Introduction to Weaving: Creating a Necklace | Ellen Bruxvoort | Skillshare

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Introduction to Weaving: Creating a Necklace

teacher avatar Ellen Bruxvoort, FIBROUS | woven goods handmade in austin, tx

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Overview of Materials


    • 3.

      Building a Loom


    • 4.

      Yarn Selection


    • 5.

      Warping Your Loom


    • 6.



    • 7.

      Creating Interlocking Shapes


    • 8.

      Creating Lines


    • 9.

      Rya Knots


    • 10.

      Attaching Hardware


    • 11.

      Weaving in Ends


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About This Class


In this class, we will create a unique handwoven necklace from start to finish by hand.

This is a great introduction to weaving course as we will be working on a small scale and can be accomplished in little time. We will cover materials (DIY and purchased), how to weave with examples of different stitches, adding fringe, and attaching chain. This project has unlimited possibilities for customization, is great for gifts, and requires no prior experience with weaving. Have fun!

To purchase kit with all the materials you need for this class, visit here.

For more information on other weaving resources, visit here.

Meet Your Teacher

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Ellen Bruxvoort

FIBROUS | woven goods handmade in austin, tx


Hi! I'm Ellen, from Austin, TX, and I'm the hands behind FIBROUS, a series of woven goods and accessories. For more info on me and what I do, visit me on Instagram (@ellenbeezy) or my website at!

