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All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving Loom 2011 INTE RW E AV E P R ESS LLC. ALL RI GHTS RESERVED. NOT TO BE REPRI NTED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomWhat Loom is Right for Me?by Madelyn van der HoogtWhen you are a new weaver and you want to weave the projects in Handwoven and in theother magazines and books available, it can be daunting to decide which loom you need.Here are some pointers for choosing the shaft loom that will best serve your weaving life.Every time I see new weavers’ eyes light up as they move from one loom to another at myschool, I know they will ask: “What loom should I get?” Sometimes they already have looms, either from garage sales or a first purchase made following the recommendations of other weavers. For them, the question usually is: “Do I have the right loom for me?” I have to answer their questions with a question: “What do you want to weave?” And the answer is usually: “Everything!” While Iknow in my heart that a lifetime is too short to weave everything, I also know that it takes some timeto discover what kinds of fabrics you will love weaving most. It would help to know, however, becausealthough you can weave almost everything on any loom, some fabrics are easier to weave successfullyon one type of loom than they are on another.When I bought my first loom, I thought I wanted to weave coverlets. As I looked through ads forlooms, the only thing I was sure of was that a table loom would not be wide enough. I didn’t knowwhat a jack was, what counterbalance meant, or what difference the number of “harnesses” made.I bought my first loom based on the only word I really understood: cherry.Here is a little guide that might help you choose a shaft loom—or understand the strengths and limitations of the loomyou’ve already got. It is likely that your first loom will not be a dobby or a Jacquard, so this discussion is limited totable looms, jack looms, counterbalance looms, and countermarch looms. (Rigid-heddle and inkle looms are discussedon pages 7–14 of this eBook.)Table loomsTable-loom sheds are made by raising shafts with levers. Tablelooms are “rising-shed” looms, a misnomer since sheds don’trise, but the label is understood to mean that some shafts areraised and others left down to form the sheds. Table loomsare portable and take up much less space than floor looms,but they are limited in weaving width (the narrower, the moreportable). Some are available with many shafts (the moreshafts, the longer, heavier, and less portable). Since you movea lever for every raised shaft in every shed, weaving is slow.However, you can raise any combination of shafts, makingtreadling options much greater than on a floor loom. Tablelooms are ideal for sampling.1All About Weaving Looms with Weaving TodaySheds on table looms are made by operatinga lever for each shaft. Some table looms comewith as many as sixteen shafts. 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomJack loomsSheds on jack looms are made by raising some shaftsand leaving the others down—jacks (pivoting boardsor levers) either pulling a shaft up when a treadlecauses one end of the jack to go down or pushingthem up with the same action. A jack-loom advantageis that one tie is made to a treadle for each shaft thatis raised; no tie is made for shafts that stay down. Adisadvantage is that the “down” shed is created byshaft weight. The shafts are usually not designed tobe heavy enough to pull warp threads as far down asthey are raised by the rising shafts (they would betoo heavy for your foot to lift them!). The tension onraised threads is therefore tighter than on the threadsthat are not raised. Jack looms are not ideal for fabricsrequiring tight and even tension (weft-faced rugsand wide linen fabrics) but great for most everythingelse. They are easy to warp and allow quick tie-upchanges. The treadling on jack looms is heavier thanon counterbalance or countermarch looms—the widerthe loom and the greater the number of shafts, theheavier.Jack looms are easy to tie up and areavailable with as many as sixteenshafts.Counterbalance loomsCounterbalance looms usuallycome with two or four shafts.The shafts are “balanced” inpairs: when one of them goesdown, the other one goes up.2All About Weaving Looms with Weaving