Rigid heddle weaving

The Heart Scarf Free Project

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

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

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

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

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

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

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

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

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

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

A rigid heddle loom.

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

A 7.5 dent heddle/reed.

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

Pick up stick

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

Stick shuttle

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

Tapestry needle

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

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

Fringe Twister

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

Reed and threading hook

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

Yarn

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

Weaving level

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

How to get the pattern

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

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

You can view the first of 6 videos on Youtube –

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

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

Until next time…

Happy Weaving!

Targeted wedging for better tension

by Kelly 17 Comments

In an ideal world we would have perfect tension every time we warp our looms, but that is just not realistic!

There are many challenges to achieving great warp tension, but the good news is that practice helps a lot and this is something you will improve on over time.

But, even for the seasoned weaver, there can be the occasional curve ball just to keep us humble 😆 For me, that was a recent double width project on my rigid heddle loom.

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

I warped independently, which is do-able but not 100% ideal when you’re using thicker threads and those threads are doubled. When I started weaving, I found that my tension was firmer in the middle than on either side.

This began interfering with the “cleanness” of my sheds, meaning that not all my warp threads were settling into position well when I changes sheds. And for double width weaving, that can be a huge headache!

I’ve covered wedging before, as you can see in this video:

But I also wanted to get a bit more specific about wedging problem areas in your warp. This is very quick and easy to do and can make a big difference to your tension.

I start out by identifying the areas that need help. For me, that was either side of the middle section, towards the edges. If I wedges all the way across the warp at this point, that would also increase the tension in the mid section, where it is not needed.

There are several materials you can use for wedging (like cardboard separators, cut to size) but I chose to use everyday A4 printing paper. I folded the paper to the approximate width of the loose warp section so that the paper had been folded about 4 times. This provided me with a bit of thickness, but not too much.

It may be easiest for you to pop around the back of your loom with the paper to get close to the warp.

Take the paper underneath the entire warp (both heddles are in neutral at this point) and start to wiggle and jam it into place.

Push the paper in towards the back of the loom. You will feel resistance from the threads and this is good, because you are tightening everything up. There is no set amount for how far back the wedge should be pushed, just until you can feel that the threads have increased in tension in that section.

As you weave and advance your warp, your wedges will move out of place and you will need to reposition them at each advance. This is actually a good thing, because it ensures that your looser threads are constantly being re-tensioned!

If you would like to see the way I place the wedges, please check out this video:

I hope this short tutorial was useful to you! Have you used targeted wedging before? Has it made all the difference to your project? Let me know in the comments, I would love to hear from you!

Do you love the look of the project I’m working on in this tutorial? This is from my Plaid Double Width Blanket Ebooklet, which is available now.

Until next time…

Happy Weaving!

What is a rigid heddle?

by Kelly 16 Comments

I’ve talked a lot about rigid heddle looms in general here, but today I’m going to focus on the actual rigid heddle.

I’m going to explain what it is, what the measurements mean, how you can match up different sized yarns with different heddles, and basic care of your rigid heddle to ensure longevity.

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

Sometimes you will see a rigid heddle referred to simply as a “heddle”, and
sometimes you’ll see them called a “reed”. I usually refer to it just as a heddle to simplify.

They’re actually a combination of both, because the frame contains a way for you to thread your yarn and also doubles up as your beater, for beating in the weft. This is really a very unique piece of equipment.

For more traditional or multi shaft weaving, the heddles are made of string, texsolv, or metal, and they are movable. Every single thread has its own heddle.

But a rigid heddle is basically just what it sounds like. The heddles, or the spaces through which the threads go are set in the frame and don’t move.

Generally, a rigid heddle is constructed from wood for the frame and plastic for the heddles and slots, though the entire heddle can be made of wood. You will find some “toy” style rigid heddle looms made entirely of plastic, and some folks are utilising 3D printers to print their own rigid heddles these days, which is pretty cool!

This article was prompted by a student question, which was “what does the dent mean“.
Well, when we’re referring to rigid heddles, we talk about the dent as basically a space through which
your thread can go.

If you look up to the top of your own rigid heddle there will probably be some numbers. This depends on the manufacturer, as some loom companies leave their heddles blank. (It’s much easier if the numbers are there, in my opinion!)

This one says 7.5 at the top, and that tells me that it’s a seven and a half dent heddle. But what does
that actually mean to you as the weaver?

Well, it means that if you use this particular heddle, you can achieve 7.5 ends per inch. This is one of the differences between a rigid heddle loom and a different kind of loom. The sett or the ends per inch are already set in place by the size of your heddle.

So, you choose a heddle that suits the type of yarn or the size of the yarn that you want to use at any time. I’ll
talk about that a little bit more in a minute, but first I want to show you how the measurements on your heddle work.

I mentioned that this is a seven and a half dent heddle. So, looking at my tape measure over about an inch, I’m
going to count every single space through which a thread can go on this heddle.

I’m counting the holes because we use both the holes and the slots on the rigid heddle for a balanced plain weave.

I begin by counting from the first hole at the start of the tape measure, and continue to count every hole and slot until I reach the one inch mark.

