Weaving

The Boho Pillow Free Rigid Heddle Weaving Project

This year’s exciting free project for rigid heddle weavers – The Boho Pillow, is a collaboration with Lojan!

This Boho Pillow project encourages the weaver to choose vibrant colours and wonderful novelty yarns to weave something truly unique and happy 🌈😃 It’s suitable for adventurous beginners and above – you know how to warp your loom and have a couple of projects completed already.

If you’re not familiar with the Lojan family company, they produce spinning wheels and weaving looms out of the Netherlands. Their focus in on sustainable quality, made affordable through smart design.

I am a Lojan reseller for Australia, so feel free to contact me with any enquires. In the US, I recommend Revolution Fibers and the Woolery for Lojan products.

This rigid heddle project is structured around the use of the Lojan Flex Rigid Heddle loom – and in particular, the Lojan Flex vari dent heddles. A vari dent heddle allows the weaver to use different thicknesses of yarn seamlessly within the same project.

The Lojan heddle system for their Flex rigid heddle looms is quite unique. Rather than a single heddle frame with the plastic slots and holes fixed in place, the Lojan heddles come in segments that are 4″ (10cm) wide. You can insert as many heddle pieces into the 2 rails of the heddle as you need for your project. This makes using heddles of different dpi (dents per inch) very straightforward.

And you as the weaver decide on the placement of the different heddle sizes. An added bonus is you don’t have to purchase a brand new heddle/reed every time you want to change your dents per inch – you simply purchase the heddle segments and swap them out.

The Lojan Flex Rigid Heddle is even upgradable to the Flex Shaft loom (a fabulous table loom that is also available to purchase as a multi shaft set up) by purchasing a Flex conversion kit. One conversion kit will allow you to weave on 4 shafts and if you add a second conversion kit you have 8 shafts to play around with. It’s quick and easy to swap your loom between rigid heddle and multi shaft weaving. That really is smart and affordable design!

I decided to move out of my comfort zone and showcase some really interesting and new to me yarns. The use of the 2.5 and 5 dent heddle segments got me really excited about the yarn possibilities, as I knew I could use some very thick yarns without problems.

I chose a Recycled Sari Ribbon Yarn and a Recycled Sari Yarn. Just a little note – this second sari yarn is very soft, hairy and has a low twist, making it primed to be a little difficult on the loom. Another option is also a Sari yarn but looks to have a higher twist and may be easier to use. You can view that one here if interested.

For the rest of the warp I used a fingering weight wool in a variety of colours that I had on hand.

The wefts are all the same yarns, just used in various combinations as you will see in the video and outlined in your free pattern. Yarn amounts and brands are also included in the pattern.

We will use the direct warping method for this project. If you have not yet started weaving on your rigid heddle loom or you feel you need a refresher, my beginners course is for you.

Beginner Rigid Heddle Weaving – From WOE to GO!

Everything you need to know to get started and weave your first rigid heddle project

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So, who is ready to weave? 😃

Grab your pattern here and let’s go!

The Boho Pillow Download

In addition to the pattern, be sure to follow along with the free video tutorial:

Until next time…

Happy Weaving!

Why Is My Weaving Uneven? 10 Common Problems (and How to Fix Them)

by Kelly Leave a Comment

Why Does My Weaving Look Messy?

Have you ever looked at a piece you’ve woven and thought, “Why doesn’t it look as neat as everyone else’s?”

Maybe the edges are wavy, there are gaps between rows, the fabric looks uneven, or the whole project just seems a little untidy.

If so, don’t be discouraged! Every weaver experiences this at some point, and the good news is that slightly messy weaving is usually not caused by a lack of skill or talent. More often, it’s the result of a few common and simple issues that can be identified and improved upon with practice.

Let’s take a look at some of the most common reasons your rigid heddle weaving might not look as neat as you would like.

How Warp Tension Affects Your Weaving

If there’s one thing that can make the biggest difference to your weaving, it’s warp tension.

A well made warp is the foundation that everything else is built upon. If the warp isn’t tensioned correctly, you’ll find it difficult to achieve neat, consistent results no matter how carefully you weave.

A properly tensioned warp should feel firm and even across the width of the loom. It shouldn’t feel floppy or saggy, but it also shouldn’t be stretched to breaking point. Consistency is key.

When warp tension is too loose, you may notice:

Gaps appearing in the cloth
Uneven beating
Difficulty keeping the weft in place
Wobbly edges
An overall untidy appearance

Good warp tension makes weaving easier and helps the weft settle neatly where it belongs.

For further resources for warping, check out these links:

Why Are My Weaving Edges Uneven?

It’s not just the overall tension that matters, it’s also important that the tension is consistent across all warp threads on your rigid heddle loom.

If some threads are tighter than others, certain areas of your weaving may pack down differently or appear looser than the surrounding cloth.

Uneven warp tension can result in:

Sections that look denser than others
Loose threads creating gaps
“Smiling” or “frowning” edges
Inconsistent beating
Distorted fabric

This often begins during the warping process, so taking care when winding your warp will pay off later.

My first rigid heddle loom project. Proof that we all start somewhere!

Watch Your Draw-In

One of the most common causes of uneven edges is incorrect draw-in.

When we weave, the weft naturally wants to pull the edges of the warp inward. A small amount of draw-in is normal and necessary – that’s why we calculate for it in the beginning.

“Smiling” Selvedges

If the weft is woven with more tension than needed, the warp threads will gather together closely at the edges, creating what is known as “smiling” edges. There will be a noticeable curve upwards at both edges of your weaving.

Don’t forget to give each weft pick some room to breathe as you weave by leaving an angle or curve on it before beating. Allowing this breathing space allows the weft to settle into place naturally, rather than trying to find enough space for itself and naturally pulling in too much on the edge warp threads.

This smiling effect can also be caused by inconsistent warp tension – the warp threads at the edges are tighter than the middle warp threads. This will mean that again, your edge warp threads will become dense and the weft will fail to settle in a straight line.

“Frowning” selvedges

On the other hand, if weft tension is too loose, your edges will look inconsistent and untidy. You may have unattractive loops or bumps at your edges.

