rigid heddle weaving

What is a heddle rod? Part 1 – how to make string heddles!

Never heard of a heddle rod? If you’re a rigid heddle weaver looking to expand your repertoire of skills by using pick up sticks, a heddle rod is a must learn!

There are lots of lovely patterns you can weave with just one pick up stick, but introducing a second (even 3rd, 4th!) pick up stick opens up so many more pattern possibilities

When you start experimenting with pick up sticks you will discover very quickly that when you are using more than one, the two sticks cannot slide past each other at the back of the warp.

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This leaves the weaver with a conundrum. One of the sticks can be left in place, but the other has to be removed and the threads re-picked up each time you want to weave that pick up stick row. See the picture below for an example.

That can be incredibly tedious, especially when using finer threads or a more complicated pick up pattern.

Luckily for us, there is a relatively quick and easy way to navigate this problem – a heddle rod.

A heddle rod replaces the second pick up stick and sits behind your heddle. The first pick up stick can slide back and forth behind the rod and sit at the back beam when not in use. Hey presto, now you’re weaving a 2 pick up stick pattern with only one stick and a heddle rod!

So, what is a heddle rod exactly?

It can be as simple as a piece of round wooden dowel or a flat, narrow piece of wood. It needs to be wider than the width of the piece you’re weaving and it needs to be smooth but preferably not slippery. The circumference is a personal preference, but not too thick is better – you want it to be light and easy to handle, as you’re going to be lifting it often.

You make string heddles for the rod. These strings, once made, looped around your picked up warp threads, then looped around your rod, will replace the second pick up stick.

One you have your rod installed, you lift the rod each time you want to weave that pattern pick. The string heddles lift up with the rod and in turn, lift up the warp threads they are looped around.

Let’s look at a 2 pick up stick pattern as an example:

Pick up stick 1 sequence – 2 up, 2 down, repeat

Pick up stick 2 sequence – 2 down, 2 up, repeat

Weaving sequence:

Heddle up
Heddle neutral, pick up stick 1 forward, on edge
Heddle up
Heddle in neutral, pick up stick 2 forward, on edge
Repeat

To weave the above sequence with 2 pick up sticks in place would mean that for every 4th pick, you would have to pick up then remove pick up stick 2. Then pick up and remove again the next 4 picks. And that’s no fun!

Here is what your weaving sequence would look like if you left pick up stick 1 in place and installed a heddle rod to replace pick up stick 2:

Weaving Sequence:

Heddle up
Heddle neutral, pick up stick 1 forward, on edge
Heddle up
Heddle in neutral, lift heddle rod
Repeat

Aha! So now our weaving goes much more seamlessly because we are flowing through the weaving sequence instead of having to stop and re-do that second pick up stick all the time.

Now that I’ve sung the praises of the heddle rod highly enough to have convinced you that you really need them in your weaving life, I’m going to show you how to install one.

Today (because this article is already getting long and I don’t want to keep you all day!) I will cover the string heddle component, and next week we will look at the rod and installation component.

To make string heddles, here is what you will need:

A strong yarn suitable for string heddles. I use seine twine (in Australia it’s available here) and find it excellent for two reasons. 1. It is super strong. 2. It doesn’t get fluffy, sticky or static – y (I know, that’s not a word!) all of which will interfere with lifting your warp threads effectively.

2. A pair of scissors. Little scissors are handy for this job, but use what you have.

3. A string heddle template. This comes down to personal preference and how long you want your heddles to be. Too long and they are uncomfortable to lift, too short and they may lift your warp threads when you don’t want them to (for example, when you bring your pick up stick 1 forward) and confuse your shed.

You can use one of your heddle/reeds to measure around as a template, or my preferred method is a hardcover book measures at 10″ around – I like that length for my string heddles.

Something else that is handy but non essential is something to hold the cone of yarn as you wind off yarn to make the string heddles. My warping stand is perfect for this task. If you would like to make a warping stand for a fraction of the price of a store bought one, click here for our free tutorial.

Alright, let’s make some string heddles!

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Take one end of the string heddle yarn and wrap it around your template (remember, I’m using a hardcover book). Bring the ends together at the top of the template.

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Leave a good couple of inches to tie with and cut the end that is feeding from the cone. Be sure not to knot so close to the template that the string heddle is too tight to slide off when you’re done.

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Tie the two cut ends together using an overhand knot, then knot again. With a yarn like seine twine, this makes a really strong knot.

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Once the ends are securely knotted, you can cut the tails a little shorter which will just help to keep things neat and compact on the rod. Don’t cut so close to the knots that you risk them coming undone.

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Slip the completed string heddle off the template.

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There you have it – one completed string heddle! Make as many as you need and keep them somewhere handy for when you need them. The added benefit of using a strong yarn like seine twine is that you will be able to reuse these string heddles for many projects.

The next post will demonstrate how to actually set up the rod and string heddles, but if you can’t wait until then, or if you are more of a visual learner, I’m sure you will find this video most helpful:

If you enjoyed this post, I know you will love my Online Weaving School. With classes for all levels of weaver, there is something for everyone and you can start learning today, in your own time and the comfort of your own home. I hope to see you there!

Questions? I’m all ears! Leave me a comment to continue the discussion or just to let me know that this article was helpful to you 😊

Until next time…

Happy Weaving!

Free Style Tapestry Weaving on a Rigid Heddle Loom

by Kelly 8 Comments

You know sometimes you do something with absolutely no notion of the possible future repercussions?

That is what happened when I made this freestyle tapestry series. I was really doing it for me, but I decided to turn the camera on and bring my Youtube audience along for the ride.

Since then, the 4 video series has gone viral on Youtube, with one of the videos winging it’s way towards 1 million views! Crazy!

These videos were recorded pre professional lighting and sound equipment. I was using my son’s camera.

This video series on Youtube began after a busy morning, a tired me and a desire to weave something that would be rewarding and yet didn’t take too much brain power.

I was too tired to sit down and calculate a project or go through my stash to see whether I had enough yarn to complete a project.

So instead, I found some bits and pieces of yarns left over from other projects, put a short warp of a fingering weight cotton, hand dyed and left over from a previous project, on my rigid heddle loom (which only took around 20 minutes to do), sat down with my bag of left overs, and just started weaving.

