EXPLORE TAPESTRY WEAVE-ALONG

by Jane Patrick
The last time I wove tapestry was back in the 70s when I first started weaving. Everyone was weaving wall
hangings—much like many of the new weavers are weaving today (but they have better colors and materials).
We wanted to develop the Arras loom to help meet the needs of new weavers who were transitioning from wall
hangings to more serious tapestry weaving. Of course, as the Arras developed, I yearned to try tapestry again.
Though I’ve been weaving for over 40 years, tapestry just wasn’t in my toolbox. This is a bit strange because I
have always appreciated the pure colors of weft-faced fabrics. You don’t have warp and weft visually interacting,
which affects the color, and, of course, the design. I have had quite a bit of experience with weft-faced weaving
though—which I explored in my book The Weavers’ Idea Book.
This is also probably why I find the warp-faced fabric in an inkle band equally appealing. You only see the warp
colors and the weft is obscured except where it turns around at the selvedges. You can see weft-faced tapestry and
warp-faced inkle weaving put together in my tapestry sampler bag at www.schachtspindle.com/tapestrysampler/.

WELCOME
Thanks for joining me on this tapestry
exploration! I hope you’ll share your progress
and ideas on Instagram, Facebook and
Ravelry as we go along. Above all else, I hope
you’ll have fun and try to play (though I know
this is hard) as much as possible. Patience
and practice, too, are important as you work
towards learning something new. It will feel
awkward at first and the results may be a
bit wobbly, but you will make progress. At
the end of your sampler, you’ll see how your
selvedges have improved, how your fingers
now know what to do, and how enjoyable it is
to see the emerging design row by row.
Let’s get started!

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JANE'S FINISHED SAMPLER

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Schacht Spindle Company 6101 Ben Place Boulder, CO 80301
p. 303.442.3212
© 2020 Schacht Spindle Company, Inc. 09.20
Lesson 1—WarPing & getting ready to Weave
EQUIPMENT & MATERIALS
Loom: I’ll be using our new Arras Tapestry Loom, which
accommodates a 45" warp length. You could also use a
frame loom such as our Easel Weaver or Lilli Loom, or
even a rigid heddle loom, but you won’t be able to achieve
as high a tension as I’ll be using on the Arras. Tension
is important because it will be easier to weave and your
tapestry will hold its shape, as well as helping your
selvedges stay put. If you will be using a frame loom, you
might consider warping the loom for each lesson, for a
series of samples.
Cricket Loom
Warp yarn: I’m using #18 seine twine. You can use a 12/18
cotton seine twine if you are setting your yarn at 5 or 6 ends
per inch. If you will be weaving at 8 ends per inch, you’ll
need a little smaller yarn, like a #12/12 cotton seine twine. Arras Tapestry Loom
You may need to make do with something from your stash,
something that is the closest size possible in a non-stretchy, Lilli Loom
strong cotton or wool rug warp. You could also use 2 ends
TYPES OF LOOMS: TAPESTRY, RIGID HEDDLE, FRAME
as one of cotton carpet warp if you don’t have anything else.
When substituting yarn, check the size by winding 1/2" on
a ruler. If the yarn yields 6 wraps in 1/2", then you’ll thread
that yarn for an EPI (ends per inch) of 6. If your yarn
yields, for example, 8 wraps in 1/2", you should set that
yarn at 8 EPI.
I suggest you try as close as possible to 6 EPI, as a wider
sett just makes it easier for your fingers to learn what to do.
Warping: You can learn how to warp the Arras by watching
the video. Also, if you happen to have one of our original
Tapestry Looms, the process is the same as warping the
Arras Loom.
Warping details: 36 ends at 6 EPI = 6" wide warp. If
you are going to be using another sett, choose a number
divisible by 3, as we will be dividing the warp into 3 sections
for part of our sampler.

Watch the video CHECKING ENDS PER INCH (EPI)

https://youtu.be/KUs_1v56E7M

Schacht’s YouTube channel includes all videos mentioned

in this document in the playlist Tapestry Weaving
Techniques.
If you're reading this PDF on a computer or device, you
can go directly to any video on YouTube by clicking on its
link.

–2– © 2020 Schacht Spindle Company, Inc.

Weft yarn: I like to use a firmly spun weft yarn without a lot
of stretch. Since this is a sampler, you can again use yarns
from your stash. You can mix and match sizes, but your goal
is for the yarn or yarn bundle to be the size of the space
between the warp yarns. For this sampler, I used Jamieson’s
Shetland Spindrift, 3 ends together in the tapestry areas and
2 ends for the soumak.
Choosing a palette: I like to work with a palette. As I was
cleaning out my piles of ripped out magazine pages, I found
these colors that I thought were fresh and fun for spring.
Cheerful seemed good. You’ll find that working with a palette
will help you to make color choices as you go; your sampler
will be more cohesive colorwise, too. This is optional, of
course, but if you haven’t tried this before, you might want to
experiment with this for your sampler. JANE'S WEFT YARN
Creating a base: Use the warp yarn to work a row of twining
as a base for your weaving. This will also reinforce your
warp sett. Measure a length that is 3 times the width of your
weaving. Fold the yarn in half around a selvedge edge. I’m
right-handed, so I find it easiest to begin at the left selvedge
and work towards the right.
You can avoid a knot at the edge by stopping the twining
4–5 warp threads from the edge, dropping one of the yarns,
continuing with the over and turning around at the selvedge,
to complete the twining. Check that the twining is straight
across the warp by measuring from the bottom beam to the
twining on each side of the weaving. You can also measure
and mark the distance with a magic marker prior to working
the twining.
I look forward to starting to weave in the next lesson,
when we’ll be exploring weft-faced weaving, the important JANE'S PALETTE
technique of bubbling, and selvedge management. Happy
warping!
Jane

