altering. If we expect that everything will be always rosy, we are kind of like spoiled little brats who never experienced a hardship.

Have you ever visited an impoverished country or area? Do the people go about with gloomy faces? Are they angry at life… or at God? No, they have something that many of us in our wealthier society have lost and forgotten.

They have little.

When you have so little, you appreciate what you do have. And you are grateful for anything extra that comes your way. Your life is simple. You have clothing, shelter and food for today – then you have everything you need and you are thankful. You have hopes that life may improve, but you are content to live simply.

So, I’m making this quote my motto for 2020.

My hopes are high. I hope this year that all of my family are happy and have good health. I hope that my business grows and that I can make my Online Weaving School even better. I hope I get lots of time to weave and learn. I hope that my husband’s back injury may improve. I hope that we can meet all of our financial responsibilities. I hope that we can finally make our move to the country. I hope that we have a great homeschooling year. I hope that my understanding of my faith will increase. I hope that I can love and serve God better than ever before.

And I will try to expect nothing.

There is a big difference between hoping for the best and expecting the best. One makes us joyful – the other miserable. One is a freedom, the other a slavery to our own thoughts and desires.

So tell me friends, is this something that you struggle with too? (oh yes, this is a huge struggle for me!) Share your hopes in the comments below!

Until next time…

Happy Weaving!

What running a creative, online business is really like.

by Kelly 156 Comments

I’m well aware that as an online weaving teacher, designer and encourager, I have a lot of people’s dream job.

I design my own classes and projects, I make my own hours around my family commitments and I work from my own home.

It could be easy for those on the outside looking in to think “she is so lucky” or “I wish I could do that”. And honestly, I consider myself so blessed to be able to do this. But there is definitely more than one downside to being an online entrepreneur.

Tracy from Knit, Spin Weave wrote a blog post recently that was quite candid about the reality of owning a creative business. It struck a chord with me.

Being a part of the online world can have it’s ups and downs. People will type things that they would not dare to say to your face (depending on their level of rudeness I guess!) It has been suggested that I am somehow a greedy person lacking charity because I choose to earn money from my business rather than doing it just as a hobby. I guess that person (and yes, unfortunately it was someone well known in online weaving circles) never too the time to browse through my completely free blog and Youtube channel. Or signed up for my email list for extra free information, patterns and inspiration. I think I have published more free content to the internet than paid content. I guess that person has no idea how much time I spend every single day at my computer responding to questions and helping weavers with advice. That is not paid either, but I feel it’s an essential part of what I do.

Is there something wrong with wanting to earn money doing what you love? I certainly didn’t make any money for a long time and now earn a modest income. Out of that modest income, I of course pay taxes, materials for projects, online selling fees, I could go on and on. I pay well over $1000USD a year for online course hosting, the same for this website, $79USD per month for email hosting. The costs of actually running a business can be huge, thousands of dollars every year, even without a bricks and mortar shop.

There are times, many times where you simply do not make any money. But still, the bills must be met. And the work must continue. Yes, unlike a wage job, you have to continue to put in the work, whether or not you are being paid for it.

As a business owner, I do everything. I don’t have help with the business, apart from my wonderful sounding board husband and my son who occasionally does closed captions for me when he has time. I’m in that very tricky position of the business growing but still not earning enough to hire out help occasionally – every penny goes back into the business and into raising my family.

I did not start out intending to make money from weaving. It was, and is my passion and above all I wanted (and still do want to) share my passion with others and ignite the same passion for them. My Online Weaving School only grew out of a demand from weavers who had seen my Youtube videos – I had no idea about online courses. Over the past 3 years I’ve seen the potential grow from a hobby to a business. This has allowed me to continue to stay home with my family, homeschool our kids and contribute to our income, which has been an amazing blessing and as a stay at home Mum, was something I prayed about for years and years.

A hobby that is all of a sudden taking over every waking hour can not continue to be a free hobby. It would not be fair to my family if I spent so much time on a hobby that did not otherwise contribute to all of us.

