The Doubling Stand – An Essential Tool

Doubling Stand for Weaving A
Doubling Stand for Weaving A

The doubling stand is a piece of equipment I can’t get along without. You can rig one yourself or you can buy one. I recommend buying one at Purrington Looms.

I wish I had included this in my book for beginners but you can see it in my book #3, “Weaving & Drafting Your Own Cloth“, page 67 and 68. How to make your own is at the end of this post.

Have you ever wanted to combine two or more yarns as one weft? Have you discovered it doesn’t work very well because, no matter what you’ve tried, one yarn always loops up so they don’t lie flat together in the shed? The answer is: use a doubling stand to double up weft yarns so they come out of the shuttle together and evenly.

Warning!! Do not double warp yarns because the upper and lower yarns will be of different tensions when they leave the doubling stand. It isn’t a problem with weft yarns.
Doubling stands can be homemade or purchased. Figure 112 shows a commercially
made stand. (Note the optional tension box for winding tight weft packages.)One or more yarns are put on vertical posts with the yarn guided exactly up from the centers of the posts, just like an ordinary vertical creel. Read more about creels on page 76.

Doubling Stand - DetailAbove these yarns is a single cone or spool of yarn supported by a vertical tube instead of a post. The yarns below are guided up through their respective thread guides and then up through the tube and the center of the extra cone. Then, the lower yarns plus the upper one are taken together up through a guide above the center of the top cone. You can see what happens: The yarn from the upper cone encircles the yarns coming up through its center. This encirclement keeps all the yarns together without any of them looping up during weaving (Figure 113).
To guide the bottom threads up through the cone on top, fashion a long hook from a coat hanger or use a long heddle.

The three keys to keep in mind when setting up a doubling “situation” or  making a homemade stand are:
1. The thread guides for the lower spools must be exactly over the center of the pins
or dowels that hold the spools or cones.
2. There must be enough space between the tops of all the packages and their thread
guides to allow the yarn to whip off the packages freely.
3. The top cone or spool must have a way for the lower yarns to pass up through its center.
A tube to hold the top cone is the hardest thing to find—try hobby shops. You could use a short length of copper tubing with the sharp ends sanded. However, there are many other ways to accomplish the job. I’ve seen one cone underneath an upside-down “milk crate” with another cone sitting on top and the thread from below coming up a hole in the crate and through the top cone. There are many ways you might make (or rig)a doubling “stand”.

Threading the Loom Without Mistakes – Tip No. 1 – Use a Claw

Claw Illustration
© 2015 Peggy Osterkamp – https://peggyosterkamp.com/

Below is taken from my book, Warping Your Loom & Tying On New Warps which is currently out of print. It will be available very soon only by PDF and “on demand”. This is one of my favorite techniques for threading without mistakes.


Threading from the “claw” 
This technique speeds up your threading.
Behind the heddles you use your left hand,
held palm downward like a claw, to hold four
threads in order. To thread, separate out four
heddles in order according to your list on the
adding machine tape. With your “claw” hand,
reach below the lease and place one thread
between your little finger and ring finger, one
between your ring finger and middle finger,
and so on, ending with one thread between
index finger and thumb. Push the threading
hook through the first heddle eye and, with the
hook curved down, catch the thread between
thumb and forefinger, then draw it through.
Continue with the three remaining threads:
first putting the hook through the next heddle
eye in sequence, then catching the next thread
in sequence and pulling it through. Figure 84
shows you a close-up of this method.

A Better Way to Tie on New Warps to Old Ones

Tying on New Warps on the Loom B
Tying on New Warps on the Loom B

Before I leave on a textile tour to India next week (look for my daily travel posts) I thought I’d give you a tip about one of the most important techniques that I use and have taught my students.

To be clear, this technique is different from what most people use which is TYING ON THE NEW WARPS BEHIND THE HEDDLES!!!

You may already be tying your new warps to old warps in front of the reed. For some weavers, tying on the new warp at the back is counter-intuitive. But Jim Ahrens has said to me, “If you can talk them out of tying on in front, you will be doing them a big favor”. I urge you to try it; there are so many advantages.

This technique is described in my out of print (but soon to be out in a PDF format book) “Warping Your Loom & Tying On New Warps”. I thought I’d share this weaving tip with you now instead of waiting until it is available.

