Peg Hansen, Scandinavian Weavers Study Group member and a former art teacher, guided our party activity. She supplied strong, beautiful paper, detailed instructions, and enormous enthusiasm.
Peg also ordered a book with many advanced designs, How My Mother Taught Me to Weave Christmas Hearts, with patterns by Knud Vaegter.
The paper hearts are traditionally filled with candy and hung as festive ornaments on the Christmas tree, as in the photo below from the American Swedish Institute in Minneapolis.
Photo by Jan Mostrom.
Peg Hansen wove many of the hearts in the book. She then taught us the basic pattern, shown in the middle of the top row in the photo below.
Weaving and photo by Peg Hansen.
The paper weaving technique is a bit tricky until you get the hang of it. As you can see from the photo below, we all had to concentrate very hard!
Photo by Barb Yarusso.
Peg recommends a high-quality paper that won’t tear during the weaving process. Bone folders come in handy to make clean folds, and a good sharp pair of scissors are a must! Peg wove the lovely and meticulous heart below.
Weaving and photo by Peg Hansen.
Lori Labs wove the star below, an extra-tricky pattern due to the sharp points, which are susceptible to tearing.
Weaving and photo by Lori Labs.
Nancy Ebner’s simple heart found a home on her Christmas tree.
Weaving and photo by Nancy Ebner.
Mary Erickson wove a variety of hearts using paper, felt, and even birch bark.
Weaving and photo by Mary Erickson.
Mary shared her pattern for making Danish hearts. Feel free to give it a try and send us photos!
Wishing all our readers PEACE and JOY in the New Year! Thanks so much for subscribing to our blog!
Members of the Scandinavian Weavers group traveled far and wide in 2025. Lisa Torvik ventured to Rauland in Telemark, Norway, eleven hours north of Oslo. There, she studied weaving at Raulandsakademiet, which offers classes in traditional craft. (See link below.)
View from Raulandsakademiet in beautiful Telemark. Photo by Lisa Torvik.
Note from Lisa: “This is the view out the back windows of the fireplace lounge (peisestogo) and the upper floor cafeteria and large meeting room [at Raulandsakademiet]. The building is the “Telemark Tun”, a small museum of traditional farm buildings that house a shop of handmade items in the hay barn and a bakery specializing in traditional breads. In Norwegian, a “tun” is what we call a farmstead and since farmsteads were often built close together, with maybe two manor houses or more, it might be the origin of the English word town. ”
The weaving course was taught in Norwegian. Fortunately, Lisa is fluent in both language and traditional weaving, having studied at at Valdres Husflidskule (handcraft school) in Fagernes in 1974. She is currently a member of the Øystre Slidre Husflidslag (handcraft guild).
Lisa (in the red shirt) with her classmates in Rauland.
“The course I attended this fall in Rauland was called “Dreiel og sateng”, and focused on “drill” patterns of both satin and broken twill (korskypert) weaves,” Lisa explains. The course instructor was Rita Vistad
Lisa’s weaving samples. She wove all this in two and a half days! Photo by Lisa Torvik.
While in Norway, Lisa visited many friends and family members, bringing gifts of her woven items. Here is Lisa’s friend Gunvor Hegge in her artist’s studio. Lisa wove the black-and-white skillbragd table runner on the table.
Photo by Lisa Torvik.
Holly Hildebrandt made her very first trip to Norway, where she studied with Ingebjørg Monsen in Bergen. Ingebjørg is president of Bjørgvin Husflidslag (handcraft guild), where she teaches classes in weaving and sewing, and specializes in constructing men’s bunader (national costumes).
Holly and Ingebjørg at the loom. Photo by Holly Hildebrandt.A clever weaving hack to keep treadles spaced properly. Photo by Holly Hildebrandt.
Holly spent the week learning to weave krokbragd and rutevev techniques in beautiful Norwegian wool.
Krokbragd designs on the loom. Photo by Holly Hildebrandt.Yarn spin from Norwegian spelsau sheet. Notice the sheen! Photo by Holly Hildebrandt.
Nancy Ebner finished her 2025 travels with a trip to Morocco through Loom Dancer Odysseys. Nancy and other tour members participated in four textile workshops, and Nancy took more than 1000 photos! Below, women weave rugs in a pile technique similar to Scandinavian rya.
