NEW: The complete kit for spinning your first yarns

My Journey to intentional and confident crafting

Crafting with yarn and fabric has always been a part of my life. Though it wasn’t until 2013, when I took time out for myself and my new-born, that I started getting serious about the crafts I was most passionate about.

While experimenting with knitting and weaving and exploring various fibres, I stumbled across the craft of hand-spinning my own yarns. Being someone who naturally desires to know how EVERYTHING works, I was eager to give it a go.

Though navigating this new world of hand-spinning was more difficult than I’d anticipated.

I knew I didn’t want to spend a lot of money just to try it and find out I didn’t like it. And without knowing where to start I lacked confidence in making those first decisions – spindle or wheel, raw fleece or prepped fibre… the list could go on.

When I did finally make these choices and got my first spindle and supply of fibre, my first hand-spun yarns were dense and lacked consistency. This in its self is not unusual for a beginner spinner and these early lumpy bumpy yarns are part of the learning process.

Though, without knowing how to evaluate my yarns and where to make improvements in my next spin I was seeing little progress.

I became frustrated…

… but still determined!

I set out to learn as much as I could. I gathered books, watched videos, read magazines, and listened in to the various online forums. I attempted to distil all this information, applying the elements that I thought might help me.

With time this effort paid off, I learnt the mechanics of fibre and twist, the importance of preparation and finishing techniques, and the tools I could use to measure and evaluate my yarns.

These insights provided the necessary framework to intentionally plan and spin yarns, evaluating my progress with each experiment. With practice, I was seeing improvements in my technique and more consistency in my spun yarns. I was planning and spinning yarns for specific projects. I was finally starting to see the results I was after.

I was spinning with intention. I was spinning with confidence.

And most of all, being a diehard maker of all things, I was getting great personal satisfaction to see my fibre-to-finished projects finally come to life.

ON Designing the KIT

I’ve since documented and refined this four-year journey to create the first Learn to Spin Kit for Loom & Spindle – The complete kit for spinning your first yarns.

In addition to the necessary inclusions of a spinning kit, a drop spindle and a 100% Aussie grown and processed fibre supply, I’ve carefully put together a series of notes and tools to introduce you to the language and mechanics of spinning your first yarns. This includes:

A simplified method for spinning your first yarns, highlighting the four easy-to-remember action steps: PINCH-TWIST-PARK-DRAFT.
Guidance on how to prepare for a spin, for a more enjoyable spinning experience. And,
An introduction to the language of spinning and tools you can use to measure and evaluate your yarns for more intentional spinning.

By offering this kit my hope is that I can provide you with a new opportunity to be creative with yarn and fibre, and extend your passion for making.

The complete kit for spinning your first yarns

Loom & Spindle - Learn to Spin Kit - portrait.jpg

Buy This Kit

Buy This Kit

SpinningAndrea Rothwell20 October 2017Loom & Spindlespinning, Spindle Spinning, DHG, Hand SpinningComment

Making Woven Design More Intuitive + A FREE TOOL

Loom & Spindle — IN THIS ARTICLE

- Understanding the effects of warp spacing.
- Sizing and aligning shapes for best results.
- How to design using warp spacing as your guide.
+ Get our FREE tool ‘Weaver’s Graph Paper’

I’m really passionate about weaving. Have you noticed?

I’ve spent several years now immersed in frame-loom weaving and tapestry. I’m a little obsessed.

Something that’s been on my mind lately is how can I test my design before committing weft to warp?

The problem I’ve found is that designing specific shapes and then weaving them accurately can be quite tricky.

You might have had this experience - you have your design idea, it’s great by the way, you throw in the variables of your warp sett and chosen weft yarn, and you start weaving.

Suddenly that eye-pleasing shape you envisioned, with its faultless proportion and symmetry, starts to get a little wonky.

Your shape becomes too wide, or maybe too narrow. You push the weft around, try and straighten things up, but you just can’t get it to sit right.

You stare at it, it stairs back at you. You lose interest, it gathers dust. This one was never going to cut it, you’re a perfectionist after all.

This experience has left me with the question - How can I ensure my designs are going to translate to weaving and can I make the design process more intuitive?

So, let’s get right down to the cause of the problem – the warp sett.

