Placemats are a perfect project for both beginner and advanced weavers. They are a useful project, and they're very forgiving if dimensions aren't exact.
I have been playing so much with profile drafts that I decided to make some of my own. After studying Bertha Gray Hayes' patterns so much, ...
Make weaving fun and simple! Want to create a new home decor? This Weaving Loom Starter Kit can definitely help you to create a unique piece of art while having some fun time. Weaving Loom Starter Kit is the best kit for weaving beginners. It can weave mats, wall decor, etc. The groove is made of high-quality wood, which is smooth and flat which protects your hand and the weaving work. Weaving is a great activity for developing concentration, creativity and more. It's easy to use, plus, there are plenty of video tutorials online. FEATURES: Trendy Craft: Use the loom to weave beautifully textured modern wall hangings, cup mat, and more. Smooth Groove: Avoids hurting your hands and reduces the abrasion of the wool during the weaving work. Multiple Skills Development: Weaving helps kids to develop concentration and hand-eye coordination promotes fine motor skills and encourages creative expression. Easy-To-Use: It takes a few minutes to assemble. Then use the needle to pass the weft thread through the warp in an ‘over and under’ sequence. High-Quality Materials: The wood is non-toxic, durable, and delicate. HOW TO USE: SPECIFICATIONS: Materials: Wood Small Size: 12cm x 18cm x 3.5cm Large Size: 40cm x 30cm x 4cm SMALL PACKAGE INCLUDES: 1 x Weaving Loom 1 x Yarn PACKAGE INCLUDES: 1 x Weaving Loom 1 x Wooden Comb 1 x Yarn
I have been playing so much with profile drafts that I decided to make some of my own. After studying Bertha Gray Hayes' patterns so much, ...
Adjustable Rope Mat Weaving Loom: I wanted to make a rope mat so i googled how to make one. There were plenty of templates to draw to show where the rope cross and such, and using nails on a board to hold it in place while you get it started. I decided to make a peg board loom…
Adjustable Rope Mat Weaving Loom: I wanted to make a rope mat so i googled how to make one. There were plenty of templates to draw to show where the rope cross and such, and using nails on a board to hold it in place while you get it started. I decided to make a peg board loom…
Corrected expanded draft
It seems as though lately I've been doing a lot of very complex designing and weaving, and when that feeling becomes too strong, I gift myself with a long warp of mindless weaving. By "mindless," I mean a simple threading (20-shaft straight draw, for example) and a variety of different tie-up and treadling variations that will give me an entire warp of up to 10 one-of-a-kind scarves. One of my new favorite sources of designs is handweaving.net, where I can browse for designs that fit the criteria I'm looking for. A recent search turned up the drafts shown below, most of which I modified slightly for my purposes, either changing the number of shafts, or shortening floats, or just adding selvedge ends. I don't market these as originals, as I would for drafts that I designed from scratch, and I don't charge as much as I would for original designs. I give credit to handweaving.net on the hang-tags for the pieces woven from these drafts. Because weaving simple designs on a straight-draw threading is easier and more mediative than weaving something more complex, I can do two things at once - be productive, and at the same time be thinking about new original designs. Talk about win-win! This first one (8072) works great on a point threading with multiple echoes, too! The rest are draft numbers 36865, 36903, 36918, and 40909, respectively. Several of these drafts can be interpreted as fitting into the water series or the feather series. I'll have to come up with a category for the rest. A lot depends on choice of weft color. The warp for all of them is undyed 30/2 silk from Treenway. The weft for some of them is Treenway's 30/2 silk/yak blend or silk/camel blend or silk/cashmere blend (all really yummy yarns). Others may be woven with more colorful weft.
