Whether you are a new weaver or an experienced weaver there are a lot of misconceptions about weaving that are easy to get caught up in. Some of these come from ideas of what weaving is or what makes a weaver a weaver. Then there are some weaving truths that need to be addressed as reminders for when things seem difficult.
While I originally thought of all of these with new weavers in mind they can also be a good refresher for those that are further along in their weaving journey.
If you are just starting out than weaving may seem really intimidating and confusing. You might even find it hard to know where to start or find the motivation to get started. There is so much to weaving that decision paralysis can easily occur.I have some resources for you if you are just getting startedto help you find your weaving direction.
Materials are important – but they aren’t everything
Materials are arguably one of the most important things you need to start weaving.
You can’t weave if you have nothing to weave with or on.
The weaving supplies you choose can really depend on what you want to do, what you can afford, and ultimately what you like.
Weaving can be really inexpensive, really expensive, or somewhere in between. It all depends on what your weaving goal is. You can weave with inexpensive yarn on an old frame you had lying around and spend next to nothing to get started, or you can weave with hand-spun silk from Italy on a computer-aided floor loom.
Your choice.
Alright, so some materials will not work for certain projects. For example, I don’t recommend using alpacayarn to make tea towels. So if you have specific projects in mind then do a bit of research and ask some questions!
If you don’t have a specific project in mind, then I recommend starting out small to see what you like before making any decision to invest in new or expensive materials. I started weaving on a simple frame loom made from canvas stretcher bars using a hair comb to beat down my weft. This is the same frame loom I still use when I am weaving something small and the loom that I regularly teach tapestry on.
You know what they say … if it ain’t broke!
If you are interested in what I am currently using in my weaving studio, then you can check out my supplies page.
A studio is not required to create
I know that not everyone can have a dedicated space to make and create. Some weavers may be bringing their looms out to work and putting them away when they are done. That. Is. Ok.
Not having a studio or craft room doesn’t make you less of a weaver.
Do you weave?
Congrats! You are a weaver!
I talk more about how to weave without having a studio in this post.
You can always work up to having a dedicated space for a larger loom or that yarn wall you have been dreaming of if you want.
I didn’t have a studio when I first started weaving as a student. I worked on the floor looms in the school studio and became obsessed with my simple frame loom while I was at home working in the living room of my tiny 1 bedroom apartment.
If you never want to have these spaces then that is fine too! Weaving only within the confines of a classroom or workshop is just as valid.
Ok, so this one might be controversial and maybe even a bit confusing coming from a website dedicated with teaching you tips and tricks and tutorials on how to weave, but when it comes down to it weaving is a personal practice and can be done anyway that you want to.
Do I think it is important to learn the “correct” way to do things?
Yes!
I do think that you should at least know how to weave straight selvedges and figure out your EPI. These things are foundational and help to understand how weaving fundamentally works. These foundations help you figure out how to make your warp and weft do exactly what you want it to do.
Do you then have to follow these rules?
Nope.
One of the most amazing things about weaving and creating in general is the way that you can experiment and make your ideas shine.
You don’t have to weave straight selvedges.
You don’t have to weave all of your warps.
Don’t have a loom? That’s ok, you can weave without one!
While there is a learning curve to this and anything else – it is important to enjoy what you are doing.
I weave for many reasons, and a big one is that I really like doing it. If you enjoy what you are doing then it will show. There are so many different ways to weave and different things you can create. Find the one that interests you and don’t be afraid to try a few until one sticks!
No one is forcing you to learn how to weave.
Weaving can be a great way to stay mindful because it can be really meditative. It can also help you to stay sharp as you solve problems and create something new. It can be fast or it can be slow. You can weave in silence or to heavy metal music.
There is not right or wrong way to weave or to enjoy weaving – so find what works for you!
Don’t get caught up in little mistakes or when something doesn’t turn out exactly as you want it to. When this happens you might just head in a different and more interesting direction than you were before.
