Little Looms No 8 - Winter 2023

Linen on the Rigid-Heddle Loom: It’s Not a Fairy Tale!
EASY WEAVING WITH little looms
Winter 2023
18
Fantastic
RIGID HEDDLE
Projects
that will leave
you spellbound
• PIN LOOM • INKLE • TAPESTRY
DO IT
BY HAND
Braiding
Basics p. 86
Get the
Full Story on
fulling
p. 20
Winter 2023
Snow Mittens p. 35
Beginner to Experienced Tapestry Weaver,
Lisa Looms are for Everyone
Love Your Weaving with the Lisa Loom

Whether you’ve just started or have been weaving for years, our Lisa looms will add joy
to your weaving journey. Available in four sizes, they are fun and easy to use—even for
the littlest weavers in your life. The smallest comes with a flat shuttle and pick-up stick.
The larger frame looms are made with raddle segments and come with a pick-up stick.
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For more information about our products and dealers, check our website.
Louët BV | Kwinkweerd 139 7241 CW Lochem The Netherlands | +31 (0)573 252229 | info@louet.nl SINCE 1974
CLASSIC
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NEW
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The NEW Brooklyn Four Shaft Loom
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weaving multi-shaft patterns simple
and easy.
Includes: 2 shuttles, 5 cross/warp sticks,

10 cardboard warp sticks, threading
hook and a full step-by-step assembly,
warping and weaving instruction
booklet.
Choose to leave natural or finish with
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or decorate with your favorite designs.
4 Shaft, 16" weaving width.
The Inkle Loom is designed to

weave strong and useful warp-faced
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Inkle Loom
Warp length up to 110".
Inklette Loom
Warp length up to 72".
Knitters Loom
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Choose 12", 20" or 28"
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Carry bag included.
Optional
accessories:
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vari dent reed,
loom stand.
)ɼOɍʋQɍJɛ
Rigid Heddle Weaving Basics Ashford Book of Rigid Heddle

and Beyond Weaving - By Rowena Hart
By Deborah Jarchow All you ever needed to know about
Explore color, design, and texture as rigid heddle weaving. Easy warping,
you follow Deborah’s clear step-by- weaving techniques and projects
step instructions. From plain weave including brooks bouquet, bronson
to inlay and hand-manipulated lace lace and weaving with the second
this book opens the whole world of heddle kit. Create beautiful garments
creative weaving. 201 pages and homeware. 123 pages
Vari Dent Reed Reeds

Warp thick, thin, and anything in- Additional reeds are
between yarns. Available for all Rigid available for weaving
Heddle, SampleIt and Knitters Looms. fine to thick or textured
Kit includes a selection of 2" and 4" yarns. Available for all
(5cm and 10cm) sections of 2.5, 5, 7.5, 10, Rigid Heddle, SampleIt
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Available in 2.5, 5, 7.5,
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Choose from three beautiful
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All available in eighteen vibrant Wavy Shuttles
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Yoga Yarn - Get the best of both worlds:
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the natural comfort and beauty of cotton! 8 sizes.
Visit www.ashford.co.nz/where-to-buy for your local Ashford dealer.

Dealer enquiries welcome sales@ashford.co.nz ashford.co.nz
CON T E N TS
¼ÒäêÎÖÒçÚßØèÚåÙÃÚęÝÖÃààÞäÎÚßåÖã2023ÀääæÖ%
projects
ONCE UPON A TIME Jack’s Shoulder Bag, p. 55
34 Paul Bunyan Plaid Scarf 55 Jack’s Shoulder Bag
By Yvonne Ellsworth By Robin Lynde
35 Snow Mittens 56 A Scarf for the Hatter

By Brittany Wells By Kellie Frances Reid
36 Gingerbread Dishcloths and Bin

By Malynda Allen TRUE LOVE’S KISS
66 Snow Queen Snood
37 Qiviut Cowl By Janna Ford
By Gabi van Tassell
67 Arabian Nights Placemats
38 Arachne Napkins By Christine Jablonski
By Elisabeth Hill
68 Champa Bag Strap
39 Red Riding Hood’s Bread Cloth By Shilpa Nagarkar
By Tammy Bast Star-Crossed Lovers Scarf, p. 70
69 Pinocchio’s Suspenders
By Joan Sheridan
THE HERO’S JOURNEY
52 Bunny Buddies 70 Star-Crossed Lovers Scarf
By Deborah Bagley By Sun Kim
53 Magic Beans Mug Rugs 71 Mermaid Bag
By Jennifer E. Kwong By Margaret Stump
54 A Lovable Hot-Water Bottle 72 Cottage Wall Platter Hanger
By Jennifer Chapman By Joan Sheridan
departments Bunny Buddies, p. 52
4 Editor’s Letter 90 Reader’s Guide

Finishes & Seams
9 Gear Guide: Magical Products Suppliers
Heddle Conversion Chart
12 Resource Review Errata
By K. Rose James Pick-Up Stick Basics
Warping Two Heddles
19 Gear Guide: Washing Wool
without Worry 93 Meet the Designers
86 Do It by Hand: Braiding Basics 96 Project Index
2little loomsl i t t l e l o o m s . c o m
features
6 Burn after Weaving: Creative Destruction in Fairy Tales
Characters in folk and fairy tales aren’t all sweetness and light, and
some of them are anything but. Amy looks at two tales: one that
has unweaving at its core and the other based on pretending to
weave. She asks you, as a weaver, what role weaving plays in your
life and how you use it to craft your own story.
By Amy Harris-Aber
14 Hunt & Gather: Running with Pruners

Are you interested in eco-printing? Not only are the results
beautiful, but it’s also a great technique for beginners. In this
excerpt from Bundle Steam Print!, author Janis Thompson outlines
how she approaches gathering her leaves and flowers for printing
and gives tips to help you find and collect materials to give you the
best results.
By Janis Thompson
20 String Theory: “Full” Disclosure:

Wet-Finishing Woolens
Maybe you haven’t done it yet, but many of us have unwittingly
washed a wool item only to have it shrink drastically and change its
look and feel. Whether you want to lightly full your work or turn it
into a solid piece of felt, start here! Anita gives background about
fulling wool items, explains the science of fulling, and offers
instructions for successfully fulling your own projects.
By Anita Osterhaug
26 The Ins, Outs, Overs, and Unders of Tapestry Weaving

You may know how to weave using rigid-heddle or pin looms,
but does tapestry also intrigue you? Two accomplished tapestry
weavers, Claudia Chase and Elena Kawachi, describe some of the
basics about tapestry you need to know and what equipment and
materials you’ll want to gather to get started in this arguably
different type of weaving. This is the first in a five-part series
for beginning tapestry weavers.
By Claudia Chase and Elena Kawachi
30 Linen: Weaving without Tears

After struggling with using linen on her rigid-heddle loom,
Christine changed her approach and learned how to handle this
beautiful but sometimes unforgiving fiber. She shares her tips and
techniques for working with linen, from warping to winding the
bobbin and all the way to wet-finishing projects thoughtfully, with
their purpose in mind.
By Christine Jablonski
Arabian Nights Placemats, p. 67
little loomsW i n t e r 2 0 2 3 3

Editorial
ONCE UPON A TIME, a kind grandmother

gifted her young granddaughter a
Winter 2023 book of fairy tales. Though the child
Issue 8 could not yet read, she spent many
happy hours leafing through the
EDITORIA L
EDITORIAL DIRECTOR Anne Merrow
green hardback book, admiring the
EDITOR Christina Garton
illustrations and making up stories in
CONTRIBUTING EDITOR Susan E. Horton
her head. As she grew older and
MANAGING EDITOR Laura Rintala
learned to read, every story in the
PROJECT EDITOR Angela K. Schneider
book was greedily devoured, along with
EDITORIAL ASSISTANT
the works of Lewis Carroll, the Brothers l l ey
Katrina King Photo by Shelly Sa
TECHNICAL EDITORS Malynda Allen, Rona Aspholm, Deanna Deeds,
Grimm, L. Frank Baum, and others.
Greta Holmstrom, Merriel Miller, Bettie Zakon-Anderson
COPY EDITOR Katie Bright Eventually, the girl’s love of reading led to a love of writing and, finally,
PROOFREADER Lavon Peters editing. After years of searching, she found her home among the
small-loom weavers of Easy Weaving with Little Looms, where she
C R E AT I V E
ART DIRECTOR Charlene Tiedemann got to create stories with projects in every issue. And so the girl (now
DESIGNER Samantha Wranosky a woman) lived (and edited!) happily ever after.
PRODUCTION DESIGNER Mark Dobroth
PHOTOGRAPHY Matt Graves
The End.
ILLUSTRATIONS Angela K. Schneider, Missy Shepler
PHOTOSTYLING Tina Gill
Well, not quite. My journey to editing wasn’t a clear path from start to
finish, but fairy tales and folktales have been with me every step of
the way, although today, you’re more likely to find me reading the
fantasy works of Silvia Moreno-Garcia or Nghi Vo. So it should come
as no surprise that fairy tales and folktales would eventually be the
FOUNDERS Linda Ligon, Anne Merrow, John P. Bolton theme for an issue.
ÇÌ¹ÃÀÊ¿¼ÉJohn P. Bolton
DIRECTOR OF MEDIA SALES & BRAND PARTNERSHIPS

Within these pages, you’ll find projects inspired by some of my
Julie Macdonald
DIRECTOR OF DIGITAL CONTENT & STRATEGY
childhood favorites, including a whimsical striped scarf designed for
Tiffany Warble the Mad Hatter, a snood fit for the Snow Queen herself, suspenders
DIRECTOR OF EVENTS & CUSTOMER SUCCESS Rachel Martin woven to fit a precocious marionette (or child), and a set of color-and-
DIRECTOR OF MARKETING Haydn Strauss
weave placemats made to honor one of the most famous fictional
Winter 2023, Issue 8 • Easy Weaving with Little Looms (print ISSN
storytellers of all: Scheherazade. I also discovered some new tales
2770-4246; online ISSN 2770-4300) is published quarterly in April, June, thanks to a charming hot-water bottle cover based on The Flint Heart
September, and December by Long Thread Media LLC, 1300 Riverside
Avenue, Suite 206, Fort Collins, CO 80524. Periodical postage paid at
and a gorgeous clasped-weft scarf inspired by the Korean folktale
Fort Collins, CO, and additional mailing offices. All contents of this issue “The Herdsman and the Weaver.”
of Easy Weaving with Little Looms are copyrighted by Long Thread
Media LLC, 2023 All rights reserved. Projects and information are for
inspiration and personal use only. Little Looms does not recommend, The articles in this issue have their own narratives to tell. You’ll
approve, or endorse any of the advertisers, products, services, or views
advertised in Little Looms. Nor does Little Looms evaluate the
learn tapestry weaving basics and get the details on fulling wool.
advertisers’ claims in any way. You should, therefore, use your own The Resource Review looks at Bundle Steam Print!, a book on
judgment in evaluating the advertisers, products, services, and views
advertised in Little Looms. Reproduction in whole or in part is prohibited,
eco-printing for absolute beginners and beyond, followed by an
except by permission of the publisher. Subscription rate is $39.99/year in exclusive excerpt.
the U.S., $49.99/year in Canada, and $59.99/year in other countries,
surface delivery. Printed in the U.S.A.
I could go on, but I’ll let the rest of the magazine tell the stories for
Postmaster: Please send address changes to 1300 Riverside Ave,
Ste 206, Fort Collins, CO 80524.
me. I hope you find this issue as magical as I do!
Subscribers: For subscription information, call (888) 480-5464, email
support@longthreadmedia.com, or visit littlelooms.com. Please allow
six weeks for processing address changes.
Shops: If you are interested in carrying this magazine in your store,
email Michaela Kimbrough at mkimbrough@longthreadmedia.com.
Contact us: For questions about purchases made on the website,
call (888) 480-5464 or email support@longthreadmedia.com.
For advertising information, call Julie Macdonald at (888) 480-5464
ext. 705, or email sales@longthreadmedia.com.
For editorial inquiries, email littlelooms@longthreadmedia.com.
VISIT US ON THE WEB

longthreadmedia.com
littlelooms.com
May we build one for you?
Voyageur
9½”, 15¾” and 24”
4, 8, 12 and 16s www.leclerclooms.com

!

BURN after weaving
Illustrations by Edmund Dulac

Left: Hans Christian Andersen’s famous emperor pretending to admire the so-called magical cloth on the loom. Right: The emperor parading
through town
B URN A F T ER W E AVI N G
C R E AT I V E
DE ST RUCT ION IN
FA I RY TA L E S By Amy Harris-Aber
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BURN after weaving
We instinctively know that both of Many fables, fairy tales, and myths talk about weaving
these are true; we creating crea-
tures have a natural inclination as the creation of something concrete—but what can
toward the making of things. That we glean from narratives that focus on the inverse of
includes spinning stories that
explain our worlds, to ourselves and this theme?
to each other. In other words, we
weave more than just thread into
fabric. This might be why spinning
and weaving are often plot points in hand in marriage. On top of that, Clothes” opens in a country where a
humanity’s oldest tales. After all, Penelope’s “suitors” refuse to leave. large portion of everyone’s taxes go
the ancient Greeks explained the In short, her life becomes a night- toward supporting the spendthrift
very span of human life as some- marish version of The Bachelorette. habits of a royal shopaholic. As with
thing predetermined by the Fates (or It’s enough to stress anyone out, but most old stories, one character’s
Moirai), who measure all destinies, our heroine is a clever queen. She obvious character flaw is exploited for
spinning and eventually severing a tells the horde of pesky reality-show another’s gain. Two clever con men
long, golden thread. contestants that she can’t even enter the capital city and spread
consider presenting any of them with rumors about their skill as weavers.
Many fables, fairy tales, and myths a proverbial rose until she finishes They boast about the quality of their
talk about weaving as the creation of the funeral shroud for her dearly fabric by telling everyone that not only
something concrete—but what can departed father-in-law. are its colors and patterns beyond
we glean from narratives that focus compare but it can also determine
on the inverse of this theme? There In an impressive turn of events, who is “unusually stupid.”
are, in fact, two particular stories I Penelope keeps the bachelors at
have in mind that speak to the bay for three years by working at The emperor is thrilled at the pros-
destructive nature of weaving her loom during daylight hours. At pect of having a new suit made from
wherein weavers do not create a night, she takes apart her own cloth created by these talented
finished product but rather bring progress on the shroud again and weavers. It’s a win-win; he’ll be
about a new reality for themselves again. We can only imagine what fashionable, and he’ll know who isn’t
and others. What does it mean to use Penelope must’ve felt; perhaps it smart enough to help him run the
the act of destructive creation to was a never-ending exercise of country. The trick is that the weavers
assert control in a chaotic world? bothersome monotony that mirrored don’t actually weave, and when the
the discordant pattern of her own emperor finally peeks at their wares,
Take for example Penelope, Queen of existence. What we do know is that his ego forces him to carry on their
Ithaca. I’m guessing that you’ve heard by leaning into the act of creative charade—essentially doing the con
of her husband, Odysseus, and his destruction, a woman in danger was men’s work for them. In fact, the
treacherous homeward journey, able to fashion her own reality. whole thing goes to plan much better
which Homer relayed in a scant 24 Instead of weaving a funeral shroud, than the would-be weavers could’ve
books. While solidly relegated to she literally wove (and rewove) anticipated. The emperor orders a
B-plot status, Penelope’s story is herself more time. parade to show off his new set of
more than worthy of its own volume clothing, which gives them time to
or two. At the story’s end, a household get away with the small fortune
servant sells Penelope out to the they’ve been paid in exchange for a
Odysseus angers Poseidon, and badly behaved horde, proving once creation that doesn’t actually exist. It
consequently, the sea god tries to more that extensive employee isn’t until a small child points out the
sink his little battleship, flinging background checks are important. obvious truth—“But he hasn’t got
captain and crew to the far reaches The discovery of Penelope’s secret anything on!”—that the emperor
of existence. It takes Odysseus two cunning unweaves the safe reality allows himself to admit that he’s been
decades to get back home. Not only she’s managed to create. had. Kids say the darndest things,
does Penelope lose her husband to don’t they?
an epic sea god beef, but her Another and more humorous tale, this
situation devolves further. Greedy time by the beloved Hans Christian Once more, we see the reworking of
interlopers appear on the would-be Andersen, delivers a similar “big materiality through the act of
widow’s doorstep and demand her reveal.” “The Emperor’s New weaving. In this case, the con men

BURN after weaving
If myths and fairy tales are stories that contain lessons Whatever your reasons, please
know that they are powerful and
that we should pay attention to, what does this destructive valid. Understand that subversive
creation and anti-creation say about our own worlds? creation is just as meaningful as the
finished product you remove from
your loom. Your imagination and
how you use it is powerful and
worthy of its own stories, whether
upend an entire political landscape creating creatures. Ask yourself for told on the loom or elsewhere.
with one subversive act. Further- a moment why you practice your
AMY HARRIS-ABER is a former fiber student
more, it’s interesting that the respect craft. Who does it benefit and how?
who defected from the art program at her
for master weavers is so unquestion- Chances are it’s not purely for profit lovely little liberal arts college and got her MA
able that it takes innocence without or material gain. Perhaps you weave in nonfiction writing instead. These days, you
pretense to put reality to rights. because it keeps the memory of a can find her helping co-produce Murfreesboro,
loved one alive. Perhaps it gives you Tennessee’s Bloom Stage storytelling events.
She also teaches composition and rhetoric
Where does that leave us, dear a central point of focus, essentially
courses at Middle Tennessee State University
reader? If myths and fairy tales are stopping the world so that you can while pestering students until they believe in
stories that contain lessons that we breathe in time with the sounds your their own worth as scholars and knowledge-
should pay attention to, what does loom makes. Maybe it gives your makers. She has three cats, one husband
this destructive creation and mind room to wander, and it (whom she also pesters), and many books.
anti-creation say about our own provides you with the freedom to
worlds? Well, I would suggest that create your own reality, if only for a
it is a call to own our power as few minutes or hours.
Photo courtesy of the Rijksmuseum
In this etching by Max Klinger, titled Penelope Looks at Her Loom in Thought, Penelope contemplates her beautiful weaving that she knows she
must unweave before morning.
Gear Guide
Magical Make weaving even more magical with these whimsical tools and
studio décor items. They are not just beautiful—they’re also useful.
Products
Band Heddles
Craftsman Robin Goatey of The Dancing Goats takes inspiration
from ancient tools and re-creates beautiful versions of them. Each
of these bandweaving heddles measures about 6 inches wide,
holds 39 warp ends, and is crafted from hardwood. Sanded
smooth to minimize thread abrasion, they also have double pick-up
rows for more weaving options. thedancinggoats.etsy.com
Dragon Needle Minder

Keep your pins and needles close with this magical little dragon
from Hobby Wishes. Handcrafted from polymer clay, this delightful
needle minder is lightweight, measures less than 1½ inches, and
comes with a mighty magnet to hold it to your work. The dragons
are available in a variety of colors to match each of your project
bags, and some even hold a crystal or pearl in their tails (amethyst
crystal shown here). hobbywishes.etsy.com
Weaving Sticker
Share your love of weaving with the world! This “Weaving is
Magical” sticker by Moon and Yarn measures 3 inches in
diameter and is water resistant. Place it anywhere you want to
show off your passion for weaving. moonandyarn.etsy.com
Knitting Mushroom
Make fabulous lengths of cord with this knitting mushroom from Knitting
Photos by Matt Graves
on the Fringe. The adorable tool comes with a needle that tucks inside
the spool. The mushroom is 5½ inches tall and fits comfortably in your
hand. Use the cords you make as trim on other items, create unique
shapes with them, or even use them in place of yarn on a pin loom.
knittingonthefringe.etsy.com

SPONSORED CONTENT
2023 Holiday
Gift Guide
Need the perfect gift this season for the weaver
in your life? Whether for you or someone else,
these are some of our favorites!
The Complete Weaving Kit from Ashford

The perfect gift! The kit includes a loom, warping, weaving tools and
accessories, full step-by-step instructions, canvas carry bag, finishing
wax and a comprehensive weaving book. It even includes the yarn for
your first project—a luxurious, light, super soft Merino shawl. Easy! Fun!
Unlimited possibilities! www.ashford.co.nz
Heritage Aran from Brown Sheep Company

Heritage Aran is made with U.S.-grown wool spun in four plies,
inspired by traditional wool knitting from the Aran islands of Ireland.
Create something cozy this winter with the latest yarn from
Brown Sheep Company. www.brownsheep.com
Interchangeable & Adjustable Little Loom

from Sketch Looms
Enjoy two loom widths, 5 and 10 inches, available in 6, 8, or 10 EPI,
eleven colors, selectable side arms in 5 lengths up to 22 inches and
have adjustable tension. What to do? Excellent for sampling large loom
projects. Great for tapestry and small projects. Make the loom you want
with the interchangeable parts at www.sketchlooms.com
“65 Roses” Silk Scarf Kit from Treenway Silks
Designed by the fabulous Peg MacMorris, this lovely scarf pairs two
different silk yarns and features a limited edition variegated yarn.
Treenway Silks donates 10 percent of “65 Roses” sales to
the Cystic Fibrosis Foundation, in honor of Andrea’s angels,
to help fund research for a cure. www.treenwaysilks.com
Weaving Kits from Vermont Weaving Supplies

Vermont Weaving Supplies offers a growing library of kits and
projects that go beyond what is typically available, providing
foundational information, clear explanations, and ideas for deeper
exploration. For weavers at all levels on rigid-heddle, four, and
eight-shaft looms. Call us at 802-579-3777.
www.vermontweavingsupplies.com
Potholder Pro Weaving Kit

from Friendly Loom™
Discover weaving with Friendly Loom’s Potholder Pro kit!
Weaving helps with concentration, fine and gross
motor control, and a better understanding of spatial
relationships and patterning. www.friendlyloom.com
Presto Mint Rigid Heddle Loom by Kromski

Enjoy the holidays with a Kromski Color of the Year Mint
Presto Loom offering quality workmanship with a fresh
new look. Choose your favorite size 10" or 16". Also
available in unfinished for personal customization.
www.kromskina.com

resource REview
BU N DL E
ST E A M
PR IN T!
Janis Thompson
Review by K. Rose James
Self-published, 2019. Spiralbound, $34.00, 84 pages. ISBN 9780578502380.
In Bundle Steam Print!, author Janis Thompson introduces readers to eco-printing, a

process that uses the natural pigments found in leaves, flowers, and other plant materials to
print on cloth. In eco-printing, plants are laid out on fabric, covered in a reactive cloth or
blanket, bundled, and processed with heat to create a unique piece of textile art.
Thompson intended the book to appeal to dyers and you need to be successful in your own eco-printing
textile enthusiasts of all levels, and in this she absolutely projects. Thompson describes the tools needed before
succeeds. Textile novices might need to take their time starting, offers mordant recipes for various fabric types,
reading some sections, while someone with natural- and suggests materials for applying a base dye to fabric.
dyeing experience will more easily navigate the content. She also recommends ways to customize the process, an
Both will enjoy the author’s lighthearted tone and will be exciting extra for experienced textile enthusiasts.
able to use her valuable advice to start printing with Furthermore, Thompson dedicates a chapter to the use
plants. of indigo, covering both fresh indigo and instant indigo
crystals in detail.
Thompson’s writing style is conversational, with
instructions interspersed among observations about As the book delves deeper into using plants for eco-
the dyeing process, tips on being environmentally printing, Thompson not only provides instructions but
conscious, and small jokes, as well as bolded words also includes reflections on plant gathering, binding
and words in all capital letters added for emphasis. marks from bundling, and her own artistic process.
Rather than a dry set of instructions, you’ll feel as if Bundle Steam Print! concludes with several project ideas
you’re engaging in a friendly conversation or sharing a that readers can explore using their newfound eco-
cup of tea with the author. Thompson’s style promotes printing skills.
artistic exploration. She doesn’t always give precise
times or measurements but instead encourages If you’re completely new to natural dyeing or if, like me,
readers to play and experiment, testing to find the you get excited and prefer to start a project while still
results they are seeking. reading the instructions, I recommend reading the entire
book before you begin and making a step-by-step plan for
Alongside the focus on determining your own dyeing your project. Don’t worry—it’s a quick and enjoyable
adventure, the book gives the context and background read, and the extra preparation will save you from
resource review
backtracking later (I’m writing from experience). Because WHO THIS BOOK IS FOR: Anyone interested in eco-printing
the instructions in Bundle Steam Print! foster creativity —no dyeing experience is required.
and experimentation, they are not always presented in a
linear order, and Thompson offers many options for WHAT YOU CAN EXPECT TO LEARN: Everything you need to
completing each step in the process. know to get started eco-printing including a supply list,
printing instructions, tips, and tricks.
I tried eco-printing for the first time alongside reading the
book. Aside from a couple of ingredients for mordanting, PROJECT COUNT: 5.
I found that I already had everything I needed in my
kitchen and backyard. The author’s light tone encouraged THE FINAL WORD: Bundle Steam Print! by Janis Thompson
me to have fun with the project rather than being too is a pleasant and informative introduction to the world of
focused on the outcome. This perhaps led me to impul- eco-printing. The book is friendly and conversational and
sively throw some onion skins into my bundle at the last would be useful to readers with a wide range of skill
minute, which added a mottled yellowish color that I levels. Overall, Bundle Steam Print! is a quick and
didn’t really care for. I also achieved some lovely and enjoyable read that encourages experimentation and
surprisingly intricate purple prints from sumac leaves sparks creativity, leaving readers eager to start their
gathered from the tree in my front yard. This experience eco-printing journey.
left me eager to try again, making changes to my process
and materials and continuing to play and experiment with K. ROSE JAMES enjoys creating things, going on outdoor adventures, and
the eco-dyeing technique. watching squirrels with her toddler.
Photo by K. Rose James
Close-up of the reviewer’s first eco-printing attempt

Book Excerpt: Hunt & Gather
Photo by Greg Shield on Unsplash

This article is excerpted from Bundle Steam Print! by Janis Thompson.
H UNT & G AT H ER
RU N N I NG W I T H
PRU N E R S by Janis Thompson
No leaf or blossom is safe with an enthusiastic Eco-Printer lurking around in

the neighborhood. To ring the doorbell or not . . . . That is the question. Asking
forgiveness is easier than asking permission; however, some folks are protective
of every leaf in their yard . . . sheesh, they DO grow back! If you live in the city
and have no access to legal greenery collecting, you may need to visit your
ÝàÔÒÝėàãÚäåËÙÚäÒÝäàÔàÞÖäÚßÙÒßÕê×àãàæåà×äÖÒäàßėàèÖãäÒßÕÝÖÒçÖä
Fresh leaves and flowers

are best, although some
dried materials will do
just fine.
less wilted. In addition to that

people are usually at work!
In the evening, say around dinner

time, you can be pretty sure that
meals are being enjoyed and maybe
the neighbors won’t see you
creeping around the yard, talking to
yourself, taking photos of plants,
and possibly taking a small sample.
Be prepared to explain yourself.
NOTE
Just like grapes, season and terrior
matter. The same plant growing in a
different state or country can vary
wildly in the way it shares pigments.
RESOURCES FOR PLANT

IDENTIFICATION
Nothing is beyond our knowledge if
we know where to look these days.
With so many informational groups,
websites and social media craft
groups, you need look no further
than the internet or a good old-
fashioned gardening book. You do
not need to know what it is to use it
in your printing: however, it is nice
I don’t go plant gathering until I have items, and you might need bribes for to know so that if you want to
my base materials dyed. Fresh leaves neighbors with very interesting share, teach or record your process
and flowers are best, although some plants to use in your printing. If you you will have the correct informa-
dried materials will do just fine. I use take the time to explain, folks are tion handy. (Also it’s good to know
the fresh leaves and flowers first usually quite cooperative. if it is toxic.)
and then sprinkle on the dry bits to
enhance the overall design. Dry MY RULE OF THUMB IS THIS: You have collected your bounty and
dyestuffs are available all year from If the plant or tree is in the median are now ready to create your print.
natural dye sources. area, that is neutral territory . . . try This is a collage of plants, a collec-
not to be greedy, a few snips here tion of shapes and colors that
YOUR FLORA & FAUNA and there should be all right. If at all please you. How will you display
COLLECTING KIT SHOULD possible, take your cuts from the them on your base and how will
INCLUDE: street side of the tree or plants and they react and respond to each
Scissors or pruners, bag or basket try to apply an aesthetic eye to your other, the base fabric, and reactive
for collected items, small notebook pruning. I like to go gathering early blanket(s) you use? Your style will
to record location and season of said in the morning so the plants will be emerge as you experiment. Every

My approach is to make
it as interesting as
possible with as much
color and shape as I can
cram onto cloth.
printed piece is unique and probably

not exactly repeatable.
In my printing, I put LOTS of

material on my bases. My approach
is to make it as interesting as
possible with as much color and
shape as I can cram onto cloth. I
have no use for a mostly blank
piece with one or two leaves . . .
where is the fun in that?! I’m not
saying that simplicity does not have
its place. I might start with walnut
leaves and then a cascade of
smoke bush leaves, surrounded by
dark red tiny fuchsia blossoms,
leading into Cranesbill and then a
giant fern frond, perhaps a bit of
sumac, or chestnut, let me get
those fresh daisies on there too . . .
it becomes a dance.
TAKE PICTURES, this is a beautiful

process, the placement of the natural
materials. I have found few things so
pleasing. My photos have turned into
framed prints and greeting cards.
Taking photos will also help you
Photos courtesy of Janis Thompson unless otherwise noted
identify plants later when you wonder

why or what it is that made that ghost
leaf print or those dotted and veiny
dark spots. If you decide to do this
with friends or attend a workshop
that requires travel, you can collect
and place foliage in the refrigerator or
an insulated cooler bag for a day or
two to prevent wilting. (Spritz with
water to “revive.”)
Plants that print means that pigment

will be deposited as well as a shape.
Plant shapes are another thing to
Organic matter placed carefully on a treated blouse in preparation for eco-printing
Photo by Olena Sergienko on Unsplash

Fern leaves, such as the one shown here, will
add interest to your eco-printing.
rather try something myself first than

ask someone for help. Some leaves
will make a better print face down
while others will give more detail face
up. The only way to find out is to TRY
Close-up of the Patchwork Pillow Cases project from Bundle Steam Print!
it out and make your own notes.
Expecting to have it all figured out for
you is a pipe dream, you simply learn
consider. Depending on the plant and WINTER leaves are duds for printing more if you DO it yourself.
the season, some leaves will only act . . . so never mind those!
as a “resist,” leaving a lovely shape BEWARE
without any pigment deposit. I find To get you started, I have listed MY Some plants are toxic and it is not
this equally as engaging as a pigment most reliable PRINTERS at the end safe to touch or breathe their heat
deposit. I usually end up with a of this chapter, but there are fumes. It’s a good idea to look up
combination of the two. many more! your state’s toxic plants guide. You’re
not eating the stuff, but it’s nice to
Some plants are not worth bothering I ask that you do further research of know whether or not you should
with and there are resources for you your own by trying small samples of touch or breathe it. Be safe!
to investigate. Social media botanical leaves and flowers that you are
printing groups on Facebook, curious about. There is so much to be JANIS THOMPSON is a whirlwind of artistic
Instagram, and Pinterest have gained from doing your own experi- energy who is always exploring and sharing
information about her fibery adventures. She
archives with tons of info for you to ments. I have taught myself this
teaches at Eugene Textile Center, guilds, and at
peruse. Most leathery & waxy entire process by trial and error. I’d festivals in and around the Pacific Northwest.

