Weaving

A Weaver’s Guide to Loom Finishes: Lacquer, Wax, or Natural Wood?

To Finish or not to Finish? 🤔

When you purchase a brand new weaving loom, you may anticipate that it will arrive “finished” or treated with some sort of lacquer. This is not always the case and it’s worth checking before purchase, just so you are fully informed.

Let’s have a look at the pros and cons of finished and unfinished looms.

Finished Loom Pros:

Protected Surface: A lacquer or varnish finish gives wood a protective surface that is resistive to moisture, wear, scratches, and general daily use.

Low maintenance: The finish lasts a long time without the need for being reapplied.

Stable in varied environments: A sealed finish helps guard against wood swelling/shrinking from humidity or moisture (we already discussed how that can affect your loom!) If you live in a high humidity zone, a finish is of great benefit.

Cleanable surface: With a sealed finish, you can wipe the loom down with a clean, damp cloth to remove fibres or other marks. This will make the surface appear shiny and new again.

*My vintage Varpappu Berga Savonia countermarch floor loom has it’s original varnish (circa 1970’s – 1980’s) and is still going strong!*

Finished Loom Cons:

Less natural feel and movement: Wood that has been finished with a lacquer or varnish is generally very smooth and shiny. From an aesthetic point of view, this may appear as less natural. Some weavers may also prefer a less slippery surface to work with.

Harder to repair/touch-up: If the finish gets scratched or worn, repairing often requires sanding and refinishing, not just a quick wipe. I learned this recently when assembling my Louet Jane table loom. When trying to balance the beater, the lovely new insides of the loom frame were scratched by some metal ends of the beater 😧

Potential aesthetic trade-offs: Some finishes can look too shiny or “plasticky,” may yellow slightly over time (on light woods), or mask the more subtle natural grain/texture of the wood. I have found that how much the lacquer changes colour over time does depend on the wood the loom is made of. For example, my Ashford rigid heddle loom has darkened slightly over time whereas my Louet David floor loom has slightly yellowed (I would call it more a “warm blush”). Neither of these are a problem for me, I just see it as part of the ageing process. My looms are ageing with me! 👵🏻

Health/chemical concerns during finishing: Finishes like lacquer/varnish often involve solvent-based chemicals with fumes; applying them safely requires ventilation – something to consider especially if you plan to finish a loom yourself.

Unfinished Loom Pros:

Natural wood feel & smoothness: The wood feels different, with natural grip and warmth. Some weavers prefer this for parts where hands or yarn touch. In weaving forums, many note that leaving shaft paths or contact surfaces “bare or very lightly finished” helps movement, and some looms are shipped unfinished.

Further to keeping it natural: If you decide to finish your loom with a natural substance like beeswax, the aroma is simply wonderful! Your weaving space will smell like honey for a little while. Many weavers love the connectivity they feel with ancestors or weavers who have gone before us. Using a beeswax (the Lojan beeswax is beautiful!) or natural oil finish is very much in keeping with this.

Easier to re-finish or customise: Without a hard film, you can treat the wood with oils, waxes, or different finishes over time. That can be good if you want to modify appearance or maintain wood health. I’ve even seen weavers paint their looms with beautiful, original designs!

Less risk of chemical smells or toxicity (if using natural finishes): Using wax or natural oils avoids synthetic solvents and their odour; some finishes like wax are even considered non-toxic once cured. Personally, I have never notices a particular aroma associated with my finished looms, but it’s worth pointing out.

Better wood “breathability” and stability in some climates: In more humid or variable climates, wood that is not heavily sealed may respond more naturally to moisture changes (though this depends heavily on species and use). Some weavers report that leaving looms unfinished worked “fine” for years.

The Lojan Flex Table Loom is sold unfinished. I waxed it with the lovely Lojan beeswax for protection.

Unfinished Loom Pros:

More maintenance required: If you use wax it is ideal to re-apply periodically to help keep wood protected.

Less protection / durability: Wax alone offers only limited scratch, heat, moisture, or wear resistance; heavy use (especially near water, spills, rough handling or direct sunlight) may wear wood down faster.

Vulnerability to humidity swings (if completely unfinished): Without any sealing, wood may absorb moisture or dry out, possibly leading to warping, loosening joints, or dimensional instability (though this depends a lot on the wood species, ambient climate, and how well assembled). Some weavers mention problems when assembling looms in one season and letting them sit through another.

Less “ready to use”: A totally raw loom may absorb oils from skins or yarn more readily, possibly affecting how fibers behave on wood (though some weavers don’t mind this). There can be a build up of oils on “high touch” parts of your loom that can’t be easily wiped away.

Pricing differences

Usually you will notice a difference in pricing between finished and unfinished looms. This simply reflects the additional time and cost of materials to finish the loom.

What I’d recommend – depending on your specific needs

If you want a loom that’s low-fuss, durable, and long-lasting – go for a finished (lacquered/varnished) loom (or finish it that way yourself). This is especially useful if you’re in a variable humidity climate, weave often, or don’t want to worry about regular maintenance.
If you care about natural feel, ease of repair, and a “traditional wood-working feel” an unfinished or waxed loom may be better. Especially if you plan to treat or maintain the wood occasionally (oil/wax), or if you like working with wood surfaces directly.