Because this is a 7.5 dent heddle, I won’t count the last slot at the one inch mark as a full slot, but as a half. This is reflected in the fact that the counted holes and slots don’t fit evenly within the inch measurement. For a heddle that has a rounded number, for example, a 10 dent heddle, you will find that you can measure exactly 10 spaces in the inch.

So, how does this information actually translate to the loom?

Well, it’s extremely important that we match the right yarns to the right heddles. Let’s say that
hypothetically, I wanted to do a balanced weave on my seven and a half dent heddle. The first thing you need
to do is your sett test.

If you’re not familiar with sett, or you’re not sure how to figure out the sett for your
particular yarn, I have two videos that will help:

What is sett?

How to determine sett.

Once you know about sett you have such freedom, something will click in your brain and you will suddenly
understand so much better how yarn size relates to the size of your heddle.

Here is an example of how they tie together:

I wrap the yarn I want to use around my inch ruler and find that it has roughly 15 wraps per inch. Divide the wraps in half for a balanced plain weave. This gives me 7.5.

Now I know that if I want to do a plain weave on my rigid heddle loom, the 7.5 dent heddle is almost perfectly
matched to this particular yarn.

When you have a heddle size that doesn’t exactly match the sett that you’ve determined for your yarn, then
you can start making decisions. The decisions will usually be based on the project itself and how you want it to turn
out.

If the sett you determine for your yarn is not exactly the same as any of your heddle sizes, but is very close, you may choose to either go up or down in heddle size.

As an example, imagine that the wraps per inch for my chose yarn comes to 18 wraps. Divided in half, this will be 9 ends per inch (or a sett of 9.)

There are no loom companies that make a nine dent rigid heddle. But that’s okay, because we can compromise, based on what the planned project is. Do I want a lighter, airier and softer fabric? Or do I want a firmer and denser fabric?

For placemats or a table runner I would be looking for a firmer fabric, for a scarf or wearable I would be hoping for something softer and lighter. For the firmer option, I would choose to weave the yarn with a sett of 9 in a 10 dent reed. For the softer option, I would choose the 7.5 dent heddle.

These decisions become easier over time and experience with all different yarns and different types of
projects.

There are a couple of other things that I want to point out about your rigid heddle. When you have a look at the information at the top of the heddle frame, you’ll notice that, at least on an Ashford, there are some other numbers printed. In the case of the 7.5 dent heddle, the other printed figures are 30/10. This is metric information rather than Imperial. The 30/10 just means that over 10 centimetres, you will fit 30 threads in that 10 centimetres.

Also, if you look in between where it says “Ashford” and “7.5” you’ll see a dot. That dot means that directly underneath this is the very middle of your rigid heddle. This is really handy information!

I like to keep a piece of waste yarn tied at this middle marker for easy visual reference. It also makes measuring out your intended project before you begin warping. Simply place a measuring tape and line up the half way measurement with the half way mark on the heddle.

For this 10″ wide piece, I line up the 5″ mark with the centre of the heddle. I can then mark the start of the tape measure and the 10″ mark with more waste yarn tied onto the heddle for quick and easy warping.

The last thing I want to go over with you today is some tips on the care of your rigid heddles for their longevity.

New heddles are not cheap to buy, especially if you want to have a lot of sizes.
If you’re getting into weaving with two and three heddles you will be looking at quite an investment. Some basic care will help prolong the life of your heddles.

The first thing is to not store heddles in a place that is damp. Doing that will probably warp your wood over time and may render the heddle unusable.

Another thing is to not keep heddles in a place that is too hot. We are dealing with plastic here, so if it gets too hot, or it gets near a source of heat too much, the plastic component can melt and warp as well.

The third point is to go easy on your heddle. Don’t be overly rough on it when you’re threading. I know that might sound a little bit silly, but a heddle like a 15 dent heddle is very thin and not as strong as a larger sized heddle. Rough threading could bend or break the plastic.

The basic moral of the story is that if you treat your rigid heddles right, they will treat you right!

If you would like a handy guide for your rigid heddle loom, I recommend The Weaver’s Toolkit. It includes information such as the right yarns for the right sized heddles, yarn conversion sheets, calculation sheets and many more useful guides.

The Weaver’s Toolkit ebook is available for purchase here.

Would you like to view this post in video format?

Until next time…

Happy Weaving!

Double width weaving tips for rigid heddle weaving

by Kelly 18 Comments

Double width is one of those weaving techniques that can seem like some kind of sorcery to a new weaver.

It can be both very exciting and extremely daunting, all at the same time!

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

I remember how overjoyed I was early in my weaving journey to discover that my 24″ rigid heddle loom was actually capable of weaving fabric twice as wide. Wow, what a revelation!

With two heddles of the same size and two pick up sticks, you too can weave cloth double width.

If you’re interested in knowing more about what weaving with two heddles can achieve, I’ve written a previous article with details and examples of all the various things you can do with two heddles. You can read that article here.

My Weaving With Two Heddles class is one of my Online Weaving School best sellers, and it’s not hard to see why. Weaving double width can open up a whole new world of possibilities on any size rigid heddle loom.

Although weaving double width can be a challenge, I believe it is very achievable with the right tools and knowledge. And practice, of course!

Over the past few years, I’ve heard all of the common problems that students run into when attempting this technique. I’ve run into most of them myself at some point too.

So, today I want to give you my best tips for successful double weaving to help you have the best experience and hopefully avoid some common frustrations.

