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S
ay the word “overshot,” and most of us think of American colonial weavers and their coverlets. Coverlets
are represented here, but this collection also includes projects that dazzle with color, drape with luscious
softness, and take overshot in new directions. Scarves and shawls, runners (for table and floor), tablecloths
and clothing—all appear in this comprehensive collection. Overshot, even in its colonial interpretation, was a
miracle weave, allowing unbelievable patterning on only four shafts. Add to pattern the use of color and fine and
luxurious fibers, and you’ll start your own love affair with overshot. This is the second eBook on overshot (see also
Best of Handwoven: Top Projects in Overshot); you’ll want them both in your library.
CONTENTS
Overshot Ribbons for a Shawl by Rita Hagenbruch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Color Gamp in Overshot by Vicki Tardy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Overshot Scarf in Silk and Wool/Silk by Yvonne Stahl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Color with Overshot Blocks by Patricia Palson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Overshot Rug by Tom Knisely. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Miniature Overshot Bookmarks by Syne Mitchell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
A Rose by Any Other Name is—a Snowball? by Lynn Tedder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Overshot Pot Holders by Jean Korus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Fiesta Tablecloth and Napkins by Suzie Liles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Overshot Heirloom Tablecloths by Rita Hagenbruch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Pearl Cotton and Overshot by Mary Berent. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Folklore Vests in Overshot by Terri Van Orman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Overshot Coverlet by Rita Hagenbruch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Fiesta Cloth: Color by Numbers by Leslie Killeen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Tips for Planning, Hemstitching, and Fringing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Annotated Overshot Bibliography by Madelyn van der Hoogt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
© Interweave, a division of F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in this issue to be copied for personal use
Photos by Joe Coca.
F+W Media, Inc. wishes to thank Halcyon yarn for sponsoring this eBook.
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© Interweave, a division of F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in this issue to be copied for personal use. weavingtoday.com 1
Overshot ribbons for a shawl by Rita Hagenbruch
T
his shawl is designed to coordinate with a pair of Fabric description Overshot and plain weave.
classic brown Eddie Bauer Bremerton slacks. The draft
is adapted from a coverlet in Keep Me Warm One Night
Finished dimensions
One shawl 181⁄2" by 75" plus 7" fringe at each end.
(see Resources)—but the shawl is nothing like a coverlet!
Overshot is a traditional weave structure rich with Warp and weft
potential for use in nontraditional ways. Traditional over- 30/2 spun silk at 7,500 yd/lb (Treenway Silks), 2,080 yd
shot fabrics usually show allover block patterns in familiar Captain Olive (#225).
motifs: tables, roses, stars, diamonds, wheels. The same Tabby weft: 24/2 lambswool at 5,960 yd /lb (JaggerSpun),
block arrangements, however, can be used in a variety of 1,300 yd Raw Umber.
other ways. Pattern weft: 20/2 spun silk at 5,000 yd/lb (Treenway
Silks), 330 yd JY19 Turkish Bath (turquoise); 249 yd JY27
Creating overshot ribbons
Christmas Cactus (rose), and 178 yd JY37 Maize (gold).
Take, for example, coverlet #259, a typical wheel and table
pattern from Keep Me Warm One Night (page 202); see the Total warp ends 640.
design in Figure a below. If the table is removed from the
Warp length
threading and some of the block sizes are reduced to make
31⁄4 yd long (allows 6" for take-up and 29" for loom waste;
shorter float lengths, a new design is the result; see Figure b.
loom waste includes fringe).
It’s a short step from that to treadling small segments of the
design in stripes to make ribbons of pattern (and another short E.P.I. 32 (3-3-2 in a 12-dent reed or 4/dent in an 8-dent reed).
step to designing your own!). With overshot, always put on a
Width in reed 20".
very long warp and play with the treadling orders.
P.P.I. 35 ppi in plain-weave areas, 52 ppi in pattern areas
Resources (26 ppi pattern, 26 ppi tabby).
Burnham, Harold B., and Dorothy K. Keep Me Warm One Night.
Toronto: University of Toronto Press, 1972 (out of print), p. 202. Take-up and shrinkage 8% in width and 9% in length.
b. The wheel and table design with the table removed

a. Wheel and table design and block sizes reduced
2 weavingtoday.com © Interweave, a division of F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in this issue to be copied for personal use.
Originally published in Handwoven®, March/April 2007, pp. 48–50.
Draft
11x border
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
plain weave
5x
border cont'd (tabby)
2
4 4 4 4 4 4 4 4 4 4 4 4 4 4 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 2
2 2 2 2 2 2 2 2 2 2 2 2 use 2
1 1 1 1 1 1 1 1 1 1 1 1 2
tabby
2
2
2
2
Heddle 148
160
shaft 4
shaft 3
Weft Raw Umber
2 Turkish Bath
plain weave
(tabby)
5x
count 172
160
shaft 2
shaft 1 colors 2 Christmas Cactus
2
2
2 Maize
640 use 2 29x
tabby
2
2
2
Warping and weaving plain weave
2
Wind a warp of 640 ends 31⁄4 yd long and thread the loom following the Draft (tabby) 5x
2
using your preferred warping method. Tie up the treadles as shown in the Draft use 2
2
tabby
(with this tie-up, you’ll use the right foot for tabby, the left foot for pattern). 2
2
Wind 4 bobbins, 1 for each pattern-weft color and 1 for the tabby weft. Spread plain weave
(tabby) 5x
2
the warp by placing three plain-weave picks without beating. Then beat all three 2
2
together. use 2
tabby 2
Allowing 9" (including the amount used to tie on) for fringe, begin weaving 2
2
the shawl following the treadling in the Draft. After the first few picks of plain 2
2
weave, hemstitch the first 2 rows including 3 ends in each stitch. plain weave
(tabby) 5x
Now the fun begins! You can follow the treadling as shown or you can treadle
the pattern blocks in any order to design different pattern ribbons. It is as easy as
playing with blocks (ABCD)!
I treadled the blocks for the three ribbons in the following order, using the pat-
tern treadle for each block 2x and always alternating each pattern treadle with The overshot ribbons are
a tabby treadle: BADCBCDAB (turquoise ribbon), CDABADC (rose ribbon), and separated by 10 picks of plain
DCDCD (gold ribbon) as shown in the Draft. The ribbons are separated by weave (tabby) only.
10 picks of plain weave.
“Use tabby” means to weave
As you begin and end the pattern weft for each ribbon, leave a little tail of weft
a tabby pick before each pat-
sticking out from the selvedge. Split the 2-ply yarn apart. Pull one ply out of the tern pick, alternating treadles
shed a few warp threads before the selvedge. Loop the other ply around the last 5 and 6.
thread on the selvedge and bring it back into the same shed past the point where
the first ply exited. Weave a few picks and then trim the tails. This process will Numbers in the treadling
prevent build-up of the pattern weft at the selvedges. indicate the number of times
to weave that pattern pick
Finishing (alternating with tabby picks).
When you are finished weaving the shawl (woven length measured under tension
is about 82"), hemstitch the final edge as at the beginning. Cut the fabric from the
loom allowing 9" for fringe. Smooth and trim the fringe on both ends evenly (I use
a rotary cutter and mat). Prepare a twisted fringe with 6 ends in each fringe: twist
two groups of 3 ends together in the same direction until they kink; then twist both
groups together in the opposite direction and secure with an overhand knot.
Wash the shawl in warm water using Orvus Paste or a gentle soap. Rinse
several times in warm water until the rinse water runs clear. I added a little vin-
egar to the second to last rinse. Roll the shawl in towels to blot dry and smooth
flat on a surface to finish drying. Press with the iron on a rayon setting using a
press cloth.
Color gamp in overshot by Vicki Tardy
L
ast summer I wove a variety of color gamps
using the Tubular Spectrum from the Lunatic
Fringe. This wall hanging is one result. Each
repeat of an overshot draft is threaded in a different
color. The pattern weft is off-white; the tabby weft uses
the same color order as in the warp. Notice that the
light pattern weft casts a bright wash over the rainbow
ground cloth, as if a burst of light were coming from the
lightest (yellow) area. Try the gamp with a black pattern
weft, and the color-wheel colors will intensify.
Fabric description Overshot.

Finished dimensions
Three gamps, 255⁄8" by 29" each.
Warp and weft

Warp and tabby weft: 10/2 pearl cotton at 4,200
yd/lb; the Tubular Spectrum Color Gamp Kit in 20
colors, 400 yd each color. (Three gamps require 120
yd per warp color; 72 yd per weft color).
Pattern weft: 10/2 pearl cotton, 1,440 yd per gamp;
Natural is used for the gamp shown here.
Total warp ends 563 (includes 2 floating selvedges).

Warp length
4 yd (allows for take-up and 35" loom waste).
E.P.I. 20. Width in reed 281⁄5".

