Frida Chanel bag

The Frida Chanel field belt bag. Photo by Dan Waltin

A project that I have been working on for a long time is finally finished – the Frida Chanel bag. The bag is woven on a backstrap loom from outercoat yarn spun on a suspended spindle. Frida and Chanel are the two ewes that gave me the wool.

The Frida Chanel bag project has gone slowly but steadily through winter, spring and summer. It has lived through office meetings, sheep festivals and the corona crisis. So many experiences fit in the resulting field belt bag. In this post I walk you through the process from fluff to stuff.

The Frida Chanel bag is comfortable to war across my hip, either to the front or to the back. Photo by Dan Waltin
The Frida Chanel bag is comfortable to war across my hip, either to the front or to the back. Photo by Dan Waltin

The sheep

The wool in the yarn comes from the outercoat from two fleece championships contestants – one Åsen/Härjedal crossbred lamb and one Klövsjö ewe. They are both perfect warp candidates with long, strong and shiny outercoat fibers.

Chanel

I got Chanel on the 2017 Swedish spinning championships. She got a gold medal and rightfully so. It wasn’t for sale, though. The shepherdess didn’t want to part with it. She isn’t a spinner herself, though, and she realized that no spinning mill would do the colour variations justice. I talked to her and she decided to sell it to me.

Chanel's fleece divided into colour piles.
Chanel’s fleece divided into colour piles.

I divided the fleece into colour piles and spun each of the lovely colours separately. After some trial and error I landed in separating undercoat from outercoat and spin the fiber types separately. This way I was able to make both wool and colours justice.

Frida

If found Frida’s fleece at the 2019 Swedish fleece championships. She didn’t win any medals, but she was still so beautiful and I really needed to take her home with me. She has the most incredible shine!

The Klövsjö ewe Frida's beautiful fleece.
The Klövsjö ewe Frida’s beautiful fleece.

The yarns

With Chanel’s outercoat I ended up with five colours of brown, from solid chocolate, through dark and light coffee swirls to a frappuccino.

Five colours of the Åsen/Härjedal lamb Chanel's outer coat.
Five colours of the Åsen/Härjedal lamb Chanel’s outer coat.

I have been spinning Chanel’s combed outercoat tops on a suspended spindle on coffee breaks and meetings at work. Through the soft feeling of the fibers I have been able to filter the coffee break chatter and focus on the content of the office meetings.

I treated Frida’s fleece the same way I had treated Chanel’s – I separated outercoat from undercoat and spun them separately. When I got to spin Frida’s combed top it was already March and the government urged everybody who could to work from home, so I have spun Frida’s outercoat yarn at digital meetings and coffee breaks from my home.

The Klövsjö ewe Frida's outercoat spindle spun into a strong and shiny warp yarn.
The Klövsjö ewe Frida’s outercoat spindle spun into a strong and shiny warp yarn.

I decided to dye the Frida outercoat yarn in two shades of blue. I used the same dye base as the yarn for my weaving bag, but for some reason it turned out green instead. They are still lovely collars and I did get the difference in shade I was after.

Finished yarns from Chanel (brown shades) and Frida (dyed green). Spindle spun and hand wound with love. Photo by Dan Waltin.
Finished yarns from Chanel (brown shades) and Frida (dyed green). Spindle spun and hand wound with love. Photo by Dan Waltin.

Colour play

When all the yarns were finished I had a wonderful weaving yarn treasure to play with. I wanted the stripes to be in different widths and I wanted to pair dark colours with light. In the end I decided on using two gradients – one brown and one green (if you can call two colours a gradient) – going in different directions. I added a section with horizontal stripes in the middle. I messed up with the calculations here, though. The horizontal stripes should have been twice as wide but my head obviously wasn’t with me all the way in the warping.

Being able to build my weave and my loom is such a wonderful feeling of empowerment. I made that pattern from my own yarn. I set up that loom (that is mostly my own carving) to fit my yarns.

A sticky business

Weaving with this. yarn has been a very sticky business. The warp threads have been tremendously clingy and in the beginning I was wondering if I would ever see this weave finished. But the beauty of weaving with your handspun yarns is that it simply has to work out. I need to find ways to make it work. I have invested too much love in this project for it to go down the drain.

To come around the clinging warp threads I tried different sizing methods. My friend Cecilia made herself my guinea pig and tried brushing the warp with gelatine, which worked to some extent for her test warp. I brushed mine with flax seed infusion and later hair spray to make the warp threads stiffer and more protected against the frequent abrasion of a warp-faced weave.

I think the sizing helped to some extent, but the warp was still very sticky. After a while I decided to develop a more mechanical solution – instead of opening up the shed as one movement I declung the warp section by section for each new shed. This way it took me about five minutes to weave two rows and it wasn’t that mindful process that continuous weaving is. But it worked. And once I had accepted the fact that this was the way I was going to weave this project I did find some sort of mindfulness in that too.

In the lime-tree alley

When I worked with the weaving bag and Dan’s camera strap I set up my loom under a spare lime-tree in the lime-tree alley that leads to our house. It is perfectly backstrap loom sized and has a nice view of the park. It has been lovely to weave in this spot and see the spring unfold into summer. My weaves have grown with the grass and the leaves. These past few weeks with this weave the grass has been waist-high and the branches heavy with fully developed leaves.

The last part of June was really hot – around 30 degrees Celsius. My crankiness limit is at 25 degrees so it was way too hot for me. But standing under that lime-tree weaving was such a perfect activity in the heat. I got the shade I needed and some wind. And when the sun broke through the leves I could just move a few steps around the tree to get into the shadow again.

Come to think of it, the colours of the weave reflects the colours of the lime-tree. The browns are the trunk, the dark green the leaves and the light green the sweet flowers. This weave was meant to be woven together with a lime-tree!

A field belt

Sometimes I obsess about things. One of my latest obsessions is the sewing patterns from Merchant & Mills. They have lovely clothes patterns and some bags. I was particularly attached to the Field belt bag. I had finally decided to buy the kit and put it in my shopping cart when it dawned on me: I wasn’t going to buy the kit – I was going to weave the fabric myself! I’m not sure when in the process I got this idea, but probably around March when I started spinning Frida’s outercoat.

Sewing and assembling

The pattern I used for the Frida Chanel bag is simple. A lined pouch with a folded top. A belt goes through a channel at the back for wearing the belt around your hips.

I had to make some adjustments for my handwoven fabric, but mostly the sewing was quite straightforward. I didn’t use a seam allowance for the side seams. Instead I sewed the selvedges together with a figure-8 stitch. That way I lost no width on the sides. And the figure-8 seam is really pretty.

A simple figure-8 stitch closes the selvedges at the side seam. No extra fabric was wasted here. Photo by Dan Waltin
A simple figure-8 stitch closes the selvedges at the side seam. No extra fabric was wasted here. Photo by Dan Waltin

The rivets were tricky, though. I didn’t want to punch the rivets through the woven fabric. I was afraid the warp threads would sneak their way out of the weave. Again I consulted my friend Cecilia. She suggested reinforcing the weave with wood glue (fancy that!) and put extra leather on each side of the weave for the rivets to hold on to. I did this, and managed to push the rivets between the warp threads so that none of them broke.

The leather belt goes through a channel at the back of the bag. Underneath the leather strap for the closing you can see one of the extra pieces of leather I used to reinforce the holes for the rivets and protect the woven fabric. Photo by Dan Waltin.
The leather belt goes through a channel at the back of the bag. Underneath the leather strap for the closing you can see one of the extra pieces of leather I used to reinforce the holes for the rivets and protect the woven fabric. Photo by Dan Waltin.

Lining

Another obsession this spring has been vintage fabrics. I use them to line things. When you open a bag or a spindle case I think it is only fair that you find a scrumtious and decadent lining, don’t you? I chose a flowery upholstery fabric that gave me that tingling feeling I was looking for. I added a nifty bellows pocket in the lining for easy access to important things.

Every bag needs a scrumptious lining! In this case a vintage upholstery fabric I got from Swedish e-Bay. Photo by Dan Waltin.
Every bag needs a scrumptious lining! In this case a vintage upholstery fabric I got from Swedish e-Bay. Photo by Dan Waltin.

Frida Chanel bag

So, this week I finally finished the bag. I love the freedom of wearing it around my waist and the safe feeling of wool at my hip. When I wear it I have the company of the sweet wool providers Frida and Chanel. The shine of the fabric is luscious.

A working period of five months is over. The bag may be small but it contains two sheep, three seasons, a pandemic, work, pleasure and trees. That is a lot to carry for a small bag. But it was made with love and somehow fits it all.


I just started a six week vacation. I will post, but shorter pieces. There will be a lot of crafting during my vacation that I can write about in the fall!

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Camera strap

During a few weeks this spring I have been secretly weaving a camera strap for my husband Dan. He takes all the photos for my magazine articles and a lot of photos for my blog. His birthday was this week and I was finally able to give it to him.

Dan is test shooting with nis new camera strap.
Dan is test shooting with his new camera strap.