Photo by Nancy Ebner, taken at the Cherry Buttons Women’s Cooperative.
Weaving is a universal language with a thousand different dialects. Many of the Scandinavian Weavers group are ardent travelers, roaming far and wide to learn more about global textile traditions. These are some of their stories.
Nancy Ebner is a true globe-trotter—and wherever she travels, she always takes time to take classes in local weaving traditions. Here, she learns Diné-inspired tapestry on a portable loom in Canyon de Chelly, Arizona.
Nancy’s finished tapestry. Photo by Nancy Ebner.
In a previous trip to Santa Fe, New Mexico, Nancy wove on a 2-harness, Rio Grande loom. “Rio Grande looms are also called “Walking Looms” because you stand at the loom, instead of sitting at the loom and step on the treadles to work the harnesses,” Nancy explained in a blog post. “They are counterbalance in nature, so they generate an excellent weaving shed.”
Nancy turned her Rio Grande weavings into pillows. Photo by Lisa-Anne Bauch.
These were just a few of the SIXTEEN pieces Nancy wove and/or finished between April and August of this year. (We’re pretty sure this is a group record!) She shared them at a fall Scandinavian Weavers meeting.
Nancy surrounded by her sixteen weavings! Photo by Lisa Bauch.
Nancy’s recent travels include a class in rep weave at Vävstuga Weaving School in Massachusetts, where she wove the rug below. (See link below) Which side do you prefer?
Photo by Lisa BauchPhoto by Lisa Bauch
Nancy also studied Norwegian billedvev (tapestry) with Laura Berlage. Below is her rendition of the traditional Wise Virgin motif.
Photo by Nancy Ebner
Nancy cleverly used her samples from a Swedish weaving workshop to make pin cushions. They are displayed here on a weaving she did in Norwegian flesberg technique.
Photo by Nancy Ebner.
Finally, a photo from a trip Nancy led to Peru, through The Andean Alliance for Sustainable Development.
Quechua weavers. Photo by Nancy Ebner.
“I enjoy the weaving itself,” Nancy says of her travels, “and the connection it creates to people of other countries, backgrounds and cultures.”
Below, a cultural exchange. Nancy’s tapestry atop a Norwegian skillbragd she wove during a Scandinavian Weavers group warp. (See Skillbragd post.)
Photo by Lisa-Anne Bauch.
Meanwhile, Judy Larson attended the Väv2025 weaving conference in Gävle, Sweden. While there, she visited the Dalarnas Museum in Falun and took these photos of a knitting exhibit.
Photo by Judy Larson.Photo by Judy Larson.
Following the conference, Judy traveled to Vävstugan (The Weaving House ) in Tingsryd, Sweden. Here, weavers of all levels are welcome to work on one of 23 looms in a variety of traditional Swedish techniques. (See link below.)
Photo by Judy Larson.
Judy wove this beautiful blue blanket in 8/2 cotton on a drawloom. She wove the piece below BACK SIDE UP, using Opphämpta technique on a drawloom. Congratulations, Judy!
Photo by Judy Larson.
Go to Part Two of this post for more weaving journeys!
In 2025, the Scandinavian Weavers wove two long group warps in skillbragd technique. Group warps give newer members the opportunity to try techniques with support from more experienced members. It also allows weavers to use a larger floor loom they might not have at home.
We are grateful that the Weavers Guild of Minnesota has dedicated looms for interest groups. We love weaving at the Guild, as it gives us a chance to share our passion for Scandinavian weaving with visitors, shoppers, students, and fellow Guild members.
Lisa Torvik weaving skillbragd at the Weavers Guild of Minnesota.
Lisa Torvik was our mentor in skillbragd, providing guidance in dressing the loom as well as math, problem-solving, and the occasional repair of broken warp threads. (She swears by weaver’s knots!)
Skillbragd in spring shades. Photo by Lisa Torvik.
Lisa wove this runner in spring colors, using Rauma Prydvevgarn.
Photo by Lisa Torvik.