20x a b 1 2 3 4
P.P.I. 36 (18 tabby, 18 pattern). Draft 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2
Take-up and shrinkage 10% in width and length. 1 1 1 1 1 1 1 1 1
/
1 1
= floating selvedges plain weave /
(tabby)
Weaving 1
Warp color order 1
1
Thread the loom following the Draft and Warp Color Order. 30 #5 Purple Blue
1
4
Use the Warp Color Order for the color order of the tabby weft, 28
28
#10 Purple Blue
#5 Purple 2
2 20x
(except use each color for 25 tabby picks to coordinate with the 28
28
#10 Purple
#5 Red Purple 2
28 #10 Red Purple 2
25 pattern picks in the treadling repeat); end with 26 tabby picks 28 #5 Red 2
28 #10 Red 4
#10 Blue. (The extra ends of Purple Blue and Blue in the warp are 28 #5 Yellow Red 1
28 #10 Yellow Red 1
for floating selvedges and to balance the design; the extra picks 28
28
#5 Yellow
#10 Yellow
1
1
in the weft balance the design in the final repeat.) Allowing 1" for 28
28
#5 Green Yellow
#10 Green Yellow Numbers = the number of
#5 Green pattern picks. Weave tabby
fringe (2" between gamps), begin and end each gamp with a few 28
28 #10 Green (treadle a or treadle b) before
28 #5 Blue Green each pattern pick. Allow 2"
picks of plain weave and hemstitch. Use different pattern-weft 28 #10 Blue Green for fringe between gamps;
28 #5 Blue
colors and/or treadling orders for your second and third gamps. 29 #10 Blue hemstitch ends.
Finishing
Cut gamps apart. Machine wash, warm water, gentle. Lay flat to Originally published in Handwoven®, January/February 2004, p. 51, and also included
dry; press before completely dry. in the Best of Handwoven eBook Color! Everything a Weaver Needs to Know.
Overshot scarf in silk and wool/silk
by Yvonne Stahl
9x 1 2 3 4 5 6
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Draft 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
• • • • •
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
• 54 Royal
• 47 Deep Purple
• 52 Dianthus 1 Garnet 3 Red 21 Copper 22 Curry 24 Chrome 20/2 silk plain weave
(tabby)
8
T
8
raditionally, overshot has been used either Warp and weft 8
8
for allover patterning (coverlets, tablecloths, 7
Warp and tabby weft: 20/2 spun silk (Treenway Silks) 7
and placemats) or for borders (curtains, 7
at 5,000 yd/lb, 1,320 yd Rendezvous Blue (#4, navy). 7
runners, and towels). Warp and tabby-weft colors 6
Pattern weft: 18/2 wool/silk (JaggerSpun Zephyr) at 6
have usually been white or natural, and pattern-weft 6
5,040 yd/lb, 88 yd Royal, 85 yd Deep Purple, 73 yd 6
colors dark blue, red, or brown. For this reason, con- 5
Dianthus, 61 yd Garnet, 49 yd Red, 37 yd Copper, 5
5
temporary weavers often bypass overshot in favor 25 yd Curry, and 11 yd Chrome. 5
4
of twills or even plain weave, thinking that they are 4
better suited for displaying color. Think again! Total warp ends 297. 4
4
3
In overshot, yarn colors can be varied in three Warp length 3
3
possible places (warp, tabby weft, and/or pattern weft) 3 yd (allows for take-up and 28" loom waste; loom 3
2
to create an explosion of glorious color—only one of waste includes fringe). 2
2
them is varied in this scarf. On a dark navy background, 2
1
the pattern-weft colors move around more than half of E.P.I. 24. Width in reed 12 ⁄8". 3
1
1
4x
the color wheel: blue, blue-violet, violet, red-violet, red, 1
P.P.I. 30 (15 tabby, 15 pattern). 1
red-orange, yellow-orange, yellow. (Commercially dyed 1
1
colors vary considerably from the true hues in a twelve- 2
Take-up and shrinkage 2
color wheel, but these variations often add to rather 2
15% in width and 10% in length. 2
than detract from the overall effect.) 3
3
Weaving 3
3
The scarf design Wind 1 bobbin 20/2 navy silk for tabby weft and 4
4
Four overshot blocks are arranged in the threading in 1 bobbin each for the 8 pattern-weft colors. Spread the 4
4
an extended point. The treadling rotates through all warp with scrap yarn and then, allowing 7" for fringe, 5
5
four blocks for each pattern-weft color. The first color weave several picks of any color 10/2 cotton to protect 5
5
repeats each block eight times, the second seven times, the edge until the fringe is worked. Begin weaving the 6
6
the third six times, etc., until the lightest color, pale scarf with 2 picks plain weave in 20/2 navy silk. Then 6
6
yellow, is reached, whose blocks are treadled one time 7
weave the pattern following the treadling in the draft 7
each. The treadling then reverses, going back through 7
(about 75"). Numbers in the treadling indicate how 7
the color wheel, increasing the number of times each 8
many times to use each pattern treadle (always alter- 8
block is treadled for each successive color. 8
nating with tabby). Begin and end each color by bring- 8
One of the pattern-weft colors used in this scarf ing weft tails around an edge thread and back into the Use tabby:
Weave a tabby
is hand-dyed (the red-orange). Since this color is shed for about 1". (I did not use a floating selvedge and pick before every
pattern pick.
not available in wool/silk, the colors recommended just let the weft turn without special care.) End with 2
here use a slightly darker red for red, and red for the picks plain weave using navy silk and then several picks
hand-dyed red-orange. Navy blue makes an espe- using 10/2 cotton as at the beginning.
cially effective background color, intensifying and
unifying the other colors. Finishing
Cut the scarf from the loom and discard scrap yarn. Removing the
10/2 cotton as you work, prepare a twisted fringe with 12 ends
Finished dimensions in each fringe, 11 each in the last 3. Wash by hand in warm water,
One scarf 101⁄2" by 69" plus 5" fringe at each end. gentle soap. Rinse well, lay flat to dry, and press with a warm iron.
Originally published in Handwoven®, March/April 2007, pp. 52–54, and also included in the Best of Handwoven eBook Weaving with Silk.
Color with overshot blocks by Patricia Palson
T
he draft for this shawl came from an old coverlet. the hot red to vibrate in some of the large diamond blocks.
White gloves on my hands and my first child beside These unexpected accents draw your eye to the diamond
me on the floor (on a handwoven blanket, of area and add interest to the shawl.
course!), I counted the threads and determined the draft as When you’re varying tabby-weft colors, select values
part of a study of historical textiles. similar to those of the warp yarn. The purple in this shawl
As a result of my research, I fell in love with the rich is almost as dark as the black. If a color is too light or too
complexity of overshot designs and began weaving over- bright, it will pop out and overpower the pattern-weft color.
shot pillow tops and shawls. In order to weave more than
one project on the same warp (especially since overshot is Other considerations
Borders are an important element in an overshot design.
time-consuming to thread!), I first experimented with using
If a pattern is simply repeated from side to side and top to
different pattern-weft colors for each new item, then played
bottom, the piece begins to look like yardage. Borders say,
with changing the colors of both the pattern and tabby
“Okay, this is the beginning and this is the end” and provide
wefts within each.
an essential visual frame that says “I’m Art.”
One warp can therefore supply many different-looking
Wool/silk (Zephyr) is a soft and lovely fiber, ideally
items—and using a variety of colors within a single one
suited to scarves and shawls. As a pattern weft, it is lofty
creates a very contemporary, noncoverlet-like appearance.
enough to cover the ground cloth yet it compresses suffi-
Color considerations ciently between tabby wefts. To form a matte background
When you are making color choices, remember these two to the wool/silk (yet give the fabric a supple hand), this
basic principles: complementary colors (across from each warp is black unmercerized cotton, and the black and
other on the color wheel) tend to vibrate. Analogous colors purple tabby wefts are 18/2 merino.
almost always work well together.
The pattern weft in this piece is JaggerSpun’s Zephyr Fabric description Overshot.
(a wool/silk blend) in Copper (a grayed yellow-orange) and
Finished dimensions
Cinnabar (a grayed red-orange). These are analogous colors
One shawl 173⁄4" by 701⁄2" plus fringe at each end.
and are of similar value.
When you are weaving overshot with two or more Warp and weft
pattern-weft colors, for the design to be easy to read it is Warp: 16/2 unmercerized cotton at 6,720 yd/lb,
important that the colors be close in value and intensity. If 1,350 yd black.
one color is much stronger than the other, its sections will Tabby weft: 18/2 merino wool (JaggerSpun Superfine
pop out as horizontal bands, and the overshot pattern will Merino) at 5,040 yd/lb, 680 yd Black, 180 yd Iris.
be more difficult to discern. Circles can become blocks of Pattern weft: 18/2 wool/silk (JaggerSpun Zephyr) at 5,040 yd/lb,
dots; tables can become sets of stripes. 350 yd Cinnabar, 408 yd Copper, 20 yd Iris, 60 yd Red.
Black is an ideal color for an overshot warp and tabby
weft. Black intensifies the pattern-weft colors—it makes Total warp ends
them glow. Since it also was not used in historical textiles, 450 ends (includes 2 floating selvedges).
it also tends to give a contemporary look.
Warp length
Add accent colors for an element of surprise. From a
3 yd (allows for take-up and 27" loom waste; loom waste
distance, the Copper and Cinnabar floats glow on the dark
includes fringe). Add 21⁄2 yd for each additional shawl.
background to give the viewer an impression of warm
bronze blends. E.P.I. 24.
As you come closer, you begin to notice the action in
the table of diamonds. In some of the large blocks in the Width in reed 183⁄4".
centers of the diamonds, the soft red Cinnabar is exchanged
P.P.I. 36 (18 ppi tabby weft, 18 ppi pattern weft).
for Real Red, a hotter and more intense color. As you come
even closer, you notice the purple tabby weft that causes Take-up and shrinkage 7% in width and length.
Originally published in Handwoven®, May/June 2000, pp. 48–51, and also included in the Best of Handwoven eBook Color! Everything a Weaver Needs to Know.
Draft
3x 7x start
4x 2x 4x 2x 2x 4x 3x 3x 3x 2x 4x 2x 4x 4x 3x 2x 2x 2x 4x 4x 4x 7x use
tabby
4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
279 ends = floating selvedges Co 2
Ci 2
Co 2
4x
7x cont'd. Ci 2
7x 4x 4x 3x 2x 2x 2x 4x 4x 3x 3x 3x 2x 4x 2x 4x Co 8
I 8
4 4 4 4 4 4 4 Co 8
3 3 3 3 3 3 3 Ci 4
2 2 2 2 2 2 2 2 2 2 2 Co 4
171 ends 1 1 1 1 1 1 1 1 1 1 1 Iris R 4
tabby Co 4
border
R 4
Ci = Cinnabar, Co = Copper, R = Real Red, I = Iris.
Co 4
Numbers in the treadling indicate number of pattern picks. Ci 4
Pattern picks alternate with tabby picks (1-3 vs 2-4). Co 8
I 8
Follow the complete treadling sequence, Co 8
then end by repeating the border in reverse. Ci 2
Co 2
Use tabby: Before every pattern pick, 3x
weave a tabby pick. Use black for tabby Ci 2
except where Iris is indicated. Co 2
Ci 2
Co 2
Ci 2
Co 8
Ci 6
Warping and weaving Iris
Co
Ci
8
4
tabby 6x
Wind a warp and prepare the loom following one edge of the shawl. Begin and end pattern Iris
Co 4
tabby Ci 4
the Draft. One warp end acts as a floating wefts only when the alternation of Copper Co 8
Ci 6
selvedge on each side. and Cinnabar is interrupted by blocks of Iris Co 8
Ci 6
Allow 8" at each end of the shawl for a or Real Red. Use Iris merino for the tabby Co 8
Ci 4
twisted fringe. Begin weaving the shawl with weft instead of Black where indicated in the Co 8
4 picks of plain weave (1-3 vs 2-4) using treadling. Ci
Co 6
6
18/2 black merino. Then, alternate tabby Numbers in the treadling draft represent Ci 8
Co 2
and pattern wefts following the treadling the number of pattern picks to use for each Ci 2
Co 2
order in the Draft. Note that Copper and block (always alternating with tabby). The Iris
tabby Ci 8
Co 2
Cinnabar are used as the pattern-weft colors drawdown on page 10 shows how the fabric Ci 2
Co 2 4x
in alternate blocks throughout the shawl will look during weaving; read from bottom R 8
except for two blocks of Iris in the border at to top (one square = 2 pattern picks). Read Co
Ci
2
2
each end and three blocks of Real Red in the the treadling in the Draft from top to bottom Iris
Co 2
tabby R 8
diamond design. except for the border at the opposite end Co 2
Ci 2
The draft is constructed so that each of the shawl; weave as for the first border Co 2
R 8
block is woven with an even number of pat- except in reverse. Co 2
Ci 2
tern picks, causing the shuttles always to Co 2
Iris
end up on the same side. The Copper and Finishing tabby Ci
Co 2
8
Cinnabar wefts need not be cut at the end of Remove the fabric from the loom and prepare Ci
Co
2
2
each stripe. When you’re weaving with Cin- a twisted fringe. Wash by hand in warm water Ci 8
Co 6
nabar, place the shuttle with Copper on the with Ivory liquid soap. Rinse in warm water Ci 6
Co 8
bench beside you, and vice versa. Small, snug with Downy fabric softener. Spin dry; hang to Ci 4
Co 8
loops of weft will be only slightly visible on completely dry; press. Ci 6
Co 8
Ci 6
Co 8
Iris
tabby Ci 4 6x
Co 4
Iris 4
tabby Ci
Co 8
Ci 6
Co 8
Overshot rug by Tom Knisely
F
or many weavers, overshot ranks high on our list of Twill draft
1 2 3 4
favorite weaves. Perhaps we’re drawn to the kaleido- 4 4 4
scopic patterns or to overshot’s rich history associat- 2
3 3
2
3 3
2 2
ed with coverlets and things homey and old-fashioned. 1 1 1 1
Overshot is my “comfort” weave. I’ve discovered it’s also a

wonderful structure for rugs.
Overshot draft
Overshot has its roots in twill. Compare the Twill and
A B C D C B A ABCD
Overshot Drafts shown here. Somewhere, sometime, some- 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3
one must have wondered how to lengthen and/or repeat 1
2
1
2 2
1
2 2
1
2
1
2 2
1 1 1
2
twill’s floats to enlarge the scale of twill designs without

compromising cloth stability—and overshot was born! In
the Overshot Draft, each pair of warp threads covered by
weft floats in the Twill Draft (1-2, 2-3, 3-4, 4-1) is repeated
to widen the floats (1-2-1-2, 2-3-2-3, etc.), and the weft pat-
tern picks are repeated to increase design height, creating
“blocks” of pattern (A, B, C, and D). Since odd and even Other equipment
shafts alternate in the threading, plain weave (1-3, 2-4) can 1 boat shuttle, 1 ski shuttle.
be woven between the pattern floats to make a stable cloth.
From this idea come the uniquely beautiful overshot pat- Total warp ends 317 doubled ends (634 total ends);
terns in our repertoire. includes 2 doubled floating selvedges.
As-drawn-in treadling orders Warp length