How often do we gift ourselves with this kind of luxury? To weave with no set plan, to invest in the process more so than in the expected outcome? I know that I definitely don’t do this enough!

This kind of weaving is so relaxing and free-ing. It is not a fast way to weave, but when you get in the groove it doesn’t seem to matter how long it takes.

With this kind of weaving we use the basic rules but we bend and stretch them. We say, “I want to do this!”, and we do it. We push the weaving around, we beat it up and down, we put in colour as we go, we use all kinds of yarns. And we love the process.

So, what do you need to get started?

*A rigid heddle loom

Well, a rigid heddle loom is really perfect. It will take care of our 2 sheds and our tension beautifully, so that once warped all we have to think about is the weaving. The heddle goes up, the heddle goes down. Repeat. Simple.

You could do this on a Sampleit or Cricket loom with no problems as you don’t need a wide width – you can make the piece whatever size you wish.

I used a 10 dent heddle for my piece.

You can also weave a piece like this on a simple frame loom or tapestry loom, but using a loom that has the ability to change sheds is really helpful. My Mirrix Big Sister is an example of a tapestry loom with a shedding device.

*A stick shuttle or two.

Using a lot of colours in one project doesn’t lend itself well to stick shuttles, as you would need a lot of them. Therefore, I usually use a couple of stick shuttles and for the rest of the colours I just pass them through with my hands and keep the weft yarn in either butterflies or little balls. Butterflies are neater though. I have a video tutorial on how to make them!

*A threading and reed hook

The reed hook is for pulling threads through the slots of the heddle/reed when you’re warping. The threading hook is to pull the threads through the holes in the heddle/reed when threading the loom after warping. I love and use these Ashford Double Ended Hooks, I have a bunch of them in case I lose any and use them constantly.

*A Tapestry Needle

This is really handy for if you intend to hemstitch your piece and also for needle weaving extra yarn into gappy sections if you want to. A tapestry needle with a bent tip is even better!

*Additional beater

You will need this because we are creating a weft faced weave here, meaning that we want the weft to totally cover the warp. The heddle/reed that we normally use for beating does not push the weft down enough as it is designed more for a balanced weave.

There are a number of options for an additional beater. A large fork works really well. I also have a little tapestry beater that I use. There are “proper” tapestry beaters available as well, but I would only purchase one if I was going to be doing this type of weaving a lot.

What about the warp calculations?

Well, as I pointed out, I didn’t calculate at all, but my warp was around 8 inches wide and 40 inches long.

And the yarns?

A variety of yarns were used, but I did use quite a lot of wool in light worsted/dk weight and also in an aran weight. Some were fingering weight. Some were hand dyed, some were commercial.

I also used some cottons in various weights.

Techniques used:

Mostly this type of weaving is just plain weave (1 pick in the up shed, 1 pick in the down shed, and so on) that is packed down tight.

In some areas I would build up mounds or shapes by taking the weft part of the way through in one shed, change the shed and then take the yarn back the same way I just came in.

For example, I brought the green in from my right in the down shed. Roughly half way across I stopped and took the yarn down through the warp at the back rather than continuing it to the left hand side for a full pick.

I changed into the up shed and took the green back to the left.

This is a classic tapestry technique that allows the weaver to begin building up areas of colour, usually to make shapes.

If you keep ceasing the weft yarn and turning back in the same place each time, you will build a block or straight edged shape. Or, by varying the place in the warp where you turn back the weft, you can taper the shape to make it rounded.

The first and second videos of the series show in detail how this technique is used.

In a number of areas I have used outlining. This is basically putting in a darker weft that either outlines a shape you’ve made or just provides a good contrast between one colour and the outline colour. You can see here that I’ve used some black to outline a green section, and the contrast is very effective:

In some places I combined outlining with needle weaving. Needle weaving allows you get weft yarn into tricky spots. I had created a valley in the middle of my piece, but then I wanted to fill it with a small, highlighted section. I started by outlining a “jewel” shape with my black yarn and a tapestry needle:

Next, I brought in a brightly coloured and highly contrasting hand dyed wool with the needle, and wove that into the space that I had outlined with the black wool:

Needle weaving isn’t the only way to do this, but it’s easy to get exact smaller shapes and sizes within the piece.

If you’re interested to know how the piece actually starts out and how you achieve all those cool curves, the 3rd video restarts another piece in order to show just how it’s done.

And then finally the 4th video has an added bonus of demonstrating how to weave a circle within your piece using a simple template. You can also embellish with embroidery, which I did in some sections of my finished piece. This is easier to do while your weaving is still on the loom.

Due to the huge response from this video series, I decided to make a second freestyle tapestry series for Youtube. This one was inspired by the Van Gogh painting, Starry Night. The video series is filmed mostly in real time and is at a very relaxed, step by step pace.

And, of course you will want to check out the original 4 part video series beginning with part 1:

If you want to get a little more serious or delve into some more traditional techniques for weaving tapestry on your rigid heddle loom, I have an online course that will be just the thing for you.

Some of the topics covered in Tapestry on a rigid heddle Loom include soumak, interlocking, straight lines and how to use a tapestry cartoon. I’m sure you will love it!

Do you have any questions? Have you tried this type of freestyle tapestry weaving? Or do you intend to?

Let me know in the comments below, I love to hear from you!

Until next time…

Happy Weaving!

How to weave more stunning patterns on a rigid heddle loom!

by Kelly 9 Comments

Making patterns on your rigid heddle loom is a very popular topic, particularly among newer weavers who are experimenting to see just what they can achieve on a rigid heddle loom.

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

Last week I made a tutorial that demonstrated 3 ways to jazz up your plain weave.

This is part two of a tutorial on how to jazz up your plain weave. Part one showed you how to use stripes, dots and dashes, loop pile and butterflies to add some extra pizazz. If you missed part one, please start here and progress on to tutorial two afterwards.

You will need a rigid heddle loom to weave this sampler. In the video, you can see that I’ve used my Sampleit loom.

This downloadable PDF has all the information you need to follow this tutorial in conjunction with the video:

More-Ways-to-jazz-up-plain-weave-part-2-copy Download

For instructions to part one of the tutorial, don’t forget to check out the first article here.