Click the link below to view the tip:
“Peggy’s Weaving Tips > Tying on new warps the new way”

Think About Using a Paddle – Free PDF

 Free Chapter Cover ClipSince I sent out over 60 copies of my Book #1: Winding a Warp & using a Paddle for my Holiday Gifts, I thought I would point readers to the wealth of information that I wrote about using a paddle. This post (Weaving Tip) includes the complete Chapter 10 which has important information for using any type of paddle. Following that in the book are separate chapters for the two types of paddle. There are descriptions of different types of paddles, too.

If you didn’t get a free book over the holidays, here is your chance to get your own copy 50% off the regular price. This offer will go until February 1. I’ve taught many weavers how to use paddles and everyone feels so empowered afterwards. I hope you will want to try it. I tell you the limitations as well as the reasons why you would want to use one. [if viewing this post in an email and the links below do not work just click here]
©2005 • 3rd printing, revised edition; 138 pages; 195 illustrations. Lie-flat wire-0 binding  •  $39.95  >  January Special 50% Off = $20.00
CLICK HERE to download for free introductory chapter: “Using a Paddle” or click the PayPal button below to order the book.




 

Two-Stick Heading to Cut Off Weaving Sections

I am putting one of my popular weaving tips on this post. It is  a technique I use all the time. I always make long warps and cut off the pieces as I weave them. I use this at the beginning of the warp, too, an make a sample then put in the heading again to cut it off. When you hook up the warp again, it will be on tension because the sticks were put in with the warp on tension.

This is taken from my book, Weaving for Beginners, beginning on page 134.

The two-stick heading
This is a very useful heading. I have used it countless times. One reason is to
eliminate the knots on the apron rod so that the cloth rolls up without lumps
on the cloth beam. Another reason is so that you can cut off some of the cloth
before the whole warp has been completedly woven.
You need a pair of sticks that fit on your cloth beam and won’t interfere with
the ratchet.
They can be lease sticks, dowels, or metal rods. I prefer thin and lightweight
sticks rather than thick ones because they take up less warp and aren’t so bulky.

Two Stick Heading #1
Two Stick Heading #1

After you’ve woven the initial heading to spread out the warps (page 105)
(or at least 1″), insert a stick in one plain weave shed; insert another stick
in the next plain weave shed, and continue weaving for 1″, or so. See
Figure 307. The lease sticks will stay in place because they are woven in the cloth.

Two Stick Heading #2
Two Stick Heading #2

Release the tension on the warp, and carefully cut between the knots and the first inch of the heading that you wove. Leave both plain weave sections and the sticks attached to the loom!
Remember, you are cutting between the knots and the cloth which means only the knots are being cut off—the heading remains attached to the loom because it is part of the warp that is on the loom. Be careful not to cut the loom’s apron cords! See  Figure 308. (If you want fringe, see Figure 311).
The heading will be re-attached to the apron rod. See Figure 310. If the warp is sparse or slippery, put some white glue or tape on the cut edge to prevent the heading from unraveling or the warp threads from pulling the heading out when the warp is back on tension.

 

Two Stick Heading #3
Two Stick Heading #3

Fold the first stick, with the first inch of the heading, under the second stick and the
second inch of the heading. See Figure 309.

 

 

 

 

Two Stick Heading #4
Two Stick Heading #4

Tie the two folded sticks across the front apron rod at 3″ intervals. Make the ties
strong by doubling a sturdy but not fat string. Use a tapestry needle to go through
the cloth and around the rod. Make the first tie in the center of the warp to hold the
sticks stable. You might find it easier if you wind up the cloth apron until the apron rod is resting on the breast beam. Then pull the heading sticks (and the warp) forward to the apron rod and tie them to it, while steadying them on the breast beam. Put the knots on the front edge of the apron rod so you won’t make lumps with the ties. See Figure 310.
Begin weaving again. The warp tension remains unchanged; since the heading
sticks were woven in with the warp on tension before the knots were cut off, all
the threads remain evenly tensioned as you resume.

FRINGE
If you want fringe, untie the knots instead of cutting them off and fold the
sticks as above. Then smoothly fold back the unknotted warp threads as well as
the heading.