Many overshot drafts (like many twill drafts) show the thread- 21⁄2 yd (allows 4" for take-up, 32" for loom waste; loom
ing only. That’s because it is often presumed that they are waste includes fringe).
woven “as drawn in,” i.e., “as threaded.” That means you read
E.P.I.
the threading draft and step on the treadle whose number cor-
12 doubled ends (1 doubled end/dent in a 12-dent reed)..
responds to the shaft number. The first four picks in the Twill
Draft here follow the first four threads in the threading. Width in reed 265⁄12".
This can’t work with overshot, however—where would
P.P.I. 16 (8 tabby picks, 8 doubled pattern picks).
tabby be? To weave overshot as drawn in means to weave
the blocks as drawn in, not the individual threads. In the Take-up and shrinkage 10% in width and length.
Overshot Draft, Block A is threaded first, then B, then C,
then D. The same block order is followed in the treadling. Weaving
Notice that the shafts for a block must be down to weave Wind a warp of 634 ends 21⁄2 yd yd long. Wind 2 ends
pattern: to show a pattern float in Block A, for example, together, placing your finger between them to prevent
shafts 1 and 2 are down. twisting. Use your preferred warping method to prepare the
loom following the Draft. Note that 2 ends are threaded in
Fabric description Overshot. each heddle; (each warp end in this rug is 2 threads of cot-
ton/poly). Note that the floating selvedges, which are not
Finished dimensions One rug 24" by 51" plus fringe.
threaded through a heddle, are also doubled ends. Weight
Warp and weft them behind the back beam (a 2–3" S-hook works well).
8/4 cotton/poly rug warp (50% cotton, 50% polyester) Make sure the warp is beamed under even and firm ten-
at 1,600 yd/lb, used doubled, 1,585 yd taupe. sion. Tie the warp onto the front apron rod in small groups
Tabby weft: 8/4 cotton/poly rug warp, 365 yd taupe. (about 1⁄2" per group).
Pattern weft: 3-ply rug wool at 720 yd/lb (by Brassard from Using scrap yarn, weave a few picks in plain weave
Red Stone Glen) used doubled, 675 total yd Midnight Blue. (treadles 1 and 2) to spread the warp. Allow 7–8" for fringe
Originally published in Handwoven®, March/April 2007, pp. 32–34, and also included in the Master Weaver Series Favorite Projects and Lessons from Tom Knisely..
Draft
border border
2x 7x 2x 1 2 3 4 5 6
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
This draft is Orange Peel from Josephine E. Estes, Each working warp thread floating selvedges plain weave (tabby)
Miniature Patterns for Hand Weaving, Part I, 1956, p. 10. is 2 strands of cotton/poly.
1" 6x
3
including amount used to tie on to the front apron rod. Then weave 12 doubled picks
border
tabby weft 3
(cotton/poly) 3
(about 1") for the heading using the cotton/poly weft (go around the floating selvedge 3
1
for each pick and back through the same shed). For the pattern weft, wind 2 strands Use tabby: 1
Before every 1
Rugby on a ski or rug shuttle (the pattern weft is used doubled). Weave the body of pattern pick, 1
weave a tabby 1
the rug following the treadling in the Draft. The numbers in the treadling column tell pick (1 strand 3
3
of cotton/poly
you how many times to weave with the pattern weft using the same treadle. “Use using treadles
3
2
1 and 2).
tabby” means to weave a tabby pick (a single strand of cotton/poly) before each pat- 2
2 10x
tern pick, alternating treadles 1 and 2. Beat firmly. End the rug with 12 doubled picks 2
2
cotton/poly plain weave as at the beginning. Weave a few picks with scrap yarn to hold 3
3
in the heading. 1
3
Finishing 1
1
1
Remove the rug from the loom allowing 7–8" for fringe. On both ends, taking out the 3
border
3
scrap yarn as you work, tie each group of 6 doubled warp threads in an overhand knot 3
3
snug against the fell of the heading. (The last knot on each end will have 5 doubled 1" 6x
threads.) Trim fringe evenly to about 6". The fringe, made of tightly spun 50% cotton
and 50% polyester, will keep its shape with wear.
.....
12 SCHOOL ST. BATH, MAINE
HALCYONYARN.COM • 800.341.0282
EVERYTHING FOR THE HANDWEAVER
RUBY OVERSHOT
RUNNER PATTERN
Includes instructions
for runner, placemats,
and napkins. Made
with 8/2 Organic
Cottolin.
Pattern available as a
digital download:
halcyonyarn.com/
weaving/0340001U
Miniature overshot bookmarks by Syne Mitchell
I
like to tackle my fears head on. When I realized I was
intimidated by both overshot and fine threads, I decided
to combine them in one “therapeutic” project. Going to
my stash, I pulled out my finest yarn, a cone of 140/2 silk
(my previous thin-yarn experience was 10/2 pearl cotton!),
and began to plan a narrow project in case things went
hideously awry. Inspiration was as close as my overflowing
bookshelf: I would weave bookmarks.
A miniature overshot pattern would best suit the scale
of my oh-so-fine warp, so I turned to Josephine Estes’s
Miniature Patterns for Hand Weaving and settled on Star of
Bethlehem. I chose it both for its basic star-shaped pattern Texsolv heddles (for these bookmarks, placed in the
as well as the additional wavy effect that can be created center of each shaft) reduce abrasion on fine threads.
with a straight treadling. (“Warp once, weave many” is my
weaving mantra.)
As I began to wind the nearly invisible thread, I started to Fabric description Overshot.
relax. The motions were the same as with any other thread.
Using popsicle sticks as lease sticks, I threaded the shafts. Finished dimensions
The threads were hard to see at first, but I used the cross, Nine bookmarks 11⁄2" by 61⁄2" each plus 1⁄2" fringe.
just as I would with any other warp—140/2 silk started to Warp and weft
look almost normal! Warp: 140/2 silk at 35,000 yd/lb (Lunatic Fringe),
As I wove the header, the flat steel heddles began to 387 yd Sapphire.
cause warp threads to snap. Disaster loomed! I used the Tabby weft: 140/2 silk, Sapphire or bottle green, 24 yd
tabby treadling to put the cross back onto my popsicle per bookmark, 216 total yd for nine bookmarks.
lease sticks, removed the shafts, and placed polyester Tex- Pattern weft: 23 yd per bookmark of 60/2 silk at
solv heddles in the middle of each one (leaving the metal 14,880 yd/lb (Webs), white and handdyed; Alec Jackson’s
heddles pushed to the sides so their weight would bring the Premium Silk Floss, (fly-fishing stores) tangerine #30;
shafts down after each pick). The weaving then progressed Sulky Holoshimmer machine embroidery thread (59% poly-
smoothly—no more broken warp threads! ester, 40% polyethylene, 1% metallic), available
I experimented with a range of pattern wefts: 60/2 silk, from fabric stores.
rayon machine embroidery thread, and even a psychedelic ho-
logram thread. “Very 1980s,” my husband remarked of this last. Other equipment
My favorite pattern weft, though, I found in a fly-fishing 3 cardboard spacers 3⁄4" by 3" each. Rotary cutter and mat
store! Fishermen wrap silk to build multicolored bodies of (optional).
intricate “for show” fishing lures (and you thought weaving
Total warp ends 129.
was an esoteric craft). The fishing store sold tubes of Japa-
nese silk floss made up of dozens of insanely fine filaments. Warp length
The floss bloomed beautifully as an overshot pattern weft, 3 yd long (allows 4" for take-up and 27" for loom waste).
and luckily, the amount in one tube is exactly enough for
E.P.I. 72 (6/dent in a 12-dent reed).
one 7" bookmark—with only two yards of floss left over.
Width in reed 15/6".
Resources
Estes, Josephine E. Miniature Patterns for Hand Weaving. Part I. P.P.I. 116 (58 tabby, 58 pattern).
Boston: Josephine E. Estes, 1956 (out of print), p. 22.
Osterkamp, Peggy. Warping Your Loom & Tying on New Warps. Take-up and shrinkage
Sausalito, California: 1995, p. 7 (using a kite stick). 22% in width and 10% in length.
Star treadling
3x 1 2 3 4 5 6
Draft 3
4
3
4
3 3
4
3
4 4
3
4 4
3
4 4
3
4
3 3
4
3
4
3 3
4 4 4
3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
pattern weft plain weave /
(tabby) /
1 2 3 4 5 6
Wave treadling 3
4 4 4
3 3
2 2 2
1 1 1
plain weave /
(tabby) / use
tabby
repeat
use
tabby
repeat
To keep your place, list the treadle
numbers in groups of 4 and slide along a
paper clip as you weave.
balance
Sewing thread sold on long spools can
be loaded directly into a boat shuttle.
Slip rubber O-rings onto the boat
shuttle’s spindle to keep the 2" spools
centered (I added spacers).
Weaving
Wind a warp of 129 ends 140/2 Sapphire silk 3 yd long. With the tail, hemstitch around groups of 6 warp ends and
Warp back to front with two crosses (see weavingtoday the first 2 weft rows. Weave the pattern following the Draft.
.com, How To Weave/Warping/Warping Back to Front with Use tabby: Before every pattern pick, weave a tabby pick,
Two Crosses for specific warping steps). It is a good idea to alternating treadles 1 and 2. Repeat the pattern until the
keep tension on the threads at all times, either with an AVL bookmark measures 7" or a little more (8–10 times, depend-
warping wheel or a kite stick as recommended by Peggy ing on the pattern weft). End with 5 balancing picks. Weave 6
Osterkamp; see Resources, page 16. plain-weave picks and hemstitch. Insert two spacers be-
Thread the shafts following the Draft. tween bookmarks for fringe; weave each bookmark the same
Wind a bobbin with 140/2 silk for the tabby weft and one way. To weave the “wave” pattern, follow the Wave Treadling.
with a selected pattern weft. Weave 3 picks plain weave with Remove spacers as they reach the cloth beam.
140/2 silk without beating, then beat them together. Weave
a few more picks of plain weave, if needed, until the warp is Finishing
completely spread. (Reed marks will wash out later.) Remove the bookmarks from the loom. Handwash in warm wa-
Insert a cardboard spacer for fringe. Cutting the 140/2 ter with liquid detergent. Rinse well. Iron on low heat, pressing
silk weft and leaving a 6" tail, weave 6 picks plain weave. hard. With a rotary cutter and ruler, trim fringe to 1⁄2".
A rose by any other name is
—a snowball? by Lynn Tedder
O
ne of the first things you motif is called a star, even though it
notice as you flip through a looks about as much like a real star as a
collection of overshot patterns rose looks like a real rose (see a “rose”
is that an awful lot of them have “rose” outlined in white in the top photo and a
somewhere in their names. A tour “star” outlined in the center photo). The
through the overshot garden will find word “rose” in a pattern name in no way
Velvet Rose, Indiana Frame Rose, and guarantees that the pattern contains a
Wreath Rose (Atwater, Shuttle-Craft Book rose motif or that the blocks are woven
of American Handweaving); Tudor Rose rose fashion. Velvet Rose, Atwater’s Rose
(Lou Tate, Kentucky Coverlets); and Rose of Sharon, and Rose in the Wilderness
of Sharon (in several sources), among all lack rose motifs and are woven either
many others. This last, according to star fashion or on opposites. So, weaver,
Atwater, is also known as Indian War (!). beware!
A Rose of Sharon also grows in Margue- Probably the best known of the
rite Davison’s garden (A Handweaver’s overshot rose patterns is Whig Rose (a
Pattern Book), but it’s a completely central rose motif flanked by four smaller
different species from Atwater’s and ones; see the top photo), whose name
looks nothing like it. commemorates the nineteenth century
You can weave Rose Valley (Davison), Whig political party (how likely is it
a Rose in the Garden (Wilson-Kennedy, Of today to name a pattern after a political
Coverlets), a Rose in Dorn (Davison), party!). The same pattern is also called
or a Rose in the Wilderness (both Davison Traditional Roses and Rings.
and Atwater, who also gives Lily of the
Valley and Bonaparte’s March as names for Rose into snowball
this same pattern). Rose Leaves seems to Just to make things interesting, roses are
be a favorite name in collections compiled sometimes called snowballs. Twenty-
by Lou Tate, where you can find single five Snowballs with a Whig Rose Border
patterns called Rose Leaves and Chariot (Wilson, Kennedy) has small roses in its
Wheels, Rose Leaves and Snowballs, and border and larger roses grouped in rows
Rose Leaves, Seashells, and Snowballs. in the center. If rose motifs are grouped,
See a complete overshot bibliography it seems, they are snowballs.
on page 48. Also, in a pattern called Cat Track
and Snail Trail, the cat’s paw tracks are
Rose as a motif rose motifs. Other examples of that draft
One reason “rose” is so common in pat- are called Wandering Vine; the motifs
tern names is that it is also the name of a morph back into flowers. Still others are
common overshot motif, an arrangement called Dog Tracks, although dog’s paw
of two blocks that makes a rounded tracks are usually stars.
shape. To get this motif, the two blocks Patterns from a friendship coverlet: Sound confusing? Whatever the pat-
are woven in what’s called “rose fash- Whig Rose (woven by Jody Anderson), tern is called, sleeping under a coverlet
ion.” If the same blocks are woven “star Velvet Rose (Ruth Morrison), Rose of
you weave is a weaver’s version of sleep-
Sharon (Lynn Tedder).
fashion,” the resulting square-shaped ing in a bed of roses.
Originally published in Handwoven®, March/April 2007, p. 31.