For his birthday last year I wanted to get him a camera strap from Textiles Cusco, a cooperative of Peruvian weavers that I support. In the end it didn’t work out since I didn’t have the credit card type they accepted. Little did I know then that I would fall into the backstrap weaving rabbit hole before his birthday this year!

The yarns

In the online course in backstrap weaving I took this spring I totally failed the pebble weave pick-up pattern module. My yarn was way too loosely spun and in colours with too little contrast. I wanted to make up for my questionable decisions and weave a strap in a pick-up pattern.

For this project I chose the white and blue yarns I used for the weaving bag I had just finished. I did run the yarns through the spinning wheel again, though, to give them some more twist. In the balanced weave they had been a bit fuzzy and a higher twist would make them stronger, especially considering they would be in a tight warp-faced project.

The participating hand spun yarns in the camera strap.

For the kind of pick-up technique I chose it is a good idea to use three colours – two with high contrast for the pick-up pattern and a third for the edges. The black yarn I chose for the edges comes from a sample bag of a Gotland/finull cross that I got from a shepherdess recently. I tried to prepare and spin it in the same way I had spun the white and blue yarns – hand combed and worsted spun on a spinning wheel and 2-plied with some extra twist. The black yarn turned out a little less elastic though.

The weaving

The strap was only 65 cm long and 4 cm wide, so even if pick-up patterns take time it would still be doable before his birthday. I bought an ebook for a different kind of two-faced pick-up pattern by Laverne Waddington. I wanted the pattern I loved the most and not necessarily the one that was the easiest. In the end I chose one with heart shapes over 16 warp pairs and 32 rows. A lot to keep track of, but I pinned the pattern onto the warp for easy access.

A lovely heart-shaped pattern over the stretch of the camera strap.

Pick-up pattern

In this kind of pick-up pattern you work with warp pairs with one thread of each colour in every pair. When warping for the pick-up part you warp with one colour in the top and one in the bottom. This is to keep track of the colours and pairs. In the pattern you pick up one thread for each pair every row. This results in a pattern that is inverted on the “wrong” side.

Picking up the warp threads for the pick-up pattern. I need to pick up each individual warp thread in a new combination every row for the 32 row repeat. The heddle yarn in the top of the picture is my handspun and cable plied in Gute lamb’s wool.

I use a stick to pick up my warp threads with. In the picture above the blue warp threads are on top. Picking up the blue threads is no problem. When I need to pick up a white thread I need to pick up this from the bottom (white) layer and make sure I don’t pick up the blue thread in that pair.

The camera strap takes shape in the Stockholm spring sun. In the picture I have picked up all the warp threads for the row and inserted the batten in the new shed, ready to beat.

When I have finished picking up the row I place my batten in the picked-up shed and beat. Next row I pick up a new set of warp threads for a new shed. When I have picked up all the rows in the 32 row pattern I start from the beginning again.

I really loved this technique and I will do it again. It doesn’t take much yarn, but the result is so lovely and the fact that I made it makes me all giddy.

Narrow strap

The strap with the pick-up pattern is the part that goes over the shoulder of the photographer. I also needed to make a narrower strap to fasten to the camera. This was just a plain 1 cm wide warp-faced band. I used a band lock instead of the front beam and I didn’t bother with a stick for the heddles. Instead I used a piece of string to hold the heddles. To change the shed I simply lifted the heddles in the string loop.

I used a band lock for the narrow band instead of the wider front loom bar. Also I used a piece of string to hold the heddles instead of a stick. The band lock is made in juniper wood and smells oh so lovely.

The camera strap

Assembling the camera strap was a bit more of a challenge than I had expected. The original strap joined the wide and the narrow straps with a fake leather patch on both sides. I did the same, only with real leather. I used two waxed linen threads simultaneously for a double running stitch. The first strap join was really difficult and fiddly to make. I broke two needles and had sore fingers for a few days afterwards. The leather join looked really crooked and sad. For the other leather join I pre-punched the needle holes which made sewing a lot easier.

All assembled and ready to shoot!
All assembled and ready to shoot!

I decided to pick up the first join and make it better, which was a good decision. I would have been annoyed with the crooked join if I hadn’t. The second time I could use the old needle holes and the sewing went much smoother.

The camera strap sits nicely over the shoulder.
The camera strap sits nicely over the shoulder.

The black edges of the strap are a bit wavy because the black yarn has less elasticity than the blue yarn. But it isn’t a problem, it just adds to the hand made feeling.

Test shooting some grass in the evening light.
Test shooting some grass in the evening light.

I really loved making these straps. The pattern took a long time but the result is so lovely. And making the narrower strap felt surprisingly good. I enjoyed having the knowledge to weave the band so narrow. The yarns worked very well in the project, especially since I had added extra twist.

Dan loves his new camera strap. Last night he went out for a photo shoot – grass in backlight – and it went so much better than with the original camera strap. Fancy that!

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

A fleece meditation

“I have a fleece from my young ewe Elin that I think you should have”, said Claudia, a shepherdess of Swedish Gestrike sheep. This happens every now and then. One of the advantages of being known in the spinning world is that shepherdesses trust me with their fleeces and they are curious of what I make of them. In this post I dive deep into the fibers in a fleece meditation.

The ladies and the elements

Claudia and I have met a few times since then but life has happened and the fleece stayed with Claudia. A global crisis came in the way. Eventually and with a little (or a lot) help from a friend Claudia managed to get the fleece to me. Claudia’s friend Kristina – also a spinner – was going to Stockholm where she studies and Claudia asked me if I could meet Kristina outside her school. Of course, I said. The bike ride would do me good.

So, we settled on a Tuesday in the end of April. I imagined a lovely bike ride through town, crisp birch leaves and cherry blossom edging the bike path and the fresh spring air welcoming my face in its midst. As it turned out, it was one of the most dramatic days of spring, weather wise – grinning rain, hail and icy winds had Stockholm in a firm grip, playing with its tousled inhabitants. The birches and the cherry trees were still there of course, but not in the atmosphere I had imagined. Still, a fleece was waiting for me and there wasn’t much I could do.

Embracing the hail as good as I could muster I hopped on the bike and pedaled my way in to town in sheer determination. I met Kristina, chatted for a while and went home with the fleece in the bike bag. An hour and 17 kilometers after I had left home I was back again. A bit cold, a bit wet, but richer in fleece and fresh air.

A raw fleece in dirty black and white.
The raw fleece from the Gestrike ewe Elin forms the beginning of a fleece meditation.

A bath

The fleece of the Gestrike sheep Elin is now in our house, filling the house with the soft smell of sheep and the promise of hours of gentle touch, creative work and new experiences.

Before I put Elin in the washtub I balanced her on the scales. 1,7 kilos, quite a large fleece for a Swedish heritage breed. I assumed some of the weight would wash out with the soaking water.

Soak

I filled the washtub with warm water in the bathroom – it is still a bit too cold to soak wool outdoors. As I gently pressed the sticky fleece down into the tub the water streamed up from underneath, found its path between the fibers, pressing the abruptly awoken dirt out of the staples and into the gushing water, creating reddish brown whirls which slowly shaped echoes of the locks.

A girl should have her privacy in the bath, so I left her in the tub for around fifteen minutes. When I came back I could hardly see her anymore. Gone was the clear water and the brown whirls. All that was left was a luke warm sea the colour of yesterday’s coffee with a few floating islands of wet wool lurking by the surface like frogs waiting for juicy flies. Between the islands were accumulations of soapy foam created by the union of the salty suint and the warm water.

Rinse

I gently squeezed the water out of the heavy water-saturated wool mass and filled the tub with fresh water. I repeated the process three more times, brown whirls fading slightly for each new soak. By the third rinse the water was clear and the wet locks distinctly visible in the tub, black and white staples shining like herrings in a school.

Spin-dry

After another squeeze I moved the shapeless wad into the washing machine to spin-dry it. Fifteen minutes later I opened the drum and was presented a bursting cloud of wool all the way up to the edge. Gone was the pile of sticky staples. Instead I saw before me an airy muchness of creative prospectives, inviting me to explore them.

A clean fleece in black and white.
Elin’s fleece is now clean an a lot lighter.

When I weighed the fleece again I was shocked of the number the pointer stayed at – 1,2 kilos. Gone were 500 grams of lanolin, sweat salts and short bits of fiber. My fleece was freed of half a kilo of gunk that I happily donated to the garden beds as fertilizer. My heart sings of the prospect of a flax harvest invigourated by dirty wool soak.

The fibers

Most of the staples had proud, gently waved outercoat, collected like the straws in a paint brush and air-filled hoopskirt undercoat, ready to embrace anyone who needed their warmth.

Black and white wool staples.
A few members of the Elin dance company.

Outercoat

The fibers are bundled up together to bring protection to the sheep. Some of the strands are long, proud and glistening, aspiring for length to protect the sheep from rain. I close my eyes and imagine the clusters of outercoat almost taking aim at the falling drops, competing about being the team to lead the wet intruder away from the body they have been set to protect.