Many of Lisa’s weavings end up as gifts for family and friends in Norway. The black-and-white runner was destined for watercolor artist Gunvor Hegge. (See “Weaving Journeys” blog post for a photo of the runner in its new home.)
Weaving and photo by Lisa Torvik.
Another runner in delicate spring shades.
Weaving and photo by Lisa Torvik.
Finally, a weaving for Christmas!
Minnesota enjoyed an unusually mild autumn this year. Lori Labs was inspired by the oak trees at her home in weaving her table runner.
Photo by Lori Labs.
Lori’s weaving in shades of orange and turquoise captured the brilliant glow of golden leaves against the autumn sky.
Weaving and photo by Lori Labs.
For her runner, Mary Skoy reached into her yarn stash for some luscious pattern weft.
Weaving and photo by Mary Skoy.
“The red [yarn] is a cotton chenille,” Mary explains. “The yellowing label inside the giant cone says “Phoenix Dye Works Cleveland, Ohio.” Google says the company was liquidated in the 90s. The gold thread was on a much smaller cone with no label, but about the same yardage. I used the McMorran Yarn Balance to estimate the yardage on these two kind of mystery yarns.”
Weaving and photo by Mary Skoy.
Mary added a special touch to her weaving. The golden pattern square is known in Sweden as a prästruta, or “priest’s square.” Traditionally, this section of a Smålandsväv table covering was reserved for a visiting priest’s catechism or prayerbook.
Like Mary, Marianne Tamminen dug into her stash for her project, including 6/1 wool and unbleached linen.
Her first runner was carefully woven to match her dishes, but her second piece is is pure play. “It is so much fun to play with colors and pattern!” she writes.
Nancy Ebner also chose delicate grey pattern weft for runner, with a dash of her signature pink.
Weaving by Nancy Ebner. Photo by Lisa Torvik.
Nancy cleverly used her skillbragd sampler in vibrant green, black, and purple for a pillow. For more of Nancy’s skillbragd weavings, see the blog post “Weaving Journeys (Part One).”
Weaving by Nancy Ebner. Photo by Lisa Torvik.
Peg Hansen also loves weaving in pink! Like many others, she used Rauma Prydvevgarn for her pattern weft.
Peg comments: “As many have said before, [skillbragd] is a slow go but gratifying to accomplish. I look forward to finishing it and getting it on my dining room table! Thank you to everyone who has made this opportunity possible. It is so fun demystifying Skillbragd. I hope I can be brave enough to warp it someday on my own loom.”
Photo by Lisa Torvik.
Shari Nelson wove her runner to complement beloved family tableware.
“I planned the colors around my Grandmother’s Fransicanware Desert Rose dishes that I inherited,” she explains. (See link below for more on this popular china pattern.)
“The cream, yellow and Dusty Rose wefts were Rauma Finull and the burgundy and greens were Prydvevgarn,” Shari writes. “I chose not to do the loop edges as I will be using this as a table runner.”
Robbie LaFleur chose to take a sculptural approach to skillbragd.
Photo by Robbie LaFleur.
“I have woven runners in skillbragd before,” Robbie writes, “so [this time] I experimented with the technique.”
“Å skille means to part or separate,” Robbie explains, “so that’s what I did. It was fun!”
Whatever the style, the possibilities of this technique appear to be endless.
Stay tuned for our next group warp in Norwegian Flesberg technique, also known as treskaft in Swedish.
Bonus content: Enjoy a deep dive into the history of Desert Rose dishes, courtesy of The Brooklyn Teacup!
Northern Lights over southern Minnesota. Photo by Lisa-Anne Bauch.
Here in Minnesota, we were recently treated to a spectacular display of the Northern Lights, due to a solar storm.
Close-up of skillbragd weaving by Alla Hale. Photo by Alla Hale.
The colors are echoed in Alla Hale’s weaving on the latest group warp by the Scandinavian Weavers. For this warp, we returned to one of our favorite techniques, skillbragd.
Skillbragd is a traditional overshot technique in which a fine tabby weft is woven alternately with a heavier pattern weft. Katherine Larson, in The Woven Coverlets of Norway, writes that skillbragd was named for the skill, or opening in the threads by which the elaborate patterns were created. In Norway, skillbragd coverlets were often used as christening blankets.
