Explainers · Craft creators

Patreon for overshot weaving creators: supplementary weft float mechanics, tabby tie-down structure, draft notation, rigid heddle pick-up stick simulation, and the Apple Tax

Q: What is overshot weaving structurally, and how do the pattern floats and tabby tie-down shots interact to produce the pattern?

Overshot weaving is a two-element woven structure where a supplementary pattern weft thread produces the visible design by floating over multiple warp threads without interlacing, and a tabby (plain weave) ground weft ties the pattern floats in place by weaving over and under alternating warp threads between each pattern row. The term overshot describes the pattern weft's action: it shots over a span of warp threads — passing over several adjacent warps without going under any of them — to create a float that sits visibly on the cloth surface as a block of color. The length of each float is the number of warp threads the pattern weft spans, which is determined by the shaft threading sequence and the specific shaft combination lifted for that pattern row. A float spanning four warp threads creates a square block when combined with four picks per inch; a float spanning eight warp threads creates a longer horizontal element. The tabby tie-down shots between pattern rows are what make overshot a stable fabric rather than a loose pile of floats: between each pattern row, one or two tabby shots are woven (alternating plain weave, over one warp, under the next) across the full warp width. These tabby shots pass under the warp threads that the pattern weft floated over, physically anchoring the pattern floats against the cloth surface and preventing them from sliding or lifting away from the fabric plane. The tabby shots are woven with a thread matched to the warp color and weight, so they are nearly invisible in the finished cloth — the pattern appears to consist only of the colored pattern floats against the warp background. In practice, the tabby shots are the structural integrity of the cloth; without them, overshot fabric would be an open, lacy structure with floats unsecured at every intersection where the pattern weft skipped a warp thread.

Q: How does a weaving draft work for overshot, and what do threading, tie-up, and treadling each specify?

An overshot weaving draft is a graphical notation that specifies three independent variables, each of which is a separate design decision: threading, tie-up, and treadling. The threading (also called draw-down or threading draft) specifies which shaft each individual warp thread is threaded through. In overshot on a four-shaft loom, warp threads are distributed across shafts 1 through 4 according to a repeating pattern unit — the threading repeat — that defines the block structure of the overshot design. A typical four-shaft overshot threading like M's and O's places warp threads in a sequence such as 1, 2, 3, 4, 3, 2, 1, 2, 3, 4, 3, 2 (one repeat); the spacing of shaft assignments within the repeat determines the float lengths that will appear in each block of the design. The tie-up specifies which shafts are connected to each treadle or shed opener. On a floor loom, each treadle is tied to raise or lower a specific combination of shafts; the tie-up chart (a small grid showing which shaft-treadle intersections are active) maps treadles to shaft combinations. For four-shaft overshot with six treadles, a standard tie-up has pattern treadles 1–4 each lifting two adjacent shafts (shafts 1+2, shafts 2+3, shafts 3+4, shafts 4+1), and tabby treadles 5 and 6 lifting alternating shaft pairs (shafts 1+3 for tabby A, shafts 2+4 for tabby B). The treadling specifies the order in which treadles are pressed to produce the design rows. The treadling sequence for each overshot design is a row-by-row list of treadle numbers; changing the treadling sequence while keeping the threading and tie-up the same produces a completely different pattern on the same warp. This is the design flexibility of overshot: one warp threading supports many different patterns through treadling variation, which is a key Patreon content asset for creators who release multiple pattern options for a single warp set.

Q: What is the Apple Tax on overshot weaving and rigid heddle Patreon audiences from November 2026, and what are the specific amounts at typical creator income levels?