I’ll start with one common misconception from newbie double weavers:

Technically, your cloth will not be twice as wide.

Let me explain!

My rigid heddle loom is a 24″. The assumption then, is that if I’m weaving double width, I will end up with a 48″ wide piece of fabric. Not so. The 48″ figure does not allow for draw in and shrinkage. Just as I do when I weave a single layer of fabric on my 24″ loom, I have to calculate and allow for these differences. Depending on my yarn, I could have up to a 20% loss. This would make my double width cloth closer to 38″ in width.

This is something to consider in the planning stages of your double width piece. You may find it worth the time to weave a smaller sampler first, putting it through the wet finish and drying process and recording all the measurements before and after in order to determine the shrinkage and loss for your particular yarn.

And now for my tips!

Great warp tension makes all the difference.

I will say this for any weaving project, but it becomes all the more important for double width. Get you tension as good as you possibly can while winding on your warp.

This doesn’t mean get the warp as tight as you can, but more as firm and consistent as you can. This might mean that you need a helper to assist you in holding the warp while you wind on. It might mean using weights on the warp while you wind on. It will certainly mean packing the back beam very well as you wind (I would recommend a roll of craft paper that fits the width of your loom for this).

If your warp tension is not consistent enough, when you try to adjust the tightness to begin weaving, you will find some threads are tight enough and others are loose. Threads will not all be in their correct sheds, and you may be confused about thread positioning.

This can be super frustrating but is avoidable by taking extra time and effort over your warping process. Trust me, it’s worth it!

Choose your yarn carefully.

Choosing the right yarn for your double width project is going to save you a lot of headaches later on!

Firstly, you need a yarn that is a suitable size for the heddles you are using.

Next, you DO NOT want a sticky yarn for this weave structure. A yarn that sticks to itself too much, is frizzy or fluffy, will interfere with the cleanness of your sheds and turn you into one very frustrated weaver!

To find out more about different types of yarns, some I do or don’t recommend, and more general weaving yarn information, you may want to check out these articles:

Choosing and Using Yarns in Weaving…

3 Yarns New Weavers should never use!…

You also want to be careful about a yarn that has too much stretch. I like to use wool for double width weaving because it’s elastic, but bounces back, so it’s very forgiving.

If your yarn is elastic, but stretches without returning or bouncing back, then you have a problem. It will be next to impossible to maintain proper tension on the loom. This will make droopy sheds and you won’t be able to properly see which threads are in the right sheds or not.

Your fold may not always be the same.

The fold is kind of a big deal in double width weaving. This is because, once you remove your piece from the loom and open it up, that fold is on display for all to see! You can certainly weave a next to invisible fold, but there are some things you need to know first.

Yarn. Again, the yarn you use will impact on how your fold turns out. For example, I have found that a cotton will bunch together more tightly at the fold than wool does. This is because cotton is more rigid and less lofty/bouncy. So my strategy at the fold changes according to the yarn I’m using. I need to be less firm at the fold when using a more rigid cotton, to give it a little more space to settle into place. Again, a sample can be your best bet to success.

Consistent weft tension at the fold is really important. Try to find a good rhythm and stick with it. Not too tight, not too loose. Practice, practice, practice! You won’t get to really see your fold until you remove the piece, so it is challenging to know how it’s going to turn out. But practice will give you a good feel for what is too much or too little weft tension.

Clear your sheds if you’re concerned about floats.

Coming back to the possibility of sticky yarn or threads being in places they shouldn’t, it could be a good idea to use an extra stick shuttle or pick up stick to clear sheds before weaving them. You could do this for every shed if you need to, or just for those you have determined to be troublesome. When you open a new shed, insert your extra stick and wave it around. Or place it in flat and pull it towards you then slide up towards the heddle. This should sort out any naughty threads.

If things still don’t seem right, you can place the stick behind the heddle when the new shed is open and slide the stick up towards the back beam, then take it out. As long as your threading is correct, this works very well for putting threads in their correct places.

To check for floats, you will want to view your work from underneath at intervals. You can’t see how things are looking underneath as you weave, so either use a mirror or your phone to check. If you’re feeling energetic, you can hop off your chair and pop under the loom for a look. I’ve done all of these, and they all work fine, the main thing is to do checks periodically to see if you’re getting floats or to know if anything looks a bit off.

Now I want to address a question I get a lot.

Can I weave patterns or other weave structures in double width?

The very short answer is yes.

But…(there had to be a but, right?) the rigid heddle loom is best suited to double width in plain weave. There is a good reason for this.

A rigid heddle loom is a two shaft loom. When we weave double width, we are using 4 shafts (which is why we need two heddle plus two pick up sticks). Quite doable on a rigid heddle.

But, if you want to weave another pattern, that will often require 4 shafts to begin with. A rule of double width weaving is that you must have twice the number of shafts initially required. So, that 4 shaft pattern just became 8 shafts.

If you’re on of those thrill seeking rigid heddle weavers, and want to adapt 8 shafts for your loom, I wish you all the best. It can be done, but that is one thing I choose not to do myself. Although a voice in the back of my mind keeps telling me that I will and must do it one day, just for the challenge. Most of the time I try to keep that little voice at bay, it asks too much of me sometimes 😆

Suffice to say, setting up for a 4 shaft double weave on a rigid heddle loom is no picnic in the park. But, I do have another suggestion that I think you will like.