There are so many simple ways to push past plain weave. As I was weaving the sampler I found it hard to limit the number of techniques so that I didn’t end up making this series a year long!

Part two of the tutorial covers and additional 3 techniques that you can use to make your plain weave more exciting or just for fun to explore.

All of these pattern techniques can be worked on a rigid heddle loom that is already set up for plain weave – that is, every hole and slot is threaded.

Doubled Weft (pictured above).

The first technique is straightforward and simple but gives a very cool effect that really pops against the background, contrast colour.

2. Pick Up Rows (the blue blocks below)

This is such a simple concept. I made a pick up pattern and repeated it over and over (with the blue yarn) and only one pick of plain weave (maroon) in between). What you end up with is towers and dots. I had a very small amount of hand dyed rainbow yarn left, so I threw in just one pick in the middle of all the blue, to break it up and create more interest.

3. Staggered Pick Up (the bright green that actually looks like yellow, pictured above).

This is a 2 pick up stick pattern. In the video, I used just one stick and took it out each time I wanted to pick up the other pattern. But, I wouldn’t recommend that unless you’re only weaving a couple of rows, it’s way too tedious. If you want to weave a larger amount of the staggered pickup, a heddle rod is definitely the way to go! Check out this video for how to do that:

And of course, don’t forget to watch video two so that you can see exactly how I worked these techniques:

If you enjoyed this two part series, you will love my Online Weaving School! With over 60 classes currently available, there really is something for everyone. I would love to see you there!

Until next time…

Happy weaving!

3 Ways to Jazz up Plain Weave

by Kelly 8 Comments

I love plain weave, I really do. But sometimes I just think that it is so fun to jazz it up with something special!

Today I’m going to show you three ways that you can jazz up your plain weave, and have some fun with it.

I’ve written several other articles on simple things you can do on the loom for major impact. Things like Colour and Weave , Rigid Heddle Patterns for Beginners and techniques for Making Pictures with your Loom.

*This post contains affiliate links.

I’ve structured this lesson as a sampler for those of you who want to follow along with me and weave a sampler of your own. I used my 10″ Sampleit loom, but any rigid heddle loom will do as we’re only weaving an 8″ width.

All of the yarns, calculations and warp details are contained within this printable PDF, so please download that to access all of that information:

3-Ways-to-jazz-up-plain-weave-part-1 Download

STRIPES

The first example for the sampler is a pretty easy one, but has many variations that really pack a punch visually – stripes!

My example doesn’t look much like stripes because I was using one weft colour in blue and the other matched the maroon warp – so rather than traditional stripes you can end up with dots, dashes and squiggly lines. Pretty cool!

2. LOOPS

This is a super fun technique that requires a bit of patience but is not hard to do. You use a knitting needle to pull up loops of weft between warp threads. This gives a really interesting and textured look, but also has practical applications, like for wash cloths. I employed this technique as a feature in my Lux Hand Towels pattern.

3. BUTTERFLIES

Admittedly, my first attempt at butterflies looked rather spider like, but the second lot were much better. Whatever the case, this is a fun and unique technique where you use a pick up stick to make extra long floats and then CUT them while on the loom! Pretty wild, huh?

In conjunction with the PDF I have for you here, you will definitely want to check out the corresponding video for a full demonstration of all the techniques. You can view that here:

In the video, quite a few links were mentioned. I’m putting them here so that they are easy for you to find-

Online Weaving School

Sampleit loom

Woe to Go! Beginner Rigid Heddle Weaving class

Neat edges for colour changes video

I hope you really enjoy this little sampler project and that it gets your creative weaving juices flowing over! Which of the three techniques is your favourite? Will you weave a sampler of your own?

Stay tuned, as next week I will have part two of this series ready with even more techniques for jazzing up your plain weave!

Until then…

Happy Weaving!

10 Tips to improve your weaving today

by Kelly 19 Comments

Learning to weave is a real journey and it takes time. There is no magic potion or secret ingredient to becoming a better weaver. It takes persistence, time and dedication.

I’ve written a post addressing these facts already – 5 Steps to Successful Weaving, but today I want to give you some short and simple tips that you can do today to improve your weaving.

*This post contains affiliate links

Let’s launch right in!

Don’t run before you walk.

It’s easy to look too far ahead in your enthusiasm. Enthusiasm is great, in fact, it’s essential, but don’t let it blind you. Start at the level you’re at and work your way up. If you choose something too difficult for your weaving level, you may be setting yourself up for frustration.

2. Don’t choose the best yarn for your first project

The temptation of a gorgeous yarn with a big price tag is real. A beautiful yarn can be the perfect inspiration for a new project. But not as a beginner. And not until you’re confident that the picture you have in your head of your next project is likely to turn out how you want it to. Once again, the frustration will kick in if all doesn’t go as smoothly as you hoped. You have the extra pressure of the yarn price tag hanging over you. Keep the fabulous yarn for when you’re ready.

3. Begin with yarns that have some elasticity

It just makes beginner weaving life so much easier. A yarn with some elasticity (a woollen knitting yarn is perfect) will stretch just enough and is so forgiving that you should not have real issues with tension. Rigid yarns eg. cotton is much harder to tension on a rigid heddle loom. Wool, on the other hand, works with you, rather than you feeling like you’re working with (or for) it.

4. Start with thicker yarns – knitting yarns are perfect.

A thicker yarn (I recommend a light worsted/dk/ Aussie 8 ply) is great to begin with for a couple of reasons. The thickness is usually the perfect match for your standard 7.5 – 8 dent heddle/reed that came with your loom. So, no need to purchase extra sized heddle/reeds right away. It also weaves up much faster, and I think it’s important to make your first few projects very achievable and not be a massive time commitment. This will make you feel better about tackling the next project.

5. Commit regular time intervals to learning by doing

If your loom sits in a cupboard or your garage, guess what? You’re not going to learn how to weave. You’re not going to improve. And you will probably feel bad about it. If you are a busy person (let’s face it, who isn’t?!) then you may even find it beneficial to plan and schedule your weaving time so that it’s enough of a priority that you will weave regularly. I’m of the opinion that it is more beneficial to your learning journey to weave little and often than a big chunk of time occasionally. You’re training your brain to do new things, so consistency is important! Also, if you can have a dedicated space or at least not have to completely pack up everything after every weave session, that will be a great help and motivator.