TodayCounterbalance looms predominated in the UnitedStates until the mid-1900s. Counterbalance looms areoften called “sinking-shed” looms, another misnomersince the shed does not sink. The shafts are connectedto each other, usually over pulleys. Shaft 1 is usuallyconnected to shaft 2, and shaft 3 to shaft 4, though othercombinations are possible on some counterbalance looms.The shafts tied to each treadle are pulled down by thetreadle, but their connected shafts automatically go up. Adisadvantage to counterbalance looms is that unbalancedsheds (one shaft vs three) can be tricky to make (thoughthere are workarounds for some counterbalance looms).The treadling is very light, however, and the tensionperfectly even on both raised and lowered warp threads.Counterbalance looms are ideal for rugs and linens and all4-shaft weaves with balanced tie-ups (same number ofshafts raised as lowered). 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomCountermarch loomsCountermarch looms are similar to counterbalance looms inthat shafts go both up and down, creating even tension onraised and lowered warp threads and light treadling action.There are two sets of lamms below the shafts. Treadles tied tothe upper set pull shafts down; treadles tied to the lower setpull shafts up. For each shed, a treadle is tied to an upper orlower lamm for every shaft. This makes countermarch tie-upstime-consuming, the more shafts the more time it takes. (Fora fabric using twenty shafts and twenty treadles, for example,400 ties must be made from treadles to lamms!) Also, thegreater the number of shafts, the narrower the shed onmost countermarch looms (ten shafts could be consideredan optimum high number). Since the movement of eachshaft is independent, countermarch looms can be used withunbalanced tie-ups (any ratio of shafts up to down). Mostcountermarch looms come with ratchet and pawl brakingsystems, providing maximum potential tension, ideal for rugsand linens. Countermarch looms weave almost any fabricsuccessfully; their main drawback is time-consuming tie-up.3All About Weaving Looms with Weaving TodayCountermarch looms allow unbalanced sheds, come with morethan four shafts, and provide even and tight warp tension. 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomThis Loom Loves . . .by Madelyn van der HoogtYou want the loom that will weave everything perfectly. Alas, one loom does not fit all.It helps, however, to know what each type of loom likes to do best.Types of Shaft LoomsThe shafts are the frames on a loom that hold the heddles. Eachwarp thread passes through the eye of a heddle. The position ofthe shaft (up or down) determines whether the warp threads itcarries are above or below the weft. The opening that the weftpasses through is called the shed. Shaft looms differ from eachother in the way they cause the sheds to open. This mechanicaldifference affects the cloth: some shedding systems are betterfor some types of fabric, others for other types. (Loom manufacturers also build in qualities that increase a loom’s efficiencyand ease of use, but the shedding system is still an importantfactor to consider.)of shafts can be raised by moving the desired levers. For tablelooms with more than four shafts, this allows many morepossible sheds than a floor loom can since it is limited to acertain number of treadles.– Table looms do not have the weight or heft required byfabrics with a densely packed weft. They are slow to use, sinceyou have to choose and move the levers for each pick with yourhands, take the shuttle through the shed, and then release thelevers with your hands. And, of course, they donot allow weaving a very wide or very long fabric.looms OnTabletable looms, sheds are formed by levers; one lever for eachshaft. The shafts are in the down position at rest. Moving alever (usually down) makes a shaft go up.pivot Table looms love to travel with you, since they are smallpivotenough to be portable and can usually sit on a table. They areideal for workshops and for sampling, since any combinationTable loompivotJack loomlammsShafts rise.Numbers in the tie-upindicate shafts that go up.4Levers move down to raiseany combination of shafts.4All About Weaving Looms with Weaving Today31 2 3 44 43 322 211 11234 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving Loomlooms JackJacklooms are sometimes called “rising-shed” looms. This is amisnomer, since the shafts on a jack loom rise, not the sheds.On jack looms, “jacks” are attached to each side of each shaft,either above the shafts or below them. The jacks pivot, so thatwhen a treadle brings down one side of the jack, the other siderises to pull or push the shaft up. At rest, all shafts are in thedown position.rollers Most jack looms are easy to tie up since the treadles are onlytied to move shafts that rise. There are more jack looms madethan any other type of loom, so a wide range of choices areavailable: weaving widths, general size and weight, numbers ofshafts (as many as twenty-four), materials of construction,price, and many special features. Jack looms can be used withskeleton tie-ups (more than one treadle is depressed together)to increase the number of possible combinations of shedsbeyond the limited number of treadles.Counterbalance loomlammsShafts sink (andattached shafts rise).– Since the shafts at rest are down, shaft weight is required topull the warp down out of what would be the center of theshed. For the warp to be pulled down as much as it is raisedwhen the shafts are raised, considerable shaft weight is required, making the treadling on shaft looms heavy, especially ifmany shafts are tied to a single treadle. To avoid heavy treadling, shaft weight on most jack looms is not designed to bepivotpivotIn the tie-up,x down; blank up.41 2 3 432xxx1xxxxx1234heavy enough to pull threads as far down from center as theyare raised, making the warp threads in the bottom of the shedlooser than the raised threads (and for this reason requiring ashuttle race). Maximum tension is not possible (it would pullthe “down” threads back up to center). Jack looms, therefore,do not allow packing the weft as firmly as countermarch andcounterbalance looms.Counterbalance looms Counterbalancelooms are sometimes called “sinking-shed”Countermarch loomupper lammsIn the tie-up,o up; x down.5 Treadling is light and easy because shaft weight is not a factor.The warp at rest is in the center of the shed and pulled equallyup and down by sinking and rising shafts. Maximum warptension therefore is possible, and the tension is equal for raisedand lowered threads. Counterbalance looms love to weave firmfabrics such as rugs and work well with nonresilient fibers suchas linen.lowerlammsShafts rise and sink.4looms. This is also a misnomer. Each shaft is connected toanother shaft via pulleys above the shafts. When a treadle isdepressed, the shafts tied to it go down, but the shafts connected to these shafts are pulled up. An additional set of pulleysabove the first set allows a pair of shafts to operate againstanother pair.1 2 3 4xxoo3xoox2ooxx1 oxxo123All About Weaving Looms with Weaving Today4– Some counterbalance looms do not form clean unbalancedsheds (one shaft moving against three, for example). Counterbalance looms are usually limited to two or four shafts. 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomCountermarch looms Countermarchlooms are equipped with two sets of lamms (thecrosspieces that connect treadles to shafts). A tie to a lower lammcauses a shaft to rise; a tie to an upper lamm causes a shaft tosink. At rest, the warp is in the middle of the shed. When atreadle is depressed, all the shafts are moved, either up or down. Countermarch looms, similarly to counterbalance looms,provide light treadling with maximum warp tension and equaltension on raised and lowered warp threads. Countermarchlooms love to weave all types of fabrics including rugs and workwell with dense warps and nonresilient fibers. Countermarchlooms can be equipped with as many as twenty shafts.– Every shaft must be tied to go either up or down to form the6All About Weaving Looms with Weaving Todayshed, so for most tie-ups, every treadle must be tied to moveevery shaft (64 ties for eight shafts and eight treadles; 400 fortwenty of each!). For multishaft tie-ups, some skill is required toachieve a clean shed. Skeleton tie-ups can be used on countermarch looms (though not with nearly the versatility as with jacklooms). The only rules are that all shafts must be tied to move (orthreads will hang in the middle of the shed), and you cannot usetreadles together that ask a shaft to move both up and down.