It’s important to enjoy the process and the act of exploring weaving.
One of the best parts about weaving is that usually, the mistakes are easy to correct. Also, easy to avoid. (Check out the 5 Most Common Mistakes New Weavers Make)
You will see me say this often: pay attention now and be happy later or as most people say: “measure twice, cut once”. It may take an extra second or two to recount those warps or to make sure your frame loom warp is creating that X, but it takes longer to fix it.
That being said, as in life, mistakes are how you learn.
Don’t be afraid of making mistakes, but instead consider them teachable moments.
I have made a lot of mistakes while weaving.
A lot.
They almost always result in me learning something about the structure that I am weaving or my own weaving style. Every mistake I have made has resulted in me becoming a better weaver.
It is also important to remember that you will never know everything.
Be prepared to always be learning and welcome the progress it will help you make.
Most of those mistakes from above? You can probably fix them. In all honesty, this is one of my favorite things about weaving.
To be fair, I have A LOT of favorite things about weaving.
This is truth that I like to remind my students of often. There are a lot of things that might go wrong when you are weaving. This sounds scary, but…There are also a lot of ways to fix these things if they do happen.
These are just a few examples of ways that you can either completely fix a weaving issue so it is like it never happened or make it work anyway! If you ever have any doubts then just think about how people restore old textiles. If they can be fixed, then so can yours.
Are there ways to avoid these? Yes, but as I said above – mistakes are inevitable. Just enjoy your weaving and do your best. If you need to fix something then it is all just a part of the process.
More commonly known as the vertical yarn in a weaving that accounts for the overall structure. This is the yarn that is applied to your loom first and creates the foundation for everything you do. Warp yarns need to be strong and able to withstand a decent amount of tension to avoid breakage while you weave.
The horizontal threads that are passed over and under the foundation warp threads.
A good way to remember this is that Weft Goes Left.
I mean it also goes right… but that doesn’t rhyme.
You get the picture.
Weft can be anything from yarn to fabric to grass. This is because it isn’t under the same tension that your warp is. Essentially, pretty much anything can be weft as long as it is long enough to be woven into your weaving.
Inspiring.
Want to learn some about some fun non-traditional weft options?
This refers to the number of warps that reside in every inch of your weaving and it can also be referred to as your warp sett or warp spacing.
Your EPI determines not only the amount of warps you have in your weaving, but also the spacing between each warp. Warp spacing is incredibly important because it helps to determine the kind of weaving you are making. A larger EPI will usually result in a more balanced weave (see below). A smaller EPI will usually result in a weft-faced weave.
As in life – there are exceptions and it is a bit more complicated than that, but that is your general rule.
Plain weave is the most common weaving structure that you will come across and also the one most people probably thing of when they think of weaving. This weaving structure happens when your weft passes over, then under consecutive warps and then does the opposite in the next line of weaving.
Think of it as over one warp and under the next. Repeat, repeat, repeat. Then switch it up!
Just because this structure is called “plain” doesn’t mean it is boring since lot of types of weavings fit into this description – including balanced weave and tapestry. Not to mention the many different color patterns you can create by weaving over and under.
A balanced weaving is created when there are equal parts warp and weft that are visible.
This usually creates a thinner and better draping weaving, but it depends on the type of yarns you are weaving with.
Balanced weavings usually have a slightly higher EPI because this decreases the space between each warp. The closer together the warps yarns are, the less the weft yarns can easily compress. Less compression means more visibility of the warp.
Whenever you are weaving, the way you beat your weft is really important to create the type of weaving you are aiming for. If you beat to hard despite having a higher EPI, you may not get a balanced weaving.
This type of weaving has your weft yarn completely covering up your warp yarn.
This woven fabric is usually created with a smaller EPI which allows more space between your warps. The makes sure that the weft is able to completely compress.
Weft-faced weavings are denser and therefore drape less easily and most often used for wall hangings and rugs.
