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I'm preparing for an exhibit soon and have lots of small tapestries that I'm getting ready to hang. I thought I'd share some of the process here. There's a good collection of articles about hanging methods for tapestry included at the American Tapestry Alliance website at this link. The method I was using a few years ago was the one I described at the ATA site and it's just a bit different than what I'm showing here. But... there you go... always looking for a different way... if not better! So here are my steps: For the mounting board I've used 1/2" foam core board. It works fine for small pieces; the largest one in this group is 41" long x 4" wide. I measured and cut the mounting board using a fresh blade in the utility knife. A cutting mat is quite helpful for this process as is a metal yard stick. Next, I stretched a layer of cotton flannel (prewashed/dried) over the board using 3/8" staples. I clipped the ends and trimmed excess cloth away. The mounting fabric in this instance is a natural color of cotton twill canvas. It was also washed, dried and this fabric was steam pressed (no need to press the flannel since it smooths out when stretching and stapling it.) Excess fabric was clipped out of the corners, then the edges folded over and stapled at the back. This step is a bit tricky--you want to pull the corners as tightly and smoothly as possible. Staple and then you're ready to stitch on the tapestry. The tapestry is laid onto the mounting board and pinned in place temporarily with t-pins. The mounting boards are about 1/4" to 1/2" larger than the tapestry so there's a small margin showing around the edges of the weavings. Before mounting, the ends of the warps are dealt with... for small pieces that aren't four-selvedge woven (which leaves no loose warps to deal with), I usually use a half-Damascus edge that Peter Collingwood describes in his book, The Techniques of Rug Weaving. It's shown on pages 484-486. The process is done with the face of the tapestry down and it makes the warp ends lay against the back/body of the tapestry. Then I whip-stitch the warp ends down, four to six grouped together. And wefts that are near the edges are also tucked to the back with a whip stitch. Using a curved needle, the tapestry is stitched to the mounting fabric, moving around the edges. A color of sewing thread that will blend with the edge colors as well as possible is what was used, although I changed color of stitching thread if the value contrast of the weft at the edges was great. On the pieces with the warp showing at the edge, the stitching color was changed to the warp color (usually natural color). The curved needle will slip into the mounting fabric, travel up about 1/4" and then come out between the first and second warp. Pull the needle out, bury the sewing thread between wefts, then put the needle across to the mounting fabric again where you'll take another stitch under the fabric to the next point of attachment to the tapestry. This is a curved needle... although looks straight here. The back of the mounting board was covered with a piece of illustration board (mat board will work also) that was glued down. To glue it in place, the illustration board was quickly painted with slightly diluted craft glue, brushing it over the entire board and immediately laying the board on the back of the mounting board/tapestry. You need to be prepared to weight the whole thing down immediately--have wax paper torn to sightly larger size than the board (this is a barrier to keep any bits of glue from your weight) and put the wax paper on top of the whole thing. Weigh it down with something heavy (I use books). Leave it all alone overnight and when you uncover it the next day, all should be fine. For hanging, there are several solutions... you can use an adhesive hanging system, sawtooth hangers, or velcro. I was able to locate enough push pin sawtooth hangers to use for the tapestry diary pieces at the local hardware. This is an easy method to use and should stay in place just fine. The mounting board may also be put into a shadowbox-like frame. That's what I'm going to do with several of the smallest tapestries--frames will have to be built to size by a local craftsman in this case since I haven't been able to find shadowbox frames as small as I need. And... here are the framed pieces... Jeff just delivered the frames a short while ago. They're exactly what I wanted for these pieces.
All-in-one-piece weaving projects done with make-it-up-as-I-go-along methods.