Watch the video

https://youtu.be/FspYl9pa4JE

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bonus Lesson
WARPING THE LILLI LOOM Watch the video

If you will be using a frame loom, try to warp up the loom https://youtu.be/3c5PoDsbYqQ
with as much tension as you can. Then to further tighten
the tension, insert 2 small sticks in opposite sheds (first row
over, under; second row under, over). To keep them as snug
to the top of the loom as possible, tie them to the top bar with
warp yarn on the right, middle and left side.
The warp is 6" wide and with a sett of about 5 epi, you’ll have tension sticks
a total of 30 warp threads. The warp yarn is the same as the tied to top bar
yarn used on the Arras, a #18 seine twine.
I will be finishing the sampler with a Damascus edge. If you
want to do this, you’ll need at least 2" (3" is better) to work weaving stick
the finish. Work a row of twining at this 2" mark, and you’re on its side
ready to weave.
Later, as you weave and get closer to the top of the loom, the
tension will become tighter, you can just remove the tension
sticks to loosen the tension.
To make the shed, I’m using the Schacht Weaving Stick
which is the perfect size for this loom because it makes a
very narrow shed. Depending on how much you weave, you
may need to warp your frame loom a couple of times. WEAVING ON THE LILLI LOOM

WARPING THE CRICKET LOOM

For this project I measured 30 ends, 2 yards long on the Watch the video
warping board. I’m using a 5-dent heddle and #18 seine
https://youtu.be/hIXM0ZwJUQQ
twine. The warp width is 6".
The warp is pretty narrow for the 15" Cricket loom. To
prevent the apron bar from bending, I removed the 2 outside
apron cords and then reattached one Texsolv cord, through
a hole in the remaining apron cord. I then slipped a loop onto reattached
apron bar
the left side of the apron bar, adding stability to the apron
bar. It takes a bit of trial and error to get the correct length,
but once you have it right, your apron bar should be stable.
Because an even tension is so important for tapestry
weaving, I tied 1" warp bundles and attached the groups to
the apron bar with lashing.
If you need additional tension, you can slide a rod or stick
under the warp threads along the warp beam. WARPING THE CRICKET LOOM
Because the tension will be very tight, it’ll be very difficult,
if not impossible, to raise and lower the heddle. You can get
around this by inserting a pick-up stick, behind the heddle,
under all the slot threads. Leave this pick-up stick in place
and turn it on edge to make this shed. For the hole threads, pick-up stick
behind rigid
lift up slightly on the heddle and slide another pick-up stick heddle
under the raised threads in front of the heddle. Remove the
pick-up stick when you’ve finished weaving this row.
stick for more
Weave as close to the front beam as possible and advance the tension
warp every 2 or 3 inches. WEAVING ON THE CRICKET LOOM

–4– © 2020 Schacht Spindle Company, Inc.

Lesson 2—taPestry tooLs & techniques
Now that you have your loom warped and ready to weave, let’s get started! I would say that what weavers new to weft-faced
weaving (and tapestry) have the most trouble with is the weaving drawing in, managing the selvedges, and consistency.
That’s why in this first lesson we are going to focus on keeping your selvedges nice and straight with no draw-in or bulging
and learning the importance of bubbling. As we progress with these basics, we’ll explore weft-faced color effects and color
blending—which are fun and basic techniques you can use in your future tapestry weaving.
TOOLS & MATERIALS
■ Short stick shuttles: Use them if you have them, or
you can make butterflies—this is a pretty narrow warp, so
carrying the weft across by hand is easy.
■ Beater: I’m using the Schacht single-ended tapestry
beater, but you can also use a fork. Taping a little weight on
the back of it will give it more umph. Any hand beater will
work. You don’t need to beat very hard, which can wear out
body parts. If you find that you are struggling to cover the
warp, either your warps are drawing in or are too close, your
weft is too big, or you don’t have enough tension.
■ Loom: I’m using the new Arras Tapestry Loom, but you
can weave along on just about any loom you have. Just try to
crank up the tension as much as you can.
■ Weaving stick: I find this handy for bubbling, but you
can use your fingers, the point of a knitting needle, tapestry
bobbin, or bodkin.
■ Yarn: Wool yarn will probably be the easiest to work with.
I’m using Jamieson’s Shetland Spindrift which is a 2-ply
woolen yarn, 3 ends as one. A readily available singles is
Lamb’s Pride from Brown Sheep. To determine the correct
size of yarn, hold it (or a few strands, if its fine) up between
two warp threads. If it fills the space, this is a good candidate
for your tapestry sampler. You can mix and match sizes. If
you are using knitting worsted which has a lot of spring in TOOLS FOR TAPESTRY
it, you’ll just want to be careful when placing it in the shed to From top: weaving stick; ruler; stick shuttle; tapestry needle &
scissors; single-ended beater; double-ended beater.
not pull on the yarn too much—this will prevent draw in.

SELVEDGES
New weavers often tend to leave a bubble of weft at the
selvedge because they are afraid of the weaving pulling in.
First, bulging at the selvedge isn’t providing a clean line—
and it is the first thing the eye notices—all the waviness and
wobbling distract from everything going on in between. My
technique is to turn the corner at the selvedge with the weft
yarn snug up against the edge, not pulling in, not popping
out, but just right. When I insert the weft into the shed, I give
the weft a little tug to take out any slack, but I do this while
giving a slight counter tug to the selvedge thread. I keep a
constant eye on the selvedge to see that I have it right, and if
it isn’t, I redo it.

