May 2009

  • Empty Nest Syndrome

    Mother's Day 2009 - baby robins hatch right outside my front door! And I have a perfect "bird's eye view" from my bedroom window!

    I didn't go near the nest for the first week as I didn't want to discourage Mom Robin from hanging out and keeping their little pink bodies warm! But toward the end of the week, she left them unattended quite often as she searched for worms and other treats to bring back to her chicks.

    Here they are - just 7 days old!

    10 days old!  My husband decided to help out a bit, gathered worms from under flower pots and left them in a dish near the nest.

    11 days old! The chicks are really growing and changing fast now - I hardly recognize them from day to day!  Look at that beautiful little wing.   

    On day 12 it's starting to be very tight quarters!  I can't believe all four chicks can still fit in the nest together.

    Day 14 and look how much they have grown and changed. Aren't they the cutest little robin chicks you ever saw!  I love those little white tufts on their heads which are left over from the day they were hatched.

    Definitely getting too crowded!  The chick standing spent a couple hours fluffing his feathers and then, just two weeks from the day he was born, he flew off with Mom to learn the ways of the world outside the nest!

    Day 15,  only three chicks in the nest.

    And then at mid-day another chick takes off with Mom to join his sibling hiding somewhere in our mini forest. So now - two left in the nest.  And with all that room to stretch out and Mom still bringing 50 meals a day, they don't look too eager to leave the comfort of their newly expanded living quarters.

    But Mom had other ideas and by noon of the 16th day, only one little chick remained.  I worried that Mom Robin would leave him there all by himself overnight - but within just a couple hours she returned for her last little chick.

    We can hear our robin family making sweet little robin sounds in the forest. Mom Robin sounds just like a "Mother".  And the chicks?  Well - they sound just like typical, playful little chicks!

    I am left with an empty nest and memories of one of the more exciting two weeks of my life! I miss the chicks already.

    I wish each of you the opportunity to watch baby robins grow at least once during your lifetime.

     

  • Embellishing your beautiful punched "tin" butterflies!

    Thank you for all your comments on the Butterfly post!!! I am so pleased that many of you are going to make punched "tin" butterflies!  I hope you will send me pictures -  PLEASE!  Or post them on Flicker and send me a link!

    Before I begin talking about embellishing butterflies, I want to share a couple tips that were left as comments on my tutorial for making punched "tin" butterflies.  These are very useful tips and I wanted to make sure no one missed them.

     ~ Rubbing alcohol will easily remove Sharpie ink from any metal you are working with.

     ~ Blunt the end of the nail you will be using to punch indentations into the metal.  You can blunt the nail by placing the tip on a piece of concrete and hitting the head hard with a hammer.  Using a blunt nail will make it harder to punch all the way through the metal. (Be sure to keep an "un-blunted" nail around for when you want to punch a hole.)

    Embellishing butterflies (or any punched "tin" creature) can be as simple as gluing a body and a couple decorative beads on the wings.  (Sorry the "decorative" beads are hard to see - it's a pain photographing reflective metal!  The beads are clear and "hidden" in the center of the lower wing sections!)

    Embellishing can also be more involved and can even employ several techniques together on the same butterfly. 

    For once, I am going to try to keep this short and simple.  My intent is to stir up your own creativity.  I am sharing a short tutorial on bead embroidery, a few photos, and you should be ready to create your own swarm of fabulous butterflies!

    BEAD EMBROIDERY ON PUNCHED METAL

    Make your butterfly following the instructions in my previous tutorial on making punched "tin" butterflies.  Determine the points on the wing where you wish to place beads and mark those by punching a hole all the way through the metal.

    Select your beads.

    Cut a piece of that trusty old 28 gauge galvanized picture wire about  4" longer than the length of the design you are planning to embroider.

    You may want to have a pair of wire cutters used in jewelry making handy;  but it is not necessary to use them as you can easily cut the 28 gauge wire with scissors.

    Place one end of the wire through one of the holes punched for a bead.  Allow about 2" of the wire to extend beyond the hole on the back side of the wing and temporarily secure it with a piece of masking tape.

    When I use a larger bead, I like to minimize the amount of wire that will show by placing a very small seed bead at one end of the bead hole.

    Thread both beads onto the wire - the larger bead first followed by the seed bead.

