Innholdsfortegnelse for Summer 2024 i Handwoven

Hello, weavers! I’m honored and delighted to introduce myself to you as the new editor of Handwoven. Here at the beginning of my tenure, I find myself filled with many, many ideas for inspiring stories, projects, and ways of sharing them with you—and also with trepidation about following in the footsteps of Handwoven’s former editors. As I make my way through all 219 back issues of the magazine (spanning 45 years!), it’s clear that Susan E. Horton, Anita Osterhaug, Madelyn van der Hoogt, Jean Scorgie, Jane Patrick, and Handwoven’s visionary founder, Linda Ligon, were (and still are) smart, creative, and skilled weavers and editors. Weaving trends have changed over the decades. Nevertheless, my personal to-weave list grows longer with every back issue I read, precisely because of the skill those…

I believe our interests are often a manifestation of our search for self and ancestry—an attempt to connect to our past through our modern-day activities. In my thirties, travel and food were at the top of my list. Longing to understand more of my family history, I took my grandmother on a self-designed culinary tour of Poland, including a stay in her mother’s hometown of Kraków. While the time spent with my grandmother was memorable, the post-Communist–era food was not. Thankfully, where I chose food, Anita Osterhaug chose fiber. And for that, we all benefit. Osterhaug, who also happens to be a former editor of Handwoven, grew up surrounded by Nordic textiles. As a young girl, she learned Nordic knitting and embroidery techniques from her grandmother and beloved Aunt Katy.…

STRUCTURE Krokbragd. EQUIPMENT 3-shaft loom, 31" weaving width; 8-dent reed; 3 large boat shuttles and 4 bobbins or 4 stick shuttles. YARNS Warp: 8/5 linen (446 yd/lb; Bockens), half-bleached, 554 yd. Weft: 1.25/1 mattgarn (100% wool; 620 yd/lb; Borgs), #5001 natural, 693 yd; #5040 dark red, 416 yd; #5778 very dark purple, 545 yd; #5595 light gold, 379 yd. OTHER SUPPLIES Temple (recommended). WARP LENGTH 123 doubled ends 2¼ yd long (includes doubled floating selvedges; allows 31" for loom waste; loom waste includes fringe). SETTS Warp: 4 epi (every other dent in an 8-dent reed). Weft: about 43 ppi. DIMENSIONS Width in the reed: 305/8". Woven length: (measured under tension on the loom) 50". Finished size: (after steaming with iron) 28" × 48" with 7" fringe. I have always been…

STRUCTURE Taqueté. EQUIPMENT 4-shaft loom, 37" weaving width; 5-dent or 10-dent reed; 3 ski shuttles. YARNS Warp: 8/5 linen warp (446 yd/lb; Bockens), unbleached, 465 yd. Weft: 1.25/1 mattgarn (100% wool; 137 yd/3.5 oz skein; Borgs), #5059 navy, 2,220 yd; #5538 magenta red, 945 yd; #5513 green yellow light, 189 yd. 8/5 linen, unbleached, 21 yd. WARP LENGTH 184 working ends (186 threads total) 2½ yd long (includes doubled selvedges; allows 42" for loom waste; loom waste includes fringe). SETTS Warp: 5 epi (1/dent in a 5-dent reed or every other dent in a 10-dent reed). Weft: 20 ppi. DIMENSIONS Width in the reed: 364/5". Woven length: 48". Finished size: 32½" × 48" plus 4" fringe on each end. In 1983, at my first three-day workshop, taught by Gorel Kinersly,…

STRUCTURE Weft-faced plain weave. EQUIPMENT 2- or 4-shaft loom, preferably counterbalance or countermarch, 33" weaving width; 6-dent reed; 2 stick or ski shuttles at least 12" long. YARNS Warp: 8/5 linen (480 yd/lb; Yarn Barn of Kansas), Natural, 600 yd. Weft: 2/60 New Zealand rug wool (100% wool; 960 yd/lb; R&M Yarns), Spiced Mustard, 295 yd; Gunmetal Gray, 650 yd; Light Khaki, 3,140 yd. Note: Try Highland (100% wool; 900 yd/lb; Harrisville Designs) or Collingwood Rug Wool (80% wool/20% nylon; 900 yd/lb; Valley Yarns) as a substitute. OTHER SUPPLIES Temple; large-eye long carpet needle for finishing. WARP LENGTH 99 working ends (200 threads total) 3 yd long (allows 6" for take-up and 36" for loom waste). SETTS Warp: 3 epi (threaded 1-0/dent in a 6-dent reed). Weft: 18 ppi. DIMENSIONS…

