The problem: I wound a gradient warp involving three colours, so the order of the thread is very important. While the threading looked fine at the cross, somehow the threads had got twisted between the back beam and the cross. I knew it had to be something that would untwist itself, but I did worry that it might create tension problems as I weaved. This is what the back of my look looked like:
What to do?
As it happens, the warp was for a sampler in the wonderful course Understand Double Weave on 8 shafts run by the fantastic Cally Booker. It is impossible for me to convey how mind blowing I am finding this course, but it is pretty amazing, and the clue is in the first word of the title, “understand”: it is not a “recipe” course, but one where every lesson ends with at least one design challenge, where students are asked to put into practice the teaching of the lessons. The emphasis is on block design in double weave, and the possibilities are endless… but I digress.
The short of it is that I asked Cally, and she suggested to finish dressing the loom (so thread the heddles, sley the reed, tie at the front), then bring the whole warp forward onto the cloth beam (packing it with paper to avoid messing up the tension at the front) so as to clear the back beam.
Then sort any problems there, checking that everything is aligned, then rewind back onto the warp beam.
And this is precisely what I did: in an hour it was all done, and my warp looks so very even and pretty!
I will just note here all the steps, just in case I need to to this again:
dress your loom as usual;
once the loom is threaded, if they are still there, remove the lease sticks (the heddles will already do the job of keeping the warp threads under tension)
release the tension on the back beam, and start rolling the warp onto the cloth beam, using a warp separator (heavy lining paper in my case). If there are crossed threads at the back, inevitably they will pull at the heddles as you advance the warp – just give it a shake. It did help to open a few sheds every so often to keep the threads separate and prevent tangles and bunching at the heddles. This pulling is not a bad thing though, as it means that the warp at the front is under tension.
once the warp has been rolled onto the front beam, if the threads on the back apron rod do not look even, just cut the loops and tie on (as you would for front-to-back warping), checking for even tension.
Open the two plain weave sheds and insert lease sticks to create a cross – this will keep the winding thension even.
start beaming the warp on the back beam again, obviously adding warp separators.
once finished, correct the tension at the front knots
enjoy how pretty and even your warp is looking!
and you are ready to go!
Just for the sake of completeness, here is the warp viewed from the front, ready to weave, with the gradient layer up:
The standard method suggested to fix broken warp is to take a fresh length of yarn as long as the remaining length to be woven, secure it to the cloth already woven, and weave that while discarding the broken warp thread.
Perhaps because I came to weaving from knitting, with a sizeable stash of expensive knitting yarn, I could never really stomach this method. And since I can see no reason why the same method cannot be applied also “in reverse”, this is exactly what I did to fix my very first broken warp thread in my very first project.
So with this method, depending on where the broken warp is, the yarn needed is at most the length between the between the front and the back beam. Should the break occur during winding, just knot the two broken ends, and deal with the knot once it approaches the fell line (the case in the pictures below)
Saving yarn gives me great satisfaction, and thought I am sure I am not the first person who has thought of this, I could not find it online, so I am reporting it here.
The first part is the usual one:
take a length of yarn and thread it in the same heddle as the broken warp thread, along the warp.
Secure a pin (a sewing pin or a T-pin) to the cloth parallel to the fell line, so that the pin head is just to the side of the woven part of the warp thread you have to replace.
Secure the front end of the replacement warp to the pin, e.g. by making several figures of 8 using the two ends of the pin.
tension the replacement warp thread by weighing with something at the back – a possible solution is to stick it between two yarn cones. Just make sure that the weight is not excessive as to break the replacement warp!
if dealing with a knot, cut the old warp thread after the knot, and place both ends out of the way temporarily – the end closest to the cloth beam will be snipped out later, the (long) end going to the back beam will be rejoined.
weave. Depending on how slippery the yarn is, you want to weave a few cm, as the replacement warp thread will be cut.
Now with the usual procedure you would keep weaving until the end, and then discard the old warp thread, whatever its length. To avoid that:
after weaving the desired length, take another pin and secure it parallel to the (new) fell line; attach to it the old warp thread, pulling it hard enought that it is in tensioned as the rest of the warp. This definitely works on a rigid heddle loom and on a table loom. Maybe on a floor loom, where the warp is more tensioned, something thicker than a pin is needed.
cut the replacement warp, and pull it out of the heddles; remove the pin that secured it to the cloth (not a good idea to remove it before cutting, to avoid the tension pulling out the woven relacement thread)
weave as normal. After weaving enough cm that the warp is now securely woven into the cloth, remove the second pin. Done, and you’ll just trim the ends that stick out of the cloth later.
