Kelly Casanova Weaving Lessons

Inspiration

Supplementary Weft Tutorial

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What is a supplementary weft?

It is simply a weft that is introduced to your weaving, in addition to your regular weft yarn, usually on a plain weave background.

This supplementary weft is often known as a “pattern weft”, which makes sense because it often creates a pattern (think overshot).

A supplementary weft will usually be thicker yarn than the plain weave or tabby yarn, which is normally the same thickness as the warp yarn.

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

This technique is a great way to use a handspun or novelty yarn to really highlight the beauty of the yarn and is also an excellent way to use up leftovers.

A pick up stick is usually used with a supplementary weft – this helps to make a pattern through the use of weft floats.

Using supplementary wefts is a really versatile way to showcase pretty yarn and weave a truly unique piece. I love to design on the loom, trying out different pick ups and different yarns, it’s so much fun and it suits my creative preferences to not have to plan ahead too much.

To weave a sample like I have in the tutorial, you will need the following materials:

  • A 7.5 dent heddle (of course, you can adapt this by using a different sized heddle with a different yarn weight)
  • A stick shuttle or several (use one that is the right size for your loom)
  • A pick up stick (again, use the size that is suitable for your loom or the width of warp you have on)
  • Scissors

Yarn Requirements:

I’m not giving exact yarn amounts, obviously you need more yarn for your warp and tabby (plain weave) than you do for the supplementary weft, but just experiment with what you have.

For my warp I used Bendigo Woollen Mills Luxury 8ply (this is a dk weight wool) in Navy. I used this same yarn for the majority of my tabby.

For supplementary wefts I used Noro, handspun and some of my hand dyed wool and cotton – most of these were around a dk to aran weight.

Sampler size suggestion:

When I warp for a sampler like this one, I like to warp around 8-10 inches in width and at least 30″ in length (total length of warp). For my 7.5 dent heddle this was 47 ends.

Weaving and Pick Up Sequences:

You will find all the information you need to follow the video sampler in this downloadable, printable PDF.

Supplementary-weft-youtube-tutorialDownload

There are three ways to use this tutorial. You can either:

  1. Warp your loom and then follow my examples exactly according to the video and PDF.
  2. Warp your loom and follow some of my examples to gain confidence, then try some of your own designs.
  3. Use my designs as inspiration but go your own way by using the techniques and ideas to create your own unique fabric.

Whatever you decide to do with this tutorial, don’t forget to relax and have fun – that’s what it’s all about!

The 45 minute video tutorial is available here-

As always, comments and questions are very welcome in the section below.

Until next time…

Happy Weaving!

I’m proud of you!

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Has anyone ever said that to you? Maybe you have longed to hear those words but it just never happened.

There are certain words that we all hope to hear at some time in our lives, words that make us glow inside with happiness. “I love you” might be at the top, but I reckon that “I’m proud of you” comes in a close second.

My husband has repeated both of these sentences to me many times, something that I am ever so grateful for. But recently I heard “I am proud of you” from somebody else. Someone who is very important to me. Someone who struggles with expressing emotions.

I’m not going to tell you who it was, in the interests of protecting and respecting privacy. What I can tell you is that hearing those words from that person floored me. I teared up and for the rest of the day I felt like I was floating on a cloud.

When I was thinking about what I wanted to say to you in this “end of 2021” post today, the words “I am proud of you” kept resonating in my mind.

I am so grateful for the position I’ve been given, the friendships I have with my students and followers and the immense blessing it is to watch and help you all learn and improve.

Yes, I am so very proud of ALL of you!

People look to me for inspiration, but in reality, it is all of you who inspire me every single day.

If you’re not feeling very proud of yourself right now, I hope you will think again.

Here are some of the things I’ve discovered about all of you through the Online Weaving School.

  • You are smart
  • You are eager to learn
  • You are creative
  • You don’t give up
  • You are kind
  • You are capable
  • You are willing to try
  • You are passionate
  • You make the lives of others better (starting with me!)

