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• The frame is made of ecologically clean wood of a beech. • The surface is qualitatively ground and fine polished. • Weaving width approximately 5.9 inches (15 cm). • Wooden frame with 14 notches / 22 notches and solid metal fixing rails. • Packed in a transparent bag including comb, 2 shuttles and instructions (without a woven article). Handweaving is an ancient art form that explores the use of fiber, color and texture. It is easy to learn and so very satisfying and realizing to do. You will fall in love with the slow rhythm and meditative quality of this craft. The loom is ideal for students or any weaver wants a simple way to be creative. Made from solid Silver Beech hardwood the frames are strong and robust for a variety of warps and tensions. Compact, the weaving frame is ideal for home use. The finished product can be left in the frame and hung - a framed masterpiece. The brand KLASS & GESSMANN is over 140 years’ experience in the embroidery and weaving field. The line of fine equipment and tools is known for its exceptionally smooth finish with eased edges. These frames are beautiful, sleek and they are with the highest quality on the market.
Weaving Kit with pattern We co-created this collection of handwoven placemats together with Adrienne Lee from @paintedskytextiles. Learn how to make a set of beautiful placemats (up to 4 large or 2 XL with one kit!) thanks to detailed and easy-to-follow instructions suitable for all weaving levels. We also launched a matching coasters collection to create a complete set for your table. Difficulty: beginner to intermediate The fiber bundle contains the yarns and the digital pattern. The kit contains a weaving loom in the size of your choice, a tool set which includes: a comb, a metal needle and a wooden needle, and the fiber bundle of your choice. The photos below show Coastal Skies, Canyon Sunset and Spring Sunrise. Coastal Skies Cotton Slub - 'Blue Moon' Cotton Slub - 'Sky' Cotton Warp - 'Sky' Cotton Warp - 'Illuminating' Viscose Yarn- 'Ivory" Canyon Sunset Cotton Warp - 'Salmon' Cotton Slub - 'Peach Blossom' Cotton Warp - 'Bisque' Cotton Slub - 'Bright Peach' Viscose Yarn- 'Ivory' Spring Sunrise Viscose Yarn- 'Hawthorne Rose' Cotton Warp - 'Peony' Cotton Slub - 'Peach Blossom' Cotton Warp - 'Sweet Pink Cotton Slub - 'Bisque' Other color combinations with no photo, let them inspire you. Moth Orchids Cotton Warp Thread - Peony - 100 grams Cotton Warp Thread - Drifwood - 100 grams Cotton Slub Yarn - Woolly White - 100 grams Cotton Slub Yarn - Butternut - 100 grams Viscose Yarn - Burnished Lilac - 100 grams Goliath Burdwing Cotton Warp Thread - Mint - 100 grams Cotton Warp Thread - Mustard - 100 grams Cotton Slub Yarn - Powder - 100 grams Cotton Slub Yarn - Mint - 100 grams Viscose Yarn - Antique Copper - 100 grams Burning Desert Cotton Warp Thread - Orange Rust - 100 grams Cotton Warp Thread - Marigold - 100 grams Cotton Slub Yarn – Copper - 100 grams Cotton Slub Yarn – Bronze - 100 grams Viscose Yarn - Dark Peach - 100 grams Blue Lagoon Cotton Warp Thread - Ice - 100 grams Cotton Warp Thread - Blue Moon - 100 grams Cotton Slub Yarn - Red Oak - 100 grams Cotton Slub Yarn - Powder - 100 grams Viscose Yarn - Veri Peri - 100 grams The final size of a Large placemat is 25,5cm x 35,5cm / 10” x 14” and of an XL placemat is 31cm x 43cm / 12.25” x 17”.
Basketweave Setup – Thread Placement The Honeycomb Effect By Lady Johanna Fleming Step by Step 1) Start by warping a bor...
Inkle loom weaving is easier than you think and is a great way to start weaving for beginners especially with this FREE guide and 5 free weaving projects.