(or, at least: this is how I learned it, when I was at weaving school) Let’s start with an ordinary 2/2 twill: comparing the two faces, we see that the twill line goes in opposite directions. Thus, if we just take the whole piece as is, and turn under, the reverse side with the hem at the bottom would look like this: If, instead, we weave the hem part “opposite”, what we see on loom would be this: And, with the hem turned, the reverse side has the twill line going the same way all over: Going on to a 2-block twill – if the right side looks like this the reverse looks like this and therefore the hem part should be woven like this Note the clean cut(s) between the hem part and the body. It is of no structural importance, but it looks much neater. And, in parts of the world where the weaving police is active, it is a must! In those parts, it is also of vital importance that the pattern on the 2-block hem is "correct" - and also that there are exactly the same number of picks on the two hems (of one hemmed piece - or, if one is presenting a stack of towels, for instance, the same # on all the hems). How do I know? Because I was rejected from a (Hemslöjden) exhibition because there were not the same # of picks. The hems measured the same, and the pattern matched, but that was less important... (And no, the primary cause was not my uneven beating - I had used a relatively fat and uneven tow yarn... had I woven one more repeat it would perhaps have evened out. Or not) Do I always plan/sew hems this way? No, and I even sew my hems with a machine. (Unless they are meant for a Hemslöjden exhibitions, of course.) The same reasoning can be applied to other bindings (structures) as well. Here is part of a profile draft for "cat tracks", with the hem at the top:
Kente cloth originated in Ghana as the fabric of royalty, but has become a colorful symbol of African culture, now loved and worn by many. Students in grades K and 1 will enjoy creating their own paper version of this colorful cloth! Materials: 6"x12" black construction paper 1"x6" strips of red, blue, yellow and green construction paper (3 or 4 of each color per student) Black marker Glue stick Directions: (When I do this project with my Kinders, I prep it by folding each black paper in half (the "hamburger way"), then fold it again about 1" from the loose edges. This second fold gives students a helpful reminder of where to stop cutting!) 1. Hold your paper with the middle fold toward you, and cut 7 straight lines about 1" apart, stopping at the fold just before the end with the loose edges. 2. Now weave your first strip of colored paper across the black paper, alternating over, under, over, under, all the way to the end. 3. Push your paper tightly against one edge. 4. Then weave your next strip of paper, reversing the over / under pattern, and push this strip up against the first one. 5. Continue weaving your strips, making a pattern with the colors, until no more will fit. 6. Glue down all the loose edges. 7. Finally, draw simple shapes or designs on each color showing. Make sure you use the same shape or design on all the reds, all the blues, etc. 8. Mount your Kente cloth weavings on a larger contrasting paper, if you wish!
Adjustable Rope Mat Weaving Loom: I wanted to make a rope mat so i googled how to make one. There were plenty of templates to draw to show where the rope cross and such, and using nails on a board to hold it in place while you get it started. I decided to make a peg board loom…
I have been playing so much with profile drafts that I decided to make some of my own. After studying Bertha Gray Hayes' patterns so much, ...
Explore Suzana16's 630 photos on Flickr!
Several months ago, my weaving friend Sharon C. gave me this pattern. It is called taquete. She has been having all kinds of fun with it. I finally bought some colors of 8/2 cotton yarn and got a warp for towels put on my Leclerc Jano table loom. I'm calling this warp Autumn Leaves, because it reminds me of all the beautiful trees in my area of the country (Charlevoix the Beautiful). I finally figured out a way to put a draft of my pattern on my blog. I know there must be an easier way, but this is a printout that we scanned and cropped. It works, so I'm happy! Here is the Autumn Leaves warp all set to wind on. Jano had a revamp recently. She got a nice treadle stand that Bob and I designed and built. I haven't tried it yet. I'm looking forward to getting this project threaded, so I can test our work. I love that the stand has shelves on either side, so I have a spot to set extra shuttles if I'm weaving with more than one. I also like that the loom isn't bolted to the stand. The legs on the loom extend below the crossbars, so the legs just hold the loom in place on the stand. To remove the loom from the stand, all I have to do is unhook the "S" hooks from the levers. I have a couple other very big projects out in the studio that I need to get photos of, but that will have to wait until tomorrow.