6. Expect little – you might surprise yourself.

Hope for the best, but don’t place unrealistic expectations on yourself. Learning new skills takes time and patience, there is no way around that. Yes, some will learn quickly and some will take longer and that’s completely normal. If you haven’t seen my Slow Learning video, you should check it out:

7. Record your project information

You’re not being your own best weaving friend if you don’t take the time to record information from your projects to refer back to. You may think you will remember all the details, but chances are you won’t. I learned early on to write things down before, during and after my project. It is so worse the time. It helps you to not repeat annoying mistakes but also allows you to repeat the things that were desirable. My Weaver’s Toolkit downloadable e-booklet is a great help for recording purposes, it includes warping and weaving calculations sheets plus a project record sheet.

8. Sample.

It took me a while to become a true sampling convert. I do it often now. It’s a guaranteed way to know that your project will turn out well. You have to invest a little yarn and time, but it is very satisfying beginning a project with that kind of confidence.

9. Find the right resources for you.

If you need help, find help. The kind of help will be different depending on your needs. You may find weaving books really helpful, (check out my Amazon shop for my favourites) you may want to access some online lessons, or you may be lucky enough to either live near to face to face classes or know someone who weaves already.

10. There is almost always a fix

If you mess up, it’s not the end of the world! Most mistakes can be rectified. You may need to find extra resources when you encounter a problem but that is a positive part of your learning process. I always say that if I hadn’t made so many mistakes I wouldn’t have learned as much as I have. Make sure you’re subscribed to my Youtube channel where I have many, many videos that can help you out of a tricky situation.

11. Do not use sticky yarns if you are a beginner. I repeat, Do not use sticky yarns if you are a beginner!

I know, I said “10 tips” and this is number 11. But I must make this point, it’s that important.

Please! Just don’t do it!! You wouldn’t believe the number of emails I get from students stuck (pun intended) in their project because of a sticky yarn that won’t let them get a clear shed and causes all kinds of angst and hair tearing activity. Even bad language, so I’ve heard.

So, just don’t do it. No fluffy, sticky yarns (just forget all about that mohair for now). Save the stickies for later (if you really want to – I just generally prefer to avoid them!) and plan the project carefully.

If you need more information on choosing appropriate yarns, check out these other articles I’ve written on the topic:

Choosing and Using Yarns in Weaving…

3 Yarns Beginner Weavers should NEVER use!…

What is Superwash Woollen Yarn?…

I hope these tips are useful to you! If you have any questions, please leave me a comment, I love to hear from you.

Until next time…

Happy Weaving!

How to deal with warp colour changes

by Kelly 36 Comments

Changing colours in your warp allows you to jazz up your weaving, even if it’s a plain weave project. In this article, I’m going to troubleshoot some of the issues that may arise when you want a colourful or stripey warp when direct warping your rigid heddle loom.

*This post contains affiliate links

I’m specifically speaking to rigid heddle weavers who choose to direct warp today, as these issues either don’t occur or are more simply dealt with when using a warping board, or indirect warping.

The two main issues I want to discuss today are how to most effectively deal with a warp that has a lot of colour changes and what to do when your ends are uneven in number.

If you’re not sure of the difference between direct and indirect warping, I’ll briefly explain.

Direct warping your rigid heddle loom involves tying your yarn end onto the apron rod at the back of the loom, taking the yarn through a slot, around a wooden warping peg that is clamped at the desired distance of the warp away, back through the same slot and around the apron rod again. The process then repeats.

In this photo I’m warping a wider warp and am using 2 x pegs in order to spread the warp more evenly and achieve better tension.

I personally love the direct warping method for my rigid heddle loom because it is such a quick and easy process.

Indirect warping is when you make your warp away from the loom, usually on a warping board or warping mill. You then transfer and “dress” the loom with the warp. It takes longer to warp away from the loom, but is necessary for floor and table looms.

If you’re interested in seeing a warping board in action, check out this video:

Let’s talk about the first topic I mentioned, the use of multiple colours in a direct warp. When you want to make a warp with stripes, you will need to warp sections of colour. This usually involves repeating sections of colour in a sequence, so even though you’re changing colours frequently, you are often coming back to a colour you’ve already used. Many weavers ask me the best way to do this – change warp colours frequently.

There are several options.

Tie the colours as you need them on to the apron rod, go through the direct warping process, tie on new colours as you need them but don’t cut them off when you’ve finished with one section. Then when you need to repeat a colour, you pick it up where it was last used and continue on.

2. Tie on each colour to the apron rod and then cut and tie it off on the apron rod when you’ve finished that section. Tie on the new colour to the apron rod, then tie off again when finished with that colour. Continue on across the warp.

3. Tie on to the apron rod and begin to warp, when you need to change colours cut the existing colour close to the apron rod and tie on the new yarn to the old yarn, making a firm knot. This way your thread is continuous even though you are changing colours.

I’ll share which is my favourite option and why. Number 2, wins for me, hands down. Some people are surprised to hear this and wonder why I would take the extra time to do all that cutting and tying on rather than choose to run continuous threads.

It’s a fair question and some are still not convinced when I give my reasons, but that’s ok, we’re all different in our preferences and I encourage you to do what suits you the best.

There are two main reasons why I like the tie on/ tie off method. No crossed threads. I don’t like crossed threads behind my heddle. They are messy and can cause issues like holding some threads down when they should be up and messing up my tension by crossing over the back beam in a higgledy piggledy manner – not my style at all! I can’t even show you a photo of what this looks like, as you will never see it on my loom. The second issue, as I mentioned, is the tension – I believe that my tension is compromised when those warp threads are all over the place at the back beam.

Having said all of that, there is one instance where I would consider using method one – if my colour repeats were extremely short. For example, if I was alternating between two colours every 2 ends, then I would look to decrease my warping time by continuous warping.

But I have found that most of my warps have been larger blocks of colour than that, so I always tie on/ tie off.