    Place the wire back through the hole in the larger bead.

    Pull the wire from the back side to take up the slack.  Notice how the seed bead is holding the larger bead in place but is practically invisible.

    Now, push the wire from the back side through the next hole marked for a bead and pull up the slack from the front side.

    Now I am going to use a smaller bead so the technique is quite simple.

    String your wire through your bead and back down through the hole in the metal.  Pull up the slack.

    Note:   You can also use this same method with larger beads.  With a little practice you will be able to pull up the slack while keeping the hole drilled in the bead parallel to the surface of the metal. Not necessary, but gives a little cleaner finish.

    Continue adding beads until you have attached the last bead.  Bring the two ends of the wires together and twist several times to secure.  Clip the  wire.

    The galvanized wire is so small and is nearly the same color as the metal.  I have no problem with it showing on the back of my pieces.

    Add your body and antennae.

    MORE IDEAS FOR EMBELLISHMENT!

    Glitter!  I've never tried it before - but it works great!

    Instead of punching the design into the metal, draw your design on the back side of your wing and then lightly emboss using an old dried up ball point pen.

     

    You are ready to add glitter following the embossed lines on the front.

    Done!  I kept it simple because, as you can see by the wiggly lines, I have had very little experience with glitter!  But I love the way it looks!

    What! No antennae?  OOPS!

    I was so inspired, I grabbed a completed butterfly out of my stash and added a few little glittery accents! There is more glitter in my butterfly future!

    Coiling gizmo for the ultimate body!

    Diane made me this little butterfly years ago using the coiling gizmo to create the body. Lucky for you she wrote a tutorial for using this ingenious little tool

    Wire embroidery - which you can probably figure out just looking at the next photo and reading the tutorial on bead embroidery!

    To embroider your butterfly, you will need 24 gauge colored wire, a lovely, indispensable little tool used in jewelry making and wire work called nylon jaw pliers, and a pair of wire cutters.

    Punch your embroidery design into your butterfly wings making sure that you punch completely through the metal.  I used a running stitch so I punched two holes very close together and then a space and then two more holes close together along the entire design line for the embroidery.  See photo above. 

    Start just as shown above in the tutorial for bead embroidery, securing one end on the back side with tape.

    Now, simply pull your wire through one hole at a time, always taking up the slack.  Keep a close eye on the back side, because the wire likes to slip once and a while.  Check after pulling up slack on every hole and then hold the wire in place with one hand while embroidering with the other.

    When you reach the last hole punched for the design, twist the two ends of wire together.

    Note:  Nylon jaw pliers is a fabulous tool for securely holding your wire as you pull up the slack.  It also is great for straightening your wire if it gets small bends in it. Find a nice little tutorial for straightening wire here.

    Note:  Because the colored surface of the wire can be stripped off, I usually embroider small sections so that I am working with short pieces of wire.  In making the butterfly above, I used a separate piece of wire for each line and each loop.

    Painted butterflies?  Certainly!

    Simply grab that stash of Sharpies and have fun! 

    I actually lightly embossed the design from the back for the butterfly above tracing lines I had drawn with a black sharpie.

    Those of you who can draw may want to simply "paint" the design free-hand. 

    Or you can trace a design from a book or magazine using Diane's method for doing just that in her Craftstylish tutorial for her Embossed Pet Frame.

    I wasn't too crazy about my design at first and almost "erased" it - but it's  growing on me!

    Mix it up!  Try new ideas!

    I created a really radical wing design and added beads to the wings. Then I pulled wire through holes punched in the bottom wing sections and formed it into coils. Finally, I added a couple tiny beads to the wires coming out of the bottom of the body bead.

    There are so many, many possibilities!  I hope some of you will share your own ideas for embellishing your beautiful butterflies!

    I am working on one more related post featuring punched "tin" creatures and lots of ideas for using all those butterflies you are so busy making! I will share these ideas with you soon!

     

  • How to Make Punched "Tin" Butterflies

    Punched "tin" butterflies are almost always fluttering about somewhere in my home or garden!  I never tire of making them and my enthusiasm has resulted in a rather large collection. (Huge - actually!)  So consider this fair warning - they are addictive!