Specific to Looms — why some prefer wax/unsealed wood

A few loom specific points that distinguish looms from “just furniture”:

Many loom parts (shuttles, heddle bars, harnesses, shafts) move, rub against each other, or are handled frequently. A sealed finish will make movement more smooth than a natural wood surface.
Looms may sit unused for periods, or be stored in changing humidity – a sealed wood may resist moisture fluctuations better than raw wood (which might absorb moisture or dry out).
If you’re refurbishing an older loom, you need to know what finish was originally used: sometimes removing old wax or sealant is tricky, and applying new lacquer over residual wax can lead to problems. That’s why many advise to sand down thoroughly before refinishing.

*The Louet David floor loom comes finished with a smooth, shiny lacquer.*

A Tip For Finishing a Loom Yourself

If your loom arrives in a box and unfinished and you decide to finish it yourself (either with a lacquer or a wax), make sure you do so while the loom is in pieces still.

It can be hard to calm yourself enough to take this extra step and possibly have to endure a drying time, but trust me, it is so much easier than finishing an already assembled loom!

If you would like to know more about weaving loom care, check out this free and helpful guide.

I hope this article has been helpful and educational. If you have any thoughts or tips to share with others, please leave them in the comment section below 👇

Until next time…

Happy Weaving!

*This article may contain affiliate links. For further information, please see my disclosure policy.

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Are You Caring for Your Loom? A Guide to Looking After Your Most Faithful Tool

by Kelly 4 Comments

Are you really caring for your loom?

Think about it. As weavers we often make a substantial investment in our weaving loom and tools. But there is more to just assembling a loom and then using it indefinitely.

It’s easy to forget, because our looms are such steady workhorses. For the most part hey just do their job… until suddenly something squeaks, sticks, loosens, dare I say it – breaks or behaves in a way that leaves us frustrated.

A tiny bit of regular care and thoughtful use not only helps your loom last for decades and in many cases, into the next generation, it gives you a smoother, more enjoyable weaving experience. And honestly, it feels good to honour and value the tools that help us create beauty.

This is your gentle reminder: your loom might need a little attention.
Let’s walk through what that looks like.

Why Loom Care Matters

The majority of commercially available weaving looms these days are still constructed from some kind of wood. Wood responds to its environment. Metal gathers oils from our hands. Lint builds up in surprising places. Over time, even the best-made looms can show signs of wear, not because they’re poorly made, but because we use them a lot.

Regular care:

prevents small issues from becoming big ones
keeps your weaving experience smoother and more consistent
ensures your loom ages gracefully
saves you money on repairs and replacements

A Simple Frequent Care Routine (Just 5 – 10 Minutes)

You don’t need a whole afternoon. Five minutes at the end of a weaving session or at the start of the weekend makes a big difference.

Here’s a quick routine to try:

1. End of project clean routine

At the end of a project is a perfect time to do a little loom maintenance. A lot of fibres can be displaced when weaving and most of them will end up on the loom, stuck in the reed, or on the floor. Tiny pieces of cut yarn will end up in the most interesting places!

A quick vacuum goes a long way to resetting your work space and cleaning your loom. Use a soft or brush attachment to avoid any damage to your loom.

Then I like to wipe down the loom itself. A very slightly damp, clean cloth is enough for everyday care. Don’t use any cleaning chemicals on the wood of your loom, it’s not necessary and may corrupt the integrity of any finish used on the loom.

2. Clear out heddles and the reed

Lint and tiny fiber fragments love to hide in here. A quick sweep with a clean cloth or soft brush is generally enough to displace anything left behind.

3. Check for loose screws or bolts

If any loom parts have loosened, you will generally feel that when you’re actually weaving and may want to deal with it there and then. Looms naturally loosen over time with movement and vibration. A simple tighten keeps everything feeling solid – that goes for your stands too!

4. Care of metal parts

This is very loom dependent, but in thinking of my Louet David floor loom, I very frequently treat the sliding beater rods, as they become stiff with use. I use a non silicon lubricant spray and a clean cloth. Spray the cloth (not the rods) and rub the rods in a back and forth motion, all over.

You don’t even need to remove the beater to do this if you don’t want to. Just slide the beater back, rub the front parts of the rods, then slide the beater forward and rub the back parts. You will be amazed at the difference this can make.

This can be a useful tip for an overhung beater that feels a little stiff or has started to squeak. You shouldn’t need to treat them every time you weave, just occasionally and if you feel it’s needed.

Look out for rust. This is a tell tale sign that your loom room is moist and you may need to do something about it. If you have every purchased a floor or table loom used and it has a chequered past, you probably have experience with rusty reeds!

A rusty reed can be so difficult to clean that many weavers will opt to replace it with a new one. While effective, this is expensive, so it makes sense to care for your reeds!

5. Take a moment to inspect the loom components

Are cords, apron rods, ties, and brakes looking healthy? Small wear-and-tear is easier to catch early. If your loom has some plastic components, these will usually show more wear than metal.

For example, Ashford rigid heddle looms have plastic ties on the apron rods. While my 24″ Ashford rigid heddle is still going strong after 12+ years of use, I have heard of these rod ties breaking for some weavers.

Likewise, the plastic “holes and slots” component of the rigid heddle can break (this has never happened to me). Typically, you can avoid these breakages with proper use and care, some of which I will go over in a later part of this article.

Taking this time for small inspections keeps you in touch with your loom and can catch little problems before they bite.

Common Problems and What They Usually Mean

Here are a few symptoms you might recognise:

“My loom squeaks!”

This can point to dry joints or parts that needs a light oiling. Depending on where the squeaking is coming from, it may be a simple matter of loosening, then tightening some nuts and bolts – try that first!

“I can’t achieve decent tension.”