Table looms (mine is a 60cm 8 Shaft Ashford) do not generally come with a “shuttle race” – in a floor loom this is a little shelf beneath the reed that prevents a boat shuttle from diving to the floor.
In order to use a boat shuttle with a table loom or a rigid heddle loom you have to rely on the tension of the warp. Depending on the weight of your warp, this may work just fine or end up badly – the time spent rescuing the boat shuttle from the floor/table top and disentangling it from the warp defeats the purpose, not to mention the risk the risk of damaging the shuttles.
However hacking a race for a table loom is really pretty easy (and I suspect I can do something similar for my Rigid Heddle loom), and “non invasive”, in that it is a non permanent hack.
I borrowed this idea from a discussion in a weaving Facebook group, so I have no claim to originality here, but as I could not find this solution on online blogs, I thought I’d record it here. Alternative solutions using clamps are here and here.
For this you only need a lease stick compatible with your loom, and some elastic bands, cord or anything you can use to tie something up. In my case I use some Ashford helping hands, but e.g. strips of jersey fabric from an old t-shirt would probably work equally well.
As you can see in the picture at the top, the lease stick is sitting just below the warp. At each end of the lease stick I have passed the helping hand cord through the reed from above and below to make it snug. Here are a couple of close-ups from the front and back.
In this picture you see that the cord goes through the hole at the end of the lease stick. The cord end coming out from the top goes through the reed and around the top part of the beater from behind. The cord end coming out of the heddle hole from below goes also through the reed, but then comes back out from the next slots, and joins the other end in a bow knot at the top of the beater.
Here is a picture from the back of the reed:
You can see next how the “race” sits below the warp:
Even if the race moves a bit below the warp (which it will do while weaving), it will still work well, and being supported the shuttle will glide through without issues.
This seems to work well for my setup, and it does make weaving faster and more pleasurable, at least for me.
Some final observations:
care must be taken if you are using a temple: if the teeth are long enough to come out on the other side of the cloth, when the temple is close to the fell line, its teeth will scrape the race when beating (ask me how I know…).
I wound’t recommend usin a piece of wood wider than a lease stick; however this will limit the advancing of the cloth, as the race will be “one shuttle race width” apart from the front beam when beating.
unless the lease stick are leaft in place when weaving, there is no need to buy a separate shuttle stick, as one of those used for holding the cross when warping can double as shuttle race once the warp has been beamed.
There are many sources to find out about weaving drafts and how to read them – however most of what I’ve found is either for multi shaft looms (e.g. check out joy of weaving, Cally Booker on floor looms and table looms, or Peggy Osterkamp) or for rigid heddle looms (joy of weaving again). I thought I might save you some time if I combined the two in a single place.
So, what is a draft? As a starter on a rigid heddle loom, I came across the term “draft” or “weaving draft” very often, and wondered what it was (though I could weave quite happily without needing to know anything about it).
It may be useful to think first of the basics of a loom.
Most loom types seem a variation of the following: a more or less rectangular frame that keeps a set of threads, which are said to form the warp, in tension. Then another set of threads, called the weft, are interlaced with the warp, by being woven at a right angle across the warp, with each weft thread going over and under the weft threads. The way in which you go over and under determines the pattern.
You could weave with a needle – in fact, tapestry weaving uses exactly that. it is slow, though, and so heddles come quite handy: if each warp thread goes through a heddle, then by lifting heddles you lift a certain group of threads, and so rather than slogging a needle up and down what could be very many and very fine wapr threads, you lift all those threads you should go under, create a shed (i.e. an opening) between the lifted threads and those that stay put, and can pass the weft thread through with a “big needle”, i.e. a shuttle. In some looms (e.g. a rigid heddle loom) you can also lower heddles, in others (e.g. countermarch looms) you lift some heddles and lower the others at the same time. In all cases the objective is to create a shed as tall as possible to put the weft thread comfortably through.
