Jim Ahrens is the “A” in AVL Looms. He taught production weaving at Pacific Basin Textiles in Berkeley when I had finished a year there learning to weave. We were shocked by the things he taught us and they are the bones of all my books. I apprenticed with him and two others for a year at the new production studio there. Early on, once I offered to thread a loom and he said, “You don’t make mistakes do you?” (I thought everyone made mistakes.) Then he proceeded to teach some of his tricks for threading without mistakes. He liked to thread his looms at 125 epi, etc. He got comfortable, turned on the radio, and happily went to work. After being comfortable, here are his three tricks. You can try them or not, they are not required for threading.
Here is how he arranged the lease sticks for threading so it was easy to see the cross that keeps the threads in order. This was new to us students. But it’s how I taught my students and use myself. 125 epi is nothing to me—it’s easy to see the cross and you just go along.
Trick #1: Put some tension on the warp threads so they are taut when they are in the lease sticks making it easier to see which is the next thread. I use a wrench that lives in my apron pocket at all times. Anything of similar weight would work. My wrench weighs 3 ½ ounces. I almost never use it for any other purpose, but I did need it to escape a locked bathroom stall, once, at a workshop where I was teaching.
Put a loop of string on the weight and add a rubber band onto the loop with a lark’s head knot. Then, separate a bundle of cut warp threads about the thickness of a medium-sized carrot and with another lark’s head, tie the rubber band onto the bundle near the end of the warp. The weight hangs straight down from the lease sticks, behind the shafts. When you select a strand to thread next, you pull It out of the weighted bundle.
Trick #2: Get out the next 4 heddles, place them in the order to be threaded, and reach through the shafts with your hand curved like a claw. Grasp the 4 threads needed between your fingers as shown, and then, inserting your hook into the heddles one-by-one, hook the correct thread and pull it through. I think it helps me thread accurately when I use this technique. First, I concentrate on the heddles and get them out. Then, I concentrate on the cross and put the threads between my fingers. Then, I concentrate just on putting the threads through the heddle eyes.
Trick #3: Watch for consistencies (and inconsistencies). For example, you might notice that when you thread the heddles on shaft four, the warp thread is always on the top of the lower lease stick. If that suddenly isn’t the case, look to see if you made a mistake—either in selecting the correct warp thread or the correct heddle. In the illustration here, the threads on shaft 4 are always over the top lease stick.
Jim always recommended using straight threading hooks.
Generally, the chain keeps most warp threads organized enough so that they don’t tangle. However, some yarns (for example, linen) can be quite “jumpy” or springy and tangle easily as can a large number of fine, silky threads. I recommend winding the warp on a kitestick instead of making it into a chain so that the threads are always on tension and thus, can’t tangle. In case of a large warp made in sections, you would have each section on its own kitestick rather than in several chains.
I’ve used the illustrations and text from my book, Weaving for Beginnerss. The trick is to hold the stick with your left hand, in the middle, where the warps are accumulating. See Fig. 85. Your left hand should rotate the stick so you can easily wind above and below the lark’s head knot with your right hand. (Fig. 89) The motions are a lot like using a nitty noddy to make a skein.
The warp will be wound on a stick in the same way a kitestick is wound. Use a stick approximately 1 ½” X ½” X 12” or longer. This is not a precise measurement. In a pinch, a ruler or a yard stick will do. It isn’t necessary to wind the stick precisely. The instructions look harder to follow than they really are. Winding on the stick is a lot like using a niddy noddy to wind a skein. Follow the instructions any way you can at first, and master the technique another time. What is important is that the warp is wound up onto a stick so the threads can’t tangle.
Getting started. With the loop at the end of the warp, form a lark’s head knot over the tick. Be sure to include the loops of the first and last warp threads when you begin to form the lark’s head knot. Look carefully where my forefinger and thumb are in Figure 82 To form the lark’s head knot, reach with your finger and thumb through the loop and grasp a portion of the warp coming from the warping board. Make a new loop out of the warp itself by pulling some of the warp through the loop and put the newly formed loop onto the stick. Pull up as big a loop as you need to go on the stick. It’s a little like crocheting. Immediately pull the warp against the lark’s head knot to make it firm.
Begin to wind the kitestick with the warp going off to the left, and the loop of the knot behind the warps as in Figure 84. If the loop of the knot is in front of the warps, turn the stick so that it’s away from you and behind the warps. You’ll be slowly and firmly winding the warp in the direction that tightens the lark’s head knot against the stick. This ensures that the warp won’t come loose on the stick.