Overshot pot holders by Jean Korus
W
hen I was a new weaver I wanted to weave for threading) and/or you can select a variety of pattern-
overshot, but it looked so complicated—long weft colors to play with. Before you use any yarn, it is a
threading repeats, two shuttles, and new good idea to test for color fastness by wetting a strand of it
terms like “use tabby”! If overshot intimidates you, too, in hot water and letting it dry on a damp paper towel.
these pot holders are a great way to start. Use them to After you have woven a pot holder or two, experiment!
decorate your kitchen—or as a perfect hostess gift. Change colors and/or the size or treadling order of the pat-
tern blocks. The fun part of weaving is to take an idea, try it
Overshot out, and then do it your own way!
Overshot is a block weave. It uses one warp and two wefts: a
tabby weft the same size as the warp to weave a plain-weave Fabric description Overshot.
foundation cloth and a second, heavier weft (also called a
Finished dimensions
supplementary weft) that weaves the pattern by floating over
Six hemmed pot holders, 67⁄8" by 71⁄2" each.
one of four blocks. These two wefts alternate throughout. To
save space in overshot drafts, only the picks for the pattern Warp and weft
weft are shown in the treadling draft. The instructions “use Warp and tabby weft: 8/4 cotton carpet warp at 1,680 yd/lb,
tabby” tell the weaver to keep alternating the tabby (plain- 510 yd Royal Blue, Black, or Natural.
weave) weft and the pattern weft. Almost all new weavers Pattern weft: 100% cotton worsted-weight yarn at 805 yd/lb
learn what happens if this instruction is ignored! (120 yd/21⁄2 oz ball, Sugar ‘n Cream), in selected colors
Each pattern weft floats over one of the blocks, under (i.e., Grape, Hot Green, White, Red), 40 yd per pot holder;
another block, and alternates over and under the threads 240 yd total.
in the remaining two blocks. These three textures—pattern,
background, and halftones—are what give overshot its Other equipment and supplies
characteristic appearance. 1 boat shuttle, 1 stick shuttle, crochet hook.
Different overshot patterns can be produced on the Total warp ends 127 (includes 2 floating selvedges).
same threading by treadling the blocks in different orders.
Two treadling orders are provided for the threading given Warp length
in the Draft on page 23. The “star fashion” treadling weaves 21⁄2 yd long (includes 2 floating selvedges and allows 3" for
pattern in each block in the same order as the blocks are take-up and 27" for loom waste).
threaded and produces diagonal lines of pattern from all
E.P.I. 15.
four corners. The “rose fashion” treadling produces round-
ed motifs (“roses”); compare the two pot holders with red Width in reed 81/2".
pattern weft on page 23.
P.P.I. 15 (in plain-weave hems), 20 in pattern areas,
There is a lot more to say about overshot, but talking
(10 tabby, 10 pattern).
about it makes it sound much harder than it is. The best
way to understand how it works is to thread a simple Take-up and shrinkage 10% in width and length.
project like this one and see for yourself.
Weaving
The pot holders Wind a warp of 127 ends 21⁄2 yd long. Plan the warp’s path
Pot holders are a great format for overshot. One pattern repeat around the warping board with a guide string before you wind.
fits neatly into a pot holder’s size. The yarns suitable for pot (These instructions are for warping back to front.) Tie the
holders are easy to find and easy to use. The 8/4 cotton used cross and the loops at the cross end of the warp; make two
for the warp and tabby weft of these pot holders comes in or three choke ties along the warp’s length. Cut the loops at
many colors. The pattern weft is an economical, worsted- the end peg (farthest from the cross), and chain the warp
weight cotton knitting yarn, also available in many colors. from the board, starting at the end peg. Place a rod in the end
You can choose a light color carpet warp for the warp loops near the cross and place lease sticks in the cross.
and tabby weft if you prefer (light colors are easier to see Tie the raddle to the back beam of the loom, tie the rod to
the apron rod of the warp beam, tie the lease sticks just be- I usually divide the sections by blocks (1-2, 2-3, 3-4, or 4-1).
hind the shafts, undo the tie around the warp loops and the Gather the threaded ends in a loose slipknot as you go, about
cross ties, and spread the warp in the raddle at 15 ends per every 1⁄2".
inch, centered for 81⁄2". Wind the warp on the warp beam Remove the slipknots and retie them in front of the 15-dent
under firm and even tension, packing the layers with smooth, reed as you sley 1 end in each dent (sley 1-2 in a 10-dent
heavy paper. reed). Remove these slipknots as you tie the warp onto the
When the cut ends are 12–18" from the lease sticks (in a front apron rod in 1⁄2" groups. Hang a weight from each float-
position suitable for threading the heddles), thread following ing selvedge behind the back beam (a 2–3" S-hook works
the Draft on page 23. The first and last threads are floating well). Check your threading and denting by depressing the
selvedges. Do not thread them through a heddle. (To keep my treadles for plain weave.
place in the threading, I like to use a magnetic board, available Weave plain weave with scrap yarn to spread the warp.
from craft stores. I place one magnetic strip over the section Always enter the shuttle over the floating selvedge on one
of the threading I am finished with and another at the oppo- side and exit under it on the other side. Fill a boat shuttle with
site edge of the section I’m about to do.) Count out the hed- the tabby-weft yarn and a stick shuttle with the pattern-weft
dles needed for each new section before threading them. yarn used double. The easiest way to double the pattern weft
Originally published in Handwoven®, May/June 2005, pp. 30–33.
is to use two balls of yarn, but you can also double the yarn
from a single ball: Take one end from the center and the other
from the outside of the ball and wind them together.
Begin and end each pot holder with 11/2" plain weave for
hems. Weave the first pot holder following the Draft, choosing
either the star-fashion or rose-fashion treadling (compare the
red pot holders on page 23). The sequence is: tabby weft
(raising shafts 1 and 3) from right to left, pattern weft right to
left, tabby weft (raising 2-4) left to right, pattern weft left to
right. The pattern shuttle always follows the tabby shuttle.
You can tell which tabby treadle to use by where the shuttle
is: right side, right treadle (1-3); left side, left treadle (2-4).
Beat very firmly to square the designs (making them the
same height as they are wide; see the * with the treadling
draft). When you finish using the pattern weft for each pot
holder, leave a 12–14" tail of the pattern weft to crochet in a
loop for a hanger. End with 11⁄2" plain weave for second hem
followed by 2 picks scrap yarn in a contrasting color. Weave
each pot holder in the same way, changing colors and trea-
dling orders as desired.
Finishing
Cut the fabric from the loom, machine zigzag the ends of each
pot holder, and cut the pot holders apart. For each pot holder:
With a crochet hook, start close to the fabric and crochet a
chain to use as a hanging loop. Turn the hem under twice,
tuck the end of the loop into the hem, and pin. Machine-stitch
along the folded edge and over the loop end a couple of times
to secure.
Wash by hand in warm water. Press flat with your hands
to dry. Steam press when almost dry. For future care, dry on
a flat surface—no pressing needed!
Draft start ABC Da b ABC Da b
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
end cont'd plain weave

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 (tabby)
3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
floating selvedges pattern weft (used doubled) tabby weft
Rose f
a shion
treadl
ing
rose fashion treadling

star fashion treadling
use tabby use tabby
* If you are having trouble beating firmly

enough to weave the central motifs to
square, weave 4 picks where 5 picks
are indicated, and weave 3 picks where
4 picks are indicated.
Use tabby: Before every pattner pick,

weave a tabby pick, alternating
treadles a and b.
Note that in the other

overshot projects in
this book, if a pattern
treadle is used more
than one time (alternat-
ing with tabby), only a
number appears in the
treadling column to
save space. This draft is
short enough to show
every pattern pick. Oth-
erwise, a 2, 4, or 5 would
appear in the columns
for the blocks.
lin g
n tread
ashio
Star f
Fiesta tablecloth and napkins by Suzie Liles
T
his tablecloth is designed so that when it is in place, Notions and other equipment
“placemats” in four different colors are centered at Matching lilac sewing thread, 461/2" temple (optional).
the four seating positions. The placemats are woven
in overshot inlay on the plain-weave ground of the table- Total warp ends 1,115 ends.
cloth. The art deco colors of Warp length
Fiesta dinnerware are a perfect 3 yd (allows 4" for take-up, 29" for
choice for a party tablecloth and loom waste, and 12" for sampling).
matching napkins (see the nap-
kins on page 26). E.P.I. 24.
You might call me a binge
Width in reed 461⁄2".
weaver. I put projects off until
they really have to be woven, P.P.I. 24 ppi ground weft in
and then I go on a weaving plain-weave areas, 48 ppi in
binge. I’ve dreamed of this inlay areas (24 ground weft,
tablecloth for years, but not until 24 pattern weft).
I needed it for an assignment did
Take-up and shrinkage
I actually weave it.
10–11% in width and length.
The task started with the fun
of choosing colors by visiting a nearby kitchen store and Planning the tablecloth
returning with five Fiestaware tumblers (the least expensive You can follow these directions for a card-table size cloth or
items in the Fiesta collection!). My project deadline allowed design one to fit another table. To design a tablecloth for a
three days (not a time limit I’d recommend to anyone but a different size table, measure the table and add 10–12% for
binge weaver like me), shrinkage and take-
so consultation with up. The “placemats”
my color cards was should be arranged so
followed within twenty- that they fill the table-
four hours by a trip to top area and allow
my local UPS store, the desired amount of
where I intercepted the plain weave to hang
driver carrying the yarn over the edge on all
I’d ordered just to save a four sides. The place-
few hours! mats in this tablecloth
are 91⁄2" by 132⁄3" on
Fabric description
the loom (81⁄4"by 113⁄4"
Plain weave and over-
after take-up and
shot inlay.
shrinkage). They can
Finished dimen- be larger for a larger
sions One hemmed table and/or placed
tablecloth, 42" by 42", farther apart.
and four hemmed napkins, 91⁄2" by 12" each. To plan placemat size, consider that each repeat in the
Warp and weft overshot threading is 17⁄16" plus 13⁄16" (22 picks) to balance
Warp: 10/2 pearl cotton at 4,200 yd/lb, 3,345 yd Purple #27. (before finishing). For this tablecloth plan, the long dimen-
Ground weft: 10/2 pearl cotton, 2,558 yd Purple #27. sion of the center placemat must be placed in the center of
Pattern weft: 5/2 pearl cotton at 2,100 yd/lb, 140 yd each of the threading with the short dimension of one placemat on
Quince #294, Daffodil #130, Henna #172, and Caribbean #017. each side (see the Tablecloth Plan, page 27).
Originally published in Handwoven®, May/June 2005, pp. 56–59.
Warping and weaving
Prepare the loom using your preferred warping method.
Tip: As you complete the threading for each 34-end over-
shot repeat, check the group carefully and loop the ends in
a slipknot. You can then check the number of repeats you
have threaded by counting the slipknots.
Weave plain weave with scrap yarn to spread the warp
and provide a base for the temple. (It is extremely helpful to
use a temple for wide pieces to prevent excessive draw-
in.) Set the temple at the width of the warp in the reed and
advance it often, after about every 1" of weaving.
Place 2 contrasting-color guide strings in the positions
shown as red dots in the Draft: Pin to the cloth, pass them
through the reed but not through a heddle, and weight at
the back of the loom. Tie a loop to the castle above each
string and around the string to pull it to the same level as
the raised shed (the guide string is always “up”).
It is a good idea to practice the inlay before you start the Using the guide strings: Enter the pattern shuttle under the guide
tablecloth to make sure you can beat the pattern to square; strings and all of the raised threads between them. Weave a
tabby pick and repeat.
12" of warp length are allowed for sampling. After the temple
is placed, try weaving several repeats of the first placemat. and blue-dot guide strings (and under the guide strings) on
Beat as hard as you can—it is easier to be consistent with a each side. Alternate the two inlay wefts with a tabby pick
firm beat than a loose one. If you can’t beat firmly enough through the full shed. Remove the outer 2 guide strings and
to make the circles truly round, remove 1 pick in the sections weave the fourth (turquoise) placemat as you wove the yel-
where 4 pattern picks are indicated. If your circles are still low one. Remove the guide strings and end with 8" of plain
oval, you can remove 1 pick in the sections where there are 3 weave. (Total woven length is about 49" measured under
pattern picks, though the pattern will be stronger if this isn’t tension on the loom.
necessary. Once you have determined the number of picks Weave the napkins following the treadling on page 27
that give you truly round circles, practice with several re- (about 14" measured under
peats. (If you are in the middle of the tablecloth and discover tension on the loom).
that your beat is not quite square, you can also adjust the
measurements of the placemats by
eliminating a pattern repeat.)
Weave the tablecloth following the
Draft. Begin with 8" of plain weave.
For the first (center) placemat, pass
the yellow pattern weft only through
the shed between guide strings (see
the photo above). Place the tabby weft
through the entire shed (and under-
neath the guide strings). When you
are finished with the first placemat,
add 2 guide strings for the outer edge
The
of the two side placemats (see the napkins
blue dots) in the Draft. are woven
side by side in
Weave the orange and green plain weave with
stripes of the accent
placemats with 1 pattern shuttle colors. You could weave
for each color, passing it under all overshot borders instead,
but the extra twill line at the
of the threads between the red-dot edges of the placemats will
interrupt the pattern.
Draft for tablecloth and napkins
6x 42x
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
plain weave (tabby) 8"
9x
4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
42x 6x
4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
yellow inlay weft for first horizontal placemat cont'd cont'd

green and orange inlay wefts for two vertical placemats 6x
Use tabby:
turquoise inlay weft for last horizontal placemat The treadling
guide strings (place in same dent as the closest warp shows the
thread on shaft 1; do not thread through a heddle) inlay pattern
picks only.
After inserting
Tablecloth plan 4612 " the inlay weft,
weave a
tabby pick.
8"
6x 9x
Weaving the
912" inlay sections
is not fast, but
1323 " 32" you can develop
a rhythm, and
1323 " the pattern and
9"
1
2
color changes
will keep your
32" interest as you
8"
weave.
7" 7" cont'd
above left
Inlay sections
The draft for Treadling
the inlay is from for napkins
Miniature Overshot
Patterns for Hand 312"
Weaving, Part II, by
Josephine Estes,
1958; (“Solitaire,”
page 17).
8" cont'd
above left
end
Finishing
Remove the fabric from the loom. Secure raw edges
with machine zigzagging. Machine wash, cold
water, gentle cycle. Hang until almost dry. Press
dry with the iron on a cotton setting. Cut apart the
tablecloth and the four napkins. Turn raw edges
of the tablecloth and all four edges of each napkin
912"
under twice and sew hems by hand.
Overshot heirloom tablecloths
by Rita Hagenbruch
W
hen my great-aunt Berta in Sweden died,
I inherited all of her weaving drafts, including
handwritten ones on paper that had been
sewn together. One of her drafts is for a tablecloth in
a pattern called “Monmouth.” My mother’s moster Berta
wove a tablecloth for me when I was fourteen (photo top
right), and her mother wove one for my sister; (bottom
right). I wanted to weave tablecloths like them from the day
I picked up a shuttle in 1973, and I have woven close to a
dozen since. On a recent visit to my mother’s cousin, I was
given a plastic tub full of handwoven linens from Sweden
woven by relatives of my grandfather (some are shown in
the photo at bottom left).
Heirlooms should not be made only to hang in the
closet or hide folded in a bureau. Moreover, when they
are woven in linen, they become more beautiful with use.
My family uses all of the tablecloths I’ve woven for us.
They are reminders of the dinners we have celebrated
together and are cherished as an important part of those
memories.
The three tablecloths on page 29 are all woven on the Rita’s tablecloth, woven by her great aunt
Monmouth threading (blocks are woven as drawn-in for the
one with the natural-colored linen pattern weft; the other two
use treadling variations in several different pattern-weft colors).
Linens, woven by relatives of Rita’s grandfather Rita’s sister’s tablecloth, woven by their grandmother
Originally published in Handwoven®, January/February 2011, pp. 32–35.
Finished dimensions
One hemmed tablecloth 57" by 57".
Warp and weft

Warp: 16/2 unmercerized cotton at 6,480 yd/lb (Lone Star
Loom Room), 6,492 yd bleached.
Tabby weft: 30/2 unmercerized cotton at 11,055 yd/lb
(Studio S), 2,840 yd bleached.
Pattern weft: 16/1 linen, at 4,800 yd/lb (Lone Star Loom
Room), 2,800 yd Natural.
Notions
Matching sewing thread.
Total warp ends 2,164.