Separated wool staples.
Dissected staples of Elin’s fleece – a whole staple, outercoat and undercoat.

Undercoat

Other fibers are fine, winding their way through the fiber collective, changing directions unpredictably, forming a billowing multitude of soft warmth to keep the wind and cold at bay. Together with air they fulfill their task with gentle determination.

Kemp

A third kind of fiber can be seen occasionally. Black, brittle and sprawly. This is the kemp, the oddball in the family. The kemp works with the other fibers, keeping the staple upright for additional protection against the elements and allowing more air to enter their fibery togetherness.

A microscope picture of wool fibers.
Strong and straight outercoat, fine and winding undercoat and coarse and brittle kemp, all working together to create the best conditions possible for the sheep.

The fibers look and work differently, yet in cooperation to protect the sheep they once grew on.

A fleece meditation: If I were a sheep

If I think of myself as the sheep the fibers are assigned to protect, how would I arrange them to do the same for me? How would I take advantage of their respective characteristics to create a garment that is for me what the fleece was to the sheep?

A staple of wool.
A fleece meditation.

Look at this picture for a moment. Long and strong outercoat, soft and warm undercoat. That means something. These fibers can be prepared, spun and arranged to their advantage and to give me the best protection. Soft, winding undercoat carefully carded into a pillowy rolag, kemp occasionally peaking out. Long and strong outercoat combed parallel into a bird’s nest.

A combed top and a rolag.
The beginning of the journey to a new textile. Outercoat and undercoat separated and processed.

When I close my eyes and feel a staple of Elin’s carefully selected wool in my hands I sense the different characteristics of the fibers. I envision a woven textile. In my mind I see the strong outercoat fibers as warp and the soft undercoat as weft.

Two shuttles with yarn. One light and airy, one dark and sleek.
Warp and weft. Separated but still together.

A dream of twill

I see twill. Fine singles, winding their way across the fabric. On one side the outercoat dominates – three over, one under – protecting me from the falling rain. The other side soft from the undercoat, keeping me warm and safe, kemp making sure there is room for air. Perhaps the fabric is slightly fulled to protect me even further. The two sides have different superpowers and different colours.

A woven twill sample.
A baby swatch, full of possibilities, waiting to grow into a mature fabric.

Claudia tells me that one of her ewes has a lot less outercoat than the rest of the flock. This sheep prefers to stay protected under a spruce when it rains while the downpour doesn’t bother her sisters. I want to be able to stand in the rain like the sheep, protected from the elements by an ingenious design that has worked for millennia.

A white wool staple with tips pointing in different directions.
The processing of Elin’s fleece could go in many different directions.

Eventhough the fibers in my textile would be disassembled and put together again in just one of many fashions, they would still work together. Their novel composition for a two-legged creature would still serve the same purpose: To keep me protected.

Meanwhile, Elin is generously growing a new fleece that shields her and that can be harvested again.

Stay safe and happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

Weaving bag

Last week I wrote about my adventures with backstrap weaving and the online course in backstrap weaving I have been taking this spring. In this post I present the final assignment in the course – a woven bag.

Weaving a weaving bag

The assignment for the fifth and last module in the course was to weave a bag made of a warp-faced strap and a balance weave cloth to fold into the body and flap of the bag.

A smiling woman wearing a shoulder bag across her torso. The bag is blue and has fringes.
I’m very happy with my finished weaving bag. Dan was equally happy with the evening light. Photo by Dan Waltin.

The yarn I used was a 2-plied worsted yarn from combed tops of a Norwegian crossbred, NKS. I spun the yarn a few years ago and it has been waiting for a project ever since. Before I warped I dyed three skeins of the six I had.

A weaving bag to fit all the necessary weaving equipment.

Strap

Weaving the strap for the weaving bag went well. The yarn was sleek and didn’t stick, only a bit towards the end of the weave. If I had spun this yarn today and with weaving in mind I would probably have spun it with higher twist.

A backstrap loom outdoors. The project is a blue strap.
The strap is warp-faced.

Body

The instructions for the body of the weaving bag was to weave it balanced. I had done this in a previous project, but that was only 10 cm wide. This one was 23 cm wide, the widest I have woven on a backstrap loom. But I was determined to get it right and proper and after having lashed on I was very happy with the set-up.

A Backstrap Loom outdoors. The project is a wide balance weave in three sections – the edges in blue and the middle in white.
A mid section in white by necessity turned out pretty nicely.

Dyed and undyed

As I was calculating the meterage and the warping I quickly realized that I would need more yarn than I had dyed. Given the fact that dyeing is not my best skill, I didn’t dare to dye the three remaining skeins. Chances were that I would end up with a completely different colour.

One could argue that I should have dyed all six skeins at once, which I obviously hadn’t. The reason for this was that the skeins were a bit different and I picked the tree that looked most alike. And had I dyed all six skeins at once they would have been too bulky for the dyeing pot and the dye would have turned out uneven. So my solution was to add an undyed section in the mid third of the body of the bag.

Having the three sections actually helped me keep track of the warp threads and the spacing between them. The job of lashing on all the 99 warp pairs got a bit easier when I thought of them as 3×33 instead.

Heddles

I used my handspun Värmland outercoat yarn for the heddles for the strap. This was part of my contribution to the advanced category in the 2019 Swedish spinning championships.

A skein of yarn. 2-plied in natural white, grey and brown. The yarn is sleek and silky.
2-plied Värmland outercoat for heddles for the strap.

The yarn worked quite well, but there was a little warp fuzz. It could be because I had reused the yarn several times for heddles. I am new at heddle making as well, so I try to analyze and learn every time.

I didn’t have enough of the Värmland heddle yarn for the width of the body of the bag. Instead I used my contribution to the intermediate category of the same championships – a cable spun yarn from Gute lamb. Very strong, round and sleek.

A light grey silky yarn.
Cable-plied Gute lamb’s wool for heddles for the body of the bag.

The cable-plied yarn worked wonderfully as heddle yarn. It was originally spun as a sock yarn – combed, worsted spun, cable plied and with high twist. These properties worked very well for a heddle yarn.

A warp on a backstrap loom.
A long row of Gute heddles for my balanced weave.

I actually like making the heddles! Holding the heddle yarn, making lots heddles of equal size, watching the individual loops add to the long row of heddles, it really sings to me. It is a feeling of empowerment – I can make sticks and loops turn into a working loom together with myself and a tree!

Fringe

I am not a fringe fan on clothing and accessories. It is a bit too late -70’s/early -80’s for me. Remember the T-shirts with beaded sleeve fringe? I was about ten back then and I’m not particularly keen on going back. But weaving all the way to the end of the warp is an advanced and time-consuming technique that I may learn in time.

A woman wearing a woven shoulder bag.
The weaving bag fringe! Photo by Dan Waltin

Meanwhile, I have to choose between hemming and fringing. This project said fringe and so I fringed. I chose to twist my fringe to protect the yarn from wear.

Assembling

The assembling of the weaving bag is quite easy. The strap has a double function as sides of the bag. The body is folded to make out the front, bottom, back and flap.

Seams

I sewed the strap onto the body with a figure-8 seam that worked very well. The technique doesn’t require any seam allowance and is perfect for stitching selvedges together. The seam is sturdy but still discrete.

Close-up of a woven bag. The fabric is seamed together with a subtle seam.
A figure-8 seam to assemble the bag. The technique is simple – sew up through the left piece, over the edge and up through the right piece in a tight figure-8 pattern.

A decorative seam

I am very fascinated by the Andean spinning and weaving culture. To honor the textiles Andean weavers typically spend at least as much time decorating the woven textiles as they do weaving them. I wanted to do this too and decided to add a decorative seam on the bag opening.

This was the part where I had lashed on, the first few rows I wove on the body part or the third selvedge. When I looked at this selvedge it looked wavy and sloppy. I usually tell my students that your mistakes are a map of what you have learned. In this case, my map told me that I hadn’t beaten the first few rows closely enough to the loom bar.

Close-up of the opening of a bag. The edge is decorated with a seam in blue and white yarn.
My first try on a single-row Kumpay stitch to decorate and protect the bag opening.

In my vanity I thought that a decorative seam would cover the sloppiness of the edge, but of course it didn’t. But it is still a pretty seam that also protects the edge of the bag. I chose what I believe is a single-row Kumpay stitch with two colours.

Decadent rose lining

When I planned the project I suspected that the weaving bag would be somewhat sloppy without lining. Lately I have bought lots of small pieces of vintage fabrics from the Swedish e-bay for this very purpose. I seem to have fallen for bold 70’s motifs and, to my own surprise, roses. I do not like rose patterns. It is too Laura Ashley for my taste (back in the -80’s again). But I firmly believe that the hidden innards of a bag should be allowed to be a bit decadent, don’t you?

Sewing the lining with decadent roses.

I chose a study rosy rose fabric in cotton and linen from my e-bayed stash that worked well with the blue in the bag. I added two pockets in the lining – one on the side to fit emergency sticks and one in the center for pencils. There is plenty of room for other necessities like band locks, yarn, a backstrap and a bottle of water.