Cutting Off As You Go
Cutting Off As You Go

Another situation: Cutting off the cloth as you go
You can cut off pieces as you weave them; it’s not necessary to wait until the
entire warp is used up before cutting off the fabric. The headings and two sticks save precious warp because you don’t need to tie the warps back on to the apron rod.
When you’re ready to cut off a length of cloth, make the complete 2-stick
heading just as above. (Weave 1″ of plain weave, insert 2 sticks into the next two plain weave sheds, and weave one inch more. That’s the complete heading. You do not leave any space between the cloth and the heading—you’ll just cut the cloth and heading apart.
Cut between the cloth and the first inch of the heading you wove, leaving the
complete heading attached to the loom. See Figure 311. Remove the cloth from
the front apron rod. Fold the two sticks, and tie them to the apron rod, as above.

Facebook Group “Likes” My Weaving Idea

This was what I found when I opened Facebook this morning. Comb to fix broken threads

 Hooray! People are finding good things in my books. This was in the 4-Shaft Weaving group on Facebook.

4 shaft weaving group

It’s a technique/trick I use often when my fine silk threads at 96 epi break. In my book for beginners I dedicate quite a bit of space to finding and fixing errors. This illustration can be found in two places: pages 110 and 320. The first one is about checking for errors when the loom is set up and weaving the heading. Page 320 is in Chapter 13 “Troubleshooting”.

Peggy’s Weaving Tips > Tips for Hemstitching

While I’m up to my neck getting my book ready for it’s 4th edition as an eBook, I will be posting some of my favorite tips here on my home page. I plan for this series of tips to use the ones that beginning weavers might want to know. However, hemstitching was something I learned after many years of weaving. I always thought it was too complicated and I wouldn’t be albe to do it. Sharon Alderman showed me this easy way. She said there are many ways to do it.


HEMSTITCHING ON THE LOOM

This is one of the hand manipulated weaves in my new book, “Weaving for Beginners”

This hand sewing is done while the cloth is still on the loom and is easy to do while the warp is under tension. Many weavers prefer to do it then because they don’t have to hand- or machine-stitch the cut ends after the cloth is off the loom (and before finishing the cloth). They may or may not cut off the stitches later, depending on what the edge is to look like when the fabric is complete. It’s a big time saver when you want to have fringe on the edge because there is no knotting of the fringe needed-all you need to do is to leave enough unwoven for the fringe(s). Note: The instructions for hemstitching at the beginning of the cloth are a little different from those for the stitching at the end of the cloth.

When you are weaving several pieces, hemstitching the edges to be cut later saves a lot of time because neither hems nor additional stitching needs to be done. Placemats, for example, can be hemstitched on the loom and then cut apart and finished right after they are off the loom. Hemstitching the edges of your samples on the loom can save time too.

Use a size thread that will be unobtrusive for the hemstitching. Often, the weft thread is all right to use, but I’ve seen hemstitching that was too bulky because the thread for the stitches was too heavy.

HOW TO HEMSTITCH

Many stitches are called “hemstitches.” Besides different ways to do the stitching, the stitches themselves can be different. Here is one that does the job of holding in the wefts and is quick and easy. See Figures.

The process is only slightly different at the beginning of the fabric and at the end of it. The instructions are given for right-handed people who will always work starting at the left selvedge and work toward the right. Work from the right toward the left if you are left-handed.

AT THE BEGINNING

Hemstitching on the Loom A

To hemstitch the beginning of a fabric, on the first weft of the fabric, leave a long tail of weft hanging from the left edge of the cloth. The tail should be 2½ to 3 times the width of the warp. It will be threaded into a tapestry needle and used to do the stitching after a few more rows of weaving are completed. See Figure 1a.

Hemstitching on the Loom B

After weaving an inch or a bit more, thread the weft tail into a tapestry needle. The blunt point on the needle prevents you from pricking your finger and piercing the threads. Some methods prefer to pierce the threads to make the stitching more secure. See Figure 1e.