SELVEDGE TECHNIQUE
Pull the weft snug against the selvedge edge and hold onto the
selvedge thread and the weft yarn. Give a slight counter tug to
prevent the selvedge thread from pulling in.

–5– © 2020 Schacht Spindle Company, Inc.

STARTING WEFTS
Generally, I like to fold the weft into the weaving. To do
this, insert the weft into the shed and weave across. Change
sheds and then weave the tail into the next shed over just a
couple of warps. Leave the tail hanging (here I’m putting all
of the weft ends towards the back of the loom). If you are
making all of your changes on the same selvedge, it is going
to build up. That is why I like to change sides when adding
in new wefts. When ending and starting the same color, I try
to do this within the weaving, again overlapping just a few
warps.
However, if I am just weaving a single row of a color, I will
divide the bundle of yarns a few warps before the selvedge,
dropping 1 end of the 3 and then overlapping 3 and 1
respectively when I fold the yarn around the selvedge.

BUBBLING
This is critical for tapestry weaving. If you have been
weaving for a bit, you know that the distance across the
weaving is not a straight line—rather, the weft travels over
and under the warp threads and you need to allow enough
weft in the shed for this to happen. Bubbling is the magic in
tapestry weaving that allows enough weft in the shed to keep
the fabric from drawing in. Also, you’ll find that if you have
too much weft in the shed, your weaving will be uneven and STARTING WEFT FOR 1 ROW OF A COLOR
To minimize bulk when weaving a single row of a color, I have
bulging out. Our selvedge to selvedge weaving will allow you dropped an end of white weft about 3 ends before the selvedge.
to practice. I fold the remaining ends around the selvedge and overlap a few
threads, leaving the tail to hang out the back of the work.

Successful bubbling:
■ The bubbles are consistent across the weaving.
■ You vary the place where the bubble dips down to the fell.
■ You check that the spaces between the warps are
consistent, with no wider or thinner spaces developing. If
you discover problems, fix it by bubbling less and changing
where the dip falls. If the warps seem to be drawing in, and
the selvedges are drawing in, bubble more.
■ Change sheds before beating, or simply beat on a closed
shed.
■ And, of course, keep an eye on your selvedges.
■ Measure the width of your weaving often to be sure you
are maintaining the same width throughout.
There’s a lot going on with just this simple technique, which
is why I want you to practice for a few inches before moving
on to the next step.

BUBBLING
Bubbling allows more weft in the shed so that the weaving doesn’t draw in.
–6– © 2020 Schacht Spindle Company, Inc.
WEAVING
To beat, change sheds and use a hand beater to press down
the weft. You don’t have to beat heavily, just enough to cover
the warp. Also, as you work, you’ll notice that after 5 or so
rows, the earlier wefts are beaten in tighter just from the
beating of the subsequent rows.
When I’m weaving selvedge to selvedge, I usually use a STEP 1 STEP 2
shuttle, but for this narrow warp, you can just use butterflies
to carry the weft.

How to make a butterfly:

1. With the palm of your hand turned upward and fingers
spread wide, wind between your little finger and thumb,
holding the tail between your thumb and palm.
2. Wind back and forth between your little finger and thumb
in a figure eight, winding enough yarn to make a comfortable STEP 3
butterfly. Too small and you have to change wefts too often;
too large, the butterfly becomes unwieldy.
3. Remove the butterfly from your hand and snugly wrap
the working tail around the center a couple of times, tucking
the end under the last wrap to secure it.
—The Weaver’s Idea Book

WEFT-FACED COLOR-AND-WEAVE
I have referred to this next weaving technique as weft-faced Color blending
color-and-weave, even though we usually think about color-
and-weave when we refer to log cabin where the interaction
of the colors in the warp and the colors in the weft create a
pattern. In weft-faced weaving, the interaction of the colors
appears only on the surface of the weft-faced fabric. Dots
At its most elemental level, think of weaving as binary. Either One-row dots
the warp is up or down. It is this phenomenon that creates Waves
color-and-weave effects. In a weft-faced fabric, the weft yarn
only shows when it travels over a warp thread. For example, Vertical lines
you can create a vertical line by alternating colors or a
wavy line by alternating colors every two rows. Or dots, by
surrounding one row of a color with at least 2 other rows of
another color. WEFT-FACED COLOR-AND-WEAVE

I want you to explore this color patterning now as you

continue to practice bubbling and selvedge management.
Try out a few different patterns, as shown in the sampler.
Later on, you might find some of these techniques helpful
when you’re weaving a tapestry design.
To do: Weave an inch or so of plainweave, practicing
bubbling the yarn and managing the selvedges. Measure
often. Weave until you are comfortable with this step.
Start exploring weft-faced color patterning.
■ Vertical lines: Weave 3 rows of color A and then alternate
color A and B for an inch or so and end with 3 rows of color
A. You will note when alternating wefts, that sometimes
the selvedge thread isn’t caught. This is handled by simply
placing the new weft under the exiting weft as shown here.
■ Waves: Alternate 2 rows of color A and 2 rows of color B.
■ One-row dots: Weave several rows of color A, 1 row of
color B, followed by several rows of color A. CATCHING WEFT AT THE SELVEDGE— NOT CATCHING WEFT—INCORRECT
CORRECT
–7– © 2020 Schacht Spindle Company, Inc.
■ Dots: weave 2 rows of color A, 1 row of color B, repeat,
ending with 2 rows of color A.
■ Color blending: I think this is so fun and easy to do too.
Using three yarns together makes blending easy. Hint: I
changed colors about 2 inches away from the selvedge,
ending each end at a different place and overlapping with
the new yarns. When I changed out the color combinations,
I found it easier to cut off the first bundle and then replace
with the next color combination. Here’s how I worked using
4 shades of blue:
1. With 3 ends of Color A, weave for 5 rows.
2. Change out 1 thread of color A and add in 1 end of color
B (you have 2 ends of color A and 1 end of color B). Weave 5
rows.
3. Drop 1 more color A and add another end of color B (you
now have 1 end of color A and 2 ends of color B). Weave 5
rows. COLOR BLENDING
4. Drop the last end of color A. You’ll now have 3 ends of
color B. Weave 5 rows. Add in color C and weave as before.
Then color D in the same fashion.
I hope you have fun trying out this lesson’s explorations! I
would love to see how you are progressing. Happy Weaving!
Jane

