Little Looms - Summer 2024

Krokbragd on the Rigid-Heddle Loom: 2 Ways to Weave It
EASY WEAVING WITH little looms
Summer 2024
modern
designs
WITH
MEDIEVAL FLAIR
RIGID HEDDLE
Braid like
a Viking p. 9
• PIN LOOM • TABLET • INKLE • TAPESTRY
TAPESTRY TUTORIAL :
Blending
Colors
Summer 2024
p. 43
Here Be Dragons!
Weave one on
a Pin Loom
H A L C YON YA R N
H A LC YO N YA R N .CO M • 8 0 0 . 3 41 . 02 8 2
D e li g ht in g w e av e r s s inc e 1 9 7 1 !
RIGID
HEDDLE
LOOMS
SHIP FREE!
see web for
details
Beginner to Experienced Tapestry Weaver,
Lisa Looms are for Everyone
Love Your Weaving with the Lisa Loom

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The larger frame looms are made with raddle segments and come with a pick-up stick.
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p. 28
EASY WEAVING WITH little looms
Spring 2024
New Angles
On the Classics
Plaid
Krokbragd
If you are a fiber-arts
Twill
RIGID HEDDLE
Weave a
tiny
fan, you’ll love all the
• PIN LOOM • INKLE • TAPESTRY
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p. 34
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Projects
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p. 57
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ºÆÅ Ë ¼ Å ËÊ
¼ÒäêÎÖÒçÚßØèÚåÙÃÚęÝÖÃààÞäÊæÞÞÖã2024ÀääæÖ
projects
BEAUTY AND BEASTS THE MEDIEVAL WARDROBE
40 Estonian Folk Bands 72 Illumination Scarf Gemstone Nightstand Runners, p. 57
Laia Robichaux Gala McCurdy
41 Peruvian Pillow 73 Bronson Lace Capelet

Anthony Thompson Margaret Stump
42 Bookmarks of Kells 74 Timeless Shore Temple Vest

Susan J. Foulkes Aarthi Neelakrishnan
43 Dragon Flight 75 Bayeux Tapestry Bag

Deborah Bagley Gabi van Tassell
44 Here Be Dragons! 76 Bejeweled Headband

Julie Beers Jennifer B. Williams
77 Song of Spinning Wheel Scarf

HEARTH & HOME Sun Kim
56 Tasseled Mead Cozy Bejeweled Headband, p. 76
Deborah Bagley
57 Gemstone Nightstand Runners

Christine Jablonski
58 Camelot Towels
Malynda Allen
59 Gothic Glass Table Runner

departments
Jennifer E. Kwong
4 Editor’s Letter
60 Lotus Mosaic Runner
Greta Holmstrom 12 Gear Guide: Weaving Through Time
61 Silk Diamonds Table Runner 25 Gear Guide: Fancy Findings

Michele Marshall
26 Resource Review Bayeux Tapestry Bag, p. 75
by Christina Garton
88 Do It by Hand: Maedeup:
Traditional Korean Knotting
91 Reader’s Guide
Finishes & Seams
Suppliers
Heddle Conversion Chart
Pick-Up Stick Basics
Warping Two Heddles
93 Meet the Designers
96 Project Index
2little loomsl i t t l e l o o m s . c o m
features
6 The Elusive Lucet
Lucets are simple forked tools with two or three prongs used
to make braids. Archaeologists have found lucets, and objects that
might be lucets, throughout Europe. Learn a bit more about the
mysterious early history of this simple fiber tool.
By Catarina Ferreira
9 How to Make a Lucet Braid

Lucets are perfect tools for making long cords and braids. Unlike
multistrand braids, you don’t need to cut lengths of yarn before
braiding—you can simply keep going until your put-up runs out.
Learn how easy it is to get started using a lucet.
By Catarina Ferreira
14 String Theory: Weaving Krokbragd on a

Rigid-Heddle Loom
Weaving krokbragd on the rigid-heddle loom has opened a whole
new world of design for Kelly. In her article, she shows you how to
set up your rigid-heddle loom for krokbragd using two methods and
then gives you tips and tricks on weaving and designing with this
traditional Norwegian structure.
By Kelly Casanova
20 Reclaiming Fashion: Lessons Learned from History

For most of human history, people carefully mended and repurposed
precious handwoven cloth. Michele gives a brief history of medieval
European fashion and the ways in which people from all levels of
society cared for their clothes. She notes that in this time of fast
fashion, we can learn a thing or two from our ancestors’ methods.
By Michele Marshall
28 Excerpt: Crazyshot! Wearables Domino Scarf

Crazyshot is a technique for weaving pick-up patterns on the
rigid-heddle loom that would normally require many more sheds
than just “up” and “down.” Use this technique to weave a beautiful
scarf with elegant Bottony crosses flanked by diamonds.
By Myra Wood
30 Tapestry Weaving: Irregular Hatching

In the third installment of their Tapestry Weaving series, Elena and
Claudia write about how tapestry weavers use irregular hatching to
blend colors and give their works a more painterly look. Once
you’ve learned the background, try your hand at weaving a simple
landscape tapestry using this versatile technique.
By Elena Kawachi and Claudia Chase
36 Cotton, Hanbok, and the Inspiration for a Scarf

As she was designing her Song of Spinning Wheel Scarf, Sun
Camelot Towels, p. 58 decided to use it as an opportunity to reflect on the history of Korea
and her family. Learn the folktale of how cotton was smuggled into
medieval Korea and how a shipwreck, buttons, and a wrong turn
out of Siberia inspired Sun’s beautiful design.
By Sun Kim
little loomsS u m m e r 2 0 2 4 3

Editorial
WHEN I WAS IN FOURTH GRADE,

I bought a copy of the book Catherine,
Summer 2024 Called Birdy by Karen Cushman at
Issue 10 the Scholastic Book Fair. I was
intrigued by the cover and delighted
EDITORIA L
EDITORIAL DIRECTOR Anne Merrow
to find that the book was hilarious.
EDITOR Christina Garton
Written in diary form, it told a story
CONTRIBUTING EDITOR Susan E. Horton
from the point of view of a young girl
MANAGING EDITOR Lavon Peters
in the Middle Ages whose father was
PROJECT EDITOR Angela K. Schneider
trying to marry her off. Along with
EDITORIAL ASSISTANT
recounting Birdy’s many antics, it also l l ey
Katrina King Photo by Shelly Sa
TECHNICAL EDITORS Malynda Allen, Rona Aspholm, Deanna Deeds,
gave me a glimpse into everyday life for the
Greta Holmstrom, Merriel Miller, Anita Osterhaug, Bettie Zakon-Anderson daughter of a medieval lord. I wanted to research everything Birdy
COPY EDITOR Katie Bright talked about. I remember finding the medieval Christmas traditions
PROOFREADER Kristina McGrath 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
C R E AT I V E
DESIGNER Samantha Wranosky upper-level college history classes I took was medieval history.
PRODUCTION DESIGNER Mark Dobroth
PHOTOGRAPHY Matt Graves These days, I still love medieval history and reading about how the
ILLUSTRATIONS Angela K. Schneider, Missy Shepler
period looked in different areas of the world. While Americans often
PHOTOSTYLING Tina Gill
view this period from a European perspective, imagining knights and
castles, people all across the globe were creating incredible art of all
kinds. While the Middle Ages are often viewed in contrast to the
subsequent Renaissance period, it’s only because of the discoveries
of the medieval period that the Renaissance could happen.
FOUNDERS Linda Ligon, Anne Merrow, John P. Bolton
ÇÌ¹ÃÀÊ¿¼ÉJohn P. Bolton My love of medieval history inspired the theme of this issue, and
DIRECTOR OF MEDIA SALES & BRAND PARTNERSHIPS I’m happy to say the designers took this theme and ran with it. The
Julie Macdonald
projects in the issue are inspired by the medieval period, yes, but
DIRECTOR OF DIGITAL CONTENT & STRATEGY
Tiffany Warble
they’re not items for reenactors; instead, they’re items that take
DIRECTOR OF EVENTS & CUSTOMER SUCCESS Rachel Martin medieval aesthetics and interpret them for the modern weaver. In
DIRECTOR OF MARKETING Haydn Strauss this issue, you’ll find a pin-loom pillow inspired by an Incan tunic, a
rigid-heddle runner with weft floats meant to evoke images of
Summer 2024, Issue 10 • Easy Weaving with Little Looms (print ISSN
stained-glass windows, a set of towels fit for a king, and a beautiful
2770-4246; online ISSN 2770-4300) is published quarterly in April, June, inkle head adornment based on a Persian artifact. Of course, I
September, and December by Long Thread Media LLC, 1300 Riverside
Avenue, Suite 206, Fort Collins, CO 80524. Periodical postage paid at
couldn’t have a medieval issue without dragons, so in these pages,
Fort Collins, CO, and additional mailing offices. All contents of this issue you’ll find both a sweet pin-loom dragon and a tablet-woven boot
of Easy Weaving with Little Looms are copyrighted by Long Thread
Media LLC, 2024 All rights reserved. Projects and information are for
bracelet with dragon motifs.
inspiration and personal use only. Little Looms does not recommend,
approve, or endorse any of the advertisers, products, services, or views
advertised in Little Looms. Nor does Little Looms evaluate the
As excited as I am about the projects, I can’t neglect how good
advertisers’ claims in any way. You should, therefore, use your own the articles are as well. Find out from Catarina Ferreira about the
judgment in evaluating the advertisers, products, services, and views
advertised in Little Looms. Reproduction in whole or in part is prohibited,
mysterious history of the lucet and then follow her tutorial on how to
except by permission of the publisher. Subscription rate is $49.99/year in use one to create braids. Learn two different methods for setting up
the U.S., $59.99/year in Canada, and $69.99/year in other countries,
surface delivery. Printed in the U.S.A.
your rigid-heddle loom for weaving krokbragd from Kelly Casanova.
For those wanting a history lesson, Michele Marshall writes about
Postmaster: Please send address changes to 1300 Riverside Ave,
Ste 206, Fort Collins, CO 80524.
the long history of reusing and repurposing cloth in medieval Europe,
Subscribers: For subscription information, call (888) 480-5464, email while Sun Kim explains how the history of Korea inspired her scarf
support@longthreadmedia.com, or visit littlelooms.com. Please allow
six weeks for processing address changes.
design for this issue.
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,
When I first grabbed that copy of Catherine, Called Birdy, I had no
call (888) 480-5464 or email support@longthreadmedia.com. idea how much it would change the trajectory of my life, much less
For advertising information, call Julie Macdonald at (888) 480-5464
ext. 705, or email sales@longthreadmedia.com.
that it would inspire a magazine.
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The Elusive Lucet
Photo Courtesy of The Cleveland Museum of Art
An eighteenth-century
Austrian lucet made from
gold and mother-of-pearl,
part of a specially made set
of tools for a sewing box
TH E E LUSI V E L U C ET
by Catarina Ferreira
The Elusive Lucet
ËÙÖĔãäååÚÞÖÀåãÚÖÕæäÚßØÒ Archaeological finds, including hollow or carved bones

ÝæÔÖåèÒäÒåÒÝàÔÒÝèàãÜ- with two or three prongs, have been flagged as possible
äÙàáÝÖÕÓêÒåÖéåÚÝÖÒãåÚäå
tools for cord making or lucet braiding.
who was teaching both lucet
braiding and kumihimo. At
åÙÖåÚÞÖÀÜßÖèçÖãêÝÚęÝÖ
about this tool, and I was just
ÙÒááêåàÒÕÕÒßàåÙÖãÔãÒĘåà
my endless bingo card. It
wasn’t until I was making my
ĔãäåáÒÚãà××æÝÝêÙÒßÕäåÚåÔÙÖÕ
stays that I realized the
áàåÖßåÚÒÝà×ÝæÔÖåÓãÒÚÕä×àã
historically inspired costum-
ing. I spent endless hours
ÙÒßÕäÖèÚßØÖçÖãêÒäáÖÔåà×
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
ÓãÒÚÕ×àãÞêäåÒêä
Photo courtesy of the Swedish National Heritage Board, Sweden, CC BY 4.0 creativecommons.org/licenses/by/4.0
A Viking-Age textile tool (circa late 1000s CE) found in Lund, Sweden, in 1961. Two prongs are
carved on the reverse side, while the runic inscription on the side shown reads “tinbl:bein.”
Unlike finger-loop braiding or
Scholars today have translated this as “temple bone.” Some hypothesize that two of these tools
kumihimo, a lucet produces a could be used to make a weaving temple, but because this specific artifact and similar ones
strong, square-shaped braid that found in later digs were unique to their site (in other words, not found in pairs), it has been la-
can be used for a variety of ties, beled as a possible lucet. In fact, because of this find, tinblbein (alternatively tinbl bein) is
decorations, or trims across sometimes used in place of the term lucet.
different garments and accesso-
ries. It is made through interlocking
loops and creates a springy braid
with some stretch. It can also be
made as long as one needs and cut
off or braided until you run out of
the material you’re using (e.g., the
whole length of a yarn ball, if so
desired). However, because the
braid is looped, it will ravel if cut in
the middle.
Lucets and lucet braiding, surpris-

ingly, are very elusive in the historical
record. Historians date the use of
lucets to medieval Europe, though
due to natural deterioration, there is
little textile evidence. The oldest
known possible example comes
from a Viking gravesite in Gotland, Photo courtesy of the Sigtuna Museum, CC BY 4.0 creativecommons.org/licenses/by/4.0
Sweden. Otherwise, it’s almost A later example (circa 1200–1230 CE) of the tinblbein style of lucet, similar to the original Lund
impossible to trace this braided cord find, this one was found in Sigtuna, Sweden. This has a more obvious lucet shape.

The Elusive Lucet
Photo by Ann Swanson

Photo courtesy of York Museums Trust, CC BY-SA 4.0 creativecommons.org/licenses/by-sa/4.0
Top Left: An example of an antler pendant

identified as a possible lucet and dated
circa 410–866 CE. However, the shape of
this seems a little impractical, as the
unevenness of the prongs could lead to the
loops slipping. Top Right: Bone lucets of
this style were popular during the Victorian
era. Left: This lucet from the mid- to late-
nineteenth century resembles a modern
lucet, much more so than its bone, antler,
and ivory counterparts.
Photo courtesy of Anno Domkirkeodden, CC BY-SA 4.0 creativecommons.org/licenses/by-sa/4.0
materially with other samples found them as such. Many objects could RESOURCES
in museums dating to the eighteenth have been used as lucets or “Brief History of the Lucet Braiding
and nineteenth centuries. could have been repurposed for lucet ËààÝăÃÉºãÒĘäÝãÔãÒĘäÚåÝæÔÖå
braiding. Archaeological finds, -cordmaking-history.
It’s contested whether the lucet was including hollow or carved bones with Rossi, Sara. “The Lucet: Historically
actually used as early as the eighth two or three prongs, have been Accurate or Reenactorism?”
century through medieval times, with flagged as possible tools for cord Living Medieval, July 2, 2023,
many claiming that reenactments’ making or lucet braiding. ÒÔÒÕÖÞÚÒÖÕæ"$&ËÙÖ
use of lucet cord in this period is _lucet_historically_accurate_or
misleading. Much of the debate In museums, some extant _reenactorism.
comes from the simplicity of the lucet garments may later be found to “A Tinbl: Bone,” NIKU’s Archeology
itself: lucet is the name of the tool, an have decorations or ties made with ¹ÝàØÁÒßæÒãê&%arkeologi
object with two prongs. The lucet has lucet braid—the scarcity of results ÓÝàØØÖßßÚÜæßàÖååÚßÓÝÓÖÚß.
also been called a lutal, chain fork, or in museum websites does not
lyre. Because of its basic shape, a necessarily mean that there are CATARINA FERREIRA is a seamstress and
wide variety of different objects could few items with lucet cord but dress historian. She makes historical replicas
and cosplays using her skills. See her work on
have been used as lucets. Achaeolo- rather that cords are often Instagram @catscostumery.
gists and historians have identified minuscule details not recorded in
many artifacts as probable lucets, catalogs, sometimes also limited by
though it’s hard to definitively label specialized curatorial knowledge.
How to Make a Lucet Braid
HOW T O M A K E A
LUCE T BR A ID
by Catarina Ferreira
Despite its unknown history, lucet braid is an easy,

beginner-friendly type of braided cord—with
endless applications—to make on the littlest of
looms. I really recommend giving it a go!
Photo courtesy of the National Museum of Finland, CC BY 4.0 creativecommons.org/licenses/by/4.0
Lucets are simple tools that allow you to

create a square-ish braided cord. They also
have a long history, although how long is
up for debate.

MAKING A LUCET BRAID Lucets come in many sizes and shapes, as mentioned
Materials Needed in the historical portion of this article, but most will
• Yarn of choice have a V or fork shape.
• 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; there-
fore, 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
Photo 1 Photo 2
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
successfully woven lucet braid with
all sorts of threads, from fine linen
yarn to four-ply wool yarn. Please
keep the function of the braid in mind, Photo 3 Photo 4
for example, whether it’s decorative
or functional. For my stays, I chose
Photos by Catarina Ferreira unless otherwise noted

linen because it made a very sturdy
braid, it was fiber-appropriate for the I personally prefer lucets on the
period, and it was easily accessible to smaller side. To test how the lucet
me. However, the specific linen I feels, you should hold the lucet in
chose turned out to be a very your nondominant hand.
high-maintenance yarn due to the
loose twist and the separating BRAIDING
strands. For this tutorial, I have picked 1 Place your yarn through the
Sugar’n Cream cotton yarn, which is middle hole of the lucet and hold it so
both easy to use and to see. that you can keep the yarn tail in
place either at the back or the front of Photo 5
CHOOSING YOUR LUCET the lucet, as you prefer. Make sure to
Lucets are not necessarily the leave this tail a few inches long
easiest objects to come by. They (Photo 1). tine. There should be a Z-shape in
can be found via online retailers, in 2 Loop the yarn around the the middle (see Photo 4).
some craft stores, and sometimes right-side tine of the fork, then 3 ÃÚĘåÙÖÝàèÖãÝààáàßåÙÖãÚØÙå
at historical markets and fairs. through the middle of the tines tine over the top of the tine. You may
Lucets come in many sizes and ÇÙàåàÒßÕÒãàæßÕåÙÖÝÖĘäÚÕÖ need to let go of the yarn tail to give it
shapes, as mentioned in the tine, counterclockwise (Photo 3), ÒÝÚęÝÖäÝÒÔÜäÖÖÇÙàåà"
historical portion of this article, but then around the right-side tine to lie 4 Rotate the lucet in your hand
most will have a V or fork shape. over the loop formed on the right clockwise, keeping hold of the
DESIGN TIPS
Want to add some visual interest to
your lucet cords? Try adding beads
as you braid or using variegated or
multicolored yarn. You can also add a
second, finer thread to your primary
yarn, such as a metallic. It’s easy to
unwind lucet cords and start again if
you want to experiment.
Photo 6 Photo 7
A FEW FINAL TIPS

• I typically keep my tension very
tight. The tighter you pull the
working yarn, the more defined and
smaller the square shape of the
braid. However, it’ll also make any
changes in tension more obvious.
Once your braid is done, you can
gently pull on either end, which
Photo 8 Photo 9 helps smooth out any twists or
tension problems.
• A word of warning: if the loops
fall off the tines, it is very hard to
reposition them properly. If you
need to put the project down, I
have found that putting a rubber
band across the loops and the
working yarn keeps everything
in place.
• Depending on your yarn and
tension, it may be quite difficult
to lift the loop over the right tine.
Photo 10 Photo 11 Some archaeologists and makers
have suggested that some sort
of hook implement may have
working yarn to keep the tension loop and the top of the right tine and been used in the past to help
(Photos 6 and 7). Try to keep this rotating the lucet in your hand. The with this motion. I’ve found
tension as even as possible. An Ĕãäå×ÖèåæãßäÞÒêÝààÜÝÚÜÖßàåÙÚßØ fingernails can be helpful, and
alternative can be to hold the but it comes together quite quickly I’m looking forward to experi-
working yarn on the same hand as (Photo 8). menting with hooks.
the lucet, as if to crochet. I’ve found 6 Once you have the desired length • Please keep in mind that this is a
åÙÚäÞÒÜÖäÞêÙÒßÕÔãÒÞáÒĘÖãÒ of braid, remove the loops from the looped braid, which means that if it
èÙÚÝÖÓæåêàæÞÚØÙåÙÒçÖÓÖęÖãÝæÔÜ tines and cut the working yarn with a is cut in the middle, it will ravel. If
Ú×êàæĀãÖÒßÖéáÖãÚÖßÔÖÕÜßÚęÖã few inches of tail. Gently work the the working loops fall out and you
or crocheter! loops until they’re small (Photo 9). Feed pull on the working yarn, it will
5 That is it for the motion. You’ll just the tail through the opposite loop and ravel. However, you can ravel a
have to repeat looping the working áæÝÝäÝàèÝêåÙÖß×ÖÖÕåÙãàæØÙåÙÖĔßÒÝ small length and then try to feed
yarn around the right tine and loop and pull (Photo 10). Your braid the tail back through the loops to
åÙÖßÝÚĘÚßØåÙÖÝàèÖãÝààáàçÖãåÙÖåàá should now be secured (Photo 11). salvage a cut braid.

Gear Guide
Weaving
Looking for modern weaving tools with historical roots?
We’ve got you covered with hand-carved weaving swords,
elegant wooden lucets, bone weaving tablets, and historical
Thro ugh reproductions of ancient fiber tools.
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
Photos by Matt Graves

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 the Past

Give ancient weaving tools a try—without getting
kicked out of a museum—with the incredible
historical reproductions available from The Dancing
Goats. Along with more modern items, toolmaker
Robin Goatey offers rigid heddles, bow looms, and
other fiber-related items based on ancient items
discovered in excavations or, in the case of his
Oseberg Tape Loom, from medieval illustrations.
thedancinggoats.etsy.com
Design & Weave
your own cotton potholder
Quality Wool Yarns

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Kelly’s Blooms on Blue Runner
from the Spring 2024 Easy
Weaving with Little Looms
was woven using krokbragd
on the rigid-heddle loom.
Photo by Matt Graves
W E AV ING K R OK B R A G D ON
A RI GI D - H ED D L E LOOM
By Kelly Casanova
Early in my weaving journey, I started weaving krokbragd on my rigid

heddle. I credit the weave structure with opening my eyes to the capabilities
of this relatively simple loom.
Weaving Krokbragd
Krokbragd is a weft-faced twill I use two setup methods to weave 2 ÂÖÖáÚßØåÙÖÙÖÕÕÝÖÚßåÙÖÕàèß

weave structure typically woven on krokbragd on my rigid-heddle loom. áàäÚåÚàßÒßÕæäÚßØÒßÖéåãÒáÚÔÜæá
three shafts. The warp is complete- The first method uses one rigid äåÚÔÜàãÒäåÚÔÜäÙæęÝÖàããæÝÖãáÚÔÜ
ly covered by the weft, producing a heddle, a pick-up stick, and a heddle æáåÙÖàááàäÚåÖÖßÕäÓÖÙÚßÕåÙÖ
sturdy, attractive fabric that is rod. The second method uses two heddle. The pick-up sequence is
beautiful and highly functional. heddles of the same sett and a 1 down, 1 up.
Krokbragd, which means “crooked double-heddle block. (A double- 3 Move the second set of picked-up
path” or “crooked line,” has heddle block is a standard feature ÖßÕäåàÒÙÖÕÕÝÖãàÕèÚåÙäåãÚßØ
Scandinavian origins. Traditionally, on most rigid-heddle looms, but if ÙÖÕÕÝÖäÀåèÚÝÝäÚåÓÖÙÚßÕåÙÖÙÖÕÕÝÖ
krokbragd pieces were used for yours doesn’t have one, you can and in front of the pick-up stick.
warmth, such as bed, floor, window, usually purchase one from the
and door coverings, as well as for loom manufacturer.) With this loom setup, you now
home décor in the form of wall have the three sheds you need
hangings and furniture covers. If you are new to krokbragd, I ×àãÜãàÜÓãÒØÕ
Today you’ll often find it used for recommend the first method, as it 1 ¿ÖÕÕÝÖæááÚÔÜæáäåÚÔÜÓãàæØÙå
rugs, runners, and pillowcases. uses a standard one-heddle plain- ×àãèÒãÕÒßÕÜÖáåėÒå
weave threading, and you don’t need 2 ¿ÖÕÕÝÖæáÙÖÕÕÝÖãàÕÝÚĘÖÕ
Krokbragd initially appealed to me for a second heddle to get started. 3 Heddle down.
a variety of reasons:
METHOD ONE SETUP ËÙÖäÖåÙãÖÖäåÖáäÒãÖåÙÖèÖÒçÚßØ
• Beautiful and striking patterns 1 Thread your loom as you would sequence that you will repeat over
• Ease of loom setup for plain weave, with one end in each and over in order as you weave your
• Minimal tool requirements ÙàÝÖÒßÕäÝàå¸ĘÖãåêÚßØàßåÙÖèÒãá piece. Photo 1 shows the loom setup,
• A large array of design possibilities to the apron rod, place your heddle ãÖÒÕêåàèÖÒçÖèÚåÙÔÒãÕÓàÒãÕ
with just three shafts ÚßåÙÖÕàèßáàäÚåÚàßÎàãÜÚßØÓÖÙÚßÕ separators inserted at the front.
• Design capabilities both on and the heddle, use the pick-up stick to
off the loom pick up in a 1 up, 1 down pick-up METHOD TWO SETUP
• No need to read weaving drafts sequence. When all the ends are 1 ÇÝÒÔÖÒÙÖÕÕÝÖÚßåÙÖÓÒÔÜÙÖÕÕÝÖ
• Beginner friendliness picked up, slide the pick-up stick to ÓÝàÔÜÚßåÙÖßÖæåãÒÝáàäÚåÚàßÎÒãá
åÙÖÓÒÔÜà×åÙÖÝààÞÊÖÖÉÖÒÕÖãĀä the loom as you would for plain
So how do you translate three-shaft Guide for pick-up stick directions.) èÖÒçÖåÙãÖÒÕÚßØåÙÖÝààÞ×ãàÞ
krokbragd, which uses three sheds, You can also refer to the visual ãÚØÙååàÝÖĘÒßÕäåÒãåÚßØèÚåÙÒßÖßÕ
for weaving on a rigid-heddle loom åÙãÖÒÕÚßØÔÙÒãå½ÚØæãÖ ÚßÒäÝàåÉÖ×Öãåà½ÚØæãÖ×àãåÙÖ
that has two sheds? çÚäæÒÝåÙãÖÒÕÚßØÔÙÒãå
Figure 1. Method One

2 3 2 1 2 3 2 1
Photos by Kelly Cassanova except where noted
2 3 2 1 2 3 2 1
1 Pick-up stick
4-end
2 Hole
repeat
1 3 Heddle rod
A rigid-heddle loom setup for weaving krokbragd using one heddle, a heddle rod, and a
pick-up stick

Weaving Krokbragd
(no, not you—your weaving!). Lice

Altering the weft colors within the three-step weaving
describes the bits of warp that show
sequence creates and changes the pattern. through the weave when your weft
isn’t adequately packed down. I use a
7.5-dent heddle for krokbragd and
find that sett works well; I imagine an
8-dent heddle would work, too.
2 Place the second heddle in the warp. Refer to Figure 2, which
front of the heddle block in the shows the two-heddle loom setup. WARP AND WEFT
neutral position. Use scrap yarn to Photo 2 shows a rigid-heddle loom CHARACTERISTICS
mark the warp width in the front warped and threaded using two Ideally, the warp yarn should be
heddle and to ensure that the heddles and Method 2. thinner than the weft. You also need a
two heddles are aligned. strong warp that tensions well. I use
3 Starting from the right: The three steps that create the a cotton seine twine for warp. There
aËÒÜÖ åÙÖ Ĕãäå èÒãá ÖßÕ Úß Ò weaving sequence for Method 2 are are many yarns you could use for
slot) from the back heddle and as follows: weft, so feel free to experiment, but
thread it in the hole on the front 1 Both heddles up. my personal favorite is fingering-
ÙÖÕÕÝÖ åà åÙÖ ÝÖĘ à× êàæã äÔãÒá 2 Heddle 1 down, heddle 2 weight merino. It’s affordable, comes
yarn mark. in neutral. in a wide range of colors, is tradition-
b¹ãÚßØ åÙÖ ßÖéå ÖßÕ Úß Ò ÙàÝÖ 3 Heddle 2 down, heddle 1 ally used for krokbragd, packs down
from the back heddle and put it in in neutral. well, and allows my designs to bloom
åÙÖ äÝàå åà åÙÖ ÝÖĘ à× åÙÖ ÙàÝÖ êàæ by filling in the spaces.
just threaded. THE SECRET SAUCE
c ¹ãÚßØ åÙÖ ßÖéå ÖßÕ Úß Ò äÝàå There are a few key ingredients that I HOW THE PATTERNS ARE MADE
from the back heddle through call my “secret sauce” when it comes In krokbragd, three picks of weft
the same slot in the front heddle. to weaving beautiful krokbragd. equal one row of pattern. If you take
d Take the next end from the note of the weaving sequences, you
ÓÒÔÜ ÙÖÕÕÝÖ Úß Ò ÙàÝÖ åÙãàæØÙ OPEN WARP SETT will see that two shafts are raised and
the next slot of the front heddle, You need an open sett to allow your one shaft stays down with each weft
skipping a hole. weft yarn to pack down firmly and pass. You can predict which warp end
There are four ends in every repeat. show off your designs. If your sett is will be covered with weft by paying
Repeat steps a–d for the rest of the too close, you risk developing “lice” attention to which shaft is down.
Figure 2. Method Two

For rigid-heddle
looms with two 2 3 2 1 2 3 2 1
heddles, no extra
Back
equipment is needed
heddle
to set up the loom to
weave krokbragd.
Front
heddle
2 32 1 2 32 1
4-end
repeat
1 Back heddle slot, front heddle hole
2 2 Back heddle hole, front heddle slot
3 Slot in both heddles
Weaving Krokbragd
Left: Cloth woven using the krokbragd wriggle weaving sequence from Figure 3. Kelly added in a third color, light blue, midway through weaving.
Right: Variegated and solid yarns were combined in this piece to add even more interest to a krokbragd pattern.
DESIGN FUN MULTICOLORED WEFTS weaver more control over color

Altering the weft colors within the Using variegated or hand-dyed yarns placement at the edges.
three-step weaving sequence is a fun way to make your krokbragd
creates and changes the pattern. piece truly unique. I love to use Finally, I want to leave you with a
For me, this is one of the most variegated yarn paired with contrast- design sample in Figure 3 so that you
exciting parts of weaving krok- ing yarn to build designs. This can can see how krokbragd weaving-
bragd—if you like, you can even completely change the look of your sequence colors are typically written
design on the loom as you weave! weaving. See the upper right photo and so that you can try the design if
for an example. you would like to.
A pattern can be preplanned on graph
paper or using weaving software (be HANDLING SELVEDGES Remember, the three-step weaving
sure to select the weft-faced func- Weavers know the importance sequence does not change, so follow
tion), but it can be very freeing to of clean-looking edges for a the sequence for your chosen setup
create a design on the loom, building professional-looking finished piece. method. Only the weft colors change.
color and taking note of what you like. Achieving neat edges with krokbragd
eluded me for a long time; I tried You can play around with a design
Another design option is to write out floating selvedges, wrapping wefts at like this to make the “wriggles”
a weaving sequence with weft colors the edges, and manually wrapping. longer or shorter, use different
(see my sample in Figure 3 for ideas) Eventually, I figured out the best colors, or separate the wriggles
prior to weaving and then follow that solution and want to share it so you with blocks of solid color—there are
sequence to see what you get! don’t have to go through what I did! many options, and the only real limit
is your imagination!
USING AN ADDITIONAL BEATER Here is what I’ve learned: You do not
The rigid heddle is great for beating have to wrap every weft at the Figure 3. Krokbragd Wriggle Design
plain weave, but for krokbragd, you edges. What?! I know it seems 1. RBR
will want to bring in a tapestry beater, crazy, but if you think about it, it’s an 2. BBR 20x
fork, or wide-toothed comb to help excellent solution for a weft-faced 3. BRB
pack down the weft. I weave the weave with crowded weft threads. Weft color abbreviations: red (R),
three-step sequence using the rigid No one will notice (no, not even you!) dark blue (B).
heddle to beat and then stop and use if you miss one edge end in each
KELLY CASANOVA is a weaver from South
my additional beater before continuing three-step sequence. In fact,
Gippsland, Australia. When she isn’t teaching at
with the next three-step sequence. because it reduces bulk, this method her online weaving school, she is bush or beach
There is no need to beat using an produces a neater woven edge. Try hiking and spending time with her family on
additional beater for every pick. it; you’ll see. This trick also gives the their homestead.

