Understanding weave structures: Warp-faced, weft faced and balanced weaving.
- Emma and Gillian
- Jul 10
- 5 min read
Introduction: Weft faced, warp faced and balanced weaving
One of the most important aspects of weaving is understanding the relationship between the warp and the weft threads. How these threads interact form the foundation of all woven textiles and weave structures. Different weave structures dramatically influence the look, texture and function of a woven fabric. This blog explains the difference between warp faced, weft faced and balanced weaving with examples including belt weaving, Krokbragd weaving and colour and weave on a rigid heddle loom.
Understanding the difference between each type of weave structure is useful as each woven fabric has a different structure and therefore use. Warp faced weaving creates bold, colourful bands, braids and belts. Weft faced weaving creates sturdy fabrics which are perfect for rugs and wall hangings. Balanced weaving is commonly used for colour and weave designs with the final fabric appearing the colour of both the yarn colours in the warp and weft.
What are the warp and the weft?
The warp threads run vertically on the loom and stay under tension when weaving whereas the weft threads are woven horizontally over and under the warp threads. By changing how much of each thread is visible the weaver is able to control the surface texture, pattern, drape and strength of the final fabric.
Warp faced weaving is used in belt weaving looms
In warp faced weaving, the vertical warp threads dominate the fabric. This is achieved by pushing and packing the weft threads tightly down which causes the weft to disappear as the warp threads are seen going over the weft. This is particularly useful when weaving a belt using a belt weaving loom, backstrap loom or inkle loom creating a strong, dense belt or braid. When weaving with these looms it is important for a strong and consistent tension to be maintained which allows for the packing of the weft threads with the shuttle usually being used to beat the weft down hard.
Krokbragd is an example of weft faced weaving
In weft faced weaving the weft threads cover the surface of the woven fabric almost entirely with the warp being barely visible. This is the opposite of warp-faced weaving and it results in a thick often heavy fabric which is perfect for rugs or wall hangings. Krokbragd is a traditionally Scandinavian weave structure which is weft faced. The structure uses three weft threads per row of pattern and creates geometric, tapestry like patterns. Because the warp is hidden the weft yarns create the visual impact. You can read more about Krokbragd weaving in another blog found here: Click here to read: Being creative with a little frame weaving loom kit to sample a Krokbragd weave
Tapestry weaving is a weft faced fabric
Tapestry weaving as shown below has created a weft faced fabric. The warp in this weaving was a white yarn and you can see that the white warp threads are not visible. This has been created on a large frame loom with the weft beaten down hard to obscure the warp threads.
Balanced Weaving enables both the warp and the weft to be visible
Balanced weaving is perhaps the most common weaving on a rigid heddle weaving loom. When we run scarf weaving workshops we take time to encourage new weavers to weave in a balanced way beating the weft down precisely so that both the warp and weft are visible. Balanced weaving for a scarf not only allows for a good visual impact but it also creates a scarf of the correct drape. If the weft is beaten down too hard then a very stiff scarf results and too gently creates a rather drapier scarf.
In the image below you can see that a balanced weave has been achieved. In any square area there are the same number of warp and weft threads. You can also see that the weaving with the orange yarn has created a square in the middle. If the weft had been beaten down too strongly then the weft threads would have been too close together and a rectangle would have been formed with the orange threads. Equally if the weft had not been beaten down sufficiently then a rectangle in the other direction would have been formed.
We always incorporate an area of houndstooth patterning on the looms warped for our weaving workshops. The focus on achieving the houndstooth pattern supports the weaver in learning how to get the feel of weaving in a balanced weave. In the image below you can see that there is a square houndstooth pattern in dark grey and white which is central to the scarf.
When a balanced weave is woven the eye mixes the colours in the warp and the weft.
In the image below you can see a Tartan shawl. This shawl has been woven with just three coloured yarns only, a red, emerald green and electric blue yarn. You can see that there are some areas of the shawl which appear to be a teal/turquoise colour and this has simply been created where the emerald green and electric blue yarns have been woven in the warp and weft respectively. You can read about the weaving of this Tartan shawl in a blog by clicking here: The 7 steps involved in creating and weaving a beautiful designer handmade handwoven family tartan shawl as a special gift
Conclusion
The hope is that this blog article has provided some insight into the different weave structures, how they can be woven and the fabric which results.
Frame loom kits and Rigid heddle looms with scarf weaving kits are available in our TabbyandTweed website shop for UK delivery and our TabbyandTweed Etsy shop for delivery elsewhere. We sell a variety of scarf rigid heddle loom weaving kits which include the pattern and yarn for both 8epi and 10epi reeds.
In the fast paced world we now live in it is our opinion that it is something quite special to take time out of life to be creative. Weaving fabric and scarves as unique items of clothing for yourself or gifts is hugely rewarding and helpful when trying to both unwind or keep warm!
Interested in learning to weave? Then our workshop page has all the details found by clicking the link here.
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