Look at your brake, apron cords, and the integrity of your rods and ties. Make sure shafts are hanging properly and not sticking on each other as they are raised and lowered. Has any of your hardware come loose? Particularly check your wheels and cogs that operate the tension on the front and back beam of the loom.

Also, ensure that your loom parts are correctly placed and that when warping you took your front and back apron rods OVER the cloth and breast beam. This is a very common error!

“My heddles/shafts feel sticky.”

Dust, oils, humidity, or the beginnings of rust can cause drag. A good clean usually fixes it.

“My reed is grabbing the threads.”

Often caused by lint build-up. Occasionally by tiny rust spots or other roughness in the metal if it’s an older reed that has not been cared for. Clean the reed (can be as simple as running a light, thin piece of clean cloth horizontally and vertically in the dents, or spaces in the reed.

Planning your loom room or creative space

If you are looking at getting a loom for the first time, you have the advantage of deciding where it will be placed and kept for you to work at.

If you have such a space available, try to ensure that the room is not moist, prone to leaks or flooding and that your loom is not going to sit in direct sunlight permanently.

All of these things will cause potential damage to a loom. I even heard a story of a weaver who kept her floor loom in an upstairs room near a large window. One day when she went into the room for a weaving session, she found that a large part of her loom had been badly scorched.

The sun through the window onto the loom was an oversight that could have caused the loss of their entire home if it had actually caught on fire, which it very nearly did!

I have also heard of weavers who have dealt with flooded studios or creative spaces, usually following an extreme weather event. This is a sad occasion, as often looms are destroyed by flood waters. When exposed to water for a period of time, wood will swell, warp and potentially crack and pry apart at the joints.

Depending on the severity, some looms can be saved and restored, others are destroyed beyond repair. So, if you’re considering making a loom room out of your basement, consider that it may not be flood proof!

Storing Your Loom Properly

There are many reasons why weavers may have to store a loom for a period of time. Good storage is part of good care. Here are a few simple tips:

Keep the loom out of direct sunlight.
Avoid highly humid or very dry environments.
Cover it with a cloth or sheet when not in use to keep dust away.
Avoid storing a warp under tension for long periods.
Don’t store in an area prone to leakages or flooding
Check your loom regularly. This is especially important to ensure there is no wood borer infestation. Wood borers love damp and dark conditions.

Different Loom Types, Different Needs

While the basics are true for all looms, here are a few quick notes:

Rigid heddle looms: Go easy on your loom! Rigid heddle looms are not designed to weave under super high tension. They typically include a number of plastic components. These pieces are strong but not invincible.
Relax the tension on your warp in between weaving sessions. This is kind to the loom and the warp.
Be careful when threading, particularly the closer sett heddles. A 15″ heddle needs more care when threading as the plastic is thinner and more vulnerable.
Don’t leave your rigid heddles in the sun or near any heat source – the heddle can melt or be compromised and become brittle.
Jack looms: Extra attention to moving parts, brake systems, and treadle cords is helpful.
Counterbalance + countermarche: More moving parts = more spots for dust. Clean regularly.
There are typically a lot of tie up cords at the top and bottom lamms that may wear over time.
Inkle looms: Check for splinters on ends of pegs and keep tensioning mechanisms smooth.
Occasionally tensioning knobs or bolts may need replacing, as they can become bent out of shape from holding the warp under high tension.
Table looms: Dust settles everywhere – keep it covered when possible. The tie up cords do a lot of work raising and lowering shafts and may need replacing occasionally.
Go easy on the levers – try not to let them drop without control, lower them gently. If you find it difficult to raise the shafts, your cord length may need adjusting.
Some table looms have a back apron rod made of wood rather than a metal rod. I have found with the Ashford table looms, this rod can bow significantly when warped and under tension. While I’ve never had a wooden rod break, a metal rod can be preferable to use.

To Finish or not to Finish?

I started to write about all the pros and cons of purchasing either a lacquered/varnished loom as opposed to an unfinished one. I realised very quickly that this article would be way too long if I included that section, so it has become it’s own independent article, which you can read here.

A Moment of Appreciation

There’s something beautiful about caring for the tools that help us create.

It’s a practice of stewardship, gratitude, and truly valuing your possessions.

A well cared for loom will not only give you many years of weaving happiness, it can even become a useful family heirloom that passes the gift of weaving onto the next generation.

That is something special indeed!

Until next time…

Happy Weaving!

Book an email consultation with Kelly

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

What is drape in hand woven fabric and how to achieve it?

by Kelly Leave a Comment

If you’ve ever held a piece of handwoven fabric and noticed the way it falls or flows, you’ve already experienced drape. Drape is simply how a fabric hangs or holds its own weight, and it’s one of the most important qualities to understand, especially if you’re weaving garments or anything meant to move with the body.

The beautiful thing is that drape isn’t mysterious or random. As handweavers, we have the privilege of making deliberate choices that directly influence how our fabric behaves. In this article, we’ll explore what drape is, why it matters, and exactly how to achieve the type of drape you want in your weaving.

What Is Drape?

Drape refers to the way a fabric falls under its own weight. Some fabrics spill and flow like water. Others hold their shape, creating crisp folds and firm edges. Both ends of this spectrum are useful and beautiful – they simply serve different purposes.

Amount of Drape – High Drape (think flowey fabric)

A highly drapey fabric:

bends and flows easily,
conforms to the body,
hangs in gentle folds,
feels soft and fluid.

You’ll often see high drape in scarves, shawls, wraps, and handwoven garments intended to move freely.