This technique requires two sets of shaft: Pattern shafts with long-eye heddles at the front of the loom and ground shafts with regular heddles at the back. This can require the use of a specially designed loom.
However, it’s also possible to weave skillbragd on an eight-harness countermarche or counterbalance loom, which is what we did, based on a draft by weaver Laura Demuth. Laura’s draft is inspired by a woven piece in the collection of Vesterheim Norwegian-American and will be featured in a forthcoming book.
Skillbragd on a countermarche Glimåkra loom at the Weavers Guild of Minnesota. Photo by Alla Hale.
Laura writes, “Because this technique requires a direct tie-up of the treadles, it is necessary to use two pairs of elastic hangers on the harnesses: one pair will be used on harnesses 1-4 and the second pair will be used on harnesses 7-8…It is also necessary to use two sizes of string heddles. Standard heddles are used for the tabby threading on harnesses 7 and 8. Special long-eyed heddles are used on the pattern harnesses, 1-4.”
Close-up of harnesses. Photo by Shari Nelson.
Per Laura’s instructions, we warped the loom with 20/2 cotton at 40 EPI and used the same thread for the tabby weft. Each weaver brought in her own pattern weft yarn in a variety of fibers, which made for wonderful variation in color and texture.
Abbey Nielsen at the loom. Photo by Lisa-Anne Bauch.
Abbey Nielsen chose soft shades of blue and yellow for her very first skillbragd weaving. A lucky family member will receive it as a Christmas gift!
Abbey’s weaving. Photo by Lisa-Anne Bauch.
Traditional skillbragd often features decorative loops along the selvedges, made simply by looping the pattern weft yarn around a finger, as in Abbey’s weaving above. The loops also serve the a practical purpose of hiding color changes in the pattern weft, rather than having to cut and work in the ends.
Alla’s beautiful handspun yarn. Photo by Alla Hale.
For her piece, Alla Hale used her own handspun yarn. “It’s from a pretty braid dyed by local natural dyer Petal and Hank,” she writes.
Alla spun the yarn from hand-dyed fleece. Photo by Alla Hale.
“I’m a new spinner,” Alla continues, “so [the yarn] is not very consistent, but I think that will make for nice character in the weaving.” I think we all agree!
Alla’s weaving on the loom. Photo by Alla Hale.
In the photo above, note how the fine tabby weft (20/2 cotton) alternates with the woolen pattern weft.
Alla’s weaving on the loom. Photo by Alla Hale.
Amy Grimm took a scientific approach to her piece, following Laura Demuth’s original draft as closely as possible.
“I figured, being such a new weaver, I would be a good test of the directions,” she explains. “Some might say I lacked imagination but my focus was on testing her directions. My background is computer science and technical writing, so this type of testing was right up my alley!”
Weavings and photo by Amy Grimm..
Amy used Laura’s suggested pattern weft of Rauma Prydvevgarn in traditional shades of blue, red, green, and yellow, providing her with samplers for future projects.
Beth Detlie warped her loom at home using Laura’s draft, but used linen for warp. She wove three runners, allowing her to explore the many pattern variations. “I had fun experimenting!” she says.
Beth Detlie’s complex weaving. Photo by Beth Detile.
Like Amy, Brenda Gauvin-Chadwick also used Rauma Prydvevgarn for her pattern weft, in cool tones of melon and maroon.
Skillbragd on the loom. Photo by Brenda Gauvin-Chadwick.Brenda’s weaving at home. Photo by Brenda Gauvin-Chadwick
Carol Mashuga experimented with a single color of weft, in a gorgeous shade of turquoise, which allowed the patterns to dominate. “The fiber I used [for pattern weft] is Madelinetosh merino wool in Nassau Blue,” Carol writes. “It is a super wash 100% wool that is very soft and drapes beautifully.”
Carol’s weaving, off the loom but not yet wet-finished. Photo by Lisa Torvik.
“This has been a fabulous weaving experience for me,” Carol adds. “I have learned so much and could spend years weaving this pattern and trying out different color combinations, etc. It is that interesting!”
Close-up of Carol’s weaving. Note the subtle shifts of color in the pattern weft. Photo by Carol Mashuga.