How to do all this lifting (and lowering) of heddles? You need a “shaft”, something that the heddle is secured to which can pull it comfortably up and down. To do any weaving you need at least two shafts, so that you can lift different groups of threads to get warp and weft interlacement. In a rigid heddle loom you would have some threads in a slot and some in the hole: by lifting the heddle you are raising the threads in the holes – call these “shaft 1”. By lowering the heddle, you push down the warp threads in the holes, so that those through the slots are raised relative to those in the holes – call these as “shaft 2”.
A “draft” then is a plan that tells you which warp threads go through which heddle (the draft threading) and which set of heddles, hence which shaft, has to be raised at each pick (the draft treadling). It may be that your draft wants you to manipulate some shafts at the same time, or separately. This is noted in the tie-up section of a draft.
The combination of threading and treading will produce a specific warp and weft interlacement, the drawdown.
For plain weave only two shafts are needed, i.e. shafts 1 and 2, and in the treadling you shafts 1 and 2 are lifted in alternating fashion. In a rigid heddle loom, a single heddle behaves as two shafts, where e.g. call the holes “shaft 1” and the slots “shaft 2”.
Below is a plain weave draft. In the threading each column corresponds to a warp thread and each row refers to a shaft (start counting from the bottom). In the treadling each row corresponds to a weft thread, and each column refers to a shaft. In the box occupying the right top corner, each row corresponds to a shaft. Finally each solid black box indicates a thread/shaft combination.
Start from the tie up: the bottom corner identifies shaft 1, and the top corner identifies shaft 2.
Next, the threading: the bottom row links up with shaft 1 of the tie up, hence it tells you that the odd warp threads go through heddles in shaft 1 (or holes in a rigid heddle); while the top row links up with shaft 2, so it tells you that the even numbered threads go through heddles in shaft 2 (or slots in a rigid heddle).
Finally, the treadling, the first row tells you that at the first pick you should lift shaft 1, since the first solid box corresponds to shaft 1; the second row tells you to lift shaft 2, as the second solix box corresponds to shaft 2. The third row is again a pick with shaft 1 lifted, and so on. With a rigid heddle loom, lifting shaft 1 would mean put the heddle in the up position, and lifting shaft 2 would mean put the heddle in the low position.
No drawdown shows in the pictures above. To think how it should look like: the first bit of the treading says to lift shaft 1 when passing the first weft thread (i.e. weaving the first “pick“). This means that all odd warp threads will be up, and all even threads will be down – hence the weft will go over all even threads, covering them. With a rigid heddle loom, the first pick would mean raising all the threads through a hole, so the even threads in a slot will stay down.
Then with purple weft and white warp, after the first pick the project would look this:
The second pick tells you to lift shaft 2/put the rigid heddle in the down position, hence after the second pick you have this:
and so on:
This is the simplest draft there is! Of course a draft could use more shafts, and the treadling could prescribe lifting multiple shafts at a time – for instance in 2/2 twill shafts are always lifted in pairs, here is an example:
The pictures above are screenshot from weaving software, which makes experimenting very easy, and hours fly by quickly playing around with drafts. Having said that, for me pen and squared paper were what I needed to really understand what any combination of threading, treadling and tie up will do for a drawdown.
Drafts intended for multi shaft looms can be woven on a rigid heddle loom, definitely up to four. True, the structure of a rigid heddle does impose constraints and requires some creativity, but it can be done in various ways. I do find that understanding how a rigid heddle loom can function as a multi shaft loom quite liberating, so some more thoughts on this follow below.
Rigid Heddle Loom as Multishaft loom
As discussed above, a rigid heddle loom setup with a single heddle can be seen as a two shaft loom: the holes are heddle 1, the slots are heddle 2. Now what if you add another rigid heddle? if you do, you will be adding one more shaft.
Hang on, you may ask, did we not just say that a single heddle counts as two shafts? Yes, but that is true for the first heddle only. When you add a second heddle, it is still the case that you will be able to lift the threads that go through the holes of that additional heddle, and we will say that such threads belong to shaft 3. But the threads that go through the slots will still be “passive”, and in order to “lift” them you will have to lower all the other heddles, to lower the hole threads. Hence by adding each furhter heddle, you are only adding one more possibility of manipulating threads through holes.
In short then:
1 rigid heddle = 2 shafts
2 rigid heddles=3 shafts
3 rigid heddles =4 shafts
and so on. I find it more convenient to number the “shafts” starting from the holes, and leaving the slots as (residual) shaft 4.