Amount of Drape – Low Drape (think stiffer, crisper fabric)

A fabric with low drape:

is firm or crisp,
has more body,
keeps its shape rather than flowing,
feels more structured.

Low drape is perfect for items like table linens, cushions, bags, and even some structured outer garments.

Photo Examples of Drape

*High Drape Example – This scarf was woven with very fine 60/2 silk and an undulating twill structure. It is amazingly soft, light and flowing.*

High Drape Example – A combination of 8/2 tencels and bamboos were used to create this plain weave shawl. In addition to the luxury threads used, the fabric was not sett too close, affording it extra drape. This shawl design was featured in WEFT magazine Summer 2025 edition.

Mid Drape Example – The Weekend Scarf was designed to be a “quick weave” and therefore uses thick yarn that weaves up faster. The fabric still has enough drape to make an attractive and comfortable scarf, but is on the firmer side.

Low Drape Example – Krokbragd is a weft faced weave structure. The warp is covered with a thicker weft that is packed down, forming a heavy, stiff fabric.

Why Drape Matters (Especially in Garment Making)

If you’re weaving fabric for clothing, drape becomes even more important. A garment must move with the wearer. A stiff fabric can feel bulky, rigid, or uncomfortable, while a beautifully drapey fabric feels elegant and effortless.

Drape affects:

comfort,
how the garment fits the body,
how it swings and moves,
the overall look and feel.

When we understand drape, we can weave garments that not only look beautiful but feel beautiful to wear.

Ingredients for Achieving the Drape You Want

Drape is influenced by three main elements: yarn, sett, and weave structure. Think of them as the ingredients in a recipe. Change one element and the entire “dish” behaves differently.

1. Yarn Choices

Your yarn will have a big impact on the drape of your hand woven fabric. It is important to sample in order to achieve more predictable outcomes.

Fibre type:

Softer, more fluid fibres (like silk, bamboo, alpaca, tencel) naturally create high drape.
Fibres such as cotton, linen, and wool can range from crisp to soft depending on their preparation.
Woolen-spun yarns (with lots of air) tend to be lofty and less drapey than worsted-spun.

Yarn size:
Finer yarns usually create more drape. Thicker yarns are naturally more structured.

Yarn twist:

Lower twist = softer, more movement.
Higher twist = firmer, more body. Hight twist yarns can also introduce texture or movement in fabric.

Ply:
Singles often feel softer and more relaxed. Plied yarns add strength and structure.

If you want a highly drapey garment, starting with a naturally soft, fine, lower twist yarn will give you a head start, however if using for warp it does need to be strong enough to hold up under tension, so be sure to check that before warping!

2. Sett (Ends Per Inch)

Your sett is the second major influence on drape, and it’s often underestimated, it’s actually a crucial consideration.

Looser sett → more openness, more bend, more drape.
Tighter sett → firmer, denser, more structured cloth.

A wider sett creates a more open, spacious cloth, giving the fabric a fluid quality. Too loose, though, and the fabric can become flimsy or unstable (otherwise known as a “sleazy” cloth.)

A close sett can give beautiful structure but will reduce drape.

Tip: When weaving for garments, always weave a sample and wet finish it before committing to the full project. Wet finishing can completely transform drape!

3. Weave Structure

The weave structure you choose plays a huge role in how your fabric behaves.

Plain weave naturally has less drape because the interlacement is even, frequent, and stable. But don’t worry – plain weave can still have wonderful drape, depending on the other factors.
Twill offers more drape thanks to its diagonal floats and smoother surface.
Lace weaves provide openness and softness, perfect for shawls and lightweight wraps.
Structures with longer floats (some twills, satins, or pattern weaves) allow more movement and therefore more drape.
Texture-heavy weaves like waffle can be stiffer until wet finished, when they often collapse and soften—but will still hold more body than lightweight twills.

Think of weave structure as the “architecture” that supports or inhibits movement.

Bringing It All Together

When you blend yarn + sett + structure intentionally, you can predictably create fabric with the drape you desire.

A few examples:

Highly drapey scarf:
Fine silk/bamboo yarn, slightly open sett, and a twill or lace weave.
Soft, wearable shawl:
Tencel or alpaca blend, silk/ wool blend, generous sett, a simple 2/2 twill.
Structured bag fabric:
Strong, tightly twisted cotton, firm sett, plain weave.
Crisp household textiles:
Linen or cotton, tighter sett, plain weave or simple twill.

Every combination creates its own personality.

Final Thoughts on Drape in Weaving

Drape isn’t something that happens to your weaving, it’s something you can create with intention and understanding. Once you start observing how different yarns, setts, and structures behave, you’ll develop a feel for what works in garments and what works for more structured items.

If you’re new to weaving for drape, start small, sample generously, and take notes. I promise, it’s one of the most rewarding skills you’ll develop as a weaver.

I’d love to hear about your experiences with drapey or not-so-drapey cloth! Feel free to leave a comment dow below to share your own experiences ⬇️⬇️⬇️

Until next time…

Happy Weaving!

What Do Those Mysterious Weaving Yarn Numbers Mean?

by Kelly 5 Comments

I received a question from a reader recently about weaving yarn numbers, weights and thicknesses.

“You speak about 8/2 and 8/4. I do understand they relate to thickness. But, what do the numbers really mean and stand for? Also, how do they relate to the numbers. You said that 8/4 is twice the thickness of 8/4. But let’s say I am wanting to purchase some yarn online. How do I get a sense of their thickness??? Thanks!”

What Do These Numbers Mean??