Overshot weaving and rigid heddle weaving creator communities are concentrated on the platforms with high iOS user share. Instagram accounts covering rigid heddle and floor loom weaving — draft diagrams, warp winding progress photographs, in-progress weaving shots showing pattern development, finished cloth close-ups showing float structure — are 70–84% iOS: the visual textile photography format draws the weaving community as heavily as other fiber craft categories on Instagram. Pinterest boards covering weaving patterns, overshot drafts, and finished weaving samples are 75–87% iOS: pattern-saving for textile reference is highly iOS-driven. YouTube tutorial channels covering rigid heddle setup, pick-up stick threading, and overshot floor loom instruction are 58–72% iOS: tutorial consumption on a tabletop craft is mixed between tablet viewers watching beside the loom and desktop viewers tracking pattern sequences in a browser. Apple Tax calculation for an overshot weaving Patreon creator at $100/month with 73% iOS: $100 × 0.30 × 0.73 = $21.90/month ($262.80/year). At $200/month with 77% iOS: $46.20/month ($554.40/year). At $350/month with 80% iOS: $84/month ($1,008/year). Web-only billing at Patreon or moving to a KeepTier web-only subscription page prevents these deductions entirely by keeping all transactions outside Apple's in-app purchase system.

2026-09-20 · ~5,800 words

Overshot weaving produces its visible pattern not through color changes in the warp or interlacing structure changes in a single weft thread, but through a supplementary pattern weft that floats over the warp surface in controlled spans — spans whose length, position, and sequence are determined entirely by the shaft threading before the first thread is woven. Understanding float mechanics, tabby tie-down logic, and draft structure is what converts a subscriber who can copy a pattern into one who can design independently.

What overshot weaving is and why it creates a distinctive Patreon documentation challenge

Overshot weaving is a structure in which two distinct weft threads work simultaneously through the same warp: a pattern weft, typically heavier than the warp, that floats over multiple warp threads without going under any of them within a given span, and a tabby ground weft, matched to the warp in weight and color, that weaves plain weave (over one, under one) across the full warp width between each pattern row. The pattern weft's floats are what create the visible design; the tabby ground's plain weave interlacements are what lock the pattern floats against the fabric surface and give the cloth its woven structural integrity.

This dual-weft structure creates a documentation challenge for Patreon creators because the finished cloth — a surface of colored pattern blocks on a plain background — gives no visual indication of the two-weft system that produced it. A subscriber looking at a photograph of finished overshot fabric sees a pattern; they do not see the tabby shots between every pattern row, cannot identify the float lengths from a surface photograph, and cannot determine the threading draft from the finished cloth appearance. The technical layer that a weaving Patreon must communicate is entirely beneath the visual surface of the work, which means photographs of beautiful finished cloth, while essential, are insufficient documentation on their own.

The depth of the technical layer is also what makes overshot Patreon content uniquely valuable: overshot is not a technique that can be learned from watching a real-time video of someone weaving. The decisions that determine the pattern — the threading sequence, the tie-up, the treadling order — are all made before weaving begins, in the draft design phase. A video of overshot weaving in progress shows the rhythm of treadle presses and shuttle throws but does not show the draft that made those movements produce that pattern instead of a different one. Subscribers who want to design their own overshot patterns, or adapt an existing draft to a new warp length and color, need the draft documentation layer that only a technical Patreon can provide.

The two-element structure: pattern weft floats over tabby ground

In plain weave (tabby), every weft thread passes over exactly one warp thread and under the next, alternating across the full width. The result is a fabric where warp and weft interlace at every possible intersection point — the densest possible interlacement for a given thread count. In overshot, the pattern weft abandons this every-intersection rule: instead of going under every other warp thread, it passes over a consecutive span of warp threads — four warp threads, eight warp threads, twelve warp threads, depending on the design — without going under any of them. The pattern weft then goes under a span of warp threads (typically matching the span it floated over) before floating over the next span. This over-many, under-many pattern produces the blocks of color visible in the finished cloth.