In addition to this you can end up with a “frowning” effect in your weaving. Your edges end up beating lower than the middle. Most of the time this is caused by the warp edge threads being warped more loosely than the middle of the warp.

The goal is to achieve a gentle, consistent draw-in that allows the warp threads to remain parallel as you weave.

If you experience either smiling or frowning edges, try first to assess your weft tension to determine whether that may be the issue. Adjust if necessary.

If you feel it is more of an inconsistency in warp tension issue, try some targeted wedging. You can’t make overly tight warp threads less tight, but you can certainly bolster loose ones.

Beating Too Hard, Too Soft or On An Angle

Many beginners assume that beating harder will improve their weaving, or that a super hard beat is necessary.

In reality, consistency is much more important than force.

If some rows are beaten firmly and others only lightly, the cloth can develop dense and loose areas that make it look uneven.

Likewise, if the weft isn’t beaten firmly enough, it may not settle properly into place, creating gaps and an open-looking fabric.

Rather than focusing on how hard you beat, aim for a consistent rhythm throughout the project.

Knowing how hard or soft to beat is something that will come intuitively with practice, but it does also depend largely on the type of fabric you plan to weave. For a weft faced (weft dominant) fabric, a very firm beat is appropriate. For a fabric with quite an open sett, a light beat is needed. And for a balanced weave, a medium beat is good.

Why Are There Gaps in My Weaving?

Gaps between weft rows can have several causes.

These may include:

Loose warp tension
Uneven warp tension
Inconsistent beating
The weft not being placed correctly before beating
Yarn combinations that don’t work well together

If your weft seems reluctant to stay where you’ve placed it, it’s often worth checking your warp tension first.

Does Yarn Choice Matter?

Sometimes the issue isn’t your technique at all.

Different yarns behave differently, and some combinations simply work better together than others.

For example, a thick, lofty weft may not pack down neatly against a fine warp with a close sett. Certain slippery yarns can be more difficult to control.

It’s also important to remember that textured yarns produce textured cloth.

If you’re using slub yarns, boucle yarns, thick-and-thin yarns, highly textured wool or novelty yarns, the finished weaving will naturally have more texture and visual variation than a project woven with smooth cotton.

That texture isn’t a flaw – it’s part of the yarn’s character. Some people may find that a textured weave looks “messy” to them. So it’s worth being aware of what your yarns might do in the weaving process, and afterwards, in the wet finishing process.

Different yarns can also have differential shrinkage, and while this can give very desirable effects if pre-planned, you can be in for some surprises if you’re unaware beforehand!

Also, if you’re unsure of yarn combination suitability, a sample is always recommended to be sure of success.

Choose Stable Warp Yarns

Not all yarns make ideal warp yarns.

Some fibres change significantly under tension. Certain acrylic yarns, for example, can stretch while being woven and then relax as the warp is advanced.

This changing tension can make it difficult (and sometimes impossible!) to maintain consistency throughout the project.

When possible, choose warp yarns that remain relatively stable under tension, such as cotton, linen or yarns and many suitable wools too.

Stop and Assess Your Work

One of the easiest ways to improve your weaving is simply to stop occasionally and look at it.

When we’re focused on throwing the shuttle and advancing the warp, it’s easy to miss small issues developing.

Every so often:

Step back from the loom
View the cloth from a different angle
Hold it at arm’s length
Take a quick photo with your phone

A photograph can reveal uneven edges, inconsistent beating or tension issues that you may not notice while sitting at the loom.

Catching a problem early often prevents a much bigger problem later.

Don’t Forget the Finishing Touches

Even beautiful weaving can look messy if the finishing is rushed.

Take the extra time to:

Trim fringes evenly
Secure loose ends
Tidy stray fibres
Wet finish the project if appropriate
Sometimes your weaving may need a gentle press with an iron

A neat fringe and careful finishing can dramatically improve the overall appearance of a handwoven piece.

A Quick Troubleshooting Checklist

If your weaving looks messy, ask yourself:

✓ Is my warp tension firm and even?

✓ Are all my warp threads under similar tension?

✓ Am I beating consistently?

✓ Am I allowing the correct amount of draw-in?

✓ Are my warp threads staying parallel?

✓ Are my yarns suitable for the project?

✓ Have I stopped to assess the cloth from a distance?

✓ Have I taken care with the finishing?

Every Weaver Starts In The Same Place

If your weaving isn’t looking the way you hoped, don’t be too hard on yourself.

Every experienced weaver has produced projects with wavy edges, uneven beating, gaps and tension problems. These aren’t signs of failure, they’re signs that you’re learning.

The wonderful thing about weaving is that every project teaches you something. As your understanding of tension, draw in, yarn selection and finishing grows, your weaving will naturally become neater, more consistent and more polished.

Keep weaving, keep observing, and keep learning. The improvements often happen much faster than you think!

If you’re just getting started in rigid heddle weaving, here are some additional resources to help you succeed:

Free Rigid Heddle Step by Step Warping + Free Printable Guide

Warping Wisely Free Youtube Course

Beginner Rigid Heddle Best Selling Online Class

Until next time…

Happy Weaving!

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

5 Rules Of Weaving You Should Absolutely Break

by Kelly 2 Comments

Years ago, when I was doing fine embroidery through a guild, I quickly learned that it was a world sometimes governed by strict, unyielding laws. While my particular guild was very encouraging and inspiring, there were very particular rules about what was or wasn’t acceptable.

Stitches had to be correct and beautiful, your work was highly valued if the back was as pristine as the front, and deviating from traditional stitch placement was not generally favoured. I enjoyed the challenge, but it sometimes felt less like a creative outlet and more like an exam.

Thankfully, weaving is not like that.

Or at least, it shouldn’t be. While we don’t usually have guild inspectors checking the back of our fabric, some people in the weaving community do hold rigid ideas about how weaving should be done.

If you read old textbooks or scroll through online forums, you’ll find an abundance of “shoulds” and “musts” that can make a weaver feel utterly paralysed rather than encourage them to just make a start.