I don’t make New year’s resolutions for two reasons:

  1. I know from past experience that I OVER resolve and then feel bad when I fail.
  2. Once a year is not often enough.

Here is my approach.

Each day is a new day. If you want to get right down to the truth, each moment is a new moment. A brand new opportunity.

You don’t need to wait until a specific day or date to be better. Decide how you want or need to be better and start right now!

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.šŸ˜Š

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!

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 šŸ˜Š

Until next time…

Happy Weaving!

Crazyshot Book Review and Giveaway

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Myra Wood is a well known fibre artist with an impressive array of artistic skills and talents. In fact, I’m quite amazed by all her achievements in teaching, writing books and creating. She is a huge inspiration!

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

Myra has just released a wonderful new weaving book that I am so excited to tell you about – “Crazyshot! Creative Overshot Weaving on the Rigid Heddle Loom”. “Crazyshot” is creative overshot weaving for the rigid heddle with bold patterns and colours.

The book provides beautiful colour photo, step by step instructions and explanations. The patterns look extremely complex and yet are achieved with just one heddle and one pick up stick! There are 14 stunning projects included.

You may be thinking “this looks way too advanced for me!”, but that is the beauty of it. All you need is the basics, plus a good dose of patience and an adventurous attitude.

Let’s have a chat with Myra and find out more about her and how the new book came about.

Tell us a little about your background in fibre arts.

“I was a pretty crafty kid. My mom taught me how to sew and crochet and we made tons of Barbie doll and kidā€™s clothes. I continued crafting through adulthood, adding new crafts every couple of years- more sewing, quilting, embroidery, tapestry and bead weaving, tatting, you name it, always with an emphasis on creative expression. In 2003 I started teaching knitting classes at a local yarn store and within a couple years I began teaching knitting and crochet on the US national circuit for XRX/Stitches, Vogue Knitting, guilds and special events. Along the way, I taught 5 classes for Craftsy and wrote 3 books and published lots of patterns. Up until Covid, I was traveling around the US almost every month. ( I donā€™t miss the airports but I do miss seeing everybody in person).“

When and how did you first become interested in weaving?

“In 2012, I saw my first rigid heddle loom at a trade show and had to have one. I dove right into the deep end buying a 20ā€ with a stand while I was there and all the rigid heddle books I could find. Needless to say, my yarn stash was already a bit ridiculous so when I found out I could use the same yarns I was ready to go. My loom arrived a couple weeks later and itā€™s been a love affair ever since. I now own 4 rigid heddle looms, all of which are usually warped with some experiment or another.“

Crazyshot is not the first book youā€™ve published, but it is your first weaving book. What was the inspiration behind the book?

“In all honesty, your Branoe class blew me away. I kept thinking about Fair Isle and Mosaic knitting and other charted needlework while I was learning. I looked for more info on Branoe and found very little but I did discover a rich history of supplemental weft weaving from all different cultures throughout time. So I started experimenting and this book is the result of combining lots of different ideas from various charted needlework. Many times my books have come out of wanting to see the book I wish was already out there.“

Something that students often ask me about is how to choose colours for a project. I noticed that in ā€œCrazyshotā€ your project colours are strikingly beautiful and harmonious. Do you have any tips for those who are nervous combining and choosing colours?

“Absolutely! I love color and Iā€™m not afraid to use it but lots of times I find myself in color ruts. Give me some blue, green, aqua and purple yarn and Iā€™m off to the races. When I want to step outside my comfort zone, I like to take a skein of a long color repeat yarn like Noro Kureyon and match up all the solid colors I have in my stash to the colors in the yarn. The dyers are very experienced with color and often put together colors Iā€™d never think of combining. Iā€™ve also used variegated yarns to start with and even printed fabrics I love. Color is the most essential element for me so before I start any project, once my colors are chosen, I stick to that palette. I always say you have to love the colors together before you start or you wonā€™t like the end result. I always start with color.“

With all of the creative pursuits you are involved with, how do you organise your time effectively in order to achieve such variety?