The float spans are not random: every float in overshot is determined by the shaft threading of the warp. Warp threads are assigned to shafts during warping, and each shaft lifts as a unit — when a shaft is raised, all warp threads on that shaft lift simultaneously. The pattern weft's float spans correspond exactly to the groups of adjacent warp threads that are on the same shaft or on shafts that are lifted together by a given treadle combination. When treadle 1 lifts shafts 1 and 2, the pattern weft floats over all the warp threads on shafts 1 and 2 (which may be several adjacent warps, depending on the threading sequence) and passes under the warp threads on shafts 3 and 4. The float length at any given position is the number of warp threads on shafts 1 and 2 that appear consecutively at that position in the threading sequence.

The tabby ground shots are woven on treadle combinations that lift alternating shaft groups: shafts 1 and 3 together (tabby A), then shafts 2 and 4 together (tabby B), alternating between each pattern row. This specific shaft combination for tabby in a four-shaft setup is not arbitrary: shafts 1 and 3 together plus shafts 2 and 4 together constitutes a complete plain weave — every warp thread is lifted once in tabby A and once in tabby B, and no two adjacent warp threads are ever on the same tabby shaft combination. This ensures the tabby ground is a true over-one-under-one weave and not a twill or partial interlacement. One tabby A shot followed by one tabby B shot equals one complete plain weave pass, which is the tie-down unit for each pattern row.

Reading an overshot draft: threading, tie-up, and treadling

An overshot draft notation is a three-part specification that fully describes the intended cloth structure, with each part independently modifiable without changing the others. Learning to read the three parts separately and understand what each controls is the threshold between a weaver who works from pattern directions and one who designs patterns independently.

The threading diagram (also called the draw-down) is a grid where the horizontal axis represents individual warp threads (from left to right across the warp width) and the vertical axis represents the four shaft positions (shaft 1 at bottom, shaft 4 at top). Each warp thread gets one filled cell in the grid showing which shaft it is threaded through. In overshot, the threading reads as a repeating sequence of shaft assignments — a four-shaft overshot threading like Snail's Trail and Cat's Paw uses a sequence such as 1-2-3-4-3-2-1-2-3-4-3-2 repeating across the warp width. Reading this threading as groups: shaft 1 appears once, then shaft 2 twice, then shaft 3 twice, then shaft 4 twice, then the pattern reverses. Where shaft 2 appears twice consecutively (threads 2 and 10 in the repeat), those two adjacent warp threads will both lift when shaft 2 is raised — creating a two-thread float at that position. Where shaft 3 appears twice consecutively (threads 4 and 7 in the repeat), those create another two-thread float. The threading repeat controls where floats of what length will appear across the warp width.

The tie-up is a small grid showing which shafts are connected to each treadle. In a standard four-shaft overshot tie-up with six treadles: treadle 1 lifts shafts 1+2 (pattern block 1), treadle 2 lifts shafts 2+3 (pattern block 2), treadle 3 lifts shafts 3+4 (pattern block 3), treadle 4 lifts shafts 4+1 (pattern block 4), treadle 5 lifts shafts 1+3 (tabby A), treadle 6 lifts shafts 2+4 (tabby B). The tie-up is fixed for standard overshot and does not usually change between patterns using the same threading tradition. What changes between different overshot patterns on the same threading is the treadling sequence.

The treadling sequence is a row-by-row list of which treadle is pressed to produce each weft row. A typical overshot treadling alternates pattern treadles and tabby treadles: pattern treadle 1, tabby A, pattern treadle 1, tabby B, pattern treadle 2, tabby A, pattern treadle 2, tabby B, and so on. The number of times each pattern treadle is repeated before moving to the next one determines the height of each pattern block: pressing pattern treadle 1 four times (with alternating tabby shots between each) before moving to pattern treadle 2 produces a square block; pressing it eight times produces a block twice as tall. The number of tabby shots between each pattern row is fixed at one tabby A plus one tabby B per complete unit, but the pattern treadle can be pressed multiple consecutive times before the tabby alternation resumes, building up the vertical dimension of the pattern blocks.

