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In weaving, there always seems to be something new to learn and try. Several years ago, I first learned to weave Inlay and have remained curious about its possibilities ever since. So what is Inlay, you may ask? Inlay is a weaving technique that utilizes a base (or ground/tabby) weft and an inlay (or supplemental) weft. The base weft travels from selvedge to selvedge, while the inlay weft travels only where the weaver desires. This creates unique designs that draw the viewer's attention to specific areas of the cloth.
Here we will explore just a few of the many options available for weaving Inlay.
While this article focuses on weaving Inlay on a floor loom (I am using an 8-shaft loom, though the techniques discussed are possible on a 4-shaft loom as well), the plain weave section applies perfectly to a rigid heddle loom, and the other sections are possible with the help of some pick-up sticks.
You’ll need a stick shuttle or a boat shuttle and bobbin for the base weft. Additionally, you’ll need a technique for organizing the inlay weft. I prefer to make butterflies, which are often used in tapestry weaving. However, you could wind your inlay weft on a small stick shuttle, a boat shuttle bobbin, or a tapestry bobbin.
Let’s move into our first type of inlay: Plain Weave Inlay. This will help us not only learn this technique specifically but also get a grasp of how Inlay works overall.
For this, you can warp up a rigid heddle loom or a shaft loom for Plain Weave.
Step 1: Open your first shed and weave with your base weft from selvedge to selvedge.
Step 2: With the same shed as Step 1, place the inlay weft into the shed and exit to the top of the cloth at any spot you’d like.
Step 3: Change sheds and weave a pick of plain weave with your base weft from selvedge to selvedge.
Step 4: With the same shed open as Step 3, repeat Step 2
For the shaft-loom weavers out there, here is a draft indicating the steps listed above:
Draft Key:
Cream threads = Base warp and weft
Gray threads = Inlay weft
From here, let your imagination run wild. Using the same basic concepts above, you can create anything you can dream up.
Plain Weave Inlay is the simplest form of inlay, but the opportunities for exploration don’t stop there. Theo Moorman Inlay, a technique created by Theo Moorman, allows the colors to pop more dramatically by bringing the design to the front of the fabric, unlike the more interlaced appearance of Plain Weave Inlay. This technique requires an extra warp that is much finer than both the base warp/weft and the inlay weft. In this example, I used sewing thread, which creates a dramatic contrast in size when compared to the 8/2 cotton.
In this technique, weave a Plain Weave base as before, then lift every other thin warp thread (called tie-down threads) to weave in the inlay weft. This causes the inlay weft to sit on top of the base weft pick, showing very little of the warp holding it down. This makes the design pop and come forward on the fabric.
Step 1: Open the Plain Weave shed tied to shaft 1 and 3 and weave the base weft selvedge to selvedge.
Step 2: Raise only shaft 3, which is threaded with the tie-down warp. Place the inlay weft into the shed in any spot you’d like. Add one color or several, overlapping or individually.
Step 3: Open the opposite Plain Weave shed (tied to shafts 2 and 4) and weave with the base weft selvedge to selvedge.
Step 4: Raise only shaft 4, which is threaded with the tie-down warp. Place the inlay weft into the shed in any spot you’d like. Add one color or several, overlapping or individually.
Draft Key:
Cream threads = Base warp and weft
Purple threads = Tie-down warp
Gray threads = Inlay weft
As with plain weave inlay, you can create incredibly complicated designs or stick with simple ones. It is all up to you, and as always, I encourage you to explore!
Our final technique allows you to use a more complicated pattern for inlay. Here, I’m using an overshot pattern from the Handweaver’s Pattern Directory by Anne Dixon. Overshot and similar structures work well because they already use a plain weave base. With inlay, you will weave the same base, and then place the overshot pattern only where you want it. Follow these instructions to achieve a patterned inlay:
Step 1: Open a Plain Weave shed and weave the base weft selvedge to selvedge.
Step 2: Open the shed according to the pattern draft and place the inlay weft into the shed in any spot you’d like.
Step 3: Open the opposite Plain Weave shed and weave the base weft selvedge to selvedge.
Step 4: Open the shed according to the pattern draft and place the inlay weft into the shed in any spot you’d like.
Draft Key:
Cream threads = Base warp and weft
Gray threads = Inlay weft
There are countless designs in the Handweaver’s Pattern Directoryby Anne Dixon to explore. You could experiment with overlapping two different designs to see what unique pattern emerges or have one design run up one edge of the fabric and another along the opposite side. Give it a try and see what you prefer!
Inlay is an easy way to create stable fabrics with a unique design element. I encourage you to explore the possibilities and create samples and projects that let you test how inlay can become a part of your creative endeavors. This course that I made with Schacht Spindle Company explores inlay more in-depth and has step-by-step videos for making two pillows using Array and Duet. If you are curious about learning to weave Inlay, I encourage you to check it out. Happy weaving!
Action photos by Kelli Mackenzie https://www.kmack.media/
Still photos by Sienna Bosch
Sienna, a passionate lover of crafts, found her true calling in weaving. She discovered this art form while pursuing her Bachelor’s of Fine Arts at Colorado State University, and it became a lifelong passion. Sienna also pursued art education alongside her fiber art studies. Currently, she holds the position of Content Developer and Education Specialist at Schacht Spindle Company. In addition to her work at Schacht, Sienna teaches weaving, designs patterns and writes articles on weaving and crafts.