“I tend to get fairly obsessive about one craft at a time. Iā€™m passionate about learning as much as possible and experimenting with all the different ways I can express myself with it.

Eventually something else strikes my fancy and I abandon the previous one for the latest obsession. Many times Iā€™ve rediscovered my love for a particular craft years after I thought I was done with it. I feel like I have a great toolbox to work with and I love combining ideas from different crafts.

Iā€™m so lucky to have a dedicated studio and spend my days in it from morning till night. (I told you I was obsessive). As Iā€™m aging, I find I canā€™t spend the hours I used to working with my hands before they start aching so I try and take breaks and do other things like clean the house and exercise. I did say try. I spend more time reflecting and relaxing now but my wheels are always turning with new ideas so Iā€™m actually planning another book already!“

********************************************************************************************************************

And now for some more exciting news. Myra has one signed print copy of “Crazyshot” to gift to one of you lucky readers!

To enter, leave a comment below telling me what appeals to you most about this technique.

  • THIS GIVEAWAY IS NOW CLOSED. CONGRATULATIONS TO CATHY MURPHY! THANK YOU TO ALL WHO ENTERED.

You can purchase “Crazyshot” in either digital or print version from Amazon or from Myra’s website.

If you would like a video course on the Branoe technique, check out my Exploring Branoe course at the Online Weaving School.

I also have some free videos on Youtube to help get you started:

Until next time…

Happy Weaving!

My biggest ever mistake in weaving

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Quite a few years ago now, we bought our first family DSLR camera. I loved photography when I was in high school and spent as much time doing it as I was allowed. I think one thing I loved about it was it was the only subject in which I felt free and unrestricted.

I could take one of the school’s SLR (pre- digital days!) cameras home when I wanted. I was given access to the school dark room in my spare time, and thankfully, my parents paid the bills for the photo paper and chemicals without grumbling.

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

So, getting our first entry level DSLR was like reliving a bit of that favourable part of my teenage life. It wasn’t long before I decided I wanted to take a course to learn the camera inside out. I enrolled in an online course, which was quite an investment for our single income family at the time, and started learning.

I became completely engrossed. I lived and breathed photography for the best part of a year. I loved the assignment challenges and started making my own challenges. Thankfully, I had 4 beautiful children who were my willing subjects. I started to dream up themes for photos. I made costumes, visited beautiful locations and used interesting props.

So, what does all this have to do with weaving?

Well, I was already a weaver when I started the photography course. But I was in a “not so positive place” with it. I was trying to learn new and interesting techniques, but it was really hard. I was putting pressure on myself to make perfect, Instagram worthy pieces that I just wasn’t ready to undertake.

Homeschooling, mothering, attempting to supplement our income didn’t leave much time for creative pursuits. Photography fit well, because the children were very often my subjects and were always with me when I was doing it, so it fit well.

As time went on, I wondered whether weaving was really the right thing for me. My rigid heddle loom sat empty month after month. My husband had bought it for me as a gift. I felt guilty that I wasn’t using it.

Most of all, I felt that I wasn’t capable of learning all I wanted to on this loom, and so my motivation lagged completely.

The frustrations that I’d been having with weaving built up in my mind and sat upon my shoulders as a heavy burden. Guilt, annoyance, frustration, lack of motivation – all these negative emotions around weaving were just penned up. I didn’t share this with anyone, and so it went on, and so the loom continued to sit empty.

And this was my biggest mistake.

So, what happened? Well, eventually the novelty of lugging that somewhat heavy camera around, countless hours of making costumes and finding new locations began to wear off. I started to remember what had attracted me to weaving in the first place, and why I felt compelled to make my own cloth. I started to notice beautiful yarns again. Ideas began to bubble up in my mind.