    In addition to the instructions below, it may be helpful to review the tutorial for making Punched "Tin" Light shields posted last November as the techniques are quite similar. 

    Note:
    When I make butterflies, I usually use aluminum roof flashing mainly because I bought a 10' roll when I started making butterflies and I still have many feet left to play with! I have also made them with sheet tin.

    Since several crafters have asked if aluminum pie plates or other aluminum food containers can be used for my metal projects, I made a butterfly out of a pie plate I saved from it's certain journey to the dump last weekend. I am thrilled to report that aluminum food containers are an excellent resource for punched "tin"butterflies (and other creatures), as well as light shields, and espejitos.  A picture of the "pie plate butterfly" appears at the end of this post along with a few notes about using aluminum food containers.

    This is NOT a craft for young children.  I would recommend that children be at least 10 years old and have adult supervision, especially while cutting the metal shapes.

    LETS GET STARTED!

    Assemble your tools and materials:

    ~metal material of choice (sheet tin, aluminum flashing, aluminum food container, tooling foil)
    ~tin snips
    ~heavy duty nail scissors
    ~light weight hammer
    ~standard 2" framing nail
    ~Sharpie
    ~acetone and cotton balls
    ~long narrow bead for body (the hole must be large enough to hold 2-24 gauge and 1-28 gauge wires)  Because so many of you are having trouble finding long narrow beads, I have added links at the end of the post to my favorite mail order bead store.  The 26mm ovals and larger are almost never stocked in the average bead stores.
    ~24 gauge wire  (about 12")
    ~28 gauge galvanized picture wire  (about  12")

    And don't forget safety!

    ~protective eye wear
    ~heavy gloves
    ~piece of wood (mine is about 8" x 12" x 3/4" thick)
    ~metal file (optional)

    Making butterflies!

    I make up most of my own butterfly patterns by folding a scrap of paper in half and drawing a wing shape beginning and ending on the fold.  You can also trace a pattern from a picture in a book.

    Cut out the shape, open it up and you will have a perfectly matching pair of wings to trace onto your metal.

    Cut a piece of metal a little larger than your wings and then trace your butterfly wing pattern directly onto the surface of the metal using a Sharpie.  (I have used a pen with a thick tip for illustration, but I usually just use a fine point when I trace my pattern.)

    Next, draw in the design. For reference, notice that I have duplicated the design I used on the completed butterfly.   I like to keep my designs simple and draw them freehand right onto the metal with the Sharpie.  (You can always erase with a q-tip dipped in a little acetone.)

    Note: If you are using food container aluminum and really don't want to use acetone, you can remove the sharpie ink with a damp rag but you will need to do more rubbing than when using acetone, and it is harder to get the ink out of the holes.  If you are using other metal, you will need to use acetone to remove the ink.

    There is no limit to the wing shapes and wing designs you can come up with! Here are three different design possibilities for the same wing shape.

    I keep a packet of my butterfly wing patterns in my craft file, and I record every wing design in a little note book for those days when my crafty genie is off duty!

    Place your "butterfly" on the piece of wood and, using the hammer and nail, punch indentations into the surface first following the wing outline and then following the design lines.  Tap gently and try not to punch a hole completely through the tin - but if you do, it is not a problem.  I have made many, many butterflies and I still punch holes about 20% of the time.

    Practice on a scrap of metal to get the feel of how much pressure you need to use to get an indentation.

    Remove the Sharpie lines using acetone (or a rag dampened with water if you are using an aluminum food container).

    Now is a good time to put on your protective eye wear and heavy gloves.  Tiny pieces of metal can become airborne when you least expect it, and metal edges are sharp and can, if not handled with care, deliver a nasty cut. (I have never cut myself, but I handle the metal objects carefully and I am always mindful of the potential for a cut.)

    Cut out your butterfly following the wing outline indentations.  Cut just outside the line of indentations that mark your wing outline.

    I have deliberately chosen this particular butterfly design because it gives me the opportunity to demonstrate several useful cutting techniques. 

    Straight lines or gently curved lines, such as the line being cut in the photo above, can easily be cut with tin snips.

    Sometimes, it is easier to cut along a line by turning the metal over and cutting from the back side. Notice in the illustration above that I have cut the first half of the wing with the front facing toward me and then turned the metal over and am cutting the other side of the wing with the back side facing me.

