Getting Started: The Tapestry/Bead Cuff Bracelet Kit

Starting today, this weave-along will focus on weaving a tapestry/bead cuff bracelet which is the perfect beginner’s project for bead or tapestry weavers. It teaches you important skills on a “small scale”  and it’s fast, easy and produces a stunning final project! Today we’ll just go over the basic set-up and materials needed for this project and then warp our looms. If you do not have a kit, you still have time to order but you may be a little behind for a week or two. 



How it works:
Every Sunday until the bracelet is finished we will send out an email (like this one) going over everything we want to accomplish in the coming week. The idea is that everyone will stay at relatively the same place and can ask questions, comment and share pictures (which we love to see!!) on Facebook (page as well as the group which has become a great forum for the weave-alongs) and on Ravelry as well as via email. 


It is our hope that you post to these forums at least once a week. Get advice, give advice or just tell someone their piece looks nice. The advantage of these weave-alongs is that we, as a community, can share our knowledge with each other. It’s kind of like a class, but virtual! 

What comes with the loom, top view
What you need to begin warping


The weave-along will be over in mid-February. If participants fall behind, we will keep forums open after that period for weave-along related discussion.


What you need:

-A Mirrix Loom (preferably size 8 or larger with a shedding device) and all that comes with one.
-A ten-dent spring (if you do NOT have one we can work with a twelve-dent spring by stretching it but we do recommend having one). Remember having a ten-dent spring means that there are ten dents (spaces in the warp coil) in an inch when on the loom.
-A tapestry/bead cuff bracelet kit (or similar materials: Yarn (for example: silk, rayon floss, perle cotton, novelty yarns); A spool of beading cord; beading thread, a brass cuff; a piece of ultra suede; size 8/0 and 11/0 seed beads)
-Heddles (for more on heddles click here
-A pair of scissors
-A bead mat (optional)
-A needle (or needles) 
-Glue that can bond fabric to metal. These types of glue are available through craft outlets. You will only need this for finishing your cuff. 
-A Phillips head screw driver IF you have wooden clips

-A ribbon or cord (if you plan to only weave one piece on one side of the loom) to help stabilize your warping bar after your warp
Set-Up: 
How you want to set up your work space is up to you, but we suggest finding a flat surface and organizing everything you will need to warp the loom and begin weaving. Swing out the two (or one if you are using an 8″ loom) legs under the loom and place it on a flat surface.

Make sure your loom is at a height so you have about 2″ of threaded rod showing on each side. Measure to make sure the loom is even. We suggest if you are using a size 12″ loom or larger that you put your weaving on the left or right side of the loom. You will need some kind of string to tie around the warping bar on the opposite side of where you will put your piece. You will do this after you have warped your loom. It will help to stabilize the warping bar. The reason you don’t put it in the middle of the loom is, because it is such a thin piece, it is difficult to balance the bar. You may want to warp the loom on both sides and make another piece on the other side at a later date. For example you could warp the other side 10 warps wide and make a little purse. The tapestry/bead cuff bracelet cuffs come with enough extra yarn to make another piece.


Warping
We suggest checking out the warping instructions on our site today if you haven’t done so before.  Because we’ve already gone over warping for tapestry in detail (click here to go back to our warping for tapestry post), today we will just over the basics for this particular project. (These warping pictures are from our last tapestry/bead cuff weave-along, just to give you an idea of how your piece should look) 



For the tapestry/bead cuff bracelet we warp for tapestry and add beads in a unique way. Because of the spacing of the warps in this particular project size 8/0 seed beads fit perfectly between the warps. This method is not recommended for weaving just beads, but happens to work perfectly combining beads and tapestry. 


For this project, warp 15 dents across using your 10 (0r 12, see above) dent coil. You will be warping for tapestry, which means you will put only one warp thread in each dent. Easy!


Remember, for this project you will be using the C-Lon Cord (not the beading thread) to warp the loom. It’s really easy to work with (and warp with) and is also what you will use to weave your header (next week!). 


Warp 15 dents across
The loom warped. This loom has a bottom spring kit on it, which is not necessary for this particular project but may be helpful if you want to weave small-scale tapestry or wide bead pieces. 

The loom pre shedding device. Notice the cord on the right side helping to balance the warping bar.
Beginning to put on heddles.
Putting heddles on the other side.

All he heddles attaching the shedding device to the warps.
All ready to weave!