Kogin embroidery is a type of sashiko stitching that uses short horizontal running stitches to create beautiful geometric patterns. Stitched kogin pieces can be made into coasters, bags, table mats, buttons, and more. Kogin is a relaxing form of embroidery that is perfect for meditative stitching. With a range of fabric and threads to choose from, along with various patterns and designs, kogin is a traditional handcraft full of modern possibilities! Read on to learn how to do kogin stitching yourself. What is kogin embroidery? Kogin is a form of...
Silver Grey Yarn Art Tulip Size 10 Microfiber Thread 17311 50 gr 273 yds Needlepoint, Cross Stitch, Crochet Use this gorgeous thread for decorative home ware such as tablecloths, table mats, curtains and cushions. You will find this perfect for crochet, bedspread, embroidery, needlepoint, cross-stitch, huck weaving, scrapbooking, card-making, machine embroidery, fiber jewelry, or as a carry-along thread in knitting - however it is lighter than a lace weight yarn, so I would not consider knitting with it on its own unless your eyes are a lot better than mine! You will find 273 yards per 50 gram ball -- that's a whole lot of lovely! Composition is all microfiber with delicious sheen. Fiber Content :100% Micro Fiber Weight :50 gr. / 1.76 oz. per ball Length :250 m. / 273 yds. per ball You save $ by placing one order with one shipping charge for all.
Hello again everyone! I am recently finished with my doctoral training and in a new job and back to crafting again. Well... technically, this post's topic of weaving I originally started as a stress-relieving activity during the height of my studies. Weaving is meditative and creates satisfying, well-ordered structure in front of you with minimal mental gymnastics. At least if you're not making any complex fabric. "Weaving" probably initially brings to mind images of gigantic, unwieldy, wooden looms taking up half of one's living room. And indeed, if you want the height of industrial efficiency, stylistic freedom, and ease of creating different finishes and textures, that's the way to go. But I was A) poor, B) didn't have 100 square feet to spare, and C) just wanted a relaxing craft activity. So I chose to use backstrap weaving techniques: Backstrap weaving (image by Infrogmation, GNFL license) Backstrap looms, like the one shown above, are cheap to make, requiring only cords, straps, a series of wooden dowels and slats, and some spare lengths of the same kind of yarn used to weave. The fabric you are making itself holds the loom together otherwise. When not in use, the whole project can be rolled up and stored. While in use, the loom is held together by placing tension on the warp yarns (vertical to the weaver) with your body, leaning back and stretching them between yourself and an anchor point in front of you. Dowels then keep the yarns separated while you weave the weft yarns (horizontal to the weaver) back and forth between. As you finish sections, you partially roll them up on the bar nearest you so that the next section is in reach, and so on until finished. I didn't start with anything as ambitious as the woman above's yard-width cloth. I started by making a simple, thin, acrylic yarn strap. Below is a third party technical diagram of a backstrap loom, followed by a photo of my actual homemade one: (Source) The warp threads are actually one continuous loop back and forth between the two anchor points of the loom, at the body and the far end. The warp threads can be seen splayed out at (A, furthest from the weaver) in the image. These tend to get tangled on their own, though, so to help prevent this, I made a "cross" (B) in the yarns by weaving a simple stick between every other thread, then weaving another one between the opposite threads (actual cross is between the sticks at B). This forces any tangles to resolve themselves and leave the yarns in order and well-spaced going toward the working section of the loom. To help keep the yarns spread out and untangled, tension is applied by the bar near the body (C), which is attached to a strap around the weaver's back (not shown, though notches are visible for the strap to attach). Two sticks are used here to allow the finished work to be rolled up as progress is made, without unrolling from the tension. Then the actual process of weaving involves taking another length of yarn, the weft, and passing it through all the odd numbered yarns, then all the evens going the other way, back and forth. The weft thread is all rolled onto a bobbin (D, I used a knitting needle) so that