The Inkle Loom is designed to weave
strong and useful warp-faced braids and
bands. Create colorful belts, bracelets,
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Warp length up to 110".
Inklette Loom
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Reclaiming Fashion
Women were often painted

to show their wealth
(indicated here by the pearls,
cloth of gold, and elaborate
jeweled headdress) or to
commemorate a major life
Photo courtesy of the National Gallery of Art

event. This portrait of Bianca
Maria Sforza (1472–1510)
by Ambrogio de Predis
(circa 1455–1508) was likely
commissioned at her
betrothal to Emperor
Maximilian I (1459–1519).
Note that her sleeves were
laced onto the bodice. This
lacing would need to be
undone by an assistant to
remove the garment.
RECLAIMING FASHION:
LE SSO N S L E A R N E D
FR O M HI S T OR Y
by Michele Marshall
Reclaiming Fashion
Facio, ergo sum:

“I make, therefore I am.”
Ă¸ááÒãÖÝàĘáãàÔÝÒÚÞäåÙÖ
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
Photo courtesy of the Museum of Cultural History, Norway

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 as
trendy clothing or accessories. Many
of us can name fashion highlights of
the twentieth century: poodle skirts A remarkable find, the Lendbreen Tunic was discovered largely intact on a glacier in Norway
of the 1950s, bell-bottoms from the and dates to around 500 CE.
1970s (and, briefly, the 2020s again),
and boyfriend jackets from the 1980s.
We can remember, at least for recent station and the one above them or Revolution. It has been estimated that
years, the color of the year and see it misrepresented their position in the active hours of producing fabric
reflected in our catalogs, magazines, some way. were often greater than the active
and patterns. hours of producing food. This fact has
Of course, both peasants and the been tested by the re-creation of an
FASHION IN THE MIDDLE AGES working classes were onlookers to Iron Age garment.
The current immediacy of fashion the spectacle of fashion. Limited by
and its availability to the masses is resources and practicality, most An amazing find in Norway, the
radically different from the historical people wore the same types of Lendbreen Tunic is an intact garment
concept. Throughout the Middle clothing, perhaps even the same from the Iron Age that can give us an
Ages and into later eras, fashion was garments, as their parents or their understanding of just how valuable
used to proclaim an individual’s employers. This is where the notion fabric was in the preindustrial era. The
social status, marriageability, guild of fashion in the Middle Ages starts Norwegian Museum of Cultural
membership, ambitions, or any to become something entirely History re-created the tunic using
combination of the above. Laws different from our modern idea. methods and materials similar to
passed by royal decree or legislature those used 1,700 years ago. Using
limited what colors, fabrics, or styles PREINDUSTRIAL CLOTH wool processed from Norwegian
people could wear based on rank PRODUCTION Villsau sheep, they set out to spin,
and class. Fines, sometimes hefty, Fabric decoration aside, fabric weave, and sew the tunic. In the
were imposed for individuals who production was an enormous process, it was determined that the
crossed the line between their social undertaking prior to the Industrial tunic could have required up to

Reclaiming Fashion
544 hours of handspinning. A entirely new item. But if that wasn’t would become not only possible but
warp-weighted loom, similar to what feasible, there was a large trade in the also daring. Even so, it still took
would have been used in the Iron Middle Ages for used clothing, with buttonholes about one hundred years
Age, was used to create a twill fabric garments shipped across Europe to to become widespread enough to
at the rate of 2 to 3 centimeters per new markets. significantly impact fashions in Europe.
hour and required 160 hours. The
entire fabrication process took 760 Garments that could no longer be FAST FASHION PHENOMENA
hours and, at the hourly rates charged worn provided fabric for other uses, Compare this idea of one hundred
by handcrafters in their fields, the although even rags were sometimes years to learn about a new fashion
tunic would have cost more than used to create new garments, development to the current trend of
$34,000 (U.S. dollars, 2023). By especially for those in economically “fast fashion,” where new styles are
comparison, a very conservative distressed situations. Pieces of textiles presented at a rate of up to 52 times a
estimate suggests that it would take have left imprints on pottery and year from some fashion retailers. The
around 200 gardening hours to raise bricks, been found in salt mines used impact fast fashion has on our culture,
enough food for four people. as protective measures, and been economics, environment, and lives
adapted as fillers for jewelry when could be an entire series of articles. The
THE MANY LIVES OF wrapped with thin metal sheets. The following paragraph from the Fast
MEDIEVAL CLOTH elasticity and flexibility of fabric has a Company blog summarizes the radically
It should not come as a surprise, long history in water- and windproof- changed worldview on clothing:
then, to find that clothing and fabric ing applications, including ship caulking
often had two, or more, lives. and insulation. Fabric, it seems, had an In 2015, the fashion industry
Obviously, clothing could be altered to almost unlimited lifespan, especially in churned out 100 billion articles of
suit changes in what was considered preindustrial ages. clothing, doubling production from
fashionable. But clothing at all 2000, far outpacing global popula-
socioeconomic levels would have Fashion in the Middle Ages changed tion growth. In that same period,
been mended to extend the life of over time but very slowly. Making the we’ve stopped treating our clothes
this expensive necessity. Children’s amount of fabric required for a as durable, long-term purchas-
clothes were “made down” from garment was time-consuming and es. The Ellen MacArthur Founda-
adult garments or other textiles. For expensive, so changes in fashion were tion has found that clothing
the working class, sleeves were mostly expressed in accessories, utilization, or how often we wear
created as detachable parts of the bands, sleeve lengths, shoe styles, our clothes, has dropped by
garment, usually tied on, allowing for and other easily adaptable elements of 36% over the past decade and a
removal when convenient and clothing. Tunics, worn by everyone half, and many of us wear clothes
replacement when worn out. regardless of wealth, were a standard only 7 to 10 times before it ends up
for much of the Middle Ages and for in a landfill. Studies show that we
The value of clothing was such that hundreds of years differed only in only really wear 20% of our
wealthy individuals would leave length (based upon sex) and sleeve overflowing closets.
garments to family members, design. In addition, wars and plagues
servants, or the clergy in their wills. An would cause what has been termed In addition, much of the fast fashion
evaluation of Swedish wills from the “fashion freezes,” a near complete industry relies on inexpensive
1300s suggests that 40 percent of the stoppage of any noticeable changes in polyester and nylon blends, which are
wills from this era included clothing or clothing styles, either regionally or rapidly becoming the source of
fabric intended for clothing. Wealthy nationally, for decades. microfiber pollution, showing up in
individuals might leave instructions for our waterways, seafood, and oceans.
lengths of fabric to be made into The biggest fashion invention of the
specific garments for valued servants. Middle Ages was the buttonhole Clearly, clothing for the masses has
High-value clothing items such as (around 1250). Prior to this, buttons managed to retain its ability to
wedding gowns or densely decorated had been used as loose fasteners with advertise status, or at least trendi-
cloaks would be gifted to the church to fabric loops or were merely decora- ness, while reducing the actual value
be remade into liturgical vestments. It tion. Buttonholes allowed sleeves to of the cloth from which it is made.
was understood that garments be attached onto finer fabrics and However, as handcrafters and
bequeathed in this fashion would be therefore changed more readily. artisans, we see this general reduc-
remade, either to fit the size and Designs that emphasized male tion directly reflected in the public
gender of the receiver or to create an musculature and the female form response to the items we make.
Reclaiming Fashion
Weavers are told that “you can buy invitation to demonstrate for an
those kitchen towels more cheaply at afternoon at a library or historical
the big-box store,” putting our site. Offer to demonstrate in a
handcrafted items in the same classroom or for a homeschool
category as mass-produced ones, group. Students studying history
without recognition of the differences will see it come alive and remem-
between the two. Spend an after- ber the demonstration long after
noon demonstrating weaving or they’ve forgotten their reading.
spinning in public, and the general • Social concerns—The throwaway
lack of understanding about where mentality may be changing, but
our clothes come from and how fabric becoming a resource for that
is made is often painfully, if not change can help. Point out the
amusingly, apparent. longevity of a handwoven item;
many vendors bring a much-used
MOVING FORWARD hand towel as an example of the
There is no simple answer to the value of handwoven goods.
question of how to respond. Demonstrate using a darning loom,
Individually, we must decide what which integrates visible mending
aspects of the issue are of highest and weaving and can introduce
concern, and there is no single those concepts in a fun way. Work
correct answer. However, as fiber with reclaimed yarns from used
artists and fabric makers, we are in clothing and fabrics—either your
a somewhat unique position to add own or thrift-store finds. Try
our voice to the conversation. We weaving with already woven fabric
come to this modern table with one cut into strips. This type of recy-
foot in the preindustrial era and the cling, called “a circular textile
other one in the twenty-first economy,” is what was practiced in
century. Most importantly, we come the Middle Ages and has been
Photo courtesy of the National Gallery of Art

bearing experience. cited as “more beneficial than
[traditional] recycling.”
• Environmental concerns—Likely • Valuation concerns—Help the
the largest issue of our change in nonweaving public understand the
social values regarding fabric, time and effort that goes into
concern about the environment is weaving. Avoid the “bake sale”
also the most complex. As an artist, pricing of handwovens. Whether
choose to work with more natural you use a rigid-heddle or an
fibers and become aware of the eight-shaft floor loom, your weaving
beneficial aspects of their use, such represents a skill that most people
as the antimicrobial nature of wool, do not have. As weavers, we Belonging to a tradition of memento mori, or
artistic items created to remind the viewer of
and share this information with your deserve to be compensated for that
the inevitability of death, Death and the Miser
clients. As a vendor, provide care knowledge as well as the materials by Hieronymus Bosch (circa 1450–1516) uses
instructions that are simple and clear and equipment we use in our woven fabric to help indicate the wealth of the sub-
for items that need handwashing items. Remember that every vendor ject. His bed is hung with large quantities of
(demonstrate its ease, if you can). interaction with the public creates an fabric dyed red, which was historically an
expensive color to obtain in cloth. The fabrics
• Educational concerns—Take the impression of the value of fabric and
are clearly not valued enough to be cared for,
opportunity to demonstrate at a handcrafted items that may carry despite the financial resources they represent.
local museum, or simply weave in through to the next fiber artist
public, making the creation of fabric encountered. Don’t undersell
more accessible and allowing for yourself and your skills or set unfair
the educational moment. If there’s expectations on the value of
not an organized event for such others’ skills.
things in your community, offer to
help create one. A local spinning/ The benefits of handcrafting on
weaving guild might appreciate an mental health are well-documented.

Reclaiming Fashion
Photo courtesy of the Kimball Gallery
In The Cheat with the Ace of Clubs by Georges de La Tour (1630–1634), we can see sleeves in various styles. It is important to remember that
paintings are not photographs and that the clothing represented in any painting may be historical, contemporary, entirely fictional by being
visually enhanced, or even a mix of all of these at once.
Most of us have experienced the joy, RESOURCES

mindfulness, energy, or calm that can Andersson, Eva. “You Can’t Take It Textiles_in_Historic_Cotexts_in
come from throwing a shuttle, with You When You Leave: Clothes _Europe_Case_Studies_from
weaving a square, or making a band. in Swedish Mediaeval Wills _1500_BC_till_1500_AD.
Whether we choose to engage in a 1200–1420,” forest.gen.nz Pilø, Lars. “The Reconstruction of
broader discussion of textiles and /Medieval/articles/eva/wills.html. the Lendbreen Tunic,” Secrets of
their environmental, social, or other Barber, Elizabeth Wayland. Wom- the Ice,ÀßßÝÒßÕÖę½êÝÜÖäÜàÞ-
impact is a personal choice. Perhaps en’s Work: The First 20,000 Years. ÞæßÖÁæßÖ%#äÖÔãÖåäàĘ
we just want to beautify ourselves New York: W. W. Norton, 1994, 31. heice.com/funn/2016/06/28
and our surroundings with our Davis, James, Catherine Casson, /reconstruction.
handwovens. However, much like and John Lee. “Recycling and Stephan, Annelisa. “The Medieval
random acts of kindness and express- Upcycling Waste in the Late Clotheshorse: Roger Wieck on the
ing gratitude, taking a relevant Medieval Urban Economy.” On Fashion Revolution of the Middle
opportunity to share information History. February 3, 2021, ncbi Ages,” Iris Blog,ÁÇÒæÝ¾ÖęêËãæäå
about our craft offers a perspective .nlm.nih.gov/pmc/articles July 27, 2011, ÓÝàØäØÖęêÖÕæÚãÚä
that is informed, experiential, and /PMC9734713. /the-medieval-clotheshorse-roger
personal. Those small moments of Grömer, Karina. “Recycling of -wieck-on-fashion-in-the-middle
sharing can make an impact. Textiles in Historic Cotexts in -ages.
Europe: Case Studies from 1500 Stoner, Jo. “The Mending and
For some of us, creating is such a BC till 1500 AD,” Ideje iz prošlosti Recycling of Clothing in Late
drive that we cannot imagine a life /Recycle, Ideas from the Past. Antiquity,” Visualising Late
without some form of artistic Zagreb, Croatia: Archaeological Antiquity: Everyday Life AD
endeavor. I propose a slogan: Ergo Museum in Zagreb, University of 300–650, University of Kent,
sum, ego facio. I am, therefore I make Zagreb, and the Institute of August 10, 2015, visualisinglate
. . . Art? A difference? Change? That Archaeology (Zagreb), 2019, antiquity.wordpress.com/2015/08
choice is up to you; just don’t stop. researchgate.net/publication /10/the-mending-and-recycling
/333496342_Recycling_of_ -of-clothing-in-late-antiquity.
Gear Guide
Fancy
Add a new loom (or two!) to your collection, finish your shoelaces
with finesse, and help manage dye migration with these items.
Findings 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
Photo by Gabi van Tassell
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 weaving with this portable treat from
Boom Loom. This compact, all-in-one loom is handcrafted
from aluminum, birch, and maple. The heddle bar rotates to
lift and lower the threads to create the sheds for your needle
or shuttle. Available in two sizes, medium (7" × 5") and mini Photo courtesy of Boom Loom
(5" x 3"), both are portable to take your weaving on the go.
boomloom.com
Catch Those Colors!

Keep those colors in their place with a Color & Dirt Grab-
ber from Carbona. This laundry aid is made from 100%

cotton and is designed to pick up loose dye particles in
the wash to keep them from redepositing on other fab-
rics. The catcher is usable for up to 30 washes and is sold
one to a package. carbona.com

resource REview
CRAZYSHOT!
WEARABLES
Though humans have been weaving for
well over ten thousand years, the multi-
shaft loom has only existed since the eleventh
century. Before that, humans relied on pick-
up 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.
Photos by Myra Wood

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 Sherman Oaks, CA: Woodworks, 2022. Paperback, $26.60,
Rigid Heddle Loom, was an introduction to the tech- ISBN 9780980018233.
nique and included some project patterns. Her latest
release, Crazyshot! Wearables focuses less on tech-
nique and more on projects.
It should be noted that to fully utilize Crazyshot! Wear-

ables, it’s necessary to have a firm foundation in Wood’s
methods, either from her first book or from experience
following complex pick-up charts in other weaving
resources. Wood does go over some basics but mostly
information on tools required, sewing techniques, and
some general weaving guidance. Even though it was
general, I found the tips, tricks, and techniques for sewing
with handwoven cloth especially useful.
Most of the book is dedicated to projects; the first half

features scarves and bags, and the second covers
clothing. I appreciated the different ways in which
crazyshot is used within the projects. For example,
some items, such as the cover project, require the
weaver to follow a pick-up chart for the entire length of
weaving. Other projects, such as the Domino Scarf
(which you’ll find excerpted on page 28), use pick-up
patterning as an accent. Similarly, some projects use
large charts with few (if any) repeats, while others
Mini Market Bag feature smaller charts with repeats.
resource review
In her writings on what she’s dubbed

crazyshot, Myra Wood explores the
ways in which rigid-heddle weavers
can weave exceedingly complex patterns
with the two sheds offered by the loom
and a pick-up stick.
While this book showcases an advanced weaving tech-

nique, the sewing required for projects is typically simple.
The scarves, of course, require no sewing, while the bags
and tops use minimal cuts to cloth and are typically made
from combinations of rectangles. For weavers who want
to dip their toes into sewing, this book is a great entry, and
for weavers not interested in sewing, the scarf projects
alone are worth checking out this book.
Overall, I found Crazyshot! Wearables to be an excellent

addition to Wood’s other crazyshot books. The projects
are beautiful and provide great examples for using this
ancient technique for modern wearables.
—Christina Garton
WHO THIS BOOK IS FOR: Rigid-heddle weavers who have

experience following pick-up charts, whether through
Wood’s other writings or other pick-up resources.
WHAT YOU CAN EXPECT TO LEARN: How to apply the

crazyshot pick-up technique to wearable items as well as
information on sewing handwoven cloth.
PROJECT COUNT: 14.
THE FINAL WORD: If you enjoy following charted pick-up

patterns on the rigid-heddle loom to create complex cloth
with minimal tools, this book is perfect for you. The
projects are beautiful and approachable, even for those
new to the technique. While this book is not suitable for
beginning weavers, it’s a great resource for those new to
following pick-up charts.
CHRISTINA GARTON is the editor of Easy Weaving with Little Looms.

When she’s not weaving or writing about weaving, you can find her chasing
her two young sons or hiding away with a good book.
Top: Diamond Flower Bag; middle: Tweedy Bird Wrap;

bottom: Rockin Ruana

Book Excerpt
The following project YARN Warp: Worsted Weight wool

is excerpted from
or acrylic yarn, 225 yds (Lion Brand
Myra Wood’s book
Crazyshot! Wearables. Mandala Ombre, Cool) Weft (tabby):
Worsted Weight wool or acrylic
yarn, 250 yds (Lion Brand Mandala
Ombre, Cool) Weft (pattern yarn A):
Heavy Worsted or Aran wool or
acrylic yarn, 25 yds (Yarnspirations
Patons, Canadiana, Black) Weft
(pattern yarn B): Heavy Worsted or
Aran wool or acrylic yarn, 25 yds
(Yarnspirations Patons, Canadiana,
Oatmeal)
SETT Warp: 7.5 epi × 16 ppi = 1"
tabby woven on loom Total warp ends:
82 (80 + 2 for selvedges)
DIMENSIONS: Width on the loom: 9"
Warp length: 88" (58" + 10" for fringe,
and 20" for loom waste) Finished size:
8.5" × 53", without fringe
WEAVING INSTRUCTIONS
Warp 82 ends. With tabby
yarn, weave 6 rows. Hemstitch
bottom edge.
1 Join pattern yarn A and,
working each chart row 4 times
across the warp, work chart from
bottom to top once.
2 With tabby yarn, weave
2 more rows.
3 Begin supplementary weft
float pattern:
4 Set-up row: 3 up, *1 up, 2 down;
Photos by Myra Wood
repeat from * to last 4 warp threads,
4 up.
R IGID HE DDL E
ÎÖÒçÖėàÒåáÒęÖãßÒä×àÝÝàèä
Domino Scarf Keep the pick-up stick flat and
The Domino Scarf combines sections positioned at the back bar, behind the Heddle
of supplementary weft floats with heddle, while weaving the sequence Row Position Yarn
Crazyshot patterns. in the up and down positions. 1 Up Tabby
PU stick,
For this design, the pattern yarn is also Crazyshot is a technique using 1 2 neutral
ÇÒęÖãß
used for the pick-up rows. heddle and 1 pick-up stick to create
supplementary weft floats in a specific
3 Up Tabby
When weaving supplementary weft pattern. For more info on Crazyshot,
floats for this pattern the pick-up stick check out Crazyshot: Creative Overshot
4 Down Tabby
(PU stick) can be in one of 3 positions: Weaving on the Rigid Heddle Loom by
Myra Wood.
1 Up.
2 With the heddle in neutral position, EQUIPMENT 5 Repeat Rows 1–4 fifteen more
bring the pick-up stick forward and 10" rigid heddle loom or larger with a times. Remove pick-up stick.
place it upright on its side to create the $"àã%ÕÖßåÙÖÕÕÝÖ äÙæęÝÖä
shed for the floats. pick-up stick, tapestry needle,
3 Down. measuring tape
Book Excerpt
6 Cut and weave in the pattern

yarn A tail by splitting the plies.
7 Pin measuring tape starting at
last row of supplementary weft
float pattern.
8 With tabby yarn, plain weave
for 40" from last row of supplementary
weft float pattern. Remove measur-
ing tape.
9 Replace pick-up stick behind
heddle, join pattern yarn B and repeat
supplementary weft float pattern
section, working Rows 1–4 sixteen
times. Remove pick-up stick.
10 With pattern yarn B, and working
each chart row 4 times across the
warp, work chart from bottom to top
once. Cut and weave in the pattern
yarn B tail by splitting the plies.
11 With tabby yarn, weave 6 rows.
12 Hemstitch top edge.
FINISHING
Remove piece from loom. Twist fringe
in 4-warp bundles, knotting ends evenly
and trimming to 5". Wet finish.

Tapestry Weaving
This floral tapestry

uses irregular
hatching to create
the field of flowers
and sky with clouds.
Photos courtesy of Mirrix

TA P E STRY W EAV I N G :
IRREGULAR HATCHING
By Elena Kawachi and Claudia Chase
Tapestry weaving, although often pictorial (either abstract or realistic),

is quite different from painting. And yet, a tapestry can look very much like a
painting if one so desires. In medieval times, painting was considered the
poor man’s art, while tapestry was considered an exalted art form because it
took so much more time to create. Tapestries were status symbols in the
circles of aristocracy, and over time, a variety of techniques evolved to create
painterly effects in tapestry.
Tapestry Weaving
Tapestries were typically used to Hatching, as with many tapestry techniques, requires that
insulate castle walls, to cover
doorways or windows (castles rarely the wefts all travel in opposite directions from one another.
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
cannot create these effects in
tapestry; instead, the weaver must
blend the colors to mimic a painterly
effect—but how? Unlike paint, you
can’t mix two yarns of different
colors together to create a new yarn
(at least not easily), so techniques White lines placed periodically in the blue section create the clouds.
were developed to create the illusion
of colors being mixed. Tapestry
essentially works on a grid, so For hatching, you start with the basic hatching in action. You might notice
techniques were developed with a technique of weaving in opposite that this landscape is woven on its
grid in mind. directions and modify it slightly, side. Why? It’s easier to weave
weaving the wefts so that they travel horizontally rather than vertically, so if
In this article, we will explore into one another’s territory. This you want to build a design around
irregular hatching, a versatile creates what we call irregular vertical lines, it’s easier to weave the
technique that you’ll frequently hatching, where the weft colors tapestry sideways.
notice if you closely examine a make lines into another color area in
particularly painterly tapestry. random spots. We use full passes Think about weaving a stand of birch
Hatching, as with many tapestry (back and forth for two full picks) trees into a tapestry—now imagine
techniques, requires that the wefts versus half-passes (just one pick) to how much easier it would be to weave
all travel in opposite directions from create these hatches. The result can those tall, vertical trees on their sides
one another. Doing so guarantees be bold when using colors on with just a few long picks of weft,
that the wefts stay in the correct opposite sides of the color wheel or versus many short picks carefully
shed. Also, with this technique, more subtle when using similar shades. stacked. The visual effect of weaving
bubbling your weft is imperative. If you use more than one shade of sideways will be radically different
Make sure weft tails do not stick out weft in a single pick at the same than if you wove the same piece
of the selvedges of the weaving, and time (a technique known as weft vertically. It’s fascinating how such a
watch those selvedges to make sure blending), you can create even more change can make such a big differ-
they remain straight (unless crooked subtle shading. ence. This is just one of the many
selvedges are part of your design, lovely little surprises tapestry holds.
such as when using the wedge- To illustrate and help you practice
weave technique). irregular hatching, we designed a very Initially, we will start with two shades
simple landscape scene to show you of colors—one in blues and one in

Tapestry Weaving
Above: Switching shades frequently while

weaving can help create a more painterly
look in your tapestry. Try different colors of
blues and greens to add depth to each side.
Left: Dots of pink add not only flowers, but
also areas of texture.
In our next article, we will explore

both pick-and-pick and wavy lines.
When you combine all the tech-
niques we have shown you thus far,
you will have come a long way to
filling your toolbox for weaving
tapestry. Keep in mind that it takes
a lot of practice to master these
techniques. You will use some
more than others, and some will
seem more difficult than others.
However, once you spend time
using a technique, it often becomes
second nature. That is when you
greens—and then add a third shade loom to weave 4½ inches and will start to feel the amazing flow of
(purples) in the middle after a few weaving from end to end of the loom tapestry weaving.
passes. The three colors now fill the to create four finished selvedges. If
space equally. We will keep these you’re using a loom that doesn’t allow MATERIALS
three colors until near the end, when, for four finished selvedges or if your EQUIPMENT Frame or tapestry loom
once again, we will revert to two loom is much larger, you’ll need to that can make a piece 5½" wide and
colors. Along the way, we will be account for fringe. 4" long at 12 epi (Elena and Claudia
inserting random little dots or blobs to used a Mirrix Chloe loom); scissors;
represent the flowers. These little This tapestry uses fine-gauge measuring tape; shed stick (Elena
bits will be two or four passes, which weaving, so you must be careful to and Claudia used a chopstick);
you will then weave over to create make sure your wefts are thin enough 4 long tapestry needles for weaving
lovely little pops of color. We will also that the warp does not peek through, (optional); beating device such as a
be weaving some full passes of white creating what is known as lice. We tapestry fork.
yarn in the blue “sky” area. are using one strand of Gist Array YARNS Warp: 12/9 seine twine
yarn combined with one strand of ZÔàęàß %êÕåæÓÖ
For our original tapestry, we used a Mirrix handpainted silk yarn, both of ¹àÔÜÖßäêÕNote: Bockens 12/9
5-inch Mirrix Chloe loom with 12-dent which are quite thin. seine twine is also available in
sett combs. We will be setting the 100 yd increments from Mirrix.
Tapestry Weaving
WEAVING TIPS
• You want all your wefts to start at the
back of the weaving. When starting
your weft at the selvedge, if you are
weaving under the first warp it will
automatically be in the back of the
weaving. But if you are starting at
the selvedge by weaving over the
first warp, you need to make what is
called a pigtail. To do this, start the
weft under the first two selvedge
ends, then wrap the weft tail over the
1 selvedge weft and stick it between
the selvedge end and the one next to
it. Your tail will now be on the back of
the piece where it belongs.
• Pay close attention to your selvedg-
es, and remember to bubble your
yarn by making an arc with your weft
and pressing it down in the middle.
2 Bubbling helps prevent draw-in.
• A full pass requires you to weave
the weft back and forth once for
two picks of weft. One pass will
cover every other warp, and the
second pass will cover the other set
of warps, making a solid line. A full
pass can be for any width and does
not need to be selvedge to selvedge.
For example, a full pass for a pink
dot might go over only 3 warp ends.
• When weaving around the warp
threads to head in the opposite
direction, do not pull in so that
the warp is distorted, and don’t
leave too much weft so there is a
3 loop. You want the weft to be snug

against the warp.
• If you have warp ends to tie off with
overhand knots, make the knot and
then stick a needle inside the circle
of the knot and push it toward the
Weft: Array (100% wool; 840 yd/1 oz you choose to use. The warp amount selvedge. This allows the knot to
tube; Gist Yarn), Meadow 1 and 2; given is for a 5½" × 4" four-selvedge land exactly where it should.
Lime 1; Forest 2; Sapphire 1 and 3; ÝààÞ½àãåÙÖèààÝèÖĘÒÓàæåêÕ
Violet 1 and 2; Eggplant 1; Lotus 3 à×ÖÒÔÙ¸ããÒêèÖĘäÙÒÕÖäÙàæÝÕ
(for dots); White (for clouds). Hand- be plenty.
painted silk (100% silk yarn; 12 yd/ STRUCTUREÎÖĘ×ÒÔÖÕèÖÒçÖ
ÓàÓÓÚßÄÚããÚéËÙãÖÖ½ÚĘÖÖß WARP SETT 12 epi.
Twenty-One, Thirty-Three, and DIMENSIONS 4" wide and 5½" long
White, 1 bobbin each. Note:ÊáÖÔÚĔÔ (this piece is woven on its side, so
yardage depends on the size of your on the loom it will be 5½" wide and
loom and how much of each shade 4" long).

Tapestry Weaving
4 Adding dots of color: Weave a

ÔàßåãÒäåÚßØèÖĘäæÔÙÒäáÚßÜÒ
short distance (3 warp ends), then
èÖÒçÖÓÒÔÜ èÒãáÖßÕäÊáÝÒęÖã
these dots randomly in the green
section. You can weave a second full
pass over the 3 warp ends or stop at 1.
Weave over the dot with the green
èÖĘÇÙàåà
4 5 ºãÖÒåÖÒåÙÚãÕèÖĘÓæßÕÝÖÓê
blending one strand of purple Array
and one strand of silk.
6 Inserting the center color: With
åÙÖèàãÜÚßØÖßÕäà×ÖÒÔÙèÖĘÒååÙÖ
äÖÝçÖÕØÖäÚßäÖãåêàæãáæãáÝÖèÖĘàß
each side, leaving an equal amount
of yarn coming out of each end,
toward the front of the tapestry.
Instead of having a working end and
a tail, you now have two working ends
that can be threaded on weaving
ßÖÖÕÝÖäÚ×ÕÖäÚãÖÕÇÝÒÔÚßØåÙÖèÖĘ
in the center and pulling both ends of
åÙÖèÖĘåàåÙÖ×ãàßåà×åÙÖáÚÖÔÖ
allows you to insert a single color for
åèàèÖĘäèÙÚÝÖÜÖÖáÚßØÖÒÔÙèÖĘ
moving in opposite directions. You
ßàèÙÒçÖ×àæãÒÔåÚçÖèÖĘäåÙÒåÔÒß
be replaced as they run out or when a
shade change is desired.
7 In the sky (blue) section, instead
5 of adding dots, add some short lines
to represent the white of the clouds.
Because these lines require full
passes, they negate themselves in
PROJECT STEPS ÝÖĘèÙÚÔÙäÙÒÕÖêàææäÖÚäêàæã terms of their relationship to the
Note: Unlike other projects that choice. Thread each bundle on a àåÙÖãèÖĘäÀßäÖãåÒäÚßØÝÖèÙÚåÖèÖĘ
ãÖâæÚãÖêàæåàèÖÒçÖäáÖÔÚĔÔèÖĘ weaving needle, if desired. Insert the in the blue section and weave it a
yarns at certain points, this project åÒÚÝäà×åÙÖåèàèÖĘäãÚØÙåà×åÙÖÔÖßåÖã couple of inches back and forth.
requires a more free-form approach. of the piece. Weave seven or eight of these white
As such, the steps do not necessarily 3 ÎÖÒçÖÓàåÙèÖĘäåàåÙÖÚã lines throughout the piece.
ãÖėÖÔååÙÖÖéÒÔåàãÕÖãÚßèÙÚÔÙêàæ respective selvedges and then 8 Replacing wefts: Stick the tail of
should weave. Instead, read them in weave them both back to the middle. the current weft behind the piece.
their entirety before weaving and ¸ååÙÚäáàÚßååÙÖãÚØÙåèÖĘèÚÝÝ ÎÖÒçÖèÚåÙåÙÖßÖèèÖ×åÒäÚ×êàæ
employ the techniques described åãÒçÖÝÒ×ÖèèÒãáäàçÖãÚßåàåÙÖÝÖĘ were continuing with the original.
as desired. èÖĘĀäåÖããÚåàãêåàÔãÖÒåÖÙÒåÔÙÚßØ 9 ÎÖÒçÖåÙÖ×àæãÒÔåÚçÖèÖĘä
1 Warp your loom according to the ÎÖÒçÖÓàåÙèÖĘäÓÒÔÜåàåÙÖ (green, blue, and two purple) so that
manufacturer’s instructions for 40 selvedges. From now on, weave each color takes up about a third of
warp ends at 12 epi. åÙÖäÖèÖĘäÚßåàåÙÖßÖÚØÙÓàãÚßØ the width of the tapestry, with the
2 To begin this piece, create two åÖããÚåàãêÝÒßÕÚßØÚßÕÚĒÖãÖßåáÝÒÔÖä hatching working its way into each
èÖĘÓæßÕÝÖäÓêÓÝÖßÕÚßØàßÖäåãÒßÕ each time to create irregular row. Notice how the three colorways
à×¸ããÒêêÒãßÒßÕàßÖäåãÒßÕà×äÚÝÜ hatching. Weave ½" of these two blend. As you travel into neighboring
One bundle will be greens (on the èÖĘäÒßÕåÙÖßèÖÒçÖÓàåÙèÖĘäåà color areas, make sure not to cover
right), and one will be blues (on the the selvedges. åÙÖèàãÜÚßØÖßÕà×Òßêà×åÙÖèÖĘä
Tapestry Weaving
N E V E R A D U L L ......
...
NOTES ON WEAVING
...
TECHNIQUES
...
MOMENT!
Weaving in opposite directions
allows you to enter a neighboring .
color’s area. To do so, as the name
V
implies, you insert each weft in the
opposite direction as its neighbor.
This technique is necessary to
achieve the technique of irregular
hatching. With irregular hatching,
two threads will meet and separate at
one spot and then meet and separate
at a different spot. This is done in an
irregular fashion. In other words, the
place where the wefts meet is differ-
ent in each case.
10 Continue weaving these four

èÖĘäãÖáÝÒÔÚßØåÙÖÞÒäåÙÖêãæßàæå
àãÒäÕÖäÚãÖÕ×àãÒãåÚäåÚÔÖĒÖÔåÒßÕ
áæęÚßØÚßáÚßÜÕàåäÒßÕèÙÚåÖÝÚßÖä
ÒÝàßØåÙÖèÒêÎÖÒçÖ×àã \
ÒßÕåÙÖßÖßÕåÙÖÞÚÕÕÝÖèÖĘäÓê
èÖÒçÚßØåÙÖÞåàèÒãÕÖÒÔÙàåÙÖãÒßÕ
äåÚÔÜÚßØåÙÖåÒÚÝäÓÖÙÚßÕåÙÖáÚÖÔÖËÙÖ
àåÙÖãåèàèÖĘäèÚÝÝÓÖÚßåÙÖÔàããÖÔå
ãÖÝÒåÚàßäÙÚáåààßÖÒßàåÙÖãÎÖÒçÖ
\ à×åÙÖåèàãÖÞÒÚßÚßØÔàÝàãä
11 À×æäÚßØÒ×àæãäÖÝçÖÕØÖÝààÞ
ãÖÞàçÖåÙÖáÚÖÔÖ×ãàÞåÙÖÝààÞÀ× V
V
æäÚßØÒÝààÞåÙÒåãÖâæÚãÖä×ãÚßØÖ
ãÖÞàçÖåÙÖåÒáÖäåãê×ãàÞåÙÖÝààÞ
ÒßÕÜßàååÙÖ×ãÚßØÖ
ELENA KAWACHI & CLAUDIA CHASE

V
co-run Mirrix Tapestry and Bead Looms, V

a loom company that has been manufacturing
V
high-quality looms in Sturgeon Bay,

Wisconsin, for the past 27 years. Claudia
designed the first Mirrix Loom because she
needed a quality loom that she could take
places as a busy stay-at-home mom and
WELCOME
ORIGINAL
professional tapestry weaver. Soon she
THE
realized other artists were looking for the

same thing, and Mirrix was born. Elena,
EQUITRI R F
Claudia’s daughter, joined the company years
AND
later, taking over the marketing side of the

business. Under her guidance, Mirrix
cultivated a community of weavers with
projects, tutorials, and instruction available
for all.
News & Projects: www.turtleloom.com
Shop: www.bluebonnetcrafters.com

Cotton, Hanbok , and the Inspiration for a Scarf
Painting by Kim Hong-do and courtesy of the Korean Copyright Commission
This painting from the late eighteenth century, titled Weaving a Mat, depicts traditional Korean
fiber tools of the time, including a spinning wheel and a small warp-weighted loom.
COTTO N, HANBOK ,
AND THE I N S P I R AT I ON
FO R A SCA R F By Sun Kim
In the fourteenth century, cotton was introduced to Korea, which was late in
comparison with other parts of the world. Moon Ik-jeom (sometimes spelled
Mun), a scholar and a diplomat in the fourteenth century, is credited with bring-
ing cotton seeds to Korea from the Yuan dynasty in China. According to a well-
known folktale, Moon Ik-jeom (1329–1398) smuggled the cotton seeds in a brush
lid, an act that defied the Yuan government’s prohibition of exporting cotton
seeds. Because of his contribution to generations of Korean spinners, it is no
wonder that Mr. Moon is featured prominently in the “Song of Spinning Wheel.”
While the story of Moon Ik-jeom is

almost certainly apocryphal, as was Song of Spinning Wheel
the supposed ban on exporting Korean folk song
cotton seeds, what remains true is
how revolutionary cotton was to Spinning wheel, spinning wheel
Korean society. Since its introduction, whizzing round and round
cotton has substantially improved whirling, whirling, keep turning.
the quality of life of Koreans from
commoners to kings. For example, Spinning of hemp, kudzu is a legacy of the Three Hans.
nubi, a quilted cloth with a cotton Weaving with cotton is the merit of Moon Ik-jeom.
interior, is a popular winter clothing
material. As with a bed quilt, the Under a lamp, we turn the wheel all night long to produce hemp.
cotton layer of the nubi works as Shall we weave the gridiron by pulling three-ply yarns?
insulation, keeping the wearer warm Shall we weave fine clothes by plucking out the five strands?
during cold winters. Instead of
jackets, which can ruin the beautiful In the midst of the spinning wheel buzzing, the morning star has risen.
lines of traditional hanbok clothing, Let’s pluck a beach rose and decorate our lover’s hair.
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 Korean Clothing (in Korean, Geogajap-
of cotton or a blend of silk bokgo). While researching this article,
and cotton. I came across an interesting story of
Bak Kyu-su (1807–1877) and the crew
Before cotton came to the country, of an American schooner.
fabrics in Korea were limited to silk and
bast fibers such as hemp, kudzu, and On June 24, 1866, while sailing off
Photo courtesy of the Metropolitan Museum of Art

ramie. Today, hemp and ramie are the coast of North Korea (present-day
still used, although the art of making Cholsan), the American schooner
kudzu clothing has been lost. Animal Surprise was wrecked and lost,
skins were also used to combat although crew members were found
harsh winters until Koreans by local inhabitants. Before being
encountered Western civilization and released at the border with China, the
learned about wool yarn. Even today, crew was thoroughly interrogated by
raising sheep to produce wool is not Korean government officials. The
a common practice in Korea. skipper of the Surprise, Captain
Clothing made with animal skins and McCaslin, later reported to the
wool was usually imported from North-China Herald that “another
China. This practice was criticized as mandarin came, before whom we While the idea of cotton armor might sound
a waste of the nation’s wealth by were strictly questioned as to our silly, quilted armor, like the tunic and helmet
shown here, was thick and sturdy enough to
scholars such as Bak Ji-won. Bak country, our business there, and our
keep the wearer protected during battle.
Ji-won was considered one of the appearances. Even the buttons on our This tunic was made from thirty layers of
greatest thinkers in the mid-Joseon clothing were examined strictly.” thick cotton and stitched with hemp. The
dynasty and was a fervent advocate set is decorated with Taoist symbols and a
of commerce and industrialization of This “mandarin” was actually Bak Buddhist invocation, both to add a layer
of spiritual protection.
Korea, including textile production. Kyu-su, then the governor of Pyongan
province. As a textile expert, Gover-
KNOTS AND BUTTONS nor Bak’s interest in buttons was
Although his interest was mostly understandable. In hanbok, traditional
economic, Bak Ji-won was not the Korean knots, including the lotus bud
only one in his family with an interest knot, are used instead of buttons.
in textiles. His grandson, Bak Kyu-su The Western-style buttons worn by
(sometimes spelled Gyusu), wrote a Captain McCaslin’s crew would have
book called Study of Traditional been an exciting discovery.