Happy warping!






Warping with the No Warp-Ends Kit

We’re always looking for ways to make weaving easier, and we found a great way to avoid having to finish those pesky ends when weaving beads! The No Warp-Ends Kit, available in our online store, is easy to use and is perfect for beginners and experts alike. Try weaving wire with this kit, too. Our “No Warps To Weave In Kit” comes with beads, SoftFlex wire and all the materials you need to create a gorgeous bracelet using the no warp-ends kit!

The “No Warps We Weave In” Bracelet

The No Warp-Ends Kit
Watch The Video:

Gold Bracelet Collection Notes from the Plane

Golden bracelet: By today some of you will have received the gold thread bracelet collection. We didn’t include instructions, which might be an issue for some of you, so I’ve decided to use my time on the plane wisely (well, after having watched “The Help”, which Elena directed me to download from iTunes . . . a first). Now I shall be wise and talk you through a weaving with gold thread. First of all, let it be known: it is fun to weave and there are all sorts of possibilities. I have as of yet just explored straight lines but I have curves and leaves and patterns zooming through my brain ten thousand feet above the ground. The process of weaving straight lines is simple so do not panic. First, set your loom up for the no warps weaving. I am leaving about six and a half inches between the bars. Measure your wrist and see what you get. You want a little area in between the two ends of the bracelet for your clasp. I have woven one and three quarters bracelets thus far. The second one is on a mini-Mirrix buried in my luggage somewhere below me right now. I had planned to take it on the plane, but decided most likely I would not use it and my backpack is so filled with computers and beads and cords that even the mini was not going to fit. Also, this is a night flight and the thought of trying to wrangle with beads and gold thread in this light was a bit more than my imagined patience could handle. The first bracelet is only about an inch wide. The second one is about half again as wide. I think I prefer the wider format. First thing: weave in a couple of rows of seed beads. Or even just one. This is your design. Next prepare your gold thread. I used three strands which I then threaded into a tapestry needle and then doubled. I found it helpful to knot the end to keep things tidy before weaving. I took the needle and wove it under the first warp, over the second, under the third, etc. Before heading back in the opposite direction, catch the thread from the beads under your gold thread so that it runs up the side of the piece. That way, once you weave the beads again the bead thread will not show. The wonderful thing about wire which I am now discovering is that it does not pull in when you weave fiber over it. So this is a great piece for those of you who are still learning the ropes of fiber weaving. Weave a few rows of the gold (or however many you want to weave) and be awe struck but how much the gold section looks like gold. Well, it is gold. But I am still amazed by the shine and brilliance of it all. When you are done weaving the gold, thread some more beads on the bead thread and catch the thread behind the gold, again so that the gold thread travels up the side of the piece and doesn’t loosely hang on the side. Keep weaving in this fashion until you get to the end, which should be just beads. I like to end with a few rows of beads. Remove your piece and sew in the two warp ends or use them to create a clasp. After I finish the piece that is in my suitcase I plan to create a piece that has shapes. In my mind these shapes look like leaves. I think I have figured out how this can be accomplished. I am hoping Elena gives me time tomorrow to play with these ideas. I she has lots of plans for making videos tomorrow, so I might have to survive the videos before I can follow my golden heart’s desire. I also plan to take many photos of Sam-I-Am, Seattle, and everything Mirrix and loom-ish. So looking forward to week of working with Elena in person. Skype is wonderful and I am ever grateful for it . . . but being in a real room with someone is still best.

Gold thread bracelet, loom stand and some thoughts

You know you  are in trouble when you look at past habits and think:  “Wow, I am really kind of weird.” Let me explain.  I decided to rearrange my studio.  Again.  Before Elena’s wedding in August I had to basically empty out my studio/office.  It was extremely cathartic if not a bit disturbing.  Ultimately, I was glad I had to do it.  To clarify:  my studio/office used to be a dining room.  It sits smack in between the kitchen (also known as the home of the espresso machine) and the living room (which is a huge space designed for parties that I am sure the last owners never got around to having). The reception was to be in all three places and so I had to get out of Dodge.  Once I returned to Dodge, to this newly painted and very clean and beautifully lighted (by the great outdoors) space I could put anything anywhere I wanted.  So I left out all the ugly stuff.  The two black filing cabinets remain hidden in my husband’s cave (he could care less).  I got rid of an awful huge table, thinking I had given up efficiency for beauty.  Not the case.  The awful huge table had just been a place to spread stuff and it turned out I never really needed it.  I made a circle of my desk, a nice table and my drafting table.  I put my favorite rug (we have hard wood floors to rugs are important) in the middle.  I very slowly hung up a few tapestries, pieces of art.  Only bookshelves I liked remained and only stuff that was pretty or essential was put on them.  The lovely wood cabinet could hide all the supplies and stuff I wasn’t keen on looking at all day.  The ugly but so necessary plastic things with the million drawers were placed below knee level so they are still useful but you don’t see them.  My gorgeous trunks got center stage.  I put the purple love seat I don’t much like but love sitting in by the windows in the corner.  All was good.  No more bulletin boards.  I have my huge slate blackboard.  One marble top table, a weaving bench and lots and lots of looms.

But why did I stick this other table in a far off corner and place this lovely wooden cabinet with all the drawers on it when 1) it’s almost impossible to get to; 2) I never actually sit at that table because it’s in exactly the wrong place.  And why was there no loom stand in sight?  Why was it in the living room, where I never weave.  How many years would it take me to get it that if it isn’t in range of my desk I will not use it?  And why buy this little wooden cabinet with all the cute little functional drawers and slots and holes if I was just going to pack full of stuff ans stick it far away and never use the stuff?  I do things like that.  I take something I really like, I really want to use and then I stick it in left field never to be used.  Am I saving it?  Is it a future reward for being a good girl?  Who the heck knows.  But look!  Isn’t that sweet? The little wooden thing and my baskets and trays and that gorgeous cat in the back ground sitting on the trunk making sure all is well.  Don’t you just want to sit there and weave my gold bracelet for me?

So I put the little cabinet on the table I always work at which is at right angle to the desk that holds my iMac which I am always sitting at.  And I dragged the loom stand to sit in between that table and the drafting table (before the wedding the drafting table was in the living room and I hadn’t used it in about ten years . . . now I use it all the time).  I am weaving a no warps ipod case on the Laniloom and because I can’t advance it, when it sits on a table, the top part is getting a little hard to reach.  The perfect solution would beto use a stand where the surface can be adjusted to exactly where I need the top to be.  Duh.  Really Claudia?  And where would you find such a stand?


 I found such a loom stand.  Gee, go figure.  And now I can weave comfortably on that piece and the piece next to it, which you can barely see. Chances are that now that the stand is within two steps of my computer, I will always have looms on it, freeing up a ton of table space.  Plus I love the way the tray holds the beads.  I have lined it with a cut up bead mat.  Perfect.  I guess I had associated the stand with tapestry weaving and not with beads.  What the heck was I thinking?  It’s perfect for bead looms.  Plus you can put two on at a time.  

And there is that beaded case in progress.  The solid areas are gold thread.  Have I mentioned lately how in love I am with using that gold thread?

Change of Subject:


I am addicted.  Mini Mirrix with no warps to weave in kit and another bracelet made from gold thread and size 11/0 beads.  This is going on the plane with me this Thursday when I fly to Washington and I am sure it will get used plenty while there.  The gold thread looks like, well, gold when woven in solid areas like this.  It’s amazing.  It’s gold!

Below is kind of the circle.  (I just jumped back to original topic of rearranging my studio.)  The three pictures make three sides of square in this order.

And there is Ms. Chloe making sure it all works okay.

And there is my other love, Shasta the pony, trying to soak up some sunlight on this very cold day.

Warping for Bead Weaving With The Shedding Device

Warping for bead weaving with the shedding device is slightly different from other types of warping, simply because two warp threads go in each dent (space in the warp coil) instead of just one. Then, when you put on the heddles to attach to the shedding device, instead of putting heddles on every other warp thread, you put heddles on one warp thread from each dent. Before you watch the following videos, please take a moment to look at our warping .pdf for warping for bead weaving with the shedding device.

Some of the information, tips and tricks from our last blog post on bead weaving without a shedding device are repeated here for your convenience. Many of the techniques apply to bead weaving both with and without a shedding device.

What is the difference between bead weaving with and without the shedding device? 
Without the shedding device you weave beads using the traditional method, sewing beads to the warp. With the shedding device you lift warp threads and place beads (on a thread between those warps). Then, you change the position of the shedding device and the warp threads move and secure in the beads.


Why do we warp two warp threads in each dent when warping for beadwork with the shedding device? 
When weaving beads with the shedding device you sandwich the beads between two warp threads instead of sewing them in behind the warp like you do when you weave beads in the traditional method. When you are in one shed, you lift one warp thread in a dent and when you switch sheds you lift the other. This also makes your bead weaving stronger because you have twice as many warp threads!


What types of beading thread should be used?
Here at Mirrix Loom we love C-Lon D beading thread because it is specifically designed for use with beads. It doesn’t fray easily, it’s strong and it comes in many beautiful colors.


How do you know what warp coil to use?
Place the beads you plan on weaving on a needle and measure an inch. Then, count how many beads are in that inch. The number of beads minus one is the warp coil that will be used. For example, if you are using Delicas you would find 19 Delicas are in one inch, so you would use the 18 dent coil. There is some leeway in this, and depending on the beads you are using, it might not work out perfectly (numerically), just close. Using a smaller (lower number) coil is better than using a larger (higher number) coil.




Video: Warping for Beadwork Using The Shedding Device

You can visit the video on YouTube here





Tips & Tricks:

Changing the shed
Every time you change the shed, strum the back of the warp to release any warps that are stuck. Visually assess your warps to make sure the correct ones are raised before you weave through each row.

This are three pictures showing the side view of the warps as you weave beads. You can see how the beads and secured in between the warp threads when you change sheds. 

Checking those heddles
When you look at the shedding device in the neutral position and look at the heddles, make sure they are not overlapping each other they are next to each other. Remember to sew in your first row of beads bc the shedding deivce will not work without that base. You must also sew in the last row. Your piece will fall apart if you do not do this

Weaving a wide piece
If you’re weaving a wide piece, you don’t have to weave the whole row at once, you can weave it in sections. Simply weave through part of your pice and then make a loop with your warp sectioning off a piece of your weaving and pull that loop to the front of the weaving. Then, place your beads into the warps and continue doing this section by section.

Hold the thread where the red arrows are to insert beads section by section.

Change your shed
Every time after you weave in a row change the shedding device automatically so you know that you’ve done that. If you can’t remember if you changed your shed go to your last row of woven beads and see if they push up easily. If they do you haven’t changed the shed; if they don’t than you have changed your shed.

You made a mistake! 
Don’t worry! If you realize when weaving a bead tapestry that you have made a mistake, it’s really easy to remove rows, just keep switching your shed and removing one row at a time.


How to find correct tension:
You want enough tension that you get a clean shed and have a taught warp. Your warp should be tight enough that your beads stay securely in once you place them between the warp threads. 
What if you run out of warp thread while warping?If you run out of warp while warping, simply tie on to the warping bar to end your old warp and then tie back on with your new warp and continue warping as if it was the same thread.


How to finish and start a weft thread:When your weft thread (the thread that holds the beads) gets too short, partially sew it through the row of beads below, wrap it around a warp thread to tie a knot then continue sewing through the row of beads. Do this until you feel the thread is completely secure.

You begin a weft thread in exactly the same way, starting a couple of rows of beads down with the goal of getting the thread to the left of the piece if you’re right handed and to the right of the piece if you’re left handed. 


Tips for Finishing a Bead Piece:http://awordfromclaudia.mirrixlooms.com/2012/01/finishing-techniques-for-beadweaving.html

Using The Bottom Spring Kit: The bottom spring kit is an add-on accessory that attaches to the bottom beam of your loom. This warp coil helps organize your warps at the bottom of the loom, just as your warps are organized at the top. It is great for wide bead weavings as well as small-scale tapestry. If you are using the bottom spring kit, warping is exactly the same except you place your warps in the bottom spring exactly how you do so on the top springs. Following are some pictures of looms with bottom spring kits to give you an idea of how the kit looks on a warped loom.

Gold Thread and Bead Bracelet

This was so much fun to weave.  The gold thread looks like pure gold when woven on a wire warp.  It’s just absolutely gorgeous.  The second I send this post I am going back for round two.  Will turn this into a kit, but if you can’t wait for the kit you can use the 11/0 seed bead permanent galvanized bead soup and our gold thread and ultra-suede and http://www.mirrixlooms.com/softflexwire.htmlsoftflex wire our no warps to weave in kit to make your own.  Simply weave the beads using the traditional method of bead weaving and weave the gold thread by threading it into a tapestry needle and needle weaving.  Here is the result:

Warping for Bead Weaving Without the Shedding Device

Warping for Bead Weaving: The traditional method

If you watched the last video in this series, warping for tapestry, you will notice that warping for bead weaving follows the same concept as warping for tapestry. One warp thread goes in each dent and that’s that!

Before you watch the following videos, please take a moment to look at our warping .pdf for warping for bead weaving without the shedding device.

Warping on a Mirrix Bead Pattern by Bev Hayes Berthoty (we just had to put this here!) 

Why Weave Beads?
Weaving beads is much faster than off-loom stitches and the wider your piece, the faster it is. The equivalent off-loom stitch would be square stitch which the most time-consuming off-loom stitch there is. It’s difficult for beginners to get correct tension when weaving off-loom stitches, but on the loom, the loom automatically provides the right kind of tension so that is never an issue.

Plus, weaving beads is easy and fun!

Beaded iPod Case by Mirrix President Claudia Chase (you can purchase the kit here)


What is the difference between bead weaving with and without the shedding device? 
Without the shedding device you weave beads using the traditional method, sewing beads to the warp. With the shedding device you lift warp threads and place beads (on a thread between those warps). Then, you change the position of the shedding device and the warp threads move and secure in the beads.


What types of beading thread should be used?
Here at Mirrix Loom we love C-Lon D beading thread because it is specifically designed for use with beads. It doesn’t fray easily, it’s strong and it comes in many beautiful colors.


How do you know what warp coil to use?
Place the beads you plan on weaving on a needle and measure an inch. Then, count how many beads are in that inch. The number of beads minus one is the warp coil that will be used. For example, if you are using Delicas you would find 19 Delicas are in one inch, so you would use the 18 dent coil. There is some leeway in this, and depending on the beads you are using, it might not work out perfectly (numerically), just close. Using a smaller (lower number) coil is better than using a larger (higher number) coil.


Warping for Beadwork Without The Shedding Device Video:

The Beaded Purse Kit:
The Beaded Purse Kit is a great bead weaving kit. 

Tips & Tricks


Which side do I start weaving from?
If you are right handed, sew through from the right side. If you are left handed, sew through from the left side. Mirrix Looms was designed for both right and left handed people.

What if you run out of warp thread while warping?
If you run out of warp while warping, simply tie on to the warping bar to end your old warp and then tie back on with your new warp and continue warping as if it was the same thread.

How to finish and start a weft thread:
When your weft thread (the thread that holds the beads) gets too short, partially sew it through the row of beads below, wrap it around a warp thread to tie a knot then continue sewing through the row of beads. Do this until you feel the thread is completely secure.

You begin a weft thread in exactly the same way, starting a couple of rows of beads down with the goal of getting the thread to the left of the piece if you’re right handed and to the right of the piece if you’re left handed. 

Tips for Finishing a Bead Piece:
http://awordfromclaudia.mirrixlooms.com/2012/01/finishing-techniques-for-beadweaving.html

Using The Bottom Spring Kit: (repeated from the warping for tapestry blog post) 
The bottom spring kit is an add-on accessory that attaches to the bottom beam of your loom. This warp coil helps organize your warps at the bottom of the loom, just as your warps are organized at the top. It is great for wide bead weavings as well as small-scale tapestry. If you are using the bottom spring kit, warping is exactly the same except you place your warps in the bottom spring exactly how you do so on the top springs. Following are some pictures of looms with bottom spring kits to give you an idea of how the kit looks on a warped loom.

Gold thread and bead weaving

I am taking the opposite approach to the concept of weaving fiber and beads.  Rather than set up the loom for tapestry and weave beads using the shedding device, I am setting up the loom for the traditional method of bead weaving and needle weaving in the fiber.  I am using just gold thread as my fiber in the two pieces I am working on. I am very pleased with the results.  I spent two days pondering this option before I finally got down to work and got something tangible on the loom.

The following piece is going to be a smart phone case:

And this one is going to be a bracelet:

I will have the bracelet off the loom and finished by tomorrow.  Stay tuned!