Cathie Mayr agrees with Carol’s assessment: “[Skillbragd] is a slow weave, but a beautiful result.” Group members concurred that the process is meticulous but rewarding.
Cathie Mayr’s autumn table runner. Photo by Cathie Mayr.
Cathie wove an autumn runner with a cream-colored center to show off a Swedish black iron candleholder. In the photo above, note how beautifully the patterns show, even with a neutral weft color.
Cathie Mayr’s runner at home on her dining room table. Photo by Cathie Mayr.
“It was such a challenging and satisfying project!,” Cathie writes. “I’m so grateful to those who planned it, ran the warp, dressed the loom, and provided the pattern draft and explanations on how to weave it. This group is amazing!”
The chicken candleholder presided over Cathie’s Thanksgiving table. Photo by Cathie Mayr.
“My piece is purposely short to fit in the center of our dining room table,” Carol adds. “I elected not to include selvedge loops. When my family gathers for Thanksgiving, anything on the table is at risk for gravy and cranberry drippings!”
Holly Hildebrandt chose soothing shades of blue and green for her weaving, perhaps inspired by her recent study trip to Norway.
Holly Hildebrandt’s weaving in progress. Photo by Holly Hildebrandt.
Judy Larson also choose blue and green for her weaving, using variegated string yarn from Sweden. The effect is of the far horizon over water.
Judy Larson’s weaving in soothing shades of blue. Photo by Judy Larson.
Judy purchased the yarn while attending the Väv2025 conference in Gävle, Sweden. It consists of several strands of cotton wound together.
Judy Larson’s luscious weft yarn. Photo by Judy Larson.
Jan Johnson shared the photos below on her Instagram. “The Scandinavian Weaver’s study group at the Weaver’s Guild of Minnesota is weaving Smålandsvëv or Swedish Opphämpta,” she wrote. “The Norwegian-dominant study group persists in calling it skillbragd, but I feel the need to stand up for my Swedish heritage, so Swedish Opphämpta it is!”
Photo by Jan Johnson.
For her weft yarn, Jan appropriately chose lovely shades of blue and yellow from her stash of Harrisville Highland.
Jan’s weaving on the loom. Photo by Jan Johnson.
Fellow Swede Lisa Bauch chose weft colors reminiscent of a Scandinavian forest, including moss green.
Photo by Lisa-Anne Bauch.
Full disclosure: Lisa purchased the yarn in Norway at the Hillesvåg woolen mill near Bergen.
Admiring weavings as the first warp comes off the loom. Photo by Lisa-Anne Bauch.
As always, the Scandinavian Weavers spent the summer volunteering, demonstrating the art of weaving at community events.
Midsommar at Gammelgården
These included the Opening Day, Midsommar, and Spelmansstämman celebrations at Gammelgården in Scandia, Minnesota.
Focusing on history, art, culture, and agriculture, Gammelgården is the only open-air museum devoted to preserving, presenting, and promoting Swedish immigrant heritage in the United States.
Housed in six buildings on the historic gammelgården, or old farm, where the community of Scandia was first established, Gammelgården invites visitors to step back in time, experience the stories of Swedish immigrants, and relate them to their own family immigration stories.
Weaving exhibit at Gammelgården
Among the treasures at Gammelgården is a loom crafted in Sweden in 1879. The loom was built by a father whose daughter was getting married and immigrating to the United States. It was his parting gift to her. Judy Larson warped the loom in beautiful blue stripes, and it still weaves beautifully.
Barb Yarusso at the loom
Another fun event was FinnFest, held in Duluth, Minnesota in August. Barb Yarusso demonstrated weaving and also gave a presentation on reconstructing her grandmother Alma’s rag rug. Lisa Bauch gave a talk called “Rugs, Raanu, and Rya: The Living Legacy of Finnish-American Weaving.”
Mary in her popular booth at FinnFest.
Mary Erickson demonstrated the art of himmeli and also participated in a panel discussion with fellow Nordic American folk craft artists. Himmeli, geometric figures made from straw, were originally created in Finland, Norway, Sweden, and Estonia, and functioned as good luck charms that were hung from the ceiling in homes to ensure good crops and the fertility of fields.