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Gear Guide
WA SHI N G W O O L ,
W I T HOU T WOR RY
Although we talk a lot about fulling wool projects, there
might be a time when you’ll wonder, “What if I have a wool
Photo courtesy of Eucalan

piece that I want to wash without fulling?” Maybe it’s a scarf
that’s already been fulled just the right amount or a wool
runner that fits your table perfectly. In either case, you’ll
eventually want to clean your pieces without shrinkage.
Fortunately, specially formulated no-rinse wool washes
are available to help you launder wool items without any
agitation or unintended fulling.
Wool washes are concentrated, which doesn’t come out, you may need to
means you add a specific amount of repeat the process or investigate
the wash to a certain amount of water. how to carefully treat the stain using
How much of each (water and wool other methods.)
wash) you’ll need to use, as well as
the temperature of the water, Another great fact about wool
depends on the product you’re using. washes: they’re not just for wool!
Photo by George Boe

It’s always best to default to the Use them to cleanse delicate items or
manufacturer’s instructions. Wool even take a small amount on long
washes are safe to use in the sink or trips to handwash clothes in your
bathtub, but you can also use a hotel sink. Just make sure to test the
bucket or basin. products on new items or fabrics first
if you’re worried about damage. You
After mixing the wool wash and can also use them to wash large
water, you can gently place the items fabric items that you can’t throw in
you want to wash into the wash- the washer and might not be easy to
water solution and let them soak for rinse—think rugs or a child’s carseat.
the time suggested by the manufac- Whatever you use them for, no-rinse
turer. You don’t need to agitate the wool washes are an easy way to keep
fabric in any way, and when the time many fabrics clean.
is up, you will not need to rinse the
Photo by Matt Graves
items. If you’re worried about dye

When CHRISTINA GARTON isn’t reading
migration, dye-catching laundry
books and articles about weaving for her job as
sheets can help, but you might want editor of Easy Weaving with Little Looms, you can
to keep a close eye on your fabric and usually find her curled up with a cozy fantasy or
take it out of the wash water if you sci-fi novel.
see a problem.
After removing the fabric from the

wash water, I like to roll it up in a
towel and gently squeeze it to
remove excess water before Top: Wool washes, such as Eucalan’s Wrapture shown here, come in a variety of scents—
unrolling and laying it flat to dry. The including unscented for those sensitive to fragrances. Middle: Many no-rinse wool washes
are available in travel sizes. These tiny SOAK pouches are perfect for quick washes while
rest of the water can be discarded traveling or including with a handwoven gift. Bottom: Some, like Kookaburra, can also be
down the drain like any other wash used in washing machines for those times you need an extra-gentle detergent. Just make
water. (If your fabric has a stain that sure to check the packaging for the HE symbol if you have a high-efficiency washer.

string theory
Detail of an engraving of Scotswomen waulking (fulling) cloth and singing, from Thomas Pennant’s A Tour in Scotland and Voyage to the Hebrides,
published in 1774
“F U L L” DISCLOSU R E
W ET - F I N I SHING W OOL EN S
By Anita Osterhaug
If you’ve made a nontapestry weaving project from a book or magazine, you know that at
the end of the process, textile and water will meet. Wet-finishing, as this procedure is called,
brings out the best in woven fabrics, allowing the yarns to relax, sometimes shrink, and settle
into their new, interlaced positions. But for textiles made of wool or similar animal fibers,
wet-finishing often includes fulling, an important process that creates a denser, more stable,
more durable, and sometimes softer cloth. Understanding why and how fulling works enables
you to produce exactly the woolen fabric that you want, so let’s dig into the history and the
how-to of this ancient technique.
String theory
you then agitate, the cuticles catch In Europe, fulling was an important
on each other, locking the fibers commercial and social activity for
together. The more you agitate, the centuries. Fullers’ guilds processed
more the fibers lock and the cloth produced by weavers’ guilds,
denser the cloth becomes, up to often using water-powered mills to
the point where the fibers are too pound the cloth. (Scandinavia and
Image courtesy of Postverk Føroya, Philatelic Office
tight with no room to move Eastern Europe still boast a few of

anymore. (Commercial felting is these traditional water-powered
done differently, using barbed fulling mills.) In rural areas, people
needles to entangle the fibers until gathered to full cloth, sewing the
the scales interlock.) yardage in a circle, then singing
rhythmic songs as they sat in a
FULLING THROUGH HISTORY circle and pounded the wet cloth.
Humans have used fulling and In Mongolia, wool for tent fabric
felting for millennia to help them would be partly felted, then tied in
survive. Heavily fulled cloth resists a bundle and dragged across the
wind and water, keeps in warmth, steppe behind a horse, bouncing
Faroese postage stamp with a picture of a and lasts a long time. We see it and pounding against the ground
Viking helmsman in a wadmal tunic, artist is used today in the heavily fulled until it was dense and windproof.
Martin Mörck loden jackets of Germany styled
after traditional hunters’ coats; in FULLING YOUR HANDWOVENS
the wadmal cloth used for outdoor Fortunately, fulling your own
WHAT MAKES FIBERS FULL clothing in Scandinavia, Greenland, handwovens requires neither stream
(OR FELT)? and the Orkney, Faroe, and Shetland nor horse, and it’s a fun part of the
If you’ve ever accidentally had a Islands; and in the felted wool yurts weaving process as you see your
wool sweater shrink in the washing of Mongolia. cloth morph into its final form. But
machine, you’ve seen the results of
fulling. Fulling happens because
wool and other animal fibers have
an outer cuticle with tiny, overlap-
ping scales that lie flat and tight on
the outside of each individual fiber
and can be made to mesh with
each other. These same properties
enable felting, a technique that is
done with raw fibers as opposed to
woven or knitted cloth. Most
animal fibers can be fulled or felted
to an extent—sheep wool, alpaca,
mohair, angora, dog or cat fur, and
even human hair—but some full or
felt better than others. (I’ve also
heard from experts that silk cloth
will stabilize with wet-finishing, but
that’s due to residual sericin, the
substance that holds cocoons
together. Silk fiber has no cuticle
with scales to interlock.)
When you put cloth woven with

one of these fibers into warm or
hot water, especially if you add
detergent to raise the alkalinity of In her Falling Leaves Table Set from Fall 2023, Brittany Wells fulled the fabric for her coasters
to create a thick fabric. This way she could cut out leaf shapes without the fabric raveling.
the water, the cuticles open up. If

string theory
You don’t want to weave your cloth so tightly that the yarns is hot or warm, and a mild detergent
without brightening agents will also
don’t have room to bloom and move in the fulling. help raise the scales on the fiber and
speed up the process. You can
provide the agitation by hand or by
machine (if you don’t have a horse
and a good stretch of Mongolian
fulling is more than mechanics: some fringe on your sample. You’ll plains available).
successful fulling begins with also find out whether there are any
planning and weaving. So before we other issues, such as dye running. Fulling by hand is more work, but also
get into the how-to-full details, let’s makes it easier to avoid overfulling
talk about how to weave a cloth that WEAVING FOR FULLING and getting a cloth that’s denser and
will full the way you want it to. For cloth to full, the threads must harder than you desired. There are
be able to move relative to each different degrees of fulling. The
CHOOSING FIBERS other. (Remember, fibers will keep intended use for the item will
FOR FULLING fulling until the cloth becomes so determine how much you need to full
As mentioned earlier, some fibers dense that they can’t move it. A scarf or other fabric that needs
full better than others. For example, anymore.) You don’t want to weave drape works best lightly fulled. For a
coarse rug yarn made from longwool your cloth so tightly that the yarns mug rug or table mat, however, you
sheep breeds or breeds with don’t have room to bloom and might want the finished fabric to be
medium-length wool will typically full move in the fulling. Look at “A Tale thicker and denser, so you’d want a
better than yarn made from soft of Two Yarns” on page 23 to see higher degree of fulling.
Merino wool. Huacaya alpaca yarn photos of a wool scarf that I wove.
can full nicely, but slick, shiny suri You can see that the cloth on the Machine fulling can go very fast but
alpaca probably won’t full as well. loom is very open and rather requires close attention to prevent
When you buy commercial yarns, sleazy. (Sleazy is an old textile word overfulling. (Hint: Switch off your
you often have limited information referring to flimsy cloth.) The open phone and banish family members,
about the fiber content. (If the label weave leaves plenty of room for pets, and other potential distractions
says 100% wool, it’s probably not the cloth to full nicely while still while you do it.) That said, if you’ve
100% Merino, but that still leaves a allowing the scarf to be flexible and woven a rug or placemat that needs
wide range of possibilities.) Some drapey. If I were weaving cloth for heavy fulling, throw it in the wash
yarns become more lovely with an oven mitt or a pot holder, I with mild soap and a couple pairs of
fulling, while a few become scratchy would want it to be very dense, jeans and have at it!
and unpleasant. and I might weave it more tightly,
but I would still want some room In my experience, machine fulling
Here’s what won’t full: superwash for the yarn to move during fulling. works better in a top-loading washer,
yarn. The fibers in superwash are although I have seen it done
coated with a polymer that glues You can also combine a nonfulling successfully in front-loaders. If you
down the cuticles, which is what yarn with a yarn that will full. The do a lot of weaving and fulling, you
makes the yarn washable. If you’re fulled yarn will stabilize the other, can also get portable, hand-powered
using superwash yarn in a project, and the different rates of shrink- miniwashers, which may be the best
you need to plan around the lack of age (or differential shrinkage) can of both worlds.
fulling. More about that later. create interesting puckering and
textured effects. Whichever you choose, here are
It’s a really good idea to weave a the details.
small sample and full it before you If you are going to full a piece that will
commit to weaving a whole project. have fringe, twist and tie the fringes Fulling by hand
You’ll see how well the yarns full and before fulling so that the yarns don’t • Use enough warm water to
how much the fabric will shrink in become unplied or felt together. submerge the cloth in a sink or
fulling so you can plan a large washbasin and add about as much
enough piece to get the desired HOW TO FULL YOUR CLOTH mild detergent as you would to
finished size. If you’re planning Fulling is very simple; at its most handwash the piece. The water
fringe, that will also shrink in the basic, all you need are water and can be hot, but it has to also be
fulling, so you might want to have agitation. It will go faster if the water comfortable for your hands.
String theory
A TALE OF TWO YARNS

When I started this article, I had a scarf was about 80 inches long and 9½ inches One purple and one blue stripe together
in process on my rigid-heddle loom, and wide, and I made a twisted fringe about were now about ¾ inch (see photo 4). The
it turned out to be a nice illustration of 4½ inches long, using four blue or purple differential shrinkage created a very cool
what happens (or doesn’t happen) dur- threads in each fringe bundle. puckered texture in the scarf that I really
ing fulling. I used two yarns in the scarf: When I started fulling the scarf by like. The finished scarf is about 60 inches
a fine, old Scottish wool yarn purchased hand in hot water and mild wool soap, long and 7½ inches wide, so shrinkage
from an estate sale and a handspun I began to suspect that the blue wool from fulling was 25% lengthwise and
purple mystery yarn from my stash. was going to full far better than the 21% widthwise. Interestingly, the blue
The purple looked as if it might have a purple, as you can see in photo 3. After fringe bundles shrank from 4½ inches to
bit of silk in it, but beyond that, I had no a few more minutes, I decided machine about 3½ inches, and the purple bundles
idea what it contained. I was feeling a fulling might be the way to go for this shrank, too, but only by ½ inch, an effect
bit devil-may-care, so I didn’t weave a scarf, so I threw it in the washing ma- that I also rather like (see photo 5). Notice
sample to wet-finish because I knew at chine with a towel to help with the agi- how the ends of the purple fringe have
least one of the yarns was natural wool tation, gave it 15 minutes, then stopped frizzed out in the fulling? This is why
and was going to full. it every few minutes after that to check twisting the fringe first is a good idea.
I wove the scarf with a very open sett progress. It took about 25 minutes to get Despite the considerable shrink-
and beat, as you can see in photos to my desired level of fulling. age, the scarf is light and airy as well
1 and 2. One purple and one blue stripe As I suspected, the blue wool yarn fulled as warm. And I have enough of both
together were a little over an inch long. very well and the purple wool didn’t, so I yarns left over that I think I’ll make
When I took the scarf off the loom, it think the fiber that I spun was superwash. another for a gift.
1 2 3
Photos by Anita Osterhaug
Scarf on the loom, with a very open weave. One pair of stripes is more than an inch long. Beginning of the fulling. You can see that
the blue yarn is already beginning to full
but the purple is not.
4 5
After fulling, a pair of stripes measures only about ¾ inch. The width of The finished scarf. Notice the differential shrinkage in the fringe, too.
the blue stripes have shrunk by almost half.

string theory
• Put the woven piece in the water

and push it down a few times to
wet the cloth thoroughly.
• Knead the wet cloth, turning it

frequently, similar to kneading a
loaf of bread.
• Stop and check the cloth often to

see how it is shrinking and coming
together. Be careful not to overfull.
• When the fabric has fulled

enough, drain the soapy water,
then rinse the cloth gently once or
twice, without agitating, in water
about the same temperature used
for the fulling.
• Gently squeeze out excess water

without agitating.
• Lay the item flat and shape as

desired or hang it to dry.
Fulling by machine

• Put mild detergent in your washer
and set the water level to warm.
Fulling doesn’t take a lot of water,
so you can use the autosensing
feature for the water level.
Constance Hall used differential shrinkage to her advantage in her Sunset View Scarf from
• Put the woven piece in the washer Spring 2023.
and start the cycle. Do not leave!
• Once the washer begins agita- or twice until the detergent is out, with animal fibers, I always look
tion, watch carefully. Pause the using water at about the same forward to the fulling process and
machine and check the cloth temperature as used for the fulling. seeing the true nature of my fabric
every few minutes until you see revealed—the satisfying end of the
it begin to full. • Gently squeeze out excess water. weaving story.
• Once fulling begins, it will go • Lay the item flat and shape as RESOURCES
fast. Be vigilant! Pause the desired or hang it to dry. Fry, Laura. Magic in the Water:
washer and check the cloth more Wet Finishing Handwovens.
frequently until it reaches the When your piece is dry, you can Prince George, British Columbia,
desired amount of fulling. snip off any yarn tails left from Canada: Laura Fry Weaving
changing bobbins. The yarns are Studio, 2002.
• Set the washer to the spin cycle locked in by the fulling, so they “Fulling Mill. Maramures, Romania.
and let it spin the soapy water out won’t pull out of the fabric. Vadmalsstamp.” youtube.com
of the cloth. èÒåÔÙçx×ÖÄ·ãÝ$#!åx $ä.
THE FULL STORY “The Structure of Wool.” hdwool
• Remove the cloth from the water Fulling is one of the miracles of .com/blog/the-structure-of-wool.
and rinse gently, without agitating, weaving with animal fibers, a gift
in a sink or washbasin. Rinse once from Mother Nature. When I weave
pin loom, inkle,
rigid heddle, finishing,
and tablet weaving
Weave Turned Krokbragd
on an Inkle Loom
Color-and-Weave on the
Rigid-Heddle Loom
Huck Lace on the

Rigid-Heddle Loom
Tablet Weaving Made Easy
Double Your Fun: Doubleweave

on a Rigid-Heddle Loom
Life After Warping
Twice as Nice: Weaving with Two

Heddles on a Rigid-Heddle Loom
Expressive Weaving on a
Rigid-Heddle Loom
Slots and Holes

Transform
Designing with Hemstitching Y O U R C R E AT I V E J O U R N E Y
Inkle Loom
No matter your skill level, there’s something for you!

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The Ins, Outs, Overs, and Unders of Tapestry Weaving
One of the key features of tapestry weaving is using multiple discontinuous wefts in one shed to create shapes and shading.
TH E INS, O U T S ,
O VER S, A N D U N D E R S OF
TA PE ST RY W E AV ING
By Claudia Chase and Elena Kawachi
There are two types of people in the world: weavers and everyone else. Our
professional lives are filled with weavers, people who get it when we tell them
a weft thread broke and who don’t raise an eyebrow when we mention free
time spent dyeing. In our personal lives, however, we have quite a few non-
weavers—for example, Elena’s husband, who can’t tell the difference between
wool and cotton or maroon and magenta. Nonweavers often don’t understand
that there are many different types of weaving. Just because we weave
tapestry doesn’t mean we know anything about weaving towels or scarves.
If you’re reading this, you’re probably Modern tapestries are frequently done on a relatively small
a weaver and maybe the type that
knows how to weave scarves and scale and can be used to make purses, jewelry, or rugs in
towels, but you’re also interested in addition to the wall hangings you may imagine when you
learning more about tapestry weav-
ing. Is it all about wall hangings? hear the word “tapestry.”
What equipment do you need? How
long does it take to learn? Can you
pull from your stash, or do you need
special tapestry yarn? This article was used to decorate clothing, to important. No one wants a broken
aims to answer some fundamental make useful items such as saddle warp end!
questions about tapestry weaving, blankets or rugs, or as wall hang-
and in the next four issues of Little ings to decorate—and insulate— Weft: Tapestry weaving is a great
Looms, we’ll share a series of simple castle walls. way to use up yarn scraps from other
projects that will help you learn the weaving projects because you can
basics of weaving tapestry. Modern tapestries are frequently make good use of even tiny amounts
done on a relatively small scale and of yarn. You want your yarn to be,
DEFINING TAPESTRY can be used to make purses, jewelry, above everything else, beautiful.
Tapestry is defined by three things: It or rugs in addition to the wall hang- Many of the qualities looked for in
is weft-faced (the warp does not ings you may imagine when you hear yarn for other fiber arts don’t apply.
show); it has discontinuous wefts the word “tapestry.” For example, it’s not important how
(you don’t use a single weft to weave soft yarn used for tapestry is or
from selvedge to selvedge for the BASIC SUPPLIES whether it will create a warm fabric.
whole of the fabric); and it features One wonderful feature of tapestry That said, yarns created for tapestry
imagery, often pictorial, abstract, or weaving is that you don’t need much generally have long, strong, and
geometric. In short, tapestry is to get started. In fact, you might lustrous fibers rather than short,
image-making in fiber where multiple already have much of what you need! fuzzy ones.
wefts are used to create a picture that
completely covers the warp. Warp: The warp is under quite a bit of Loom: A tapestry loom can be as
tension when weaving tapestry, so a simple as a wooden picture frame or
Almost every culture has a nod very strong warp yarn—such as seine even a piece of cardboard. However,
to tapestry weaving, whether it twine, linen, or carpet warp—is a slightly more complex loom with a
Photos courtesy of Mirrix Looms
Left: For this loom made from a picture frame, the warp is wrapped around both front and back. Right: Elena weaves on a tapestry loom with a
heddle bar. The heddle bar allows her to change sheds easily.

shedding mechanism, a tensioning

device, and changeable setts allows
the weaver to better focus on
weaving while the loom controls
other variables. The most important
feature of a tapestry loom is the
ability to get tight, even warp tension.
Rigid-heddle looms don’t make very
good tapestry looms because the
two layers of the warp are held at
different tensions when the shed is
made. While you can do tapestry
techniques on a rigid-heddle loom,
it’s hard to do true tapestry weaving.
Other supplies: In addition to a good

pair of scissors and a measuring tape,
you’ll want a fork or tapestry beater
and, if you’re using a loom with a
shedding mechanism, heddles.
Tapestry bobbins (different from
bobbins used on a boat shuttle) might
also be useful, although many
tapestry weavers make small weft
When choosing yarns for tapestry, you don’t need to worry about choosing yarns that are soft
bundles called butterflies to move and warm. Color and size are much more important considerations.
their weft through the warp.
WARPING
The method you use for warping a
loom for tapestry weaving depends on
the loom, but it’s usually relatively
simple. Weavers who have never
woven tapestry before are almost
always pleasantly surprised when they
first warp a tapestry loom. A frame-
style tapestry loom is the easiest to
warp. It can be as simple as wrapping
your warp around the loom or zigzag-
ging back and forth around equally
spaced tines on either end of the loom.
Continuous warping is a method of

warping some tapestry frame looms
that allows you to weave a piece
that is longer than the height of the
loom by wrapping the warp around
a bar at the back of the loom. As
you weave, you can move the bar
up thereby rotating the weaving
around the loom and allowing for
more warp to shift to the front of
the loom. When you’re first starting
out, default to the loom manufac- A finished tapestry, ready to be removed from the loom. Notice how discontinuous wefts create
turer’s warping instructions no shapes and movement within the piece.
..
NO
.
matter what style of tapestry loom
.
you’re using.
. .... .
A shedding device on a tapestry loom
....
allows you to lift some (usually half)
........GO AH
of your warp ends at one time so you
can create a shed for your weft,
instead of having to weave over
EA
and under each of the warp ends.
V
D.
GROWING YOUR SKILLS
Tapestry weaving is a complex art
form that many artists dedicate their
V
lives to learning, and while it may
seem like a contradiction, this kind of
weaving is also perfect for beginners JUST
wanting to explore weaving. Tapestry
gives you an incredible playground in
BECAUSE
which to play with color and design A LOOM
IS SMALL
with shapes.
Until recently, there weren’t many

resources for learning tapestry, but DOESN’T
these days, there are a plethora of
wonderful books, tutorials, kits,
MEAN YOU
classes (both in person and online), CAN’T USE
EXQUISITE
and even free resources to get you
started. If you’ve been thinking about
learning tapestry weaving or this
article has piqued your interest, watch FIBERS!
for our first beginner-focused tapestry
project in the next issue.
With even basic skills, you can make

gorgeous art, and each new tech-
nique builds upon the last. Your first
tapestry will and should be simple
and slow, but before you know it,
you’ll realize that you, too, are a
tapestry weaver.
Patented
CLAUDIA CHASE & ELENA KAWACHI co-run
Mirrix Tapestry and Bead Looms, a loom company
that has been manufacturing high-quality looms
in Sturgeon Bay, Wisconsin, for the past 27 years.
Claudia designed the first Mirrix Loom when she
needed a quality loom that she could take places
Musk ox photographed by
as a busy stay-at-home mom and professional

tapestry weaver. Soon she realized other artists
Steph.c.photography
were looking for the same thing, and Mirrix was

born. Years later, Elena, Claudia’s daughter, joined V
the company. She has an MA in Digital Media
Communication and works on the marketing side
of the business. Under Elena’s guidance, Mirrix
News & Projects: www.turtleloom.com
has developed a community of weavers with Shop: www.bluebonnetcrafters.com
projects, tutorials, and instruction available for all.

Linen: Weaving without Tears
Photos by Matt Graves unless otherwise noted

Although we tend to think of linen as a very thin thread in a natural color, it is available to weavers in a variety of colors
and weights. Shown here are three sizes of Euroflax linen.
L I N E N:
W E AV I NG W I T HOU T
TEARS By Christine Jablonski
ÊàÞÖåÚÞÖäÒÝÚęÝÖÚØßàãÒßÔÖØàÖäÒÝàßØèÒêÚßÒØààÕèÒêåÙÒåÚäWhen I
started weaving with linen on a rigid-heddle loom, I didn’t know what I didn’t
know. I didn’t know you were “supposed” to soak the bobbins, mist your warp, or
thread the heddle in the up position. I did none of those things—I just warped
and wove. Most of the time, it worked, but some projects refused to cooperate.
When things went awry, I went through what felt like the stages of grief, start-
ing with denial and then cycling through anger, bargaining, and depression
before landing on acceptance. It was only when I got to the acceptance stage
that weaving with linen started to go more smoothly.
The biggest change I made to my STUCK ON STICKS have an open-bottom shuttle) to stop
process was to stop fighting with my No matter what fiber is on my loom, the bobbin from spinning and
warp and start listening to it. After I always place a pick-up stick beneath unspooling your weft.
all, the loom doesn’t care if you have the slot ends behind the heddle and
a bad day—and linen really doesn’t leave the stick on the back beam for TIDY LITTLE KNOTS
care. What did the warp need? What the duration of my weaving. That For hemstitching, stitch in small, tight
did I need to do differently? Little by extra little bit of lift to the warp ends bundles, especially if the yarn is thick
little, I changed my approach, and gives me wider and clearer sheds. If and the fringe short. For the Arabian
now I weave with linen on a rigid- you don’t have a back beam, try Nights Placemats, I hemstitched over
heddle loom not only successfully parking a pick-up stick on the warp pairs of warp ends. Yes, it takes more
but also enthusiastically. beam to vastly improve your linen- time, but it also keeps the fringe from
weaving experience. wriggling out of the hemstitching.
SLOW AND STEADY
When winding on, I strive to keep the BOBBIN CONTROL ADVANCE EARLY AND OFTEN
tension as even as possible across If you are using a boat shuttle, wind I’ve heard that linen does not like too
the warp. Doing so is easier with a the bobbins snugly to prevent much abrasion in the same spot, so
narrower warp, but I find Liz Gipson’s lower-layer threads on the bobbin you should advance your warp every
“crank and yank” method (see from working their way out and inch or so. I probably push that a little,
Resources) helpful, although with creating a tangle. As you throw each but I do advance my warp more often
linen, I’d describe it more as “roll pick, train yourself to catch the with linen than with other fibers. In
and pull.” I wind one rotation around shuttle with your thumb on top of the addition to reducing abrasion on the
the warp beam, then pull back on the bobbin or ring finger below (if you same spot, frequent advancing
warp evenly and slowly. If the warp is
too wide to divide evenly between
my hands and pull all at once, I divide
it into three sections, then alternate
pulling from the right, left, and center.
While this slows down the winding-
on process, it pays dividends later in a
well-tensioned, flat warp with no
ends crossing or overlapping.
TO TIE OR LASH—THAT IS
THE QUESTION
Whether I lash on or tie on depends
on the yarn and the project type. If
I’m not fringing my piece, I prefer to
lash on to minimize loom waste. But I
have better success with thin threads
if I tie on—I find the tension is more
consistent with all the threads coming
around the apron rod. The 14/4
sportweight Euroflax that I used in
my placemat project in this issue
(page 67) is thickish (similar to a 3/2
Photo by Christine Jablonski
cotton). The threads were a bit too

slippery to hold knots evenly for tying
on, so I lashed on instead. Any
potential variation to the tension
introduced by the lashing cord can be
managed by spreading the warp with
a thick scrap yarn or other soft filler. Wind your bobbins tightly and keep the linen under control as you weave to prevent this scenario.