When it comes to the great debate between strict traditionalism and chaotic experimentation, I land somewhere right in the middle.

I do believe you need enough technical knowledge so that your project is successful – no one wants a scarf that falls apart in the wash or a warp that frays completely under tension. But you should never be stifled by technicalities that don’t serve your joy in the process. The rules should be a springboard, not a suffocation.

Once you understand why a rule exists, you gain the superpower to break or bend it intentionally, safely, and beautifully.

So, let’s unpack 5 traditional weaving “rules” that you have full permission to brazenly ignore in the pursuit of creative joy.

1. Rigid Heddle Looms Are Not For Fine Threads

The Myth

People are often told that rigid heddle looms are strictly for chunky, rustic scarves, and if you want to weave fine cotton towels or a more complex weave structure, you must upgrade to a floor loom.

The Reality

You can absolutely weave beautiful, fine, structural cloth on a rigid heddle loom using finer threads. No, the experience will not be just the same as a multi shaft loom and yes, there will be challenges.

A rigid heddle loom does not hold as much warp tension as a floor loom, so tensioning finer threads (especially plant fibres that don’t stretch) requires careful warping. You may also find that you need to employ additional techniques and troubleshooting when you start weaving.

But still, it is absolutely do-able!

2. A Yarn That Snaps Can Not Be Used For Warping

I used to completely avoid any warp yarn that didn’t pass “the snap test”. I felt it was too risky. But I have learned.

Yes, there are definitely yarns that I still avoid using as warp. I once used a beautiful 28/2 merino to warp up my floor loom for a “dream luxury blanket” I had in mind but it quickly became a nightmare project. No matter what I tried, those warps kept breaking over, and over.

After a really solid attempt at weaving I had to abandon the project. It was really sad because it was actually beautiful.

And yet Rayon Chenille – another yarn that easily snaps when tested is wonderful for warping and weaving with. You can weave beautiful scarves like this one. But it does require some extra care to ensure success.

Consistent and even warp tension, achieved by taking care at the warping stage, is the key to warping with a less reliable yarn. The more evenly your warp is rolled on, the better your chances of no broken warp threads.

Another method used by weavers, especially those who love to warp with singles (un plied yarn) is to use sizing. Sizing strengthens the yarn temporarily and washes out later. Common sizing agents include starch or gelatine that the warp can be dipped into or painted onto.

One more workaround for an unreliable warp yarn is to pair it with something stronger. Using this method, you would make your warp with 2 threads – one your weaker warp and one your stronger. Then warp them together as one thread.

3. Weaving Patterns Must Be Followed Exactly

Weaving patterns are such a wonderful way to help you get started weaving. Depending on the pattern, it may be very detailed or less detailed.

Think of a written pattern as being like a recipe – you gather all the ingredients and then follow the method to make the dish. But you don’t always have the exact ingredients. Or maybe you are not so fond of one of the spices used. In that case, you can feel free to deviate from the recipe, understanding that your dish will be slightly different.

It’s just the same with a weaving pattern. If you are an absolute beginner, following a pattern as closely as possible makes sense, your results will be more predictable.

If you have a little more experience, you can be free to use the pattern more as a guide for essential elements, but place your own touch on it and really make it your own.

You can come up with some very exciting woven pieces just by wandering off the set path and exploring your own style.

4. Never Mix Different Fibres In The Same Project

You’ve heard more talk about sampling before. Before you roll your eyes at me, hear me out! Sampling really is the only way to be sure of your results.

If you are experimenting with yarns you haven’t used before, a weaving draft or structure you’re unfamiliar with, or you want to combine different yarns in the one piece, sampling is the way to go.

An example of using different yarns together could be a cotton warp paired with a wool weft. This is my favourite combination to use for weaving krokbragd – you have the strength of the cotton for a sturdy warp and the loftiness of wool that just looks perfect to me for krokbragd design.

If you love texture and movement in weaving, combining different yarns can be the perfect way to explore. Not all yarns have the same shrinkage rate, and this is where the cool effects come in. Weave your piece, wet finish and then watch the magic happen as the piece dries and the differential shrinkage becomes apparent.

You can achieve textures from subtle ripples to bumpy and lumpy by using yarns with different shrinkage.

If you want to combine yarns without achieving texture, this can also absolutely be done providing you choose your yarns with this in mind and…. guess what? Sample!

5. Loom Waste Is To Be Discarded

I admit that up until recently I have been terrible at making use of my thrums, or loom waste. There is always some amount of warp waste and the amount is dependent on the loom type.

I had read about weavers using their loom waste to stuff pillows, pin cushions or anything else that requires stuffing, but admittedly this did not appeal to me in a practical sense.

But then I stumbled across an article all about the Japanese method of Zanshi Weaving (or zanshiori). This deals directly with repurposing thrums by tying the lengths together in order to make a continuous yarn that can then be used for a unique weft. I was really excited to read about this method – it’s so simple yet solves a waste issue perfectly. I wrote more about this, and other Japanese waste reduction methods in this Substack post.

So, what kind of weaver are you? Rule breaker or rule follower? Whatever the case, the most important thing is that you work in a way that is intuitive and enjoyable for you.

Until next time…

Happy Weaving!

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

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5 Rigid Heddle Scarf Patterns That Are Perfect for Beginners

by Kelly Leave a Comment

When getting started with your first rigid heddle loom, the question is usually: “What should I weave first?” While it’s tempting to jump into complex structures or techniques right away, the best way to build a lifelong love for weaving is through projects that allow you take achievable steps.

Starting out can feel a bit overwhelming – there is the vocabulary of warping, the physics of tension, the challenge of trying to achieve consistent edges.

The rigid heddle loom is an incredible tool because it removes the complexity of floor looms while still offering a massive playground for creativity.

Getting Started With Weaving Scarves

One of the best beginner projects, in my opinion, is scarves.

You get a manageable “canvas” where you can practice your rhythm, master your beat and learn how different yarns behave on the loom.

The narrow warp of a scarf project is optimal for first time warping too – a consistent warp tension is so much easier to achieve when there is less of it to manage!