passing all of it through the warps doesn't take an hour each time. The working edge of this piece of cloth is at (E); you can see where the weft has made it to so far. The stick right at the working edge is used to "beat down" the weft toward the finished cloth after each pass to make it nice and tightly woven. How does the weft get between opposite yarns each pass? Well, you could thread it through each time manually, but that would be horrible. Instead, there's a system to quickly shift all the even numbered yarns up and then all the odd ones, quickly and efficiently. The odd numbered yarns are held apart by a nice thick bar (F) at the back of the loom. The even numbered yarns are then each individually tied to little strings ("heddles") that reaches down through the odd yarns, and then attaches above to a stick (G). To raise the odd yarns, the thick bar (F) is moved back and forth and up and down to well separate those yarns, while the heddle strings allow the even yarns to pass below without getting in the way. This creates a triangular space between (the "tent"). The beater stick (E) is placed inside (it is removed and replaced each pass), and flipped on its side to make the tent even bigger. Then the weft bobbin (D) is passed through. The weft is beaten down, and the beater stick removed again. Next, the thick bar (F) is pushed back out of the way, and the stick with all the heddle strings on it (G) is lifted, PULLING all the even-numbered strings through the odd ones so that they are now on top. The beater stick is put in again, the weft bobbin passed the other way. These two phases are repeated over and over again until a cloth is formed. Above is the finished result of my first strap. If you look very closely, you can see several characteristic errors made by people who don't know what they're doing. For one thing, one end is about half as wide as the other. This is called "pulling in" and it results from not leaving enough slack in the weft thread as it is woven through the warp. When it gets beaten tight, the weft is crimped, and thus shortens. If there's no slack, this pulls in the sides of the whole cloth, making it progressively narrower. The way to fix this is to leave the weft at a slight angle before beating it tight, so that it is a bit longer than the width of the cloth, leaving room for crimping. You can also see that at the edges, the texture changes in places. It becomes more square looking, while the middle of the strap looks hexagonal. This is because the warp yarns at the edges were looser than the ones in the middle. I didn't have even tension across my whole width. Thus, the warp and weft at the edges are about equally tight and pass over one another equally, while the warps in the middle are much tighter than the wefts, so one of them crimps and the other doesn't, leaving the hexagonal look as you can only see one of them. On the sides you see both warp and weft. My next attempt was a lot better: Here I was making a small patch of a twill fabric (specifically a gabardine). The first strap I made was a "plain weave", over under over under. In a basic twill, instead of having all the odd yarns alternate with the evens, what you do is pass over TWO warp yarns, then under two, then over two... Which two you pass also shifts over every time you send the weft through, like this: Twill Weave (by Jauncourt, CC Attribution Share-Alike) If you imagine counting off every warp thread as 1,2,3,4,1,2,3,4... this means that depending on the pass of the weft, you need to variably lift all the 1's and 2's, then next all the 2's and 3's, then 3's and 4's, and finally the 1's and 4's. Four different sets of yarns need to be controlled instead of the two sets for the simple strap I made. This means that I need not just one thick bar and one set of heddle strings, but instead one thick bar and THREE sets of strings. This way, I can achieve all four types of lifted sets of strings. You can see the three different tied sticks in the photo above. This is trickier to set up, but not much trickier to weave. I'm using orange yarn for the warp this time, and red for the weft, so that you can tell them apart later. Here's one side of the finished product (above). Notice that you can ONLY see orange. This is a "warp-faced" fabric since on the intended display side (above), you can only see the orange warp yarns. The red wefts are hidden underneath. Notice also that the cloth looks much denser and tighter than the strap earlier. Since the yarns aren't crimping as much as in a plain weave (only every two yarns not