Weaving a filled tubular cord with a weaving disc. This blog accompanies two articles in the Journal for Weavers, Spinners and Dyers. https://journalwsd.org.uk/ Journal for Weavers, Spinners and Dyers, 285 Spring 2023 A Weaving Disc - an exploration of history and uses. Part 1, and 285 2023, Summer, A Weaving Disc - part 2. What is disc weaving? I have been exploring a little known weaving implement: a weaving disc. The disc seems to have originated in Indonesia but also appears in Lithuania and Russia. These weaving discs are be made with a odd number of holes around the edge and a central hole for the filling material. I have used discs with 13, 15, 19, 21 and 25 holes. A filled tubular cord can be woven using a disc with a circular arrangement of holes and a central hole for the core thread. It produces a cord with a firm structure and the angle of twist can be altered whilst weaving. However a tubular cord can also be woven on an inkle loom. It is useful to examine this type tubular cord before examining the filled tubular cord. Weaving a tubular cord on an inkle loom Inkle Loom. Weave drawdown for 13 threads There are thirteen warp ends alternately threaded across the loom either through a heddle or over the top of the bar. There are two sheds so the weave structure is plain weave. The weft pulls the warp threads close together so the band itself is warp faced plain weave. The warp threads are in a single horizontal layer across the inkle loom. Weaving a flat band The band loom cord was first woven as a flat band. The shuttle was entered first from one side then the shed was changed and the shuttle entered from the other side. Weaving a tubular band To weave a tubular cord the weft was continually entered from the same side and pulled tight. This pulls the flat band around on itself so that the tube is formed. The twist in the pattern occurs because the weft spirals whilst weaving even though the warp threads are in a horizontal line. This twist is permanent and cannot be varied. Weaving a filled tubular cord with a weaving disc. What is disc weaving? With the warp ends arranged in a circle and a central core thread, a patterned cord can be woven in warp-faced plain weave. The weft is not visible as the warp ends are pulled tightly together. The central core thread makes the cord strong. The weft is entered from the same side for the whole of the weaving. The disc is rotated. This means that unlike other weaving methods, the warp is not in a static horizontal plane but moves around as the weft is entered. As there are no books about this technique I had to experiment to find out the most efficient and effective way of weaving. I discovered that the disc itself does not need to be circular. It is the pattern of holes that need to be arranged in a circle. A disc with 13 holes and a central hole A cardboard square with 13 warp holes Visualising the spiral pattern. The SeiZenn - Band Weaving Pattern Editor. This is an amazing resource. This can be found at: https://www.raktres.net/seizenn/#/ The software now includes a disc option which you can access from the home page. Here is a quick link. https://www.raktres.net/seizenn/#/disk This means that you can design a pattern for your tubular cord using this software. It is a great addition to a weavers box of tools. Here is a 13 thread pattern using this software. Here is the same 13 warp thread pattern as shown in the drawdown for the inkle loom but here you can see it as a spiral woven tube. close up of the filled tubular cord. I also made a YouTube video to accompany the two articles : Disc Weaving: making a tubular filled cord https://youtu.be/W7miDg2bix4 The video demonstrates how to start weaving; how to find the point of weaving and how to weave. The thickness of the core threads alters the feel and flexibility of the cord. These cords are flexible and have many uses. They can be made in a variety of threads: cotton, silk, wool and with a variety of core materials. I have woven cotton cords with raffia, jute and rattan as the core thread. Susan J Foulkes May 2023
A Jacquard Loom The Jacquard loom was invented by Joseph Marie Jacquard in Lyon in 1801 to weave textiles, mainly silk. It stored weaving programmes in a series of punched cards. Usually, about 4,000 cards were used for each design, though a portrait of Jacquard [see below] needed 24,000 cards. I have seen one of these portraits [in the Cité des Sciences et de l'Industrie, Paris] and the quality is remarkable. Automatic looms were already in use but could only produce simple designs. Complex patterns had to be produced by hand weavers. The Jacquard loom allowed complex designs to be machine produced. In a process that was very reminiscent of that once used to create computer programs a design would be drawn on paper and a punch card machine would be used to create a set of cards. These were then stitched together. Card punch Once a set had been tested it could easily be duplicated on another specialised machine. Sets of cards could then be sold to other weavers or used on several machines simultaneously. Essinger claims that the Jacquard loom increased the productivity of weavers about 24 fold and transformed the Lyon silk weaving industry. A silk print of Jacquard produced on one of his looms Jacquard's invention was not completely original. It built on earlier work by three other inventors. Basile Bouchon invented a way to control a loom [see below] with a perforated paper tape in 1725. A year later his co-worker Jean-Baptiste Falcon improved the design by