On his way to Beijing (then Peking),

Captain McCaslin ended up temporarily
Photo by Ipplies via Wikimedia Commons, CC BY 3.0 creativecommons.org

stuck in Moukden, China. A year
earlier, there had been an attack on
an American consul, which was
followed by a retaliatory attack by an
American landing party. The Chinese
government intervened before things
could get too violent and enforced a
curfew on all foreigners. Captain
McCaslin and his crew were caught
up in this turmoil, which contrasted
greatly with the warm welcome they
received in Korea. As Captain
McCaslin wrote, “. . . a French
/licences/by-sa/3.0
missionary sent for us, hearing of our
distress. The Mandarins would not
allow us to go. Finally, I took a
German and a Chinaman with me and
proceeded to the missionary’s place, Spinning wheels weren’t used in Korea until the introduction of cotton. In fact, according to
legend, it was Moon Ik-jeom’s grandson, Moon-rae, who invented the tool. Traditional Korean
where we were very kindly received spinning wheels, such as the one shown, operate with a hand crank rather than a peddle.
and treated to a good dinner.”
Who was this German, who could visits, the answer was that they Korean knot tassels using wax cords. I
roam the city when other foreigners wished to see the magnificent white attached the wax cords to the scarf
were on curfew? I believe I found the pine tree that Governor Bak brought ends using oedorae knots (overhand
answer in a story from my grand- from China. They said that he was a knots), the most basic form of
mother, who told me, “My grandfa- prominent clansman who came from Korean knot, which is used to connect
ther was a German from St. Peters- the same town as they did, and they threads and other knots. Then I made
burg who was exiled to Siberia in the thought it would be nice to make their two lotus knots at each end of each
same year when the crown prince of first spring outing a tribute to him. It wax cord. The result is a scarf that
Russia died. He said the winter was was only later, as I was researching tells a story of Korean textile history
harsh and unbearable. When the my book Peanut Revolution, that I and serves as a tribute not just to my
snow melted, he managed to found the testimony of Captain mother but also to the Bak sisters and
escape. But then he took a wrong McCaslin, and I realized that there their annual spring outing.
turn and ended up in Korea. He was was a lot more depth to the story of
given a Korean surname, Bak, which the spring outing of the Bak sisters. RESOURCES
was the surname of the official who
conducted the interview and gave A SCARF STEEPED IN HISTORY Bak Jiwon. The Jehol Diary (Yeolha
him an asylum.” For this issue, I decided to create a Ilgi) Circa 1790. (Partially
design that paid homage not only to translated into English in 2010.)
Growing up in Korea, I yearned all the medieval introduction of cotton to The North-China Herald; Oct. 13, 1866.
winter long for the day when I could Korea but also to the history of my “Song of Spinning Wheel,” Korean
shed heavy winter clothes and go out own family, beginning with my Folk Song. National Gugak Center,
into warm sunlight. For my grandmother’s favorite scarf. (See page 77.) Seoul, South Korea.
mother and her four sisters, this first In keeping with traditional Korean
spring outing meant visiting the style in color and weaving textures, I SUN KIM is a weaver residing Long Beach,
former residence of the late governor chose Sero silk noil and Mallo cotton California. Based on her family history, she wrote a
historical novel, Peanut Revolution, which deals
Bak Kyu-su. I used to call their outing slub, both from Gist Yarn. Not only is with the introduction of peanuts to Korea in the
the “Bak sisters’ annual ritual,” and I this combination of yarns a traditional mid-nineteenth century. In this story, the
can still picture my grandma and her pairing of fibers, but it also creates an protagonist and his friends follow the clues left by
sisters dressed in hanbok and going interesting texture while giving the Governor Bak Kyu-su, in the end reaching the
out for that special occasion. When I illusion of a solid color. I embellished Temple of White Pagoda and paying tribute to
the white pine tree.
asked them the meaning of these the otherwise simple scarf with
Weaving, Spinning, Dyeing, & Felting
e e S h ipping
EUGENE Fr r
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CENTER Loom
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Ѵ0v 2750 Roosevelt Blvd, Eugene Oregon • 541-688-1565
ĸ;ulom|;-bm]vrrѲb;vĸ1ol +-um EugeneTextileCenter.com
pin loom, inkle,

rigid heddle, finishing,
and tablet weaving
Weave Turned Krokbragd
on an Inkle Loom
Allegan County Fairgrounds
Color-and-Weave on the
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Huck Lace on the August 14 – 18, 2024
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Designing with Hemstitching www.michiganfiberfestival.info
No matter your skill level, there’s something for you!

Start learning at learn.longthreadmedia.com

Beauty
and
Beasts
Try these projects inspired by tales
of dragons from around the world,
illuminated manuscripts from Ireland,
an Incan tunic, and more.
ESTONIAN FOLK BANDS

Laia Robichaux
Celebrate the beauty of Estonian
folkwear with this keychain done in a
traditional motif. Along with two types
of pick-up weaving, Laia chose to use a
weft that contrasted with her border,
common features for bands from
this region. Pattern page 45.
Beauty and Beasts
PERUVIAN PILLOW
Anthony Thompson
Inspired by the design of an Incan
tunic, this pillow is perfect for sitting
upon to play a board game or for
lounging on the floor to enjoy a
movie with family and friends. Its
form is simplistic, but see if you can
find the chicken hidden in the design.
Pattern page 46.

Beauty and Beasts
BOOKMARKS OF KELLS
Susan J. Foulkes
The Book of Kells is an illuminated
manuscript of the gospels produced in the
ninth century. The amazing range of colors
in the illustrations was produced from just
10 pigments, which were mixed or painted
on top of each other. Susan taps into this
idea using two colored threads together to
add depth to the design of the bookmarks.
Pattern page 48.
Beauty and Beasts
DRAGON FLIGHT
»ÖÓàãÒÙ¹ÒØÝÖê
Dragons in Western cultures are
often depicted with wings and
horns, while dragons in Eastern
cultures are serpentine creatures
with four legs and, typically, without
wings. Pin-loom–woven shapes are
the perfect size for making the
angles needed to create this small
plush dragon, which incorporates
elements of each kind of
dragon. Pattern page 51.

Beauty and Beasts
HERE BE DRAGONS!
ÁæÝÚÖ¹ÖÖãä
Add a touch of drama to your
boots with these dragon-adorned
boot bracelets. The design was
inspired by a fragment of a belt
that was found in Dublin, Ireland,
and dates to the tenth century.
This tablet weaving project is also
an opportunity to try the dropped-
hole technique. Pattern page 53.
Beauty and Beasts
DIMENSIONS Width:` Woven length: 5 ºàßåÚßæÖèÖÒçÚßØáÚÔÜæá×àãåÙÖ
ÞÖÒäæãÖÕæßÕÖãåÖßäÚàßàßåÙÖ ×æÝÝÝÖßØåÙà×åÙÖèÒãáÒÓàæå"
ÝààÞ" Finished size:ËÙãÖÖÜÖê ÎÖÒçÖáÝÒÚßèÖÒçÖ×àãåÙÖĔßÒÝ à×
ÔÙÒÚßä` $\ ÖÒÔÙáÝæäÔÝÚá åÙÖÓÒßÕ
ÄæÝåÚáÝÖÜÖêÔÙÒÚßäÔÒßÓÖÞÒÕÖ 6 ÊÖÔæãÖåÙÖèÖĘåÒÚÝäÚßåÙÖ
×ãàÞàßÖÓÒßÕèÚåÙÒäÞÒÝÝÒÞàæßå èÖÒçÚßØºæååÙÖäåãÒá×ãàÞåÙÖÝààÞ
ÝÖĘàçÖãËÙÖĔßÚäÙÖÕÝÖßØåÙà×åÙÖ 7 ÎÖå×ÚßÚäÙÓêäàÒÜÚßØåÙÖÓÒßÕ
ÜÖêÔÙÒÚßäÔÒßÓÖÞàÕÚĔÖÕÓÒäÖÕàß ÚßèÒãÞèÒåÖã×àãÒåÝÖÒäå"
áÖãäàßÒÝáãÖ×ÖãÖßÔÖ minutes. Press water out with a
åàèÖÝÕàßàåèãÚßØ¸ÝÝàèåÙÖ
PROJECT STEPS ÓÒßÕåàÕãêÓÖ×àãÖÔàßåÚßæÚßØ
1 ÎÚßÕÒèÒãáà× "ÖßÕä$ ÝàßØàß Key Chain Assembly
êàæãÝààÞ×àÝÝàèÚßØåÙÖÕãÒĘÚß½ÚØæãÖ 8 ËãÚÞàĒåÙÖáÝÒÚßèÖÒçÖäÖÔåÚàßä
×àãåÙÖåêáÖà×ÝààÞêàæÒãÖæäÚßØ à×åÙÖÓÒßÕºæååÙÖÓÒßÕÚßåàåÙãÖÖ
2 ÎÚßÕÒÓÖÝåäÙæęÝÖèÚåÙºæãÚà # ÝÖßØåÙäàãÒäÕÖäÚãÖÕ¸ááÝê½ãÒê
ÎÙÚåÖ ºÙÖÔÜåàÖßÕäÞÒÜÚßØäæãÖåà
INK L E / B A ND L OOM
3 ÎÖÒçÖ ÚßáÝÒÚßèÖÒçÖÓÖÒåÚßØ ÔÒáåæãÖåÙÖÔæåèÒãáėàÒåäÒååÙÖ
Estonian Folk Bands ÖÒÔÙãàèĔãÞÝêèÚåÙåÙÖÓÖÝåäÙæęÝÖ ÓÒÔÜà×åÙÖÓÒßÕ
Laia Robichaux ÒßÕáæÝÝÚßØåÙÖèÒãáÖßÕäåàØÖåÙÖã 9 ½àÝÕàßÖÖßÕà×åÙÖÓÒßÕàçÖã
åàäÖååÙÖÓÒßÕĀäèÚÕåÙ \ åàåÙÖèãàßØäÚÕÖÇÝÒÔÖåÙÚäÖßÕ
RESOURCES 4 ¹ÖØÚßåÙÖáÚÔÜæááÒęÖãßäåÒãåÚßØ åÙãàæØÙåÙÖÝàÓäåÖãÔÝÚáãÚßØÒßÕ×àÝÕÚå
Foulkes, Susan J. ÎÖÒçÚßØÇÒęÖãßÖÕ èÚåÙÒßæáäÙÖÕáÒęÖãßåÙãÖÒÕä àçÖãÒØÒÚßåàåÙÖèãàßØäÚÕÖ
¹ÒßÕä¸åØÝÖßÇ¸ÊÔÙÚĒÖã% ÒßÕ"à×åÙÖÔÖßåÖãÞàåÚ×èÚÝÝÓÖ
"%áÒęÖãßÔÙÒãåä"#ÒßÕ"$ äÙàèÚßØÚ×êàæÒãÖæäÚßØÒßÚßÜÝÖ
ÉÒßÕÇÚÚÒ¼äåàßÚÒßÇÚÔÜæáÎàçÖß ÝààÞÎÖÒçÖåÙÖÓÒßÕ×àÝÝàèÚßØåÙÖ
¹ÖÝåä. Estonia: Saara Kirjastu, áÒęÖãßÕãÒĘÚß½ÚØæãÖÅàåÖåÙÒååÙÖ NOTE ON BORDERS
&! äÚÕÖÞàåÚ×ÒßÕÔÖßåÖãÞàåÚ×èàãÜæáÒå For her key chains, Laia chose to mix
ÕÚĒÖãÖßåãÒåÖääàåÙÖäÚÕÖÞàåÚ×èÚÝÝ and match her border motifs. You can
MATERIALS ßàåãÖäåÒãåÒååÙÖäÒÞÖáàÚßåÒäåÙÖ weave the projects as written for a
STRUCTUREÎÒãá×ÒÔÖÕ¼äåàßÚÒß ÔÖßåÖãÞàåÚ×ºàßåÚßæÖåÙÖäÚÕÖÞàåÚ× consistent border, or play with the
áÚÔÜæá ÚßÚåäÖäåÒÓÝÚäÙÖÕáÒęÖãßÒäÖÒÔÙ pick-up like Laia.
EQUIPMENTÀßÜÝÖÝààÞèÚåÙ%äåãÚßØ ÔÖßåÖãÞàåÚ×ãÖäåÒãåä
ÙÖÕÕÝÖäàãÓÒßÕÝààÞèÚåÙėàÒåÚßØ
ÕàæÓÝÖÙàÝÖÕãÚØÚÕÙÖÕÕÝÖèÚåÙÒå
ÝÖÒäå#äÝàåäÒßÕ"ÙàÝÖäÃÒÚÒæäÖÕ
Ò¿ÒßÕêèàÞÒßÕàæÓÝÖÙàÝÖÓÒÔÜ
äåãÒáÙÖÕÕÝÖÓÖÝåäÙæęÝÖáÚÔÜæá
äèàãÕàãäÚÞÚÝÒãåààÝàáåÚàßÒÝ
YARNS Warp:ºæãÚàZÔàęàß
$êÕØÂßÚåÇÚÔÜäÎÙÚåÖ
!êÕºæãÚà ZÔàęàß
&"êÕØÂßÚåÇÚÔÜäËæãÞÖãÚÔ
êÕÊÖããÒßà%êÕWeft: Curio
ÎÙÚåÖ%êÕNote:ÀßåÙÖèÒãá
ÕàæÓÝÖÕäåãÒßÕäà×ºæãÚàÔÒßÓÖ
äæÓäåÚåæåÖÕ×àãºæãÚà
OTHER SUPPLIES½ãÒêºÙÖÔÜ ÝàÓäåÖã
ÔÝÒèäèÚçÖÝäèÚåÙáæäÙØÒåÖÔÝÚá×àã
äåãÒáäèÚåÙ ÚßäÚÕÖàçÒÝãÚßØäÙàèß
ÚßÒßåÚâæÖÓãÒäääÖèÚßØåÙãÖÒÕåà
ÞÒåÔÙåÙÖÓÒßÕÓÒÔÜØãàæßÕèÒãá
èÙÚåÖÚßÖéÒÞáÝÖäÖèÚßØßÖÖÕÝÖ
åÙÚÞÓÝÖàáåÚàßÒÝ
WARP LENGTH "ÖßÕä$ ÝàßØÒÝÝàèä
×àãåÒÜÖæá ×àãÝààÞèÒäåÖ
SETTS Warp:!$ÖáÚWeft:#ááÚ

Beauty and Beasts
10 ÊÖÔæãÖ åÙÖ àááàäÚåÖ ÖßÕ à× åÙÖ ×àÝÕÖÕ ÖÕØÖ à× åÙÖ ÓÒßÕ ÜÖÖá åÙÖ
ÓÒßÕ æßÕÖãßÖÒåÙ åÙÖ ×àÝÕÖÕ ÖßÕ à× äÖèÚßØ åÙãÖÒÕ ÒØÒÚßäå åÙÖ ÞÒåÔÙÚßØ
åÙÖ ÓÒßÕ ÓÒÔÜØãàæßÕ èÒãá åÙãÖÒÕä ×àã Ò ÞàãÖ
11 ¿ÒßÕäÖè åÙÖ äÚÕÖä à× åÙÖ ÓÒßÕ áàÝÚäÙÖÕ ĔßÚäÙ
åàØÖåÙÖã ÓÖßÖÒåÙ åÙÖ ÝàÓäåÖã ÔÝÚá 12 ËÚÖ àĒ åÙÖ äÖèÚßØ åÙãÖÒÕ ÒßÕ
ÞÒÜÚßØ äæãÖ åà ÔÒáåæãÖ ÒÝÝ ×àæã ÝÒêÖãä Óæãê åÙÖ ÖßÕä èÚåÙÚß åÙÖ ×àÝÕÖÕ
èÚåÙ ÖÒÔÙ äåÚåÔÙ ÃÒÚÒ ãÖÔàÞÞÖßÕä áàãåÚàß à× åÙÖ ÓÒßÕ À× ÕÖäÚãÖÕ æäÖ Ò
Ò åÙÚÞÓÝÖ åà ÙÖÝá ØÖå åÙÖ ßÖÖÕÝÖ Õãàá à× ½ãÒê ºÙÖÔÜ åà äÖÔæãÖ åÙÖ
åÙãàæØÙ åÙÖ ×æÝÝ åÙÚÔÜßÖää ÎÙÖß äÖèÚßØåÙãÖÒÕ Üßàå ÉÖáÖÒå äåÖáä
äÖèÚßØ ÒÔãàää åÙÖ ÓàęàÞ à× åÙÖ & ×àã åÙÖ ãÖÞÒÚßÚßØ ÜÖê ÔÙÒÚßä
Figure 1. Drafts
a. Draft for inkle loom
center P IN L OOM
3x 3x
Peruvian Pillow
Heddled
Unheddled
Anthony Thompson
Read inkle drafts from left to right, as they are threaded.
RESOURCES
Crochet Guru. “Single Crochet
b. Draft for double-holed rigid heddle Curio #3, Serrano
Curio #10, White Stitch—Beginner Course: Lesson
3x 5x 3x Curio #3, Turmeric # 6.” YouTube video. June 13, 2012.
* êàæåæÓÖèØÍÆÜ·Ô×"âèäÚx¾À!Â
*Thread pattern ends in holes directly above background ends. "ÒêäâÆ éËË»à.
¿ÖÒãå ¿ààÜ ¿àÞÖ ĂÇÚÔàå ºãàÔÙÖå
ÊåÚåÔÙ ËæåàãÚÒÝă ÐàæËæÓÖ çÚÕÖà
ÄÒê & êàæåæÓÖéëÂå$Ñ
Î%##%äÚx¼!ÉÅ·çÍÔ¸ &é&&ëÊ.
Figure 2. Pick-up chart ÊåæÞá ÄÒãØÒãÖå Ă¸ß ÌáÕÒåÖ àß
ÁàÚßÚßØ ÊâæÒãÖäă ÇÚß ÃààÞ
ÎÖÒçÚßØ ÓÝàØ ÁæÝê $
áÚßÝààÞèÖÒçÚßØÔàÞ$
22
21 Weave-It Book, ÅæÞÓÖã ÊÚé
20 ÄÖÕ×àãÕ Ä¸ »àßÒã ÇãàÕæÔåä
19
18 ºàãá & % ÖÝààÞÒßÒåÚàßÔàÞ
17
16
center motif repeat
15 MATERIALS
14
13 STRUCTURE ËÖéåæãÖÕ èÖÒçÖ ÒßÕ
alternate side motif repeat
12 áÝÒÚß èÖÒçÖ
11
10 EQUIPMENT äâæÒãÖ áÚß ÝààÞ
9 # èÖÒçÚßØ ßÖÖÕÝÖ áÒÔÜÚßØ ×àãÜ
8
7 ÔàÞÓ åÒáÖäåãê ßÖÖÕÝÖ äÒ×Öåê áÚßä
6
5 ¿%" ÞÞ ÔãàÔÙÖå ÙààÜ äâæÒãÖ
4 pillow insert.
3
2 YARNS ¿ÖÒãåÝÒßÕ Z ÒÔãêÝÚÔ " êÕ
side motif
1
" àë ÃÚàß ¹ãÒßÕ !Í ¾ÒåÖèÒê
repeat
D
C ¸ãÔÙ & êÕ É ÉÖÕèààÕ
B
A
Pattern end up
Pattern end down TIP
Dot indicates pattern ends
normally up in the shed.
Safety pins can help hold things in
place when sewing rows together.
Note: Charts show pattern ends only.
Beauty and Beasts
430 yd; #126U Sequoia, 180 yd
(yardage includes amount needed
for crochet).
DIMENSIONS 22" × 22" plus crocheted
edging.
For crochet abbreviations, visit the

ØÝàääÒãêÒåÝÚęÝÖÝààÞäÔàÞÔãàÔÙÖå
ÒßÕÜßÚęÚßØÒÓÓãÖçÚÒåÚàßä
PROJECT STEPS
1 Following the loom manufacturer’s
directions, weave 338 squares as
listed in Figure 1. Before weaving the
fourth layer of each square, wrap the
yarn tail around the pin loom 4¼ times
to ensure enough yarn to weave the
äâæÒãÖèÚåÙÖßàæØÙÝÖĘàçÖã×àã
sewing. Weave the beginning ends
back into the squares while leaving
the ending yarn tails to sew the
squares together.
2 Arrange two sets of squares as
shown in Figure 2. Use the yarn tails
ÒßÕÞàÕÚĔÖÕÕàæÓÝÖàçÖãÔÒäåäåÚåÔÙ
to join the squares together (see
ÉÖäàæãÔÖä½àãåÙÖĔãäåáÒßÖÝÛàÚß
the squares with right sides together.
Assemble each row of squares and
then sew consecutive rows to each
other. For the second panel, join the
squares with the back sides together.
Figure 1. Pin-loom pieces
The back sides of the squares
become the front of the second panel.
qu are
Weave in all ends. Note: The woven

u
are
ure ve sq
ends are on the inside of the pillow Textured Weave

ds
a
and will not be seen when the panels

2" T in-we
Rows 1 and 8: Plain weave.

are crocheted together, so the ends
ext
Even rows: [U3, O1] 3 times, U3.

la
2" P
ÕàßàåßÖÖÕåàÓÖåãÚÞÞÖÕėæäÙèÚåÙ Odd rows: W2, [U3, O1] 2 times, U3, W2.

the squares.
126 #134V Gateway Arch
3 Bring the two panels together with 28 #126U Sequoia
the wrong sides facing each other. The 184 #113R Redwood
designs on the front sides of the two 338 pieces total
panels are mirror images. Using
Sequoia, single crochet the two panels
together, inserting the pillow form Figure 2. Layout
ÓÖ×àãÖÔÝàäÚßØåÙÖĔßÒÝäÚÕÖºãàÔÙÖåÒ
second round using the picot stitch:
*3 sc, ch 6, sl st into back bar of 1st ch,
rep from * (see Resources). Note: Picot Redwood
stitch typically uses three chain stitches Sequoia
Gateway Arch
to complete the loop. Six stitches are
used in this pillow due to the pillow’s
size and to give the proper proportions.
ÎÖÒçÖÚßåÙÖÔãàÔÙÖåÖßÕäÒßÕėæĒ
the pillow.

Beauty and Beasts
MATERIALS ËÖßäÚàßåÙÖèÖĘÓêåæØØÚßØåÙÖĔãäå
Patterned Bookmarks ÝààáäßæØåÙÖßåÙÖäÙæęÝÖåÙãÖÒÕ¸ä
STRUCTURE¹ÒÝåÚÔäåêÝÖáÚÔÜæá this end of the bookmark will be
EQUIPMENT Inkle loom or rigid heddle; ÓàæßÕÚßÒåÒääÖÝåÙÖèÖĘÔÒßÓÖ
ÓÖÝåàãáÚÔÜæáäÙæęÝÖ áæÝÝÖÕåÚØÙåÃÖÒçÖÒß% èÖĘåÒÚÝ
YARNS Warp:#Ôàęàß#!&êÕÝÓ 6 ÃÖÒçÖÒÓàæå \ à×æßèàçÖß
¹àÔÜÖßäêÖÝÝàè$êÕ warp, then start weaving the
#àãÒßØÖ!"êÕ$ãÖÕ second bookmark.
#êÕ#ÕÒãÜÓãàèßÒßÕ 7 ÃÖÒçÚßØ% à×æßèàçÖßèÒãáÒå
"ÓÝÒÔÜ#êÕÖÒÔÙ each end, remove the band from the
Weft:#Ôàęàß#àãÒßØÖÒßÕ ÝààÞ»ÚçÚÕÖåÙÖåèàÓààÜÞÒãÜäÓê
$ãÖÕ$êÕÖÒÔÙ ÔæęÚßØåÙÖØÒáà× ÚßÙÒÝ×
WARP LENGTH 55 working ends 8 ½ÚßÚäÙÓêÞÒÜÚßØÒåÒääÖÝÒåàßÖ
!åÙãÖÒÕäåàåÒÝ! ÝàßØÒÝÝàèä end and braiding the long warp ends
×àãåÒÜÖæá \ ÓÖåèÖÖßÓààÜ- at the other.
ÞÒãÜäÒßÕ\ ×àãÝààÞèÒäåÖ 9 Tassel: Divide the weft end of
IN K L E L OOM
loom waste includes long braid äåãÒßÕäà×#ÔàęàßÚßåèàËÒÜÖÒ
bookmarks of kells and fringe). äÚßØÝÖåÙãÖÒÕà×#ÔàęàßÒÔãàääåÙÖ
Susan J. Foulkes SETTS Warp: 44 epi. Weft: about 15 ppi. band. Tie the 2 strands together, then
DIMENSIONS Width:h Woven length: wrap them around the warp ends to
RESOURCES "\ à×áÒęÖãß×àãÖÒÔÙÓààÜ- form a tassel. See photo.
Dixon, Anne. The Weaver’s Inkle mark). Finished size: two bookmarks, 10 ¹ãÒÚÕ»ÚçÚÕÖåÙÖ% èÒãáÖßÕä
ÇÒęÖãß»ÚãÖÔåàãê. Loveland, CO: ÖÒÔÙh "_ áÝæä" ÓãÒÚÕÒßÕ into 5 groups of 12 doubled warp
Interweave, 2012. \ åÒääÖÝä ÖßÕä¸ÕÕåÙÖèÖĘåÒÚÝåààßÖà×
Foulkes, Susan J. ËÙÖ¸ãåà×ÊÚÞáÝÖ the groups.
¹ÒßÕÎÖÒçÚßØ. Rev. ed. Self- PROJECT STEPS
published, Blurb, 2023. Striped Bookmarks
———. ÎÖÒçÚßØÇÒęÖãßÖÕ¹ÒßÕä. 1 Wind a warp of 60 working ends
¸åØÝÖßÇ¸ÊÔÙÚĒÖã% ÒÝÝÖßÕäÕàæÓÝÖÕ×àãÒåàåÒÝà×
Meehan, Bernard. ËÙÖ¹ààÜà×ÂÖÝÝä. åÙãÖÒÕä! ÝàßØàßêàæãÚßÜÝÖÝààÞ
London: Thames and Hudson, ×àÝÝàèÚßØåÙÖÕãÒĘÚß½ÚØæãÖ
1994. 2 ÎÚßÕÒÓÒßÕäÙæęÝÖèÚåÙåèà
äåãÒßÕäà×êÖÝÝàè#Ôàęàß
MATERIALS 3 ÃÖÒçÖ% à×èÒãáæßèàçÖß×àãåÙÖ
Striped Bookmarks ÖßÕÓãÒÚÕÃÖÒçÚßØÒ& åÒÚÝà×èÖĘ
STRUCTURE Warp-faced plain weave. start weaving the warp-faced band.
EQUIPMENTÀßÜÝÖÝààÞÓÖÝåäÙæęÝÖ ½àãåÙÖäÖÔàßÕáÚÔÜáÒääåÙÖäÙæęÝÖ WEAVING TIPS
YARNS Warp: #Ôàęàß#!&êÕÝÓ through the shed and then pass the • If you don’t have these colors,
¹àÔÜÖßäêÖÝÝàè!êÕ èÖĘåÒÚÝåÙãàæØÙÚßåÙÖàááàäÚåÖ choose colors from your yarn stash.
"&ãÖÕàãÒßØÖ êÕ# ÕÒãÜ ÕÚãÖÔåÚàßËÙÖãÖÚäßàèÒÕàæÓÝÖèÖĘ Using two shades together gives
ÓÝæÖ $ãàêÒÝÓÝæÖ!ØãÖÖß in the shed. Beat hard to secure the an attractive mottled effect to the
ÒßÕ #åæãâæàÚäÖ%êÕÖÒÔÙ ÖßÕà×åÙÖèÖĘÒååÙÚäÖßÕà×åÙÖÓÒßÕ bookmark that reflects the painting
Weft:#ÔàęàßêÖÝÝàè"êÕ This additional length will be braided in The Book of Kells.
WARP LENGTH: 60 doubled ends with the warp ends when the book- • The bookmarks can also be woven
åÙãÖÒÕäåàåÒÝ! ÝàßØÒÝÝàèä ÞÒãÜÚäĔßÚäÙÖÕ using a backstrap and rigid heddle.
×àãåÒÜÖæá \ ÓÖåèÖÖßÓààÜ- 4 ÎÖÒçÖ×àãÒÓàæå$ ÚßèÒãá×ÒÔÖÕ • Use a width checker to ensure that
ÞÒãÜäÒßÕ%\ ×àãÝààÞèÒäåÖ áÝÒÚßèÖÒçÖËÙÖÓààÜÞÒãÜèÚÝÝÓÖ` the width of the bookmark is even
loom waste includes braid and èÚÕÖËÙÖèÖĘäÙàæÝÕßàåäÙàèÚßåÙÖ along the length. This can be made
end fringe). band except on the selvedges. Use a from a small rectangle of plastic.
SETTS Warp:%ÖáÚWeft: about 12 ppi. width checker to ensure that the Fold the plastic in half and mark
DIMENSIONS Width:` Woven length: band’s width remains the same along the band’s width. Tie it around the
" $\ à×èÖÒçÚßØ×àãÖÒÔÙÓààÜ- åÙÖÝÖßØåÙäÖÖÎÖÒçÚßØËÚáä warp. It can be moved up and down
mark). Finished size: two bookmarks, 5 To end the bookmark, pass the when required.
ÖÒÔÙ` #` áÝæä" ÓãÒÚÕÒßÕ äÙæęÝÖåÙãàæØÙåÙÖäÙÖÕÒßÕÝÖÒçÖÒ • When making the braid, pin the
_ åÒääÖÝä loop at one selvedge. On the next pick, bookmark to a cushion or padded
åÒÜÖåÙÖäÙæęÝÖåÙãàæØÙåÙÖäÙÖÕÒßÕ board to hold it in place.
then through the loop at the selvedge.
Beauty and Beasts
Figure 1. Striped bookmark draft

