sett for overshot brands

I was recently weaving an overshot pattern that used 10/2 cotton for the warp/ground weft and 5/2 cotton for the pattern weft. I also have a few cones of 3/2 cotton, but I didn’t know if they’d be too big compared with the 10/2. I have a large collection of 8/2 yarn as well, would the 5/2 yarn be better suited as a pattern weft for a project that uses 8/2 for the warp/ground instead? Are there any guidelines about what size yarns work best as the pattern weft for overshot versus the warp/ground weft?

Too many variables (the yarns, the specific overshot draft, and the desired hand of the fabric) are involved to give a single rule of thumb for pattern-weft size vs ground warp and weft size in overshot. Probably the most common yarns/setts for contemporary overshot fabrics are 10/2 cotton for warp and tabby weft at 24 epi and either 5/2 pearl cotton or 3/2 pearl cotton for the pattern weft. The fabrics woven with these yarns/setts are usually sturdy fabrics in a weight suitable for placemats and towels. 3/2 pearl cotton would also work (and not be too heavy) for the draft you’re using with 5/2 cotton, unless the pattern-weft floats are very short (this would be for a delicate design, usually looking very twill-like). In that case, the 3/2 pearl cotton weft would not pack in well enough and you’d see streaks of the tabby weft between pattern picks. By the same token, if your overshot design has long pattern-weft floats with large blocks of pattern, a 5/2 pearl cotton pattern weft is likely to be too thin to cover the blocks; in that case, you’d also see streaks of the tabby weft between pattern picks.

Wool pattern wefts have the capacity to full to cover the blocks with wet-finishing, so their size can vary depending on the nature of the wool. With 10/2 pearl cotton warp and tabby weft, I like using Harrisville Shetland (its heathered colors add to the effectiveness of an overshot design) or other 8/2 wools. These fabrics (cotton ground cloth, wool pattern weft) are also usually sturdy, with a hand similar to colonial coverlets. If a soft fabric is desired, as for a shawl or scarf, wool, wool/silk, or silk would be good choices for warp and tabby weft. For a soft overshot fabric in all wool, the sett should be as for plain weave, but open enough that the wool threads have room to swell with fulling. For a wool pattern weft to show well on a wool ground cloth, it should be two to three times as heavy as the ground warp and weft. I’d follow that principle for silk, too: Sett the warp as for plain weave and choose a weft two to three times as heavy as the the ground yarns.

8/2 cotton is usually sett at 20 ends per inch for plain weave. 3/2 pearl cotton would be a good size for the patten weft, but it is mercerized whereas the 8/2 cotton is not. The contrast between the sheen of the pearl cotton and the matte finish of the 8/2 cotton might work well, or might not. You’d have to sample to see. Another option is to use the 8/2 cotton doubled for a pattern weft.

I am currently weaving a tablecloth with a 10/2 cotton warp, a 20/2 cotton tabby weft, and a 6/2 cotton pattern weft. I’d like to do a series of scarves with the remainder of the warp using a finer silk for the pattern weft but I am curious about the effect it will have on the pattern, Lee’s Surrender. I am assuming the pattern will be squished down and distorted rather than the neat exact squares and curves in the current piece, but it may make for an interesting effect in a scarf.

Usually, overshot is woven with a warp and tabby weft of the same size and a pattern weft that is two to three times heavier/thicker than the warp and tabby weft. In your tablecloth, you used a finer tabby weft than the warp yarn. Sometimes this is done in order to make it easier to beat in the tabby and pattern wefts so that the pattern weft covers the pattern area without showing streaks of tabby weft. This might especially help when weaving a wide piece like a tablecloth or coverlet (it takes more force to achieve the same number of picks per inch in a wider piece than in a narrower piece).

If you were to use the same warp yarn for a scarf and make the pattern weft finer, the pattern weft would be unlikely to cover the blocks showing pattern—you would see streaks of tabby weft between pattern picks (your 6/2 cotton pattern weft is already fairly fine for a 10/2 cotton warp). I"m assuming you would be using only a section of the warp for a scarf, since a scarf would be narrower than a tablecloth. What you could do is tie on a finer warp to the section of 10/2 warp you want to use for the scarf, and after the warp is beamed, re-sley to a closer sett. Overshot can make a lovely structure for a scarf, but usually in finer yarns than 10/2 cotton. The scarf shown here is woven with a 30/2 silk warp (at 28 epi), a 30/2 silk tabby weft, and a 20/2 silk pattern weft. A 20/2 cotton warp, 20/2 cotton tabby weft, and 10/2 cotton pattern weft would also make a beautiful scarf weight. If you do use your 10/2 cotton warp, I"d stick with the 6/2 cotton pattern weft.

The second part of your question has to do with whether or not using a finer pattern weft would distort the pattern. With overshot, you can always adjust the appearance of a pattern block (its height) by adding or subtracting pattern picks. Most overshot motifs are designed to be symmetrical (as tall as they are wide). Always allow some extra warp for sampling until you can determine the number of pattern picks (alternating with tabby) required to achieve symmetrical motifs ("weaving to square").

People generally learn to weave with plain weave. To start the project we need to explain the sett. We wrap the yarn around a ruler, count the threads in one inch, and explain that we call the measurement the yarn size or grist or diameter (d) in wraps per inch (wpi) and that we will use half that number for our sett in ends per inch (epi) because our finished product will have half warp and half weft; then we hand the rulers to the students and let them try, admonishing not to overlap the threads and not to leave empty space in between them, as show below.

As the old saying does, “you gotta start somewhere”. We may mention that we will explain for future projects how the sett varies, but first impressions are powerful.

So, there was the time we used a 5/2 cotton sett at 16 epi – and 16 epi became “the sett” – for everything (“you told me to sett it at 16”); or the time that we used 3/2 cotton sett at 12 epi in a 12 dent reed and the conclusion was that the reed determines the sett, and not the other way around.

Those are rare instances, no doubt, but I do think that beginning weavers sometimes are looking for a magic number. “What’s the sett for 10/2 cotton?” asks the e-mail. Ah, if only sett were that simple! But with a bit of thought and understanding, it doesn’t have to be that hard, especially since we have some leeway.

For twills, a rule of thumb is that balanced twills should be sett at least 20% closer than plain weave. For that 5/2 yarn that we sett at 16 epi for plain weave, we would use 20 epi for a twill.