Take the warp with your right hand around behind the stick, as in Figure 85.
Then, take the yarn below the knot, and bring it up diagonally in front of the stick. See Figure 86.
Now, take the warp to the front, diagonally downward, toward the bottom of the knot, making the other half of an X. See Figure 87.
With your left hand, rotate the stick a quarter turn to the left, to the next facet of the stick. This direction keeps the warps tight. You’ll be turning your left hand until the palm faces you, as in Figure 88. Remember the trick: Hold the stick in the middle, where the warps are accumulating.
Make and X on the new facet of the stick as in Figures 88 and 89.
After you have completed the X on that facet of the stick, take the warp behind the stick in preparation for turning the stick a quarter turn and beginning a new X on the third facet of the stick. See Figure 90.
Continue this process (Figures 85-90) of making an X on a facet of the stick, turning the stick a quarter turn to the next fact, making an X, and so on. When the entire warp is wound, you can just lay the end of the warp on to of the bundle on the stick or tie it to the bundle if that seems more secure.
Many of my weaving friends never learned to make 2 crosses on the warping board. Instead, I think that they stopped to make ties and tied off each and every group of threads for the raddle. I taught my beginners to make a cross with groups of threads for the raddle as well as the familiar thread-by-thread cross I think every weaver makes to keep the warp threads in order. It’s easy to do without stopping while winding the warp on the pegs. At one end of the warp you make the thread-by thread cross and at the other end you make a second cross with groups of threads on each side of the pegs. Then loading the raddle is quick and easy and accurate as well. The illustrations are from my book, Weaving for Beginners. And there is more text, of course in the book, as well as many more illustrations of the warping process. Note that there is a comprehensive chapter on warping front-to-back in the book as well. But this post is for the “back-to-fronters” because a raddle is used.
Here is what the cross for the raddle will look like on the pegs on the warping board (or warping reel). The number of threads in each group depends upon the sett (epi) and the size of the spaces in the raddle. For example if the sett is 20 epi and the spaces in the raddle are ½” , then there should be 10 threads in each group.
Here is how it might look like on a warping board. Notice that there are 4 pegs allotted to each cross: the regular thread-by-thread cross and the raddle cross. Then, the true cross is on it’s own 2 pegs and not involved with the ends of the warp or a peg where the warp configuration changes direction.
It’s interesting that a false cross develops beside the raddle cross. It is NOT a cross and disappears later so you cannot use it at all. I told my students happens naturally when groups of threads are put into a cross. In the illustration you can see the false cross between pegs 5 and 6 and that it looks similar to the real cross, except the X is encircled with threads.
I always taught my students to color code the ties for the crosses. This is shown in the illustration for the thread-by-thread cross. Notice that the end peg is tied on each side of the peg just like on the pegs holding the cross. When I checked their work, I always counted the ties at each cross: “1,2,3,4,5,6.” Color coding makes it easy to avoid twists in the warp when putting the lease sticks in. Tying on each side of the pegs makes it very easy to open the warp where the lease sticks go in. It’s very important to make ties at the end pegs, especially at the raddle cross end.
Here is what the warp would look like when all the ties for the 2 crosses are made. (The extra ties in the illustration represent choke ties.)
Lease sticks are placed in the raddle cross when it is taken off the warping board.
Here’s the set up for loading the raddle easily and efficiently. There is a folded piece of paper on the nails so they don’t snag the warp. Notice the big book on the warp. That is so you can pull against it slightly to make tension on the threads so it is easy to see the groups of threads in the cross. Then you can load the raddle without mistakes.
Notice in the previous photo that the cross on the lease sticks is very close to the stick in the end of the warp. To move the lease sticks you need to move the cross. Here’s how to move the cross: Separate the threads behind the lease stick that is further away from you—since you’ll be moving the cross toward you, away from the raddle. Open a space between the threads as if you were opening the long handles of a pair of hedge clippers: the threads will pivot at the point where they cross. If you gently widen the gap, as if opening the clipper handles wider, you see that the cross moves. Move the cross gently, don’t force it to move. Move it to the position shown in the previous photo.
A friend mentioned she is thinking of moving to a smaller place. I asked: “What about George’s blanket?” I noticed it years ago when it covered his bed—a gorgeous handwoven textile made with handspun goat hair(?). She called back to say she found it but the “moths had gotten to it”. I told her I’d like to have it and would put it in my freezer. Just fragments of it would be enough for me. Today was the first I could get a look at it after the freezer treatment to kill any moths and eggs. Now I need help in what to do next.