Float length: what controls it and why it matters for fabric function

Float length in overshot is the number of consecutive warp threads that the pattern weft passes over without going under any of them. Float length is not an arbitrary design choice in overshot: it is determined by the threading sequence and cannot be changed for a given warp without re-threading. Understanding this constraint is one of the most important pieces of technical knowledge a Patreon can communicate, because it is counterintuitive to weavers accustomed to color-based pattern making: the float lengths are baked into the warp during threading and cannot be adjusted by changing the weft thread.

The minimum float length in overshot is 2 (two adjacent warp threads on the same shaft group, lifted together). Two-thread floats produce a fine texture with small, closely spaced pattern blocks — characteristic of fine overshot coverlid and table runner designs from the 18th and 19th century American tradition. Longer floats (4, 6, 8 threads) produce larger, more graphic pattern blocks with a more pronounced surface dimension because longer floats catch more light across their span. Maximum practical float length for functional cloth is generally considered 8–12 threads: floats longer than 12 threads tend to snag on use (the long unsupported span catches on clothing buttons, jewelry, and other protrusions), and floats longer than 20 threads are considered impractical for any cloth intended for regular use. Samplers and wall hangings with no functional wear requirement can use longer floats for purely visual effect.

Float length also interacts with thread weight to produce the correct surface height. A pattern weft thread that is twice the weight of the warp creates a float of visible height above the warp surface — the float bows slightly upward from its anchor points at each end. A four-thread float in heavy pattern weft is visually prominent; the same four-thread float in a light pattern weft (matched to the warp weight) is barely visible. The warp-set (ends per inch) determines the physical length of a four-thread float in millimeters: at 20 ends per inch (standard sett for 8/2 cotton), four warp threads span 4/20 of an inch (5mm). At 10 ends per inch (coarser sett), four warp threads span 10mm. The float's appearance depends on both the length in warp threads and the physical length in millimeters — a four-thread float at 10 epi is twice as long as a four-thread float at 20 epi and will drape differently, snag more easily on rough surfaces, and be more visually prominent.

Rigid heddle overshot: pick-up stick threading and shed sequence

On a rigid heddle loom, the standard heddle produces only two sheds: the up-shed (hole threads lifted, slot threads at rest) and the down-shed (slot threads lifted, hole threads at rest). Four-shaft overshot requires four independent shed combinations, which the single rigid heddle cannot provide natively. Rigid heddle overshot simulates the additional sheds using one or two pick-up sticks — flat smooth sticks, typically 30–60 cm long, inserted through the warp behind the heddle by threading them over specific warp threads and under others.

Threading the pick-up stick for overshot: with the heddle in neutral (not raised or lowered), insert the pick-up stick from the back beam through the warp behind the heddle by passing the stick over the first slot thread, under the first hole thread, over the second slot thread, under the second hole thread, and so on — alternating slot threads (over) and hole threads (under) across the full warp width. This pick-up stick threading picks up every slot thread by passing over it and leaves every hole thread unaffected by passing under it. When the stick is turned on its edge (standing up vertically in the warp), it lifts all the slot threads above their normal resting position, creating a shed that contains only slot threads elevated — this is the pick-up shed, and it is a third independent shed in addition to the heddle's two standard sheds. The pick-up shed corresponds to one of the pattern sheds in the overshot treadling sequence.

The basic overshot sequence on a rigid heddle with one pick-up stick uses four sheds: heddle UP (hole threads lifted), heddle DOWN (slot threads lifted, standard plain weave), pick-up stick on edge with heddle in neutral (slot threads lifted by pick-up stick only), and pick-up stick on edge with heddle UP (both hole threads lifted by heddle and slot threads lifted by pick-up stick). In this four-shed sequence, the two standard heddle sheds produce the tabby tie-down shots, and the two pick-up stick sheds produce the pattern floats — but only one type of pattern float, with float spans defined by the pick-up stick threading (all slot threads floating). This is a single-block overshot equivalent, not a four-block overshot.