STRUCTURE Deflected doubleweave. EQUIPMENT 8-shaft loom, 13" weaving width; 12-dent reed; 2 shuttles. YARNS Warp: Kiku 20/2 silk (5,000 yd/lb; Treenway Silks), #226 November Maverick, 468 yd. 2/18 superfine merino (5,040 yd/lb; Jagger Spun), Chanel, 468 yd. Weft: Kiku 20/2 silk, #226 November Maverick, 388 yd. 2/18 superfine merino, Chanel, 404 yd. WARP LENGTH 312 ends 3 yd long (allows 8" for take-up, 21" for loom waste; loom waste includes fringe). SETTS Warp: 24 epi (2/dent in a 12-dent reed). Weft: 24 ppi. DIMENSIONS Width in the reed: 13". Woven length: (measured under tension on the loom) 79". Finished size: (after wet-finishing) 9½" × 67" plus 11/2" fringe. I am fond of all forms of doubleweave but especially love deflected doubleweave with its bold and exuberant patterning possibilities. Yarns will…

STRUCTURE Twill. EQUPMENT 4-shaft loom, 20" weaving width; 12-dent reed; 2–4 shuttles; 5 bobbins. YARNS Warp: 10/2 cotton (4,200 yd/lb; Georgia Yarn Company), Natural, 315 yd; Warm Navy, 675 yd; Hyacinth Violet, 1,076 yd. Weft: 10/2 cotton, Cherry Red, 906 yd; Warm Navy, 479 yd; Olive Green, 450 yd; Natural, 94 yd. OTHER SUPPLIES Coordinating sewing thread. WARP LENGTH 459 ends 4½ yd long (includes floating selvedges; allows 12" for take-up, 32" for loom waste). Note: Allow 33" for each additional towel. SETTS Warp: 24 epi (2/dent in a 12-dent reed). Weft: 27 ppi. DIMENSIONS Width in the reed: 193/12". Woven length: (measured under tension on the loom) 118", or four towels about 29½" each. Finished size: (after wet-finishing and hemming) four towels, 16½" × 24½" each. I love symmetry,…

Early this year, a group of more than 40 weavers gathered in Colorado for four days of weaving, camaraderie, and fun at Weave Together with Handwoven. On the official agenda were classes covering a broad range of techniques for rigid-heddle, multi-shaft, tablet, inkle, pin-loom, and tapestry weaving (to say nothing of adventures in visible mending and making Dorset buttons), with teachers familiar to Handwoven readers, including Deb Essen, Sara Goldenberg White, Bobbie Irwin, Sarah Neubert, John Mullarkey, Gabi van Tassell, Kate Larson, and Angela K. Schneider. On the unofficial agenda were good conversations with weaving friends old and new, a marketplace full of goodies to shop for, and many, many door prizes. Perhaps the best part was the combined show-and-tell/low-key fashion show that wrapped up the event. Weavers walked around…

Twisting (or plying) the fringe Divide the number of threads for each fringe into two groups. Twist each group clockwise until it kinks. Bring both groups together and allow them to twist around each other counterclockwise (or twist in that direction). Secure the ends with an overhand knot. (Use the same method to make a plied cord by attaching one end to a stationary object.) Double (Italian) hemstitching Weave several picks of plain weave (or the basic structure of the piece), ending with the shuttle on the right side if you are right-handed, the left side if you are left-handed. Measure a length of weft four times the warp width, cut, and thread this tail into a blunt tapestry needle. Take the needle under a selected group of warp threads…