The blanket came from Elazig, Turkey, a village in Eastern Anatolia. All the women wore shawls similar to this blanket according to my friend.
I hope you can see that this is a beautiful textile. It is hand spun and handwoven of fine, singles threads at about 30 warps and wefts per inch. The goat hair makes it a little coarse but soft. It is very light weight and supple. I want to enjoy it but what should I do? Cut the good parts out and make a collage of them? Back the whole thing with a cloth and keep it intact? I would like any suggestions. I really don’t want to keep it in the large piece, I want to be able to look at the lovely fabric up close.
There is slight tracking of the plain weave—letting you know the warps and wefts were fine singles yarns. (To avoid tracking, one could weave twill or have the cloth dry cleaned. Jim Ahrens said it’s the water in washing that make the tracking in plain weave.)
I put it in the freezer for two days, then out for two days, and finally 2 more days in the freezer to kill the moth larvae and eggs. Thankfully I didn’t see any live larvae but I didn’t look inside the package.
There were white moth casings scattered all over the blanket. I spent an hour picking them off today after I’d opened the package.
Holes, holes, holes, large and small. The blanket had been folded so they just ate through the layers in places.
All I wanted when I began planning this project was a thick and satiny cloth. I was using a silk that I inherited—the yarn was thick and certainly was expensive. And I wanted to use the new-to-me 12 shaft dobby loom for a 12-shaft satin. (11 threads up and one down, so very warp face). The fact that I ran out of the silk so soon didn’t bother me; I just picked up another skein that looked almost as thick and continued warping. Then I forgot about it. That is, until I took it off the loom. Well, that didn’t matter, either I thought, I’ll just cut the ends straight. And that didn’t work either because all the wefts weren’t straight and no straight line could be made
This is a piece of the silk satin cloth that I wove and dyed with black walnuts. I love the feel of the soft silk and the subtle movement of the dye. And I’ve decided that I like the “design feature” that happened when I used two different silk threads for the warp. I tried mounting it on a variety of fabrics until I came to the one in in the photo. I think everything shows off with this background: the uneven cloth, the luxurious silk, and subtle color. Finally, I’m happy with it. The fabric is an irregular ikat cotton shawl from the Philippines.
I hemstitched the ends in a quick and dirty way just to keep the cloth intact. Then when I began really looking at it, I thought the hemstitching was disfiguring. It interrupted the smooth surface. Oh, “hemstitching isn’t always the answer.” I’ll just remove it.
Before removing the hemstitching, I overcast on the back so I wouldn’t lose any weft threads. I wished later that I hadn’t pierced the threads when I did the overcasting. After I removed the hemstitching, I had the tedious job of pushing the warp threads together to close up the gaps between the hemstitched bundles. I had to take out some of the overcast stitches in places where the thread pierced the weft. Then I could slide the warp threads across to fill in the spaces. The spaces didn’t want to fill in so I spritzed and tried to hold them in place by tapping with the iron. It would have been better to remove the hemstitching before washing and dyeing then the warps would be easier to fill in. But, as is said, “What is, is.”
I began to think more about sampling after suggesting a sampler in my previous post. You can be very free if you don’t have to change the tie-up every time you weave something different—that is, if you are using 4 shafts. And the weaving often is faster and you can “walk the treadles”. Weaving is more efficient when you can alternate your feet. Try practicing the tie up below with a common twill. Imagine the sequence and move your feet. 12, 23, 34, and 41. Soon you will be dancing. Note that you will be pressing more than one treadle at a time. If you have more treadles, just don’t tie them up at all. One weaver proudly said she then added two more treadles for tabby. That misses the point—the fewer treadles the easier for your feet to find them.
I wove all these variations without re-tying the treadles. And I kept getting new ideas to try. The warp was set up to weave the needle pillows. You can see one in the photo. When you can weave plain weave you can make cloth to dye later. And handwoven plain weave can be attractive. My warp was handspun cotton I got in Bhutan. You can try an “almost plain weave”. Because you can’t get a true plain weave. Then see what you think.
Here is the special tie-up. And the way to weave tabby is to use two treadles at a time. You press your feet between the treadles to get 1 & 3 and 2 & 4. You can create/invent from there!