The beauty of the following scarf designs is that they are designed to build your confidence, help you understand how colour, texture, and simple techniques can transform threads into a professional looking garment you will be proud to wear or gift.

These five scarf patterns are designed for beginner weavers. They aim to build your skills while ensuring you end up with a beautiful, wearable finished piece.

Oh, and they are a LOT of fun to weave too!

1. The Garden Path Scarf

This pattern is my all time best seller. Looks complicated, you say? Well, that is the beauty of it! It’s actually a repetitive, finger controlled pattern that is suitable for beginners. Once you have the repetition down, you can just enjoy the flow.

It focuses on using colour and simple transitions to mimic the winding beauty of a garden pathway. It’s a fantastic project for practicing your tension and introducing you to lace weaves through hand manipulation.

2. The Candy Store Scarf

If you love vibrant, playful aesthetics, this is the project for you. The Candy Store Scarf is a masterclass in using “pops” of colour for special effects.

It teaches you how to manage multiple color changes without getting tangled, resulting in a bright, cheerful accessory that looks much more complex than it is to weave.

This pattern could easily be your gateway into the concept of Colour and Weave techniques.

3. The Maria Scarf

The Maria Scarf leans into a more classic, sophisticated style with a modern edge. This pattern focuses on elegance through simplicity, helping you perfect your beat and selvedges.

It’s the kind of project that builds your “weaver’s muscle memory,” ensuring your fabric is consistent from the first inch to the last.

This scarf exudes luxury with the use of chenille yarn and silk ribbon. It shows you how to set up and weave with a supplementary warp.

4. The Weekend Scarf

Weaving shouldn’t always feel like a marathon. The Weekend Scarf is designed to be a quick, satisfying project that you can warp and weave in just a few sittings.

It’s the perfect “palate cleanser” between bigger projects and a great way to see immediate results from your new skills.

This one also uses Colour and Weave concepts with the addition of a chunkier yarn for bold patterning and a speedy project to weave.

5. The Galaxy Scarf

Ready to reach for the stars? The Galaxy Scarf explores how dark backgrounds and shimmering or variegated accents can create a deep, celestial effect.

This pattern encourages you to experiment with yarn choice and see how a simple structure can produce a dramatic, high-contrast look.

It uses the Clasped Warp technique to further suggest falling stars and galaxy light effects as well as shiny, drapey yarns for a luxury feel.

Get the Complete Beginner Bundle

If you want to dive into these projects without the guesswork, I have put together a Rigid Heddle Beginner Scarf Bundle that includes all five of these patterns in one convenient and lower priced digital download.

Each pattern is laid out with clear, step-by-step instructions, including:

Warping Instructions: Know exactly how many ends to thread and in what order.
Yarn Requirements: Suggested weights and quantities so you don’t run out mid-project.
Step-by-Step Instructions: No vague directions, just clear, concise steps with colour photos to get you from warping to weaving.
Finishing Instructions: Tips on how to properly wash and fringe your scarves for a professional look.

Whether you’re looking to master rigid heddle weaving basics or want a set of reliable projects to use for gift giving, this bundle is designed to be your go to resource.

Grab the Beginner Scarf Bundle Here

Until next time…

Happy Weaving!

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

Understanding Picks Per Inch (PPI): The Key To Consistent Weaving

by Kelly Leave a Comment

If you have spent any time at the loom, you know that weaving is as much about rhythm as it is about yarn.

When I first started weaving, I relied mostly on “feel” until I started designing weaving patterns to sell. I soon realised that my “regular beat” was someone else’s “light tap,” and that you can’t always put actions into words.

As I continued to design and teach I started to receive magazine project and article opportunities. Projects need to be written using a predictable formula to ensure readers can obtain results close to my own.

That is when I started thinking about the Picks Per Inch (PPI).

PPI refers to the number of weft threads (picks) packed into one inch of woven fabric. While Ends Per Inch (EPI) is determined by the spacing of threads in your reed, PPI is determined by you – the weaver.

Twill blanket from my Double Width on a Floor Loom Online Class

Common Questions about Picks Per Inch

Do I Have to Measure The Picks Per Inch?

Actually, no. And I didn’t bother about it for a long time because I didn’t have a specific reason to. I still don’t bother measuring or worrying about my PPI unless I have a specific reason.

There are many weavers who would disagree with me and say that considering the PPI is absolutely essential for your weaving projects.

It’s just another example of finding your own way in weaving by practicing and discovering what works well for you and is important to you as a weaver.

Do I Need Special Tools?

No, just a measuring tape or inch ruler.

How Do I Measure the Picks Per Inch?

Simply use your tape measure as you weave and count how many weft picks you’ve woven within an inch of weaving.

Measure under active weaving tension.

How Often Should I Measure the Picks Per Inch?

You don’t need to overdo it and measure every inch you weave. Every few inches is fine.

Why Should You Track Your PPI?

Monitoring your PPI isn’t just about being meticulous; it is a practical tool that solves several common weaving frustrations and gives you more information to record for future projects and your own learning.

1. Matching Panels Perfectly

If you are weaving a project in multiple pieces – such as two panels for a wide blanket, coverlet or a set of matching cushions, PPI can become your best friend. Even a slight variation in your beat between Monday morning and Friday afternoon can result in panels of different lengths and altered pattern size. By ensuring your PPI is identical on both, your panels will sew together seamlessly.

2. Getting “Designer Results”

When you follow a pattern, the designer often provides a specific PPI to help you achieve the intended look. Even with the exact same materials, you cannot truly measure your physical beat against theirs. A light beat on a heavy floor loom exerts much more force than a light beat on a lightweight rigid heddle loom. Measuring the PPI allows you to calibrate your personal touch to match the project’s requirements.

3. Maintaining Visual Proportions

If your PPI is lower than recommended, your patterns (especially in structural weaves like Overshot) will appear “long” or elongated. Keeping a consistent PPI ensures that a square stays a square and a circle doesn’t turn into an oval. Just as a disclaimer – especially for overshot, sometimes further methods will be required to obtain a more squared design, this is discussed further in the “expert tips” section.

