The older I get, the more I choose to weave with thin fibers, such as fine cotton, linen, and silk because the results are more interesting for me. I also love to combine weave structures because that also produces interesting results.
I'm not advocating that everyone clean up their weaving studio, far from it. My point is about making your studio someplace that you want to be.
Selvedges are always a concern to weavers, even though most non-weavers would never notice what we consider to be terrible flaws.
Not everything in your weaving studio needs to come from a weaving or yarn store. Here is a list of items in my studio from the hardware store:
One of the best parts of working for Handwoven is getting to know and learn from Interweave founder Linda Ligon.
Don’t ask me what 5 yards looks like unless I’m winding a warp.
In her Traditions article for the May/June 2017 issue, Elisabeth Hill muses on the metaphor of the unrbroken thread and how, through our art and our craft, we are all connected as weavers around the world and throughout time.
The temple will keep the warp threads parallel to each other so that the reed doesn’t rub on them.
How do you determine sett for boundweave, a weft-faced weave?