Finishing Techniques for Tapestry and Books you must own

Thank goodness there are great tapestry books out there.  In almost all of the tapestry books you will find information on how to finish a tapestry.  I suggest that anyone embarking on a journey of tapestry weaving invest in some good tapestry books.  Tapestry is not that simple.  It involves a lot of techniques which are not always intuitive.  I wish any of the books I am going to mention had been around when I began weaving tapestry more years ago than I would like to say.  We recommend all of the following three books for both covering almost every aspect of tapestry weaving and finishing.  There is something new to learn in each book and you will want to use them again and again for references.

In 2007 Carol Russell published the second edition of her “Tapestry Handbook.”  Well worth every penny of the $60 cover price, this book should be a staple in your tapestry book library.  The photos of tapestries in this book are breath-taking and the detailed attention to technique is clear and inspiring.  As for finishing, on pages 164 to 172of the book, Carol includes a chapter called Blocking, Finishing and Mounting.  Her methods for finishing are detailed and perfect.  She works harder at this process than I ever had and I am sure her results reflect this indulgence in perfection.

Published in 2002, “Tapestry Weaving” by Kirsten Glasbrook really set the tone for an inexpensive ($22), softcover tapestry book filled to the brim with color and technique.  I love this book.  All of the images in this book are of the author’s own tapestries, whereas Ms. Russell includes a broad range of tapestry images from both the best modern and not so modern tapestry artists.  Fortunately, Ms. Gladbrook has a great grasp of color and design and it is feast for one’s eyes to look at the photos in this book.  And photos there are aplenty.  Pages 66 to 69 address comprise the Mounting and Framing chapter of her book.  I have actually used her method for finishing more for bead tapestries than for fiber tapestries.  They seem to lend themselves more to small tapestries.   When you are done you have a piece you can either frame or hang directly.

The third book we highly recommend is Kathe Todd-Hooker’s “Tapestry 101” published in 2007.  Ms. Todd-Hooker mainly weaves miniature tapestries the images of which are pretty much absent from this black and white book.  However, despite the lack of Ms. Todd-Hooker’s wonderful tapestry images, this book is crammed with both simple and complicated techniques.  Another must-have for your arsenal of tapestry instruction, finishing techniques can be found in Chapter Seven which begins on page 84 and ends on page 95.  She deals with finishing of a tapestry in greater detail than the other two books.  Ms. Todd-Hooker is big on detail making this another book you must own in order to fully cover all the aspects of both tapestry weaving and finishing.  

Finishing Techniques for Beadweaving

The following is a list of ways to finish a bead weaving that has been woven on a Mirrix Loom:

-Pulling the looped threads so that they are flush with the piece (sometimes known laughingly as “pull and pray.”


Rather than rewrite something has been documented well by someone else (although this piece was not woven on a Mirrix Loom) I am directing you to the following link:  http://www.renzocrafts.com/weave_beads_on_a_loom.htm  Click on her “book” link which is a PDF file.    She has used one of those small metal looms where the warp is tied to a screw on either end.  With the Mirrix (and this only really works well if you are not using the shedding device) do not cut your piece off the loom.  Rather, release the tension and remove the warping bar.  Then follow the directions in this PDF.   I have had mixed success with this method.  When weaving the piece you have to make sure you do not pierce the warp threads with your weft thread when sewing back through the beads.

-Weaving a header and a footer.


This method can be used weather or not you use the shedding device.  Once you’ve finished weaving your piece and before you cut it off the loom, weave a header and footer using a needle and warp thread.  Simply weave under and over the threads, going back and forth until you’ve created about a third of any inch of fiber weaving.  This site has a good tutorial on this method:  http://www.renzocrafts.com/weave_beads_on_a_loom.htm
Once you’ve woven your header and footer, remove your piece from the loom and tie overhand knots with pairs of warp threads.  I like to weight my piece and stick a needle in the overhand knot to guide the knot as close to the body of bead woven piece as possible.  Once you’ve tied off all the warps, trim them to about half an inch.  Fold the header and footer to the back of the piece and sew them so they remain there.  You will either have to back your piece with something like ultra-suede or attache it to a cuff or, if this is a beaded tapestry, attach it to some kind of backing.

-Sewing in your ends.


This is a method I do not employ because I find it tedious and rather difficult.  Although with a thin piece and patience, it can be accomplished.  See this link again for instructions:  http://www.renzocrafts.com/weave_beads_on_a_loom.htm

-No warps to weave in method.


If you use our no warps end kit you will have no warps to weave in when finished.  For pieces woven NOT using the shedding device this is a great option.  Search this blog for examples of this method.

www.mirrixlooms.com