using perforated paper cards instead of a tape. This made it easier to quickly change programs. However, the Bouchon-Falcon loom was only semi-automatic. In 1745 Jacques de Vaucanson built on the work of Bouchon and Falcon and created the world's first completely automated loom. His invention attracted the hostility of hand weavers and was largely ignored. A Bouchon Loom The Jacquard loom separated a loom from the instructions used to operate it. This stored program concept can be directly traced to the architecture of modern computers. Jacquard did not invent the idea of separating a machine and the instructions to operate the machine [stored program concept]. That was done by Bouchon. Nor did he invent the idea of storing instructions on punched cards. That was done by Falcon. Jacquards contribution was to use the ideas of Bouchon and Falcon and produce an efficient and practical card controlled loom. Jacquard machines were soon employed in other industries. These cards were employed in Nottingham's [UK] lace industry. Jacquard is important in the history of computing because his loom influenced Charles Babbage who had the idea of using punched cards to control his Analytical Engine. Babbage certainly knew of Jacquard's device. He owned a copy of the machine woven portrait of Jacquard. Punched cards were also used by Herman Hollerith to input US Census data to his tabulating machines. Hollerith's contribution was to use punched cards to store data as well as programs. This was another important milestone in the development of modern computers. Punched cards were used extensively for data processing until the mid 1980s. IBM developed a range of powerful card processors. As electronic computers developed they slowly replaced the card processors. IBM card processing units In 1945 John von Neumann developed the von Neumann architecture for computers. This separated data from the programme used to process the data, and both from the computing device. Just as Jacquard separated silk, punched cards and loom. Essinger, J., 2007. Jacquard's Web: How a Hand-loom Led to the Birth of the Information Age New Ed., Oxford University Press. More Industrial Revelations [DVD] 2010 has an excellent episode [Cutting it Fine] on Jacquards Loom covering the inventions that preceded and followed Jacquards Loom. It also shows how the cards were produced. Paradise Mill is part of the Silk Museum in in Macclesfield. This mill was Macclesfield's last working Jacquard silk-weaving mill until its closure in 1981. Cheaper imported silks and high quality new synthetic materials made the production of silk in England an uneconomic prospect. It is a large mill and still houses over 20 original fully working Jacquard looms - each still capable of producing the kind of intricate and delicate woven patternwork that made Macclesfield famous throughout Britain for the production of fine silks These looms have been lovingly restored to their original working condition, and can be seen in operation during the guided tours organised by the Silk Museum.
Years ago I found a crude paddle tape loom in my attic. It is just a plank of wood with holes and slots cut in for the heddle and indentations to set between your knees. It has holes and slots enough for 42 threads total. Then I met Roger about 8 years ago. Roger is Norwegian and lives in Minnesota where a lot of Scandinavians settled in the 1800s. After seeing all his books on Scandinavian folk art, visiting the Vesterheim Museum in Decorah IA and meeting lots of other Scandinavian folk artists, I wanted to try out the elaborate patterns they wove. Here in New England, we made simple practical bands to use as ties and trim. The Scandinavians love bright colors and took the patience to make elaborate bands. It would seem all women were weavers, knitters and sewers. A girl learned these skills at a young age. So a young Scandinavian man trained at a young age to carve wood and looking to please a sweet young girl, would carve an elaborate mangle board or tape loom for a chosen girl. He would sometimes carve her name and date or a little saying into the loom. On presenting the loom to the girl, and if she accepted the loom, she accepted him and the courtship would begin. However, if the girl refused the young man and his present, he would have to carve another one for the next girl. Thereby the saying, "Beware of the man with too many mangle boards." So, all you reenactors, weavers, crafters and romantics out there, why not carve a simple tape loom for your sweetie this Christmas, (or girls, get your sweetie to make one for you) there is still time! If you google tape loom images you will find many ideas. None of them are perfect, none precise, all are beautiful and a cherished gift to hang on your wall when you are not weaving. Utstilt på Norsk Folkemuseum, Oslo. Norway And if you are still not sure how to weave on it, you can check out my new instruction book, "Tape Loom Weaving... simplified", on Amazon or www.eastknollpottery.com Life can be fun... go make it so!
Choosing a loom can be a confusing process, and there are so many different options available for every stage of your weaving journey. Here I’m sharing a few thoughts on starter looms, larger looms, and my own dream looms for the future.
I got an inkle loom for Christmas!! Actually, I got the parts to make a loom out of PVC pipe, which made me so happy because A) it was fun ...
Looms are the most well known word to the people in terms of weaving. Basic parts of a weaving loom are described in this article.