Bibliography
Here is a list of books that I’ve found useful: For lighter reading, check out these titles, also available on
Glasbrook, Kirsten. Tapestry Weaving. Search Press, 2004. the Schacht website:
The author teaches tapestry through samplers. Her clear ■ DIY Woven Art by Rachel Denbow
photos and cheerful colors make you want to give tapestry ■ On the Loom: A Modern Weaver’s Guide by Maryanne
weaving a try. (We sell this book on the Schacht website.) Moodie
Harvey, Nancy. Tapestry Weaving: A Comprehensive Study ■ The Weaving Explorer by Deborah Jarchow and Gwen W.
Guide. Echo Point Books & Media, 2015. This book was first Steege
published in 1991, but the material is still excellent after all ■ Weaving Within Reach by Anne Weil
these years. The author’s clear writing and knowledgeable ■ Woven Art—15 Modern Weaving Projects for You and Your
instruction are encouraging. (We sell this book on the Home by Elena Vilar
Schacht website.)
Kathe Todd-Hooker has written four thorough books on
tapestry weaving. These self-published books are available
from the author at www.betweenandetc.com. Titles are:
■ So Warped: Warping a Loom for Weaving Tapestry (written
with Pat Spark)
■ Line in Tapestry
■ Weaving 101—if you’re going to buy just one, this is a
good resource for beginners.
■ Shaped Tapestry, 2nd edition.

–8– © 2020 Schacht Spindle Company, Inc.

Lesson 3—sLit & interLock taPestry techniques, Weaving a shaPe
I hope you enjoyed getting the feel of bubbling, beating, and watching your weft-faced weaving develop! In this lesson, I want
to focus on learning how to do slit tapestry and interlock joins.

SLIT TAPESTRY
Watch the video We’ll begin by dividing your warp into 3 equal sections, 12
warp threads each. You’ll be using 3 colors, a butterfly for
https://youtu.be/uwOg_ jF5A8I
each color. I’m starting from the right. All your butterflies
will travel in the same direction, right to left on the first pass.
Insert the butterfly into the shed, leaving a tail that you will
weave back into the shed on the next pass. Insert the other
2 butterflies in the same fashion. Bubble! Change sheds and
beat. Now return each butterfly to where you started, bubble
and beat. Slit tapestry makes a nice, clean line, is faster to
weave than interlock. The down side is that very long slits
will either need to be sewn later or woven together with a
fine yarn every so often to stabilize the area.
Watch the video and then follow the steps in each image.

STEP 1: MAKING A SLIT

Insert the butterflies into the shed from right to
left. Leave a tail.

STEP 2: MAKING A SLIT STEP 3: MAKING A SLIT STEP 4: MAKING A SLIT

Change sheds and weave the tail in just over 1 Bubble the weft. Check the slit. Is it nice and straight and not
warp thread. pulling in or pooching out?

STEP 5: MAKING A SLIT STEP 6: MAKING A SLIT STEP 6 DETAIL

When ending a weft yarn, fold it back into the Setting up for weft interlock, showing detail on
weaving in the same shed. Here, I went under the right. All the butterflies are weaving in the
2 warps and then over 1 warp, leaving the tail same direction. The tails will be folded in on the
hang off the back. Note: be sure your weft tail is return shed.
in the same shed as the previous row and that it
overlaps just 1 warp.

–9– © 2020 Schacht Spindle Company, Inc.

WEFT INTERLOCK
Weft interlock is a good technique to use if you are going
to be weaving a vertical line when a slit isn’t desirable,
such as when you’re weaving a border, a rug, or need more
stability. Instead of a clean, vertical line like you have with slit
tapestry, weft interlock makes a serrated join.
Here, I’m weaving weft interlock in the same direction.
Because you will be interlocking each join, it is necessary to
weave an entire row, rather than a section at a time like you
might do in weaving slit tapestry. I’m using an even number
of warps, in this case 12 per section. You will be making an
interlock every other row. I’m working from the front, but INTERLOCK
On the first row, weave right to left (no interlock). On the second row,
you may find that you get a cleaner join by working from the start at the left and weave over to the first join and pass the orange weft
back. over the blue weft. Then pass the green weft over the orange weft to
create the first row of interlock.
Insert three butterflies from right to left. Use your slit
tapestry line as a guide, and bring the butterflies out of the
shed at this point. Change sheds and beat. On the next pass,
left to right, you’ll do the interlock. Starting at the left, pass interlock
the first butterfly through. Bring it out of the shed. Then,
take the next butterfly and pass it around the first weft and
then into the shed, pulling against the up warp. Bring this
end out at the next join and wrap the third weft around this slit
one and into the shed. Bubble as you go. Change yarns and
beat. Practice this until it feels like you’ve got it.
Tip: I’m using a dark piece of craft foam (you could use stiff
paper, too) behind my weaving to hide the warp threads that
are visible on a continuous warp like what is used on the
Arras. It helps me focus on the area I’m working on and also SERRATED JOINS IN INTERLOCK
Notice the difference between the clean line of the slit tapestry as
is a nice contrast to my white warp yarns. compared to the serrated join of the interlock.