4. Beat Consistency Over Time

Our rhythm changes as we weave. As you get comfortable with a project, you often speed up, which can lead to an inadvertently harder beat. Similar to warming up before exercise. By checking your PPI periodically, you catch these shifts before they become visible in the finished cloth.

5. Fabric Density

If you are weaving a balanced weave, you want the picks per inch to match the ends per inch. But if you’re wanting to weave a weft faced or warp faced fabric, measuring the PPI will ensure you weave the cloth you sett out to weave (see what I did there? 🤭)

Turned Taquete woven on my Louet David 8 Shaft Floor Loom

Estimating Weft Yarn Requirements

One of the most powerful uses for PPI is calculating exactly how much weft yarn you need before you even start throwing the shuttle.

To find your total weft yardage, you can use this standard formula:

Total Weft=36 (to convert to yards)Width in Reed×PPI×Woven Length

Add a 10% buffer to this total to account for loom waste and take-up.

Or you can use this free, interactive calculator to simplify.

Expert Tips for “Squaring Up” Your Design

If you find that your pattern is still looking too elongated even after you’ve tried to adjust your beat, here are two professional tricks to help “square” your shapes:

Adjust the Pattern Repeats: If you are weaving structures like overshot, crackle, or summer and winter, you can simply reduce the number of pattern picks in each block. If a block calls for four picks but looks too tall, try reducing it to three.
Swap Your Tabby Weft: In many structured weaves, you use a “tabby” or ground thread between pattern picks. If the design is too long, try using a thinner tabby yarn. A lighter tabby takes up less vertical space, allowing the pattern picks to sit closer together and compressing the design vertically.

By mastering your PPI, you move from “hoping” a project goes according to plan to “knowing” it will.

Until next time…

Happy weaving!

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A Guide to Inlay Weaving for Beginners

by Kelly 2 Comments

Painting with Yarn: Why I’m Obsessed with Inlay Weaving

Have you ever been halfway through a project and thought, “I wish I could just add a little something right here”? Maybe a splash of color, a geometric shape, or a bit of thick, cozy texture that stands out from the rest of the fabric?

If so, let me introduce you to one of my absolute favourite “secret weapons”: The Inlay Technique.

What Exactly is Inlay?

Think of inlay as “painting” while you weave. Unlike traditional patterns where the yarn goes from edge to edge (selvedge to selvedge), inlay allows you to place extra bits of yarn exactly where you want them.

The best part? It doesn’t change the structure of your cloth. Your base fabric stays strong and stable, while your “inlay” yarn sits beautifully on top, almost like it’s floating.

For this shawl I wove for WEFT magazine I used a variety of techniques including Brook’s Bouquet and Clasped Weft. I added in some inlay sections using Lang Yarns Mille Colour Socks and Lace Luxe yarn. You can see in the photo above that I introduced 5 balls of discontinuous weft to build the inlay sections.

How Does Inlay Work?

Typically you will have a plain weave background with a supplementary weft as the inlay. But inlay is also really fun to use in a variety of weave structures, because the same principle applies.

The inlay is created with an additional weft that can be introduced anytime, anywhere. You can explore a variety of yarns to use as your supplemental weft and you are in total control of the placement of the design.

I had so much fun playing around with this sampler. The warp on my floor loom was threaded for overshot. I woven a section of tabby (plain weave, also the ground fabric) in black and then introduced my supplementary bamboo weft in blue. Rather than weave the overshot from edge to edge, I used the shuttle to move in and out of the warp in the section where I wanted the overshot “window”.

Why You’ll Love It

No Fancy Equipment: Just your regular loom, whether it’s a rigid heddle, table loom, floor loom or frame loom.
Stash Busting: It’s the perfect way to use those tiny, beautiful scraps of luxury yarn you’ve been saving.
Total Freedom: You aren’t locked into a repeating pattern. You can change your mind and add a new shape whenever the mood strikes. Plan ahead or make it up as you go along, the choice is yours!

On a rigid heddle loom, you can combine pick up techniques with inlay to create colourful sections of weft or warp floats. Again, you decide on placement. By following up each inlay pick with a plain weave pick you create a stable background fabric.

A Little Tip to Get Started

When you’re choosing your inlay yarn, try something a bit thicker or more “toothy” than your background yarn. This helps the design pop and gives your finished piece that gorgeous, tactile quality that hand weaving is all about.

Inlay can also be used in a more organised fashion, like I did for The Heart Scarf. I wanted to have a plain weave border at each edge with the pick up floats pattern in the middle.

Ready to Dive Deeper into Inlay?

If you’re longing to explore inlay in more depth, I’d love to have you in my online rigid heddle inlay class! This is a member’s only class for members of the Online Weaving School.

Check out the Inlay Weaving Class here!

Let’s Get Creative!

Inlay is one of those techniques that feels like a total “lightbulb moment.” Once you try it, you’ll start seeing possibilities for it in every scarf, towel, and wall hanging you plan.

Have you tried adding extra textures to your weaving before, or is this your first time hearing about inlay? Are you eager to give it a try? I’d love to hear your thoughts in the comments!

Until next time…

Happy Weaving!

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

When Is Your Handwoven Piece Ready to Sell? (A Practical Guide for Weavers)

by Kelly Leave a Comment

If you’ve ever finished a handwoven piece and thought, “Is this actually good enough to sell?” – you are definitely not alone.

The question of when to sell your handwoven items is a difficult one, because it’s incredibly subjective.

Honestly, it’s probably one of the reasons I haven’t written about it much before! There isn’t a single clear line where something suddenly becomes “sellable.” But I can share what I personally look for before I feel comfortable offering a handwoven item for sale.

And just to say upfront — these are my personal guidelines, not hard rules. You don’t need perfection to start selling (please don’t wait for that, or you may never begin!).

1. Neat, Tidy Edges (Especially for Scarves)

Edges (or selvedges) are one of the first things people notice — especially on scarves where they’re fully on display.