When I recently needed to transfer hundreds of heddles on my newly acquired 54-inch Fireside loom, I saw I could quickly get in deep trouble. To keep all those heddles from crossing and tangling as I moved them, I grabbed a couple of large knitting stitch holders and fastened one through the top and another through the bottom of the heddles. My partner, who has a nearly complete metal shop, immediately made me a batch of similar pieces with scrap wire. They look like large safety pins without eyes. Using them, I can gather 50 or more heddles and securely wrangle them into place with no hassle at all. (Editor’s Note: If you don’t have a friend or partner with a metal shop, you can buy large knitting stitch holders…

Trim and Embellish Looking to add that special touch to your weaving? Make custom i-cord with this wonderful knitting mushroom from Knitting on the Fringe. Measuring 3¼ inches tall, it fits comfortably in the hand and is self-contained with the needle fitting inside. Craft coordinating hanging loops for towels, embellish the edge of a pocket or scarf, or maybe even make cording to use in a diversified-plain-weave project. knittingonthefringe.etsy.com Fine Yarns? No Problem! Rigid-heddle weavers rejoice! Have you wanted to use thinner yarns and weave with more ends per inch without having to set up multiple heddles? Now you can! Tabby Tree Weaver’s super-fine rigid heddles are available in four sizes ranging from 15.5 to 25.5 dents per inch, with six lengths to fit either your Ashford or Schacht…

STRUCTURE Stitched double cloth twill. EQUIPMENT 8-shaft loom, 26" weaving width; 8-dent reed; 5 rag shuttles. YARNS Warp: Bomullsmattvarp 12/6 (100% cotton; 1,463 yd/lb; Bockens), #61 dark brown, 530 yd. Weft: Comfy Cozy cotton flannel fabric (100% cotton; Joann), Blue Ashes, Hunter Green, Adriatic Blue, Caramel, and Tobacco Brown, 4 yd each. OTHER SUPPLIES Two 2-lb weights for floating selvedges; fabric scissors or rotary cutter and self-healing mat; metal temple; Fray Check. WARP LENGTH 202 working ends (212 total threads) 2½ yd long (includes doubled floating selvedges; allows 8" for take-up, 43" for loom waste). SETT Warp: 8 epi (1/dent in an 8-dent reed). Weft: about 10 ppi. DIMENSIONS Width in the reed: 252/8". Woven length: (measured under tension on the loom) 39". Finished size: (after wet finishing and hemming)…

Symmetric designs can be beautiful, with the bonus of being relatively easy to design; however, when you want a more lively, less regular feel to your piece, it’s time to experiment with asymmetry. Asymmetric designs are often more visually intriguing than similar symmetric designs. The irregular forms produced by asymmetry make us want to look longer at them to figure out what they mean, visually speaking. As a result, asymmetric projects often feel more dynamic, intriguing, and casual than symmetric pieces. (That doesn’t mean they’re better than symmetric pieces, though—it depends on your tastes and creative goals for a piece.) In my handwoven coat, Autumn Splendor (shown above), I wanted a dramatic sense of sweeping movement, like a leaf blown about in the wind. That sense of freedom would have…

In the past few years, I have become increasingly aware of the quantity of textiles in our landfills. I try to be judicious about the clothing and linens I purchase, with an eye to buying pieces with longevity. But even so, I feel guilty when I throw away clothing or plastic bags, knowing that they will live virtually forever in a landfill. In Rags to Rugs, his latest rag rug weaving book, Tom Knisely shows how you can incorporate used clothing and bedding linens, discarded plastics, worn-out rag rugs, and even used drop cloths into your rug weaving. You might assume that rugs made from discarded fabrics would be solely utilitarian, but that is not the case. Knisely is a proficient weaver and designer who spent the time up front…

Colorful and whimsical woven and embroidered cushions and bedcovers from the latter half of the eighteenth century through the mid-nineteenth century are currently on view at the American Swedish Historical Museum in Philadelphia. The textiles are from the personal collection of Philadelphians Wendel and Diane Swan. Most of the roughly 50 textiles on display were created by women living on farms in southern Sweden, where skills in weaving, embroidery, and other forms of textile production were necessary to run a household. As farming life changed with the on set of both the Industrial Revolution and mandatory schooling of children, these textiles became “Sunday Culture,” in use on Sundays and special occasions rather than every day. Restricting the use of these beautiful pieces reinforced their special status and had the effect…