Watch the video

https://youtu.be/i2qNFV3YWJg

– 10 – © 2020 Schacht Spindle Company, Inc.

WEAVING A SHAPE
Let’s start learning how to weave a shape. For this example,
I’m going to weave a triangle and the wefts will be traveling
in opposite directions. I’m going to use slit tapestry
technique. A few things to keep in mind:
■ When weaving a shape, you need to work the decreasing
shape first.
■ The diagonal line will be stepped—more stepped with a
wide sett of 6 epi than, for example, than with a finer sett
of 12 epi. (Something to keep in mind when weaving future
projects.)
■ If you want the top of the triangle to come to a point, you’ll
need a single warp end at the top. Therefore, you’ll need
to start with an uneven number of warp threads for your
triangle.
■ I have an even number of warp threads (36), and I want a
single warp end at the top of my triangle. I set up my triangle
with one extra background warp thread on the right side.
This means that my triangle won’t be absolutely in the center
of my weaving. Again, more obvious with a wider sett.
■ Placing a yarn marker at the edge of the triangle is helpful
when you start weaving.
■ Fewer repeats of each section will decrease the pitch of
the diagonal line. It will make a squattier triangle.
■ If you want to weave a specific triangle shape, mark the
warp with a washable magic marker and follow the lines as
you weave.
JANE'S COMPLETED SHAPE

SHAPES: MARKING SHAPE EDGES SHAPES: FILLING IN BACKGROUND

To weave this triangle, I marked the edges with a yellow marker Getting ready to weave the green background. Weave 6 rows. You
string. You can pull it out later when you don’t need it. can also see that I’ve set up for the first decrease (in pink).

– 11 – © 2020 Schacht Spindle Company, Inc.

I wove 3 repeats of each section, or 6 rows. I decreased by
one warp thread on each side of the triangle after each 6
rows. After 2 decreases, I decided to shade the triangle, as
we did in the last lesson (adding and subtracting colors),
changing colors at each decrease. If weaving the triangle is
enough challenge, just weave it in a single color.
In the beginning, when I was weaving the background edges,
I didn’t change sheds before pressing the weft into place with
my fingers. I realized later that this affected my selvedges.
Changing the shed before beating helped the puffiness at the
selvedges.
To help keep track of what I was doing, I first wove a section
of the triangle and then filled in the outsides, always weaving
SHAPES
section by section. Two sections completed
When I reached the top and had just a single warp end
left, I simply wrapped the yarn around the warp. I found I
needed to add a couple of extra wraps. To secure the end, I
made a half hitch and pushed the weft end to the back of the
weaving.
Now, we are really weaving tapestry! I hope you’ll have
as much fun as I’ve had with this lesson. Feel free to
experiment. How would you weave a diamond? (Hint: always
weave the descending areas first. It will help to mark your
warp or draw a picture to help visualize where to begin
weaving.)
See you in the next lesson!
Jane
SHADING
On the third section, I added 1 orange and dropped a pink, on the fourth
section I added another orange for a total of 2 and dropped another
pink. For the next section, I have dropped the last pink and am now
weaving with 3 orange. Continue in this manner until you reach the tip.

STARTING ANOTHER COLOR SECURING THE WEFT

Tip: It is helpful to use a tapestry needle to separate the ends to spread Use a half hitch to secure the last weft round around a single warp end.
them out for starting another color which will be added in the same
fashion.

– 12 – © 2020 Schacht Spindle Company, Inc.

Lesson 4—eccentric Weaving, hatching & soumak
I couldn’t wait to start this lesson, as I had so much fun weaving joins and shapes in the last one. I’m eager to delve into more
tapestry techniques. I also have been realizing how much there is to learn about tapestry. It can be almost overwhelming.
Have you felt that way? As I often say, step by step.
Eccentric, or distorted, wefts will feel a lot more loosey goosey than the straight lines we were weaving last time. In eccentric
weaving, areas are built up randomly by weaving back and forth in an area. Lozenge-like shapes can build on one another
with no outline or outlined with plainweave or soumak, which provides a strong, raised outline. The hard part of all this
freeform weaving is trying to keep your selvedges from wobbling too much, as well as the surface from bulging. In the first
section, I wove some big and small lozenges without outlining. In the next section, I wove shapes in a similar fashion and
outlined them with soumak. I love the raised line soumak adds to the flat, woven surface.