The inside of a bag. The bag is lined with a rosy woven fabric and contains weaving sticks and other weaving supplies.
The hidden innards of the bag is lined with decadent pink roses.

Before I stitched the lining onto the bag I added a piece of wool needle punch felt at the bottom of the lining to make the bottom of the bag a bit more stable and defined.

Happy beginner

When I started the bag project I felt confident – I knew what to do when and why. I know what parts I need to build the loom and I know how to operate the loom with my body movements. I know how to fix things when they go wrong. This has given me a lot of weaving confidence, in backstrap weaving as well as my rigid heddle loom.

I love being able to build my loom for every new project. I love being part of the loom. It helps me understand what I can do with it and how.

I am definitely an early beginner, but an independent one. After my first few projects I have the knowledge, skills and tools to realize a baby idea and create a textile at my level. I own my weaving.


Centro de textiles tradicionales del Cusco, Peru

Centro de textiles tradicionales del Cusco is a non-profit organization focusing on the empowerment of weavers through revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. I support these talented textile artists. Please consider supporting them too. In these uncertain times they need financial support more than ever as they depend largely on tourism.

Happy weaving!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.

If you like what I do, please tell all your fiber friends and share these links!

Backstrap weaving

For a long time I have been fascinated by the rich textural culture of the Andes. The simplicity of the tools together with the complex textiles you can make and the ubiquitous presence and history of textile making all warm my heart. In this post I share my learning process, my thoughts and my woven projects in the online course in backstrap weaving that I’m taking.

Backstrap weaving

Backstrap weaving is an ancient technique where the warp is attached in one end to a weaver and in the other to a solid object like a tree or a post. The weaver builds the loom for every new project.

Close-up of a backstrap loom. Wooden sticks and rods attached between blue warp threads. A hand is pulling a piece of yarn through the shed.
The building of a Backstrap Loom: On the far ends (which you can’t see) are the near and far loom bars. The near loom bar is attached to the backstrap around the weaver’s hips and the far loom bar around a tree or post. The two bars attached together with silicone bands are the rolling bars. These keep the cross in place and helps the weaver find both sheds. The heddle rod holds the heddles that lift the lower threads in the shed. The beater/sword/machete is used to beat the weft. The thin stick at the top with red silicone bands is a dovetail stick. I’m weaving a circular warp and the dovetail stick keeps the beginning and the end of the warp together.

The technique can be used with tablets, a rigid heddle or with string heddles and is still practiced in many parts of the world. In the Andes most backstrap weaving is done warp-faced.

A person weaving on a backstrap loom. In the picture you see the backstrap around the weaver's hips and the loom bar the backstrap is attached to in front of the weaver. Wooden sticks are stored in the side pockets of the weaver's trousers.
The weaver ties her- or himself into the loom between the near loom bar and the backstrap.

Simple and complex

A year ago I started spinning as close as I could to Andean spinning on Peruvian Pushkas. The fleece I started with was around 2 kilos and there is lots left of it. I still spin every night on my Pushkas before I go to sleep. I have many nights left of spinning before I’m out of fleece.

The Andean way of spinning and weaving fascinates me, as is the rich textile history and culture in the Andes. At first I didn’t plan to learn backstrap weaving, but when I saw that there were online courses available I realized that I really needed to learn this beautiful technique. The courses I have found are made and taught by Kimberly Hamill and Laverne Waddington. I chose Kimberly Hamill’s course and I will also try one of Laverne Waddington’s for some extra techniques. I bought a loom from Kimberly Hamill. She also has instructions on how to make your own backstrap loom.

Backstrap weaving with handspun

One important part of learning backstrap weaving was to use my handspun yarns and find out how to spin suitable yarns for weaving in general and backstrap weaving in particular. By trying different yarns I would be able to learn what works and what doesn’t work for a weaving technique where there is a lot of tension and abrasion on the warp threads.

A natural brown woven strap
My first finished project woven with my backstrap loom. I used a handspun 3-ply from a Härjedal/Åsen crossbred. The yarn was quite sticky and I didn’t have the flow I expect I would have had with less sticky yarn.

Earlier this year I had a band weaving period and there I realized how different levels of fuzz influence the weaving process. In weaving with my handspun yarns I could find what level of fuzziness I could tolerate. So learning backstrap weaving will essentially also teach me how to spin for weaving.

Happy heddles

When I got the loom in the mail I found all the things I needed – an array of sticks of different sizes, warping pegs, c-clamps and balls of string for different purposes. One of the balls of strings was truly hideous. And I’m not talking about the bright pink colour, flown in directly from the -80’s. No, I’m talking about the material: Nylon. The reason for the nylon material was that it was smooth and wouldn’t catch the warp yarn which would be good for a beginner like me. I accepted that and used the nylon for my heddles.

A person weaving on a Backstrap Loom. The warp yarn is natural brown. The heddle yarn is bright pink.
My first backstrap weaving project with the hideous nylon heddles.

Equal heddle and warp

Marie Ekstedt Bjersing is a weaving teacher at Sätergläntan center for craft education. She saw pictures of my first weaving project politely asked me if I had chosen the heddle yarn myself. I said no and asked if she had any thoughts about the heddle yarn. She encouraged me to use my own handspun, which I would never have thought of myself. Her advice was to use a 3-plied yarn with long fibers and high twist. The best yarn for the heddles would be slightly thinner than the warp yarn.

Marie also advised me to use the same material for the heddles as for the warp – wool heddles for wool yarn etc. She has a theory about using equal fibers, or at least fibers with equal properties, in heddles and warp. The strongest material will win and with abrasion the weakest will break. She works with floor looms and often the nylon string have made ugly marks in the beams of the looms – the nylon string is stronger than the wood in the beams. But the heddles are far easier to change than the loom beams. A heddle yarn that is thicker than the warp yarn may cause breakage in the warp threads. Warp and heddle yarns with different properties may cause abrasion in one of the yarns. A balance between the warp yarn and the heddle yarn will be an important part of the balance in the whole weaving process.

Thank you Marie for your wise thoughts!

Handspun heddles

Just as I needed to find out for myself what level of fuzziness I could tolerate in the warp, I needed to find out how I could use my handspun yarn for the heddles. So far it is working out and I take mental notes of how the heddles interact with the warp. I have not yet woven with warp or heddle yarn that I have spun specifically for weaving but I will eventually. This is only the beginning.

I’m surprised that I enjoyed the making the heddles as much as I did! Perhaps just because I used my handspun yarn for the heddles. When I build the heddles that control the warp threads I feel like I can do anything.

A backstrap loom hanging in a staircase.
My Backstrap Loom safely and neatly stored under the staircase. Warp, weft and heddles are my handspun yarn. The backstrap is woven on my backstrap loom.

Backstrap weaving a backstrap

While the first project in the course was a plain strap, the second project was all about backstrap weaving a backstrap. I was thrilled with the idea.

Close-up of a tight warp-faced weaving in natural and turquoise flax yarn.
Backstrap weaving with flax yarn. Second backstrap project.

For this project I chose a commercial flax yarn, though. I figured that I would weave outdoors in the summer and I imagined a linen backstrap would be lovely to weave with.

Close-up of a tight warp-faced weaving in natural and turquoise flax yarn. Heddles in flax yarn. The sun shines through the heddles and leaves shadows on the warp.
Weaving a backstrap with my backstrap loom. Warp, weft and heddles in flax yarn from Växbo lin.

You know when you do something quite seldom, and when you do it again you remember why you don’t do it more often? That is the case for me and weaving with flax yarn. I love flax, but as soon as I weave with it I remember why I don’t do it very much. Flax yarn is not forgiving like wool and it takes lots of patience and focus to work with. I had this realization when I had finished warping. But this time it actually worked like a charm! The weave was a bit crooked in the beginning, but after a while I got a really nice and even looking fabric.

A finished backstrap on the ground. The end is braided.

I now love weaving with my backstrap woven linen backstrap. It fits perfectly and I burst with pride everytime I wrap myself in it.

Problems with pebbles

The third project was quite a challenge. We were weaving a band with pebble weave. The technique involves pick-up patterns. The first assignment was to design the pattern, which proved to be surprisingly difficult. After a while I came up with a wavy sort of pattern that I liked.

For this project I definitely chose the wrong handspun yarn. It was too loosely spun and too fuzzy. Several warp threads thinned out and broke. Also, the colours were too close to each other in hue. I actually didn’t finish the project, but it was still a valuable lesson in the most important qualities in a yarn.

Close-up of a person manipulating warp threads on a backstrap loom.
The third project was pebble weaving. Very thin, too loosely spun yarn in colours in hues too close to each other. The fiber comes from a merino/silk commercially combed top I had received as a gift. I spun the yarn on a supported spindle. If you squint you can see a vague wave pattern. Heddle yarn in Värmland outercoat wool.

I will get back to this technique with more suitable yarn and colours.

Balanced weave

While most backstrap weaving, at least in the Andes is done warp-faced, the fourth project was all about balanced weave. It was quite a challenge to find the right tension to weave loose enough.