The art was brought to northern Minnesota by Finnish immigrants. Mary first studied himmeli making with Elna Hietala in Minnesota and later with Eija Koski in Finland. It is her hope that by teaching and sharing what she has learned that this tradition will continue. Her beginning course “The Geometry, Magic, and Beauty of Himmeli” will be held at North House Folk School in October.
Himmeli was traditionally made of rye straw, intricately braided.
Books by Mary’s teacher in Finland, Eija Koski.
Among the other displays at FinnFest were traditional hand carvings by Alan Anderson.
FinnFest, where Moomins are treated like rock stars!
Judy Larson demonstrates weaving to a curious fairgoer.
Of course, no Minnesota summer is complete without a trip to the Minnesota State Fair! As always, volunteers from the Weavers Guild of Minnesota were present for the entire Fair, from opening day to closing night. Demonstrations and talks took place in our new booth, centrally located in the Creative Arts Building.
Lori Labs at the loom.Photo by Linnea Anderson.
Yours truly gave a talk on Nordic Weaving in Minnesota, with an emphasis on rag rug weaving. The Rag Rug Group brought in rugs in a variety of techniques to illustrate.
Rag rugs on display
Finally, huge congratulations to the following members of the Scandinavian Weavers Group, who won ribbons in this year’s State Fair competition!
Beth Detlie
Lori Labs
Robbie LaFleur
Cathie Mayr
Lisa Torvik
Barb Yarusso
Special congratulations to Beth Detlie, who won the coveted Doris Tufte Award for weaving in the Scandinavian tradition.
Lisa Torvik’s weaving on displayBeth Detlie’s table runnerBeth Detlie’s Doris Tufte ribbonLori’s blanket in neutrals is front and center. Cathie’s weaving in floral colors is to the upper right, with the red ribbon.More weaving at the Fair.
It’s been a beautiful summer here in Minnesota! While our Scandinavian Weavers group doesn’t meet during the summer months, individual weavers have been busy with all sorts of creative activities.
Moose Mountain in Minnesota. Photo by Holly Hildebrandt.
Holly Hildebrandt wove a tapestry for her wedding anniversary. “For our honeymoon back in 2021, we had to keep it more local than we would have liked because of Covid” she explains, “but ended up having the most magical time in Lutsen and Grand Marais. The North Shore has always been very special to both of us, having grown up in Duluth. We stayed on the ski hill in the middle of summer, when Moose Mountain was covered in wildflowers. This June we recreated our honeymoon and returned there. I got to work on the tapestry with the mountain in view and then again at the lake.”
Tapestry in progress at Lake Superior. Photo by Holly Hildebrandt.The finished tapestry! Photo by Holly Hildebrandt.
Holly also took on a weaving commission for a friend’s parents’ 50th wedding anniversary. “The different colors represent significant life events – the births of the children, weddings, grandchildren, deaths of parents, places they lived, pets. My friend – their son – sent me a spreadsheet of events. I simply translated it into fiber,” Holly explains.
Anniversary weaving in progress. Photo by Holly Hildebrandt.
Holly says, “Their timeline created such a beautiful composition. Just such a neat way to visualize their lives together!”
The finished weaving. Photo by Holly Hildebrandt.
Abbey Nielsen has been busy carving and painting heddles for traditional Norwegian band weaving. Can you pick a favorite?
Abbey Nielsen’s hand-carved and hand-painted heddles. Photo by Abbey Nielsen.
Don’t these make you want to learn band weaving?
Photo by Abbey Nielsen.Photo by Abbey Nielsen.
Abbey also wove some wonderfully nubby plain weave on her rigid heddle loom, displayed here among the summer flowers.
Weaving and photo by Abbey Nielsen.
Patty Johnson, who is a master of Swedish weaving, wove this lovely blue piece on her drawloom.
Photo by Patty Johnson.
Patty also hosted a day of indigo dyeing at Color Crossing in Wisconsin. Mary Skoy took the opportunity to make a gift for a friend’s cabin.
Mary Skoy in the dye lab at Color Crossing. Photo by Patty Johonson.Photo by Patty Johnson.