3x 2x 8x 2x 8x 2x 3x #11 yellow (doubled)
Heddled #519 red-orange (doubled)
Unheddled 1 thread each #603 dark blue and #3070 royal blue
Read inkle drafts from left to right, as they are threaded. 1 thread each #142 green and #3060 turquoise
Figure 2. Patterned bookmark draft Figure 3. Pattern chart

center thread 6
2x 2x 5x 5x 2x 2x
5
repeat
Heddled/holes 4
Unheddled/slots 3
Read inkle drafts from left to right, as they are threaded. 2
1
#11 yellow (doubled) B
#106 orange (doubled) A
1 thread each #106 orange and #1007 red
2 threads each #61 dark brown and #522 black End in upper layer stays up
End in upper layer pushed down
End in lower layer picked up
End in lower layer stays down
Note: Charts show pattern ends only.
11 Take the right-hand group to the

center by going over one group and
æßÕÖãåÙÖßÖéåËÒÜÖåÙÖÝÖĘÙÒßÕ
group to the center by going over
one group and under the next. Repeat to
ÞÒÜÖÒėÒå"ÖßÕÓãÒÚÕ
12 Steam-press each bookmark.
ËÙÚäèÚÝÝÙÖÝáåàėÒęÖßåÙÖÓãÒÚÕ
and tassel.
Patterned Bookmarks
13 ÎÚßÕÒèÒãáà×""èàãÜÚßØÖßÕä
áÒęÖãßÖßÕäÒãÖâæÒÕãæáÝÖÕÒßÕÒÝÝ
other ends are doubled for a total of
124 threads) 40" long on your inkle
loom or rigid heddle following the
ÕãÒĘÚß½ÚØæãÖ
14 ÎÚßÕÒÓÒßÕäÙæęÝÖèÚåÙ
äåãÒßÕÖÒÔÙà×#ÔàęàßÚßàãÒßØÖ
and red.
15 Leave 8" of unwoven warp for the
ÖßÕÓãÒÚÕÃÖÒçÚßØÒ& åÒÚÝà×èÖĘ
start weaving the warp-faced band
×àÝÝàèÚßØåÙÖáÚÔÜæáÔÙÒãåÚß½ÚØæãÖ
ÓÖØÚßßÚßØÚßåÙÖäÙÖÕèÚåÙ áÒęÖãß
ÖßÕäáÚÔÜ¸½àãåÙÖäÖÔàßÕáÚÔÜ¹

Beauty and Beasts
åÒÜÖåÙÖäÙæęÝÖåÙãàæØÙåÙÖäÙÖÕÒßÕ 16 ºàßåÚßæÖèÖÒçÚßØ×àÝÝàèÚßØåÙÖ 17 ËàÖßÕåÙÖÓààÜÞÒãÜáÒääåÙÖ

åÙÖßåÒÜÖåÙÖÖßÕà×åÙÖèÖĘåÙãàæØÙ áÒååÖãßÔÙÒãåÚß½ÚØæãÖ!×àãÒÓàæå äÙæęÝÖåÙãàæØÙåÙÖäÙÖÕÒßÕÝÖÒçÖÒ
ÚßåÙÖàááàäÚåÖÕÚãÖÔåÚàßËÙÖãÖÚäßàè $ äÖÖÅàåÖäàßÇÚÔÜÌáËÙÖ ÝààáÒåàßÖäÖÝçÖÕØÖÆßåÙÖßÖéåáÚÔÜ
ÒÕàæÓÝÖèÖĘÚßåÙÖäÙÖÕ¹ÖÒåÙÒãÕåà ÓààÜÞÒãÜèÚÝÝÓÖÒÓàæåh èÚÕÖ åÒÜÖåÙÖäÙæęÝÖåÙãàæØÙåÙÖäÙÖÕÒßÕ
äÖÔæãÖåÙÖÖßÕà×åÙÖèÖĘÒååÙÚäÖßÕ ÌäÖÒèÚÕåÙÔÙÖÔÜÖãåàÖßäæãÖåÙÒå åÙãàæØÙåÙÖÝààáÒååÙÖäÖÝçÖÕØÖ
à×åÙÖÓÒßÕËÙÖèÖĘåÒÚÝäèÚÝÝÓÖ åÙÖÓÒßÕĀäèÚÕåÙãÖÞÒÚßäåÙÖäÒÞÖ ËÖßäÚàßåÙÖèÖĘÓêåæØØÚßØåÙÖĔãäå
ÓãÒÚÕÖÕèÚåÙåÙÖèÒãáÖßÕäèÙÖßåÙÖ ÒÝàßØåÙÖÝÖßØåÙ ÝààáäßæØåÙÖßåÙÖäÙæęÝÖåÙãÖÒÕ¸ä
ÓààÜÞÒãÜÚäĔßÚäÙÖÕ åÙÚäÖßÕà×åÙÖÓààÜÞÒãÜèÚÝÝÓÖ
ÓàæßÕÚßÒåÒääÖÝåÙÖèÖĘÔÒßÓÖ
áæÝÝÖÕåÚØÙå
18 ÃÖÒçÖÒÓàæå \ à×æßèàçÖß
NOTES ON PICK-UP
èÒãá×àãåÙÖ×ãÚßØÖÓÖåèÖÖßÓààÜ
• Only pattern ends are shown on and drop any colored pattern threads as
ÞÒãÜäÓêÚßäÖãåÚßØäáÒÔÖãäÊåÒãå
the chart. Each square represents needed from the top layer.
èÖÒçÚßØåÙÖäÖÔàßÕÓààÜÞÒãÜ
2 pattern ends or 4 strands. Each row To weave on an inkle loom
19 ÃÖÒçÚßØ% à×æßèàçÖßèÒãáÒå
represents 1 pick. • Odd-numbered picks (and A) are made
ÖÒÔÙÖßÕãÖÞàçÖåÙÖÓÒßÕ×ãàÞåÙÖ
• Colored squares represent pattern ends on a down shed (heddled ends on top),
ÝààÞ»ÚçÚÕÖåÙÖåèàÓààÜÞÒãÜäÓê
that need to be in the upper layer of the and even-numbered picks (and B) are
ÔæęÚßØåÙÖØÒáà× \ ÚßÙÒÝ×
shed for that row. made on an up shed (unheddled ends
20 ½ÚßÚäÙÓêÞÒÜÚßØÒåÒääÖÝÒåàßÖ
• Dots indicate ends that are in the upper on top).
ÖßÕÒßÕÓãÒÚÕÚßØåÙÖÝàßØèÒãáÖßÕä
layer in the normal shed for that pick. To weave using a backstrap
ÒååÙÖàåÙÖã
• Read the chart from bottom to top as the and rigid heddle
21 ÊåÖÒÞáãÖääÖÒÔÙÓààÜÞÒãÜ
band is woven. • Thread heddled ends through a hole in
ËÙÚäèÚÝÝÙÖÝá×ÝÒååÖßåÙÖÓãÒÚÕ
• Picks A and B are only woven at the the heddle and thread the unheddled
ÒßÕåÒääÖÝ
start of the band to set the correct ends through a slot. The center pattern
width. Repeat picks 1–6 for the required end must be threaded through a hole.
length of the bookmark. • Odd-numbered picks (and A) are
• Open the shed, and with your fingers or made by raising the heddle, and
pick-up shuttle, pick up any colored pat- even-numbered picks (and B) are
tern ends needed from the lower layer made by lowering the heddle.
Beauty and Beasts
P IN L OOM
dragon flight
Deborah Bagley
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 to make a cylinder. Sew it together on facing front, about ½" apart with
looms; 1" × 4" and 2" × 4" rectangle the 1" end on the top with small whipstitch. See photo for placement.
pin looms; 2" and 4" right-triangle pin whipstitches. See Figure 2. 9 ¼ÒãäÆçÖãÝÒáåÙÖÓàęàÞãÚØÙå
looms; 5" weaving needle; packing 3 Head: Fold the Red Heather 2" × 4" ÒßÕÝÖĘÔàãßÖãäà×ÒÉÖÕ¿ÖÒåÙÖã
comb or fork; tapestry needle. rectangle in half and whipstitch the 1" square and tack closed to make an
YARNS Basic Stitch (100% acrylic; 2" ends opposite the fold closed for the ear. Repeat for a second ear. See
185 yd/3.5 oz; Lion Brand), #400G head. See Figure 3. Figure 6. Whipstitch the ears to the
Red Heather, 70 yd; #133A Pumpkin, 4 There should be 8 loops on the head below the horns with the
15 yd; #121L Almond, 4 yd. Note: snout. Align the seams of the snout overlapped sides facing forward. See
Yardage includes extra for sewing. and head. Whipstitch the snout to the photo for placement. Set head aside.
OTHER SUPPLIES Two safety eyes, head by sewing through 1 loop on the 10 Body and belly: Whipstitch
%ÞÞáàÝêÖäåÖãĔÓÖãĔÝÝäåæĜßØ snout and 2 loops on the head. Sew a 7 Red Heather 2" triangles and 1 Red
straight pins or stitch markers. running stitch through all the loops on Heather 2" square together to make
DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ the open end of the snout and pull the dragon’s right-side body as shown
ÒßÕèÖåĔßÚäÙÚßØ$ ! & tightly to cinch closed. See Figure 4. in Figure 7. Set aside. Repeat with the
wingspan. 5 ¸ęÒÔÙäÒ×ÖåêÖêÖäåàåÙÖäÚÕÖäà× pieces reversed to make the dragon’s
the head about an inch apart. See ÝÖĘäÚÕÖÓàÕê
PROJECT STEPS photo for placement. 11 Whipstitch 3 Pumpkin 1" × 4"
Note: Use whipstitch for all joins (see 6 ÊåæĒåÙÖÙÖÒÕÒßÕäßàæåÝÚØÙåÝê rectangles together along the 1" edge
Reader’s Guide). Sew a running stitch through all the to make a 1 × 3 rectangle. Fold one
1 Following the manufacturer’s loops on the back of the head and end of the Pumpkin rectangle under to
directions, weave 48 pieces, as listed cinch closed. make a point on the last ½". See
in Figure 1. Use plain weave except for 7 Horns: Fold a 1" Almond square in Figure 8.
the textured Pumpkin 1" × 4" rectangles. half diagonally. Whipstitch together 12 With right sides facing, whipstitch
Leave the yarn tails for sewing pieces on one side. Open it like a cone. Repeat the belly to one body piece starting
together. to make a second horn. See Figure 5. at the head end. The belly should end
2 Snout: Fold the Red Heather 1" × 4" 8 ÊåæĒÙàãßäçÖãêÝÚØÙåÝêÊÖèåàåÙÖ near the seam of the last two triangles
rectangle so it overlaps about an inch head with the corner on the open end à×åÙÖÓàÕêÊÖÖ½ÚØæãÖ&

Beauty and Beasts
13 Pin the other body side piece to
the belly, aligning the sides, and
whipstitch together.
14 Bring the top edges of the side
body pieces together and whipstitch
åàØÖåÙÖãÒÝàßØåÙÖäáÚßÖÃÚØÙåÝêäåæĒ
åÙÖÓàÕêèÚåÙĔÓÖãĔÝÝ
15 Tail: Tightly roll a 2" Red Heather
square into a cylinder. Whipstitch
along the 2" edge to secure. Whip-
stitch it to the tail end of the body.
16 Whipstitch the head to the body.
17 Spikes: For each spike, fold a
1" Pumpkin square in half diagonally
and sew closed along both edges. Make
6 spikes. Whipstitch the folded hypote-
nuse of each spike to the spine about
½" apart. See photo for placement.
18 Tail spike: Fold a Red Heather
äâæÒãÖÚßÙÒÝ×ÕÚÒØàßÒÝÝêÊåæĒÝÚØÙåÝê
and whipstitch both sides to close.
19 Fold a Pumpkin 1" square
diagonally over the hypotenuse of the
tail spike and whipstitch together.
See Figure 10.
Figure 1. Pin-loom pieces Figure 2. Snout Figure 3. Head Figure 4. Head and snout assembly
)
ave
ed e)
we
ria e le tur av
4" t iangl tang e (texin we
2" t " re tang e (pla
l
l
2" × 4" re tang
Figure 7. Side body

le
c
c
c
Figure 5. Horn Figure 6. Ears

2" square
1" ×quare
1" × 4" re
ng
4
r
1" s
6 10 1 1 16 2 #400G Red Heather Make 2 Make 2

7 3 #133A Pumpkin Make 2, mirror image
2 #121L Almond
48 pieces total Figure 8. Belly
Figure 10. Tail spike
Figure 9. Body and belly assembly

Textured weave (1" x 4") head
Row 1: Plain weave.
Row 2: U3, O1, U3.
Rows 3–4: Plain weave. tail
Rows 5–16: Rep Rows 1–4 three times.
Figure 11. Legs
Figure 12. Wings
a b c
roll
roll
Make 4 fold
Beauty and Beasts
20 Sew the tail spike to the end of Ostheller, Karen. “Weave Along with
the tail with the Pumpkin edge Elewys, Ep 16, Dublin Dragons of
ÒęÒÔÙÖÕåàåÙÖåÒÚÝÊÖÖáÙàåà Drachenwald.” Lady Elewys of
21 Legs: Tightly roll a Red Heather Finchingefeld, JdL, GdS, April 2,
2" square into a cylinder. Whipstitch 2021. ladyelewys.carpevinumpdx
closed for ½". Spread open the other .com/2021/04/02/weave-along
end so the two sides just meet. Whip- -with-elewys-ep-16-dublin
stitch the rest of the side together, -dragons-of-drachenwald.
leaving an opening at the top. See
Figure 11. Repeat for 4 legs. MATERIALS
22 Feet: Fold a Red Heather 1" STRUCTURE Warp-faced twined
square in half diagonally and whip- weaving.
stitch together on both sides. Repeat EQUIPMENT Inkle loom; shuttle;
for 4 feet. 22 four-hole tablets or cards; fishing
23 ÎÙÚáäåÚåÔÙÒ×ààååàåÙÖÓàęàÞ weights or flat washers to use for
of each leg with the hypotenuse of the warp weights; weaving sword or
TA BL E T
foot to the back. See Figure 11. band knife (optional). Note: Julie
24 ÎÙÚáäåÚåÔÙåÙÖÝÖØäåàåÙÖÓàęàÞ Here Be Dragons! prefers a Sami shuttle, but a belt
of the dragon, half on the belly, half on Julie Beers shuttle will work. A sword or band
the body at the lowest points of the knife is helpful for beating the weft
body. See photo for placement. RESOURCES into place and opening sticky sheds.
25 Wings: Whipstitch a Red 2" Consolini, Silvia. Tablet Weaving YARNS Warp: Palette (100% wool;
triangle to a Red Heather 2" square. Medieval Collection 15: Basic 231 yd/50 g; KnitPicks), #24007
Whipstitch them to a 4" Red Heather Patterns. Emulina Edizioni, Tidepool Heather, 88 yd; #23728
triangle along the 4" edge. See 2021. White, 24 yd; #24249 Sweet Potato,
Figure 12. Whipstitch the reverse for ºãàÔÜÖęºÒßÕÒÔÖCard Weaving. 16 yd. Weft: Palette, #24015 Garnet
the other wing. Loveland, CO: Interweave, 1991. Heather, 30 yd. Note: Julie used
26 Roll the hypotenuse of the 4" ÀßØÝÖßààÜ½ÚÓÖãäÚßØÝÖßààÜĔÓÖãäÔàÞ handspun wool and cashmere yarns.
triangle under to make a ¼" roll and
tack in place. Repeat on the 2" triangle
section and tack in place. See Figure 12.
27 Fold the edge with the 2" square
and triangle down about ¾." See
½ÚØæãÖ¸ęÒÔÙåÙÒåáàãåÚàßåàåÙÖ
side of the dragon’s body where the
body starts to curve upward, using
whipstitch. Make sure the curled side
of the wing is facing down. See photo
for placement.
28 Use a tapestry needle to weave
in loose ends.
29 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß
warm water with mild detergent.
ËæÞÓÝÖÕãêàßÝàèäÖęÚßØ

Beauty and Beasts
Figure 1. Draft
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
A
B
C
D
S S Z S S Z Z Z Z Z Z Z Z Z Z Z Z S S Z S S
S/Z Threading direction

Sweet Potato
White
Tidepool Heather
No thread S-threaded card
Figure 2. Weaving sequence

Cards
1-5 6-7 8-9 10-11 12-13 14-15 16-17 18-22
Rows 1–2 B B F B B B F B
Rows 3–4 B B B B F F F B
Rows 5–6 B F B F F F B B
Rows 7–8 B B F F F B F B
Rows 9–10 B F F F B B B B
Rows 11–12 B F B B B F B B
ÊÙÖãÖÔàÞÞÖßÕäÇÒÝÖęÖÒäÒ 3 ¸ÝÚØßåÙÖåÒÓÝÖåääàåÙÒååÙÖ¸ÒßÕ
substitute commercial yarn. »ÔàãßÖãäà×åÙÖÔÒãÕäÒãÖÒååÙÖåàá
NOTES ON WARPING
For this project, Julie uses a warp-
OTHER SUPPLIES \ ėÒåèÒäÙÖãäåÚÖÕ 4 ÎÚßÕÒÓÖÝåäÙæååÝÖèÚåÙ
weighted setup rather than warping
åàĔäÙÚßØÝÚßÖÓÒããÖÝäèÚçÖÝÔÝÚáä ¾ÒãßÖå¿ÖÒåÙÖã
an inkle or other band loom using
!èÒäÙÖãäáÖãÔÝÚáäÖåääÙàãå 5 ËàäåÒãååÙÖÓÒßÕ×àÝÝàèåÙÖ
traditional methods. If a circular
ÕàèÖÝàãÕàæÓÝÖáàÚßåÖÕÜßÚęÚßØ èÖÒçÚßØäÖâæÖßÔÖÚß½ÚØæãÖåàèÖÒçÖ
or fixed-warp method were used,
needle. åÙÖĔãäåãàèÝÖÒçÚßØÒ åÒÚÝà×
cards 1–5 and 18–22 would build
WARP LENGTH#!ÖßÕä$ êÕÝàßØ èÖĘÇæÝÝåÙÖèÖĘäßæØÒßÕåæãßåÙÖ
up twist at a different rate from the
ÒÝÝàèä! ×àãåÒÜÖæá! ×àãÝààÞ ÔÒãÕäåàÞÒÜÖåÙÖäÖÔàßÕãàèäÙÖÕ
rest of the warp. Weighting the
èÒäåÖÒßÕäÒÞáÝÚßØÝààÞèÒäåÖ ÌäÖåÙÖÓÒßÕÜßÚ×ÖàãäÙæęÝÖåàÓÖÒå
warp over the loom and using
ÚßÔÝæÕÖä×ãÚßØÖ åÙÖèÖĘÒßÕåÙÖßáÒääåÙÖèÖĘåÒÚÝ
swivels helps alleviate uneven
SETTS Warp: ÖáÚWeft:&ááÚ ÒßÕåÙÖèÖĘåÙãàæØÙåÙÖäÙÖÕ×ãàÞ
twist along the warp. It also means
DIMENSIONS Finished width: 1½". Woven àááàäÚåÖÕÚãÖÔåÚàßäÇæÝÝÓàåÙÖßÕä
you technically don't need a loom
length: (measured under tension on åÚØÙåÝêÖßàæØÙåàÔÒæäÖåÙÖèÒãá
to weave this project—just a set
åÙÖÝààÞ# Finished size: ÒĘÖã êÒãßäåàäÚååàØÖåÙÖãäßæØÝêºãÖÒåÖ
of cards, weights, swivels, and a
äåÖÒÞáãÖääÚßØàßÖÓààåÓãÒÔÖÝÖå åÙÖåÙÚãÕãàèÒßÕÓÖÒååÙÖèÖĘÚß
place to tie the front of the warp.
! \ èÚåÙ" ×ãÚßØÖ ĔãÞÝêÀåÞÒêåÒÜÖÒ×ÖèãàèäåàØÖååà
åÙÖèÚÕåÙêàæèÒßåËÙÖèÒãáêÒãßä
PROJECT STEPS äÙàæÝÕÓÖáÒÔÜÖÕåàØÖåÙÖãĔãÞÝêÒßÕ
1 ÎÚßÕäÖáÒãÒåÖ$ èÒãáä×àãÖÒÔÙ êàæäÙàæÝÕßàåÓÖÒÓÝÖåàáæÝÝåÙÖÞ ÎÖÒçÖ×àã# àãÕÖäÚãÖÕÝÖßØåÙÐàæ
ÔàÝàã!!ÖßÕäà×ËÚÕÖáààÝ¿ÖÒåÙÖã ÒáÒãåËÙÖèÖĘäÙàæÝÕäÙàèàßÝêàß äÙàæÝÕÓÖÒÓÝÖåàØÖåÒÓÒßÕÒåÝÖÒäå
ÖßÕäà×ÎÙÚåÖÒßÕ%ÖßÕäà×ÊèÖÖå åÙÖäÖÝçÖÕØÖäÒßÕåÙãàæØÙåÙÖ \êÕÝàßØÁæÝÚÖÖéáÖãÚÞÖßåÖÕèÚåÙ
ÇàåÒåàËÙãÖÒÕåÙÖèÒãáäàßåÒÓÝÖåä ÚßÕÖßåÖÕÒãÖÒäÔãÖÒåÖÕÓêåÙÖàáÖßàã ÙÖãèÒãáäàÙÖã×ÚßÚäÙÖÕÓÒßÕ
×àÝÝàèÚßØåÙÖÕãÒĘÚß½ÚØæãÖ ÕãàááÖÕÙàÝÖäÆßÁæÝÚÖĀäÓÒßÕåÙÖ is shorter.
2 Put the threaded cards on the loom èÖĘàßÝêäÙàèÖÕàßåÙÖÓÒÔÜà× 7 ½ÚßÚäÙåÙÖÓÒßÕÓêÔæęÚßØåÙÖèÖĘ
èÚåÙåÙÖáãÚßåÖÕäÚÕÖä×ÒÔÚßØÝÖĘÒßÕ åÙÖèÖÒçÚßØ êÒãßÝÖÒçÚßØÒ åÒÚÝÉÖÞàçÖåÙÖ
åÚÖåÙÖèÒãáåàåÙÖ×ãàßåáÖØ»ãÒáÖåÙÖ 6 ºàßåÚßæÖèÖÒçÚßØåÙÖÓÒßÕ èÖÚØÙåä×ãàÞåÙÖèÒãáäÒßÕåÒÜÖåÙÖ
èÒãáàçÖãåÙÖÓÒÔÜà×åÙÖÝààÞ ×àÝÝàèÚßØåÙÖèÖÒçÚßØäÖâæÖßÔÖËÙÖ ÓÒßÕàĒåÙÖÝààÞÎÚåÙÒåÒáÖäåãê
ÊÖáÒãÒåÖÖÒÔÙÔÒãÕĀäèÒãáä×ãàÞåÙÖ ÔÒãÕäèÚåÙÖÞáåêÙàÝÖäèÚÝÝßàåäÚå ßÖÖÕÝÖèÖÒçÖåÙÖèÖĘåÒÚÝÓÒÔÜ
ãÖäåÔÙÒÚßåÙÖÞäàåÙÖêÒãÖßĀåàßåÙÖ äåãÒÚØÙåèÚåÙÚßåÙÖáÒÔÜÓæåèÚÝÝ åÙãàæØÙåÙÖßÖéååàåÙÖÝÒäåãàèà×
ėààãÒßÕÔÝÚáÒèÖÚØÙååàåÙÖÔÙÒÚß äåÒãååàåæãßàßåÙÖÚãáàÚßåäÁæÝÚÖ èÖÒçÚßØáæÝÝÚåäßæØÒßÕÔæåÚåėæäÙ
ÉÖáÖÒåæßåÚÝÖÒÔÙÔÒãÕàßåÙÖèÒãáÚä æäÖäÒäÙàãåÕàèÖÝàãÕàæÓÝÖáàÚßåÖÕ èÚåÙåÙÖäÖÝçÖÕØÖÌäÖÒäåÖÒÞÚãàß
èÖÚØÙåÖÕÁæÝÚÖäåÒãåäèÚåÙåÙÖèÒãáä ÜßÚååÚßØßÖÖÕÝÖåàáæäÙåÙãàæØÙàßÖ äÖåàßåÙÖèààÝäÖęÚßØàãÒÕÒÞáÔÝàåÙ
ÔÙÒÚßÖÕäàåÙÖèÖÚØÙåäÙÒßØÒÓàæå ÔàãßÖãÙàÝÖà×åÙÖáÒÔÜÒ×åÖãåÙÖ ÒßÕÚãàßåàäåÖÒÞáãÖääåÙÖĔßÚäÙÖÕ
ÙÒÝ×èÒêåàåÙÖėààã×ãàÞåÙÖåàáà× tablets are turned to hold them ÓÒßÕËãÚÞåÙÖ×ãÚßØÖåà" àãêàæã
her loom. ÒÝÚØßÖÕèÙÚÝÖåÙãàèÚßØåÙÖäÙæååÝÖ áãÖ×ÖããÖÕÝÖßØåÙ
VIDEO COURSE
Weave
BOLD
Patterned
Bands
with simple tools
Explore Baltic pick-up,

from setting up your
inkle loom to weaving
bands efficiently to
Baltic Pick-Up on the Inkle Loom with Angela K. Schneider getting tidy selvedges.
START LEARNING ONLINE TODAY!

/70HGLD Ű %DOWLF3LFN8S
hearth
& home
Medieval meets modern design
in these projects designed
for your home.
TASSELED MEAD COZY

Deborah Bagley
A silky lining elevates this mead cozy, and the
ring and tassel closure adds elegance. The
hourglass texture woven into the squares
creates a subtle point of interest, making this
piece a beautiful wrapping for a delicious
libation of your choice. Pattern page 62.
Hearth & Home
GEMSTONE
NIGHTSTAND RUNNERS
Christine Jablonski
Staying home during the
COVID-19 pandemic, Christine
noticed how neutral her living
spaces were, and how they
benefited from a pop of color
here and there. These jewel-tone
runners are perfectly sized
for a nightstand and use
a pick-up inlay technique to
build vibrant color blocks.
Pattern page 63.

Hearth & Home
CAMELOT TOWELS
Malynda Allen
From the homes of humble
peasants to the royal castle of
King Arthur, linen towels were a
staple in medieval times. Woven
from pure linen, these towels
feature wide royal-blue stripes
marked with a distinctive
pick-up pattern fit for royalty.
Pattern page 64.
Hearth & Home
GOTHIC GLASS
TABLE RUNNER
Jennifer E. Kwong
Adorn your table with radiant hues
inspired by the stained-glass
windows in Gothic cathedrals, using
the monk’s belt technique for the
bands of color. Unlike many pick-up
patterns, a monk’s belt pattern
cannot be stored on a pick-up stick
behind the heddle, but a heddle rod
installed in front of the heddle solves
this problem, allowing you to
“store” the pattern shed between
picks. Pattern page 66.

Hearth & Home
LOTUS MOSAIC
RUNNER
Greta Holmstrom
Medieval mosaics provide the
perfect inspiration for pin-loom
weavers. For her table runner,
Greta was inspired by a sixth-
century Byzantine mosaic
featuring chevron and floral
patterns found during an
excavation at a basilica on Tell
Mar Elias in northern Jordan.
Pattern page 69.
Hearth & Home
SILK DIAMONDS
TABLE RUNNER
Michele Marshall
For her table runner, Michele
used a combination of plain
weave and Brooks bouquet to
evoke the interlacement
designs often found in
European illuminated texts.
Swap in a special ribbon or
piece of lace to make an item
reminiscent of your own
history. Pattern page 70.