A backstrap loom with a balanced weave in greens.
Balanced weave on a backstrap loom.

The yarn I chose was not one of my proudest moments. A while ago I received beautiful commercially combed and blended tops as a gift. I am not keen on spinning these. I don’t really know how to and I find neither flow nor mindfulness in the process. But I figured the yarn would be good for something and why not weaving. So I spun them quick and dirty and had myself some weaving yarn.

A green scarf hanging on a clothes line.
The fourth project was dedicated to balanced weave.

The assignment was to weave a scarf, but I did some miscalculation on the amount of warp threads and ended up with a 10 cm wide scarf instead of 20 cm. So I’m not really sure how to use this scarf. But it was still lovely weaving!

A bag to dye for

The final project of the course was to weave a bag with most of the components from previous projects. I had a lovely yarn that would be perfect for the bag, but I didn’t think the natural white would be very suitable for a bag. So I decided to dye it. I am not a very good dyer, but for some reason I did things right this time and ended up with exactly the colour I wanted. It was even even!

A ball of blue yarn on a tree trunk.
My proudest dyeing moment. The yarn is my handspun from a Norwegian whole-year NKS crossbred spun worsted and 2-plied.

I started weaving a warp faced strap for the bag. This was the first time I really felt I had control of all the aspects of the weaving. I knew what to do, but first and foremost I understood why I did it and how I could fix things that went wrong.

Last night I warped and lashed on for the bag part of the bag, which will be in balanced weave. You may see the finished bag in a future blog post.

A weaving sample over a book. A sheep's head on the cover of the book.
I’m doing sett tests for balanced weave on a book.

A bag with a purpose

Most pictures and videos I have seen of backstrap weaving have been with sitting weavers. I like to stand and so I stand when I backstrap weave. While starting out sitting I have realized that I have a better control of the tension when I stand. I also feel that I can get a stronger tension if I need to. The problem with standing, though, arises when I drop things – usually the sword. During this process I have become a master of picking things up with my toes!

At first I didn’t really know what to use the bag for, but when I realized that I would keep my weaving supplies in it when weaving instead of dropping them I could start weaving the bag with a purpose.

Weaving with the trees

The course started in March when it was way too cold to weave outdoors. But at the fifth module it had started to get warm enough to weave outdoors. I almost cried when I attached my loom to a young linden tree in the pale afternoon sun.

A person weaving outdoors on a backstrap loom. The loom is attached at the far end to a tree. An old house in the background.
Outdoor weaving at last.

Standing there, weaving on a loom that I had built myself (although I haven’t made the loom parts) and actually understood, and with warp, weft and heddles that I had spun myself was truly a magic feeling. Last year’s leaves were rustling under my feet and the spring birds were singing. I could feel the wind in my face. The trunk before me felt strong and safe as I worked with it to control the warp between us. We were both essential parts of the loom. I was finally weaving with the trees.

A Backstrap Loom attached to a tree.
I’m finally weaving with the trees.

Happy weaving!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
    If you like what I do, please tell all your fiber friends and share these links!

Spinning at work

I always bring some textile craft to work for coffee breaks and meetings. Usually knitting or nalbinding, but lately I have been spinning at work with a suspended spindle. The people around me have very different approaches to my spinning and I enjoy responding to people’s reactions.

Spinning as a safe space

Spinning is a safe space for me. I can spin in my own bubble and at the same time listen to the conversation around me. I need these safe spaces. If we have a coffee break at work and I’m not up to a conversation I can just spin away and take part when I want to and still get new energy. Spinning helps me take in the conversation and place it in a context without getting exhausted. The process of spinning helps me see the bigger picture and find solutions, much like a conversation or (thought process) can be more efficient during a walk, at least in my experience. The process of walking or spinning helps the mind find new paths and a direction of the topic.

Spinning for perception

During department meetings at work I bring my spindle. It helps me focus and take in the information. The combined auditive, visual and sensitive signals give me a better chance of remembering and understanding what is being said. In case the meeting is boring the spindle helps me stay alert. Recently I attended a mandatory training together with a colleague. She said that she was jealous of me who had something to do while listening to the speaker.

A suspended spindle in motion.
I spin at coffee breaks or, like in the picture, on department meetings. Many of my colleagues are softly gazing at the spindle during the meeting.

If I am worried that someone thinks I’m not interested in the meeting I just make sure they notice that I am alert and understand the topic. My boss has commented that I look so calm and at peace when I spin, and she is right.

The watchers

Some colleagues just watch the spindle – the spindle in motion, the rhythm or my hands drafting the fiber. Most of them don’t say anything, but I know they are watching. I also know that my spinning starts something in their minds. Perhaps they enjoy the calming effect of the spindle or think of a foremother who was skilled in a textile technique. Even though nothing is being said I know there is a connection between us, like a diffuse cloud of thoughts merged together into something more palpable, just like the undefined bundle of fiber merges into the twist of the yarn.

A conversation starter

Not often, but sometimes someone asks about my spinning or comments. Perhaps they ask about the breed or comment on the calming effect the spinning has. It usually turns into a lovely conversation about sustainability, the respect for handmade things or the cost for individuals when we buy a cheap T-shirt. These conversations are important for the understanding of something that we too often take for granted. We depend on people making our clothes in shitty conditions, no pay and lots of chemicals. If I can make people around me aware of the time and effort invested in our textiles I have done something good. Perhaps someone decides not to buy that cheap T-shirt next time or buy a more expensive and durable T-shirt that lasts longer and that has been produced in more fair conditions.

A hand holding a suspended spindle in motion in a hair salon.
A while ago I brought my spindle to the hair dresser’s. It started a conversation of the fibers as the hair dresser thought the wool looked a lot like human hair.

A good thing

Whether the people around me just watch, think, comment or ask question I am certain that the reactions are positive. Spinning brings ancient techniques to people’s mind and make them think of times when today’s comfort wasn’t taken for granted. Textile techniques are things of beauty and I believe people respect the skills, art and love that are the foundation of a handmade textile. I am a firm believer that spinning make the world a better and kinder place.

Yarn break

Recently some colleagues from another department started “Yarn breaks” every Monday and Thursday after lunch. We meet at the coffee station and do yarn stuff. Most of the participants knit or crochet at various levels and I spin. We set a timer at 30 minutes and yarn away. These are lovely little pauses. New yarn breakers joins in every week. The more experienced help the newbies and we are all engaged in each other’s projects. The premiere writ warmers were finished, the blueberry hat was given to a new baby and the ripped sleeve got re-knit.

A basket of yarn and open knitting books. A sign invites people to join the yarn breaks.
“Yarn break at noon Mondays and Thursdays. Everybody welcome. Annika treats you to yarn if you want to try.”

Spinning at work: A project

The wool I have been spinning these last few weeks at work is the outercoat of a multicolour Härjedal/Åsen crossbred that I have been writing about in previous posts. To make out the most of the colours I have divided the fleece into colour piles and spun each colour separately. I ended up with five colours of the outercoat.

I have thoroughly enjoyed spinning this wool. Since I have been processing the wool colour by colour it has never seemed like a mountain of wool to spin. Instead I have had a maximum of six combed tops at a time to spin. This way it has felt doable to spin everything on a suspended spindle.

A basket of wool staples, hand-carded rolags and hand-combed tops.
I prep the wool at home and bring to my spinning breaks at work.

I’m spinning this wool into a true worsted yarn intended as a warp yarn. Since it is outercoat only and combed it is freakishly strong even as singles. My plan for the yarn is to weave a bag of some sort. I intend to spin some shiny Klövsjö outercoat as well and dye it into a warm blue colour that hopefully will team up nicely with the browns.

Four skeins of yarn in shades of brown and a spindle with brown yarn.
Five shades of the Härjedal/Åsen lamb Chanel’s outer coat. Spinning at work pays off!

Do you spin at work?

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
    If you like what I do, please tell all your fiber friends and share these links!

Curtain

I don’t like curtains in our home just for the sake of curtains. They need a purpose – to keep light out or for privacy. My husband suggested we get a curtain for the front door, to keep the draft out. That is definitely a purpose and I agreed. I suggested I would weave it.

This is part four of a stashbuster series. The first post was about Rya knots, the second about weaving bands and in the third I made a blanket out of pin loom squares.

A loosely woven fabric in natural white with dark grey stripes.
A loosely woven fabric in natural white and dark grey wool singles and commercial flax.

Weaving

When I came up with the idea to weave Dan’s draft curtain I saw before me a loosely woven fabric that would be a perfect curtain. “Is a loose weave really the perfect draft stopper?” you say. Hold your horses, I’ll get back to that in a bit, all things in due time.

Bulky singles and sleek flax

I love spinning bulky, low twist singles on my Navajo spindle. I use them as weft in weaving projects. If you are in Sweden you can take a two-day course in Navajo spindle spinning in March!

Through the years I have spun quite a lot of bulky singles on my Navajo spindle and I haven’t used all the skeins that I have spun. When I took inventory in my bursting stash I found quite a lot of skeins of bulky singles in natural white and dark grey.