Colour and weave! If you’re unfamiliar with the term, check out this article. To explain it simply, colour and weave uses colour techniques to create interesting fabric and can easily be done on plain weave threading. You can combine warp and weft colour combinations to weave really beautiful items that look more complicated than your everyday plain weave.

This can easily be applied to your double width project. In my Doubleweave Baby Blanket class, I employ the use of weft stripes, but you can take that further by introducing more colour to warp as well.

The only thing you really need to know is that you will have to be particular about the colour placement at your fold, remembering that a warp stripe placed at the fold will be twice as wide as a single layer fabric.

That brings me to my very last tip.

If you find the fold challenging, incorporate a distraction!

So, you’ve been practicing folds for a while, but you’re still not happy with your results? Or you find that the fold is always too visible?

Try doing what I just mentioned, and add stripes to your warp, or colour arrangements. Ensure that these are arranged correctly at the fold. My reasoning behind this is that a piece of fabric that has colour or pattern will be “busier to the eye, and distract the view away from any less than perfect aspects of the piece.

Now I have some additional resources for you if you’re eager to start your own double width journey.

Book:

Jane Patrick’s “The Weaver’s Idea Book” has a whole chapter dedicated to many aspects of double weave. I highly recommend this book for any rigid heddle weaver, it is so comprehensive and inspiring!

Classes:

Weaving with Two Heddles

Doubleweave Baby Blanket

Members only classes:

Slouchy double heddle bag

Wrist Warmers

The Plaid Double Width Blanket Ebook is a fantastic 44 page resource that includes a beautiful blanket project plus a ton of comprehensive and useful information:

Plaid Double Width Blanket Ebook

So tell me, have you tried double width weaving yet? Perhaps these tips have inspired you to give it a go? Let me know in the comments below, I would love to hear from you.

Until next time…

Happy Weaving!

Crazyshot Book Review and Giveaway

by Kelly 408 Comments

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 kid’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 don’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 20” 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 it’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 you’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 “Crazyshot” 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 I’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 I’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 I’d never think of combining. I’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 won’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. I’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 I’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.

I’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 I’m aging, I find I can’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 I’m actually planning another book already!“

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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!

How to weave little trees on a rigid heddle loom

by Kelly 7 Comments

This is a project I’ve never shared here before but it’s so darn cute, I just know you will love it!

You may have seen some of my overshot style, “branoe” video tutorials on my Youtube channel before. The Snowmen and Reindeer are the most popular.

Well, today’s tutorial follows the exact same technique. You can use this technique on just about any loom, but this tutorial focuses on the rigid heddle loom. If you want to read more about this overshot technique, I’ve written the details for how it works in this post.

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

Here is what you will need to weave your own little trees in pots:

A rigid heddle loom (I used my 24″ but a Sampleit size is fine if you just want a small sample)

7.5 dent reed

A pick up stick wider than the width of your woven piece

Yarns-

There are no set yarns for this project, but I will share what worked well for me:

For the warp I used a light worsted/dk weight (Australian 8 ply) wool in white.

For the weft I used the same wool in a variety of colours. You will need one colour for your pots, brown for the trunk, green for the leaves, and then orange, red or yellow for the fruit (depending on whether you want orange, apple or lemon trees!)

I’m not including specific calculations or measurements for the piece, as this is adjustable and depends on what you’re weaving, but to give you a guide, my sampler was around 8″ width on the loom. It can be a good idea to wind on a 35 – 40″ warp and experiment with my other branoe/overshot tutorials.

You simply warp up and tie on as you would for plain weave. Then you’re ready to pick up.

You can find the pick up sequence PDF here:

Little-Trees-pick-up-sequence Download

Unlike other pick up, we leave the heddle in NEUTRAL and pick up the warp threads IN FRONT of the heddle.

You can begin by weaving some plain weave to support your pick up design and give contrast. There are nice little borders you can work as well, if you want to. The border that I have here in pink is just 4 up, 4 down but there are many variations you could do.

When you’re ready to begin weaving your pattern sequence, make sure you follow the pick up outlined in the PDF provided, starting with Row 1. Heddle in neutral, pick up in front of the heddle. Once all the threads are picked up across the warp, slide your pick up stick towards the heddle and place it on edge.

Your picked up threads will be propped up, changing the interlacement from plain weave. You can then bring in your pattern weft (whichever colour you’re using for the pots as designs are worked from the bottom up). I’m using a blue wool for my pots.

When your weft reaches the other side, take it around the edge warp thread and back into the shed, doubling your weft.

Take your pick up stick out of position and beat the doubled weft into place.

Follow this up with a plain weave pick in your background weft. Choose the plain weave shed (either up or down) that you were up to before you wove your first pattern pick. For me, that was the up position.

Each plain weave pick will be a single, not double weft.

Continue following the pick up and weaving sequence for the pots.

We follow up now with 6 picks of background weft in plain weave. This is because we need a surface to embroider the trunks onto. Weaving narrow trunks (and centering them to match the pots!) is quite difficult, so embroidering whilst the piece is on the loom is a much easier option.

Rather than embroidering right now, we instead move on to the pick up for the tree foliage.