Tapestry is a very common weft-faced weaving because if you can’t see the warp you can more easily create shapes and imagery. Tapestry isn’t all about imagery, though….
Warp-faced weaving is basically the opposite of weft-faced weaving. In a warp-faced weaved you see only warp and no weft (or very little weft just on the sides of your weaving).
This type of weaving requires a very high EPI in order to make sure the weft can’t peak out between each warp.
Warp-faced weaving is not as common as other weave structures, but it can create a really interesting effect. Especially when the weft is thick and bulky. In the image below, you can see a warp-faced weaving utilizing different sized wefts and different weaving patterns.
Frame Loom
A frame loom is any sort of portable weaving device that allows you to wrap your warp around it. These frames usually have 4 sides, but not always! You can get frame looms in the shape of a triangle for making shawls or really any other shape you can think of.
These looms can be incredibly simple (think of a picture frame with no glass in it) or much more complicated (a loom that includes systems to make longer, faster, or more complicated weavings). A lot of frame looms can be portable, which makes them a great option for weaving on the go.
Floor looms are larger looms that sit on your floor and use pedals (known as treadles), multiple harnesses, and heddles to create more complicated weavings with less work for you. These looms also allow for an advancing warp where you can create really long projects because the warp will wrap around a beam until you are ready to use it.
They also usually take a significant amount more time to warp and set-up as compared to some other looms, but this set-up allows you to weave up faster once you get started on your actual project.
Some of the most common types of floor looms are Jack, Counter-Balance, and Counter-March.
Your selvedges are the finished sides of your weaving.
Sometimes spelled differently depending on where you are in the world – selvadge or selvege – they all mean the same thing. Selvedges also tend to be some of the hardest things for all weavers to master, but with practice, patience, forgiveness, and some tips you can create straighter sides to your weavings!
There are also times where your selvedges truly don’t matter! Like when you are planning to use your woven fabric in another project and the selvedges will be buried in your seams.
Your weaving shed is the space that is created when you raise or lower specific warps to pass your weft yarn through. The warps that move depend on the pattern you are weaving.
Creating a shed while you are weaving is not always necessary, but it does usually makes weaving faster. There are a lot of looms that come with built in shed systems to create the space for you. These looms include floor looms, table looms, rigid heddle looms, and some frame looms.
There are also options for creating a shed on a loom where there is not system already in place.
A shuttle is a tool used to hold your yarn while weaving. The two most common types of shuttles are flat/stick shuttles and boat shuttles.
These tools allow you to easily move through your shed while holding enough yarn to have to start and stop less. The type of shuttle you decided to choose will depend on a few different things, but they are all helpful while weaving!
There are a lot more weaving terms that will pop up when talking about specific techniques or equipment. Don’t worry, I will go over them as they come up. Once you know these 12 weaving terms, you are ready to get started!
Straight selvedges can be one of the hardest things to accomplish as a new weaver. In fact, “How do you weave straight selvedges?” is probably one of the questions that I get most from my students.
Selvedges that pull in are on the top of the list of the most common mistakes that new weavers make. I talked about some of the other most common mistakes in another post. If you missed it, you can check it out HERE!
For those new to weaving, selvedges (sometimes spelled selvages) are the edges of your weaving that often pull in during the weaving process.
There are a few different reasons why your selvedges may be pulling in to create the classic trapezoid shape that weavers try to avoid.
First, if you are lost in the process (which is a great feeling!) then it becomes really easy to get caught up in the movement and rhythm of weaving and lose track of keeping those sides straight. This happens the most often when you are still learning.
If you get distracted by the world or even your own thoughts then your weaving will reflect it. That doesn’t mean you shouldn’t put on some music or your current audiobook, just be mindful while you are doing it.
The more you practice, the better you will get at this and the more you can get lost without losing your selvedges.
Another reason why your warp may start to warp is simply because you aren’t giving your weft enough slack. This is incredibly common. Unlike warp, which you usually want to be nice and tight, your weft requires extra give to make sure it interacts with your warp the way you want it to.