Close-up of natural white skeins of bulky singles.
Bulky singles from my stash for the weft.

I decided to use them in the curtain, there were more than enough skeins for a curtain. I also had a whole cone of commercial flax yarn that would be perfect as warp – strong, sleek and with that shine only flax can give you.

Double width – double the fun?

My loom is only 60 cm wide so I warped for a double width weave. I know from previous experience that flax yarn is a challenge to weave with and that proved to be accurate in this project as well.

Close-up of a weave in a loom. Natural white and dark grey stripes of wool yarn with flax warp.
Double layered curtain weave.

The double weave in combination with the loose fabric gave me an extra challenge. The top layer stayed reasonably taut while the bottom layer sagged and fussed. Trying to pass the shuttle through the bottom shed was a fight every time and really tough on my eyes, trying to identify the home of each warp thread. I was afraid that the left and right sides of the curtain would look different, but I kept weaving. I was really quite frustrated at times.

A woman cutting a warp.
The cutting down of the curtain warp will reveal all the secret of the fold and the second layer of the double width.

That is the beauty of weaving with handspun, though – so many things can go wrong and I can’t allow myself to give up. So much love, skill and time have been invested in the project and I just have to finish it. If there are problems along the way I need to fix them. End of story.

Cut

When I cut down the warp the weave actually looked good! It was a bit loose in the fold, but better too loose than too tight, right? A wave of joy rushed through me when I realized that I could actually make something with this cloth.

A person unfolding a cut-down warp.
The curtain weave was a bit loose in the fold but looked otherwise surprisingly good.

Sewing

Since the fabric was so loosely woven there was no way I would be able to sew the curtain on a sewing machine. Instead I settled down with waxed flax thread and started hand stitching.

The first thing I did was to secure the raw edges with a simple whip stitch so that the ends wouldn’t fray. When they were all secured I stitched hems on both ends after having soaked the cloth.

Loops

A curtain hanging on a forged rod with loops made of a woven band.
A hand woven band of Shetland wool for curtain loops. You can see a second curtain behind my woven curtain.

At first I had planned to make a channel for the curtain rod to go through, but as I was having my band weaving frenzy I realized I could make loops of the band to hang the curtain in. It probably has a fancy curtain name that I don’t even know in Swedish. Anyway, I cut half of the band in six peaces, whip stitched the edges and backstitched them onto the upper hem. I saved the other half of the band for a simple tieback.

A hand forged curtain rod and rod holder. An edge of a curtain hangs in loops from the rod.
A simple hand forged curtain rod and rod holder.

The curtain was finished. But at the same time it didn’t feel finished. There was something missing. It was loose and transparent and didn’t look curtainy enough. I remembered that we had an undyed linen sheet in the cloth stash. It had got a rip and we saved it to use for mending. Perhaps I could make a background curtain to give the whole assembly a more curtainy look?

A parachute accident

I found the sheet. As I unfolded it I tried to remember where the rip had been and hoped that it wouldn’t be a problem for my project. After all, a sheet is a lot larger than a front door, and the rip might be placed outside of my measurement needs. This thought lasted for a millisecond.

When the sheet was fully unfolded I saw it.

A circular hole, the size of a human head.

Larger than a human head.

In the middle of the sheet.

One of my darling little raspberry pies had had a parachute period a few years ago – he made parachutes for his toy figures and threw them up in the air to let them quietly fall down. My sweet little crafter. While I am proud that he instinctively started to make a parachute himself instead of asking for a store-bought parachute, I clearly remember having taught him how to cut fabric long before the parachute accident. In the middle of the sheet! When I muttered about fabric cutting etiquette my now almost seventeen-year-old said that the chance to blame anyone had expired a long time ago and that he didn’t have any guilt in it anymore. He was probably right. But still. A hole.

A picture of the hole would have been appropriate here. But the wound is too fresh.

Mending

I really wanted to make this curtain with stashed, up-cycled and reused materials only. So I had to find a way to fill the parachute hole instead of buying a new back curtain material. My initial idea was to take the leftover sheet cloth and make a visible mending with embroidery around the join. This seemed like a big project, though, so I decided to procrastinate for a while.

After a while I remembered that I had bought some lace ribbon at a flea market last summer. What if I could make a join with the lace? That would mend the hole and make a pretty detail on the back curtain.

A linen curtain with a lace inlay
A lace mended parachute accident.

I hand-stitched the raw edges of the sheet, hemmed it and added the lace where the parachute section had been. This really made the sheet turn into a real curtain instead of just an emergency solution. The back curtain looked lovely. I sewed snap fasteners on the front and back curtains so that I could detach them for washing.

I also went through the curtain and evened out any uneven shuttlings with a tapestry needle. The fold looks a lot better and hardly shows at all.

The last thing I added was curtain weights in the bottom hems of both curtains. This was the only item I bought. That and the curtain rod. It is hand forged locally, though and quite sustainably produced.

A real curtain

A finished handwoven curtain from spindle spun weft and commercial flax warp. Handwoven bands for rod loops and tieback and a back curtain made of a recycled linen sheet and a vintage lace ribbon.
A finished handwoven curtain from spindle spun weft and commercial flax warp. Handspun, handwoven bands for rod loops and tieback and a back curtain made of a recycled linen sheet and a vintage lace ribbon. All seams are hand sewn.

I wanted the simplicity of the loosely spun wool with the shine of the flax. The loose weave shows off the wool and gives the weave an impression of being both bulky and delicate at the same time. The loosely spun singles with the loose weave gives the curtain an almost raw look.

A curtain hanging in front of an open door.
The finished curtain keeps the draft out (especially if you close the door).

Together with the back curtain and the weights in the bottom hems the whole assembly has a lovely drape. It even looks pretty and finished from the back.

A linen sheet curtain tied back with a woven band.
The back of the curtain with the linen sheet.

I am so happy with the result. It turned out better than I had imagined and it feels very grown up.

A linen curtain with a lace ribbon join.
Billowing lace that is just the right amount of not too lacey.

A slow curtain

This curtain took time to make and assemble. The slowness of the weaving and hand stitching gave me time to think and make decisions that I wouldn’t have made had it been a faster process. I have said it before and I certainly say it now: Slow is a superpower that allows us to think and make grounded decisions.

A tied-back curtain.
A slow curtain made by hand and heart.

Every time I walk through the door my heart sings when I pass the curtain. So much love, care and creativity was put into this project. The fact that I managed to turn it into something that we use every day makes it even more precious.

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
    If you like what I do, please tell all your fiber friends and share these links!

Weaving bands

In my current stashbusting frenzy I have been weaving bands with a simple rigid heddle and a backstrap weaving method. I warped for my first band just before the new year and couldn’t stop – I wove five bands and came to love the technique.

Stashbusting

I have reached a point where my handspun stash stresses me. It clutters my mind and I want to make good use of all the time, love and effort I have put into those precious skeins. Just before the holidays I used up one kilo of my handspun skeins and saved thrums in woven chair pads. When I had finished them I decided to explore band weaving.

I have failed weaving bands before. I have four started tablet weavings that I never finished (not my handspun, though). But why would it be different this time? Well, I think I have more of a clear purpose of destashing and using the bands.

This summer I bought a small rigid heddle for weaving bands and I have been curious about it ever since. It turned out to be a really nice technique that quite quickly transforms a shapeless bundle of yarn into a strong and dense band. One 50 gram skein is enough for a decent length band. I found some smaller skeins too, which I paired up with other smaller skeins and wove striped bands.

A small skein can become a striped a band together with another small skein. This is Klövsjö wool that I paired with a skein of silvery Gotland wool.

Weaving bands with a rigid heddle

Weaving bands with a rigid heddle and the backstrap method is easy. The result is a tight warp-faced band with many uses. Apart from the rigid heddle and the yarn you just need a pole/tree/something else to secure the end in, a shuttle, a clamp of some sort and your own body. You also need a warp or two clamped pegs to warp the yarn. You can of course warp the yarn between two chairs turned upside down.

We have a very practical pole in our house, perfect for weaving bands. I tie the warp braid around the pole and keep a leather belt around the pole for quick fastening in the other end (me).

This is how I did it:

  • I warped the yarn between two pegs that I clamped on two tables. The tables were 2–3 meters apart.
  • I transfered the warped threads to the slots of the rigid heddle and threaded the holes.
  • Once the warp was evenly tensioned I tied one end to a pole in the living room and the other end to a belt around my waist, secured with a small clamp.
  • When weaving, I opened the shed, entered the shuttle and gave the weave a good beating with the shuttle between the warp threads. Before I pulled it through I pulled the old shuttling tight.
  • After having pulled the shuttle through I pulled the new shuttling tight.

The bands

In the course of two weeks I have been weaving five bands from odd handspun skeins. It was so rewarding and in some cases also a very quick weave.

My five new bands made of stashed handspun yarns. The history of the spinning and the projects the yarns were spun for is woven into the bands.