What I look for:

Edges that are reasonably straight and tidy
No extreme loops pulling out the sides
No hugely noticeable lumps and bumps
A consistent rhythm to the weaving

Now, a little inconsistency is completely fine – and even expected in handmade work. But overall, the neater your edges, the more polished your piece will look and feel.

2. It Looks “Finished and Fabulous”

This one is more about the overall impression.

Ask yourself:
👉 Does this look like a completed piece… or like something still in progress?

Things to check:

No straggly or loose threads hanging out
No obvious threading or weaving errors jumping out
No large floats or pulled threads
Fringe is tidy and intentional (twisted, knotted, or otherwise trimmed and finished)

A customer may not understand weaving techniques, but they will notice if something looks unfinished.

3. Proper Finishing Matters More Than You Think

Finishing can truly transform your work.

Before selling, I always make sure:

The piece has been wet finished appropriately
It’s been pressed, ironed or steamed if needed
Fringe or knots are secure and durable

This step is what takes your weaving from “just off the loom” to something that feels intentional and professional.

4. A Uniform, Tidy Overall Look

When you step back and look at your piece as a whole, it should feel cohesive.

I look for:

Fairly consistent beat (not too packed in some areas and open in others)
A balanced, even appearance
Nothing visually distracting or “off”
Pleasing colour and design (I admit this one can be extremely subjective!)

Again — not perfect. Just pleasant and intentional.

A Gentle Reminder (Because This Matters Most)

You do not need a perfect scarf to sell it.
Truly.
Handwoven items carry character – that’s part of their beauty. If you wait until everything is flawless, you may never feel ready.
Instead, aim for:
Thoughtful
Well-finished
Made with care and love.

Still Unsure When To Sell Handwoven Items?

If you’re on the fence, a really helpful exercise is to:

Look at your piece from different angles
Take photos (this often reveals things your eye misses!)
If wearable, start wearing your pieces! This is the best form of free advertising you can do.
Compare it to other handmade items being sold (only as a rough guide).

And if you’d like a second opinion, you’re always welcome to send me a few photos — I’m very happy to gently point out anything that stands out 😊

If you want to sell your handwovens but don’t know where to start, I have you covered:

Etsy or Shopify – Which is Better?

3 Ways to Start Selling Online for Free…

So, You Want to Start Selling Your Weaving?

3 Fears Stopping You From Starting Your Creative Business…

Weaving Cost Estimator…

And if you need extra help, advice or a sounding board from an experienced and successful creative entrepreneur, feel free to book an email consultation using the button below 👇

Until next time…

Happy Weaving!

Book a Consultation with Kelly

Table Loom Choices: Ashford vs. Louet vs. Lojan Flex

by Kelly Leave a Comment

It’s a question that pops up in my inbox so frequently: “Which table loom should I buy?“ Specifically, the debate usually centers around the Louet Jane versus the Ashford Table Loom.

Now that I have extensive experience with both – and have recently spent quite a bit of time with the Lojan Flex as well, I can finally offer a comparison. Each of these looms has a distinct “personality, and style” and the right choice really depends on your budget, your space, and to some extent, personal preference.

As a disclaimer, all comparisons and thoughts shared here are my own, based on my experience. Experiences and preferences differ, so please keep that in mind as you read 😉

The price comparisons I give are relevant to the time this article was written and are subject to change. All pricing given is in USD and sourced from The Woolery and Revolution Fibers.

1. The Louet Jane (16 Shaft, 90cm)

The Jane is often considered the “luxury vehicle” of table looms. It is a workhorse designed for weavers who want floor-loom capabilities in a smaller footprint.

When my very first Jane arrived and I began the assembly process, it all felt so very familiar. Louet looms are made and designed with a distinct look and feel, and as I have owned a Louet David Floor loom for many years, I already felt that I knew the Jane table loom to some extent.

Louet looms have a smooth and shiny finish, are sleek and beautiful to look at.

Pros:

Exceptional Sturdiness: This loom feels incredibly solid. There is very little “give” when you are weaving, which translates to high-quality cloth.
High Tension: If you like to weave with a firm warp, the Jane handles it beautifully without any bowing or straining.
Floor Loom Vibes: I bought the floor stand with my 90cm Jane, as it’s a large loom and I didn’t want to have to weave standing. Using it on the stand really feels similar to using a floor loom, without the treadles.

Cons:

The Price Tag: This is a significant investment. It is comfortably the most expensive option of the three.
Threading Ergonomics: Because the 16-shaft model is quite deep, you are reaching back a fair distance to thread. When mounted on a stand, finding the right “sweet spot” for height can be a bit of a challenge for your back.
Lever Feel: While the levers are functional, they feel a bit different than the Ashford style; it’s a matter of personal preference, but they take some getting used to.
No Treadle Kit: If you don’t like using levers to operate your shafts, this may not be the loom for you. There is no treadle kit available.

Price:

The 8 Shaft Expandable (can be upgraded to 16 shafts) 50cm Louet Jane retails for $1841 USD

The 16 Shaft 50cm Louet Jane retails for $2,279 USD

Helpful Resources for the Louet Jane:

Louet Jane 16 Shaft Assembly Video

Louet Jane 16 Shaft Table Loom Review

2. The Ashford Table Loom (8 Shaft)

The Ashford is perhaps one of the best known and used table looms in the world. It is the loom many of us learned on (myself included), and for good reason.

Pros:

The Lever System: In my opinion, Ashford has nailed the lever setup. They are intuitive, smooth, and easy to use.
Value for Money: The lower cost point makes this a more accessible table loom for beginners. You get a lot of loom function for a lower price point.
Lightweight: It’s easy to move around the house or take to a guild meeting (depending on size)
Treadle Kit: There is a treadle kit available for some Ashford table looms. You do need to have your loom on a stand to use treadles, and you can only attach 4 treadles, even if it’s an 8 shaft loom.

Cons:

Structural Flex: The Ashford looms are generally more lightweight. Under high tension, I’ve experienced the back apron rod bending, which can be a bit frustrating.
Tension Limits: It simply won’t hold the “rock-hard” tension that some other table looms can, which might limit you if you like to weave with really optimal tension.