But the most important thing that happened is that I just put a warp on the loom.

I took a step. I don’t remember what it was that I made. Maybe it was just a simple, fun, non committal, explorative weave. Maybe it was something to wear or something for my kids to use in their play house. I really don’t remember, and it doesn’t really matter. The point is that I just did it.

I do still get weaver’s block to this very day, especially when I’m challenging myself to learn something new, but the difference is in how I handle it. I ensure that whenever those negative weaving feeling start creeping back in, I do something about it!

I have many resources that can help you get past the frustrated weaver point and on to weaving beautiful things. Here are a few suggestions:

  • Keep a weaving journal. Document your projects and how far you’ve come. Add in your future weaving plans, include pictures, colours, snippets of yarn. Use your past projects to build on.
  • Make a creative space. This is not possible for everyone, but even just a corner of a room, somewhere you can set up your loom and some yarns can help. If you don’t have to lug out all your materials every time you want to weave, you will be more likely to do it.
  • Make time for regular weaving – even if it’s 15 minutes at a time. You will make progress if you keep at it.
  • Make a Pinterest board or a mood board for inspiration. This can be as loose or as planned as you like.
  • Immerse yourself in the weaving community. Join groups (online or face to face), watch Youtube videos, listen to podcasts. These will help keep you motivated and prevent feeling isolated.
  • Join the Online Weaving School. When you purchase a membership, not only do you get access to the class library full of courses for all different weaving levels, you also receive an invitation to join a wonderful weaving community.

You may also be interested in these relevant videos:

Have you ever felt paralysed in your weaving journey? What helped you out of it? Or, if you are in a rut, what are you going to doing about it? Let me know in the comments below so we can keep the discussion going.

I hope this post inspires you to warp up your loom and get weaving!

Oh, and I do still indulge in photography from time to time, but I must admit that my newer Canon DSLR is used a lot more for filming classes than anything else! The big plus from all my photography practice is that I’m now capable of taking some pretty decent photos of my weaving.

If you’re interested in improving your photography for weaving purposes, check out my Photography for Weavers class. All you need is a phone and some of your hand weaving to get started!

Until next time…

Happy Weaving!

Weaving with a disability

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Today’s guest is a very inspiring woman! Jacky is an artist and weaver from a beautiful part of the U.K, surrounded by captivating landscapes and historic buildings.

I have admired her work for some time on Instagram, where she shares wonderful photos of her artist life and her dog, Boo. In fact, when selecting photos for today’s interview, it was very difficult to narrow down to just a few, I wanted to show you so many more!

I particularly wanted to chat with Jacky on the blog so that she could share her story and experience with her physical disability and how that has impacted on her creative life.

I hope that her story will encourage you all to focus on what you CAN do, regardless of your circumstances.

How long have you been weaving? What got you interested in starting?

Just before Christmas three years ago I bought a little frame loom on a whim. I designed a littleĀ snowman wall hanging and was surprised by how well it turned out and how much I enjoyed doing it,Ā and thatā€™s what got me started on my weaving journey. I started looking more intoĀ weaving and thatā€™s when I first read about rigid heddle looms –Ā I didnā€™t know if I would be able to use one from my wheelchair, especially doing the warping,Ā so did lots of research on YouTube, which is when I first saw your videos, which have been a real help for me. My Birthday was coming up, so I asked my family if I could have money instead of presents. I was so excited when I opened my first ever rigid heddleĀ loom and couldnā€™t wait to get started weaving on it!

What loom/s do you own?

My first loom was an Ashford 16ā€Ā RHL, but after a while I wanted something I could weave wider fabric on. I knew I wouldnā€™t physically manage to weave on a very wide loom so finally decided on an Ashford 24ā€ RHL and I love weaving blankets on that. Last year I decided to add a 12ā€ Ashford Samplet loom to my little ā€˜loom familyā€™,Ā so that I could practice more complicated weaving, and I love it! Itā€™s such a joy to use and I can easily carry it anywhere with me.Ā 

What is your favourite fibre to work with? Do you have favourite items to weave?