A perfect example where my favourite method is employed is in my Log Cabin Table Runner class. Yes, there is a lot of tying and cutting, but look at that tension! Another great example where I use the same technique is my free Wash Your Hands Towels project. I’ll readily admit that this method takes a great deal of extra time, but I also declare that the results are worth the trouble. Perhaps it’s because I’m also a floor loom weaver, and dressing the loom takes a really long time, that using the cut and tie method doesn’t feel excessively long to me. I always say to my students that extra time spent in getting a warp right is never time wasted – it will save you time later with mistakes or hiccups and you will be more pleased with the end results. Each tied section on the apron rod is like it’s own little warp with it’s own individual tension. When you come to wind them on as a whole, the tension is quite beautiful! All of those knots are on the apron rod and won’t move or affect your weaving as you advance the warp.

I didn’t tell you my thoughts on method three. I can speak from experience that it’s less than ideal. Firstly, the knots can slip or come apart, yes, even if you do them tightly. If your yarn is even slightly slippery (as in a soft cotton) you will likely have trouble. Secondly, tying yarn pieces together is more fiddly, in my opinion than tying on and off the apron rod. So, although I’ve tried this option, I now avoid it.

Now let’s discuss the second issue that frequently crops up when direct warping your rigid heddle loom, and that is what to do when your ends are uneven in number.

Sometimes you will come across a pattern or warping chart for your rigid heddle loom that may look something like the following colour sequence:

Blue – 12 ends

White – 8 ends

Red – 11 ends

White – 8 ends

Blue – 12 ends

Repeat from the beginning until you have _____ (however many ends the project calls for) ends.

It all looks good until you come to the “red – 11 ends”. 11 is an uneven number and it means that you can’t just make a loop of your thread for the last end, because then you would have 12 ends instead of the 11. Make sense?

The easiest way to get around this problem when direct warping your RHL is to not warp uneven numbers of ends! If you are designing the warp yourself, just ensure that every warp number is even so that you can loop every single thread. It might mean a little mathematical adjustment here and there, but it’s not hard and only requires basic math to figure out (I don’t say this lightly, you’re talking to a mathematics hater here!)

But what if you’re using somebody else’s patterns or instructions (by the way, you will notice that none of my patterns or classes have odd numbered ends 😉). Many patterns might be written for indirect warping, hence the odd numbers. Well, you can still adjust that pattern to custom fit it to your requirements without too much trouble.

Going back to my example colour sequence above, it would be a simple matter of rounding the “11” for red down to 10 or up to 12. Yes, you will have to rejig your initial pattern a little to allow for extra or less ends, but as I said, it’s not all that difficult.

But, if you really want to stick to the original pattern with the odd ends, there is something else you can do with your direct warp. If you warp the single colour end by itself, you will have trouble when it comes time to thread the holes. The hole thread will be missing in the place where you only took that single thread through the slot! This means that you have to use the thread from the slot, then shuffle over other threads in order to make sure all the holes and slots are threaded, thus reducing your warp size and possibly messing up your pattern if it’s meant to be threaded in a particular order. There is another way, but it has it’s own set of problems.

You take your single thread (say we’re doing the red and it’s thread 11) to the warping peg through the slot as normal. When you get to the peg, you cut the thread, leaving some spare to go around the peg and tie off. Tying off loosely with a gap is preferred, so that it comes off the peg easily when you want to wind on the warp. Then, instead of going straight back to the loom, you tie the next colour on to the peg. Following our example, that would be white. Take the white back through the same slot that the red was brought through, then back around the apron rod.

Hold up, what’s the problem with that? Well, if we take the white back from the peg, it then becomes a single. We need 8 ends of white, but now we’re going to end up with uneveness again! Further mathematical adjustments would be required or the warp will not be the width you planned for in initial calculations and once again, the pattern may be off.

You see what I mean? Isn’t it just way more simple to even out all of those numbers and save yourself a big headache? I surely think so, but if you have a different opinion or another workaround for the issue, I’d love for you to set me right by leaving me a comment 😄

OK, weavers, I think that’s quite enough for today, I hope I’ve helped rather than boggled your minds with all this!

If you haven’t already, you may want to check out my Online Weaving School, where there are many classes or memberships to choose from and catering to all different weaving levels. You will also find a range of digital download PDF weaving patterns in my Etsy Shop.

Maybe I should aim for a brief and easy going post next time!

Until then…

Happy Weaving!

How to weave Snowmen on your rigid heddle loom

by Kelly 10 Comments

Snowmen are not something you might naturally think of when wondering what to weave next on your rigid heddle loom, but I love any excuse to make pictures on my loom, especially if they are as cute as these little snowmen guys are!

Weaving snowmen on your rigid heddle loom may not be as difficult as you think. We employ a type of overshot technique to create floats. Depending on the length of each float, we can then arrange them to make pictures. We warp the loom as we normally do for plain weave.

Overshot usually uses a thicker weft for the patterning (or floats) and a thinner, contrasting weft for the background (plain weave, commonly known as “tabby” when used in this way).

*This post contains affiliate links.

The weft floats do not become incorporated into the fabric, they literally float on top, which is why we use tabby in between pattern rows to tie the whole thing down and create a stable fabric. It also gives that lovely, slightly 3D effect of the pattern or picture being slightly raised.

Because of the varying length in floats, there is something you need to keep in mind when doing this kind of weaving. Quite often, and particularly with a thicker yarn like I’ve used for this sample, the floats at the back of the work will be long. This might make the piece unsuitable for some uses. For example, a kitchen towel with long floats on the back is not ideal. The floats will catch on things and likely become a bit ratty and not neat looking over time. That is the other consideration – the back does not always look attractive and you may not want it on show. In my sample below, you can see the added untidiness of my having embroidered on details like the scarves.

A way around this issue is to plan to use this technique in a pattern where the back of the work will not show. Some ideas are notebook or journal covers, a table centrepiece or runner where you intend to sew a backing to the piece, a cute Christmas wall hanging and so on.

Here is what you will need to weave a sample like this one:

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

10 dent reed

A pick up stick

A knitting needle is handy but not essential

Yarns-

There are no set yarns for this project, but I will share what worked well for me and give suggestions for possible alternatives.

