String Heddles

Let’s talk about string heddles, what they are, how to make them and why you might use them.

If you follow me, you know I like to push the limits of rigid heddle weaving, but at the same time, I want weaving to be easy and fun. And I love pick-up sticks!!! Often when I use multiple pick-up sticks they slide over each other so need to be inserted only once. However, I also have patterns where one pick-up stick needs to be reinserted each time it is needed. When I first started weaving with multiple sticks, I didn’t mind reinserting the stick each time. And really, I still don’t most of the time. I put off using string heddles because I didn’t want to stop weaving long enough to make them. Then I didn’t really like them because they sometimes came untied while weaving. But I’ve learned a few things and now I like string heddles!

What are String heddles?

String heddles are exactly what they sound like…string that acts as a heddle around a single warp end. Your rigid heddle has slots and holes. Each warp end is threaded into a slot or hole and the movement of the heddle determines which ends go up and which stay down. When you weave you will notice that the slots stay level and the holes either move up or down. String heddles will only be used on ends that are in slots are used the same way as a pick-up stick adding up to 2 extra sheds!

How to Make String Heddles

You can make your own string heddles. It really isn’t hard, just time consuming. You will need an extra reed, 8/4 cotton and a pair of scissors.

Sitting in a comfortable chair, rest one end of the reed on the floor and hold the reed between your knees. Wrap the cotton once around the reed and tie a square knot. Cut the ends short. Done, you now have 1 string heddle! I leave the heddles on the reed until I have made them all. I keep them in groups of 10 to make counting easier. So after I have 10, I slide them all together down the reed, then make the next 10, slide them down leaving a space between them and the previous 10. Here’s a video: https://youtu.be/MkjMSigjMOs

As I mentioned earlier, I put off using string heddle because I didn’t want to take the time to make them. And I have a solution for that…texsolv heddles!!!! These are premade heddles for floor looms, but they work great as string heddles and have several advantages: they do not come untied, they do not stick or get fuzzy, they are all the same size and best of all, you do not have to tie them!! They are more expensive, I bought the 9.5” heddles from LeClerc for about $27/100. They come as a single long “string” so do need to be cut apart. Be careful when cutting to ensure that you are cutting in the right spot. Switching from handmade cotton heddles to texsolv has definitely improved my weaving life! If you have a choice, buy the shortest heddles available. (Bonus, you can use these on your inkle loom too!)

Inserting String Heddles

If you can insert a pick-up stick, you can insert string heddles. You will need 2 pick-up sticks or shuttles a little longer than the warped width in the reed, string heddles, and painter’s tape.

Insert the pick-up stick as usual. The string heddles will go around the warp ends that are on top of the pick-up stick. Count these ends and count out the right number of heddles (this acts as a check at the end). Starting at one end, add the first string heddle. Put it under the warp end, then fold the heddle up and place both ends on the second pick-up stick. I usually wait until I have a number of string heddles inserted and on my fingers before putting them on the second stick. Here’s a video: https://youtu.be/zw3FRtq5yQ4

Work your way across the loom. If you counted out the right number of heddles before you started, you should have no heddles left. As a second check, place the heddle in neutral and flip the pick-up on edge. Every end on the pick-up should have a heddle. Flip the pick-up flat and pull up the stick with the heddles: it should lift all the ends off the pick-up stick. You can now remove the pick-up stick.

Use painter’s tape to tape the heddles so they can’t slide off the pick-up stick (now called a heddle rod). I run one strip from end to end then wrap tape around each end.

Here’s a few things to note when using string heddles:

If you are using a pick-up stick and string heddles, the string heddles must be inserted in front of the pick-up stick.

When you are using the pick-up stick, the heddle rod will slide forward to the back of the reed. This won’t cause any problem with the shed.

Remember to slide the pick-up stick back to the back of the loom when using the string heddle rod.

If you are getting a small shed in the plain weave sections check to make sure that the string heddles are all moved to the back of the loom.

Why Use String Heddles?

String heddles are best used when there are multiple pick-up sticks in a repeating pattern. You will see in many patterns that when 2 pick-up sticks are used, one is inserted and remains in the project for the entire weaving process. The second needs to be replaced each time it is needed. Every time you inset a stick, there is opportunity for error. Using string heddles means you only need to do it once. I will often weave the first repeat with just pick-up sticks. After examining the cloth and confirmed the pick-up stick is correctly inserted, I will add the string heddles. It’s easier to correct a misplaced pick-up stick than a misplaced string heddle.

It takes time to insert a pick-up stick. We aren’t running a marathon, and weaving should be fun, not time driven, but some patterns can mean more time is spent inserting the pick-up stick than weaving! Once we switch to string heddles things move a little faster.

Finally, string heddles open a whole new range of possibilities for you and your rigid heddle! Complex lace work suddenly becomes very possible!

Looking for some projects to try out string heddles? Check out these patterns:

Fringe Twisting

Fringe twisting is just one more step in finishing your weaving. And just like every other thing in the weaving process, you need to think about your fringe before the project ever gets on the loom. Let’s look at fringe generally first.

Why twist? The most important reason is because it looks nice and stays looking nice. An untwisted fringe looks great when it is freshly trimmed and pressed. After that the yarns begin to unravel, shred, tangle and, let’s face it, start looking a bit ratty. If you are making something for baby, a blanket for example, long thin threads can wrap around little fingers and cut off circulation.

There are times you may decide not to fringe twist. Sometimes the yarn is so beautiful you want the colours to shine (I can’t bear to twist Handmaidens’ Maiden Hair) Or the fringe will look too heavy for the item. When I make loose gauzy mohair wraps, I don’t twist. And of course, there are other ways of finishing a fringe that don’t require twisting…various types of knots for example.

As I said earlier, fringe begins before the yarn goes on the loom. Fringe is made with the loom waste. That means when you are calculating warp you do not have to add extra for fringe but on the other hand, when you tie on, you want to leave enough waste to have the desired length of fringe. This is never and issue for me, I always have enough! Also, be sure that when you cut your work off the loom that you have left enough for fringe.

Having a fringe requires a hemstitch. Well, you could do it without a hemstitch, but it will look much better if you have hemstitched. So, when you hemstitch, think about how many ends you want in each bundle and hemstitch accordingly. Fingering weight I usually hemstitch in bundles of 4 and do a 2x2 fringe twist.

And now, what you have all been waiting for…the actual fringe twisting, step by step!

You will need: t-pins, something to stick your pins into (foam blocks work well) a ruler and sharp scissors.

1.       Trim your fringe (remember that it will be shorter after twisting so don’t over trim) I use a rotary cutter and mat for this step.

2.       It works best if you have your work anchored.  Pin the edge of your work to the foam blocks…don’t skimp on the pins!

3.       Clip the yarn into your fringe twister (I love my Leclerc quad) If I’m doing a 2x2 fringe I’ll take my first bundle of 4, divide it into 2 groups of 2 and place each group of 2 in one clip. With my quad twister I can do 2 bundles at a time.

4.       Start twisting! Count the number of turns (this will vary depending on the yarn and the length of the fringe. Counting will ensure your fringe looks uniform across the work.

5.       Hold the ends of 2 bundles and unclip. Tie a knot in the bottom and release. Gaze in awe as the yarn twists around itself.

6.       After the first bundle is twisted, have a look. Is it twisted enough? Not enough? Do you like the length? Adjust as needed, then continue across the work . Repeat for the other side. Keep your ruler handy to make sure you are making the fringe the same length. Knotting a little higher or little lower can have a big impact!

7.       Check to be sure the fringe is even and knots are tight. Trim close to knot.

You now have a lovely fringe that will keep your scarf, or blanket or table runner, or whatever you have woven, looking beautiful for years of use!

Dealing with Pesky Loose Ends

I’ve been working with linen lately. I’m finding it slippery, unforgiving, and tricky as warp! The first time I warped and tied on just as usual. Everything went well until the first time I wound forward. Everything went loose! Next time I paid extra special attention to winding on and checking tension. Again, everything was fine until I wound forward the first time and again, everything went loose. Third time I tried using 2 heddles. I think I need to practice more with 1 heddle before I try that again!

Loose threads are not the end of the world. Those loose ends can be fixed. Today I’ll give 2 of my favourite tips for loose threads.

Have you ever warped, tied on, then found when the heddle is in the downshed all the lower threads are crazy loose? I find this happens most often with warps with little to no stretch…cotton, linen, silk. First thing, be sure when you are winding and tying on all the threads are even in the heddle (slots and holes should be side by side).

If you’ve done that and you still have a problem it is super easy to fix. Place the heddle in the down shed, place a shuttle or pickup stick in the shed behind the heddle. Slide to the back warp beam. Slide the stick back each time you wind forward. Problem solved!

2.       Sometimes there are just 1 or 2 threads that are loose. You can pay extra attention to those spots while weaving to be sure your shuttle goes over and under the troublesome ends or you can fix the problem for good. Simply hang an s-hook on the offending end and let it hang behind the back warp beam. You can add extra s-hooks to give extra weight as needed. I generally add s-hooks to the first and last end when weaving with cotton. I find it helps keep my selvedges tidy.

These 2 tricks mean I never need to deal with loose ends…and neither do you!

Happy Weaving!

Hemming

I make a lot of tea towels and dish cloths. That means I also sew a lot of hems! This post will take you through my steps to making hemming easy so those towels don’t languish in the “need to be finished” pile.

A good hem starts on the loom. I think about my hem before I ever start weaving. I want both hems to took the same so the first thing I think about is colour. If my weft is all one colour, it’s easy, my hems will be the same colour. If I’m using multiple colours, I need to choose a colour. If I’ve used a border colour that will become my hem colour. Otherwise, I use the darkest colour, or white no particular, reason, just because.

The next thing I think about is cotton weight. Most of my towels use 2/8 cotton doubled. For my hems, I use 2/8 single even if the main weaving will be 2/8 doubled. This makes for a lighter hem that does not add a lot of bulk. My sewing machine thanks me! When I use chenille or boucle or slub I will still use 2/8 cotton if I have the right colour. I also press my weft in tightly…usually 15 threads for each inch woven. I weave 2-2 1/4” per hem. I do not hemstitch my towels ever.

I never warp just 1 towel, I always warp for at least 2, sometimes 4. Usually 2 because I can get bored with 4! Doing more than one towel means I need to know the end of one and the beginning of the next. I just weave in 2 picks of a contrasting cotton.

When I take my work off the loom, I take it straight to my sewing machine. I sew a straight stitch at either end to secure the weft. Then I will sew a straight stitch on either side of the contrasting threads. I’ll cut all ends leaving 1” or so hanging and trim the extra warp again, leaving about a 1” fringe. I do not cut my towels apart yet.

Next, it’s bath time. Tea towels and dish cloths are meant to stand up to hard wear. They get thrown in hot water and soap for a regular cycle, then dried on high.

Next comes pressing, which can be a whole post on its own. Pressing is literally pressing the iron on the work, hold for 15 seconds or so then pick up the iron and move it to the next spot. Don’t iron as normal, sliding the iron back and forth across the work, as you may distort the weave (straight lines may become wavy). While pressing, trim all remaining ends flush to work and remove any remaining fringe. You won’t want to, but press both sides. Cut the towels apart by cutting between the 2 contrasting threads and remove those threads.

Now finally we get to the actual hem! Flip towel to wrong side. Turn end over about a ½” and press. Turn again and press so that the raw edge cannot be seen. I try to line up the hem so it just hits the beginning of the actual towel. Press firmly. Repeat for the other side of the towel, being sure you are working with the wrong side up. Make sure your threads line up, particularly at the colour changes.

Sew hem with a straight stitch and press once more. I love my walking foot for this task. Alternatively, you can hand sew your hem with 2/8 cotton. Give your towels a final press

Hemming is a lot of work, but a well sewn hem can make or break a towel.

Pick-Up Sticks will Explode Your World

Pick up sticks weaving

I’m a big fan of plain weave. It is perfect for so many projects…hand painted warps shine, stripes in tea towels stand out and for a purely meditative weave, nothing beats plain weave. But have you tried pick-up sticks? They will explode your weaving world!

What are pick-up sticks? Essentially, they are just like stick shuttles except they have rounded ends, or a point. The pointed end makes it easy to pick up some threads and go under others. When inserted pick-up sticks create an extra shed (or 2) so it’s possible to do more than plain weave. (If you don’t have any pick-up sticks shuttles work too)

There are 2 ways to insert pick-up sticks.

1.       Place the heddle in the down position, this brings all the ends in slots to the top. Stand behind the loom slide the point over and under the threads as the pattern directs. It might be over 1, under 1; over 2 under 1; over 5, under 5, or any other combination.

2.       Place the heddle in the down position. Working in front of the reed place the pick-up stick as the pattern directs. Turn the pick-up stick on its edge to raise up the threads on top, slide a second pick-up stick under the raised threads behind the reed.

I always use method 1 but my books all use method 2. Method 2 works well for those with back or neck problems who don’t want to lean over the back of their loom. Here’s a video because it’s so much easier to see than write!

 Sometimes it can be difficult to see exactly which threads to go over and under. If the warp is dark, slide a white piece of paper in the shed after placing the heddle in the down position. If the warp is light, use a dark piece of paper.

Now that the stick is in place you have 2 new sheds to use! (Remember the shed is the space the shuttle slides through).

Weft floats

1.       Place the heddle in the neutral position. Slide the pick-up behind the heddle and flip it on its side. When the yarn goes through this shed you will see weft floats.

2.       Place the heddle in the up position. Slide the pick-up stick behind the heddle leaving it flat. This will create warp floats.

And that is all there is to weaving with pick-up sticks! And this is only the beginning! You can use multiple pick-up sticks to create incredibly complex patterns. Patterns using only 1 pick-up stick are simple, the stick can stay in place the entire weave. With multiple sticks they usually need to be removed and replaced each repeat. That’s when you might want to start using string heddles. (But that’s for another post!)

If you think you’re ready to try pick-up sticks, here’s a link to a pattern I use to teach beginner pick-up weaving complete with video links. https://www.therogueweaver.com/new-products/malabrigo-waffle-weave-scarf

Happy Weaving!

New Year, New Weavers

Welcome to a New Year! From what I’ve seen on social media many are embarking on weaving! I know you won’t regret it!! As a weaving instructor I see many new weavers and weavers who want to improve their weaving. There is lots of advice I could give, but today I’m going to keep it short and sweet: don’t beat so hard! That’s it.

This is a weft-faced fabric-meant to be dense with no warp showing

Experienced weavers know that what they see on the loom is not the fabric that will come off the loom and is not the fabric that will emerge after finishing. New weavers try to make the fabric on the loom look like the fabric they want when it comes off the loom. So they beat. Really hard. The weft is pressed so tight that nothing is getting through that fabric. When it comes off the loom and is finished a very dense stiff fabric results (and they have used way more yarn than they anticipated, or the pattern called for). I know this from personal experience!

Here’s the non-technical theory behind weaving. When you weave, the warp is under tension (stretched out). This allows the fibres to move up and down easily and create nice sheds for the shuttle. When the fabric (it’s actually called a web at this point) is cut off the loom, all the tension is released. So if you wove 80” on the loom, it might only measure 72” off the loom as the fibres go back to their natural relaxed state. This will vary depending on the fibre.

Weaving on the loom-note the holes

After you have taken the work off the loom, it takes a hot bath. This relaxes the fibres even more, and with agitation, fulling can occur. Fulling draws the fibres closer together creating a stable fabric. So now your 72” piece might only measure 65” (again, this will vary depending on the fibre)

In order for this to happen, the fibres need to have room to relax and move.

A ruler works too!

Here’s a couple tips to help you out:

1.       Keep a tape measure handy. A balanced weave (good for beginners to practice) will mean that you have the same ppi (picks per inch) as epi (ends per inch). So if I am weaving a scarf on a 7.5 dent reed I should have 7.5 weft threads per inch of weaving.  Check you work often with the tape measure. Especially when you are coming back after a break.

This is the same project as above after finishing-no holes!

2.      Pay attention to how you draw your heddle forward. If the heddle is tilted towards you, you cannot see the weft being pressed into place. If you tilt it a little away from you, you have a great view of what is going on and have a little more control. You should be able to see through your work easily. Here’s a little video https://www.instagram.com/tv/CI6xZN-JWLQ/?utm_source=ig_web_copy_link

I hope this is helpful to the new weavers out there! Follow me on facebook or Instagram to find out when new blog posts are out. This year I plan to cover some beginner tips (things like edges, pick up sticks, and project planning) as well as delve deep into double heddle weaving, and, just because I can’t control myself, there will be some inkle weaving, tablet weaving and floor loom weaving. I’d also love to cover topics you are interested in, so if there is something you are looking for, please let me know!

Mohair for Warp?!

I’m on a few weaving groups on Facebook as well as following a number of rigid heddle weavers on Instagram. As I read the posts I learn a lot, some I agree with, some not so much. One idea that seems to be coming up a lot lately is mohair. Specifically, that one should not use mohair for warp.  I must disagree!

I know why weavers believe this, I’ve experienced why weavers, after 1 attempt at a mohair warp swear never again, but I love the effect of a mohair warp. I love the light airy feel. I love the drape. I love the warmth. I love how far just a little bit can go.  So, here are my tips for using mohair as warp, and a free “pattern” to make your own mohair wrap.

1. Use the right hedd!e. Mohair is sticky. If it is too close together you will have problems. I usually use my 7.5  (for 1000m/100g) or 5 dent (500m/100g)

2. Place an extra shuttle or pick up stick behind the reed as follows: with heddle in the down position place shuttle in the shed behind the reed. Slide shuttle as far back as possible. This shuttle will stay in the work for the entire project. I find the down shed is usually the stickiest. The shuttle helps and if it is too sticky and you can’t get a clear shed: just slide the shuttle forward, flip it in its edge and voila!

3. Be prepared to spend extra time. Weaving with mohair does require a little extra patience. You will need to check to ensure the shed is clear before passing the shuttle through. You will probably spend time hand picking some threads apart. You may need a few s hooks to help with tension issues. You will need to be extra vigilant to ensure the right number of picks per inch.

4. After winding the work forward, place the heddle in the up position and spend a few minutes making sure there are no tangles behind the reed. This will make it easier to keep the up shed clear until you wind forward again.

5. Finally, have fun, try some lace or finger techniques. Mix and your warp, most of all, don’t be afraid, it is after all, only string!

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I promised a free pattern. It’s not really a pattern because it is so easy, but here it is:

You will need a 7.5 dent reed and a mohair and silk blend (I use Zambezi by Fleece Artist/Handmaiden but Rowan Kidsilk Haze will work just as well. (Or any other mohair silk blend that is 1000m/100g)

Warp measures 100” (2.5 meters) Warp as wide as you like or your loom can handle (1000m will warp and weft 100” x 32”) Tie on in small bundles. I like to tie little bows because they are easier to untie at the end. Plus, they are so darn cute!

Weave at about 6 picks per inch. It really looks like a window screen as you are weaving!! (remember the tips above)

Hemstitch the ends in bundles of 4, alternatively, or if you forget to hemstitch, knots in bundles of 4 look like little beads (ask how I know!) Don’t worry about the spaces between bundles…they will wash out, I promise!

Weave until you can weave no more (about 84”)

Cut off the loom and tie fringe in large loose bundles to prevent tangling. Soak in very hot water (I use my washing machine). Spin out the water and dry on high heat for 5 minutes. Untie bundles and press with a hot iron set for steam. Trim ends and enjoy!

PS If you would like to order an already made wrap, please contact me!

Keeping Things Simple

In weaving, as in life, is can be tempting to make things much more complex than they need to be. At least for me. I find keeping things simple can get a little boring. Why do the simple thing when you can do the much more complicated thing? This philosophy has been the primary contributor to numerous unfinished projects in my life. The thing about complicated though, is that as you progress, the complexity can grow exponentially. Especially if you are just working from ideas in your head! It’s taken a long time, but I’m beginning to learn that sometimes, the simplest thing is really the best.

Each summer Interweave puts out a call for submissions for Little Looms, a special edition of Handwoven and a magazine especially for rigid heddle, inkle and pin looms. I’ve submitted a number of pieces and have had three pieces accepted. When I choose which pieces to submit, I think about the complexity of the project. Not because I want to show off but because I want to show what a rigid heddle can do and encourage people push the limits. I was very surprised and pleased to see my Mermaid Wrap on the front cover. Particularly as its’ submission was an after thought.

This past summer I sent in a double weave blanket, a log cabin scarf, a twill poncho and a 3/1 lace checkered scarf. All are rather complex patterns. As I said, submitting the Mermaid Wrap was really an after thought. I love the scarf, it is so beautiful but, I thought, too simple! I didn’t do anything; the yarn did all the work. I was convinced to send it in after seeing the cover of the Handwoven May/June 2018 edition. The front cover features a gorgeous travel wrap by Debra Jarchow…in plain weave. So simple yet so gorgeous. So, I sent it in and was pleasantly surprised when it was chosen (along with my Classy scarf with 3/1 lace).

Quiet Sabri

Lesson: just like people, yarns have voices and personalities. Some yarns want to fade into the background and are happy to let the pattern, texture or another yarn shine. Other yarns have a big personality. They want (or need) to be the centre of attention. This is shown so well in these two patterns. In the classy scarf, the Sabri yarn by Illimani, is lovely. It has an incredible drape but is understated. The texture draws the eye more than the yarn itself. Sabri is a quietly confident yarn, quite content to be the supporting actor to lace. Handmaiden’s Maiden Hair on the other hand, draws every eye as soon as it walks into the room. Trying to pair it with another attention seeker would be disaster!

In a way, a weaver is like a movie director with the yarn as characters. Our job is to cast the right characters and show them to their best advantage so that even complicated looks simple. Sometimes we must be quiet and let the yarn speak.

Maiden Hair steals the show!

A Weaving Do Over

Sometimes the only way to learn is try and see what happens. A favourite phrase from me to my children as they were growing up was, “what is the worst that can happen?” They found it a particularly unhelpful bit of advice. It certainly isn’t advice suitable to every situation, but for the little things it can help keep things in perspective. I know most of us worry a lot. And worry can stop us from trying something that we might really regret later. So, thinking about what the worst thing that can happen can spur us on. If we can cope with the worst-case scenario, we should go for it! (Besides, the worst-case scenario hardly ever happens!)

The thing about weaving is that if it doesn’t work you have only lost some string and time. And, you can always have a do over. Almost 2 months ago I did a post ab )out Boucle and Chenille. Click here to see post: www.therogueweaver.com/blog/2019/4/5/boucle-and-chenille It was a post about risks and me not liking them. In it I mentioned that chenille tends to worm. Here’s an update on my chenille towels. I have used these 2 towels exclusively as hand towels in the bathroom. We have 4 people living in the house, 2 of whom work from home so are home (obviously) all day. These towels see a lot of use and have each been washed at least once a week, sometimes twice.  The plain weave towel is standing up reasonably well. It has no worming, but it seems to feel a little thinner and it is quite stretchy. The waffle weave, well, you can see from the pictures that it hasn’t stood up so well. However, it has only wormed badly at one end…the end I started weaving from and wasn’t beating as hard. The other end has worn quite well. (That was sett at 10 epi and 15 ppi)

Overall however, I think they can be better. I’ve done a little more research and actually found a floor loom pattern that uses chenille. It recommends a sett of 16 epi for a scarf. So, I went back to my loom: I really want chenille bath towels. I could have been patient and waited until I had my current project off the floor loom, but I also really want to do these on the rigid heddle. I have a 15-dent reed but I’m really not sure that the chenille would fit through the holes, so I used my 12.5 instead.

Again, I wove 1 in plain weave and the other with warp floats. As you can see from the picture at the top and bottom, I also alternated my warp floats hoping this would give a little more structure and help reduce worming. Since using pickup sticks would require replacing it every 5 picks, I used string heddles for the first time. At such a tight sett and fuzzy yarn, it was a challenge but so worth it! I’ve washed these and just need to hem them. The plain weave feels like velvet, still a little thin for a bath towel but lovely. The one with warp floats? Oh. My. Goodness. It feels so good: soft and velvety. So much nicer than the purple waffle weave. Which I think is odd. The waffle weave, at a looser sett feels a little stiff, but this new one has no stiffness at all, just velvety softness! Now I just need to hem them and put them to use. If they wear well, I’ll make some bath towels, if not, I guess it will be back to the loom!

Right side and wrong side together

Design Your Own Shawl Pt 2--Choosing the Right Reed

There are so many places you can start once you have decided that you want to make a shawl. Today we are going to start with reed size. The reed you choose determines how many ends per inch (epi) the warp has. This in turn determines the density of your final fabric.

I use an ashford rigid heddle and it currently has the widest selection of reed sizes: 2.5, 5. 7.5, 10, 12.5 and 15. To my knowledge it is the only rigid heddle with  2.5 and 15 dent reeds (I could be wrong, please correct me if I am) When paired with a double heddle option the Ashford looms can achieve 2.5, 5. 7.5, 10, 12.5, 15, 20, 25 and 30 epi when doing plain weave, making it possible to use almost any yarn you could want. When you consider the change in epi when threading for twill there are even more options (2 10 dents threaded for rosepath twill produces 12 epi for example).

But what is the best option for you? How do you choose the right reed? We will stick to simple today. There are two primary methods: 1,  if you have already bought the yarn and 2, if you have a specific reed size.

1.       You already have a beautiful yarn that you want to use. In this case, use the wrap test to determine the epi. There are some nice tools for this, or you can use a pencil or ruler. Wind the yarn around the tool or ruler for 1 inch and count how many wraps then divide the result by  2. The result will give you a rough idea of which reed to use. In my example, there are 18 wraps per inch (wpi), divide that by 2 and I get 9. The closest size reed is 10. Notice that the yarn isn’t pressed tight together or pulled tightly around the ruler.

2.       You only have a 7.5 and a 10 dent reed. In this case, the yarn you choose will depend on the reeds you have available to you. Here is a general guideline. We’ll look at other things to consider next in this post.

bulky and fingering

2.5—super bulky

5—bulky/aran

7.5—aran/worsted/dk

10—sport/heavy fingering/4/8

12.5—fingering/heavy lace

15—lace/2/8

The above methods give you a place to start. Following these guidelines will likely result in a successful plain weave project as well as work for most pick up or finger controlled techniques. But there are other things to consider.

1.       Are you using a superwash or non-superwash wool?

A superwash wool is not going to full as  much as a non-superwash. So if you do your wrap test and the result is between 2 reed sizes (say 8.5) the wool will determine which reed is best. For  superwash choose the 10, for a non superwash the 7.5 might be just fine.

2.       What is the fibre?

Bamboo and Tencel—still lots of spaces in the weave

Pure silk, bamboo or tencel for example do not full as much as wool, alpaca, llama or angora. So again, consider how much fulling you can expect from the fibre and choose your reed accordingly.

3.       Is the fibre spun worsted or woolen?

Woolen and worsted spun refer to how a wool is spun (not to be confused with worsted weight) Very simply, worsted is smooth and has the air squished out during spinning, while woolen is puffier because the fibres are every which way which holds in lots of air. Woolen will full more than worsted. It will also stick more to its neighbour so a wider sett might be preferable.

4.       What is the end result you want?

Again, back to the wrap test. If we get a result of 9, going up to a 10 will give a slightly denser fabric while going down to the 7.5 will give an airier, more drapey fabric. Either can work depending on what you want. If you want placemats you might want a fairly dense material. A sticky yarn, like a mohair blend, will make a lovely stable fabric at a wider sett.

So, there you go, a “few” things to consider when choosing a reed size! Next week we’ll talk about choosing the actual yarn.

Colour

One of my biggest challenges when it comes to weaving is choosing colours. I know the basics of colour theory. Ok, I know about the colour wheel and how to mix the primaries to create the secondary colours. I even know a tiny bit about putting colours together. Weaving however, adds a whole new element. If my warp is red and my weft is blue, those colours will blend when my eyes see them and it will look purple. My two colours give birth to a new colour. And I’m not always sure how it will look , so I play it safe: I use the same colour way for both warp and weft or pick a variegated  and pair it with a solid colour that is in the variegated or I stick to neutrals.

I recently tried to be a little more adventurous. Rowan Yarns has a lovely yarn called Felted Tweed. The green, yellow and orange were calling my name. I think it had to do with it being the height of fall and all the trees were yellow and green and orange. If nature can pull off those colours, so can I !

At the same time as getting adventurous with colour I decided to figure out how to use  two heddles to  create double weave only in certain parts of my weaving. And how to bring different colours to the front.  And use an extra pick up stick in double weave to add more pattern. Have I told you I never start easy?

I ended up with fabric that holds together, so I guess that is some success. The rest really didn’t come together well. I'll stick to the colour issue for this post. A few things happened.

First, I used tweed.  When a tweed yarn is spun, little bits of other fibers in contrasting colours are added to the wool. So my colours weren’t pure colours, they all had flecks of other colours mixed in. I experienced first hand what it means to have “muddy" colours.  

Then, some of my patches have all three colours together. It’s not that using three colours  is a bad thing,  but add the tweed and it really doesn’t work so well. On the orange,  the strongest colour, it works pretty well but using only 1 colour, or 2, works even better.

Proportions are important too. Using 3 colours in equal amounts might be ok for some projects, but using 1 colour sparingly can change ok to fabulous. Note in the first picture the primary colour is  green, then yellow, and finally just a little bit of orange.  All the colours look more distinct and the orange draws the eye. But use mostly orange (second pic) and it over powers the other colours.

I know that sampling is (part of)  the solution to my problem but we all know how I feel about sampling! (Actually, this was a sample! I had no plans for the finished product and was ok if it didn’t work!)

Knowledge is also power. I just received a book about colour. It's not specifically a weaving book, but it tells me about colour, colour theory, gives numerous colour combinations and gives proportions as well as grouping them into families (soothing, neutral, bold, dynamic, powerful etc.). I'm looking forward to experimenting with new colour combinations!

Mistakes and What to do about Them

Sometimes Mistakes Happen

Have you ever been so caught up in the actual doing of a project that you aren’t really paying attention to the details? Everything is flowing smoothly. Than you step back to look at what you’ve done, and BAM! There it is.  A glaring mistake and you’re thinking “how in the world did I miss that???” Now you must decide what to do with it.

I was very happily weaving away on a scarf and it was going beautifully! I’d figured out how to place the pickup stick so the selvage threads were always picked up, the beat was even, everything was perfect. Until I stopped for a minute and saw THE MISTAKE. It glared at me. I glared back. I called my daughter over and asked if she could see it. She could. If her lovely (but untrained) eyes could find it, so could everyone else. I glared at it some more. I had to make a decision.

Some people say that mistakes are “design features” or they prove that an item really is handmade. Others say if you want perfect buy machine made. So, what are we to do with mistakes? Sometimes I do leave mistakes. 1 extra pick in a log cabin pattern will never be noticed. Sometimes the fibres involved don’t allow for correcting mistakes unless it is caught immediately. Mohair, for example, is very difficult to unweave. Sometimes unweaving will damage the integrity of the finished project. Sometimes the error will be easier to fix after I’ve removed the project from the loom. But mistakes are mistakes. And it’s okay to make them. It’s also okay to decide to leave them. Sometimes though mistakes need to be fixed.

I glared a little more at mine then got out the scissors. I could have unwoven the work and saved the yarn but in this case, given the fineness of the warp, the stickiness of alpaca, and the length of the mistake, I decided that cutting out the weft was the best option. It hurt a little to snip the weft threads. And I was terrified I would accidentally snip the warp.

It was worth it. Mistakes that look small on the loom tend to grow after finishing. This one would have glared at me every time I looked at that scarf.

Double Width Weaving

Double Width Weaving

Some People might think that a rigid heddle loom is just a beginner loom. The loom to get if you can’t get a “real” loom. But a rigid heddle loom, even one that is small, has endless potential. Mine is a 32”. It’s about as big as I think I can comfortably weave on with stick shuttles. But I just recently wove a 48” blanket, in one piece. And the pattern is actually designed for a 24” loom.

What? 48” on a 24” loom? How does that work? It’s really quite simple. All you need are 2 heddles, a double heddle kit and a couple pick up sticks. The trick is to create 2 layers to weave at the same time. On the loom, it looks like one layer, but if you look from the side, you will see 2 layers. One side closed, one side open. When the blanket comes off the loom, you can open it up and voila! A blanket twice the width of the loom! This was actually the first weaving class I taught. The hardest part is setting up the loom. We started at 10 am and finally got to the actual weaving at about 3pm! If that seems a bit daunting, relax, we took breaks and we waited until everyone completed each step before moving on. With practice, it takes just a few hours to get to weaving.

I love working with the Berroco Ultra Wool for double width weaving. It’s 100% superwash wool, it isn’t too stretchy or sticky and it fulls beautifully. Plus there are dozens of colours to choose from. The wash-ability means that it is perfect for baby blankets. But there is no reason to limit this to only a blanket. It makes a great wrap…check out the drape! Or picnic blanket. Take it camping, dress up your living room or carry it in your car for emergencies.

The colours of this blanket were inspired by a trip to Lunenburg, NS. Lunenburg is a beautiful  seaside town with the typical brightly painted houses. I was amazed by the number of shades of orange houses. Clementine and orange, orange and purple, orange and green. And they all looked beautiful! I really wanted a tiny bit of yellow/green in this blanket, but we didn’t have it and I was too impatient to wait for it, so orange and rust it is. I took many pictures of the houses though, I’m sure they will inspire other colour combinations in the future.

Want this blanket for yourself? Click here to purchase.