Wool is definitely my favourite fibre to weave with. I always used to think wool was scratchy to wear, but now of course I have learned that there are so many typesĀ of wool, each with their own qualities.Ā LastĀ year I wove a scarf from a handspun blend of Blue Faced Leicester and Rose fibre and that was beautifully soft. At the moment Iā€™m in the middle of weaving a silk scarf on the Samplet, Iā€™ve never woven with such fine silk before and Iā€™m really enjoying it so I think that will become another favourite.Ā 

You also spend time spinning and painting. You love to paint en plein air and I find your landscapes absolutely beautiful. Do you have a favourite location/s for this?


Thank you Kelly. Iā€™m very blessed to live in the Cotswolds which is a really lovely part of the U.K., so Iā€™m surrounded by picturesque villages and beautiful countryside to paint in. I also love paintingĀ the sea, and my favourite coastal area is South Wales. I hope to be visiting there again soon now that our present lockdown restrictions are beginning to lift.

Please tell us about your disability and the challenges it presents to you in your creative pursuits.


Iā€™ve been disabled with a neuromuscular illness for about 25 years now. It affects all my muscles, which are very weak, and I use an electric wheelchair to get about the house. It has left me with double vision, but I have strong prism lenses in my glasses which help quite a lot.

My arm muscles are very weak too, which is very challenging when I want to be doing things, but I make sure I take plenty of breaks to rest them for a little while when Iā€™m weaving or painting. As long as I pace myself I usually get things done, it just takes a little bit longer.

I have to take lots of breaks when Iā€™m warping the loom, and Iā€™m always glad when Iā€™ve finished doing it. My husband Phil almostĀ always helps me with winding on the warp – I have used the ā€˜crank and yankā€™ method a few times, but it is definitely easier when he helps!

You have a beautiful assistance dog, Boo. How did you he come into your life and how has he made a difference to you?


Boo is an adorable yellow Labrador, and the gentlest dog I have ever known. He became my partner eight years agoĀ thanks to a U.K. charity called Dogs for Good, which trains assistance dogs for people with disabilities and children with autism.

I canā€™t take my coat off by myself, so Boo comes by my side, gently putsĀ one sleeve cuff between his teeth and pulls at it until my arm is free, then he goes to my other side and pulls that sleeve off too.

He also picks up everything I drop, helps to empty the washing machine and picks up the mail. He loves to come to Church with me and lies quietly by my side through the service. He has a bed in the studio and always comes to lie by my side when Iā€™m weaving, I think he finds it as soothing as I do.

Is any of your creative work available for sale?

Most of my work is availableĀ for sale in the U.K.Ā through my Facebook page or in exhibitions. I sell some of my woven items too, mainly scarves just now, again through Facebook.Ā Ā I have a stash of woven fabric waiting to be made into bags and purses, but I never seem to get round to get the sewing machine out to make them – Iā€™d farĀ rather be weaving!

Thank you so much to Jacky for taking the time to share with us today! I know that many of you would love to follow along with her work and see what she comes up with next. You can follow Jacky here:

Facebook-
Jacky Radbone, artist
Ā Jacky Radbone, weaving in the Little Cwtch Studio (ā€˜Cwtchā€™ is a Welsh word which means ā€˜ a hugā€™)

Instagram-

Jacky Radbone

Blog-

A Disable Artist’s Journey

Until next time…

Happy Weaving!

Photography for Weavers

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You spend countless hours warping, weaving and finishing your unique hand woven pieces. It only seems right that you honour that process with some photos that show how beautiful your finished products really are.

Whether you want to take photos to share on social media, with friends and family or whether you sell your weaving online and want to present your pieces in their best possible light, it is well worth taking a bit of time to learn a few basic photographic principles that will help you level up with your photos.

