#howtotuesday

HOW-TO: Make a woven table runner (from The Maker by Tamara Maynes)

If you are interested in weaving, this table runner project will give you a taste of what you can achieve with very limited tools, basic materials, and some patience. Using the principles behind tapestry weaving or weft-facing weaving (decorative weaving as opposed to the production of fabric) this piece repeats a simple under-over process where the warp (the longitudinal yarn attached to the loom) is hidden under the weft (the yarn being worked). The ropes used for warp and weft are both standard affordable hardware ropes, while the metallic yarn used to lock the warp at both ends is intended for fiber crafts and can be found at craft stores and online.

As with many crafts, basic weaving tools can often be replaced by existing household items. I actually wove this piece on a makeshift loom that was the frame of a small desk whose table top had been removed. It worked perfectly well, but for the purpose of this weaving introduction I encourage you to seek out a basic frame loom, to which you will attach the warp. Similarly, a shed stick, which is used to create a space, or “shed,” between the warp in order to thread the weft through, can be replaced with a ruler. Usually you would also need a thin wooden tool called a shuttle to contain the long lengths of weft as you feed them through the warp, but because this project uses thick rope, using a shuttle becomes more problematic than helpful. (I just used my fingers.) These weaving tools are all available from craft supply stores.

Weaving is a lengthy process and, because there’s nothing more deflating than an unfinished project, I feel compelled to push you to consider the dimensions of your finished runner before you purchase tools and materials. A frame loom won’t allow you to weave a finished piece any larger than its dimensions, so for this reason alone, planning is essential.

Materials

89 ft (27 m) of ¼ in (5 mm) thick unbleached cotton rope

115 ft (35 m) of 1/4 in (5 mm) thick white synthetic rope

Ball of metallic silver yarn

Tools

Scissors

Tape measure

16 x 28 in (40 x 70 cm) basic frame loom

Shed stick or ruler

Long-nose pliers

Lighter or matches

Prepare

To prepare warp, cut cotton rope into twenty-four 43 in (1.1 m) lengths.

To prepare weft, cut synthetic rope into ten 138 in (3.5 m) lengths. Seal the cut ends with a flame close enough to melt them, to prevent fraying.

To prepare or “warp” the loom, beginning in the middle of the loom, tie one piece of cotton rope securely to the top and bottom rungs on its long side. Repeat for the remaining lengths of cotton rope, leaving approximately ¼ in (5 mm) between each. Ensure each is pulled taut with a similar tension.

To prepare metallic thread, cut eleven 24 in (60 cm) lengths.

To prepare for weaving, sit the bottom rung of the loom on your lap and rest the top rung against a table.

Make

To begin weaving, take the shed stick and thread it horizontally across and through the warp two at a time—over two, under two, over two, etc. Next, flip the stick on its side, creating a shed between the warps. While the shed is open, take the first length of weft and thread it through the space from left to right, leaving a 6 in (15 cm) loose end at the start. Then, flip the stick flat again and use it to push the first row of woven weft down so it sits close to and in line with the bottom rung of the loom that is resting on your lap.

To resume weaving, working away from yourself, insert the stick through the warp as before but this time start with under instead of over. Next, flip the stick as before to create a shed. Thread the existing weft thread through the shed, this time going from right to left. Finally, flip the stick again and, before removing it from the warp, use it to gently push the second row of woven weft down so it sits snugly along the top of the first.

To continue weaving, repeat step 2, alternating between threading the weft from the left and right, until your weft thread has no less than 6 in (15 cm) remaining and the end is trailing out the back of your work. As you weave you will notice your weft has a tendency to draw the width of your piece inwards which, if left unchecked, will see the width of your finished piece (approximately 9 in/22 cm) vary along its length. To ensure this doesn’t happen, tie a short unwanted rope offcut to the outside left rung of the loom across to the first warp and repeat on the right. Slide these ropes up and down when necessary, using it as a guide to correct width as you weave.

To start a new weft thread, insert it where the last one ends, leaving a 6 in (15 cm) loose end trailing out the back of your work, and continue weaving.

To complete weaving, repeat steps 2 to 4 until the warp is covered and the woven weft sits close to the top rung of the loom, measuring approximately 23 in (58 cm) long. Untie the warps to free the finished weaving from the loom.

To secure the 6 in (15 cm) weft ends trailing at the back, and also at the start and finish, turn the weaving over and use the pliers to thread each tail through and along the underside of the weaving.

To make fringed ends, measure and cut the loose warp hanging from each end of the weaving to 8 in (20 cm) long.

To secure fringe, first take one length of metallic yarn and join the warps by wrapping the thread around the base of the second and third warps on one side. Knot securely. Repeat this process for every two warps along both ends of the weaving, leaving the outer warp on either side of each end unsecured. Without securing the fringe, the “unlocked” weft will begin to loosen and unravel over time.

The act of creating the treasures you use to adorn your home takes the space to a deeper level; it goes beyond collecting, beyond decorating. The Maker is a gorgeously illustrated love letter to creating an intimate, well-designed, and handmade home. With sections on wall art, textiles, ceramics, lighting, and furniture, designer Tamara Maynes presents beautiful homes that showcase the personality and warmth that a cozy, quilted wall hanging or an organically shaped piece of stoneware can add to a room. Each chapter closes with a simple DIY project, plus an interview with a high-profile maker. Projects like a metalwork wall hanging, a woven table runner, and a no-fire clay bowl expose readers to the fundamentals of making—and will inspire them to create exciting works of their own.

HOW-TO: Set a farmhouse table (from City Farmhouse Style by Kim Leggett)

Farm tables once desired for their sturdy work surfaces are now making their way into homes as a focal point of design for a dining room or kitchen. The humble style takes many forms, from original period antiques to newly crafted reclaimed pieces. Indicative of the farmhouse style of today, table settings are just as varied as the tables themselves and feature everything from fine china and silver to rustic staples, such as Mason jars. The only rule is to draw inspiration from collections that you love.

Gather up mismatched plates from flea markets, or better yet, use family pass-downs. For special get-togethers, Rebecca (above) uses an antique Royal Doulton Mandarin pattern. Her father found the dishes piled on the floor in the backroom of a retail shop. He convinced the shopkeeper that the antique plates deserved a better life, so he brought them home to Rebecca.

Think beyond the usual tablecloth or placemats. Consider using Turkish tea towels instead of placemats and fold the trendy cloth to allow the tassels to hang from the table.

Skip tradition and favor the unexpected by mixing fancy and farmhouse. Don’t give a second thought to placing crystal marquis wineglasses right alongside simple Mason jars. Mix silver candlesticks and monogrammed napkins with a simple centerpiece bowl of wheatgrass and fresh pears (picked up at a local farmers’ market for less than ten dollars).

Come along on the hunt to coveted country sources and the best secret antiquing spots, and learn how to create country farmhouse style in your city dwelling. Author Kim Leggett is the creator of City Farmhouse, an interior design business, pop-up antiquing fairs, and vintage store. She is also a legendary “picker” and favorite designer to celebrity clients (and country-style mavens) including Meg Ryan, Ralph Lauren, Sheryl Crow, and Phillip Sweet and Kimberly Schlapman of Little Big Town. In City Farmhouse Style, Leggett offers great style advice, breaking down the design vocabulary that makes for fresh country style (no matter the setting).

The popularity of farmhouse style has designers, home­owners, and fans in search of inspiration to create this look in all its rural glory. City Farmhouse Style is the first design book of its kind to focus entirely on transforming urban interiors with unfussy, welcoming, country-style decor.