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32 Articles

Editor's Letter

WHEN I WAS IN FOURTH GRADE, I bought a copy of the book Catherine, Called Birdy by Karen Cushman at the Scholastic Book Fair. I was intrigued by the cover and delighted to find that the book was hilarious. Written in diary form, it told a story from the point of view of a young girl in the Middle Ages whose father was trying to marry her off. Along with recounting Birdy's many antics, it also gave me a glimpse into everyday life for the daughter of a medieval lord. I wanted to research everything Birdy talked about. I remember finding the medieval Christmas traditions presented in the book especially fascinating. It should come as no surprise that not only did I major in history, but one of the first…

Editor's Letter

THE ELUSIVE LUCET

The first time I tried using a lucet was at a local workshop led by a textile artist who was teaching both lucet braiding and kumihimo. At the time, I knew very little about this tool, and I was just happy to add another craft to my endless bingo card. It wasn't until I was making my first pair of fully handstitched stays that I realized the potential of lucet braids for historically inspired costuming. I spent endless hours handsewing every aspect of these Regency short stays, and I wanted the braid to show similar care and detail. I chose to purchase some linen yarn to use in a lucet braid for my stays. Unlike finger-loop braiding or kumihimo, a lucet produces a strong, square-shaped braid that can be used for…

THE ELUSIVE LUCET

HOW TO MAKE A LUCET BRAID

MAKING A LUCET BRAID Materials Needed • Yarn of choice • Lucet • Patience First, a disclaimer. Though this may seem very straightforward, I have seen variations of the lucet braiding process. The one described here is the one I was taught and the one that has worked comfortably for me over the years. I am right-handed; therefore, these instructions and images are shown for using a lucet with a right hand. However, you should be able to mirror the instructions for the left hand. CHOOSING YARN Most types of yarn, thread, or string will work for this. If you are using a lucet with a hole in the middle of the handle (through which the braid will be fed as it is woven), make sure your yarn isn't too chunky to fit. I have…

HOW TO MAKE A LUCET BRAID

WEAVING THROUGH TIME

En Garde! Swords aren't only for knights! Bring a medieval flair to your beat with this weaving sword or batten from Handywoman Shop. Available with two blade-shape options and in three woods (teak shown here), each piece is laser-carved and hand-polished to a smooth finish. handywomanshop.com A Lovely Lucet Piping, trims, and cords, oh my! Fashion the perfect embellishment with a lucet from Fashoknit. Crafted from beechwood, this tool measures 7 inches tall and 2 inches wide. Lucet braiding is a handy medieval craft to learn for dressing up your pieces. fashoknit.etsy.com Viking Cards Be inspired by ancient tools with these weaving cards. Lykos Leather has gone back to medieval times and re-created tablets in bone. Based on a design from the Viking Age, each card is hand-carved and measures 2 inches square. lykosleather.etsy.com Tools from…

WEAVING THROUGH TIME

WEAVING KROKBRAGD ON A RIGID-HEDDLE LOOM

Krokbragd is a weft-faced twill weave structure typically woven on three shafts. The warp is completely covered by the weft, producing a sturdy, attractive fabric that is beautiful and highly functional. Krokbragd, which means “crooked path” or “crooked line,” has Scandinavian origins. Traditionally, krokbragd pieces were used for warmth, such as bed, floor, window, and door coverings, as well as for home décor in the form of wall hangings and furniture covers. Today you'll often find it used for rugs, runners, and pillowcases. Krokbragd initially appealed to me for a variety of reasons: • Beautiful and striking patterns • Ease of loom setup • Minimal tool requirements • A large array of design possibilities with just three shafts • Design capabilities both on and off the loom • No need to read…

WEAVING KROKBRAGD ON A RIGID-HEDDLE LOOM

RECLAIMING FASHION: LESSONS LEARNED FROM HISTORY

Facio, ergo sum: “I make, therefore I am.” “Apparel oft proclaims the man.” — Hamlet,Shakespeare There is a lively debate about the Latin translation above, whether the meaning of facio can be used to apply to our current notion of making or being a maker. It gets more interesting if you try to use the word create instead of make. (Indeed, religious texts come out for that conversation.) However, facere —to make or form—is indisputably the root of our current word “fashion,” via a detour through French. Our adage “Clothes make the man,” adapted from Shakespeare, hints at the thinking. Clothes form an image, be it status or lack thereof, and therefore make, or fashion, our understanding of the wearer. In the twenty-first century, we are more likely to think of fashion…