These numbers are not just there to confuse you and once you understand their meaning, they actually provide clarity on the yarn you’re looking to purchase.

The yarn numbers were developed in the 1800’s as a base measurement for cloth manufacturers to use. The numbers are actually a fraction and this fraction can be different between yarn types.

For example, the popular 8/2 cotton appears to be approximately the same weight as 22/2 cottolin and yet the numbers on the label are different.

A Brief Mathematical Overview

To give a brief overview, let’s look at the 8/2 (sometimes also written as 2/8!) cotton weaving yarn, one of my personal favourites!

For 8/2 cotton, the “8” refers to the actual measurement (figured out with a mathematical equation) and the “2” refers to the ply.

If you are a bit of a math geek, or even if you’re just interested to know more, I have a short, low cost presentation that explains the mathematics clearly. The presentation also covers knitting yarns and how to best match which yarns with which heddles (for rigid heddle weavers).

Online Presentation – What Do All the Numbers Mean?

What do all the numbers mean and how do they apply to a rigid heddle loom?

4394 students enrolled

Last updated Dec 18th, 2025

Select a Pricing Plan

Paid Course$5

Buy now

Buying Weaving Yarn Online

To answer the next question about buying weaving yarn online and how to get a sense of the yarn thickness:

The best way to get a sense of the thickness or weight of a yarn is to check a couple of things. The information may be on the label of the yarn or on the seller’s sales page for that particular yarn.

The wpi (wraps per inch) will sometimes be provided. That tells you how many times the yarn wraps around an inch ruler over the measurement of one inch. Knowing this figure allows the weaver to figure out a suitable sett based on their project.

2. Yards per pound. This can be useful for comparisons eg. yarns that have a similar number of yards per pound will often be a similar thickness.

3. The recommended epi (ends per inch) may be provided. This can be really useful for weaving projects. Usually the higher the epi, the finer the yarn. I do want to point out though, that these recommended numbers can vary quite a lot, so again it comes down to your project and weave structure.

Further Resources

The Weaver’s Toolkit is a 22 page ebook that you will find an invaluable asset to your rigid heddle weaving journey. Inside you will find:

*Detailed calculating warp and weft sheets

*Project record sheet

*Knitting yarn conversion chart

*Knitting yarns and the rigid heddle loom chart

*Weaving yarns size and recommendations charts

*Sett explanation and instruction pages

*Rigid Heddle Weaving tools pages

*Measurement conversions sheets

*Glossary of common weaving terms sheets

*Typical project sizing charts

The Weaver’s Toolkit

Here is what some happy weavers have to say about this ebook:

Fantastic!!! So glad I purchased this, every weaver should have this Toolkit!

Pamela

Spectacular!
Everything is clear and easy to understand. It is a very positive way to learn.

Julia

You will also find many yarn resources here and on my Youtube channel. Here are a few to get your started:

A Guide to Choosing the Perfect Cotton For Your Weaving Project

Which Yarn Is Best For Weaving?

Choosing and Using Yarns in Weaving

I hope this was super helpful and interesting for you! If you have any questions or just thoughts to share, please leave them in the comments section below ⬇️

Until next time…

Happy Weaving!

Affiliate links may be included in this article. For more information, please see my disclosure policy.

Twisting Fringe on a Handwoven Scarf – What to Do First

by Kelly 1 Comment

Following a question from a student about the steps for twisting fringe on a handwoven scarf, I wanted to make sure everyone could benefit from the answer.

The steps to twisting a fringe on your handwoven piece are fairly simple with the aid of a fringe twister and yet there are important steps that you don’t want to skip!

Step 1 Starts Before You Start!

You need to plan for a fringe when you’re doing the calculations for your project, prior to beginning. This is to ensure you have enough additional warp to accommodate the fringe length you require, but also from a hemstitch perspective. Which brings me to the a crucial point…

Secure your Edges!

You should secure the edge before twisting the fringe — either by hemstitching or by tying overhand knots in small bundles.

Here’s why:

When you cut your weaving off the loom, the weft threads are loose at the edge (or the fell of the fabric – where you wove your last pick).
If you start twisting right away without securing them, the twist itself doesn’t actually prevent the weft from moving and becoming loose it just holds the warp threads together below that loose edge.
Over time (and especially with washing or wearing), those unsecured weft threads can start to loosen or even unravel slightly up into the fabric.

Hemstitch needs to be planned because you stitch at the very start and very end of the project. If you decide to tie knots, that can be done off the loom.

Choosing How To Secure

Hemstitch on the loom:

This is the cleanest and most secure method. It also looks beautiful and decorative.
You can hemstitch at the beginning and end while the project is still under tension, then cut it off and twist. The piece will have completely secure ends until you’re ready to twist.
Once you’ve twisted and tied the ends, it’s fully finished and secure.
Learning to hemstitch can be a bit of a learning curve initially, so make sure you have a resource that you can come back to as often as needed.

Tie overhand knots before twisting:

If you didn’t hemstitch on the loom, tie small groups of warp ends into knots close to the fabric edge before twisting.
Then twist each group as desired, and tie off the twisted fringe.

If you skip both:

The scarf may look fine at first, but the edge will always be a bit vulnerable — especially if it’s a soft yarn or an open weave.

The Final Essential

Before I go, I need to make sure you know this:

Wet finish your scarf AFTER the fringe treatment is done! Whether you’re hemstitching then twisting or knotting before twisting the same rule applies 😉

I hope today’s article was super helpful to you. Go forth and twist fringe with confidence!

Until next time…

Happy Weaving!