Hearth & Home
äÖèÚßØÓÝàØÙàèåàäÖèÒ Úß½ÚØæãÖ½àãåÙÖåÖéåæãÖÕèÖÒçÖ
ÞÚåÖãÖÕÔàãßÖãàßÒèÚÕÖ äâæÒãÖä×àÝÝàèåÙÖ¿àæãØÝÒää
-double-fold-hem. èÖÒçÖäÖâæÖßÔÖ
Ă¿àèåàÄÒÜÖÒËÒääÖÝăEasy 2 Cozy assembly: With right sides
ÎÖÒçÚßØèÚåÙÃÚęÝÖÃààÞä, ×ÒÔÚßØèÙÚáäåÚåÔÙäÖÖÉÖÒÕÖãĀä¾æÚÕÖ
Fall 2023, 49. áÝÒÚßèÖÒçÖÊåàßÖèÒäÙäâæÒãÖä
together to form a 1 × 3 rectangle.
MATERIALS ÊÖÖ½ÚØæãÖÒ
STRUCTUREÇÝÒÚßèÖÒçÖÒßÕ 3 With right sides facing and the
åÖéåæãÖÕèÖÒçÖ áÒęÖãßäåæãßÖÕÚßåÙÖäÒÞÖÕÚãÖÔåÚàß
EQUIPMENT 4" square and 2" × 4" èÙÚáäåÚåÔÙ#åÖéåæãÖÕÊåàßÖèÒäÙ
ãÖÔåÒßØÝÖáÚßÝààÞä" èÖÒçÚßØ squares together to form a 2 × 3
needle; packing comb or fork; ãÖÔåÒßØÝÖÊÖÖ½ÚØæãÖÓ
tapestry needle. 4 ÎÚåÙãÚØÙåäÚÕÖä×ÒÔÚßØèÙÚá-
YARNS¹ÒäÚÔÊåÚåÔÙZÒÔãêÝÚÔ äåÚåÔÙ ÊåàßÖèÒäÙ ! ãÖÔåÒßØÝÖä
185 yd/3.5 oz; Lion Brand), #110AW together on the 2" ends to make a
P IN L OOM
ÊåàßÖèÒäÙêÕ!#Å»ÖÖá ãÖÔåÒßØÝÖÊÖÖ½ÚØæãÖÔ
Tasseled Mead cozy Denim Heather, 10 yd. 5 ÎÚåÙãÚØÙåäÚÕÖä×ÒÔÚßØèÙÚáäåÚåÔÙ
Deborah Bagley OTHER SUPPLIESÊÒåÚß×ÒÓãÚÔ×àãÝÚßÚßØ together the 1 × 3, 2 × 3, and 1 × 3
blue, 12" × 14"; 3 silver bead tassel rectangles to make a 4 × 3 rectangle.
RESOURCES toppers; DMC embroidery thread ÊÖÖ½ÚØæãÖ
Bagley, Deborah. “Essentials Only #930, #931, #932, or other thread 6 ÌäÖÒåÒáÖäåãêßÖÖÕÝÖåàèÖÒçÖÚß
Makeup Bag.” Easy Weaving with åÙÒåÔààãÕÚßÒåÖäèÚåÙÓàåÙåÙÖ×ÒÓãÚÔ loose ends.
ÃÚęÝÖÃààÞä, Fall 2023, 48-49. ÒßÕÊåàßÖèÒäÙèÖÒçÚßØêÒãß 7 ÄÖÒäæãÖêàæãèàçÖßãÖÔåÒßØÝÖ
“Hour Glass.” Weave-It Weaves. äÖèÚßØÞÒÔÙÚßÖäåÖÒÞÖãàáåÚàßÒÝ ¸ÕÕ åàåÙÖÝÖßØåÙÒßÕèÚÕåÙ×àãÒ
Medford, MA: Donar Products DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ \ äÖÒÞÒÝÝàèÒßÔÖºæåäÒåÚß×ÒÓãÚÔ
Corp., 1938, 11. eloomanation.com ÒßÕèÖåĔßÚäÙÚßØ\ ÔÚãÔæÞ×ÖãÖßÔÖ to match this dimension.
/pdf/1938WeaveItWeaves.pdf. × 12" tall. 8 ½àÝÕÝÚßÚßØåàåÙÖèãàßØäÚÕÖ_
ÂÒßºÙÒãÝàęÖĂ¿àèåàÊÖèÒ along all four edges. Press. Fold again to
Mitered Corner on a Wide Double PROJECT STEPS åÙÖèãàßØäÚÕÖÒßÒÕÕÚåÚàßÒÝ_ ÒÝàßØ
Fold Hem.” ÊÖèÚßØ¹ÝàØ, May 28, 1 ½àÝÝàèÚßØåÙÖÞÒßæ×ÒÔåæãÖãĀä ÒÝÝ×àæãÖÕØÖäÇãÖääÊÖÖ½ÚØæãÖ!
2019. ÔÙÒãÝàęÖÜÒßÔàÞÓÝàØä ÕÚãÖÔåÚàßäèÖÒçÖ"áÚÖÔÖäÒääÙàèß
Figure 1. Pin-loom pieces Figure 2. Layout Figure 3. Assembly Figure 4. Lining fabric Figure 5. Applying lining
a
gle av ve)
tan we ea
e)
ec ain w
4" r (pl ured
b
2" ×quare (text
4" square
4" s
c
1/" hem
4
6 4 3 #110AW Stonewash
2 #406N Deep Denim Heather Textured Pieces
15 pieces total
Figure 6. Cylinder construction Figure 7. Base Figure 8. Base assembly 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 8 and 9: W14, U3, W14.
Hearth & Home
9 Optional: Sew mitered corners ¾ÚäåÐÒãßËàĒÖÖ"!êÕTabby weft:
(see Resources). ¹ÖÒÞ%àãØÒßÚÔÔàęàßËàĒÖÖ
10 With wrong sides facing, center 614 yd; Aqua, 17 yd. Inlay weft: Beam
the lining on the 4 × 3 woven rectangle. !àãØÒßÚÔÔàęàßÁÒÞÒßÕ
Using straight stitch, sew the lining to Dandelion, 146 yd each.
the woven rectangle along all four WARP LENGTH 217 working ends
sides. Do not sew over the loops on the (226 threads total) 108" (3 yd) long
outside edge of the pin-loom pieces. (allows 8" for take-up, 24" for
See Figure 5. loom waste).
11 Fold the 4 × 3 rectangle in half SETTS Warp: 10 epi. Weft: 12.5 ppi in
with right sides of the pin-loom side áÝÒÚßèÖÒçÖ"ááÚÚßáÒęÖãß
facing, and whipstitch from the (12.5 ppi tabby, 12.5 ppi inlay).
hourglass section down to the DIMENSIONS Width in the heddle:VYFE
rectangle section to make a cylinder. Woven length: (measured under tension
Leave the top 4" open. Turn right side on the loom) 76". Finished size:ÒĘÖã
out. See Figure 6. ÙÖÞÞÚßØÒßÕèÖåĔßÚäÙÚßØåèà
12 Draw a 3½" circle on the wrong R IGID HE DDL E
runners, 16" × 30" each.
side of a Stonewash square. Fold the Gemstone
corners and sides to the wrong side NIGHTSTAND RUNNERS For pick-up stick instructions, see
along the line and tack in place. See Christine Jablonski Reader’s Guide.
Figure 7.
13 With the right sides out, use MATERIALS PROJECT STEPS
small whipstitches to join the circle to STRUCTURE Plain weave with inlay. 1 Set up your loom for direct
åÙÖÓàęàÞà×åÙÖÔàëêàßåÙÖãÖÔåÒß- EQUIPMENT Rigid-heddle loom, warping a length of 108" (3 yd) or
gle end. See Figure 8. 22" weaving width; 10-dent heddle; wind a warp of 217 working ends 108"
14 Ring and tassel closure: Whip- 1 pick-up stick; 1 boat shuttle or long long following the warp color order,
stitch 2 Deep Denim Heather 2" × 4" stick shuttle; 1 stick shuttle the Figure 1. Centering for a weaving
rectangles together along the 2" edge. width of the warp; 4 small stick èÚÕåÙà×VYFE ÒßÕÓÖØÚßßÚßØÒßÕ
15 With wrong sides together, fold shuttles, tapestry bobbins (optional), ending with a slot, sley the Aqua ends
the 1 × 2 rectangle in half lengthwise or yarn wound into butterflies, for äÚßØÝêÒßÕåÙÖËàĒÖÖÖßÕäÕàæÓÝÖÕ
and whipstitch along the 8" edge to pattern weft. 2 ÎÚßÕÒÝàßØäåÚÔÜäÙæęÝÖàã
form a tube. YARNS Warp:¹ÖÒÞ àãØÒßÚÔÔàęàß ÓàÓÓÚßèÚåÙËàĒÖÖÎÚßÕÒÝàßØäåÚÔÜ
16 Roll the seam to the center of the (1,260 yd/lb; Gist Yarn), Aqua, 624 yd. äÙæęÝÖèÚåÙ !ÁÒÞÎÚßÕåèàäÞÒÝÝ
long tube. Fold the tube in half width- ¹ÖÒÞ%àãØÒßÚÔÔàęàß #êÕÝÓ äåÚÔÜäÙæęÝÖäåÒáÖäåãêÓàÓÓÚßäàã
wise with the long seam to the outside. êÒãßÓæęÖãėÚÖäèÚåÙ !ÁÒÞÒßÕ
Whipstitch the 1" ends together to åèàèÚåÙ !»ÒßÕÖÝÚàßÊáãÖÒÕåÙÖ
make a ring. Turn the ring so the long NOTES ON TABBY warp with scrap yarn.
seam is to the inside. • In weaving, "tabby" is used to refer 3 Set up the pick-up stick: Place the
17 Make three small tassels (see to plain-weave picks of weft woven heddle in the down position and pick
Resources) using embroidery thread. between pattern picks. An example up slot ends [1 up, 1 down] across the
Insert a tassel topper on each. Use of a weaving sequence using tabby warp, ending 1 up. Push the pick-up
embroidery thread to tie the three would be "up heddle, pattern/inlay stick to the back of the loom.
tassels to the 1" cylinder. See photo. pick, down heddle, pattern/ 4 Weave following the weaving
18 ÎÖåĔßÚäÙåÙÖÔàëêÒßÕÔÝàäæãÖ inlay pick, repeat." sequence and inlay layout (Figure 2)
by handwashing in warm water with • The plain-weave picks help to keep for 38". For the inlay picks, put the
mild detergent. Tumble dry. If neces- areas of pattern locked in place heddle in the neutral position and
sary, steam tassels to straighten. and are sometimes, but not always, a turn the pick-up stick on its edge
19 ÀßäÖãååÙÖåàáà×åÙÖÔàëêåÙãàæØÙ different yarn from the pattern weft. behind the heddle. Insert the inlay
the ring about 4" and spread the Saying to “use tabby” in a pattern èÖĘæßÕÖãåÙÖãÒÚäÖÕäÝàåÖßÕä
top open. conveys a lot of information in a required for the inlay block. When
very short statement. Occasionally, starting or ending inlay, wrap the
weaving resources will use the terms èÖĘåÒÚÝÒãàæßÕåÙÖÖÕØÖèÒãáÖßÕ
tabby and plain weave interchange- for the block and tuck it back into the
ably, but the weaving sequence or shed. Push the pick-up stick to the
even the fabric will show you which back of the loom and beat. Weave
term is correct for that instance. alternating tabby picks between
inlay picks.

Hearth & Home
Figure 1. Warp color order a ÎÖÒçÖÒ áÝÒÚßèÖÒçÖÙÖÞ
208 104 104 Aqua (single) èÚåÙ%ËàĒÖÖ
9 9 Toffee (used double) b ÎÖÒçÖåÙÖ ×æÝÝèÚÕåÙÚßÝÒê
217 working ends (226 threads total) äÖÔåÚàßæäÚßØ !ÁÒÞ×ãàÞ
äÖÔàßÕãÒÚäÖÕÖßÕåàäÖÔàßÕåà
ÝÒäåãÒÚäÖÕÖßÕÒÝåÖãßÒåÚßØèÚåÙ
Figure 2. Inlay layout
%ËàĒÖÖåÒÓÓêáÚÔÜä
Step c ÌäÚßØ !ÁÒÞÓÖØÚßåÙÖ èÚÕÖ
a. 2" äÚÕÖÓàãÕÖãÚßÝÒêäÖÔåÚàßäàß
b. 3" ÖÒÔÙäÚÕÖèÚåÙ !ÁÒÞÇÝÒÔÖåÙÖ
c. 1" ÚßÝÒêèÖĘæßÕÖããÒÚäÖÕäÝàåÖßÕä
d. 3" àßåÙÖãÚØÙåÒßÕ!#"!àß
åÙÖÝÖĘåÙÖ&ãÒÚäÖÕÖßÕäèÚÝÝ
35 21
ÔãÖÒåÖ%ėàÒåäÎÖÒçÖ×àã Note:
e. 6" ºàßåÚßæÖäÚÕÖÚßÝÒêæßåÚÝêàæÓÖØÚß
åÙÖ×æÝÝèÚÕåÙÚßÝÒêÒååÙÖàåÙÖã
R IGID HE DDL E ; IN K L E L OOM
3½" ÖßÕà×åÙÖáÚÖÔÖ
f. 1" d ÎÖÒçÖåÙÖ ÝàßØÔÖßåÖã Camelot TOWELS
3½" ÙàãÚëàßåÒÝÚßÝÒêÓÝàÔÜÔÖßåÖã×àã Malynda Allen
"\ æäÚßØ !»ÒßÕÖÝÚàßÇÝÒÔÖ
43 35 21 13
e. 6" åÙÖÚßÝÒêèÖĘæßÕÖããÒÚäÖÕäÝàå RESOURCES
35 21 ÖßÕä "åàÔãÖÒåÖ#ėàÒåäàß ĂÀßÜÝÖÃààÞÇÝÒÚßÎÖÒçÖÇÒęÖãß
ÖÒÔÙäÚÕÖà×åÙÖÔÖßåÖãËàĒÖÖèÒãá ¾ÖßÖãÒåàãăËÙÖºÒãàÝÚßØÚÒß
d. 3" ÖßÕäºàßåÚßæÖåàèÖÒçÖåÙÖäÚÕÖ Realm. ÔÒãàÝÚßØÚÒßãÖÒÝÞÚß×à
c. 1"
ÚßÝÒêäÚß !ÁÒÞ ÇÒęÖãß¾ÖßÖãÒåàãáÙá.
b. 46 10 3" e ÎÖÒçÖ# ÓàãÕÖãÚßÝÒêÒäÚßÊåÖáÔ ÇÒåãÚÔÜÁÒßÖThe Weaver’s Idea
a. 54 2 2" f ÎÖÒçÖçÖãåÚÔÒÝÚßÝÒêÓÝàÔÜäÚß BookÃàçÖÝÒßÕºÆÀßåÖãèÖÒçÖ
Raised slot end !»ÒßÕÖÝÚàßÇÝÒÔÖÚßÝÒê Úß % !
×ãàÞÓàãÕÖãæßÕÖããÒÚäÖÕäÝàåÖßÕä
àßåÙÖãÚØÙåÒßÕ "! àß MATERIALS
åÙÖÝÖĘÎÖÒçÖ×àã \ ÊèÚåÔÙåà Towels
WEAVING TIPS
%¸âæÒ×àãåÙÖåÒÓÓê×àã åÙÖß STRUCTUREÇÝÒÚßèÖÒçÖèÚåÙèÒãá
• Due to the nature of inlay on a
äèÚåÔÙÓÒÔÜåà%ËàĒÖÖ×àãåÒÓÓê ÒßÕèÖĘėàÒåä
rigid-heddle loom, the inlay edges will
ÒßÕèÖÒçÖ×àã \ ÞàãÖºàßåÚßæÖ EQUIPMENTÉÚØÚÕÙÖÕÕÝÖÝààÞ
never be quite symmetrical.
åÙÖÓàãÕÖãÚßÝÒêÚß !ÁÒÞËÙÖ % èÖÒçÚßØèÚÕåÙÕÖßåÙÖÕÕÝÖ
• To avoid unweaving some inlay picks,
çÖãåÚÔÒÝÚßÝÒêÓÝàÔÜäÒãÖ% Úß áÚÔÜæáäåÚÔÜääåÚÔÜäÙæęÝÖäàã
wrap the nearest warp end with your
ÝÖßØåÙèÙÖßĔßÚäÙÖÕ ÓàÒåäÙæęÝÖÒßÕÓàÓÓÚßäNote:
inlay weft before entering the shed.
g ÎàãÜÊåÖáäÖåàÒÚßãÖçÖãäÖ ¿ÒçÖÒ"ÕÖßåÙÖÕÕÝÖÊÖÖåÙÖ
5 ÎÖÒçÖÒ×ÖèáÚÔÜäà×äÔãÒáêÒãß ÙÖÕÕÝÖÔàßçÖãäÚàßÔÙÒãåÚßåÙÖ
ÓÖåèÖÖßåÙÖãæßßÖãäåÙÖßèÖÒçÖÒ ÉÖÒÕÖãĀä¾æÚÕÖ
äÖÔàßÕãæßßÖãèÚåÙåÙÖÚßÝÒêÔàÝàãä YARNS Warp:ÝÚßÖß"êÕÝÓ
ãÖçÖãäÖÕæäÚßØ»ÒßÕÖÝÚàß×àãåÙÖ ÍÒÝÝÖêÐÒãßäÎ¼¹Ê¿ÒÝ×¹ÝÖÒÔÙ
ÓàãÕÖãÒßÕÁÒÞ×àãåÙÖÚßÝÒêÓÝàÔÜä "##êÕÅÒåæãÒÝ#!êÕ% ÝÚßÖß
6 ÎÙÖßêàæÙÒçÖĔßÚäÙÖÕåÙÖäÖÔàßÕ &#êÕÝÓ¾ÚäåÐÒãßÃæáÚßÖ¹ÝæÖ
ãæßßÖãèÖÒçÖÒ×ÖèáÚÔÜäà×äÔãÒá !%êÕWeft:ÝÚßÖß¿ÒÝ×¹ÝÖÒÔÙ
êÒãßåàáãàåÖÔååÙÖèÖĘÉÖÞàçÖåÙÖ êÕÅÒåæãÒÝ"êÕ% ÝÚßÖß
ãæßßÖãä×ãàÞåÙÖÝààÞÑÚØëÒØäåÚåÔÙ ÃæáÚßÖ¹ÝæÖ%êÕ#ÝÚßÖß
åÙÖÖßÕäà×ÖÒÔÙãæßßÖã !êÕÝÓÍÒÝÝÖêÐÒãßäÎ¼¹Ê
7 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß ÅÒåæãÒÝ êÕ¿ÒÝ×¹ÝÖÒÔÙÖÕ!#êÕ
ÔààÝèÒåÖãèÚåÙÞÚÝÕÕÖåÖãØÖßåÉàÝÝ WARP LENGTH"èàãÜÚßØÖßÕä
ÚßÒåàèÖÝåàäâæÖÖëÖàæåÖéÔÖää # åàåÒÝÖßÕä" !_êÕÝàßØ
ÞàÚäåæãÖÃÒêėÒååàÕãê ÒÝÝàèä ×àãåÒÜÖæá ×àã
8 ÇãÖääèÚåÙÒèÒãÞÚãàß×àÝÕÚßØ ÝààÞèÒäåÖ
åÙÖÙÖÞäæßÕÖãåèÚÔÖ½ÚßÚäÙèÚåÙÒ SETTS Warp:ÖáÚWeft:¹àÕêà×
ÙÒßÕäÖèßàãÞÒÔÙÚßÖäÖèßÙÖÞ ÅÒåæãÒÝÒßÕ¿ÒÝ×¹ÝÖÒÔÙåàèÖÝä
ÒÓàæåááÚÃæáÚßÖ¹ÝæÖåàèÖÝä
!ááÚÙÖÞä!ááÚ
Hearth & Home
DIMENSIONS Width in the heddle:$PPYFG èÚßÕÒèÒãáà×"èàãÜÚßØÖßÕä
Woven length: (measured under tension # åÙãÖÒÕäåàåÒÝ" ÝàßØ×àÝÝàèÚßØ WEAVING TIPS
àßåÙÖÝààÞ ÖÒÔÙåàèÖÝ åÙÖèÒãáÔàÝàãàãÕÖã½ÚØæãÖÌäÖåÙÖ • Before you begin weaving, insert
Finished size:ÒĘÖãÙÖÞÞÚßØÒßÕ ÃæáÚßÖ¹ÝæÖÕàæÓÝÖÕåÙãÖÒÕÚßØäÝàåä your pick-up sticks at the back of
èÖåĔßÚäÙÚßØ×àæãåàèÖÝä"\ # ÒßÕÙàÝÖäèÚåÙÕàæÓÝÖÕÖßÕäÌäÖ the loom. You can adjust these as
ÖÒÔÙèÚåÙ_ ! åÒÓä ÅÒåæãÒÝÒßÕ¿ÒÝ×¹ÝÖÒÔÙäÚßØÝê you weave to help maintain tension
ºÖßåÖãÚßØ×àãÒèÖÒçÚßØèÚÕåÙà× and clean sheds, even on plain-
½àãáÚÔÜæáäåÚÔÜÚßäåãæÔåÚàßääÖÖ $PPYFG èÒãáåÙÖÝààÞæäÚßØêàæã weave towels.
ÉÖÒÕÖãĀä¾æÚÕÖ áãÖ×ÖããÖÕÞÖåÙàÕ • Leaving pick-up stick A in place
2 ÎÚßÕÒäÙæååÝÖàãÓàÓÓÚßèÚåÙ can help you adjust warp tension
Inkle Tabs #¿ÒÝ×¹ÝÖÒÔÙÝÚßÖßÒßÕàßÖ for cleaner sheds as you weave, or
STRUCTURE ÎÒãá×ÒÔÖÕáÝÒÚßèÖÒçÖ èÚåÙ¿ÒÝ×¹ÝÖÒÔÙÝÚßÖßÊáãÖÒÕ place stick A in the down shed and
EQUIPMENT ÀßÜÝÖÝààÞÓÖÝåäÙæęÝÖ åÙÖèÒãáèÚåÙäÔãÒáêÒãß slide it to the back of the loom, again
YARNS Warp:#ÝÚßÖß¿ÒÝ×¹ÝÖÒÔÙ 3 ÎÖÒçÖáÝÒÚßèÖÒçÖèÚåÙ# to help with warp tension.
%êÕÅÒåæãÒÝêÕ% ÝÚßÖß ÝÚßÖß×àã\ ×àãÒÙÖÞÊèÚåÔÙåà • If pure linen feels too intimidating,
ÃæáÚßÖ¹ÝæÖ%êÕWeft:#ÝÚßÖß ÝÚßÖßÎÖÒçÖáÝÒÚßèÖÒçÖæßåÚÝ try weaving these towels with Gist’s
¿ÒÝ×¹ÝÖÒÔÙêÕ áÚÖÔÖÞÖÒäæãÖä%\ ÎÖÒçÖáÝÒÚß Duet yarn (cotton/linen blend) in
WARP LENGTH&ÖßÕä$ êÕÝàßØ èÖÒçÖèÚåÙ#ÝÚßÖß×àã\ ×àãÒ Pearl, Dune, and Santorini. The
ÒÝÝàèä ×àãåÒÜÖæá ×àãÝààÞ ÙÖÞ×àãÒåàåÒÝèàçÖßÝÖßØåÙà× warp sett is the same, though your
èÒäåÖ!% ×àãàåÙÖãæäÖäNote:¸ 4 ÎÖÒçÖáÚÔÜäà×ÔàßåãÒäåÚßØêÒãß ppi and therefore your yardage may
èÒãáÚäåÙÖÞÚßÚÞæÞãÖâæÚãÖÕåà åàÞÒãÜÒÔæęÚßØÝÚßÖÓÖåèÖÖßåàèÖÝä vary. You will also not need to dou-
èÖÒçÖåÙÚäáãàÛÖÔåËÙÖèÒãáÝÖßØåÙ 5 ÇÝÒÔÖåÙÖÙÖÕÕÝÖÚßåÙÖÕàèß ble the Santorini (blue) in the warp.
ØÚçÖßãÖėÖÔåäåÙÖèÒãáÝÖßØåÙ áàäÚåÚàßÀßäÖãåáÚÔÜæáäåÚÔÜ¸ • These towels are stiff and feel like
ÞÚßÚÞæÞ×àãäåÒßÕÒãÕäÚëÖÚßÜÝÖ ×àÝÝàèÚßØåÙÖáÚÔÜæáäåÚÔÜäÖåæá canvas as they come off the loom, but
ÝààÞäÎÖÒçÖãäæäÚßØÒßÚßÜÝÖÝààÞ áÒęÖãß¸ÊÝÚÕÖáÚÔÜæáäåÚÔÜ¸åàåÙÖ the linen softens with wet-finishing.
èÚåÙÒäÙàãåÖãÞÚßÚÞæÞèÒãáÝÖßØåÙ ÓÒÔÜà×åÙÖÝààÞÀßäÖãåáÚÔÜæáäåÚÔÜ¹
ÔÒßÔÙààäÖåàäÔÒÝÖÕàèßåÙÖÚãèÒãá ×àÝÝàèÚßØáÚÔÜæáäåÚÔÜäÖåæááÒęÖãß
ÒÔÔàãÕÚßØÝê ¹ÊÝÚÕÖáÚÔÜæáäåÚÔÜ¹åàåÙÖÓÒÔÜà×
SETTS Warp:#ÖáÚ. Weft:!ááÚ åÙÖÝààÞÇÚÔÜæáäåÚÔÜ¹äÙàæÝÕãÖäå 7 ÎÚßÕäÙæęÝÖäàãÓàÓÓÚßäèÚåÙ#
DIMENSIONS Width:TYFK Woven length: æßÕÖãáÚÔÜæáäåÚÔÜ¸ ÅÒåæãÒÝÝÚßÖßÒßÕÅÒåæãÒÝÝÚßÖß
(measured under tension on the 6 ÎÖÒçÖáÝÒÚßèÖÒçÖèÚåÙ# ÉÖáÖÒåÊåÖá#æäÚßØ#ÅÒåæãÒÝ
ÝààÞ Finished size:ÒĘÖãèÖå ¿ÒÝ×¹ÝÖÒÔÙÝÚßÖß×àã\ ×àãÒÙÖÞ ÝÚßÖß×àãÙÖÞäÒßÕÅÒåæãÒÝÝÚßÖß
ĔßÚäÙÚßØ×àæãÚßÜÝÖåÒÓäTYFK ! ÊèÚåÔÙåà¿ÒÝ×¹ÝÖÒÔÙÝÚßÖßÒßÕ ×àÝÝàèÚßØåÙÖèÖÒçÚßØäÖâæÖßÔÖ
èÖÒçÖ×àÝÝàèÚßØèÖÒçÚßØäÖâæÖßÔÖ áÒęÖãß¹
PROJECT STEPS áÒęÖãß¸åà%\ ÎÖÒçÖåÙÖÙÖÞÚß 8 ÉÖÞàçÖáÚÔÜæáäåÚÔÜ¹ÒßÕ
Towels #ÝÚßÖß×àã\ àãÒåàåÒÝèàçÖß ãÖÚßäÖãåÚå×àÝÝàèÚßØåÙÖáÚÔÜæáäåÚÔÜ
1 ÊÖåæáêàæãÝààÞ×àãÕÚãÖÔå ÝÖßØåÙà× ÎÖÒçÖáÚÔÜäà× äÖåæááÒęÖãß×àãåÙÖÃæáÚßÖ¹ÝæÖ
èÒãáÚßØÒÝÖßØåÙà×" !_êÕàã ÔàßåãÒäåÚßØêÒãß åàèÖÝÐàæÞÒêÖÚåÙÖããÖÞàçÖäåÚÔÜ¸
àãÝÖÒçÖÚåÚßáÝÒÔÖ
9 ÎÚßÕÒäÙæęÝÖàãÓàÓÓÚßèÚåÙÒ
äÚßØÝÖäåãÒßÕà×ÃæáÚßÖ¹ÝæÖ%
ÝÚßÖßÎÖÒçÖ\ áÝÒÚßèÖÒçÖ×àãÒ
ÙÖÞèÚåÙÃæáÚßÖ¹ÝæÖ% ÝÚßÖß
ºàßåÚßæÖèÖÒçÚßØ×àÝÝàèÚßØèÖÒçÚßØ
äÖâæÖßÔÖáÒęÖãßºåà%\ ÎÖÒçÖ
åÙÖÙÖÞ×àã\
10 ÎÖÒçÖÒ×ÖèáÚÔÜäà×äÔãÒáêÒãß
åàäÖÔæãÖåÙÖèÖĘ
11 ÉÖÞàçÖåÙÖåàèÖÝä×ãàÞåÙÖ
ÝààÞÑÚØëÒØäåÚåÔÙåÙÖÖßÕäà×åÙÖ
èÖÒçÚßØÒßÕàßÖÚåÙÖãäÚÕÖà×åÙÖ
ÔàßåãÒäåÚßØêÒãßÒååÙÖÖßÕà×
ÖÒÔÙåàèÖÝ
12 ÎÖåĔßÚäÙÓêÞÒÔÙÚßÖèÒäÙÚßØ
ÒäêàæÚßåÖßÕåàèÒäÙåÙÖĔßÚäÙÖÕ
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ÇãÖääºæååàèÖÝäÒáÒãå

Hearth & Home
Figure 1. Warp color order
48 1 11 11 1 1 11 11 1 Lupine Blue (used double)
34 4 4 1 4 4 4 4 1 4 4 N Natural
133 12 109 12 Half Bleach
215 ends total (263 threads total)
Begin and end in a slot.
Figure 2. Inkle draft

Heddled N Natural
Unheddled N Lupine Blue
Read inkle drafts from left to right, as they are threaded. Half Bleach
Pick-up stick setup Weaving sequences

Stick A: 12 up, 1 down, 7 up, 1 down, 66 up, Pattern A (Half Bleach towel): R IGID HE DDL E
1 down, 7 up, 1 down, 12 up. 1. Up.
Stick B: 6 down, [(1 up, 1 down) 3 times, 2 down] 2. Down. Gothic glass
2 times, (1 up, 1 down) 3 times, 53 down, [(1 up, 3. Up. table runner
1 down) 3 times, 2 down] 2 times, (1 up, 1 down) 4. Pick-up stick A. Jennifer E. Kwong
3 times, 5 down. 5. Up.
For the Lupine Blue towel, remove stick B and 6. Down. RESOURCES
replace it as follows: 6 down, (1 up, 1 down) 11 7. Up + pick-up stick B.
ºÒäÒßàçÒÂÖÝÝêĂ¿àèåàÄÒÜÖÒ
times, 53 down, (1 up, 1 down) 11 times, 5 down. 8. Down.
Repeat picks 3–8, ending with pick 6 and then Up. ¿ÖÕÕÝÖÉàÕàßÒÉÚØÚÕ¿ÖÕÕÝÖ
Loom.” YouTube video. February
Pattern B (Natural towel):
20, 2016. youtube.com/watch?
1. Up.
2. Down. v=nyNaq_Vx4eE.
13 Fold hems 1" to the wrong side. 3. Up. ÄÚåÔÙÖÝÝÊêßÖĂ¿àèåàÊÖåÌáåÙÖ
Press. Turn raw edges under to meet 4. Pick-up stick A. Loom for Doup Leno.” Inventive
the fold. Press again. If you are using 5. Up + pick-up stick B. ÎÖÒçÚßØàßÒÃÚęÝÖÃààÞ&#.
Repeat picks 2–5 to desired length, ending with
inkle-band tabs, center them and tuck North Adams, MA: Storey, 2015.
pick 4, then weave Steps 1–3 to balance.
the raw edges into the hems. Sew the
Pattern C (Lupine Blue towel):
hems in place by hand or machine, MATERIALS
1. Up.
catching inkle tabs in the hems. 2. Down. STRUCTURE Monk’s belt and plain
3. Up + pick-up stick B. weave.
Inkle Tabs 4. Down. EQUIPMENTÉÚØÚÕÙÖÕÕÝÖÝààÞ
14 Wind a warp of 19 ends 72" long 5. Up. 12" weaving width; 12-dent heddle;
6. Down.
àßêàæãÚßÜÝÖÝààÞ×àÝÝàèÚßØåÙÖÕãÒĘ äåÚÔÜäÙæęÝÖNote: ¿ÒçÖÒ"ÕÖßå
Repeat picks 1–6, ending with pick 5.
in Figure 2. Note that the Lupine Blue towels use only pick-up heddle? See the heddle conversion
15 ÎÚßÕÒÓÖÝåäÙæęÝÖèÚåÙ¿ÒÝ× stick B. ÔÙÒãåÚßåÙÖÉÖÒÕÖãĀä¾æÚÕÖ
Bleach 16/2 linen. YARNS Warp:%!Ôàęàß#&êÕÝÓ
16 Weave warp-faced plain weave ºàęàßÂÚßØä&¹ÝÒÔÜ ! êÕ
for at least 20". (Malynda wove for the Tabby and plain-weave weft:%!Ôàęàß
the entire warp.) &¹ÝÒÔÜ&#êÕPattern weft:
17 Cut the band from the loom. Chroma twist worsted (70% super-
ÊÖÔæãÖåÙÖÖßÕäÓêÜßàęÚßØåÙÖèÒãá èÒäÙèààÝ ZßêÝàß%êÕØ
or sewing. ball; KnitPicks), Narwhal, Tiki,
18 ÎÖåĔßÚäÙÓêèÒäÙÚßØåÙÖÓÒßÕ Lupine, and Fathoms, 40 yd each.
ÒäêàæÚßåÖßÕåàèÒäÙêàæãĔßÚäÙÖÕ OTHER SUPPLIES 12" wooden dowel
towels. Machine dry until damp-dry. i ÕÚÒÞÖåÖãàãÝÒãØÖãäÞààåÙ
Press. äåãàßØÔàęàß×àãÙÖÕÕÝÖä%!Ôàęàß
19 Cut four tabs 4" long each. Insert works well), 29 yd; pick-up stick or
raw edges into the towel hem, center- 12" ruler; masking tape.
ing along the hem. Sew towel hems, WARP LENGTH 145 ends 85" long
securing tabs in the hem. (allows 7" for take-up, 18" for loom
waste; loom waste includes fringe).
Hearth & Home
ÖßÕäÅàåÖåÙÒååÙÖÕÖäÚØß ÅàåÚÔÖåÙÒååÙÖáÒęÖãßèÖĘÕàÖä
NOTE ON STRING HEDDLES is symmetrical. ßàååãÒçÖÝ×ãàÞäÖÝçÖÕØÖåà
Don’t want to make 57 string heddles? c ÊåÒãåÚßØ×ãàÞÒßàæåÖãÞàäå äÖÝçÖÕØÖÓæåÚäàßÝêèÚåÙÚßåÙÖ
Texsolv heddles can be used in place èÒãáÖßÕ×àÝÕÒäåãÚßØÙÖÕÕÝÖ èÚÕåÙà×åÙÖáÒęÖãßÒãÖÒËÙÖ
of cotton string heddles. You can get under the warp end and put the tabby picks will anchor the
them precut or in a roll and do not need ÕàèÖÝåÙãàæØÙåÙÖÝààáäà×åÙÖ áÒęÖãßèÖĘ
to tie them into loops to use them as ×àÝÕÖÕÙÖÕÕÝÖÉÖáÖÒå×àãÒÝÝåÙÖ b Place the heddle in the up
string heddles. They’re extra sturdy, so warp ends on the pick-up stick. position. Make sure the heddle rod
you can reuse them as string heddles d ÊÖÔæãÖåÙÖäåãÚßØÙÖÕÕÝÖäåà ÚäÔÝàäÖåàåÙÖãÚØÚÕÙÖÕÕÝÖÎÖÒçÖ
for future projects as well. åÙÖãàÕèÚåÙÞÒäÜÚßØåÒáÖàãÒ ÒÔãàääèÚåÙåÙÖåÒÓÓêèÖĘÚß×ãàßå
äåãÚßØäÖÔæãÖÕåàÓàåÙÖßÕäà×åÙÖ à×åÙÖäåãÚßØÙÖÕÕÝÖäßàåÓÖåèÖÖß
ÕàèÖÝÉÖÞàçÖåÙÖáÚÔÜæáäåÚÔÜ åÙÖäåãÚßØÙÖÕÕÝÖäÒßÕåÙÖãÚØÚÕ
7 ÄàßÜĀäÓÖÝåÓÝàÔÜä¼ÒÔÙÓÝàÔÜÚä ÙÖÕÕÝÖ¹ÖÒå
SETTS Warp: 12 epi. Weft: 12 ppi in ÞÒÕÖæáà×áÚÔÜäà×áÒęÖãßèÖĘ c ÎÚåÙåÙÖãÚØÚÕÙÖÕÕÝÖÚß
plain-weave sections, 24 ppi in ÒÝåÖãßÒåÚßØèÚåÙ¹ÝÒÔÜåÒÓÓêáÝÒÚß ßÖæåãÒÝÝÚ×ååÙÖÙÖÕÕÝÖãàÕÒßÕ
monk’s-belt section (12 ppi tabby, èÖÒçÖÚßÒáÒęÖãßÒãÖÒáÚÔÜäËÙÖ áæååÙÖáÒååÖãßèÖ×ååÙãàæØÙåÙÖ
ááÚáÒęÖãß áÚÔÜäà×áÒęÖãßèÖĘÔàßäÚäåà×åÙãÖÖ shed. Tuck the tail into this shed,
DIMENSIONS Width in the heddle:PYFG ãÒßÕàÞÝêÔÙàäÖßÔàÝàãä$áÚÔÜäà× àçÖãÝÒááÚßØÓêÒÓàæå ÃÖÒçÖ
Woven length: (measured under tension ÖÒÔÙäÖÖÎÖÒçÚßØËÚáäÊÖÖ½ÚØæãÖ åÙÖåÒÚÝàßåÙÖåàáäæã×ÒÔÖåÙÖ
àßåÙÖÝààÞ"&` Finished size:ÒĘÖã ×àãáÝÒÔÖÞÖßå åàáäæã×ÒÔÖàßåÙÖÝààÞèÚÝÝÓÖ
èÖåĔßÚäÙÚßØ "" áÝæä ×ãÚßØÖ a ºÙààäÖÒáÒęÖãßèÖĘºæåÒ åÙÖæßÕÖãäÚÕÖà×åÙÖ×ÚßÚäÙÖÕ
at each end. áÚÖÔÖÒÓàæåêÕÝàßØÎÚåÙåÙÖ áÚÖÔÖ¹ÖÒå
ãÚØÚÕÙÖÕÕÝÖÚßßÖæåãÒÝÝÚĘåÙÖ d Place the heddle in the down
PROJECT STEPS ÙÖÕÕÝÖãàÕÒßÕáæååÙÖáÒęÖãß position. Weave across with the
1 ÄÒÜÖäåãÚßØÙÖÕÕÝÖäºæåĔĘê èÖĘåÙãàæØÙåÙÖãÖäæÝåÚßØäÙÖÕ åÒÓÓêèÖĘÚß×ãàßåà×åÙÖäåãÚßØ
äÖçÖß% ÝÖßØåÙäà×äåãàßØÔàęàß ÝÖÒçÚßØÒ èÖĘåÒÚÝ¹ÖÒååÙÖ ÙÖÕÕÝÖä¹ÖÒå
ÌäÚßØÒãÚØÚÕÙÖÕÕÝÖÒäÒåÖÞáÝÒåÖåÚÖ ÙÖÕÕÝÖèÚÝÝáæäÙåÙÖäåãÚßØÙÖÕÕÝÖä e ÉÖáÖÒååÙÚääÖâæÖßÔÖÒÝåÖãßÒå-
ÖÒÔÙÝÖßØåÙà×ÔàęàßäÖÔæãÖÝêÚßåàÒ ×àãèÒãÕÐàæÞÒêáãÖ×ÖãåàÓÖÒå ÚßØåÙÖáÒęÖãßÒßÕåÒÓÓêèÖĘä
ÝààáËãÚÞÖßÕäåàÒÓàæåi èÚåÙÒ×àãÜàãåÒáÖäåãêÓÖÒåÖã ÔÙÒßØÚßØåÙÖáÒęÖãßèÖĘÔàÝàã
2 ÊÖåæáêàæãÝààÞ×àãÕÚãÖÔåèÒãáÚßØ
ÒÝÖßØåÙà×%" àãèÚßÕÒèÒãáà×!"
ÖßÕä%" ÝàßØºÖßåÖãÚßØ×àãÒèÖÒç-
ÚßØèÚÕåÙà×PYFG èÒãáåÙÖÝààÞ
æäÚßØêàæãáãÖ×ÖããÖÕÞÖåÙàÕNote: You
ÔÒßæäÖÒ ÕÖßåÙÖÕÕÝÖ×àãåÙÚä
áãàÛÖÔåÓêæäÚßØÓàåÙàæåÖãÖÕØÖäà×
the heddle as slots.
3 ÎÚßÕÒäÙæęÝÖèÚåÙ¹ÝÒÔÜ%!
Ôàęàß×àãåÙÖáÝÒÚßèÖÒçÖÒãÖÒäÒßÕ
åÒÓÓêèÖĘ¸ÝÝàèÚßØ ×àã×ãÚßØÖ
spread the warp with scrap yarn.
4 ÃÖÒçÚßØÒåÒÚÝ!åÚÞÖäåÙÖèÚÕåÙà×
åÙÖèÒãá×àãÙÖÞäåÚåÔÙÚßØèÖÒçÖ
áÚÔÜä¿ÖÞäåÚåÔÙÚßÓæßÕÝÖäà×!æäÚßØ
åÙÖÝàßØåÒÚÝ
5 ºàßåÚßæÖèÖÒçÚßØæßåÚÝêàæãÖÒÔÙ
" ÖßÕÚßØèÚåÙÒÕàèßäÙÖÕ¹ÖÒåÓæå
ÕàßàåÔæååÙÖèÖĘ
6 ÀßäåÒÝÝåÙÖÙÖÕÕÝÖãàÕ
a Put the heddle in neutral.
ÎàãÜÚßØÚß×ãàßåà×åÙÖãÚØÚÕ
ÙÖÕÕÝÖÒßÕ×àÝÝàèÚßØåÙÖáÚÔÜæá
äÖâæÖßÔÖÒßÕÕÚÒØãÒÞÚß½ÚØæãÖ
pick up the warp ends as
ÚßÕÚÔÒåÖÕäåàãÚßØåÙÖÞàßÒ
pick-up stick or ruler.
b Double-check your picked-up
Hearth & Home
Figure 1. Pick-up pattern WEAVING TIPS