pin loom patterns, pin loom weaving, pin loom book, pin loom instructions, zoom loom patterns, weave it loom,
I'm preparing for an exhibit soon and have lots of small tapestries that I'm getting ready to hang. I thought I'd share some of the process here. There's a good collection of articles about hanging methods for tapestry included at the American Tapestry Alliance website at this link. The method I was using a few years ago was the one I described at the ATA site and it's just a bit different than what I'm showing here. But... there you go... always looking for a different way... if not better! So here are my steps: For the mounting board I've used 1/2" foam core board. It works fine for small pieces; the largest one in this group is 41" long x 4" wide. I measured and cut the mounting board using a fresh blade in the utility knife. A cutting mat is quite helpful for this process as is a metal yard stick. Next, I stretched a layer of cotton flannel (prewashed/dried) over the board using 3/8" staples. I clipped the ends and trimmed excess cloth away. The mounting fabric in this instance is a natural color of cotton twill canvas. It was also washed, dried and this fabric was steam pressed (no need to press the flannel since it smooths out when stretching and stapling it.) Excess fabric was clipped out of the corners, then the edges folded over and stapled at the back. This step is a bit tricky--you want to pull the corners as tightly and smoothly as possible. Staple and then you're ready to stitch on the tapestry. The tapestry is laid onto the mounting board and pinned in place temporarily with t-pins. The mounting boards are about 1/4" to 1/2" larger than the tapestry so there's a small margin showing around the edges of the weavings. Before mounting, the ends of the warps are dealt with... for small pieces that aren't four-selvedge woven (which leaves no loose warps to deal with), I usually use a half-Damascus edge that Peter Collingwood describes in his book, The Techniques of Rug Weaving. It's shown on pages 484-486. The process is done with the face of the tapestry down and it makes the warp ends lay against the back/body of the tapestry. Then I whip-stitch the warp ends down, four to six grouped together. And wefts that are near the edges are also tucked to the back with a whip stitch. Using a curved needle, the tapestry is stitched to the mounting fabric, moving around the edges. A color of sewing thread that will blend with the edge colors as well as possible is what was used, although I changed color of stitching thread if the value contrast of the weft at the edges was great. On the pieces with the warp showing at the edge, the stitching color was changed to the warp color (usually natural color). The curved needle will slip into the mounting fabric, travel up about 1/4" and then come out between the first and second warp. Pull the needle out, bury the sewing thread between wefts, then put the needle across to the mounting fabric again where you'll take another stitch under the fabric to the next point of attachment to the tapestry. This is a curved needle... although looks straight here. The back of the mounting board was covered with a piece of illustration board (mat board will work also) that was glued down. To glue it in place, the illustration board was quickly painted with slightly diluted craft glue, brushing it over the entire board and immediately laying the board on the back of the mounting board/tapestry. You need to be prepared to weight the whole thing down immediately--have wax paper torn to sightly larger size than the board (this is a barrier to keep any bits of glue from your weight) and put the wax paper on top of the whole thing. Weigh it down with something heavy (I use books). Leave it all alone overnight and when you uncover it the next day, all should be fine. For hanging, there are several solutions... you can use an adhesive hanging system, sawtooth hangers, or velcro. I was able to locate enough push pin sawtooth hangers to use for the tapestry diary pieces at the local hardware. This is an easy method to use and should stay in place just fine. The mounting board may also be put into a shadowbox-like frame. That's what I'm going to do with several of the smallest tapestries--frames will have to be built to size by a local craftsman in this case since I haven't been able to find shadowbox frames as small as I need. And... here are the framed pieces... Jeff just delivered the frames a short while ago. They're exactly what I wanted for these pieces.
I wove the sparrow's breast up to the opening where the legs are inserted, weaving from the outside edge to the centre line. This wool is very springy and tends to spread out. So before I wove from the other side to close the gap I temporarily whip stitched the woven edge with a contrasting thread to hold it in place. This gave me a firm border to weave up to. I inserted the finished legs into the pocket and wove between them. I chose a suitable piece of driftwood for the base and drilled two small holes straight down to hold the leg wires. All that was needed was to adjust the toes a little bit to look natural.
To continue the pebble theme and explore more meandering weft, I started a set of coasters. They are done with wool so they can be felted in the washing machine after weaving. I had a lot of fun making some pebble-shaped "sketches" with two methods: shapes cut out of a sheet of stripes in crayon and ink; and photographs of yarn against dark paper cropped with a pebble-shaped frame. The weaving is done on a "pin board" (stack of cardboard). I'm experimenting as I decide what method I want to use for the contrasting stripes and as I sort out how to make the edges beautiful. The coaster on the right is one of the first and shows how much shrinkage happens in the felting process. The ones on the left haven't been felted yet.
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Great wedding updos for long hair are so hard to find nowadays. We have collected the best ideas that will make you gorgeous and super romantic.