Warp length
3 yd (allows 4" for take-up and 44" for loom waste; add 2
yd for each additional 57" tablecloth).
E.P.I. 36. b. Detail of the Milford Gardens tablecloth
Width in reed 601⁄8".

P.P.I. 40 (20 tabby, 20 pattern); 36 in plain-weave areas.
Take-up and shrinkage 6% in width and length.
Complete instructions
Weaving are shown here for the
Wind a warp of 2,164 ends 23/4 yd long to weave a Monmouth Monmouth tablecloth.
tablecloth in one piece. To weave it in two panels, wind a warp of
Choose from a wide
1,084 ends 51/2 yd long. Centering for a weaving width of 601/8"
for one piece (301/8" for two panels), use your preferred method
range of pattern-weft
to warp the loom and thread the shafts as following the Draft colors to fit your decor.
(thread the 16x repeat 8x for two panels).
For the Monmouth tablecloth, 16/1 linen is used for the pat-
tern weft, 30/2 cotton for the tabby weft (the soft, fine cotton Finishing
allows you to pack the pattern wefts close together). About 18" Remove the cloth from the loom. If you wove two panels, turn
extra warp length is included in the loom waste for you to practice one panel around, and, abutting the edges that do not have the
weaving to establish the beat needed to square the design. If you border, stitch together invisibly using a figure-eight stitch,
are weaving the tablecloth in two panels, an extra yard of warp matching the pattern-weft floats. Turn raw edges twice and
length is provided for practice; beat is especially important here sew hems by hand. Machine wash using Liquid Ivory and warm
since the two panels must match when they are sewn together. water: Stop the machine after it fills and agitate with your
Note that you can also adjust the numbers of picks in the large hands only. Spin the wash water out, then refill the machine
blocks of motifs to make them square (as tall as they are wide). with warm water to rinse, again agitating only by hand.
Begin with about ½" plain weave and then weave the hem Lift the tablecloth carefully from the machine and lay the
section alternating tabby and pattern wefts. Weave 2 plain- cloth flat to dry, smoothing out major wrinkles. Just before
weave picks (without pattern) to create an edge for turning the it is dry, press with a steam iron on the wool setting.
hem. Weave the body of the tablecloth following the treadling Note: Weft amounts and specific numbers of repeats for
and end with second hem section and ½" plain weave. For two the Narcissus and Milford Gardens tablecloths are not in-
panels, repeat the whole process for the second panel. cluded in this article.
Draft Monmouth Milford Gardens
8x 1 2 3 4 5 6 1 2 3 4 5 6
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
/ /
/
1
2 " /
tabby
16x 2 2
4 4 4 4 4 4 4 4 4 4 1 2
3 3 3 3 3 3 3 3 3 3 3 1 hem 2
2 2 2 2 2 2 2 2 1 2
1 1 1 1 1 1 1 1 4
/ 4
/ 4
←16x cont'd
1 4
4x 1 2
4 4 4 4 4 4 4 4 4 4 1 2
3 3 3 3 3 3 3 3 3 3 3 1 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 2 2
2 2
←cont'd 2 2
* 2
6x 4
4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 2 4
2 2 2 2 2 2 2 2 2 2 4
1 1 1 1 1 1 1 1 1 2 4
2 2
* End threading here if you are weaving the tablecloth in 2 panels 2 2
2 2
8x
2 2
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2
2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 4 2
2x
repeat
4 2
←cont'd 4 2
/ tabby weft for all tablecloths, 30/2 cotton, natural 4 4 4 4 4 4 2 2
3 3 3 3 3 3 3 2 2
pattern weft for Monmouth tablecloth, 2 2 2 2 2 2 2 2 2
16/1 linen, natural 1 1 1 1 1 1 2 2
2 2
2
16x 2
To weave the tablecloth in two panels, thread the 16x repeat 8 times. 2 2
Use tabby: Weave a tabby pick before each pattern pick, alternating treadles 5 and 6. Narcissus 4 2
Numbers in pattern-weft symbols give the number of pattern picks to use 1 2 3 4 5 6 4 4
2x
with that treadle, alternating with tabby. 4 4 4 4 4
3 3 3 2 4
4x
For a tablecloth 57" x 83", wind the warp 31 2 yd long and weave the 16x treadling repeat 25 times. 2 2 2 2 2
Add 2 1 2 yd (90") to warp length for each additional tablecloth this long. 1 1 1 2 2
For a tablecloth 57" x 102", wind the warp 4 yd long and weave the 16x treadling repeat 32 times. / 4 2
tabby 4 2
Add 3 yd (108") to warp length for each additional tablecloth this long. /
2 4 2
Add 103 yd to the pattern and tabby wefts for each additional pattern repeat over the 16x repeats
2 2 2
given in the treadling. 2 2
2x
2
For Narcissus (the green and yellow tablecloth), 14 treadling repeats plus the balance (but no hems or 2 2
2
border) will produce a woven length of 58 3 4" at 20 ppi each pattern/tabby (1,174 pattern picks). 4 2 2
For Milford Gardens (the blue and white tablecloth), 7 treadling repeats and the balance 4 2 2
(again with no hems or border) will produce a woven length of 59 4 5" at 20 ppi each pattern and 4 2 2
tabby (1,196 pattern picks). 2 2 2
2 4 2
2 4 2
2 4 2
repeat
2 2 2
2 2 2
2 2 2
4 2 4
2
6x 4
4
4 2 4
2 2 4
2 2 2
2 2 2
2 2
balance
2
2 2 2
6x 2 2
2
2 2 2
2 2 2
2 2 4
2 1 4
2 1 4
4 1 4
4 1 2
4 / 2
2 / 2
2 1 2
2 1
balance
2 1 hem pattern weft for

2 1 Milford Gardens
2 2
2 / white cottolin
/
1
2 "
4 blue linen
4
4 light blue cottolin
2 pattern weft for Narcissus aqua cottolin
2 natural cottolin light aqua cottolin
2
2 green cottolin
Treadlings for Milford Gardens
yellow cottolin
and Narcissus tablecloths show
gold cottolin only the pattern repeat
a. Detail of the orange cottolin and balancing motif.
Narcissus tablecloth
Pearl cotton and overshot by Mary Berent
A
deep understanding of the ways in which yarn and yellows in the warp and a gold for the tabby weft. The
weave structures work together can make your three yellows blend to make a soft golden background for
projects shine. Pearl cotton is a first choice for a brownish red-purple pattern weft. The two warp colors
household textiles, especially in overshot. are deliberately not threaded in consistent alternation for
a slightly livelier effect. The overall design follows the
Pearl cotton and color traditional formula of light ground cloth with darker
Pearl cotton comes to us from many different makers. Why
pattern weft, but color choices give it an updated look.
should you know about more than one? The answer is color!
Another way to update overshot is to reverse the tradition
Most of the companies that manufacture pearl cotton offer
and use a dark warp and tabby weft with a lighter pattern
dozens—even hundreds—of colors, and no two companies
weft. White on white or any single color used for all three
offer exactly the same ones. Imagine—thousands of colors!
(warp, tabby weft, pattern) can also be effective. One more
We have the opportunity to include yarns from different
thing to try with overshot is to use a radically different color
companies in our projects to get exactly the colors we want.
for the tabby weft than the warp color.
Each company offers a range of sizes, colors, and put-ups
Don’t forget that you can use two strands together as the
from which to choose. Some retailers wind off “minicones,”
pattern weft: either two strands of the same color or two
allowing the freedom to purchase many colors without
slightly different colors. Mixing two is a great way to
major expense. Companies that specialize in embroidery
introduce subtle color variations. It’s also another way to
threads also offer small skeins or balls of pearl cotton.
blend available colors to get exactly the color you had in
Pearl cotton comes in a great variety of sizes, from
mind. Substitute two strands of 20/2 for one 10/2; two
relatively thick 3/2 (1,260 yd/lb) all the way to very fine
strands of 10/2 for one 5/2, etc. An added bonus is that
40/2 (16,800 yd/lb). The overshot runner on page 33 uses
two strands give slightly better coverage than a single
20/2 for the warp and tabby weft and 10/2 for the pattern
strand since they lie flatter.
weft. Another combination that works well is 10/2 cotton
It’s always a good idea to put on extra warp length for any
for warp and tabby weft and 5/2 (or 3/2) for pattern weft.
overshot project so you can experiment with tabby and
Order sample cards to study how the colors differ from
pattern-weft colors (as well as the treadling orders of
company to company. For example, DMC tends to have
overshot blocks). If your plan is to use off-white for the
colors in a run—the same hue but available in several
warp and tabby weft and navy for the pattern weft, try
different values. Sample cards are a great way to study color
sampling with pastel or even bright colors for tabby. You
so you can bring subtlety and depth to your handwovens.
will be surprised by the results!
From the sample cards, you can compare other differ-
ences, too. Some pearl cottons have a tighter twist than Fabric description Overshot.
others, which makes them more durable but not as soft.
Some are very shiny, while others have a softer sheen. Once Finished dimensions
you assess these differences, you can choose the yarn that One hemmed runner 17" by 351/2".
gives you the qualities best suited to your project. Warp and weft
Overshot and color Warp: 20/2 pearl cotton at 8,400 yd/lb (Pearly Perle, Cotton
Since overshot is relatively busy visually, it tends to look Clouds), 578 yd each of #46 Champagne and #91 Flaxon.
best in smooth, evenly spun yarns. Novelty, nubby, or Tabby weft: 20/2 pearl cotton, 685 yd #29 Old Gold.
space-dyed yarns can obscure the pattern or make it Pattern weft: 10/2 pearl cotton at 4,200 yd/lb (Pearly Perle,
look busy and confusing. The pattern-weft yarn needs Cotton Clouds), 615 yd #143 Raisin.
to provide richness of color, durability, and a hint of Notions
shine to accommodate and enhance pattern floats. Matching gold sewing thread.
Traditionally, overshot has been woven with
a white or off-white warp and tabby weft and a dark Total warp ends
pattern weft. The runner on page 33 uses two different 577 (includes two doubled floating selvedges).
Originally published in Handwoven®, November/December 2010, pp. 38–40.
Pearl Cotton Directory*
Manufacturer UKI Valley Cotton Silk City Lunatic Fringe
Source Most yarn retailers Webs Cotton Clouds Most yarn retailers
Yarn Size Put-up Colors Put-up Colors Put-up Colors Put-up Colors
3/2 (1,260 yd/lb) 1 lb cone 141 1 lb cone 61 1 lb cone 7
minicone* 141
5/2 (2,100 yd/lb) 1 lb cone 141 1 lb cone 61 1 lb cone 62
minicone* 141
10/2 (4,200 yd/lb) 1 lb cone 141 1 lb cone 61 1 lb cone 11 8 oz cone 27
minicone* 141 1 lb cone 27
20/2 (8,400 yd/lb) 1 lb cone 141
minicone* 141
* minicones available from some retailers ** special order; also available from www.presenciausa.com
Manufacturer Maurice Brassard Finca by Presencia Anchor (Coats) DMC
Source **Cotton Clouds
Yarn Size Put-up Colors Put-up Colors Put-up Colors Put-up Colors
3/2 (1,260 yd/lb) 10 g ball 123 16 yd skein 289
50 g ball 123
5/2 (2,100 yd/lb) 10 g ball 156 27 yd skein 309
50 g ball 155 49 yd/10 g 114
100 g ball 32 ball
8/2 (3,360 yd/lb) 150 g 21 10 g ball 156 85 yd/ 228 87 yd/ 238
(yd/lb varies) tube 50 g ball 45 10 g 10 g ball
100 g ball 32 ball
12/2 (5,040 yd/lb) 5 g, 10 g balls 156 68 yd/ 47 131 yd/ 40
50 g ball 31 5 g ball 10 g ball
100 g ball 42
16/2 (6,720 yd/lb) 150 g 21 5 g, 10 g ball 156
tube 50 g ball 56
20/2 (8,400 yd/lb) 150 g 21
tube
Manufacturer Tamm Venne

Use tabby: Before
every pattern pick,
weave a tabby pick,
Source **Cotton Clouds alternating treadles
1 and 2.
Metric Yarn Sizes Put-up Colors Put-up Colors
Nm (metric m/kg)1.5; Ne (English count) 3.5/2 (1,492 yd/lb) 8 oz cone 24
Nm 34/2 (Ne 20/2); (8,470 yd/lb) 12 g, 50 g 113