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My Pastel Painting Journey (So Far!)

by Kelly 12 Comments

Last year I quite suddenly became intensely interested in the idea of painting. It’s not uncommon for me to fall down a rabbit hole when it comes to creative pursuits, but this time I was really looking for something I hadn’t tried much previously.

I have dabbled in drawing and watercolour painting and pencils over the years but never really committed seriously to sticking with any particular discipline.

Why Pastel Painting?

My girls had some cheap pastel supplies leftover from art classes they took with a homeschool co-op, many years ago. I thought I might as well try them out and see if I like them.

So I did try them out and I didn’t like them.

I should explain though. It wasn’t the art of pastel painting that I didn’t like, it was the materials themselves! I did a few Youtube tutorials to get me started and found my results were very disappointing.

First Attempts

*From a tutorial by Valerie McKeehan on Youtube*

For these first attempts I was using Mont Marte pastel paper and Mungyo Soft Pastels. Now, I wasn’t sure if the problems was my inexperience or the materials (or a combination of the two felt more likely!)

Honestly, these cheap materials, in my opinion are not worth the effort. I would so much rather recommend quality materials to a beginner because the cheap stuff is a big turn off.

I remained undecided about buying good quality materials because, let’s face it – they are really expensive! I didn’t want to invest in new materials only to find that I was not as interested in pastel painting as I thought.

*From a tutorial by Susan Jenkins on Youtube*

I continued to persevere with the cheap materials for a couple more paintings and did see some improvement. But I wasn’t enjoying investing my time for mediocre results. The paper was so grainy, pilling at times and the pastels were hard, chalky and not very blendable.

Upgrading Materials

So I came to the crossroads. Either I was giving up pastel painting or I was going to invest in good materials and give it a proper go! I think you can guess what I decided.

Firstly I did some research, looking at my favourite pastel artists and the materials they use. I decided on a Landscape Set of 30 half pastels from Sennelier (I wish I had got the set of 80 for even more colours!) and PastelMat Paper from Clairefontaine. I also got a set of pastel pencils from Stabilo.

My first attempt with the new materials was still not super thrilling but the difference in the way it felt was amazing! The paper, even as a sanded paper, is smooth and beautiful, the pastels feel like butter as they glide across the paper.

The colour coverage is excellent and blending is a joy, using either fingers or blending tools for a bit more push. You can get a lot of pigment on the paper before it fills.

Something else I invested in at the same time as these new materials is classes. I joined the Patreon for one of my favourite artists and started learning!

Starting to Improve

My next results were so much closer to what I really aim to do in pastel painting.

Completing this piece gave me the confidence to keep going and to feel that it just might be possible that I could produce the kind of art work that I really love.

At this point I felt ready to try going out on my own with my own reference photo (I have an insane amount of landscape reference photos – mostly on my phone camera roll!)

Ready to Try On My Own!

I chose a particularly lovely photo from our garden that includes a lot of green (I love painting with greens!) I quickly realised that I need to add more greens to my collection for more dynamic paintings.

So, after many hours I finished and, all things considered, I’m pretty happy! Obviously there is much room for improvement but I’m feeling really excited about my next piece. Next I want to practice skies and clouds, they are challenging but so beautiful.

Books I Have Found Helpful

Painting Pastel Landscapes by Jeremy Ford

Painting with Pastels by Jenny Keal

Painting the Landscape in Pastel by Albert Handell

Did I Make the Right Decision?

So, am I happy with my decision to spend more on quality materials? Well, yes… and no!

Why no? Because now I want to buy all the colours! I want every pastel set that exists! I want to try out Pan Pastels and more papers. Oh, and I need to find more hours in the day to be able to fit in all the creative things I want to do 😆

So tell me, have you ever tried soft pastels? Or a different medium perhaps? Let me know in the comments below ⬇️

Until next time…

Happy Painting!

What’s Next for Weavers: The Top Trends Shaping 2026

by Kelly 6 Comments

If you love seeing how colour, texture, and creativity change and grow through weaving each year, you’re in for a treat. The weaving trends for 2026 are rich with personality – mixing grounded, natural fibres with vivid colour, airy structures, and a sense of heart led craftsmanship.

In 2026, the weaving world is celebrating both innovation and nostalgia. There’s a focus on texture, tactility and fabrics you want to touch. Other focuses include sustainability, storytelling, and a fresh, romantic use of colour. Whether you weave on a rigid heddle, floor loom, or tapestry loom, there’s plenty of inspiration waiting for you!

You can check out my 2025 trends article here.

1. Colour Stories for 2026: Earth Meets Energy

The colour palette for 2026 feels both bold and comforting. Earthy neutrals like clay, terracotta, and olive green are forming the base, while jewel tones and vibrant brights are stealing the spotlight. Think teal, plum, coral, mustard, and leafy greens (don’t these sound exciting?!😍) all finding harmony in woven fabric.

Muted pastels are also making a comeback, especially those “dusty” or misty shades like washed lavender, icy blue, and chalky pink. These soft tones work beautifully for classic, understated woven pieces.

Pantone have not yet announced their “Colour of the year” (at the time of writing this article) but the rumours have me feeling very hopeful. After seeing their 2025 colour of “Mocha Mousse” (not my fave 😬) my fingers are crossed that the predictions for 2026 are true.

The rumour for 2026 is “Transformative Teal”! Yes please!! 🙏

Ideas to try: Combine an earthy warp (like natural linen or warm beige cotton) with a pop of vibrant weft — a rich teal, coral, or magenta — to reflect this year’s energy-meets-nature aesthetic.