every one), more yarns are packed into a square inch than in a plain weave. This makes twills harder-wearing and popular for work clothes and jeans. The tight weave also makes twills more insulating (jeans are generally warmer than linen pants, which use plain weave), and easier to waterproof. Gabardine, the weave I made, is popular as an outer weave for raincoats, for instance. Here's the back side of the same cloth. On the back, you can see the warp and weft about equally well. This is not the "face" of the cloth, though, so it's still called "warp-faced." Notice that the width doesn't change quite as dramatically as last time, but I still pulled in a bit from start (left) to finish (right). The tension is more even this time. The edges are also more consistent, from repetitive practice. Next, I used a mixture of stiff hemp warp strings and soft acrylic weft yarns, and chose a new pattern: a diamond twill. This is a normal twill, but with the pattern simply changing direction in blocks. When tying the warp strings, I changed the pattern partway, and I also changed the direction of which heddles I lifted occasionally while weaving to make the pattern change the other way as well. Here's the loom set up first, followed by a diagram of a diamond twill. If you look closely, this looks just like a normal twill but in smaller "blocks" that flip occasionally. Again, this pattern required 4 types of yarn lifts, so a bar + 3 heddles, varying which sets of warp yarns were lifted as I went. The finished product is below, with a bit fancier finishing of the ends. You can see the diamond pattern, though it's not a consistent looking as I'd like. You can see both hemp and red yarn here, because even though it's warp-faced, the yarn is so much bulkier that this balances out the tension visually and keeps them both more equally visible at once. Notice that when I cut the bottom, it by no means immediately unravels. These cloths could definitely be cut to patterns and used in sewing if large enough. It takes me about 20 minutes to wind the warp yarns around two pipes in a wooden board and transfer them onto the loom, then anywhere from 30 minutes to hours to tie the heddles depending on complexity and width of the cloth, and about 5 minutes per inch of cloth to weave the weft along. Next up is going to be attempting a much larger piece of fabric, like a dish towel, perhaps. I also want to try out changing the warp and weft colors across the fabric, such as when making a plaid fabric. Much fancier and irregular patterns can also be woven into a cloth, like the shapes of animals, but this requires manually "dropping" or "picking up" yarns in violation of the background pattern as you go, and it is very painstaking by comparison to plain fabrics like these.
Last week I completed another sashiko stitched table-runner which was very easy to do using a 30cm wide piece of this pre-stencilled fabric. It’s always fun to come up with new patterns with …
Here are some free Blackwork patterns for those who want ether to try Blackwork or have a small and full of positive emotions piece of this wonderful embroidery technique. Our tiny Hummingbird has elegantly spread its wing and floats in the air. It will be cosy decoration for your home or office desk, and will cheer you up in a moment of tiredness or melancholy. An elephant is a well-known good luck charm. Our elephant will for sure fill your home with luck and positive mood, or will pass you good feelings to your friends or relatives if you decide to stitch it as a souvenir! Chose your own color way for this cheerful creature and decorate it with beads and sequins. Lucky elephant, port-bonheur See stitched pieces at our Gallery page. And this is a charming piece of modern slavic redwork from Ukrainian designer Natalia Molodetski This type of patterns are traditionally called protective hearth ward. Modern Russian needlewomen still believe that having at home such a pattern stitched with one's own hands will keep wealth and good luck for its owner's home. And finally patterns for Russian and English biscornus. Biscornu "England" from Alexander Sviridov And a bit off-top - a cross-stitch pattern for Russian biscornu from a member of our Studio Tatiana: Hope, these patterns will bring you the joy of making cute charming embroidery pieces! ************************************************************************** And don't forget to share your joy and positive emotions with us - send us the pictures of your finished works at bpdstudio @ gmail.com! Your pictures will be displayed in our Gallery.