Alla Hale spent the summer converting a shed in her backyard into her very own weaving studio. “My husband and I even dug a 50′ long 20″ deep trench to run electrical to the shed,” she says, “so that I can weave past sun-down.”
Alla’s shed in progress, with help from her handy husband. Photo by Alla Hale.
“I bought Jan Johnson‘s first loom from her, an 8-shaft Kessenich, to put in [the studio],” Alla reports. “I’m slowly gathering chairs, shelving, and other furnishings. I’m also considering what color to paint the interior. I am taking suggestions if people have opinions! I’ve been working on a rag rug that shows the elevation profile of Moose Mountain as my husband ran it during the Superior Ultra Marathon a few years back.” (Yes, that is the same Moose Mountain that inspired Holly. Minnesota is full of natural beauty!)
Rug in progress. Photo by Alla Hale.
Judy Larson wove a set of towels 8/2 and 6/2 cotton, using a twill draft from Handwoven May/June 2021. “I even got one of my Swedish family visitors to weave a stripe!” she reports. “It was a great way to play with color combinations.”
Judy’s towels. Photo by Judy Larson.
Another summer project by Judy were these woven paraments. “I wanted to have the [Theo] Moorman graphics work with a monks-belt background,” Judy explains. “I figured out several ways it didn’t work before I was successful! The graphics are woven horizontally, so my monks-belt blocks actually go vertically. This was a project where being stubborn was both good and bad, but figuring it out was a great puzzle. Since I had added two shafts for the Moorman, the back also had a different look than usual monks-belt blocks.”
Fortunately, Judy enjoys a weaving challenge! Photo Judy Larson.
Lori Labs enjoyed weaving the “Viking Twill” towel pattern from Handwoven magazine as part of a Scandinavian Weavers group project. (See previous blog post). She wove these for her own home in beautiful shades of green and blue.
Photo by Lori Labs.
Fortunately, Lori’s dog Cash gave the towels his seal of approval!
Photo of Cash by Lori Labs.
Stay tuned for Part Two to see more summer weaving!
As in Scandinavia, summers here in Minnesota are short, and every day must be treasured. Hence, the Scandinavian Weavers group takes the summer off from our regular meetings, although the weaving continues—at home, at the Weavers Guild of Minnesota, and for some lucky folks, at the cabin.
Our May meeting is always festive, to celebrate the beginning of this precious season. This month, we met at Color Crossing in Roberts, just a short drive from the Twin Cities amid the beautiful rolling hills of western Wisconsin.
One of the many floor looms at Color Crossing, flanked by a rug by Judy Larson. The quilt behind the loom is by Color Crossing studio artist Nancy Gavin.
Color Crossing is the brainchild of Patty Kuebker Johnson, weaver and weaving teacher extraordinaire. Her warm and generous spirit permeates the studio.
Patty Kuebker Johnson, at home in Roberts, Wisconsin.
Some fun facts about Patty:
–She owns 11 looms—and that’s only counting the floor looms!
–She is a specialist in Swedish weaving and can take apart and re-assemble a Glimåkra floor loom in less than 20 minutes.
–She has introduced hundreds of students in local schools to the art of weaving. (It helps that she owns 15 inkle looms.)
–She has over 300 weaving books, plus every issue of Handwoven magazine going back to 1991.
Robbie LaFleur unveils her latest open-warp tapestry with the help of Patty Kuebker Johnson. The rug behind them is by Judy Larson.
Color Crossing has had several incarnations, starting as Patty’s dairy equipment business, then her yarn shop, and now a space for learning, creativity, and community.
Color Crossing is not only a home for weavers—see profiles below—but also visual artists, quilters, fiber artists, and jewelry designers. Seventeen artists in all make Color Crossing their creative home. It’s also a great place to buy Swedish weaving equipment and yarn!
A rainbow of weaving yarn!Did I mention Color Crossing is a weaver’s paradise?Need a giant warping reel? Color Crossing has one!
Besides Patty, two other members of the Scandinavian Weavers group are Color Crossing studio artists.
Jane Connett with some of her many intricate weavings.
Jane Connett likes to do a variety of small intricate weavings and shows her expertise in many artistic endeavors. Jane also does Ukrainian Easter Eggs, kumihimo, band weavings, and tapestry. She has a fantastic sense of color and loves to share her vast knowledge and passion for fiber arts with others.