While I was taking my first classes at Pacific Basin School of Textiles in Berkeley, I took a class at the College of Marin. I wanted to make a color blanket which I thought would be a nice shawl. My teacher, Nancy Soper, picked out the yarns for me. I didn’t appreciate her wisdom at the time but liked what she chose. Instead of taking each color from the Color Wheel like the samplers we usually see, she chose colors that were related. And they ranged in steps from yellow to purple using colors in ½ of the color wheel. She used an interesting array of yarn types to get the right color shades in the warp. The edges were quite uneven given fat and thinner yarns but for a shawl that wasn’t a problem then. Usually all of the colors in the warp are then used as wefts to see how they act when crossed with one another.
Choose colors you like or are likely to use. For example, you might like olive green and use that instead of a harsh pure green or yellow-green. Most color blankets I’ve seen are made with pure colors from the color wheel. Colors that I will never use in real life. A color blanket can be for reference or for a project, such as a scarf, table runner, or actual blanket. Watch out for yellow if you want to make something for its looks. Yellow is so light and that makes it show up much more than other colors. Use less of it than the others and you will be happier with the overall look of the finished project.
Here is a color blanket made for reference. A business in India needed to know how the threads they were going to use blended or not. It was made primarily for reference only. However, some thought went into the organization where the warm and cool colors showed up. Thus, a scarf was made as well. I suggest using colors in your stash that you are likely to use—NOT every color there is, but ones you relate to and like.
In my case, this color blanket was basically made for reference it turns out. Because of this, the color chosen was more important than the type of yarn. Woolen, chenille, worsted, mohair, and novelty yarns were used. These differences resulted in the edges bowing in and out and the cloth being somewhat puckered.
I wove half the blanket/shawl in plain weave. I discovered the colors blended quite well with this structure. The closer the colors are on the color wheel, the more they blend. The edge colors (yellow and purple) are farther apart on the color wheel and don’t blend as well. That’s why I made those warp stripes narrower, especially I used less yellow than the other colors both in the warp and weft.
The twill half was a disaster in my opinion, especially where the light yarns crossed contrasting dark yarns. (I had just learned to draft some twills as you can see.) Compare this with the same yarns crossing in plain weave above. This was an important lesson I learned. Structures with floats don’t blend as well as plain weave where every other thread is woven in.
The shawl was a disappointment as a shawl, but I hated to just throw it out or bury it in a drawer. A good friend suggested I use it on my bed. I look at different sections and don’t worry about the uneven edges or chenille yarns that are worming.
The answer to the question in the title is answered at the end of the post. I was thinking of a quick and easy project for a post the other day. Besides quick and easy, I thought it also should not be precious. Because when something is precious it takes extra time, planning and fussing and worrying whether it will turn out ok. Or a big investment in time and materials. What came to mind was a beginner’s sampler. If you made one years ago or never before, it can be freeing. A little bit like a musician doing scales. Practice, information, but not precious. Also, when I think of the sampler I made when I got started there are a lot of structures in it that I never wove again. While weaving it you don’t even need to think much, just do as you are told. With your mind free, I’ll bet ideas come without any effort. I used to tell my students to only show their sampler to people who will understand. It’s really like something a mother would put up on the refrigerator in the minds of most people. However, a sampler can be something such as a scarf or table runner, etc. It could even be black and white or something for a man in your life. Even if you have lots of shafts, a simple 4-shaft sampler can give you basic information for later on.
My students made this sampler. It is the first project in my book for beginners. This one was made by my mentor and friend, Helen Pope. She was well over 85 and a very experienced weaver when she made it. I suggest using 2 contrasting colors in the warp. They could be high or low contrast. Even though you aren’t making something precious, please use yarns that you like. Using up ugly yarns is a bad idea; you won’t have pleasure while weaving or when it’s finished. You can use anything you want for your sampler, of course. (And you could even put borders on the edges.) (Pardon the blurry photos—the sampler is at the studio where I cannot get at it. The photos are from the back cover of my beginner book.)
Maybe you didn’t “get” the concept of warp dominance or weft dominance the first go around. There’s a lot to explore with this idea.
You can do a lot with plain weave itself. Contrast, mix, or blend colors. Even the same yarn for both warp and weft can be interesting. And alternating colors 1 row (or two, or three) makes a variety of cloths.
Don’t forget basket weave! It is the perfect weave to go along with twills. With both being “over 2, under 2” the width of the cloth will remain the same. If you used plain weave sections and twill sections, the cloth will be wider in the plain weave areas. That could be disfiguring unless you wanted wider and narrower edges.