Hemstitching over small

groups of warp ends
takes more time but is
worth it in the end.
Christine wet-finished her placemats by

handwashing them, drying them flat, and
then pressing them.
teaches you how to fine-tune the selvedge—that little bit of moisture such as placemats, benefit from
tension on your loom. Some looms can make the yarn more pliable. I’ve linen’s stiffer nature. Handwash and
have gear teeth spaced closely also found that not fighting the yarn air-dry items you want to retain
together, allowing for precise tension and allowing the bend to be what it some structural stiffness. Pieces
adjustments. Other looms have wider wants to be prevents me from pulling that you want to soften over time
teeth and require a bit more finesse too hard on the weft and, in turn, can be machine washed and dried.
to get the pawl to land at the right gives me better selvedges. But wash with no spin—the spin
spot on the gear. The optimal tension cycle can introduce wrinkles you will
for linen may be a little less than what HE AIN’T HEAVY, HE’S MY never get out. Remove the item from
you think it should be. You are looking WARP-THREAD WEIGHT the washer, squeeze out the excess
for the Goldilocks tension—not too Some threads, especially at the water, and tumble dry on low until
tight, not too loose, but just right. For selvedges, just want to be slackers. damp, then steam-press to finish for
me, that means tightening to the Warp-thread weights will set things soft but crisp linens.
tension I prefer, then backing off one straight again. I hang a shower curtain
or two “clicks.” hook weighted with 1-ounce washers Linen on a rigid-heddle loom is not
from the offending warp end behind only possible but it can also be
ROUNDING THE BEND the back beam. wonderful! Yes, it’s a bit more work,
Linen can seem a bit stiff to work but it’s so worth it.
with. It’s not necessarily a problem, IT ALL COMES OUT IN THE WASH
but you might find the biggest (BUT THE WRINKLES GO IN) RESOURCE
challenge you face is bringing the Wet-finishing linen and subsequent Gipson, Liz. Slots and Holes. learn
weft smoothly around the selvedge washing and drying will affect the .longthreadmedia.com/courses
from one shed into the next. When relative stiffness or softness of /take/slots-and-holes-1.
you find yourself struggling with your a linen piece and should match
weft, soaking the bobbin may help, or the project’s intended use. Some CHRISTINE JABLONSKI seeks to introduce
dipping your thumb and index finger linen projects, such as scarves and the wonders of weaving to every person
in water and holding the weft at the shawls, you want to be soft. Others, possible.

FI BER to
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Once Upon a Time
“Once upon a time.” This simple phrase evokes
memories of reading bedtime stories full of
giants, fairies, and adventure. Weave up your
own bit of magic with these projects inspired
by fairy tales, tall tales, and other legends.
PAUL BUNYAN
PLAID SCARF
by Yvonne Ellsworth
Since childhood, Yvonne
has been a big fan of the
gentle giant Paul Bunyan
and his blue ox, Babe.
Buffalo plaid also has a
larger-than-life mythical
background. Whether it
was actually worn by Rob
Roy MacGregor is yet to be
determined, but it is clear
this classic pattern belongs
with a legendary character.
Pattern page 40.
Once Upon a Time
SNOW MITTENS
Óê¹ãÚęÒßêÎÖÝÝä
You may be familiar with
the Ukrainian folk tale of
how woodland animals
found a warm resting place
inside one lost mitten.
Brittany and her family
especially love the
adaptation by Jan Brett.
She designed this set of
mittens so that an adult
and small child could wear
coordinating, cozy mittens
for snowy walks—and with
any luck, not lose them in
the snow. Pattern page 41.

Once Upon a Time
GINGERBREAD
DISHCLOTHS AND BIN
by Malynda Allen
“Run, run, as fast as you
can! You can’t catch me,
I’m the gingerbread man!”
These sturdy dishcloths
nest together in a matching
cube-shaped tote made
from fabric woven on the
same warp. A simple
pick-up pattern in the
dishcloths adds texture for
more scrubbing power.
Pattern page 43.
Once Upon a Time
QIVIUT COWL
by Gabi van Tassell
Musk oxen are a living
legend and an important
part of life for indigenous
people in Alaska and
Canada. Their fiber, known
as qiviut, is eight times
warmer by weight than
sheep’s wool. All of this is
captured in this pin-loom–
woven cowl, resulting in a
precious gift for a special
person in your life or for
yourself. Pattern page 45.

Once Upon a Time
ARACHNE NAPKINS
by Elisabeth Hill
Elisabeth decided to
branch out a little into
myths, and for a weaver,
the obvious choice was
the myth of Arachne.
Elisabeth wove napkins
using pick-up to create
images of a spider and her
webs. The chosen saffron
color reminded Elisabeth
of the lovely silk spun by
Madagascar golden orb
spiders. Pattern page 46.
Once Upon a Time
RED RIDING HOOD’S

BREAD CLOTH
by Tammy Bast
Every bread basket
needs a pretty and
functional liner, and
this one of traditional
gingham paired with
alternating blocks of
waffle weave is sure
to please. Use it to
protect your basket,
whether you’re serving
dinner or bringing
goodies to granny.
Pattern page 50.

Once Upon a Time
èÖå×ÚßÚäÙÚßØ_ $ áÝæä
# ×ãÚßØÖ WEAVING WITH
FLOATING SELVEDGES
PROJECT STEPS Develop a pattern for catching the
1 ÇÝÒÔÖåÙÖÓÒÔÜÙÖÕÕÝÖÚßåÙÖÝààÞ floating selvedge with the weft on
ÊÖåæáåÙÖÝààÞ×àãÕÚãÖÔåèÒãáÚßØÒ each pick. Two possibilities are:
ÝÖßØåÙà× àãèÚßÕÒèÒãáà× • Entering the shed over the floating
ÖßÕä ÝàßØ×àÝÝàèÚßØåÙÖèÒãá selvedge and exiting the shed under
ÔàÝàãàãÕÖãÚß½ÚØæãÖºÖßåÖãÚßØ×àãÒ the opposite selvedge.
èÖÒçÚßØèÚÕåÙà× ÒßÕèàãÜÚßØÝÖĘ • Passing the shuttle over both
åàãÚØÙååÙãÖÒÕ!ÖßÕäÚßÒäÝàååÙÖß selvedges while weaving in one
ÖßÕäÚßåÙÖßÖéåäÝàåÉÖáÖÒå×àãÒ direction and passing the shuttle
åàåÒÝà× ÖßÕäÄÖÒäæãÖÒÕÕÚåÚàßÒÝ under both selvedges while weav-
ÖßÕäà×ºÒäåÀãàß×àãėàÒåÚßØäÖÝçÖÕØÖä ing in the opposite direction.
ÒßÕäÖååÙÖÞÒäÚÕÖ Try one of these techniques and do it
2 ¸ÕÛæäååÙÖÓÒÔÜÙÖÕÕÝÖåÙãÖÒÕÚßØ consistently as you weave.
R IGID HE DDL E
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Paul Bunyan ÞàçÖÖßÕäÚßåàÒÙàÝÖàßÖÚåÙÖãäÚÕÖ
PLAID Scarf à×åÙÖäÝàåÖßÕåàåÙÖÙàÝÖàßåÙÖÝÖĘ ÖßÕ×ãàÞÒÙàÝÖÒßÕÖßÕ×ãàÞåÙÖ
Yvonne Ellsworth ÒßÕåàåÙÖÙàÝÖàßåÙÖãÚØÙåËÙÖ ßÖéåäÝàåÚßåÙÖÓÒÔÜÙÖÕÕÝÖåÙãàæØÙÒ
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MATERIALS
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WEAVING TIP
Superwash yarn often expands rather
than shrinking during wet-finishing.
This means that after it is wet-finished,
this scarf may be slightly longer than it
was right off the loom.
Once Upon a Time
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Once Upon a Time
PROJECT STEPS
Weaving
1 Set up your loom for direct
warping a length of 108" (3 yd) or
wind a warp of 168 ends 108" (3 yd)
long following the warp color order in
Figure 1. Centering for a weaving
width of 14", warp the loom using your
preferred method.
2 ÎÚßÕ Ò äÙæęÝÖ èÚåÙ Êßàè ÒßÕ
another with Grey Heather. Spread
the warp with scrap yarn.
3 Leaving a tail 4 times the width of
the warp for hemstitching, weave
2 picks in Grey Heather. Hemstitch in
bundles of 3 ends using the long tail.
ºàßåÚßæÖ èÖÒçÚßØ ×àÝÝàèÚßØ åÙÖ èÖĘ
color order in Figure 2. Finish with
2 picks of Grey Heather and hem-
stitch as you did at the beginning.
4 Remove the piece from the loom
leaving at least 2" of fringe on either
side. Cut fringe to about ½" from
hemstitched edge.
Fulling and Sewing
5 Place the fabric in a washing
ÞÒÔÙÚßÖ ÒßÕ ĔÝÝ èÚåÙ Ùàå èÒåÖã ¸ÕÕ
Sewing pattern for shapes A–D
25% actual size; WEAVING TIP

copy and enlarge As you weave, keep the selvedges
pattern before using
loose to prevent the fabric from puck-
ering during fulling.
A
Adult mitten
palm and thumb
C Figure 1. Warp color order
42x
Adult mitten back 84 2 #N03 Grey Heather
84 2 #740 Snow
168 ends total
Figure 2. Weft color order

her
ow at
Sn y He
e
B
Gr
1
60" 26"
Adult mitten D 1
cuff and thumb 1
Baby mitten
front and back
Once Upon a Time
several drops of mild detergent along YARNS Warp:%!ÔàęàßÔÒãáÖåèÒãá
with a large towel (for extra agita- #%êÕÝÓ¾ÖàãØÚÒÐÒãßºàÞáÒßê
tion). Allow the washing machine to ÅÒåæãÒÝ!!êÕ%!ÔàęàßÔÒãáÖå
run, checking frequently until desired èÒãá#êÕÝÓÄÒêäçÚÝÝÖ
fulling and shrinkage have occurred. "ÄêãåÝÖ¾ãÖÖß&êÕ
The piece should be fulled densely ºÒãÕÚßÒÝêÕ
enough that no spaces remain Weft: %!ÔàęàßÔÒãáÖåèÒãá¾ÖàãØÚÒ
ÓÖåèÖÖßèÒãáÒßÕèÖĘÉÚßäÖÒßÕ Yarn Company), Natural, 126 yd.
spin out excess water. Allow the cloth %!ÔàęàßÔÒãáÖåèÒãáÄÒêäçÚÝÝÖ
to air-dry. "ÄêãåÝÖ¾ãÖÖß#êÕ%Ôàęàß
6 From the gray section, cut out 2 (3,360 yd/lb; Yarn Barn of Kansas),
pieces each of shapes A and D. ÅÒåæãÒÝ"êÕ%Ôàęàß #êÕ
7 From the white and gray fabric, ÝÓÍÒÝÝÖêÐÒãßäÎ¼¹Ê"& !¼ÝÞ
cut out 2 pieces each of shapes B, C, ¾ãÖÖß %êÕ
and D. OTHER SUPPLIES ºÝàåÙÓÚßáÒęÖãßäÖÖ
8 ½àãåÙÖÒÕæÝåÞÚęÖßäÝÚßÖæáåÙÖ ÉÖäàæãÔÖäÔàęàß×ÒÓãÚÔ×àãÝÚßÚßØ
R IGID HE DDL E
thumbs and pin A to B and machine and binding, one fat quarter each;
stitch around the thumb and horizon- Gingerbread Dishcloths lightweight fusible interfacing,
tal edge using ¼" seam allowance. AND BIN 2 pieces 6½" × 9" (the sturdy, hand-
ÉÖáÖÒåèÚåÙåÙÖäÖÔàßÕ¸ÒßÕ¹ Malynda Allen èàçÖß×ÒÓãÚÔÕàÖäßĀåßÖÖÕÞÖÕÚæÞ
ÞÚããàãÚßØåÙÖÕÚãÖÔåÚàß×àãÝÖĘÒßÕ weight interfacing as stated in the
ãÚØÙåÞÚęÖßä RESOURCES áÒęÖãßäÖèÚßØåÙãÖÒÕ
9 Pin the A/B pieces to the C pieces, ÀßÕÚØàÓÚãÕÊÖèÚßØÇÒęÖãßäĂÄÚßÚ WARP LENGTH 173 ends 118" long
right sides together and with the curved ½ÒÓãÚÔÊåàãÒØÖ¹Úßă¸áãÚÝ! (allows 10" for take-up, 18" for loom
top of A aligned with the curved top indigobird.ca/post/mini-fabric waste). Allow 20" of warp length for
of C. Pin the thumb toward the palm äåàãÒØÖÓÚß×ãÖÖáÒęÖãß each additional dishcloth or tote.
center in a Y shape and machine Patrick, Jane. The Weaver’s Idea SETTS Warp: 12 epi. Weft: !ááÚÙÖÞä
stitch around the entire edge using ¼" Book. Loveland, CO: Interweave, and bin fabric); 9 ppi (dishcloth body).
äÖÒÞÒÝÝàèÒßÔÖÝÖÒçÚßØåÙÖÓàęàÞ 2010, 89. DIMENSIONS Width in the heddle:!TYFG
à×åÙÖÞÚęÖßàáÖßËæãßåÙÖÞÚęÖß Woven length: (measured under tension
ÒßÕåÙæÞÓãÚØÙåäÚÕÖàæåÉÖáÖÒå×àã MATERIALS on the loom) 90" (18" per dishcloth or
åÙÖäÖÔàßÕÞÚęÖß STRUCTUREÇÝÒÚßèÖÒçÖèÚåÙèÖĘėàÒåä tote). Finished size: ÒĘÖãÙÖÞÞÚßØÒßÕ
10 ½àãåÙÖÓÒÓêÞÚęÖßäáÚßÒØãÒê EQUIPMENTÉÚØÚÕÙÖÕÕÝÖÝààÞ" èÖåĔßÚäÙÚßØ×àæãÕÚäÙÔÝàåÙä
felt D to a white/gray felt D and sew weaving width; 12-dent heddle; 11½" × 12½" each; fabric for the bin,
around the arch using ¼" seam pick-up stick; 2 shuttles. Note: Have "\ Finished bin:! ! !
ÒÝÝàèÒßÔÖÝÖÒçÚßØåÙÖÓàęàÞÙàãÚ- Ò"ÕÖßåÙÖÕÕÝÖÊÖÖåÙÖ
ëàßåÒÝÖÕØÖàáÖßÉÖáÖÒåèÚåÙåÙÖ Heddle Conversion Chart in the For pick-up stick instructions, see
äÖÔàßÕÓÒÓêÞÚęÖßÒßÕåæãßÓàåÙ ÉÖÒÕÖãĀä¾æÚÕÖ Reader’s Guide.
right side out.
11 ÆßÓàåÙäÖåäà×ÞÚęÖßäĔßÚäÙÖÒÔÙ
ÔæĒÖÕØÖèÚåÙÒÓÝÒßÜÖåäåÚåÔÙäÖÖ
Figure 1. Warp color order
ÉÖäàæãÔÖäæäÚßØÒåÒáÖäåãêßÖÖÕÝÖÒßÕ
3x
èààÝêÒãßàãÖÞÓãàÚÕÖãêėàää¸ÝåÖã- 3x 3x
nate long and short stitches for a 2x 2x
ÕÖÔàãÒåÚçÖÖÕØÚßØ¹ãÚęÒßêæäÖÕ!" 6 1 1 #23 Cardinal Red
ÁæÚÔêÇÝæÞ×àãåÙÖÒÕæÝåÞÚęÖßäÒßÕ 33 1 3 1 #15 Myrtle Green
134 6 4 1 9 1 1 4 4 1 11 Natural
""¹ÝæÖÄÒãÚßÒ×àãåÙÖÓÒÓêÞÚęÖßä 173 ends total
12 Use a needlefelting needle to
flatten the inside seam for ½" up
from the bottom inside the cuff of
Figure 2. Pick-up stick setup Weaving sequence
each mitten.
2x
13 ÆáåÚàßÒÝÄÒÜÖÒ!äåãÒßÕ 7x 9x 7x
1. Up.
2. Pick-up stick.
round braid with extra yarn of each
5 1 2 1 1 2 1 1 6 Up 3. Up.
color for a length of about 32" (see Do 1 1 1 1 1 Down 4. Down.
it by Hand, pp. 86–88). Sew one end of 87 slot ends
the braid to the inside seam of each
ÓÒÓêÞÚęÖß

Once Upon a Time
PROJECT STEPS 6 Weave the third and fourth interfacing to the back of the hand-
1 Set up your loom for direct ÕÚäÙÔÝàåÙäÒäêàæÕÚÕåÙÖĔãäåÒßÕ woven fabric according to the manu-
warping a length of 118" or wind äÖÔàßÕæäÚßØ%¼ÝÞ¾ãÖÖß×àãåÙÖ ×ÒÔåæãÖãĀäÚßäåãæÔåÚàßä¸ÝåÖãßÒåÚçÖÝê
a warp of 173 ends 118" long follow- ÙÖÞäÒßÕ%!ÄêãåÝÖ¾ãÖÖß×àãåÙÖÓàÕê you can apply interfacing before
ing the warp color order in Figure 1. 7 Cut the fabric from the loom. ÔæęÚßØºæååÙÖÓÚßÕÚßØ×ÒÓãÚÔÚßåà
Centering for a weaving width of Zigzag stitch the raw ends and along åèàãÖÔåÒßØÝÖäÞÖÒäæãÚßØ_ &
!TYFG èÒãáåÙÖÝààÞæäÚßØêàæã the edge of each dishcloth or fabric Note:ËÙÖäÖÞÖÒäæãÖÞÖßåäÒãÖÕÚĒÖãÖßå
áãÖ×ÖããÖÕÞÖåÙàÕäåÒãåÚßØÒßÕ length on either side of the contrast- ×ãàÞåÙàäÖØÚçÖßÚßåÙÖáÒęÖãßËÙÖê
ending in a slot. ing yarn picks. have been adjusted for handwoven
2 Wind a shuttle with Natural 8 ÎÖåĔßÚäÙÓêÞÒÔÙÚßÖèÒäÙÚßØÒä ×ÒÓãÚÔÒßÕåàÓÖęÖãĔååÙÖÕÚäÙÔÝàåÙä
8/2 cotton. Spread the warp with êàæÚßåÖßÕåàèÒäÙåÙÖĔßÚäÙÖÕ 11 Sew the tote following the
scrap yarn. dishcloths. Tumble dry until damp- ÕÚãÖÔåÚàßä×àãåÙÖÄÚßÚ½ÒÓãÚÔÊåàãÒØÖ
Bin fabric dry. Press. Bin (see Resources) with two excep-
3 ÌäÚßØ%ÅÒåæãÒÝèÖÒçÖáÝÒÚß 9 Cut apart the dishcloths along the tions: Cut the fabric according to the
weave for 18". (You need 15½" for the contrasting yarn picks. Press hems up measurements in Step 10 and use
wet-finished tote fabric to measure 1". Turn the raw edge under to meet ½" seam allowances throughout to
ÓæåÄÒÝêßÕÒãÖÔàÞÞÖßÕä the fold. Press again. Sew the hems in ensure secure seams with the hand-
weaving 18" to allow for extra place by hand or machine. woven fabric. Do not use ¼" seams.
shrinkage.) Weave 2 picks of contrast- Sew the Bin: Note: The directions to cut two 2"
ÚßØêÒãß×àãÒÔæęÚßØÝÚßÖ 10 ºæååÙÖÙÒßÕèàçÖßåàåÖ×ÒÓãÚÔ squares from the corners of the main
Dishcloths ÝÚßÚßØ×ÒÓãÚÔÒßÕÚßåÖã×ÒÔÚßØÚßåàåèà fabric and lining remain the same
4 ÎÚßÕÒßàåÙÖãäÙæęÝÖèÚåÙ%! ãÖÔåÒßØÝÖäÖÒÔÙÞÖÒäæãÚßØ& #\ with ½" seams. The other measure-
Natural. Weave a plain-weave hem with the 6½" length warpwise on the ments have been adjusted to account
èÚåÙ%ÔàęàßÚßÅÒåæãÒÝ×àã\ handwoven fabric. Apply the for this.
ÎÖÒçÖèÚåÙ%!ÔàęàßÚßáÝÒÚßèÖÒçÖ
until the dishcloth measures 16½".
ÊèÚåÔÙåà%ÔàęàßÒßÕèÖÒçÖåÙÖ
hem for 1½" or until the fabric
measures 18". Weave 2 picks of
contrasting yarn between dishcloths.
5 Begin weaving the second
ÕÚäÙÔÝàåÙÒäåÙÖĔãäåÖßÕÚßØåÙÖÙÖÞ
with an up-heddle pick. With 8/4
ÅÒåæãÒÝèÖÒçÖáÚÔÜèÚåÙåÙÖÙÖÕÕÝÖ
down. Place the pick-up stick following
åÙÖáÚÔÜæáäÖåæá½ÚØæãÖÎÖÒçÖ
following the weaving sequence until
the dishcloth measures 16½". End
èÚåÙ\ áÝÒÚßèÖÒçÖèÚåÙ%Ôàęàß
for the hem.
ASSEMBLY TIP
Malynda sewed the binding fabric
to the lining instead of the outer tote
fabric when she assembled her bin.
Then she slip-stitched the binding
to the outside of the bin instead of
stitching in the ditch from the outside
and catching the folded-down binding
inside the bin as instructed in the pat-
tern. She believes it is a neater finish
to handsew the binding in place, but
either method is fine.
Once Upon a Time
YARNS Warp and weft:·ÚçÚæåÝÒÔÖ ¹ÝÖÒÔÙÖÕêÒãßÎàãÜåÙÖÙàà×äÚß
èÖÚØÙåZâÚçÚæå$êÕàë ÝàßØäåãÒÚØÙåäåÚåÔÙÖäæäÚßØÒ
ÆàÞÚßØÞÒÜÄæäÜÆéÇãàÕæÔÖãäĀ ÕàæÓÝÖäåãÒßÕà×ÅÒåæãÒÝêÒãßäÖÖ
ºààáÖãÒåÚçÖÅÒåæãÒÝÓãàèß áÙàåàÓÖÝàè
&êÕ¹ÝÖÒÔÙÖÕåÒß%%Z 5 ÎÚåÙãÚØÙåäÚÕÖä×ÒÔÚßØäÖèåÙÖ
âÚçÚæåZäÚÝÜ#"êÕàë äÙàãåÖßÕäåàØÖåÙÖãåàäÙÒáÖåÙÖÔàèÝ
ÆàÞÚßØÞÒÜÄæäÜÆéÇãàÕæÔÖãäĀ 6 ÌäÖÒåÒáÖäåãêßÖÖÕÝÖåàèÖÒçÖÚß
ºààáÖãÒåÚçÖ¹ÝÖÒÔÙÖÕÓÖÚØÖ ÝààäÖÖßÕä
#"êÕ 7 ½àãåÙÖÔãàÔÙÖåÓàãÕÖãèÚåÙãÚØÙå
DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ äÚÕÖ×ÒÔÚßØÒßÕæäÚßØäÚëÖº$"
ÒßÕèÖåĔßÚäÙÚßØ\ ÞÞÙààÜÛàÚßÅÒåæãÒÝêÒãßÒßêèÙÖãÖ
ÒÝàßØåÙÖÖÕØÖèÚåÙÒäÝÚáäåÚåÔÙÎàãÜ
PROJECT STEPS ÒÓàæåäÔáÖãÙÖéÒØàßäÚÕÖÓÖåèÖÖß
1 ½àÝÝàèÚßØåÙÖÝààÞÞÒßæ×ÒÔåæãÖãĀä ÔàãßÖãäÎàãÜäÔÚßÖÒÔÙåÚáÎàãÜ
ÕÚãÖÔåÚàßäèÖÒçÖ#ÙÖéÒØàßäÚß äÔåàØÚßÖÒÔÙåæãß¸ååÙÖÖßÕà×åÙÖ
ÅÒåæãÒÝÒßÕÙÖéÒØàßäÚß¹ÝÖÒÔÙÖÕ ãàæßÕäÝÚáäåÚåÔÙÚßåàåÙÖĔãäåäÔÒßÕ
P IN L OOM
ÃÖÒçÖêÒãßåÒÚÝä×àãäÖèÚßØåÙÖ ÓÚßÕàĒèÚåÙÒßÚßçÚäÚÓÝÖäåÚåÔÙ
QIVIUT Cowl ÙÖéÒØàßäåàØÖåÙÖã 8 ÌäÖÒåÒáÖäåãêßÖÖÕÝÖåàèÖÒçÖÚß
Gabi van Tassell 2 ÃÒêàæåÙÖéÒØàßäÒääÙàèßÚß ÝààäÖÖßÕä
½ÚØæãÖ 9 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß
RESOURCES 3 ÌäÚßØåÙÖåÒÚÝäèÙÚáäåÚåÔÙäÖÖ ÔàÝÕèÒåÖãèÚåÙßàãÚßäÖÞÚÝÕÕÖåÖã
Berlo, Janet Catherine. “Oomingmak: ÉÖÒÕÖãĀä¾æÚÕÖÙÖéÒØàßäÚßåàåÙãÖÖ ØÖßå¾ÒÓÚæäÖÕ¼æÔÒÝÒßÃÒêėÒå
ÂßÚęÚßØÍÚäÚàßÚßåàÉÖÒÝÚåêă ãàèäĔãäååÙÖßäÖèåÙÖãàèäåàØÖåÙÖã åàÕãê
PieceWorkÁÒßæÒãê½ÖÓãæÒãê 4 ¼ÞÓãàÚÕÖãåÙÖÙàãßäÚßäåãÒÚØÙå
1996, 50–53. äåÚåÔÙÖäæäÚßØÒÕàæÓÝÖäåãÒßÕà×
ÅÖÝäàßÂÖããêĂËÙÖÄæäÜÆé½ÒãÞ
ÄÒØßÚĔÔÖßåÄÒÞÞÒÝä½ÒßåÒäåÚÔ
½ÚÓÖãäăHandwovenÁÒßæÒãê
2020. ÙÒßÕèàçÖßÞÒØÒëÚßÖÔàÞ
åÙÖÞæäÜàé×ÒãÞÞÒØßÚĔÔÖßå
ÞÒÞÞÒÝä×ÒßåÒäåÚÔĔÓÖã.
MATERIALS
STRUCTURE Plain weave.
EQUIPMENT¿ÖéÒØàßáÚßÝààÞ!
èÖÒçÚßØäÚëÖ¾ÒÓÚæäÖÕÒßÆãÚØÚßÒÝ
ËÌÉËÃ¼ÃààÞĔßÖäÖę$"ÞÞ
ÝàÔÜÖãÙààÜàãèÖÒçÚßØåààÝà×êàæã
ÔÙàÚÔÖáÒÔÜÚßØÔàÞÓàã×àãÜ
åÒáÖäåãêßÖÖÕÝÖº$"ÞÞ
ÔãàÔÙÖåÙààÜ
Figure 1. Layout
Bleached
Natural

Once Upon a Time
PROJECT STEPS a Starting with heddle down,
1 ÊÖåæáêàæãÝààÞ×àãÕÚãÖÔåèÒãáÚßØ weave 5 picks of plain weave
ÒÝÖßØåÙà× ! àãèÚßÕÒèÒãáà×# æäÚßØåÙÖÕàæÓÝÖÕèÖĘ
ÕàæÓÝÖÕÖßÕä ! ÝàßØèÚåÙ»ÒßÕÖÝÚàß b ÎÚåÙÙÖÕÕÝÖæáäåÒãåáÒęÖãß
Centering for a weaving width of 18", ãàèäåÙÖĔãäå"ÖßÕáÚÔÜæá
èÒãáåÙÖÝààÞæäÚßØêàæãáãÖ×ÖããÖÕ áæäÙÕàèßÓÝàÔÜèÚÝÝäåÒãå#
ÞÖåÙàÕåÙãÖÒÕÚßØÖçÖãêäÝàåÒßÕÙàÝÖ ÖßÕä×ãàÞåÙÖãÚØÙå¼ÒÔÙáÒęÖãß
with a doubled end. Thread the end at row is 5 picks. Follow the sample
åÙÖÝÖĘäÖÝçÖÕØÖÚßÒÙàÝÖÒßÕåÙÖÖßÕ chart in Figure 1 for the pick-up
at the right selvedge in a slot. motif and refer to the weaving
2 ÎÚßÕÒäÙæęÝÖèÚåÙÒäÚßØÝÖäåãÒßÕ äÖâæÖßÔÖÚß½ÚØæãÖ!åàÞÒÜÖèÒãá
of Dandelion for the inner hems and ėàÒåÓÝàÔÜäçäèÖĘėàÒåÓÝàÔÜä
ÒßàåÙÖãäÙæęÝÖèÚåÙ»ÒßÕÖÝÚàß c ¸ĘÖãÔàÞáÝÖåÚßØåÙÖáÚÔÜæá
ÕàæÓÝÖÕ×àãåÙÖÓàÕêà×åÙÖßÒáÜÚßä ĔßÚäÙèÚåÙ#áÚÔÜäà×áÝÒÚßèÖÒçÖ
ÊáãÖÒÕåÙÖèÒãáèÚåÙäÔãÒáêÒãß d Weave 2 picks of a contrasting
3 Weave the practice sample: äÔãÒáêÒãß
R IGID HE DDL E
Elisabeth suggests weaving this 4 Weave the spider napkin:
Arachne Napkins äÒÞáÝÖåà×ÒÞÚÝÚÒãÚëÖêàæãäÖÝ×èÚåÙ a Starting with the heddle down,
Elisabeth Hill how the pick-up works and to practice èÖÒçÖ#áÚÔÜäæäÚßØåÙÖäÚßØÝÖ
êàæãÓÖÒåÓÖ×àãÖäåÒãåÚßØåÙÖßÒáÜÚßä äåãÒßÕà××àãåÙÖæßÕÖãÙÖÞ
RESOURCES
“Golden Spider Silk.” Victoria and
Albert Museum. vam.ac.uk/articles
/golden-spider-silk.
MATERIALS
STRUCTURE Huck.
EQUIPMENT Rigid-heddle loom, 18"
weaving width; 12-dent heddle;
áÚÔÜæáäåÚÔÜäåÚÔÜäÙæęÝÖäÒåÝÖÒäå
20" long. Note: Have a 12.5-dent
heddle? See the Heddle Conversion
Chart in the Reader’s Guide.
YARNS Warp:ÔàęàÝÚß#Z
Ôàęàß!ZÝÚßÖß $!êÕÝÓ
¹àÔÜÖßä»ÒßÕÖÝÚàß#%êÕ
Weft:ÔàęàÝÚß»ÒßÕÖÝÚàß
&!êÕ
WARP LENGTH#ÕàæÓÝÖÕÖßÕä!
åÙãÖÒÕäåàåÒÝ ! ÝàßØÒÝÝàèä
for take-up, 18" for loom waste and
practice sample).
DIMENSIONS Width in the heddle: 18".
àßåÙÖÝààÞ&% \ áÖãßÒáÜÚß
áÝæä$\ äÒÞáÝÖFinished size:ÒĘÖã
ÙÖÞÞÚßØÒßÕèÖåĔßÚäÙÚßØ×àæã
ßÒáÜÚßä"\ # ÖÒÔÙ
WEAVING TIPS
• Pay attention to your beat.
• Refer to the illustration of the five
thread blocks in Figure 4.
Once Upon a Time
Figure 1. Practice sample chart