Think of it this way, if you have a piece of yarn spanning 6 inches without interacting with anything else, then that yarn is 6 inches. If that same yarn needs to interact with another yarn by going over and under then you will need MORE yarn to span that same 6 inches.
Don’t get me wrong – sometimes uneven selvedges can really add to your weaving, but don’t forget the golden rule of art “Learn the rules first, so you can break them later”.
So how do you create nice smooth selvedges?
It all depends, but let’s go over some scenarios.
How to keep your selvedges straight
Scenario 1: Weft-faced/ tapestry
You’ve probably heard of happy little trees, well we’re going to make happy little hills.
Or bubbles.
Whatever you want to call them is fine.
Due to the structure of a tapestry a.k.a. a weft-faced weaving, the extra slack you add in your weft is what is covering up your warp. You need to add enough extra weft that in can flow around the warps in order to get the classic weft-faced weaving we know as tapestry.
Think of the weft as creating a tunnel and the warp is going through that tunnel. These warp tunnels can also be called warp channels – both are correct. They can also be important in finishing up your tapestry when you are dealing with your weft tails.
The image below shows a cross section of a weaving and a singular weft.
I digress.
The amount of hills is relative to both the width of the weaving and your own weaving style.
Everyone weaves differently.
The only right amount of hills is the one that gets you what you want. A.K.A. straight selvedges.
Try out some different sizes and see what works best for you. Just be careful not to make mountains instead, too much extra weft is a different and totally avoidable issue.
Unlike tapestry, a pattern or balanced weave doesn’t need a lot of extra wefts because it is not covering the warp completely. The weft will actually deflect the warp slightly.
That does not mean it doesn’t need any extra weft, though.
Unlike tapestry, we are not weaving hills or bubbles.
Instead, I recommend placing your warp at a 45-degree angle before beating it down. No need to take out the protractor – just eyeball it.
Again, you don’t want to have too much weft – so experiment a little and find that Goldilocks amount.
The angle you create might differ between your weavings depending on the set, tightness of the warp, yarn choice, and more. Don’t be afraid to change it up as needed with each new weaving.
On that note:
Too much weft can cause your weaving to be lumpy with loops of yarn on either the front or back.
Also, it can be tempting to try to fix your selvedges that are pulling in by overcompensating with your weft- but this just causes them to be even more uneven. You want to avoid creating loops on your selvedges as much as you want to avoid pulling in your warp.
Other straight selvedge weaving tricks
Whether you are weaving tapestry or balanced weave, one of the best things you can do to create straighter selvedges is to establish your selvedge before compressing it.
You can do this 2 ways.
1. Pinch it.
In this method, you are pretty much just holding the warp in place while you compress the weft. Doing this makes it so the extra slack needed for the weft comes from the needle or shuttle end of the yarn and not selvedge. I do this pretty much every time I am weaving regardless of what I am weaving.
2. Weave The First Inch.
Another option is to weave and compress the first inch of each line before continuing with your hills or angled weft. Doing this keeps your selvedges right where you want them! It’s also easier to work with your weft in small increments at a time. This option means you get to set your selvedges exactly as you want them.
With that being said, you don’t have to choose between these methods and I actually recommend you combining them for the best results. Try them all out and combine them for your perfect selvedge weaving combination!
No matter what you do, one of the best things you can do is to pay attention to your weaving and not ignore your selvedges. Unfortunately, they won’t get better if you ignore them.
If your warp does start to warp – then un-weave it and start again. You will be happy you fixed it, even if it took a little time. Your weaving is something that should last you and making sure it is right to begin with is the best way to create a weaving you are proud of.
I know that trying to obtain straight selvedges can sometimes feel a little impossible – especially at the beginning. The image above has two of the first weavings that I ever created, but I didn’t let their final shapes shake me. You may notice that their selvedges are not straight. The one on the left is disguised a bit by some magazine edging, but I put that there because it made it seem more straight and I was getting graded! The point being, though, that I kept going. I kept weaving and I kept practicing.