• Wind each of the pattern wefts
Pick-up sequence: A B C B C B A
into a center-pull ball until the color
Up 5 2 3 2 5 1 1 1 repeats. This allows you to choose
Down 18 3 1 1 3 6 1 1 6 a color from the inside or outside of
A B C the ball, giving you more color and
Count slot and hole ends for pick-up. value options.
• Ensure that each monk’s belt block
features one color of significantly
different value. In other words, one
Figure 2. Monk’s belt placement
of the three colors should be much
lighter or much darker than the
other two colors.
• A monk’s belt block and plain-weave
area together should measure about
25 color bars
2" long under tension. Measure the
length of each color block and plain-
weave area as you weave to ensure
your beat is consistent.
• As you progress through the weav-
ing, the outer 18 warp ends will
loosen due to different take-ups. To
increase the tension on the outer
warp ends, place a dowel behind
5"
the heddle and over the ends. Add
weight to the center of the dowel
as required.
hem
ÒĘÖã$áÚÔÜäÎÖÒçÖåÙãÖÖÔàÝàãä
$áÚÔÜäÖÒÔÙÎÙÖßêàæãÖÒÔÙåÙÖ
ÝÒäåáÒęÖãßèÖĘáÚÔÜèãÒáåÙÖ
èÖĘÒãàæßÕåÙÖàæåÖãÞàäåáÒęÖãß
èÒãáÒßÕåæÔÜÚåÚßåàåÙÖäÒÞÖ
äÙÖÕàçÖãÝÒááÚßØÓêÒÓàæå
8 ÎÖÒçÖ#áÚÔÜäà×áÝÒÚßèÖÒçÖèÚåÙ
%!Ôàęàß
9 ÎÖÒçÖ!ÞàãÖÞàßÜĀäÓÖÝå
ÓÝàÔÜäÖÒÔÙäÖáÒãÒåÖÕÓê#áÚÔÜäà×
%!Ôàęàß
10 ¸ĘÖãåÙÖÝÒäåÓÝàÔÜèÖÒçÖ" à×
áÝÒÚßèÖÒçÖæäÚßØ%!Ôàęàß
11 ºæååÙÖèÖĘÝÖÒçÚßØÒåÒÚÝ
!åÚÞÖäåÙÖèÚÕåÙà×åÙÖèÖÒçÖ
¿ÖÞäåÚåÔÙÚßØãàæáäà×!
12 ÉÖÞàçÖåÙÖáÚÖÔÖ×ãàÞåÙÖÝààÞ
ÝÖÒçÚßØ à×æßèàçÖßèÒãáÒåÖÒÔÙ
ÖßÕ×àã×ãÚßØÖ
13 ÎÖåĔßÚäÙÓêäàÒÜÚßØÚßÙàååÒá
èÒåÖãèÚåÙÞÚÝÕÕÖåÖãØÖßå»àßàå
èãÚßØÉàÝÝÚßÒåàèÖÝåàãÖÞàçÖÖéÔÖää
ÞàÚäåæãÖÃÒêėÒååàÕãê
14 ËãÚÞÒèÒêáÒęÖãßèÖĘåÒÚÝä
ËãÚÞÖßÕäà××ãÚßØÖåà ÊåÖÒÞåà
ãÖÞàçÖÒßêèãÚßÜÝÖä
Hearth & Home
èÖÒçÚßØßÖÖÕÝÖàã!ÞÞÝàÔÜÖãÙààÜ
åÒáÖäåãêßÖÖÕÝÖ¾ãÖåÒæäÖÕåÙÖ
¹ÝæÖÓàßßÖåºãÒĘÖãä»ÚÒÞàßÕ ĔßÖ Figure 1. Pin-loom pieces
äÖęÝààÞÆãÚØÚßÒÝËÌÉËÃ¼ĔßÖäÖę
gle
ÝààÞÒßÕÖâæÚÝÒåÖãÒÝåãÚÒßØÝÖĔßÖ
2" d gon rian

äÖęÝààÞ
exa ral t
d
4" h ilate
on
YARNSËàæØÙÃàçÖÊàÔÜ%Z
iam
qu
äæáÖãèÒäÙÞÖãÚßàèààÝZßêÝàß
2" e
!"êÕ!àëÊèÖÖå¾ÖàãØÚÒÐÒãßä
¹ãàèßÊæØÒã&êÕ¹ÚãÔÙ!êÕ 16 4 40 Brown Sugar
ÉàäÖ¾àÝÕ$"êÕÆéÓÝààÕêÕ 24 60 Birch
4 20 Rose Gold
ÄààßÝÚØÙå!êÕÊæÞÞÖãÊÜê
12 30 Oxblood
$êÕ 4 10 Moonlight
DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ 6 18 Summer Sky
ÒßÕèÖåĔßÚäÙÚßØ& % 248 pieces total
P IN L OOM
PROJECT STEPS
LOTUS Mosaic RUNNER 1 ½àÝÝàèÚßØåÙÖÞÒßæ×ÒÔåæãÖãĀä
Greta Holmstrom ÕÚãÖÔåÚàßäèÖÒçÖ!%áÚÖÔÖäÒäÝÚäåÖÕ
Úß½ÚØæãÖÃÖÒçÖåÙÖêÒãßåÒÚÝä×àã Figure 2. Layout
RESOURCES äÖèÚßØåÙÖáÚÖÔÖäåàØÖåÙÖã
Tell Mar Elias, mosaic with chevron 2 ÎÙÚáäåÚåÔÙåÙÖáÚÖÔÖäåàØÖåÙÖãÒä
ÒßÕėàãÒÝáÒęÖãßÇÙàåàÓê äÙàèßÚß½ÚØæãÖäÖÖÉÖÒÕÖãĀä¾æÚÕÖ
Dosseman, own work, CC BY-SA ¾ãÖåÒãÖÔàÞÞÖßÕäĔãäåÒääÖÞÓÝÚßØ
!ÔàÞÞàßäèÚÜÚÞÖÕÚÒàãØè åÙÖÔÙÖçãàßäÚßÔàÝàãÓÝàÔÜäÒßÕåÙÖß
ÚßÕÖéáÙáÔæãÚÕx$%"% ÛàÚßÚßØåÙÖÔàÝàãÓÝàÔÜäåàÖÒÔÙàåÙÖã
ÆßÔÖåÙÖÔÙÖçãàßäÒãÖÒääÖÞÓÝÖÕ
MATERIALS ÒÕÕåÙÖÝàåæä×ÖÒåæãÖäåàåÙÖÖßÕäà×
STRUCTUREÇÝÒÚßèÖÒçÖ åÙÖãæßßÖã
EQUIPMENT#ÕÖØãÖÖÕÚÒÞàßÕáÚß 3 ÌäÖÒåÒáÖäåãêßÖÖÕÝÖåàèÖÒçÖÚß
ÝààÞèÚåÙ äÚÕÖÝÖßØåÙÙÖéÒØàß ÝààäÖÖßÕä
áÚßÝààÞ äÚÕÖÝÖßØåÙÖâæÚÝÒåÖãÒÝ 4 ÎÖåĔßÚäÙÓêØÖßåÝêèÒäÙÚßØÓê
åãÚÒßØÝÖáÚßÝààÞ äÚÕÖÝÖßØåÙäÚëÖ ÙÒßÕÚßÔàÝÕèÒåÖãèÚåÙÞÚÝÕÕÖåÖãØÖßå
¾#!ÞÞÔãàÔÙÖåÙààÜÒßÕ" ÃÒêėÒååàÕãê
Brown Sugar
Birch
Rose Gold
Oxblood
Moonlight
Summer Sky

Hearth & Home
Ò×åÖãèÖå×ÚßÚäÙÚßØ\ " áÝæä 4 Begin weaving, following the
×ãÚßØÖ weaving sequence until you have
worked the beaded section and
PROJECT STEPS additional Brooks bouquet rows.
1 Set up your loom for direct 5 ÎàãÜÚßáÝÒÚßèÖÒçÖ×àã $ ×ãàÞ
èÒãáÚßØÒÝÖßØåÙà×%! àãèÚßÕ the last Brooks bouquet row. When
ÒèÒãáà×ÕàæÓÝÖÕÖßÕä! ãÖèÚßÕÚßØåÙÖäÙæęÝÖÓÖ×àãÖÓÖØÚß-
åÙãÖÒÕäåàåÒÝ%! ÝàßØºÖßåÖãÚßØ×àãÒ ning the second Brooks bouquet
èÖÒçÚßØèÚÕåÙà×PYFE èÒãáåÙÖ section, string another 59 beads onto
loom using your preferred method, åÙÖèÖĘêÒãß
beginning and ending in a hole and 6 Begin the unbeaded Brooks
threading every slot and hole with a bouquet rows, starting with Row B in
doubled end. the down shed and proceeding, in
2 ÎÚßÕÒäÙæęÝÖèÚåÙÒÓàæå"êÕ reverse, through the beaded section,
à×ÕàæÓÝÖÕ%ÔàęàßèÙÚÔÙäÙàæÝÕÓÖ ending with a Row A in the up shed.
enough yardage to work all the ÐàæèÚÝÝÙÒçÖ ãàèäà×æßÓÖÒÕÖÕ
R IGID HE DDL E
beaded Brooks bouquet sections and Brooks bouquet and 9 rows
Silk Diamonds ÙÖÞäåÚåÔÙÌäÚßØåÙÖėàääåÙãÖÒÕÖã with beads.
Table Runner string 59 beads onto the doubled 8/2
Michele Marshall Ôàęàß¸ÝÝàèÚßØ! ×àã×ãÚßØÖäáãÖÒÕ
the warp with scrap yarn.
RESOURCES 3 Leaving a tail 8 times the width DESIGN TIPS
“Do It by Hand.” Easy Weaving with of the warp for hemstitching, weave • Preserve a favorite memory
ÃÚęÝÖÃààÞä, 2020, 111. 6 picks, starting in a down shed and by using ribbon or lace from a
Jarchow, Deborah. ÉÚØÚÕ¿ÖÕÕÝÖ on the left side of the work. Hem- wedding or a special garment for
ÎÖÒçÚßØ¹ÒäÚÔäÒßÕ¹ÖêàßÕ. stitch over 2 ends and 2 weft picks the ribbon embellishment. Using
Ashburton, New Zealand: Ashford using double hemstitching (see reclaimed yarn from a beloved
¿ÒßÕÚÔãÒĘä ÉÖÒÕÖãĀä¾æÚÕÖÎàãÜåÙÖÙÖÞäåÚåÔÙ garment for the scarf body can also
Patrick, Jane. The Weaver’s Idea flat, trying not to draw in the create a memory project.
¹ààÜ. Loveland, CO: Interweave, threads. The top side of the hem- • Using art yarns or bulky handspun
"&# stitch square will be used in finish- for the interlacing would add
ing and needs to have sufficient interesting texture.
MATERIALS room for threading the ribbon.
STRUCTURE Plain weave with Brooks
bouquet.
EQUIPMENT Rigid-heddle loom,
èÖÒçÚßØèÚÕåÙÕÖßåÙÖÕÕÝÖ
äÙæęÝÖ
YARNS Warp:%¸æãàãÒ¼ÒãåÙºàęàß
#êÕÝÓºàęàßºÝàæÕäÃàÕÖß
565 yd. Weft: 8/2 Aurora Earth
ºàęàßÃàÕÖß!êÕNote: Michele
æäÖÕZãÖÔÝÒÚÞÖÕÔàęàßêÒãßÓæå
recommends Aurora Earth as a
substitute.
OTHER SUPPLIES½ÝàääåÙãÖÒÕÖã
6/0 glass beads in coordinating
ÔàÝàãäÄÚÔÙÖÝÖæäÖÕÒÓàæå&ÓÖÒÕä
7–8 mm ribbon, 9 yd.
WARP LENGTHÕàæÓÝÖÕÖßÕä!
åÙãÖÒÕäåàåÒÝ%! ÝàßØÒÝÝàèä# ×àã
åÒÜÖæá% ×àãÝààÞèÒäåÖÝààÞ
èÒäåÖÚßÔÝæÕÖä×ãÚßØÖ
SETTS Warp: 10 epi. Weft: 9 ppi.
DIMENSIONS Width in the heddle:PYFE
Woven length: (measured under
åÖßäÚàßàßåÙÖÝààÞ# Finished size:
Hearth & Home
Weaving sequence
There are 2 beaded Brooks bouquet rows that
make up the pattern for the ribbon interlacing.
1. Row A, 7 beaded Brooks bouquets:

a. Begin with the heddle in the up position.
Move 7 beads close to the working area of
your shuttle.
b. Bring shuttle under 8 upper-shed warp ends and
exit above the weaving. Place heddle in neutral.
c. Counting 4 warp ends to your right, move a bead
along your weft down close to the surface of
the weave and take the shuttle under the 4
warp ends, again exiting above the weaving.
Place the heddle in the up position.
d. Bring the shuttle back into the now open shed
and under the next 8 upper-shed warp ends.
Place the heddle in neutral.
e. Repeat Steps c and d until you have placed 7
beaded Brooks bouquets. End on Step d,
bringing the shuttle out of the open shed
under 5 upper-shed warp ends. Gently beat.
2. Work 6 rows of plain weave.
3. Row B, 6 beaded Brooks bouquets, staggered

Figure 1. Ribbon weaving diagram
7 Finish with 6 picks of plain weave, between the beads on Row A:
then hemstitch as you did at the a. Begin with the heddle in the down position.
Move 6 beads close to the working area of
beginning.
your shuttle.
8 Remove the table runner from the b. Bring shuttle under 11 upper-shed warp ends
loom, leaving 4" of unwoven warp at and exit above the weaving. Place heddle in
ÖÒÔÙÖßÕÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØ neutral.
in warm water with mild detergent. c. Counting 4 warp ends to your left, move a bead
along your weft down close to the surface of
ÃÒêėÒååàÕãêÇãÖääèÚåÙÒèÒãÞÚãàß
the weave and take the shuttle under the 4
9 Trim the fringe to 3". warp ends, exiting above the weaving. Place
10 Thread a tapestry needle with a the heddle in the down position.
26" length of ribbon. Beginning at the d. Bring the shuttle back into the now open shed
double hemstitch that is the tenth and under the next 8 upper-shed warp ends.
hemstitch
Place the heddle in neutral.
stitched square from the right, pass
e. Repeat Steps c and d until you have placed 6
the ribbon under the top leg of the beaded Brooks bouquets. End on Step d,
stitch, leaving a 3" tail. Working from ¹ãààÜäÓàæâæÖååàåÙÖÝÖĘÒßÕäÝÚáåÙÖ bringing the shuttle out of the open shed
this stitch to the right, take the ribbon ribbon under the wrap from top to under 9 upper-shed warp ends. Gently beat.
ÕÚÒØàßÒÝÝêåàåÙÖĔãäå¹ãààÜäÓàæâæÖå ÓàęàÞºàßåÚßæÖëÚØëÒØØÚßØÕàèß
4. Work 6 rows of plain weave.
wrap and slip it under the wrap from the Brooks bouquet wraps until you
ÓàęàÞåàåàá get to the beginning double hem- Repeat steps 1–4 of the sequence 4 times
11 Go to the next row of Brooks äåÚåÔÙÊÝÚáåÙÖãÚÓÓàßåàáåàÓàęàÞ with beads. Then repeat the sequence 2 times
ÓàæâæÖåäÒßÕèàãÜÚßØåàåÙÖÝÖĘäÝÚá through the top leg. Adjust ribbon more, beading Row A, then working Rows B, A,
and B without beads. You should have 3
the ribbon under the wrap, again from tension and center beads on wraps as
staggered rows of unbeaded Brooks bouquets.
ÓàęàÞåàåàá necessary; trim ribbon to match the Optionally, you can work the Brooks bouquet
12 Repeat Steps 10 and 11, follow- ×ãÚßØÖºàæßåàçÖã%ÙÖÞäåÚåÔÙÖäÒßÕ rows as many times as you want into the body
ing the diagram, until you reach the repeat the ribbon threading 5 addi- of the runner. The plain-weave section is
end of the beaded Brooks bouquets. tional times for a total of 6 repeats. measured from the third unbeaded row of
Brooks bouquet.
At that point, take the ribbon to the See Figure 1.
ĔãäåæßÓÖÒÕÖÕ¹ãààÜäÓàæâæÖååàåÙÖ 13 Repeat the ribbon weaving on
ÝÖĘÒßÕäÝÚáåÙÖãÚÓÓàßæßÕÖãåÙÖ the other end of the runner.
èãÒá×ãàÞÓàęàÞåàåàáÒäêàæĀçÖ 14 ¸ÕÕÚåÚàßÒÝÓÖÒÕÚßØàáåÚàßÒÝ
done before. Stop to check your ribbon ÌäÚßØåÙÖėàääåÙãÖÒÕÖãäÝÚÕÖÓÖÒÕ
tension. The ribbon should not pull the over 2 warp ends, pushing the beads
stitches, nor should it be too loose. up to the hemstitch. Michele alter-
Bringing the ribbon over this last nated a beaded fringe with an
wrap, take it to the next beaded unbeaded one.

The
Medieval
Wardrobe
Medieval fashion gets a
makeover with these classic
wearables that take their
inspiration from the past while
remaining timeless.
ILLUMINATION SCARF
¾ÒÝÒÄÔºæãÕê
Earthy wooden beads,
embroidery, and appliqué
work together to create
vines and leaves reminiscent
of the borders in illuminated
pages of the time.
Pattern page 78.
The Medieval Wardrobe
BRONSON LACE CAPELET

Margaret Stump
This comfy garment, slightly
fitted at the shoulders and
woven in a Bronson lace
pattern, is designed to protect a
lady from the night air. The lace
serves to complement the
capelet style with the added
benefit of being incredibly easy
to weave. Each Bronson lace
square takes about a third less
time to weave than a tabby
weave and gives the capelet
a distinctive and comfortable
style. Pattern page 79.

TIMELESS SHORE
TEMPLE VEST
¸ÒãåÙÚÅÖÖÝÒÜãÚäÙßÒß
Inspired by the iconic
seventh-century Mahabalipuram
Shore Temple in Tamil Nadu,
India, Aarthi sought to capture
the captivating beauty of
this ancient building. She created
the motif using the diversified
plain-weave structure, ingeniously
adapted for the rigid-heddle
loom. Pattern page 81.
BAYEUX TAPESTRY BAG

¾ÒÓÚçÒßËÒääÖÝÝ
Imagine a project bag made of
patches of medieval tapestry,
the densely woven fabric that
was used in castles as wall
hangings for decorative and
heat-preserving purposes. For
this project, however, no
original tapestries were
harmed. All patches were
pin-loom woven using a silk/
cotton blend to re-create
the feel of antique tapestry,
resulting in a fabric reminiscent
of the famous Bayeux tapestry.
Pattern page 84.

BEJEWELED HEADBAND
ÁÖßßÚ×Öã¹ÎÚÝÝÚÒÞä
What could be more timelessly
stylish than gold worn in the hair?
Shimmering shades of reds,
blues, and yellows with a touch of
silver and gold evoke images
of gemstones. Inspired by a
beautiful Persian gold hair bead,
this bejeweled headband
would complement any outfit.
Pattern page 85.
SONG OF SPINNING
WHEEL SCARF
Sun Kim
With her scarf, Sun wanted to
celebrate the introduction of cotton
to Korea during the Middle Ages.
She chose a simple plain weave
with a slubby yarn to give the
effect of a homespun cotton/
silk blend yarn. The scarf
is finished with some
traditional knotting to the
fringe to create a piece that
begs you to look closer.
Pattern page 86.

on the loom) 9". Finished size:ÒĘÖã Figure 1. Warp color order
èÖåĔßÚäÙÚßØ é$ áÝæä
46 46 #1705 Vanilla
4½" fringe. 61 33 28 #1707 Latte
107 ends total
PROJECT STEPS
1 Scarf: Set up your loom for direct
Figure 2. Leaf and flower templates
warping a length of 99" (2¾ yd) or
wind a warp of 107 ends 99" long
following the warp color order,
Figure 1. Centering for a weaving
width of 14", warp the loom using
your preferred method.
actual size
2 ÎÚßÕÒäÙæęÝÖèÚåÙèÖĘ¸ÝÝàèÚßØ
6" for fringe, spread the warp with
scrap yarn.
3 Leaving a tail 4 times the width of 4 Leaving at least 6" of unwoven
R IGID HE DDL E
the warp for hemstitching, weave warp at each end for fringe, remove
Illumination Scarf 8 picks. Hemstitch in bundles of 2 the scarf from the loom. Trim fringe
Gala McCurdy using the long tail. Continue weaving to 6". Prepare a twisted fringe using
for 75", then hemstitch as you did in 2 hemstitched bundles in each fringe;
MATERIALS the beginning. one will have 3 bundles.
STRUCTURE Plain weave.
15" weaving width; 7.5-dent heddle;
äÙæęÝÖNote: 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/
"àëºÒäÔÒÕÖÐÒãßä$$ÃÒęÖ
168 yd; #1705 Vanilla, 127 yd. Scarf
weft: Nuna (40% wool/40% silk/
20% viscose; 191 yd/50 g; Mirasol),
·æÚÔÜäÒßÕ $êÕNote: Nuna has
been discontinued. A close substitute
is Liza (70% bamboo viscose/
ZÖéåãÒĔßÖÞÖãÚßàèààÝZäÚÝÜ
180 yd/1.75 oz; Lang Yarns) in #39
Wheat.Embellishment warp: Eco Duo,
#1705 Vanilla, 22 yd. Embellishment
weft: Eco Duo, #1705 Vanilla, 12 yd.
OTHER SUPPLIES Fringe twister
(optional); 60 small wooden beads.
WARP LENGTH Scarf: 107 ends 99"
(2¾ yd) long (allows 7" for take-up,
17" for loom waste; loom waste
includes fringe). Embellishment:
32 ends 24" long (allows 2" for
take-up, 13" for loom waste).
SETTS Warp: 7.5 epi. Weft: 10 ppi.
ËÙÚääÖęÒááÝÚÖäåàÓàåÙåÙÖäÔÒã×
and the fulled embellishment fabric.)
DIMENSIONS Scarf width in the heddle: 14".
Scarf woven length: (measured under
tension on the loom) 75". Embellishment
width in the heddle: 4¼". Embellishment
woven length: (measured under tension
5 ÎÖåĔßÚäÙ Óê ÙÒßÕèÒäÙÚßØ Úß PROJECT STEPS
èÒãÞ èÒåÖã èÚåÙ ÞÚÝÕ ÕÖåÖãØÖßå ÃÒê 1 ½àÝÝàèÚßØ åÙÖ ÞÒßæ×ÒÔåæãÖãĀä
ėÒå åà Õãê ÇãÖää èÚåÙ Ò èÒãÞ Úãàß ÕÚãÖÔåÚàßä èÖÒçÖ #$ äâæÒãÖä Òä ÝÚäåÖÕ
Make the leaves Úß ½ÚØæãÖ ÅàåÖ åÙÒå åÙÖ ! äâæÒãÖä
6 ¼ÞÓÖÝÝÚäÙÞÖßå ÊÖå æá êàæã ÝààÞ ÒãÖ èàçÖß æäÚßØ åÙÖ ¹ãàßäàß ÝÒÔÖ
×àã ÕÚãÖÔå èÒãáÚßØ Ò ÝÖßØåÙ à× ! àã áÒęÖãß ÎÖÒçÖ åÙÖ ÖßÕä à× ÖÒÔÙ
èÚßÕ Ò èÒãá à× ÖßÕä ! ÝàßØ èÚåÙ äâæÒãÖ Úßåà åÙÖ ×ÒÓãÚÔ ÒßÕ åãÚÞ
¼Ôà »æà ÍÒßÚÝÝÒ ºÖßåÖãÚßØ ×àã Ò 2 ÎÚåÙ ãÚØÙå äÚÕÖä ×ÒÔÚßØ æäÖ
èÖÒçÚßØ èÚÕåÙ à× !_ èÒãá åÙÖ ÝààÞ ÕàæÓÝÖ àçÖãÔÒäå äÖÖ ÉÖÒÕÖãĀä ¾æÚÕÖ
æäÚßØ êàæã áãÖ×ÖããÖÕ ÞÖåÙàÕ åà äåÚåÔÙ åàØÖåÙÖã åÙÖ # äâæÒãÖä åà
7 ÎÚßÕ Ò äÙæęÝÖ èÚåÙ ÍÒßÚÝÝÒ ×àãÞ Ò ! " ãÖÔåÒßØÝÖ Òä äÙàèß Úß
ÊáãÖÒÕ åÙÖ èÒãá èÚåÙ äÔãÒá êÒãß ½ÚØæãÖ ÃÖÒçÖ åÙÖ äÖÒÞä àáÖß Òä
8 ÎÖÒçÖ & àã æßåÚÝ êàæ ÔÒß ßà äÙàèß Úß åÙÖ ÕÚÒØãÒÞ åà ÒÝÝàè
ÝàßØÖã ØÖå Ò äÙÖÕ äÙÒáÚßØ ÒÔãàää åÙÖ äÙàæÝÕÖãä
9 ÉÖÞàçÖ åÙÖ ×ÒÓãÚÔ ×ãàÞ åÙÖ ÝààÞ 3 ÆçÖãÝÒá åÙÖ åèà ÞÚÕÕÝÖ äÙàæÝÕÖã
10 ËÚÖ àçÖãÙÒßÕ Üßàåä ÒÝàßØ åÙÖ äâæÒãÖä àçÖã àßÖ ÒßàåÙÖã ÒßÕ äåÚåÔÙ
P IN L OOM
ÖßÕä à× åÙÖ ×ÒÓãÚÔ åà äÖÔæãÖ åÙÖ èÖĘ àß ÓàåÙ äÚÕÖä ÉÖáÖÒå àß äÖÔàßÕ
½ÚÝÝ Ò äÚßÜ àã ÓÒäÚß èÚåÙ Ùàå èÒåÖã ÒßÕ bronson lace capelet äÙàæÝÕÖã ÊÖÖ ½ÚØæãÖ
ÕÚäÙ äàÒá àã ÝÚâæÚÕ ÕÖåÖãØÖßå ½ÚÝÝ Margaret Stump 4 ÆçÖãÝÒá åÙÖ àæåÖã äâæÒãÖä àçÖã
ÒßàåÙÖã äÚßÜ àã åæÓ èÚåÙ ÔàÝÕ ÔÝÖÒß åÙÖ ÞÚÕÕÝÖ äâæÒãÖä ÒßÕ äåÚåÔÙ Úß
èÒåÖã ÀÞÞÖãäÖ åÙÖ ×ÒÓãÚÔ Úß åÙÖ Ùàå RESOURCES áÝÒÔÖ åà ×æãåÙÖã äÙÒáÖ åÙÖ ÔÒáÖÝÖå
äàÒáê èÒåÖã ÍÚØàãàæäÝê ãæÓ åÙÖ ×ÒÓãÚÔ ÊåæÞá ÄÒãØÒãÖå Pin Loom Weaving ÉÖáÖÒå ×àã åÙÖ äÖÔàßÕ äÙàæÝÕÖã
×àã Ò ×Öè ÞÚßæåÖä ÊâæÖÖëÖ àæå èÒåÖã to Go. ¾æÚÝ×àãÕ ºË ÊåÒÔÜáàÝÖ ÊÖÖ ½ÚØæãÖ !
ÒßÕ áÝæßØÖ åÙÖ ×ÒÓãÚÔ Úßåà åÙÖ ÔàÝÕ ¹ààÜä $ 5 ÌäÚßØ Ò ! ÞÞ ÔãàÔÙÖå ÙààÜ ÒßÕ
èÒåÖã ÊâæÖÖëÖ àæå åÙÖ ÖéÔÖää ËÙÖ ÄæäåÒãÕ äÚßØÝÖ ÔãàÔÙÖå ÒÔãàää åÙÖ åàá
×ÒÓãÚÔ èÚÝÝ äÙãÚßÜ ÒßÕ ÓÖÔàÞÖ ĔãÞÖã MATERIALS à× åÙÖ ÔÒáÖÝÖå ÌäÚßØ ¿àßÖêÔàÞÓ
ÉÖáÖÒå ãæÓÓÚßØ åÙÖ ×ÒÓãÚÔ Úß Ùàå äàÒáê STRUCTURE ÇÝÒÚß èÖÒçÖ ÒßÕ ÝÒÔÖ èÖÒçÖ äÚßØÝÖ ÔãàÔÙÖå ÒãàæßÕ åÙÖ ÓàÕê à×
èÒåÖã ÒßÕ ãÚßäÚßØ Úß ÔàÝÕ æßåÚÝ åÙÖ EQUIPMENT ! ÒßÕ äâæÒãÖ áÚß ÝààÞä åÙÖ ÔÒáÖÝÖå
ÕÖäÚãÖÕ ÕÖØãÖÖ à× ×æÝÝÚßØ Úä ÒÔÙÚÖçÖÕ áÒÔÜÚßØ ×àãÜ åÒáÖäåãê ßÖÖÕÝÖä 6 ºãÖÒåÖ åÙÖ áÚÔàå ĔßÚäÙ Òå åÙÖ
ÉÚßäÖ åÙàãàæØÙÝê ÊâæÖÖëÖ àæå ÖéÔÖää # èÖÒçÚßØ ßÖÖÕÝÖ ½#! ÞÞ ÔãàÔÙÖå ßÖÔÜÝÚßÖ ÌäÚßØ ÄæäåÒãÕ êÒãß ÒßÕ Ò
èÒåÖã Úß Ò åàèÖÝ ÊÞààåÙ àæå åÙÖ ×ÒÓãÚÔ ÙààÜ ¼! " ÞÞ ÔãàÔÙÖå ÙààÜ " ÞÞ ÙààÜ äÝ äå ÔÙ äÝ äå ÓÒÔÜ
ÒßÕ ÝÒê ėÒå åà Õãê YARNS ÇãÒÚãÚÖ Êáæß »Â Z èààÝ Úßåà ÓÒäÖ àß ÔÙ äÝ äå ãÖá ×ãàÞ
11 ºæå àæå ! ÖÒÔÙ à× åÙÖ ÝÖÒçÖä "# êÕ Ø ¹ãàèß ÊÙÖÖá ºàÞáÒßê ÒÔãàää åÙÖ ßÖÔÜÝÚßÖ ½ÒäåÖß àĒ ÒßÕ
ÒßÕ ėàèÖãä æäÚßØ åÙÖ åÖÞáÝÒåÖä " ¿àßÖêÔàÞÓ "# êÕ ½ãÚÖßÕä èÖÒçÖ Úß ÖßÕä
½ÚØæãÖ ÎààÝ Z èààÝ & êÕ" Ø 7 ÌäÖ ÕàæÓÝÖ àçÖãÔÒäå åà ÛàÚß åÙÖ
12 ÌäÚßØ Ò ! äåãÒßÕ à× èÒãá êÒãß ¿àÓÓÚÚ % ÄæäåÒãÕ êÕ äâæÒãÖä Úß Ò äÚßØÝÖ ãàè åà ÔãÖÒåÖ Ò
ÒßÕ ÓÒÔÜäåÚåÔÙ äÖÖ ÉÖÒÕÖãĀä ¾æÚÕÖ OTHER SUPPLIES ½ÚçÖ j ØàÝÕ Óæęàßä äåãÚá à× ÚßåÖã×ÒÔÚßØ »à ßàå ÒęÒÔÙ åà
äÙÒáÖ åÙÖ çÚßÖä Úß Ò äÖãÚÖä à× ÝàßØ Ê ĔçÖ\ ÔÝÖÒã àã Óãàèß ÓÒÔÜÚßØ åÙÖ ÔÒáÖÝÖå æßåÚÝ ÒĘÖã èÖåĔßÚäÙÚßØ
äÙÒáÖä ÒÝàßØ åÙÖ äÔÒã× àß ÖÚåÙÖã ÖßÕ Óæęàßä Óæęàß åÙãÖÒÕ äÙÒãá ßÖÖÕÝÖ 8 ¾ÖßåÝê èÖåĔßÚäÙ åÙÖ ÔÒáÖÝÖå ÒßÕ
åÙãÖÒÕÚßØ ÓÖÒÕä Òå ÒÓàæå \ ÚßåÖãçÒÝä DIMENSIONS Finished size: #\ ÚßåÖã×ÒÔÚßØ æäÚßØ åÖáÚÕ èÒåÖã ÒßÕ Ò
¾ÒÝÒ æäÖÕ Ò ÓÖÒÕ åÙãÖÒÕÖã åà ÒÕÕ ßÖÔÜÝÚßÖ !%\ ÒÝàßØ ÓàęàÞ ÙÖÞ ØÖßåÝÖ ÕÖåÖãØÖßå àã èààÝ èÒäÙ Ðàæ
ÓÖÒÕä åà åÙÖ êÒãß ËÙÖ çÚßÖä èÚÝÝ åãÒçÖÝ \ ÝÖßØåÙ èÒßå åÙÖ êÒãß åà äÖå ÒßÕ ÓÝààÞ Óæå
ÒÓàæå " æá ÖÒÔÙ ÖßÕ à× åÙÖ äÔÒã× ßàå ×æÝÝ ÃÒê ėÒå åà Õãê
ËÙÖß áÝÒÔÖ ÝÖÒçÖä ÒßÕ ėàèÖãä äåÚåÔÙ- NOTE: ËÙÚä ÔÒáÖÝÖå èÒä ÔàßäåãæÔåÖÕ 9 ÊåÚåÔÙ åÙÖ ÚßåÖã×ÒÔÚßØ äåãÚá åà åÙÖ
ÚßØ ÒÝàßØ åÙÖ ÔÖßåÖã à× ÖÒÔÙ ÝÖÒ× ÒßÕ èÚåÙ Ò " ÓÒÔÜ èÚÕåÙ # ÒãàæßÕ æßÕÖãäÚÕÖ à× åÙÖ ÔÒáÖÝÖå ÔÖßåÖãÚßØ Úå
ÒÕÕÚßØ Ò ÓÖÒÕ åà åÙÖ ÔÖßåÖã à× ÖÒÔÙ åÙÖ äÙàæÝÕÖãä ÒßÕ ÒááãàéÚÞÒåÖÝê ÒÝàßØ åÙÖ ÝÖĘäÚÕÖ ÖÕØÖ
ėàèÖã ÊÖÖ áÙàåà ÝÖßØåÙ ¸ĘÖã èÖÒçÚßØ ÒßÕ 10 ÇàäÚåÚàß åÙÖ Óæęàßä àß åÙÖ
èÖåĔßÚäÙÚßØ ÖÒÔÙ ĔßÚäÙÖÕ ! èàçÖß àæåäÚÕÖ à× åÙÖ ÝÖĘ äÚÕÖ äáÒÔÚßØ åÙÖÞ
äâæÒãÖ ÞÖÒäæãÖä ÒÓàæå äâæÒãÖ ÒÓàæå \ ÒáÒãå ÇÝÒÔÖ Ò ÓÒÔÜÚßØ
½àÝÝàè åÙÖ ÕÚãÖÔåÚàßä Òä èãÚęÖß åà Óæęàß ÓÖÙÚßÕ ÖÒÔÙ åàá Óæęàß
ÔãÖÒåÖ Ò äÞÒÝÝåàÞÖÕÚæÞ ÔÒáÖÝÖå àã ÔÖßåÖãÖÕ àçÖã åÙÖ ÚßåÖã×ÒÔÚßØ ÊÖè
×àÝÝàè åÙÖ ÚßäåãæÔåÚàßä ×àã ÒÕÛæäåÚßØ Óæęàßä Úß áÝÒÔÖ
åÙÖ äÚëÖ ×àã Ò ÝÒãØÖã àã äÞÒÝÝÖã ÔÒáÖÝÖå 11 ÃÚØÙåÝê åÒÔÜ åÙÖ åèà äÚÕÖä à× åÙÖ
ÔÒáÖÝÖå åàØÖåÙÖã èÚåÙ åÙÖ ãÚØÙå ÖÕØÖ
For crochet abbreviations, visit the Ûæäå åàæÔÙÚßØ åÙÖ Óæęàßä àß åÙÖ ÝÖĘ
glossary at littlelooms.com/crochet ÌäÚßØ ¿àßÖêÔàÞÓ äÚßØÝÖ ÔãàÔÙÖå
-and-knitting abbreviations. äÞÒÝÝ Ýààáä åà ÔÚãÔÝÖ ÖÒÔÙ Óæęàß