Sample or Sampler? It’s important to sample on the same warp as your project. A narrow sample for a wide project won’t give the information you need. You can easily cut off the sample to look at it, feel it, and wash it. Then you know you have the right sett, reed, and peace of mind. If you make a two-stick heading you will use only a short amount of your warp to get the warp back on tension. Click this link for more about the two-stick heading: https://peggyosterkamp.com/2020/04/cutting-off-some-of-the-cloth-before-the-warp-is-finished-the-two-stick-heading/
I started weaving on this 8-yard warp on March 5 my records show. For the last year I’ve been making silk warps with yarns and threads I inherited from a wonderful weaver, Ethel Aotoni from Hawaii who moved into my building a few years ago. They are mostly white because I think she was planning to dye them. That is just fine because I have wanted to do the same. Before the lock down, I wove as many samples as I could to bring home for dyeing. Besides the silks as wefts, I have used the odd yarns that I pulled out now and then that interested me. Out of the 8 yards, I have only 40” left. I’ve liked so many of the weaves I got, that it will be hard to choose just one to repeat. This is an old problem, hence many samples. It’s really what I like to do best—make something out of nothing and make as many different things as I can on one warp. As I look at the samples, I am getting ideas for more things to try!
I was trying for this pattern but it turned out to show up on the wrong side of the cloth. I didn’t see it until I checked the wrong side because I wasn’t seeing what I was expecting on the top when I was weaving. How did that happen, I wondered. I checked the introduction at the beginning of the book (8-Shaft Patterns by Carol Strickler) to see if I was reading the tie-up drafts wrong. No, I was reading them as I expected as “bubbles rise” meaning the circles indicated lifted shafts. Then I realized I’d transferred the tie up incorrectly to the peg plan. Oh my! Turns out each VERTICAL column in a normal tie up is written as a HORIZONTAL line in a peg plan. Very sobering. I hadn’t used the dobby in awhile and didn’t look again at the instructions because I thought I knew what to do. What a good lesson.
Here is what I saw while I was weaving. Turns out I love the black part woven with a thin black wool boucle yarn. I’ve had the cone for a long time, loving it but not finding a way to use it. I love the mysterious texture. I definitely plan to weave more of this—a lot more! Again, my good fortune with a big mistake!
I’ve been gathering interesting fabrics for a few years when I’m traveling and at home in San Francisco at Britex Fabrics—a fantastic place. I’ve had the idea of dyeing them with easy-to-use natural dyes. Even though my stash was pretty big, I bought quite a lot on my last trip to India. My tech guy had an eye opener when he saw how I shopped: “a meter of this, ½ meter of that, do you have anything really special, etc. etc.” We went to a shop that only had linen that I’d heard had fantastic prices and then to another large shop that had everything including ribbon and trim. By that time, I was thinking of making my scrolls as well as dyeing. (All those fabrics are still in the bag I brought them home in.) This fabric I discovered at a huge fabric store in New York where designers go. I was nosing around the silk area and someone pointed out that this particular silk once creased could never be ironed out. It is quite stiff and has a lovely sheen and complicated twill lines in the structure.
Today was my third attempt at ironing out the creases and gentle folds of my Gazar silk. Even though I asked the clerk not to fold it and put it in its own shopping bag, there were lines that had to be removed. While ironing today I saw how beautiful it was in the light as it draped off the ironing board.
Another look at it falling off the ironing board made me think of gorgeous wedding gown silk.
Here was my view while ironing. I often take the communal ironing board to the window in our 8th floor lounge. Today it was not only for the view, but for the morning light.
Here’s an example of tiny creases I was ironing out. The photo also gives a glimpse of the weave structure. I didn’t think of photographing the more obvious creases and gentle fold lines, but this is an example when I was almost finished.
This was the equipment I used. On my first attempt I only used a dry iron, with low, med and high heat which didn’t do the job. A neighbor down my hall suggested the technique I used last night and again today. Medium heat and a thin press cloth that I spritzed then tapped the iron on the cloth gently—tap, tap, tap over the spots that needed work. Then I ironed the little area I was working on without the cloth. I love my cordless iron. I think a regular cord would just muss up the cloth as I worked along. I kept spritzing, tapping, and ironing all over the “bad” places I’d marked with safety pins.
Now it’s hanging in my hallway with clothes pins on hangers. In the morning I’ll check if there are any more spots to work on.
For fun I’m showing you more of my hall outside my apartment door.
This post was also inspired by Linda Doggett who said how important it is to her to beat on an open shed to make good selvedges. I enjoy the connections with other weavers. If you have an absolute favorite tip or process, let me know and perhaps it can go out into the weaving world in a blog post.