So like most things, you WILL get better with time. If you want straighter selvedges then consistency and a some practice will get you there! Honestly, practicing is the best thing that you can do for better selvedges. In case you needed it – here is your permission to weave more!
You’re Welcome!
What is your favorite way to keep your selvedges from pulling in? Let me know!
Have you ever wished you could just weave more? Even better if you can set up your loom less? Luckily it is possible to weave multiple weavings at the same time by weaving weavings adjacent to each other on the same loom.
I have already talked about getting more out of your warp by weaving multiple weavings on the same warp consecutively and this is like that but with a twist!
Why would you weave multiple weavings at the same time?
For a lot of people the setup and warping process is a bit of a necessary evil. It is the thing that you have to do in order to get to the part you really want to do – the weaving. This might not be everybody – some people love the setup, but if this is you then getting the most out of your warp can be a great way to do more weaving and less warping.
One thing to keep in mind is that this really only works if you are weaving multiple narrow weavings. The dimensions will depend on your loom, but if you want to weave multiples at the entire width of your loom then I recommend checking out this post here about getting multiple consecutive weavings.
If you are weaving up a pattern that changes across the weaving surface (think overshot) then weaving up multiples at the same time instead of one after the other could give you slightly different weavings! Depending on what you are going for, this could be a pro or a con, but it can be a good way to add a little bit of variation to your weavings.
One example of this is weaving up these overshot bookmarks (shown below). Each bookmark will be a little bit different which can add some fun variation.
Pros and cons of weaving adjacent weavings
While there is a time savings in weaving adjacent weavings at the same time, it mostly comes in saving time in your setup.
Not to say that that is not a big time savings, but it is important to realize that even if you are doing them at the same time, you are still weaving multiple separate weavings.
This means you will be starting and stopping your weft multiple times with each pick. The weaving process will be a little bit faster, but slower then weaving just 1 at a time. Your time should be faster, though.
A pro to weaving adjacent multiples is being able to compare them while they are on the loom. This is really great for weavings where they will be next to each other to keep things as consistent as possible. They will all be the exact same size with the exact same beat and if you are weaving up imagery, they could match up even better than if you wove them separately.
As I mentioned above about changing patterns, this could be a pro or a con.
If you want similar but different weavings then this can be a really great way to get that effect, but you will have to be mindful about how you setup because you may only be getting part of the pattern on each weaving. If you don’t setup the weavings well, you may end up with one or more weavings that don’t showcase the pattern to it’s best potential.
One thing you can keep in mind is that when you are putting in your header you can do it all the way across! Even though you are weaving separate weavings – since the header comes out later you can save a bit of time by just taking it all the way across!
If you are weaving multiple weavings at the same time, then they are probably narrower than a normal weaving you would do on that loom. This means you can probably get away with not using shuttles and instead using butterflies to hold your weft yarn.
This can be really helpful so that you don’t have a lot of shuttles all over the place getting in the way!
Always leave space between your weavings so you can easily weave up clean selvedges and not get things confused. If your weavings are butting up against each other then it can be easy to mix up your shuttles/ butterflies and hard to work around your selvedges. You should leave at least an inch between your weavings if you can.
Just because you decide to weave multiple weavings at the same time, doesn’t mean you can’t also weave multiple weavings one after the other! If you add enough warp onto your loom then you can do both!
This can be a great way to really make the most out of your warp. Sometimes really long warps can lose tension as you keep weaving, by weaving adjacent weavings and consecutive weavings you really can get the most our of your warp and your time.
Finishing your weavings once they are off the loom is the same as pretty much any weaving. I opted to hemstitch my woven bookmarks because I liked the look, but this is also a common practice for me whenever I weave consecutive weavings. It isn’t necessary, though, and you should choose whatever finishing method you like best!
