Most projects need some sort of finishing touches, whether it is knotting, twisting fringe, hemming, or clipping and sewing in ends. And even then, an experienced weaver will tell you that the project still isn’t finished.
I’ve taught a fair amount of beginning weaving on rigid-heddle and floor looms, and I’ve noticed that many beginners are self-critical about their selvedges and beat.
Kicking the weaving rock means trying new things without a really firm plan in mind. About 15 years ago, I wove a striped rep weave runner.
It might just be a learning path, otherwise known as a mistake, but there could also be times when one path leads to another, and you find yourself weaving something you weren’t expecting. That’s when the quirks of handweaving take control.
For this doublewidth Harrisville wool blanket from the Best of Handwoven: Doubleweave, Doublewidth! eBook, I decided to push the time I had with the warp at the loom by designing in the reed.
Kathleen Farling, like many weavers, loves samples, especially guild samples. One such sample spoke to her and led her to design and weave her Centuries in the Making Runner.
If your family doesn’t have a tartan of its own, have no fear; you can weave the Dunlap Tartan Stole based on Nancy Dunlap’s interpretation of her husband’s family’s tartan.
For A Scarf for a Man from Three Centuries, Allen picked an old weave structure (4-shaft bumberet) and then wove a scarf using yarn he dyed with traditional techniques and modern commercially dyed yarn.
Sometimes two things come together and make a design come to life. That’s what happened when Angela K. Schneider looked at a rigid-heddle warp she had designed for a class and saw the colors of Mardi Gras. Her rigid-heddle Mardi Gras scarf came to life!
Lucienne Coifman wowed us with her Wavelets Rep-Weave Table Runner woven on 8-shafts. Rep weave as we know it has straight lines, but Lucienne, through a smart use of thin weft picks, was able to break those lines and make them wavy. You might think you k