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Level: Beginner

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1. Introduction: My name is Ellen Bruck Sport. My business is called fibrous, and I work out of my home studio here in Austin, Texas. And today we're gonna make a woven necklace you see woven things around you all the time and you may not even know that it was woven. But it's like you can you can look at something and just sort of, like, feel the texture and see the way that the fibers and interactive one another. I don't know. I had I had some things like that in my life, in line like home decor. And I was just like I could make this. How do I find a way through this out? You know, I mean, and I think that's a really interesting thing to notice. That's all around you. I mean, I think that once you start believing or practicing any art form or doing anything more regularly, you sort of start to see it more in your life. I don't really see that a lot in jewelry, and so I think that that is like a really cool way to incorporate this thing that I've started doing in my life because I was just like I wanna wear this, you know, like, how do I figure out how to wear it? So I mean the necklace, not the first to make a necklace by any means. But I do like the idea that you can just take it in any way and just make it your own, depending on what colors you use or you know, the shapes or even just like the weaving techniques. And I think that there's just so many, like unlimited possibilities. Whenever I started weaving, I just, like, started off making wall hangings and still make wall hangings because they love them. And I think that they're great addition Teoh you all. But I started making like necklaces next, because I had already worked in the larger scale and I wanted to figure out how to work on a tiny scale. But I started to make clutches and coasters and placemats and other things like pillows. But I think by far the necklace is the best seller on. I think it's really cool because I mean, like, any woven thing that you could make its There are so many different ways surmise it, and I think that everyone has a piece of jewelry that they're like proud of, whether it's store bought or him made or, you know, shiny or matte or whatever. I think it's like it's a really it's a thing that can say a lot about you and and just like getting to wear something that you made it so empowering and so cool and you know somebody gives you a compliment on it and you're like, Thanks, I mean this. So in that way, I think that it's a really cool thing just to learn how to make, to teach how to make just to make in general. 2. Overview of Materials: So in order to get started, we're going to kind of go over some of the materials that you'll need. We'll have two options. One option is that you can purchase a small loom through the Wohlers website. I have this four by six Jim Hockett loom, which is great for small projects, or you can build your own loom. So in order to do that, I suggest that you get like, a like a picture frame. You just take the glass out. I do suggest that it is a wood picture frame, because if you get something other than that, maybe like plastic or any other material when you nail the nails and it might fall apart. So what's good? Um, after that, you're gonna need some nails just for the frame hammer, pencil and a small measuring tape so that we can space the nails evenly. And then if you are, uh, just ready to get started with weaving For that, you will need some scissors bent tapestry needle, which you can purchase on Amazon for maybe, like, two bucks. Um, some jump rings and, uh, any kind of chain of your choice I use copper curb changes because I think it works best for the colors that I use, but you can really use whatever you like. You'll also need some needle nose pliers and some wire cutters, which you can purchase any sort of like. Craft supply store for pretty inexpensive, um, optional. Use a chopstick if you want. Just for easy weaving. It kind of creates a gap that you can pull the yarn through easier and you'll need some yarn, which will talk about what Sharon is good for. Weaving jewelry later and some more thread, which I use like a cotton or linen, something strong. So, um, I guess we're ready to get started. 3. Building a Loom: All right. So if you want to build your own, uh, loom, So in order to get started, um, we're just going to use our pencil nails hammer and take my wife with our wood frame. So I suggest using your tape measure to make maybe, like, six or seven marks that air 1/4 inch apart. So right here, I'm gonna kind of like, center it in the middle of the loom so that it's easier to use, because if you do it over any part of the frame, that it's gonna be a little bit harder to reach behind the strings. So, um, here, given these measurements from edge to edge, I'm going to start at the two inch mark. And so let's see. Gonna take pencil mark right there, two inches, and then I'm gonna move over 1/4 inch and take another mark another quarter inch all the way over to three, and then what we got right there's five must do to. So that would be those marks would be like the wit of the area in which we're weaving. If you want larger, you can do more marks. If you want less, do us we're gonna do the same thing on the bottom. So we move the measurement down, started the to and make the marks in the same spots every quarter inch. So we got our seven marks on the top and bottom on the next, we're gonna take the nails and just place one now in every spot that you placed a mark. All right, so now we've got all of our nails in. We got seven million was up seven on the bottom. And the most important thing is that they are evenly spaced on both sides. If you if you have, uh, maybe like one that's 1/4 inch over, then you're gonna end up with a crooked weaving, which, I don't know, maybe you're going for that. But for the purposes of teaching, we want to make sure that everything is even so Whether you decided to make your own loom or purchase one, let's go ahead and get started with the weaving process. 