Hemstitching on the Loom CBegin stitching by holding the weft taut at the selvedge with the left hand. With the needle in the right hand, hover over 1/4″-3/8″ worth of warp threads, then go straight down between the warps and come out at the selvedge. Tug this stitch so that it wraps around the warps and cinches them up into a bundle.Hemstitching on the Loom DPoint the needle straight up (away from you) along the selvedge for 3 wefts, take the needle down through the cloth there, and come out again through the opening you just made by cinching up the warp bundle. Read below for what to do with slippery threads.Hemstitching on the Loom EContinue on with the next stitch. Hold the weft in the left hand taut and go around the next group of warps (coming out again in the previous opening), tug the stitch to make a bundle, go straight up three wefts, poke the needle down through the cloth, and come out at the opening you just made by cinching up the bundle. Repeat until you reach the right selvedge.My left hand holds the weft taut and does the tugging. It is engaged at all times while the right hand works the needle.

At the right selvedge, darn (needle weave) the tail into the cloth 1/2″, so it doesn’t show, and cut off the remainder of the tail flush with the cloth.

At the end

Hemstitching on the Loom F

At the end of the fabric, make the last weft come out at the left selvedge. Leave a long tail on the last weft (2½ to 3 times the width of the warp) and thread it through the tapestry needle. (Figure F.)

Hemstitching on the Loom G

Begin stitching by holding the weft thread tail taut in the left hand, and with the right hand, go around 1/4″- 3/8″ worth of warps, coming out at the selvedge as you did at the beginning of the fabric.

v

Point the needle straight toward you, for 3 wefts into the cloth; then poke the needle down through the cloth and come up in the space just made when you cinched up the bundle of warps. Notice that now you’ll be poking your needle into cloth, which will be toward you. When you were stitching into the cloth at the beginning of the fabric, the cloth was away from you. See Figures.

Hemstitching on the Loom I

For slippery threads, stagger where you dig in your needle, to make the stitches more secure. If they always go in after the third weft, the whole hemstitched edge could fall off during finishing. You can dig your needle in alternating between the third and fourth wefts-it looks deliberate, and the stitching doesn’t pull out.

 

THE ABOVE TIP IS AN EXCERPT FROM  BOOK 3: “WEAVING AND DRAFTING YOUR OWN CLOTH” AND “WEAVING FOR BEGINNERS”

 

My Thoughts about Color Wheels

screenshot.02-04-2013 15.43.36A color wheel that was introduced to us in our guild program on Optical Mixing is the first one shown here. It is called the Magenta, Yellow, Cyan (turquoise) color system or color wheel and the one more suited for weavers. Our speaker told us it was better to use this one than the one we all learned and are familiar with which is the Red, Yellow, Blue system or color wheel (which is for mixing light). This is the second one shown here.

 If you look at my previous post screenshot.02-04-2013 15.44.02showing my own stash of colors, you won’t see anything like on either wheel. That’s because the color wheels show us intense colors. In real life, most of us don’t stick to only those intense colors—we darken, or lighten, or dull them, or mix them optically with other colors.

 So, how do you use a color wheel if the colors aren’t what you like? The colors on the wheels are NAMED. That is what is important. You need to name the colors or read them first. For example, red and red-orange and red-purple are names of three colors (officially called hues). Then you can use the wheel for relationships of the hues to one another or to put together color harmonies. For example, harmonies might be hues that are opposite one another or beside each other on the wheel. THEN when you know the names of the hues you are looking for, you can “doctor” them us (so-to-speak) so they aren’t so intense and to my mind, more beautiful or interesting.

 You can change a hue these ways:
Change the value,
Change the intensity
Change the temperature

 That’s how you get nice interesting colors that don’t look like kindergarten colors.screenshot.02-04-2013 15.48.20

 One of my teachers, Cameron Taylor Brown, had us make different color wheels. We named the colors from the regular color wheel we were used to. Then made these: one color wheel with all the hues being light in value (pastels), one with all dark hues, one with duller hues, etc. You see, we named the hues but then made up color wheels (like pallets) with the same hues but changed in the ways I listed above: value, intensity and temperature. There were some I liked screenshot.02-04-2013 15.49.00better than others. Using the yarns from one wheel makes your work look coordinated: to add punch, she suggested adding something from a completely different pallet (color wheel).

 For our talk on Saturday about Optical Mixing, we will be talking about value. Threads that are of the same value will blend or mix.

 One important thought: You don’t need to have all the colors in the wheel—just work with the ones you like or have.

 Use what you like and used the color theory color when you are stuck.