RECLAIMING FASHION: LESSONS LEARNED FROM HISTORY

Finish Your Laces Who knew the bit on the end of the shoelace had a proper name? It's an aglet! Windhaven Fiber Tools can help you finish off those wonderful bands with aglets to aid in threading them through your shoes, your fancy boots, or even your corset. They are ¾ inch long, fit on a band that is ½ inch wide, and come in packages of 16 with four colors to coordinate with your project. windhavenfibertools.etsy.com Weave a Diamond Diamonds are a weaver's best friend with the new Original Diamond pin loom from Bluebonnet Crafters. The loom weaves diamonds with sides about 2 inches long and wide angles measuring 60 degrees each. Join them together to create stars or mix and match them with other pin-loom–woven shapes. turtleloom.com Boom Loom Get your friends into…

CRAZYSHOT! WEARABLES

Though humans have been weaving for well over ten thousand years, the multishaft loom has only existed since the eleventh century. Before that, humans relied on pickup sticks, shed sticks, heddle bars, and hand manipulation to create patterning, from the simplest plain weave to much more complex patterns. Many weavers today still prefer to use these methods, whether because it's a cultural tradition, they lack resources (space, financial, or other), or they simply love slow cloth. In her writings on what she's dubbed crazyshot, Myra Wood explores the ways rigid-heddle weavers can weave exceedingly complex patterns with the two sheds offered by the loom and a pick-up stick. Wood's first book, Crazyshot! Creative Overshot Weaving on the Rigid Heddle Loom, was an introduction to the technique and included some project patterns.…

CRAZYSHOT! WEARABLES

RIGID HEDDLE The Domino Scarf combines sections of supplementary weft floats with Crazyshot patterns. For this design, the pattern yarn is also used for the pick-up rows. When weaving supplementary weft floats for this pattern the pick-up stick (PU stick) can be in one of 3 positions: 1 Up. 2 With the heddle in neutral position, bring the pick-up stick forward and place it upright on its side to create the shed for the floats. 3 Down. Keep the pick-up stick flat and positioned at the back bar, behind the heddle, while weaving the sequence in the up and down positions. Crazyshot is a technique using 1 heddle and 1 pick-up stick to create supplementary weft floats in a specific pattern. For more info on Crazyshot, check out Crazyshot: Creative Overshot Weaving on the Rigid Heddle…

TAPESTRY WEAVING: IRREGULAR HATCHING

Tapestries were typically used to insulate castle walls, to cover doorways or windows (castles rarely had glass windows), and for privacy curtains around beds. They were moved from castle to castle and even hung in tents on the battlefield back when kings themselves went to war. Flemish weavers between 1400 and 1530 mastered the ability to mimic a wide variety of surface textures and painterly effects. One of the primary examples of this is hatching. Imagine applying rouge to a face. It can't just be a blob of red; it instead must blend into the skin to look natural with the rest of the face. Tapestry weavers needed a method to depict things more realistically: folds in a piece of fabric, skin tone, or clouds in the sky. Solid colors…

TAPESTRY WEAVING: IRREGULAR HATCHING

COTTON, HANBOK, AND THE INSPIRATION FOR A SCARF

While the story of Moon Ik-jeom is almost certainly apocryphal, as was the supposed ban on exporting cotton seeds, what remains true is how revolutionary cotton was to Korean society. Since its introduction, cotton has substantially improved the quality of life of Koreans from commoners to kings. For example, nubi, a quilted cloth with a cotton interior, is a popular winter clothing material. As with a bed quilt, the cotton layer of the nubi works as insulation, keeping the wearer warm during cold winters. Instead of jackets, which can ruin the beautiful lines of traditional hanbok clothing, shawls or scarves are often the preferred method to keep warm, and so a cotton-filled nubi is frequently accompanied by a scarf woven out of cotton or a blend of silk and cotton. Before…