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

The good news is that, these days you don’t need a super duper fancy camera to take good photos. I do use my DSLR camera when I want to take photographs for classes and my patterns, however for everyday use and social media, I always use my phone.

Phone cameras are now way more advanced than they used to be and can make your “photo to platform” experience really quick and seamless. Considering most of us possess a fairly modern phone, (though at nearly 5 years old, I’m not sure my phone could be considered modern any more!) it makes sense to be familiar with your phone camera and make the most of it.

I’ll start with what I consider 3 essentials to taking a good photograph:

Light

Clarity

Composition

We’ll begin with light. If you’re taking photos indoors, try to choose a sunny rather than dark or overcast day. Set up close to a window at a time of day where the sun is not shining directly onto the area you want to photograph. This will avoid too much shadow and the possibility of patches of light and dark.

I often use my studio lights for filming classes but rarely for photography. This is because natural light will always trump artificial, and give lovely tones to your photo without harshness of light and shadow.

Next is clarity. This is so important! No one wants to look at a blurry photo. Hold your phone or camera still or, if this is a challenge for you, use a tripod to unsure stillness. Also, if you have enough light, this greatly decreases the chances of your photo lacking sharpness.

Composition is something you can practice to improve on if it doesn’t come naturally. It’s basically about arranging and framing your “scene” so that it is visually pleasing and balanced. Try out lots of arrangements. Introduce some props to add interest and relevance to your photos eg. lemons with kitchen towels. Try folding, draping, scrunching your hand wovens. Have fun and don’t worry if some of your photos don’t look so great, that’s the point of experimenting – to find out what you like.

A word about editing.

Editing is a great photography tool and an excellent way to finish off and give that final polish to your photos. But it should never be relied upon to “fix” a photo. The aim is to get the best photo that can, in camera, so that when it comes to editing time you hardly have any work to do.

Photography for sellers.

If you are selling your hand woven pieces, good photography is really crucial. Remember that your potential customer can’t see and touch the items the way you can. You want to be able to bring them as close to “knowing” the piece as possible. Provide as many photos as you can from different angles. Include close ups with detail as well as distance shots.

Ensure you have an appropriate backdrop. Carpet and tiles are not a good look. If you think about it, if you were buying some beautiful hand woven towels, would you find them as appealing if they were photographed on a bare floor? I use professional vinyl photography backdrops for many of my photos. These are expensive, but well worth the investment if you are taking a lot of product photographs. I bought mine from Oz Backdrops and Props in Australia, but these backdrops are very similar.

If you are interested in learning more about photographing your hand wovens using your phone, check out my 49 minute Photography for Weavers Workshop. In this workshop, I take you through exactly how I set up product photos for my Diamond Stripe Towels and show you other arrangement possibilities to inspire you. I also take you into the free weaving software Canva, and show you how it can be used for basic editing.

Did you enjoy this post? Let me know in the comments below, I would love to hear from you!

Until next time…

Happy Weaving!

New towels for our new home!

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I had two reasons for warping up my floor loom for some new towels recently.

With our house moving date looming closer, I felt the need for a “sanity project”. While all of my yarns and equipment were being packed away, I kept a few cones aside so that I would have something to weave during the in between time of packing up house and moving to the next one.

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

I also wanted to have some brand new kitchen towels to adorn our “new to us” kitchen, as all my current towels are ageing and starting to look a little shabby. I wanted special new towels for our special new place. This project turned out to be special in another way, but I’ll tell you about that shortly.

I chose one of my all time favourite drafts for kitchen towels, a 4 shaft twill on M and W threading. I love the design and I love the resulting fabric so I didn’t have to think too hard on that one!

The threading for this draft is not difficult and the tie up is a regular twill tie up – all things that I’m very familiar with and that make the process easy for me. I used my Louet David 2 Floor loom (link is for the new David 3), which has 8 shafts but for this project I wove on 4 shafts.