For the warp I used a fingering weight (Australian 4 ply) cotton in a hand dyed medium to dark blue. Rug warping cotton would work fine.

My tabby weft (background weft) was a lighter but strong coloured light worsted/dk weight (Australian 8 ply) in wool.

For the pattern weft, I used a cream coloured aran weight (Australian 10ply) in wool.

For the little hats, I used some black fingering weight wool – you don’t need very much of that.

I love to use wool, particularly for the patterning in this type of weaving because it works so well. Because it has that lovely fluff and bounciness, it fills in any gaps between pattern wefts and makes the design look full. You will notice that my pattern weft is only slightly thicker than my tabby weft, but the pattern weft still stands out due to it’s loftiness.

The embroidered details are what really bring these little snowmen to life. Stick arms, scarves, eyes, carrot noses, buttons down the front – the amount of detail is up to you. You don’t need to be a great embroiderer as the details are all just worked in simple straight stitches. For the scarves, to give them that really nice shiny look, I used Bambu 7. This yarn can be quite difficult to obtain, so here are some alternatives:

5/2 bamboo weaving yarn

Pure Bamboo yarn

DMC Embroidery floss (my favourite brand)

Anchor Embroidery floss

If you decide to use embroidery floss, don’t separate the strands, use all 6 of them for just the right snowman thickness.

If you would like to weave some snowmen of your own, here is a printable PDF that gives you the weaving sequences and details:

Snowmen-on-a-rhl Download

You will also want to watch and follow along with the instructional video to see the weaving in action:

I hope you enjoyed this tutorial! Let me know if you weave some little snowmen of your own, and as always, leave any comments or questions underneath, I love to hear from you!

Until next time…

Happy Weaving!

How to weave Krokbragd on a rigid heddle loom

by Kelly 8 Comments

Krokbragd weaving has captivated my weaving heart and mind ever since I first laid eyes on it. So, what is it krokbragd? And how is it pronounced?!

Krokbragd is a twill weave structure that has Scandinavian origins. It is woven on 3 shafts and is weft faced (meaning the weft is dominant, covering most of the warp). It is pronounced “croak-brod”, or sometimes “croak- brog” or “croak bra-rg”, “crok -brog” or “crok – brag”. Clear as mud? 😂

I was thrilled when I discovered years ago that krokbragd could be easily woven on my rigid heddle loom. The idea of weaving this colourful, detailed cloth without having to use a bunch of shafts and without having to purchase extra tools was very appealing to me.

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

This weave structure produces bold and colourful patterns. These patterns can be built into little pictures as well. The weaving sequence has three simple steps and does not change, so the patterns are formed by changing colours. It’s quite magical!

The more you experiment with krokbragd, the more you feel that the possibilities are really endless. Choosing contrasting colours is one of the keys to success, as this keeps the patterns distinct. Another important consideration is to ensure your warp yarn is thinner than your weft yarn to ensure good coverage. The aim is to not have any warp yarn showing at all.

Because the weft is packed in, krokbragd produces a dense, heavy fabric. Historically, in Scandinavia, items with this structure were mainly heavy duty pieces such as chair and travel cushions as well as for warmth in the form of bed coverings. It was also used artistically, mainly for wallhangings. It is likely that some wallhangings served a double purpose of keeping the home more cosy, as hangings were sometimes used as door coverings to keep out cold draughts.

I wove this beautiful krokbragd sampler on my Sampleit loom.

Once your rigid heddle loom is set up and threaded for krokbragd (which can be done either with a single heddle, pick up stick and heddle rod OR with two heddles), the same three step sequence is woven over and over, the only thing that changes is your weft colours. This is how you build patterns, by altering the colours. Three rows of weft passes equals one completed krokbragd sequence.

Let me give an example:

If I weave my 3 pick sequence in just one colour (lets say blue), I will have a solid row of blue once I’ve packed the weft down with my tapestry beater. The instructions would look like this: (“B” stands for blue)

B,B,B x 1

If in my next sequence I introduce another colour, I will start building a pattern: (“Y” stands for yellow)

B,B,Y x 1

Even better than trying to explain how it works is to show you how it works. This free beginner video will show you how to get started, give you the information you need to set up your loom and then give a basic krokbragd pattern for you to try-

Once you’ve mastered the basics, you can move on to some more adventurous, but still fairly simple patterning, like these little birds-

And one of my favourites, tulips!-

Once you have been through these videos you can start to design some of your own krokbragd pieces. There are a couple of ways to do this – either on the loom, as you are weaving or as a separate design, either on graph paper or using weaving software. I like both methods for different reasons!

Designing on the loom is very intuitive and relaxing, You can write down the colour changes as you go, that way if you find a design you love you can revisit it later because you have the instructions ready to go.

Designing off loom is also very beneficial. It allows you to plan out very specific designs to try on the loom. If this concept interests you, I recommend Debby Greenlaw’s book Krokbragd – How to Design and Weave, which I reviewed in this post.

Over at my Online Weaving School, there are three krokbragd classes available. The first one, is the Krokbragd Mug Rug Weave along, which is available to members only. This is a great class that provides instructions for different threading methods, so you can choose to use pick up sticks and a heddle rod or instead use two heddles.

Then there is the Krokbragd Bag, which is a gorgeously fun and functional project. This class uses two heddles to achieve the three shafts, which is not as difficult as it sounds! You can see a roundup of some of student’s beautiful pieces from this class in this post.

And thirdly, my newest offering is Krokbragd 101, which is an “all you need” comprehensive course to get you weaving beautiful krokbragd.

Krokbragd can even be woven on an inkle loom by turning the warp faced draft into a weft faced draft. I wrote about a Krokbragd inkle band I wove in this post.

Krokbragd is such a captivating and addictive weave structure, I hope you will love it as much as I do. If you have any questions or comments, please leave them down below, I love to hear from you!

Until next time…

Happy Weaving!

Best Yarn for Weaving: A Complete Guide

by Kelly 44 Comments

Choosing the right yarn for your weaving project can feel overwhelming—especially when you’re just starting out on a rigid heddle loom. With so many options available, you’d think it would be easy. But when faced with dozens of yarn weights, fibers, and heddle sizes, even experienced crafters can feel unsure. Let me help you to choose the best yarn for weaving, regardless of your project!