COTTON, HANBOK, AND THE INSPIRATION FOR A SCARF

SONG OF SPINNING WHEEL

Korean folk song Spinning wheel, spinning wheel whizzing round and round whirling, whirling, keep turning. Spinning of hemp, kudzu is a legacy of the Three Hans. Weaving with cotton is the merit of Moon Ik-jeom. Under a lamp, we turn the wheel all night long to produce hemp. Shall we weave the gridiron by pulling three-ply yarns? Shall we weave fine clothes by plucking out the five strands? In the midst of the spinning wheel buzzing, the morning star has risen. Let's pluck a beach rose and decorate our lover's hair.…

ESTONIAN FOLK BANDS

RESOURCES Foulkes, Susan J. Weaving Patterned Bands. Atglen, PA: Schiffer, 2018, 58, pattern charts 5.26 and 5.27. Rand, Piia. Estonian Pick-up Woven Belts. Estonia: Saara Kirjastu, 2019, 14. MATERIALS STRUCTURE Warp-faced Estonian pick-up. EQUIPMENT Inkle loom with 18 string heddles or band loom with floating double-holed rigid heddle with at least 16 slots and 15 holes (Laia used a Handywoman double-hole back-strap heddle); belt shuttle; pick-up sword or similar tool (optional). YARNS Warp: Curio #10 (100% cotton; 721 yd/100 g; Knit Picks), White, 40 yd. Curio #3 (100% cotton; 295 yd/100 g; Knit Picks), Turmeric, 12 yd; Serrano, 18 yd. Weft: Curio #10, White, 18 yd. Note: In the warp, doubled strands of Curio #10 can be substituted for Curio #3. OTHER SUPPLIES Fray Check; 3 lobster claw swivels with push gate clip for straps with 1”…

ESTONIAN FOLK BANDS

PERUVIAN PILLOW

RESOURCES Crochet Guru. “Single Crochet Stitch—Beginner Course: Lesson # 6.” YouTube video. June 13, 2012. youtu.be/wgVOkQcf5qw?si=GI4K5ays0qO"xTTDo. Heart Hook Home. “Picot Crochet Stitch Tutorial.” YouTube video. May 21, 2019. youtu.be/xzKt7ZW8668?si=E4RNQvV1cA9x99zS. Stump, Margaret. “An Update on Joining Squares.” Pin Loom Weaving (blog), July 23, 2017. pinloomweaving.com/2017. Weave-It Book, Number Six. Medford, MA: Donar Products Corp., 1938. eloomanation.com. MATERIALS STRUCTURE Textured weave and plain weave. EQUIPMENT 2” square pin loom; 6” weaving needle; packing fork/ comb; tapestry needle; safety pins; H-8/5 mm crochet hook; 22” square pillow insert. YARNS Heartland (100% acrylic; 251 yd/ 5 oz; Lion Brand), #134V Gateway Arch, 290 yd; #113R Redwood, 430 yd; #126U Sequoia, 180 yd (yardage includes amount needed for crochet). DIMENSIONS 22” × 22” plus crocheted edging. For crochet abbreviations, visit the glossary at littlelooms.com/crochet-and-knitting-abbreviations. PROJECT STEPS 1 Following the loom manufacturer's directions, weave 338…

PERUVIAN PILLOW

BOOKMARKS OF KELLS

RESOURCES Dixon, Anne. The Weaver's Inkle Pattern Directory. Loveland, CO: Interweave, 2012. Foulkes, Susan J. The Art of Simple Band Weaving. Rev. ed. Self-published, Blurb, 2023. ———. Weaving Patterned Bands. Atglen, PA: Schiffer, 2018. Meehan, Bernard. The Book of Kells. London: Thames and Hudson, 1994. MATERIALS Striped Bookmarks STRUCTURE Warp-faced plain weave. EQUIPMENT Inkle loom; belt shuttle. YARNS Warp: 16/2 cotton (6,429 yd/lb; Bockens), #11 yellow, 40 yd; #519 red-orange, 23 yd; #603 dark blue, #3070 royal blue, #142 green, and #3060 turquoise, 18 yd each. Weft: 16/2 cotton, #11 yellow, 5 yd. WARP LENGTH: 60 doubled ends (120 threads total) 40” long (allows 3” for take-up, 3½” between bookmarks, and 18½” for loom waste; loom waste includes braid and end fringe). SETTS Warp: 80 epi. Weft: about 12 ppi. DIMENSIONS Width: ¾”. Woven length: 15” (7½” of weaving for each bookmark).…