2. Texture Is Everything

Weavers everywhere are embracing feel as much as look. 2026 celebrates texture in all its forms: raised surfaces, contrast between dense and airy sections, and openwork that plays with light.

Gauzy, transparent weaves are trending for their breezy look, while thick, structured patterns bring comfort and visual depth. You might notice more use of techniques like waffle weave, honeycomb, leno lace, and Brook’s Bouquet. All of these structures are perfect opportunities for movement and dimension.

Ideas to try: Mix heavy and lighter yarns in one project. A slubby cotton or handspun wool alongside a fine linen can create that tactile contrast this trend is all about. Check out the “crammed and spaced” method for simple but interesting textures.

3. Sustainability and Storytelling in Fibre Choices

Weaving in 2026 continues to lean toward natural and sustainable materials. Linen, hemp, organic cotton, and recycled blends are being reimagined in exciting ways – sometimes with innovative dyeing techniques or performance features like UV protection.

Natural dyes are also seeing a revival, not only for their gentle hues but for the connection they create between maker and material. Uneven, imperfect and nuanced tones are part of the beauty, each piece tells its own story.

Ideas to try: Experiment with naturally dyed yarns. Even small amounts in stripes or accent threads can add an earthy authenticity to your work.

4. Patterns, Shapes, and Structure

The design mood for 2026 plays between romantic softness and structured precision.
Checks, plaids, and oversized ginghams are making a big comeback, while large-scale geometric motifs add modern appeal.

There’s also a playful mix of light and dark romance: lace-like textures, sheer layers, and delicate fabrics paired with bold, grounded colours or heavier textures. This tension between gentle and strong is what keeps 2026 aesthetics so interesting.

Ideas to try: Design a piece that shifts from tightly packed sections to loose, transparent ones. Think about how you might combine a darker, solid background fabric with a lighter, lacy overlay.

5. The Handmade Revival: Embracing Imperfection as Beauty

One of the most exciting parts of the 2026 trend landscape is the celebration of imperfection. Handwoven, handcrafted textiles are prized for their irregularities, visible joins, and personal quirks. We’re moving away from the mass-produced look and embracing the wabi-sabi charm of human, handmade work.

For weavers, this is an invitation to relax into the process. Every slub, colour shift, and handwoven irregularity adds soul to your fabric.

Ideas to try: Leave visible or feature joins or use hand-spun or textured yarns that show movement and variation. Let your weaving tell its story. Aim for quality work without the need for perfectionism.

2026 – A Year of Expressive Weaving

If 2025 was about returning to craftsmanship, 2026 is about expressive connection. It’s about weaving with intention – bringing together colour, texture, and fibre choices that reflect who you are as a maker.

Sources & Inspiration For This Article:
Vogue Business, Fashion Network, Tiffany Hill Studio, Alliance Flax-Linen-Hemp

I hope today’s article has given you some inspiration to move forward with your own work. Stay true to your style, embrace texture and contrast, and let your weaving speak from the heart!

Until next time…

Happy Weaving!

My Weaving Loom Collection

by Kelly 4 Comments

I am often asked what weaving looms I use in my studio, and admittedly my collection continues to grow! From smaller and portable rigid heddle looms to larger floor looms, each one has its own role in my weaving journey.

Many looms have come into my possession through having a Youtube channel and Online Weaving School. For my students and followers I try to make resources for a wide variety of looms, skill levels and budgets.

In this post, I’ll give you a peek at my weaving loom collection, what I typically use it for, and where you can learn more about them. I’ll also include links to resources and tutorials so you can explore these looms for yourself.

Starting with the Little Guys

Some of these weaving looms are actually toy looms, but I get a real thrill out of showing people what can be done on a small, economical loom.

Generic Brand Frame Loom

Melissa and Doug Frame Loom – You will find a review of this loom here.

Lavievert Toy Loom – find out about my woven blanket project using this loom here.

Tomy Hobby Girl Loom (This loom is no longer manufactured but can be found second hand if you’re lucky! I have a resource page here).

Schacht Zoom Loom (At the time of writing this loom is new to me and I’m still playing around with it 😊)

Lojan Inkle Loom (Read the review and grab a free inkle pattern here).

Ashford Inkle Loom

Ashford Sampleit 10″ Loom

Medium Sized Looms

Ashford 24″ Rigid Heddle Loom and Stand (I have a review of this loom here).

Lojan 50cm Flex Rigid Heddle Loom and Stand (Review is available here).

Lojan 50cm Flex Table Loom Conversion Kit (Find out more about this here).

Mirrix Big Sister 16″ Tapestry Loom (Check out my review here).

Ashford 8 Shaft 16″ Table Loom (I have an assembly tutorial for this loom here).

The Heavyweights

Louet Jane 16 Shaft 90cm Table Loom and Stand (At the time of writing this page, I have just purchased this loom. More resources to come later!)

Louet David 8 Shaft 90cm Floor Loom (I have a detailed resources page for this loom here).

Finlandia Berga Savonia 10 Shaft 150cm Countermarch Floor Loom (This vintage loom is no longer manufactured but you can check out my review here).

Further Resources

As a weaver and online creator for 10 years I have a multitude of resources for anyone interested in getting started in weaving. Or perhaps you’re already weaving but looking to learn more?

This website you’re on right now is the perfect place to start. Use the toolbar in the top right corner to search what you’re looking for and be prepared to go deep down the rabbit hole! 🐰

The Online Weaving School is my best resource for weavers. I’ve put countless hours into classes for inkle, rigid heddle, table loom and floor loom weaving. No matter what skill level you are currently at, there will be a class to suit you!