Leer weven met stap voor stap instructies In deze tutorial leer je de basis van het weven. Van het opzetten van je kettingsteken, tot het maken van weefsteken. Scroll naar beneden om alles te leren over je eerste weefproject. Weven op een weefraam is een trendy handwerktechniek. Je kunt er je eigen keuken handdoeken mee maken
Discover and Build an Inkle Loom!: I've been thinking about weaving for a while as something I might enjoy to pass the time or teach my children. The weather is getting colder lately and I'm finding more excuses to lay about in the warm house. One problem with weaving is that it can…
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Direct warping is a method of measuring the yarn for your warp at the same time that you are putting it on the loom. The usual method of direct warping - and there are many free videos on YouTube to show how to do this - is to clamp an vertical peg to a table (some use the top of a chair back) that is the distance from the apron dowel of your loom that the warp is to be long, and warp from the back of the loom tying your first warp thread to the apron dowel and then passing a loop of that warp through the first slot you have calculated to start your warp in to go across the loom the number of slots and holes also calculated. The heddle hook or slay hook is used to pick up the loop from the opposite side of the heddle, through the slot toward you and then catching the loop and pulling from back to front through that slot. This puts TWO warp threads (it is a loop that is going through) now on the cloth side of the heddle. You get up, take that loop in your fingers and walk it across the room to the warping peg and place the loop over and down on the vertical peg. You carry the yarn now back with you to the loom and then continue with the warp thread (placed under the loom on the warp side) and keep passing loops through. This is a simplified explanation of the process. Now, what can go wrong? Well, if you put too much tension on that warp loop as you carry it down to the peg, you transfer that tension to the warp on the peg when you put it on - and you may just find that the peg comes flying off the table - and all the warp becomes a tangled mess on the floor - sometimes impossible to get straightened out - and usually just as you were about to finish the warp. That is one thing that can go wrong. Another problem is that if the peg is not tall enough, you can run out of peg before you are finished and you will find yourself pushing it all down as best you can to make more room. And still another problem is that with the warp going across the loom to a single point - the peg - you create a V from peg to loom with the closed end of the V at the peg. The distance from each side of the loom to the middle will be at different lengths. So what can you do about this. I was a wonderful idea shared on one of the Weaving Facebook groups by a very smart lady, Ingrid Koch. She came up with a horizontal warping rod instead of a warping peg. As I recall, she used a curtain rod. I looked at her idea and decided to come up with something a little stronger and a way to secure it to a table. I decided to use a thick wood dowel - about 3/4" in diameter and three feet wide. My loom is 32" wide so the 36" long dowel was more than enough for a full warp across the loom. Here is a photo of what I came up with - What you see here are two stand brackets to hold the rod. The table they are on is a garden folding table from IKEA and I bought this table for this purpose - and to use for other weaving related tasks. With this table the brackets are held down to the surface of the table with a screw bolt passed up through the slot of the table through the bracket and tightened on with a wing nut - there is a washer both above and below the bracket. One bracket is cut shorter than the other, but the bottom of the slot that holds the dowel start at the same height from the table. The rod is level across sitting in the brackets. One side is short because this is the side of the rod that will be lifted to slide the warp loop onto. The other bracket is taller so that the dowel does not slip off as the other end is lifted up. In this photo you will see a permanent mark in the exact middle of the dowel. You know when you are half way across your heddle your warp should be right there at that mark on the dowel. There are two pieces of removable painters tape that mark the point the first loop should be placed next to - since I warp right to left - that would be the edge of the tape on the right and the spot the last loop is placed - that is the tape on the left. What you see on the right end (outside the bracket on the dowel) is a bubble level. I will explain why that is there later. So now instead of walking to a vertical peg, with this you walk to the left end of the dowel, lift that end enough to get the warp loop over, and drop the warp loop down at the dowel starting at the edge of the right piece of tape. Let's say I am warping a warp that is to be 104" each warp thread. That warp loop is now 104 inches away from the apron dowel going through the first slot I am warping. The next loop goes right next to that - again 104" long. This goes on for the full width of the warp. When you are done you will have a very straight warp from the warping dowel through the slots in the heddle to and across the apron dowel. This will be the same when the warp is wound onto the warp beam under tension. Every warp thread the same length. All nice and neatly lined up across the beam. If the warp is 12 inches across the apron dowel, it will be 12 inches across the warping rod. With this, it is hard for the warp to fly off. The brackets are securely attached - you could put these on any table edge using two soft faced wood clamps found at any home or tool store. You have a length of dowel to hold your warp as long as the number of slots you are warping through. You don't have to put a lot of tension on the warp - just enough to keep it from sagging. Let me step aside a moment to say this - when you are direct warping, your main goal is to measure the warp length and not to put tension on the warp. The tension will be put on by