Anyone who has seen my online classes or has purchased a pattern could not claim that I overcharge. I purposefully keep my prices as reasonable as I can. I want weaving to be accessible to anyone who wants to learn, that is why I continue to upload to Youtube even though I don’t need to anymore and the revenue that I earn from ads on Youtube is a very, very small portion of my income.

Perhaps it’s the wrong time of year to be writing this kind of post, but I do feel very reflective as the new year approaches. Perhaps it’s wrong of me to share this kind of information with those who follow me for my lessons and tutorials. It’s certainly something I don’t normally talk about, but I want people to know that this is not all easy and fun. Not just for my sake, but for the sake of other business owners in similar situations.

The internet can be so deceptive. I do love Instagram and social media but there are times I just want it all to go away. Social media can be a monster that never rests, there is always someone doing better than you, looking better than you, having more than you. Increasing the anxiety of those who use it. But don’t be fooled. Things are not always as they seem.

If there is only one point that you take away from this lengthy and disjointed post, I hope that it will be this:

Be kind. Don’t judge. Be patient with others. You can’t see behind the scenes and you can’t assume to take everything at face value. People are complicated, life is complicated! We all have to do our best to love one another, even though it’s possibly the hardest thing we are asked to do.

You know what? I think I need to go and weave something wonderful. I’ve been thinking about Krokbragd again…

Until next time…

Happy Weaving!

Should I buy a larger loom?

by Kelly 19 Comments

One of the number one questions I’m asked by either brand new or seasoned weavers is “Should I buy a larger loom?”

In this post I will take you through the main points to consider when you’re wondering whether a size upgrade is the right choice for you.

*This post contains affiliate links.

The first consideration is what type of loom we’re talking about. Most people who ask me are rigid heddle weavers. So I’ll cover rigid heddle looms first, specifically Ashford looms, as they have the largest sizes available.I often recommend my 24″ loom as a great starting point for a beginner who wants a decent, but not huge width. It is wide enough to weave smaller width items like scarves but just large enough to weave kitchen towels and bags.

You can, of course weave yardage to sew with (to make your own clothes and larger items) but that involves sewing panels together to make wider widths. Depending on the item you plan to sew, this may or may not work well.

Beyond the 24″, the next size up is the 32″ rigid heddle loom. The largest currently available is the 48″ rigid heddle loom.

When considering a larger loom, consider the following points:

Do you have the physical space for a larger loom?

If you buy a rigid heddle loom 24″ (that is the size I have) or above, I would definitely recommend to also purchase a stand with it.

I personally would not enjoy using a larger loom trying to lean it on the edge of a table or similar, and I don’t think that this would allow you to maintain a beneficial weaving posture. A good posture is really important – even if you have no physical injuries or problems, know that you could develop problems long term through repetitive poor setup and practices. So a stand is well worth the investment.

But, this means that your loom will be free standing rather than packed away. Do you have a space where you can set up a loom of that size and leave it on the stand when finished? Or does your living space/s dictate that your loom would need to be packed away in between uses?

What is your budget?

This is a pretty important consideration for most of us! Naturally, the larger your loom, the more it will cost. And not just the initial outlay for the loom, but addition tools or pieces that you wish to add along the way. Every time you buy a different sized heddle/reed, a pick up stick, a stick shuttle – these are all going to be larger to compliment and fit your loom and that will cost more.

Here are a couple of examples as a comparison. I’ll list the 24″ loom specifics as compared to the 48″. All prices are in US dollars.

24″ RHL and stand – $394 USD (you can sometimes find a combo deal of the loom and stand together for a slightly cheaper price).

24″ 10 dent reed/ heddle – $37.50

22″ stick shuttle – $7.50

48″ RHL and stand – $695

48″ 10 dent reed/heddle – $89

48″ stick shuttle $40

Uh huh, big price differences!

What do you intend to weave?