That way, we have sturdy fabric to embroider onto and we can line up the trunks really nicely with the other design elements. So, we move onto step 6 of your pick up instructions.

Continue following the sequence to form the tree foliage. The pattern weft for the foliage is also doubled. Don’t forget to weave a plain weave pick in between every pattern pick. Now we can thread a tapestry needle with some brown wool or embroidery floss to embroider the trunks.

Knot your embroidery yarn to prevent it pulling through the fabric. Come up from the back of the fabric in the middle top of one of the pots, as shown.

Work a straight stitch to the bottom of the foliage. Take the needle down through the fabric and knot it off at the back, burying the tail in the back of the foliage. This prevents your from having super long threads at the back of the work. Knot the end of the yarn again to work the next trunks.

Once all your trunks are done, you can think about embroidering the fruit. I did this by threading up the colour I wanted and working French knots in the foliage – about 3 French knots for each tree.

If you would like to see the video version of this tutorial, including a graph chart for the design, it is available as a part of the Exploring Branoe class, available at the Online Weaving School.

I also have a low cost downloadable PDF ebooklet available. In this resource you will find written instructions for my free video tutorials on Youtube that use the Branoe technique, all collected and outlined for you in one place 😉

I hope you enjoyed this tutorial.

Until next time…

Happy Weaving!

Surface embroidery on weft floats

by Kelly 12 Comments

Embroidery was one of my first crafty loves and I still have a very soft spot for this beautiful art.

When my children were young I was very immersed in the world of embroidery. I loved it for several reasons:

It costs next to nothing to get started, and at that time of life we had no extra money!
It is incredibly portable and you don’t need a specific space to set up.
I could easily pick it up and put it down, very important when you have little kids around.
There are many styles of embroidery to explore.
With a bit of practice, you can improve very quickly (like some other fibre arts I may have mentioned previously, wink wink 😉)

Besides the fact that that weaving kind of took over my life, I’ve also not spent much time doing embroidery in recent years due to the deterioration of my eyesight. I definitely took that for granted when I was younger and even though I now have reading glasses to wear, the clarity is not the same.

Like many of the arts and crafts I’ve enjoyed over my life, I’ve found that embroidery can be married beautifully with weaving, and in many different ways.

One example is my bread towel project from a couple of years ago. I wove the towels and then embroidered some “bread themed” text on them.

But if you feel that you can’t embroider a straight line to save yourself, that doesn’t mean you have to strike embroidery off your list completely.

One time I was experimenting with some weft floats on my rigid heddle loom and thought to myself “these look nice, but if feels like something is missing” 🤔 I felt that I needed to introduce some more colour, and I just happened to have some lovely hand dyed rainbow yarn handy. A little while later, I had some gorgeous diamond shapes happening!

This technique is a surface embroidery, meaning that unlike the usual needle in and out from front through to back of the fabric, the embroidery yarn sits on top of the fabric and is incorporated by “tie downs” or anchors.

Today, I would love to show you how you can achieve this patterning with just a tapestry needle and some contrasting yarn.

Firstly, you will need to work some weft floats. These form the basis for your embroidery thread and gives it a path to travel. The weft float sequencing that I’m using for this tutorial is detailed in this video:

Start by threading your tapestry needle with a good, long length of your embroidery thread. You don’t need to specifically use embroidery floss (though that certainly looks lovely!) I used some light worsted/dk weight wool that was hand dyed and my warp was the same weight of wool, commercially dyed. I think ribbon would look lovely too.

Knot the end of your yarn so it doesn’t pull through. Starting on the first horizontal row of weft floats,(the second row of floats from a vertical perspective) bring your needle through from the back, at the bottom right hand corner of the pair of floats.

Now, take the needle underneath the float pair but not into the fabric itself. Pull the yarn through.

Now take the needle to the pair of floats on the right, they are in a diagonal position from where we just were. Take the needle underneath this pair and pull through.

Now take the needle to the pair on the left diagonal, go underneath the floats and pull through. Starting to see a simple pattern here? We’re basically zig zagging the embroidery yarn back and forth between the weft floats. Pretty simple, huh? 😉

When you get to the top of the row and have no more weft floats to go to diagonally, take the needle down through the fabric to the back. Do this just underneath the top of the last floats you went through, so that it’s not visible. This is to help anchor and secure the row of stitching you’ve just completed.

At the top of the next vertical row of weft floats, bring your needle up through the fabric from the back. The needle should be positioned to the top right of the pair of floats, as shown in the photo above.

Instead of travelling upwards through the weft floats, the time we’re travelling down the vertical row. Take the needle underneath the top floats and pull through.

You may start to guess what comes next. Take the needle underneath the weft floats to the right, on the diagonal. Pull the yarn through. Continue in this fashion, zigzagging downwards until you reach the bottom. Remember to take the needle down through the fabric each time your finish a row, in order to anchor the thread and prepare for the next row.

Once you’ve practiced a couple of rows, you can speed up the process by taking the needle under 2 pairs at the same time. This makes it go much faster and is a natural progression from embroidering under one pair.

There are further variations on this theme that are possible. Experiment and see what you can come up with!

Would you like a free video tutorial so that you can see this surface embroidery in action? I already have that covered, check out my video on Youtube:

Don’t forget to like and subscribe, thank you!