Unit weaves form lacey blocks and plain weave. You may read that lacey weaves should be sett more openly, the same or closer than plain weave. All of those are true and the sett varies on the proportions of these. If there is a lot of plain weave, we may want to use a more open sett to accentuate the lacey areas; if there are a lot of lacey blocks, then the sett should be a bit closer because the floats can make the fabric unstable. A huck lace that has all lace and no plain weave (except the selvages) using 10/2 Tencel® usually sett at 24 epi for plain weave, I may sett it at 26 epi.

Supplementary weaves have a ground of tabby, but the supplementary weft is generally larger than the ground weft, which is traditionally the same as the warp. In this case, I open up the tabby setta bit, to allow room for the supplementary weft. A 10/2 cotton, that may be sett at 24 epi for tabby, I sett at 18 epi for a tabby of a supplementary weave.

There is actually a formula for calculating the sett for different structures, but while I used to really like to use it, with time I found it unreliable for some unbalanced structures, and those that have different size floats with different picks, for example a birds’ eye twill.

Fortunately, we don’t have to do any calculations from the formula to find reasonable setts. While there are lots of sample setts on the web for the various commonly used yarns, there are differences in twist in yarns which effect the sett. The best place to find the sett for a specific yarn is to use the web site of the yarn vendor.

Manufacturers of yarns may provide either a range for setts or ranges for plain weave and twills. For example, for 10/2 cotton, the sett suggested may range from 18 to 36 epi. The 18 is for drapeable plain weave or a lacey structure with lots of plain weave, for example used in a scarf; the 36 is for unbalanced twills. About in the middle is a balanced twill, 24 epi.

Alternatively, the sett suggestions may say: plain weave: 18 - 24; twill 24 - 36; in this case, the 24 is suggested both for a sturdy plain weave, for example to be used in a placemat, or a balanced twill. The suggested setts for a given yarn usually take into consideration the fiber, so they are worth noting, even when wrapping the yarn to determine its grist.

If the weft is larger than the warp, the settmust be more open to make room for the weft; if the weft is smallerthan the warp, the settmust be closerto avoid the weft to pack in and make the cloth too stiff.

For example, for 10/2 cotton woven in plain weave for warp and weft, the average sett is 24 epi. For the runner below, woven with a larger ribbon, the warp was sett more openly at 18 epi.

The scarf below was woven with a multicolor 5/2 bamboo for warp and a purple 10/2 bamboo for weft in a twill. For a balanced twill, the sett of the 5/2 warp would have been 20 epi, but because the weft is smaller, a sett of 24 epi was used. This makes the fabric more stable but also allows the multicolor warp to be the focus of the scarf while still having good drape.

In an unbalanced fabric, the weft shows more on one side, the warp on the other as shown in the picture below of a  3/1 twill, front and back; 3/1 means that for every shot, 3 threads remain down while 1 thread is lifted.

How do we sett the warp for these fabrics? Closer than for a balanced twill. I already mentioned that when vendors give a range for twills, the upper value is for unbalanced fabrics. Let’s use the example of 5/2; we may sett it at 16 for plain weave, 18 for a balanced twill, and 22 epi for the 3/1 twill.

The general sett recommendations for 10/2 unmercerized cotton, 10/2 mercerized cotton and 10/2 Tencel®(which follows the cotton count) are the same. But there are differences. Look at the photo below:

There are 6 wraps for each of the three yarns, which are: 10/2 unmercerized cotton (blue), 10/2 Tencel®(rust) and 10/2 mercerized cotton (yellow), occupying the portion of an inch as labeled. Translated to epi, the setts would be 19, 20 and 23, respectively, with some differences, especially between the unmercerized and mercerized cotton; visually, I can see that the yellow yarn has a higher twist than the others. This is not surprising as I have found differences between mercerized cottons of the same count and Tencel®of the same count. In using the yarn, such differences may not matter, but I still think it is important to consult the yarn vendors for their sett recommendations.

I wouldn’t use 3/2 cotton to make a scarf, the fabric wouldn’t drape as well as I’d like, but 3/2 makes great mats; for a scarf, I would use 10/2 cotton, which I wouldn’t use for a table mat, I think the sturdier 3/2 works better.

In between is 5/2; it could be used for a scarf and for a matt – but not with the same sett. For a scarf I may use an open 18 epi, for a matt a tighter 20 epi.

The ranges given to us by manufacturers are rather close, but we have a lot more leeway. To weave a tapestry or a weft-faced rug, we sett the yarn 5 or 8 epi, depending on the size of the weft, so we can cover the warp totally, on both sides of the fabric, as shown in the photo below, front and back.

At the other end of the spectrum, we can weave a rug with rep weave, warp-faced plain weave; we sett rep close to 4 times the yarn wraps per inch, to make sure that the top and bottom of the fabric are both solid warp, as show in the photo below, front and back.

Which combinations you prefer may impact your fabric; if you like to beat hard, you make great rugs – what if you want to weave a scarf? You can adjust the sett.

Rather than fighting my tendencies, I adjust the sett. By using a slightly larger ends per inch than recommended, my warp will provide some resistance to the beating; and since a tight warp also promotes heavy beating, the closer sett helps with this tendency as well.

You see why I couldn’t answer that email “What’s the sett for 10/2 cotton?” with a single number, but here is a plan to get started. And, no, I won’t use the dirty 6-letter word (sample), although sometimes that’s the best way to get the answer.

Think about adjustments for the pattern, the weft size if different than the warp and what your finished product is going to be; adjust the starting epi accordingly; sometimes your adjustment may be a calculation (20% increase for twills), sometimes it’s “a little bit” higher or lower – 18 or 14 instead of 16, don’t use odd setts; if your calculations give you 21 epi, use 20 or 22, depending on what you are making.

Depending on the adjustment, there could be a potential tension problem because the threads no longer will travel a straight line from the back of the loom to the front, they will either fan out or squeeze in, depending on the direction of the new sett.

Once you are done, keep notes. This is the most important part for future use. Keep a spreadsheet if you are comfortable with them, or a table of some sort. List the following:

Your impressions: note whether you are totally happy with this sett, or whether you are relatively happy but next time you may sett this yarn more closely or further apart. And, yes, do this even if the project turned out not to be to your liking. That may be the best lesson.

