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Beadwrangler's |
Loom Weaving
...building
on
Loom in the Palm
of Your Hand Clover now has a new tool,
Hairpin Lace Tool, that is made for crochet, however,
you can weave with this tool and advance the weft as your work. The warp
needs to be much th
inner
than the weft in order to move it over the pins on the loom. You can
make small bags, belts, sectioned
pieces for embellishment onto quilts and wearables. Here is one of the
small bags I made using ribbon yarn. This bag was made with both warp and
weft of ribbon yarn. It was difficult to keep the surface even, however,
it is a very sturdy bag. My future bags with have a thinner warp.
You can make more than one piece and join it or make longer pieces to fold over
to make bags and other three dimensional items. This tool breaks down into
smaller pieces for easy travel.
Needle Weaving with Stole Weaving and
Doll Needles
Needle weaving is a very old technique
and all types of needles, dowels and sticks have been used to make long woven
braids. These braids can be stitched together to make bags and other
items. Thicker yarn is used with knitting needles and other large
needles. I attended one of my local weaver's meetings a few years ago
and the weaver next to me was weaving away with some short knitting
needles. I was intrigued and ask for a demonstration. Once I saw
how it was worked, I tried it out myself but found the needles too cumbersome
for finer work. I began experimenting and found stole weaving needles perfect
for a little thicker yarn and 5" doll needles perfect for thinner
fibers. The doll needles were a little sharp at the ends so I used fine
sanding paper to make the ends smoother.
I also use find these needles useful for knitting. If you use more than two needles and spread
them out, you can add shaping to your woven piece.
I have experimented extensively with both type needles and used the woven pieces to for embellishment. One embellishment is around a porcelain face. I woven one section on the needles, then chained a length and then woven it on the needles, creating new finishes. Take a look.
Bead Loom Weaving Or Square Stitch Patterns
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If you are looking for a pattern, go to your nearest public library and pick up a few knitting books with lots of charts/graphs in them. They are perfect for repeat sections with bead loom weaving or square stitch. I made a little bag using a section of a graph included in a knitting book. I used 12/0 3cut beads and it worked perfectly. These knitting patterns are great for little panels for bags since both ends can be stitched up and will not take away from the pattern for a small bag. I crocheted beads on each end of the loom weaving to make the opening and closure of the bag. This same motif could be used for a flat bracelet or neckband. |
Pin Weaving
You can use a cartoon
to work from when making a pin woven or loom woven piece. A cartoon is a simple drawing with the basic
lines of the subject matter. It is used
as a guide as you work. I made pin
woven face of a feline creature many years ago. The face is 3 ¾” long and 4 ¾” at the widest section. Pearl cotton #8 and other yarn fibers were
used to make the face. You can draw the image on paper, cut it out, then put it
flat on the foam core board, pin it down and follow the drawing as you work. I
have never decided what to do with this face.
Maybe I will add it to a chest-piece or make it a mini-pillow. I looked through several books of domestic
cats and larger African feline predators before making my drawing. I also found a few books on stitchery that
had cat shaped pillows. I then made a
freeform drawing and I am not sure what type cat this is, however, it is
intense with tiger-eye beads for eyes and one for the mouth. .
Pin weaving can be a large or small piece. You can add any stitchery you like to the piece as embellishment. Whether you like opulence or minimalism, pin weaving is fun, easy to carry for travel and form a variety of shapes. I am currently working on a pin woven necklace that is a sea motif. I have the main piece finished and now just need to finish the neckline and closure and stitch an edging around the whole piece for strength and an attractive finish that will round off the edges. Take a look at my WIP, work in progress and notice how the edges around the piece are tiered and jagged. This can be a finished look, however, I prefer to encase the edge with a finish so the necklace edges do not get caught on anything when I am wearing it. A little 3-D sea flora adds to the finished piece. The blue represents the sea colors closer to the surface and the warmer colors depict the deeper sea and vegetation. I added bead crochet for the tentacles to the octopus. I have since removed the purple glass fish; it was too heavy. I will have to search for a lighter weight fish to replace it. When you plan a large necklace or chest piece, do not make it too busy with many added embellishment pieces or you will lose the essence of the artwork. For pin weaving a chest piece, it is very important that you plan out the design. Some shapes will not hang correctly so that when you wear it and bend over, it will not return to the original placement. The added weight of embellishment can also change the balance of a piece. Using a pattern in one of the pin weaving books for your first project will give you a better idea of shaping your own designs in the future.
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Both weaving and stitchery techniques were used to create this piece. A combination of techniques makes a more interesting surface to view. You can use the same techniques to weave a fiber piece on a bead loom. The long pieces that are sticking out are called Rya knots and are very easy to make. You can make a long rectangular piece using this technique with a flat edge around the whole piece, stitch a piece of ultrasuede on the back side as the lining, then fold it and stitch it together to make a small bag with fringe all over. You could also make a rectangular piece that would be the size for a choker and add a snap closer at the back. You could add size 6/0 beads here and there on the pieces sticking out and knot below it so they stayed on. Here is the main section finished. I changed my mind ablut using it for a neckpiece and instead, added this piece onto a hat. I have more finishing for the hat and then I will add a photo of it. Sometimes a work in progress will evolve to the point where you decide it looks better for ne use over another. |
Forming a Shed on Your Loom
Here
is some answers to your questions about forming a shed on a loom to take the
beads through. This is not a new idea or technique. It has
been used for since ancient time with fibers and at least 200 years for bead
weaving. A shed can be worked on any loom, even bead looms. Get two
tongue depressors, or craft sticks. You will find wooden ones at craft
stores. Make sure you get the wider ones, about 1" wide. First
warp your loom with beading thread, about 31 to 41 strands across. Then
take one craft stick (craft stick #1) and stick it under one thread and over
the other all the way across the warp threads. Push that craft stick all
the way to the opposite end of the loom, still setting between the warp
threads. Take craft stick #2 and stick it over and under the warp
threads, so it is under and over the opposite threads from the craft stick #1.
Pull craft stick #2 down to the other end of the loom, opposite craft stick
#1. This is where you will begin weaving. Take craft stick #2 and
turn it up so the side is sticking straight up. It will pull every other
warp thread up with it. The space between craft stick #2 and the open
warp threads is the "shed." This is where you will take the
beads through. Double your thread on a needle. Tie the doubled weft
thread onto one of the end warp threads and string enough beads to work into
the spaces between the warp threads. Bring the needle with beads through
the space the shed has made. Then drop craft stick #2 down that closes
the shed. The beads will be all over the place, little rascals, and you
will have to push them into the right spaces by hand. Once you have
accomplished this, push the beads close to the coil on the end of the loom and
pull out the craft stick you just used. String another line of beads.
You will be bringing the next strand of beads back through from the
opposite side. Pull down craft stick #1, turn it on the side, making a
shed, wrap the weft thread around the outside warp thread and then take it
through this shed. Then drop the shed and push craft stick #1 back to the
other end. You never have to remove craft stick #1, only craft stick #2.
Each time, you use craft stick #2, you will have to remove it in order to pull craft stick #1 down. Each time you use the craft stick #2, you will have to take it under and over the opposite warp threads from those of craft stick #1. There are other ways to set up sheds using little hand made heddles so you do not have to do the under and over process with one of the craft sticks each time but this is a start. You will quickly notice that all the beads do not easily set in their allotted spaces. The only way to get a tight fit is to do little bitsy sheds, 10 or so beads across, then do another shed with the next group of 10 beads or so and each time wrap the weft thread around the last warp thread of that tiny shed group before beginning the next little shed. You will have to do this with all tapestry looms, even the ones with automatic sheds if you want a fabric look. Otherwise, when you take the piece off the loom, some beads will move around and stick out or drop down. Only multiple shaft looms can manipulate larger areas across because there are four or more locking sheds created to hold many groups of beads in place.
You may see photos in ads of big long lines of beads being easily dropped down into a shed on a tapestry loom; this is misleading since you will have to work in small increments of 10 to 12 beads across to get that fabric texture. It is easier for the beads to line up after a few rows have been worked, however, they will still be loose unless worked in small groups. Claudia of Mirrix told me about working smaller sections at a time and to try double warp threads at least for the warp threads on each end as they would hold the beads in place better. This does help, however, that is more warp threads to weave back into the piece. I tried every way I could think of for a longer section with beads across in one movement but found only on the 4 shaft loom could this be accomplished. For tapestry looms and bead looms, small sections need to be worked at a time. Also, always double the weft threads since you are not going back through the beads a second time.
You may ask why do it if it takes just as long as the traditional way? The woven piece will feel more like a fabric and be stronger. It will have a different texture when touched. Also if you want to weave with small beads such as size 20/0 and smaller that you can not get a needle through twice, you can string them with a twisted wire needle and take then through in small sheds. This is one way you could make a miniature rug or other item with very small vintage beads. I have cataloged antique bags, 150 years old that were woven using both methods. Bags using the shed method were in much better shape than those worked with the thread carried back through the beads a second time. The weight of the beads were too heavy for just two threads to hold long lines of beads in place for over 100 years. Two threads through a strand is just not strong enough to last 200 years unless you go back through each row after weaving for strength. Even then it is not a solid fabric like it is when locked in through multiple sheds. When you work using tiny sheds for 10 to 12 beads across, you are imitating what a multiple shaft loom does. When you are working in small sheds like this, an automatic shed on a tapestry loom will not be of use to you. The automatic two shed method on tapestry looms are great for switching back and forth and adding fiber several inches or longer across the row. I often work in several long rows of yarn, then a partial of beads and use the automatic shed for that which switches back and forth between two sheds just like you did with the craft sticks but were working on a smaller scale. Automatic sheds make weaving long rows of fiber a snap since you do not have to pick between the warp threads like you do with the craft sticks. However, you do have to spend time preparing the heddles for the automatic shed. Experiment and let me know how you do.
Weave With Bugles
If
you want to weave with bugles, just leave every other dent (space between the
coil) open with no warp thread, this will give you room to weave with size #2
bugles. Keep in mind the bugles are going to face sideways when you put
them on the loom so plan your pattern with that thought in mind. I once
worked up a pattern for a bugle pendant, when I finished making it the pattern
was sideways instead of lengthwise because I drew the pattern as if the bugle
holes would set vertically. You may want a row of seed beads on each end of the
warp threads to make a more attractive edge.
Decorative Woven Tool Minder
Helen Banes taught me to weave on a
foam-core board, a technique called tapestry weaving, needle weaving and pin
weaving. Later I was introduced to loom weaving. I use both methods
depending on the item I am creating. Recently, I decided I wanted a
decorative wrist piece I could stick my needles and button pins on while I am
working, especially when I am out in public. Who wants to wear an ugly
pincushion at a restaurant or at your local bead or fiber meeting? Yes,
I often pull out my work while waiting for the meal to be served. I went
into my pile of samples I have created over the years and pulled out a pin
woven sample that was all neutral colored fibers. At one time it was going
to be a small wallet purse with a doll head, arms and legs. Not!
It is 2" in width and 7 3/4" long, perfect. I sewed a big button on one end and put an elastic loop on the other. Then I realized I needed a backing because the fiber "itched" me. I pulled out a soft thin piece of pigskin leather and cut it to the fiber shape. Then I used beading thread and sharps needles to stitch it to the back of the needle woven piece. Next I realized it was just too plain, it needed some Beadwrangler embellishment. I grabbed up some of my new bead crochet ropes and beading samples and stitched them to the middle of the piece. Now I had a wide pretty bracelet. This left both sides of the embellished piece for my needles and button pins. It still needed something, so I pulled out a large silver frog with a loop attachment and added it to the centerpiece. I had an aquatic friend to accompany me on my travels. Now when I am out somewhere and want to work, I can use this attractive bracelet as my tool minder. I used neutral colors so it would work with anything I wear. If I need color, I can just temporarily stitch an additional colorful doodad on for the day. However, they are so easy to make on the loom, I could make a variety of different colors for matching with my clothing. Take a look at my finished portable tool minder.
I have added more tiny sterling frogs and one with movable body parts, so this tool minder continues to transform. I made another tool minder using the needle weaving process and it looks completely different. You can also weave one on the loom and make the whole piece more uniform, have smoother edges and make it faster. The warp threads would be placed between the back of the woven piece and the leather backing. You find your time involved with the loom is placing the warp threads between the back of the woven piece and the leather backing and also keeping your warp even on both sides of the piece. With pin weaving, battling getting your fingers behind the warp threads and between the foam core board is the biggest problem. You can also use loom patterns for pin weaving. The same areas blocked in with color for fiber can be woven with beads too. It all depends on what finish you want; sometimes the pin weaving is favored and other times the loom. Try both methods yourself.
Diane Fitzgerald and Helen Banes co-authored Beads and Threads, and it is the complete reference book on pin weaving. Another book that is an easy introduction to basic pin weaving and offers fun easy patterns is Warped Women and Material Men by Donna Rhodes and Kathy Stachowicz. Helen Banes has published a new book on pin weaving book, Fiber & Bead Jewelry.
If you wanted to crochet or knit the main pieces and work them onto the woven piece, you could use the same basic concept, make freeform scumble pieces and then stitch them together on the woven piece. If you like to quilt, make a quilted piece, if you cross-stitch, make a cross-stitch piece. As to beading, you could bead a base of peyote or other off loom beading. If you weave the piece first, then take out all the pins form the woven piece and then attach the freeform pieces. You could also work some of the pieces in with the weaving, stitching some on as you go. What is nice about making a woven section first, is this becomes your canvas to work from. Either cover it all or use fancier yarns for the woven piece and leave areas to show through. This is a class I like teaching, starting with a woven piece and then combining other freeform pieces to it.
Backing: For wearing as a bracelet, you need a backing. If you have an aversion to leather, ultrasuede works well also and you do not need to fold the edges of it either as you do with other fabrics.
Beads and Fiber on the Loom Together
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Here is a piece I wove on the Mirrix Loom. The brown area is woven yarn, the gold yarn is crocheted directly to the warp threads. The black fiber was crocheted and then stitched to the piece. Beads were loom woven right next to the crocheted yarn on the warp. Then beading was added as surface work. The large butterfly glass bead is a gift from my beady pal, Diane Jones. I added buckram to the back and covered it with ultrasuede. I have whip stitched the pieces together and have not decided how I will finish it yet. This is a sample using techniques. This piece is small enough it could have also been worked on a bead loom. Knotless netting will give an appearance somewhat like crochet for those who do not crochet. Netting will take longer to complete. |
Planning Your Loom Woven Piece
When planning an all bead woven piece, make
sure you have enough warp thread length on each end for finishing. I had
to become very creative with a piece I wove and did not include long
enough warp threads for finishing. When you set up the warp threads,
it always seem to be so much, but when you begin to finish the dangles, you
have to have enough warp to weave back into the main piece just as you do with
some necklace strap designs. Also keep in mind, the more thread you
weave back into the piece, the more it bulks up.
Warp Thread
Warp threads can be very thin or thick
depending on what type of creation you are making. If you are working
with very thin warp threads and are going to incorporate the woven piece in
with other bead or fiber art and attaching threads onto the outside warp
threads, use 2 warp threads on each side of the loomed piece or use heavier
threads for the outside warp threads. Otherwise, your beads will be pulled out
of place around the edge. This is especially important when adding
crochet, knitting or other thick fibers to the warp threads.
Framing and Backing a Bead Woven Piece
I recently saw a large bead woven piece
framed and hanging on a wall. The entire top threads were pulling because of
the bead weight and eventually the threads will break. If you are going
to frame a large beaded piece, go to a professional frame and stitchery shops
that frame delicate pieces. They will help identify fibers for the backing
between the frame and the woven piece. This fiber backing should be thick
enough that there is no space between it and the frame back. This way the woven
beads are being held by the backing and frame and the threads in the woven
piece are not being pulled. It is important you use proper fibers for
backing since cardboard elements will destroy the fibers in the woven piece
after several years.
Freestanding Frames for Bead and Fiber
Art
I use various shaped frames for
wall-hangings and sculptures. If you have seen some of the bead art
books out such as The New Beadwork, you will have see innovative frames for
some of the beadwork. Three-piece shoji type screens are very adaptable
to bead and fiber art. You can have three frames in different sizes made
by a woodworker and then use hinges from your local lumber/tool supplier to
attach them together. You can purchase small hooks that screw into the
wood and hang your work from them. This offers you the choice of making
two different works on each side of each frame that are harmonious together or
a work that looks good on both sides. If your frames are deep enough you
can put in two sets of hooks to support each group of work. I make
attachment pieces so the whole piece can be taken out of the frame and another
item inserted. I will be including these techniques in my upcoming
book. With freestanding frames, you must take into consideration the
weight of the piece if it is all beads and plan extra supports to keep the
beads from slumping on the thread from the bead weigh.
Loose Weft Ends on a Bead Woven Piece
I do not always weave in the weft thread
ends that I attached to the outside warp threads until after I have finished
weaving the piece. I may want to use those loose ends for embellishment
or other decorative work. They can always be woven back into the piece if
they are not used for decorative work. It also allows more movement
between sections of woven beads for innovative additions of fiber.
Cabochons over Fiber
Some of my loveliest loom woven pieces have
cabochons added. Cabochons can be added using stitching and crochet
techniques with thread only or include beads. Glass cabochons that are
partially transparent and have some sparkly dichroic included are spectacular
over yarns. The fiber underneath will show through and give added
highlights to the cabochon. Your local glassmaker can supply you with a
variety of shapes and sizes. Don't forget gemstone cabochons also;
moonstone, citrine, opal and other gemstones that include transparent areas will
enhance your fiber. Your local lapidary shop can help you. If you
can find someone locally, you can take your fibers and match them to cabochons
or rough gemstone/glass material that can be made into cabochons.
Adding Wire As Warp and Weft
You can use wire for the entire
warp. Wire that is 28 gauge works well for weaving on the loom. You
can use 34 gauge for very small weavings. It is much softer and will ball
up easier than the 28 gauge while you are trying to warp the wire and weave
with it. If you also weave the weft with wire, when finished weaving, you
can mush the whole piece in all kinds of shapes. The ends can be worked
into little curlicues or more beads added for creating unique three-dimensional
shapes. You can take the whole piece and wrap it around a wide glass
bottle and then work the ends to form an attachment for a lid, more
embellishment or whatever you can dream up.
You can also warp part of the loom with thread, then stop, tie off the thread, warp wire 3 to 5 times, then tie the wire down, then warp again with thread. You can weave all the way across on thread and wire warps and when you take the piece off the loom, you can move the warped wire portion around for shaping.
You can also take wire pieces through a woven fiber area and warp thread
on
the loom, bring it back out and string beads, then take the wire through another
area of the fiber and out and string more beads for surface texture.
You can weave with 28 gauge wire, add beads and wrap it around a heavier wire that is shaped for wear around your wrist or neck. You will need 14 to 16-gauge wire in order to keep the shape. If you are shaping this thicker wire, use a metal piece such as a metal can to form the wire around. For neck shapes, you may need to search around for a found item suitable to shaping the wire. Once the wire is shaped, just wrap the woven piece around it. You can use a metal necklace form and work over it. I made a bracelet from wire and then crocheted with beads over it. A multiple wrap bracelet can be formed around a standard size can of soup (USA ). Make sure the can is still full while forming the bracelet. Take a look at my bracelet here. A bracelet like this can be formed around a soup can.
Tired Hands &Wrists Tip
I usually work 14 hours a day, sometimes
16, seven days a week, so my hands and wrists occasionally hurt at the end of
the day. I find Solarcaine Aloe Extra Burn Relief helps immensely. I apply a
dab to my wrists and rub it in at night. I have tried lots of arthritis
products but nothing works as well for me as this product. If you
crochet, bead or use our hands regularly for other craft/computer work and your
hands, wrists or arms begin to ache, you could be developing carpal tunnel
syndrome or other related problems. I have had carpel tunnel surgery for
both my wrists many years ago and do not want to have it repeated. I switch
techniques around, crochet for a while, bead some, weave a little, type in
website data on the computer and answer email, so my repetitious movements have
some variations and are not as likely to become painful. If you
find you having pain daily with your craft/computer activity or pain each time
you start to work on any project, get a medical check up right away.
Waiting too long could leave you with permanent nerve damage in your hands and
wrists. Ointments, creams and glove/wrist protectors are only for
occasional minor irritations and arthritis, not for daily continuous pain,
which is not normal.