Although I like Schacht’s new Zoom Loom very much, there is a better way to join squares together than the one shown. Each square upon completion has two tails: a short one at the place where…
Yes! Finally! It's back! The day we have all been waiting for, the great mini sweater celebration of 2020! Florencia Campos Correa has put together the directions below- I am hoping that we will have mini-sweater pictures flooding in from all over the New World and the Old. Start planning now. The last day for entries is December 18, 2020 with the pictures of all the mini sweaters coming out on December 20th, 2020. Send your pictures (check out the instructions below) to [email protected] For more information about Florencia, see her website at: https://www.ullvuna.cl/ Check out last year's incredible collection of mini-sweaters here!
Lately I been doing Bible study in colour, following a few themes in Ephesians and painting and writing about what I've learned. I sketched how all these colours could go together in a wavy composition. Then I got inspired to try a tiny tapestry based on the sketch. I collected a handful of the most brilliant coloured threads I could find (both fine tapestry wool and six strand embroidery cotton) and found crochet cotton for warp. I used blue tack to fasten the graph paper pattern onto the flat parts of a plastic milk jug, and cut out two identical pieces with kitchen scissors. I cut zig-zags across the top, two per centimeter to hold the warp threads. With wide cello tape, I stuck the two pieces together to form a tube. I flattened the tube with the seams in the centre. I slipped the tube over a chunk of cardboard and taped the bottom flat. I usually use just cardboard for my weaving form, but for this tapestry, I decided plastic might work better because it is strong and smooth to withstand the repeated beating with the fork and because its springiness causes it to form nice round ends for easier weaving.) I decided to weave free form and experiment with different kinds of shading and shaping. I taped the crochet cotton to the cardboard to start winding the warp. I pushed pins into the bottom corners temporarily to keep the threads from sliding off the ends. I finished wrapping the warp at the bottom and used it to stitch across the bottom, anchoring and spacing the threads as I went. Then I began to weave from the bottom, around and around. After a few rounds I was able to remove the pins. As I used up each thread I took it to the back and out through the woven part below. With the new thread, I left an end poking out through the weaving below and brought it in from the back and wove it in with the old thread for 8 or 10 threads. All these loose ends will be pulled to the back of the weaving after the piece is removed from the form. I packed the weaving tightly throughout and wove as close to the top as possible. When I took the weaving off the form, I pushed the weft upwards gently and evened out the weaving to cover the loops of white warp thread. I buttonhole-stitched green wool over the edges to hide the last little bits of white that showed around the top edge and at the bottom. Soon I will stitch in a fabric lining as the last finishing touch.
7X5 - 3.75” SQUARES Joined using this method Crochet Edging R1: 2sc into each edge bump, ch1. all the way around. R2: sc into each sc and chain from previous round. R3. * sl st, skip 2, (tr, ch1,...
Years ago at a college weaving class I described to the instructor that I would make an even-weave scarf with a tapestry section near each end. She discouraged me from that combination because the two structures are incompatible. Each structure needs a different sett for the same width of fabric. Tapestry needs more room between the warp threads to pack down all those weft threads. I compromised by doing an embroidered design on that scarf, but I never really gave up on the idea of combining the two structures in one piece. Now I have discovered a way to do it. I was using doubled crochet cotton as my warp and weft. What if I used just one strand of each warp thread in a tapestry section? That would make the sett appropriate for both structures. The first attempt was a square on the side of a tiny purse. I played with two-colour weave, alternating the colours every 8 picks to make a checkerboard pattern. I now have another project ready to go. This one will have a tapestry stripe all the way around the purse. You can see the strip of milk jug plastic which I've inserted between the two strands of the warp threads for the tapestry section. I'll start and end the tapestry section with a row of soumak stitch over both strands of the warp threads. The plastic strip will be sandwiched in between the two strands of warp until I take the piece off the loom. Then I'll slit the tape that holds it together and slide it out. My coloured threads are all pre-cut and I'm looking forward to hours of weaving on a long plane journey!