(Summer and winter tie-down shafts can be tied to separatetreadles from the pattern shafts, for example.)Probably the best answer to the question “What loom should Iget?” is: More than one! 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomGetting Started on a Rigid-Heddle Loomby Chris SwitzerA rigid-heddle loom is just the ticket for small projects such as scarves. The scarf on the loom has a warp of camel-coloredalpaca and a weft of variegated loop wool/mohair in turquoise, mauve, and rust. The dark scarf uses charcoal alpaca for warpand variegated brushed-wool weft in blue, rust, and charcoal for weft. The light scarf has a mixed warp wound six strands ata time: one strand each of pink wool bouclé, mauve/pink rayon/wool blend, white rayon/wool loop, and two-ply white alpaca,and two strands of three-ply natural white alpaca. Its weft is pale pink brushed wool/mohair.The rigid-heddle loom is a great loomfor beginners. It’s easy to warpand thread, and it accommodatesa variety of widths and lengths of cloth.Projects that can be woven on rigid-heddlelooms include placemats and table runners,shawls and stoles, pillows, purses andtote bags, tops, and belts—practically anymedium-weight fabric that’s the width of theloom or narrower.Rigid-heddle looms are portable, lightweight,7All About Weaving Looms with Weaving Todayand sturdy. Even if you have another loom,a rigid-heddle loom can be a mainstay.It’s good for traveling because it comesapart easily for carrying. It’s excellent fordemonstrating weaving at fairs and exhibits.It’s good to use with children. And it’s easyand quick to set up.Rigid-heddle looms come in narrow widths:the average width is about 20" with a rangefrom 11" to 40". I’d suggest purchasing thewidest looms only if you are fairly large 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving Loomand have long arms because there is a lotof reaching to maneuver the long shuttlethrough the shed. Heddles are availablein 8-, 10-, and 12-dent spacings, limitingthe setts that you can use without specialtechniques. Because of the alternation ofwarp ends in the heddle’s slots and eyes,the basic weave structure is plain weave,although other weave structures, suchas huck lace and spot and lace Bronson,are possible with a pick-up stick. Fingermanipulated techniques such as leno,Spanish lace, and Danish medallion addvariety. By using fine yarns for weft, tapestryor weft-faced fabrics may be woven.Color and texture enliven rigid-heddletextiles. The simple weave structure showsoff yarn, especially contrasts betweensmooth and slubby, shiny and matte, andfine and heavy yarns. This is a perfect placeto use odd balls of color-washed loop orbrushed knitting yarn that you couldn’t resistbuying even though you didn’t know whatyou were going to do with it. Colors canbe muted or bright, subtle or contrasting,striped or plaid.Try an easy scarf as a first project or to getyou back to your loom after a hiatus. Thisscarf requires only two balls of yarn, oneeach for the warp and weft. Add more colors,and you’ll need even less of each one.An Alpaca Scarf to WeaveYour scarf will require 165 yd of alpaca forwarp and 125 yd (a 50-gram ball) of texturedknitting yarn for weft. Measure out a 2 ydwarp of 73 strands (if you run short, make 71or 69 ends). Use a warping board, warpingpegs clamped to a table, or improvise withchair legs, doorknobs, or whatever else ishandy. Because you’re making a short warpwith few warp ends, a cross is not necessary.Tie the warp tightly about 18" from oneend, cut the end loops, and thread the endsthrough a 10-dent heddle from the front,centering it from side to side and startingand ending with a doubled yarn in a slot.Check the tie-on dowel at the back of theloom (the heddle holder is closer to the backof the loom than the front) by unrolling itto the extent of its cords and rerolling it inthe direction that allows the brake to hold itfirmly (if wound in the wrong direction, thebrake won’t hold). Tie the ends that you’vejust threaded onto the back beam. For eachtie-on knot, smooth two groups of four endseach so that they are all equal in length.Bring both groups under the dowel, separatethem and bring each group up to the outsideand over the dowel, cross them beneath thegroups, bring them to the top, and tie in ahalf-knot.When all groups have been tied (the lastgroup will have five ends), you’re ready toHere’s my favorite recipe for an Alpaca ScarfFINISHED DIMENSIONS: 7" wideby 58" long, plus 3" fringe ateach end.YARNS: Warp—Three-ply alpacaat 1,330 yd/lb: 165 yd naturalwhite, camel, mist gray, andcharcoal. Weft—Four-ply 50%8alpaca/50% wool at 1,000 yd/lb:125 yd in color of your choice.TOTAL WARP ENDS: 73, includinga doubled end at each side.E.P.I.: 10. Use a 10-dent heddle.WARP LENGTH: 2 yd, includingtake-up, shrinkage, and 18" loomwaste. Part of the loom waste isused for fringe.WIDTH IN REED: 7". Start andend with a doubled end in a slot.All About Weaving Looms with Weaving TodayP.P.I.: 10. 