For the Table Loom without a race? Yes, for the table loom without a race! The race can be hacked by attaching in a non permanent way (so no damage to your loom!) a lease stick held under the warp by the short helping hands, or some rubber bands; some examples are here and here, and here is my own hack:
Boat shuttles come in many variation:
Bottom. The bottom can be open, closed or have rollers; a closed bottom one glides easier but is heavier, which may be an issue with table loom warps which aren’t as tightly tensioned as floor loom ones. Open bottoms allow the user to control the thread. Something worth bearing in mind is that overfilling the bobbin will make it stick out of the shuttle bottom profile, making it catch the warp threads.
Feeding. The yarn may come out of the shuttle (i.e. “feed”) from the end or from the middle; end feeding shuttles tension the yarn. Also, there are shuttles with two bobbins; these are particularly useful when the weft goes with two ends held together.
Size. The bigger, the heavier. Longer and slimmer will glide more easily, travel longer and are more likely to go straight; obvioulsy though, for a given width, the longer the shuttle, the more it will weigh. Wider shuttles will carry more yarn; wider shuttles it may fall off the makeshift race, and/or catch the warp. Shuttles taller than 1″/2.5cm may be problematic for the Table loom, since the shed is not as tall as for a floor loom.
Shape. A pointier shuttle will travel more easily. A shuttle with an asymmetric “bulge” on one side provides more room to the bobbin/quill to move and feed the yarn (if it is a side-feeding shuttle)
Material. traditional ones are in wood, but I have seen quite a few plastic ones. Material will affect gliding ability as well as weight.
Another video on winding bobbins which I found really useful is here:
All this stuff on quills is as in the end I bought some Toika closed bottom shuttles as my (first?). They are very light (only 86g/3oz) and have a low profile, which will suit the table loom.
The results in the videos are all quite polished – my reality was actually rather more rough! I opted for the drill solution, and as paper quill I cut a rectangle out of a discarded letter and rolled it around the smallest drill bit I had.
To wind you have to start the yarn inside the paper fold, then trap it inside:
Then start your drill, guiding the yarn up and down, and making sure you leave about 1cm free on your paper quill at both ends. Then pull out the yarn cigar, and insert into the boat shuttle. I found it easier to use with the bobbin unwinding from below, it made it easier to re-roll, but it may work differently for you.
For posterity, here is my very first wound home made paper quill:
Throwing the shuttle isn’t at all hard – for this pointed ones, grab them from below as you would a paper plane, and throw them through the shed along the race, with your other hand ready to catch it on the other side. It only took me a few tries to not feel awkward anymore: it is much quicker than a stick shuttle!
The content of this post is an imperfect and highly condensed summary of the sources below (in addition to the links already posted):
Which is something you should ideally never do. But what if you have to? That is what I was confronted with when after threading each and every one of my 672 ends for my very first table loom project I realised that something was amiss from my 7.5m warp: tension!
My heart sank when I saw the disaster on the back beam:
So what to do? I scoured the internet, and while I could find some info in one discussions on Weavolution, all the information I could find was either on how to warp properly, or tips on how to solve minor warping issues, and one useful blog entry on rebeaming. In this blog entry everything went more or less uneventfully, which gave me courage, but I could not find anything preparing me for the awful tangles and problems that were to come – I guess there isn’t much pride in disasters.
However I’d like to bare it all here, as it is a story with a happy ending, reached however after several setbacks over five evenings that brought me close to tears (and to scissors!). I almost gave up at least three times, and the excellent advice on Ravelry is what saved my day.
First the theory:
divide your warp in bout;
tie some weights to each bout to keep tension;
if the warp is already threaded (my case), leave it threaded
start unrolling the warp from the back beam, chaining the warp as it falls off the loom, and retie the weights as they get to the floor, to keep tension.
chain the bouts as they come off the loom;
once you’ve unbeamed, rebeam the warp, as if you were warping front to back.
If you happen to have a trapeze, or can hack one (a broom handle held by two high back chairs, or whatever you can think of), even better. If you have a yarn that sticks together (my case), you can let it all roll and it won’t tangle, otherwise better to collect each chain in a separate container.