×ÒäåÖßàĒãÖÞàçÖåÙÖåÒÔÜÚßØÒßÕ
Figure 1. Pin-loom pieces èÖÒçÖÚßÖßÕä
e) Bronson lace pattern ADJUSTING THE SIZE

so n e )
lac
on av
1 ÄÖÒäæãÖÒÔãàääåÙÖÓÒÔÜà×åÙÖ
(Br n we
Row 1: Plain weave.

Rows 2 and 3: U1, [O5, U1] 5 times. áÖãäàßèÙàèÚÝÝèÖÒãåÙÖÔÒáÖÝÖå
are lai
qu (p
Row 4: Plain weave. »ÚçÚÕÖåÙÖÞÖÒäæãÖÞÖßåÓê ×àãåÙÖ

4" square
Repeat Rows 2–4 four times. ßæÞÓÖãà×äâæÒãÖäßÖÖÕÖÕÚßåÙÖãàèä

2" s
ÒÔãàääåÙÖÓÒÔÜ»ÚçÚÕÖåÙÚäßæÞÓÖã
Óê×àãÖÒÔÙÙÒÝ×à×åÙÖ×ãàßåÀ×åÙÖ
7 60 #35 Honeycomb
67 pieces total ßæÞÓÖãà×äâæÒãÖäßÖÖÕÖÕÚßåÙÖÓÒÔÜ
ÚäÒßæßÖçÖßßæÞÓÖãÒÕÕàßÖäâæÒãÖ
åàåÙÖ×ãàßååàåÒÝäàåÙÒååÙÖåèà×ãàßå
Figure 2. Layout äÖÔåÚàßäà×åÙÖÔÒáÖÝÖåÒãÖÖçÖß
front side back side front 2 ÄÖÒäæãÖÒãàæßÕåÙÖÒãÞäÚß
ÚßÔÙÖäÒßÕÕÚçÚÕÖÓê åàÕÖåÖãÞÚßÖ
åÙÖßæÞÓÖãà×äâæÒãÖäßÖÖÕÖÕÒãàæßÕ
ÖÒÔÙäÚÕÖ
length
3 ÄÖÒäæãÖ×ãàÞäÙàæÝÕÖãÓÝÒÕÖåà
ÖÝÓàèÚßÚßÔÙÖäÒßÕÕÚçÚÕÖÓê åà
ÕÖåÖãÞÚßÖÙàèÞÒßêäâæÒãÖäÝàßØåÙÖ
ÔÒáÖÝÖåäÙàæÝÕÓÖ
4 ÄÒÜÖäæãÖåàÒÝÝàèÒßÖéåãÒ&êÕ
Figure 3. Inner shoulder seam Figure 4. Outer shoulder seam à×êÒãßáÖãÒÕÕÚåÚàßÒÝäâæÒãÖáÝæä
êÒãÕÒØÖ×àãåÙÖÔãàÔÙÖåÖÕØÚßØ
åàÞÒÜÖäæãÖêàæÜßàèèÙÒåÕÚÞÖß-
äÚàßäÒãÖßÖÖÕÖÕ×àãêàæãÙÒßÕèàçÖß WEAVING TIPS
çÖäå×ÒÓãÚÔ To keep track while weaving the back
WARP LENGTH!!ÖßÕä#$ ÝàßØ motif, mark every 10 slots on your back
ÒÝÝàèä" ×àãåÒÜÖæá% ×àãÝààÞ heddle. This is a lifesaver to help you
èÒäåÖÝààÞèÒäåÖÚßÔÝæÕÖä×ãÚßØÖ more accurately pick up your pattern
SETTS Warp:%$"ÖáÚWeft:%$"ááÚ wefts while using a graph.
DIMENSIONS Width in the heddle: h
Woven length: 44". Finished size:ÒĘÖã
èÖåĔßÚäÙÚßØ&` &\ áÝæä\
×ãÚßØÖàßàßÖÖÕØÖ other slot (thread 1 slot, skip 1 slot,
ãÖáÖÒåÒÔãàääèÚÕåÙÊÖÖ½ÚØæãÖ
PROJECT STEPS Step 1.
1 ÊÖåæáêàæãÝààÞ×àãÕÚãÖÔå c ¹ÖÒÞåÙÖèÒãá
èÒãáÚßØÒÝÖßØåÙà×#$ ºÖßåÖãÚßØ×àã d ÊÙÚĘÖßÕà×ËàĒÖÖÉàäÖ%áÝê
ÒèÖÒçÚßØèÚÕåÙà× h èÒãáåÙÖ ×ãàÞÖÒÔÙĔÝÝÖÕäÝàååàåÙÖÒÕÛÒ-
R IGID HE DDL E
ÝààÞ×àÝÝàèÚßØåÙÖèÒãáÔàÝàãàãÕÖã ÔÖßåäÝàåÚßåÙÖÓÒÔÜÙÖÕÕÝÖÊÙÚĘ
Timeless Shore Figure 1. à×åÙÖ¹ÝÒÔÜ»ÚÒÞàßÕÖßÕä
Temple vest a ÇÝÒÔÖåÙÖÓÒÔÜÙÖÕÕÝÖÚßåÙÖ ×ãàÞÖÒÔÙäÝàååàåÙÖÙàÝÖåàåÙÖ
Aarthi Neelakrishnan loom. ÝÖĘÊÖÖ½ÚØæãÖÊåÖá
b ÇæÝÝÒÝààáà×¹ÝÒÔÜ»ÚÒÞàßÕ e ËÙãÖÒÕ×ãàßåÙÖÕÕÝÖÇÝÒÔÖåÙÖ
RESOURCES åÙãàæØÙÖçÖãêäÝàåÇæÝÝÒÝààá ×ãàßåÙÖÕÕÝÖÚßåÙÖÝààÞËÖÞáà-
Jo, Misao, and Kenzo Jo. SAORI: à×ËàĒÖÖÉàäÖ%áÝêåÙãàæØÙÖçÖãê ãÒãÚÝêåÚÖåÙÖÓÒÔÜÙÖÕÕÝÖåàåÙÖ
Self-Innovation through
Free-Weaving. Tokyo: Saorinomori,
çÖäåáÒęÖãß
van der Hoogt, Madelyn. The Best of
Weaver’s: Thick ’n Thin. Sioux
Falls, SD: XRX Books, 2001.
MATERIALS
STRUCTURE»ÚçÖãäÚĔÖÕáÝÒÚßèÖÒçÖ
! èÖÒçÚßØèÚÕåÙåèà"ÕÖßå
ÙÖÕÕÝÖäáÚÔÜæáäåÚÔÜäÙæęÝÖä
Note: Have 12-dent heddles? See the
Heddle Conversion Chart in the
Reader’s Guide.
YARNS Warp:%áÝêÔàęàßÜßÚęÚßØêÒãß
»ÂZÔàęàß&%êÕØ
ÊÙæęÝÖäÅÖÖÕÝÖäËàĒÖÖÉàäÖ
$!êÕÔàęàß!êÕÝÓ
ÊÙæęÝÖäÅÖÖÕÝÖä¹ÝÒÔÜ»ÚÒÞàßÕ
"!%êÕWeft: %áÝêÔàęàßÜßÚęÚßØ
êÒãß»Â¹ÝÒÔÜ»ÚÒÞàßÕ&%êÕ
Ôàęàß¹ÝÒÔÜ»ÚÒÞàßÕ &#êÕ
OTHER SUPPLIES ÄÔºÒÝÝĀäáÒęÖãß
Ç»Ä%"àáåÚàß»àáåÚàßÒÝ
Note: ¸ÒãåÙÚæäÖÕåÙÖçÖäåáÒęÖãßÚß
Ê¸ÆÉÀÞÖßåÚàßÖÕÚßÉÖäàæãÔÖäÓæå
åÙÖÄÔºÒÝÝĀäáÒęÖãßÞÒêÓÖæäÖÕÒä
ÒäæÓäåÚåæåÖÀ×æäÚßØÒÕÛæäååÙÖ
ÕÚÞÖßäÚàßäà×åÙÖèàçÖß×ÒÓãÚÔÒä
ßÖÖÕÖÕåàĔååÙÖáÒęÖãßÚßÔÝæÕÚßØ
ÓæĒÖãÒãÖÒä×àãÔæęÚßØàæå×ÒÓãÚÔ
panels. It’s highly suggested that you
åãêäÖèÚßØÒÞæäÝÚßÓÖ×àãÖèÖÒçÚßØ

Figure 1. Warp color order Figure 3. Weaving sequence ÓÒÔÜÓÖÒÞ×àãÓÖęÖãçÚäÚÓÚÝÚåê
147x Thread each 10/2 hole end from
k-u e U WN
147 1 8-ply Toffee Rose the back heddle through the slot
ps P+
pi c eddl s D O
H le P
k
to the right in the front heddle.
nt dd s U
tic
294 1 1 10/2 Black Diamond
Froth Heddle
441 ends total Thread each 10/2 slot end in the
Both He
back heddle through the hole to
Bo
the right in the front heddle.
Figure 2. Heddle threading diagram
ËÙãÖÒÕÖÒÔÙ%áÝêËàĒÖÖÉàäÖÖßÕ
repeat
Step 1 10/2 Black Diamond
X 8-ply Black Diamond åÙãàæØÙåÙÖäÝàåÕÚãÖÔåÝêÚß×ãàßå
8-ply 10/2 X Insert pick-up stick of the slot in the back heddle. See
Figure 2, Step 3.
2 ÎÚßÕÒäÙæęÝÖèÚåÙ¹ÝÒÔÜ
Back heddle »ÚÒÞàßÕÒßÕÒßàåÙÖãèÚåÙ%áÝê
¹ÝÒÔÜ»ÚÒÞàßÕÊáãÖÒÕåÙÖèÒãáèÚåÙ
äÔãÒáêÒãß
3 ÊåÒãåèÖÒçÚßØ×àÝÝàèÚßØåÙÖ
èÖÒçÚßØäÖâæÖßÔÖÚß½ÚØæãÖ ¼ÒÔÙ
Step 2 áÒęÖãßãàèÚäåÙÚßèÖĘáÚÔÜä
8-ply 10/2
×àÝÝàèÖÕÓêåÙÚÔÜáÒęÖãßèÖĘ
½àãåÙÖáÒęÖãßáÚÔÜáæåÓàåÙÙÖÕÕÝÖä
ÚßåÙÖÕàèßáàäÚåÚàßÒßÕáÚÔÜæáåÙÖ
Back heddle äÝàåáÒęÖãßÖßÕäÒäßÖÖÕÖÕÇæååÙÖ
×ãàßåÙÖÕÕÝÖÚßåÙÖæááàäÚåÚàßèÚåÙ
åÙÖáÚÔÜæáäåÚÔÜ×àãèÒãÕÒßÕèÖÒçÖ
Step 3
A BC A BC Figure 5. Vest schematic
19 3⁄4"
Back heddle 97⁄8"
31⁄2"
31⁄8"
97⁄8"
Front heddle
71⁄8"
391⁄2"
31⁄8"
AB C AB C
19 3⁄4"
A One end from back hole to front slot to the right.

B One end from back slot to slot directly in front. 53⁄4"
C One end from back slot to front hole to the right.
Note: Warp colors are for ease of reading only.
31⁄8"
71⁄8"
97⁄8"
31⁄8"
31⁄2"
Figure 4. Back panel pick-up chart

10 20 30 40 50 60 70 80 Right
selvedge
10
20
30
40
50
60
70
80
90
100
110
Pattern end up Continue background to

Pattern end down left selvedge (147 ends total)
èÚåÙåÙÖåÙÚÔÜèÖĘÎÖÒçÖåÙÖçÖäåÚß ÓÒÔÜØãàæßÕÔàÝàãàßåÙÖÝÖĘÖÕØÖ áãàåÖÔååÙÖèÖĘÉÖÞàçÖåÙÖ×ÒÓãÚÔ

ÒäÚßØÝÖáÒßÖÝçÚäæÒÝÝêÕÚçÚÕÚßØåÙÖ ÌäÖåÙÖÔÙÒãåÚß½ÚØæãÖ!åàÒááãàéÚ- ×ãàÞåÙÖÝààÞ
ÝÖßØåÙÚßåàåÙãÖÖäÖÔåÚàßäãÚØÙå×ãàßå ÞÒåÖåÙÖÒãÖÒ×àãåÙÖÔàÝàãäÙÚĘ 5 ÎÖåĔßÚäÙÓêÙÒßÕèÒäÙÚßØÚß
ÓÒÔÜÒßÕÝÖĘ×ãàßå½àãåÙÖãÚØÙå×ãàßå ºàßåÚßæÖ×àãÒÓàæå \ åÙÖßÓÖØÚß èÒãÞèÒåÖãèÚåÙÞÚÝÕÕÖåÖãØÖßåÃÒê
äÖÔåÚàßãÒßÕàÞÝêáÚÔÜæáåÙÖ åÙÖÓÒÔÜäÖÔåÚàß×àÝÝàèÚßØåÙÖ ėÒååàÕãêÇãÖääèÚåÙÒèÒãÞÚãàß
áÒęÖãßÔãÖÒåÚßØÒ×ÒÕÚßØÖĒÖÔåèÚåÙ áÚÔÜæáÔÙÒãåÚß½ÚØæãÖ!ÎÖÒçÖåÙÖ 6 ºàßäåãæÔååÙÖçÖäåÒÔÔàãÕÚßØåà
åÙÖËàĒÖÖÉàäÖáÒęÖãßÔàÝàãàßåÙÖ ÝÖĘ×ãàßåÝÚÜÖåÙÖãÚØÙå×ãàßå ÖÚåÙÖãåÙÖáÒęÖãß×ãàÞÊ¸ÆÉÀàãåÙÖ
ãÚØÙåÖÕØÖÒßÕÝÖÒçÚßØåÙÖÓÝÒÔÜ 4 ÎÖÒçÖÒ×ÖèáÚÔÜäà×äÔãÒáêÒãßåà àáåÚàßÒÝÄÔºÒÝÝĀäáÒęÖãß

YARNS¿ÒãæÚåà!ZäÚÝÜ!ZÔàęàß ÝÚäåÖÕÚß½ÚØæãÖÃÖÒçÖåÙÖêÒãßåÒÚÝä
ZáàÝêÒÞÚÕÖ!êÕ"ØÅàãà ×àãÒääÖÞÓÝêÎÙÖßæäÖÕàßÒ
ºàÝàã! &êÕºÒåàßÒZ ĔßÖäÖęÝààÞåÙÖ¿ÒãæÚåàèÖÒçÖäÒ
ÞÖãÔÖãÚëÖÕÔàęàß"ÞØ dense fabric, although the silk
ÊÔÙÖÖáÛÖä ÆÝÕÃÒÔÖ!!êÕ ÔàÞáàßÖßåÚßåÙÖêÒãßÙÖÝáäÚåØÝÚÕÖ
OTHER SUPPLIESÅàãÚßäÖÕÖåÖãØÖßå ÖÒäÚÝêÇÒÔÜ×ãÖâæÖßåÝêèÙÖßèàãÜÚßØ
äæÔÙÒä¼æÔÒÝÒßàãÊàÒÜåèà èÚåÙåÙÚäêÒãß
èààÕÖßÓÒØÙÒßÕÝÖä ! 2 ½àÝÝàèÚßØ½ÚØæãÖäÒßÕ ÝÒêàæå
DIMENSIONS Finished size:ÒĘÖãäÖèÚßØ the hexagons. For the exterior shell
ÒßÕèÖåĔßÚäÙÚßØÒÓàæå%\ $ fabric, move the hexagons around
plus handles 4" high. æßåÚÝêàæÙÒçÖÒÔàÝàãÕÚäåãÚÓæåÚàß
åÙÒåêàæÝÚÜÖ
PROJECT STEPS 3 ÎÚåÙãÚØÙåäÚÕÖäåàØÖåÙÖãæäÖåÙÖ
1 Following the manufacturer’s åÒÚÝäåàèÙÚáäåÚåÔÙäÖÖÉÖÒÕÖãĀä¾æÚÕÖ
ÕÚãÖÔåÚàßäèÖÒçÖÙÖéÒØàßäÒä åÙÖÙÖéÒØàßäÚßåàãàèäĔãäååÙÖßÛàÚß
P IN L OOM
Bayeux tapestry bag

Gabi van Tassell
MATERIALS
STRUCTURE Plain weave.
EQUIPMENT Hexagon pin loom,
about 4" side to side (Gabi used the
ÆãÚØÚßÒÝËÌÉËÃ¼ÃààÞĔßÖäÖę
G-6/4 mm crochet hook and
5" weaving needle, or 4 mm locker
ÙààÜåÒáÖäåãêßÖÖÕÝÖ
Figure 1. Pin-Loom Pieces

57 Color 1
55 #130 Old Lace
Figure 2. Outer shell layout Figure 3. Inner lining and pocket layout
Handle fold
Handle fold (pieces folded from bag exterior)
Side fold Side fold
Side fold Side fold
Bottom center fold

Bottom center fold
Pocket lining
Pocket seam
Pocket opening
fold
Handle fold
Handle fold (pieces folded from bag exterior)
rows together to make the outer shell EQUIPMENT ÀßÜÝÖ ÝààÞ ÓÖÝå äÙæęÝÖ
and inner lining. Leave the pocket YARNS Warp: ËÒßÕÖÞ %Z Ôàęàß
opening unsewn. %Z çÚäÔàäÖ%Z ßêÝàß#Z ÒÔãêÝÚÔ
4 ÎÖåĔßÚäÙ åÙÖ ×ÒÓãÚÔ áÚÖÔÖä Óê $ êÕ" Ø ËÒÙÜÚ ÐÒãßä !
soaking in cold water with no-rinse ÎÚÝÕėàèÖãä $ êÕ ËæÓæÝÒã
ÕÖåÖãØÖßå àã Óê äåÖÒÞÚßØ ¾ÖßåÝê ÊáÖÔåãæÞ Z ÞÖãÔÖãÚëÖÕ Ôàęàß
ÓÝàÔÜ Úßåà äÙÒáÖ ÒßÕ Õãê ėÒå ! êÕ" àë ÔàßÖ ÃæßÒåÚÔ ½ãÚßØÖ
5 ¸ääÖÞÓÝÖ àæåÖã äÙÖÝÝ ÎÚåÙ ãÚØÙå ¾àÝÕ $ êÕ " ËæÓæÝÒã ÊáÖÔåãæÞ
äÚÕÖä ×ÒÔÚßØ ×àÝÕ åÙÖ ×ÒÓãÚÔ Òå åÙÖ Z ÞÖãÔÖãÚëÖÕ Ôàęàß êÕ"
ÓàęàÞ ÔÖßåÖãÝÚßÖ ÒßÕ ÛàÚß åÙÖ äÚÕÖä à× àë ÔàßÖ ÃæßÒåÚÔ ½ãÚßØÖ ¾àÝÕ ! êÕ
åÙÖ ÓÒØ åàØÖåÙÖã èÚåÙ èÙÚáäåÚåÔÙ Weft: ËæÓæÝÒã ÊáÖÔåãæÞ ¾àÝÕ
ÅàåÖ åÙÒå åÙÖ ÙÖéÒØàßä àß åÙÖ äÚÕÖ à× % êÕ
åÙÖ èÚÕÖã áÒßÖÝ ÒãÖ ×àÝÕÖÕ ÒßÕ ÛàÚßÖÕ OTHER SUPPLIES ÆßÖ ßêÝàß ÙÒÚã ÖÝÒäåÚÔ
to the hexagons on the narrower side. ÕÚÒÞÖåÖã h êÕ ØàÝÕÔàÝàãÖÕ
6 Fold the pocket opening hexagon äÒåÚß ×ÒÓãÚÔ ×æäÚÓÝÖ ÙÖÞ åÒáÖ äæÔÙ Òä
Úß ÙÒÝ× ÒßÕ äÖÔæãÖ åÙÖ ×àÝÕÖÕ ÙÒÝ× åà ÊåÚåÔÙ ÎÚåÔÙÖãê _ èÚÕÖ ½ãÒê ºÙÖÔÜ
IN K L E L OOM
åÙÖ èãàßØ äÚÕÖ à× åÙÖ ÝÚßÚßØ ×ÒÓãÚÔ straight pins; scissors; ruler or tape
7 Sew the 4 pocket hexagons Bejeweled Headband measure; sewing machine or sewing
åàØÖåÙÖã Òä ÚßÕÚÔÒåÖÕ Úß ½ÚØæãÖ åÙÖß Jennifer B. Williams needle and thread; iron.
áæå åÙÖ ãÚØÙå äÚÕÖ à× åÙÖ áàÔÜÖå àß åÙÖ WARP LENGTH # ÖßÕä #" ÝàßØ ÒÝÝàèä
èãàßØ äÚÕÖ à× åÙÖ ÝÚßÚßØ ÒßÕ èÙÚáäåÚåÔÙ RESOURCES % ×àã åÒÜÖæá ×àã ÝààÞ èÒäåÖ
the pocket piece to the main lining. ¹ãÖää ¿ÖÝÖßÖ Inkle Weaving. SETTS Warp: !% ÖáÚ Weft: 10 ppi.
8 Fold and close the sides in the ÉàÔÜçÚÝÝÖ Ä» ½ÝàèÖã ÍÒÝÝÖê ÇãÖää DIMENSIONS Width: i Woven length:
äÒÞÖ ÞÒßßÖã Òä ×àã åÙÖ àæåÖã ×ÒÓãÚÔ 1975. (measured under tension on the
9 ½àãÞ åÙÖ ÓàęàÞ ÔàãßÖãä ¾ÖßåÝê »Úéàß ¸ßßÖ The Weaver’s Inkle loom) 44". Finished size: ÒĘÖã äÖèÚßØ
áæÝÝ àß åÙÖ ėÒå äÚÕÖä ßÖÒã åÙÖ ÔàãßÖã ÇÒęÖãß»ÚãÖÔåàãê!ÎÒãá i ÚßÔÝæÕÚßØ ÖÝÒäåÚÔ Note:
åÙÖß ãÖ×àÝÕ åÙÖ ×ÒÓãÚÔ ÒÔãàää åÙÖ ½ÒÔÖÕÎÖÒçÖäÃàçÖÝÒßÕ ºÆ ËÙÖãÖ Úä ÖßàæØÙ èàçÖß ÓÒßÕ ×àã
corner and sew along a diagonal line ÀßåÖãèÖÒçÖ åèà ÙÖÒÕÓÒßÕä
Òå åÙÖ ßÖèÝê ×àãÞÖÕ åÚá ½àÝÕ åÙÖ Ă¿ÒÚã ÆãßÒÞÖßå ÆßÖ à× Ò ÇÒÚãă
ÖéÔÖää ×ÒÓãÚÔ æá ÒÝàßØ åÙÖ äÚÕÖä ÄÖåãàáàÝÚåÒß ÄæäÖæÞ à× ¸ãå PROJECT STEPS
(lining) or tug them down toward the metmuseum.org/art/collection 1 ÎÚßÕ Ò èÒãá à× # ÖßÕä #" ÝàßØ
ÓàęàÞ áÒßÖÝ àæåÖã äÙÖÝÝ ÒßÕ äÖÔæãÖ /search/451114. àß êàæã ÚßÜÝÖ ÝààÞ ×àÝÝàèÚßØ åÙÖ ÕãÒĘ
èÚåÙ Ò äÞÒÝÝ áÚÖÔÖ à× åÙãÖÒÕ Figure 1.
10 ½ÚßÒÝ ÒääÖÞÓÝê Ëæãß åÙÖ àæåÖã MATERIALS 2 ÎÚßÕ Ò ÓÖÝå äÙæęÝÖ èÚåÙ
äÙÖÝÝ ×ÒÓãÚÔ ãÚØÙå äÚÕÖ àæå ÊÝÚÕÖ åÙÖ STRUCTURE ÎÒãá×ÒÔÖÕ áÝÒÚß èÖÒçÖ ¾àÝÕ ÎÖÒçÖ ×àÝÝàèÚßØ åÙÖ áÚÔÜæá
lining (wrong side out) into the outer and horizontal stripe pick-up. ÔÙÒãå ½ÚØæãÖ æäÚßØ ÎÚÝÕėàèÖãä ×àã
äÙÖÝÝ ÌäÚßØ åÙÖ ¿ÒãæÚåà êÒãß èÙÚá-
äåÚåÔÙ ÒÝàßØ åÙÖ åàá ÖÕØÖ åà ÛàÚß åÙÖ
lining and the outer shell.Slide the
handle hexagons through the wooden
ÙÒßÕÝÖä ×àÝÕ åÙÖÞ Úß ÙÒÝ× åÙÖß äÖÔæãÖ
åÙÖ äÚÕÖä à× åÙÖ ÙÒßÕÝÖ ÙÖéÒØàßä
àß åÙÖ ÚßäÚÕÖ à× åÙÖ ÓÒØ Òå åÙÖ åàá à×
åÙÖ ÝÚßÚßØ À× åÙÖ ÙÒßÕÝÖä äÝÚÕÖ àĒ
ÖÒäÚÝê äÖè Òß ÖéåãÒ ãàè ÒÔãàää åÙÖ
holding hexagons closer to
the handles.
11 ÌäÖ åÒáÖäåãê ßÖÖÕÝÖ åà èÖÒçÖ Úß
loose ends.
12 Press with a warm iron.

