overshot weaving tutorial brands

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.

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.

Back then, I was a little harder on myself as a learning weaver. By now, I’ve realised that weaving, just like life, is a journey that has a beginning but no end. Back then, I thought that my ultimate goal was to be a “master weaver”.

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.

I’ve put a lot of research time into coverlets this year and have made it a big weaving goal of mine to weave my first coverlet, which is quite an undertaking, but I relish the thought.

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.

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.

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.

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.

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.

I find that if I’m careful with weft tension and warping evenly, I do not get excessive draw in. It is something I’m constantly aware of while weaving and remind myself of tip 4 so that my weft picks are not pulling in at the edges.

Learn how to weave the overshot technique. Overshot is a supplementary weft weaving technique that allows you to create patterns on the surface of your tapestry that are much more detailed than you would be able to create with regular tabby weaving. In this video class I"ll show you step-by-step how you can master this weaving technique with detailed instructions and patterns. #diyweaving #weavingart #yarncrafts #helloyhydrangea

A Christmas sweater inpsired tutorial + pattern on the Spruce & Linen YouTube channel #diychristmasdecor #weavingtutorial #modernweaving #diyweaving #diywovenwallhanging #weavingprojectideas #wovenwallhanging #wovenwallart #christmaswovenwallhanging #holidaywovenwallhanging #wovenwallhangingwords #weavingpatterns #frameloomweaving #moderntapestry #overshotweaving #overshotweavingpatterns #frameloom

In the video, I mention learning how to weave Krokbragd. If you are interested in learning about this weaving technique, I encourage you to check out our course at the School of SweetGeorgia, Weaving Krokbragd, taught by Debby Greenlaw.

The overshot weaving project shown is woven on a 16″ Ashford Table Loom 8 shaft, The yarns used are Ashford 100% mercerised cotton in 10/2 and 5/2. (We don’t have this yarn currently listed on our site, but we’re able to order it in for you. Send us an email at: info@sweetgeorgiayarns.com!) The pattern is Overshot Sampler from the book Next Steps in Weaving by Pattie Graver

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs.

Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

Woven by Rachel SnackWeave two overshot patterns with the same threading using this downloadable weave draft to guide you. This pattern features the original draft along with one pattern variation. Some yarns shown in the draft are available to purchase in our shop: 8/2 cotton, wool singles, 8/4 cotton (comparable to the 8/4 linen shown).

please note: this .pdf does not explain how to read a weaving draft, how to interpret the draft onto the loom, or the nuances of the overshot structure.

Over 50 instructional videos that guide you through making a warp, dressing your loom, weaving, finishing your cloth, and troubleshooting. View product images for course outline.

If you are lucky enough to have a local shop nearby that supports weaving, please support them.  They can give you personal handholding when you need it, and they offer you the invaluable service of allowing you to get hands-on experience when picking your yarn, fiber, and equipment. Consider your loom, book, and other materials support of this service.

This page includes affiliate links from Amazon. I encourage you to support your local retailer, although I fully recognize not everyone is lucky enough to have a local book or weaving store nearby. The small income from these links help fund this site.

Overshot is known as a coverlet structure, but it’s also ideal for placemats, runners, blankets, fashion accessories, table linens, rugs, and much more. Just about anything you want to weave can be done in overshot.

Our class project is a series of coordinated placemats and table runners, woven in inexpensive, easy to get materials you may already have in your stash. You’ll choose from three different threadings composed of classic overshot motifs, then treadle them in star fashion, rose fashion, and many other ways.

Don’t feel like weaving placemats, runners, OR samples, or don’t have a loom available? No problem! You can still participate in the class without weaving at all. The lessons, videos, Q&As, and pen and paper exercises will help cement your understanding of overshot even if you don’t take it to the loom right away.

Don’t have that kind of loom? No worries! You can still read, watch, listen, and do all the pen and paper exercises. Your deeper understanding of overshot will be beneficial when you do have a loom to use it on or decide to explore how to weave it on the loom you already have on your own.

The School of Weaving (formerly called JST Online Guild) launched in January 2017 as a response to weavers wanting to come to Salt Spring Island to study in our studio. Our wait lists were getting longer and longer each year, so Jane decided to try a different approach. This was to take the beginners workshop she offered, flesh it out with more wonderful content and offer it by way of streaming on the great inter web. The immediate response spurred her on. She decided to take every one of her workshops, expand them in greater detail and now we have over 280+ videos available online.

The first year goes over all the fundamentals of weaving. Warping, various methods of dressing the loom, great weaving technique, project planning, understanding sett, information about different types of looms and yarns, weaving with difficult yarns like mohair, fulling and finishing.

Season 6 we explore Units, Blocks and Profiles with Monk’s Belt, Overshot, Name Drafting Overshot, Crackle Weave, M’s & O’s and Summer and Winter. We’ll add new designs ideas to these weave structures for modern new look. Very exciting and for our 8 shaft weavers, we’ll continue on from Season 5’s Turned Twill and study Blocks & Tie-up Quadrants plus Block Analysis for +4 shafts.

The School of Weaving also has its own forum. This allows members to share ideas, their projects and to ask questions, all monitored by the wonderful staff at JST. Weavers around the world are creating their own supportive community centered on the lessons in the School of Weaving.

Season 7 builds on all previous years with special emphasis on the Colour and Weave gamp we did in Season 2 Episode 4. We take those colour and weave sequences and overlay them onto units and blocks for Overshot, Crackle, Halvdrall, Turned Taquette, Summer & Winter, M’s & O’s and Monk’s Belt. We also start the season with one more 8-shaft Turned Twill with colour & weave.

Overshot with Colour & WeaveOvershot is so near and dear to my heart and I wanted to do something very special with this episode. Many of you may know the book “Weaving Designs by Bertha Gray Hayes – Miniature Overshot Patterns”. I have long admired her use of asymmetry in Overshot, and her love of name drafting so I thought I should look to her for a place to start. Leafing through the pages I came across a pattern called Peace -1945. It stopped me in my tracks, not because of the pattern but because of the words. I instantly knew I had my starting place and all I had to do was my colour and weave overlay. I’m so glad I did. The exploration has been amazing.

Monk’s BeltThe first weave structure we explore in Units, Blocks & Profiles this season is Monk’s Belt which uses 2 opposite twill units. We’ll learn how to lengthen the pattern floats and how your warp’s EPI controls the number of times a unit can be repeated. We’ll explore division of space in the weft by playing with block combinations, weaving Monk’s Belt with and without tabby and exploring the addition of inlay in our cloth.

OvershotThere is so much to explore with Overshot that we’re giving this structure 2 episodes. In this first episode we learn how the structure is derived from the 4 basic twill units and we’ll see how twills influence Overshot shapes. We’ll learn to treadle Tromp as Writ, Rose Fashion and on opposites. We’ll use contemporary graphics to bring the old and new together while adding Plain Weave elements to our overall designs.

Name Drafting OvershotOur second Overshot episode is Name Drafting. We’ll learn how we can assign the letters of the alphabet to the harnesses on our looms and spell words that have special meaning to us. It is a conceptual approach to Overshot design that allows the weaver to personalize their work. It is also a fascinating way to learn about overshot, its rules, its shaping and to just let go and see what serendipity can bring to our looms.

Season 1 goes over all the fundamentals of weaving. Warping, dressing the loom, weaving technique, project planning, understanding sett as well as different types of looms and yarns along with how to weave with difficult yarns like mohair.

Jane Stafford School of Weaving is similar to any Weaving Guild. You pay your yearly membership ‘dues’ and this gives you access to a library of videos and PDF workbooks created by Jane Stafford. When you pay your subscription you get all the videos that are presently online and you also get a new lesson release every 5 weeks for the remainder of your subscription.

Year 1 are the Weaving Foundation Videos: Making a Good Warp, Dressing a Loom, learning about yarns and sett, etc. Year 2 is our comprehensive Colour & Design Workshop where you learn basic design and colour theory, Year 3 is the full workshop Pushing the Boundaries of Plain Weave and Year 4 is Twills on 4 Shafts, Year 5 all about Laces and Year 6 we study Units, Blocks & Profiles. Season 7 builds on all previous years with special emphasis on the Colour and Weave gamp we did in Season 2 Episode 4. Up to 3 hours of new videos released every five weeks.

Our videos are downloadable for a short period of time using our branded app only. You can also stream them over and over on your browser for as long as you are a member of the School of Weaving.

We have the School of Weaving Forum is where you will find answers to questions related to the episodes and you’ll also be able to post as a member of the School of Weaving. We also have an extensive Knowledge Base on our website that is available for viewing.

So delighted to find Jane’s online Guild. I have learned more in the past few months than in several years of weaving off and on. The lessons on sett are truly invaluable. Her no fuss attitude and her insatiable curiousity is a winning combination for me. I find jewels scattered in each lesson. Thank you Jane.