My studio table has been covered with mounting projects for a few weeks now. I sold a handful of small-format tapestries and not all of them were mounted. I also finished a small tapestry that was a donation to Petrified Forest National Park from my artist residency last November. (Read about that
Back in August I developed a new technique I call “Reverse Warping Method,” or RWM. It entails starting the warping process at Cr4, instead of Cr1. In effect L4 becomes L1 and the usual…
Most insulation materials have an R-value lower than R-5.6 per inch. As David Yarbrough, a nationally known insulation expert, explains, “At 75°F, the theoretical maximum R-value of a product is 5.6 per inch. That represents the maximum R-value if there is no convection and no radiation — it represents the pure conductivity of air. That’s as high as you can go unless you are talking about a product that incorporates encapsulated gas, or a vacuum, or nano-scale powders.”
Easiest way to recognize you’re avoiding something? It doesn’t get done … And doesn’t get done … And doesn’t get done …
This loom will ship on or before January 30, 2021. The TURTLE looms bring patent pending continuous strand hexagon weaving to pin loom weavers. The unique design of this loom combines two weaving methods to make the weaving of plain weave or tabby hexagons possible. Add beads, or patterns like twill, and the possibilities are endless. This listing is for the second generation "Gen 2" loom, with headless pins and a yardage/wraps stamp on the back. The BabyTURTLE™ measures just 1" side to side, and it only takes about 27" of worsted weight yarn and a couple of minutes to weave a hexagon. If you're wondering what to do with 1" hexagons, here are a few ideas to get you started: - Craft smaller items, like key chains. - Use 1" hexagons as child safe eyes for stuffed animals. - Stack hexagons in your design, the 1" hexagon makes a great flower center. - Make picture mosaics. - Weave jewelry. - Make a "raindrop" mobile. - Embellish a flower bouquet or decorate your home with hexagon chain accents. The loom is made of quality birch plywood, finished beautifully with two coats of traditional clear Shellac, sealed with satin Poly. The hexagon weaving area measures 1” side-to-side, and each of the six hexagon sides measures about 3/4”. The loom kit contains: 1 original BabyTURTLE™ loom Weaving tools of your choice (see below) 1 project storage bag 1 Quick Start weaving guide. Please choose a weaving tool(s) option: - “Locker Hook”. You will receive one 6.5" locker hook (size 2.75 mm, color may vary). - “Hook & Needle”. You will receive one crochet hook (size 2.5 mm, color may vary) and one 4" weaving needle with a blunt tip. Please note that this loom, because of its small size, does not ship with a packing comb. Packing is not needed. For times when it is desired, moving the yarn into place with the back end of your weaving tool will easily do the task. To stay up-to-date on TURTLE news please follow our blog at www.turtleloom.com Visit our Youtube channel to view informative and instructional videos that will help you to get started: bit.ly/TurtleLoom The photos are showing examples of what you can make using the BabyTURTLE™ loom. Those items are not included with the kit. See the list above for buying options and kit content. Please contact us if you have any questions about the loom or about using the loom.
Le coussin Sweet fait partie de Endless, une collection qui incarne la continuité des gammes de velours de soie. Endless, c’est une collection tournée vers l'apaisement, un moment hors du temps. Enveloppante, elle est pensée pour faire vibrer votre intérieur, lui apporter chaleur, confort et vie. Réconfortant, le coussin Sweet trouvera immédiatement sa place sur votre canapé ou sur votre lit. Composé de soie, il révèle ses nuances de manière unique et se libérant de la pesanteur du velours traditionnel. La soie est également sélectionnée pour sa spécificité artisanale, une soie brute non blanchie issue d’un tissage manuel. À l’origine du Monde Sauvage, il y a la découverte d’autres cultures et la volonté de trouver l’extraordinaire qui surprend par sa singularité. Sillonner le territoire asiatique où chaque région se définit par sa culture et ses traditions, aller à la rencontre de savoir-faire inégalés au travers d’un artisanat vivant, découvrir le berceau d’une matière et ceux qui savent la travailler, voici le chemin parcouru. Rococo à souhait, ce coussin prône la fantaisie du mélange de matières. On n'hésite pas à l'entoure de lin et de soie. Le plissé du velours de soie et la finition bouton lui confèrent chic et raffinement. Non déhoussable.
Although I like Schacht’s new Zoom Loom very much, there is a better way to join squares together than the one shown. Each square upon completion has two tails: a short one at the place where…
Diagonal weaving on a square loom creates a bias-woven fabric. With diagonal square loom weaving, you can create dishcloths, mug rugs, or garments.