It is also fun to note that you can do this technique on literally any loom! You are not limited to advancing warped looms like table looms, floor looms, or rigid heddle looms.
I am using a table loom in most of the photos in this post, but in the image just above I am weaving both adjacent and consecutive weavings on a simple frame loom! It all just depends on the space you have to work with and the size of your weaving.
So, the next time you are planning your weaving, make sure to ask yourself if you can get more out of your warp!
There are certain things when it comes to weaving that are paramount to understanding how your weaving works, how to plan it, and how to make it do what you want it to do! One of the most important things to understand? EPI.
EPI stands for Ends Per Inch and refers to how many individual warps you need for every inch of your weaving to achieve the desired type of weaving you want. It can also be called your warp sett or your warp spacing. I will be using EPI and warp sett interchangeably throughout the post.
Interested in weaving initialisms? Don’t forget to check out the PPI post HERE!
So how can this aspect of weaving have such a large impact on your weaving and how do you figure out what EPI to use?
Read on….
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EPI a.k.a. warp sett is arguably one of the most important things you need to figure out before starting a weaving.
The wrong warp sett will set you up for the wrong kind of weaving.
Let’s talk about this in a general sense first.
When you are planning a weaving you are planning for a specific type of weaving. Whether that is tapestry (weft-faced), pattern weaving, or warp-faced weavings you will need to correctly warp your loom with the right amount of warps at the right distance apart.
This is because your EPI will determine how your warp and your weft interact with each other.
You do not want to warp an entire loom expecting it to become a tapestry only to find out that your warp sett was too tight!
When you set up your weaving with a smaller EPI that usually means there will be more space between each warp. This usually means that the warp and weft will interact less. The less they interact, the more the warp can compress – creating a weft-faced weaving.
A larger EPI usually means there is less space between each warp. This creates a tighter weave that does not allow the weft to completely compress. As a result, you will see both warp and weft, creating a balanced weaving.
It is important to point out that this all can change depending on the size of both your warp and weft. Remember that we are concerned about the space between the warps. If you have a smaller EPI but a thicker warp there will be less space between the warps than if that warp were thinner.
Another example is that to weave a thicker weft into a weft-faced weaving you will need a smaller EPI than you would need if you wanted to do the same weaving with a thinner weft because you need more space!
So yeah, your warp density really matters.
Weaving imagery? Think of your weaving in pixels
When you are planning an image-based weaving it is important to remember that your weaving image will need to be “converted” into pixel-like shapes. That is because you are essentially weaving on a grid.
Think of it as making an image in any paint program on your computer or zooming into a photograph until the edges of objects are jagged.
Your EPI affects just how many pixels you have to work with. A larger EPI with small weft yarns will allow for a more detailed and less pixelated image.
If you want to learn more about weaving tapestry and/or image based weavings then I have 2 options for you! You can check out my e-book Weaving Shapes or my online tapestry course Weft-Faced: Tapestry Techniques & Beyond.
Both of these options will help you to break your weaving up into parts to help you easily understand what is possible and how to do what you want to do!
The important thing to know about this number, though, is that it only applies to a balanced, plain woven fabric. Also, sometimes it has a range (for example 8 – 10 EPI).
Let’s tackle the balanced weave “issue” first.
If you are not weaving a balanced weaving, but instead weaving up a weft-faced weaving or tapestry then there is a really simple solution. All you have to do is divide it by 2!
So if a yarn has a recommended warp sett of 12 then it should work well for weft-faced weaving at 6 EPI. (This happens to be my go to EPI for my most used warp yarn 8/4 cotton rug warp).
Weaving up a pattern does complicate things a bit, but not much. Really it just gives you a little bit of wiggle room. Since patterns will have purposeful floats, the weft is not interacting with the warp as much as a balanced weaving. This means you can potentially use the recommended EPI or maybe a slightly smaller EPI. To confirm this, though, you should always sample. Don’t worry I am about to show you an easy way to sample your EPI!