Price:

The 8 Shaft 24″ Ashford retails for $1,249 USD

The 16 Shaft 24″ Ashford retails for $1,959 USD

Helpful Resources for the Ashford Table Loom:

How To Assemble the Ashford Table Loom

How to Pack Up the Ashford Table Loom

3. The Lojan Flex (4 to 8 Shaft Conversion)

The “new kid on the block” is the Lojan Flex. This is a unique hybrid loom: you can start with a rigid heddle loom and add a shaft conversion kit. Or, if the rigid heddle aspect doesn’t interest you, the Flex can be purchased fitted with 4 – 8 shafts (known as the Flex Shaft Loom.)

Pros:

Ultimate Versatility: It’s the best of both worlds. You can swap back to rigid heddle weaving whenever you like.
Superb Comfort: This is surprisingly one of the most comfortable looms I’ve ever used as a table loom. When it’s on the floor stand, the levers and the weaving area feel very close to your body, so you avoid unnecessary reaching or stretching.
Easy Threading: Because the loom is compact, you aren’t reaching deep into a “castle” to find your heddles. It’s very easy on the eyes and back.
Shaft Upgrades: This is a very adaptable loom. Whether you start out using it as a rigid heddle loom or not, you still have the ability to upgrade from 4 shafts to 8 by adding an extra shaft kit.
Tension: The Flex holds excellent tension.

Cons:

The Beater: Unlike the other two table looms already mentioned, the Lojan Flex Shaft Loom doesn’t have a full beater frame. The beater bar is a bit thick to grip, and because it’s so light, it can feel a little “flimsy” compared to the more traditional overhead or underslung beaters on the Louet or Ashford. This is literally the only thing I don’t love about this loom.
Limited Weaving width: Currently this loom is only available in 30cm and 50cm weaving widths. Lojan is an innovative company but they are also relatively new, so I wouldn’t be at all surprised if they bring one wider widths in the future, as they continue to expand.

The 8 Shaft, 30cm Lojan Flex retails for $645 USD

The 8 Shaft, 50cm Lojan Flex retails for $ 740 USD

Helpful Resources for the Lojan Flex Shaft Loom:

Lojan Flex Shaft Loom Review

How To Assemble the Lojan Flex Shaft Conversion

Which one should you choose?

Choosing a loom is a very personal decision, but here is my “quick guide” to help you decide:

If you…	Then go for…
Want great tension and a premium, floor loom feel?	Louet Jane
Are on a budget but want a reliable, classic multi-shaft experience?	Ashford
Want versatility, portability, comfort, and the ability to switch to rigid heddle?	Lojan Flex

I haven’t specifically covered shafts and how many are available with each of these looms, because there are many options. Your choice of shafts is going to depend on what you want to weave. Try to consider the kind of weaving that appeals to you currently, but with the understanding that this may grow and change over time.

If you are just starting out in Table Loom Weaving, I recommend you take my beginner’s course. It covers everything you need to know and can be used with any table loom.

I also have a free Table Loom Resource page here.

Did you know that I am a reseller for Louet and Lojan looms in Australia? Check out this page for more information.

Final Verdict: The truth is that these are all great looms. The best loom to choose is the one that is best for YOU!

Until next time…

Happy Weaving!

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

You Can’t Weave Kitchen Towels on a Rigid Heddle Loom

by Kelly 6 Comments

Today we’re diving into one of my absolute favourite things to weave: kitchen towels.

This post actually started because of a message I received from a student. She was told by another weaver that you can’t use a rigid heddle loom for kitchen towels because you simply “can’t beat the weft hard enough” to make them durable.

Whenever I hear someone say, “You can’t do that on a rigid heddle loom,“ my ears prick up. I love pushing the limits of these looms! So, let’s look at the evidence, address the “partial truths,” and get you inspired to start your next towel project.

Is it true? The “Hard Beat” Debate

Let’s be honest: Can you beat as hard with a rigid heddle as you can with a heavy floor loom? No. Floor looms often have heavy, swinging beaters and metal reeds that provide more physical force.

The spacing is also different. A rigid heddle is, well, rigid! The beat does not feel the same. However, does that mean you can’t weave a functional towel without that force? Absolutely not.

The “you can’t” statement is a blanket rule that can really discourage beginners. It might make someone think they have to spend thousands on a floor loom when that just may not be the right choice for them. In my studio, the motto is: Where there’s a will, there’s a way. Rigid heddle towels might be different from floor loom towels, but they are just as beautiful, thirsty and do-able.

Exhibit A: The Proof is in the Towels

I brought a stack of towels out of my kitchen to show you exactly what is possible. Some are well-loved and “worse for wear,” while others are pristine samples from my classes.

1. The Log Cabin Towel (8/2 Cotton)

This is a classic color-and-weave technique. Looking at the closeup, does it look “gappy” or loose? Not at all! It’s a fantastic weight and has been a workhorse in my kitchen. I wove this on a 50cm rigid heddle loom using standard 8/2 cotton. It’s firm, stable, and looks professional.

2. Texture & Absorbency: The Fibonacci Set

One of these is a simple plain weave, but the second uses a pickup stick to create a lovely waffle like texture. Using a pickup stick is a simple way to add “surface area” to your towel, which actually makes it more absorbent. Plus, it looks like you’ve done something super clever but it’s actually deceptively simple 😉

3. The Famous Diamond Stripe (Double Heddles!)

These are some of my most popular projects. They are woven with two heddles, which technically mimics a three-shaft draft. By using two heddles and 8/2 cotton, you get a dense, high-quality fabric that rivals anything made on a “big” loom.

What About Thicker Yarns?

If you’re a beginner, you might want to start with something a bit heavier:

8/4 Cotton: These make great, slightly thicker “hand towels.” They are a bit like a fingering weight yarn and are very beginner-friendly.
DK Weight Cotton: I used this for my “Wash Your Hands” towels (a free pattern on my site!). These are thick, squishy, and perfect for a bathroom or a heavy-duty kitchen spill.