Figure 1. Draft
3x 10x 5x 10x 3x
Heddled Gold 5/2
Unheddled Gold 10/2
Read inkle drafts from left to right, as they are threaded. Wildflower
Figure 2. Pick-up chart

repeat
Pattern end up
Pattern end down
Dot indicates pattern ends
normally up in the shed.
Note: Chart shows pattern ends
in one pattern stripe only. R IGID HE DDL E
Song of Spinning
Wheel Scarf
åÙÖäåãÚáÖäÒßÕÞÒÚßåÒÚßÚßØÒèÚÕåÙ ÙÒÚãÖÝÒäåÚÔ ÊåÚåÔÙÒÔãàääåÙÖÓÒßÕ Sun Kim
à×i ÒßÕáÚÔÜäáÖãÚßÔÙºàßåÚßæÖ \ ×ãàÞåÙÖÙÒÚãÖÝÒäåÚÔÉÖáÖÒåàßåÙÖ
èÖÒçÚßØåàÒåÝÖÒäå ÝàßØàãåÙÖ àåÙÖãÖßÕ RESOURCES
×æÝÝÝÖßØåÙà×åÙÖèÒãáåàÞÒÜÖåèà 6 ÇãÖáÒãÖåÙÖÝÚßÚßØºæåÒáÚÖÔÖà× Ă¹æęàßÂßàåăÐàæËæÓÖçÚÕÖà
ÙÖÒÕÓÒßÕäNote:¸ÝÝáÚÔÜæáÚäÕàßÖ äÒåÚß \ ½àÝÕÒßÕáãÖääÒj êàæåæÓÖÔàÞèÒåÔÙçxÒå»Ëä¸Ñé$ä.
èÚåÙåÙÖæßÙÖÕÕÝÖÕÎÚÝÕėàèÖãä ÙÖÞÒÝàßØÓàåÙ äÚÕÖä½àÝÕÖÒÔÙ Ă¿àèåàËÚÖÆçÖãÙÒßÕÂßàåăÐàæ-
èÒãáÖßÕä äÙàãåÖßÕÕàèß ÒßÕáãÖääÚßáÝÒÔÖ ËæÓÖçÚÕÖàêàæåæÓÖÔàÞèÒåÔÙç
3 ºæååÙÖÓÒßÕàĒåÙÖÝààÞÒßÕÔæå ÃÚßÚßØèÚÝÝÞÖÒäæãÖ% _ x×ÕÜÕ»ÜèÄÚ×.
åÙÖÝààÞèÒäåÖ×ãàÞåÙÖÓÒßÕ 7 ¸ęÒÔÙåÙÖÝÚßÚßØåàåÙÖÙÖÒÕ- Song of Spinning Wheel.ÅÒåÚàßÒÝ
4 ÇãÖáÒãÖåÙÖÓÒßÕÄÒãÜÒßÕ ÓÒßÕºÖßåÖãÒßÕáÚßåÙÖÝÚßÚßØ ¾æØÒÜºÖßåÖãÊÖàæÝÊàæåÙÂàãÖÒ
ÔæåÒ äÖÔåÚàßà×åÙÖÓÒßÕ åàåÙÖÚßäÚÕÖà×åÙÖÙÖÒÕÓÒßÕ
ÇãÖçÖßåãÒçÖÝÚßØÓêÒááÝêÚßØ½ãÒê ÓÖåèÖÖßåÙÖÙÖÞÞÖÕäÖÒÞäèãàßØ MATERIALS
ºÙÖÔÜàãäÖèÚßØÒÔãàääÔæååÚßØÝÚßÖä äÚÕÖä×ÒÔÚßØÊÖèåÙÖÝÚßÚßØÚßáÝÒÔÖ STRUCTUREÇÝÒÚßèÖÒçÖ
ÓÖ×àãÖÔæååÚßØ èÚåÙÒh äÖÒÞÒÝÝàèÒßÔÖOptional: EQUIPMENTÉÚØÚÕÙÖÕÕÝÖÝààÞ
5 ËÙãÖÒÕàßÖÖßÕà×åÙÖÓÒßÕ ÌäÖ×æäÚÓÝÖÙÖÞåÒáÖåàäÖÔæãÖåÙÖ èÖÒçÚßØèÚÕåÙÕÖßåÙÖÕÕÝÖ
åÙãàæØÙåÙÖßêÝàßÙÒÚãÖÝÒäåÚÔèãàßØ ÝÚßÚßØÓÖ×àãÖäÖèÚßØ äåÚÔÜäÙæęÝÖ
äÚÕÖä×ÒÔÚßØæá½àÝÕåÙÖÖßÕàçÖãåÙÖ YARNS Warp:ÄÒÝÝàÔàęàßäÝæÓ
ZÔàęàß$"êÕ%àë¾ÚäåÐÒãß
ÊáÚÔÖ" êÕWeft:ÊÖãàäÚÝÜßàÚÝ
ZãÒèäÚÝÜ"!êÕ "àë
¾ÚäåÐÒãß½Òããà &êÕ
OTHER SUPPLIES ºÙÖãÚäèÖÝãêÞÞ
ÂàãÖÒßáàÝêÖäåÖãèÒéÖÕÔàãÕ
ËàÞÒåàêÕÝÚØÙåÖãÒßÕÔÒßÕÝÖ
WARP LENGTH&ÖßÕä&& `êÕ
ÝàßØÒÝÝàèä" ×àãåÒÜÖæá ×àãÝààÞ
èÒäåÖÝààÞèÒäåÖÚßÔÝæÕÖä×ãÚßØÖ
SETTS Warp:ÖáÚWeft:&ááÚ
DIMENSIONS Width in the heddle:&
Woven length:ÞÖÒäæãÖÕæßÕÖãåÖßäÚàß
àßåÙÖÝààÞ$! Finished size:ÒĘÖã
ÙÖÞÞÚßØÒßÕèÖåĔßÚäÙÚßØ# #$
áÝæä# ×ãÚßØÖ
PROJECT STEPS
1 ÊÖåæáêàæãÝààÞ×àãÕÚãÖÔå
èÒãáÚßØÒÝÖßØåÙà×&& `êÕàã
èÚßÕÒèÒãáà×&ÖßÕä&& ÝàßØ
Centering for a weaving width of 19",
warp the loom using your preferred
method.
2 ÎÚßÕ Ò äÙæęÝÖ èÚåÙ èÖĘ ¸ÝÝàèÚßØ
9" for fringe, spread the warp with
scrap yarn.
3 Leaving a tail 4 times the width of
the warp for hemstitching, weave 4
picks. Hemstitch in bundles of 4, with
" ÖßÕä Úß åÙÖ Ĕãäå ÒßÕ ÝÒäå ÓæßÕÝÖä
4 Weave plain weave for 74".
Hemstitch as you did at the
beginning.
5 Leaving 9" of unwoven warp at
each end for fringe, remove the scarf
from the loom. Trim fringe to 6".
6 ÎÖåĔßÚäÙ Óê ÙÒßÕèÒäÙÚßØ Úß
warm water with mild detergent. Lay
ėÒå åà Õãê ÇãÖää èÚåÙ Ò èÒãÞ Úãàß
Adding Tassels Using
Korean Knots
7 Cut 30 wax cords, 24" each.
8 Connect the wax cords to the
scarf, starting with the third fringe
from one end. Each fringe has two
little spaces formed by hemstitching.
Thread a wax cord in the space on
one side of the fringe and take it out
of the space on the other side around
the fringe. Secure the cords to the
fringe using oedorae knots (see Do It
by Hand and Resources for knotting
instructions with illustrations
and video):
aÎÚåÙ êàæã ÝÖĘ ÙÒßÕ ÙàÝÕ åÙÖ èÒé
cord and fringe parallel to your 9 Make a Lotus Bud knot on each newly formed loop from the
ÚßÕÖé ĔßØÖã Úß åÙÚä àãÕÖã ×ãàÞ åÙÖ end of a wax cord (see Do It by Hand ÓàęàÞ ÒßÕ ÔàßåÚßæÖ Úßåà åÙÖ
top, one end of the wax cord, the ÒßÕ ÉÖäàæãÔÖä ×àã ÜßàęÚßØ ÚßäåãæÔ- ÝÖĘÞàäå ÓàęàÞ äáÒÔÖåÙÚä äáÒÔÖ
ÚßÕÖé ĔßØÖã ÒßÕ åÙÖ ×ãÚßØÖ åÙÖß tions with illustrations and video): was formed when the right loop
the other end of the wax cord just a Fold the cord near one end to end was woven into three spaces.
ÓÖÝàè åÙÖ ÚßÕÖé ĔßØÖã form a loop. f ÇÝÒÔÖ åÙÖ ÔàãÕ àß Ò ėÒå äæã×ÒÔÖ
bÎÚåÙ åÙÖ ÓàęàÞ ÔàãÕ èãÒá Ò b Fold the loop down to form two with one loop end heading toward
loose loop around the fringe, index loops side by side. the top and the other loop end
ĔßØÖã ÒßÕ åàá áÒãå à× åÙÖ èÒé c Move the right loop halfway åàèÒãÕ åÙÖ ÓàęàÞ
cord. Make sure the newly formed over to the left loop and hold g ÇÚÔÜ åÙÖ ÞÚÕÕÝÖ áÒää à× åÙÖ
loop is not tight. with your left thumb and index cord between two end loops and
c Make another loop above the finger. Now there are three start pulling evenly to make the
Ĕãäå Ýààá spaces formed. äÙÒáÖ à× Ò Óæęàß
d Insert the working end of the d Using your right hand, insert h Repeat steps a–h to make a
cord through two loops from the the end of the right loop into the knot on the other end of the cord.
scarf edge toward the end of äáÒÔÖ àß åÙÖ ×Òã ÝÖĘ ×ãàÞ åÙÖ i Trim the extra tail from the
the fringe. ÓàęàÞ ÒßÕ ÔàßåÚßæÖ åà èÖÒçÖ Úßåà ÖßÕä à× åÙÖ Óæęàß Üßàåä ºÒãÖ×æÝÝê
e ÇæÝÝ åÙÖ ÔàãÕ ÒßÕ ÞÒÜÖ Ò Üßàå the next two spaces—up, down, seal the ends of the knots by
around the fringe just below and up. There is one more loop ÞÖÝåÚßØ åÙÖ ÔàãÕ àçÖã Ò ėÒÞÖ Êæß
the hemstitching. formed at the lower part of the used a candle).
f Make another oedorae knot just ÝÖĘ äÚÕÖ 10 Repeat across the scarf, adding a
ÓÖÝàè åÙÖ Ĕãäå àßÖ e Insert the working end into this wax cord on every third fringe.

do it by hand
Photos by Matt Graves

Sun Kim’s Song of Spinning Wheel Scarf uses the oedorae to add an extra decorative element to her fringe.
M A E DE U P :
TRADITIONAL KOREAN KNOTTING
Every weaver knows how essential knots are and how helpful it is to know
ÙàèåàåÚÖÒçÒãÚÖåêà×Üßàåä×àãÕÚĒÖãÖßåæäÖä¿àèÖçÖãÜßàåäÒãÖßĀåÛæäå
×æßÔåÚàßÒÝåÙÖêÔÒßÓÖàãßÒÞÖßåÒÝåààËÙãàæØÙàæå¸äÚÒÚßÔÝæÕÚßØºÙÚßÒ
ÂàãÖÒÒßÕÁÒáÒßÜßàåäÒãÖæäÖÕÒäØÒãÞÖßåÔÝàäæãÖäÒßÕÕÖÔàãÒåÚàß
ËãÒÕÚåÚàßÒÝÂàãÖÒßÜßàęÚßØÜßàèßÒämaedeupÙÒäÒÝàßØÙÚäåàãêÒßÕÞÒßê
çÒãÚÒåÚàßäËãêàæååÙÚäÒääàãåÞÖßåà×äÚÞáÝÖÜßàåäåàØÖåäåÒãåÖÕÚßåÙÖ
ÞÖåÙàÕäà×åãÒÕÚåÚàßÒÝÂàãÖÒßÜßàęÚßØËÙÖêÞÒêÔàÞÖÚßÙÒßÕêåÙÖßÖéå
åÚÞÖêàæßÖÖÕåÙÒåäáÖÔÚÒÝåàæÔÙ×àã×ãÚßØÖåÒääÖÝäëÚááÖãáæÝÝäàãàåÙÖã
àÔÔÒäÚàßäèÙÖßÒäåãÒÚØÙåÔàãÕßÖÖÕäÒÝÚęÝÖäàÞÖåÙÚßØÖéåãÒ
Do it by hand
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 1
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
2
decorative embellishment.
1 ÎÚåÙ åÙÖ ÝÖĘ ÙÒßÕ ÙàÝÕ åèà ÔàãÕä áÒãÒÝÝÖÝ èÚåÙ åÙÖ åÒÚÝä åà
åÙÖ ãÚØÙå ËÙÖ ÓàęàÞ èàãÜÚßØ ÔàãÕ èÚÝÝ ×àãÞ Ò Üßàå ÒãàæßÕ
åÙÖ åàá äåÒåÚàßÒãê ÔàãÕ ÎÚåÙ åÙÖ ÓàęàÞ ÔàãÕ èãÒá Ò ÝààäÖ
Ýààá ×ãàÞ åÙÖ ×ãàßå àçÖã åÙÖ äåÒåÚàßÒãê ÔàãÕ åà åÙÖ ÓÒÔÜ
2 ÄÒÜÖ ÒßàåÙÖã Ýààá åà åÙÖ ÝÖĘ à× åÙÖ Ĕãäå Ýààá
3 ÀßäÖãå åÙÖ èàãÜÚßØ ÖßÕ à× åÙÖ ÔàãÕ åÙãàæØÙ åèà Ýààáä ×ãàÞ
ÝÖĘ åà ãÚØÙå áÒãÒÝÝÖÝ åà åÙÖ äåÒåÚàßÒãê ÔàãÕ ÇæÝÝ åÙÖ èàãÜÚßØ
ÔàãÕ äßæØ
4 ÆáåÚàßÒÝ ÄÒÜÖ Ò äÖãÚÖä à× Üßàåä ÒÝåÖãßÒåÚßØ åÙÖ äåÒåÚàß- 3
Òãê ÒßÕ ÒÔåÚçÖ ÔàãÕä
1
DORAE KNOT (DOUBLE-CONNECTION KNOT)
The dorae knot is essentially two overhand knots in two cords,
locked together. Like the oedorae knot, the dorae knot is
considered a basic knot used to connect threads, connect
knots, or finish knotted cord. The knots can also be used
decoratively either spaced along the length of a cord, either by
2
themselves or between other knots, or they can be knotted
one after another. Using two colors with the latter method will
give you an interesting pattern.
1 ¿àÝÕ åèà ÔàãÕä áÒãÒÝÝÖÝ ÎÚåÙ åÙÖ Ĕãäå ÔàãÕ åÚÖ Ò ÝààäÖ
àçÖãÙÒßÕ Üßàå ÒãàæßÕ åÙÖ äÖÔàßÕ ÔàãÕ
2 ÎÚåÙ åÙÖ äÖÔàßÕ ÔàãÕ åÚÖ Ò ÝààäÖ àçÖãÙÒßÕ Üßàå ÒãàæßÕ åÙÖ
Ĕãäå ÔàãÕ ÒßÕ åÙãàæØÙ åÙÖ Ĕãäå Üßàå ËÚÖ åÙÖ äÖÔàßÕ Üßàå èÚåÙ
åÙÖ äÒÞÖ àãÚÖßåÒåÚàß Òä åÙÖ Ĕãäå ÝÖĘàçÖããÚØÙå àã 3
ãÚØÙåàçÖãÝÖĘ
3 ¸ÕÛæäå åÙÖ àçÖãÙÒßÕ Üßàåä äà åÙÖ åèÚäå à× ÖÒÔÙ Üßàå Úä
ÚßäÚÕÖ åÙÖ àåÙÖã Üßàå ÒßÕ åÙÖ äÚßØÝÖ äåãÒßÕ à× åÙÖ Ýààáä ÒãÖ åà
åÙÖ àæåäÚÕÖ
4 ÇæÝÝ ÓàåÙ ÖßÕä à× ÓàåÙ ÔàãÕä åà åÚØÙåÖß åÙÖ Üßàåä 4

do it by hand
LOTUS KNOT
The lotus knot, also known as the salary knot, is
1
slightly more advanced than the oedorae and the
dorae, but it’s still beginner-friendly. Traditionally used
as decoration and as a button alternative, you can use
lotus knots for decoration or in place of a button for
purse closures or on garments.
1 Fold a cord near one end to form a loop. Fold the loop
down to form two loops side by side. Move the right loop
ÙÒÝ×èÒêàçÖãåàåÙÖÝÖĘÝààáåà×àãÞåÙãÖÖäáÒÔÖä¿àÝÕ
2
åÙÖÓÒäÖà×åÙÖÝààáäèÚåÙêàæãåÙæÞÓÒßÕÚßÕÖéĔßØÖã
2 ¹ãÚßØåÙÖåÒÚÝà×åÙÖãÚØÙåÝààáàçÖãåàåÙÖÝÖĘÀßäÖãå
åÙÖåÒÚÝÚßåàåÙÖÝÖĘÞàäåäáÒÔÖ×ãàÞåÙÖÓÒÔÜÒßÕ
continue to weave into the next two spaces over, under,
and over to bring the tail out the right side. A new loop is
×àãÞÖÕÒååÙÖÝàèÖãÝÖĘ 3
3 ÀßäÖãååÙÖèàãÜÚßØÖßÕÚßåàåÙÚäßÖèÝê×àãÞÖÕÝààá
×ãàÞåÙÖÓÒÔÜàçÖãàßÖäåãÒßÕÒßÕàæååÙÖÓÒÔÜà×
åÙÖÜßàå
4 ÇÝÒÔÖåÙÖÔàãÕàßÒėÒåäæã×ÒÔÖèÚåÙåÙÖåÒÚÝäáàÚßåÚßØ
æáÒßÕÕàèßºÒãÖ×æÝÝêåÚØÙåÖßåÙÖÝààáäèàãÜÚßØåÙÖ
4
extra length out to the tails.
5 ½àÝÕåÙÖåÒÚÝäåàØÖåÙÖãÓÖÙÚßÕåÙÖÜßàåÒßÕåÚØÙåÖß
åÙÖÜßàåÚßåàÒÓæęàßäÙÒáÖÊÖÖáÙàåàÓÖÝàè
6 Option: Pull up on the middle strand to form a
hanging loop before tightening, or trim one end close to
åÙÖÜßàå
Lotus knots are used as occasional decorative finishes within the fringe. Sun trimmed one of the cords close to the lotus knot.
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, to do a loop-de-loop with your needle-
leaving a tail of weft four times the warp holding hand in the air to get a feel for the
width hanging off the side. If you are movement. This is essentially what you’ll
right-handed, leave the tail on the right, and be doing with your thread. If you’re
leave it on the left side if you are left- stitching from right to left, stitch as
handed. Weave an inch of plain weave (or follows: Pull the needle completely
the basic weave structure of the piece). through the fabric going from the bottom
Thread the tail on a blunt tapestry needle. to the top. Reenter the top of the fabric to Backstitch
Pass the needle under a selected group of the right of the original entry point and
ends between the scrap yarn and your pull the needle through the fabric. Position the needle so it will enter one stitch
fabric. Bring it up and back to the starting length to the left of the original entry point, pull it through, and continue in this
point, encircling the ends. Pass the needle manner for the rest of the seam from right to left.
under the same group 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 Whipstitch and Double-Overcast Joins
tail into the selvedge and trim, or incorporate Whipstitch and double overcast are the two most common methods for
it into the edge bundle. If you are hemstitch- joining pin-loom squares. The two methods are similar; double overcast is
ing at the end of a piece, leave a tail on your simply a doubled-up version of whipstitch. To stitch either of these seams,
last pick and use it to hemstitch by encircling start by placing the two edges you want joined, right sides together. The
the same number of warp ends as you did loops will probably be staggered—this is good. Starting at one end on the
at the beginning. 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 top; repeat until
you reach the end.
The double-overcast join is shown here. For
whipstitch, wrap around each group of loops
Simple hemstitch once instead of twice.
SUPPLIERS
Brown Sheep Company, brownsheep.com KnitPicks, knitpicks.com (Beers 44, 53; Mirrix Looms, mirrixlooms.com (Kawachi
(Stump 73, 79). Kwong 59, 66; Robichaux 40, 45). and Chase 30).
Cascade Yarns, cascadeyarns.com Lion Brand Yarn, lionbrand.com Noro, noroyarns.com (van Tassell 75, 84).
(McCurdy 72, 78). (Bagley 43, 51; Bagley 56, 62; Thompson 41,
Scheepjes, scheepjes.com
Cotton Clouds, cottonclouds.com 46; Wood 28).
(van Tassell 75, 84).
(Marshall 61, 70). Lone Star Loom Room, lonestarloomroom
Shuttles & Needles, shuttlesandneedles
Gist Yarn, gistyarn.com (Jablonski 57, 63; .com (Foulkes 42, 48).
.com (Neelakrishnan 74, 81).
Kim 77, 86). Lunatic Fringe Yarns, lunaticfringeyarns
SweetGeorgia Yarns, sweetgeorgiayarns
Hobbii, hobbii.com (Kwong 59, 66; .com (Williams 76, 85).
.com (Holmstrom 60, 69).
Stump 73, 79). Mirasol, mirasolyarn.com (McCurdy 72, 78).
WEBS, yarn.com (Allen 58, 64;
Williams 76, 85).

Reader’s Guide
Heddle Conversion Chart

Working Original Adjusted
Author Project
Ends heddle width heddle width
Malynda Allen Camelot Towels 215 12-dent 1711⁄12" 12.5-dent 17"
Jennifer E. Kwong Gothic Glass Table Runner 145 12-dent 12 ⁄12"
1
12.5-dent 11½"
Gala McCurdy Illumination Scarf 107 7.5-dent 14" 8-dent 13 3⁄8"
Aarthi Neelakrishnan Timeless Shore Temple Vest 441 12.5-dent 23 1⁄8" 12-dent 24½"
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 four of the rigid-heddle projects in this issue.
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 directly 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.
Meet The Designers
hello W E AV E R S!
A mother of nine, MALYNDA JENNIFER E. KWONG is ANTHONY THOMPSON is
ALLEN finds historic textiles a Canadian graphic designer a retired teacher who devotes
fascinating. and illustrator. You can much of his time to pin-loom
find her on Instagram weaving. He enjoys seeing
@jenniferekwong. the work of others and is
amazed by what pin-loom
DEBORAH BAGLEY, of weavers can create.
yarnovations.com, has been MICHELE MARSHALL has
a fiber art designer and been a fiber enthusiast since
instructor since 2011. A her fourth-grade teacher GABI VAN TASSELL
former elementary school taught her to needlepoint. (turtleloom.com) shares the
teacher, she enjoys She posts her explorations in same hometown with Henry
homeschooling her two young sons and weaving at “Mingo’s Corner” VIII’s wife Anne of Cleves,
mountain biking. on Facebook. which presumably accounts
for Gabi’s significant
expertise in medieval pin-loom weaving.
JULIE BEERS lives in GALA McCURDY is a maker
Kansas, loves everything of things, through baking,
textile-related, and taught sewing, knitting, and, most JENNIFER B. WILLIAMS
fashion in Las Vegas, Nevada, recently, weaving. She is a is an avid bandweaver and
for several years. Weaving on wife, mother to 5, grandmother instructor, and the inkle loom
looms of all shapes and sizes of 14, and a special education is her favorite loom. She is
is her latest passion and a teacher in a virtual school. passionate about spreading
way to use up all her handspun yarn that has love for the craft and all of its
accumulated over the years. wonderful possibilities. When
AARTHI NEELAKRISHNAN inspired, she shares some of her ideas on
is a textile designer. She’s her blog, inkledpink.com, and on Instagram
SUSAN J. FOULKES is an part of Shuttles & Needles @inkledpink.
enthusiastic weaver of Weaving Studio (shuttles
narrow bands. She enjoys andneedles.com), where she
researching weaving leads weaving workshops
techniques and narrow bands and crafts innovative projects on various looms.
from around the world.
LAIA ROBICHAUX took up

GRETA HOLMSTROM is
happiest weaving on little
weaving during the first
summer of the COVID-19
BECOME A
little
looms. She resides with her pandemic and fell unexpect-
family on a small farm in the edly but madly in love with
Pacific Northwest and can bandweaving. She currently
looms
be found online at ardor lives in Portland, Oregon, and
weaving.com. loves that the whole area is a paradise for fiber
artists. When not weaving, she is probably
knitting, spinning, or catering to the demands of
CHRISTINE JABLONSKI is
the director of content and
her two adorable cats. DESIGNER!
customer experience at
Gist Yarn. MARGARET STUMP has Sign up today to receive
had a long-term love affair
with all sizes and types of submission calls and
pin looms. She finds that, submit your ideas at
SUN KIM began weaving like Legos, pin-loom squares
four years ago, although she can be used to create littlelooms.com/subcall.
has been knitting and making almost anything. She hangs out at pinloom
wire jewelry for a long time. weaving.com.

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ALASKA Lambspun of Colorado MAINE M I N N E S OTA

1101 E Lincoln Ave Belfast Fiber Arts Bella’s Flock
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(800) 558-5262 Belfast, ME 04915 Suite 200
lambspun.com (207) 323-5248 Buffalo, MN 55313
belfastfiberarts.com (612) 741-6437
Longmont Yarn Shop https://bellasflock.com
454 Main St. Halcyon Yarn
Longmont, CO 80501 12 School St Weavers Guild of Minnesota
(303) 678-8242 Bath, ME 04530 1011 Washington Ave S, #350
Untangled Yarn & Fiber www.longmontyarn.com (800) 341-0282 Minneapolis, MN 55415
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Ketchikan, AK 99901 Piney Creek Yarn weaversguildmn.org
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Ketchikan’s key stop for fiber art-
Centennial, CO 80016 Black Sheep Yarn Shop MISSOURI
(303) 953-1967 9602 Deereco Rd Hillcreek Yarn Shoppe
ists. Ashford dealer. Looms, wheels, www.pineycreekyarn.com
supplies, hand-dyed yarn local and Timonium, MD 21093 4093 E. Ketterer Rd
sourced directly from dyers. Open (410) 628-9276 Columbia, MO 65202
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Knit & Stitch hillcreekyarn.com
15 Stone St Cloverhill Yarn Shop
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Prescott, AZ 86301 100622 Country Rd 16
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fibercreekprescott.com (800) 826-9136
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Sunrise, FL 33351 2728 Augustine Herman Hwy
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(520) 290-3738
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Fine Line Creative Arts Center M A S S AC H U S E T TS theplumnelly.com
37W570 Bolcum Rd. The Fiber Loft
St Charles, IL 60175 9 Massachusetts Ave Prairie Hand Knits
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fineline.org (978) 456-8669 North Platte, NE 69101
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(480) 557-9166 thefiberloft.com (308)534-4272
tempeyarnonline.com INDIANA
Little Shop of Spinning WEBS – America’s Yarn Store NEW HAMPSHIRE
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Alamitos Bay Yarn Company 35 Center St
(260) 433-3985 (800) 367-9327 Box 384
174 N. Marina Drive yarn.com
littleshopofspinning.com Wolfeboro Falls, NH 03896
Long Beach, CA 90803
(562) 799-8484 (603) 531-1641
yarncompany.com
Spinnin Yarns MICHIGAN www.FiberAlchemyNH.com
145 N Griffith Blvd Heritage Spin & Weaving
Griffith, IN 46319 47 E Flint Harrisville Designs
Hands On Knitting Center (219) 924-7333
912 New York Street, Suite A Lake Orion, MI 48360 PO Box 806
spinninyarns.com (248) 693-3690 Harrisville, NH 03450
Redlands, CA 92374
(909) 793-8712 heritagespinning.com (603) 827-3996
handsonknittingcenter.com KANSAS harrisville.com
Yarn Barn of Kansas Leelanau Fiber
Wildfiber Studio 930 Massachusetts 310 N. St. Joseph St. NEW JERSEY
1453 14th St, Suite E Lawrence, KS 66044 PO Box 52 The Spinnery
Santa Monica, CA 90404 (800) 468-0035 Suttons Bay, MI 49682 33 Race St
(310) 458-2748 yarnbarn-ks.com (231) 271-9276 Frenchtown, NJ 08825
wildfiberstudio.com www.leelanaufiber.com/ (908) 996-9004
K E N T U C KY thespinnery.square.site
The Hen House Quilt Shop
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211 S Cochran Ave
Blazing Star Ranch 1584 Wellesley Dr Woolbearers Yarns
Lexington, KY 40513 Charlotte, MI 48813 90 High St
3424 S Broadway (517) 543-6454
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lshcreations.com thehenhousemi.com (609) 914-0003
(303) 514-8780
blazingstarranch.com woolbearers.com
The Woolery Woven Art
325B Grove St
Entwine Studio Ste 1A, 859 E Main St
East Lansing, MI 48823
N E W YO R K
4003 North Weber St Frankfort, KY 40601 CeCe’s Wool
woolery.com (517) 203-4467
Building H 2080 Western Ave
wovenartshop.com
Colorado Springs, CO 80907 Suite 138
(719) 761-1211 Guilderland, NY 12084
entwinecos.com (518) 779-9985
www.ceceswool.com
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137 E Broadway Eugene Textile Center 4102 Manchaca Rd Gaspereau Valley Fibres
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Spinning Room of Altamont Homestead Fiber Crafts
190 MAIN ST / PO BOX 427 Little Hawk Yarns 720 Dry Creek Road UNITED KINGDOM
Altamont, NY 12009 544 SE Main Street Waco, TX 76705 Coorie Creative
(518) 861-0038 Roseburg, OR 97470 254-300-2436 82 Murray Place
spinningroom.net (458) 262-0046 homesteadfibercrafts.com Stirling, Scotland, UK, FK8 2XB
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Knitting Addiction P E N N S YLVA N I A 2357 NW Military Hwy
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knittingaddiction.com (215) 794-3020 01483 565 800
twistknittingandspinning.com U TA H www.georgeweil.com
Silver Threads & Golden Needlepoint Joint
Needles Weaver House 241 25th St The Handweavers Studio &
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Franklin, NC 28734 Philadelphia, PA 19148 (801) 394-4355 140 Seven Sisters Road
(828) 349-0515 215-278-2504 needlepointjoint.com London, N7 7NS
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Studio 256 S O U T H C A RO L I N A Northwest Yarns
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Studio256.online (864) 810-4747 nwyarns.com Scotland, UK, KA23 9GA
loftyfiber.com by appointment only
The Tail Spinner +44 (0) 7930 657900
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Yankton, SD 57078 (715) 284-4590
(605)689-3999 fibergarden.com Advertiser Index
eweknitit.com
Icon Fiber Arts Ashford Handicrafts LTD............. 18–19
TENNESSEE 590 Redbird Cir
Smoky Mountain Spinnery De Pere, WI 54115 Bluebonnet Crafters......................... 35
466 Brookside Village Way Ste 8 (920) 200-8398
Gatlinburg, TN 37738 iconfiberarts.com Brown Sheep ................................... 13
Yadkin Valley Fiber Center
321 East Main Street (865) 436-9080
Elkin, NC 28621 smokymountainspinnery.com W YO M I N G Eugene Textile Center....................... 39
our mailing address: Halcyon Yarn.................................... C2
Post Office Box 631 Sunshine Weaving and Fiber
Elkin, NC 28621 Arts
(919) 260-9725 327 W. Main Street The Harrisville Designs, Inc..................... 13
yadkinvalleyfibercenter.org Lebanon,TN 37087 Fiber
Fostering creativity in the fiber arts 615-440-2558 House Heritage Spinning & Weaving ............ 5
with beginning to advanced classes, sunshineweaving.com
The Fiber House Leclerc Looms .................................... 5
Master Weaving Program and guest 146 Coffeen Ave
instructors throughout the year. Walther Handmade Sheridan, WY 82801
316 Trenton Street Louët BV.......................................... C4
Vendors for Schacht, Ashford, and
Yummi Yarns Harriman, TN 37748
Kromski wheels and looms. Supplies
17 West Main Street, (865) 432-1044
for all fiber arts needs. Individual
Lunatic Fringe Yarn .......................... 13
Burnsville, NC 28714 www.waltherhandmade.com
and group classes. See our website
(828) 536-5193 for more.
Michigan Fiber Festival .................... 39
www.yummiyarns.com Yarn Patch (877) 673-0383
68 N Main Street,
thefiberhouse.com Schacht Spindle Co., Inc. .................... 5
Crossville TN 38555
OHIO (931) 707-1255 The Fiber House ............................... 95
Gwen Erin Natural Fibers www.yarnpatch.com AU S T R A L I A
44 N Main St The Lucky Ewe
Hubbard, OH, 44425 Treenway Silks ................................. 13
50 High Street
(330) 269-9511 T E XA S Oatlands, TAS 7120
gwenerin.com Bluebonnet Crafters Untangled Yarn & Fiber .................... 94
402 149 404
306 Thousand Oaks Loop
www.theluckyewe.com/ Vermont Weaving Supplies .............. 39
San Marcos, TX 78666
bluebonnetcrafters.com
turtleloom.com Yadkin Valley Fiber Center ................ 95

Project Index
PERUVIAN PILLOW BOOKMARKS OF KELLS DRAGON FLIGHT

PAGES 41, 46 PAGES 42, 48 PAGES 43, 51
ESTONIAN FOLK BANDS HERE BE DRAGONS! TASSELED MEAD COZY GEMSTONE NIGHTSTAND RUNNERS
PAGES 40, 45 PAGES 44, 53 PAGES 56, 62 PAGES 57, 63
SILK DIAMONDS
CAMELOT TOWELS LOTUS MOSAIC RUNNER TABLE RUNNER
GOTHIC GLASS TABLE RUNNER BRONSON LACE CAPELET

PAGES 59, 66 PAGES 73, 79
TIMELESS SHORE
ILLUMINATION SCARF TEMPLE VEST
PAGES 72, 78 PAGES 74, 81
SONG OF SPINNING
BEJEWELED HEADBAND BAYEUX TAPESTRY BAG WHEEL SCARF

Little Looms - Summer 2024

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Krokbragd on the Rigid-Heddle Loom: 2 Ways to Weave It

EASY WEAVING WITH little looms

Love Your Weaving with the Lisa Loom

PLAID ON PIN LOOMS? It’s Possible!

Subscribe today at longthreadmedia.com

Reserve Your Spot!

Deepen your passion for

Spend four days expanding

Tom Knisely &

Learn More at SpinOffRetreat.com

41 Peruvian Pillow 73 Bronson Lace Capelet

42 Bookmarks of Kells 74 Timeless Shore Temple Vest

43 Dragon Flight 75 Bayeux Tapestry Bag

44 Here Be Dragons! 76 Bejeweled Headband

77 Song of Spinning Wheel Scarf

57 Gemstone Nightstand Runners

59 Gothic Glass Table Runner

61 Silk Diamonds Table Runner 25 Gear Guide: Fancy Findings

93 Meet the Designers

9 How to Make a Lucet Braid

14 String Theory: Weaving Krokbragd on a

20 Reclaiming Fashion: Lessons Learned from History

28 Excerpt: Crazyshot! Wearables Domino Scarf

30 Tapestry Weaving: Irregular Hatching

36 Cotton, Hanbok, and the Inspiration for a Scarf

little loomsS u m m e r 2 0 2 4 3

WHEN I WAS IN FOURTH GRADE,

USA Made | Shop at SchachtSpindle.com

May we build one for you?

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Photo Courtesy of The Cleveland Museum of Art

ËÙÖĔãäååÚÞÖÀåãÚÖÕæäÚßØÒ Archaeological finds, including hollow or carved bones

Lucets and lucet braiding, surpris-

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Photo by Ann Swanson

Top Left: An example of an antler pendant

Despite its unknown history, lucet braid is an easy,

Lucets are simple tools that allow you to

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First, a disclaimer. Though this may

Photos by Catarina Ferreira unless otherwise noted

A FEW FINAL TIPS

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Thro ugh reproductions of ancient fiber tools.

Photos by Matt Graves

Tools from the Past

Quality Wool Yarns

Designed and Woven

HDFK NLW VXSSRUWV UHVHDUFK IRU D FXUH IRU F\VWLF ILEURVLV

little loomsS u m m e r 2 0 2 4 13

Photo by Matt Graves

Early in my weaving journey, I started weaving krokbragd on my rigid

Krokbragd is a weft-faced twill I use two setup methods to weave 2 ÂÖÖáÚßØåÙÖÙÖÕÕÝÖÚßåÙÖÕàèß

Figure 1. Method One

little loomsS u m m e r 2 0 2 4 15

(no, not you—your weaving!). Lice

Figure 2. Method Two

DESIGN FUN MULTICOLORED WEFTS weaver more control over color

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