I hope you enjoyed this tutorial. Let me know if you love this technique and intend to give it a try by leaving a comment below, I love to hear from you.

Other resources you may be interested in:

Troubleshooting loose slot threads

All about finger controlled techniques

Weave neat edges on the rigid heddle loom

How to weave clasped weft

Until next time…

Happy Weaving!

What are finger controlled techniques?

by Kelly 6 Comments

Just when you thought you had tried everything in weaving, you discover there is more! Finger controlled techniques can add a whole other dimension to the way you’ve been weaving and offers new and exciting possibilities.

So, what are finger controlled techniques?

Also know as “finger manipulation weaving”, finger controlled techniques is a kind of umbrella term for a group of weaving techniques. It basically means that, rather than using just the shafts on your loom to control the threads and achieve patterning, you are also bringing your hands directly onto the warp to perform manipulations.

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

Often the finger manipulations will involve using a tool of some sort to aid you in holding the pattern created. Some examples of tools used are pick up sticks, knitting needles, threading hooks and crochet hooks.

Why use finger controlled techniques?

There are many good reasons to introduce finger controlled techniques into your weaving.

It increases your pattern possibilities.
You can achieve patterns that may not typically be associated with traditional weaving.
You can weave a drastically different pattern to what you normally might.
It is an exciting, interesting and sometimes meditative way to weave.
It can be used in small sections or borders to accentuate a plain or other weave structure.
It can be incorporated seamlessly into any loom set up.
You don’t need extra shafts or a bunch of extra equipment to give it a try.
You can set up your loom for plain weave and introduce the finger techniques on the same warp.
The techniques are good for an adventurous beginner. Make sure you have a plain weave project or two under your belt first though.
There are many different types of techniques to try, all with different effect. And each one has variations!

Which kind of looms work for using these techniques?

That is the beauty of it! Most finger controlled techniques are worked at the front of the loom, on the warp directly in front of you. This means it’s suitable for rigid heddle looms, table looms and floor looms.

Today I’m going to discuss the 3 most popular and well known finger controlled techniques in weaving:

Brook’s Bouquet
Leno
Danish Medallions

Brooks Bouquet was made popular by Marguerite Brooks when she wrote a book that included variations on this weave structure. You can see the “bouquet” component, where the yarn wraps around bunches of warp threads (the number of threads is adaptable) and pulls in tightly.

Reminiscent of lace knitting, the finished fabric also has some interesting qualities. Most of the time, woven fabric lacks “stretch” but using Brooks Bouquet produces a fabric with definite stretch. It is mildly open and airy, and yet has a beautiful and intricate pattern.

You don’t need any extra tools, just your stick shuttle (the same one you’re using for your weft) to pick up groups of threads in a repeat pattern and loop the yarn around the bunches as you go.

I love Brooks Bouquet in solid colours, using the same yarn for warp and weft, however I’ve seen some really beautiful pieces using variegated yarns too.

If you’re interested in trying it out but would like some step by step instructions, the Garden Path Scarf digital PDF download pattern is the perfect place to start. I have included lots of colour photos in this pattern as well as all the yarn and calculation details you need to complete a really beautiful scarf. I’ve woven two Garden Path scarves in merino yarn for myself and they are my go to for cold weather.

The next technique I want to share with you is Leno.

This also creates a light, airy fabric, but even more so than Brooks Bouquet. It is a very slow weave, as you twist threads using your fingers and a pick up stick and then hold the twists in place by beating in the weft thread.

Leno also has variations, for example, it can be woven on an open or closed shed. You can weave it in rows, with plain weave in between. You can weave Leno for the whole piece or just in border sections (it looks fantastic as bordering on a classic scarf or table runner).

If you like the look of this technique, I have good news for you! I have a complete tutorial on weaving Leno and it’s totally free. It is aimed towards rigid heddle weavers, but is completely adaptable to other looms as well. You can find that tutorial here.

That brings us to Danish Medallions.

This is a highly decorative technique. I love to showcase strongly contrasting yarns to really make those medallions pop out of the piece. It is a really interesting and fun technique to work on your loom.

The basic idea is to run a contrasting weft thread through bands of plain weave in another colour. The width of this band of plain weave will partly determine how large your medallions will be. You then bring in your contrast colour weft, threaded on a tapestry needle (at least, that is how I like to do it).

Using a crochet hook, or my preference, a double ended threading hook, you then hook this contrast yarn by taking the hook through the work at the previous contrast pick and pulling it though. This is where the tapestry needle comes in handy, as you can take it through the loop created.

Cinch up this loop and you have your first medallion. How tightly you cinch it will depend on the effect you want. A light cinch will give you medallions that seam to sit on the fabric with some minor gaps in between. A tight cinch will give you more separated looking medallions and will produce an airier fabric.

Both options look beautiful. You will notice in the sample above that I’ve also included beading between some medallions, just for fun. The Danish medallion technique lends itself beautifully to extra embellishments.

If you want to see this technique in action (because it’s so much easier to show it than to tell it) I have a very affordable online workshop that demonstrates both Danish Medallions and Leno, all in one place. Click here to check that out!

I hope that today’s post has helped you to find out more about finger controlled techniques and encouraged you to consider giving them a shot!