Besides being a talented weaver, Jane Connett also paints Ukrainian-style Easter eggs.This one is my favorite!
Judy Larson learned to weave from Patty and is herself a highly sought-after weaving teacher. She is also known for her amazing rugs, woven in her signature shades of blue.
Judy Larson with one of her many beautiful blue rugs.More of Judy’s rugs for sale at Color Crossing. Do you recognize the wedge weave rug from last summer’s project at the American Swedish Institute?
Judy generously shares her weaving knowledge with the public by demonstrating weaving on many occasions. Here’, she gets a little help from a visitor:
To learn more about Color Crossing–or better yet, to stop by in person–visit their website.
Color Crossing is one of many artists’ studios in the St. Croix River Valley. You can visit all of them in the upcoming artOpener tour, June 6, 7, and 8. Link:
You never know what treasures you’ll find at Color Crossing!Another tiny treasure!Color Crossing is not just for weavers! Here, quilter Nancy Gavin is hard at work on another gorgeous quilt.
Many thanks to Norway House in Minneapolis for hosting our retrospective exhibit “Vibrant Tradition: Scandinavian Weaving in the Midwest” and to the more than 1,000 guests who visited.
Many thanks to the Vibrant Tradition committee for all their hard work. From left: Peg Hansen, Robbie LaFleur, Beth Detlie, and Mary Skoy. Photo by Lisa-Anne Bauch.
We were sad to see the colorful weavings come down from the walls but heartened by the many kinds comments written in the guest book. We were especially touched when guests reminisced about the weavers from the Scandinavian tradition in their own families:
“My maternal Swedish grandmother wove rag rugs.”
“My grandmother studied Scandinavian and specifically Norwegian weaving and it’s very cool to see her techniques here!”
“My mother was a spinner and weaver…She would have loved Vibrant Traditions. Going through your exhibit was like spending the day with my mother…”
“My father was a Weavers Guild member for many years. He is smiling.”
Remember, you can always visit this page on our blog to see photos of each weaving in the exhibit, along with artists’ statements.
If you haven’t visited Norway House yet, plan to stop by. We especially recommend their weekly Hygge Happy Hour! (Thursdays from 4:00 to 8:00 PM.) Follow along on social media to learn more about the many programs , classes, and exhibits.
Great news! The Scandinavian Weavers exhibit “Vibrant Tradition: Scandinavian Weaving in the Midwest” has been extended at Norway House through Saturday, April 19.
So many visitors have enjoyed our latest exhibit, featuring 49 contemporary and traditional weavings in the Scandinavian tradition, and we are thrilled to be invited to stay a little longer.
Norway House is located at 913 E Franklin Ave in Minneapolis and features ample parking. While you’re there, stop by the Kaffebar for refreshments and be sure to visit ALSO Ingebretsen’s Gavebutikk, offering Norwegian-themed handcrafts, books, clothing, cookware, children’s items, jewelry, and more.
The exhibit is free for members of the Weavers Guild of Minnesota and Norway House; all others $5. See the Norway House website for the building hours of operation:
Norway House hosts continual programming for all ages, including language and craft classes, family activities, music, performances, and Hygge Happy Hours. On February 22 and March 22, volunteers from the Scandinavian Weavers presented Family Fiber Fun Days. The March event began with a group from a local retirement center, Becketwood. Residents were eager to try their hand at Peg Hansen’s handmade warp-weighted loom.
Photo by Beth Detlie
In all, more than 60 visitors sampled a variety of weaving activities. It turns out even tiny fingers can work an inkle loom!
Photo by Peg Hansen
The Family Fiber Day demonstrators (Beth Detlie, Nancy Ebner, Melba Granlund, Holly Hildebrandt, and Peg Hansen) gave away at least 10 frame looms with shuttles so visitors could finish weaving at home.
Photo by Peg Hansen
The Family Fiber Day demonstrators (Beth Detlie, Nancy Ebner, Melba Granlund, Holly Hildebrandt, and Peg Hansen) gave away at least 10 frame looms with shuttles so visitors could finish weaving at home.
Scandinavian Weavers Study Group 