BOOKMARKS OF KELLS

RESOURCES Bagley, Deborah. Zoo Crew: 12 Pin-Loom Animals to Weave and Love. Ebook. Fort Collins, CO: Long Thread Media, 2017. MATERIALS STRUCTURE Plain weave and textured weave. EQUIPMENT 1” and 2” square pin looms; 1” × 4” and 2” × 4” rectangle pin looms; 2” and 4” right-triangle pin looms; 5” weaving needle; packing comb or fork; tapestry needle. YARNS Basic Stitch (100% acrylic; 185 yd/3.5 oz; Lion Brand), #400G Red Heather, 70 yd; #133A Pumpkin, 15 yd; #121L Almond, 4 yd. Note: Yardage includes extra for sewing. OTHER SUPPLIES Two safety eyes, 8 mm; polyester fiberfill (stuffing); straight pins or stitch markers. DIMENSIONS Finished size: (after sewing and wet-finishing) 7” × 14” × 9” wingspan. PROJECT STEPS Note: Use whipstitch for all joins (see Reader's Guide). 1 Following the manufacturer's directions, weave 48 pieces, as listed in Figure 1.…

HERE BE DRAGONS!

RESOURCES Consolini, Silvia. Tablet Weaving Medieval Collection 15: Basic Patterns. Emulina Edizioni, 2021. Crockett, Candace. Card Weaving. Loveland, CO: Interweave, 1991. Inglenook Fibers, inglenookfibers.com. Ostheller, Karen. “Weave Along with Elewys, Ep 16, Dublin Dragons of Drachenwald.” Lady Elewys of Finchingefeld, JdL, GdS, April 2, 2021. ladyelewys.carpevinumpdx.com/2021/04/02/weave-along-with-elewys-ep-16-dublin-dragons-of-drachenwald. MATERIALS STRUCTURE Warp-faced twined weaving. EQUIPMENT Inkle loom; shuttle; 22 four-hole tablets or cards; fishing weights or flat washers to use for warp weights; weaving sword or band knife (optional). Note: Julie prefers a Sami shuttle, but a belt shuttle will work. A sword or band knife is helpful for beating the weft into place and opening sticky sheds. YARNS Warp: Palette (100% wool; 231 yd/50 g; KnitPicks), #24007 Tidepool Heather, 88 yd; #23728 White, 24 yd; #24249 Sweet Potato, 16 yd. Weft: Palette, #24015 Garnet Heather, 30 yd.…

HERE BE DRAGONS!

TASSELED MEAD COZY

RESOURCES Bagley, Deborah. “Essentials Only Makeup Bag.” Easy Weaving with Little Looms, Fall 2023, 48-49. “Hour Glass.” Weave-It Weaves. Medford, MA: Donar Products Corp., 1938, 11. eloomanation.com/pdf/1938WeaveItWeaves.pdf. Kan, Charlotte. “How to Sew a Mitered Corner on a Wide Double Fold Hem.” Sewing Blog, May 28, 2019. charlottekan.com/blogs/sewingblog/how-to-sew-a-mitered-corner-on-a-wide-double-fold-hem. “How to Make a Tassel.” Easy Weaving with Little Looms, Fall 2023, 49. Hourglass weave sequence Rows 1 and 16: Plain weave. Rows 2 and 15: U1, O1, [U3, O1] 7 times, U1. Rows 3 and 14: W4, [U3, O1] 6 times, W3. Rows 4 and 13: W6, [U3, O1] 5 times, W5. Rows 5 and 12: W8, [U3, O1] 4 times, W7. Rows 6 and 11: W10, [U3, O1] 3 times, W9. Rows 7 and 10: W12, [U3, O1] 2 times, W11. Rows 8 and…