It can be fun to put on a short sampler warp, thread up for plain weave, and work your way through these techniques. You might find a really awesome way to combine the 3 to make a unique woven piece!

As always, I love to hear from you here and answer any questions you may have, so please let me know you visited by leaving your comment below.

Until next time…

Happy Weaving!

What can I weave on a small loom?

by Kelly 15 Comments

There are many looms that could fall into the “little loom” category.

Today I’m going to be talking specifically about the smallest rigid heddle looms available.

There are many reasons why weavers opt for a smaller loom. Some of these may include:

Affordability – a small loom is also a smaller financial investment to get started with.
Portability – you can literally pick these little looms up with one hand and take them with you
Space – some people have very limited space for storing a loom.
Testing it out – a small loom is a great way to test out weaving to see if it’s something you really want to pursue.

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

Many small loom weavers will later upgrade to a larger loom. Or some, (like myself!) will purchase a smaller loom later on, in order to have an extra loom on hand or just for sampling new ideas and designs.

Let’s have a look at the small rigid heddle looms currently available for purchase:

Ashford Sampleit 10″ (also comes in a 16″ weaving width)

Kromski Presto 10″ (also comes in a 16″ weaving width)

Schacht Cricket 10″ (also comes in a 15″ weaving width)

Beka beginners rigid heddle loom, available in 4″ and 10″ weaving width

I’ve come up with a list of finished items you can weave on a little loom as some ideas for getting started:

Samples

The number one function that a smaller loom serves is to make samples. If you are one of those people who think that sampling is a waste of time and yarn, I get it – I used to be exactly the same. But, throughout my weaving journey I have learned the true value of sampling before committing to a project.

In some cases, its actually a false economy to not sample and that is because the sample teaches you what you should and shouldn’t do for that project. In short, it guarantees the success of your project!

Clothing

You can make garments, even with a small loom, with a bit of creative design. Strips of woven cloth can be seamed together in order to make larger pieces of fabric, which can then be cut and sewn into garments. People often have the idea that only large, drapey garments (like a ruana) can be sewn with hand woven fabric, but that is not so. All kinds of clothing, including fitted pieces can be made, with a bit of planning ahead of time to ensure you are weaving an appropriate weight of fabric, with appropriate yarns for the garment you want to make.

In my Rigid Heddle Garment making class, we weave and then sew a loose fitting, open front cardigan. The class is not specifically for small looms, but it is easy to see how you can build a garment by building panels to seam together. A woven fabric with vertical stripes incorporated into the design would be perfect for camouflaging seams.

The Clasped Warp Quechquemitl class is another example of panels sewn together to construct a beautiful garment. Again, the class is not specific to small looms but the weaver could opt to weave 4 panels to join rather than the 2 demonstrated in the class.

The most obvious garment choice for a little loom would have to be a scarf, as you don’t need a wide width and you can wind on a warp that is long enough for one or two scarves.

Art

I have created a variety of art pieces on my 10″ Sampleit loom. A small loom is perfect for a petite sized wall hanging, tapestry or framed piece. I discovered an added bonus to my Sampleit for weaving art recently. When not in use, I store this loom by hanging it on the wall. I was working on some krokbragd recently and noticed when I hung the loom up for the day, that it was a perfect way to display the work on the wall while it’s being completed!

Another thing I have not yet done, but desperately want to, is to frame some of my smaller woven pieces. I love the way krokbragd looks in a beautiful frame.

Tapestry can also be woven on a little loom. You can see a few of my small tapestries in this post. I will freely admit that nowadays I weave tapestries almost exclusively on my Big Sister, but prior to the purchase of that loom I honed my tapestry weaving skills on my Sampleit. I even made a class about weaving Tapestry on a Rigid Heddle Loom!

Freestyle tapestries are great on a small rigid heddle, as they are more of an “anything goes” project. They can be very planned or completely unplanned. My Freestyle Tapestry series and Van Gogh Inspired Tapestry series are both great starting points for some inspiration.

Accessories and jewellery

You can weave some awesome gifts on your little loom. A bookmark is a quick project and a fantastic way to use up leftover yarn.

I wove a tapestry necklace on my tapestry loom, but the same could be done on a rigid heddle loom. A wrist cuff is a great small loom project and very straightforward to make.

I’m often asked if inkle bands can be woven on a rigid heddle. I have not done it myself, but I have seen bands woven by others. My advice would be – if you want to weave a lot of bands, make the investment in an inkle loom. They are quite affordable and they hold the amount of tension required for weaving really neat bands. Click here if you want to find out more about inkle weaving.

Notebook covers are fun and useful to weave. You can make them to fit your notebook, like I did for my Stashbuster Notebook tutorial series. You can also view that series here:

Some more accessory ideas could include:

A clutch, a purse or small bag, a phone case or wallet, glasses case, gadget case, pouches, or a drawstring bag.

Homewares

The range of projects you could complete in this category really narrow down to how comfortable you are with seams in your finished piece (though I will mention double width weaving shortly!)

Small items could include kitchen cloths, drink coasters, mug rugs, small placemats, teapot rests, and napkins and pot plant or coffee mug holders.