To achieve multi-block overshot on a rigid heddle, the warp must be threaded with a specific pattern that places different warp threads in hole and slot positions according to the overshot threading repeat, and the pick-up stick (or two sticks) must be threaded to select specific threads within each shed that correspond to the intended pattern block. A two-stick setup uses one pick-up stick for odd-row patterns and a second for even-row patterns, allowing independent control of two pattern blocks. The setup complexity is significant — threading two pick-up sticks correctly across a 60 cm wide warp takes 30–45 minutes, and a threading error in the pick-up stick requires removing and re-threading the full stick — but the result is a rigid heddle cloth that closely approximates four-shaft floor loom overshot in visual appearance. Patreon documentation for rigid heddle overshot needs to address this setup complexity directly: a step-by-step pick-up stick threading guide with error-checking photographs is more useful than any amount of final cloth photography.

Color relationships in overshot: warp, pattern weft, and tabby weft

Overshot is traditionally a three-color structure: warp color, pattern weft color, and tabby weft color. In classic American coverlet tradition, the tabby weft matches the warp (typically undyed natural cotton or linen), leaving the pattern weft as the only design color. This gives overshot its characteristic appearance of colored pattern blocks on a neutral background, with the warp-color ground filling the spaces between pattern blocks and the tabby shots nearly invisible.

The warp color establishes the background of every float-free zone in the cloth. Between pattern blocks — in the areas where no shaft combination is lifting warp threads in a pattern row, so the pattern weft passes under all those warps — the warp threads are visible from the front of the cloth and the background reads as solid warp color. This means the warp color functions like the background color of a two-dimensional pattern: the pattern floats are figure, the warp color is ground. For high-contrast patterns, the warp and pattern weft should be high-contrast colors (dark warp, light pattern; light warp, dark pattern). For subtle patterns, low-contrast color pairs (warm tan warp, golden amber pattern) produce a tone-on-tone effect where the pattern is visible in texture and surface dimension but not in strong color contrast.

Pattern weft color directly determines the visible block pattern. In single-pattern-weft overshot, one color appears in all the float blocks across the cloth, creating a single-color pattern on a warp-color ground. Two-color overshot uses two pattern wefts — typically one shuttle for block A positions and a second shuttle for block B positions — producing a two-color pattern where different motif areas are different colors. The Patreon documentation value of explaining two-color overshot threading is high: two-color overshot requires a modified treadling where pattern rows alternate between the two pattern shuttles in a specific sequence, and the relationship between which color appears in which block is determined by the threading sequence, not by the treadling choice. A subscriber who understands this can plan two-color overshot drafts; one who does not will produce inadvertent color mixing in the wrong blocks.

The tabby weft is usually identical to the warp thread in color and weight, making it nearly invisible in the finished cloth. When the tabby weft is a different color from the warp — particularly if it is high-contrast — the tabby shots produce a visible dot texture in the background areas between pattern blocks, because each tabby interlacement point (every other warp thread going under the tabby weft) creates a small color dot at the interleaving. Some weavers exploit this deliberately to create two-texture backgrounds; others find it distracting. Documenting the tabby weft color choice and its effect on the background texture is a specific Patreon content element that most overshot instruction omits, yet it is the difference between a clean-background design and a background with visible texture noise.

Pattern sett and weave mechanics for overshot

The sett (ends per inch, abbreviated epi) for overshot warp should be calculated for the tabby ground, not for the pattern weft. Since the tabby weft forms the ground structure and determines the cloth's plain-weave integrity, the sett should produce balanced tabby at the intended picks per inch. For 8/2 cotton, a standard sett of 20 epi produces balanced tabby at 20 picks per inch (equal warp and weft frequency in plain weave). The pattern weft is approximately twice the weight of the warp, and because it floats over multiple warp threads without interlacing at each end, it does not contribute to the picks-per-inch count in the same way the tabby weft does.