TASSELED MEAD COZY

GEMSTONE NIGHTSTAND RUNNERS

MATERIALS STRUCTURE Plain weave with inlay. EQUIPMENT Rigid-heddle loom, 22” weaving width; 10-dent heddle; 1 pick-up stick; 1 boat shuttle or long stick shuttle; 1 stick shuttle the width of the warp; 4 small stick shuttles, tapestry bobbins (optional), or yarn wound into butterflies, for pattern weft. YARNS Warp: Beam 3/2 organic cotton (1,260 yd/lb; Gist Yarn), Aqua, 624 yd. Beam 8/2 organic cotton (3,360 yd/lb; Gist Yarn), Toffee, 54 yd. Tabby weft: Beam 8/2 organic cotton, Toffee, 614 yd; Aqua, 17 yd. Inlay weft: Beam 3/4 organic cotton, Jam and Dandelion, 146 yd each. WARP LENGTH 217 working ends (226 threads total) 108” (3 yd) long (allows 8” for take-up, 24” for loom waste). SETTS Warp: 10 epi. Weft: 12.5 ppi in plain weave, 25 ppi in pattern (12.5 ppi tabby, 12.5 ppi inlay). DIMENSIONS…

GEMSTONE NIGHTSTAND RUNNERS

RESOURCES “Inkle Loom Plain-Weave Pattern Generator.” The Carolingian Realm. carolingianrealm.info/PatternGenerator.php. Patrick, Jane. The Weaver's Idea Book. Loveland, CO: Interweave, 2010, 83, 114. MATERIALS Towels STRUCTURE Plain weave with warp and weft floats. EQUIPMENT Rigid-heddle loom, 18” weaving width; 12-dent heddle; 2 pick-up sticks; 2 stick shuttles or 1 boat shuttle and 2 bobbins. Note: Have a 12.5-dent heddle? See the heddle conversion chart in the Reader's Guide. YARNS Warp: 10/2 linen (1,500 yd/lb; Valley Yarns; WEBS), Half Bleach, 566 yd; Natural, 164 yd. 18/3 linen (2,961 yd/lb; Gist Yarn), Lupine Blue, 408 yd. Weft: 10/2 linen, Half Bleach, 330 yd; Natural, 115 yd. 18/3 linen, Lupine Blue, 228 yd. 16/2 linen (2,400 yd/lb; Valley Yarns; WEBS), Natural, 23 yd; Half Bleached, 46 yd. WARP LENGTH 215 working ends (263 total ends) 153” (4¼ yd) long (allows 12”…

GOTHIC GLASS TABLE RUNNER

RESOURCES Casanova, Kelly. “How to Make a Heddle Rod on a Rigid Heddle Loom.” YouTube video. February 20, 2016. youtube.com/watch?v=nyNaq_Vx4eE. Mitchell, Syne. “How to Set Up the Loom for Doup Leno.” Inventive Weaving on a Little Loom, 196. North Adams, MA: Storey, 2015. MATERIALS STRUCTURE Monk's belt and plain weave. EQUIPMENT Rigid-heddle loom, 12” weaving width; 12-dent heddle; 1 stick shuttle. Note: Have a 12.5-dent heddle? See the heddle conversion chart in the Reader's Guide. YARNS Warp: 8/4 cotton (1,690 yd/lb; Cotton Kings), #09 Black, 343 yd. Tabby and plain-weave weft: 8/4 cotton, #09 Black, 296 yd. Pattern weft: Chroma twist worsted (70% super-wash wool/30% nylon; 218 yd/100 g ball; KnitPicks), Narwhal, Tiki, Lupine, and Fathoms, 40 yd each. OTHER SUPPLIES 12” wooden dowel (3/8” diameter or larger); smooth, strong cotton for heddles (8/4 cotton works well),…