 My mentor, Helen Pope, always used to choose what ribbon for her pony tale by using a color that was one step from the opposite of the color of her outfit. In other words she used the harmony “split complementory”

A Weaving Failure

A Weaving Failure –
Peggy Osterkamp
-click to enlarge

This is going to be the first time I’ve given up on a project. I was careless again and let the find threads tangle again. I spent a lot of time working on a few tangles, then when more appeared, I decided to give up. I think I’ll keep the warp—10 yards and see what I might do with it off of the loom. If I wet it, it will shrink and shrivel and tangle more—I may try to control the tangles. Anyhow, I want to get another ruffle warp going and can’t wait to fool around anymore with this “thing”.

A friend who is a writer mentioned the value of fallow time—I think that’s what’s going on with me. I’ve been working a lot on the show and the holidays so have given up going to the studio and working at the loom everyday. It’s quite a relief not to push every minute. This is something new for me and I rather like it.

Remember: “The only thread that can’t tangle is one under tension!”  I won’t let it happen the next time!

Weaving with Weighted Selvedge Threads

I weight my selvedge threads separately almost always. I learned from Jim Ahrens that you could use stronger threads for the selvedges when you want to weave with fragile warp threads. I’ve shown the knot I use to hold the weights in many workshops and in two of my books, but it is wonderful to have a video so you can see the motions of my hands. You might still need the diagrams in the books, but I think this is a big help. The books are: Weaving for Beginners and Weaving & Drafting Your Own Cloth. Both have a whole chapter devoted just to selvedges.

New in My Weaving Life

Three new things:I began weaving again on the sewing thread warp. After being away from the loom awhile, it really feels good to be throwing the shuttle–even to weave samples. The blog is being redesigned and I’m thrilled with the new images. Better yet, the button to order my books is working. So, with a click you can now add to cart! Go to the Book and DVD section on the home page.

 

Beautiful Scarf, Unusual Sett

Ellen Miller's Doube Weave Scarf (click to enlarge)

Ellen Miller showed me her gorgeous alpaca double weave scarf. She was disappointed that the sett wasn’t exactly balanced as typical double cloth is. This showed more in the white areas. My sense is that it is beautiful with the more open sett.

Beautiful White Block

You can still see the solid black and white areas. For her warp and weft (both the same) she used less than the 80% figure  (Ashenhurst calculations) and this is one time I think less that 80% turned out beautifully. (The sett is more open when less than the  80% figure is used.) One reason is that the threads were dense in the warp because of the double weave. That made friction in the reed that prevented the wefts from beating down too much as can happen when the sett is more open than the 80% figure.

The Blocks (click to enlarge)

That Special Tie Up: Only Use 4 Treadles!

One tie up for all 4 shaft looms

I received this comment about the tie up I posted. (Search for tying up your treadles.)

 

“Thanks for the tie-up, Peggy! What if you have a 6 treadle loom and want to add a tabby tie-up? Is it best to put it in the middle or on the outside treadles, in your opinion?”

Here’s my opinion:
No, no, no!! The extra treadles just get in the way and offer the chance for mistakes. To do tabby put your foot between the treadles and push 1&3 with one foot and 2&4 with the other. Then you can walk the treadles. Which two treadles to not hook up you can decide on depending on how your feet fit the treadles–and what’s comfortable. Getting comfortable helps avoid mistakes. See page 2 in my third book, Weaving & Drafting Your Own Cloth.

Tensioning Linen Warps

This week I put on a linen warp and remembered a trick I learned long ago–and it miraculously worked yet again. Immediately after tying the threads on the apron rod all nicely, the tension on the threads became greatly uneven. There were very, very loose threads scattered all across the warp. They had been all evenly tensioned when I tied the knots but the tension didn’t stay. Here’s the trick. It comes from my Book #2, Warping Your Loom & Tying On New Warps, on page 63.

Tensioning Linen Warps

Getting even tension on linen warps is a special situation; linen threads always seem to become uneven as soon as you begin weaving. Don’t re-adjust the tension on the bundles. Instead spray the warp with water from a plant mister and immediately begin weaving the heading. All the threads straighten up and weave perfectly when they’re dampened this way. You should only have to do this once, at the very beginning of the warp, whether you tie surgeon’s knots or lace the bundles.