16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
first pick-up (push down) block
center 5-end block starts 106 ends from the right
bÊèÚåÔÙ åà åÙÖ ÕàæÓÝÖÕ èÖĘ

Starting with the heddle down, Key:
èÖÒçÖ áÚÔÜä à× áÝÒÚß èÖÒçÖ Each square = block of 5 ends and 5 picks
c ÊåÒãå áÚÔÜæá áÒęÖãß ãàèä åÙÖ
Ĕãäå "ÖßÕ áÚÔÜæá ÓÝàÔÜ èÚÝÝ äåÒãå Plain weave
"# ÖßÕä ×ãàÞ åÙÖ ãÚØÙå ½àÝÝàè åÙÖ Weft floats - push down the 2nd and 4th ends of the
ÊáÚÕÖã ÔÙÒãå Úß ½ÚØæãÖ ×àã åÙÖ 5-end block on the 2nd and 4th picks of the block
áÚÔÜæá ÞàåÚ×
Warp floats - pick up the 2nd and 4th ends of the
d¸ĘÖã ÔàÞáÝÖåÚßØ åÙÖ áÚÔÜæá 5-end block on the 2nd and 4th picks of the block
weave 23 picks of plain weave
æäÚßØ åÙÖ ÕàæÓÝÖÕ èÖĘ

Once Upon a Time
Figure 2. Spider chart
42
41
40
39
38
37
36
35
34
33
32
31
30
29
28
27
26
25
24
23
22
21
20
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
e Weave 6 picks of plain weave weave 16 picks of plain weave Step 8 to use wrapped hemstitching to
æäÚßØåÙÖäÚßØÝÖèÖĘ æäÚßØåÙÖÕàæÓÝÖÕèÖĘ secure your hems.
f Weave 2 picks of contrasting e Weave 6 picks of plain weave 8 For wrapped hemstitching, follow
scrap yarn. æäÚßØåÙÖäÚßØÝÖèÖĘ the diagram in Figure 5:
5 Weave the web napkin: f Weave 2 picks of contrasting a Turn hems under twice. Thread
a Starting with the heddle down, scrap yarn. your needle. Elisabeth used a
weave 6 picks using the single 6 Repeat either spider or web single strand of one of the warp
äåãÒßÕà××àãåÙÖæßÕÖãÙÖÞ instructions (or chart a design of your yarns because she wanted the
b ÊèÚåÔÙåàåÙÖÕàæÓÝÖÕèÖĘ own) for the remaining two napkins. hemstitching to be bold, but feel
Starting with the heddle down, End with a few picks of waste yarn. ×ãÖÖåàæäÖÒĔßÖãåÙãÖÒÕÚ×ÕÖäÚãÖÕ
weave 15 picks of plain weave. 7 Remove the fabric from the loom b Make a knot and anchor your
c ÊåÒãåáÚÔÜæááÒęÖãßãàèäåÙÖ and zigzag or serge the raw ends. thread inside the hem at the
Ĕãäå"åÙãÖÒÕáÚÔÜæáÓÝàÔÜèÚÝÝ ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØàãÞÒÔÙÚßÖ selvedge.
start 106 ends from the right. washing. Dry on medium heat until just c Work with the wrong side facing
Follow the Web chart in Figure 3 damp. Cut napkins apart and press you (hem fold is closest to you).
for the pick-up motif. hems under twice. Sew hems by hand d Count over 4 warp ends from
d ¸ĘÖãÔàÞáÝÖåÚßØåÙÖáÚÔÜæá or machine or follow the instructions in the selvedge and insert your
Once Upon a Time
Figure 3. Web chart
43
42
41
40
39
38
37
36
35
34
33
32
31
30
29
28
27
26
25
24
23
22
21
20
19
18
17
16
15
14
13
12
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10
9
8
7
6
5
4
3
2
1
43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
Figure 4. Weaving sequence with float blocks
Warp float blocks Weft float blocks
Plain weave Plain weave
Pick up 2nd and 4th ends Push down 2nd and 4th ends
Pick up 2nd and 4th ends Push down 2nd and 4th ends
Odd pattern rows weave plain weave picks Up.

Even pattern rows weave plain weave picks Down.

Once Upon a Time
ßÖÖÕÝÖ×ãàÞåÙÖÙÖÞäÚÕÖåÙãàæØÙ ãÖÒÕêåàèãÒáåÙÖßÖéå!èÒãá
åàåÙÖãÚØÙåäÚÕÖÓÖåèÖÖßåÙÖ!åÙ ÖßÕääÖÖ½ÚØæãÖ"
ÒßÕ"åÙèÒãáÖßÕäÕàßàåØà g ËÒÜÖÔÒãÖåàÒÝèÒêäÚßäÖãåêàæã
åÙãàæØÙåÙÖ×àÝÕÖÕÙÖÞ ßÖÖÕÝÖÒÝàßØåÙÖäÒÞÖèÖĘáÚÔÜ
e Bring the needle around the äàåÙÒåêàæãèãÒááÖÕÓàæåäÒãÖÚß
selvedge to the hem side and ÒäåãÒÚØÙåÝÚßÖÃààÜÒååÙÖ×ãàßåà×
ÓÖåèÖÖßåÙÖ!åÙÒßÕ"åÙèÒãá åÙÖåàèÖÝàÔÔÒäÚàßÒÝÝêåàÔÙÖÔÜ
ÖßÕäåàåÙÖ×ãàßåÒØÒÚßÉÖáÖÒå alignment. Continue across the
the wrap at least 2 times. Elisa- èÚÕåÙà×åÙÖåàèÖÝèãÒááÚßØ!
ÓÖåÙèãÒááÖÕåÚÞÖäÓæåêàæÔÒß èÒãáÖßÕäÚßÖçÖãêÓàæåæßåÚÝêàæ
èãÒáÒäÞÒßêåÚÞÖäÒäêàæÝÚÜÖ ØÖååàåÙÖÝÒäåÓàæåÄÒÜÖÒÜßàå
f ÆßåÙÖÝÒäåèãÒáÚßäÖãåêàæã inside the hem to secure. Optional:
ßÖÖÕÝÖÚßåàåÙÖ×ÒÓãÚÔà×åÙÖ×àÝÕåà ¹ÖØÚßÒßÕÖßÕÓêäÖèÚßØæáåÙÖ
ÔÒåÔÙåÙÖÙÖÞÒßÕÓãÚßØÚåæá ÖÕØÖäà×åÙÖÙÖÞä
R IGID HE DDL E
Red Riding Hood’s

BREAD CLOTH
Tammy Bast
MATERIALS
STRUCTUREÇÝÒÚßèÖÒçÖÒßÕèÒğÖ
weave.
EQUIPMENT Rigid-heddle loom, 28"
weaving width; 12.5-dent heddle;
3 shuttles; 4 pick-up sticks. Note:
Have a 12-dent heddle? See the
Heddle Conversion Chart in the
Reader’s Guide.
YARNS Warp:%Ôàęàß #êÕÝÓ
¹ãÒääÒãÕ"#ÉàæØÖÊÔÒãÝÖå
!#$êÕ¹ÝÒßÔÙÚ!êÕ
Weft:%Ôàęàß"#ÉàæØÖÊÔÒãÝÖå
Figure 5. Wrapped hemstitch
%%êÕ¹ÝÒßÔÙÚ##êÕ
WARP LENGTH "ÕàæÓÝÖÕÖßÕä#"
åàåÒÝåÙãÖÒÕä!% ÝàßØÒÝÝàèä ×àã
åÒÜÖæá$ ×àãÝààÞèÒäåÖ
SETTS Warp: 12.5 epi. Weft:\ááÚ×àã
åÙÖÙÖÞ&ááÚ×àãåÙÖáÒęÖãß
DIMENSIONS Width in the heddle:"\
on the loom) 28".
Finished size:ÒĘÖãèÖåĔßÚäÙÚßØÒßÕ
ÙÖÞÞÚßØ\ \
For pick-up stick instructions, see

Reader’s Guide.
PROJECT STEPS
1 ÊÖåæáêàæãÝààÞ×àãÕÚãÖÔå
Double-fold hem
èÒãáÚßØÒÝÖßØåÙà×!% àãèÚßÕ
ÒèÒãáà× "èàãÜÚßØÖßÕä!% ÝàßØ
×àÝÝàèÚßØåÙÖèÒãáÔàÝàãàãÕÖãÚß
½ÚØæãÖºÖßåÖãÚßØ×àãÒèÖÒçÚßØ
èÚÕåÙà×# èÒãáåÙÖÝààÞæäÚßØêàæã
áãÖ×ÖããÖÕÞÖåÙàÕäåÒãåÚßØÒßÕ
Once Upon a Time
ending in a slot and threading every
slot and hole with a doubled warp
end. Note: The Rouge Scarlet blocks
start and end in a slot, and the
Blanchi blocks start and end in a hole.
2 Wind shuttles with Rouge
Scarlet used single, Rouge Scarlet
doubled, and Blanchi doubled. Use
warping sticks or scrap yarn to
spread the warp.
3 Using Rouge Scarlet single, weave
2½" of plain weave for the hem.
4 Set up pick-up sticks A and B
following Figure 2.
5 Using Blanchi doubled, weave
following the weaving sequence in
Figure 3 for Block 1. Push pick-up
sticks A and B to the back of
the loom.
6 Set up pick-up sticks C and D
following Figure 2. Using Rouge
Scarlet doubled, weave following the
weaving sequence in Figure 3 for Figure 1. Warp color order Figure 3. Weaving sequence
Block 2. Remove pick-up sticks C 6x
+ P ick k B
kD
and D.
Up -up st p stic
stic
150 25 Blanchi
7 Repeat Steps 5 and 6 three more
Pic Pick- ck A
ick- C
175 25 25 Rouge Scarlet
up
u
i
times. Weave Step 5 once more (9 325 doubled ends (650 threads total)
Up -up st
áÒęÖãßÓÝàÔÜäåàåÒÝ
Pic n
Dow
+
k
k
8 Using the Rouge Scarlet single,
Up
weave 2½" of plain weave for the hem 2½" hem
as you did at the beginning.
9 Weave a few picks of scrap yarn
to protect the weft. Remove the Figure 2. Pick-up stick setup
3x
Block 1
fabric from the loom. Using a sewing 5x

Pick-up stick A 6x
machine, sew a straight stitch at 13 12 1 1 12 13 Up
each end of the weaving. Trim ends. 163 slot ends 1 Down
10 ÎÖåĔßÚäÙÓêÞÒÔÙÚßÖèÒäÙÚßØ 4x
5x
in warm water with mild detergent. Pick-up stick B 6x
Tumble dry. Press. Note: Tammy has 1 1 Up
12 13 Down
3x
13 12 1
never had a problem with dyes
migrating. However, she recommends
Block 2
Pick-up sticks A and B will slide past each other.

using color catchers and warm water Push the pair to the back of the loom when not in use.
rather than hot water.
6x
11 Turn hems under ½" twice; press Pick-up stick C 2x 2x
and sew by hand or machine. When 13 1 4 1 13 Up
1 1 Down
hemming, Tammy chose the back
of her basket liner as the front. 6x
Weaver’s choice! Pick-up stick D 3x 3x
3x
Block 1
1 1 Up
13 1 1 13 Down
Pick-up sticks C and D will slide past each other.

Insert the pair to weave Block 2 and remove them
to weave Block 1.
Blanchi 2½" hem
Rouge Scarlet
Rouge Scarlet, single
Rouge Scarlet, doubled
Blanchi, doubled

the hero’s journey
The hero’s journey begins with a first step, just as all
handwoven cloth starts with that first pick. Go on your own
weaving adventure with these clever projects.
BUNNY BUDDIES
by Deborah Bagley
These adorable pin-loom
bunnies inspired by literary
rabbits such as Peter Rabbit
and his sisters, Flopsy,
Mopsy, and Cotton-tail,
will become classics in
your home in no time.
Construction is quick and
easy, and their weighted
bottoms allow the bunnies
to stand up on their own.
Pattern page 57.
The Hero’s Journey
MAGIC BEANS MUG RUGS

by Jennifer E. Kwong
Jennifer loves sampling, but when she
needs to design a “useful item,” mug
rugs are one of her favorite things to
weave. These fulled mug rugs, woven
on a rigid-heddle loom, are the perfect
landing place for a mug of coffee, the
other magic bean. Pattern page 59.

A LOVABLE
HOT-WATER BOTTLE
by Jennifer Chapman
The Flint Heart, a retelling of a
fairy tale originally published in
1910, inspired Jennifer’s pin-loom–
woven hot-water bottle cover. The
bag’s construction is simple and
includes a row of cross-stitched
hearts that enhances the design
and reminds us of the importance
of love. Pattern page 61.
JACK’S SHOULDER BAG

by Robin Lynde
Robin used hemp yarn to make
a sturdy bag reminiscent of the
one that Jack may have used
when dashing down the
beanstalk with the giant’s gold.
The bag can be worn cross-
body, leaving hands free for
climbing beanstalks or any
other task. Pattern page 62.

A SCARF FOR
THE HATTER
by Kellie Frances Reid
The first copy of Lewis
Carroll’s Alice’s Adventures
in Wonderland that Kellie
ever saw was the copy her
father had as a boy. Her
favorite illustrations included
the Hatter, and she loved
imagining what it would be
like to join him and the March
Hare for tea, so of course she
had to design him a scarf.
Pattern page 64.
åÙÖ×ÖÞÒÝÖÕàÖÓæßßêĀäÔÝàåÙÚßØÚä along the marked lines. The opening
»ÖÖáÊÖÒåÖÒÝ ÒååÙÖÓàęàÞà×åÙÖÖÒãäßÖÖÕäåàÓÖ
2 Whipstitch or double-overcast about ¾" to turn the ears right side
äåÚåÔÙäÖÖÉÖÒÕÖãĀä¾æÚÕÖ!ÎÙÖÒå out. Note: Choose a stitch length on the
squares together to make a sewing machine that will catch every
2 × 2 square. See Figure 2. èÒãáÒßÕèÖĘäåãÒßÕà×êàæãäâæÒãÖä
3 Separately sew together 2 Mid You may need to sew around the ears
¹ÝæÖ×àãåÙÖÓæÔÜàã»ÖÖáÊÖÒ×àã more than once if the machine
the doe) 4" squares to make a 1 × 2 stitches do not catch each strand.
rectangle. See Figure 3. 8 Cut around each ear leaving a ¼"
4 Whipstitch the Mid Blue or Deep seam allowance. Turn cylinders right
ÊÖÒãÖÔåÒßØÝÖåàåÙÖÓàęàÞà×Ò äÚÕÖàæåÚßÔÝæÕÚßØåÙÖÖÒãäÊåæĒÖÒãä
Wheat square along the 8" side to lightly and body moderately. For a
make a 2 × 3 rectangle. See Figure 4. ÓæßßêåÙÒåÔÒßäåÒßÕĔÝÝåÙÖÓàęàÞ
5 Fold the rectangle in half so it is 1" with popcorn kernels or beans. For
a 1 × 3 rectangle with right sides ease of sewing, put the popcorn or
P IN L OOM
facing and colors aligned. Whip- ÓÖÒßäÚßÒÝÚęÝÖÓÒØØÚÖĔãäåÊÖÖ
Bunny Buddies stitch along the 12" edge using the Figure 7.
Deborah Bagley coordinating colors to make a
cylinder. See Figure 5.
RESOURCES 6 ½ÝÒęÖßåÙÖÔêÝÚßÕÖãäàåÙÖ Figure 1. Pin-loom pieces
“Basic Embroidery Stitches.” Piece- seams line up. Place the bunny ears
4" square
are
Work, January 18, 2021. piecework template on the top of the Wheat
qu
magazine.com/basic-embroidery section leaving a ¼" seam allowance.
2" s
-stitches. Use a marker to trace around the
ÖÒãäÊÖÖ½ÚØæãÖ# 4 #9388 Wheat
1 2 #9870 Deep Sea or #9820 Mid Blue
MATERIALS 7 Use a sewing machine and a 1 #4601 Off White
STRUCTURE Plain weave. short, solid stitch to sew the ears 8 pieces total per bunny
EQUIPMENT 4" and 2" square pin
looms; 5" weaving needle; packing
comb or fork; tapestry needle.
YARNSÊàĘZÒÔãêÝÚÔ"#êÕ"àë
Red Heart), #9388 Wheat, 78 yd;
#9820 Mid Blue and #9870 Deep
ÊÖÒ!êÕÖÒÔÙ!#ÆĒÎÙÚåÖ
4 yd; #9770 Rose Blush, 2 yd;
#9440 Light Gray Heather, 1 yd.
Note: Mid Blue and Deep Sea are
discontinued colors. Try #9518 Teal
and #9851 Royal Blue as substitutes.
OTHER SUPPLIES½àæãi ÓÝÒÔÜÓæęàßä
áÖãÓæßßêåÙãÖÖ\ ÓæęàßäÓÝæÖ
åÖÒÝh èÚÕÖåÖÒÝãÚÓÓàß#
áàÝêÖäåÖãĔÓÖãĔÝÝäåæĜßØÕÒãÜ
washable marker; hot glue; popcorn
ÜÖãßÖÝäàãÓÖÒßäàáåÚàßÒÝßÖÖÕÝÖ
and thread.
DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ
ÒßÕèÖåĔßÚäÙÚßØåèàÓæßßÚÖäÖÒÔÙ
\
PROJECT STEPS
1 To make one bunny, following the
manufacturer’s directions, plain
weave 8 pieces as shown in Figure 1.
Note:ËÙÖÞÒÝÖÓæÔÜÓæßßêĀä
ÔÝàåÙÚßØÚäÄÚÕ¹ÝæÖãàêÒÝÓÝæÖÒßÕ

THe Hero’s Journey
9 Place the coordinating Mid Blue or Figure 2. 2 × 2 square Figure 3. 1 × 2 rectangle Figure 4. 2 × 3 rectangle
»ÖÖáÊÖÒ äâæÒãÖàçÖãåÙÖÓàęàÞ
opening and whipstitch to the body
using small stitches, tucking the
corners of the 2" square in to round
åÙÖÓàęàÞÊÖÖ½ÚØæãÖ%
10 ½àãåÙÖåÒÚÝæäÖÆĒÎÙÚåÖÒßÕÒ Figure 5. Cylinder
running stitch to make a 2" circle on a

ÆĒÎÙÚåÖäâæÒãÖÇæåäåæĜßØÚßåÙÖ
center and pull on the yarn ends to
gather it into a small sphere. See
½ÚØæãÖ&ÄÒÜÖÒÜßàååàÜÖÖáÚå
closed. Sew the tail to the back of the
bunny either centered at the top of the
ÄÚÕ¹ÝæÖàãßÖÒãåÙÖÓàęàÞà×åÙÖ
Deep Sea. See photo for placement.
11 To further shape the ears, tightly
åÚÖÒáÚÖÔÖà×ÎÙÖÒåÒãàæßÕåÙÖÓÒäÖ Figure 6. Bunny ears template
of each ear. Knot and weave in ends.
12 ÌäÖÒäåãÒßÕà×ÎÙÖÒååàÞÒÜÖ
åÙÖßÖÔÜ _ ×ãàÞåÙÖÓàęàÞà×åÙÖ
ears. Tie around the body tightly, knot,
åÙÖßèÖÒçÖÚßÖßÕäÊÖÖ½ÚØæãÖ
13 Use needle and thread to sew on
ÓæęàßÖêÖäÊÖÖáÙàåà×àãáÝÒÔÖÞÖßå
14 Use Rose Blush to embroider a
nose. See photo for shape and
placement.
15 ½àãÖÒÔÙÒãÞæäÖÒäåãÒßÕà×
ÎÙÖÒååàäÖèåÙãàæØÙåÙÖ×ãàßåÒßÕ
ÓÒÔÜà×åÙÖÓæßßêÒßÕäåæĜßØÒÓàæå
3½"
j ×ãàÞåÙÖäÚÕÖäåÒãåÚßØÒÓàæå`
from the neck and sew down for about
2". Be sure to pull tightly on the sewing
strand to make the arm stand out. See
½ÚØæãÖ
16 ½àãåÙÖÓæÔÜæäÖÄÚÕ¹ÝæÖåà
create legs by sewing through the
front and back of the bunny along
åÙÖäÖÒÞÒÓàæå ÓÖÝàèèÙÖãÖåÙÖ
Actual size
Figure 7. Silhouette Figure 8. Base Figure 10. Neck cinch Figure 11. Arms and legs
Figure 9. Tail
a b
Mid Blue starts; sew for 2". Pull tightly,
knot, and weave in ends. For feet, use
Mid Blue to sew across the front of the
ÝÖØäÒÓàæå ×ãàÞåÙÖÓàęàÞÊÖÖ
Figure 11.
17 For the doe, sew or glue a teal
ÓæęàßåàåÙÖ×ãàßåà×åÙÖÓæßßêÒßÕ
sew or glue a small ribbon bow to
åÙÖÓàęàÞà×àßÖÖÒãÊÖÖáÙàåà
×àãáÝÒÔÖÞÖßå
18 For the buck, sew or glue 2
ÓæęàßäåàåÙÖ×ãàßåà×åÙÖÓæßßêÌäÖ
Mid Blue and make backstitches (see
ÉÖÒÕÖãĀä¾æÚÕÖåàÔãÖÒåÖäæäáÖßÕÖãä
that are straight in the front and
ÔãàääÖÕÚßåÙÖÓÒÔÜÌäÖÃÚØÙå¾ãÒê
R IGID HE DDL E
Heather to make French knots (see
ÉÖäàæãÔÖäÓÖÝàèåÙÖäæäáÖßÕÖãäàß Magic beans mug rugs
åÙÖ×ãàßååàãÖäÖÞÓÝÖÓæęàßäÄÒÜÖÒ Jennifer E. Kwong
ÔàæáÝÖà×äåãÒÚØÙåäåÚåÔÙÖäßÖÒãåÙÖåàá
à×åÙÖäæäáÖßÕÖãäàßåÙÖ×ãàßååàÝààÜ RESOURCES
ÝÚÜÖÒÕÛæäåÚßØÓæÔÜÝÖäÊÖÖáÙàåà×àã ÄÚåÔÙÖÝÝÊêßÖInventive Weaving on
áÝÒÔÖÞÖßå ÒÃÚęÝÖÃààÞ. North Adams, MA:
19 ÉÖáÖÒååàÞÒÜÖÒäÖÔàßÕÓæßßê ÊåàãÖêÇæÓÝÚäÙÚßØ"
20 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß
warm water with mild detergent. MATERIALS
Tumble dry. STRUCTURE Basketweave with
embroidery.
EQUIPMENT Rigid-heddle loom,
$ èÖÒçÚßØèÚÕåÙ$"ÕÖßåÙÖÕÕÝÖ
äÙæęÝÖäNote: Have an 8-dent
ÙÖÕÕÝÖÊÖÖåÙÖ¿ÖÕÕÝÖºàßçÖãäÚàß
ºÙÒãåÚßåÙÖÉÖÒÕÖãĀä¾æÚÕÖ
YARNS Warp: ÇÒÝÖęÖZÇÖãæçÚÒß
ÙÚØÙÝÒßÕèààÝ êÕ"ØÂßÚå-
ÇÚÔÜä!"%ºÖÝÖäåÚÒÝ "êÕ
Weft: ÇÒÝÖęÖ $¹ÝæÖÒßÕ
!ÅÒçê "êÕÖÒÔÙ Inlay and
embroidery yarns:ÇÒÝÖęÖ#!$
ÃÚÔÙÖß!!&ÊèÖÖåÇàåÒåàÒßÕ
!"#&ºàęàßºÒßÕê êÕÖÒÔÙ
OTHER SUPPLIESËÒáÖäåãêßÖÖÕÝÖ
áÚßÜÚßØäÙÖÒãä!\ äâæÒãÖà×
ÔÒãÕÓàÒãÕàáåÚàßÒÝ
WARP LENGTH" ÕàæÓÝÖÕÖßÕä#
åÙãÖÒÕäåàåÒÝ!" ÝàßØÒÝÝàèä ×àã
åÒÜÖæáÒßÕ& ×àãÝààÞèÒäåÖ
SETTS Warp: $"ÖáÚWeft: #"ááÚ
DIMENSIONS Width in the heddle: 7".
Woven length: 24". Finished size:ÒĘÖã
fulling and trimming) four mug rugs,
ÖÒÔÙ!\ äâæÒãÖ
PROJECT STEPS
Weaving
èÒãáÚßØÒÝÖßØåÙà×!" àãèÚßÕÒ