ECCENTRIC WEAVING IN PROGRESS

SOUMAK
I’d like to start with soumak because you’ll need it for
outlining. There are many forms of soumak and I recently
learned this locked soumak technique from David Johnson,
a tapestry teacher here in Colorado. This is an excellent
version of soumak to use for tapestry because it provides
good structure and is also super flexible. I love the raised
surface it creates. And the little chevrons look like knitting
on the surface. You could weave an entire tapestry in
soumak, like David does. Check out his weavings on his
facebook page: https://www.facebook.com/davidjohnson1897/
I’ve woven a few different forms of soumak over the years (in
my books Time to Weave and The Weaver’s Idea Book), but I’d
never done my teacher David’s version. I was curious about
it so looked it up in Peter Collingwood’s The Techniques of
Rug Weaving. He calls this type of soumak Bushongo, which
can be seen in the raffia cloths from the Bushongo tribe
in central Africa where it was embroidered on the finished
cloth, rather than woven. However, Collingwood also noted
that “this soumak variation can be carried out when weaving
and was extensively used in Shiant rugs, designed by Jean
Milne and woven in the Scottish islands.”
Note: For this soumak, I’m doubling my yarn, which
translates to 4 ends when the soumak is worked.
A couple of notes:
■ Work soumak on a closed shed.
■ When using a singles, you may find that the yarn untwists,
and you’ll need to add twist as you work. Likewise, when
using plied yarn, you may need to take out twist.
■ Shorten the length of yarn by making a butterfly after you
have attached the yarn to the starting warp.
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Working Bushongo Soumak, left to right:
1. Fold the doubled ends in half. On the left selvedge warp,
place the fold under the selvedge warp and extend it out so it
is a loop. Watch the video
2. Insert the two tails into the loop.
https://youtu.be/jHrfaUFyII8
3. Pull tight.
4. Hold the weft yarn in your right hand. Lift up the next
warp yarn with your left hand.
5. Insert the weft yarn to the left, under the warp thread
and then pull out a loop and slip the butterfly or weft ends
through the loop. Watch the video
6. Pull down to tighten the knot. https://youtu.be/C72yKrz6OYI
7. Repeat all the way across the warp, advancing one warp
thread at a time.
Returning, right to left: The process is the same as when
working left to right, except now you are holding the weft
yarn in the left hand and lifting up the warp yarn to be
encircled with the right.
Finishing: When you’re finished working soumak, weave the
ends in a plainweave shed, gradually dropping ends as you
go over about an inch. These ends will butt up against the
soumak and won’t be visible in the subsequent weaving.

STEP 1: BUSHONGO SOUMAK STEP 2: BUSHONGO SOUMAK STEP 3: BUSHONGO SOUMAK

Insert the loop under the selvedge warp thread. Insert the tails through the loop. Pull tight.

STEP 4: BUSHONGO SOUMAK STEP 5: BUSHONGO SOUMAK STEP 6: BUSHONGO SOUMAK

Working left to right, work with your right hand. Bring the tails or butterfly through the loop and To end, weave the ends into a plainweave shed.
pull tight.

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ECCENTRIC WEAVING
In eccentric weaving, you build up small areas, lozenge
shapes, that aren’t straight across like we’ve been weaving.
Instead the wefts often travel at a diagonal to the warp
threads, creating wavy lines in the weaving. This technique
is fun for creating organic shapes that build on each other or
are separated by wavy rows of background like in our first
example. Eccentric weaving feels free without constraints,
but there are a few things to keep in mind.
One of the problems new tapestry weavers have is being in
the wrong shed. What I mean is you are weaving along and
realize that the section you are weaving in is in the same
shed as the last row. There are ways to fix this (like weaving
an extra row in the opposite shed to correct the problem).
Keeping this little rule in mind will help you along the way. I
credit Rebecca Mezoff with this little hint, which isn’t so little
at all.
That is: Always complete the sequence. In tapestry weaving
you have two plainweave sheds. I call these A and B. If you
start from the right in shed A, you need to finish from the left
in shed B. If you don’t, then in the next section you weave,
you’ll find that you are doubling a shed somewhere along
the way. This only becomes more complicated the more
butterflies you have going across the warp. Remember:
“Always finish the sequence.” It’ll get you out of so much
trouble.
■ Weave simple shapes, such as lozenges and triangles.
■ Shapes can be outlined in a contrasting color or encased in
a background.
■ Wefts will not necessarily be perpendicular to the warp.
■ Outlining will travel in a diagonal line.
■ Outline shapes as you weave.
■ Eccentric weaving can cause bulging of the surface and
draw-in.
■ More weft is needed when inserting the weft at a diagonal,
rather than a straight line.
■ Soumak outlining can help stabilize the structure and also
keeps the warps spaced evenly.

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Weaving a shape, step-by-step
Weave the background following the shapes woven. You
may need to add extra rows in an area to fill in. If you always
finish the sequence, all your shapes should be in the correct
shed for the final background.

STEP 1: WEAVING A SHAPE STEP 2: WEAVING A SHAPE STEP 3: WEAVING A SHAPE

Tie on with an overhand knot. Push the tail to the back of the weaving. Increase by 1 warp thread each row.

STEP 4: WEAVING A SHAPE STEP 5: WEAVING A SHAPE STEP 6: WEAVING A SHAPE

Allow the weft to bubble slightly. Change sheds each row. Use your fingers to push down each row.

STEP 7: WEAVING A SHAPE STEP 8: WEAVING A SHAPE STEP 9: WEAVING A SHAPE

The last increase. Continued. Start decreasing by 1 each row.

STEP 10: WEAVING A SHAPE STEP 11: WEAVING A SHAPE STEP 12: WEAVING A SHAPE
The shape is almost complete. The last warp. On the last warp, tie an overhand knot.

STEP 13: WEAVING A SHAPE STEP 14: WEAVING A SHAPE

Clip the end and push the tail to the back. Weave background.