Then the reality…
Having said this, a lot can go wrong. All this happened to me:
while UNbeaming, the weights on the bouts will be completely ineffective: this is because due to differential tension, after each turn of the back beam, some threads were pulled out more than others. And why is that? because…
while UNbeaming, the warp threads will bunch at the heddles: the threaded heddles act like a comb. You should never ever comb your warp, as this is a sure recipe for tangles. But in this case the heddles will do so for you. To reduce the severity of the problem, insert lease sticks between the castle and the back beam. Now you will have bunching of the warp threads at the lease sticks, but these are much easier to straighten than those at the heddle. You will have to pull out to the front each and every one of these warp threads – requires steady resolve.
while UNbeaming, the warp threads will be coming out at the front full of loops and tangles, by which I mean something like this: this and the bunching are what made my heart sink, and repeatedly so.
However fear not, as incredible as it seems, these horrible tangles can be and will be straigthened out while REbeaming. For that to be the case, standing at the front of your loom you have to grab the bout and do possibly each of the following multiple times:
tug at it sharply;
shake it vigorously, as if they were horse reins;
beat it against the breast beam;
strum it (as if it were made of guitar strings)
make a shed and pass your hand through it to separate a top and bottom
do not comb if you life depended on it!
If you do the above, then miracously a minute or two of such exercise take each bit of you bouts from e.g. this: to this
You just have to keep going, steadily and patiently.
The good news is, it works! Just take plenty of time, and be prepared for getting very close to quitting multiple times. Just keep reminding yourself that, no matter how long and wide your warp, it is only a finite set of warp threads: with enough time and patience you can untangle anything!
When you RE-beam, do make sure you tension your warp properly, you don’t want to have to do this again! Use the “yank and crank” method (i.e. divide the warp in even bouts, and after each turn or half turn of the back beam, pull at each bout sharply) – some useful tips are on Peggy Osterkamp’s blog, among other sources.
The reward awaits you – a lovely, taut warp ready for the shuttles!
I had come across this tool several times on George Weil’s webpage while looking for something else weaving related, and always wondered briefly and idly what it was. And then decided to look it up. And then decided to buy it. And then used it, and really, it makes a super neat party trick – more importantly, it is such a useful tool!
It is a tool to sley a loom reed, and you would only use it for metal reeds. Why would you part with a non negligible sum of money for this flimsy spatula looking thingy when you can use a cheap plastic hook that costs a fraction of the price?
There are several reasons:
it is going to make slewing the reed much faster, as you won’t have to pull the autodenter completely out, then back into the next slot, as you would with a standard hook;
you won’t miss any dents!
it’s endlessly entertaining.
So how does it do that? It actually consists of three parts put together, as far as I can see: a central “tongue” and two opposing “lips” that hold the tongue as in a pinch:
The tool is not symmetric – the “tongue” is bent at the top, and so is one of the lips.
First you insert the tip of the tool in the slot (at an angle, so that the bent tip can go through) – from here onwards you will keep the tool straight, and you will push it in and out of each slot, exerting a little pressure when going in towards the direction indicated by the bent tip. So e.g. if you want to start sleying from the right, you would insert the tool with the tip pointing to the left, as that would be your direction of travel. If you want to sley the reed moving towards the rigth, then you will insert the autodenter with the bent tip pointing towards the right.
Once the tip is in, the fun begins. So let’s suppose that, as in the video below, you want to sley left to right:
slide the autodenter so that the bent lip engages the right dent of the slot: at this point the dent is between the right lip and the tongue of the denter.
As you push the denter in the slot, you will hear a double click once the dent is past the lips. What has happened at this point is that the dent is in the free space between the two lips;
now put the warp threads through the denter’s hooks
pull the autodenter out, still exerting a little pressure so that the denter pushes lightly against the right dent in the slot – as you do, you will hear another double click: now what has happened is that the dent has ended up between the tongue and the left lip, or put it differently, the denter has moved to the next reed slot to the right of where you were – magic!
Below is a little demonstration, mid way through I slow it right down to show the “lip and tongue” movement.
I got my autodenter from George Weil, in the UK. It is unbranded, though apparently Schacht also do one, though I haven’t been able to find it. in the US, AVL Looms sell it as “patent denter”. Alternativesly just search for “autodenter”, or “auto enter”, “patent denter” or, “auto reed hook”.
I’ve been long fascinated with bands, and especially while planning my double faced yardage, I’ve been thinking of ways that a novice sewer like me could use to sew up a reversible garment. A decorative band might be just the thing to make a feature of seams – or at least this is where my thinking is going.