Curtain band

My first band was a simple one-colour band. The warp was smooth and easy to weave and it didn’t fight me. It took me a while to understand how narrow I should keep the band and how I should keep it even in width, but after I had figured that out it went fairly quickly.

An all-Shetland band. Both warp and weft were spun and plied on the fly on a supported spindle. 2,2×247 cm, 39 g.

I will use this band together with a curtain I have in my rigid heddle loom. The curtain is a loose weave in dark grey and natural white and I think it will go very nicely together with the band.

Gotland meets Klövsjö

Just before the holidays I spun some black and silvery Swedish Klövsjö locks for my friend Sara who is writing a book about knitting in Sweden. I didn’t give her the whole skein, though. I saved part of the skein and used it in this band. The silver grey yarn is Gotland wool from the lamb Sounnie. The rest of her is in the Sounnie sweater.

The black part of the warp is Swedish Klövsjö wool and the silvery grey is Gotland wool from the lamb Sounnie. If you watched my Gotland wool webinar have seen me comb this wool there. 2,2×209 cm, 67 g.

This warp was quite tricky to handle. The yarn was fuzzy and the warp threads clung to each other, making each shuttling a challenge. But I saw the potential of the yarn as a band and didn’t give up.

I do love this band. I may play with it in an upgrade of the woolen spindle cases I make for my spinning classes.

Broadbean green

I spun and dyed the broadbean green yarn for a helmet hat for a friend’s newborn baby some years ago. Swedish Jämtland wool and silk, so soft and silky. The grey yarn is Shetland wool. I spun it originally for my Sassenach shawl in the Slow fashion 2 video. I used the leftover warp yarn for a woven scarf for my father. Apparently there was a skein left even after that.

Broadbean green warp in Jämtland wool and silk. The dark grey warp is Shetland wool. 1,7×221 cm, 31 g.

This was a very smooth and easy weaving. Thin warp threads that were very well behaved. The band is slim and even.

Bog body

The bog body yarn is part of my contribution to the Swedish spinning championships 2019. It is the outercoat only of Värmland wool. The yarn is my warp yarn for the championships assignment. The task was to spin your interpretation of the coat of a man found in a peat bog. He turned out to be from the 14th century and wore the only complete man’s outfit found from that time period.

Värmland outercoat in a sleek band. 1,7×137 cm, 32 g.

This too was a very nice weave with a smooth and cooperative warp. Since the yarn was spun from outercoat only the band is very dense and sturdy, but still sleek and shiny. This was a lovely weaving experience.

Rustic Värmland

I did have my doubts when I warped for this band. I had a feeling that this warp would stick. I was right. For every shuttling I needed to separate the warp manually thread by thread. At the same time I knew how much I would love the rustic feeling of this band. I was right about that too!

Värmland wool in dark and light shades made a rustic band. 2,0×143 cm, 36 g.

The dark brown warp is Viola the Värmland ewe, a very pleasant spinning experience. The lighter warp is also Värmland wool, from a medal winning fleece from the Swedish fleece championships of 2017. I spun it on a mediaval style spindle and distaff. The rest of the fleece is in a pair of Venus mittens and my Heartwarming half-mitts.

Just a few decimeters from the end of the warp a thread broke and I cut the warp. It is now in my thrums bag, ready for another go at rya knots!

Weaving more bands

I’m not done weaving bands. This was a really rewarding method and I want to investigate it further. But first of all I’m going to finish those tablet weaving projects that have been taken up space in my ufo stash and in my mind.

Transfering new knowledge

By learning how to weave bands with a rigid heddle and the backstrap method I have learned a new textile technique. That, in itself, is a gift that I cherish. The beauty of this is that things I have learned are also applicable to other techniques and bigger projects.

Clinging warp threads

By seeing and feeling the consequences of a fuzzy yarn I can make wiser choices for upcoming bigger weaving projects. If a weft that is 2 cm wide is making trouble because of clingy warp threads, how much trouble wouldn’t there be for a 40 cm width? And if a warp thread breaks due to the clinginess and abrasion, how many warp threads would break in a larger project? Well, I already know this from a previous project where over 20 warp threads broke. But in a small project as this I get the chance to understand why this happens.

The body as part of the loom

This is my only experience so far with the backstrap method. But I love it already and I understand the importance of the body for the weaving experience and result. This simple method is so much easier to understand for me than a loom big enough to live in. I see the resemblance with the difference between spindle and wheel where my body movements are integral parts of the operation. This makes the technique so much easier to understand.

A pile of rolled-up woven bands.
Five woven bands, beautiful in all their simplicity.

I love my sweet pile of handwoven bands. Such a simple idea yet so brilliant and useful. An weaving plain bands is just a small taste of what someone can achieve with patterns and more knowledge. Still, I like the simple design of these. They show off the simple beauty of the handspun.

Happy stashbusting!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
    If you like what I do, please tell all your fiber friends and share these links!

Chair pads

My chair pads with Ghiordes knots are finished! They are such a joy to sit on and I smile every time I see them, especially considering they are made of handspun thrums and stashed handspun yarn only. The old store-bought pads with their innards crawling out of them are buried, forgotten and forgiven.

Stashbuster chair pads

During the fall I started making rya chair pads. The inspiration came from when I took a craft leadership course. For the classes we sat on stools with woven pads with rya knots that felt very cozy to sit on. I kept the pads in my mind and one day I connected them with all my saved handspun thrums and odd skeins of handspun yarn.

The warp is Shetland wool and the weft is Värmland wool that just hadn’t found their project yet. My plan was to make all the knots from saved thrums, but I ran out of thrums at quite an early stage in the process. The blue/white and the thinly striped in greens are the only ones made completely of thrums.

The numbers

The pattern consists of four parts: One row of rya knots and three shuttlings. One such series takes me around ten minutes. Every chair pad has around 40 such series and according to my calculations one pad has taken around seven hours to finish. Plus of course the time it took to spin the yarn. You can see how I made the knots in this post.

I wanted to replace the ugly pads on our eight chairs, so I warped for eight pads. Perhaps I should have thought of the bulk of eight knotted pads on the cloth beam before doing that. I will tell you more about why further down in this post.

There is a lot of bulk on the cloth beam. Cow pattern in dark brown Shetland wool and white Swedish finewool.

I used just under one kilo of handspun yarn for this project. One kilo of odd skeins, colours that I had found no use for and early creations that don’t match the standards I have today. It feels so good to have used these precious skeins for warming our behinds.

The pads

I decided to just use the yarns I had and make a new pattern for every new pad. The only theme of the pads is the stashbusting. I must say that it has been very satisfying to find such a good use for these yarns that have been filling my handspun stash.

Blue and white

My plan for the first pad was to make it blue. The plan worked perfectly until I ran out of blue thrums mid-pad. So I simply used white for the rest of the pad. Which turned out to be less than half of the pad. But still, a pretty pad. I spun the blue yarn from Swedish Leicester wool and dyed it. The wool has beautiful shine, just like rya knots are supposed to. The thrums comes from a twill pillowcase I finished just before I started warping for the chair pads.

A fuzzy chair pad in blue and white.
My very first chair pad in blue and white

The white yarn is a rya/Swedish finewool mixbreed. The thrums comes from a blanket I wove a few years ago. Yarn from rya wool is the traditional yarn you use for rya rugs. The fibers are strong and make durable and shiny knots for any rug.

Green waves

For my second pad I did have a plan. I wanted to alternate colours and number of rows in the stripes in sort of a continuum – there are three colours in the pad but every other stripe is light, making a four stripe series. The stripes is a series of three: 4 + 2 + 2 rows in the stripes. This means that the total repeat is 12 stripes.

Green waves made with thrums from two pillowcases.

The thrums comes from two pillowcases, the Blanka pillowcase and the non-Blanka pillowcase in Shetland and Dalapäls wool. The yarn is a bit too thin for a pad, but I still like it.

Hjärterum – room for the heart

There is a saying in Swedish going: “Finns det hjärterum så finns det stjärterum”. This translates to “If there is room for the heart there is room for the bum”, meaning that if you have room for a person in your heart you will scooch over and make room for that person to sit, even if there aren’t enough seats.

A weaving project on a loom. The pattern is knots in a V-shape. The weaver's knees are visible below the warp threads, creating a heart together with the V shape.
Heart and filling in Shetland wool, background in Swedish finewool. Warp is Shetland wool and weft is Värmland wool.

This is the only pad I made a chart for. Or, well, I made it and used it until I lost it around the time the picture above was taken. But I think I did all right even on the chart-less part. The heart and the filling is thrums of Shetland wool, from a blanket and a scarf. The white background is a stashed yarn from Pia-Lotta the Swedish finewool lamb. She was my very first fleece.

Moo

Each pad has been planned during the weaving of the previous. So, mid-heart I realized I needed to weave a cow. And so I did. A typical Swedish landrace cow in white with dark brown patches.

A fuzzy textile with a cow pattern in white with dark brown patches.
I just felt a need to weave a cow

The dark brown patches are Shetland wool, the same yarn as the warp. The white is the same Swedish finewool as the heart background.

