Getting Straight Selvedges in Handweaving

Ragged edges, threads pulling inward, loops at the sides — messy selvedges are the fastest way to make good weaving look unfinished. The two real causes are weft tension and warp draw-in, and both are controllable. This guide explains why edges misbehave, when a floating selvedge helps, and the throwing and beating habits that produce clean, straight edges without special equipment.

Why selvedges misbehave

Two forces fight at the edge of your cloth:

• Draw-in: as you beat, the weft pulls the outer warp threads toward the centre, narrowing the cloth. Too much and the edges look pinched and the outer ends abrade and break.
• Loose weft: if you leave too much slack, loops form at the turn. If you pull too tight, you get scalloped, drawn-in edges.

The fix is not force. It is the angle at which you place the weft and consistency at the turn. Good selvedges come from rhythm, not muscle.

The floating selvedge: what it is and when to use it

A floating selvedge is an outermost warp end that threads through the reed but not through any heddle. It sits between the sheds and does not rise or fall. You always enter the shuttle over it on one side and exit under it on the other (or a consistent scheme of your choosing). This guarantees the weft catches the edge thread every pick.

You need one most when the weave structure does not naturally catch the edge — many twills, satins, and unbalanced structures leave the outer thread skipped on some picks, causing loops. Plain weave usually catches its own edges, so a floating selvedge is optional there, though many weavers use one anyway for insurance.

How to thread and use a floating selvedge

• Add one extra warp end at each side, sleyed through the reed but left out of the heddles.
• Weight or tension these two ends like the rest of the warp; because they never rise, they can go slack, so keep an eye on them.
• On every pick, enter the shuttle so it passes over the floating selvedge going in and under coming out — pick one consistent rule and never vary it.
• Check after a few inches that both edges show the weft wrapping cleanly around the outer end.

Fixing draw-in with weft angle

The biggest single improvement to selvedges is placing the weft at an angle before beating, sometimes called bubbling or arcing. Instead of laying the weft straight and tight across the shed, lay it in a gentle arc, or bubble it in two or three waves. This gives the weft enough length to travel over and under each warp end without dragging the edges inward. Then beat. The arc flattens, the take-up is absorbed, and draw-in shrinks dramatically.

Example scenario

You are weaving a plain-weave placemat, 12 inches in the reed, but after a foot it has narrowed to 10.5 inches and the edges are pulling in hard. You are throwing the weft straight and snug. You switch to arcing the weft into a shallow bow before each beat and consciously relax the pull at the turn. Within a few inches the cloth holds close to 11.5 inches wide and the edges straighten. Nothing changed but weft angle and turn tension.

Edge tension habits that work

• Keep the shuttle moving at a steady rhythm; erratic speed means erratic edges.
• At the turn, let the weft snug against the edge warp without yanking. The outer thread should sit straight, neither bowed in nor looped out.
• Beat with consistent force on an open or closed shed — pick one and be consistent, because changing it mid-cloth changes the edge.
• Advance the warp regularly so you always weave in the same zone relative to the fell, where your angle and beat are calibrated.

Common mistakes and how to fix them

• Pulling the weft tight to fix loops. This causes draw-in and broken edge threads. Arc the weft instead and control only the turn.
• Leaving too much slack. Loops at the edge. Snug gently at the turn without tightening the whole pick.
• Skipping a floating selvedge on twill. The outer thread gets missed on some picks. Add floating selvedges for structures that do not self-catch.
• Forgetting to tension the floating selvedge. Since it never lifts, it drifts loose. Weight it separately if needed.
• Inconsistent beat. Uneven PPI shows most at the edges. Build a steady rhythm.

Action steps checklist

• Decide if your structure needs floating selvedges; add them for most twills and satins.
• Sley the extra edge ends through the reed only, not the heddles.
• Arc or bubble the weft before every beat.
• Snug gently at the turn — straight, not tight, not loose.
• Keep a steady throwing and beating rhythm.
• Advance the warp often to weave in a consistent zone.
• Check both edges every few inches and correct early.

Conclusion and next step

Straight selvedges are a habit, not a talent. Control the weft angle, respect the turn, and add floating selvedges where the structure needs them. Your next step: on your current project, spend one session focused only on arcing the weft and watch the edges straighten.

FAQ

Do I always need a floating selvedge?

No. Plain weave usually catches its own edges. Floating selvedges matter most for twills, satins, and other structures where the outer warp end is not lifted on every pick and would otherwise be skipped.

My edges pull in badly. What is the first thing to change?

Weft angle. Lay the weft in an arc or bubble before beating so it has enough length to wrap each warp end. This absorbs take-up and reduces draw-in more than any other single change.

Why do I get little loops at the edges?

Usually too much weft slack at the turn, or a structure that misses the outer thread. Snug the turn gently and add floating selvedges if the weave does not catch the edge on its own.

Is some draw-in normal?

Yes. A small amount of draw-in is expected and is why you weave wider in the reed than the finished width. The goal is consistent, modest draw-in, not zero.

References

• Deborah Chandler, Learning to Weave (Interweave Press).
• Peggy Osterkamp, Weaving for Beginners and Warping Your Loom.
• Handwoven magazine, published by Long Thread Media.