Pushing the Limits: 10/2 Cotton & Beyond

I’ve even woven placemats and fabric for my Japanese Journey Masterclass using 10/2 cotton on the rigid heddle. Is it more challenging to keep an even beat with such fine thread? Yes. Does it take more patience? Definitely. But as you can see from my Sashiko-embroidered samples, the result is a perfect, fine-grid cloth.

The Moral of the Story

Don’t be the kind of person who just accepts “no” as an answer. If someone tells you that your loom has a limit, challenge that idea! Rigid heddle looms may be built simply, but they are simply built for exploration!

Whether you want to try a simple Log Cabin or a more complex Double Heddle Diamond Stripe, your rigid heddle loom is more than capable of weaving beautiful kitchen towels and filling your kitchen with handmade joy.

Ready to start weaving?

Check out these resources mentioned in the video:

If you would like to see a video where I discuss this topic further, check this out:

Until next time…

Happy weaving!

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

Weaving for Healing: When the Loom Becomes More Than a Hobby

by Kelly 6 Comments

Over the years, I’ve had so many women quietly tell me the same thing:

“My loom helped me through a really hard time.”

“Weaving is really helping me through this period of grief”.

“Weaving is good for my mental health”.

We don’t often talk about this side of weaving. We talk about the excitement of new projects, yarn choices, techniques and looms. But there’s another layer to it – the quiet support that weaving can offer when life feels heavy.

I want to explore that here – not as therapy advice, because I am definitely not a therapist! Not as a substitute for proper support, because that is absolutely key for healing of any kind.
But as an honest look at why weaving can feel deeply stabilising during stressful or painful seasons.

(And just to reiterate clearly – weaving is not a replacement for professional health care. If you’re struggling, please seek the right support!)

The Comfort of Repetition

Think about what happens at the loom.

Throw the shuttle.
Beat.
Change shed.
Repeat.

There’s something incredibly regulating and grounding about that gentle rhythm.

When life feels chaotic or uncertain, the loom does not change. The process is the same today as it was yesterday. The loom waits until we’re ready for the next weaving session.

Our nervous systems respond well to predictable, repetitive movement. Both hands working. A steady pace. Clear steps.

You don’t have to make a hundred decisions.
If you run into problems or errors you can address them quietly and in your own time.
Then you progress to the next step.

It’s just you, the weaver, and the loom in that moment of time.

That simplicity can be a relief.

Weaving During Stressful Seasons

There was a period in my life when my son was very ill in hospital for an extended time. It was exhausting and uncertain, and there were so many things completely outside my control. At times, we didn’t know if he would make it.

To add to the distress, I was quite sick with the flu myself and there were many days that I couldn’t be with him at the hospital, which was quite a distance from our home.

During that season, weaving became something steady.

It didn’t solve the situation or remove the stress. Actually, at first I felt selfish for sitting at the loom when I couldn’t be at my son’s side.

But it gave me:

A familiar process
A quiet mental focus
A small sense of completion

When everything else felt unpredictable, the loom was predictable.

The warp was still straight.
The heddle still lifted and lowered.
Cloth still formed, one row at a time.

And sometimes, that was enough to steady me for the day. I even made a Youtube video during that time because it helped me to feel I was doing something positive for someone else.

Weaving and Chronic Illness

If you live with chronic illness, you’ll understand how much it can affect your sense of identity and capability.

Energy shifts.
Plans change.
Progress feels inconsistent.

One of the things I’ve appreciated about weaving is that it allows for slowness.

You can sit and weave for ten minutes or longer if you feel up to it.
You can stop without “failing.”

Even weaving a small section of cloth can restore a sense of competency and satisfaction – a reminder that your effort still produces something tangible.

Why Structure Feels Safe

Weaving is built on structure.

Warp first, then weft, tension balanced, order maintained. Step by predicable step.

There is real comfort in that structure.

When your emotions feel messy or overwhelming, when your thoughts lack clarity, working within a clear system can feel grounding. You are not staring at a blank canvas wondering what to do. You follow steps, repeat sequences and see progress.

Rigid heddle weaving in particular lends itself beautifully to this. Once your loom is dressed, the work becomes rhythmic and contained. The setup takes less time so is more manageable.

Weaving Through Grief

Grief is difficult to put into words and can be so individual.

Textile work gives your hands something to do when your mind feels foggy. It’s something tangible and stable in a time where nothing feels controllable. Weaving can feel like “something to hold on to”.

Some women choose to:

Weave with colours that remind them of someone
Create a small memorial piece
Weave for someone else who is grieving or going through a difficult stage
Incorporate meaningful yarn into a project

Creating a Gentle “Healing Weaving” Practice

If you’re walking through a stressful season and would like to use your weaving as support, here are a few simple ideas:

Keep one loom dressed.
Remove the barrier of setup.

Choose simplicity.
Plain weave. Soft colours. No pressure to be clever.

Weave how you feel.
Ten minutes is enough if that is all you can cope with. Or spend the entire day at the loom if you are able. Whatever feels most healing for you for today.

Let it be private.
Not everything needs to be shared online or with others if you don’t want to. Just like artwork, it can be done just for you.

Notice the rhythm.
The sound of the shuttle.
The beat of the reed.
The growing cloth.

Sometimes the most helpful thing is simply the repetition.

What Weaving Is and Isn’t

Weaving is not a cure for everything.
It’s not therapy and it’s not a fix for trauma.

But it can be:

A steady rhythm
A quiet anchor
A creative outlet
A small place of control in a season that feels out of control

Across history, women have woven through war, loss, uncertainty and transition. Cloth has always been made during ordinary days and very hard ones.

There is something deeply human about building structure when life feels unstructured.

If you’ve experienced weaving as something more than just a hobby, I would love to hear about it in the comments.

You may be encouraging someone else more than you realise.

If you are in a season of struggle and don’t feel you’re coping, I urge you to please, get help. Whether it’s talking to friend, family member or someone you trust online. Maybe it’s joining a support group. Or maybe you need to go deeper and seek out professional help. You don’t have to do it all alone ❤️

Until next time…

Happy Weaving!