warp of 53 doubled ends 45" (1¼ yd)
long. Centering for a weaving width of
7", warp the loom using your preferred
method. Thread each hole and slot
with a doubled end.
2 Wind a shuttle with Blue used
single and another with Navy
used single.
3 Spread the warp and weave about
2" with scrap yarn. Use 100% non-
äæáÖãèÒäÙĔßØÖãÚßØèÖÚØÙåèààÝäà
that the piece shrinks evenly when
fulling. If you tied on, baste or hem-
stitch between the knots and the
äÔãÒáêÒãßäàåÙÒååÙÖèÖĘèÚÝÝÓÖ
secure during fulling; this step is not
necessary if you lashed on.
4 Weave a mug rug using Blue as
åÙÖÓÒÔÜØãàæßÕèÖĘ
a ÌäÚßØåÙÖÓÒÔÜØãàæßÕèÖĘ
weave 2" of basketweave ending
in a down heddle. Do not cut the
èÖĘNote: To weave basketweave,
ÝÒêåÙÖèÖĘÚßåÙÖäÙÖÕÒßÕÓÖÒå
but do not change the shed. Wrap
åÙÖèÖĘÒãàæßÕåÙÖäÖÝçÖÕØÖÖßÕ
and place a second pick in the
same shed. Beat and change the
shed. Aim for an almost balanced
Figure 1. Inlay
weave of about 6.5 ppi of double
picks (remember the warp threads
are used double).
b ½ÚãäåÀßÝÒêºæåÒ áÚÖÔÖà×
ºàęàßºÒßÕêåàÔãÖÒåÖåÙÖĂäåÒÝÜă
à×åÙÖĔãäåÓÖÒßäåÒÝÜÊåÒãåãÖÒÕê
to weave in an up shed. Weave 2
warp ends in top of shed inlay picks 3" long coming in from
warp ends in bottom of shed the right edge (see Weaving Inlay
pattern inlay
and Figure 1). Using the back-
ØãàæßÕèÖĘèÖÒçÖÒÕàæÓÝÖáÚÔÜ
of basketweave in the same up
shed, under the inlay.
Figure 2. Lazy daisy stitch
WEAVING TIPS c Weave 7 double picks of
• The yarn has some give to it; make basketweave.
sure it is not stretched while measur- d Using Lichen, weave 2 inlay
ing out the warp. picks 4" long, again coming in
• If you lash on your warp (instead of from the right side. Weave a
tying on), you will have enough warp double basketweave in the same
to make one or two extra mug rugs. up shed as the inlay.
e Weave 7 double picks of
basketweave.
f Using Sweet Potato, weave 2
inlay picks 2" long. Weave a
double pick of basketweave in the
same up shed as the inlay.
g Weave 1½" more of basketweave.
h ºæåÓÒÔÜØãàæßÕèÖĘ
5 Weave a second mug rug using resist the urge to pass the needle
ÅÒçê×àãåÙÖÓÒÔÜØãàæßÕèÖĘËÙÖ through a space in your weaving. If
èÖĘÔÙÒßØÖÞÒÜÖäÚåÖÒäêåàäÖÖ you pass the needle through a space,
èÙÖãÖåàÔæåÒĘÖã×ÖÝåÚßØ the space may become an unsightly
6 Weave 2 more mug rugs, the first ÙàÝÖÒĘÖã×ÖÝåÚßØ
with Blue and the second with Navy. 11 To end a stitch, tie the end of the
7 Weave about 1" more with scrap yarn to the tail you left at the begin-
êÒãßÊÖÔæãÖåÙÖèÖĘèÚåÙÓÒäåÚßØàã ning using a knot. Jennifer found it
hemstitch. easiest to stitch the top 2 leaves as
8 ºæååÙÖáÚÖÔÖàĒåÙÖÝààÞÀ×êàæ one and the lower leaves individually,
lashed on, undo the lashing cord to knotting after each. Repeat this
preserve the overhand knots. process for the other 2 stalks,
Embroidering the leaves matching the embroidery yarn to
9 ÐàæÔÒßÖÞÓãàÚÕÖãàßàãàĒåÙÖ the stalk color.
loom. Jennifer found it easier to Finishing
ÖÞÓãàÚÕÖãàĒåÙÖÝààÞÒäåÙÖØãàæßÕ 12 Trim all loose tails to about 1".
ÔÝàåÙÚääåÚĒÖßàæØÙåÙÒåÚåÕàÖäßàå 13 Fill a small sink with warm water
P IN L OOM
need to be under tension. and add a few drops of mild detergent A Lovable Hot-Water
10 Thread a blunt needle with a such as Dawn. Bottle
ÕàæÓÝÖÕäåãÒßÕà×ºàęàßºÒßÕê 14 Immerse the fabric. Gently By Jennifer Chapman
about an arm’s length long. Leaving a squeeze the sudsy water through the
tail of about 3", embroider using the entire piece. RESOURCES
lazy daisy stitch (see Figure 2) on the 15 Gently roll the piece between Chapman, Jennifer. “Child’s Bas-
ºàęàßºÒßÕêäåÒÝÜäÖÖáÙàåà×àã your hands as though you are rolling ketweave Capelet.” Easy Weaving
placement). Jennifer made her leaves a snake out of clay. Repeat this èÚåÙÃÚęÝÖÃààÞä, Holiday 2021,
about 3 double picks across by 4 lengthwise and widthwise, opening it 68–69.
double warp ends high. When passing up frequently to make sure that the Garton, Christina. “Joining Pin-Loom
the needle through the cloth, make shrinkage is even (the piece should lie Pieces on the Loom.” Easy Weav-
sure that the needle pierces some of ėÒåÒßÕßàåÓÖãÚááÝÖÕÒÝàßØåÙÖ ÚßØèÚåÙÃÚęÝÖÃààÞä, October 20,
åÙÖèÒãáàãèÖĘêÒãßÀßàåÙÖãèàãÕä edges) and that the embroidery is 2021. ÝÚęÝÖÝààÞäÔàÞÛàÚßÚßØáÚß
integrating with the ground cloth. -loom-pieces-on-the-loom.
16 Continue to roll and gently
squeeze the soapy water through the MATERIALS
piece until the holes between threads STRUCTURE Plain weave.
have closed up and the embroidered EQUIPMENT 8" square pin loom; 2" × 8",
details are secure. The width of the 1" × 8", and 4" × 8" rectangle pin
WEAVING INLAY fabric from selvedge to selvedge will looms; 7" weaving needle; tapestry
The inlay yarn is always woven with ÓÖÒÓàæå"\ ½æÝÝÚßØÚäßàåãÖçÖãäÚÓÝÖ ßÖÖÕÝÖÔãàÔÙÖåÙààÜäÚëÖ¾#!ÞÞ
the heddle in the up position and is so examine the piece and measure the YARNS Warp and Weft: ½ÝÖęÖZÆçÚä
worked within the warp ends in the top width frequently. ÌÝåÚÞÒåÖÄÖãÚßà êÕ"Ø
layer of the shed. 17 Rinse well under cold water. Woolfolk), #18 beige, 92 yd;
1 Put the heddle in the up Gently squeeze out the water and roll ßÒåæãÒÝ!êÕ"ÔÙÒãÔàÒÝêÕ
position. the fabric in a towel to remove excess Note: You can substitute another yarn
2 Optional: Insert a piece of ÞàÚäåæãÖÃÒêėÒååàÕãê for natural and charcoal.
white cardboard in the shed to 18 Examine the piece closely to DIMENSIONS Finished size: 8" × 11".
make the raised ends easier make sure the embroidery is fulled
to see. äÖÔæãÖÝêÚ×ßàåãÖáÖÒååÙÖ×ÖÝåÚßØ PROJECT STEPS
3 From the right, weave the fulling process). Carefully trim away 1 Following the manufacturer’s
ÚßÝÒêèÖĘàçÖãÒßÕæßÕÖãåÙÖ the knots and cut the pieces apart. directions, plain weave four beige
raised warp ends inward for the 19 Use pinking shears to trim shapes as shown in Figure 1.
ÕÖäÚãÖÕÝÖßØåÙËæãßåÙÖèÖĘ away the excess fabric, rounding the 2 Make the front of the cover. Use
around a warp end and weave it corners if desired, until the mug rugs åÙÖ % ÝààÞåàÛàÚßàßÖà×åÙÖ%
back toward the selvedge (see ÞÖÒäæãÖ!\ àßÒÝÝäÚÕÖäÁÖßßÚ×Öã squares to the 2" × 8" rectangle:
Figure 1). ×àæßÕÚåÙÖÝá×æÝåàÔæåàæåÒ!\ Orient the 8" square as it originally
4 Remove cardboard. Beat, but square of cardboard to use as came off the loom. With the 1" × 8"
do not change sheds. a template. loom vertically in front of you, place
the left side of the 8" square on the

pins of the right side of the loom, 3 Weave plain weave for as long as
lining up the “M’s” between 3-pin you can, about 145". If you want fringe
clusters. Do the same with the right on the outside pocket, hemstitch with a
äÚÕÖà×åÙÖ % ãÖÔåÒßØÝÖàßåÙÖ ÝàßØèÖĘåÒÚÝàåÙÖãèÚäÖÖßÕèÚåÙ
left side of the loom. With natural, picks of scrap yarn (see Weaving Tips).
use the join-as-you-go method (see 4 Remove the fabric from the loom
Resources) to weave together the leaving 2" of unwoven warp for fringe
åèàáÚÖÔÖäèÚåÙÒ % ãÖÔåÒßØÝÖ ÒĘÖãåÙÖÙÖÞäåÚåÔÙÚßØÚ×êàæèÒßå
between them. fringe on the outside pocket. Machine
3 ÌäÚßØÔÙÒãÔàÒÝÔãàäääåÚåÔÙĂėÚßåă stitch ends of the fabric that aren’t
ÙÖÒãåäàßåÙÖ % ãÖÔåÒßØÝÖåÙÒå hemstitched.
you just wove (see photo). 5 ÎÖåĔßÚäÙÓêÙÒßÕÚßÙàåèÒåÖã
4 Join the front and the back of the with mild detergent for 2 minutes.
cover: Place the front piece right side ÉÚßäÖÒßÕÙÒßØåàÕãêÓæåĔßÚäÙÚß
ÕàèßÃÚßÖæáåÙÖ! % ãÖÔåÒßØÝÖ the dryer, watching to prevent
ÒÔãàääåÙÖÓàęàÞà×åÙÖ×ãàßåÝÒêÖã twisting. Press with a warm iron. Trim
R IGID HE DDL E
ÃÚßÖæáåÙÖäÖÔàßÕ% äâæÒãÖÒååÙÖ fringe end if needed.
åàáàçÖãÝÒááÚßØåÙÖ! % ãÖÔåÒßØÝÖ Jack’s Shoulder Bag Assembly
Pin around the edges. Robin Lynde In these instructions, “right” and
5 Leaving a 3" opening at the top “wrong” refer to the outside and inside
center, use beige to crochet (sl st, ch 1) MATERIALS of the bag, respectively. You may
ÒãàæßÕåÙÖÖßåÚãÖÓàęÝÖÔàçÖãÚßÔÝæÕÚßØ STRUCTURE Plain weave. adjust the pocket depth as you create
both sides of the top opening and the EQUIPMENT Rigid-heddle loom, the folds. If you have a fringe for the
ÓàęàÞÖÕØÖà×åÙÖàçÖãÝÒááÚßØ% 10" weaving width; 12-dent heddle; outside pocket, keep track of inside
äâæÒãÖ»àßàåäåÚåÔÙåÙÖàçÖãÝÒááÚßØ äåÚÔÜäÙæęÝÖNote: Have a 12.5-dent and outside and keep the fringe face
pieces on the back together. You will heddle? See Weaving Tips for on the same face as the “right” side
use that opening to insert the hot-water adjustments. of the hem. Robin found it helpful to do
ÓàęÝÖÚßåàåÙÖÔàçÖã YARNS Warp: Lyte Hemp Bold (100% the folding using a sewing mat with a
6 Weave in ends. hemp; 2,600 yd/lb; Lunatic Fringe), grid. Follow Figure 2 as you read these
Copper and Gold, 560 yd each. assembly instructions.
Weft: Lyte Hemp Bold, Gold, 550 yd. 6 Trim the sewn ends. Hem one end
Figure 1 Pin-loom pieces OTHER SUPPLIES Matching sewing of the fabric (inside pocket) by folding
#18 beige thread; sewing mat with grid. ½" of the fabric over twice to the right
2 8" square WARP LENGTH 120 doubled ends äÚÕÖÒßÕäåÚåÔÙÔÝàäÖåàåÙÖĔãäå×àÝÕ¼
1 2" × 8" rectangle (240 threads total) 162" (4½ yd) long If the outside pocket will be hemmed,
1 4" × 8" rectangle (allows 3" for take-up and 14" for hem the other end to the wrong side; if
loom waste). it will have fringe, fold about 1" of the
4 pieces total
SETTS Warp: 12 epi. Weft: 12 ppi. fabric to the right side and topstitch
DIMENSIONS Width in the heddle: 10". ¼" from the fold (J).
Woven length: (measured under tension 7 Find the lengthwise center and
on the loom) about 145". Finished fabric fold fabric (A).
size:ÒĘÖãèÖåĔßÚäÙÚßØ%\ % 8 Fold B, C, D and F, G, H following
Finished bag size:"\ áÝæä the diagram. Measurements show
37" strap. Robin’s bag. Adjust these as desired,
ÞÒÜÚßØ¸¹ÒßÕ¸½ÖâæÒÝÝÖßØåÙä
PROJECT STEPS Folds B and F determine the overall
Warping and weaving length of the bag when worn. Align
1 Set up your loom for direct warping Folds B and D and Folds F and H at
a length of 162" or wind a warp of åÙÖÓàęàÞÐàæßàèÙÒçÖåãÚáÝÖÝÒêÖãä
120 doubled ends 162" (4½ yd) long (Folds B, C, D and Folds F, G, H) and
following the warp color order in single layers (A–B and A–F). Pin or clip
Figure 1. Centering for a weaving the triple layers. Use pins to mark K
width of 10", warp the loom using your and L where Folds C and G meet the
preferred method. Thread every slot single layers.
and hole with a doubled end. 9 Unfold B and F. Sew both selvedge
2 ÎÚßÕÒäÙæęÝÖèÚåÙèÖĘÊáãÖÒÕ edges of triple layers from B to C and
the warp with scrap yarn. from F to G, leaving long sides A–B
Figure 2. Assembly diagram

A-B
A-F 30"–33" 60 40* 8 6 4 2 Gold
B-C 60 2 4 6 8 40* Copper
K
C F-G 13" 120 doubled ends (240 threads total)
E L C-D *In a 12.5-dent heddle, wind 43 ends at each
G G-H 12"–13" edge: 126 doubled ends (252 threads total).
hem
J D-E
inside H-J 9"–11"
pocket hem
D
or fringe
B
outside H
pocket F
Right side (outside when finished)
Wrong side (inside when finished)
WEAVING TIPS
• To weave with a 12.5-dent heddle,
wind 43 doubled ends of Copper or
Gold at the edges as indicated in the
warp color order, Figure 1. There will
be 126 doubled ends (252 threads
total). The width in the heddle is still
10". Warp yardage required increases
to 567 yd of each color.
• As you raise and lower the heddle,
the ends in the holes will seem too
tight, and the ends in the slots will
seem too loose. To have an adequate
shed, you may have to weave with
tension looser than normal, especially
if you’re used to weaving with wool.
Partway through one of her warps,
Robin inserted a dowel under the slot
ends to add a little more tension and
slid it to the warp beam.
• Angle your weft picks across the
warp as usual and always beat with
the heddle in neutral.
• Use a rolling motion to place the
heddle in the up and down positions.
If your loom has slots for the heddle, it
may be easier to hold it in the up and
down positions rather than try to fit it
in the slots.

R IGID HE DDL E
A Scarf for the Hatter

Kellie Frances Reid
RESOURCES
Carroll, Lewis. Alice’s Adventures
in Wonderland and Through the
Looking-Glass. Special centenary
ed. London: Macmillan, 1995.
ÊåãÚáÖäÇÒęÖãß¾ÖßÖãÒåàã
randomstripes.com.
MATERIALS
ÒßÕ¸½ÝààäÖÊÖèåÙãàæØÙ ÝÒêÖãä STRUCTURE Plain weave.
DESIGN TIPS only. Topstitch the edge at Fold C. EQUIPMENT Rigid-heddle loom, 20"
• As shown, the bag fits most com- 10 Sewing the center seam: Lay weaving width; 7.5-dent heddle; 1
fortably worn on the left shoulder. out the bag as shown in Figure 2. äÙæęÝÖNote: Have an 8-dent heddle?
Switch the sides for the center With B and F unfolded in the previ- See the Heddle Conversion Chart in
seam for a better fit on the àæääåÖá½àÝÕäºÒßÕ¾ÒãÖßàèåÙÖ åÙÖÉÖÒÕÖãĀä¾æÚÕÖ
right shoulder. ends of the fabric. Refold F toward YARNS Warp: Nature Spun worsted
• Add 4"–8" to the length of the fabric the right side so the outside pocket is (100% wool; 245 yd/100 g; Brown
and lengthen A–B and A–F for a ÖéáàäÖÕÊÝÚÕÖ½àÝÕ¾åàåÙÖáÚß Sheep Company), #880 Charcoal,
cross-body bag. marking at L and open at Fold F (see &#êÕ"¾àÝÕÖßãàÕ%êÕ&
• You may want to add to the design »ÖäÚØßËÚáä¸ÝÚØß½àÝÕ¾èÚåÙÃ ÊáãÚßØ¾ãÖÖß!êÕ#¹ÝæÖ¹àê
by changing weft colors or using Align K with Fold C. If they don’t 60 yd; #N48 Scarlet, 66 yd; #205
a decorative detail, such as Dan- match exactly, adjust as much as ÉÖØÒÝÇæãáÝÖ!%êÕÇÖÖã¾êßåZ
ish medallions or leno. Look at the êàæÔÒßÆçÖãÝÒáåÙÖÖÕØÖäÓêi èààÝ&&êÕ"ØÊÒßÕßÖä¾Òãß
assembly diagram in Figure 2 to This will be the outside of the bag, so #1099 black, 126 yd; #1001 bright
see where to position that detail place your best selvedge edge on top. white, 18 yd. Weft: Nature Spun
on your weaving to show on the Stitch close to the selvedge edge. èàãäåÖÕ"¾àÝÕÖßãàÕ#êÕ
outside. Robin wove a plaid at the Topstitch ¼" away from the previous ÇÖÖã¾êßå&&ÓÝÒÔÜ #%êÕ
end of a striped bag warp, but it stitch line, catching the selvedge on WARP LENGTH"ÖßÕä% êÕ
ended up inside after folding the lower layer. long (allows 4" for take-up, 18" for
the pockets! 11 Sewing the outer edges: Fold the loom waste; loom waste includes
bag at B and F with the center seam fringe).
right sides together. Align Folds C SETTS Warp: 7.5 epi. Weft: 7 ppi.
ÒßÕ¾ÃÚßÖæáåÙÖàæåäÚÕÖÖÕØÖäà× DIMENSIONS Width in the heddle: 20".
pockets (triple layer to single layer). Woven length: (measured under tension
ÊÖèåÙãàæØÙÒÝÝÝÒêÖãäèÚåÙÒi \ on the loom) 86". Finished size:ÒĘÖã
seam allowance. èÖåĔßÚäÙÚßØ% $! áÝæä" ×ãÚßØÖ
12 Turn right side out and press.
WEAVING TIP
The Stripes Pattern Generator can
be a helpful tool when designing
a multicolored warp. Once
Kellie selected colors from the
generator’s palette similar to her
own, she clicked the “Generate
Stripes” button multiple times in
succession. When her eye settled
on a pattern she liked, she took
a screenshot. From there, she
tweaked the randomly generated
pattern to fit her vision.
PROJECT STEPS
1 Set up your loom for direct warping
a length of 108" or wind a warp of
152 ends 108" (3 yd) long following the
warp color order in Figure 1. Centering
for a weaving width of 20", warp the
loom using your preferred method.
2 ÎÚßÕ Ò äÙæęÝÖ èÚåÙ ÓÝÒÔÜ ºæå åèà
3 yd strands of Goldenrod. Allowing
9" for fringe, spread the warp with
scrap yarn.
3 Leaving a tail 4 times the width
of the warp for hemstitching, use 1
äåãÒßÕ à× ¾àÝÕÖßãàÕ åà èÖÒçÖ áÚÔÜ
ÒßÕ åÙÖß æäÖ åÙÖ äÙæęÝÖ åà èÖÒçÖ
áÚÔÜ à× ÓÝÒÔÜ ¿ÖÞäåÚåÔÙ Úß ÓæßÕÝÖä à×
4 ends using the long tail. Continue
èÖÒçÚßØ èÚåÙ ÓÝÒÔÜ ×àã ÒÓàæå %#
½ÚßÚäÙ èÚåÙ áÚÔÜ à× ¾àÝÕÖßãàÕ æäÚßØ
the other strand and hemstitch as you
ÕÚÕ Òå åÙÖ ÓÖØÚßßÚßØ
4 Leaving 9" of unwoven warp at
each end for fringe, remove the scarf
from the loom. Trim the fringe to 9".
Prepare a twisted fringe using 2
groups of hemstitched ends.
5 ÎÖåĔßÚäÙ Óê ÙÒßÕèÒäÙÚßØ Úß
warm water with mild detergent. Lay
2x
åÙÖ äÔÒã× ėÒå àß Ò åàèÖÝ ÒßÕ ãàÝÝ åà
6 3 #1001 bright white gently press excess water from the
16 2 6 #205 Regal Purple
22 1 8 2 #N48 Scarlet scarf. Unroll the towel and iron until
20 2 4 4 #116 Blue Boy dry. Trim ends of fringe.
6 2 1 #125 Goldenrod
32 12 4 #880 Charcoal
8 3 1 #109 Spring Green
42 10 3 2 2 4 #1099 black
152 ends total

true love’s kiss
In tales of old, there are few powers greater
than love, whether in the form of true love’s
kiss, the love of family, or a best friend.
You’ll be enamored with these projects
inspired by stories about love.
SNOW QUEEN SNOOD

by Janna Ford
This cozy hood blends
traditional and modern
interpretations of “The Snow
Queen.” In Hans Christian
Andersen’s telling, the queen
is described as “dressed in the
finest white gauze.” Janna
wove this head covering using
a light and lofty DK-weight
Merino yarn, embellished it
with snowflakes, and assem-
bled it in a gradient loop to
represent snow fading into a
soft blue. Pattern page 73.
True Love’s Kiss
ARABIAN NIGHTS PLACEMATS

by Christine Jablonski
Growing up, Christine loved the stories of
the great storytellers. These placemats
were inspired by the colors in Edmund
Dulac’s illustrations of the famous
tale about the ultimate storyteller,
Scheherazade. Using color-and-weave
allows you to weave a variety of patterns,
each one telling a new story, so to speak,
simply by altering your pick sequence.
Pattern page 74.

True Love’s Kiss
CHAMPA BAG STRAP

by Shilpa Nagarkar
Do you have a bag you love but
can’t use because the strap is
worn out? Create this inkle-
woven strap as a replacement,
and your bag will be as good
as new. The champa flower
was Shilpa’s inspiration as that
five-petaled flower represents
five aspects of psychological
perfection—sincerity, faith,
devotion, aspiration, and
surrender. Pattern page 76.
True Love’s Kiss
PINOCCHIO’S
SUSPENDERS
by Joan Sheridan
If you have an enchanted child
in your life, then he or she
needs a pair of suspenders. Did
you know that one of the
themes of the Pinocchio story
is that you must work hard to
get what you want? It’s a good
message for anyone, especially
weavers. This fun one-warp
project can be sized to fit
anyone from Pinocchio to
Geppetto. Pattern page 77.

True Love’s Kiss
STAR-CROSSED
LOVERS SCARF
by Sun Kim
A famous Asian folktale
tells the story of two bright
stars, Altair and Vega, also
known as the herdsman
and the weaver. The two
loved each other so much
that they were separated by
the Milky Way and only
allowed to reunite once a
year. The intersection of the
deep ink and shimmering
icicle in the clasped-warp
technique symbolizes two
hearts joining forever.
Pattern page 79.
True Love’s Kiss
MERMAID BAG
ÓêÄÒãØÒãÖåÊåæÞá
With its scattering of
pearls and iridescent
bubble-like pony beads,
this bag is fun to weave
and wear. The soft,
twisted handle resembles
sinuous kelp and makes
the bag easy to carry.
Pattern page 80.

True Love’s Kiss
COTTAGE WALL
PLATTER HANGER
by Joan Sheridan
Joan has always been
fascinated by creative uses for
simple woven bands, both
useful and decorative. This
platter hanger is no exception.
With a color theme inspired
by Grimm’s “Snow-White and
Rose-Red,” the patterned
bands will brighten your
walls. Pattern page 83.
True Love’s Kiss
2 ½àãåèàÔàÝàãäâæÒãÖä×àÝÝàèåÙÖ ÉÖÞàçÖåÙÖäâæÒãÖ×ãàÞåÙÖÝààÞ
ÞÒßæ×ÒÔåæãÖãĀäÕÚãÖÔåÚàßä×àãèÒãáÚßØ Weave in embroidery tails on the
æäÚßØåÙÖÝÒêÖãÞÖåÙàÕÌäÖåÙÖ ÓÒÔÜäÚÕÖà×åÙÖ×ÚßÚäÙÖÕäâæÒãÖÓæå
ÕàÞÚßÒßåÔàÝàã×àãåÙÖĔãäååÙãÖÖ ÝÖÒçÖåÙÖäâæÒãÖĀääåÒãåÚßØÒßÕ
ÝÒêÖãäà×åÙÖäâæÒãÖºæååÙÖĔãäåÔàÝàã ÖßÕÚßØåÒÚÝä×àãäÖÒÞÚßØÉÖáÖÒå×àã
ÝÖÒçÚßØÒ# åÒÚÝåÙÖßÞÖÒäæãÖÒßÕåÚÖ åÙÖ"ãÖÞÒÚßÚßØäßàè×ÝÒÜÖäâæÒãÖä
àßÒèÖĘåÙãÖÒÕ×àãåÙÖ×àæãåÙÝÒêÖã
èÚåÙåÙÖäÖÔàßÕÒãêÔàÝàãÝÖÒçÚßØÒ SEAMING TIPS
# åÒÚÝ½ÚßÚäÙèÖÒçÚßØåÙÖäâæÒãÖ • Seam rows of 3 squares as you
ÝÖÒçÚßØÒß% êÒãßåÒÚÝ×àã make them, or store similar
äÖÒÞÚßØåÙÖäâæÒãÖäåàØÖåÙÖãÎÖÒçÖ squares in plastic baggies until
Úß# åÒÚÝä×ãàÞåÙÖÔàÝàãÔÙÒßØÖ ready to assemble.
3 ½àãÖÞÓãàÚÕÖãÖÕäâæÒãÖäèÖÒçÖ • When seaming with tails, pinch
ÒäàÝÚÕÀçàãêäâæÒãÖÓæåÕàßàå the square’s corner at the tail’s
ãÖÞàçÖåÙÖäâæÒãÖ×ãàÞåÙÖÝààÞ base when pulling the seam taut to
Thread the tapestry needle with Sea prevent cinching your project.
P IN L OOM
¾ÝÒää½àÝÝàèÚßØåÙÖÖÞÓãàÚÕÖãê • Weave in remaining ends in the
Snow Queen Snood ÔÙÒãåÚß½ÚØæãÖæäÖåÖßåäåÚåÔÙäÖÖ opposite direction after your seam
Janna Ford ÉÖäàæãÔÖäåàÖÞÓãàÚÕÖãåÙÖäßàè is completed.
×ÝÒÜÖáÒååÖãßàßåàåÙÖäâæÒãÖ
RESOURCES
Correa, Florencia Campos. “Three
Layer Warp Thread: Basic Woven
Stitch.” In 100 Pin Loom Squares,
26ÅÖèÐàãÜÊåÄÒãåÚßĀä¾ãÚĜß
2015.
»ààÕÝÖºãÒĘ»ÖäÚØßĂËÖßåÊåÚåÔÙă
ÕààÕÝÖÔãÒĘÕÖäÚØßÔàæÜáÒØÖä
åÖßåäåÚåÔÙ.
Garten, Christina. “How to Use the
ÄÒęãÖääÊåÚåÔÙăEasy Weaving
èÚåÙÃÚęÝÖÃààÞäÁæÝê"
ÝÚęÝÖÝààÞäÔàÞÙàèåàäÖÒÞ
èÚåÙåÙÖÞÒęãÖäääåÚåÔÙ.
MATERIALS
STRUCTURE Plain weave with
embroidery.
EQUIPMENT! äâæÒãÖáÚßÝààÞ" #
èÖÒçÚßØßÖÖÕÝÖáÒÔÜÚßØÔàÞÓàã
×àãÜåÒáÖäåãêßÖÖÕÝÖ
YARNS Warp and weft: ¾ÖßÞàæZ
ÄÖãÚßàèààÝ#"êÕ"Ø»ÒãæÞÒ
Àçàãê êÕ"ÊÖÒ¾ÝÒää
&êÕáÝæäêÕ×àãÖÞÓãàÚÕÖãÖÕ
äßàèėÒÜÖä
DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ
ÒßÕèÖåĔßÚäÙÚßØ "#
ÔÚãÔæÞ×ÖãÖßÔÖ
PROJECT STEPS
1 ½àÝÝàèÚßØåÙÖÝààÞÞÒßæ×ÒÔåæã
er’s directions, weave the solid Ivory
ÒßÕäàÝÚÕÊÖÒ¾ÝÒäääâæÒãÖäÒäÝÚäåÖÕ
Úß½ÚØæãÖÃÖÒçÖ% êÒãßåÒÚÝä
×àãäÖÒÞÚßØåÙÖäâæÒãÖäåàØÖåÙÖã

True Love’s Kiss
4 ÉÖ×ÖããÚßØåàåÙÖÝÒêàæåÚß½ÚØæãÖ
ÒããÒßØÖåÙÖĔãäåãàèà×åÙãÖÖäâæÒãÖä Figure 3. Layout
èÚåÙåÙÖäåÒãåÚßØåÒÚÝáàÚßåÚßØåàåÙÖ
ÝÖĘÒßÕåÙÖÖßÕÚßØåÒÚÝáàÚßåÚßØåà
åÙÖãÚØÙåËÙÚäèÚÝÝáàäÚåÚàßåÙÖåÒÚÝä
*
for joining. *
5 ÌäÖÞÒęãÖäääåÚåÔÙåàÛàÚßåÙÖ
äâæÒãÖäåàØÖåÙÖããàèÓêãàèäÖÖ
*
ÉÖäàæãÔÖäæäÚßØåÙÖäâæÒãÖäĀåÒÚÝä
½ÚßÚäÙÓêäÖÒÞÚßØåÙÖÓÖØÚßßÚßØÒßÕ
ÖßÕÚßØãàèäåàØÖåÙÖãåà×àãÞÒÝààá
6 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß
warm water with mild detergent.
ÃÒêėÒååàÕãêÒßÕėÚáåàÒÝÝàèåÙÖ
underside to dry.
R IGID HE DDL E
Arabian Nights
placemats
Christine Jablonski
Figure 1. Pin-loom pieces
4" square MATERIALS
9
6
Sea Glass with Ivory layer 4
#05 Sea Glass * STRUCTURE Plain weave with
color-and-weave.
6 * Ivory with Sea Glass embroidery
6 Ivory with Sea Glass layer 4 * EQUIPMENT Rigid-heddle loom,
21 #01 Ivory
48 pieces total * 14" weaving width; 12-dent heddle;
äÙæęÝÖäNote: Have a 12.5-dent
YARNS Warp:¼æãàėÒéÊáàãåÎÖÚØÙå
!!ZèÖåäáæßÝÚßÖÝÚßÖß
Figure 2. Embroidery chart êÕÝÓÃàĘê½ÚÓÖã½ãÖßÔÙ¹ÝæÖ
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 318 yd; Straw, 156 yd. Weft:¼æãàėÒé
1 1
2 2
ÊáàãåÎÖÚØÙå!!½ãÖßÔÙ¹ÝæÖ
3 3 131 yd; Straw, 177 yd.
4 4 WARP LENGTH"%ÖßÕä% êÕ
5 5
6 6
ÝàßØÒÝÝàèä# ×àãåÒÜÖæá%\ ×àã
7 7 loom waste; loom waste includes
8 8 ×ãÚßØÖÒåÓÖØÚßßÚßØÒßÕÖßÕ
9 9
10 10
SETTS Warp:ÖáÚWeft:&\ááÚ
11 11 DIMENSIONS Width in the heddle: QYFG
12 12 Woven length: (measured under tension
13 13
14 14
on the loom and including interstitial
15 15 ×ãÚßØÖ% \ Finished size:ÒĘÖã
16 16 èÖåĔßÚäÙÚßØ×àæãáÝÒÔÖÞÒåä
17 17
18 18
% áÝæä ×ãÚßØÖ
19 19
20 20 PROJECT STEPS
21
22
21
22
23 23 èÒãáÚßØÒÝÖßØåÙà×% êÕàã
24 24 èÚßÕÒèÒãáà×"%ÖßÕä% ÝàßØ
25 25
26 26
×àÝÝàèÚßØåÙÖèÒãáÔàÝàãàãÕÖã
27 27 ½ÚØæãÖºÖßåÖãÚßØ×àãÒèÖÒçÚßØ
28 28 èÚÕåÙà× QYFG èÒãáåÙÖÝààÞæäÚßØ
29 29
30 30
êàæãáãÖ×ÖããÖÕÞÖåÙàÕ
31 31 2 ÎÚßÕÒäÙæęÝÖèÚåÙÊåãÒèÒßÕ
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 ÒßàåÙÖãèÚåÙ½ãÖßÔÙ¹ÝæÖ¸ÝÝàèÚßØ
True Love’s Kiss
Figure 1. Warp color order WEAVING TIPS

1½" for fringe, spread the warp with
52x • To direct warp this color-and-weave
scrap yarn.
sequence, pull 2 loops of French Blue
3 See Weaving Tips for a folded- 52 1 Straw
through 2 slots, followed by 1 loop of
106 2 2 French Blue
hem option. Leaving a tail 4 times 158 ends total Straw through the next slot; repeat
the width of the warp for hemstitch-
26 times, and finish with 1 loop of
ing, weave 2 picks with Straw. Using
French Blue through a slot. After
the long tail, hemstitch in bundles of 2.
beaming the warp, move the ends
Continue weaving for 19" following Figure 2. Weft color order into the holes to achieve the 2 French
åÙÖèÖĘÔàÝàãàãÕÖãÚß½ÚØæãÖ¼ßÕ
Blue/1 Straw sequence, ending with
lue
with 2 picks of Straw and hemstitch

hB
2 French Blue. The ends that cross

Freaw
as you did at the beginning.

nc
behind the heddle will not interfere

Str
4 Leave 2½" of warp between with the weaving, but inserting a

placemats for fringe. Continue Placemat 1 2 hemstitch
1 pick-up stick beneath the slot ends
weaving the next three placemats repeat
3 and leaving it on the warp beam for
following the weft color order in 1 the duration of your weaving will
½ÚØæãÖÒßÕÙÖÞäåÚåÔÙÚßØèÚåÙ 2 hemstitch
ensure clean sheds.
Straw as you did the first. 2½" fringe
• As this linen is thick and a bit stiff,
5 Leaving 1¼" at each end for Placemat 2 2
2
hemstitch
Christine opted for hemstitching and
fringe, remove the placemats from repeat
2 a short fringe, which should not fray
the loom. 2
significantly over time if the mats are
6 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß 2 hemstitch
handwashed. If you prefer to hem the
2½" fringe
warm water with mild detergent. Lay
Placemat 3 2 hemstitch ends, do not hemstitch but instead
ėÒååàÕãêÇãÖääèÚåÙÒèÒãÞÚãàßºæå 1 use a thinner matching weft thread,
placemats apart. Trim ends of fringe 1 repeat
2 such as 10/2 pearl cotton, to weave
to 1".
1 1" at the beginning, the 2½" spaces
1 between the mats, and 1" at the end.
2 hemstitch
Off the loom before wet-finishing,
2½" fringe
Placemat 4 2 hemstitch press the hems under at the point
3 repeat where the 14/4 linen touches the
1 thinner hem section. Fold under the
3
2 hemstitch hem again so the raw edge is inside;
Weave each
placemat to 19". press and stitch by hand or machine.