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving Loomwind the warp onto the back beam. You’llneed pieces of brown paper cut from grocerysacks to wind between the layers of warp.Cut them about 7" wider than the warp(about 14" wide for the scarf) so that thewarp ends on each side won’t slide off anddisrupt the tension on the warp. The lengthof the paper is less critical; you’ll need atotal of about 1 yd, but short pieces can beused one after the other and can be easierto handle.Undo the tie around the warp, hold the warptaut with your left hand, and with your righthand turn the knob on the back beam to rollon the warp, inserting the paper beneath thewarp as it rolls on. Overlap pieces of paperas needed. Stop winding on when the end ofthe warp is even with the front of the loom.Unroll and check the front tie-on dowel asyou did the back, reroll it, and position itabout 10" from the heddle so that you can tieon the end of the warp. Smoothing the warpfrom the heddle toward yourself, tie on pairsof four-end groups by bringing all eight endsover the dowel, then under it, half to eachside, up and over, and tie a half-knot on topof the group. When all the ends have beentied on, test the tension by pressing down oneach group in turn between the front doweland the heddle. Tighten the loose groupsuntil each group is equally springy and thentie a second half-knot on each to make asquare knot.Wind a 16" stick shuttle with about 2 yd ofscrap yarn to weave the heading. (The stickshuttle can be of any length just so that it’slonger than the warp is wide so that you cangrab the end emerging from the shed whileyou’re still holding onto the other end.) Placethe heddle in the holder for the up shedand notice that the warp separates into twolayers: the upper one formed by the endsthreaded through the eyes and the lower oneby the ends threaded through the slots.9All About Weaving Looms with Weaving TodayPass the shuttle through the shed from oneside or the other, leaving yarn in the shedand a tail about 3" long extending fromthe edge. Put down the shuttle next to theloom or in your lap, and with both hands,one placed toward either end of the heddle,lift the heddle from the holder and bring ittoward you to press the weft row in place.Don’t push too tightly against the knots.To form the next shed, the down shed, pushthe heddle back to the holder, but let ithang on the warp. The shed is formed withthe ends threaded through the eyes on thelower layer and the slot ends on the upperlayer. Pick up the shuttle and pass it throughthe shed. Lay the shuttle down and positionthe weft so that it wraps closely around theselvedge at the beginning of the row and liesin the shed in a shallow curve or a straightline slightly angled toward the heddle. Pressthe weft in place by using both hands tobring the heddle toward you against thecloth. Continue for a few more rows untilthe warp ends are evenly spaced across thewidth and there is about 6" for fringe.Remove any remaining scrap yarn fromthe shuttle and wind the shuttle with theweft yarn. Beat in four shots tightly, one ata time, to give stability to the edge. Thenplace successive weft shots 1 4" apart toproduce a pliable fabric that will lie softlyaround the neck. The spaces between therows should form little squares. Beating toohard squashes the squares, makes a stifffabric, and eats up the weft too quickly,whereas beating too gently leaves elongatedrectangles between the rows and makesa flimsy fabric. Continue to wrap the weftsmoothly and evenly around each side ofthe scarf.When the weaving approaches the heddle,advance the warp about 6". To keep thetension even, wind on at the front of theloom while you unwind at the back. Whenthe back tie-on dowel approaches the 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving Loomheddle, you’re almost finished with theweaving. Beat four rows tightly as you didat the beginning and weave a few rows ofscrap yarn to hold the last rows of weavingin place. Untie the warp ends at the back tieon dowel, pull the scarf and fringe allowancefrom the heddle, unroll the front beam, anduntie the knots at that end.Further ReadingRemove the scrap yarn at one end and tieoverhand knots for fringe in groups of fourwarp ends. Repeat at the other end. Trim thefringe evenly to 3". Wash the scarf by handin cool water with mild liquid detergent,rinse, and then rinse again with a little fabricsoftener in the water. Roll the scarf in atowel, knead it to remove moisture, and thenhang to dry. Steam-press lightly.Gibson, Liz, Weaving Made Easy: 17 ProjectsUsing a Simple Loom. Loveland, Colorado:Interweave, 2008.Congratulations! You’ve made a scarf! Nowthat was a snap, wasn’t it?CHRIS SWITZER, Estes Park, Colorado, raisesllamas and alpacas and finds that weavingscarves on a rigid-heddle loom is a good way toacquaint people with alpaca fiber.10All About Weaving Looms with Weaving TodayDavenport, Betty Linn, Hands On Rigid HeddleWeaving. Loveland, Colorado: Interweave,1987.Patrick, Jane, The Weaver's Idea Book:Creative Cloth on a Rigid-Heddle Loom.Loveland, Colorado: Interweave, 2011.Davenport, Betty Linn, Best of Handwoven:New Technique Series: Rigid Heddle PatternBook 1, PDF. Loveland, Colorado: Interweave,2010.van der Hoogt, Madelyn, Warping Your Loom,DVD. Loveland, Colorado: Interweave, 2010.Patrick, Jane, Weaving on a Rigid Hedle Loom,DVD. Loveland, Colorado: Interweave, 2011. 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomMake a Loom and Weave a Hatbandin Two Days without Breaking the Bankby Sharon KerstenHere’s how to construct a loom, warp it, and weave a project all within a weekend.This lightweight, portable loom is suitable for small projects such as hatbands andbookmarks. It can easily be disassembled for travel when needed!To build this loom, you’ll need to gathera few basic hand tools and take a trip toyour local hardware store or “big-box”home improvement center.Making the loomCut the CPVC (chlorinated polyvinyl chloride) pipeinto two 16" front pieces, two 21 2" back pieces,seven 6" crosspieces, three 5" pieces for castleuprights and heddle string rod, six 11 2" pieces forjoining T and L connectors, and one 7" shed rod.Push pieces together as shown on page 12.For the tensioning device: Arrange on each24" threaded rod: 4" space, washer, 2 nuts,9" space, 2 nuts, washer, and about a 10"space. The 4" space goes into the back arm;the 10" space into the castle assembly. (Thewashers keep the nuts from sliding inside the Tconnector.) Snug the 2 nuts so they are fingertight only. Moving the two sets of nuts towardeach other loosens the tension, away from eachother tightens the tension. (Place elastics asin Photo a, page 14, to prevent the loom fromcoming apart when it is not warped.)Using a ruler, measure from washer to washerto check that both sides of the loom are thesame length. The measurements should bewithin 1 8" of each other.What you’ll needToolsCoping saw, hacksaw, miter box and saw,or PVC pipe cutter (if available); utilityknife; not-your-sewing scissors; tapemeasure or ruler; pencil; slip-jaw pliers(to loosen any stuck pipes, if needed).Materials and other suppliesOne 10 ft length 1 2" CPVC pipe (you cancut it in half to transport), ten 1 2" Tconnectors, six 1 2" L connectors, two 1 2"cap pieces, two 3 8" 24" threaded rods(20 threads/inch), 8 nuts to fit threadedrod, 4 washers with bigger outsidediameter than ends of T connectors,transparent tape, 2 packages of 1 4"elastic cord.11All About Weaving Looms with Weaving Today 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving LoomcastleThis small,portable inkleloom can be madein a weekend!crosspieceshed rodback piecethreaded rodheddle rodshuttle fromlaminate samplecrosspiece12front pieceAll About Weaving Looms with Weaving TodayAssembly order:Lay the CPVC pieces out in the positions shown.Push the CPVC connections together snugly. Ifyou lift the loom up and the connections separate,wrap the end of the pipe with transparent tape andreconnect. Do not use any glue to assemble theloom so that you can take the loom apart fortransport and reassemble it later. 2011 I NTERWEAVE PRESS LLC. ALL RI GHTS RESERVED. NOT TO B E REP RI N T ED.

All About Weaving Looms WithTMA Guide to Selecting and Using a Weaving Loom1. le2. Pick-uppatternend(Discard the extra black thread.)123135Taping the ends on the bottom front crosspiece with 6" tails at start and finish, wind acontinuous warp of 34 ends holding 1 black/1white together and keeping a finger betweenthem; do not cross threads as you wind.D DD DD DDCut a shuttle from laminate sample (see page12). Weave at least 7" plain weave with popsicle sticks to preserve the fringe. Weave 1"plain weave with white weft (the heddle rodin the down position lowers the mostly lightwarp threads so the mostly dark threads areon top; the heddle rod released and the shedstick moved forward raises the mostly lightthreads). Hemstitch over the first 2 rows.Then weave the hatband following Figure 2.DDD DD DDD DD DAttach and secure the shed rod (Photo e,page 14). Push the lower shed down. Insertpopsicle sticks to keep the shed down whileyou are working. Loosen the heddle rod fromits elastic (Photo b, page 14) and place itabout halfway between the end of the loomand the castle upright. Slip one end of eachstring heddle around the heddle rod, passthe doubled string of the loop over one warpthread in the lower shed, then pass the otherend of the loop around the heddle rod(Photo f, page 14). Continue, taking threadsfrom the lower shed in order and makingsure you catch only one thread at a time.Then carefully slide the heddle rod back tothe bottom of the castle and secure it withthe elastics (Photo b, page 14).All About Weaving Looms with Weaving Today6DD DD DD DD DD7To weave the pattern: Copy and enlarge thegraph in Figure 2 so you can read it easilyand use a marker to check off each row.Weave the pattern repeat for about 25" orthe length necessary for your use. The graphshows only warp threads 10–25 (count themfrom the right); the others are controlled bythe sheds and not the pick-up stick. The firstfew rows will look strange the first timethrough. Stop for breaks only between “S”motifs (it takes 10 to 15 minutes to weaveeach one). End with 1" plain weave and hemstitch as at the beginning. Weave another7" of popsicle sticks for fringe and thenweave the remaining warp for bookmarks orsamples.Remove the band from the loom. Divide thewarp threads into two halves, then do a 3- or4-strand braid with each half and secure withan overhand knot, matching all braids forlength and knot placement; trim ends evenly.DD DDDDWeave in popsicle sticks (Photo d, page 14),picking up the sheds by hand and changingthe black/white alternate order to match Figure 1. Slide sticks to bottom of loom frame,smoothing the threads. Discard the extrablack threa

you’ve already got. It is likely that your first loom will not be a dobby or a Jacquard, so this discussion is limited to table looms, jack looms, counterbalance looms, and countermarch looms. (Rigid-heddle and inkle looms are discussed on pages 7–14 of this eBook.)

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adjustable triangle loom. He continues to build the Tri-Looms, and now our adjustable square and rectangle looms, as well as Navajo looms, sturdy inkle looms, maru dai, and many of our other spinning and weaving tools. Carl also is the official bobbin maker for the old Reeves spinning wheels no longer in production. After teaching Middle school

realm of weaving.” The weaving curve for a k-factor of 1.0 essentially identified the limit of weaving length that resulted in weaving movements. Beyond these lengths, which depended upon weaving volume or flow rate, the section was believed to operate as a basic freeway section, with merging at one end and diverging at the other.

cardboard loom, including warping up and weaving over and under (plain weave) - Weaving vocabulary Some students will: - Explore a range of different materials including colour and texture - Explore a range of different of techniques - Learn how to cut off their work of their looms Cardboard looms for each

Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in E

Free Weaving Patterns from Eplore Techniques for nlay Plain Weave and uck Lace The Draft: How to Read Weaving Patterns P atterns for weaving are written in a form called a “draft.” The draft is a standardized short-hand way

Weaving God’s Promises is: For children ages 3-11 and youth ages 12-14 A three-year program: year One: weaving Our faith year Two: weaving together the family of God year Three: weaving God’s beloved Community You get access to all three years with your annual purchase. Episcopal: wri

Weaving educational threads Weaving educational practice KAIRARANGA – VOLUME 13, ISSUE 1: 2012 7 A Māori Pedagogy: Weaving

ADVANCED BOOKKEEPING KAPLAN PUBLISHING Introduction When a capital asset or non-current asset is disposed of there are a variety of accounting calculations and entries that need to be made. Firstly, the asset being disposed of must be removed from the accounting records as it is no longer controlled. In most cases the asset will be disposed of for either more or less than its carrying value .