Krokbragd has one of those wonderfully unpronounceable Scandinavian names that immediately sounds more complicated than it really is. In reality, Krokbragd is built on a simple and repetitive structure—and that's precisely what makes it so beautiful. In part one of this two-part series, weaver Petra Marciniak uncovers the simple logic behind Krokbragd and explains the three building blocks that make every pattern possible. 

Some handwovens are too bulky to be hemmed, and some others, a simple knotted fringe doesn't feel quite polished enough. In such situations, a Damascus or Half-Damascus edge is a great option to have in your finishing technique toolkit. In this blog post, Karen G. Krueger offers a tutorial of how to create clean, secure edges using these techniques. 

Framing a woven tapestry presents a unique challenge with seemingly infinite possibilities. To start you on your framing journey, weaver Olga Owczarek has provided a collection of tips, tricks, and a few ideas to consider before diving into weaving.

If you feel you are in need of weaving inspiration, sometimes you need to look no further than your surroundings. Nature is a wonderful organizer of color and design, and translating scenery into weaving can create stunning projects. In this blog post, Bella Nunn describes how to use photographs as a reference to create uniquely beautiful weaving projects. 

Whether you’re tidying up your studio, making room for a new loom, moving, or recovering from a moth incident, there comes a time when every weaver needs to organize their stash. It can be a daunting task, but is well worth the work. Here are a few tips for organizing your studio so that it is functional and inspiring. 

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. 

Looking for an alternative to hemstitching? Twining provides a stable, narrow edge that can be either nearly invisible or highly decorative, depending on your technique and color choices. It’s also quick and simple to create! In this article, Jennifer Leigh covers several applications of the technique, and also provide a gallery of decorative edging effects using different colors and multiple twining rows.

Log Cabin is a striking yet approachable weave structure—it looks complex, but it’s surprisingly easy to master. Belonging to the family of Color-and-Weave techniques which creates visual patterns by placing warp and weft colors in specific orders, both multi-shaft and rigid heddle looms are suitable for Log Cabin weavings. In this blog post, Carolyn Heacock provides an overview of how to get started with Log Cabin weaving. 

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. 

After Plain Weave and Twill, Color-and-Weave and Shadow Weave are frequently the next steps in a weaver’s journey. This simple technique of manipulating warp and weft color order to create patterning gives extra visual interest to almost any weaving structure. In the first installment of this blog series, Jennifer Leigh explores the key differences between Color-and-Weave and Shadow Weave structures. 

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.

As weavers, it is a joy to give our handwoven fiber creations to those we love. But while we may wish for unlimited hours at the loom, we have to be realistic with our plans when it comes to making gifts. With so many beautiful weaving patterns in the Gist library, we know it can be hard to decide what to weave. Here are five of our favorite weaving patterns that are sure to impress any recipient this holiday season. 

Today we're sharing an interview with Katie Strano, founder of the one-woman weaving studio Heddle Over Heels. You may know Katie from her popular Gist patterns, including Embossed Towels, Aurora Scarf, and her Cramming and Denting Technique Trio. In addition to designing, Katie is also a teacher and production weaver who believes in adding beauty to life through objects which are as lovely as they are useful.

Weaving is a slow craft, and many dedicated weavers embrace that pace. Still, efficiency has its appeal, especially for multi-shaft weavers. One way to streamline the process is by tying a new warp onto an existing one. In this blog post, Carolyn Heacock provides her step-by-step guide to tying a new warp onto an existing one. 

In this blog post, Olga Owczarek explores how weaving outside the bounds of rigid cartoon adherence can unlock creative freedom on the loom, allowing tapestries to evolve organically as they're woven. Referencing examples from contemporary artists who embrace improvisational approaches, Olga offers inspiration for tapestry weavers to follow their own intuitive impulses and explore. 

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.

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.

This article is part two in a series about Krokbragd—a traditional three-shaft weaving structure that has been used for centuries to weave colorful rugs and coverlets. In this installment, weaver Petra Marciniak moves from basic structure to pattern, exploring how to combine individual color columns to create shapes and motifs.

Have you ever woven a cloth that has a significant difference in draw-in between the Plain Weave hem versus the weave structure that is the primary focus of your piece? A great example of this is Waffle Weave. The pockets that make the final piece so squishy and absorbent can have a significant draw-in rate that makes managing a Plain Weave hem challenging. In this blog post, Kristina Nichols offers tips, tricks, and a step-by-step tutorial of how to accommodate for this differential to achieve a beautifully finished piece.

Knowing how to turn a draft is a fantastic tool that maximizes four-shaft loom capability while minimizing weaving complexity, but not visual complexity. In this blog post, Madison Potter, designer of the Turned & Telescoped Drafts Technique Trio, provides an overview of how and why to turn a draft. 

Today we're sharing an interview with Steven Salazar, a multi-faceted textile artist, teacher, and designer. We love his insatiable curiosity for all things fiber, and are excited to offer a peek into his world in this interview. Enjoy!

As a follow up to our article on Reading and Understanding Profile Drafts, we thought we’d get into the details for those technical weavers who really want to understand theory. In this article, we’ll share more about the difference between block weaves and unit weaves, and why the distinction between the two is important.

Throughout your weaving journey, you may come across pattern drafts that look a bit odd. Perhaps it seems like there’s information missing, or you’re only seeing only two shafts where you expect four. What you’re seeing is a profile draft or block substitution, a type of weaving shorthand that helps to more easily convey complex threadings and treadlings. In this blog post, Amanda Rataj covers how to use and read profile drafts.

While the digital age has fueled a promising revival of tapestry weaving, the focus has heavily favored contemporary Western weavers and well-known figures. Although these artists deserve recognition, this emphasis overlooks tapestry weaving's rich global history. In this blog post, Olga Owczarek highlights a selection of inspirational tapestry artists from around the world, both past and current, to showcase the broader cultural heritage and unique approaches that exist in the tapestry landscape.

Choosing yarn for Color-and-Weave, and Shadow Weave in particular, requires careful consideration in order to give the desired effect. This article is the second in a three part series by Jennifer Leigh, and discusses key concepts to keep in mind when selection yarn for Color-and-Weave and Shadow Weave projects. 

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. 

Loom maintenance can go a long way in preventing mistakes, supporting equipment longevity, and ensuring that your most important tool is running smoothly (which in turn means that weaving is smooth and fun, too!). In this article, Amanda shares a short checklist of things she likes to do every few months to care for her loom. 

The Clasped Warp technique is a dynamic way to add color play and vertical patterning to Plain Weave on a rigid heddle loom. By interlinking warp yarns at selected points, you create a warp in which one yarn dominates on one end of the loom and the other on the opposite end. In this blog post, Carolyn Heacock offers inspirational design suggestions and a step-by-step tutorial for exploring Clasped Weft on rigid heddle.

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.

A robust yarn stash makes experimenting with a wide range of yarns easy to do, but it takes time to grow organically. If you’re a new weaver eager to have more cones and skeins on your shelf, thrifting and sourcing pre-owned yarn can be a smart and affordable way to grow your stash. This blog post provides suggestions of places to look for pre-owned yarns, and things to keep in mind before bringing them home. 

Color selection can be an exciting, yet sometimes overwhelming part of planning a weaving project. While traditional color theory is very helpful in understanding color relationships, you can get started experimentally designing without having all these concepts in your back pocket. In this blog post, Christine Novotny shares a few tips for how she creates fresh and inspired palettes by exploring unusual color combinations with Palette Scout.