The warp sett or spacing of the warp, often described by the number of warp ends per inch (epi), determines the position of each dot of weft as it passes over the warp.

For example, if you have a warp spacing of 4 ends per inch (4 epi), for each full pass (two rows) of weft you have four dots of weft. So, for every horizontal inch of fabric you weave you have four dots that you can use to control the placement of colour, and in turn control the formation of shapes.

The limitation imposed by the warp spacing means you can’t weave shapes in infinite detail. Every predefined angle and curve of your design must correspond to one of these ‘dots’ of weft.

This can be challenging to get your head around at first but stay with me. The diagram below might help you better visualize the concept.

A. First woven row, creates two dots of weft and leaves two warp threads exposed.B. Second row of weft completes the pass, creates four dots of weft per horizontal inch.C. Six full passes of weft completed, colour changes are incorporated and weave … — *A. First woven row, creates two dots of weft and leaves two warp threads exposed.*
*B. Second row of weft completes the pass, creates four dots of weft per horizontal inch.*
*C. Six full passes of weft completed, colour changes are incorporated and weave sequence is maintained.*

By carefully scaling and aligning your design to your chosen warp sett, or choosing a sett that compliments your design, you will be able to make the most of any pattern or shape.

To further illustrate this I’ve drawn up some examples that show you how the alignment of a shape against the warp might affect its proportions.

I’ve purposefully scaled the shape at 1 inch (2.5cm) as I know this has the potential to produce a round circle at either 4 or 8 epi. For more notes on weaving circles I’d suggest checking out LINE SHAPE TEXTURE.

The differences in each illustration are subtle, but as you can see, the alignment of the circle does affect the the symmetry of the shape.

Weaver's Graph Paper - Alignment Example - Loom & Spindle

So, to overcome that problem I described earlier your design must be carefully dimensioned to fit the spacing of the warp and positioned to maximize the use of those ‘dots’ per inch.

So that’s the theory, how can I help you make it work in practice?

I had the idea when I was developing the shaped weaving blog post. To get this design right and ready for weaving the sizing and placement of the shape against the warp had to be just right.

My first step was to draw up a series of carefully spaced vertical lines to represent my warp sett. From there I could sketch out and proportion the shape.

Having defined the warp spacing I was able to map out the angles and curves of the shape while visualizing the placement of weft to achieve symmetry within the design.

To help you sketch your own designs I have taken this concept one step further and developed what I call - Weaver’s Graph Paper.

Essentially, it's a precisely lined graph paper that replicates the warp spacing so you can sketch elements of your designs and accurately size and position these elements against the warp. Once you have your design perfected on the graph paper you can transpose it directly onto the warp and start weaving.

I really believe that sketching with warp sett in mind will help improve the way you plan key elements in your pieces. And with practice, it will become an intuitive part of your design process.

THANK YOU FOR READING!

Our 'Weaver’s Graph Paper' is available as a FREE pdf download.
Click button below and get sketching now!

Graph Paper Notes:

In this first version of Weaver’s Graph Paper, I have used a warp spacing of 4 and 8 epi, reflecting the warp spacing on the Loom & Spindle range of frame-looms.
To make the graph paper as functional as possible I’ve included both a metric and imperial scale where practical to reference as you sketch.
I’ve included the following printing notes on the graph paper: Paper Size, A4; Set scale to 100%; Page orientation, Landscape.
Using the graph paper does take practice! I would suggest starting with a rough sketch to help you define your concept. Then sketch out your design again, this time on the graph paper, being mindful where your design sits in relation to warp.
Please feel free to print it as many times as you need :)

With your help this will be an ongoing project that we can refine together. I’m hoping it will establish a way in which we can consistently develop and share design ideas for frame-loom weaving.

If you have any thoughts, questions or suggestions on Weaver’s Graph Paper I’d love to hear from you!

PS: Tag your sketches #loomandspindle so I can follow your progress!

Shop Loom & Spindle

LINE SHAPE TEXTURE

$11.99

Weaving Comb and Tapestry Bobbin Pack

$39.15

Weaving, Frame-Loom Weaving, WorkshopAndrea Rothwell5 August 2017Woven Design, Sketching, WeaveComment

Insights: Note-Taking and Sketching for Woven Design

As I type this I have at least five notebooks scattered around me, each one with its own specific purpose. If you were to open one, you would find a disorganized and almost unreadable scrawl that is my handwriting, usually embedded under layers of important notes (read: scribbles) my toddler, JoJo, has decided to contribute while my back is turned.

For me, note taking is an informal process that encompasses many things:

The jotting down of random thoughts that have suddenly evolved into new ideas
Sketching an element that might have potential in a new project
Visually mapping a process to clarify an outcome I want to achieve
And of course, humble reminders and the ever-important daily to-do list.

I’ll leave you now with a few insights on note taking and sketching that I’ve collected from some of my favourite books on weaving and textile art.

“The roughest of sketches, incomprehensible to anyone except myself, done, maybe, on the spare of the moment, on the back of an envelope or the spare page of the car handbook, helps me more than a photograph, even when referred to after a lapse of years, to recreate my first response to things seen and to provide a jumping-off ground for a design. When we try to record this response in the form of a sketch, we instinctively select the salient points and omit others which have no place in our theme.”

— Theo Moorman, Weaving as an Art Form

“Notebooks are of infinite importance to the handweaver…
Such a notebook acts as an inspiring springboard for endless sources of ideas and variations…
As long as the sketch or doodle is understandable to you, that is sufficient. The very act of putting a fleeting thought down, even if you never look at that note or sketch again, seems to retain the thought far back in your mind until such a time as it is needed.”

— Laya Brostoff, Weaving a Tapestry

“When we are young every image is new but often in later years we look with preconceived ideas certain that we have seen an object before, and often not really seeing it all. Drawing, painting and recording in any medium or manner trains one’s powers of observation. Having drawn an object one knows it intimately, and that knowledge will never be lost. With each successive effort one’s skill and visual knowledge increase. Nothing can replace either the act of drawing based on observation, or the discipline it requires.”

— Irene Waler, Thread: An Art Form

We've teamed up with Blacklist to bring you a classic notebook set. With 120gsm uncoated paper stock and gold foil edging details, they embody a sophisticated style and elegant way to record your adventures in weaving.

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LINE SHAPE TEXTURE

$11.99

InsightsAndrea Rothwell14 May 2017Woven Design, Sketching, note takingComment

How to Weave a Heart: A Method for Shaped Weaving

As Valentine’s Day will soon be upon us, I was compelled to show you a method for weaving a woven heart.

A heart may seem complex at first, high and low stepping must be combined carefully to form both horizontal and vertical curving lines. Though, through careful planning this seemingly complex shape can easily be achieved.

I’ve outlined a simple foundation method for you below, it draws on the skills you’ve learnt in LINE SHAPE TEXTURE. You’ll also find a FREE heart template at the end of the post to get you started straight away.

Shaped weaving is a lot of fun. There are endless possibilities. I can’t wait to see how you incorporate this technique into your own pieces!

Project: Woven Ombré Heart

Intention

Construct a heart shaped woven piece to test a methodology for shaped weaving.
Gradually blend two colours across the surface of the fabric to produce an effect reminiscent of ombré – previously sampled here.

Skills

Inserting a ground weave – To prepare the loom and evenly space the warp prior to weaving
Double half-hitch - To secure the warp and weft
Plain weave – For the filling
Half-hitch - To secure weft threads as you start and finish a weft thread
Low and steep-angle stepping - To work horizontal and vertical curving lines

*To learn more about these skills and please check out my book - LINE SHAPE TEXTURE. It’s available to download now!

Planning

My first step was to define the shape and prepare a template. It was important to consider the warp sett and how best to plot the shape to achieve the centre-line points of the heart, would I use an odd or even number of warps and how would that affect the design.
I referred to my own notes in LINE SHAPE TEXTURE to refresh my skills on forming curved shapes. I noted in particular that curved shapes would work better over an even number of warp threads. Though, I concluded that an odd number of threads would be required to achieve the centre-line points. This led me to the assumption that if I pictured the heart as two overlapping circles that shared a common warp thread on their outer edge I could achieve both outcomes!
On drawing up the design, I sketched out the warp sett first. I marked the dimensions I wanted to work with ensuring that I marked an odd number of warp threads to align the shape.

Sampling

I wove a small sample heart, approximately 10cm (4’’) wide, to test the methodology and determine a procedure.
I tested the assumption that double-half hitches would be viable for securing the warp and weft, particularly its durability once the piece was removed from the loom.
I had previously tested weaving gradients of colour, swapping out two threads at a time. From this sampling, I decided to weave the gradient by swapping out one colour thread every couple of rows to see how this affected the gradient.

Materials

Frame Loom – I used a Loom & Spindle 44cm Loom with a pre-defined warp sett of 4 ends per 2.5cm (4 ends per inch)
Warp – Cotton Warp Thread
For the double half-hitches - I used three strands of a cream coloured sewing thread. This fine thread will help hide the hitches from view.
Weft - I chose a lace weight (2 ply) yarn in two neutral tones that were of similar contrast. I had used this yarn previously in my gradient samples so had a good idea of how they would behave when woven.
- Colour 1: Morris Maya Lace Baby Alpaca, #3224 Erlicheer
- Colour 2: Morris Maya Lace Baby Alpaca, #3201 Angelic

Method

STEP 1
Define the dimensions of your shape and warp the loom to a width that will accommodate your design.

STEP 2
Weave in a ground weave to establish a firm base on which to begin your piece, distribute the warp evenly.

STEP 3
Using a marker, trace your shape onto the warp. I have placed the heart shape upside-down.

Mark your centre thread so you have a reference point as you align your shape against the warp.
Orientate your shape so you have the fullest part of the design at the base. This provides a firmer and flatter base on which to weave, this will help you control the curves and establish that all important weave sequence.

STEP 4
Using three strands of sewing thread, about an arm’s length long, secure the warp by outlining the base of the shape with a series of double half-hitches.

Work steadily and carefully, maintaining the warp spacing.
Ensure the hitches are secure by tying the double half-hitches tightly on each warp thread.
Keeping the tension on the sewing thread as you work the double half-hitches will help control the positioning the hitch.

STEP 5
Using plain weave or other desired stitch, fill in the body of the shape working your passes and stepping the weft as the shape requires.

If using plain weave, weft direction can be utilised to maintain weave sequence to create a seamless appearance on the face of the fabric.
In my piece, I began by weaving-in the base of each horizontal curve. I wove each side as if they were a mirror image. This ensured my weft threads would be travelling in opposite directions, very important when working adjacent shapes.
I had to play around with the passes to figure out how to bring the wefts together seamlessly. I found that if I kept the passes on one side lower than the other I was then able to bring the weft over from the right side and pass seamlessly over the left side of the shape. Play around with it and you should be able to find the sweet spot on your piece too.

STEP 6
Once the shape is complete secure the warp and weft by outlining the shape with a series of double half-hitches. The piece is now ready to cut from the loom.

Finishing

The warp and weft ends can be secured against the back of the piece using a sewing needle and thread. I found that by incorporating some hitches into the sewing stitches I could grip the warp threads and anchor them down more firmly.

As there is not a lot of natural spring in alpaca fibre and the yarn is quite dense, I didn’t feel the need to steam block the pieces in this instance.

Insights and Opportunities

Sampling the project and working through the challenges this piece presented helped reinforce the theory behind weaving curved shapes.
The method proved very versatile and I can see that it has endless opportunity for further experimentation!

Thank you for reading!

I’ve put together a template so you can try this technique for yourself.
The template contains three heart sizes and features positioning points for the outer warp threads.
This will help you align and orientate your template for best results!

FOR MORE INFO ON THE SKILLS USED IN THIS TUTORIAL, CHECK OUT OUR BOOK LINE SHAPE TEXTURE.

WHY NOT CHECK OUT OUR FREE SAMPLE VIA OUR BOOK PAGE!

LINE SHAPE TEXTURE

$11.99

LET’S KEEP LEARNING…

Journal

Introducing the Schacht Arras tapestry Loom

How to Weave Soft Transitions Between Two Solid Weft Colours: A Tapestry Workshop

How to Weave a Tapestry Sampler

How to Weave a Heart: A Method for Shaped Weaving

Weaving Two-Colour Gradients

Outlining Angular shapes with Soumak + FREE Pattern Download

HOW TO CONSTRUCT A WOVEN PIECE

Anatomy Of A Wall Hanging

A WEAVERS METHODOLOGY: Tips for becoming a more thoughtful and intuitive weaver

Just Add Twist - Weaving with Hand Spun Roving