Some new weavers don’t really consider this when purchasing. Not being familiar with the possibilities or not having used a loom before, it can be very difficult to know what items you will end up enjoying weaving. If you only intend to weave scarves and smaller items, why go to the expense of the largest loom?

On the other hand, you may find that your absolute favourite thing to weave is baby blankets or afghans, therefore making the larger loom well worth your consideration. What if you make the decision to buy a smaller loom but after a little experience find that you want something larger?

Well, the good news is that rigid heddle looms are easy to resell. If you have kept it in good condition, it should be easy to find an eager new weaver willing to take it off your hands for a fair price. You can then use this money to invest towards the larger one.

How is your back?

Back or shoulder problems? Neck trouble? Then you need to consider carefully whether a larger loom is the right choice for you. A larger loom means a much wider reach with a shuttle.

As an example, I can sit very comfortably at my 24″ on it’s stand, extend each arm out to insert the stick shuttle and not have to move forward in my seat.

As someone who has a back injury and regular flare ups, if I had to lean forward or to the side every time I wanted to throw a pick, that would be a real problem for me. It would be a much greater strain on my body. I prefer to accept my limitations and be grateful that I am able to weave on the 24″ and plan my projects accordingly.

That brings me to the next related topic, the table or floor loom.

I’ve written a large number of articles on this topic, here is a list of those posts if you’re interested in researching more.

When I had my 8 shaft, 32″ table loom it was a little more difficult to weave on when I had it fully warped, but with the correct height adjustable chair, it was more than manageable. I still miss that loom, I sold it to make space and provide extra funds for my floor loom. I’ve since replaced it with a smaller 16″ table loom that I can use for teaching purposes – perfect!

Now that I have my Louet David 2, 35″ floor loom, even though it is the widest loom I have owned, it is a good fit for me width wise. It is wide enough to weave baby blankets and wide shawls.

Recently I wove yardage on it for my Clothtober project, which was a tunic for me and it worked out well. So, why is this loom not a problem for my back? Well, I always use a boat shuttle with this loom.

Because the tension is excellent, I can shoot my boat shuttle back and forth with ease. I am also seated on an adjustable piano bench and find that I develop a slight rocking motion as I get into the weaving rhythm. Although my shoulders do get a little sore if I put in a long weaving session, it is not excessive and generally my back is fine as long as I’m not in a dreaded flare up phase.

The action of throwing a boat shuttle is quite different to passing a stick shuttle. Yes, you an use a boat shuttle with a rigid heddle loom too, but I generally don’t because it can’t hold the same tension so I end up mostly passing the boat shuttle through anyway.

I should also add, if you do have a rigid heddle loom that is a little smaller than you would like, you always have the option of double width weaving. Although somewhat limited, it is a really terrific way to double the width of your fabric. I have two classes that teach you how to do this – Doubleweave Baby Blanket and Weaving with Two Heddles. I also have the Rainbow Lap Blanket, which is woven entirely on a Sampleit loom.

I certainly didn’t intend to write such an epic post when I sat down to address this topic today, but there is a lot more to be said about it than I realised! I hope my ramblings have been of use to you.

As always, leave me a comment with any questions or additional points you may have to add. I appreciate your input!

Until next time…

Happy Weaving!

Rigid Heddle Loom cost comparisons

by Kelly 31 Comments

It can be so hard to know where to start when you’re in the market for a new rigid heddle loom, especially if it is to be your first ever loom.

Having only used Ashford rigid heddle looms, it is not really within my scope to compare different looms from a practical perspective. I can’t in fairness give appraisals of looms I have not used (though I’ve made it pretty clear that I love my Ashford!)

Cost is an important factor when considering your loom, and this is where I can help by offering a comparison of various looms and what will be included in the purchase cost.

Not all looms are going to be the same size, so I am going to compare looms of similar size but not always equal. I’m using Amazon for comparisons, but will use other sites if any particular loom is not available on Amazon.

*This post contains some affiliate links. This means that if you click and purchase, I receive a small commission at no extra cost to you.

These prices do not take into account any additional costs such as stands, extra tools or shipping. All prices are in U.S. dollars.

Please also note that most rigid heddle looms come flat packed in a box, so unless you pick one up in a store where an assembly service is offered (usually for a fee), you can expect to be putting the loom together yourself.

Let’s start with the first rigid heddle loom I ever bought and still use constantly.

Ashford 24″ Rigid Heddle Loom-

Listed at $225, this loom comes with a standard 7.5 dent heddle, warping peg, 2 clamps, a threading hook, 2 shuttles, cardboard warping sticks and an instruction booklet. Made from Silver beech hardwood in New Zealand. *Edited to add – this loom now comes with a built in warping board if you purchase the warping pegs separately.

Beka 24″ Rigid Heddle Loom-

Listed for $159.99. Comes with one 10 dent heddle, two stick shuttles, one pickup stick, a pair of heddle blocks, threading tool and complete instructions. SG series looms are made from Cherry wood and finished with Danish Oil. Made in Minnesota, USA.

Schacht Flip Rigid Heddle Loom 25″

Listed at $335, this loom includes a 10-dent reed, warping peg, 2 shuttles, threading hook, and complete warping and weaving instructions. It is foldable and made in America from maple wood.

Glimakra Emilia Rigid Heddle Loom 18″

Listed for $279, this loom is made of birch and is foldable. It includes a 10 dent heddle, shuttle, warping peg, two clamps and a sleying and threading hook. Made in Sweden.

Kromski Harp Forte 16″

Prices starting at $279, this one is interesting. Kromski claim that you will not get a “complete package” with any other RH loom, and that seems to be true. This loom is designed to also be used as a warping board, I think that is quite innovative! I rarely warp my rigid heddle loom indirectly, so it’s not a feature that I would use, but for those who prefer to warp from a warping board, this is a really good deal. You don’t have the extra expense or purchasing a warping board separately and you don’t need the extra space. Smart! Kromski say that this loom also comes with a “warp helper” but I’m not sure what they mean by that.

The Harp is also foldable and as a bonus, the wood is already finished, so you can assemble right away.

A somewhat obscure loom is the Toika Siru Rigid Heddle Loom, 16″. Made in Finland in a classic raw wood, minimalist style, these looms start at around $260 USD.

These looms have an interesting design, with a metal bar and thick back cloth beam. They are foldable and seem to come standard with a double heddle block, which is handy for those wanting to use more than one heddle. You won’t generally find this loom for sale in the usual places (Amazon, large yarn or supplies stores) though other Toika looms are not too hard to find.

Leclerc Bergere Rigid Heddle Loom 24″

Price for this size is $285. This one comes with a blue boat shuttle! The Leclerc looks to be a very basic, sturdy design. I’m not sure what to think of the metal handles for tensioning, I feel like that may not be so comfortable.

This loom comes with extra warping blocks, lease sticks and extra shuttles, but doesn’t seem to include a reed or threading hook.

Erica by Louet.

I’m being a bit sneaky including the Erica by Louet in this list. It’s not actually a rigid heddle loom, but it is a 2 shaft table loom. So why include it in a rigid heddle comparisons list? Well, I get a massive number of messages from new weavers who are trying to decide between a rigid heddle loom and a table loom. I almost always recommend a rigid heddle (but not always, it depends on the circumstances of the person asking) but I would definitely not rule out something like the Erica. Here is why:

*It’s like a rigid heddle and table loom rolled into one. It has the same basic shape/frame and tensioning pegs as a RHL, but the “castle” (the upright part!), heddles, shafts and reed as a table loom.

*It’s a fantastic introduction to weaving on a table or floor loom. You have the functionality of a sturdy, upright loom with texsolv heddles without being overwhelmed by too many shafts.

*You have the option to upgrade later to 3 or 4 shafts, increasing the possibilities for your weaving.

With prices starting at $370USD, this is definitely a higher priced entry point loom, but still very reasonable for it’s capabilities.

*It’s foldable and light enough to pick up and put in the car for workshops, teaching or travelling.

I hope this collection has helped you to understand a little more about what you will pay when purchasing a new rigid heddle loom. If I have missed any, please mention them in the comments below!

Stashbuster Woven Notebook Covers

by Kelly 9 Comments

Otherwise known as “the project that began with a messy drawer”.

This is the yarn drawer that my girls have access to. I could use this photo opportunity to blame it all on them, but if we’re being truthful, I’m pretty messy myself!

*This post contains some affiliate links

Anyway, this mess inspired me to make something, so it’s not all negative. A lot of my yarn stash is smaller pieces leftover from warping or are thrums (what is left on the loom when you cut your piece off) and can be difficult to find uses for.

Perfect for the idea that struck me, and it’s also a great project for little loom weavers, as it can be done on a Sampleit.

I had to break this into a series of 3 videos, you can either view them on Youtube or my Online Weaving School. You can download the printable PDF from my weaving school or view the information here:

Notebook Essential Information

I thought it might be a great time of year to do a tutorial for all my followers and students as a thank you for your support. The bonus is that you can make lots of notebook covers as Christmas gifts, they don’t take much yarn and they are quick to weave up.

The only part of the project that you need a longer length of yarn for is the warp. Here are some suggestions for your warp:

Bendigo Woollen Mills Luxury 8ply

Cleckheaton Country 8 ply

Patons Classic dk superwash

I always use Gutermann Sew all thread because it is so strong and multi purpose.

During the video series, you will notice that I mention some other helpful links, I will list them here for easy access:

Clasped weft tutorial

Woe to Go – Beginner Rigid Heddle Weaving

How to weave neat edges

I really hope you enjoy this project! Let me know in the comments if you intend to give it a go.

One more thing! If you like this project I would really appreciate you sharing links with your friends or on social media so that even more weavers can benefit.

Until next time…

Happy Weaving!

Rigid Heddle Weaving Patterns for Beginners: Simple Projects & Techniques

by Kelly 26 Comments

Are you a new weaver looking for rigid heddle weaving patterns for beginners — beyond just plain weave? You’re in the right place!

Rigid heddle looms are often thought of as “just for plain weave,” but that’s only the beginning. With a few simple tools and techniques, you can create stunning patterns—even as a beginner.

In this post, I’ll show you several easy weaving patterns and enhancements that go beyond plain weave, perfect for rigid heddle beginners who are ready to try something new.

Start with the Basics – Plain Weave

Plain weave is the foundation of rigid heddle weaving—and the best place to start if you’re new.
To weave plain weave:
- Thread one slot and one hole, alternating across your warp
- Use the heddle in the up and down positions while weaving
- That’s it—you’re weaving!

Make It Pop: Use Variegated Yarn

Want your plain weave to look more complex without changing the structure? Use a variegated yarn!

You can:

Warp with variegated yarn and weave with a solid color
Warp with a solid color and weave with variegated yarn

The results are always eye-catching and can resemble intricate patterns as colors shift and intermingle.

Here are some great beginner-friendly variegated yarns:

💡 Tip: Hand-dyed yarns also give beautiful, one-of-a-kind results!

Check out my free The Heart Scarf Project to see how variegated yarn can be used for a stand out piece!

Try Clasped Weft: Easy, Creative, Colorful

Clasped weft is a fun, beginner-friendly way to make bold, graphic designs—while still using plain weave!

It works beautifully with:

One solid yarn + one variegated yarn
Two (or more) contrasting colors

👉 Follow this clasped weft step by step tutorial

Once you get the hang of it, try:

🧵 Clasped weft is a great way to create scarves, wall hangings, and art pieces with personality.

Add Pattern with Pick-Up Sticks

Ready to go beyond plain weave? Pick-up sticks are the easiest way to start weaving actual patterns on your rigid heddle loom.

What are pick-up sticks?
They’re simple flat wooden tools that let you “pick up” warp threads and create new shed patterns—without needing a multi-shaft loom.

Why Beginners Love Pick-Up Sticks:

✅ They’re inexpensive
✅ Easy to use (no complex setup)
✅ Add texture, lace, and patterns to your projects

Learn more:

Explore Even More: Overshot-Style Patterns with Pick-Up Sticks

There’s just so much you can do with one, two, or even more pick-up sticks! Most weavers start by picking up warp threads behind the heddle, but did you know you can also pick up in front of the heddle to create a kind of overshot pattern?

This technique allows your pattern to float on top of the background weave—rather than becoming part of it—making for a dramatic, dimensional look.

If you play around with the spacing of floats and use colour changes creatively, you can design all sorts of exciting patterns!

🎄 Christmas patterns are always a favourite, so if you’re curious, here are a couple of the most-loved videos on this overshot style:

👉 Overshot-Style Snowmen

👉 Overshot-Style Reindeer

What Should You Try First?

Here’s a quick beginner weaving path to get you started:

Plain weave scarf with a solid color warp + variegated weft
Clasped weft sampler with two bold yarns
Simple pick-up stick pattern on a placemat or table runner

And most importantly—have fun experimenting!

So Many Patterns, So Little Time!

This post is just a brief overview of the many pattern possibilities on your rigid heddle loom. There’s so much more you can explore!

I haven’t even touched on Colour and Weave—that deserves its own post entirely. You can read more about that here: 👉 Read my Colour and Weave article

Curious about plaid? I’ve also written about that and included free drafts for you to try: 👉 Get my plaid weaving post + drafts here

Want to dive into even more pattern ideas? I’ve got you covered in this deep-dive post where I share techniques like:

Doubled weft
Pick-up rows
Staggered pick-up
Dots and butterflies
👉 Explore even more pattern techniques here

This post contains affiliate links. Please see my disclosure policy for more details.

Where to Go Next

If you’ve been weaving plain weave and wondering “what’s next?”, I hope this post has sparked some fresh ideas!

To take your weaving to the next level, I highly recommend my beginner’s class:
🎓 From Woe to Go — it’s a comprehensive, step-by-step course that helps you confidently get started on your rigid heddle loom.

Until next time…

Happy Weaving!

Heritage Crafts and Skills Book Review

by Kelly Leave a Comment

My thanks to Pen and Sword Books for asking me to review Lynn Huggins- Cooper’s new book “Spinning and Weaving”.

Disclaimer – Although I received no payment for this post, Pen and Sword generously sent me a copy of the book for free.

This is not an instructional book, but an historical account of spinning and weaving throughout various periods in time.

It begins with a discussion of heritage crafts in the UK and their general decline, something which is obviously close to the author’s heart. It is quite focused on the history of spinning and weaving in the UK, particularly in later periods of time.

Starting with ancient times, the reader is taken on a journey of what is know of spinning and weaving and the significance of these crafts on our civilisation. From the basic tools of drop spindles and homemade looms, to the advances in technology, which ultimately completely changed the cloth industry, each chapter is a fascinating insight into times gone by.

I found so many interesting tidbits to ponder over whilst reading this book. I also learned many things I didn’t previously know or had not really thought about. For example, the massive impact that the mechanisation of spinning and weaving had on the poor, who relied so heavily on the slow, skilled process of basic wheels and looms to earn their bread. How the demand for commercially produced fabric impacted lifestyles and how fabric was viewed.

It is sad to know that the spinners and weavers who were so valued and made first class fabric for wealthy folk were made obsolete by machines. And yet, was it fair that only the rich could afford handspun and woven cloth?

What pleased me most in the reading of this book was the realisation that, perhaps, in a way, things have come full circle. Yes, we live in a very commercialised world but it is also a world full of opportunities. We still have machines producing millions of yards of cloth every year, but we also have people like you and me, who have chosen to take up our wheels and looms in pursuit of authenticity, quality and satisfaction in our work. And thankfully, more and more all the time, we have an audience who appreciate what we do and who also desire quality, slow and beautifully made unique garments and pieces.

The book finishes off with some inspiring interviews with fibre artists (I noticed there was even an Australian included!)

I feel so blessed to be a part of something that many of our ancestors (my ancestors were English) earned their living by and now, we have the luxury of choosing to do. It’s a wonderful thing to be able to practice these crafts and pass them on to the next generation.

“Spinning and Weaving” is available from the Pen and Sword website and also on Amazon (affiliate link).

Until next time…

Happy Weaving!

My completed Clothtober project!

by Kelly 20 Comments

I’m so excited to be finished! A little overdue perhaps, but isn’t the nature of slow cloth?

I went through quite a few of the weaving details like yarns and weave structure in last week’s post, so please check that out if you’re interested (and read of my nightmare-ish warp!)

*This post contains an affiliate link

I’m happy to say that the actual weaving was fairly plain sailing and enjoyable with the simple 1&2, 2&3, 3&4, 4&1 order of treadling.

So, once removed from the loom I had a lovely long length of delightful cloth without serious errors (I’m happy to say that the double threading error referred to in the last post does not even show in the finished garment!)

I made a lovely big vat of indigo and tested it with the neck facing pieces I had cut out of a light commercial cotton. The colour was even better than expected, so I felt very good about submitting my long piece of cloth to the vat.

Have you ever dyed with indigo? It is a wonderful, peaceful and relaxing process. While I was standing at my laundry sink, I had the door next to me wide open and a blackbird hopped right up beside me. He didn’t even notice I was there! I thought to myself “perhaps this is the very best way to live. Quietly, slowly, making beautiful things”. It certainly struck me as a beautiful moment in time.

I took my cloth outside (indigo is very messy!) to let the magic happen. As oxygen hits the cloth, it turns from a glorious green to a wonderful blue. The blue is much darker when wet, so I took that into account. I wanted a dark blue. So, I went back to the vat for a total of 3 dippings. On the last dip, I left the cloth sitting in the vat for at least half an hour.

I absolutely love the colour in this shot. I would have preferred that it stay this dark and rich as it dried, but alas that was not the case. I still think it came out a beautiful colour anyway. That is another of the charms of indigo, even if you obtain a very light colour it is bound to be a really beautiful blue – I don’t think an indigo vat can produce anything ugly!

As an aside, I have just begun work on my Journey to Japan course. One of the focuses of the course will be learning to dye with indigo, so if that interests you, be on the lookout for that.

The next step once my fabric was dry was to cut out the pattern. I’m not scared of cutting my handwoven fabric as it all turns out well as long as you take the right precautions. For this project I cut the pieces as I would for commercial fabric but got them quickly to the serger without disturbing the fabric too much, and it was fine. If you’re worried about cutting your handwovens, you may want to check out this video:

There was a hitch with cutting out the pattern though. The fabric had shrunk more than I calculated for. My front and back pattern pieces didn’t fit the folded fabric! Aaaaagh!!

These are the things that feel horrible at the time, but later I am really grateful for. Why? Because I learn! Not only do I learn what to do by thinking about all the possibilities, I also learn that I might be more capable than I thought, which is a great confidence booster! So, I ended up with some odd little shapes and pieces that I tacked on here and there to make up for the lack of width. And it worked!

I now have a comfortable, special garment that fits really well. Unfortunately we are coming into warmer weather here in Australia, so I won’t get much wear out of it this year, but I expect it to last many, many years. If the indigo fades at all, I’ll do as the Japanese do and re-dip it. Only I know the work that went into making this, but that makes it all the more rewarding.

The little voice in me says that the neckline is too wide and so are my hips. But I told the little voice to shut up please, I want to bask in the joy of having woven, dyed and sewn a garment from scratch just for me.

I don’t know if any of you decided to make your own garment for Clothtober, but I’m thinking I need to make this an annual thing, even if it’s just to push myself to do something just for me again.

Until next time…

Happy Weaving!