True Love’s Kiss
PROJECT STEPS 10 ËÙãÖÒÕåÙÖÖßÕåÙãàæØÙåÙÖ
Weaving second swivel clasp.
1 ÎÚßÕÒèÒãáà×$ÖßÕä&# ÝàßØ 11 Fold the second end of the strap
àßêàæãÚßÜÝÖÝààÞ×àÝÝàèÚßØåÙÖÕãÒĘ åàåÙÖäÒÞÖäÚÕÖÒäåÙÖĔãäå×àÝÕ
Úß½ÚØæãÖ æßÕÖã\ ÒßÕÒØÒÚß_ ÒãàæßÕåÙÖ
2 ÎÚßÕÒÓÖÝåäÙæęÝÖèÚåÙ swivel clasp.
Watermelon. 12 ÊÖÔæãÖÝêäÖèåÙÖÖßÕÕàèß
3 ÎÖÒçÖáÝÒÚßèÖÒçÖ×àã$! ÖßÔÝàäÚßØåÙÖãÒèÖÕØÖÒßÕåÙÖäèÚçÖÝ
4 ÊÖÔæãÖåÙÖèÖĘåÒÚÝäÚßåÙÖ ÔÝÒäáÚßåÙÖ×àÝÕÊÖèÞæÝåÚáÝÖÝÚßÖäà×
èÖÒçÚßØºæååÙÖäåãÒá×ãàÞåÙÖÝààÞ äåÚåÔÙÚßØ×àãäåãÖßØåÙ
5 ÎÖåĔßÚäÙÓêäàÒÜÚßØåÙÖäåãÒáÚß 13 ¸ÕÛæäååÙÖäåãÒáåàåÙÖÕÖäÚãÖÕ
èÒãÞèÒåÖã×àãÒåÝÖÒäå"ÞÚßæåÖä ÝÖßØåÙ
Press water out with a towel (do not
èãÚßØ¸ÝÝàèåÙÖäåãÒáåàÕãêÔàÞ-
áÝÖåÖÝêÓÖ×àãÖÔàßåÚßæÚßØ
6 ËãÚÞåÙÖÖßÕäÖçÖßÝêÒßÕÒááÝê
IN K L E L OOM
½ãÒêºÙÖÔÜÃÖåÕãê
CHAMPA BAG STRAP Assemble the strap
Shilpa Nagarkar 7 Thread one end of the strap
åÙãàæØÙÓàåÙäÚÕÖäà×åÙÖåãÚØÝÚÕÖ
MATERIALS ÓæÔÜÝÖàçÖãåÙÖåàáÚßßÖãÓÒã½àÝÕåÙÖ
STRUCTURE Warp-faced plain weave. äåãÒáÖßÕæßÕÖã\ ÒßÕåÙÖßÒØÒÚß
EQUIPMENTÀßÜÝÖÝààÞÓÖÝåäÙæęÝÖ _ ÖßÔÒäÚßØåÙÖãÒèÖÕØÖÒßÕåÙÖ
YARNS Warp: Catona (100% mercer- ÙàãÚëàßåÒÝÓÒãÚßåÙÖ×àÝÕÊÖèåÙãàæØÙ
ÚëÖÕÔàęàß"êÕ"ØÊÔÙÖÖáÛÖä ÒÝÝåÙãÖÖÝÒêÖãäèÚåÙÞæÝåÚáÝÖãàèäà×
!"¾ãÖÖßÐÖÝÝàèÒßÕ!%ÆÝÕ äåÚåÔÙÚßØ×àãÞÚßØÒãÖÔåÒßØÝÖåÙÒå
ÉàäÖêÕÖÒÔÙ"ÎÒåÖãÞÖÝàß ×æÝÝêäÖÔæãÖäåÙÖÔæåÖßÕÊÖèàçÖã
"êÕ"ÂÚèÚ! êÕ & ÖÒÔÙãàèÞæÝåÚáÝÖåÚÞÖä×àãäåãÖßØåÙ
ºÙÒãÔàÒÝ"!êÕWeft:ºÒåàßÒ Note:¸ßÒããàèäÖèÚßØÞÒÔÙÚßÖëÚááÖã
"ÎÒåÖãÞÖÝàß!#êÕ ×ààåèÚÝÝÒÝÝàèêàæåàäÖèÔÝàäÖåàåÙÖ
OTHER SUPPLIESËèà äèÚçÖÝÔÝÒäáä ÓæÔÜÝÖÖäáÖÔÚÒÝÝêàßåÙÖäÙàãåÖßÕäà×
åãÚØÝÚÕÖäÝÚÕÖÓæÔÜÝÖÓÖÝåÒÕÛæäåÖã åÙÖãÖÔåÒßØÝÖ
½ãÒêºÙÖÔÜ 8 Thread one swivel clasp onto
WARP LENGTH$ÖßÕä&# ÝàßØÒÝÝàèä the strap.
% ×àãåÒÜÖæá! ×àãÝààÞèÒäåÖ 9 ¹ÖÚßØÔÒãÖ×æÝßàååàåèÚäååÙÖ
SETTS Warp: "ÖáÚWeft: 10 ppi. äåãÒáåÙãÖÒÕåÙÖàåÙÖãÖßÕåÙãàæØÙ
DIMENSIONS Width: Woven length: åÙÖÓæÔÜÝÖÓêÔàÞÚßØÚß×ãàÞÓÖÙÚßÕ
(measured under tension on the ÛæäåÒÓàçÖåÙÖÝàèÖãÙàãÚëàßåÒÝÓÒã
ÝààÞ$! Finished size:ÒĘÖãäÖèÚßØ àçÖãåÙÖÓÒãÒßÕàæååÙÖÓÒÔÜËÙÖ
ÒßÕèÖåĔßÚäÙÚßØ & $ ĔãäåäèÚçÖÝÔÝÒäáäÙàæÝÕäÝÚÕÖÝààäÖÝê
ÒÕÛæäåÒÓÝÖåàÖßÕäà×ÔÝÒäáä within the loop created.
Figure 1. Draft
2x 2x 2x
Heddled
Unheddled
start Read inkle drafts from left to right, as they are threaded. center
#245 Green Yellow
#408 Old Rose
2x #252 Watermelon
#205 Kiwi
#393 Charcoal
end
True Love’s Kiss
PROJECT STEPS Assembly
Weaving 5 Using a moderate amount of
1 Wind a warp of 45 ends 88" long spray starch, spray both sides of the
àßêàæãÚßÜÝÖÝààÞ×àÝÝàèÚßØåÙÖÕãÒĘ band and allow it to soak in so that
in Figure 1. Check for accuracy and no liquid remains on the surface.
correct any errors. Press the band on both sides using a
2 ÎÚßÕÒÓÖÝåäÙæęÝÖèÚåÙÅàÚãNote: pressing cloth. The spray starch
ÁàÒßæäÖÕèÖĘåÙÖäÒÞÖÔàÝàãÒäåÙÖ gives the band a more finished look.
selvedges to create a solid-color edge. 6 Cut two lengths of band 29" each.
3 Weave at least 68" at 11 ppi. A pair Cut one end of each length straight
of suspenders requires 68" woven, but across. Cut the second end of each
Joan wove the full length of the warp length at an angle to match the top
for practice and “just in case.” portion of the center-back piece,
4 Remove the band from the loom. Figure 2 (see photo). To prevent
ÎÖåĔßÚäÙÓêÙÒßÕÚßèÒãÞèÒåÖã fraying while assembling, apply a
èÚåÙÞÚÝÕÕÖåÖãØÖßå¿ÒßØàãÝÒêėÒå tiny amount of glue to all band ends
IN K L E L OOM
to dry. ÒßÕáÚßÔÙåàėÒęÖßÓæåÖßäæãÖåÙÖ
Pinocchio’s Suspenders
Joan Sheridan
RESOURCES
Sheridan, Joan. “Making Double
Heddles for the Inkle Loom.”
youtube.com/watch?v=im8tIcU
ZhzM&t=20s.
MATERIALS
STRUCTURE Warp-faced plain weave.
EQUIPMENTÀßÜÝÖÝààÞÓÖÝåäÙæęÝÖ
23 heddles. Note: Joan likes to use
#20 or #30 DMC Cébélia or Heddle
Cord (available at heritagespinning
.com) for making heddles.
YARNS Warp:%!æßÞÖãÔÖãÚëÖÕÔàęàß
(1,680 yd/lb; Brassard), #5156
Burgundy, 30 yd; #5213 Cayenne,
#3161 Jaune Or, and #1244 Olive,
20 yd each; #83 Noir, 22 yd. Weft: 8/4
æßÞÖãÔÖãÚëÖÕÔàęàß% ÅàÚã#êÕ
OTHER SUPPLIES Sewing thread in
black and a color to match the
elastic; heavy-duty sewing machine
ßÖÖÕÝÖä×ÒÓãÚÔØÝæÖåÙÒåÚäėÖéÚÓÝÖ
and clear when dry; spray starch;
suspender hardware (available
àßÝÚßÖÒßÕÒåÔãÒĘäåàãÖääÞÒÝÝ
áÚÖÔÖäà×åÙÚßÝÖÒåÙÖãàã×ÒæéÝÖÒåÙÖã
for back piece; 5" length of 1" elastic
in a color that matches the band.
WARP LENGTH 45 ends 88" long (allows
7" for take-up, 13" for loom waste).
DIMENSIONS Width:h Woven length:
(measured under tension on the
loom) 68". Finished size:ÒĘÖãèÖå
ĔßÚäÙÚßØÒßÕäÖèÚßØh
adjustable to ends of clamps.

True Love’s Kiss
Figure 1. Draft
3x 3x
Heddled #83 Noir
Unheddled #3161 Jaune Or
Read inkle drafts from left to right, as they are threaded. #5156 Burgundy
#1244 Olive
#5213 Cayenne
ÖßÕäÕàßàåėÒãÖÓÖêàßÕåÙÖèÚÕåÙà× äÖÖåÙÒåßàåÙÚßØÙÒääÙÚĘÖÕåÙÖßáæå Figure 2. Center back template

åÙÖÓÒßÕ¸ÝÝàèåàÕãê ÒÙÖÒçêàÓÛÖÔåàßåàáåàÒááÝê
7 ºæåÒáÚÖÔÖà×ÖÝÒäåÚÔ!\ ÝàßØÒßÕ áãÖääæãÖÃÖåÕãê
ÚßäÖãåÚåÚßåàåÙÖèÒÚäåÓÒßÕÔÝÒÞá 9 ÊÖèÒãàæßÕåÙÖÝÖÒåÙÖãáÚÖÔÖ
½àÝÕæßÕÖã\ ÒßÕäÖèÒÔãàääåÙÖ ÒÓàæåh ×ãàÞåÙÖÖÕØÖæäÚßØÒ
ÖÝÒäåÚÔÛæäåÓÖÝàèåÙÖ×àÝÕæäÚßØ ÝàßØÖãäåÚåÔÙåÙÒßæäæÒÝSewing tips:
ÞÒåÔÙÚßØåÙãÖÒÕ ÌäÖÒäåÚåÔÙÝÖßØåÙà× ¸ÕÛæäåêàæã
8 ºæååèàáÚÖÔÖäà×ÝÖÒåÙÖãàã×Òæé äÖèÚßØÞÒÔÙÚßÖäàåÙÖßÖÖÕÝÖäåÒãåä
ÝÖÒåÙÖãæäÚßØåÙÖÔÖßåÖãÓÒÔÜ ÚßåÙÖÕàèßáàäÚåÚàßÊÖååÙÖäåÚåÔÙÚßØ
åÖÞáÝÒåÖÚß½ÚØæãÖÃÒêåÙÖÖÝÒäåÚÔ äáÖÖÕàßêàæãÞÒÔÙÚßÖåàÓÖÒääÝàè 2¾"
ÒßÕåÙÖÒßØÝÖÕÖßÕäà×åÙÖÓÒßÕàß ÒäáàääÚÓÝÖÇãÒÔåÚÔÖÒÔàæáÝÖà×åÚÞÖä
åÙÖÝÖÒåÙÖãáÚÖÔÖÚßåÙÖáàäÚåÚàßåÙÖê ĔãäååÙÖÔàãßÖãäÒãÖåãÚÔÜêÊåÚåÔÙ
èÚÝÝÓÖäÖèßèÚåÙåÙÖÒßØÝÖÕÖßÕä ÖçÖßÝêÒßÕäÝàèÝêÞÒÚßåÒÚßÚßØåÙÖ
ÔÝàäÖåàÖÒÔÙàåÙÖãÚßåÙÖÔÖßåÖã¸ááÝê h ÕÚäåÒßÔÖ×ãàÞåÙÖÖÕØÖ
ØÝæÖÚßäÚÕÖåÙÖäÖèÚßØÝÚßÖåàÙàÝÕåÙÖ 10 ½àÝÝàèÚßØáÒÔÜÒØÖÚßäåãæÔåÚàßä
áÚÖÔÖäÚßáÝÒÔÖÆßÔÖêàæÒãÖäæãÖåÙÖ ÚßäåÒÝÝÙÒãÕèÒãÖàßåÙÖ×ãàßåà×åÙÖ
ÖÝÒäåÚÔÒßÕäåãÒáäÒãÖÚßåÙÖÔàããÖÔå äæäáÖßÕÖãäàßÖÝÖßØåÙÒÕÛæäåÖãÒßÕ
áàäÚåÚàßÒÕÕÞàãÖØÝæÖàßåàá àßÖÔÝÒÞáàßÖÒÔÙäÚÕÖÄÒÜÖäæãÖåà
ÜÖÖáÚßØåÙÖØÝæÖÒèÒê×ãàÞåÙÖÖÕØÖä àãÚÖßååÙÖÙÒãÕèÒãÖåàÞÒåÔÙåÙÖ
ÒßÕÔÒãÖ×æÝÝêÔàçÖãåÙÖäåãÒáäèÚåÙ ÔÝÒÞáÒęÒÔÙÖÕåàåÙÖÖÝÒäåÚÔ
åÙÖäÖÔàßÕáÚÖÔÖà×ÝÖÒåÙÖãºÙÖÔÜåà
True Love’s Kiss
èÒãáÚßØáÖØÊæßÞÒãÜä" ÒèÒê 6 ÃÖÒçÚßØ& à×æßèàçÖßèÒãáÒå
×ãàÞÖÒÔÙÖßÕÓêåêÚßØÒßàåÙÖãêÒãß each end for fringe, remove the scarf
àßåàåÙÖĔãäåÔÝÒäáÖÕåÙãÖÒÕÒäÒ from the loom.
visual guide. Repeat across, thread- 7 Starting on the opposite edge
ÚßØÖçÖãêäÝàåÒßÕÙàÝÖèÚåÙÒÕàæÓÝÖÕ ×ãàÞåÙÖèÖĘåÒÚÝäåÚÖàçÖãÙÒßÕÜßàåä
ÔÝÒäáÖÕÖßÕÒßÕçÒãêÚßØåÙÖ ÔÝàäÖåàåÙÖÝÒäåáÚÔÜæäÚßØÓæßÕÝÖäà×
position of the clasps. Beam the warp. #ÖßÕäÖßÕÚßØèÚåÙÓæßÕÝÖäà×!ÖßÕä
4 ÎÚßÕÒäÙæęÝÖèÚåÙÀßÜÃÖÒçÚßØ ÖÒÔÙÀßÔÝæÕÖåÙÖèÖĘåÒÚÝàßåÙÖÀßÜ
& à×æßèàçÖßèÒãá×àã×ãÚßØÖäáãÖÒÕ end in the fringe. On the other end,
åÙÖèÒãáèÚåÙäÔãÒáêÒãß èÖÒçÖåÙÖèÖĘåÒÚÝÚßåàåÙÖÔÝàåÙ
5 Weave plain weave with Ink for 8 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß
ÒÓàæå#% ÃÖÒçÖÒ& åÒÚÝà×èÖĘåà èÒãÞèÒåÖãèÚåÙÞÚÝÕÕÖåÖãØÖßåÃÒê
include in the fringe or weave into the ėÒååàÕãêÇãÖääèÚåÙÒèÒãÞÚãàß
cloth in Step 7. Trim fringe.
R IGID HE DDL E
Star-Crossed
Lovers Scarf
Sun Kim
MATERIALS
clasped warp.
EQUIPMENT Rigid-heddle loom,
16" weaving width; 7.5-dent heddle;
äåÚÔÜäÙæęÝÖNote: Have an 8-dent
YARNS Warp:ÄÒÝÝàºàęàßÊÝæÓ
ZÔàęàß$"êÕ%àë¾ÚäåÐÒãß
ÀÔÚÔÝÖÒßÕÀßÜ$"êÕÖÒÔÙWeft:
ÄÒÝÝàºàååàßÊÝæÓÀßÜ$êÕ
WARP LENGTH$ÕàæÓÝÖÕÖßÕä
!ÖßÕäåàåÒÝ& ÝàßØÒÝÝàèä!
for take-up, 18" for loom waste;
ÝààÞèÒäåÖÚßÔÝæÕÖä×ãÚßØÖ
SETTS Warp: 7½ epi. Weft:&ááÚ
DIMENSIONS Width in the heddle:&h
Woven length: (measured under tension
àßåÙÖÝààÞ#% Finished size:ÒĘÖã
èÖåĔßÚäÙÚßØ% #% áÝæä! ×ãÚßØÖ
PROJECT STEPS
èÒãáÚßØÒÝÖßØåÙà×& \êÕ
2 ËÚÖÀßÜåàåÙÖÓÒÔÜÒáãàßãàÕÒßÕ
tie Icicle to the warping peg.
3 Centering for a weaving width of
&h áæÝÝÒÝààáà×ÀßÜ×ãàÞåÙÖÓÒÔÜ
apron rod through the heddle. Pass
the cone of Icicle tied to the warping
peg through the loop of Ink, then wrap
åÙÖÀÔÚÔÝÖÔàßÖÓÒÔÜÒãàæßÕåÙÖ
warping peg. Slide the clasp to the
ÕÖäÚãÖÕáàäÚåÚàßÒåÝÖÒäå" ÒèÒê
×ãàÞåÙÖÓÒÔÜÒáãàßãàÕàãåÙÖ

True Love’s Kiss
áàßêÓÖÒÕääÚëÖ#j ÔàęàßæáÙàÝ- needle and string the pearls and beads
stery cord, 20" length; scallop shell, onto the yarn in random order using on
about 2"; small weight or stone to average 7 pearl beads and 4 iridescent
glue inside the shell for extra weight; áàßêÓÖÒÕäáÖãäâæÒãÖÎÚßÕåÙÖåÙÚãÕ
ÔÝÖÒãÔãÒĘÝÒÔâæÖãàãÔÝÖÒãßÒÚÝ layer sliding the pearls and beads
áàÝÚäÙÔãÒĘØÝæÖÒäÞÒÝÝÒÞàæßåà× ÕàèßåÙÖêÒãßÒäêàæèÚßÕäÔÒęÖãÚßØ
äåæĜßØ×àãĔäÙÖÞÓÖÝÝÚäÙÞÖßåäåèà them across the surface of the third
1" Velcro strips; optional 1 yd of 15" layer. Finally, weave the fourth layer in
wide fabric for the lining. plain weave, securing the pearls and
DIMENSIONS Finished size:ÒĘÖãèÖå beads in the fabric.
ĔßÚäÙÚßØ! $ áÝæä ÙÒßÕÝÖ 2 ÎÖÒçÖßÚßÖ # ãÖÔåÒßØÝÖä×àã
the double-thickness purse handle
PROJECT STEPS and the purse closure using Metallic
Weaving the beaded squares Green and Lake Chelan Heather as
1 Following the manufacturer’s ×àÝÝàèäÎÚßÕàßÄÖåÒÝÝÚÔ¾ãÖÖß×àã
directions, weave twenty-two 4" åÙÖĔãäååèàÝÒêÖãäºæååÙÖêÒãßÒßÕ
P IN L OOM
beaded squares for the body of the bag tie on Lake Chelan Heather to wind
Mermaid Bag using Metallic Green and Lake Chelan the third layer and weave the fourth
Margaret Stump ¿ÖÒåÙÖãÒä×àÝÝàèäÎÚßÕàßåÙÖĔãäå layer. The woven pieces will show
layer in Metallic Green. Tie the stripes of the two colors running
RESOURCES Metallic Green yarn to the Lake lengthwise on one side and widthwise
“Basic Embroidery Stitches.” Piece- Chelan Heather yarn at the corner of on the other side. Note: If you are using
Work, January 18, 2021. piecework åÙÖĔãäåÝÒêÖãÎÚßÕàßåÙÖäÖÔàßÕ a 2" square loom, weave 27 squares. If
magazine.com/basic-embroidery layer using Lake Chelan Heather. you are using a 2" × 4" rectangle loom,
-stitches. Measure 4 more yards for the third weave 14 rectangles.
Stump, Margaret. Pin Loom Weaving: and fourth layers (wrap the loom 9 3 ÎÖÒçÖåÙÖãÖÞÒÚßÚßØ äâæÒãÖä
40 Projects for Tiny Hand Looms. times or use a tape measure) and cut as listed in the pin-loom pieces chart
Mechanicsburg, PA: Stackpole the yarn end. Thread the weaving in Figure 1.
Books, 2014.
MATERIALS
embellishments.
EQUIPMENT 4" and 2" square pin
looms; 2" × 6" rectangular pin loom;
6" weaving needle; G-6/4 mm
crochet hook; packing comb or fork;
tapestry needle. Note: A 2" × 4"
rectangle or 2" square pin loom may
be used in place of the 2" × 6" pin loom.
YARNS Eco+ (100% Peruvian highland
wool; 478 yd/250 g; Cascade Yarns),
#9451 Lake Chelan Heather, 164 yd.
Metallic (63% nylon, 28% acrylic, 9%
wool; 252 yd/3 oz; Patons), #95244
ÄÖåÒÝÝÚÔ¾ãÖÖß$êÕÊàĘÊÖÔãÖå
(100% acrylic; 300 yd/6 oz; Yarn Bee),
¹æęÖã #êÕºÝÒääÚÔÎààÝ
ÎàãäåÖÕZèààÝ&!êÕ "àë
Patons), Bright Red, 6 yd; Pumpkin,
12 yd. Note: Patons Metallic is discon-
tinued. For a substitute, try Metallico
(70% polyamide, 21% acrylic,
9% wool; 126 yd/1.75 oz; Hobbii),
#11 Moss Agate.
OTHER SUPPLIES 150 assorted pearl
beads, ¼"–½"; 90 clear iridescent
True Love’s Kiss
Figure 1. Pin-loom pieces Figure 2. Bag front Figure 3. Bag back
fold and tack down
le
ar e ng
qu cta
fold and tack down
2" ×quare
2" s 6" r e
4" s
22 Metallic Green/Lake Chelan Heather with beads A B

9 Metallic Green/Lake Chelan Heather stripes
1 Lake Chelan Heather
3 Bright Red B A
6 Pumpkin
41 pieces total
A B A B A B
Figure 4. Assembly Figure 5. Handle Figure 7. Fish tail
make 2
fold fold Figure 6. Fish body
Constructing the Mermaid Bag

4 Lay out 16 beaded 4" squares as
shown in Figure 2. With right sides
together, join the squares using
double-overcast stitch (see Reader’s
Guide). Join the edge squares together,
matching “A” sides to “B” sides as
äÙàèßÚßåÙÖĔØæãÖ½àÝÕåÙÖåàáÔÖßåÖã
square to the wrong side along the
ÕÚÒØàßÒÝÒßÕåÒÔÜåÙÖåàáÙÒÝ×Õàèß
5 Lay out six 4" squares as shown in
Figure 3. With right sides together,
join the squares using double-overcast
äåÚåÔÙ½àÝÕåÙÖåàáÔÖßåÖãäâæÒãÖåà
the wrong side along the diagonal
ÒßÕåÒÔÜåÙÖåàáÙÒÝ×Õàèß
6 ËæãßåÙÖĔãäåáÚÖÔÖä×ãàÞÊåÖá!
over and insert the six joined squares
åàÔàÞáÝÖåÖåÙÖÓÒÔÜäÚÕÖà×åÙÖÓÒØ
as shown in Figure 4.
7 ½àÝÕåÙÖåàáäâæÒãÖäàßåÙÖÝÖĘ
ÒßÕãÚØÙåäÚÕÖäÒääÙàèßÓêåÙÖ×àÝÕ
ÝÚßÖÚß½ÚØæãÖ!ÒßÕÒęÒÔÙåÙÖÞåàåÙÖ
inserted squares.
8 Using Metallic Green, single
ÔãàÔÙÖåÒÝÝåÙÖèÒêÒãàæßÕåÙÖÖÕØÖà×
the bag.
9 ÎÖåĔßÚäÙåÙÖÓÒØÓàÕêÓê
washing gently with warm water and
ÞÚÝÕÕÖåÖãØÖßåÃÒêėÒååàÕãê