GOTHIC GLASS TABLE RUNNER

LOTUS MOSAIC RUNNER

RESOURCES Tell Mar Elias, mosaic with chevron and floral pattern. Photo by Dosseman, own work, CC BY-SA 4.0, commons.wikimedia.org/w/index.php?curid=78051081. MATERIALS STRUCTURE Plain weave. EQUIPMENT 60-degree diamond pin loom with 2” side length; hexagon pin loom, 2” side length; equilateral triangle pin loom, 2” side length; size G-6/4 mm crochet hook and 5” weaving needle or 4 mm locker hook; tapestry needle. (Greta used the Bluebonnet Crafters Diamond 2” fine sett loom, Original TURTLE fine sett loom, and equilateral triangle fine sett loom.) YARNS Tough Love Sock (80% superwash merino wool/20% nylon; 425 yd/4 oz; SweetGeorgia Yarns), Brown Sugar, 190 yd; Birch, 240 yd; Rose Gold, 75 yd; Oxblood, 120 yd; Moonlight, 40 yd; Summer Sky, 70 yd. DIMENSIONS Finished size: (after sewing and wet-finishing) 9” × 82”. PROJECT STEPS 1 Following the manufacturer's directions, weave 248 pieces, as…

LOTUS MOSAIC RUNNER

SILK DIAMONDS TABLE RUNNER

RESOURCES “Do It by Hand.” Easy Weaving with Little Looms, 2020, 111. Jarchow, Deborah. Rigid Heddle Weaving Basics and Beyond. Ashburton, New Zealand: Ashford Handicrafts, 2022, 113. Patrick, Jane. The Weaver's Idea Book. Loveland, CO: Interweave, 2010, 59–63. MATERIALS STRUCTURE Plain weave with Brooks bouquet. EQUIPMENT Rigid-heddle loom, 13” weaving width; 10-dent heddle; 1 shuttle. YARNS Warp: 8/2 Aurora Earth Cotton (3,360 yd/lb; Cotton Clouds), Loden, 565 yd. Weft: 8/2 Aurora Earth Cotton, Loden, 410 yd. Note: Michele used 100% reclaimed cotton yarn but recommends Aurora Earth as a substitute. OTHER SUPPLIES Floss threader; 6/0 glass beads in coordinating colors (Michele used about 190 beads); 7–8 mm ribbon, 9 yd. WARP LENGTH 121 doubled ends (242 threads total) 84” long (allows 6” for take-up, 18” for loom waste; loom waste includes fringe). SETTS Warp: 10 epi. Weft: 9…

SILK DIAMONDS TABLE RUNNER

ILLUMINATION SCARF

MATERIALS STRUCTURE Plain weave. EQUIPMENT Rigid-heddle loom, 15” weaving width; 7.5-dent heddle; 1 shuttle. Note: Have an 8-dent heddle? See the Heddle Conversion Chart in the Reader's Guide. YARNS Scarf warp: Eco Duo (70% baby alpaca/30% merino wool; 197 yd/ 3.5 oz; Cascade Yarns), #1707 Latte, 168 yd; #1705 Vanilla, 127 yd. Scarf weft: Nuna (40% wool/40% silk/ 20% viscose; 191 yd/50 g; Mirasol), Quicksand, 327 yd. Note: Nuna has been discontinued. A close substitute is Liza (70% bamboo viscose/ 20% extrafine merino wool/10% silk; 180 yd/1.75 oz; Lang Yarns) in #39 Wheat. Embellishment warp: Eco Duo, #1705 Vanilla, 22 yd. Embellishment weft: Eco Duo, #1705 Vanilla, 12 yd. OTHER SUPPLIES Fringe twister (optional); 60 small wooden beads. WARP LENGTH Scarf: 107 ends 99” (2¾ yd) long (allows 7” for take-up, 17” for…