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Outlining Shapes
In the first exercise, I didn’t outline the shapes, but rather
wove a background between sections of shapes. In this Watch the video
example, every shape is outlined with soumak. This creates
https://youtu.be/Xzo_03BN_4Y
a strong line and works well when worked on the diagonal,
though some of the passes will necessarily be a little longer,
given the greater distance when working on the diagonal vs
perpendicular to the warp. I worked just one row of soumak
and always worked right to left so that the diagonal of the
soumak would all slant in the same direction.
1. The first shape on the right was woven and then outlined
with soumak. The second shape has been woven and is ready
for outlining.
2. More shapes have been added. You may find that in order
for the outline to appear to connect to the last outline, you
may need to work a warp thread beyond where the shape
ends, like I’ve done on the top left shape here and not done at
the right hand side.
3. I gradated the blue as I worked towards the top.
4. The final section is woven both straight across and
eccentrically where dips appear. I started weaving on the left
side because it was lowest and then built up and worked over
to the righthand side. I started and ended this section with 2
rows of soumak.

STEP 1: OUTLINING STEP 2: OUTLINING

STEP 3: OUTLINING STEP 4: OUTLINING

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HATCHING Setting up: You will start the wefts in the same shed but
from different directions. The tails will be woven in on the
Hatching is a way to blend colors from one area to the next,
next shed.
or to create shading within a shape. For this example, I’m
using two colors and blending them across a diamond shape Starting to weave the diamond: Alternate which color
I marked on my warp with a washable marker. meets the outside of the diamond and which color weaves
across the diamond.
In hatching, the wefts will be traveling in opposite directions,
meet and then separate. To create the shading, you will first Here you can start seeing the diamond develop and the
bring one color across the shape to the marked warp, change colors blending on the inside of the diamond. Note that the
sheds, then return. Then on the next pass, you will bring the left side background is solid blue and the right background
second color across to the other side of the diamond to the is solid green.
marked warp on this side, change sheds, and return. You’ll Whew! That’s it for this lesson. I hope you enjoy learning
be alternating one color across the shape and then the other. all these new techniques. I can’t wait to see your work in
I followed the marks on the warp as closely as possible when progress!
working to the widest point of the diamond. On the return, Jane
still following the marked warps, I referenced the warps I had
used when I worked up. This helped me keep the diamond as
symmetrical as possible.
You’ll want to use some color contrast so that you that you
can see the shading. With 6 epi, the shading is not as subtle
as it would be when weaving at, for example, 12 epi.
I cut a diamond shape out of paper and taped it on the warp
with blue painter’s tape and then marked the warps with a
washable magic marker. I removed the tape at each point as I
worked around the shape.

STEP 1: HATCHING STEP 2: HATCHING STEP 3: HATCHING

Make a pattern and tape to warp. Mark around the pattern on the weft. Set up wefts in same shed but different
directions.

STEP 4: HATCHING STEP 5: HATCHING STEP 6: HATCHING

Start weaving the shape. Alternate which color meets the outside of the The finished diamond, with solid blue
diamond and which color weaves across the background on the left and solid green on the
diamond. right.

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Lesson 5—ghiordes knots or rya, damascus edge & Finishing
We’re ending our weave-along with my favorite technique, rya or ghiordes knots. I love the freedom of creating a design with
this technique and the cut pile surface it creates.
Ghiordes knots is a knotting technique. It does not have discontinuous wefts so is not considered tapestry. So, why am I
including this in our explore tapestry weave-along? Simply put, it is a technique that I love and I want to share it with you.
Also, it is a weft-faced technique that seems compatible with tapestry.
Cut pile dates back to 500 B.C. We know this from a rug discovered in a tomb in the Altai Mountains of Siberia, preserved
there by ice for centuries. The ghiordes knot we’ll explore here was used to make this rug. If you find you love making knots
and want to learn more, Peter Collinngwood explores this further in his book The Techniques of Rug Weaving. I also have a
section on ghiordes knot in my book The Weaver’s Idea Book.
The ghiordes knot is probably the most-used knot for pile rugs because it is highly secure. It doesn’t ravel or come undone.
It can be tied from a continuous strand or from cut pieces. Because every knot is tied individually, you have infinite design
options.
There are two basic elements to a cut-pile fabric: the plainweave ground and the pile (knots). A row of knots is followed by 2
or more rows of plainweave, depending on the use and length of pile. The knot is tied over two warp ends.
It is traditional to leave the 2 selvedge warps free of knots (you fill in the selvedge areas with rows of plainweave) which
prevents the textile from curling. Here, because we are just weaving a small amount, I’ve made knots all the way to the
selvedges.
Often ghiordes knots and rya are used interchangeably. Traditionally, though, rya is a Scandinavian rug made with ghiordes
knots with a pile as long as 6".

GETTING STARTED
Start by designing on graph paper. For this example, we have
36 warp ends which translates to 18 knots, because each knot
is worked over two warp threads. I began by numbering the
squares on my graph paper and then marking the center line.
You’ll have 9 knots on each side of center.
I began drawing a symmetrical design on graph paper. If you
want each knot to be a square of color, you may find that
you need to repeat each row more than one time. The knots
as I tie them are about 1" long. Later, I trimmed the fringe
to about 1/4". I’m using 4 weft ends together as one and
GHIORDES KNOTS CARTOON
weaving two rows of plain weave between each row of knots
with the same yarn tripled, as I’ve been doing in the tapestry
areas.

GHIORDES KNOTS
■ Are tied over 2 warp threads.
■ Are made on a closed shed.
■ Require a plainweave ground between each row of knots.
■ The pile can be trimmed on the loom, or after the weaving
has been removed from the loom
■ It is a good idea to vacuum the pile to suck up little bits of
trimmings.
■ Small sharp sewing scissors are helpful to clip the knot
threads as you tie them.
■ Large sewing scissors or appliqué scissors are helpful in
trimming the pile.

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Steps for making ghiordes knots

STEP 1: GHIORDES KNOTS STEP 2: GHIORDES KNOTS

Insert the working end (short end) of the yarn between two warp Bring the working end of the yarn over the top of the two warp
threads. threads.

STEP 3: GHIORDES KNOTS STEP 4: GHIORDES KNOTS

Bring the working end up through the center between the two Hold onto the working end and pull out the slack with the long
warp threads. tail. Pull down to tighten.

STEP 5: GHIORDES KNOTS STEP 6: GHIORDES KNOTS

Trim the knot. Trim the pile on the loom and finish after the weaving has been
removed from the loom.

Watch the video

https://youtu.be/ea2qlQOYGIE

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GRAND FINALE (EXTRA CREDIT!)
After I finished the ghiordes knots, I still had some warp
left, so I decided to try making a cartoon and weave many of
the techniques we’ve learned over these past five lessons, a
review of sorts.
Having barely used a cartoon before, I decided to draw a
simple design which I attached to the cartoon holder on my
Arras loom. I then traced the design onto the warps with
a washable marker. Right away I realized that scale is so
important when working with a cartoon. The subtle curves
just weren’t as defined or cute as my drawing and I wished
JANE'S CARTOON
for a warp sett of 8 or even 12. (Is that considered sett envy?)
All in all, though, I got the hang of using the marked warps,
as well as referring to the cartoon as I worked. What I
intended as an abstract botanical, ended up looking like
some sort of alien with 6 arms shaking pompoms. Live and
learn.
The techniques I used were hatching, slit tapestry, soumak
outlining, and little ghiordes knots. It’s a silly design, but it
was worthwhile trying out different techniques and making
all the little decisions along the way.
■ How should I fill in between objects? (Use separate
butterflies to weave little sections, such as between the
arms.)
■ How do I create an outline? (Outline after the shape was
woven.)
■ How do I keep in the right shed? (Always finish my
sequence.)
■ How do I define the point where the petals meet? (Use
hatching.)
After the final pompoms, I wove 2-1/2" of plainweave
selvedge to selvedge, enough at the top to make a hemmed
edge. I completed the weaving with a row of soumak, which
THE WOVEN CARTOON
acts as a weft protector once I cut the warp from the loom.

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STEP 1: GRAND FINALE STEP 2: GRAND FINALE
Work the decreasing shape first. In this case I wove the I used hatching where the 2 sides of the petals meet. When I had
background before the center petals. finished weaving the petals, I outlined them with soumak using
just a single end of yarn.

STEP 3: GRAND FINALE STEP 4: GRAND FINALE

The second set of leaves are complete and now I’m beginning to The background has been filled in and the “arm” worked in
fill in the background in blue. soumak, punctuated with a single ghiordes knot at the end.

STEP 5: GRAND FINALE STEP 6: GRAND FINALE

The top shape has been woven and outlined in soumak. Filling in the background.

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FINISHING TECHNIQUES

Damascus Edge Finish

The first step is to cut the warp from the loom. Leaving at
least 4" will make it easier to work the Damascus edge finish.
Secure the weft. You don’t want your weaving to ravel. At the
bottom of the weaving, I left the twining and then worked a
Damascus edge. Place your sampler face down. It is helpful STEP 1: TWINING FOR DAMASCUS EDGE
to use a weight so the weaving doesn’t move around while
you are working. (I have a flannel-wrapped brick I use for
this purpose.) For this sampler, I decided to leave fringe
at the bottom. For the top edge that will be hemmed, I still
made a Damascus edge to further secure my weft. Then
I clipped the ends short and made a turned hem which I
handstitched in place.

STEP 2: TWINING FOR DAMASCUS EDGE

TWINING KNOTS TWINING COMPLETED

Sewing in the Ends

Except for any ends hanging at the selvedge, you could
choose to leave the ends on the back hanging (this is a
sampler after all). I have a little problem with messiness, so
I opted to sew in the ends. Half way through, I did wonder
about this decision… I sewed in each strand of my tripled
weft separately up or down a warp thread so that only one
weft followed the same path along the warp.
Hint: Choose a tapestry needle that is as big as possible
because you will be threading it many, many times. It’ll be
easier with a large eye. You just don’t want the needle so
large that it is difficult to slip up the warps.
You may notice that after removing your weaving from
the loom it relaxes a bit (shrinks). That is natural. It may SEWING IN ENDS
shrink a little bit during the next step which is to steam
your sampler with a hot steam iron and a press cloth. If you
find that one end is a little narrower than the other, you can
coax out the weaving when it is warm and wet—similar to
blocking a sweater.

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Hemming
1. Trim the warp ends to about 1/4", and using a press cloth
and a lot of pressure, steam the edge with a hot iron.
2. Turn under the edge and using a press cloth, pressure,
an iron, steam the fold. Sew the hem by hand. If you want to
hang your sampler, you can sew Velcro to hem tape and then
stitch the tape on the hem edge.
Now you are finished! I hope you had as much fun as I did STEP 1: HEMMING
with these lessons. I so enjoyed seeing the work you shared.
I was learning right along with you and now I am looking
forward to trying the next warp, adventuring into 8 epi and
more of a planned weaving, exploring more of the vast field
tapestry has to offer. I would love to hear your thoughts
and ideas about the weave along. What you liked, what you
didn’t.
Happy weaving and good health!
Jane
STEP 2: HEMMING

Thanks for joining us!

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– 24 – © 2020 Schacht Spindle Company, Inc.