When reading a published project, note the same information as above, even if you don’t plan on using it. Add it to your table or make a parallel table of use by other weavers. You can compare your setts with those of others and make conclusions about similarities and differences.

Soon you will have a table – your table – which will give you a feel for how you like to sett various yarns. Experience comes from paying attention to what we do right – and what we do not so right.

One of the great things about having been a blogger for 12 years (did I actually just admit that?!) is that you occasionally get to look back and see how very far you’ve come.

Over three years ago, when my David Louet floor loom was still somewhat new to me, I wrotethis post on overshot. If you read it, you will discover that my initial relationship with overshot was not a very positive one.

The happy ending to the initial overshot sob story is that I can weave overshot now. Quite well, in fact! And I also teach it. And I happen to love it, very, very much. Don’t you love a happy ending?

I don’t think there was any particular moment where I thought to myself “I can weave overshot now!” I didn’t even weave any overshot for quite some time after that initial attempt. But slowly it tempted me back, and we started over. It was just a matter of sticking with it, employing some specific techniques and practice, practice, practice until it feels like an old friend.

My love of overshot has only increased with my more recent discovery of American Coverlets. I loved the look of the coverlets and the history behind them before I realised that so many of them were woven in the wonderfully humble 4 shaft overshot.

Now that I have quite a lot of experience weaving overshot, I want to share my best overshot tips with you in hope that you too will fall in love with this wonderful weave structure.

I know, I know, sampling takes time and yarn, it’s true. But it teaches you so, so much. It can also be more economical, as you can test your yarns out for suitability before committing to a larger project. Trust me, sampling is so well worth the time!

To weave overshot you need a warp yarn, a tabby yarn and a pattern weft yarn. Using the same yarn for warp and tabby works perfectly. For the pattern weft, I like to use a yarn that is twice the size of the tabby/warp yarn. I have experimented with using doubled strands of tabby/warp yarn in a contrasting colour, but it just doesn’t look as good. A thicker pattern yarn is the way to go.

What will the size of your item be? A miniature overshot pattern may get lost in a blanket, but may be perfect for a scarf. As a general rule, a good way to estimate the size of one repeat of your pattern just by looking at the draft is to see how many repeats are in one threading repeat. Also consider the thickness of your yarns and the sett you intend to weave.

Just to give you an idea, my current project is woven at 20 ends per inch with 8/2 cotton for warp and tabby and fingering weight wool for the pattern weft. The weaving draft has 50 threads in one threading repeat. My design repeats on the loom are around 2.5″ wide and just under 5″ long, which is a great size for the 30″ x 99″ throw I’m weaving.

I throw my picks gently to avoid drag on the selvedges and therefore preventing excessive draw in. I give a generous angle to the weft pick and keep it soft at the edges. I do adjust the picks at the edges before beating when necessary, but mostly I prefer to leave them alone and let them settle into place on their own.

This is a non negotiable for overshot if you want neat edges and less headaches! You get used to using floating selvedges very quickly, so don’t stress if you have no experience with them.

This is another selvedges tip. I’ve experimented with crossing the two weft yarns at the selvedge to see whether it gives a neater edge, but it doesn’t, at least for me. So, instead of twisting the two wefts at each selvedge when throwing a new pick, I just let them follow one another sequentially and my edges are much neater that way.

Besides the thickness of the pattern weft yarn, you will also want to consider what kind of bloom it may have after wet finishing. For example, I know that my fingering weight wool blooms beautifully, whereas a cotton of the same size would not bloom in the same way. I very much like the contrast of the 8/2 cotton background with the plump wool pattern weft.

There are 6 treadles needed for overshot, even though you weave on 4 shafts. The two extra treadles are for the tabby weave. I always set up my pattern treadles in the centre of the loom – two on the left and two on the right. Then I set up a “left” tabby and a “right” tabby treadle. To do this on my 8 shaft loom I leave a gap between the pattern treadles and the tabby treadles so that my feet can “see” and differentiate between a pattern and tabby treadle.

I like to advance little and often. You will find your own preference or “sweet spot” for weaving, but I find that with overshot I advance a lot more frequently at a much smaller amount than I do usually.

An example of this is that I wove an overshot sampler right before Is started my main project (the throw). It was a narrow warp (around 8″) and a different overshot threading and treadling than I’m using for the project.

But for my throw project, I am beating harder and sometimes having to beat twice. Because of the width of the project, I need to be careful that I’m beating evenly, and that is easier to do if I’m beating more firmly.

I personally do not use a temple. Some weavers will say they won’t weave without one. I’ve tried using a temple on many of my projects, particularly if I’m getting broken edge warp threads (signs of tension problems and too much draw in). But I will avoid using one wherever I can get away with it, and I don’t use one for weaving overshot.

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Overshot is a magical structure. The first time you weave it you can hardly believe the cloth that grows on your loom. Traditionally used to weave bed coverings, overshot has many beautiful applications in today"s world, from useful household textiles to breathtaking works of art. This versatile weave is subject to endless variations. Here are a few of our favorite tips and a few truly spectacular projects, too! If you are inspired, come visit us and learn from a master weaver, Joanne Hall. See details below about her workshop.

A slouchy bag by FiberMusings on Weavolution pairs leftover BFL singles with sturdy Cottolin to create a fashionable yet functional multi-colored bag. The draft is a design from Ann Weaver"s Handweavers Pattern Dictionary, and it"s a great way to integrate Overshot techniques while making an eye-catching accessory!

Another project that caught our eye recently was a shower curtain shared by GailR@30 shared on Weaving Today - it"s nothing short of amazing (click here to see for yourself)! Consisting of thirteen different overshot pattern threadings woven in thirteen different treadlings, 169 different design effects are created based on designs from Osma Gallinger Tod"s book The Joy of Handweaving. As Gail noted on her project page, a great way to make each design stand out is to separate them with twill bands (even though it might mean a little more work in the process!)

Or, you may choose to elevate your weaving like the work of art it most certainly is, as Evaweave did with her Overshot Study pieces. These two miniature silk rugs look lovely in a frame, don"t you think? The overshot pattern was adapted from Overshot Weaving by Ellen Lewis Saltzman, complementing one another perfectly.

Think overshot is too difficult to try? Deb Essen thinks otherwise! Fiber artist, designer, and teacher, Deb is a passionate weaver who specializes in using overshot name drafts to create "secret messages" in cloth.