Beat pressure in overshot must be applied consistently at two very different rates: the tabby shots should be beaten at the calculated picks-per-inch to maintain the ground weave structure, while the pattern rows should be beaten more lightly so the heavier pattern thread does not pack in too tightly against the tabby shots. Pattern rows beaten with the same force as tabby rows tend to compress the tabby shots on either side, creating visible bands of tighter tabby adjacent to each pattern row. The practical technique for consistent beat: use the same beat stroke for all rows, but position the pattern shuttle's weft arc (the diagonal drop of the weft in the shed before beating) with more slack than the tabby shuttle, so the pattern weft has more thread available to span across the float areas without pulling taut.

Selvedge management in overshot requires attention because pattern float rows span different numbers of warp threads than tabby rows, which means the weft entry angle into the shed changes between pattern and tabby rows. Pattern rows with long floats have less weft interlacement across the width and require less weft length per pick than tabby rows of the same width — the pattern weft takes a more horizontal path because it does not need to travel over and under each warp thread. If the pattern weft is thrown with the same arc angle as the tabby weft, the extra thread in the arc will produce a loopy selvedge on the pattern rows, with the excess thread showing as a small loop at the selvedge edge. The arc for pattern rows should be shallower than for tabby rows — roughly half the arc height for a four-thread float pattern weft compared to the tabby weft.

Patreon tier structure for overshot weaving creators

Overshot weaving Patreon tiers work best organized around draft access and technical documentation depth. A lower-cost tier ($6–10/month) provides draft PDFs with threading, tie-up, and treadling diagrams for each published pattern, plus finished cloth photographs and brief color notes. This tier serves subscribers who want ready-made patterns with accurate specifications. A higher-cost tier ($15–22/month) provides the full technical documentation layer: draft design rationale (why this threading repeat, how the float lengths were calculated for the intended sett, what changes if the sett is varied), pattern variations achievable with the same threading and different treadling sequences, color planning guidance with warp-pattern-tabby relationship analysis, and rigid heddle adaptation notes where applicable.

The draft variation post is a strong Patreon format for overshot: one threading draft generates many different pattern cloths through treadling variation, and documenting three or four treadling sequences on the same threading — with finished cloth photographs of each — demonstrates the design flexibility of the threading without requiring a new warp for each variation. Subscribers who have threaded the warp can weave all variations from one session, which makes the Patreon patterns immediately usable without a major time investment. For rigid heddle subscribers, documenting the pick-up stick threading setup alongside the floor loom draft expands the audience for each pattern to include both loom types.

The founding member window for an overshot Patreon should emphasize the draft archive: each post adds a threading draft PDF to the archive, and early access to the archive before it is publicly released is the founding member benefit. Overshot drafts have long replay value — the same threading works for different project types (runner, table mat, towel, sampler) simply by adjusting the sett, yarn weight, and treadling sequence — so the archive grows in practical utility with each pattern added.

Frequently asked questions

What is overshot weaving structurally, and how do the pattern floats and tabby tie-down shots interact to produce the pattern?

Overshot is a two-element woven structure: a supplementary pattern weft floats over consecutive spans of warp threads without going under any of them, creating blocks of color on the cloth surface; a tabby ground weft weaves plain weave (over one, under one) between each pattern row to tie the floats down and give the cloth structural integrity. The pattern weft's float spans are determined by the shaft threading — the warp threads on each shaft lift as a unit, and the floats correspond exactly to consecutive warp threads on the shafts lifted by each pattern treadle. Tabby tie-down shots (alternating shafts 1+3 and shafts 2+4 for four-shaft overshot) weave plain weave under the warp threads that the pattern weft floated over, preventing those floats from sliding. Without the tabby shots, overshot fabric would have no interlacement at the float positions and would fall apart under tension; without the pattern floats, the tabby shots would produce a plain weave fabric with no visible pattern. Together they produce a surface where colored pattern floats appear to sit on a plain warp-colored ground.

