It isn’t that easy to have looms in two places unless you are willing to create two weaving studios.
Happy New Year, fellow weavers! I don’t know about you, but I like to take the first week of any new year to think about what I’d like to accomplish in the coming months.
Just about anyone is capable of winding a warp and weaving a scarf on a rigid-heddle loom, but weaving a wonderful scarf takes thought, planning, and sometimes a fair amount of patience. This is why I love Loom Theory: Rigid-Heddle Scarf Collection.
In 2018, Handwoven associate editor Christina Garton and I worked together to complete five issues of the magazine. We didn’t, by any stretch of the imagination, do it alone. We did it with the help of a whole bunch of great people.
We were pretty proud to debut Jennifer Moore’s Doubleweave on a 4-Shaft Loom last year. Now we’re even prouder to launch her follow-up, Block Doubleweave on 8 Shafts.
Pattie Graver wove her Blending This and That Scarves for the January/February issue of Handwoven using a subdued palette that would go with just about any outfit.
An elegant M's and O's infinity hood that will make you feel like a Hollywood starlet when it’s on and won’t have messed up your hair when you take it off.
Yes, weavers have access to a lot these days, but they don’t have nearly as many choices as handspinners. Handspinners who weave can create the most personal of textiles and weave that which no one else can.
For me, there’s something cathartic about knowing that I can try anything I want to and it won’t damage the end result, as the ultimate goal of sampling is to learn what to do, or more often, what not to do when weaving.
I am a knitter as well as a weaver, and I’ve developed a freeform weaving style that allows me to escape the constraints of knitting to create funky—and wearable—infinity scarves that use up the little bits of yarn that accumulate over time.