your helper when you wind on the warp on the warp beam. When you or your partner are taking the rod off the brackets when you are ready to wind the warp onto the back beam, lift it straight up off the brackets just high enough to clear them. You now need to get this to the front of the table. This is easy with this particular table that I picked as it is a gate leg table and what my wife does (who is my warping helper) is move the gate leg closed with her foot from the back of the table and the top comes down. With a table that you cannot do this with, move the rod forward to the front of the table(the tension will be lost but don't worry as the length will not change). Get around to the front and have your helper get hold of the rod and you move the table so that there is room to get tension back on the warp on the rod. If you remove the warp from the rod at the table, you can warp as you usually would do by tying a string or yarn around all of the warp, and then weight that and warp alone. If you have a helper and you leave the warp on the rod held level and straight as you wind on you will get a nice even warp each thread lying next to each other on your back beam. An alternative is to weight down the table. Leave the warp on the rod and the rod in the brackets, start winding on and let the loom be pulled toward the table and the rod as you wind. Get up and walk behind the loom as you do this. I mention here about hold the rod level. I find that this makes a difference in getting a good wind when using a rod like this. That mystery item on the right end of the rod in the first photo is a little bubble level. You can find these for a few dollars in Walmart in the Auto section where they have a section of RV supplies. It is a package of two and these little levels have peel and stick adhesive on the bottom. Stick it on the end of the rod and then whoever is holding the rod while you are winding on will see the bubble and if it is not in the middle the rod (dowel) is not level. Move that end up or down a little and the bubble goes to the middle. I added this when my wife said that it looked level as she was holding the dowel in her two hands but was not sure. I could see from across the room that it was way off. She can now see the level and adjust the dowel as needed. If you leave the warp on the dowel until it gets to the front of the loom, you will have a nice even wind on the beam - every warp thread lined up on the beam just as it will come off the beam while weaving. Thread your holes following the order and you will have no crossed warp threads coming off the warp beam! This works. I was not happy with the direct warp vertical peg. This solved all of the problems I was having with it! ADDENDUM: I have been asked about the size of the table. Here are the dimensions of the table - 28.5" high, 24.5" wide, with one gate leg up - 29.75" long, and with the two gate legs up - 51.75" long. The table is heavy and I purposely looked for a heavy table so that the table would not move when warping. The slats in the top make it easy to anchor the brackets. This table from IKEA is an outdoor table - available during the Spring and summer months.This link will bring you to the IKEA page for this table (as long as IKEA still offers this table) - https://www.ikea.com/us/en/p/aepplaroe-gateleg-table-outdoor-brown-stained-brown-50208535/
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Read about the basics of inkle weaving, the best inkle looms, the best yarns to use, and more in the Complete Inkle Loom Weaving for Beginners Guide.
It’s been a frustrating and busy year with no weaving progress. So even the tiny cradle loom piece (pictured in my previous post) brought satisfaction. It started in May, when our Scandinavi…
I said to myself that I have enough tools that keep me more than busy to say the least but who can resist the design process. With this cold weather I've been sewing (I'll show you soon) and designing new weaving tools. Customers often ask me for different weaving tools and I do keep those requests in the back of my mind for a time when there is more time... <<
Buying a floor loom second-hand is a great way to save money, but it's sometimes hard to know where to begin! In this post I’m sharing how I went about choosing, sourcing and restoring my own second-hand looms, and my tips for getting the right loom for you.
In the 18th Century, this type of loom was used to weave narrow bands of cloth - called "tapes." Tapes were used for straps, trim, ties, etc.
In 2004 I returned to New Mexico to learn traditional Rio Grande-style tapestry weaving at Northern New Mexico College in El Rito. I rented a little adobe apartment there and found a job working in the Mesa Vista public school system. It was good. I loved weaving at the college 2-3 days a week. In the spring of 2005 I took the loom building class from Quentin Wilson and made this 2 harness counterbalance walking loom with the assistance of my parents. Dad insisted on precise measurements, and the loom turned out well. This photo is in my studio in El Rito. It has been a weaving studio for a long time--the building is right on the road and the walls are 5 feet thick adobe. My studio in Velarde before the Harrisville Rug loom found a home here. Until 2009, I wove all my tapestries on this loom. I love standing to weave as it seems easier on my body at times. However, in 2009 I received a couple looms from my grandparents who were moving to an apartment and I no longer have need of this Rio Grande. So I am selling it. I am 5 feet 10 inches tall, so the loom is taller than many of the walking looms you find in NM. It could, however, be shortened if necessary. Let me know if you're interested! The loom comes apart enough that I could fit it in my Volkswagen Golf, though it is easier if you can leave the large pieces together. It has a 40 inch weaving width and comes with an 8 dent reed. $550 OBO. Here a few more photos I found in Rebecca's archives... Me weaving in the El Rito studio while my mom reads a magazine by the woodstove. El Rito studio tour, probably 2006. The pottery is by David Coleman. The weavings I did at Northern NM College. Dye set up at my studio in El Rito.