True Love’s Kiss
ÄÒãØÒãÖåãÖÔàÞÞÖßÕäèÖåĔßÚäÙÚßØ æáÙàÝäåÖãêÔàãÕÓÖåèÖÖßåÙÖåèà 16 ¾ÝæÖåÙÖÖßÕà×åÙÖ # ãÖÔåÒß-
ÒååÙÚääåÒØÖãÒåÙÖãåÙÒßÒĘÖãåÙÖÓÒØ äåãÚáäà××ÒÓãÚÔÒßÕáæÝÝåÙÖ×ÒÓãÚÔ ØÝÖåàåÙÖÓÒÔÜà×åÙÖäÔÒÝÝàá¸ÕÕÒ
ÚäÒęÒÔÙÖÕåàåÙÖÙÒßÕÝÖ ÒãàæßÕåÙÖÔàãÕåàÖßÔÒäÖÚåÊÖÔæãÖÚå äÞÒÝÝäåàßÖàãàåÙÖãèÖÚØÙååàØÚçÖåÙÖ
Constructing the bag handle èÚåÙáÚßäàãÖéåãÒåÒáÖäåãêßÖÖÕÝÖä ÔÝàäæãÖÞàãÖÙÖĘ¾ÝæÖåÙÖ ÃÒÜÖ
10 Line up four 2" × 6" rectangles to ÊåÚåÔÙåÙÖ×ÒÓãÚÔäåãÚáäÔÝàäÖÕÒãàæßÕ ºÙÖÝÒß¿ÖÒåÙÖãäâæÒãÖàßåàåÙÖ
make two 24" strips (see Figure 5). åÙÖÔàãÕÒÓàæå\ ×ãàÞåÙÖ×ÒÓãÚÔ àæåäÚÕÖà×åÙÖèÖÚØÙååàÜÖÖáÚå×ãàÞ
¸ããÒßØÖåÙÖãÖÔåÒßØÝÖääàåÙÒåàßÖ ÖÕØÖËÙÚäãÖäæÝåäÚßÒÙÒßÕÝÖèÚåÙåÙÖ ãÒęÝÚßØÒØÒÚßäååÙÖáÖÒãÝäèàçÖßÚßåà
äÚÕÖà×ÖÒÔÙäåãÚáäÙàèäÔàßåÚØæàæä æáÙàÝäåÖãêÔàãÕÖßÔÒäÖÕÚßåÙÖÞÚÕÕÝÖ åÙÖÓÒØ
äåãÚáÖäØàÚßØÝÖßØåÙèÚäÖÎÚåÙãÚØÙå èÚåÙÒ×ãÚÝÝêÖÕØÖàßÖÒÔÙäÚÕÖ 17 ËæãßåÙÖàåÙÖãÖßÕà×åÙÖ #
äÚÕÖäåàØÖåÙÖãÛàÚßåÙÖáÚÖÔÖäÒÝàßØ 13 ÊåÚåÔÙÒÔãàääåÙÖÙÒßÕÝÖ ×ãàÞ rectangle under to make a purse closure
åÙÖ ÖÕØÖäæäÚßØÕàæÓÝÖàçÖãÔÒäå ÖÒÔÙÖßÕåàäÖÔæãÖåÙÖÔàãÕ¸ÝÚØßÒ " ÝàßØÒßÕäåÚåÔÙåÙÖ×àÝÕÖÕÖßÕåàåÙÖ
äåÚåÔÙNote: If you used 2" squares or ėÒåÖßÕàßåÙÖÙÒßÕÝÖÚßäÚÕÖåÙÖåàá ÞÚÕÕÝÖà×àßÖÖÕØÖà×åÙÖÓÒØ
! ãÖÔåÒßØÝÖäÝÚßÖæáÖßàæØÙ ÔàãßÖãà×åÙÖÓÒØÒßÕäåÚåÔÙÚßáÝÒÔÖ Making the fish embellishments
pieces to make two 24" strips. ËæãßåÙÖàåÙÖãÖßÕàçÖãÔãÖÒåÚßØÒ 18 ÊåÒÔÜåèà¹ãÚØÙåÉÖÕ äâæÒãÖä
11 ÌäÚßØ¹æęÖãÒÕÕÒÔãàÔÙÖåÖÕØÖ ÙÒÝ×åèÚäåÚßåÙÖÙÒßÕÝÖÒßÕÒÝÚØßåÙÖ ÒßÕäåÚåÔÙåÙãàæØÙÓàåÙåàÞÒÜÖÒ
ÒÝàßØÖÒÔÙÝàßØÖÕØÖà×ÖÒÔÙäåãÚá àåÙÖãėÒåÖßÕÚßäÚÕÖåÙÖàåÙÖãÔàãßÖã ĔäÙäÙÒáÖÒääÙàèßÚß½ÚØæãÖ#
äåÒãåÚßØÒßÕÖßÕÚßØ\ ×ãàÞÖÒÔÙ à×åÙÖÓÒØÊåÚåÔÙÚßáÝÒÔÖ ÝÖÒçÚßØåÙÖåÒÚÝÖßÕàáÖßËæãßÚßäÚÕÖ
ÖßÕÓêèàãÜÚßØäÔÚßåÙÖåèàÝààáä Making the bag closure àæåÒßÕäåæĒ
ÔÙ ãÖá×ãàÞåàÖßÕ with shell 19 ½àÝÕàßÖ¹ãÚØÙåÉÖÕ äâæÒãÖàß
12 ÊåÒÔÜåÙÖåèàäåãÚáääàåÙÒåàßÖ 14 ËÙÖÝÒäå # ãÖÔåÒßØÝÖèÚÝÝÓÖ åÙÖÕÚÒØàßÒÝÊåÚåÔÙåÙãàæØÙÓàåÙ
äÚÕÖäÙàèäÝÖßØåÙèÚäÖäåãÚáÖäÒßÕåÙÖ æäÖÕ×àãåÙÖÓÒØÔÝàäæãÖÌäÚßØ ÝÒêÖãäÒßÕØÒåÙÖãåÙÖåãÚÒßØæÝÒã
àåÙÖãèÚÕåÙèÚäÖäåãÚáÖäÌäÚßØÓÒÔÜ- ÄÖåÒÝÝÚÔ¾ãÖÖßäÚßØÝÖÔãàÔÙÖåÒãàæßÕ äÖÔåÚàßåàÞÒÜÖÒĔäÙåÒÚÝÒääÙàèßÚß
äåÚåÔÙäÖÖÉÖÒÕÖãĀä¾æÚÕÖàãçÖãê åÙÖãÖÔåÒßØÝÖ ½ÚØæãÖ$ÀßäÖãååÙÖåÒÚÝÚßåàåÙÖÖßÕà×
åÚØÙåãæßßÚßØäåÚåÔÙäÖèåÙÖåèàäåãÚáä 15 Add a layer of clear lacquer to åÙÖĔäÙÒßÕäåÚåÔÙÚåÚßáÝÒÔÖ
åàØÖåÙÖã\ ×ãàÞàßÖÝàßØÖÕØÖà×åÙÖ åÙÖäÔÒÝÝàáäÙÖÝÝåàÙÚØÙÝÚØÙåÚåäÔàÝàãä 20 ÌäÚßØ¹æęÖãÒÕÕĔßäØÚÝÝäÒßÕ
×ÒÓãÚÔÀßäÖãååÙÖ ÝÖßØåÙà× ÒßÕØÚçÖÚåÒèÖåÝààÜÃÖåÕãê åÒÚÝ×ÖÒåæãÖääÖÖáÙàåàºãàÔÙÖååÙÖ
ĔßäÒÝàßØåÙÖåàáÒßÕÓàęàÞà×åÙÖ
ĔäÙÓàÕêäÔÙÕÔ ÕÔÙÕÔºãÖÒåÖåÙÖ
ØÚÝÝäÓêäåÚåÔÙÚßØÒäÖãÚÖäà×áÒãÒÝÝÖÝ
ÝÚßÖäÒÝàßØåÙÖĔäÙÓàÕêèÚåÙàßÖàã
åèàÝÚßÖäà×êÒãßæßÕÖãåÙÖáÒãÒÝÝÖÝ
ÝÚßÖäÊÚßØÝÖÔãàÔÙÖåÒÝàßØåÙÖÖÕØÖà×
åÙÖåÒÚÝÒäÒßÖéåãÒÖÞÓÖÝÝÚäÙÞÖßå
ºãÖÒåÖåÙÖÖêÖäæäÚßØåÙãÖÖäÒåÚß
äåÚåÔÙÖääÖÖÉÖäàæãÔÖäÚßÃÒÜÖ
ºÙÖÝÒß¿ÖÒåÙÖãàãÒßêÕÒãÜÔàÝàã
21 ÉÖáÖÒåÊåÖáä%åàÞÒÜÖåèà
ÞàãÖĔäÙæäÚßØåÙÖÇæÞáÜÚß äâæÒãÖä
22 ÊåÚåÔÙåÙÖĔäÙåàåÙÖäÚÕÖà×åÙÖ
ÓÒØÒäåÙàæØÙåÙÖêÒãÖäèÚÞÞÚßØ
ßÖéååàÚåäÖÖáÙàåà
Finishing touches
23 ÆáåÚàßÒÝÝÚßÚßØÃÒêåÙÖÓÒØàæå
ėÒåÒßÕÞÒÜÖÒáÒęÖãßÓêåãÒÔÚßØ
ÒãàæßÕÚå½àÝÕåÙÖÔÝàåÙãÚØÙåäÚÕÖÚß
èÚåÙåÙÖ×àÝÕÒååÙÖÓàęàÞºæåàæå
åÙÖáÒęÖãßÝÖÒçÚßØêàæãÔÙàÚÔÖà×
äÖÒÞÒÝÝàèÒßÔÖèÚÕåÙÊåÚåÔÙÒÝàßØ
åÙÖäÚÕÖäÀßäÖãååÙÖÝÚßÚßØÚßåàåÙÖ
ÓÒØËæãßåÙÖåàáÖÕØÖà×åÙÖ×ÒÓãÚÔåà
åÙÖèãàßØäÚÕÖà×åÙÖÝÚßÚßØÒßÕ
ÙÒßÕäåÚåÔÙåàåÙÖåàáÚßäÚÕÖÖÕØÖà×
åÙÖÓÒØ
24 ¸ÕÕåèàÍÖÝÔãàÔÝàäæãÖäàßÖàß
ÖÒÔÙäÚÕÖà×åÙÖÓÒØÔÝàäæãÖ¿ÒßÕ-
äåÚåÔÙåÙÖåèàÙÒÝçÖäåàåÙÖÝÚßÚßØàãåà
åÙÖÖÕØÖà×åÙÖÓÒØ
True Love’s Kiss
PROJECT STEPS all H1 ends, remove the clip at the
Weaving the band front of the loom and transfer it to
1 Wind a warp of 150 ends 117" the held H1 ends. Ensure that the
long on your inkle loom following the ends are not crossed between the
ÕãÒĘÚß½ÚØæãÖáÝÒÔÚßØÙÖÕÕÝÖäàß heddles and the clip. Using a length
heddle peg (H2) for all 52 warp ends of Cébélia or Heddle Cord, install a
marked with a dot. continuous heddle around each H1
2 ½àÝÝàèÚßØåÙÖÕãÒĘÒßÕèàãÜÚßØ end in order. Tie the loops together in
at the front of the loom, select all a knot.
ends for the third shed (H3). Install a 4 ÇæÝÝæáàßåÙÖÒęÒÔÙÖÕÝààáäåà
clip around these ends at the front of open shed H1 or H3; press down on
åÙÖÝààÞÃÚĘåÙÖäÖÖßÕäÚßÔÝæÕÚßØåÙÖ the warp behind the heddles to open
2 selvedge ends marked * on each shed H2. Double-check your work by
side, and grasp them together behind ÚßäÖãåÚßØÒÞÚßÚÒåæãÖÔãÒĘäåÚÔÜÚßåà
the heddle peg. Loosely wrap a 10" each of the sheds. Compare to shed
IN K L E L OOM
tripled length of warp yarn around äÖâæÖßÔÖ½ÚØæãÖÒßÕÔàããÖÔåÒßê
Cottage Wall all H3 ends and secure with an errors found.
Platter Hanger overhand knot. 5 ÎÚßÕÒÓÖÝåäÙæęÝÖèÚåÙÉÖÕ
Joan Sheridan 3 Select all ends for the first shed 6 Weave H1 (up), H2 (down), H3 (up),
(H1). Separate the warp at the top H2 (down); repeat. See the shed
RESOURCES peg to choose the colors for this äÖâæÖßÔÖ½ÚØæãÖ
Dixon, Anne. The Weaver’s Inkle shed. Raise each H1 end so that it 7 Weave to the desired length
ÇÒęÖãß»ÚãÖÔåàãê. Loveland, CO: will be heddled to the left of the end ×àÝÝàèÚßØåÙÖäÙÖÕäÖâæÖßÔÖÚß½ÚØæãÖ
Interweave, 2012. in H3. Include the 2 selvedge ends Beat at about 11 ppi. Each hanger
Sheridan, Joan. “Making Double marked * at each selvedge. Holding ãÖâæÚãÖäÒÓàæå#% à×ÓÒßÕÒĘÖã
Heddles for the Inkle Loom.”
youtube.com/watch?v=im8tIcUZ
hzM.
— — —. ÎÖÒçÖËæãßÖÕÂãàÜÓãÒØÕ
àßÒßÀßÜÝÖÃààÞ. Long Thread
Media Workshop.
MATERIALS
STRUCTURE: Turned krokbragd.
EQUIPMENT:ÀßÜÝÖÝààÞÓÖÝåäÙæęÝÖ
52 double heddles (see Resources).
Note: Joan uses sturdy #30 DMC
Cébélia or Heddle Cord (available at
heritagespinning.com) to make her
double and continuous heddles.
YARNS Warp: "áÖÒãÝÔàęàßêÕ
lb; UKI), #012 Red, 254 yd; Bleached
White, 234 yd. Weft:"áÖÒãÝÔàęàß
#012 Red, 60 yd.
OTHER SUPPLIES Sewing thread;
ėÖéÚÓÝÖ×ÒÓãÚÔØÝæÖÞÚßÚÒåæãÖÔãÒĘ
sticks; spray starch; 2½" metal or
wood ring.
WARP LENGTH 150 ends 117" long
(allows 10" for take-up, 13" for
loom waste).
DIMENSIONS Band width:k Woven
length: 94" or long enough to obtain
two pieces, each about 34". Finished
size: Two band loops each 33" in
circumference.

True Love’s Kiss
Figure 1. Draft
Pattern
Left selvedge
* * 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3
L L L L L
cont’d
1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3
cont’d
Right selvedge
1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 * *
R R R R
#012 Red Key:

Bleached White
L/R = Left or right selvedge threads
* = Heddle both H1 and H3 on these threads 1 = Front heddle set
= Attached to heddle peg (H2) 3 = Back heddle set
H2 is the standard heddle position, H1 is closest to the weaver, and
H3 is behind H2 and below the H2 top peg threads.
Figure 2. Shed sequence
H2 L L L R R R
H3 L L R R
H2 L L L R R R
H1 L L R R
Weaving order
1. H1 up shed; weave from right to left.
2. H2 down shed; weave from left to right.
3. H3 up shed; weave from right to left.
4. H2 down shed; weave from left to right.
Repeat.
èÖåĔßÚäÙÚßØÁàÒßèàçÖåÙÖ×æÝÝ àßåÙÖèÒÝÝÒßÕÞÒÜÖåÙÖÓÒßÕÝÖää ÇàäÚåÚàßåÙÖÖßÕäèÚåÙãÚØÙåäÚÕÖä

ÝÖßØåÙà×åÙÖèÒãá×àãáãÒÔåÚÔÖÒßÕ ÝÚÜÖÝêåàÔæãÝ åàØÖåÙÖãÒßÕäÖèÒj äÖÒÞ½ÚßØÖã
Ă ÛæäåÚßÔÒäÖă Assembly áãÖääåÙÖäÖÒÞàáÖßËàáäåÚåÔÙÒÓàæå
8 ÉÖÞàçÖêàæãÓÒßÕ×ãàÞåÙÖÝààÞ 10 ºæååèàÝÖßØåÙäà×ÓÒßÕ ! _ ÒèÒê×ãàÞåÙÖäÖÒÞàßÓàåÙ
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åàÕãê åÙãÖÒÕäÒßÕáÚßÔÙåÙÖÖßÕäåà ÙààÜàãßÒÚÝºÒãÖ×æÝÝêÚßäÖãåÒáÝÒęÖã
9 ÌäÚßØäáãÒêäåÒãÔÙáãÖääàßåÙÖ ×ÝÒååÖßÓæååÒÜÖÔÒãÖåÙÒååÙÖêÕàßàå ÚßåàåÙÖÓÒßÕÝààáääÚåæÒåÚßØåÙÖ
ãÚØÙåäÚÕÖĔãäåÒßÕåÙÖßàßåÙÖèãàßØ ×ÝÒãÖÓÖêàßÕåÙÖèÚÕåÙà×åÙÖÓÒßÕ äÖÒÞäÓÖÙÚßÕåÙÖáÝÒęÖãèÙÖãÖåÙÖê
äÚÕÖÁàÒßáãÖääÖÕÙÖãÓÒßÕèÚåÙàæå ÃÖåÕãê èàßĀåÓÖçÚäÚÓÝÖ
æäÚßØÒáãÖääÚßØÔÝàåÙËÙÖäáãÒê 11 ÊÝÚáåÙÖ\ ãÚßØàßåààßÖÓÒßÕ
äåÒãÔÙèÚÝÝÙÖÝáãÖáÖÝÕæäåÒäÚåÙÒßØä ÒßÕåÙÖßèàãÜåÙÖäÖÒÞÒä×àÝÝàèä
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do it by hand
Photo by George Boe
Benjamin Krudwig used three-strand braids for the fringe on his Gridlock Scarf from Little Looms 2019.
BR AIDING BASICS
Although it remains perennially popular, hand braiding yarn and threads
can feel like a skill from the past. It may feel that way because braiding is
thought to be one of the first ways people manipulated fibers and the
precursor to many other techniques, including knitting and weaving.
Braiding, as with other fiber techniques, calculate about 33 percent for take-up by
requires the materials you work with to be dividing the length of the braid you want by
under tension. This means the yarn or thread three and then adding that number to your
that will be braided together must be attached desired finished length. Your final sum is the
to a solid object, or in the case of fringe on a length you’ll want to cut each strand.
woven piece, the piece itself must be weighted
in some way so that you can put tension on What you braid with is up to you, and the sky’s
the braid as you work. the limit. The strands can be single or groups of
yarn or thread. If you use multiple yarns to
Take-up is variable and depends on factors create your strands, your braid will probably be
such as the size of the strands, their relative most attractive if you group like colors together
stretchiness, and the tightness of the braid. If and treat them as one strand. As you braid one
you need a specific length of braid, such as for end, the strands at the other end will twist
an edging that surrounds a piece, you may around each other. Untangle them from time to
want to sample beforehand. Otherwise, time as you work.
Do it by hand
THREE-STRAND BRAID
A three-strand braid is what we often consider the
basic braid. It’s the one we associate with Pippi
Longstocking’s hairstyle, challah loaves, and
daisy-chain flower crowns.
1 2 3 4
1 ¸ęÒÔÙ åÙãÖÖ äåãÒßÕä àã åÙãÖÖ Øãàæáä à× äåãÒßÕä åà Ò
äàÝÚÕ äæã×ÒÔÖ À× åÙÖê ÒãÖßĀå ÙÖÝÕ åàØÖåÙÖã èÚåÙÚß Ò áÚÖÔÖ
à× ÔÝàåÙ åÚÖ Òß àçÖãÙÒßÕ Üßàå Úß åÙÖÞ ÆĘÖß Ò ÓãÒÚÕ èÚÝÝ
ÓÖ ÒęÒÔÙÖÕ åà Ò äàÝÚÕ äæã×ÒÔÖ èÚåÙ Ò áÚÖÔÖ à× ÞÒäÜÚßØ
åÒáÖ Óæå Úå ÔàæÝÕ ÒÝäà ÓÖ ÒęÒÔÙÖÕ åà Ò ÙààÜ àã Ò ÕãÒèÖã
áæÝÝãÖÒÝÝê ÒßêåÙÚßØ åÙÒå èÚÝÝ ÒÝÝàè êàæ åà áÝÒÔÖ äàÞÖ
åÖßäÚàß àß åÙÖ ÓãÒÚÕ äÖÖ ½ÚØæãÖ
2 ¿àÝÕ åèà äåãÒßÕä Úß êàæã ÝÖĘ ÙÒßÕ ÒßÕ åÙÖ àåÙÖã àßÖ
Úß êàæã ãÚØÙå áæęÚßØ äÝÚØÙå åÖßäÚàß àß åÙÖÞ ÇÒää åÙÖ
ãÚØÙåÞàäå äåãÒßÕ àçÖã åÙÖ ÞÚÕÕÝÖ äåãÒßÕ äÙÚĘÚßØ åÙÖ äåãÒßÕä Úß êàæã ÙÒßÕä Òä ßÖÖÕÖÕ ËÙÖß áÒää åÙÖ ÝÖĘÞàäå äåãÒßÕ
àçÖã åÙÖ ĂßÖèă ÞÚÕÕÝÖ äåãÒßÕ äÖÖ ½ÚØæãÖ ËÙÖ àãÚØÚßÒÝ ÞÚÕÕÝÖ äåãÒßÕ Úä ßàè àß åÙÖ ãÚØÙå ÒßÕ åÙÖ àãÚØÚßÒÝ ãÚØÙåÞàäå
äåãÒßÕ Úä ßàè àß åÙÖ ÝÖĘ äÖÖ ½ÚØæãÖ ÉÖáÖÒå åÙàäÖ åèà ÞàçÖä ×àã åÙÖ ÕÖäÚãÖÕ ÝÖßØåÙ à× êàæã ÓãÒÚÕ ÂÖÖá êàæã åÖßäÚàß
äåÖÒÕê ÒßÕ ØÚçÖ Ò äÝÚØÙå åæØ ×ãàÞ åÚÞÖ åà åÚÞÖ åà åÚØÙåÖß åÙÖ ÓãÒÚÕ äÖÖ ½ÚØæãÖ !
3 ¼ßÕ åà ÚßÔÙÖä ÓÖ×àãÖ êàæ ãæß àæå à× ÝÖßØåÙ åà èàãÜ èÚåÙ ÒßÕ åÚÖ Òß àçÖãÙÒßÕ Üßàå åà ÜÖÖá åÙÖ ÓãÒÚÕ ×ãàÞ ãÒçÖÝÚßØ
FOUR-STRAND FLAT BRAID

If you played jump rope as a child, you may remember
double Dutch, also called eggbeaters, when two ropes
were turning in opposite directions but toward each other in
the center. In a four-strand flat braid, that same type of 1 2 3
motion is happening. Four-strand flat braids can be used for
many types of items, including straps, bracelets, and
edgings. If you set up your braid as shown in Figure 1, with
two colors, one in the middle and the other on the outside,
a barber-pole stripe will form in your braid as you work.
1 ¸ęÒÔÙ ×àæã äåãÒßÕä åà Ò äàÝÚÕ äæã×ÒÔÖ Òä êàæ ÕÚÕ Úß

ÊåÖá ×àã åÙÖ åÙãÖÖäåãÒßÕ ÓãÒÚÕ äÖÖ ½ÚØæãÖ
2 ¿àÝÕ åÙÖ åèà äåãÒßÕä àß åÙÖ ãÚØÙå èÚåÙ êàæã ãÚØÙå ÙÒßÕ
ÒßÕ åèà àß åÙÖ ÝÖĘ èÚåÙ êàæã ÝÖĘ ÙÒßÕ ÅàåÖ åÙÒå åÙÖê ÒãÖ
ßæÞÓÖãÖÕ ÝÖĘ åà ãÚØÙå ÒßÕ ! Òå åÙÖ äåÒãå ËÙÖ
ÝÖĘÞàäå äåãÒßÕ Úä ÒÝèÒêä ÔàßäÚÕÖãÖÕ äåãÒßÕ ÒßÕ åÙÖ
àåÙÖã äåãÒßÕä ÒãÖ Úß ßæÞÖãÚÔÒÝ äÖâæÖßÔÖ ×ãàÞ ÝÖĘ åà ãÚØÙå
ÒĘÖã ÔàÞáÝÖåÚßØ ÊåÖáä ÒßÕ !
3 ÇÒää äåãÒßÕ ØãÖÖß àçÖã äåãÒßÕ áÚßÜ ÇÒää äåãÒßÕ
! ØãÖÖß æßÕÖã äåãÒßÕ áÚßÜ ÒßÕ åÙÖß àçÖã äåãÒßÕ
ØãÖÖß Ðàæã äåãÒßÕä ÙÒçÖ ßàè ÒÝÝ ÔÙÒßØÖÕ áàäÚåÚàß ÒßÕ
åÙÖÚã ßæÞÓÖãä ÙÒçÖ ÔÙÒßØÖÕ ËÙÖ ÔàÝàãä èÚÝÝ ÒÝäà ÙÒçÖ
ÔÙÒßØÖÕ áàäÚåÚàß ËÙÖ ØãÖÖß äåãÒßÕä èÚÝÝ ßàè ÓÖ Úß åÙÖ
Photo by Joe Coca
ÔÖßåÖã äÖÖ ½ÚØæãÖ

4 ÉÖáÖÒå ÊåÖá ÜÖÖáÚßØ åÙÖ äåãÒßÕ àãÕÖã ÔàßäåÒßå äÖÖ
½ÚØæãÖ ×àã åÙÖ ÝÖßØåÙ à× êàæã ÓãÒÚÕ ÂÖÖá êàæã åÖßäÚàß
äåÖÒÕê ÒßÕ ØÚçÖ Ò äÝÚØÙå åæØ ×ãàÞ åÚÞÖ åà åÚÞÖ åà åÚØÙåÖß
åÙÖ ÓãÒÚÕ In the “Hit and Miss” Runner with Sari Strips from Handwoven
5 ¼ßÕ åà ÚßÔÙÖä ÓÖ×àãÖ êàæ ãæß àæå à× ÝÖßØåÙ åà January/February 2014, by Beverly Weaver, four-strand braids on the
èàãÜ èÚåÙ ÒßÕ åÚÖ Òß àçÖãÙÒßÕ Üßàå åà ÜÖÖá åÙÖ ÓãÒÚÕ ends add to the runner’s beauty. Note: This runner can be woven on a
×ãàÞ ãÒçÖÝÚßØ rigid-heddle loom.

do it by hand
FOUR-STRAND ROUND BRAID

Make round braids any time you want a functional, strong,
and decorative cord. They work well for items such as
lanyards, key fobs, and bag straps.
1 ¸ęÒÔÙ ×àæã äåãÒßÕä åà Ò äàÝÚÕ äæã×ÒÔÖ Òä êàæ ÕÚÕ Úß

ÊåÖá ×àã åÙÖ åÙãÖÖäåãÒßÕ ÓãÒÚÕ äÖÖ ½ÚØæãÖ
2 ¿àÝÕ åÙÖ åèà äåãÒßÕä àß åÙÖ ãÚØÙå èÚåÙ êàæã ãÚØÙå ÙÒßÕ
ÒßÕ åèà àß åÙÖ ÝÖĘ èÚåÙ êàæã ÝÖĘ ÙÒßÕ Áæäå Òä Úß åÙÖ
×àæãäåãÒßÕ ėÒå ÓãÒÚÕ åÙÖ äåãÒßÕä ÒãÖ ßæÞÓÖãÖÕ
ÒßÕ ! ×ãàÞ ÝÖĘ åà ãÚØÙå Òå åÙÖ äåÒãå ËÙÖ ÝÖĘÞàäå äåãÒßÕ Úä
ÒÝèÒêä ÔàßäÚÕÖãÖÕ äåãÒßÕ ÒßÕ åÙÖ àåÙÖã äåãÒßÕä ÒãÖ Úß
ßæÞÖãÚÔÒÝ äÖâæÖßÔÖ ×ãàÞ ÝÖĘ åà ãÚØÙå ÒĘÖã ÔàÞáÝÖåÚßØ
ÊåÖáä ÒßÕ ! ¿àèÖçÖã èÚåÙ åÙÚä ÓãÒÚÕ åÙÖ äÙÚĘÚßØ à×
äåãÒßÕä ÒĘÖã ÊåÖá ! Úä àßÝê èÚåÙÚß åÙÖ åèà áÒÚãä ÚÖ ÒßÕ
ÔÙÒßØÖ áàäÚåÚàßä èÚåÙ ÖÒÔÙ àåÙÖã ÒßÕ ÒßÕ ! Õà ÒÝäà
3 ÊåÒãåÚßØ àß åÙÖ ãÚØÙå áÒää äåãÒßÕ ! áÚßÜ æßÕÖã äåãÒßÕä
ÒßÕ ØãÖÖß ÒßÕ êÖÝÝàè ÒßÕ åÙÖß àçÖã äåãÒßÕ
4 ÉÖáÖÒå ÊåÖá ×ãàÞ åÙÖ ÝÖĘ åÙÚä åÚÞÖ áÒääÚßØ äåãÒßÕ
êÖÝÝàè æßÕÖã äåãÒßÕä ÒßÕ áÚßÜ ÒßÕ êÖÝÝàè ÒßÕ åÙÖß