Bobbin Types for Boat Shuttles

Fit bobbins to cavities

Certain bobbins fit certain boat shuttles. Look at the cavities in your shuttles to determine which is the right type of bobbin to use. When I was learning to weave I heard about this but didn’t think it was important. Then when I was demonstrating fast weaving with the wrong bobbin I was embarrassed because the weft thread kept jerking. I learned my lesson that day. This is from Weaving for Beginners on page 94. I hope this saves other weavers from frustration!

The cavity in the shuttle where the spindle is mounted has either squared-off corners or oval, rounded corners. You need to fit the bobbin to the cavity in your shuttle or the thread will jerk or jam as you are weaving. Squared-off corners of the cavity are for bobbins with flanges at the ends—similar to those on the ends of spools of sewing thread. See Figure 223a. In a round-cornered cavity, use bobbins with extensions sticking out from the flanges. See Figure 223b. Bobbins with extensions are readily available and can be used in either type of shuttle. You can put a small bead or a sewing machine bobbin on the spindle at each end of the bobbin if your bobbins don’t have extensions, and your shuttle has rounded corners in the cavity. See Figure 223c.

There is more about handling boat shuttles beginning on page 111. Learn to weave without the weft thread jerking and tangling.

Doubling Stand Mentioned in Handwoven Magazine

Doubling Stand

In the new Handwoven on page 60, there is a tip at the top of the page suggesting using a doubling stand. It is a piece of equipment I couldn’t get along without. You can buy one or rig one yourself.

This is taken from my book #3, “Weaving & Drafting Your Own Cloth“, page 67. More on doubling stands follows on page 67. How to make your own is at the end of this post.

Have you ever wanted to combine two or more yarns as one weft? Have you discovered it doesn’t work very well because, no matter what you’ve tried, one yarn always loops up so they don’t lie flat together in the shed? The answer is: use a doubling stand to double up weft yarns so they come out of the shuttle together and evenly.

Warning!! Do not double warp yarns because the upper and lower yarns will be of different tensions when they leave the doubling stand. It isn’t a problem with weft yarns.
Doubling stands can be homemade or purchased. Figure 112 shows a commercially
made stand. (Note the optional tension box for winding tight weft packages.)One or

more yarns are put on vertical posts with the yarn guided exactly up from the centers of the posts, just like an ordinary vertical creel. Read more about creels on page 76.

Above these yarns is a single cone or spool of yarn supported by a vertical tube instead of a post. The yarns below are guided up through their respective thread guides and then up through the tube and the center of the extra cone. Then, the lower yarns plus the upper one are taken together up through a guide above the center of the top cone. You can see what happens: The yarn from the upper cone encircles the yarns coming up through its center. This encirclement keeps all the yarns together without any of them looping up during weaving (Figure 113).
To guide the bottom threads up through the cone on top, fashion a long hook from a coat hanger or use a long heddle.

The three keys to keep in mind when setting up a doubling “situation” or  making a homemade stand are:
1. The thread guides for the lower spools must be exactly over the center of the pins
or dowels that hold the spools or cones.
2. There must be enough space between the tops of all the packages and their thread
guides to allow the yarn to whip off the packages freely.
3. The top cone or spool must have a way for the lower yarns to pass up through its center.
A tube to hold the top cone is the hardest thing to find—try hobby shops. You could use a short length of copper tubing with the sharp ends sanded. However, there are many other ways to accomplish the job. I’ve seen one cone underneath an upside-down “milk crate” with another cone sitting on top and the thread from below coming up a hole in the crate and through the top cone. There are many ways
you might make (or rig)a doubling “stand”.

A Quick Way to Start New Wefts

Changing Wefts (click to enlarge)

This comes from Weaving for Beginners on 115. It’s quick and does the job nicely.

How to change wefts
I like to tuck in the old weft about ½” into the next shed, snugging it up against the selvedge and pulling the tail out of the shed to let it
lie on top of the cloth. The shed stays open, ready for the new weft. I leave the new weft’s tail, which is about 1″ long, dangling outside the selvedge and cut it off later. See Figure 272. Other ways to change wefts for other yarns are given on page 131.