Having woven kitchen towels with this draft before, I was also sure of the yarn I wanted to choose. My favourite weaving yarn for soft and absorbent tea towels is 8/2 cottolin. The cottolin I use is 60% organic cotton and 40% linen. It’s a great yarn for those who want to incorporate a little linen but want something that is a bit easier to use than 100% linen.

For the warp I used:

Maurice Brassard 8/2 cottolin in Blanchi

For the wefts I used (one colour for each towel):

Maurice Brassard 8/2 cottolin in Charcoal

Maurice Brassard 8/2 cottolin in Magenta

Maurice Brassard 8/2 cottolin in Royal

Maurice Brassard 8/2 cottolin in Brick

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Tips for working with cottolin:

  • Cottolin sheds a lot of fibre whilst on the loom. It is a more course yarn than just cotton on it’s own, which is very smooth. I sometimes opt to wear and apron while weaving and try not to wear anything black! The shedding nature may be irritating to some who are sensitive, it’s not a big problem for me but does make me sneeze sometimes! It also means that you will want to vacuum your loom when your project is finished or even during the project if the tiny stray fibres bother you.
  • It feels quite stiff on the loom. I remember the first time I wove with cottolin, I felt disappointed that the towels felt a bit rough. A hot machine wash was like a touch of magic – the towels softened up and the pattern came together beautifully. This is another thing that I love about cottolin, it softens more with each wash.
  • Your first one or two uses of your towels to dry dishes will not be optimal. The cottolin can leave small fibres on your dishes initially, and the towels are not as absorbent as they could be. Don’t lose faith! With a bit of use and a couple of washes, they will become a huge asset to your kitchen!

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C

I tried some different techniques in the weaving of these towels, to help counteract some of the issues arising as I wove.

Firstly, I doubled my floating selvedges – something I haven’t done before. My reasoning for this was that for the towels I’ve woven in the past, the first place they would start to wear down was at the edges. A doubled floating selvedge gave a more defined, and stronger edge to the fabric.

Secondly, I switched to beating on an open shed. It is very much my habit to beat on a closed shed, but my beats were feeling a little stiff and the weft wasn’t settling as nicely as I would like. As soon as I switched to open shed beating, everything settled down and became much more fluid. Lesson learned – Don’t be stuck in your ways, be open to experiment from project to project as needs dictate šŸ˜‰

And thirdly, when hemming my towels, I decided to also hem the long edge. I have never done this before, but as I already mentioned, the edges are susceptible to wearing and I think this single turned hem will make a difference. Time will tell, but perhaps I will make this a regular technique for my towels.

Hemming the long side of the towel with a single fold hem.
Finished hems. The ends of the towel have a double fold hem.

I mentioned that this project turned out to be special in another way. My husband has been interested in having a go on the floor loom for some time now, so I decided the last towel of the warp would be a good opportunity. I wasn’t too worried if it didn’t turn out well, as it was just for us.

Imagine my surprise when he took to it like a duck to water, quickly declared that it was “fun” and promptly finished off the second half of the towel I had started on! After giving him a few basic pointers, he surprised me with how quickly he picked up the steps. Now he is very interested in weaving more and even learning how to dress the loom. Victory! šŸ˜€

If you love this pattern draft as much as I do, you can find it on page 88 and 89 in Anne Dixon’s Handweaver’s Pattern Directory – a most excellent book and awesome resource for 4 shaft drafts.

I also recommend Patti Graver’s Next Steps in Weaving for weaving at this level.

If you’re interested in getting started in floor loom weaving, check out my Introduction to Floor Loom Weaving, my Follow Up Floor Loom Weaving, or save by purchasing a bundle of the two courses together.

I made a little video to compliment this blog post to help you feel confident about cutting your hand woven fabric. I explain my 3 Key Ingredients to cutting without fear:

If you have any questions about my towel project or using cottolin, let me know in the comments below!

Until next time…

Happy Weaving!