One of the most common questions I hear is:
“How do I know which yarn to use with which heddle size—for which project?”
In other words… where do you even begin?

If you’ve ever felt confused by weaving yarn labels, sizing numbers, or what will actually work on your loom, you’re not alone. That’s exactly why I created my low priced online class, What Do All the Numbers Mean?—it’s a practical, beginner-friendly guide to demystifying yarn measurements and conversions, with helpful charts you can refer back to again and again.

In this article, I’ll walk you through how to choose yarn for weaving by looking at real weaving projects I’ve made. We’ll explore what worked, why it worked, and how you can apply the same approach to your own weaving.

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

Try the Snap Test First!

In all weaving, you begin with the warp, so it makes sense to start there. Doing a snap test will help determine whether the yarn you want to use for warp is going to be strong enough – you don’t want broken threads. Yes, they are fixable (this video shows you how) but not so ideal.

The snap test technique is nuanced rather than a hard and fast rule, but it can be a very helpful tool when you’re just starting out in weaving.

You should also be familiar with the drift test when choosing a yarn for your warp. This frequently occurs with an acrylic or wool yarn that is spun with low twist (here is an example). Although this creates a beautiful, soft and lofty yarn, it is better suited to the weft than the warp.

Knitting Yarn

To choose yarn for weaving your first projects, I highly recommend knitting wool. It’s economical, easy to use, accessible and thick. I use Bendigo Woollen Mills Luxury 8 ply a lot, it is a dk weight yarn and pairs perfectly with the 7.5 or 8 dent heddle that comes with most new rigid heddle looms. It is perfect for wearables, as it’s lovely and soft. Which brings me to the next point.

If you intend to wear your woven piece, give it the face brush test. Hold the yarn up against your cheek and lightly rub. If it feels too scratchy, you’re not going to like wearing it and it’s best saved for something else!

Cost effectiveness

Consider the cost of the yarn you intend to use. If you are a less experienced weaver, don’t go for that beautiful, expensive yarn – it will only put pressure on and stress you out. Use something affordable until you have more confidence. I have a handy weaving yarn cost estimator to take the guesswork out of it for you.

This scarf is a good example of a balanced plain weave piece using light worsted/ dk yarn with my 7.5 dent heddle. A piece like this is great for beginners and an excellent opportunity to practice neat edges.

The Right Sett

Before beginning a project, it’s really important to figure out the best sett for your chosen yarn. All you need is an inch ruler and your yarn. Once you have more experience, you may not need to do the test every time, but it’s a must for beginners. Here’s how:

The Weaver’s Toolkit is an invaluable resource for new and seasoned weavers. It includes useful charts that help you to match up the right sized heddle with your chosen yarn, yarn size conversion charts and so much more. Available as a digital download ebooklet, the Toolkit is a valuable asset to any weaver’s library.

I Love Wool!

A good example of a project using wool is my Garden Path Scarf pattern. This pattern is my best seller and I myself love to wear my assortment of GP scarves! I love that it looks a bit like lace knitting.

Woven with a lighter 4 ply Australian merino (fingering weight) it is light and airy but still warm to wear, thanks to the wool. I wouldn’t necessarily say that it’s an absolute beginners project, but it is actually not as difficult to weave as it looks!

Blended Yarns

I must give a caution at this point when it comes to blended yarns. Depending on what the blend is, it can make a nightmare out of your project.

For this “special” scarf I use a silk/ merino/ sparkle weft and a baby alpaca warp. All painstakingly hand dyed. I didn’t know until later that often, yarns with a silk blend will not always grip other yarns like, say a wool on wool will grip. So, I ended up with uneven weaving resulting in warp threads showing at the selvedges. It was an expensive mistake, but one that I’ve never forgotten (or repeated!)

Handspun Yarns

A lot of spinners also become weavers, and what a wonderful progression and integration of one art form into another. Handspun can definitely be used to weave with, and gives a very different look to commercial yarns. The main things to consider with handpsun:

*Does it hold up to the snap and drift test for warping?

*Which heddle is going to suit best?

Spun yarn can be inconsistent, depending on how it has been spun and what the spinner is wanting to achieve, but if you use your inch ruler to determine sett, you won’t have any problems choosing the right heddle.

Cotton Yarns

Cotton is also a great choice, but should be chosen a little more carefully for beginners. In fact, my Beginner Rigid Heddle Weaving course project uses the popular US cotton, Sugar n Cream. It is an aran weight yarn, thicker than light worsted, so it weaves up quickly. It’s pretty affordable to buy too! And, it’s just right for your 7.5 or 8 dent heddle. In Australia, Sugar n Cream is available from American Yarns.

I wouldn’t advise an inexperienced weaver to start out with a thinner cotton, there are too many extra things to consider. Your success is far more guaranteed with a thicker, more manageable cotton.

When you have gained that experience, you may want to explore weaving kitchen towels and other, finer pieces. This is where your 8/2 cotton comes in nicely. It is readily available, reasonably economical, strong and multi purpose. My personal favourite is Maurice Brassard 8/2 cotton because, out of all the cottons I’ve tried, it is the most consistent and reliable. It is unmercerised, which is my big preference over mercerised. In Australia you can purchase Maurice Brassard yarns at the Thread Collective.

My Happy Fibonnaci Towels project is available as a downloadable PDF and also as an online class.

Cottolin Yarn

I’ll give cottolin a quick mention, because it’s my favourite yarn for weaving kitchen towels. Linen on it’s own can be difficult to manage, but a blend of linen and cotton is a match made in heaven!

You can buy cottolin in dyed, undyed, bleached, unbleached and half bleached – lots of choices! I love the natural look of the half bleached. Once again, Maurice Brassard 22/2 is what I use. Don’t be confused by the numbers, linen is measured differently to cotton, so the 22/2 cottolin is very similar to 8/2 cotton size. Cottolin is so absorbent and after washing, so soft, I love it!

Bamboo Yarn

Now onto another personal favourite, bamboo. It’s available in a number of different sizes. One that I use very often is Bambu 7, which is available in Australia from BB Yarn Supply. A suitable alternative is Valley 5/2 bamboo and for a thinner weight, Maurice Brassard 8/2 bamboo.