But today I will list my beginner classes, as that is where most students tend to start:

Inkle Weaving Beginner Class

Rigid Heddle Weaving Beginner Class

Table Loom Weaving Beginner Class

Floor Loom Weaving Beginner Class

I hope this article has given you a solid idea of the looms I own and more importantly, has inspired you in your own weaving journey ❤️

Until next time…

Happy Weaving!

Should Your Next Project Be Woven, Knit or Crocheted – Take the Quiz!

by Kelly 11 Comments

Are you a multi crafter? Can’t get enough of fibre arts in general? Here is a fun little quiz to help you decide which craft discipline to go with for your next project! 😀

Should Your Next Project Be Woven, Knit, or Crocheted?

Tomy Hobby Girl Weaving Loom

by Kelly 2 Comments

A friend recently very generously gifted me a vintage Hobby Girl Weaving loom by Tomy that she had kept from when she was a girl.

At first I was intimidated by the seeming complexity of the loom but I think it’s the unfamiliar set up that threw me a little. I had never seen a weaving loom quite like this before! I quickly realised that it’s a very simple (but very clever!) loom.

What Is the Hobby Girl Weaving Loom? 🤔

The Hobby Girl loom is Japanese made and this particular model seems to have been manufactured in 1984. It is constructed of heavy duty plastic in cute white and pink girl colours 💕

Tomy have released a range of functional hobby toys that are really interesting. There are other looms, knitting machines and sewing machines! They even have a more recent toy weaving loom with an LCD screen and voice commands.

For a toy, this loom is very clever. I think an average child would need a bit of adult help to get started setting up and weaving on a loom like this.

I have only been able to find information on the Japanese site and they don’t really seem to distribute their toys to other countries anymore.

Very occasionally these looms come up for sale in thrift stores. I was able to purchase one here in Australia and have it shipped to me on behalf of a Canadian weaver who really wanted one. I was then able to ship it on to her, which she was really thrilled about.

How Does the Hobby Girl Weaving Loom Work?

The Hobby Girl loom has a central cylinder that determines your patterning for your project which somewhat reminiscent of tablet weaving. It’s the specific arrangement of the discs on the cylinder prior to weaving that allows you to create the super cool patterns.

Each disc has its own set of numbers and then the cylinder itself is also numbered. A metal rod runs through the middle of the cylinder and all the discs to hold them in place once you have programmed in your pattern.

You set the pattern prior to actually warping the loom, so that when you warp into the slotted parts of the discs, each warp thread is held according to your set pattern. Sounds really complicated, but is actually pretty simple!

The pattern books that came with this loom include a lot of variations. You follow the chart for the pattern you want to weave. The first thing to do is remove the metal rod that holds the discs rigid.

Then, according to the pattern chart, you rotate each disc to the correct position, according the the number (represented on the discs by little bumps) on the pattern chart. When all the discs are positioned, you reinsert the metal rod so that your pattern is locked in.

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Warping the Hobby Girl Weaving Loom

When it’s time to warp the loom, the yarn end is tied onto a hook at the bottom of the loom, then placed on the corresponding disc slot (or indentation, if you like) on the cylinder.

At the back of the loom there is also a row of hooks, just like at the front beam. The first warp thread goes around that hook.

On the way back to the front of the loom, the warp goes into the second disc indentation before going around another front hook. The only thing to note here is that you only use every other hook. These same actions are repeated for the rest of the warp, moving across the loom until all the hooks are filled.

Naturally, if you wanted a narrower warp you could start at a different hook and finish early to make a smaller warp.

How To Weave on the Hobby Girl Weaving Loom

To begin weaving, follow the same pattern chart you chose to thread by. It will give you a number that your cylinder should align with and you simply turn your cylinder so that particular number aligns with the makers on the side of the loom. My first weft row is the number 3.

After changing to the next shed by again turning my cylinder (which according to my chosen pattern is the number 8) you then bring in the weaving comb supplied with the loom. This is the beater and is very effective!

TIP: Use the pinching technique at the edge warp as you weave and allow an angle on the weft to avoid too much draw in.

For some of the patterns in the booklets there are multiple variations you can weave on the same warp just by using different numbers on the cylinder. For some other patterns you need to re-warp as that is when all your disc numbers are set up.

This is such a fun little loom to weave on and if you manage to be one of the lucky people to find one for sale in good condition, I hope you can grab it!

To see this loom in action, check out this video tutorial I made:

Further Learning

One of the booklets that comes with the loom is all about “tatami” weaving. I spent some time googling this term. Google translate came up with this:

“a rush-covered straw mat forming a traditional Japanese floor covering.”

Initially I was confused by this, as the booklet is not about weaving mats or floor coverings. I figured that, if there were to be a more literal translation it just means a “weft faced” weave structure, because that is what the instruction booklet is about.

I was keen to try this tatami method as outlined in the booklet, and I also made a video to share with anyone who may be interested. The patterns are really striking, especially when you incorporate plenty of bold weft colours.

If you are interested in toy loom weaving (yes, it’s a thing!) or even just small scale weaving with a difference, check out these resources I have for you:

I Wove a Blanket on a Toy Loom!

I Bought a Toy Loom! Was it Worth It?

The Best Weaving Looms for Small Spaces…

How to Make a Potholder Loom Tutorial…

Schacht Zoom Loom…

I hope you found this article fun and informative!

Until next time…

Happy Weaving!

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