To celebrate my son’s achievements as a pilot, I wanted to design and weave a piece that recognized his experiences with sailplanes and motorized aircraft. I developed the woven image from a photograph of the glider on the ground at a gliderport in Elmira, New York. After extracting the plane and reducing the colors, I rotated the figure so that the plane appeared to be flying. The dragonfly represents the logo of the glider model, a vintage German “Libelle” or dragonfly. The number is the tail number specific to that plane. The weaving itself defies easy classification; though it is a woven graphic, it’s not a tapestry. Instead, I wove it on a single-unit drawloom. My first attempt in damask failed to allow for the shading needed to make the…

STRUCTURE Plain weave. EQUIPMENT 2- or 4-shaft loom, 36" weaving width; 15-dent reed; 6- or 12-dent reed; boat shuttle; rag shuttle. YARNS First warp: 20/2 cotton (8,400 yd/lb; Lunatic Fringe Yarns), 1,440 yd. First weft: various yarns of any size and fiber. Second warp: 8/4 cotton carpet warp (1,600 yd/lb; Maysville), 495 yd. Second weft: chenille strips from first weaving; 8/4 cotton carpet warp for hems, 165 yd. WARP LENGTH First warp: 288 ends 5 yd long (allows 10" for take-up, 33" for loom waste). Second warp: 180 ends 23/4 yd long (allows 7" for take-up, 28" for loom waste). SETTS First warp: 60 epi with gaps (4 ends in each of 2 adjacent dents, skip 13 dents in a 15-dent reed). First weft: about 4 ppi. Second warp: 6…

STRUCTURE Plain weave. EQUIPMENT 2- or 4-shaft loom, 32" weaving width; 8-dent reed; metal weight for the loom’s beater bar; 2 large stick or ski shuttles. Note: A weighted beater bar is very helpful for this project due to the heaviness and bulk of the core spun yarn. YARNS Warp: Navajo Churro blanket-weight singles (100% Navajo Churro wool; 225 yd/4 oz; Rainbow Fiber Co-Op), Natural, 512 yd. Weft: Core spun Leicester longwool/llama yarn (fiber percentages unknown; about 50–70 yd/put-up; Fuzzy Ewe Farm), 95 yd. Navajo Churro blanket-weight singles, 5 yd. Note: The Rainbow Fiber Co-Op sells its yarn annually and often sells out quickly. Try Navajo Churro blanket-weight weaving yarn (100% Navajo Churro wool, 750 yd/4 oz, Laurel Canyon Farm) in Maria as a substitute. The Fuzzy Ewe Farm core…

STRUCTURE Twill. EQUIPMENT 4-shaft loom, 11" weaving width; 12-dent reed; 1 shuttle. YARNS Warp: 8/2 cotton (3,360 yd/lb; Maurice Brassard), #83 Noir, 487 yd; #5169 Fuchsia, 88 yd; #3161 Jaune Or, 80 yd; #5029 Bleu Moyen, 72 yd; #1315 Orange Pâle, 44 yd; #5120 Mauve Pâle, 28 yd. Weft: 8/2 Tencel (100% lyocell; 3,360 yd/lb; Maurice Brassard), #T5070 Royal, 646 yd. WARP LENGTH 290 ends 2¾ yd long (includes floating selvedges; allows 7" for take-up, 20" for loom waste; loom waste includes fringe). SETTS Warp: 27 epi (2-2-2-3/dent in a 12-dent reed). Weft: 27 ppi. DIMENSIONS Width in the reed: 1010/12". Woven length: (measured under tension on the loom) 72". Finished size: (after wetfinishing and hemming) 9" × 65" plus 3" fringe. If you’re just starting out weaving with asymmetry,…

STRUCTURE Twill with clasped warp. EQUIPMENT 4-shaft loom, 24" weaving width; 8-dent reed; 1 shuttle. YARNS FOR ASHFORD DK SHAWL (SHAWL 1) Warp: Ashford DK (100% wool, 221 yd/100 g; Ashford), #806 Mist and #826 Sapphire, 828 yd total, split between colors. Weft: Ashford DK, #826 Sapphire, 443 yd. OTHER SUPPLIES Nonstretchy cord, 3 yd; fringe twister (optional). WARP LENGTH 138 doubled ends (276 ends total) 3 yd long (allows 18" for take-up and loom waste; loom waste includes fringe). Note: Yarn will stretch under tension. SETTS Warp: 6 epi (1 doubled end/dent in a 6-dent reed). Weft: 7 ppi. DIMENSIONS Width in the reed: 23". Woven length: (measured under tension on the loom) 90". Finished size: (after wet-finishing) 18" × 76" plus 5" fringe. YARNS FOR LOCALLY GROWN/NATURALLY DYED…

STRUCTURE Twill. EQUIPMENT 8-shaft loom, 24" weaving width; 12-dent reed; 3 shuttles. YARNS Warp: 10/2 pearl cotton (4,200 yd/lb; UKI; Yarn Barn of Kansas), #07 Black, 1,060 yd; #01 White, 1,028 yd; #67 Light Orange, #114 Indies Orange, #148 Caribbean, #63 Yale Blue, #37 Bali, #03 Fuchsia, #102 Magenta, and #10 Gold, 32 yd each. 10/2 pearl cotton (4,200 yd/lb; Lunatic Fringe Yarns), #5 Green Yellow, 32 yd. Weft: 10/2 pearl cotton (UKI), #07 Black, 832 yd; #63 Yale Blue, 535 yd; #01 White, 4,761 yd. WARP LENGTH 594 ends 4 yd long (includes floating selvedges; allows 10" for take-up, 38" for loom waste and sampling; loom waste includes fringe). SETTS Warp: 28 epi (2-2-3/dent in a 12-dent reed). Weft: about 23 ppi. DIMENSIONS Width in the reed: 214/12". Woven…

Baah Yarn, baahyarn.com (Hubbart 77). Eugene Textile Center, eugenetextilecenter.com (Liles 34). Fuzzy Ewe Farm, FuzzyEweFarm.etsy.com (Cox 42). Georgia Yarn Company, gayarn.com (Allen 66). Halcyon Yarn, halcyonyarn.com (Lough 77). Handweavers Studio, handweavers.co.uk (Gibson 54). Lunatic Fringe Yarns, lunaticfringeyarns.com (Heyman 70). Maurice Brassard et Fils, mbrassard.com (Chiu 51). Meridian Jacobs, meridianjacobs.com (Lynde 62). Quilt Lizzy, quiltlizzy.com (Fox 77). R&M Yarns, rmyarns.com (Richardson 44). Rainbow Fiber Co-Op, rainbowfibercoop.org (Cox 42). Red Stone Glen Fiber Arts Center, redstoneglen.com (Knisely 38). Tabby Tree Weaver, tabbytreeweaver.com (Lemons 24). Treenway Silks, treenwaysilks.com (Gibson 54). WEBS, yarn.com (Fox 77). Yarn Barn of Kansas, yarnbarn-ks.com (Fox 77, Gibson 54, Heyman 70, Richardson 44).…

If you enjoyed this issue, head over to the Handwoven website for even more projects! Get your downloads now at LT.Media/HWSU2024-Extras. 1. Zebras on the Serengeti CARLA JEANNE HUBBART Images from an African safari inspired this rigid-heddle-woven scarf. Designer Carla Jeanne Hubbart cleverly combines solid black and white yarns with a verdant handpainted yarn to evoke images of zebras hiding in a lush, rainy-season savanna. 2. A Slice of Layer Cake Runner REBECCA FOX Strips cut from a quilt-fabric layer cake make up the weft in this sweet table runner. To show off the fabric’s sophisticated neutral palette, designer Rebecca Fox opts for a crammed-and-spaced warp that locks in the weft while giving it room to shine. 3. Mix It Up Mug Rugs LAURA LOUGH Use up even the smallest…