Adjustable Rope Mat Weaving Loom: I wanted to make a rope mat so i googled how to make one. There were plenty of templates to draw to show where the rope cross and such, and using nails on a board to hold it in place while you get it started. I decided to make a peg board loom…
Designed by Jane PatrickThis project for luncheon napkins was inspired by a curtain fabric designed by Constance LaLena. It appeared in A Handwoven Treasury: The best projects, tips, and techniques from Handwoven magazine’s first ten years. As an editor of Handwoven during these years (and the editor of this collection), these curtains were always a favorite of mine.On this 4-shaft weave, lace appears in every block. To weave alternating lace blocks, requires 8 shafts. I am currently adapting this project for 8 shafts, which I’ll share in a future blog post. Meanwhile, enjoy this project. It is really a fun one to weave.Project SpecsWeave structure: canvas weave spotsTotal warp ends: 295Warp length: Allow 18” loom waste and 10% take-up. For 4 hemmed napkins you’ll need a 2-1/2 yard warp.Width in reed: 14-3/4"EPI: 20
"KREUZ & TAUBE" Filetmuster Art.150 Design von DASMADE ******************************* Mit Kammgarn, Gewicht 4fädig, und Hakengröße F (ungefähr 2400 m) W42 "x L66" ******** Mit einem Faden der Größe 10 und einem Haken der Größe 7 (ungefähr 800 m). B41cm x L28cm ****** Mit einem Faden der Stärke 20 und einer Häkelnadel der Stärke 9 (ca.850 m). B15 “x L66” ****** Mit Faden Nr. 30 und Haken Nr. 11 B14 “x L25” ****** Dies wird als Wandbehang, gerahmt, Tischset, Vorhang oder Decke großartig sein !!!
By Leigh Here is an update on the other fibrey things I'm doing besides dyeing. I have to admit that my enthusiasm for working with wool (knitting my SSC and spinning that Polwarth) is quite diminished in our heat. This is typical for the southeast this time of year, and it doesn't help that our second floor apartment overlooks a blacktop parking lot which intensifies the heat coming from our already hot afternoon sun. What's on the loom now, is a sample for some waffle weave dishtowels. It's funny, because when I signed up for a towel exchange with the Western North Carolina Fibers/Handweavers Guild, I immediately thought Susan's waffle weave projects. So that's what I decided to do. Then I visited her blog, only to discover that she had signed up for a different towel exchange, but was planning to do huck weave after reading my posts about that! I've done waffle weave before, but it's been quite a few years, and that was before I was in my dishtowel phase. Waffle weave isn't a separate structure in it's own right, rather it's all in the treadling. Here is the draft I am using: The threading here is the traditional point twill, although Helene Bress's The Weaving Book: Patterns & Ideas, (which I understand is to be republished soon), shows waffle weave not only on point twill threadings, but also on Rosepath and broken twill threadings, as well as Huck, Monk's Belt, and Overshot. The tie-up involves tying two treadles for plain weave, and tying the rest to lift (or sink) three shafts or one. This creates the floats, which you will see in the close up below. The treadling is tromp as writ, which simply means treadling in the same pattern as the threading draft. For my sample, that means treadling one through four and reverse. If you look closely, you can see that a combination of warp and weft floats create the "waffles." My sample is utilizing 10/2 cottons in a sett of 30 epi. This sett was from a chart, so I hoped it would be correct, as evidently it is easy to create a weft faced fabric if the sett isn't close enough or if one's beating is too hard. The key is to make it a balanced weave, so that the picks per inch equal the ends per inch. So far so good; the little waffles are turning out nicely. The exchange is in November, hence the red and green stripes. There is a story behind those stripes, which I won't go into here, but will get on to when I weave the actual towels. One thing I'm curious about will be the total amount of shrinkage. The warp is 10.5 inches in the reed, but draw-in takes the actual woven fabric to 8.75 inches. Being cotton, I know it will shrink a bit more with washing and drying. I have several yards on for this sampler, and as I weave I'm amusing myself by thinking about what I can do with it. Potholders perhaps? A scarf? Little bags for little goodies? Any other suggestions? © 15 July 2008 at http://leighsfiberjournal.blogspot.com Related Posts: Twills - The Basics - explains the basic twill threadings Waffle Weave Sampler - Problem! Light Bulb Moments with Waffle Weave Small Bags For Small Gifts
Adjustable Rope Mat Weaving Loom: I wanted to make a rope mat so i googled how to make one. There were plenty of templates to draw to show where the rope cross and such, and using nails on a board to hold it in place while you get it started. I decided to make a peg board loom…