4. Yarn Selection: All right. So the next step before we start weaving is to talk about the right kind of materials to use. So first, the strings that you're going to run vertically in order to create the backbone of your weaving are called warp strings. This is just like a cotton linen blend. Um, and right here I have a cotton just like 100% cotton. It's important for this fiber to use something that is maybe thin and then also that it's not stretchy like it doesn't have a lot of give. You want something that is really durable, and it's not gonna break because you are gonna wind it really tightly. So next, as far as the the actual weaving fibers go here, I have 100% cotton. That's been Merce Arised, which is just a way of treating the yarn to make it more resistant to Pilling. And then here I have ah, cotton linen blend. And then this is a cotton silk blend I've chosen vibrates that sort of are a bit of a, um ah, finer with because I want to use as much fibre as possible in the weaving. So if I use something that's thicker. You're not gonna get to use as much of it because it takes up more space, if that makes sense. So the more fiber you get to use in the weaving, the heavier the necklace gets, Which I mean, it's a very small piece, so it's not gonna get very heavy. But you do want the necklace to kind of pull its own weight, because if it's too light, then it's just gonna stick to your shirt. And it's not gonna hang the way that you wanted Teoh. So I like to choose fibers that are finer, more tightly woven so that they create that look that I'm going for, because if I were to use something like this will right here, it would sort of create a more chunky look for the necklace, which could be something that you're totally willing to go for. Take that information as you will and choose whatever fibers fit right for your style, and let's go ahead and get started weaving 5. Warping Your Loom: Okay, So before we start, I know that some of you have maybe built a loom and then some of you maybe have a loom already at home that you can use for the sake of this video. I'm going to use the loom that I have from Jim Hockett. You can use this one. It's going to be the same principles eso, whatever you have works. We're just gonna talk about technique. The first thing that we have to do is work the loom. So I'm gonna take my cotton linen thread. This is just like a really fine fiber gonna do. I'm not on the first notch, and I'm gonna double not it. So let's take this here. I can get it right. So why not? And to nuts. So let it secure. So we got there it is. And then we're just gonna take it and thread it through this first tooth on the bottom. We're gonna go around this tooth and into the next one, and you just repeat that over and over, up and down, and you want to keep your attention really tight. If you do find that it's a little bit loose in the end. You can always go back and pull each thread so that it's tight before you tie it off. So when you stop it about their cause, that's about the width of the necklace that I would like. One way to check your attention is just by placing your finger on top of the strings. And if it has a lot of give, um, then you want to go through and just like Titan each strength until you get to the end and before you tie off because you wanted to be pretty tight. Um, you can see right now that mine doesn't have a whole lot of give, so I'm just gonna go ahead and cut this with some slack and make sure to keep pulling it tight. I usually just try to, like, place my thumb right here. I'm just gonna hold that string while I thread it around the back of the last warp string and pull it tight. So that's my first little not on the second while keeping my thumb there so that it holds in place until I've got that double. Not to secure the wave, and then I'll just wrap the extra around here so that it's not in the way. And there we have it. So we have the The most important thing is you want your knots to both be on the same side of the loom, and this is so that when we finish, we have loops on one side and then you have your ends on the other. So when we cut it, we want to make sure that there are no knots on on the other side so that we can put the Bar ling through and just not have any extra extras at the top. So, yeah, that is how you were feeling. 6. Soumak: All right, So now that we have our heirloom worked, we're gonna go ahead and start with the first stitch. Um, and you can choose whichever color for this. What piece? We're going to use two different colors. So we're just gonna take about, Let's see, it's gonna take about, like, an arm's length. Um, for this first part, um, you can always add on more later. So don't I don't feel like it has to be a certain measurement, but for this, we're going to start within arm's length, so it's not too long. Not too short. Um, I'm gonna fold it in half so that I have loop on one end and the two ends on the other, and I'm gonna put one end underneath that first warp string, and then I'm gonna tie and knocked. Um, the way I tie knots, I take both strings at once and loop them onto each other, um, and then pull it tight so that they are together like that. So now we have the yarn wrapped around that first word strings, and we'll go ahead and start with the first ditch on, and I like to start and finish all of my weaves with the sumac stitch. Um, it kind of gathers your warps and secures the peace so that when you take it off, you don't just have, like, pieces of yarn that are coming out of the we've This is sort of a way to secure that and make sure that everything stays in place. So by doing that, um, some of you may have practised Semak such before, but, um, the way it works is you want to have your excess yarn on the side in the direction that you're trying to go. So we're starting from the left, leaving to the right. I'm gonna have my access on the right. I'm take that end and it's already around that first warp string. So I'm just gonna place it around the 2nd 1 and the way I do that is starting on the right , moving to the left and pull. So basically, it's just looping around that warp string. So my excess is on the right, taking that end and placing it around third worst ring and you want to make sure also that every time you pull the string type that it is in the same place under your excess. So my access is above my end if you pull it the opposite way. So, like, um, if you accidentally pulled it like this, it would make the stitch look different. Do you want to make sure that this is always in the same place? Always. So the right and beneath. So you'll see here that is starting to create this sort of like looping texture. So again, now we're on the what? It's form string something like that. Pulling it tight from the right to the left, pulling it tight. Are you trying to continue that until you get to the end of the row when you want to kind of keep the loops tight so that they don't get to loose? Alright, so we finish that rule and we've already gone around the last word string. But in order to start the next row, we want to go around it one more time. So we've ended the first row starting the next. So now our yarn is going in the opposite direction. So we're trying now weaving from right to left. So are slack is going to be on the left, and we're going to go around this work stream. I usually do this dish for two rows because if you do of her one row, it kind of looks like a twist. But if you do it for two rows, that it ends up looking kind of like, afraid, which I like. So do whatever feels good to you, but for this necklace, we're gonna start and finish with the braid and you'll see here that I've sort of reversed the orientation. So when we're weaving from left to right, you want Teoh, place it when you want. Place the end on the right side of the warp and moving to the left. But when we're weaving from right to left, want to reverse that? So we're starting on the left and going under to the right and pulling. You see how it's starting to sort of look like a braid go and who's going and finish out that row. And I'm going to continue to weave with this same color until we switch colors. So it's OK that I have all this slack because it's gonna get used. All right, so here we go. We have our so Max Stitch at the very top 7. Creating Interlocking Shapes: All right. So after we finished our soon max stitch, this is where the tapestry needle comes into play. It's really helpful Tool whenever you're leaving on a small scale because sometimes your fingers can kind of be bigger than the gaps that you're trying. Teoh Move in and out of. So this is a great tool. And the way that I typically use it is, um, you can ty, um, the yarn around the needle. But I just slide this not through here. And it typically gives enough resistance, um, that it stays in place. So that's an easy, just kind of way to use a tapestry needle. And what, this slack. We're gonna go ahead and start with the plain weave playing. We have works just like over under. Very simple. So we're gonna go ahead and start under and move over one under 1/1 under one just until we get to the end of the road so you'll see that every other word string is picked up and every other one is beneath the needle. So sometimes you want to double check that because you can accidentally skip one and then and then your pattern kind of gets messed up, so you pull that through and you want to make sure not to pull too tight. Um, these outer word strings here are called your salvage warps or your salvage edges. Um, and the lower you get in your wave, the looser the tension becomes. So it's easier to pull too tight to where your piece will end up looking like that. Um, you want to make sure to just kind of be conscious of keeping those edges loose so that you get a nice rectangular shaped or square or or whatever you're going for. So, um, I always just tried toe be conscious of those edges. So we've ended on an over, so we're going to start with an under so under, over, under, over, all the way to the end. Pull that through And again, just be conscious of that edge. I'm gonna do this for about four complete rose. A complete row is a passed this way and that way, so I usually counted by the edges. So right now we have, um, to complete rose or I guess maybe 1.5. Now we have to complete rose, so you'll see, there's a loop right here on a loop right here. And there's about to be another loop. So we have to complete Rose, uh, work on the third until we get to the fourth over under each time. It's also important to note once you finish the necklace and cut it off and actually like, put the bar link, um, in place all of this is going to get squished up. So, um, always kind of we've further than you think you want to just because at the end of the necklace, when you finish it all, everything is going to be pushed really tightly together. So if you think that this is like if you end up like weaving really loosely and this is like a big area and you think you might want to stop, maybe just do like an extra rower too, because at the end all this is going to get pushed up really tightly, and you're gonna end up having a really compressed, uh leaving. So it's just important to note I made a lot of really squished necklaces that I had to learn that the hard way. All right, so here we've got four rows pretty good on. And I think I'm ready to incorporate design so we'll do that in our next step. And in this part, um, the design that I like to do on some of my necklaces. You end up using two different types of yarn at once, so I'll show you the easy way to do that. I always go ahead and take an arm's length of this second color. It's also great if you have the ability to wind your yarn with a swift and a balwinder into these little, uh, cakes, because it just makes it really easy to, like pull from the center and just more efficient for weaving, I guess, and less less tangles, which is nice, because I just means less headaches. So I'm gonna go ahead and I have this yarn ending on the right side, and I'm going to go ahead and start this one on the left side so that we have two colors to work with, just the same way that we did it before wrapping around the first warp string with one end and tying that together. Not really tight quote. So now we've got two colors, so I'm gonna sort of make, like, I'm still using plain weave over and under, but I'm going to sort of make, like, a kind of like a southwestern arrow shape in one direction. So it's going to start. It's gonna be kind of like a tiered. Um ah. Tiered week. So we're gonna start with just going under to warp strings, like over two and under two and then back. So we just have a tiny little line right there. Then I'm gonna do it one more time. I'm using my fingers with this one just because it's I'm gonna use I only have one needle, and I'm gonna use it for this. So, um, there and back twice. So it gets us like a nice little thick line, and again, it looks way thicker right now, but when we push it up, um, it's gonna look more like a line instead of like a block. Um, I'm gonna we've out the rest of this thread without using the needle, and we'll just attach the needle to the next piece. So here, for the next color, um, I'm going toe over under. We've up until we get to that shape So it ends on this warp thread right here, the 4th 1 in. And so once we get to that thread, I'm gonna stop Una Pool and I want to go back in the other direction, still doing over under. And then in order to continue that sort of tiered aero shape, I'm gonna add one more over and one more under to the count. So here we did two over to under. And here we're doing three over and three under so that it kind of moves in. Okay, so this is our second row of the three over three under, we'll go back ready for the next color. And for this last part of the tear, two more warps. So over under four times Cool. I'm also gonna add in one more pass underneath this extra last work so that I could get really close to that edge. Um, so I guess technically, over or under four times and over five times. So you're ending as an over. But then, instead of starting with an under, you're gonna start with an over. There's an extra You don't have to do that. You can do it the other way. if you like. I just likes to give it a little extra. Makes the tear a little bit steeper, I guess, is the right word. And you might notice that I'm doing two rows of this white thread, but only one of the tan you can do to of each I just if you do two of the tan, it's going to create a more dramatic gap in between, um, in between the tiers, which I've done sometimes. And I like, um, but this is just for the sake of showing the different ways that you can do this. So here we have it moving down, and if we're going to create it and sort of like an arrow shaped I'm I wanna have it moving , moving back again. So in order to do that, um, instead of having this second color meet the last warp string, um, on this white part, we're gonna have it meet the last work string of this second tier, and you can kind of use like the steps that you did before as a guideline. So, like, this is where that tan string ended for that other tear right here and then you over so I kind of use that as a guideline if I'm ever feeling lost on the count. So here we are, creating the gap for that second tier on the down slope, and we're sort of starting to get short on the slack of this one. But we can add on here in a bit so much in the way that we met the tan with the white. Um, we're gonna keep doing that. But instead of the tan meeting the white now the white is gonna meet the time. So here they are in the same warp, and there was gonna go back over under two times. Always staying conscious of your salvages. You'll see that this says somewhat of a straight line. Okay, so here is where I'm gonna end this piece of fibre. So I have extra. I'm just gonna pull it as I'm normally would. But leave it in the back, and at the end, we'll leave those ends in show. We're gonna cut another piece, maybe like an arm's length. Or so we've gotta underneath this warp thread where we left off, I'm going to go ahead and just make it easier for this needle stick these two through the eye, both bends. Oh, I messed that one up, Shake it through and then gather the ends. Entire. Not just so it's secure in the needle just like that. Now it it has, like a star, Okay, and now we're just going to go back. So when you add on another one in the middle of the weave, it's automatically and over just because it doesn't matter which direction you go. There's always going to be part of the armed going over the work because there's it's wrapped around. So we're going to go under, and you want to make sure that when you do attach on, um, another warp because it's automatically and over, you don't want to attach it onto, um, the row where you already haven't over, because when you go, um, under over under over back, it's gonna be repeating the same pattern that you went forward. So that's important to note. Just because if you were to repeat than you would have would mess up your your pattern. So, um, here we just have alternating. So this last one was in over. So now it's an under this last one was under. Now it's an over that way they stack nicely, and then we're just gonna go ahead and dio our last tear going over to under two. Keeping in mind of that salvage edge, we're going to go back for the last time. And since this is our last row and we're not using those color anymore right now, I'm just gonna go ahead and tuck it in between the rows that we just made. Um, just, uh, just doesn't over. I was gonna pull it back through, and we'll be able to weave that end in when we cut it off the loom. We'll just leave that slack behind the loom not to worry about it right now. And we'll continue with our plane. We've all the way across since we have double threads right now, you want to make sure you see right here whenever I pulled this tight, this one is a little bit looser and this one's a little bit tighter, so I just kind of keep that in mind and make sure that you have equal tension on both. So I'm just gonna pull this one in a little bit that way. There even and push up, and then we're gonna go back continuing plain weave. So even though almost all of this necklace so far has been playing, we've been able to create some cool variations with shapes on. Then you have the texture of that soon Max Stitch at the top. You're welcome to use the suit. So Max Stitch or any other stitches that, um, we may learn in jury. Right now, we're just kind of focusing on making shapes with the plane leave. And I'll show you another technique here in a minute. Um, just create lines because sometimes it's kind of cool to be able to just use lines in any way that you want. You can make a thinner or fatter or, um, just kind of like stack them. And in cool waves. I do that sometimes in my necklaces and they like like the way that looks. So it's going to go and create a couple lines coming from the opposite direction in the same white color. So, um, here I've completed two rows of the tan was gonna do one more just to can I give a little bit of ah separation. In between this shape that we've created and the lines that were about to create 8. Creating Lines: I want to end with the 10 on the left side going to start with, um, a little piece of white on the right side. So we're creating lines. I just want to use a tiny piece of yard, because the way that I do this, um, since this is such a small a small service to weave on, um, there really isn't like, if you're just creating one line and not a whole shape, you really don't need a little bit. So, um, we're just going to start from the right side and loop it around as we've been doing with each color. Make a little not to keep them together. Okay, we go. And I was gonna create sort of a stacked much in the way that we stack this. I'm gonna do that again, but, um, just with lines. So I'm gonna go over under a few warp threads. 234 However, many like and back, and they were just going to tuck that in, so I really like even that little piece of string was already too much, but it's nice to have something to work with. So you're not working with small slack. So does that tiny line and it's all tucked in. We're gonna leave the end in at that at the end and then I'm gonna We've all the way across a couple rows of this tan color all the way back. We'll do it one more time so that we end on the left side. So push that up. We'll get another small piece so that we can make a second line and wrap it around and work string. And although under over under over, we'll go a little bit further than the 1st 1 so that we create a little bit of distance. So this one's a little bit further along, And then again, we're just gonna tuck this one in and leave it in the back. We're going to go all the way across with the tan just to create another gap between the lines running short on the stand. So I'm gonna have to you add on more here in a minute. Like I said earlier, it doesn't really matter how much you out on you could add on to arms links earlier if you wanted Teoh and it probably would save you. Um, having to do this again. But okay, so I was gonna snip this not off, because we're about to tuck this in the back. So gonna we've in a little bit and then leave that excess underneath. You'll see that my ends are starting to pop through back here. Well, we've all those in whenever we cut it off, so this one hasn't gone all the way across. But we're just gonna take another arm's length, and then we're gonna add it on where we left off. As I said earlier, Whenever you're going, when you're adding on, string on and you're about to go in the opposite direction, you want to do you want to attach the string onto the warp that's next to where you ended off. That's only when you're going in the opposite direction because you don't want to repeat that same over under as you did on the road before. But when you're going in the same direction, um, you will add it on to the same word string where you left off, because if you added on to the next one thing, you're going to be repeating the same over under as the road above it. That's only when you're going in the same direction, so it can be kind of confusing, But stick with me and hopefully like if you try this at home and you find that maybe you accidentally gone over under, um, in the same uh, in the same pattern as you did in the road before, Um, and you'll find that like, it looks like you can see more warps because it's not alternating. Then you can just unl ive it and then do the right, um, rotation. So some you'll find that you might do that? Um, which is totally normal kind of that sometimes, too. But it's nice when you're working at such a small scale because it doesn't take that long done. We've it. So at the plus. Okay, so we've done it to, uh, rows of the tan here. So I'm gonna dio one last little line here and do a little bit of a longer piece probably too long, because I want this line to be the longest one. So here we'll go under over almost to the end, kind of like the tippy tip of our arrow on the in the shape. We're gonna end on an over, start on under and then again, we'll just tuck this one in, tuck it in, Cool. And then we're just gonna go underneath it with the tan again, keeping in mind or salvage edges all the way to the bottom. Not pulling to type. And you can You can add as many lines as you want. You can do in different links. You can you can go forward and then back. But I think for this one, we're just going to stop here because we're getting at sort of a nice shape here where I want to go ahead and do have a couple more rows and then add some fringe. So, um, for this part, it's pretty simple what we've been doing already and was going to go back and forth, finish out, um, the tan. I'm not gonna end up using all of this string for the plane we've, but we're gonna incorporate it into the sumac at the bottom. It's really important for me whenever I make nexus to have the same number of rows at the top, as I do with the bottom cause it keeps things looking symmetrical and like your design is centered so I like to keep that in mind. Some people go for more of an asymmetrical look, which is totally cool. Just about what you prefer. So let's see. Let's count. I've got 123 throws here so we'll do one more since I've got four at the top, and then I'll go ahead and start my soon back for the bottom. Okay? So for soon back, I don't know any of the needle because I'm not going over under, so it was clipped that off. I do like to have a little not, though, because it makes it easier to pass the strings. TerraPass, um, the yarn through the web strings. So tie another one, and then we're just gonna go under and back to some wack. So I have my slack. Not very much like again on the right. And then I'm gonna be moving from right two left and pull from right to left. Under each work, you're kind of like looping it from right to left underneath and making sure again that each time you pull, but your slack is above your end. If you do choose to have your slack below your end whenever you pull. Just make sure that you're doing at the same way every time. The only way that it's gonna mess up your stitch is if you alternate. Like if you dio a couple stitches with underneath and then a couple of stitches was that above, and it's going to end up looking even. And the the the twist is gonna end up going in different directions. So that will hinder the look of the braid. Sarah, from the right to the left underneath, pull, push up and you'll see we've got this little twist going here. So in order to complete the braided look, we're going to start the next drew by going under this last work Another time. And then now we're leaving from right to left. So whenever we live from right to left, we passed the end underneath the warp from left to right. So it seems kind of confusing, but it's just always the opposite. So left to right underneath the slack, pull and push up. You're almost there. So now we've reached the end. What do we do with this guy? Um I like to separate these these two rows right here, and we've this end back in. So, um, here I just have them pushed apart, and then I'm just going to go over under, and we have it in to the ends. That way, I don't have just, like a dangling string on my necklace, and this keeps it secure. You can go, as you know, over a couple work strings. You can go all the way across. You can. Just due to the middle, I have to go all the way across because I think it gives it a more even look. But sometimes if I, like, run out of slack, then I'll just do, like, one or two word strings and either ways Totally fine. Totally fine. Cool. So here on, push all this up. We've got the body of our necklace. We're ready to attach the fringe. 9. Rya Knots: All right, So now that the body of our necklaces finished, we're gonna go ahead and attach the fringe. And we do this by doing what's called Ryan nuts. Um, and basically, you attacked Ryan. That's using to warp threads. So with this piece that we've created here, um, I have five groups of two, so I have 10 altogether. If you're using the other looms and you'll have a different amount, but you just count them in groups of two. So here I have one group, two groups, three groups for groups, five groups. Um, so basically, um and I'm probably gonna use about five strings per group. Um, so I'm going to go ahead and measure with my hand and wrap around 25 times, so I'm taking the number of strings that I want to use times the group that the amount of groups that I have So I have five groups only has five strings per group 25 times. Um, and I use my hand is a measurement. Um, just because I find that it's the easiest thing and ever lose it. And I placed this string between my thumb in my palm and wrap around 25 times to three. Someone's gonna slide it off my hand on cut it near the end. So there we have this whole group of strings that are the same length, and that makes it really easy, because then you're not just, like, measuring. Cut, measuring, cut, measuring cut. You just have something to wrap around. Doesn't have to be your hand if you want longer friends and you could use, like, a piece of cardboard or, I don't know, a book. Just something something that you can wrap around and then slide off and then cut one. And that's just the main main point. So I'm gonna take five of these strings 123 for five who get him to where All the ends, they're pretty even. And you replace it on top of the we've, um and this is how we dio the right now. So we'll take one end and we're working with the 1st 2 warp threats. Our first group, um, in a place one end around the back of the 1st 1 and then the other end around the back of the 2nd 1 and they're both going inwards. So when you finish. It ends up colonel looking like an OEM symbol and gather all of the ends together so that they pull evenly and make sure that they're under the loop. Not that the loop is over. Like if you have it like this, just go ahead and grab those strings and pull it to the other side. So the loop is over, the ends are under, was gonna go and pull. So now we end up with something like this. We just push it right up to that soon back stitch. And when it falls going like that. But while I'm leaving, I like to keep them up. So that it they kind of stay in place. So I'm going to grab the next group of five strings. And there was going to go ahead and place it around the third work inwards. And then around the fourth work inwards. And again, I got a little home symbol for those ends together. Make sure your loop is on top and then put and push up. Now we have to just like that. No. Grab our next group of five and again get all your ends even now, around the third group of warps drinks. So take one end around the fifth. Work Insurance. My cat just jumped in my left. She wants to be part of the video on the other end around the sixth Work. Pull up. All right, Last couple groups. Okay, cool. So we finished. Oliver Ryan. That's and well, you're that. And we got our fringe. So I want to keep that here kind of facing upwards just because when we cut our project off the loom, I kind of want to keep this all in place because these aren't tied yet, so they can still, like, move around or not Very secure. Um, so the proper way, at least the way that I cut my project off. Um, since our knots, if you remember, are down here at the bottom, we're gonna cut right along this edge. We're gonna have gather these strains so that are right, and that's not fall off. And then along this top are all of our loops. And next we'll talk about how to attach our hardware 10. Attaching Hardware: Okay, so now we have the necklace woven. We're gonna go ahead and attach all of the hardware so we don't need our loom anymore. We don't really need the yard anymore. But here we have our necklace, tape measure, Um, the chain scissors, wire cutters, needle nose pliers, and this bar link. Um, with the bar links, you can find these at any of your local bead stores. Or sometimes I buy mine on Etsy or and any sort of like, jewelry supply online. Or if you have a store nearby, you can probably find something like this. So basically, what we're gonna do is I'm gonna take all of our bottom web strings here, and, um, gather them together and sort of, like, keep these Ryan knots pushed up, and basically, we're gonna do is we're gonna push, like, while holding all of our work strings tightly together. We're gonna push the whole weaving up so that these loops becomes smaller. See that they're getting small letter, and I want to kind of get leave a little bit of a gap. And now we're gonna place this bar link. We're gonna weave it into the gaps. So over under over, under over under all the way to the end. And the reason I kind of wave it is because I want the orientation of the loops to be consistent so that they're not twisted, are all facing different directions. That's not super important. But it helps. Um, and then once it's in there, you want to kind of like with that same technique of pushing the weaving up, put it all the way up so that it's tight up against the bar link. And this is where we were talking about earlier, um, weaving a couple extra rows in case you're worried about the size. Because when we push this weaving up, everything becomes really tight and really squished together. So it's good to leave yourself some room so that you're weaving doesn't become entirely squished. All right, And now gonna go and make sure all these Ryan nuts are tight and facing upwards, like before. And here I'm gonna flip the weaving over and make sure that it kind of keeps it shaped whenever you do. Squish it because my my thumb is typically here at the bottom. So, like I'm squishing it. Sometimes the weaving has a tendency to sort of, like, curve with my thumb. So sometimes I tried to either push down the ends or pull up the middle of the end, just a kind of retain that rectangular shape. So here it looks like everything is pretty even, and we'll just go ahead and take these work strings in the are same five groups that we wrapped the night Ryan knots around, and we're just gonna tie them together. So first group the end to warps. I'm gonna tie them together. I like to tie both strings together in the not instead of instead of taking the two strings separately and tying them, because then whenever you finish tying the knot, the strings lie flat together instead of If you were to tie it like this, then the strings would be going in either direction. And then you sort of have, like, strings that aren't tingling in the direction that you want them to. So I like to tie them together because I think it leaves like a neater, more finished look. And sometimes I will leave these ends in. Um, sometimes my fringe is the same fiber as my warp, in which case, I won't leave them in because they can just add on to the fringe. But in this case, I think I'm gonna leave them in because they're a little bit of a different fiber. And I think that that again gives it a more finished look. Here we are going group by group in twos, tying or not really close, like tight up to the ends of these riots. You want to make sure that you get them right and flush up to the ends. Sometimes you can use a needle to kind of like pull that loop down before you tighten it. Um, because if you make it looser than the Ryan not has a chance to come out. But you want it to be really tight so that it stays secure. So all of our not your time. I can flip the weaving over and sort of cool any loose parts of the Ryan arts through those knots that we just made so that they become a little bit more tight. And here we have and almost finished necklace so you can leave the frame the fringe in its entire length, or if you wanted to have a more, a more even edge. You can trim this off right here, which I think will probably dio. So let's go ahead and give this a little haircut just a little bit off. I want to kind of keep the length, as I say every time I go into the hair salon and the next, we're gonna go ahead and measure out our change so you might buy Chain where it's like already a certain measurement. That's totally cool to whenever I buy it. E I intend to make a lot of necklaces with it, so I buy it in a sport. So I think this was originally, like, 100 feet of Jane, and I usually just measure it out with whatever links that I like. Um, A I like to my necklaces to rest kind of low, so I usually go for, like, a 28 inch, 29 inch chain. So that's where this measuring tape comes in handy. Um, well, kind of measure it alongside the chain. Pull it down. I got Let's go for 28 a half, a nice, happy meeting, and then we just use our wire cutters on snipped the chain on, then in order to attach the chain to the bar link, um, we're gonna use thes jump rings which have a dish of them right here, so there are bigger than others. But I like to use the copper ones just to match the chain. And with