On her website, she explains: "Overshot is a weave structure and a draft is the weaver"s guide to creating patterns in cloth. Overshot name drafts assign the letters of a name or phrase to the shafts on a loom, creating a pattern that is unique. The one-of-a-kind patterns become a secret hidden message in the cloth and only those knowing the secret can break the code."

Deb lets you in on the secret with her clever kits, each with a hidden message. We"re particularly fond of her That"s Doable kit, which features Mountain Colors hand-painted yarns and, as the name would imply, is our first choice for those new to overshot weaving.

Overshot is perhaps the most iconic weaving technique--think antique coverlets and fancy table runners--yet many weavers are intimidated by its complex-looking structure. But it doesn"t have to be difficult! In this book, Susan Kesler-Simpson makes overshot approachable by breaking it down piece by piece so that the weaver understands how it works, and then she puts it all back together so that weavers will have the confidence to make their own overshot patterns or to try any of the 38 overshot projects she has designed for the book.

"Susan’s explanations are to the point and easy to understand. When you read through the chapters, it’s as if Susan is sitting there with you, telling you in a friendly voice how to weave overshot step by step."--excerpt from the Foreword by Tom Knisely

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10/2 Pearl Cotton Yarn description: Pearl Cotton has to be one of the most versatile yarns we sell. It can be used for household projects: table cloths, coverlets, dish towels, placemats and napkins, curtains, baby blankets, and scarves - to name a ... more...

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2/5 Gemstone Silk Yarn description: Halcyon Yarn"s Gemstone Silks are simply the highest quality silks for weaving or knitting. Our silks are a great value in several weights and rich gorgeous colors. Luster, color and beauty... like gemstones ... more...

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3/2 Pearl Cotton Yarn description: Pearl Cotton has to be one of the most versatile yarns we sell. It Can be used for household projects: table cloths, coverlets, dish towels, placemats and napkins, curtains, baby blankets, and scarves - to name a f... more...

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3/2 Pearl Cotton Yarn description: Pearl Cotton has to be one of the most versatile yarns we sell. It can be used for household projects: table cloths, coverlets, dish towels, placemats and napkins, curtains, baby blankets, and scarves - to name a f... more...

100% Cotton. 2100(approx)yds/0.9~1.15 lb cone, 2100yds/lb. Setts: 15 to 20 tabby, 18 to 24 twill. Gauge: K: N/A • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 68. more...

5/2 Pearl Cotton Yarn description: Pearl Cotton has to be one of the most versatile yarns we sell. It Can be used for household projects: table cloths, coverlets, dish towels, placemats and napkins, curtains, baby blankets, and scarves - to name a f... more...

100% Cotton. 300yds/300 yd mini cone, 2100yds/lb. Setts: 15 to 20 tabby, 18 to 24 twill. Gauge: K: N/A • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 68. more...

5/2 Pearl Cotton Yarn description: Pearl Cotton has to be one of the most versatile yarns we sell. It Can be used for household projects: table cloths, coverlets, dish towels, placemats and napkins, curtains, baby blankets, and scarves - to name a f... more...

Lurex. 3000yds/0.9~1.1 lb cone, 3000yds/lb. Setts: 15 tabby, 20 twill. Gauge: K: add in • C: 8-10.5 stitches/in on sz sz Steel 6-8 or B-11. Colors: 8. more...

Lurex. 250yds/250 yd mini cone, 3000yds/lb. Setts: 15 tabby, 20 twill. Gauge: K: add in • C: 8-10.5 stitches/in on sz sz Steel 6-8 or B-12. Colors: 8. more...

100% Wool. 1750yds/1 lb cone, 1750yds/lb. Setts: 10 tabby, 15 twill. Gauge: K: 6 stitches/in on sz 4 to 5 • C: 4-5 stitches/in on sz E-4 to 7. Colors: 36. more...

35% Hemp, 35% Cotton, 30% Rayon. 1575yds/0.9~1.1 lb cone, 1575yds/lb. Setts: 10 to 12 tabby, 15 to 18 twill. Gauge: K: 7 stitches/in on sz 34.25 stitches/in on sz 7 (doubled) • C: 4-5 stitches/in on sz E-4 to 7. Colors: 6. more...

Block Island Blend description: Halcyon Yarn"s Signature Block Island Blend yarn is a truly unique three ply yarn suitable for weavers, knitters and crocheters. Spun and dyed in Maine, this classic and colorful yarn made from cotton, rayon and ... more...

35% Hemp, 35% Cotton, 30% Rayon. 180yds/180 yd mini cone, 1575yds/lb. Setts: 10 to 12 tabby, 15 to 18 twill. Gauge: K: 7 on sz 3, or 4.25 on sz 7 (doubled) • C: 4-5 stitches/in on sz E-4 to 7. Colors: 5. more...

Block Island Blend description: Halcyon Yarn"s Signature Block Island Blend yarn is a truly unique three ply yarn suitable for weavers, knitters and crocheters. Spun and dyed in Maine, this classic and colorful yarn made from cotton, rayon and ... more...

50% Recycled Cashmere, 50% Virgin Cashmere. 164yds/50 g hank, 1490yds/lb. Setts: 6-7 tabby, 8-9 twill. Gauge: 3-5 sts/in on sz US 6-7. Colors: 1. more...

Blue Sky Fibers Eco-Cashmere description: We can"t get enough of this perfectly curated color palette for winter warmth and style. This cozy and feel-good DK weight cashmere yarn features a slightly heathered look from the blend of 50% new and ... more...

100% cotton pile, rayon binder. 550yds/0.9~1.1 lb cone, 550yds/lb. Setts: 5 tabby, 6 twill. Gauge: K: 3-4 stitches/in on sz 9-10 • C: 2-1.38 stitches/in on sz K-10.5 to M-13. Colors: 4. more...

100% cotton. 220yds/220 yd mini cone, 900yds/lb. Setts: 6 tabby, 8 to 10 twill. Gauge: K: 3.5-4.5 stitches/in on sz 7-9 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 5. more...

100% cotton. 900yds/0.9~1.1 lb cone, 900yds/lb. Setts: 6 tabby, 8 to 10 twill. Gauge: K: 3.5-4.5 stitches/in on sz 7-9 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 9. more...

100% Cotton. 740yds/~1 lb; wt. +/--30%, 740yds/lb. Setts: 8 tabby, 10 to 12 twill. Gauge: K: 6 stitches/in on sz 4 • C: 4-5 stitches/in on sz E-4 to 7. Colors: 1. more...

80% Rayon, 20% Polyester. 200yds/200 yd mini cone, 1900yds/lb. Setts: 12 to 14 tabby, 15 to 18 twill. Gauge: K: 7 to 8 on sz 1 to 2 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 9. more...

80% Rayon, 20% Polyester. 1900yds/~1 lb: wt., +/- 30%, 1900yds/lb. Setts: 12 to 14 tabby, 15 to 18 twill. Gauge: K: 7 to 8 stitches/in on sz 1 to 2 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 9. more...

Cotton. 840yds/1 lb tube, 840yds/lb. Setts: 6-8 tabby, 10-12 twill. Gauge: K: 5-5.5 stitches/in on US sz 5-6 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 28. more...

Cotton 8/8 Carpet Warp description: Multi-strands of 8/2 unmercerized cotton create a smooth finished, "round" look. Though mainly used as weft by weavers in warp-faced "Rep", it is fascinating for knitting and crochet as well. I... more...

80% cotton, 20% merino wool. 1000yds/8 oz cone, 2000yds/lb. Setts: 12 tabby, 18 twill. Gauge: K: 6.5 stitches/in on sz 2 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 17. more...

80% Cotton, 20% Merino wool. 215yds/3.5 oz skein, 980yds/lb. Setts: 8 to 10 tabby, 12 to 15 twill. Gauge: K: 5 to 5.5 stitches/in on sz 5 to 6 • C: 3-4 Stitches/in on sz 7 to I-9. Colors: 9. more...

100% silk. 324yds/3.5 oz hank, 1480yds/lb. Setts: 10-12 tabby, 12-15 twill. Gauge: K: 5-5.5 stitches/in on sz 4-5 • C: 3-4.5 stitches/in on sz 7 to I-9. Colors: 19. more...

Gemstone Silk Bouclé description: Halcyon Yarn"s Gemstone Silks are simply the highest quality silks for weaving or knitting. Our silks are a great value in several weights and rich gorgeous colors. Luster, color and beauty... like gemstones s... more...

100% Wool. 115yds/4 oz hank, 460yds/lb. Setts: 4.5-5 tabby, 6-7.5 twill. Gauge: K: 3 to 3.5 stitches/in on sz 10 to 10.5 • C: 2-1.38 stitches/in on sz K-10.5 to M-13. Colors: 41. more...

Halcyon Deco Rug Wool description: Deco Rug Wool is a favorite 100% wool rug yarn for rug weavers. Halcyon Yarn"s Signature Deco Rug Wool is a sleek and sturdy 3-ply rug wool. Deco is a lighter weight but still rugged version of our 3-ply Class... more...

100% Wool. 115yds/4 oz hank, 460yds/lb. Setts: 5-7 tabby, 6-9 twill. Gauge: K: 3 to 3.5 stitches/in on sz 9 to 10.5 • C: 2-1.38 stitches/in on sz K-10.5 to M-13. Colors: 41. more...

Halcyon Yarn 4-ply Rug Wool, 4 oz skein description: Our heaviest Rug Wool, this 4-ply 100% New Zealand Rug Wool is the heftier version of our Classic 3-ply Rug Wool. Perfect for weaving sturdy weft-faced rugs and tapestries, saddle blankets, or oth... more...

Halcyon Yarn 4-ply Rug Wool, approx. 16 oz skein description: Our heaviest Rug Wool, this 4-ply 100% New Zealand Rug Wool is the heftier version of our Classic 3-ply Rug Wool. Perfect for weaving sturdy weft-faced rugs and tapestries, saddle blanket... more...

100% wool. 65yds/100 g hank, 260yds/lb. Setts: 3-5 tabby, 4-6 twill. Gauge: K: 1.5-3 stitches/in on sz 9 to 13 • C: 1.25-2.25 stitches/in on sz M-13 and up. Colors: 87. more...

100% wool. 1.7yds/55" strand, 260yds/lb. Setts: 4 tabby, 5 to 6 twill. Gauge: K: 2.5 stitches/in on sz 11 to 13 • C: 1.25-2.25 stitches/in on sz M-13 and up. Colors: 87. more...

100% Wool. 450yds/8 oz cone, 900yds/lb. Setts: 8 tabby, 10 to 12 twill. Gauge: K: 5 – 5.5 stitches/in on sz 5 – 8 • C: 3-4.5 stitches/in on sz 7 to I-9. Colors: 64. more...

Harrisville Highland - Cones description: A classic woolen-spun yarn, Harrisville Highland yarn on cones will shrink, bloom and full when washed and is suitable for weaving as well as knitting. Allow 15% for shrinkage and take-up. Weaving Yarn Tip:... more...

100% Wool. 900yds/8 oz cone, 1800yds/lb. Setts: 10 tabby, 12 to 14 twill. Gauge: K: 6.5 stitches/in on sz 2 to 4 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 64. more...

Harrisville Shetland Yarn - Unwashed Cones description: Great yarn for lightweight blankets and Shetland style sweaters. Harrisville Shetland is available in a wide color range makes it an easy choice for pattern weft for overshot coverlets. Well c... more...

100% unmercerized cotton. 600yds/600 yd mini cone, 3200yds/lb. Setts: 15 to 22 tabby, 22 to 30 twill. Gauge: K: N/A • C: 8-10.5 stitches/in on sz sz Steel 6-8 or B-4. Colors: 63. more...

Homestead 8/2 Cotton Yarn description: Homestead Cotton is one of our most versatile yarns. It has a great color range, an earthy texture and it’s machine washable. You’ll find it well suited for a variety of fiber arts. Consider making items fo... more...

100% unmercerized cotton. 3200 (approx)yds/0.9~1.15 lb cone, 3200yds/lb. Setts: 15 to 22 tabby, 22 to 30 twill. Gauge: K: Single to fingering weight Doubled to sport weight Tripled- worsted weight • C: 8-10.5 stitches/in on sz sz Steel 6-8 or B-4. Colors: 63. more...

Homestead 8/2 Cotton Yarn description: Homestead Cotton is one of our most versatile yarns. It has a great color range, an earthy texture and it’s machine washable. You’ll find it well suited for a variety of fiber arts. Consider making items fo... more...

100% silk. 4351400yds/3.5 oz hank, 2000yds/lb. Setts: 12 tabby, 15 twill. Gauge: K: 7 to 8 stitches/in on sz 1 to 2 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 1. more...

50% Wool, 50% Silk. 1120yds/1 lb cone, 1120yds/lb. Setts: 6-8 tabby, 8-10 twill. Gauge: K: 5-7 stitches/in on sz 4 to 5 • C: 3-4 Stitches/in on sz 7 to I-9. Colors: 42. more...

JaggerSpun 4/8 Wool-Silk Yarn description: The luxury blend of Australian super fine 21.5 micron merino wool and soft 21.5 micron silk makes this ”light worsted/DK” gauge yarn ideal for luxury garment projects that can be worn next to sensitive ... more...

100% Wool. 5600yds/1 lb cone, 5600yds/lb. Setts: 20 to 28 tabby, 30 to 36 twill. Gauge: K: Lace • C: 8-10.5 stitches/in on sz Steel 6-8 or B-15. Colors: 41. more...

JaggerSpun Maine Line 2/20"s Yarn description: Jaggerspun’s fine, versatile, high quality worsted spun yarns have become staples for commercial and recreational knitters, and weavers. 2/20’s is perfect for Estonian Haapsalu Shawls or for we... more...

100% Wool. 700yds/700 yd mini cone, 5600yds/lb. Setts: 20 to 28 tabby, 30 to 36 twill. Gauge: K: Lace • C: 8-10.5 stitches/in on sz sz Steel 6-8 or B-16. Colors: 51. more...

JaggerSpun Maine Line 2/20"s Yarn description: Jaggerspun’s fine, versatile, high quality worsted spun yarns have become staples for commercial and recreational knitters, and weavers. 2/20’s is perfect for Estonian Haapsalu Shawls or for we... more...

100% Wool. 275yds/275 yd mini cone, 2240yds/lb. Setts: 12 to 14 tabby, 15 to 18 twill. Gauge: K: 6.5 to 7 stitches/in on sz 2 to 3 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 44. more...

100% Wool. 2240yds/1 lb cone, 2240yds/lb. Setts: 12 to 14 tabby, 15 to 18 twill. Gauge: K: 6.5 to 7 stitches/in on sz 2 to 3 • C: 5.5-8 stitches/in on sz B-1 to E-4. Colors: 39. more...

100% Wool. 180yds/180 yd mini cone, 1490yds/lb. Setts: 8 to 10 tabby, 10 to 12 twill. Gauge: K: 5.75 to 6.5 stitches/in on sz 3 to 5 • C: 4-5 stitches/in on sz E-4 to 7. Colors: 24. more...

JaggerSpun Maine Line 3/8 Yarn description: Jaggerspun’s versatile, high quality 27.5 micron worsted spun "sport gauge" wool yarn is a staple for commercial and recreational knitters and weavers. It is a perfect pattern weft in weaving. ... more...

100% Wool. 1490yds/1 lb cone, 1490yds/lb. Setts: 8 to 10 tabby, 10 to 12 twill. Gauge: K: 5.75 to 6.5 stitches/in on sz 3 to 5 • C: 4-5 stitches/in on sz E-4 to 7. Colors: 40. more...

JaggerSpun Maine Line 3/8 Yarn description: Jaggerspun’s versatile, high quality 27.5 micron worsted spun "sport gauge" wool yarn is a staple for commercial and recreational knitters and weavers. It is a perfect pattern weft in weaving. ... more...

100% merino wool. 5040yds/1 lb cone, 5040yds/lb. Setts: 18 to 20 tabby, 22 to 28 twill. Gauge: K: 8-9 stitches/in on sz US 0-1 • C: 8-10.5 stitches/in on sz Steel 6-8 or B-1. Colors: 35. more...

100% merino wool. 630yds/630 yd mini cone, 5040yds/lb. Setts: 18 to 20 tabby, 22 to 28 twill. Gauge: K: Lace • C: 8-10.5 stitches/in on sz Steel 6-8 or B-18. Colors: 39. more...

50% Wool, 50% Silk. 5040yds/1 lb cone, 5040yds/lb. Setts: 18 to 20 tabby, 22 to 28 twill. Gauge: K: 8-9 sts stitches/in on US 0-1• C: 8-10.5 stitches/in on sz 8-9 Steel 6-8 or B-19. Colors: 36. more...

50% Wool, 50% Silk. 630yds/630 yd mini cone, 5040yds/lb. Setts: 18 to 20 tabby, 22 to 28 twill. Gauge: K: Laceweight for fine lacy shawls. Suitable for machine knitting. Multistrand for heavier weight gauge. • C: 8-10.5 stitches/in on sz Steel 6-8 or B-24. Colors: 40. more...

80% Cotton, 20% Linen. 725yds/~1 lb: wt. +/- 30%, 725yds/lb. Setts: 8 tabby, 10 twill. Gauge: K: 5 stitches/in on sz 8 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 1. more...

100% Merino. 90yds/150 g hank, 270yds/lb. Setts: 3 tabby, 5 twill. Gauge: K: 2-2.5 stitches/in on sz 13-17 • C: 1.25-2.25 stitches/in on sz M-13 and up. Colors: 11. more...

Malabrigo Rasta description: Super bulky, kettled dyed Rasta is 100% super soft, smooshy goodness. If only you could reach through the screen or page and feel for yourself. It’s heavenly! Malabrigo is known for their luscious colorways and Rasta i... more...

Cotton. 420yds/1 lb tube, 420yds/lb. Setts: 4-5 tabby, 8-10 twill. Gauge: K: 4-4.5 stitches/in on US sz 7-8 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 28. more...

Medium Cotton 16/8 Mop Yarn description: A very sturdy 100% cotton, unmercerized. Mainly used as weft by weavers in warp-faced "Rep", but fascinating for knitting and crochet projects as well.

100% dry spun Linen. 300yds/300 yd mini cone, 2400yds/lb. Setts: 15 to 18 tabby, 20 to 24 twill. Gauge: K: N/A • C: 8-10.5 stitches/in on sz sz Steel 6-8 or B-4. Colors: 9. more...

100% dry spun Linen. 2,400yds/0.9~1.1 lb cone, 2,400yds/lb. Setts: 14 to 17 tabby, 19 to 23 twill. Gauge: K: N/A • C: 8-10.5 stitches/in on sz Steel 6-8 or B-41. Colors: 8. more...

100% Wool. 160yds/4 oz hank, 640yds/lb. Setts: 6 tabby, 8 twill. Gauge: K: 3.5-4.5 stitches/in on size 7-9 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 30. more...

Norumbega description: Norumbega is a distinctive Aran weight yarn, spun right here in Maine from 100% U.S. wool. Previously known as Botanica, this sturdy yarn was first created for weavers over 40 years ago - and it is still being spun in the sam... more...

96% Wool, 4% Nylon. 140yds/1/2 lb hank, 275yds/lb. Setts: weft only tabby, weft only twill. Gauge: K: 3 stitches/in on sz 10.5 • C: 2-1.38 stitches/in on sz K-10.5 to M-13. Colors: 1. more...

Soft Finish Linen Warps 8/2 thru 8/5 description: These are the traditional warps for Scandinavian rugs such as rya and krokbragd and for many styles of tapestry weaving. Linen warps are stiffer than wool warps and give more body to your finished pi... more...

100% Silk. 240yds/3.5 oz hank, 1100yds/lb. Setts: 10-12 tabby, 12-14 twill. Gauge: K: 5-7 stitches/in on sz 3-5 • C: 4-5 stitches/in on sz E-4 to 7. Colors: 1. more...

100% cotton. 1560, 1000, 740yds/500 g tube, yds/lb. Setts: 12/10/8 epi tabby, 15/12/10 epi twill. Gauge: K: Sample beginning with a sz 8 needle• C: Sample beginning with medium hook. Colors: 3. more...

96% cotton, 4% nylon. 740yds/0.9~1.1 lb cone, 740yds/lb. Setts: weft only tabby, weft only twill. Gauge: K: 5 stitches/in on sz 8 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 1. more...

100% Wool. 325yds/100 g hank, 1485yds/lb. Setts: 8 to 10 tabby, 10 to 12 twill. Gauge: K: 6-7 stitches/in on sz 3-5 • C: 4-5 stitches/in on sz E-4 to 7. Colors: 38. more...

Victorian 2-Ply Wool Yarn description: Halcyon Yarn’s Signature Victorian 2-Ply Wool is a versatile, simple sport weight yarn excellent for hand knitting or machine knitting, especially nice in multi-color work. Victorian 2-ply wool is an excellen... more...

74% Mohair, 16% Wool, 10% Nylon. 215yds/3 oz hank, 1160yds/lb. Setts: 6 to 8 tabby, 8 to 10 twill. Gauge: K: 4 stitches/in on sz 9 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 48. more...

74% Mohair, 16% Wool, 10% Nylon. 1015yds/14 oz hank, 1160yds/lb. Setts: 4 to 6 tabby, 5 to 8 twill. Gauge: K: 3 to 4 stitches/in on sz 9 to 10 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 48. more...

Victorian Brushed Mohair Yarn description: Halcyon Yarn"s Signature Victorian Brushed Mohair is light enough to lend a truly airy feeling yet warm and substantial to accommodate a variety of uses. Wonderful for any worsted to bulky weight patte... more...

74% Mohair, 16% Wool, 10% Nylon. 145yds/145 yd hank, 1160yds/lb. Setts: 4 to 6 tabby, 5 to 8 twill. Gauge: K: 3 to 4 stitches/in on sz 9 to 10 • C: 2.75-2.5 stitches/in on sz I-9 to K-10.5. Colors: 48. more...

Victorian Brushed Mohair Yarn description: Halcyon Yarn"s Signature Victorian Brushed Mohair yarn sets the standard for brushed mohair yarns. Victorian Mohair is light enough to lend a truly airy feeling yet warm and substantial to accommodate ... more...

Threaded “Orange Peel” overshot, 204 ends of 3/2 at 10 epi, using 3/2 as tabby weft and Casacade 220 as pattern weft. Wove star & rose fashion as a well as Polychrome, Shadow Weave & On Opposites.

I thought, why not… two weeks on a big adventure all by myself, driving across the country in my brand new Chevrolet Chevette rocking on to the Doobie Brothers… what could be better than that. And after all, I had woven a set of placemats, an entire Overshot coverlet without alternating tabby picks between pattern picks and a blanket that stood up in the corner all by itself. I was sure I could handle a Multi-Harness loom or anything else that came my way.

I should have realized that summer that I had an angel on my shoulder guiding my every movement because Mary Andrews accepted me into her workshop and my life was forever changed.

Mary was formidable. Her knowledge and her presence demanded respect and I held her in awe. I was very nervous… she was a tad stern and I was… well ‘me’!

I was the youngest person in the room, an aspiring hippie and remember… had woven exactly one set of placemats, one overshot coverlet without any tabby and a blanket that could have been used as a sheet of plywood… I might add that each of those projects were the most remarkable weaving I had ever seen up to that point. Within moments I was scared to death.

Mary’s class was formatted so that she lectured in the morning and we wove in the afternoon. I learned so much in the next two weeks… Mary taught me how to do read patterns, how to do draw-downs, how to hemstitch, how to do name drafts in overshot and that overshot had alternating tabbies between pattern picks :A), she taught me how to sit at the loom properly, how to hold a shuttle, how to control my selvedges. She taught me what the numbers mean in 2/8, what cellulose and protein fibres were. She gave us graphs with so much information crammed into them, sett charts, yardage charts, reed charts. She taught me the Fibonacci numerical series and the Golden Mean. In two weeks she crammed everything she could into my little brain and I learned that I could weave anything if I could read a draft.

She taught me the four P’s: with Patience and Practice you Persevere for Perfection. I have quotes she shared with us all through my book, “I hear and I forget, I see and I remember, I do and I understand”.

Bom in Montreal Quebec in 1916, Miss Andrews affinity with the “Comfortable Arts” was apparent at an early age. At the age of 23 while working as a senior counsellor at Taylor Statten Camp in Ontario, she was exposed to the craft of handweaving. On her return to Oshawa in 1939 she immediately bought the first of her 11 looms and began a life long study. Through correspondence with Harriet Tidball of the United States, Mary studied textile theory and cloth construction.

In 1948 Mary was appointed Assistant Programme Director for the YWCA in Oshawa. She spent the next six years teaching handweaving, leatherwork and metalwork to hundreds of students. It was during these years that Mary first travelled west to study at The Banff School of Fine Arts with two of Canada’ finest weavers, Ethel Henderson and Mary Sandin. It was during these visits that her desire to reside in Alberta was kindled.

Mary  joined the Canadian Red Cross in 1954 and served as a Rehabilitative Therapist in Korea and Japan after the Korean War. After working for 18 months on a Welfare Team she travelled through 13 countries working her way back to Canada in 1958.

From 1962-1975, Mary taught at The Banff School of Fine Arts where she developed the programme from a six week summer course to a two year Diploma granting programme. Through her early guidance and insistence that Visiting artists be brought from around the world, the Fibre Department became a widely renowned centre of study for the Textile Arts.

Mary retired from The Banff Centre in 1975 and spent another five years teaching and lecturing all over Western Canada. In 1984 she developed a four year summer weaving programme for Olds College where her students prepared for the Canadian Guild of Weavers, Master’s exams.

She also spent a great deal of time serving the community of Banff by working in the Banff Library several mornings a week and donating her weaving for auction to raise funds for community projects. In her late seventies she was still taking courses in English Literature and Philosophy from Athabasca University.

Find the best Weaving Looms at the lowest price from top brands like Ashford, Schacht Spindle, Harrisville & more. Shop our vast selection of products and best online deals. Fre...

A common occurence at this time of year is for bloggers to review or highlight posts from the past 12 months. I thought I’d do my own spin (pun intended) on this practice and write about projects that I completed, but never posted.

Many times the colors, technique, or overall idea of another sparks me to try something new and different. I share these works as sources for inspiration. I hope you’ll find something that tickles you.

In January, I completed the final project for my book. It is a krokbragd variant, Double-Faced Double-Woven which produces two completely different combinations of motifs and colors on either side. The warp is 8/2 wetspun linen (sett 8 epi) and the weft is 4 colors of Rowan Worsted wool. This was a relatively complex endeavor woven on a 4 shaft loom with a floating warp. It produced a thick fabric which I use as a pad on my weaving bench.

I had some remaining linen warp from the previous project, so I rethreaded the heddles and changed the sett to 12 epi. Using the same 8/2 linen as weft, I wove a Swedish Lace table runner. It’s a smaller runner, perfect for my kitchen table.

This is another table runner I wove as an engagement gift for my niece and her fiancé. The project was from Nancy Dunlap’s ‘A Job Made Easier Runner’ found in the March/April 2019 issue of Handwoven. It is an overshot pattern based on ‘Kay’s Design’ from Marguerite Porter Davison’s A Handweaver’s Pattern Book. I used black and two shades of grey 8/2 cotton for the warp and the pattern weft and natural 8/4 cotton for the tabby weft. The finished runner measures 15.5” x 65”.

First up are the Sundance Fingerless Mitts. I love these! They are knit from Hikoo SimpliCria 100% baby alpaca. This makes the most incredibly soft mitts EVER!!! If you are looking for super soft, try this yarn! Pure luxury!

I knit two pair of socks, both toe-up (for non-knitters that means you start at the toe and knit your way up rather than starting at the cuff and working your way down). The pink ones are Knit Picks Felici (75% merino/25% wool, fingering weight) that I hand-dyed in a colorway I call Summer Sunrise (see below). They have a moccasin toe, afterthought heel, 2X2 ribbing for the cuff and cocoon stitch for pattern. The green socks also have an afterthought heel and waffle stitch on the legs. These were knit with Lion Brand Sock-Ease yarn (75% wool/25% nylon) using Susan B. Anderson’s My First Toe-Up Socks pattern.

I knit a fun hat for Pete to wear around the farm. This was a kit from Sun Dragon Art & Fiber in Brevard, NC. The original pattern is Squirrels by Signe Strømgaard published in Knitty, First Fall 2013 issue. Sun Dragon adapted the pattern to pay homage to the white squirrels in Brevard. It’s a toasty head warmer knit in stranded colorwork with 100% wool sport weight yarn.

I decided to learn how to crochet. These are the six squares that have been released so far as part of an ongoing Wrapped in Jamie Crochet-A-Long. Each square takes inspiration from the story line of Outlander and will eventually be joined together for a shawl.

Finally, a lot of how I learn, especially knitting and crocheting, is via Bluprint, formerly Craftsy. I have an annual subscription that gives me unlimited access to all types of craft tutorials, patterns, and projects (knitting, crochet, embroidery, spinning, baking, photography, jewelry making, fitness to name just a few). I’m including a list of the classes that I’ve resourced for the projects in this post.The (Not So) Itty-Bitty Giraffe - Susan B Anderson

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Foot bones that are separate in small hopping rodents are fused in their larger cousins, and a team of researchers at the University of Michigan and University of California, San Diego wanted to know why.

It appears that once evolution set jerboa bones on the path toward fusing together, they overshot the optimum amount of fusing—the structure that best dissipated stresses from jumping and landing—to become fully bonded.

This finding could inform the design of future robotic legs capable of withstanding the higher forces associated with rapid bursts of agile locomotion.

"We found that the fused bones showed lower stresses than unfused bones, thereby reinforcing against higher loads," she said. "But we also discovered the partially fused bones had even lower stresses than the fully fused bones. One hypothesis is that fully fused jerboas have evolutionary overshoot."

To study the bone performance across species, the researchers performed micro-CT scans of museum specimens and built 3D models of the jerboa metatarsals in software, then scaled them to equal sizes and stress tested them as they hit, flexed and hopped off of a surface.

The smaller jerboas have three separate metatarsal bones, which are capable of supporting the rodent"s small stature even if used for high-impact jumping. The more recent, larger jerboa species have completely fused these three bones into one. The intermediate weight species have something in-between: a metatarsal with interior remnants of bone where it has partially fused together, like a bundle of sticks.

An additional author is Kimberly Cooper, professor of developmental biology at the University of California, San Diego, who formulated the idea for the project with Moore during a separate study tracing the evolution and development of metatarsal fusion in jerboas. Cooper"s expertise was key to understanding the evolutionary implications of the findings.