Tutorials

You may have heard that unbalanced weave structures are not possible on counterbalance looms. But that is not true! In this blog post, Maja Lampa  provides an overview of how this is achievable, and how to adapt your tie-up to make it work.

Designing any project from scratch can feel daunting, and Shadow Weave can seem even more intimidating simply because of the visual complexity of the design. In the third installment of her three-part series, Jennifer Leigh dives into designing your own Shadow Weave project.

In this blog post, weaver Maja Lampa offers a step by step tutorial for turning her Daffodils & Snowdrops Runner into a no-cut, low-sew tote bag. 

Rep Weave is a warp-faced technique known for creating bold patterns and sturdy fabric, ideal for projects like rugs, placemats, and bags. Traditionally Rep Weave is woven on multi-shaft looms, but it is easily adapted to rigid heddle looms as well. In this blog post, Carolyn Heacock provides an overview of getting started with Rep Weave on the rigid heddle. 

In a craft that tends to be very structured and rule-oriented, it can be wildly refreshing to play with patterns and see what other forms the weaver can create. In this blog post, Kate Koconis explores how she uses an Overshot weaving structure to create experimental, intuitive weavings. 

Name Drafting is a method of incorporating a name or phrase into a weaving pattern such that it creates a unique graphic. There are many ways to name-draft, all of which serve as a tool to assist the weaver in the design process and make the draft uniquely theirs. In this blog post, Penny Lacroix provides step-by-step instructions for how she has used Name Drafting in her designs.

In this blog post, Karla Stille explores one possible adaptation of her Endless Options Mug Rugs. By winding a longer warp and re-sleying the loom, weavers can explore weaving a modified Rep-Weave table runner on the same warp as their mugs. 

Inlay is a weaving technique that utilizes a base (or ground/tabby) weft and an inlay (or supplemental) weft. The base weft travels from selvedge to selvedge, while the inlay weft travels only where the weaver desires. This creates unique designs that draw the viewer's attention to specific areas of the cloth. In this blog post, we will explore a few of the many options available for weaving Inlay.

Beautiful weaving can be crafted by incorporating multiple colors in the weft. When weaving multiple picks with a single yarn before switching to another, many weavers opt to cut the weft yarn before transitioning. But when the yarns change with each pick or at small intervals, it is more practical to keep all the weft yarns connected to the weaving. In this blog, Carolyn Heacock shares tips for successfully carrying two and three yarns up the selvedge in a way that creates structurally sound, beautiful selvedges.

This article is part two in a series about lace weaves — a magical way of interlacing threads and using skips and floats to create shape, pattern, and space. In this blog, learn about Bronson and Swedish Lace weaves, and things to consider when choosing which style may be best suited to your project.

Weaving is full of many magical transformations of yarn, color, and structure. One of the most exciting transformations that can be done with plain string and four shafts has to be lace weaves. In this blog series, we’ll examine several of the more common loom-controlled lace weaves.