100 g, 1,000 g
Nm 40/2 variegated; (9,460 yd/lb) 7 g, 50 g 39
1,000 g
Nm 70/2 (Ne 40/2); (17,300 yd/lb) 8g, 1,000 g 114
* This chart was compiled six years ago, so expect minor changes.
Draft a
2x 1 2 3 4 5 6
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Thread a to c 1x, then thread a to b (and add a doubled floating selvedge at the end ( ). / plain
b doubled floating selvedges / weave
2x ← cont’d. 4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
4
2x
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 4
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4
4
← cont’d. 5
c 6x
5
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 3
3 3 3 3 3 3 3 3 3 3 5
2 2 2 2 2 5
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 7
7
Use tabby: Before every pattern pick, weave 3
a tabby pick, alternating treadles 1 and 2. 3
3
7
7
5
5
3
5
5
Warp length Finishing 4
4
2 yd (allows 4" for take-up and 28" for loom Remove the runner from the loom. Turn ends ¼", 4
4
2x
waste). then ½", and sew hems by hand or machine. Hand 4
4
or machine wash; lay flat to dry. To avoid pressing, 5
E.P.I. 30 (2/dent in a 15-dent reed). 4
smooth the fabric flat on a counter surface to dry, 4
3
24x
Width in reed 191/4". or use steam or press while still damp. 3
5
use tabby
2
3
P.P.I. 5
4
58 ppi (29 ppi tabby, 29 ppi pattern) in pattern 3
4
areas; 30 ppi in plain-weave areas.
TIP:
5
4
4
2x
Take-up and shrinkage If you’re unsure about what 4
4
12% in width and 9% in length. colors to use in overshot, choose 4
4
a pattern weft in a saturated color 5
Warping and weaving and then a ground warp and 3

5
tabby weft in a much lighter

5
Wind a warp of 578 ends 2 yd long holding 1 end 5
Champagne and 1 end Flaxon together, keeping a fin- (paler) version of the same hue. If 7
7
ger between them to prevent twisting. Thread follow- both the pattern weft and the 3
3
ing the Draft, a to c; then return to the top of the draft tabby weft are pearl cottons, your 7
3
and thread a to b (place a doubled floating selvedge choices are limitless! 7

5
5
on each side). Select from the 2 colors in each dent 3
5
randomly (you’ll have 1 end left over that you can 4
5
remove or let hang from the warp beam). 4

4
Weave 60 picks plain weave at both ends for 4
4
2x
hems using 20/2 Old Gold. Weave the runner follow- 4
ing the treadling in the Draft. Use tabby: Before each

pattern pick (10/2 Raisin) weave a tabby pick (20/2
Old Gold). Numbers in the treadling indicate the
number of times to weave the pattern weft using that
treadle, always alternating with tabby.
Folklore vests in overshot by Terri Van Orman
M
arguerite Porter Davison created a great legacy Warp and weft
when she collected patterns and wove samples Warp for black vest, page 37: 6/2 unmercerized cotton at 2,520
for A Handweaver’s Pattern Book (see Resources). yd/lb (Burnt Cotton, Webs), 1,150 yd black. Tabby weft for black
Paging through the array of weave structures and patterns, vest: 6/2 unmercerized cotton, 420 yd black.
one can see that she was careful to give the source for each Warp for beige vest, page 38: 4/2 cotton at 1,680 yd/lb
one. Weaver Rose figures quite prominently, as do John (Burnt Cotton, Webs), 1,150 yd natural. Tabby weft for beige
Landes, Ester Perheentupa, and a star-studded cast of many vest: 4/2 cotton, 420 yd natural.
others. A few especially beautiful weaves are quietly Pattern weft for each vest: 9/4 worsted wool at 1,260 yd/lb
accompanied by the initials: M.P.D. Guess who? Marguerite (Greenwich, Webs), 140 yd each of red, blue, and dark teal.
Davison herself devised these, and Finnish Diamond
(page 129 in her book) is one of the loveliest. Notions for one vest
McCall’s vest pattern #8285, 11⁄4 yd black commercial
Finnish Diamond's special appeal fabric (for vest backs and for lining the fronts), 7⁄8 yd
When I first became inspired to weave vests, Finnish interfacing, three 3⁄4" buttons, sewing thread.
Diamond appealed to me for two reasons. Having lived in
Northern Bavaria for several years, I had fallen in love with Total warp ends 511.
the folkloric designs that adorn the costumes and even the Warp length for one vest 21/4 yd (allows 3" for
houses of this colorful region. Repeating diamonds on flags; take-up, 12" for sampling, 26" for loom waste).
garlands, wreaths, and circlets festooning entranceways,
wagons, and costumes; borders around windows and hat- E.P.I. 16 (2/dent in an 8-dent reed).
bands and on the tops of socks—and flowers everywhere!
Width in reed 32".
How to capture all of this in a vest? The gay motifs of
Finnish Diamond seem to echo the festive feeling that P.P.I. 16 (8 tabby, 8 pattern).
memories of this area always bring me.
Take-up and shrinkage 13% in width, 25% in length.
Moreover, Finnish Diamond is a miniature overshot thread-
ing that can produce many different designs, depending on Warping and weaving
the treadling. It can be even woven as twill if the tabby weft is Wind a warp and prepare the loom following the Draft on
omitted. I love the fact that the great variety of treadling options page 39 using either 6/2 black cotton (for the black vest on
allows the exciting possibility of “designing as you go.” page 37) or 4/2 natural cotton (for the beige vest on page 38).
I have felt at times a bit constrained by the preplanning If you’ve used Marguerite Davison’s drafts before, you have
and subsequent lack of free choices that are often a part of probably already figured out that the x’s in her tie-ups indicate
the weaving process, but with this weave I can let my hair the shafts that sink. The tie-up the Draft shown here has been
down and plunge in with no preordained idea of exactly altered to show the shafts that are raised. If you are using a
how the design will unfold. What fun! counterbalance loom, tie your treadles to the shafts repre-
I began my vest fabric by weaving all of the fourteen trea- sented by blank squares in the tie-up so that these shafts are
dlings Marguerite Davison gives for Finnish Diamond in order lowered. You will want to see the right side of the fabric while
to determine which ones I wanted to use. I made notations so you are weaving—the back looks quite different.
that I would know which treadlings produce little o’s, big O’s, Wind one bobbin with the tabby weft (6/2 or 4/2 cotton)
x’s, zigzags, diamonds, etc. Then I was ready to play! and one bobbin for each of the three 9/4 worsted wool pattern
As I finished a particular motif in a particular color, I weft colors (red, blue, and dark teal). For occasional use as an
looked at the result to give me an idea of which color and accent, wind a few other bobbins with odds and ends of wools
motif to choose next. Weaving this fabric was a great or silks in approximately the same grist as the 9/4 wool.
exercise in the serendipity of spontaneous design. Weave a heading to spread the warp. Before weaving the
vest fabric, weave each of the ten designs in the Draft (a–k),
Fabric description Overshot and twill.
changing pattern-weft colors at will. This sampling will give
Finished dimensions Yardage 28" by 30" for vest fronts. you an idea of how the designs work together. Then begin
Originally published in Handwoven®, January/February 2004, pp. 64–67, under the name of Terri Bruhin, now Terri Van Orman.
weaving the fabric, choosing motifs and colors as you
consider how each looks in relationship to the previous
rows of motifs. Don’t worry too much about your choices—
there are no right or wrong answers. Just enjoy the experi-
ence of seeing the many designs unfold.
One bonus of weaving this fabric for vests is that the
selvedges will be removed when you cut out the pattern
pieces. Therefore you do not need to fuss over tucking in
the tails of your weft yarns every time you change colors.
Let them fly at the selvedges, wild and free!
Weave the fabric for the length of the warp (at least
40"). Then if you plan to use the same threading for the
second vest, release the warp beam and pull the fabric
forward so that about 12" of unwoven warp extend
from the reed. As you cut the fabric from the loom,
secure the cut warp ends in front of the reed with
loose slipknots.
Finishing
Cut off the sampling from the vest fabric and
staystitch the raw edges to secure. I finished the
fabric by spritzing with cool water until damp and
then ironing until dry. You can instead submerge
the fabric in cold water, roll in a towel to blot out
excess moisture, air dry until just damp, and then iron until
completely dry. the cloth, constructing and topstitching the garment, all it
would take is one slip-up with the buttonholes and the vest
Cutting and sewing the vest is ruined! With these vests, however, I braced myself and
Right sides together, fold the fabric in half lengthwise.
used the buttonhole attachment on my sewing machine
Be sure that the rows of patterning meet perfectly at the sel-
with no problems at all. So, be brave, make your button-
vedges. Pin the vest pattern to the fabric, placing the front
holes where they are marked on the pattern, and then sew
center of the vest along the matched selvedge edges. Cut out
on the buttons, matching pattern rows carefully.
the two fronts together and immediately carry them to your
sewing machine and secure all cut edges with staystitching. Weaving a second vest
(I used a zigzag stitch.) Cut out the back piece and the two Remember all that time you spent threading those 511 ends?
front lining pieces from the commercial fabric. Here’s a chance to weave a very different-looking vest without
Construct the vest following pattern directions. For a having to rethread the loom. Instead, wind a new warp of 511
tailored look, topstitch 1⁄4" from all edges, changing thread ends using the 4/2 cotton if you did your first vest in 6/2 or
color as necessary to match the fabric. vice versa. You can tie this new warp onto the old one in a
Here’s a tip for topstitching! Because the handwoven fraction of the time it took you to thread.
fabric is so much heavier than the lining fabric, it can tend to Here’s how to do it. Secure the cross in your usual way,
sag near the bottom after a few days. To avoid this, topstitch tie a firm choke knot about 18" from the cross, and remove
everything except the bottom of the two front pieces. Let the the warp from the warping board, cutting the warp loop at
vest hang overnight. The next day, with an iron, press the the cross end.
handwoven fabric of each front piece firmly toward the bottom Place lease sticks in the cross and secure them to the
edge to push out any slack. Then topstitch the bottom edges. loom between the front beam and the reed. The ends of the
The very last step to completing the vest is the closures. new warp should hang 8–10" from the lease sticks, and the
I have to admit that for previous projects I have chickened ends from the old warp should hang 8–10" from the reed.
out and made button loops to avoid buttonholes. After Select the first warp end from the new warp (this will be
correctly threading the loom, weaving the cloth, cutting the floating selvedge) and tie it to the floating selvedge of the
Draft
21x a b 1 2 3 4
4 4 4 4 4 4 4 4 4 4 4 4 d
3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 d
1 1 1 1 1 1 1 1 1
= floating selvedges
tabby sheds
f
1
1
l. Twill border design 1 j
a.
(no tabby used) 1
use tabby
1
cotton 4 4 4
1 h g
3 3 3
blue wool 1
2 2 2
1 h d
red wool 1 1 1
1
1 b
dark teal wool 1 k
1 i
3 b
old warp using an overhand knot. Make the knot so that a 1
b
b
1
c.
tail of about 1⁄2–1" extends from the knot. Take the next end use tabby
3
b f
1
from the reed and the next end from the cross and tie them 1
3
h
c
together in the same way. Continue, until each end from d. 1
3
i
the new warp is tied to an end from the old warp. The tails use tabby
3
1
e
c
of the knots don’t have to be exactly the same length—just 1
(reverse)
1 d
1
aim for about 1⁄2–1". It also doesn’t matter which of the two 1 i
e. 1 k
ends in each dent of the reed you select first. use tabby 1 g
1
When all the knots are tied, remove the lease sticks, 1 d
1 b
cut the choke tie, and pull firmly on the warp chain about 1 a
f. 1 f
a yard in front of the breast beam to straighten the warp no tabby
1
1
j
use tabby
threads. 1
4
g
no tabby b
Crank the warp beam slowly until the knots are 1⁄2–1" 1
1 g
2
from the reed. Holding the reed upright in your left hand, g. 2 b
use tabby 2
grab a couple of inches of warp threads behind the reed l
2 i
2
with your right hand and pull and jiggle them so that the h. 2
use tabby 2 b
knots come through the reed. Do the same thing with 2
1 c e
successive handfuls of warp threads until all the knots i.
3
1
use tabby
are pulled through. Crank the warp beam until the knots 1
1 i
g
are close to the first shaft, and then go to the front of the 1
1
g
3
b
loom and pull on the warp to straighten the threads. j.
use tabby 3 i
3
Behind the shafts, grab a handful of warp threads and 1 b
1
jiggle and pull the knots through the heddles in the same 1 b
k. 1
way you pulled them through the reed. When they are use tabby
1
3
b
all pulled through, crank the warp beam until the knots 1
g
are close to the back beam, return to the front of the g
loom, and pull firmly on sections of the warp until all the
threads are straight. From this point on, you can wind the
“Use tabby” means to weave a tabby pick before
warp on the beam in your usual way, maintaining firm every pattern pick, alternating treadles a and b.
and even tension, packing the layers with smooth paper (Note that in treadling f, no tabby weft is used
or sticks. for the first and last 3 picks.) Numbers in the
treadling indicate the number of pattern picks to
You are now ready to weave your second vest! Follow weave using that treadle, alternating with tabby.
the same steps as for the first. You will have one vest for The border treadling (treadling l) is twill and plain
spring and summer and one vest for fall and winter, and weave, not overshot. Use only the yarns that are
shown in the treadling draft; no tabby weft
you can feel festive and folkloric all year long.
alternates between them.
Resources
Davison, Marguerite Porter. A Handweaver’s Pattern Book.
Swarthmore, Pennsylvania: Margaret P. Davison, 1944, p. 129.
Overshot coverlet by Rita Hagenbruch
I
t already seems like a miracle that you can start with a strand
of thread and end up with a fabric. The joy of that transforma-
tion is multiplied infinitely when you weave something as
large and highly patterned as a coverlet. You sit down and lose
yourself in the weaving, day after day. One day, you surprise your-
self by coming to the end. You unwind the cloth beam, out spills
PHOTO FROM THE DIGITAL ARCHIVES, LIBRARY OF CONGRESS