Equipment: on shuttles, beaters and (no?) looms
Equipment is minimal: indeed, you could get going with just a belt shuttle! The latter is much shorter than the smallest weaving stick shuttle, and has a bevelled edge to pack in the weft; the other edge is thicker:
Then you would tension the warp between your waist and anything else you can hook the other end of the warp to, as here (nicked from Shelag Lewins).
The principle is the same as with any weaving: you need to interlace horizontal yarn threads (the weft) with vertical yarn threads (the warp). To do so you separate some warp threads from the others by pulling them up with something (a heddle, strings, cards) to create a gap (the shed) through which the weft will pass (wrapped around a shuttle). Once the shed is closed, the weft thread will lie above some warp threads (those at the bottom of the shed) and below others (those you had pulled up to create the shed). If you now form the shed by pulling up those threads that were laying at the bottom, you create an interlacement (credits of picture below to Backstrapweaving).
Different interlacements create different patterns – to create the sheds you can use cards/tablets (see e.g. here and here), or a reed, or nothing at all, in the sense that, you can just make your own heddles out of strings. By far the funniest video I’ve found which makes the (serious) point that this type of weaving really IS portable and easy to do is this one (using a heddle):
For a long band you need to keep in tension a long warp, so to weave more comfortably you can wrap the warp around something repeatedly: this is what looms do. So you can use a rigid heddle loom, a table loom, a floor loom, or an inkle loom, which you can hack out of carboard, as here, to get this (picture credits to heartsonfibre):
If you have it already, you can of course use a Rigid Heddle Loom – a quick set up is here, while to see weaving in action I found this video very clear:
You can in fact use any loom, indeed one can do pretty amazing things by putting together band and loom weaving, as here:
How to weave and what to weave
For how to weave, I found this blog a great resource for band weaving with heddles, while for tablet weaving, this is I think an excellent compromise between being complete and being compact.
As for what to weave, google is your friend: the free resources out there are staggering!
There is great specialisation: Celtic knots, Andean pebble weaves, letters, animals, you name it, it can be woven on a band!
First however you will want to learn how to read a draft (i.e. a pattern telling you how to form sheds, alternate colours, etc: think of reading a sheet of music). The inkle loom manufacturers guides (e.g. Schacht and Ashford) seem great as jump starts.
Another useful quick start is with Handwoven’s Magazine free guide: all of their guides will ask you for your email, I think it is a fair price to pay. This guide gets you going with the basic principles.
Of course pecil and paper are fine to use to sketch out band patterns. However there are some free software programmes that allow you to play around with colours to get some idea of what patterns you will get.
Here whether you are using a reed or a set of cards does make a difference.
For heddle users, Raktres: web based, it is pretty complete, with clear usage instructions here; ess sophisticated (it does plain weave only) but still easy to use to muck about is the free pattern simulation hosted by the Carolingian dream, again web based.
For cards/tablets users drafts do work differently (e.g. you must note the direction in which you turn the cards), two useful pieces of software to experiment with are the Tablet Draft Designer and Twisted Threads (the latter requires setting up an account, again pretty good price, it seems to me).
Links to further resources
There is a staggering amount of resources on band weaving out there, and this post is very long. So I will finish adding just two more “links of links” to societies dedicated to band weaving:
The advantage of this method is that you do not need any additional equipment other than what comes as standard with your loom, at least in the case of Ashford, where raddles are optional add ons.
The starting point is a chained warp, still uncut on both ends just in case, where the “tail” (i.e. unchained part) of the chain is away from the threading cross.
This is the end that would normally go on the raddle, but that will be rough sleyed through the reed instead. To do so, the reed is temporarily removed from the front beater, and used to space the warp threads while beaming. Once this is done, the reed is taken off the warp (how? keep reading to find out), and used as normal.