How does a weaving draft work for overshot, and what do threading, tie-up, and treadling each specify?

Threading specifies which shaft each warp thread is assigned to — this determines where floats of what length will appear across the warp width. Tie-up specifies which shaft combinations each treadle activates — for four-shaft overshot, pattern treadles 1–4 each lift two adjacent shaft pairs, and tabby treadles 5–6 lift alternating shaft pairs for plain weave. Treadling specifies the row-by-row order of treadle presses — pattern treadle, tabby A, pattern treadle, tabby B, advancing through the pattern blocks. Each part is independent: the threading sets the float positions, the tie-up maps treadles to shafts, and the treadling selects which blocks appear in what order and for how many rows. Changing the treadling sequence while keeping threading and tie-up constant produces a different pattern on the same warp — which is the core design flexibility of overshot and the main content asset for a Patreon that publishes multiple pattern variants per warp.

How is overshot weaving achieved on a rigid heddle loom using a pick-up stick, and what are the limitations compared to a floor loom?

Rigid heddle overshot uses a pick-up stick inserted behind the heddle to create a third shed (and optionally a fourth with a second pick-up stick) beyond the two standard heddle sheds. The pick-up stick is threaded by passing it over specific warp threads and under others — typically over slot threads and under hole threads — so that turning the stick on its edge lifts the selected threads independently of the heddle position. This creates a pick-up shed corresponding to one pattern shed in the overshot treadling. The basic rigid heddle overshot sequence uses four sheds: heddle UP (tabby A), heddle DOWN (tabby B), pick-up stick on edge with heddle neutral (pattern shed 1), pick-up stick on edge with heddle UP (pattern shed 2). Limitations: a single pick-up stick produces two-block overshot at most; two pick-up sticks can simulate four-shaft overshot at the cost of complex threading and slower shed changes. Float lengths are fixed by the pick-up threading and cannot be changed per row as they can on a floor loom with independent treadles. Setup time for the pick-up stick (30–45 minutes for a 60 cm warp) is not negligible and should be documented as a setup cost in any Patreon pattern for rigid heddle overshot.

What is the pattern weft to tabby weft weight ratio in overshot, and how does thread selection affect the visual result?

Pattern weft should be approximately twice the weight of the warp (for an 8/2 cotton warp, use 4/2 cotton pattern weft). The heavier pattern thread creates raised floats that sit visibly above the plain weave ground, producing the characteristic overshot surface dimension. Tabby weft should match the warp in weight and color: matched weight maintains balanced plain weave in the tie-down rows; matched color makes the tabby interlacement points invisible in background areas, so the warp-color ground reads as a solid field. If the tabby weft contrasts with the warp, each tabby interleaving point creates a visible dot texture in the background, which is sometimes exploited deliberately but usually undesirable. Pattern weft fiber affects surface character: wool pattern weft produces a softer, slightly bloomed float surface that fills the block area more completely; cotton produces harder, sharper float edges; silk produces the highest surface sheen with the sharpest float edge definition.

What is the Apple Tax on overshot weaving and rigid heddle Patreon audiences from November 2026, and what are the specific amounts at typical creator income levels?

Instagram rigid heddle and floor loom weaving accounts 70–84% iOS; Pinterest weaving pattern and draft boards 75–87% iOS; YouTube overshot and rigid heddle tutorial channels 58–72% iOS; Facebook weaving groups 58–70% iOS. Apple Tax deductions on Patreon iOS subscriptions from November 1, 2026: at $100/month with 73% iOS, $21.90/month ($262.80/year); at $200/month with 77% iOS, $46.20/month ($554.40/year); at $350/month with 80% iOS, $84/month ($1,008/year). Web-only billing at Patreon or moving to KeepTier's web-only subscription page prevents these deductions by keeping all transactions outside Apple's in-app purchase system.

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