I used Bambu 7 for the scarf project for my Table Loom Weaving course. The results speak for themselves!

Tencel Yarn

Another weaving yarn I love is tencel. This is an interesting fibre, manufactured from wood pulp. It is similar to bamboo in that it has a high sheen and is silky. It is very light and even though it comes in 8/2 size, it seems quite thin. I use Maurice Brassard 8/2 tencel. I’ve woven a number of pieces with tencel and have never been disappointed. It also takes dye beautifully. Once again, not a beginner’s yarn!

The Galaxy Scarf PDF pattern uses a combination of bamboo and tencel, with great effect! The two yarns together have a beautiful drape and work perfectly for light garments.

Silk Yarn

Last, but not least, we have silk. There is no denying the gorgeousness of silk, but it’s not the easiest yarn to weave with, especially if it’s very fine.

It is extremely light and almost “glows”, particularly if you use certain colour combinations. The project above was woven with 60/2 silk at 40 ends per inch on my floor loom. This yarn in definitely not cheap, so for special projects only.

In the following Youtube videos, I go through lots of my own projects and explain the yarns and heddles used and why. I hope you enjoy them!

Failing to plan is planning to fail

A guaranteed way to not waste yarn through avoidable accidents is to calculate for your project before you start. It’s not as confronting as it sounds!

If mathematics is not your favourite thing 🙋‍♀️ don’t worry. I have calculating resources that take all of the guess work out of it.

Are you a pen and paper kind of weaver? Then check out my free printable calculations sheet for rigid heddle weavers. It even comes with a free mini class that explains everything.

If you’re more of an online/techy weaver, you will love my free interactive warp and weft calculator.

When you’re new to weaving—especially on a rigid heddle loom—choosing weaving yarn can feel like one big guessing game. But as you’ve seen from the examples in this post, it becomes easier with time, experimentation, and a little guidance.

The more you weave, the more you’ll begin to understand how different yarns behave, which sett works best, and how to get the results you’re after. Don’t be afraid to sample, make mistakes, and learn along the way—that’s all part of the joy of weaving!

Need a gentle nudge in the right direction? Check out my Beginner Rigid Heddle Weaving Online Course for step by step instructions. Complete a lovely, practical project and get to know your rigid heddle loom while growing in confidence.

You can do it!

Until next time…

Happy Weaving!

Why would you weave with two heddles or more?

by Kelly 28 Comments

When you buy a rigid heddle loom, it comes equipped with one heddle – usually a 7.5 or 8 dent, depending on the company you purchase from. So, if there is only one heddle with the loom, why would you weave with two heddles or more?

Heddle or Reed?

Before I go any further, I just want to say that when talking about rigid heddle looms, the terms “heddle” and “reed” are usually interchangeable but mean the same thing. For the rest of this article, I will use the term “heddle”.

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

What is a heddle?

The actual “rigid heddle” part of a rigid heddle loom is one of the features that makes it such a great loom for learning how to weave. The heddle is a multi purpose piece of equipment. It spaces your warp, allows you to achieve two different shafts and is also your beater. It’s pretty awesome!

One heddle equals two shafts. The holes are one shaft and the slots are another. So, a rigid heddle loom can be called a two shaft loom, though there are some hot debates about this (Facebook, I keep out of these arguments!) as some people argue that a rigid heddle produces sheds not shafts.

Not really worth arguing over in my opinion, as whatever the case, you can weave 2 shaft drafts (plain weave) with one heddle and a rigid heddle loom.

You may assume then, that when you add a second heddle, you can then weave a 4 shaft pattern, but that is not so.

“What? Didn’t you just say that one heddle equals two shafts? Now I’m confused!”

One heddle does equal two shafts when used on it’s own. BUT, adding an extra heddle does not add two extra shafts, because the slots can only be counted as one shaft.

Before you throw your hands up in frustration and storm away from this page, let me give you an example:

Two Heddle Example

I’m using two heddles. On heddle one, I’m using the holes as shaft 1. On heddle two, I’m using the holes as shaft 2. That leaves the slots for shaft 3.

Think of the threads in holes as dedicated – they’re on one set path that can’t be changed once they’re threaded in. If I lift heddle one, all the shaft 1 hole threads will go up and the slot threads stay down. If I lift heddle two, all the shaft 2 hole threads will go up and the slot threads will stay down.

The only way I can make the slot threads go up would be to put both heddles in the down position, forcing the hole threads down. So you see that the slot threads operate differently to the hole threads and can’t be manipulated in the same way.

The Desire for Exploration

It seems that the desire of weavers to explore and push the boundaries of their looms has been influential in loom production. Many commercially available rigid heddle looms now come with a built in double heddle block rather than just the single they used to be made with. This is a pretty good indicator that weavers want to weave with more than one heddle!

But what can you actually do with more than one heddle? Let’s take a look at the possibilities.

Possibilities

Two heddles to increase your sett.

Say you want to weave a yarn at 20 ends per inch (epi). There is no heddle available that can do that for you, the closest sett available is a 15 (which will give you 15 epi), and that just won’t do when you want to weave at 20 epi! If you use 2 x 10 dent heddles, that will give you 20 epi.

2. Two heddles increase your pattern possibilities.

You can set up your loom with an extra heddle instead of a pick up stick to weave all kinds of patterns. You can consider an extra heddle as an extra shaft, so using two heddles will allow you to weave a three shaft pattern. And there are lots of three shaft patterns to choose from!

I really enjoy weaving with extra heddles in place of pick up sticks or heddle rods. The set up time is less and the weaving is more straightforward.

3. Two heddles allow you to weave double width cloth.

This is one of those eye opening weaving revelations that is just so exciting to discover. Your loom is not wide enough for the project you want to weave. With two heddles, you can weave double your loom’s available weaving width. It’s like magic!

Can I Use Pick Up Sticks or Heddle Rods Instead?

Of course! Extra heddles are definitely more of a financial outlay and the same results can be achieved by other means. This article discusses some pros and cons for each method.

Weaving with more than one heddle is such a popular topic that I have several resources available for weavers who wish to explore further: