weaving

How to fix snags in your weaving!

That awful moment when your lovingly hand woven piece catches on something sharp and pulls, leaving an unsightly loop.

I’m sure we’ve all been there and collectively cringed when this has happened.

Thankfully, the fix is a quick and easy one, once you know how.

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

If you are interested in the fabric I’m working with here, it is a sample from my Plaid Double Width Ebooklet.

All you need is the snagged piece of cloth and a tapestry needle. My favourite tapestry needles are the Bent Tip Needles by Clover.

The first thing to do is to have a look at the loop so that you can determine which row of your weft has been affected. We want to work on this row to redistribute the slack that occurred when the weft was snagged. Have a look at the way the weft row is running. This will tell you the direction in which you need to work.

Here you can clearly see the loop and the way in which it runs through the cloth (horizontally, not vertically).

Using the tapestry needle, go to one of the weft stitches either side of the loop. It doesn’t matter which side at this point, as we’re going to be alternating.

Pull up gently on the weft stitch so that some of the slack goes out of the loop and into this stitch.

Now go to the opposite side of the main loop and repeat with the stitch next to it on this side. The aim here is not to pull up big loops, but just to begin to ease and decrease that main loop. The weft stitches you are working on will become looser as you do this – that is normal and expected.

Once you have redistributed some of the slack among the other stitches (I started by doing 3 stitches either side of the main loop) it is time to get a bit rough on the fabric.

Holding onto the fabric either side of the main loop, pull it outwards, away from the loop. It is very helpful to use a “snapping” action for this. The idea is to shock the fabric and re-tension it in order to settle the weft back into the pattern it belongs in.

After snapping the fabric several times, you may see that the weft loop is now laying flat. If this is the case, your work here is done! However, if any of your wefts are still raised (either the loop itself or the weft threads around the loop) then more attention is required.

Simply go back in with your tapestry needle and gently repeat the process, including the fabric snapping afterwards.

By this time your wefts should all be happily settled back into place and laying flat. Ideally, it is now hard to see that there ever was a weft loop. I am pointing to my original loop in the photo above.

If you want to see this whole process in the form of a video, please enjoy watching this one:

I hope this tutorial was really helpful to you! Thank you for visiting me today and until next time…

Happy Weaving!

Do I need to pack the front beam?

by Kelly 17 Comments

When warping our rigid heddle looms, we are careful to pack the back beam as we wind on the warp. This may be done with a variety of materials, and some are more effective than others. It can be a personal preference too!

What a lot of weavers don’t seem to be so familiar with is the idea of packing the front beam. Quite often, when I’m troubleshooting with a student and I ask if they’ve packed the front beam, they seem surprised by the question. Packing the front beam? I’ve never heard of that!

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

So, why would you want or need to pack the front beam? And what exactly do I mean by that?

Let’s start with the definition so we’re all on the same page!

Packing the front beam is simply introducing something extra to separate the warp as you weave and it begins to roll around the front beam.

Now we can look at the why. There are a couple of reasons as to why packing the front beam is a really good idea.

When you have finished warping and threading, you then need to tie or lash on your warp onto the front apron rod. Doing this results in knots or bumps on the apron rod.

As you begin to weave and advance your warp, you will reach the point where your warp is rolling around the front roller beam and onto itself. As this advancing of the warp happens, the knots, plus the apron rod ties can begin to have a detrimental effect on your weaving.

Firstly, you will likely begin to see some lumpiness at the bottom of your weaving (note that the white line of weaving that was previously straight is now a bit wavy!)

This is caused by the knots or apron ties pushing against your weaving from the underside. There are two problems with this happening:

The raised and lowered parts cause a change in the warp tension. The bumps tighten the tension and the dents lower the tension, so you end up with slightly uneven tension.

The worse case scenario is that your weaving is irreparably damaged because the knots or ties push the weaving apart. This can be more likely to happen when using a slippery thread like tencel, silk or bamboo, where your woven threads can move more easily, rather than something like wool, which is more “grabby” and unlikely to move out of place.

Fortunately there is a really simple solution to the problem, and that is to pack the front beam, or insert something that will separate those layers of fabric and act as a barrier between your weaving and the knots and ties.

Weavers use a variety of materials for packing, and it can really be a personal preference or what you find most effective. Initially I used the cardboard separators that came with the loom, and while they do work well, I find that the brown craft paper on a roll that I now use to be the superior choice.

What I love about the paper on a roll is that it’s thick and sturdy (a thinner paper will not work in the same way as it tends to crumple while you’re trying to advance your warp), you can purchase it to the width of your loom (or if the same width is unavailable, it’s easy to cut pieces to size) and you can use it over and over, so it’s very economical.

The roll that I bought years ago is still going strong and there is still a huge amount left.

An additional benefit of packing your front beam as you advance the warp is that your overall tension will vastly improve, and will continue to do so as you continue to weave.

I pack the front beam, whether I’m weaving on my rigid heddle, table or floor loom, it is beneficial for many types of weaving.

If you would like to see how I insert the paper roll at the front beam of my rigid heddle loom, please watch this video-

Until next time…

Happy Weaving!

Why weaving is more important than ever!

by Kelly 2 Comments

I made a video on this topic during the height of the 2020/21 pandemic, and although it was very relevant to the time period and experience we were all undergoing, it is still very relevant today.

I was inspired to talk about this by watercolour artist, Angela Fehr – a fellow Teachable creator. Although I spend very little time doing watercolour painting these days (thanks to weaving kind of taking over my life!) I am still very inspired by her emails and encouragement.

When certain world events come to the forefront (and we have certainly seen a variety of world events in the past 2 years!) it would be easy to say that something like weaving – a hobby for many of us, a career for some, is not all that important in the grand scheme of things.

I have to disagree by saying that it’s more important than ever. I’m going to talk about the reasons why.

Weaving is a skill

In difficult times, I think it’s those of us who are skilled with our hands and knowledgeable about our craft who will find it easier to be useful. Currently, those of us who sell our woven pieces do so at a luxury level. Our items are priced high, they are unique and special. But, in a time of shortages, recession, or actual depression, the ability to make cloth from yarn could become a valuable and tradable commodity.

In the event of a depression, where no one really has any money, trading or bartering handwoven items could really help your situation.

I’m not saying that I think we’re headed for global financial collapse, but I’m realistic to know that things can change very quickly, and it’s interesting to at least consider ideas for preparedness.

2. Weaving is beautiful

The first thing that attracted me to weaving was the possibility of creating such beautiful items with my hands and some tools. To use beautiful, natural and often locally produced yarns to make unique pieces. To me, weaving is like a beautiful piece of art, it adds something to the world that wasn’t there before, and that has an impact.

In a world that is, on many fronts, increasingly ugly and hostile (been on Facebook lately?) I feel wonderful about quietly sitting at my looms, lovingly preparing warps and projects, and then sharing them with the world.

We can help to bring happiness to others through gifting, selling or otherwise sharing our work and we have the additional joy of being able to help others look through a window into the weaving world. Some of those will be so enamoured by what they see that they too will want to be a part of it. What a privilege to be in a position to share such a gift!

For many of us, the lockdowns allowed us to get to work, weaving beautiful things for others. I wonder if you’ve seen my free projects I put out during that time, in hopes that weavers would bless others by weaving for them?

Wash Your Hands Towels Free Project

The Heart Scarf Free Project

3. The world can be crazy

Am I right?! Things have been noisy and unstable for some time, and there always seems to be something new happening. Amidst all this, many are searching for more peace, less stress. How can weaving help bring peace to our lives?

Purpose

I have been in touch with a great deal of new weavers in the past couple of years. Many of them had been wanting to explore weaving for years (some for most of their lives!) but never had the opportunity. Weaving requires focus, patience, often research for a new project or technique. It can take us away from what is happening externally, at least to some degree, and shift from things we can’t control to something we can. It makes us feel like we are doing something positive and useful.

The research, planning, calculations and sourcing of materials that occurs with every new project is very directed and purposeful. All of these processes can be so calming in turbulent times, and that brings me to my next point.

4. Weaving contributes to our own wellbeing

Weaving is an avenue to express our creativity. I firmly believe that everyone is, and in some respects, needs to be creative. This makes complete sense to me, as we are created in God’s image and likeness (Genesis 1:26-27), and God is VERY creative!

It also contributes to our wellbeing through a sense of accomplishment. How rewarding, and amazing it is to take yarn and turn it into something wonderful. It can take a lot of practice, learning and hard work to accomplish weaving goals, but every time we complete a project successfully, we prove to ourselves that we are capable.

Weaving can be very relaxing. The methodical and repetitive actions allow us to get into a “zone” and just enjoy what we’re doing.

5. You are in control

I touched on this a little back at point 3, but now I will expand further. How many things that happen in our lives do we have control over? We can’t prevent war, certain sicknesses, hard times, beyond hoping and praying. But in weaving, we get to make decisions, plan colours and patterns, and predict the outcome.

The project is yours, and that can be quite empowering!

6. Inspiring others

Inspiration is contagious, and although we might not always feel positive and happy, when we share our passions and interests with others, we ignite something that can take off and have a huge impact. When you inspire another person or people, that will often come back to you in waves.

You never really know the impact you could have on a fellow human by inspiring them. It’s not just about inspiring to take up weaving, it’s so much more than that. For someone who has lost hope and feels like giving up on life, to see somebody else living life with joy and passion and being more than willing to pass that on to others, could make all the difference and shift their focus completely.

One of the reasons I think suicide is so tragic is that I can’t help but wonder whether one more day, or a chance encounter, or a new interest could have changed that person’s mind. I’m not trying to oversimplify the tragedy of suicide, I’m well aware of the very complex factors involved – but I know for certain, that one more day can make all the difference.

7. Connection

Even the most introverted of us (👋) can benefit from connection with others. The easiest way to do this is by sharing a common interest. It can be so much fun to share your projects, have discussions and just chat to other like minded folks and be part of a community.

Thanks to the internet, we can connect to others without having to leave home if we don’t want to, or if it’s not possible. Facebook groups are a great way to interact, or if you want more involvement you may want to join private communities. When you purchase a membership to my Online Weaving School, you also gain access to the private member’s group, which is not just a great learning tool, but also a fantastic support network.

If you would like to watch the original video, here it is:

Until next time…

Happy Weaving!

What are finger controlled techniques?

by Kelly 6 Comments

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

So, what are finger controlled techniques?

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

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

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

Why use finger controlled techniques?

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

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

Which kind of looms work for using these techniques?

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

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

Brook’s Bouquet
Leno
Danish Medallions

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

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

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

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

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

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

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

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

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

That brings us to Danish Medallions.

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

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

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

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

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

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

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

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

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

Until next time…

Happy Weaving!

What is your excuse?

by Kelly 20 Comments

Many years ago, there was a beautiful little yarn and embroidery shop in an upmarket seaside suburb around 30 minutes drive from my home. Visiting was a treat, as the shop was in an historic stone building, had several rooms and was wonderful just to look at.

I couldn’t afford to spend much on yarn or supplies back then, but I once splurged on some beautiful cashmere yarn to knit a hat for my newborn, and I even once went to the extravagance of buying a pretty floral handkerchief for each of my girls, just because I wanted them to have something pretty.

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

One time, my husband drove past this shop with a new work colleague. She pointed at the shop and said “that’s for people with too much time on their hands”.

My husband was slightly bemused, knowing that I was a customer of the shop. He also knew that, at that moment, I was at home, caring for and homeschooling our 4 young children. On a good day, I was able to take 30 minutes to 1 hour to work on a craft project. Many days, I was either too busy or too exhausted to even consider doing something creative. I certainly didn’t fit the profile of someone with too much time on her hands!

Time is a funny thing. Our ideas and beliefs about time are funny too. Often when people say they “don’t have time” to do something, it is really just a bit of a cover up. An excuse.

An excuse to not have to exert effort in order to learn something new. Maybe they know they have to save some money to buy the necessary materials to start learning and that is something they don’t want to do. Maybe (and I think perhaps this is the most common reason people make excuses) is to hide the fact that they are afraid of failing.

Since I started my Online Weaving School almost 4 years ago, I’ve heard from thousands of weavers all over the world from all walks of life. Many are brand new to weaving, some have been weaving for some time, and others have not yet begun but have a desire to start.

I’ve heard frequently from people who say they have been wanting to learn to weave for 20, 30, 50 years! Overwhelmingly, new weavers have told me that they wish they had started earlier instead of waiting for “the right time”.

You see, the majority of people live their lives in a box of societal expectation.

Finish school. Go to college. Get married. Have a family. Somewhere in amongst all of that, buy a house. A couple of cars. Work. Raise your family. Keep working. Kids are grown up and left home? Now you have more time to work! Accumulate more stuff with the money you earn from working. Indulge in expensive holidays in an attempt to recuperate from working. Go back to work, after all, someone has to pay for the lifestyle I’ve just described. And then…. one day, finally, you get to retire! THEN you have the time to do all the things you have been really wanting to all these years. You’re likely in your early 70’s by this stage.

None of the above are bad things, they are good things. It is good to get married and raise a family (in fact, I think it’s one of the best things anyone can do!) It is good and necessary to work. Holidays are lovely. Having things you want is nice. But these things are not exclusive, and they don’t have to be compartmentalised.

I have not approached my life as a checklist of things to be done before I can invest in myself and my passions. I am raising children right now, still homeschooling, caregiving and providing. My role as a wife and mother are very important to me. And yet, it is also very important that I get time to be creative and work on things I love. Doing so makes me a better wife, mother and person. It’s part of who I am.

When I began weaving, we had small children and very little money. Yes, I too had my mental excuses as to why I couldn’t learn to weave. Not enough time. No spare money. I needed to wait for the right time. I might not be smart enough to do it.

But, with my husband’s help, I became convinced that it was a good thing to do, and we worked past the excuses to make it happen. To say that the decision to save for and purchase my first rigid heddle loom has been life changing would be putting it very mildly!

And it’s not just me, only yesterday a student told me that learning to weave has been “life affirming” for her.

If you have been wanting to learn to weave, but for “some reason” have not started, I encourage you to look at your situation realistically. Are your reasons actually excuses? Are they a cover up for something else?

I want to talk just a little more about time. We all have the same 24 hours in a day. We also have choices about how those hours are used. Do you work all day, get home and collapse in front of the tv? This might seem a little harsh to some, but I am sure that if you have time to watch tv, you have a lot more free time than you might think. Do you spend hours surfing the internet or on social media? Then, guess what? You have time to learn something new!

Overrun with little kids? Yep, I’ve been there and I would use their nap or sleep times in order to do something creative. If that didn’t work out, I would involve them in what I was doing in order to get that time for myself. Sometimes that would be having a child sort through my button or ribbon collection, which they thought was awesome fun. Sometimes it would be having a child sit on my lap while weaving to “help” me beat.

Last year, I wrote a post about planning and prioritising in your days so that you could make time to do the things you really wanted to. I included a printable daily planner that I hope some of you might use to make some plans and goals.

What I want you to get out of this post at the very least is that you don’t know what you don’t know. You need to take that first step of trying and then another step, and then another. The point is to make a start, because retirement could be a long time away!

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One more story that struck me when I read it in a magazine and has stayed with me for years. An older woman was sitting in a doctor’s waiting room. She was knitting while she waited.

A man who was also waiting and had been observing her, suddenly asked “Why do you waste your time doing that?”

The woman replied “When I leave here, I will have half a dish rag, what will you have?”

……………………………………………………

What I want you to get out of this at the very most is that you are worth it. You’re worth the time, money and effort investment and I know that if you truly want to, you can do it!

If you would like to view this post in video format (and watch me weave), I invite you to watch here-

Until next time…

Happy Weaving!

Learn about Copyright

by Kelly 13 Comments

Copyright is a big issue in the online craft/creative world. It is often unclear to consumers what their responsibilities are.

The popularity of the internet has made it even more difficult for creators to protect their original work. Often, there is an assumption that because it’s on the internet, it can be used however you wish.

This is far from the truth, and you can find yourself in some pretty hot water if don’t do your research and infringe on copyright. I think a lot of people misuse original material unwittingly, they don’t intend any offence but rather just don’t understand the implications.

There are a lot of grey areas but today I’m going to take you through the basics of copyright – what it is, what your responsibilities are and good copyright etiquette.

What is copyright?

The dictionary definition of copyright is:

“The exclusive and assignable legal right, given to the originator for a fixed number of years, to print, publish, perform, film, or record literary, artistic, or musical material.”

Let’s break that down into layman’s terms to determine how it affects us as creatives.

Basically, as a creator of original artistic material, (in my case, online classes, original pattern designs, blog articles) I have the right to legally dictate how those materials are used.

At a consumer level, copyright is about you or me, as the consumer or purchaser of original products, must abide by the wishes of the creator as to how the products are used.

Let me give you a crystal clear example, using my own work:

When you purchase a pattern from my Etsy shop, you will see a © symbol on the front page. This is like a little declaration of mine, to say that this is my original work.

On the last page of my pattern, there may be terms of use included. This may look something like:

“You are permitted to sell your items made using this pattern, providing you credit Kelly Casanova as the designer. This pattern may not be copied or reproduced in any way”.

This kind of language helps me to legally protect my original design work from theft and misuse.

So, now let’s cover what your responsibilities as the consumer are, specifically in weaving:

In regards to weaving someone else’s design, you cannot take it for granted that you have permission from the designer to use the design however you wish.

All designers are different, and just because I allow the sale of items made by following one of my patterns, it won’t be the same for all designers, and that is the exclusive right of the designer to make those decisions.

Like my own designs, often designers will actually say within the pattern something like:

“Personal use only. You may not resell this pattern or design in any way”. That would be pretty clear that you cannot use that design to sell.

Or you may see something like- “Licensing available for limited number of items you may sell from this pattern. Please contact the designer for further information”.

This would indicate that yes, you may sell some items from the design you purchased, but to do so you must additionally purchase a licence from the designer and agree to their conditions.

If you’re in doubt, or if there is no real information included with the pattern, always contact the designer, never just assume that you can sell the piece or you may land yourself in hot water.

What about using an idea from a book?

It is fine to learn a technique from a book or a class and then use that it one of your own projects to sell. It is not OK to copy a project from a book and sell the item as your own. The rights for the project belong to the book author. Again, you can try contacting the author if you need clarification.

An example of using a technique would be that you watch my Youtube video on clasped weft. It is not a project video, just the technique. You then decide that you are going to make a clasped weft scarf to sell. You choose the yarns, colours etc and make it how you want to. You then don’t need to credit anyone except yourself as the maker because you have used a technique that you’ve learned.

In weaving, we learn techniques, use very old weaving drafts and ideas and then we go and put our own spin on it. There are many techniques that I use that I figured out for myself – does that mean they have not already been done? Not likely!

You can’t copyright or trademark a weaving technique unless you can prove you came up with it yourself and it hasn’t been done before. That would be very rare these days.

But projects, finished items are another thing – you can’t just go out and copy designer’s projects to sell unless you meet all the conditions already mentioned.

Bear in mind also, that if you receive permission for one project, that is not a blanket statement – you also need permission for any other designs from that designer.

One thing that I expressly want to point out because it is so important, is that when you purchase from a designer or creator, you are supporting them financially. You are paying for a product, and that provides income and possibly wages for more than one person.

To copy somebody else’s original work and sell it as your own is stealing. To reproduce a pattern and use it for your own gain without permission is stealing. To “find” a design on the internet and use it for your own financial gain, without permission, is stealing.

I think you catch my drift. If you do not follow copyright requirements, you are taking income from someone who has put in the hard work and time to produce it. You are taking income from that designer’s family.

Not only that, if you infringe on a designer’s rights, they are entitled to instigate legal action against you. And no one wants that!

I could talk about this all day, it’s such a broad issue and to some questions there are not clear answers. That is where it is so important to refer to the individual to be sure.

My best advice is to be cautious, respectful and do your research. If you have anything to add to the conversation, I would love to hear from you in the comments below.

Until next time…

Happy Weaving!

Kelly

My loom just arrived. Now what?

by Kelly 5 Comments

You have made the big leap and purchased your very first loom! You can hardly contain your excitement and you start to wonder whether it’s normal to have been stalking the delivery guy like you have been!

You are well prepared, you’ve done your research, watched a ton of Youtube videos and read a heap of weaving related articles. You just cannot wait to get your hands on that loom!

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

Am I over exaggerating here? Well, this was me waiting for my first loom to arrive so I’m sure many of you have felt the same.

Depending on the loom that you purchase, it can arrive to your door in any number of ways. I’ll discuss each of the main loom categories so that you know what to expect when your order arrives.

Inkle Loom

My Ashford Inkle Loom arrived with some assembly required. The assembly was very basic and did not require complicated tools to put together.

You need to glue and tap the pegs into place. That glue then needs to be left for 24 hours to completely dry, which is an important step in the future stability of your loom.

Then it’s a simple matter of installing the small pieces of hardware provided (the rubber feet, the tension peg etc).

Ashford do recommend to use a wax or other sealant on the wood of the loom once you have assembled to protect the wood from sun and moisture damage or other stains.

Rigid Heddle Loom

A rigid heddle loom will arrive flat packed in a box. Depending on the company, the loom pieces that are wood may or may not be finished. Ashford rigid heddle looms are not finished, so if you want to wax or lacquer your loom you will need to do that, then let the pieces dry before beginning to assemble.

The knitter’s loom, which I wrote about here, comes with the wood finished and ready to assemble, so that is something to bear in mind.

The length of time to assemble will vary and may depend on your aptitude to follow written instructions. I noticed that Ashford did recently upload this rigid heddle assembly video, which should be a good help to many.

A rigid heddle loom is not too difficult to put together and depending on the size you have purchased, should take 1 – 3 hours (not allowing for glue drying times where applicable).

Tapestry Loom

It’s more difficult to talk about a tapestry loom as there are many different types – some are made of wood and some of metal.

The assembly of my Mirrix Big Sister was a very simple affair as there really are not that many parts. There was no screwing wooden sections together, it was more just placing pipes within other parts and tightening up. So, even if you were challenged by written instructions, you could easily have this type of loom put together in under an hour.

If you are interested in this type of loom, I’ve written a review here.

Table Loom

Table looms will also mostly come flat packed in boxes and the pieces are all finished and ready to assemble. There are a lot more parts to a table loom than a rigid heddle. I remember the first time I bought a table loom, those boxes were very exciting but quite confronting as well!

Luckily for you, if you have purchased or intend to purchase an Ashford table loom, my husband and I have put together two detailed videos that take you step by step through the assembly process.

I have loved to have a video like this for my first table loom assembly, but I’m very happy to think so many new weavers don’t have that same headache and can instead follow our instructions to get it done.

You can watch the first video here:

I recommend that if your table loom has just arrived, set aside a day where you don’t have much happening to put it together. With drying times, you may find it easier to work on it over several days, getting a few steps done on each day.

That makes the process not too overwhelming and tiring. Don’t worry if it takes you a bit of extra time to put together, you will get it done and it will be worth it.

Floor Loom

This is a biggie. Literally! The size of a floor loom means that the pieces are plentiful and large. Floor loom pieces should come finished and ready to assemble. Most of the time they will be flat packed, but not always.

Of course, if you purchase second hand, or are lucky enough to get a floor stock loom from a shop, it will be either fully or partly assembled.

If your floor loom is new and in pieces, it is super helpful to lay out all the pieces in the approximate correct shape of the frame of the loom on the floor. This helps you get a good look at how and where the pieces will go.

Don’t expect to get assembly done quickly, it can easy take several days and you will need a good amount of space where you can leave partly assembled parts and non assembled parts laid out where they won’t be disturbed.

My Louet David was laid out on a carpeted floor in a non foot traffic area of our home, which made it all so much easier and meant that none of that beautiful, smooth wood got scratched or damaged in any way.

General Assembly Tips

When your loom arrives and you unbox it, keep all like pieces together (screws of a certain size etc).

Using the instructions provided, go through every piece to ensure it is there. Factories can make mistakes, it happens occasionally that a piece will be missing. If that happens, you want to know about it before you begin assembly rather than half way through.

It also means you can contact the company right away and tell them a piece was missing in the beginning. If you find a piece is missing part way through assembly, you can’t be absolutely sure whether you may have lost a small piece yourself. Trust me, it’s worth checking!

Lay all the pieces out in a space, if you have the space. This helps you to visualise how the loom will look and gain an understanding of what the parts do.

Teamwork is awesome! If you have a spouse or someone else who can assemble the loom with you, that is very helpful. Not only are four hands better than two, two brains are much better than one! It can make all the difference to have another mind at work beside you, to see things from a different angle to you.

Take your time. You will only need to put the loom together once, so it’s worth doing it properly and not to rush. You will get to weave on it, you just have to be patient!

Are there any other tips you would add to these? Please share them in the comments for the benefit of other readers. Thank you for your contribution!

Until next time…

Happy Weaving!

The Weaver’s Toolkit for rigid heddle weaving

by Kelly 2 Comments

There is a lot of information available for newer rigid heddle weavers nowadays, not like when I started and almost felt that I was on my own. But the problem that arises when there are so many resources is trying to make sense of them and put them all together. I thought it was time for me to do something about that!

I created the Weaver’s Toolkit e-booklet as a quick reference guide and go – to resource. It is invaluable to newer weavers, but also to seasoned rigid heddle weavers as a way of having important and useful information all together in one place. As with all my content, I’ve packed in as much information as I could for a really affordable price.

Oh, and it’s pretty too! ❤️

The thing that I really love about teaching weaving and having a large online audience is that my people tell me what they need. I hear about the most common weaving difficulties and the problems that plague them the most. And then I get to help by offering advice, links and resources like the Weaver’s Toolkit!

*This post contains an affiliate link

So, let’s have a look at what is actually in this e-booklet.

Available as a digital download from my Etsy shop, the Weaver’s Toolkit is a 22 page e-booklet that covers some really important information and guides.

I wrote the e-booklet for rigid heddle weavers, so all of the information applies to the rigid heddle loom.

I started out with calculation sheets. These are just so important when you’re starting to weave, the mathematics takes a little getting used to, but once you are, you can plan to weave anything. I use these sheets with every single project I weave. Not only for planning purposes, but also as an important record of the project specifics once I’ve finished.

The calculations sheets included in the e-booklet are similar to the free sheets you can find here, but are more detailed and much more attractive to look at!

There is a record sheet aside from the calculations sheet that will help you to properly record all the details from your project to prevent “project amnesia” (it’s not just me that suffers from this condition, right?)

The yarn conversion charts are so useful. Something I’ve found a difficulty as a weaver (and I know many of you do too!) is trying to decipher different yarn names from country to country. The names, the thicknesses, the appropriate uses of the yarn, it can be so confusing! The quick reference sheets in the Weaver’s Toolkit makes it easy.

I have a section on sett, which I thought was really essential to include in the booklet. One you understand how to properly measure your yarn for an appropriate sett, you will completely take the guess work and anxiety out of any project. The yarn will tell you what to do, you just have to know how to listen, and I explain it and give links for additional resources. It’s easy once you know how!

I also have information on tools you need for rigid heddle weaving, what you don’t need, and what could be handy for you to own down the track.

The measurement conversion sheets are another handy guide included, to help you quickly and easily translate patterns or projects into the terms that you personally know and use.

The glossary of weaving terms demystifies common terms used in rigid heddle weaving so that you can look them up whenever you need to and begin to memorise them over time.

Finally, there is a sizing chart for typical projects or items you might want to weave. Things like baby blankets, household linens, and bedding. This will help you to plan for the dimensions needed for many items you will be weaving.

To recap what exactly you get when you purchase the Weaver’s Toolkit, here is a list of topics covered:

*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

All of this is collated into a digital file which, once downloaded, you can print out and keep as a quick reference guide.

The calculations and record sheets can be printed and used over and over for every weaving project you undertake. I’ve provided calculations sheets with and without artwork, for those who may wish to economise on ink.

The Weaver’s Toolkit is available to purchase, download and print right now by clicking on the link below.

Yes, please take me to the Weaver’s Toolkit…

If you have any questions about the booklet, please leave them in the comments below, I love to hear from you!

Until next time…

Happy Weaving!

Colour and Weave

by Kelly 12 Comments

Recently I was talking about patterns for the rigid heddle beginner (you can read that post here if you missed it). I briefly mentioned Colour and Weave as an additional technique to jazz up your weaving, but decided that it would need to have it’s own discussion, as it is so versatile and varied.

Firstly, what is colour and weave?

Well, it’s very simple. It’s the introduction of colour, usually in a set sequence, first in the warp and then also in the weft. When you begin weaving, that is when the magic happens!

The prearranged colours cross paths and have a party on your loom 🥳

Plaid, which I discussed recently is a type of colour and weave, as you have set colours in set amounts in the warp and then cross with the same colours and amounts in the weft. Take a look at this post if you want to see some examples of plaids I made on my weaving software.

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

When the warp and weft colours cross over each other, they can produce some very interesting effects. You can use colour and weave in all kinds of weave structures, but it works great for plain weave and is perfect for the newer weaver. You are still weaving your familiar plain weave, but it can look very different! My Candy Store Scarf is the perfect example of this.

Colour and weave is wonderful for the rigid heddle weaver as it is such a simple “next step” once you have practiced plain weave and are looking for a new and interesting challenge.

Some of the most famous and popular examples of colour and weave are Log Cabin and Houndstooth. These are often considered a “next step” for weavers venturing out from limited colour plain weave.

Although you can use multiple colours for both of these weaves, it can be a good idea to limit the colours to two that contrast well, otherwise the beauty of the crossing colours can become a bit lost.

Houndstooth colour arrangement is very simple, whereas log cabin is a little more complicated and warping can take quite some time. So, if you are a newer weaver, definitely have a go at houndstooth before attempting log cabin.

Jane Patrick’s “The Weaver’s Idea Book” is a great resource for getting started with this technique. She has a section on weaving a colour and weave sampler and it includes many examples or suggestions for colour arrangements.

If you’re interested in exploring colour and weave, you have come to the right place! Here is a list of resources I have that can help.

Log Cabin Table Runner Class

Log Cabin Rable Runner PDF

Houndstooth Placemats Class

Candy Store Scarf PDF

The Town Bag PDF

The Weekend Scarf PDF

Finally, I want to mention the applications of colour and weave beyond 2 shafts. Pinwheels are an easily recognisable example of this and can be woven on 4 or 8 shafts. Even though there are more shafts, the initial warp colour setup, then weaving colour sequence is still an essential aspect. My Pinwheels Table Topper class shows you how to set up your rigid heddle loom to weave this beautiful 4 shaft pattern.

When you get into 4 shafts and beyond, you can play around with your colour placement in the warp and weft in order to highlight certain areas of pattern. When I wove some bread towels for myself, I included a contrasting strip of red in the warp.

This is really not a colour and weave because I had already threaded the loom with the intended pattern – the pattern didn’t appear strictly because of my colour placement.

But I still think it’s worth mentioning to highlight how patterns can appear or at least become more prominent when selective colour arrangement is used. If I had planned this piece better, I would have ensured in the design process that the strip of red was going to be wide enough for one full repeat of the pattern – you can see part of the pattern has been cut off.

Another example from a 4 shaft project for the floor loom or table loom weavers is the Bright and Beautiful Towels.

This project uses a twill weave structure but strategically uses colour in the warp and weft so that they meed at specific points of the pattern AND so that they weave squares. This twill pattern is beautiful to begin with, but playing with the colour arrangement makes it truly unique and eye catching.

I think it’s a wonder that so many fascinating patterns can appear just by the meeting of colour!

I hope you enjoyed this post, and please leave any thoughts of questions you may have in the comments below – I would love to hear from you!

Until next time…

Happy Weaving!

What running a creative, online business is really like.

by Kelly 156 Comments

I’m well aware that as an online weaving teacher, designer and encourager, I have a lot of people’s dream job.

I design my own classes and projects, I make my own hours around my family commitments and I work from my own home.

It could be easy for those on the outside looking in to think “she is so lucky” or “I wish I could do that”. And honestly, I consider myself so blessed to be able to do this. But there is definitely more than one downside to being an online entrepreneur.

Tracy from Knit, Spin Weave wrote a blog post recently that was quite candid about the reality of owning a creative business. It struck a chord with me.

Being a part of the online world can have it’s ups and downs. People will type things that they would not dare to say to your face (depending on their level of rudeness I guess!) It has been suggested that I am somehow a greedy person lacking charity because I choose to earn money from my business rather than doing it just as a hobby. I guess that person (and yes, unfortunately it was someone well known in online weaving circles) never too the time to browse through my completely free blog and Youtube channel. Or signed up for my email list for extra free information, patterns and inspiration. I think I have published more free content to the internet than paid content. I guess that person has no idea how much time I spend every single day at my computer responding to questions and helping weavers with advice. That is not paid either, but I feel it’s an essential part of what I do.

Is there something wrong with wanting to earn money doing what you love? I certainly didn’t make any money for a long time and now earn a modest income. Out of that modest income, I of course pay taxes, materials for projects, online selling fees, I could go on and on. I pay well over $1000USD a year for online course hosting, the same for this website, $79USD per month for email hosting. The costs of actually running a business can be huge, thousands of dollars every year, even without a bricks and mortar shop.

There are times, many times where you simply do not make any money. But still, the bills must be met. And the work must continue. Yes, unlike a wage job, you have to continue to put in the work, whether or not you are being paid for it.

As a business owner, I do everything. I don’t have help with the business, apart from my wonderful sounding board husband and my son who occasionally does closed captions for me when he has time. I’m in that very tricky position of the business growing but still not earning enough to hire out help occasionally – every penny goes back into the business and into raising my family.

I did not start out intending to make money from weaving. It was, and is my passion and above all I wanted (and still do want to) share my passion with others and ignite the same passion for them. My Online Weaving School only grew out of a demand from weavers who had seen my Youtube videos – I had no idea about online courses. Over the past 3 years I’ve seen the potential grow from a hobby to a business. This has allowed me to continue to stay home with my family, homeschool our kids and contribute to our income, which has been an amazing blessing and as a stay at home Mum, was something I prayed about for years and years.

A hobby that is all of a sudden taking over every waking hour can not continue to be a free hobby. It would not be fair to my family if I spent so much time on a hobby that did not otherwise contribute to all of us.

Anyone who has seen my online classes or has purchased a pattern could not claim that I overcharge. I purposefully keep my prices as reasonable as I can. I want weaving to be accessible to anyone who wants to learn, that is why I continue to upload to Youtube even though I don’t need to anymore and the revenue that I earn from ads on Youtube is a very, very small portion of my income.

Perhaps it’s the wrong time of year to be writing this kind of post, but I do feel very reflective as the new year approaches. Perhaps it’s wrong of me to share this kind of information with those who follow me for my lessons and tutorials. It’s certainly something I don’t normally talk about, but I want people to know that this is not all easy and fun. Not just for my sake, but for the sake of other business owners in similar situations.

The internet can be so deceptive. I do love Instagram and social media but there are times I just want it all to go away. Social media can be a monster that never rests, there is always someone doing better than you, looking better than you, having more than you. Increasing the anxiety of those who use it. But don’t be fooled. Things are not always as they seem.

If there is only one point that you take away from this lengthy and disjointed post, I hope that it will be this:

Be kind. Don’t judge. Be patient with others. You can’t see behind the scenes and you can’t assume to take everything at face value. People are complicated, life is complicated! We all have to do our best to love one another, even though it’s possibly the hardest thing we are asked to do.

You know what? I think I need to go and weave something wonderful. I’ve been thinking about Krokbragd again…

Until next time…

Happy Weaving!