Textured whites

My idea for this pad was to make an all-white pad with different thicknesses of yarn to make a textured surface. The bulkiest yarn was too bulky to fold in the knots, so I made these knots single.

A fuzzy pad in white yarns of different thicknesses.
Different textures of white

It didn’t really turn out as I had expected, but I still like the pattern and it fills its bum warming purpose.

Grey waves

This is one of my favourite pads. Therefore I have placed it on my favourite chair – my spinning chair.

The pads take a lot of yarn. This is one of the heaviest one.

I decided to make a pad with bulkier yarn and I do like the effect. The white stripes are Icelandic wool and the grey are Shetland wool. All the stripes consists of four rows, but since the white yarn is bulkier and less elastic it takes up more room. I like how it sort of floods over the whole pad. The shading of the lighter grey was a coincidence in the first row of the first stripe and I liked it, so I repeated it for the rest of the stripe and the second light grey stripe.

Zebra

Obviously my animal theme wasn’t finished. I needed a zebra too. In my naiveté I thought I just needed to make an irregular striped pattern, but after having studied some googled zebras I realized there was more to it than that. So I added some branches, which resulted in a more accurate zebra pattern. I read somewhere that the mare makes sure to stand very close to her foal just after giving birth to make sure the foal remembers and recognizes her unique pattern and doesn’t get lost in a sea of stripes.

A fuzzy chair pad with a zebra pattern in dark brown and white.
I needed to weave a zebra too. The dark stripes in Norwegian Blæset say and white in Swedish finewool.

While the pattern looks like it is moving, I have only changed 1–3 knots for each row. After having finished one row I have marked the spots on the next row that I will change. To plan for one stripe to move I have had to make sure there is room for that stripe to move by slowly moving the adjacent rows. I have also stepped back to see the whole picture to plan upcoming movement in the stripes.

This is also one of my favourite pads and the pattern I am the most proud of. Despite the small changes in each row the overall pattern looks alive and, well, zebra-esque.

Sloppy warp edgings

As always, I learn a lot from my mistakes when I weave. This time I learned about keeping a close eye on the edges when warping. This was a long warp and apparently it wasn’t evenly spread over the width of the warp beam. This resulted in a tighter tension in the edges of the warp and bubbly chair pads. You can see this particularly in the turquoise, cow and heart pads.

The inside of my heart. You can see the bubbly edges from the over stretched edge threads of the warp.

Once again my woven project creates a map of what I have learned. I am sure someone has told me to keep a close eye on the edge of the warp. But I need to feel it too and understand with my hands what is happening. I am grateful for that.

Trouble shooting

I wrote in the beginning of this post that I had warped for eight pads, but I only made seven. By the beginning of the seventh pad, the zebra, the cloth beam started to fuss. The handle unclicked itself from its clicker pawl and the warp went very loose. The handle was all loose but I still couldn’t get it off the loom to investigate what had gone wrong. I contacted my supplier and she quickly sent me a maintenance kit with a new handle. When I saw the kit I quickly understood how it was assembled and could remove the handle from the cloth beam. I realized that there was nothing wrong with the handle or any of its parts. Instead, the thickness of the cloth on the beam had gradually loosened the screw that connected the cloth beam to the side pieces. This had caused the handle to turn loose and disconnect itself from the clicker pawl.

The zebra pad. Knots in Norwegian Blæset sau and Swedish finewool. This is also a favorite.

So, the seventh pad took ages to weave. The warp was very loose and I had to stop and tighten the screw every few shuttlings. But for some reason this made me pay extra close attention to the warp and this last pad turned out to be the most even one!

What about the eighth pad?

I had made plans for the eighth pad. I was going to make it into sort of a rag rug – using the last yarn I had in a striped pattern with white and coloured stripes and letting them replace one another as I ran out of a colour.

A fuzzy chair pad in white and grey stripes, hanging over the backrest of a red wooden chair.
Simple stripes to warm your behind.

Due to the unscrewed cloth beam the eighth pad didn’t happen. Yet. I don’t feel finished with this technique. Although very time consuming, it has been a joyful an educational ride and a very satisfying way to relieve my handspun and thrums stash.

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
    If you like what I do, please tell all your fiber friends and share these links!

Reuse

A while ago I finished a weave. That moment when you cut the warp is a scary one, especially when the warp is handspun. I have saved all my handspun thrums simply because I can’t bear to throw them away. In my current weaving project I reuse my saved thrums.

A hand cutting down a warp from a loom.
Cutting down a warp is scary, especially if the yarn is your own handspun.

Thrums

I have always felt bad for the thrums left behind. Up until now I haven’t figured out what to do with them, but I haven’t been able to throw them away. I have just sighed and put them in a cupboard.

A couple of years ago I saw the prettiest chair pads made just like a rya rug – a woven square with gordian knots covering the whole surface. This was the perfect project for my thrums!

Rya chair pads

After having cut down my latest weaving project from the loom – and carefully saving the thrums – I started warping for my chair pads. We have eight kitchen chairs with the ugliest cotton pads with foam rubber filling. I am ashamed to say that they are at least fifteen years old and leaking out all their innards. So I warped for eight pads, that’s four meters of warp. I haven’t warped four meters before and I hope I am not in over my head.

A loom with a long warp. A warping peg holding the warp is attached to a balcony fence.
September is the perfect month for outdoor warping!

I am a beginner at weaving and I only have a rigid heddle loom. But it does what I want it to do and on a level that I understand. The sweet thing about being a beginner is that I don’t know what rules I’m breaking. Trial and error are my guides.

The warp yarns are also my handspun that have been lying in my stash for quite a while without a designated project.

Setup

The warp is a Shetland 2-ply from a fleece I bought a couple of years ago. The weft is, well, whatever I have really. And I have a lot of yarn just waiting to be useful. I do spin more than I use my handspun. The weft for the first chair pad is hand-combed and worsted spun Värmland wool.

I have left a 2 cm border on each side edge without knots and 4 cm between each pad. This way I can make a folded hem around the pad for sturdiness.

The knots are made mostly with my saved thrums. The first thrums are from another warp yarn – a hand-dyed jeans blue Swedish Leicester yarn spun worsted from hand-combed tops. I will also use old skeins of handspun that I haven’t found a use for. Probably lots of white and natural colour yarn. And I have the freedom to make stripes, patterns or whatever my heart desires.

Gordian knots

A knot of blue yarn around three brown warp threads
A sweet little gordian thrum knot.

This is how I make my Gordian knots for this project:

  • I make my knots over three warp threads, leaving one warp thread between each bundle of three.
  • I use a doubled piece of yarn (resulting a loop in one end of the knot).
  • After having lifted the three warp threads slightly I put the middle of the doubled yarn over the three threads, then under the outer warp threads and up in the middle.
  • I slide the knot down to the weave and pull it snug.
A hand pulling a knot in a warp.
Pulling the Gordian knot snug.

After the knot “shuttling” I make three regular shuttlings and repeat these four shuttlings. The knots in the second repeat are moved one warp thread to make a more harmonious pattern.

Rpws of blue Gordian knots in a brown weave
One row of knots and three regular shuttlings.

Helpful tools and techniques

To get the yarn ends for the Rya knots in equal lengths I use a wooden board around which I wrap the thrums in bundles. I cut the bundles at the edges of the board and get equal lengths.

To make it easier to pick each individual piece of yarn I bundle them together and tie the bundle on the middle. That way I can place the bundle on the weave and easily pick out individual yarn ends as I make the knots. I use a tapestry beater to beat the knots and the weft yarn tight.

A Rya weave in a loom. A wooden tool with sawed out teeth and a bundle of 12 cm yarn ends lie on top of the warp.
I’m out of the blue Leicester and continue with natural white Rya/Finull crossbred. A tapestry beater helps me keep the weft tight. Bundled yarn ends make it easier to pick out individual strands.

The weaving of a muppet

As I happily knot away I realize how much yarn I will need for my eight chair pads. I ran out of blue Leicester thrums after two thirds of the first pad and continued with white finewool/rya thrums. This will be a very effective stash buster project!

I also realize how much time this will take. Each four row repeat take around ten minutes to finish. I’ll be lucky if we can place our new year’s bottoms on these. But when we do, I expect I will want to sit on them all the time.

A table loom  with a rya weave on it. Sunrise over a lake in the background.
A loom with a view

I’m still very much of a beginner at weaving. But that doesn’t stop me from treasuring the moments I bring out my loom. The repetitions of the knotting and the shuttlings help me unwind and allow my thoughts to come and go. Feeling the very muppetness of the knots gives me such joy. I smile at the prospect of sitting on these pads. They actually look like real things! I think I’ll name this first one Groover.

Happy spinning!


You can follow me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
  • My youtube channel is where I release a lot of my videos. Subscribe to be sure not to miss anything!
  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
  • Follow me on Instagram.  I announce new blog posts, share images from behind the scenes and post lots of woolliness.
  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
    If you like what I do, please tell all your fiber friends and share these links!