Fantastic! Jane is so much fun to listen to and she is very informative. A year"s membership is a fraction of what I have paid for in-person weaving classes and I"ve learned so much more - in just the first few lessons. I like that I can go at my own pace.

Worth every penny! Jane is a wonderful teacher and takes you through a progression of projects that will help you grow in confidence and technique. Best money I have spent on weaving lessons.

Supplementary-weft weaving has been around for a very long time. There’s evidence of it in some of the earliest weavings from India and Egypt including in the tomb of Tutankhamun. The idea of creating a decorative fabric by weaving a simple tabby cloth simultaneously with a contrasting, superimposed pattern has shown up in cultures worldwide; Latin American brocades, Branoe or branded folk weaving from Russia, Smalandsvav in Sweden and Skillbragd in Norway inlay/overshot techniques, Sanga and Songket from Southeast Asia, Saga Nashiki from Japan, traditional Slavic weaves often used for belts, and American overshot coverlets from the 18th century all create a similar fabric structure using variations of decorative supplementary weft over a plain, tabby background. Many of these techniques even have motifs in common, despite being separated by great distance and time, most likely due to human migration. As is the tradition with many crafts, each province, prefecture, county and clan typically used a specific weaving designs to distinguish the area where it was made.

There are techniques that use a more freeform approach, like the figurative works from Peru, Mexico, and Guatemala, as well as many from India called weft-float patterns. These fabrics usually include individual figures or animals and are woven with a discontinuous supplementary weft. A distinction can be made for color changes across a row, between continuous supplementary wefts, where the pattern weft continues from selvedge to selvedge, and discontinuous supplementary wefts, where the pattern weft only travels across a portion of the row. Most discontinuous styles use different colors traveling partially across the same rows similar to tapestry weaving, to create different figures.

One night, while browsing weaving videos on Youtube, as I often do, I stumbled on the little known technique called Branoe weaving from Russia. I love the rigid heddle for it’s ease and portability and especially for the small commitment with speedy dressing that gets me weaving in a very short time. I quickly realized while watching all of Kelly Casanova’s fascinating videos on Branoe weaving that something about it was very familiar. I also love to do Fair Isle, stranded and mosaic knitting. Each is done by following a simple gridded chart and working one stitch at a time across a row to create a beautifully patterned fabric. I tried the Branoe technique from the video and ventured off into a rabbit hole that I still haven’t emerged from that resulted in a book called “Crazyshot!- Creative Overshot Weaving for the Rigid Heddle Loom," - a deep dive into combining traditional charts from various fiber arts and the Branoe/overshot styles of weaving.

Simply put the cloth is woven by alternating picks of tabby weave that match the warp in weight and color with a heavier yarn that follows a chart for a patterned relief that sits on the surface of the fabric. One of the coolest things about this method is that the fabric is entirely reversible since the pattern sits over both the front and the back. While it’s definitely a labor of love to sit and pick every other row individually, I find it very meditative and rewarding. Most forms of overshot weaving on the rigid heddle loom, where the fabric and decoration are woven together with different thicknesses of thread or yarn, usually entail a laborious preset of multiple warps and or heddle rods with string heddles mimicking a four shaft loom. Because rigid heddle looms typically only accommodate one or two heddles, additional pick-up sticks or heddle rods with string heddles are often employed. There are even some methods where three heddles are employed and used in various combinations to duplicate all four shafts. In this case the overall design is predetermined and warping through each heddle follows a very specific route based on the pattern chosen. One mistake in warping can cost you the entire outcome of the fabric.

What makes Branoe and the simple supplementary-weft techniques so exciting and accessible to anyone who can weave a plain cloth is that it uses only one heddle and one pick-up stick to create complex-looking patterns with endless variations. A multitude of patterns can be created including some which would be impossible to weave on a multi shaft loom. It’s also very easy to correct mistakes by watching each row as you weave, much like knitting, and unweaving incorrect rows before you progress.

Because fabrics made with a supplementary-weft techniques tend to be thicker and firmer than plain weaves, most are used for decorative home goods and accessories. These fabrics may not be suitable for clothing, where drape is a concern, but can be used as beautiful borders. I’m currently experimenting with weaving different weights of thread and yarn to see if I can produce a more wearable fabric. The adventure continues! More info about Crazyshot with lots of photos can be seen at: myrawood.com/crazyshot