I am sort of a stickler for wanting my students to learn how to weave great selvedges. It takes patience, determination, and a bit of humility to consistently weave clean straight sides on your weaving. Even then, we all struggle sometimes and it is completely normal to have to fix a selvedge here and there – even if you have been weaving for years. We all get distracted from time to time.
Dealing with our weaving selvedges can be one of the most frustrating parts of weaving at the beginning of your weaving journey – or really any time!
I have a few posts already about selvedges and weft tails, but wanted to spend some time going over some tips for dealing (or not dealing?) with your selvedges.
So, what if I told you that sometimes you can forget about your selvedges and just weave? That under the right circumstances your selvedges just don’t really matter? Or that even when they do matter, there are times you can avoid having tails? Or that there are types of weavings where you never even have to worry about them at all?
These are all possibilities, but when and where? Well, it depends.
So what falls into the “selvedges don’t matter” category?
Yardage (or any fabric where you will hem your selvedges)
Quick color changes
Embroidery weaving or similar
Handwoven yardage
When you weave yardage you are usually weaving fabric that is long and wide with the intent to use it for something else. Essentially, you are weaving a material for a project where the weaving itself is not the final product.
For this, think weaving fabric to make clothes, pillows, or bags.
Depending on the project you are making, you will probably have some fabric waste. This is common in sewing because a lot of things are not made with only big pieces of rectangular fabric as it comes fresh off the loom.
The exception to this might be pillows since they often have right angles.
Either way, though, when you are weaving yardage the selvedges of your weaving just don’t matter because you are either going to cut them away or they will be hidden in your seams. Let me be a little clearer, though, when I say that they don’t matter.
They do not have to look pretty, but you probably still want to make sure to not pull in too much since that can negatively affect your weaving by changing the shape and the EPI at the selvedges.
This is true whether you have 1 color or many. You can feel free to leave your weft at the selvedges a bit loose and carry your weft up the selvedge instead of cutting it off. (Did you see the image above? it will be just fine!) If you are carrying the weft up the side, since the selvedge will be cut off or sewn in – you won’t have to worry about your weaving looking sloppy if you are carrying them “too far” up. Don’t waste your yarn (it can be so expensive!), but don’t fret if you have long selvedge floats or loops. More on this in a minute.
You can also leave your tails totally free whenever you have color changes. I am sure we have all accidentally forgotten to weave in our tails before. This way, you just do it – or I guess don’t do it – on purpose!
I will say that since you will want to wash your handwoven fabric before cutting and sewing, keeping the tales loose instead of free will make the washing process a bit simpler.
When you are weaving a project that will be the finished product you will probably want to be more precise about keeping your selvedges straight and clean.
In this case, think of weaving up scarves, tea towels, or table runners.
If your weaving pattern includes frequent color changes it can be really annoying to constantly be weaving in your tails as you go only to have to weave with the same color again in a few picks. This is very common when weaving plaid fabrics like the one shown above.
I will say that this tip is dependent on your own personal preferences, but you do not have to cut and weave your tails every time. Instead, just like with your yardage, you can carry your weft up your selvedge to be used again. This eliminates the need for tails and you will get to avoid having areas of your weaving that have extra weft.
Personal preference comes into play for how far you let your weft travel. The farther apart your color changes, the more loose yarn you will have on your selvedges.
In the image below, there is a spot where the green floats up the selvedge a total of 18 warps. If you float it tight enough it doesn’t show up much on the side, but you do see some separation between the wefts on the selvedge and it could potentially get caught on something when it use.
You should always experiment to see what you like and are happy with.
Other selvedge options
Another option when carrying your weft up your selvedge is to capture the floats into the selvedge!
This will solve one of your problems by making sure there are not large loose floats along the sides of your weaving. Instead, they are integrated into the weaving itself.
In order to do this, you will need to make sure you catch the float weft each time you encounter it.
This does not necessarily solve the issue where the weft picks bunch, but if you take a “goldilocks” approach of just the right amount of float to keep the bunching at bay and also not make lumpy selvedges then this can be a good option!
You can see a comparison of a normal selvedge float and a trapped selvedge float in the image below.
One of my favorite things about embroidery weaving (I have a lot!) is that you don’t really have to deal with your tails at all if you don’t want to. They can go through your fabric and just hang out on the back until you are ready to use that weft yarn again.
This works, because you generally don’t show off the back of your weaving, so you can have all the floats across the back that you want. This also makes changing your colors easy. Just like what we talked about above where you can float your weft up your selvedges instead of weaving them in, you can float your weft on the back with embroidery weaving. The difference being that the distance can be much greater because no one will see it!
In the image above, you can see the back of my embroidery weaving Dis-Mantle. The back has since been trimmed up a bit, but this weaving is finished. The back will be getting no more attention from me and those tails are just going to hang out there as-is.
There are a lot of “rules” in weaving, but rules are meant to broken!
I am a big believer in finding the way to do something that makes sense to you. Learn how weaving is done traditionally and understand the significance and reasoning behind why things are done a certain way. Then you can decide if there is a way that works best for you.
There is no weaving police.
Ultimately, weaving should be about having a creative outlet and a community.
The way you do the rest is up to you!
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I will take any opportunity to try out a new loom! It is even better if I get the opportunity to assemble it as well.
I was able to pick up a 24” Kromski Harp Forte Rigid Heddle Loom second-hand that had never been used. This is not really the norm, but sometimes when you buy second-hand it can be amazing what you find! I believe this loom was bought in 2014, so it is possible that some things have changed slightly in the manufacturing (including a double heddle block instead of the single I have) since then, so keep that in mind when reading this review!
If you have purchased a newer version of this loom and have any different experiences, then please let me know in the comments! Share with the whole class!
This page may contain affiliate links. If you purchase something through these links then I will receive a small commission – at no extra cost to you! Please read our DISCLAIMER for more info. Thanks for the support!
The Kromski Harp Forte comes in 4 different sizes: 8″ (the smallest rigid heddle size I have seen), 16″, 24″, and 32″.
Right out of the box you have pretty much everything you will need to get started! What you can expect in your box:
your loom (with a double heddle block)
8 dent heddle
heddle hook
2 stick shuttles
pick-up stick
2 warping clamps
warping peg
12 warping board pegs
warp helper
Optional accessories:
Stand – I have the stand and for the 24″ and up I really recommend it. This is for all large rigid heddle looms, though. It makes it much easier to weave on with it’s size!
Extra heddles – Weave more types of fabrics and yarns with different EPI’s! Choose from 5, 8, 10, and 12 dents.
Carrying bag – Make use of the folding feature and take your loom with you!
Weaver’s choice heddle – Kromski’s version of the variable dent reed so you can use different EPI’s in the same weaving!
Assembling the Kromski Harp Forte
I was really excited that I was going to be able to actually assemble this loom. I couldn’t believe it was still in the box from 2014!
My loom came with some paper instructions from where it was originally purchased, and not from Kromski itself. I am not sure if this is the norm, but I have found assembly instructions on their website that you can view here.
For the most part, the assembly was pretty straightforward, but there are a few times that I found myself needing some further information. Looking back at the instructions from Kromski themselves, I probably would not have had any issues.
So, I hope you learn from my mistake!
Here is an assembly tip:
When you are attaching the wood handles for the ratchets it is much easier to line up the holes if you mark the rod with a pen or pencil (see image above.) The handles have a line on them so if you keep the line you drew lined up with the line on the handle you shouldn’t have any issues when you screw them together!
Things I changed (what I didn’t like)
During assembly I made a decision that was purely based off of my personal preferences. The way that Kromski has you setting up your apron strings is a method that I, personally, do not like. Everyone is different, though, so choose the option you like best and works best for you!
Instead of a continuous apron string that can move around, I opted to turn my apron string into individual pieces. This makes it so the apron bar is always level.
To do this, I cut my string into equal lengths and threaded them through a button before tying an overhand knot at the end. The button is to keep the apron string from coming out through the hole without the need for an extra large knot. If you decide to go this route you can use anything you want to do this.
One feature that I do not love about this loom is the locking mechanism it uses for when it is folded and unfolded. I have found this mechanism is not always the most stable. While generally it is fine, it is easy for it to unlatch. I would much prefer a mechanism that is not open on one side.
That being said, it still works as it needs to and the folding feature is one of my favorite features that can be found on a rigid heddle loom. Especially a loom this size, really benefits from the fact that it can fold in half when not in use.
As I said, the folding feature of this loom is one of my favorite parts even if I think it could have been done better. This is because I own and have reviewed another folding rigid heddle loom: the Schacht Flip.
It is hard to talk about the Kromski without comparing it to other folding rigid heddle loom options. I have yet to try out the Ashford Knitter’s Loom – another folding loom, but as soon as I get the chance – you will get a review!
The craftsmanship of the Kromski is beautiful. Especially if you like a loom with a little more “old-school charm” then clean lines. I, personally, like the look of the Schacht, but I can definitely appreciate the craftsmanship of the Kromski.
The Kromski features rounded decorative edges and more intricate details. It feels more like a classic loom than a more contemporary one, but that adds to its charm. All this while having the same capabilities of similar looms. As far as looks go – it really is just a matter of your personal preference as to which one you like more.
This loom comes with its wood completely finished and ready to go. No staining or oil are required when you take it out of the box. As already discussed, you do still have to put it together, but that is one step that you get to skip!
I love a loom that comes with finished wood, because not only is it easier and faster to get started weaving, it is also automatically protected from humidity and other moisture. This is not necessarily an issue you will encounter right away, but protected is always better than not.
This Kromski comes with extra features!
Who doesn’t love extras?
Beyond the folding feature, one of the biggest extras of the Kromski Harp Forte is the built in warping board.
While most of the time you will probably be doing the direct warping method with your rigid heddle loom, the fact that you have the option to indirect warp is a really amazing feature! You really can not go wrong with more options to get where you want to go.
If you want to learn how to use a warping board you can read this post!
The included warping board means one less thing you have to buy for your weaving studio. While warping boards are not usually the most expensive tool you might buy for your weaving space, anytime you can get double duty out of your equipment you could be saving money and space.
It is a block that fits on the side of your loom and holds your apron rod straight while you are warping! This is really helpful when you are weaving wider fabrics and are just starting the warping process. The helper keeps the rod from moving and being wonky as you go. As your warp gets further across your apron rod you won’t need it anymore, but it is nice to have at the beginning.
Out of the box (not my box, but any new loom box…), this loom has a double heddle block which will allow you to explore double heddle weaving whenever you want! If you plan to keep weaving on your rigid heddle loom, I always recommend one that already has double heddle capability so you do not have to upgrade in the future.
Last, but not least, the loom comes with a heddle hook, but not just any heddle hook, one that is comfortable to hold! Most rigid heddle looms with come with a heddle hook straight out of the box, but they are not all created equal.
The Kromski heddle hook has a bulbous handle that sits well in your hand. This is more comfortable when you are warping a wide warp and holding the heddle hook for longer periods. It also has a bend at the end making it so you can pull your warp through at a more comfortable angle.
This might be a small thing, but it is really nice touch. Comfort and ease when you are creating is really important and something to consider always.
If you are interested in more ergonomic creating you should check out this post here!
How does it weave and who is it for?
As far as the weaving experience of the Kromski, it is nothing to really write about.
And that is kind of a good thing!
It weaves like pretty much every other rigid heddle loom that I have used.
So who is this loom for?
The Kromski Harp Forte rigid heddle loom is for the weaver that wants a loom that is portable, has classic looks, and has the ability to weave with more than one heddle. They also like a loom that gives them options by doubling as a warping board.
Depending on your yarn buying options you may never need any of these tools to wind yarn. This is because weaving yarn most often comes already wound onto a cone or tube ready to go.
This makes setting up your loom or winding your shuttles simple!
That being said, you may purchase yarn on a skein. This yarn needs to be wound in order to use it, otherwise, it will become a tangled mess.
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Using a ball winder
Probably the most well-known and common way of turning a skein of yarn into a cake: the ball winder is also one of the fastest ways to do it. Despite the name ball winder – it actually makes yarn cakes, but really it does not matter since they do the same thing!
You can either get a manual one or an electric one depending on how much you want to spend and how much work you want to do. These are both great options if you will be winding a lot of cakes and want something that goes relatively fast.
Nostepinne?!
The nostepinne is the original ball winder! It is also the one you probably have never heard of – until now.
Nostepinne means “nest-stick” in Scandinavian and that is a pretty good name for this tool. It is a polished stick that you nest your yarn on to create a center-pull ball. These polished sticks are a simple tool that you can carry with you anywhere. They are actually pretty simple to use too, but they do take a bit longer to wind your ball than a ball winder.
They also require a bit of patience to get the rhythm of the ball going. It will actually feel a bit odd at first, but sticking with it will get you a satisfying center-pull yarn ball!
How to use a nostepinne:
Open up your skein and either place it on an umbrella swift or stretch it across a stable surface.
Find one end of your skein and either wrap it around the far end of your nostepinne a few times or attach it with a slip knot. This will be the center-pull part of the ball.
Start wrapping your yarn around so that the wraps are sitting next to each other. After you have done this a few times, you can start to cross them diagonally as you twist the nostepinne towards you. You will want to try to catch it on the shoulder of the ball you are making as you go. This will help to make sure that it does not get loose.
Twisting the nostepinne while wrapping will ensure that the ball grows evenly and securely. You will want to make sure that your wraps are not just building upon themselves. Also, make sure that you are not wrapping too tight so you do not stretch out your yarn.
When you are done you can simply slide off your ball and tuck in the yarn end that was originally wrapped around the nostepinne!
There is more than one way to wrap a nostepinne, but this is the way I was taught. You can always play around with it to find a way that feels natural to you. Another common method is to wrap your yarn in a figure 8 pattern. Try it out and see which one you like!
Wind your yarn with a knitting needle!
Knitting needles are used in much the same way as a nostepinne since they are basically the same shape.
When it comes down to it all you really need is a stick to wrap some yarn around!
The directions are also the same as for the nostepinne. The only difference is that there is no dedicated notch to attach the center of the yarn to, so just make sure to keep it separate.
The advantage of the nostepinne over the knitting needle is that the nostepinne will be more comfortable to hold. Since it is a dedicated tool for that purpose it is made to be held for longer periods of time while you are working with it.
The advantage of the knitting needle is you may already have one in your studio!
If you only need to wind a ball of yarn occasionally then this may be a great option for you. If you will be winding yarn balls often then you may want to invest in a nostepinne or a ball-winder.
If you have none of the above and you still need to create a ball to work from then you still have an option! This option does not create a center-pull yarn ball, but it still creates a yarn ball that is in a format you can easily use for warping or shuttle winding.
I have actually gone over instructions on creating a yarn ball by hand in my t-shirt yarn tutorial. If you are looking for ayarn winding option that does not require any extra tools then make sure to check out myt-shirt yarn post.
An umbrella swift is a tool that is used to hold a skein of yarn and turn freely as the yarn is taken from it in order to turn it into a ball or cake. They are often made of wood, but also sometimes made of metal and plastic and they open up much like an umbrella does (hence the name.) This means that despite their open size, they do get smaller and easier to store when not in use.
Umbrella swifts are a great tool to have if you are winding yarn because it holds the skein for you and does the work of keeping it tangle-free during the winding process.
If you are using either the nostepinne, knitting needle, or winding a ball by hand then you do not need the umbrella swift. You can put the skein around a chair back or even around your knees while you are sitting in order to keep it taught and tangle-free.
If you are using a ball winder though (and especially the electric ball winder) you will want an umbrella swift to accompany it. So while the ball winder itself is sometimes not that much more expensive than your other yarn winding options, the fact that you need the umbrella swift definitely adds to the expense.
Regardless of how you decide to wind your yarn, it is always good to have some options in your weaving toolbox (literal and figurative!) If winding balls of yarn is not going to be a regular occurrence then stick with a simple method with inexpensive tools or ones you already have.
If you need to wind your own yarn often then I recommend investing a bit more to get a swift and a ball winder so you can spend more time weaving and less time preparing to weave.
There is a lot of mystery behind double weave, but once you understand how it works it makes so. much. sense!
I get so many questions about this weaving technique including:
What is it?
What can it do?
and of course
How?!?!?
I get it. It seems like it would be a very difficult technique to weave and set-up, but if you can weave plain weave on a 4 shaft loom then I promise you can weave double weave.
There are a lot of different types of double weave, but today we are going to be focusing on the basics a.k.a. double weave on a 4 shaft floor loom.
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What is double weave?
Double weave is a weaving technique where you are weaving multiple layers of weaving on the same loom.
On a 4 shaft loom it is most often used to literally double the weaving width of your loom! This means if you have a 25 inch weaving width on your loom you will be able to weave a 50 inch plain woven fabric. There are a lot of other fun and versatile things that this weaving type can do, but we will get into that a little bit later.
How it works
When you are weaving double weave you will be weaving 2 layers of weaving “at the same time”.
You are not actually weaving them at the same time, but it is often described that way. You are actually weaving the different layers with your treadling pattern in different sheds.
You will need at least 4 shafts to weave a plain woven double weaving because you will need 2 shafts for 1 layer and 2 shafts for the other.
Think of it this way: regular plain weave really only requires 2 shafts. You need to be able to lift and lower only 2 sets of warps at any time. We often use 4 shafts for plain weave mainly because they are there and it is easy enough to just get used to using all 4 shafts of your loom. This also helps to prepare you for more complicated patterns.
If you only need 2 shafts for plain weave then double weave (where you are weaving 2 sections of plain weave) only requires 4 shafts total!
Really, it’s like magic!
So how do you weave 2 sections at a time?
To best understand how double weave works we need to think of our weaving in layers and sections. A regular plain woven fabric will have 2 ”layers” when it is being woven. One layer is our even warps and the other is our odd warps. To weave plain weave you will lift layer 1, weave, lift layer 2, weave, repeat. This regular plain weave is only 1 “section”.
The hardest part to imagine with double weave is how to weave the bottom section.
With a top and bottom section in double weave you will have to lift the entire top section and alternating layers of the bottom section in order to weave separate pieces of fabric. Think of it as lifting away the entire top section and moving it out of the way in order to access the bottom.
Double weave will have 4 layers – 2 for each section of your fabric. We will call our sections A and B. You will lift the first layer of section A and weave, lift both layers of A and the first layer of section B, weave, lift the second layer of A, weave, then both layers of A and the second layer of B, weave, repeat.
Let’s look at a diagram:
Double weave pattern draft
Even if you can wrap your head around how the double weave comes to be, it has to be hard to set up and weave, right?
Nope!
If you can follow tie-up and treadling instructions then you can easily weave double weave.
It is really no different than weaving any other pattern except that you will have to remember to warp your loom with 2 warps in every dent of your reed. This will also mean you will need double the amount of warp yarn for your project, so keep that mind when you are planning your project.
As far as your weft goes, you will also need double the amount. You can think of it as planning for 2 weavings that just so happen to be woven on top of each other.
Double weave variations
As I said earlier, the most common (in my experience) use of double weave is to double the width of your loom.
If you follow the draft above and weave with a separate weft for the top and the bottom then you will have 2 distinct sections of fabric that will come apart when they are off the loom. They will look exactly the same as any other plain woven fabric you have woven in the past.
If you, instead, weave with just 1 weft then you can connect your double weave on 1 or both sides. Connecting on just 1 side will create a “hinge” that will open up when your weaving is done! This is how you double your width!
While this aspect of double weave in and of itself is impressive and worth the learning curve, that is not the only trick it can do.
With the exact same threading you can also try out some other options.
If you connect your sections on both sides you will create a tube with an opening at the top and the bottom. This could be a fun option if you want to create a bag. All you will need to do is sew up the bottom of the tube and you have a simple bag ready to go.
If you cross your top and bottom section then you can create connected tubes with side openings. To do this you will change up your tie-up.
You can also weave the same weft on the top and the bottom, but meet in the middle to create a top pocket. (image below)
And if you are feeling really into everything, then you can weave double weave with pick-up to create designs and imagery, but honestly that is probably it’s own future post or class.
Like most things in weaving, creating samples is ALWAYS a good idea.
In the case of double weave, a full sampler can be a really fun and enlightening way to explore the possibilities of basic double weave. Setting up your loom to allow you to weave a few inches of all of the above options can help you to get your hands on the techniques to better help you understand the mechanics and help you choose what you want to continue with in the future. I used a yellow yarn between each of the different techniques in my sampler to better differentiate between them in the future.
I recommend choosing very different colors for your top and bottom sections. This way it is even easier to see what is going on in your sampler. While you can weave with the same color on the top and bottom section, you will generally get more out of the experience if you can really see the different sections.
Double weave is a such a fun and interesting weaving technique because it really makes you think about how weaving works! Let me know if you try it out and how it goes.
Tapestry is one of my favorite types of weaving! For that reason, it is actually the one that I use to demonstrate a lot of different things here on Warped Fibers – as you may have noticed.
But do you really now what tapestry is?
It is a type of weaving that is often misunderstood and even misrepresented.
The word tapestry is often used as a way to describe something with a rich and vivid story. This makes sense considering what tapestry was often used for when it was first created (more on that in the history section.)
It can also be used to describe an image-based wall hanging made of fabric.
You know the ones.
They are usually brightly colored and have mandalas and other similar imagery. These are usually lightweight balanced woven fabric – not actually tapestry. At least not by the actual definition.
So let’s first go over the definition because there are a few things that a weaving needs to have to actually be considered a tapestry.
Tapestry is a weft-faced weaving featuring discontinuous weft.
That is it. That is the entire definition.
Let’s break that down a little bit, though.
Weft-faced weaving is a type of weaving that features the weft and not the warp. In a finished weft-faced weaving the only place you can see the warp is at the top and bottom selvedges (top and bottom of the weaving). Even then it is only if you choose certain finishing techniques.
This is in opposition to a balanced weave (or pattern weave) where you see both warp and weft in the finished weaving. A.k.a. a balanced amount of warp and weft.
A tapestry is generally going to have a smaller EPI than a balanced weave in order to allow room for the weft to compress completely. A smaller EPI means more space between your warps.
Using a higher EPI is possible, but would mean you would have to use a much thinner weft in order for it to beat down all the way. If you look at the diagram above you can see that the cross-section of the tapestry shows the warp completely enclosed in the weft. This creates warp channels that account for the rib-like texture. One great thing you can do is manipulate these warp channels for some interesting texture and emphasis.
One definite advantage to using a higher EPI and a thinner weft is that you can create more detailed weavings. Think of it like pixels. The higher the pixel count, the more detailed the photograph. It works the same with tapestry.
A higher EPI and more detail, though, will take longer to weave. Not bad, not good, just something to keep in mind.
Discontinuous weft is when your weft yarn does not go from selvedge to selvedge. Instead, your shed will have more than one yarn in it – usually different colors. This allows for the creation of imagery, patterns, or shapes.
Due to the structure of tapestry, high tension is usually needed for best results when you are weaving.
This will help the weft to compress more easily and completely cover the warp. When weaving a balanced or pattern weaving then the warp and weft will both deflect, but tapestry warp should stay straight. If your warp tension is too loose then you will have a harder time creating your weaving because it will not compress as easily.
The larger the tapestry you are creating, the more important this becomes. That is why embroidery weaving using tapestry techniques still works. They are smaller and can get away with a looser (not loose) tension. Can you weave a larger tapestry with a looser tension? Yes, but you will have a harder time doing it.
If you are ever having a hard time with your tapestry, then check your tension first. This could save you and your love for weaving.
It does not mean imagery
My tapestry in progress featuring natural rock patterns.This piece also features some balanced woven areas.
One of the most common misconceptions is that a tapestry is a weaving with an image.
This misconception is completely understandable.
While a lot of tapestries do have imagery and imagery is made with discontinuous weft that does not necessarily mean that it has to portray an image.
I weave tapestry most of the time, but I almost never weave imagery. Instead, I use the same techniques to weave natural patterns. You can also just weave shapes or play around with different textures. As long as the warp is completely covered by the weft and there is some discontinuous weft – you have a tapestry!
In fact, one of the most well known tapestry weavers doesn’t weave imagery. Sheila Hicks is well known for her small tapestries that were created as a sort of sketch book as she traveled. These weavings were mostly weft-faced and featured discontinuous weft, but none of them portray any sort of picture. Instead, most of her weavings featured blocks and strips of color.
If you can get your hands on it – I highly recommend her book: Weaving As Metaphor that has images of every one of her small sketchbook tapestries and essays. Just a warning, it is no longer in print, so it may not be cheap. That being said even the book itself is beautiful and is printed on handmade paper. Worth it.
Details from 2 of the tapestries in the Gallery of Tapestries at the Vatican, Italy.
The history of tapestry is quite fascinating and starts with the fact that in 4000 BCE the first domestication of sheep with the correct type of wool for yarn began.
Before that, the only materials they had to make yarn and therefore to weave with were cellulose-based (hemp and linen) and did not take dye very well. The weavings created with cellulose yarns at the time were simpler for this reason.
Wool changed everything.
Wool took dye better.
This was the beginning because it allowed for weft-faced patterns using different colored yarns. Suddenly people had an easy way to weave up shapes and they ran with it.
Lucky for us!
Tapestries were used for everything from clothing to wall coverings. It became incredibly popular as a way to line walls of drafty castles and homes due to its thickness and ability to tell stories (often biblical.)
One of the aspects of tapestry that made it so popular is that they could be rolled up and they were portable – unlike similar paintings of the time. You could take your narrative artwork with you for very little effort and it would keep your home from getting drafty.
It was a win-win.
How they were woven
Traditionally, they were often woven sideways and then turned upright when displayed.
You can see in the pictures above that the warp is actually going left to right! The vertical lines that you can see are actually weft hatching and not warp. They were and are still usually woven on an upright loom that allows the weaver to be able to see the entire design at all times. (More about looms later)
The image-based tapestries (basically all traditional tapestries) were woven with a cartoon placed behind the weaving.
The cartoon is a drawing of the image that the weaver follows to create the design. Sometimes they were woven from the back and in that case a mirror was used to reflect the cartoon so that the finished weaving wasn’t backwards.
Today, many weavers still use a cartoon behind their tapestries, but some also draw directly on the warp.
Word of caution: if you are going to draw directly on your warp – make sure you are using an ink that will not transfer. Absolutely do not use Sharpie!*
*This is a pet peeve of mine. Sharpie can bleed. Don’t do that to your artwork.
It was also common that they were designed by a master artist and woven by a group of weavers all working on them at the same time. This included artists like the painter Raphael who was commissioned to design 12 tapestries for the Sistine Chapel at the same time that Michelangelo was painting the ceiling.
Gallery of Tapestries – Vatican, Italy
What is not tapestry?
That might seem like a weird question, but since tapestry is so often misrepresented it is important to talk about at least one very prominent example of a non-tapestry that is called a tapestry.
The Bayeaux Tapestry is actually an embroidery! A very impressive embroidery, but an embroidery nonetheless.
It is a 224 foot long narrative embroidery depicting the conquering of England by the Duke of Normandy in 1066. It is made with the use of wool thread on a linen fabric. Unlike a real tapestry, it portrays it’s story through the use of different embroidery stitches to create the imagery on the surface of the fabric instead of woven into it.
So why is it called a tapestry?
Unfortunately, that is a great question with no real answer.
My guess? It is because it is a textile with imagery that was used to tell a story back in a time when fabric was a great way to do it. It was created for the same reason as many other tapestries (real ones) of the same era – to have a physical representation of a story and be able to transport it easily. For this reason, I can understand why they share a name.
As mentioned above, a lot of tapestry weavers weave on upright looms – also called high warp looms. They are called high warp not because of their high tension, but because their warp is vertical to the floor. That being said, you can weave tapestry on any loom that allows you to have high warp tension. Remember: the higher the tension, the easier it is for the weft to flow over the warp and compress.
Low warp looms like floor looms are not always ideal because they can not always live up to the tension needed. This is the same for rigid heddle looms.
Rigid heddle looms are better for balanced and pattern-woven fabrics. If you are looking for a low warp loom to weave tapestry on then countermarche and counterbalance looms tend to be best. Jack-style looms can still work (in fact I weave tapestry on my low warp loom), just leave the smaller portable low warp looms for balanced weaving.
I know, I know. I just said that jack looms do not usually make the best tapestry looms. Well, that is true, but the Harrisville does a good job and I don’t only weave tapestry! If you are looking for something portable, then there are a lot of other great frame loom options that you can use as well!
Want ANOTHER option? Try embroidery weaving! While embroidery weaving does not have the same ability to create a super tight tension, it doesn’t really matter because embroidery weavings are smaller. The small format of embroidery weaving means you can get away with a warp that isn’t super tight since there is less warp to deal with. Another big plus of embroidery weaving is that you can do it without a loom. You can grab your own Embroidery Weaving Kit in my shop!
If you are interested in learning how to weave tapestry then you can check out my classes page for my current online tapestry classes that you can take from ANYWHERE! You will learn how to weave many different techniques including building shapes, color blending, eccentric weft, creating imagery, textures, plus finishing, storage, and more!
This can be a good thing – or a bad thing. I’m sure we have all had our share of unwanted knots that keep us from our weavings or other Fiber Art. If you are getting these knots because you are using yarn by itself with no shuttle or bobbin then you might want to consider making a butterfly to keep your yarn from knotting.
Otherwise, there are some useful weaving knots that you will actually WANT for setting up and finishing your weaving.
The most widely used knot in weaving and probably, in general, is the square knot. If you only know how to do one knot – this is the one!
You can use a square knot in many different ways when weaving.
I use it the most often when setting up a simple frame loom to attach my warp or scaffolding to the frame. A lot of weavers also use this to attach their warp to the apron bar on the floor loom – but I prefer the half bow for that (keep reading for that one.)
The square knot is strong and simple to do. It is hard to undo if it gets tight, though, so make sure you are ok with potentially cutting it off later.
How To Make A Square Knot:
You will want 2 open ends of yarn.
Step 1: Twist yarn 1 around and under yarn 2.
Step 2: Bring yarn back over yarn 2 and up.
Step 3: Bring yarn 2 over yarn 1.
Step 4: Yarn 2 goes around and under yarn 1 (through the loop that was created.)
The overhand knot is often used as a method to secure the fringe on the end of a scarf or rug.
Besides the square knot, this is probably the other most used knot on this list that you might use in other scenarios outside of weaving. While this one is very simple and well known – I figured it is still worth mentioning.
An overhand knot is useful in a lot of different scenarios – it is also how I tie the end of my grey thread when I am attaching it to a weaving and how I tie up my warp bundles at the back of my floor loom.
This knot also works well as a simple knot to secure fringe on a scarf or rug.
Step 1: Create a loop with the end of your yarn(s) with the open end on top.
Step 2: Bring the open end of the yarn(s) around to the back and through the loop.
Step 3: Pull tight.
Lark’s Head
The lark’s head knot is not really a knot as much as a way to fasten yarn to something.
It is notable as a common way to attach your yarn to a dowel rod when starting up a new macrame wall hanging. Two common ways that it can be used in weaving are for 4 selvedge weaving and on your frame loom.
When you set up a loom for 4 selvedge weaving – the lark’s head knot is used around the bar to attach it to the frame.
On a floor loom, this same knot is often used to attach the apron strings to the apron rod. It can also be used to attach the treadles to the lamms of certain floor looms.
You can do the same thing around any object. In this step-by-step, I have done it around a tree branch.
How To Make A Lark’s Head Knot:
You will want 1 piece of yarn and something to attach it to.
Step 1: Fold your piece of yarn in half and lay it underneath your dowel rod, stick, or whatever you are attaching it too with the loop end up.
Step 2: Bring the open end of the yarn up, around, and through the loop above the stick.
Step 3: Pull the yarn all the way through the loop and position where you want it.
The weaver’s knot is often used as a way to tie your new warp onto your existing warp.
This is a GREAT thing to do because it can cut down on your loom setup time.
If you are not a fan of the warping process and you already have some leftover warp/ loom waste still on your loom you can save yourself some time.
This is also a knot that you can use to attach 2 weft yarns together instead of dealing with tails.
That is not my preferred method, as a knot can be hard to hide – but it may be an option for you to try out. If you are using it for this technique then you will want to snip off the extra tails and trust the knot to do its job and hold it together.
Just like the lark’s head knot, the half bow is used in both the 4 selvedge and floor loom process.
On a 4 selvedge weaving, you can use the half bow on the other end of the yarn that is using the lark’s head around the rod. The half bow will instead be around the frame.
On a floor loom, using a half bow is my favorite way to attach my warp to the apron rod.
This “knot” is ideal for this because it is both really strong and easy to undo.
Unlike the square knot that is hard to untie – the half bow comes off the rod easily. It is also stronger than a full bow because the size of the yarn around the loop is smaller and therefore holds tighter.
How To Make a Half Bow:
Pt. 1
You will need at least 1 piece of yarn and something to attach it to. In this case, I am using a frame and 1 piece of yarn that has been folded to have 2 ends. Your yarn will most likely be attached to a rod at the other end whether on a floor loom or warping 4 selvedge.
Step 1: Lay the yarn over your frame or rod with both ends together.
Step 2: Next, bring your 2 ends around the frame and split them so there is one on each side.
Step 3: Bring 1 end over and around the other end (like the first step of the square knot.)
Step 4: Pull tight!
Pt. 2
Essentially, the second part of the half bow is just tying a bow (like you tie your shoes) and pulling out one of the loops.
Step 5: Create a loop with 1 end of the yarn.
Step 6: Wrap the other end of the yarn over and around the loop.
Step 7: Next, pull that same end through the other loop you created when you wrapped it around (this should now look like a bow.)
Step 8: Continue to pull that second end all the way through and tighten!
Knowing these weaving knots will help you out in a lot of different scenarios – both in and out of the studio!
Do you have a favorite weaving knot? One that I didn’t mention that you use all the time?