the cloth, and you are dumbstruck by what you have made.
Overshot coverlets are one of early America’s major
contributions to our weaving heritage. The January 2009
issue of Smithsonian magazine includes an article about
Abraham Lincoln called “Lincoln as Commander in Chief.”
In it, there is a photograph featuring Lincoln and George
McClellan sitting in a tent at Antietam. I decided to weave a
reproduction of this coverlet for an exhibition in June 2010
with the theme “Looking for Lincoln.” Thus began a Abraham Lincoln and George McClellan at Antietam in 1862
rewarding adventure in analyzing, designing, and weaving!
Resources
The process
van der Hoogt, Madelyn. “Understanding Overshot.” The Complete
The Lincoln photo, taken on October 3, 1862, during the
Book of Drafting for Handweavers. Petaluma, California: Shuttle-
Civil War, is available from the Library of Congress as a JPG Craft Books, 1993, pp. 39–49.
or TIFF file (go to www.loc.gov; see Digital Collections,
Alexander Gardner’s glass negatives). When I enlarged the Fabric description Overshot.
photo on my screen, I detected a threading error: there is an
Finished dimensions
extra block in one of the major motifs. It makes me wonder
One hemmed coverlet 551/2" by 791/2".
about the weaver! Did she notice this mistake and decide it
would take too much time to correct? Discovering another Warp and weft
error in the treadling allowed me to ascertain that the Warp: 16/2 unmercerized cotton at 6,479 yd/lb (Lone Star
coverlet was woven in two panels and one panel turned Loom Room), 7,574 yd natural.
around to meet the other (so that the error appears in the Tabby weft: 20/2 pearl cotton at 8,400 yd/lb, 3,114 yd natural.
opposite direction in each). What fun sleuthing! Pattern weft: 18/2 merino at 5,040 yd/lb (JaggerSpun Super-
For the most part, the blocks in this coverlet are woven fine Merino), 2,003 yd #41 dark blue, 1,068 yd #74 dark red.
in the same order as they are threaded (a diagonal line
of pattern squares is the evidence for this). To analyze
Notions
Off-white sewing thread.
the draft, I started at the edge of one design repeat and
moved up the diagonal, identifying the four unique Total warp ends 2,164 for one panel.
blocks and giving them a label: A, B, C, or D. (I decided
not to repeat the threading error.) Warp length
This coverlet is somewhat unusual in that in some places, 31/2 yd long for one panel (allows 6" for take-up and 32" for
blocks are treadled “on opposites”: Block A next to Block C, loom waste.
Block B next to Block D. This produces the asymmetrical E.P.I. 36 (3/dent in a 12-dent reed).
appearance of the wavy lines between the blocks in the large
table motif. For more information about designing and Width in reed 601⁄8" for one panel.
drafting overshot, see Resources.
P.P.I. 38 in pattern areas (19 tabby, 19 pattern weft), 36 in
I wove the coverlet in one panel, but you can weave it in
in plain-weave areas.
two panels on a narrower loom (see page 43 for specific
instructions and warp width, number of ends, and length). Take-up and shrinkage 10% in width and length.
Originally published in Handwoven®, November/December 2010, pp. 42–44.
7x
Draft 7x 7x 1 2 3 4 5 6
4 4 4 4 4 4 4 4 4 4
Add 1 floating selvedge 3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2 2 2 2
3
2
3
2
3 3 3 3
2 2 2
to each side, if desired. 1 1 1 1 1 1 1 1 1 1 1 1 1
/
4 = dark blue pattern weft 3 = red pattern weft / = tabby weft /
1
4 "
4
←7x cont'd 2
1
hem
4 4 4 4 4 4 4 4 4 4 4 4 4 4 1
3 3 3 3 3 3 3 3 3 3 3 3 3 /
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 /
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1
2
4
←7x cont'd 1
5x 6x
1
4 4 4 4 4 4 4 4 4 4 4 4 4 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 4
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1
1
4
←7x cont'd 1
7x 7x
4 4 4
*4 4 4 4 4 4 4 1
1
6x
3 3 3 3 3 3 3 3 3 3 3 3 3 3 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 4
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3
4
* End here if you are weaving the coverlet in two panels. 4
4
3
Weaving Numbers in the treadling indicate the number

4
4
10x
4
Wind a warp of 2,164 ends 31/2 yd long to weave the of pattern picks, alternating with tabby. 3
4
coverlet in one panel as I did (or see instructions under 4
1
Use tabby: Weave a tabby pick before 5x
Weaving the Coverlet in Two Panels, page 43). Cen- 1
every pattern pick. 1
tering for a weaving width of 601/8", use your pre- 4
4
ferred method to warp the loom following the Draft 3
4
(I did not use floating selvedges, but you can choose 4
4
to do so if you wish, adding one to each side.) 3

4
Spread the warp with scrap yarn in plain weave Finishing 4
4
(using treadles 5 and 6). To minimize draw-in, insert Remove the fabric from the loom and machine zigzag 3
4
a temple in the scrap yarn section spread to a 601/8" raw edges. For the hems: Turn the plain-weave sec- 1
1
6x
width. Begin weaving the coverlet by treadling plain tion under and press. Fold the hem again along the 2 1
1
weave for 1/4" using 20/2 cotton (tabby weft), and plain-weave picks, press, and sew hems by hand with 4
1
then weave the pattern picks indicated for the hem sewing thread. (To calculate shrinkage for future plan- 1
1
section in the Draft, alternating with tabby; end with ning, measure the coverlet after hemming.) 1
4
1
2 picks plain weave with tabby weft only. (The blocks Fill the washing machine with warm water. Do not 1
6x
1
in the hem section are designed so that they will agitate the coverlet in the machine, but do so gently by 4
2
match the blocks on the back when the hem is turned hand. Spin out water, fill with warm rinse water, and 1
1
and sewn, making the coverlet reversible; the 2 plain- repeat. Lift the coverlet from the machine and lay flat /
/
weave picks mark the turning line.) to dry. Press and block with the iron on a wool setting, 1
1
hem
Weave the body of the coverlet following the taking care not to catch pattern floats. 2
4
treadling in the Draft using the pattern-weft color /
/
1
4 "
indicated. Use tabby throughout: Weave a tabby pick
before each pattern pick. Numbers in the treadling
draft indicate how many times to weave successive
pattern picks using the same treadle (always alter-
nating with tabby). End with the second hem section
in the same way as you wove the first.
Weaving the coverlet in two panels
For a 35" loom, wind a warp of 1,232 ends (341/4" weaving
width for a finished coverlet width of 63"); for a 27" loom,
wind a warp of 938 ends (261/12" weaving width for a finished
coverlet width of 48") 7 yd long. This length allows two 88"
panels, 12" take-up, 1 yd sampling, and 28" loom waste.
(When you are weaving two panels, it is important to sample
to establish a consistent beat before you start the actual cov-
erlet.) For other coverlet widths, calculate 81/6" per repeat in
the draft (the bracketed 7x section in the Draft).
Thread the repeat 4x for the 341/4" weaving width, 3x for
the 261/12" weaving width. Stop at the asterisk (*) after the
last repeat. Use the extra yard for sampling. These panels are Remove the panels from the loom, cut apart, and sew hems
narrower than the 60" weaving width used for the coverlet as in Finishing. It’s easier to block the two panels to size if you
shown here, so the weft will tend to pack in more. Adjust the sew them together before fulling. Rotate one of the panels
numbers of picks in each block if necessary to weave to 180 degrees, abut the two edges (corresponding to the as-
square. Then weave each panel following the treadling in the terisk in the draft), and sew them together in a figure-eight
Draft. Measure carefully and weave to square so the two pan- stitch with sewing thread. Match the pattern, easing in any
els will match when you sew them together. differences. Full, block, and press as indicated in Finishing.
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Pearl Cotton
Fiesta Cloth: color by numbers by Leslie Killeen
T
hough exposed to overshot early in my weaving As for how Fiesta Cloth yardage might be used? It could be
career, it never really intrigued me until I saw a almost anything! The fabric has a firm hand, but is not stiff.
sample by Dini Moes in a Cross Country Weavers’ Consider a bright table runner for any season, placemats, a
exchange from 1997 that simply exploded with color. In- pillow cover, a vest—these are only a few ideas. It really is a
spired by her ideas, I began to experiment. very versatile cloth!
Designed to celebrate the fiftieth anniversary of the
Fabric description Overshot variation.
Cross Country Weavers (an international sample exchange
group), this fabric that I call Fiesta Cloth plays with the Finished dimensions
numbers four and five. Five colors are used in a 4-block Finished yardage 203/4" by 129" long.
rotation. Each block is repeated four times in the threading
for a 160-end repeat. In the treadling, each block is woven Warp and weft
with five pattern picks (alternating with tabby) before 10/2 pearl cotton at 4,200 yd/lb (Halcyon Yarn), 650 yd
changing to a new block. green #139, 640 yd gold #112, orange #148, red #172, and
purple #171.
Breaking with tradition Weft: 8/2 Tencel at 3,360 yd/lb (Webs), 1,890 yd black.
Fiesta Cloth uses 4-shaft overshot in very nontraditional
ways to produce a cloth that doesn’t look anything like Notions Matching sewing thread.
overshot usually does. In Fiesta Cloth, the pattern and Total warp ends 642 (includes 2 floating selvedges).
tabby wefts are the same yarn, so only one shuttle is
required. Using a smooth, fine thread for the pattern weft Warp length
(as well as for the tabby weft) also reveals that the pattern 5 yd (allows 10" for take-up and 26" for loom waste).
floats in overshot do not lie perfectly parallel in the blocks.
E.P.I. 30 (2/dent in a 15-dent reed).
Rather, they are at a slight angle to one another, creating
a zigzag effect that is masked when traditional lofty wool Width in reed 212⁄5".
yarns fill in the pattern area. I particularly like this effect.
P.P.I. 20.
In another break from tradition, the warp for this cloth is
sett much more closely than is usual for overshot in order Take-up and shrinkage 3% in width and 10% in length.
to create a warp-dominant fabric. This makes the halftones
that are characteristic of traditional overshot almost disap- Weaving
pear, keeps the tabby weft from showing, and allows the Because of the color changes in the warp, this project is
zigzags of the pattern threads to set off the many colors easier to warp from front to back, winding five separate warp
used in the warp. chains and distributing them in the correct order in the reed.
If you warp back to front, you will have to cut and tie at color
Yarn and color choices changes (every two trips around the warping board).
The warp colors in Fiesta Cloth were inspired by the colors Wind five separate warp chains of 128 total ends each
in a skein of knitting yarn (Classic Elite’s Fame Silk and chain alternating two colors following the Warp Color Order
Rayon). For each of the five warp colors, I used combina- (129 ends in the first and last chain for floating selvedges).
tions of multiple yarns from my stash to make a strand Keep the 2 ends separate with a finger to prevent them
about the thickness of 10/2 pearl cotton. For easier warp- from twisting): green/gold, gold/orange, orange/red, red/
ing, 10/2 pearl cotton in the colors I used is suggested here. purple, purple/green. Wind 1 green floating selvedge at the
You can also use five other colors—or more! start of the first chain and 1 green floating selvedge at the
Using black for the weft was inspired by several gifts that end of the last chain. Sley the reed starting at the right edge
my husband brought me from a business trip to Jamaica. of the warp with the green/gold chain: 1 green (floating sel-
For this project, the weft is 8/2 black Tencel. It shows the vedge) and then sley 2/dent for 4 dents (8 ends); * skip 16
zigzag effect to good advantage and captures a sense of dents, sley 2/dent and continue from * until you have sleyed all
how color is used in Jamaica. the ends. Next, sley the gold/orange chain 2/dent for 4 dents
Warp color order Draft
16x 4x
4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 4x 1 2 3 4 5 6
130 1 1 1 1 green 4 4 4
128 1 1 gold 3 3 3
128 1 1 orange 2 2 2
128 1 1 red 1 1 1
128 1 1 purple green gold orange red purple / black /
642 plain weave (tabby) /
= floating selvedges /
/
/
2x
/
starting in the next empty dent inside the first Finishing /
/
green/gold group, skip 16 dents, and continue. Sley Cut the fabric from the loom. Machine zig- /
/
2x
each successive chain the same way, starting with zag or serge raw edges and machine wash, /
/
the next available dent. Sley the last green floating gentle cycle, mild detergent. Machine dry, /
repeat
/
selvedge singly. low, until partly dry, then press with a hot /
/
/
2x
Thread the shafts following the Draft. After the iron until dry. /
/
warp is beamed and tied on, weave several picks Assemble into the project(s) of your /
/
of plain weave with scrap yarn to spread the warp. choice. The yardage will finish about 129" /
2x
/
Wind a bobbin of black Tencel, and weave 4 yd long, or three lengths of 43". A 43" length /
/
(144") following the treadling in the Draft, always will make one hemmed runner 40" long, or /
alternating tabby picks with pattern picks. two pillow faces, or two vest fronts.
TIPS FOR PLANNING, HEMSTITCHING, AND FRINGING
TAKE-UP AND SHRINKAGE T W I S T I N G ( O R P LY I N G ) T H E F R I N G E

Weft take-up and shrinkage. As Divide the number of threads for each fringe into two groups.
you weave, extra weft length (be- Twist each group clockwise until it kinks. Bring both groups
yond the width of the warp in the together and allow them to twist around each other counter-
reed) must be placed in the shed to clockwise (or twist them together in that direction). Secure the
allow for weft take-up (in Handwo- ends with an overhand knot. (Use the same method to make
ven projects, this amount is included a plied cord by attaching one end to a stationary object.)
in required weft yardage). The fab-
ric then draws in as the weft bends
over and under the warp threads, so
that the width of the woven cloth is
narrower than the width of the S I M P L E H E M S T I TC H I N G
warp in the reed. The cloth narrows Weave several picks of plain weave, ending
further after it is removed from the with the shuttle on the right side if you are
loom, and shrinkage narrows it even right-handed, left side if you are left-handed.
more if it is washed. To calculate Measure a length of weft three times the
the percentage of weft take-up and warp width and cut, leaving the measured
shrinkage, divide the finished width length as a tail. Thread the tail into a blunt
by the width of the warp in the tapestry needle.
reed. Take the needle under a selected group of ends above the fell and bring it
Warp take-up and shrinkage. As up and back to the starting point, encircling the group. Pass the needle under
you weave, the warp bends over the same group of ends, bringing it out through the weaving two (or more)
and under the weft threads so that weft threads below the fell. Repeat for each group of ends across the fell.
fabric length is less than the length Needleweave the tail into the selvedge and trim. (See * below.)
of the warp threads that produce it
(Handwoven projects give the num- D O U B L E ( I TA L I A N ) H E M S T I T C H I N G
ber of inches allowed for this take- Weave several picks plain weave, ending with the shuttle on the right side
up under Warp Length). When you if right-handed, left side if left-handed. Measure a length of weft four times
release tension and remove the fabric the warp width and cut, leaving the measured length as a tail. Thread the
from the loom, the fabric takes up in tail into a blunt tapestry needle.
the warp direction. If you wash the Take the needle under a selected group of warp ends above the fell
fabric, shrinkage further decreases its and bring the needle back to encircle the ends. Next, pass the needle
length. To calculate the percentage of under the same ends but come up two or more weft rows down from the
warp take-up and shrinkage, divide fell. Then bring the needle back around the same group of ends below
the finished fabric length by the the fell. Then begin again, encircling the next group of ends. (See * below.)
woven length (measured under ten-
*For both methods: To hemstitch the first end of a piece, weave a header, weave four or five
sion on the loom) plus the inches
picks of plain weave (or of the basic weave structure used in the piece), and hemstitch over
given for warp take-up.
the top two or three weft rows. Weave the piece and then hemstitch the other end over the
To calculate how long to weave last two or three weft rows. Remove the fabric from the loom and discard the header and
a fabric for a specific finished weft threads below the first hemstitching.
length, use the percentage derived
by dividing the finished length listed
in the project by the woven length
measured under tension on the
loom (for this percentage, do not
include the inches allowed for take-
up in the warp yarn).
Annotated overshot bibliography
by Madelyn van der Hoogt
Atwater, Mary Meigs. A Book of Patterns for Hand- ___. A Handweaver’s Source Book. Chester, Pennsylvania:
Weaving by John Landes. Hollywood: Southern John Spencer, Inc., 1953. Includes 224 overshot
California Handweavers’ Guild, 1977. Pattern book threading drafts (from the Laura M. Allen collection)
of a professional 18th century weaver with many with drawdowns of the pattern blocks (not includ-
4-shaft overshot threading drafts. ing halftones).
___. Recipe Book: Patterns for Handweavers. Salt Lake Drooker, Penelope B. Samplers You Can Use: A
City: Wheelwright Press, 1975. Contains recipes Hanweaver’s Guide to Creative Exploration. Loveland,
(with weaving specifics) for many fabrics (coverlets, Colorado: Interweave Press, 1984. Includes sampler/
rugs, clothing, wall hangings, bags, etc.), including pillow project with eleven different treadling
several in overshot. systems (among twelve project samplers in other
___. The Shuttle-Craft Book of American Hand-Weaving. weave structures).
Petaluma, California: Shuttle-Craft Books, 1951. Estes, Josephine E. Miniature Overshot Patterns for
Includes history and drafting theory and 147 overshot Hand Weaving Parts I & II. Boston: Josephine E. Estes,
threading drafts, some illustrated with photos or 1956. Includes threading drafts, treadling orders, and
pattern-weft drawdowns. pattern-weft drawdowns for 48 overshot patterns
Black, Mary. Key to Weaving. New York: MacMillan (24 per volume). Also available in a new edition
Publishing Company, 1980. A chapter on overshot edited by Peter Mitchell and Marjie Thompson.
gives the basics on drafting 4-shaft overshot and a Boston: Weaver’s Guild of Boston, 1995.
variety of treadling variations (flame point, Italian, Frey, Berta. Designing and Drafting for Handweavers.
honeycomb, etc.). New York: Macmillan, 1958. Includes discussion of
Bress, Helene. The Coverlet Book. Gaithersburg, drafting 4-block designs in overshot.
Maryland: Flower Valley Press, 2003. Two volumes. Jarvis, Helen N. Weaving a Traditional Coverlet.
Vol. I contains almost 500 pages of analysis of 4-shaft Loveland, Colorado: Interweave Press, 1989. Gives
overshot coverlets including drafts, drawdowns, steps for choosing overshot patterns and adapting
and construction details. Vol II includes the same the drafts in order to weave an overshot coverlet.
information about multishaft overshot coverlets Keasbey, Doramay. Designing with Blocks for Hand-
(and coverlets in other structures). weaving. Bethesda, Maryland: Doramay Keasbey,
___. The Weaving Book. New York: Scribner’s, 1981. Good 1993. Comprehensive discussion of block designs
discussion of overshot theory with 20 overshot cover- with a brief description of drafting overshot on four
let drafts including treadling instructions. and more shafts.
Burnham, Harold B., and Dorothy K. Burnham. Keep ___. Pattern Techniques for Handweavers. Eugene,
Me Warm One Night: Early Handweaving in East- Oregon: Doramay Keasbey, 2005. Comprehensive
ern Canada. Toronto: University of Toronto Press, discussion of drafting 4-shaft and multishaft overshot
1972. Includes coverlet-weaving history in eastern including treadling variations.
Canada and 123 threading drafts, description, and Hayes, Bertha G. The Complete Book of Bertha Hayes’
provenance for nineteenth-century overshot cover- Patterns: 75 Drafts and Design Effects. East Berlin,
lets with accompanying photos. Pennsylvania: The Mannings, 1957. Gives drafts
Davison, Marguerite Porter. A Handweaver’s Pattern (threading and treadling) and black-and-white
Book. Revised edition. Swarthmore, Pennsylvania: photos of the woven cloth.
Marguerite Porter Davison, 1977. Chapters (Monk’s Mitchell, Peter. Overshot: A Manual for Creative
Belt, Block Designs, Diamonds, Rose Designs, Drafting and Weaving. West Newton, Massachusetts:
Overshot Novelties, Large Overshot, and Squares Chesebro-Mitchell Associates, 1994. Overshot
with Borders) give 131 complete overshot drafts with theory with many techniques for creating original
black-and-white photos of the woven cloth. designs.
Safner, Isadora M. The Weaving Roses of Rhode Island. Van Nostrand Reinhold, 1969. Good discussion of
Loveland, Colorado: Interweave Press, 1985. Gives drafting 4-block designs for overshot.
the history and letters of early twentieth-century van der Hoogt, Madelyn. The Complete Book of Draft-
Weaver Rose and his wife Elsie and 245 overshot ing for Handweavers. Petaluma, California: Shuttle-
threading drafts with block drawdowns. Craft Books, 1993. Drafting and designing 4-shaft
Safner, Isadora M., and Diane Piette. The Weaving Book and multishaft overshot.
of Peace and Patience. Brewster, Massachusetts: Two ___. Overshot is Hot. Sioux Falls, South Dakota: XRX
Cape Cod Weavers, 1980. Contains 23 overshot Inc., 2008. Forty 4-shaft and multishaft projects plus
coverlet drafts from the early 1800s. articles on drafting and designing from Weaver’s
Saltzman, Ellen Lewis. Overshot Weaving. New York: Magazine.
Van Nostrand Reinhold Company, Inc., 1983. ___, ed. Handwoven Magazine, Issue 134, March/April
Includes extensive drafting theory and twenty-five 2007. Loveland, Colorado: Interweave Press, 2007.
overshot drafts with drawdowns. Projects and technique information for drafting and
Sullivan, Donna Lee. Weaving Overshot: Redesigning the weaving overshot.
Tradition. Loveland, Colorado: Interweave Press, ___. Weaving overshot (video). Instruction for drafting and
1996. Gives extensive drafting and designing weaving overshot with downloadable handbook.
theory for 4-shaft and multishaft overshot. Voolich, Erica. Playing with Blocks: An Exploration of
Smayda, Norma and Gretchen, White, Jody Brown, Multiharness Overshot. Peabody, Massachusetts:
Katharine Schelleng. Weaving Designs by Bertha Cross Town Shuttle, 1977. Extenisve theory for
Gray Hayes: Miniature Overshot Patterns. Atglen, expanding 4-shaft overshot to more shafts.
Pennsylvania: Schiffer Publishing Ltd., 2009. Wilson, Sadye Tune, and Doris Finch Kennedy. Of
A collection of 92 miniature overshot patterns, Coverlets: the Legacies, the Weavers. Nashville,
each including draft and photos in color of Tennessee: Tunstede Press, 1983. Historical Ten-
actual-size woven samples. nessee coverlets with photographs, threading
Strickler, Carol. American Woven Coverlets. Loveland, drafts, and information about the weavers.
Colorado: Interweave Press, 1987. A collection of Windeknecht, Margaret. Creative Overshot. Shuttle
twenty-seven 4-shaft overshot coverlets with Craft Guild Monograph 31. Petaluma, California:
photographs, drafts, computer-generated Shuttle-Craft Books, 1978. Drafting and design for
drawdowns, and all weaving information. unique patterns on four and more shafts.
___. A Portfolio of American Coverlets, Vols. I–V. Worst, Edward F. Weaving With Foot-Powered Looms,
Boulder, Colorado: Carol Strickler, 1978—1983. New York: Dover Publications, 1974. Contains 50
Five folders each containing 25 coverlet descriptions pages of overshot theory, drafts, and photographs
with a photograph and/or computer generated of overshot fabrics.
drawdown, threading and treadling instructions, and Young, Helen Daniels. A Study of the Relationship
known historical background for each. Between Borders and Patterns. Brewster,
Strickler, Carol, and Barbara Taggart. Weaving in Massachusetts: Two Cape Cod Weavers, 1982.
Miniature. Loveland, Colorado: Interweave Press, In 22 pages, describes how to draft borders for
1980. Tells how to miniaturize drafts and includes overshot designs with photographs of examples.
32 drafts for miniature coverlets in many structures Zielinski, S. A. Contemporary Approach to Traditional
with photographs. Weaves: Overshot and Summer & Winter.
Tate, Lou. Kentucky Coverlets. Lou Tate: Louisville, Master Weaver Library Volume 7. Ottowa,
Kentucky, 1938. Photos of sections of 78 coverlets Canada: Robert LeClerc, 1980. Gives thorough
to show typical overshot patterns. information about drafting 4-shaft and multishaft
Tovey, John. Weaves and Pattern Drafting. New York: overshot including ‘code’ drafting (name drafting).

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b. The wheel and table design with the table removed

Fabric description Overshot.

Warp and weft

Total warp ends 563 (includes 2 floating selvedges).

E.P.I. 20. Width in reed 281⁄5".

Overshot is my “comfort” weave. I’ve discovered it’s also a

twill’s floats to enlarge the scale of twill designs without

As-drawn-in treadling orders Warp length

Originally published in Handwoven®, March/April 2007, p. 31.

end cont'd plain weave

rose fashion treadling

* If you are having trouble beating firmly

Use tabby: Before every pattner pick,

Note that in the other

yellow inlay weft for first horizontal placemat cont'd cont'd

Warp and weft

Total warp ends 2,164.

E.P.I. 36. b. Detail of the Milford Gardens tablecloth

Width in reed 601⁄8".

2 1 hem pattern weft for

Manufacturer Tamm Venne

Nm 34/2 (Ne 20/2); (8,470 yd/lb) 12 g, 50 g 113

Warping and weaving and then a ground warp and 3

tabby weft in a much lighter

and thread a to b (place a doubled floating selvedge choices are limitless! 7

remove or let hang from the warp beam). 4

ing the treadling in the Draft. Use tabby: Before each

PHOTO FROM THE DIGITAL ARCHIVES, LIBRARY OF CONGRESS

Weaving Numbers in the treadling indicate the number

to do so if you wish, adding one to each side.) 3

FLOOR LOOMS SHIP FREE

Halcyon Yarn is your

TAKE-UP AND SHRINKAGE T W I S T I N G ( O R P LY I N G ) T H E F R I N G E

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