If a recommended EPI is actually a range, that means you should be fine using any warp sett listed and it will depend on just how tight or lose you want your finished weaving to be – but you should sample it…
So that still leaves us with some questions.
What if we want to know for sure how well the pattern will weave up at the recommended EPI?
Ruler (preferable cork-backed so it is more stable)
Tapestry needle
How to make your EPI loom
First, cut your board into a 4-inch square.
This will give you 2 inches of weaving space to sample your EPI. In my example below, I have used mat board. Since mat board is solid and not corrugated it is a bit firmer and therefore nicer to work with. This will also make sure it lasts longer and is better to weave on, but the other options listed above will also work.
Tip: When cutting through a thick material like mat board – make a lot of long shallow cuts instead of trying to cut through all at once. You will save your wrist and create a cleaner line.
On the top and bottom of the square mark each inch with a pen or pencil and cut a notch at the first mark on the top and the last on the bottom (see arrows).
Warping your EPI Loom
Start warping your loom at the top notch. Your yarn should fit snuggly in the notch and you shouldn’t need any tape.
Next, wrap your prospective warp around the loom so that it corresponds to the EPI you want to try out.
Nothing fancy here! Just wrap around the loom in a big circle so that it looks the same on the front and the back.
Make sure to count your warps and that they correspond with the EPI you are trying out. For example, if you are sampling a warp yarn for 6 EPI then you would make sure there are 6 warp ends in each 1-incharea.
Do this for at least 2 full inches so you get an accurate sample. Doing smaller than 2 inches could skew your results if you have uneven weaving along your selvedges. Also, it is important to make sure the warps are evenly spaced, otherwise, your EPI will be incorrect! Do this to the best of your ability. It does not have to be perfect – but it should be close.
In this example, I have spaced the warp out to 6 EPI which means that I have 12 total warp ends (6 ends per inch x 2 inches.)
Your last warp will end at the bottom notch. You can cut it off at the back at about an inch as shown.
Now you can weave with your prospective weft! Using a tapestry needle, manually weave at least an inch of weft.
Is it working the way you want?
Awesome! Move onto the actual weaving!
If not, either try a different weft yarn or re-warp with a new sett and try again.
Keep in mind you shouldn’t force the weft yarn to do what you want. Most of the time when you are weaving you should be placing the weft and not forcing it. I know it is called “beating” your weft, but that is really only reserved for rug weaving or anything you want to have a very dense fabric.
Repeat sampling as necessary. Don’t get discouraged if you have to try out more than one sample. It is better than warping an entire loom wrong!
Above is a comparison of 6 EPI and 12 EPI. The warp yarn is the same, but the weave structure is different. In this case, 6 EPI creates a weft-faced weaving and 12 EPI creates a balanced weaving.
Now that your loom is warped you can try out different wefts on the same sample. Turn it upside down and try a different sized yarn or turn it over and try a different yarn on the back.
What happens if you use a thicker weft? Or a weft with a lot of texture? You won’t know unless you try it!
Work smarter and not harder by warping once for multiple samples!
To take your sample off the loom all you have to do is cut the warps on the back or across the top. You can finish them off by tying simple knots or any other finishing techniques you want. Hold onto your samples to look back on the next time you want to use that yarn and EPI or recycle your yarn for something else and just take some notes!
This mini-loom is great because you can keep it in a binder, bag, sketchbook, or pretty much anywhere and it will not take up any room. Hang onto this and use it whenever you are trying out some new yarn or a new project!
Or you could guess what EPI you should use.
You know, if you like to live dangerously.
What is your favorite way to figure out your EPI? Have you tried out your mini-loom yet?
Throughout the years I have talked a lot about different weaving fibers and even gone as far as delving into specific fibers. Sometimes though, I will talk about multiple fiber types that fit under a specific “umbrella” – so I figured we should spend a little bit of time exploring weaving fibers in a more general sense. Consider this your starting point.
If you want more in-depth information then check out these posts:
Choosing the right fiber or types of fibers for your weavings is incredibly important, not just for the function of the project, but also the impact it has both before and after it has been made.
There are 3 (maybe 4) different types of fibers that you may use for weaving that are categorized by what they are made of or how they are made. These are cellulose yarns, protein yarns, and synthetic yarns.
The 4th type is natural synthetics which I talk all about in this post. I mention this as a maybe, because I think it really depends on who you talk to as to whether or not these fit into one of the 3 already established categories, or if they are their own specific thing. I lean towards them being their own specific thing, but you can read the post and decide for yourself!
Cellulose yarns
Cellulose yarns are basically plant-based yarns.
Cellulose is the main structure of plant cell walls and give plants their structure. Due to this, it is not uncommon for cellulose yarns (especially linen) to be a bit stiff right off the cone. Luckily, though, they not only do well with water, they actually become their best selves after being washed!
The most common cellulose yarns are cotton, linen, and hemp, but it also includes fibers like nettle, jute, and sisal to just name a few.
It may seem like bamboo would be included in the cellulose category but it is actually rayon – a natural synthetic – because of the chemical processes that it has to go through in order to become yarn.
While some cellulose yarns like linen must go through a pretty long process to turn into the final result, it is all done through manual or natural processes and not chemical processes. That does not necessarily mean they are without their own issues when it comes to manufacturing. Make sure to read up on the individual types to learn about ALL aspects of the different yarns.
Protein yarns
Protein yarns are those that come from animals – most often their fur or hair.
The most common protein yarns are wool, alpaca, and silk yarn, but also include cashmere (goat), mohair (goat), angora (rabbit), and camel. You may even come across milk protein yarns which are a natural synthetic protein yarn where milk is “dewatered” and chemically treated into becoming a shiny final product! I personally could not believe that was really a thing until I saw it.
With the exception of silk, animals are usually shorn once or twice a year (they have their fur shaved off) and that is then cleaned and spun into yarn.
I haven’t yet done a spotlight on silk yarn – mostly because ethically I am not a fan, but silk is made from the cocoons of live silkworms. You can get a product called “peace silk” that does not kill the worms, but instead cuts the cocoons. This silk, though, loses the shine and luxury most often associated with silk because the fibers have been broken up. If you are interested in vegan silk alternatives then make sure to check out some of those natural synthetics which aim for just that.
Synthetic yarns
Synthetic yarns are those that are created in a lab, most often from petroleum a.k.a. plastic. The most common synthetic yarns are acrylic, polyester, and nylon.
These yarns are fully man-made and require a lot of energy and … to create.
Just like other plastic items, these yarns also never biodegrade and can shed microplastics if washed.
For the record, I am not here to shame anyone for using the yarns that they want, but I do think it is important to understand the choices that you make.Personally, if I were to choose synthetic yarns I would consider purchasing recycled or second-hand yarn and using them for projects that will not be washed.
While synthetic yarns are often found on their own, due to the strength and elasticity they can contribute they can also often be found mixed with natural fibers like wool or cotton. The amounts of the mixture vary depending on the fiber itself, but any yarn you purchase should be labeled with its fiber content.
Different yarns within the same category may be good for different things, so it is always a good idea to delve into specific yarns that you are interested in.
That being said, they have some similarities (generalizations) within their categories that you can start from.
Cellulose yarns
Absorbent
Less expensive
Vegan
Softer as they are washed and worn (especially linen)
Ultimately, the yarns that you choose to weave with are dependent on what you are creating, the choices you feel comfortable making, what you can afford, and what you have access too. While those are all things that you will have to discover and decide on your own, hopefully this helps put you in the right direction and gives a glimpse into the wide world of weaving yarns!
If you are interested in the yarns that I like to use in my studio then make sure to check out my supplies page!