ease, jump brings. I typically just uncertainly Neil of those pliers into the middle and then spread it apart so that it creates this little gap. That way I can attach it to the chain, maybe, and then to the week. And then after it's through, both of those that I just squeeze it closed. Here we go. And then with the other jump ring again. Just stick your players in between in the hole and then spread them apart very slowly with a little bit of pressure and slide it through the first link and the other side of this bar link. If that you just close it shut. And when we get to leave our ends in 11. Weaving in Ends: All right. So in order to finish the necklace, um, we gotta leave in all these ends that we created on the back side part, we've So to start doing that I like to sort of trim them all Teoh a shorter length just so that I'm working with a little bit less material. So what kind of trim them all Maybe like an inch or two inch and 1/2 of space. Some of them will be shorter than that, because maybe I left myself with less slack, which is fine. Um, OK, so you sort of have a little bit more consolidated here. And this is where this leaving needle becomes very crucial because, um, we're basically gonna take this needle, and for every place that there's an end to weave in, we're basically going to We're going to take the needle so we'll just use this one, for example. Well, I didn't train the night off of this one. So doesn't one point things got it from the nuts off. Otherwise it won't glide through as easily. So we're just gonna do this 10 1 1st Sometimes I like to work from top to bottom. Just makes it easier. Um, and we're gonna take the needle just above where the end sticks out, and we're going to stick it basically, like in between the pass is that we've made. So when you wave, you're kind of going over under and they're alternating each time. So it creates this space in between where you can get, um, underneath all of these rows, but then also like, it doesn't show on this side. So it's just in between the fibers, and that is where we're going to leave the ends in so that you can't see them. So it was going to pull this up with shorter ends. You have to get the eye closer to where you're pulling through, and basically there's gonna push or thread thes fibers through the eye. I should have left myself more slack on this one, so it's going to take a little bit longer to thread it through. But you can fold the necklace and half, and sometimes it makes it easier. Okay, so all the fibers, our through the eye, and then we're just gonna pull it. That's pretty tight. So kind of give it a little wiggle, and then you pull it through and then now there, seeking out right here. But they are woven in. So what Weaken Dio is trim off this excess. So now it's like it's not even there on. Let's go ahead and do that with all of these extra ins. So on the ones that are closer to the end, you can try, um, to weave it into the last room. But sometimes that was a little bit more tricky just because there's just a lot of passes happening on that side. So I usually go for the second row over and you can sort of tell like, um, the different, I guess, Rose. With each pass, it sort of creates this little like knob right here, and that's where you're gonna wanna lift underneath. So just pick up every time you see it a little notch and even go as far as you want. You can dio do 45678 even, just like three. It's good to do, like no less than three that way gets a nice and secure, so we're gonna thread this through I and pull it through. Trim it off. There we go. All right, Next one again. All of these I ended, like, basically on the last row. So I'm just going to do the 2nd 1 over. Okay? Thread these through and put I was going to kind of trim this whole cluster here at the end because they're all in the same area. So it's like that would just be faster. It's good to check every once in a while just to make sure that you're not accidentally picking up, um, picking up the wrong road. So, like, here's a good example right here. Um, I think I actually picked up something that was outside of this column. So and you can tell because when you flip it over, um, you can sort of see, it's hard to tell unless you're really close up. You can see our needles sticking through, and that's what you don't want. Um, that just means that you picked up a row that, um, was showing from the front side instead of only from the backside. So please try that again, picking up the back rows and I looks pretty good. Okay, these are the two. We're gonna pass them through the eye needle and pull again. We got a few more. If you use longer strings when you're weaving, you'll have less ends to even because you don't have to keep adding string as much. Um, sometimes I'm better about measuring than others, but there really is no, like, right way to measure unless you want to get really technical about it. But sometimes for me, that just takes the fun out of it. So an arm's length give or take is pretty good. Um, OK, so getting there, couple more ends. Quote. So we got one more? Um, let's see, right here. All right, Now that all these air woven in, just go ahead and trim our ends. You want to kind of trim as close to the we've is possible. So you don't see, um, your excess Just be wary of not actually trimming the weave. I don't feel like it would damage it too much, but if you can avoid, it would be good. Go. So I had originally said that we would trim. I mean, we've in our war pins, but they're really blending nicely with the color of our friends. So I think I'm just gonna leave them. Um, so there we have it have a nice woman necklace. So now that we've sort of covered how Teoh make the step of necklace, there's so many different ways that you can implement this which I think is really cool some of different examples that I've used. I mean, you can use different, different colors, different ways that you can make shapes or just we've with multiple colors. Um, here I've used a piece of leather instead of chain, and I've also weaved a little pocket. So I just basically, like, you know, made the weaving and then and then folded it in half and then stitched the sides. Or this one has leather fringe in which I've just basically did a Su Max ditch, but then threaded it through each of these little come beef with these little hooks. And then on this one, I wove the entire strap instead of the actual piece. So this is just like a ceramic piece that I attached to the necklace and and that's where the weaving came into play on this one. So there's so many different ways you can make wilbon jewelry, and I think it's gonna be really cool to see the way that you guys choose to implement it. Feel free to just recreate the simple pendant style. If you have any questions, comments, anything like photos of your process or any concerns, feel free to contact me in the comments, and I'll do my best to get back to us. And it's possible. I'm really excited to see what you guys make and thanks so much for watching.