Tying On New Warps Question

Here’s a question I received yesterday. “I want to tie on a new warp for some scarves. However, I want to change the sett from 18 epi to 16 epi. Is it possible to do this?If so, how? I also would like to make it an inch narrower. Do I just not tie on the threads from the original warp and let them hang?”

Ideally when tying on a new warp the new warp should be exactly the same as the old one, hence the question. Yes, I think it would be ok to make the new warp with the number of ends needed and just tie those onto the old warp. The old warp ends not used can just hang. (Would you center the new threads, or just begin tying at one edge and have all the extra ends on one side?) You would then pull the warp ends through the heddles–the old ones will just go along for the ride. Then you’ll have to cut the ends to sley the reed to the new sett. You can cut so the thrums (ends of the old warp) are used when you sley the reed so you will have less loom waste for the new warp. Of course, if you want the keep the thrums for fringe, then cut off at the knots and re-sley.

These procedures are for when you tie on new warps behind the heddles as I recommend. For an over view of the process, go to the tab, “Weaving Tips” on the home page and look for “Try Tying on New Warps This Way”.  It is so much better than tying on in front of the reed and dragging the new warp through the heddles. In my Book #2, Warping Your Loom & Tying On New Warps, I explain this thoroughly–especially how to tie the knots so the new warp is on tension immediately.

You can use the Search button on the upper right corner of the home page, too. Search for “tying on” there are several entries.

Sheds Too Small?

One day a student complained that the boat shuttle I loaned her was too big for the sheds on her table loom. I suggested that she throw the shuttle closer to the heddles and advance the warp often. The reason is that the shed is bigger the closer it is to the heddles (shafts). It’s obvious that the shed is small when it is closer to the fell of the cloth (the place where the last weft is woven). A made this into the weaving tip: Sheds Too Small.

Warping Paddles

Slot and Hole Paddle

For many weavers, “paddle” is a mysterious word. Perhaps they’ve tried and never quite figured out how to make it work. It may have seemed awkward, confusing—but always seductive. How liberating to be able to warp multiple ends at once! But keeping one thread organized and moving freely onto the warping board or reel can be a challenge—how much

All Holes Paddle

more dexterity it must take to manage four or six or a dozen! But that is exactly the advantage of using a paddle. The paddle lets you measure many threads with every pass up and down the board or reel. Becoming proficient with the paddle need not take any special dexterity—in fact, its use has developed precisely because it acts as an extension of your own hand. See the Weaving Tip: Why Use a Paddle?

See Chapter 1: Using a Paddle, in my Book #1, Winding a Warp & Using a Paddle.

A Weaving Teacher’s Happy Day

Double Weave: Two Separate Layers (click to enlarge)

Today a weaver (former student) and a student (a super beginner) came to see my show. The now-weaver, former student brought me wonderfully gorgeous things he had made! Was I ever proud! What pleases me greatly about being a weaving teacher is that none of the students’ work ever looks anything like what I weave. Each one does interesting and original projects. That is thrilling.
Now he is learning double weave and I wondered if he had read my chapter about it. He hadn’t realized it was in my new book, Weaving for Beginners. I always loved to teach double weave to what I called, “virgins”. I wanted to be the one who introduced them to the subject. See my tip about double weave.

Doubling Stand

My other visitor is a motivated “beginner”. She bought a small floor loom that I found in a second hand store. Today she went home with some of my “stash”–it was wonderful to find such a good home for my extra equipment. I gave her a warping board, an electric bobbin winder, a wooden swift, a ball winder and best of all–a doubling stand. I think two boat shuttles went home with her after her previous lesson.  See the tip about the doubling stand.

Solid Colors in Rep Weave

I received a question about weaving the Rep Weave portion of the sampler in my new book, Weaving for Beginners, on Page 127.
QUESTION: “I’m not clear on how to weave a few rows that cover exactly the same threads.”
ANSWER: Remember, in rep weave, there are two sheds and they always alternate. There are never two consecutive rows of weft that cover exactly the same threads. The look of the cloth is a solid color, but the 1,2 shed ALTERNATES with the 3,4 shed. The solid color is achieved when you use the same color weft for BOTH sheds. With this weave the wefts pack down so you can’t really see the two rows because they appear as one row. So, just remember, always change sheds  and alternate them–never repeat the same shed twice.

See two important tips for Rep Weave in the weaving Tips Category.