If you don’t mind the idea of seaming pieces together, you can expand on this list of projects to include:

Cushions and pillows, kitchen towels, table runners, throws and blankets. My Rainbow Blanket project is the perfect of example of how seaming panels together to make a larger project can really work. It was woven entirely on my 10″ Sampleit loom. It is lap blanket sized, but could easily be expanded to become bed sized! I woven panels and hand seamed them together.

Children

Options for woven items for children could include little hats, vests, pants, baby blankets, toys and plushies.

Double width

I couldn’t possibly finish up without mentioning that you have the ability to weave double width on your rigid heddle loom. For my 10″ Sampleit, this means that instead of the 10″ weaving width available, I would have 20″ instead! Just to temper that statement, this doesn’t include draw in, so the actual finished piece would be narrower than 20″ – but you get the idea. Weaving double width is just that – you increase the width of your finished item to twice the size it would have been.

This is a great option to small loom weavers who do not have the option of upgrading to a larger loom but would love to weave larger items. Does double width weaving sound like some kind of sorcery to you? Well, it’s actually very practical and with the right steps, is very doable. I have some resources that can help you get started:

Weaving with Two Heddles Online Class

Doubleweave Baby Blanket Online Class

I’m sure I haven’t covered all the ideas that are possible on a smaller loom, so if you have any other thoughts for projects, please share with other readers in the comments below.

Until next time…

Happy Weaving!

How to fix a weaving float

by Kelly 14 Comments

A “float” in weaving is a skipped thread or threads.

They usually occur at the back of the fabric and therefore are not noticed until you remove your piece from the loom.

While the discovery of a float can be disappointing for the weaver, thankfully they are fixable without too much trouble.

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

I’m using a plain weave sample, as it is the most straightforward to fix and so makes a suitable introduction to a weaver who hasn’t come across floats before. I’m weaving on my Sampleit Rigid Heddle Loom for the purposes of this tutorial, but floats can occur in any type of weaving.

We’re going to look at the three main culprits for a float happening in your weaving:

Loose or inconsistent warp tension
The angle of your shuttle as you enter the shed
Sticky threads

WARP TENSION

I know, I talk all the time about warp tension, but that is because it is SO important on so many levels to the success of your project. In relation to floats, a warp tension that is either too loose or has loose sections is a place for your shed to get messy. If your shed is not well tensioned and clean, that invites the potential for your shuttle to go over or under threads that it is not supposed to.

SHUTTLE ANGLE

This relates pretty closely to my first point about warp tension, because if your shuttle is at a weird angle when it enters the shed, it may either snag on a warp thread or just skip over it entirely, and then you have yourself a float. Again, we want to aim for a clean shed that leaves no guess work about the path your shuttle should be taking.

STICKY YARN

This is a bit of a pet topic for me it seems, but once again, it has a huge impact on the success of your weaving. Sticky yarn will cause all sorts of trouble and floats are definitely one of them. If you want to know more about which yarns have the potential to give you a rather large headache, check out these posts:

Tip for dealing with sticky yarns:

Use a spare pick up stick or shuttle to “clear” each new shed as you open it. This will force any threads that are sticking to one another back into their natural positions.

Now that we know the reasons why you might see floats occurring in your work, let’s get on to how to fix them!

*Note – Any float fixing should be done prior to wet finishing. If you have already wet finished but want to fix some floats, you can, the results just may not be quite as good.

You will need a tapestry needle and a length of your weft yarn. I used a blue colour instead of my weft green, but only to make the tutorial super clear. You should use the exact same yarn in the exact same colour as your weft.

Normally, I would use my favourite tapestry needle, my Clover Bent Tip Needles, but as we are currently packing up our home to move, I couldn’t find them and just used an ordinary tapestry needle.

There is no need to knot the end of your threaded yarn.

Begin by locating the path that your float yarn is travelling, around an inch away from the actual float. You can see that initially the yarn travels on the over/under path of plain weave, and then we have all those skipped threads where the weft strayed off course. We want to replace that section with a weft thread that is on course.

Next, we want to follow or mimic the exact same path that the weft was taking before it strayed off course. Keep your eyes on the correct weft thread and copy it exactly with your needle, right up to where the float begins.

When you run out of needle, pull your yarn through, but leave a tail of a couple of inches hanging out from where you began. Don’t cinch the thread up tightly, just pull it through so that it lays in place.

When you reach the float, push it aside so that you can see and continue following the over/under path based on where you were up to. Was your last thread under a warp thread? Then the next one should travel over – or vice versa. What you are doing now is placing the thread where it should have been in the thread, before the skipped threads happened.

When you reach the end of the float, continue to needle weave for another inch or so. This picture is not the best example of this, as my float was close to the edge of the work. Whatever the case, continue needle weaving past the end of the float, then leave a tail of a couple of inches like you did at the beginning.

When you have repaired all your floats in this fashion, it’s time to wet finish. Do not cut your tails or floats at this point, leave it all just the way it is. Wet finish and dry completely.

When your weaving is completely dry, it’s time to cut the tails. Use a small, sharp pair of scissors and cut close to the fabric, being very careful not to cut the fabric itself! You can also cut the floats at this point, in the same way you cut the tails.

And that’s it, floats are fixed. I left one float in place over at the left edge for comparison.

If you would like to see this tutorial in a step by step video format, please visit my Youtube channel.

Until next time…

Happy Weaving!