    Once the simple areas of the outline have been cut, I suggest you cut very close to the more complicated edges of the outline as shown. Taking this step will make it much easier to cut out intricate shapes.

    Now get out those nail scissors and cut a slit, as shown above, at each deeply curved part of the design.  Also cut slits wherever there is a "V", cutting right down the center of the "V" to the point.

    Now you can cut those tight little curves easily by cutting one half of the curve from the front side and then the other half from the back side.

    I like working with nail scissors because they usually have a little curve to the blades which assists you in going around tight curves. In the illustration above and the one below, notice the relationship of the curve in the scissor blade to the curve in the design.

    Once your butterfly is completely cut out, check for ragged little edges or other sharp places and either re-cut to remove them or smoothe them with the metal file. (I did notice that the pie plate butterfly had the smoothest edges.)

    Holding your butterfly wings in both hands, gently pull the wings up toward you to create a slight "V".

    You are now ready to add the body, antennae and "tie wire"! (I am showing you two different methods for attaching the body and "tie wire".

    Select a bead for the body.  Most of the beads I have in my "butterfly body stash" are between 17mm and 27mm long and are 6mm to 8mm wide.

    I like using colored wire for the antennae.  Cut two antennae 5" long.

    Galvanized picture wire is inexpensive and a great choice for the "tie wire".  I also use it for bead embroidery which I will cover in the next tutorial on embellishments. You can find it in the DYI picture framing section of most hardware stores.

    Method #1 - attaching the bead body and tie wire

    Place the three wires through the bead hole leaving equal lengths exposed at both ends of the bead.

    Punch two holes in the metal, one near the center top and one near the center bottom.Pull the two ends of the galvanized 28 gauge wire through the holes as shown above.

    Gently shift the bead until it is lying evenly between top and bottom, pull the galvanized wires tight so the bead is lying flat against the wings, and twist together on the back side to hold the bead securely in place.

     

    Form the 24 gauge colored wires into antennae and coil the bottoms or leave straight.  If you wish, you can place a drop of glue in the bead holes to hold them in place.

    Method #2 - attaching the bead body and tie wire

    Punch two holes side by side near the center point of the wings.  Pull the 28 gage galvanized wire through the two holes and twist together at the back side. (If you are planning to glue the butterfly to another surface, such as a napkin ring, delete this step.)

    Pull the two colored 24 gage wires through the bead as shown above. Form the antennae and coil the wires extending from the bead bottom.  Place a line of glue along the center of the wings and carefully set the bead in place.  A drop of glue in the hole will hold the antennae wires in place.

    USING AN ALUMINUM PIE PLATE!

    1. Deconstruct the pie plate!

    2. Follow Diane's instructions for smoothing out the ridges on the plate bottom provided in her Craftstylish tutorial on Making a Pet Shrine.

    3. Draw, punch and cut your butterfly using the instructions given above.

    Punching and cutting completed! Add a bead body and "tie wires".

    A beautiful butterfly made from an aluminum pie plate!  I happen to love the slight curve in the wings that I got using the pie plate.


    Don't miss the next tutorial!  It's all about embellishments!

     

    Added June 2010 :  A good bead resource for long narrow oval beads.

    Fire mountain Gems and Beads

    My favorites are the transparent Czech Glass Beads which are at the bottom of this page  Click on any color to see the complete assortment of shapes and sizes available.

    This is the bead I use the most - 26mm oval Czech Glass bead.  It comes in several colors transparent as well as the opaque and auora borealis finish.

    For longer bodies, Hairpipe beads are great!  They can be 11/2" to 4" long!

  • Generations



    Great grandmother:
    Grammie

    Grandmother: Gwen

    Mother: Julieanne

    Me!

    Children:  Diane and Mike

    Grandson: Joey


    Happy Mother's Day everyone
    !

  • "Weaving in progress" - Tutorial - beyond the basics

     

    Welcome to the second tutorial for "weaving without a loom". In this post, I'm covering techniques for changing threads, adding buttons and other helpful tips to add texture and interest to your wall hanging.

    We'll begin with how to change yarns.

    1) Holding the ends of the old and new weft yarns together as one, begin weaving them through the warp.

    2) When you reach the end of the old weft yarn, pull the new weft yarn (the orange yarn in this picture) through the warp...

    ...until it is overlapping the old weft yarn by about three inches.

    3) Continue weaving with the new (orange) weft yarn. Take care to hold the end of the new yarn securely in place as you pull the new yarn through the warp yarns. When you have finished weaving the row, be sure to beat the weft (as we discussed in my previous tutorial). Continue weaving with your new yarn.

    Sometimes you may wish to add just a small piece of decorative yarn to the weaving to create interest or texture. Easy to do!

    1) Weave a row to the spot in the weaving where you want to add a little excitement. I am using a short piece of white boucle yarn to create a few little white puffs here and there.

    2) Put the end of the weft yarn and one end of the short piece of fancy yarn together and weave them together for a couple of inches.

    3) Pull them through the warp yarns together until the end of the short yarn is even with the spot where you started weaving them together.

    4) Hold the end of the short yarn in place while you pull the rest of the of the weft yarn through the warp to take up the slack.

    5) Continue weaving both together until you reach the end of the short yarn. Holding the small piece in place, pull the weft yarn through the weaving to take up the slack.

    6) Once you have completed weaving the rest of the row with the weft yarn, beat the weft yarn and the small piece you have added into place. The ends usually disappear into the weaving, but if you like, you can make sure the ends disappear by placing them behind a warp yarn.

    7) Depending on the yarn, you might want to gently tease pieces of it out of hiding.

    Much better! Now I can see all those cute little puffs.

    When I am weaving, I am almost never satisfied with the yarn selection I have to work with. I love to play around with my yarns, creating new ones by twisting two or three different yarns together.

    Here I have twisted together a thin mohair boucle yarn and a gently-twisted "felty" yarn to create a thicker, more textured strand.

    This is not difficult to to do - just put two pieces of yarn together, twist and weave. Experiment with your stash and have some fun creating new yarns.

    Here is another example of using two pieces of yarn together as one. In this case, I am using two colors of 4-ply yarn. As you can see, sometimes only one color will show and sometimes both. Makes things more interesting! I love the suspense of not knowing until I beat the weft what results I am going to get!

    Another little trick I like to use is to float the weft yarn over several warp yarns. When the weft is lying on the surface of the weaving, it tends to show up more.

    Notice how much brighter the turquoise yarn appears where it is floating over the warp yarns.

    Thick slub yarns and roving can get hidden in the weaving, so I usually try to float a few of them over several warp yarns.

    I like the top row of roving in this picture so much better than the bottom row. Floating the roving weft helped hide all those warp yarns.

    By floating the orange weft over three warp yarns and under one, over three and under one....

    ...I can increase the intensity of the yarn's color.

    OK - OK - I know... what you really want to know is how to add those beads!

    1) Begin by weaving two pieces of yarn together for one full row. (One piece of yarn should be thin enough to fit through the eye of a needle.) Contnue weaving a second row to the point in the weaving where you want to place your bead.

    2) Allow the thin yarn to dangle while you continue weaving with the other yarn to a point equal to the width of your bead. Pull the yarn through to take up slack.

    3) Select a needle that will fit through your beautiful bead and thread the thin yarn onto the needle.

    4) Pull the needle and yarn through the bead hole and remove the needle.

    5) Bring the yarns back together and continue weaving to the end of the row.

    6) Beat your weft, especially around your bead, and then continue weaving using the same two yarns for at least one or two more rows.

    I don't know if this is the best way to do this, but so far, nothing has fallen off! And I just love how my beads look, especially the big, amber colored agates.

    I hope some of you will make a wall hanging and send me a picture. I would love that.

    And, again, if you have questions, please ask. I will do my best to help.

  • "Weaving in progress" Tutorial - the basics

     

    This is the second in a series of three weaving posts and the first of two tutorials.

    This tutorial covers "loom" construction and basic weaving technique. The next tutorial, called "Beyond the Basics," covers adding yarns, weaving in beads, floating yarns, adding small pieces of yarn, and twisting yarns together to create a new yarn. (That one will be posted tomorrow.)

    Don't be put off by the length of this tutorial. This is a very easy project! Many of you will be able to look at the pictures and get a clear idea of how to do this. However, for those who have never had any experience with weaving, I have tried to be as thorough and detailed as possible.

    I mentioned in the first post that the design and nature of this weaving process won't even allow perfection! It's my hope that you will simply have fun and accept every imperfection, every missed warp, every uneven space and every meandering row of weaving as an important element in the overall design!

    One more thing: I'll be using the terms "warp" and "weft" throughout these tutorials. Warp refers to the long, vertical yarns that are wrapped around the branches. Weft refers to the horizontal yarns that are woven through the warp yarns - that is, the blue, orange, white and brown yarns in the picture above.

    CONSTRUCTING THE "LOOM"

    Notes:

    For the top and bottom parts of this loom, you can use almost anything - from old broom handles to discarded pipe, as long as it has some weight to it. The weight of the bottom piece is what holds your warp yarns taunt during the weaving process.

    Since I used branches that fell from the firs and big leaf maples on our property, I will refer to the top and bottom pieces of the loom as "branches" throughout this tutorial.

    If you choose to use tree branches, be sure to remove the bark to prevent creatures hidden under the bark from finding sanctuary in your home! (I found a millipede hiding under the bark of one of mine.) Also, use garden pruning shears to remove small side branches, cutting as close to the main branch as possible.

    You can determine the length of the branches and the distance between them according to the size of the weaving you are planning to make. I guessed at the length of the branches and ended up having to cut them down after I completed my weaving. But I suggest you NOT follow my example. - measure first, especially if you have a specfic area picked out for display.

    For reference, my "loom" measures 4' from top to bottom and the branches are about 30" long (later trimmed to 22"). The weaving itself is about 14" wide.

    Constructon:

    1) Cut a piece of twine about 30" long and tie it near each end of the "top" branch. Hang it from a couple picture hangers attached to a wall.

    2) Tie the two branches together as shown above, using wire or strong twine or rope. The side wires are not structural and we'll remove them as soon as we complete the warping . Their only purpose is to hold the two branches in place until the "loom" is warped.

    WARPING THE "LOOM"

     

    Notes:

    I'm using a "fancy" yarn here that looks more felted than twisted. It's not quite as thick as a standard 4-ply yarn. You can use anything from perle cotton to 4-ply yarn as a warp yarn.

    The spacing between the warp yarns will be slightly uneven and may even shift a little during weaving. This is not a problem.

    Create the warp:

    1) Mark the midpoint of the top and bottom branches of your "loom". You can use a pencil mark, or if you need something more visible, a fine-point marker.

    2) Decide how wide you'd like your finished weaving to be. Divide this figure in half, and measure out from each side of that midpoint mark you just made. Make a mark where each edges of your weaving will be.

    3) Tie the end of the warp yarn to the bottom branch of your "loom", either at the left-hand or right-hand mark you just made. (Some weavers feel more comfortable warping from right to left, and others, vice versa.)

    4) Begin wrapping the warp yarn around and around the top and bottom branches, moving from the marks on one side of your "loom" to the marks on the other side. You can space the yarns as you wish - grown-up weavers are usually comfortable working with 8 to 10 warp yarns per inch. Young children are usually more comfortable working with 4 to 6 warp yarns per inch. (And keep in mind that every time you wrap the yarn around a branch, you create two warp yarns.)

    5) As you wrap, try to keep the warp yarns evenly taut across the weaving area. Watch that you don't create slack in the side wires by pulling the yarns too tight, or allow the yarns to become too loose. However, expect some play and uneveness in the tautness of the warp yarns.

    6) When you have finished wrapping, tie the yarn to the bottom branch and cut it, leaving about 6" beyond the knot.

    7) Remove those wires you installed at the beginning of the project. The warp yarns are now holding the branches in place.

    YOU ARE READY TO BEGIN WEAVING!

    Notes:

    Notice that I began the weaving process using a flat shuttle. A flat shuttle is a weaving tool with a notch at each end, which carries several yards of yarn. Within five rows of weaving, however, I decided that using my fingers worked much better, at least for me. I'm leaving pictures of both methods in this tutorial, because the techniques are basically the same - just different tools.

    You can use almost anything you have lying around, from fine yarns to bulky yarns and pencil roving, as your weft yarns.

    Begin weaving:

    1) Near the bottom of the warped "loom" begin weaving the first row of weft yarn: over, under, over, under, over...the warp yarns. You can begin with "over" or begin with "under", and you can begin at either side. Be careful not to skip any warp yarns.

    2) In the picture above, I've placed the shuttle in front of (over) the warp yarn in my thumb, and am about to place it behind (under) the warp yarn closer to the wall.

    3) Here, I've placed the shuttle over and under two more warp yarns.

    4) Now I'm pulling the shuttle through the yarns...

    ...Until there is no slack left in the weft yarn. Be sure to leave about a 10" piece of yarn extending beyond where you began the first row.

    5) Your weaving should look like this when the first row is complete.

    6) Now begin weaving back in the opposite direction. If your last weft yarn passed under the warp, begin the new row by bringing the weft over the warp - or vice versa.

    Continue weaving over, under, over, under.... This new row should be woven opposite to the one just below it.

    7) When you've finished weaving the second row, beat the weft yarns to close the gap between the rows. (As you weave, you'll want to beat each new row of weaving, by the way.) Depending on how hard you beat the warps, you'll end up with a looser or tighter weave. Experiment and see what you like best.

    I started out using a weaving comb for this task, but because my warp yarn is so loosely spun, its fibers got caught in the narrow wooden openings. So I tried using something I knew wouldn't tear the fibers and that everyone would have at home...

    ...A dinner fork! And it works beautifully. The spaces between the tines are wider than the wooden comb and can accomodate the thicker yarn.

    8) Remember how I said that this style of weaving won't be perfect? Notice that the warp yarns are NOT evenly spaced here. Notice too that where the warp yarns are closer together, they tend to be more noticable. Where the warp yarns are spaced out, the weft yarn becomes more prominent. All of this adds interest and texture to your weaving.

    9) As I said earlier, you can use almost any thickness of yarn you want. I happen to have this piece of heavy, thick yarn left in my stash. I purchased it from a weaving shop 35 years ago. I felt it would add visual weight to the bottom of the weaving, so I cut a piece a little longer that the width of the weaving and - well - this is the point at which I discovered that it is much easier and more fun to weave with my fingers! There is no way I would be able to insert this big, thick piece of yarn into the weaving with that shuttle!

    Here it is! I have left the ends just hanging. Works for me!

    And now a little finger weaving!

    9) Use your fingers to work the weft yarn over, under, over, under the warp yarns. In no time you will develop your very own technique to move the weft yarn through the warp yarns.

    You may find it easier to weave the weft yarn through several warp yarns at a time or you may prefer to work with one or two warp yarns at a time. Just play with it for a while, you will find your own style and rhythm.

    First five rows completed! The thick yarn did what I wanted - it added weight to the bottom of the weaving. It also left things a bit uneven. However, after several more rows of weaving, things straightened out. I would simply beat the "valleys" lightly and the "hills" harder! (Refer to the close-up photo at the bottom of the post.)

    10) Here is a close shot of what your weaving will look like using standard 4-ply yarn.

    11) When you are pulling your weft yarn through the warp yarns, be sure to hold onto the yarn at the edge. That will keep you from pulling it too tightly - if you pul too tightly, you'll draw the edges of the weaving in toward the center. And that will give you a rather hourglass-shaped weaving. It's not necessary for the weft yarn to be tight. Try to keep it straight, but let it gently sit in the warp threads.

    Note:

    This is a good place to observe a couple things that you can expect as you weave:

    - Notice that where the warp yarns are closer together they become more apparent. And as they are spread further apart, the weft yarns almost hide them.

    - Notice that the weft yarns tend to compact during the beating process when the warp yarns are more widely spaced. If you want your rows to remain fairly straignt, beat the widely-spaced area gently and use more force on the tightly-spaced sections.

    12) Here's an alternative way to create the edges of your weaving. If you don't like weaving back and forth to make straight edges, you can leave the weft yarns extending beyond the edges of the weaving. You can also weave one row at a time and leave both ends extending beyond the edges. (That's an easy method for children). Or, as in the piece above, I've left about half of the weft yarns extending beyond the edges of the weaving. Once you've finished your weaving, you can be trim these ends or leave them uneven, to become a fringe along the sides.

    I have tried to make this tutorial as clear as possible, but if you have any questions, please ask!