Loom Specs:Weaving Width: 2 1/2"Weaving Length with Continuous Warping: 15" (factoring in warp waste)Weaving Length with No Warp-Ends Kit: 7"Loom Width: 5"Weight: 1.6 lbs Click here to see this loom's full specs compared to Mirrix's other looms Loom Description:The 5” Mini Mirrix Loreli Loom was designed specifically for bead weaving, but can be used for itsy-bitsy tapestries as well. This loom is tiny enough to take anywhere with you so you never have to be without a loom! This loom comes standard with a No Warp-Ends Kit which allows you to make either a beaded piece or a tapestry with only two warp ends to weave in at the end. This solves that age-old problem of what to do with all those warp ends, especially when creating jewelry. You can also use the method in which a warping bar is used (continuous warping), giving you the advantage of being able to weave a longer piece since you can rotate your weaving to the back of the loom giving you additional weaving room. From the beach to the studio, this is a loom you will never leave home without. Loom Materials: The top and bottom beams are made of anodized aluminum; the sidebars are made of steel and copper; the wooden clips are made of maple Included: A warping bar, one 14 dent warp coil (spring), two yards of Texsolv cord, two thin bars and S-hooks for warping using the No Warp-Ends method, instructions Additional Information:Positioning: Horizontal on a lap or table Shedding Device: No. Available accessories: Bottom Spring Kits, Shasta Combs If you need help deciding which loom is best for your needs, click here to get a personalized loom recommendation. Click here to learn about what you need to get started weaving.
Turquoise hand spun bags Little all-in-one-piece bags are my ongoing handwork. They are just the right size to hold on my lap when riding in the car or sitting visiting. So I try to have one on the go all the time. My last batch was really fun, each one an experiment of colour or pattern, but they didn't look very good presented as a group. Most of those have been distributed as gifts or sold except for my favourites which are in use as holders for cosmetics or weaving supplies. Bags using sari silk For the current set I have given myself the goal that they should look good together. That way I can present them for sale on the Spinners, Dyers and Weavers Guild stall at Wool Fest next year. The unifying factor in this set is turquoise. I am trying all manner of new things: using my own variegated hand-spun; variations on plaid and twill weaves; spun sari silk as part of the warp; leather flaps sewn on. I have a bag full of the supplies for this series and it is fun to root around in it whenever I am ready to start a new one.
Back in August I developed a new technique I call “Reverse Warping Method,” or RWM. It entails starting the warping process at Cr4, instead of Cr1. In effect L4 becomes L1 and the usual…
Here is one of the final sets of coasters.
This is a tutorial on one method of preparing to join Weave-it squares. I’m not an expert, but I’m getting experienced. Let’s start by examining this ugly square.
Sharing 5 different ways to style and wear a bandana scarf including in your hair, around your neck, or tied on your handbag!
pin loom, weaving, zoom loom, fiber, hand loom, weave-it, weavette, loomette, pin loom weaving, blanket, patterns, woven animals, woven squares.
So I did sit down and weave a square in the corner. It actually went better than any went before which can be seen by the end of this post. So here goes. I am assuming that you have read the last t…
To finish the lower edges of the wings I did a row of soumack stitch. Then I wove the tail and finally the plain light colour. I reinforce...
Moth eaten cashmere cardi: kindly donated by a friend Naturally dyed threads: created at a Claire Wellesley Smith workshop Method for creating small handwoven patches: Karen Barbe ... Job done!
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Although I like Schacht’s new Zoom Loom very much, there is a better way to join squares together than the one shown. Each square upon completion has two tails: a short one at the place where…
I love weaving tapestries on small looms, and the hexagon loom is no exception. Because of the nature of the hexagon loom, it’s perfect for weaving in a circle, working round and round. IR…
Basic Pin Loom Vest Pattern Instant Download, No Shipping! The Basic Vest Pattern has instructions to make the vest in two styles. Patterns are included for small, medium and large sizes. The fit for all sizes is straight and loose. There are also layout tips, sewing method diagrams, and finishing suggestions. Skills: Pin Loom Weaving, hand sewing; crochet is optional Materials: 8 yards of yarn per square, plus joining and trims: for size Small, approximately 500 yards; Medium, 625 yards; Large, 675 yards Equipment: 4" x 4" pin loom, weaving needle, scissors, tapestry needle, crochet hook, long glass head sewing pins, 30" x 54" cloth