As standard warping sequence to be modified I will consider the one in Ashford’s videos:
The sequence below will differ at two points: the rough sleying of the reed and transferring the cross from the front to the back of the reed, so that you can take the reed off the warp and put it back on the front beater, where it belongs.
take the reed off
if your chain is “locked”, unlock it;
starting from the end, pull the loops through the raddle, with roughly the same number of loops per dent as you will have when you will actually establish sett, and slip the lease stick through the loops, securing them. It won’t be possible to replicate any sett requiring an odd number of threads, since now everything is looped. You could cut the threads, but this will mean a bit more more loom waste (the knots, as you will have to tied the ends, rather than exploiting the loops) and risk disaster (you will have to manage those cut ends so that they aren’t pulled back by the chain through the reed dents). So easier to go as close as possible to your actual sett, but keeping loops intact. For instance, if the sett requires three warp threads per dent, you can alternate a dent with 1 loop and a dent with 2 loops. For more on rough sleying, you can check Laura Fry’s blog.
Once all the loop ends have been sleyed, the least stick with the loops on gets installed the lease stick on the back apron rod.
beam as normal (crank and yank method): the reed will “comb” the warp and keep it spaced as a raddle would. Keep going until you get to the cross. The picture below shows the “combing” (the reed is behind the castle – heddles have been moved to the sides, one hand keeps the chain in tension at the front of the loom while the other winds the back beam. The tension and the reed’s weight keep it vertical).
now it is the time to remove the reed without destroying the cross. To transfer the cross behind the reed, you turn the lease stick closest to the reed on edge and slide another stick in the opening on the other side of the reed. You take the stick out that you had on edge and bring the second stick up to the reed, turn it on edge, and slide another stick inside the opening on the other side of the reed. The lease sticks are now in the cross on the side of the reed where you need them for threading.
(here with pictures of the process, scroll to the end). I did not have enough hands to take pictures while transferring the cross, but here is what the back of my loom looked like after transferring the cross:
And that’s it – now the front loops can be cut, and threading through the heddles can begin.
Of course things can go wrong, and did go wrong for me – after beaming I found that my threading cross had somehow been thrown in disarray!
But here having the reed sleyed did come very handy: I pulled all the threads out of the cross, but since they were still in the reed slots, I could (patiently!) take them in the order they came out of the reed (also the order in which they were beamed), and put them through the cross again in the right order.
The “humble” rigid heddle loom can do so much, as I hope the pictures above show. A beginner is most definitely what I am at the time of writing, as I have been weaving for only over six months on the rigid heddle. Hence there may be a lot missing from the info below.
However, with my bewilderment with terminology still very fresh in my mind, I thought I might save other beginners some grief by collecting what I know below. I dived into three heddle weaving almost straightaway, from my very second project (pictured above), so the list below also includes resources for weaving with three heddles, as well as four shaft drafts.
Which rigid heddle loom?
We’ve got to start from the beginning, right? I got my 16″/40cm SampleIt as part of the “Ashford complete weaving kit“, which was issued around Christmas but seems to be available throughout the year. On the plus side: it is a bargain, and it comes with absolutely everything you need to get going, including two extra reeds, even 200g yarn for your first project, two pickup sticks, Rowena Hart’s “The Ashford Book of Rigid Heddle Weaving” – check the full details in the link. I think it is VERY good value for money. On the downside: it is shorter than other looms, so at the very least you have to advance the warp more frequently, and fitting three heddles is more finnicky than on a full sized loom; although smaller than standard rigid heddle looms, it does not fold, so if you travel you need a full size luggage (dimensions are not compatible with hand luggage if you fly). Unlike several other brands, the bottom does not double as warping board. Still, it is very cheap as a bundle, and works perfectly if you are not sure whether you’ll enjoy weaving, since it sets you up to get the most out of it.
The most common brands and anyhow those I researched are Ashford (SampleIt as entry level, Rigid Heddle Loom as standard, Knitters’ loom folds), Kromski (Presto as entry level, and Harp Forte, which folds, as standard size) and Shacht (Cricket as entry level, Flip as standard. Both fold), all available in the UK.
Interesting fact: Ashford rigid heddle loom heddles fit the Cricket of same width.
All these manufacturers have very clear instructional videos on their webpages.
When researching what loom to buy, I found this blog post very clear and useful. For your first loom you’d be probably shooting in the dark: you won’t know until you start what is that you like, and what catches your fancy – I got into sewing at “granny age” because of my rigid heddle loom!
Things to consider are the obvious: budget, and what you want to do with it, which will determine the weaving width you want. Bear in mind that a larger width requires larger space to the side to manage the stick shuttles (boat shuttles are also used successfully by some, but the lower tension in rigid heddle looms as compared to multi shaft looms, and the lack of a race, mean that unless the yarn is really fine, the boat shuttle will end up on the floor quite often!). Also, larger room may require investment in a dedicated stand, as weaving with the loom on a tabletop may be quite uncomfortable/unwieldy.