I’ve been pretty proud of my selvedges over time using the process Jim Ahrens taught that is the same that industry uses. If industry uses it, it must be pretty good, I thought. This is meant for most weave structures and yarns, but not for weft faced weaving. (eg. Tapestry or Collingwood’s rugs). Jim also said that often for right handers, the left selvedge is better. I think it is because that’s the one where the right hand is catching the shuttle. I never thought to ask him why. Mine are slightly better but both are good. The other thing he said was “the best selvedges come when you don’t pay attention to them.” (that is if you use this technique.) The photo is one of a series of color studies I wove with good line linen.
Step One: Throw the shuttle on the shuttle race or close to the reed. The shuttle race is a big help and the shed is larger, close to the reed. A diagonal should form naturally from the edge of the woven cloth to the shuttle race. The edge of the cloth is close enough so that the diagonal from it to the reed should be enough. This diagonal prevents the cloth from drawing in. (Remember that it’s important to advance the warp often, about every 2-3”.)
Snug up the weft against the outside warp thread, neither pulling that thread in, nor leaving a loop on the outside of it. I like to snug the weft up until it barely moves that outside thread—just grazes it. I don’t touch the selvedges but I press the weft thread onto the shuttle or bobbin and pull on the shuttle to snug the weft into place.
Step Two: Beat while the shed is still open. The illustration shows receiving the shuttle and a hand on the reed, ready to beat. This is crucial since this is where the warp is held out to its full width so that you are getting enough weft into the shed. This keeps the cloth from drawing in too much. (Expect a little bit of draw-in that is natural.)
Step Three: Change the shed as soon as you have beaten in the weft. The illustration shows the weft beaten in and the beater back near the heddles and the shuttle going into the new shed. This is especially important, too, because it is trapping the weft out at that widest point so the cloth cannot draw in. That’s it: “Throw, beat, change your feet”. With practice, it will become automatic but at first, I’ve seen students struggle to change the shed quickly after beating. Often, they want to change the shed after the beater is back at the heddles.
“Linda Doggett’s knot” in my previous post led me to this post on more knots. A couple of years ago my tech guy suggested we make a Kindle booklet on hemstitching since it was the number one inquiry in my weaving tips section on my website. I use it at my loom every time I do hemstitching. The second booklet is on knots—something I thought really would be useful right next to the loom on an iPhone, or other devices.
The slip knot is my absolute favorite knot. I can remember the days when how to tie it was so elusive. It was shown to me over and over but I just didn’t “get” it for a long time. I guess I learned it by trial and error until it became as familiar as my right hand; my hands knew how to tie it. It was a big part of the motivation to include a knots chapter in my book, Warping Your Loom & Tying On New Warps. I wanted to SHOW how it was tied so others could learn it. I’ve included it below. (The whole knots chapter is in the Kindle booklet. See below.)
A slip knot is a temporary knot that secures a single thread or groups of threads. Its reatest asset is that it can be quickly untied with a jerk with one hand. It’s often used to tie groups of warp ends after they have been threaded in the heddles so they won’t slip out. Every weaver should know the slip knot because it is used so often—whenever you want to secure something temporarily. It’s my favorite knot, and it’s the one I almost always automatically tie—just in case I’ll need to undo it.
To make a slip knot: To make the first loop, you can use either the tail or the standing end, whichever seems easier to tie in the situation. In this example I’m using the standing end, but you could just as easily make the loop with the tail and proceed as follows.
- Make a loop. (I take the standing end over the back of my left hand or over a few fingers and cross the standing end on top of the tail of the string.) Hold where the hreads cross in a pinch between your thumb and forefinger.
- Reach through the loop with the right forefinger and thumb and grasp the standing end and pull it through the loop, so that it makes a loop within the first loop. (If you were to begin the knot with the tail making the first loop, and the tail were being drawn through as the second loop, make sure you pull the tail only part way through, not completely through. If you pulled the tail through, you wouldn’t have the second loop.)
- Be sure to tighten the knot until you feel it bite. To do that you pull the loop and the tail in opposite directions.
To release the knot: Just jerk on the end you made the loops with, in this case the standing end.
I made this little booklet so you could have it on your iPhone or other devices. Want to know how to tie a weaver’s knot? There are 3 ways shown as well as “how to undo a weaver’s knot. Of course, square and granny knots are included, as is the lark’s head knot, and other knots for weavers. I like it because you can have it at the loom up close when you need it. The cost is $2.99 and you can order from Amazon.