ILLUMINATION SCARF

BRONSON LACE CAPELET

RESOURCES Stump, Margaret. Pin Loom Weaving to Go. Guilford, CT: Stackpole Books, 2017. MATERIALS STRUCTURE Plain weave and lace weave. EQUIPMENT 4” and 2” square pin looms; packing fork; tapestry needles; 6” weaving needle; F-6/4 mm crochet hook; E-4/3.5 mm crochet hook. YARNS Prairie Spun DK (100% wool; 256 yd/100 g; Brown Sheep Company), #35 Honeycomb, 560 yd. Friends Wool (100% wool; 109 yd/50 g; Hobbii), #28 Mustard, 12 yd. OTHER SUPPLIES Five 5/8” gold buttons; five ½” clear or brown backing buttons; button thread; sharp needle. DIMENSIONS Finished size: 36 1/2” neckline, 48 1/2” along bottom hem, 12 1/2” length. NOTE: This capelet was constructed with a 15” back width, 6” around the shoulders, and approximately 13” length. After weaving and wet-finishing, each finished 4” woven square measures about 3” square. Follow the directions as written to…

BRONSON LACE CAPELET

TIMELESS SHORE TEMPLE VEST

RESOURCES Jo, Misao, and Kenzo Jo. SAORI: Self-Innovation through Free-Weaving. Tokyo: Saorinomori, 2012 (vest pattern). van der Hoogt, Madelyn. The Best of Weaver's: Thick 'n Thin. Sioux Falls, SD: XRX Books, 2001. MATERIALS STRUCTURE Diversified plain weave. EQUIPMENT Rigid-heddle loom, 24” weaving width; two 12.5-dent heddles; 1 pick-up stick; 2 shuttles. Note: Have 12-dent heddles? See the Heddle Conversion Chart in the Reader's Guide. YARNS Warp: 8-ply cotton knitting yarn, DK (100% cotton; 198 yd/100 g; Shuttles & Needles), Toffee Rose, 274 yd. 10/2 cotton (4,200 yd/lb; Shuttles & Needles), Black Diamond, 548 yd. Weft: 8-ply cotton knitting yarn, DK, Black Diamond, 198 yd. 10/2 cotton, Black Diamond, 396 yd. OTHER SUPPLIES McCall's pattern #PDM8050, option D (optional). Note: Aarthi used the vest pattern in SAORI mentioned in Resources, but the McCall's pattern may be used…

TIMELESS SHORE TEMPLE VEST

BAYEUX TAPESTRY BAG

MATERIALS STRUCTURE Plain weave. EQUIPMENT Hexagon pin loom, about 4” side to side (Gabi used the Original TURTLE Loom, fine sett); G-6/4 mm crochet hook and 5” weaving needle, or 4 mm locker hook; tapestry needle. YARNS Haruito (40% silk/40% cotton/ 20% polyamide; 410 yd/150 g; Noro), Color 1, 439 yd. Catona (100% mercerized cotton, 250 m/100 g; Scheepjes), #130 Old Lace, 424 yd. OTHER SUPPLIES No-rinse detergent such as Eucalan or Soak; two wooden bag handles, 12” × 4”. DIMENSIONS Finished size: (after sewing and wet-finishing) about 18½” × 17” plus handles 4” high. PROJECT STEPS 1 Following the manufacturer's directions, weave 112 hexagons as listed in Figure 1. Leave the yarn tails for assembly. When used on a fine-sett loom, the Haruito weaves a dense fabric, although the silk component in the yarn helps it…

BAYEUX TAPESTRY BAG

BEJEWELED HEADBAND

RESOURCES Bress, Helene. Inkle Weaving. Rockville, MD: Flower Valley Press, 1975. Dixon, Anne. The Weaver's Inkle Pattern Directory: 400 Warp-Faced Weaves. Loveland, CO: Interweave, 2012. “Hair Ornament, One of a Pair.” Metropolitan Museum of Art. metmuseum.org/art/collection/search/451114. MATERIALS STRUCTURE Warp-faced plain weave and horizontal stripe pick-up. EQUIPMENT Inkle loom; belt shuttle. YARNS Warp: Tandem (28% cotton/ 28% viscose/28% nylon/16% acrylic; 107 yd/50 g; Tahki Yarns), #24 Wildflowers, 37 yd. 10/2 Tubular Spectrum (100% mercerized cotton; 400 yd/1.5 oz cone; Lunatic Fringe), Gold, 37 yd. 5/2 Tubular Spectrum (100% mercerized cotton; 200 yd/1.5 oz cone; Lunatic Fringe), Gold, 40 yd. Weft: 10/2 Tubular Spectrum, Gold, 18yd. OTHER SUPPLIES One nylon hair elastic (2” diameter); ⅛ yd gold-colored satin fabric; fusible hem tape such as Stitch Witchery, ¼” wide; Fray Check; straight pins; scissors; ruler or tape measure; sewing machine…