In my (admittedly very limited) experience knitting yarn works perfectly well, in fact that is all I’ve been using on my rigid heddle loom. Just be careful with what you use as warp yarn: strong (so that it won’t break with all the abrasion from the reed dents going back and forth) and smooth (so that warp threads don’t stick together and give you a clear shed) is key for warp yarn. For weft you can use absolutely anything you like.
How to weave: learning from books
The following, which I have, seem to crop up again and again when discussing rigid heddle loom resources:
“Inventive weaving on a little loom”, by Syne Mitchell. This one starts from the very beginning, with the first three chapters taking you step by step into weaving and what could go wrong. It is great on three heddle weaving and how to translate drafts for shaftt looms to the rigid heddle loom. I learned about the latter on other sources thoug (see below). Available also as ebook.
“The Weaver’s Idea Book” by Jane Patrick assumes you have a little confidence with your loom already, e.g. you’ve done your first project on it, in the sense that it starts in earnest with weaving. It is one of those books that will really take you to another level if you go through it cover-to-cover (which I haven’t done yet, though). It has absolutely everything, and it will take you from absolute beginner to super expert. It is also full of projects for each technique. Available also as ebook.
“Handwoven Home”, by Liz Gipson aka Yarnworker is project base: with each project you learn a new technique, and there are also knowledge chapters at the beginning that cover the basics of weaving. Since each author has different preferences, having more than one text to teach you the basic is I think no bad thing. Available also as ebook.
“The Handweaver’s Pattern Directory”, by Anne Dixon. A four shaft loom, or a rigid heddle loom with three heddles, has “only” 14 possible sheds. Yet with threading and threading these can be combined to one’s heart’s content, and over 600 patterns are contained in this book. It is a must have, full of illustrations with both draft and the cloth produced. Only available as physical book, but the spiral bound and hardcover make it quite handy to look up.
How to weave four shaft drafts on the rigid heddle loom
A substantial section of chapter 6 in “Inventive weaving on a little loom” is devoted to three heddle weaving: this opens up all four shaft possibilities, including twills, lace, overshot and double weave. There are limitations, in that to avoid cross threads it may be just impossible to weave some patterns using the full width of your loom; and some patterns in overshot patterned double weave will just not be doable because of the way in which warp threads have to alternate in the heddles. However, there is no risk of running out of things to do for a very long while!
My introduction to three heddle weaving however came from this and this blog posts, which opened my eye to the fact that even the short Ashford SampleIt loom I owned could fit three heddles – so I will be forever grateful to
What is certainly worth the (little!) investment is the excellent and crystal clear Weaving With Three Rigid Heddles, by Reverend David B. Mckinney, available easily as ebook. This covers everything, including converting drafts for three heddles, weaving a sampler, and even doing double weave. With a little patience the Rigid Heddle Loom can be incredibly rewarding!
I also find Amy McKnight exemplarily clear. She is still growing her webpage, but is also quite present on Facebook.
Finally, another source of knowledge are the webpages of the various manufacturers: they’ve got typically videos and blogs to get you going and exploring. My most frequent go to is Ashford, including their blog, where you will also find projects. Weft Blown, one of my favourite shops, has a blog with concise but extensive information, here.
How to weave: learning from projects
Besides’s Liz Gipson’s book mentioned above, if you sew (and even if you do not) you can also keep going as you are on plain weave but creating with yarn you have to play with texture and try some of Sarah Howard’s patterns (no affiliation, just a very satisfied customer – I think I’ve only not bought four or five of them), which are designed specifically for the rigid heddle loom in mind (I also have a 16” rigid heddle loom, and made this on it – sorry to brag, I still cannot believe I did that! My first ever sewing project was another of Sarah Howard’s pattern, turned into this skirt.)
And then of course the “obvious” sources of projects: magazines! Handwoven magazine in particular always has some Rigid Heddle Loom projects, but once equipped with the knowledge to weave 4 shaft patterns, there are loads of such projects there too!
Learning from the net
If you landed on this page, you were possibly surfing the net – it is where I found all the above! Let me just add a couple of more places you may want to check out, again specific to rigid heddle loom weaving: