WEFT article index

This article presents considerations and lessons learned for creating your own perfect table mats based on their intended use.

What is damask and how can weavers add it to their repertoire? This article walks through how damask is created using a drawloom.

Worried about finding the perfect finish for your piece? This article will help you choose based on the item’s intended use, the yarn, the weaving pattern, and how it will be laundered.

Weave a set of table linens in crackle, one of the most useful and versatile weave structures: crackle is a block weave based in three-shaft twill that lets you weave big blocks of color without sacrificing structural stability.

How do different fibers hold up to the increasing temperatures we throw at them, and what happens when they overheat?

This article walks you through designing and creating your own personalized set of placemats using name drafting, doubleweave, and integrated plain weave in Fiberworks PCW.

A blended draft is a threading technique where different drafts are superimposed on each other and two or more structures are integrated into a single threading. Learn why and how to create a blended draft in this article.

Textiles have been a luxury good since the dawn of time. Learn about how present-day North American society differentiates “casual” and “formal” textiles and then weave your own napkins for each style.

Some handwoven household items just don’t last or do the job as well as others. This article experiments with different wefts on a warp of 8/2 unmercerized cotton to test tracking, softness, absorption, maintaining a fold, maintenance, stain removal, wrinkling, surface sheen, and shrinkage.

In the wake of devastating floods, this author designs and creates a handwoven table setting around a cherished tea set.

What goes into designing an upholstery fabric for a specific use? This article discusses the author’s design criteria and how she settled on a unique way to create padded seat cushions.

Joining narrow woven strips to create a larger fabric is a common process historically. In this article, the author tests several stitches to create a strong and flexible join that blends into the fabric.

One special project brings together religious symbolism and practicality: a wedding chuppah that can be used as a tablecloth for years to come. This article shares the design and creation of a beautiful but durable textile.

We are often reluctant to use our beautiful handwoven linens for fear of damage. This experiment examines how cotton, linen, and cotton in plain and satin weave respond to household stains.

Learn how to weave a single twelve-block damask table mat in four-end broken twill.

Want to know what some of the best weavers use to separate their warps? This short series of articles has then telling you exactly what they do!

Turning a draft is magical and not so hard. This article walks you through exactly why you’d want to do it (sett, time, selvedge, drape, pattern, yarn effectiveness), how to do it, and which structures you can successfully turn.

A supplementary warp is a secondary warp that can be used in conjunction with a ground warp but is tensioned separately. It’s sometimes called a compound weave. If a pattern requires a different take-up for different portions of the warp, using a supplementary warp can make that easy. This article will teach you what a a supplementary warp is, when to use one, and how! It also covers using a supplementary warp with and without a secondary beam.

Felicia explains what a warping trapeze is and why it could change your weaving life.

Interested in sectional warping? Felicia Lo explains what it is, why you might want to use it, and how do do it! In traditional warping techniques, a warp is measured using a warping board or warping mill and then wound onto the back beam of the loom all at once. With sectional warping, small sections of the warp are beamed one at a time until the entire width of the warp is complete. This comes with a few benefits: Smaller sections for wide warps, more consistent warp tension, short sessions for time-strapped weavers, and less work for long warps. Step-by-step photos will have you warping in no time!

Tying on is a wonderful of warping. It’s the last step before you can start weaving, and that’s exciting! But it can be frustrating, especially with a slippery or fragile warp or a loom that is just a little bit off square, and sometimes you have to go back and forth adjusting the tension two or three times to get it just right. It can make sampling hard because you don’t want to cut off a piece and have to re-tie and re-tension. Sometimes you have to cut a piece off the warp for reasons other than sampling, and knowing how to cut off without losing that perfect tension is useful. Knowing this technique is useful is so many situations and it’s quick and easy!

A step-by-step guide to making an easy and quick repair heddle

At the heart of weaving is the art and science of mastering even warp tension. Identifying and addressing warp tension problems early on in your project is key to achieving your weaving goals. Here, we’ll explore common signs of tension trouble, causes of tension trouble, and practical solutions to help you get your weaving back on track.

Hand painting your own warps gives you an incredible amount of freedom and flexibility. It gives you an opportunity to infuse your own creativity and flair into every piece you weave in a way that is unique to you. You can dive deep into your own style, which will develop and grow the more you do it. No two pieces will ever be identical. Here’s an easy to follow guide to painting your first warp!