àçÖã äåãÒßÕ
5 ÉÖáÖÒå ÊåÖáä ÒßÕ ! ×àã åÙÖ ÝÖßØåÙ à× êàæã ÓãÒÚÕ ÂÖÖá
êàæã åÖßäÚàß äåÖÒÕê ÒßÕ ØÚçÖ Ò äÝÚØÙå åæØ ×ãàÞ åÚÞÖ åà åÚÞÖ
åà åÚØÙåÖß åÙÖ ÓãÒÚÕ
6 ¼ßÕ åà ÚßÔÙÖä ÓÖ×àãÖ êàæ ãæß àæå à× ÝÖßØåÙ åà Brittany Wells used four strands of wool to make a round braid to
èàãÜ èÚåÙ ÒßÕ åÚÖ Òß àçÖãÙÒßÕ Üßàå åà ÜÖÖá åÙÖ ÓãÒÚÕ connect her infant-sized Snow Mittens in this issue.
×ãàÞ ãÒçÖÝÚßØ
1 2 3 4
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Reader’s Guide
FINISHES & SEAMS
Simple Hemstitch Backstitch

Hemstitching is an on-loom technique that Backstitching provides stability to your
holds the weft in place with the added seam by doubling back with every stitch.
bonus of being attractive. After weaving a Before you start backstitching, it can help
scrap-yarn header, begin your project leaving to do a loop-de-loop with your needle-
a tail of weft four times the warp width holding hand in the air to get a feel for the
hanging off the side. If you are right-handed, movement. This is essentially what you’ll
leave the tail on the right, and leave it on the be doing with your thread. If you’re
left side if you are left-handed. Weave an stitching from right to left, stitch as
inch of plain weave (or the basic weave follows: Pull the needle completely
structure of the piece). Thread the tail on a through the fabric going from the bottom
blunt tapestry needle. Pass the needle to the top. Reenter the top of the fabric to Backstitch
under a selected group of ends between the the right of the original entry point and
scrap yarn and your fabric. Bring it up and pull the needle through the fabric. Position the needle so it will enter one stitch
back to the starting point, encircling the length to the left of the original entry point, pull it through, and continue in this
ends. Pass the needle under the same group manner for the rest of the seam from right to left.
of ends, then angle the needle, bringing it up
two (or more) picks into the fabric. Repeat
for each group of ends across the warp.
Needle-weave the tail into the selvedge and
trim, or incorporate it into the edge bundle. If Twisted Fringe
you are hemstitching at the end of a piece, Twisting fringe keeps it from fraying and
leave a tail on your last pick and use it to can make a piece look more “finished.”
hemstitch by encircling the same number of To create twisted fringe, divide the
warp ends as you did at the beginning. number of threads for each fringe into
two groups. Twist each group clockwise,
either by hand or with a fringe twister,
until it kinks. Bring both groups together,
secure the ends with an overhand knot,
and let the fringe go. The groups will
twist around each other counterclock-
wise. You can use the same method to
make a plied cord by attaching one end
to a stationary object, folding the kinked
cord in the middle, and bringing the two
ends together.
Fringe groups before and after twisting
Simple hemstitch
Whipstitch and Double-Overcast Joins

Whipstitch and double overcast are the two most common
methods for joining pin-loom squares. The two methods are
similar; double overcast is simply a doubled-up version of
whipstitch. To stitch either of these seams, start by placing the
two edges you want joined, right sides together. The loops will
probably be staggered—this is good. Starting at one end on
the bottom layer, pull your threaded tapestry needle up
through the first pair of loops. If you’re doing whipstitch, move
to the next pair of loops; for double overcast, repeat this move
in the same pair of loops. Continue to the next pair of loops
and bring the needle back through that pair from the bottom to The double-overcast join is shown here. For whipstitch, wrap
around each group of loops once instead of twice.
the top; repeat until you reach the end.
Reader’s Guide
SUPPLIERS
Amirisu, amirisu-kurumi.com (Ford 66, 73). Hobby Lobby, hobbylobby.com (Stump 71, 80). Vävstuga, vavstuga.com (Hill 38, 46).
Berroco, berroco.com (Ellsworth 34, 40). IndigoBird Sewing Patterns, indigobird.ca WEBS, yarn.com (Allen 36, 43).
Brown Sheep Company, brownsheep.com (Allen 36, 43).
Woolfolk Yarn, woolfolkyarn.com
(Reid 56, 64; Wells 35, 41). KnitPicks, knitpicks.com (Kwong 53, 59). (Chapman 54, 61).
Cascade Yarns, cascadeyarns.com LoftyFiber, loftyfiber.com (Jablonski 67, 74). Yarn Barn of Kansas, yarnbarn-ks.com
(Stump 71, 80). (Allen 36, 43; Sheridan 69, 77; Sheridan 72, 83).
Lunatic Fringe Yarns, lunaticfringeyarns
Georgia Yarn Company, gayarn.com .com (Lynde 55, 62). Yarnspirations, yarnspirations.com
(Allen 36, 43). (Bagley 52, 57; Stump 71, 80).
Maurice Brassard et Fils, mbrassard.com
Gist Yarn, gistyarn.com (Kim 70, 79). (Bast 39, 50).
Heritage Spinning and Weaving, Oomingmak, qiviut.com (van Tassell 37, 45).
heritagespinning.com (Sheridan 69, 77;
Scheepjes, scheepjes.com (Nagarkar 68, 76).
Sheridan 72, 83).
Heddle Conversion Chart

Working Original Adjusted
Author Project
Ends heddle width heddle width
Malynda Allen Gingerbread Dishcloths and Bin 173 12-dent 14 ⁄12"5
12.5-dent 13 7⁄8"
Tammy Bast Red Riding Hood’s Bread Cloth 325 12.5-dent 25½" 12-dent 271⁄12"
Yvonne Ellsworth Paul Bunyan Plaid Scarf 134 8-dent 11 ⁄8"
3
7.5-dent 12"
Elisabeth Hill Arachne Napkins 216 12-dent 18" 12.5-dent 17"
Christine Jablonski Arabian Nights Placemats 158 12-dent 13 ⁄12"
2
12.5-dent 12½"
Sun Kim Star-Crossed Lovers Scarf 70 7.5-dent 9 1⁄ 8 " 8-dent 8¾"
Jennifer E. Kwong Magic Beans Mug Rugs 53 7.5-dent 7" 8-dent 6 5⁄ 8 "
Kellie Frances Reid A Scarf for the Hatter 152 7.5-dent 20" 8-dent 19"
Brittany Wells Snow Mittens 168 12-dent 14" 12.5-dent 13½"
Little Looms rigid-heddle projects use a variety of heddle sizes. What do you do when the pattern specifies an 8-dent heddle and your
loom has a 7.5-dent heddle, or it calls for a 12.5-dent heddle but you have a 12? No problem! You can use a heddle with a similar
number of dents per inch. The small difference in sett may change the hand of the finished fabric but not enough to affect the utility
of the piece. The change in sett will also affect the width of the warp in the heddle. This handy chart shows the adjusted width with
an alternate heddle size for nine of the rigid-heddle projects in this issue.
ERRATA
There was an error in the Autumn Sunset Poncho pattern
(Fall 2023). In Step 6, weave a few picks and then use a
another piece of the same yarn to hemstitch before
continuing to weave with the original weft. In Step 9,
hemstitch as well instead of using tape to stabilize the weft.

Reader’s Guide
Pick-Up Stick Basics
Using pick-up sticks expands the range of patterns you can weave Pick-up stick
on your rigid-heddle loom by altering the plain-weave sheds. For Put the heddle in the neutral position. Turn the pick-up stick on its
patterned weaving with warp and weft floats, here’s how to edge behind the heddle. This shed creates weft floats on the
create different types of sheds with pick-up sticks. front and warp floats on the back.
Setting up a pick-up stick Up + pick-up stick
Put the heddle in the down position. Work behind the heddle, Put the heddle in the up position. Bring the pick-up stick close to
picking up the slot ends with the pick-up stick as indicated in the heddle, keeping the stick flat in the warp. This shed creates
the pick-up stick pattern. If you find picking up ends behind the warp floats on the front and weft floats on the back.
heddle difficult, you can pick up the ends in front of the heddle Using multiple pick-up sticks
and then transfer the pick-up pattern to another stick behind the Insert a second pick-up stick behind the heddle and in front of the
heddle by placing the first stick on its edge and pushing it up first pick-up stick. Use the second pick-up stick to weave one or
close to the heddle to make the lifted ends more visible. Push the more picks. In some cases, you can leave both sticks in and that
pick-up stick to the back of the loom when not in use. For “up” will be indicated in the pattern, but usually you will need to
and “down” plain-weave sheds, weave normally with the pick-up remove the second pick-up stick to resume weaving with the first.
stick pushed back.
DCB A
Warping Two Heddles for Double Warp Sett
1. Set up your loom with only one heddle to start. This
Back heddle/heddle 1 will be the back heddle. Use the direct warping
method and thread 4 ends per slot (2 loops if pulling
pairs of ends). Wind the warp on the loom.
2. Move 1 end (A) from the groups of 4 slot ends into the
holes to the right and continue working right to left as
you face your loom.
3. Place the front heddle in front of the back heddle and
line up the slots.
Front heddle/heddle 2
4. Move all hole ends (A) from the back heddle to the
slot to the right in the front heddle.
5. Move 1 end (B) from the 3 ends in each slot of the back
heddle to the slot to the right in the front heddle. (This
is the same front heddle slot used in the previous step.)
6. Move 1 end (C) from the 3 ends in each slot from the
back heddle to a hole in the front heddle.
D C BA 7. Move the last end (D) from the slots in the back
heddle to the slot to the left of the just-threaded hole
A One end from back hole to front slot to the right. in the front heddle.
B One end from back slot to front slot to the right. 8. At this point, you should have 3 ends in each slot of
C One end from back slot to front hole to the right. both heddles and 1 end in each hole of both heddles.
D One end from back slot to slot directy in front. Ends A and C are (active) hole ends, and ends B and D
Note: Warp colors are for ease of reading only. are (passive) slot ends.
Bunny Buddies, p. 52
Meet The Designers
hello W E AV E R S!
MALYNDA ALLEN delights CHRISTINE JABLONSKI MARGARET STUMP is the
in reading fairy tales and is the director of channel author of three pin-loom
baking gingerbread cookies development and customer weaving books. She devotes
with her children and experience at Gist Yarn. She a lot of her time to figuring
grandchildren. is on Etsy and Instagram as out how to use all the squares
SoulSpaceArt and writes that she keeps weaving just
about weaving and life on Substack in her because it is so much fun.
DEBORAH BAGLEY has monthly column, SoulSpace Notes.
been a crochet and weaving
designer and instructor since GABI VAN TASSELL,
2011. A former elementary and SUN KIM began weaving known online as TexasGabi
middle school teacher, she three and a half years ago, (texasgabi.com), is a fiber
enjoys teaching her two although she has been enthusiast who loves to tinker
young sons and mountain biking with her family. knitting and making wire around with anything fiber,
jewelry for a long time. particularly on hexagon pin
looms (turtleloom.com).
TAMMY BAST (The Rogue
Weaver) works at Gaspereau JENNIFER E. KWONG is a
Valley Fibres in Nova Scotia Canadian designer/illustrator. BRITTANY WELLS lives
and travels to teach weaving Follow her on Instagram and works at the Brown
workshops. @jenniferekwong. Sheep yarn mill in the
panhandle of Nebraska.
There she is inspired daily
JENNIFER CHAPMAN ROBIN LYNDE teaches by the beautiful yarn and
holds an MFA in photography weaving, raises Jacob sheep, the landscape that surrounds her.
but currently spends her time and leads the Meridian
and creative energy designing Jacobs Farm Club in northern
pin-loom patterns and raising California.
her children.
You can find SHILPA

YVONNE ELLSWORTH is a NAGARKAR on Instagram
dyer and designer living near @shilpa.nagarkar.rao.
Seattle, Washington. She is
always on the lookout for
BECOME A
little
larger-than-life inspirations.
KELLIE FRANCES REID
lives in the foothills of
looms
JANNA FORD Alberta, Canada. She is
(@PetrichorLace) harkens a graduate of Alberta
from Birmingham, Alabama, University of the Arts, where
and has spent over 25 years she discovered her love of
hyperfocused on fiber art.
They currently work and teach
weaving and color. DESIGNER!
at their LYS in Pasadena, California, where they
reside with their two partners and five cats. JOAN SHERIDAN is a Sign up today to receive
weaver, knitter, spinner, and
general fiber explorer who
submission calls and
ELISABETH HILL has been has owned Heritage Spinning submit your ideas at
weaving for 30 years in the and Weaving in Michigan
green hills of western since 2000. She confesses
littlelooms.com/subcall.
Massachusetts and has that every room in her house holds fiber tools
recently set up a studio in the and projects, and “I’m bored” is absolutely not
high desert of west Texas. part of her vocabulary.
She is a fan of contrast.

little looms Retail Shop Directory
Contact Michaela Kimbrough for magazine standing order opportunities.
mkimbrough@longthreadmedia.com
ALASKA Lambspun of Colorado K E N T U C KY Woven Art

1101 E Lincoln Ave LSH Creations 325B Grove St
Fort Collins, CO 80524 1584 Wellesley Dr East Lansing, MI 48823
(800) 558-5262 Lexington, KY 40513 (517) 203-4467
lambspun.com (859) 321-7831 wovenartshop.com
lshcreations.com
Longmont Yarn Shop M I N N E S OTA
454 Main St. The Woolery Bella’s Flock
Longmont, CO 80501 Ste 1A, 859 E Main St 11 Division St E
(303) 678-8242 Frankfort, KY 40601 Suite 200
Untangled Yarn & Fiber www.longmontyarn.com woolery.com Buffalo, MN 55313
1624 Tongass Ave
(612) 741-6437
Ketchikan, AK 99901
(907) 225-YARN (9276)
Piney Creek Yarn MAINE https://bellasflock.com
15460 E. Orchard Rd Belfast Fiber Arts
www.untangledyarnandfiber.com Centennial, CO 80016 171 High St, Ste 8 Weavers Guild of Minnesota
Ketchikan’s key stop for fiber art- (303) 953-1967 Belfast, ME 04915 1011 Washington Ave S, #350
ists. Ashford dealer. Looms, wheels, www.pineycreekyarn.com (207) 323-5248 Minneapolis, MN 55415
supplies, hand-dyed yarn local and
belfastfiberarts.com (612) 436-0463
sourced directly from dyers. Open
year-round or see our website.
F LO R I DA weaversguildmn.org
Four Purls Yarn Shop Halcyon Yarn
A R I ZO N A
334 3rd St NW 12 School St MISSOURI
Winter Haven FL 33881 Bath, ME 04530 Hillcreek Yarn Shoppe
Fiber Creek (863) 662-8288 (800) 341-0282 4093 E. Ketterer Rd
Suite 123, 1046 Willow Creek Rd FourPurls.com halcyonyarn.com Columbia, MO 65202
Prescott, AZ 86301
(573) 825-6130
(928) 717-1774
fibercreekprescott.com
Knit & Stitch M A RYL A N D hillcreekyarn.com
15 Stone St Black Sheep Yarn Shop
Cocoa, FL 32922
Grandma's Spinning Wheel (321) 632-4579
9602 Deereco Rd NEBRASKA
6544 E Tanque Verde Rd Timonium, MD 21093 Brown Sheep Company
knitandstitchboutique.com (410) 628-9276
Suite 150 100622 Country Rd 16
Tucson, AZ 85715 blacksheepyarnshop.com Mitchell, NE 69357
Sheep Thrills
(520) 290-3738 (800) 826-9136
4701 North University Dr Cloverhill Yarn Shop
www.grandmasspinningwheel.com brownsheep.com
Sunrise, FL 33351 77 Mellor Ave
(954) 742-1908 Catonsville, MD 21228
Tempe Yarn & Fiber Plum Nelly
sheepthrillsknitting.com (410) 788 7262
1415 E University Dr 743 W 2nd Street
Tempe, AZ 85281 cloverhillyarn.com Hastings, NE 68901
(480) 557-9166
G E O RG I A (402) 462-2490
Yarn Junkees Vulcan's Rest Fibers theplumnelly.com
tempeyarnonline.com
84B Jopena Blvd 2728 Augustine Herman Hwy
Hoschton, GA 30548 Chesapeake City, MD 21915 Prairie Hand Knits
CALIFORNIA (706) 921-4116 (410) 885-2890 508 South Dewey
Alamitos Bay Yarn Company yarnjunkees.com https://www.vulcansrest.com North Platte, NE 69101
174 N. Marina Drive
(308)534-4272
Long Beach, CA 90803
(562) 799-8484
ILLINOIS M A S S AC H U S E T TS
yarncompany.com
Fine Line Creative Arts Center The Fiber Loft NEW HAMPSHIRE
37W570 Bolcum Rd. 9 Massachusetts Ave Fiber Alchemy NH
St Charles, IL 60175 Harvard, MA 01451 35 Center St
Hands On Knitting Center (630) 584-9443
912 New York Street, Suite A (978) 456-8669 Box 384
fineline.org thefiberloft.com Wolfeboro Falls, NH 03896
Redlands, CA 92374
(909) 793-8712 (603) 531-1641
handsonknittingcenter.com INDIANA Vävstuga Weaving School www.FiberAlchemyNH.com
Little Shop of Spinning 80 Bassett Road
Izzy Knits 303 E 2nd St Shelburne, MA 01370 Harrisville Designs
Virtual Local Yarn Shop Roanoke, IN 46783 (413) 625-8241 PO Box 806
Irvine, CA 92604 (260) 433-3985 www.vavstuga.com Harrisville, NH 03450
(800) 231-0154 littleshopofspinning.com (603) 827-3996
IzzyKnits.com WEBS – America’s Yarn Store harrisville.com
Spinnin Yarns 75 Service Center Rd
Wildfiber Studio 145 N Griffith Blvd Northhampton Rd, MA 01060 Lilac + Finch Yarn and Weavery
1453 14th St, Suite E Griffith, IN 46319 (800) 367-9327 66 Hanover Street,
Santa Monica, CA 90404 (219) 924-7333 yarn.com Suite 303
(310) 458-2748 spinninyarns.com Manchester, NH 03101
wildfiberstudio.com MICHIGAN (603) 856-5457
Tabby Tree Weaver Heritage Spin & Weaving
CO LO R A D O 9832 North by Northeast Blvd 47 E Flint NEW JERSEY
Fishers, IN 46038 Lake Orion, MI 48360 The Spinnery
Blazing Star Ranch (317) 984-5475
3424 S Broadway (248) 693-3690 33 Race St
tabbytreeweaver.com heritagespinning.com Frenchtown, NJ 08825
Englewood, CO 80113
(303) 514-8780 (908) 996-9004
blazingstarranch.com KANSAS Leelanau Fiber thespinnery.square.site
Yarn Barn of Kansas 310 N. St. Joseph St.
Entwine Studio 930 Massachusetts PO Box 52 Woolbearers Yarns
4003 North Weber St Lawrence, KS 66044 Suttons Bay, MI 49682 90 High St
Building H (800) 468-0035 (231) 271-9276 Mount Holly, NJ 08060
Colorado Springs, CO 80907 yarnbarn-ks.com www.leelanaufiber.com/ (609) 914-0003
(719) 761-1211 woolbearers.com
entwinecos.com The Hen House Quilt Shop
211 S Cochran Ave
Charlotte, MI 48813
(517) 543-6454
thehenhousemi.com
N E W YO R K The Speckled Sheep Yarnivore C A N A DA
Fiber Kingdom 2707 Old Philadelphia Pike 2357 NW Military Hwy Gaspereau Valley Fibres
137 E Broadway Bird in Hand, PA 17505 San Antonio, TX 78231 830 Gaspereau River Rd
Salem, NY 12865 (717) 435-8359 (210) 979-8255 Wolfville, NS B4N 3L2
(518) 854-7225 thespeckledsheep.com yarnivoresa.net (902) 542-2656
fiberkingdom.com gaspereauvalleyfibres.ca
Twist Knitting & Spinning Yarnorama
Spinning Room of Altamont 5743 Route 202 130 Gonzalez St Jo's Yarn Garden
190 MAIN ST / PO BOX 427 Lahaska, PA 18931 Paige, TX 78659 4812 50 Ave
Altamont, NY 12009 (215) 794-3020 (512) 253-0100 Stony Plain, AB, T7Z1Y4
(518) 861-0038 twistknittingandspinning.com yarnorama.com (780) 963-1559
spinningroom.net josyarngarden.com
Weaver House U TA H
N O R T H C A RO L I N A 1901 S 9th Street - Space 203 Needlepoint Joint UNITED KINGDOM
Knitting Addiction Philadelphia, PA 19148 241 25th St Coorie Creative
3708 N Croatan Hwy, #2 215-278-2504 Ogden, UT 84401 Marches Mall, Thistle Centre
Kitty Hawk, NC 27949 http://www.weaverhouseco.com/ (801) 394-4355 Stirling, Scotland, UK, FK8 2EA
(252) 255-5648 needlepointjoint.com +441786 450416
knittingaddiction.com S O U T H C A RO L I N A www.coorie-creative.co.uk/
LoftyFiber VIRGINIA
Silver Threads & Golden 415 E 1st Ave Dances With Wool George Weil & Sons
Needles Easley, SC 29640 1229 Sycamore Square Old Portsmouth Rd
41 E Main St (864) 810-4747 Midlothian, VA 23113 Peasmarsh, Guildford GU3 1LZ
Franklin, NC 28734 loftyfiber.com (804) 594-5849 01483 565 800
(828) 349-0515 www.danceswithwoolrva.com www.georgeweil.com
silverthreadsyarn.com S O U T H DA KOTA
Ewe Knit It Sparkbug Hollow The Handweavers Studio &
Studio 256 909 Broadway Ave 39506 Bolington Rd Gallery
106 S Greene Street Yankton, SD 57078 Lovettsville, VA 20180 140 Seven Sisters Road
Wadesboro, NC 28170 (605)689-3999 (571) 560-0220 London, N7 7NS
(704) 507-1160 eweknitit.com sparkbughollow.com 020 7272 1891
Studio256.online handweavers.co.uk
TENNESSEE WA S H I N G TO N
The Tail Spinner Smoky Mountain Spinnery Northwest Yarns Weft Blown Ltd
109 North Wilmington Street 466 Brookside Village Way Ste 8 1401 Commercial St. 17 Ailsa View
Richlands, NC 28574 Gatlinburg, TN 37738 Bellingham, WA 98225 West Kilbride North Ayrshire
(910) 324-6166 (865) 436-9080 (360) 738-0167 Scotland, UK, KA23 9GA
www.thetailspinner.com smokymountainspinnery.com nwyarns.com by appointment only
+44 (0) 7930 657900
info@weftblown.com
Sunshine Weaving and Fiber W I S CO N S I N
Arts Fiber Garden
327 W. Main Street N5095 Old Hwy. 54
Lebanon,TN 37087
615-440-2558
Black River Falls, WI 54615
(715) 284-4590
Advertiser Index
sunshineweaving.com fibergarden.com Ashford Handicrafts Ltd. ........ C2–1, 10
Yadkin Valley Fiber Center
321 East Main Street Walther Handmade
Elkin, NC 28621
Icon Fiber Arts Bluebonnet Crafters ......................... 29
316 Trenton Street 590 Redbird Cir
our mailing address: Harriman, TN 37748 Brown Sheep ................................... 10
De Pere, WI 54115
Post Office Box 631 (865) 432-1044 (920) 200-8398
Elkin, NC 28621 www.waltherhandmade.com Eugene Textile Center....................... 18
iconfiberarts.com
(919) 260-9725
yadkinvalleyfibercenter.org Yarn Patch Halcyon Yarn .................................... C3
Fostering creativity in the fiber arts 68 N Main Street,
W YO M I N G
with beginning to advanced classes, Crossville TN 38555 Harrisville Designs, Inc. ...............11, 18
Master Weaving Program and guest (931) 707-1255
instructors throughout the year. www.yarnpatch.com Heritage Spinning & Weaving .......... 25
The
Yummi Yarns Fiber
17 West Main Street,
T E XA S House
Kromski North America .................5, 11
Burnsville, NC 28714
Bluebonnet Crafters
306 Thousand Oaks Loop The Fiber House Leclerc Looms .................................... 5
(828) 536-5193 146 Coffeen Ave
San Marcos, TX 78666
www.yummiyarns.com Sheridan, WY 82801 Louet BV .......................................... C4
bluebonnetcrafters.com
turtleloom.com Vendors for Schacht, Ashford, and
OREGON Kromski wheels and looms. Supplies Lunatic Fringe Yarn .......................... 18
Eugene Textile Center Hill Country Weavers for all fiber arts needs. Individual
2750 Roosevelt Blvd 4102 Manchaca Rd and group classes. See our website Sapori & Saperi Adventures Ltd. ....... 25
Eugene, OR 97402 Austin, TX 78704 for more.
(541) 688-1565 (512) 707-7396 (877) 673-0383 Schacht Spindle ............................... 25
eugenetextilecenter.com hillcountryweavers.com thefiberhouse.com
Sketch Looms .................................. 10
Little Hawk Yarns Homestead Fiber Crafts AU S T R A L I A The Fiber House ............................... 95
544 SE Main Street 720 Dry Creek Road The Lucky Ewe
Roseburg, OR 97470 Waco, TX 76705 50 High Street
(458) 262-0046 254-300-2436
Treenway Silks ............................11, 18
Oatlands, TAS 7120
www.littlehawkyarns.com homesteadfibercrafts.com 402 149 404 Untangled Yarn & Fiber .................... 94
www.theluckyewe.com/
P E N N S YLVA N I A Vävstuga LLC.................................... 25
Labadie Looms
2572 Old Philadelphia Pike Vermont Weaving Supplies .............. 11
Bird in Hand, PA 17505
(717) 291-8911 Yadkin Valley Fiber Center ................ 95

Project Index
PAUL BUNYAN PLAID SCARF SNOW MITTENS GINGERBREAD DISHCLOTHS AND BIN QIVIUT COWL
PAGES 34, 40 PAGES 35, 41 PAGES 36, 43 PAGES 37, 45
ARACHNE NAPKINS RED RIDING HOOD’S BREAD CLOTH BUNNY BUDDIES MAGIC BEANS MUG RUGS
PAGES 38, 46 PAGES 39, 50 PAGES 52, 57 PAGES 53, 59
A LOVABLE WATER BOTTLE JACK’S SHOULDER BAG SNOW QUEEN SNOOD

PAGES 54, 61 PAGES 55, 62 PAGES 66, 73
ARABIAN NIGHTS PLACEMATS A SCARF FOR THE HATTER CHAMPA BAG STRAP
PINOCCHIO’S SUSPENDERS
PAGES 69, 77
MERMAID BAG STAR-CROSSED LOVERS SCARF COTTAGE WALL PLATTER HANGER


Little Looms No 8 - Winter 2023

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Linen on the Rigid-Heddle Loom: It’s Not a Fairy Tale!

EASY WEAVING WITH little looms

Love Your Weaving with the Lisa Loom

Brooklyn Four Shaft Loom

Includes: 2 shuttles, 5 cross/warp sticks,

4 Shaft, 16" weaving width.

The Inkle Loom is designed to

Rigid Heddle Weaving Basics Ashford Book of Rigid Heddle

Vari Dent Reed Reeds

Visit www.ashford.co.nz/where-to-buy for your local Ashford dealer.

35 Snow Mittens 56 A Scarf for the Hatter

36 Gingerbread Dishcloths and Bin

departments Bunny Buddies, p. 52

4 Editor’s Letter 90 Reader’s Guide

86 Do It by Hand: Braiding Basics 96 Project Index

14 Hunt & Gather: Running with Pruners

20 String Theory: “Full” Disclosure:

26 The Ins, Outs, Overs, and Unders of Tapestry Weaving

30 Linen: Weaving without Tears

Arabian Nights Placemats, p. 67

little loomsW i n t e r 2 0 2 3 3

ONCE UPON A TIME, a kind grandmother

DIRECTOR OF MEDIA SALES & BRAND PARTNERSHIPS

VISIT US ON THE WEB

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Illustrations by Edmund Dulac

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Photo courtesy of the Rijksmuseum

Dragon Needle Minder

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The Complete Weaving Kit from Ashford

Heritage Aran from Brown Sheep Company

Interchangeable & Adjustable Little Loom

Weaving Kits from Vermont Weaving Supplies

Potholder Pro Weaving Kit

Presto Mint Rigid Heddle Loom by Kromski

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Self-published, 2019. Spiralbound, $34.00, 84 pages. ISBN 9780578502380.

In Bundle Steam Print!, author Janis Thompson introduces readers to eco-printing, a

Close-up of the reviewer’s first eco-printing attempt

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Photo by Greg Shield on Unsplash

No leaf or blossom is safe with an enthusiastic Eco-Printer lurking around in

Fresh leaves and flowers

less wilted. In addition to that

In the evening, say around dinner

RESOURCES FOR PLANT

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printed piece is unique and probably

In my printing, I put LOTS of

TAKE PICTURES, this is a beautiful

identify plants later when you wonder

Plants that print means that pigment

Photo by Olena Sergienko on Unsplash

rather try something myself first than

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Design & Weave

Designed and Woven by Peg MacMorris

Weaving, Spinning, Dyeing, & Felting

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