BEJEWELED HEADBAND

SONG OF SPINNING WHEEL SCARF

RESOURCES “Button Knot.” YouTube video, youtube.com/watch?v=at2DTsAZx7s. “How to Tie Overhand Knot.” YouTube video, youtube.com/watch?v=fdkdDkwMif0. Song of Spinning Wheel. National Gugak Center, Seoul, South Korea. MATERIALS STRUCTURE Plain weave. EQUIPMENT Rigid-heddle loom, 20” weaving width; 10-dent heddle; 1 stick shuttle. YARNS Warp: Mallo cotton slub (100% cotton; 750 yd/8 oz; Gist Yarn), Spice, 523 yd. Weft: Sero silk noil (100% raw silk; 540 yd/3.5 oz; Gist Yarn), Farro, 392 yd. OTHER SUPPLIES Cheriswelry 1 mm Korean polyester waxed cord, Tomato, 20 yd; lighter and candle. WARP LENGTH 190 ends 99” (2¾ yd) long (allows 5” for take-up, 20” for loom waste; loom waste includes fringe). SETTS Warp: 10 epi. Weft: 9 ppi. DIMENSIONS Width in the heddle: 19”. Woven length: (measured under tension on the loom) 74”. Finished size: (after hemming and wet-finishing) 16” × 67” plus 6” fringe. PROJECT STEPS 1 Set…

SONG OF SPINNING WHEEL SCARF

MAEDEUP: TRADITIONAL KOREAN KNOTTING

Editor's Note: While these knots also appear in the knotting traditions of other Asian countries, we've chosen to give the Korean names here because they were introduced to us by designer Sun Kim as part of her stunning Song of Spinning Wheel Scarf (page 77). OEDORAE KNOT (OVERHAND KNOT) The oedorae knot, also known as an overhand knot, is a very basic knot. It's often the first knot taught because of its simplicity and usefulness. Oedorae knots are often, but not always, done using a single cord where they can be used as part of a larger sequence, to lock knots into place, or as a decorative embellishment. 1 With the left hand, hold two cords parallel with the tails to the right. The bottom working cord will form a knot around the…

MAEDEUP: TRADITIONAL KOREAN KNOTTING

FINISHES & SEAMS

Simple Hemstitch Hemstitching is an on-loom technique that holds the weft in place with the added bonus of being attractive. After weaving a scrap-yarn header, begin your project, leaving a tail of weft four times the warp width hanging off the side. If you are right-handed, leave the tail on the right, and leave it on the left side if you are left-handed. Weave an inch of plain weave (or the basic weave structure of the piece). Thread the tail on a blunt tapestry needle. Pass the needle under a selected group of ends between the scrap yarn and your fabric. Bring it up and back to the starting point, encircling the ends. Pass the needle under the same group of ends, then angle the needle, bringing it up two (or…

FINISHES & SEAMS

A mother of nine, MALYNDA ALLEN finds historic textiles fascinating. DEBORAH BAGLEY, of yarnovations.com, has been a fiber art designer and instructor since 2011. A former elementary school teacher, she enjoys homeschooling her two young sons and mountain biking. JULIE BEERS lives in Kansas, loves everything textile-related, and taught fashion in Las Vegas, Nevada, for several years. Weaving on looms of all shapes and sizes is her latest passion and a way to use up all her handspun yarn that has accumulated over the years. SUSAN J. FOULKES is an enthusiastic weaver of narrow bands. She enjoys researching weaving techniques and narrow bands from around the world. GRETA HOLMSTROM is happiest weaving on little looms. She resides with her family on a small farm in the Pacific Northwest and can be found online at…

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