I am a designer weaver and love to use natural yarns in my work, such as linen, silk, alpaca, cashmere and merino wool. I am fascinated by the long history of weaving and research ancient textiles and the techniques used to produce them.
Two years ago I was fortunate enough to be able to travel around the Baltic region. I had not visited Lithuania before and I was impressed with the weaving traditions that I found.
The National Museum in Vilnius is in a wonderful building and their displays of textiles are fascinating.
National Museum in Vilnius
In my previous blog about my trip, I showed an example of the lovely costumes on display. Here is another costume and a close up of the colourful patterned belt.
Close up of the patterned belt.
The belt has the typical 'moustache' fringe at each end.
The belt was worn until the end of the 19th century and was a very important part of the dress. A belt was worn everyday but on special occasions, a more elaborate sash was put on. Sashes were given as presents. When a woman married she was expected to weave dozens of sashes to give away on her wedding day as well as for her dowry. These sashes would demonstrate her skill in weaving and also help to smooth the path to her new life with her husbands family.
I loved the patterned bands that I saw in the museum. I have graphed and woven a few of them. Here is a beautiful patterned band with the typical moustache fringe.
My own reproduction of a Lithuanian patterned band.
I loved the colours and the pattern. The fringe takes a lot of wool!
Here is an old photograph showed how young girls learned to weave narrow bands. As their skill in weaving improved wider more complex patterns would be woven.
using a backstrap to weave narrow bands
I loved this photograph as this is the way weavers in my workshops attach themselves to tables in order to use a backstrap and a heddle. These girls are using a stick with heddles which is a more time consuming method to weave narrow bands but it is very versatile.
However, you do not need to weave attached to a table. This lovely photograph from the 1960's shows two Lithuanian girls weaving using only their legs to tension the warp. They are using a circular warp.
The museum had many old sashes and bands on display. I loved the range of colours used. Here is an unusual yellow and blue belt.
It is sometimes not easy to find books about weaving in other countries.
I found one lovely book which was published in 20010 by Inga Neniene. It is in Lithuanian but has a short summary of the contents in English. With 431 pages it is quite a tome.
It is about Zanavykai weave traditions and textile heritage from the 19th century to the 21st century. It has many pages of weave patterns, both pattern drafts and actual photographs of textiles. Here is an example. Bedspreads using overshot patterns were very common.
an example of the many pattern drafts
some of the beautiful woven textiles
There is also a section about band patterns. Unfortunately, I could not find the information about what colours would have been used for the patterns.
A sample page of band patterns
However, in the English summary there is information about the use of sashes and the patterns. As in Sweden, sashes were sometimes sewn together to form a covering or even a carpet. Mourning sashes were woven in white, black and unbleached linen. Sashes for souvenirs for special occasions were also woven with texts. Here are two examples.
The author says that during her research she did not find any weaving women apart from one sash weaver. The last weavers had dismantled their looms in 2002 - 2003. This lovely book is helping to preserve their tradition and also present their striking patterns to a wider audience. Even if, like me, you do not understand Lithuanian, the pictures and diagrams tell their own story.
However, if you are intrigued by Lithuanian weaving as I was, then do take a look at this book by Kati Reeder Meek published in 2000.
Reflections from a Flaxen Past: For Love of Lithuanian Weaving.
ISBN 0 9700648-0-2
It is a treasure trove of images and patterns. There is a useful introduction about Lithuanian history and then an awe inspiring collection of old black and white photographs of the process of turning flax into cloth from the M.K. Ciurlionis Museum.
There is a gallery of Lithuanians who love their countries textiles illustrated with many colour photographs. Costumes and their details are intriguing.
There is a comprehensive description of how to construct a simple sash loom and patterns of sashes to weave using it.
Embroidery and patterned cloth weaving are also included.
It is a glorious celebration of the delights of Lithuanian weaving and, of course, it is in English.
I asked Kati if I could reproduce a couple of pages of the book. One page, page 71, celebrates the variety of ways of weaving. I have split the page into three sections so that you can see the looms detail.
What an amazing collection of looms!
Types of looms used in Lithuania.
I have never seen a punch card system used on a small loom. The circular variety is wonderful.
Does anyone know if this type of loom is still used or, even better, still available?
This page is typical of the detail that Kati provides about Lithuanian spinning and weaving. There are further looms illustrated and described in the book.
Another page from her book. She gives detailed instructions about weaving narrow bands on a home made loom. Here is another page from her book, page 133.
There are detailed instructions for using this type of simply equipment on the next few pages. She calls it her 'desk drawer loom.' It is a weaving hobby which can be stored in a shoe box - no bulky equipment required yet lovely patterned bands ca be made.
All in all this book is a treasure and is so obviously as a result of the deep love of Lithuanian spinning and weaving.
She has also published a second book which is for the specialist weaver. I have a large loom and to wind on a warp I require the help of my husband who, over the years, has become very familiar with the specialist terminology of weaving. Kati describes a method of winding on a warp which does not require a helper. I am intrigued by the method but I fear that my own weaving room is not large enough to be able to move my loom into a position where a trapeze like this could be used. Anything that makes the weavers task easier is wonderful and I am sure that there are loom owners who will find this method ideal.
The book Warp with a Trapeze is available from Handweavers Studio in the UK. They have an amazing selection of books about weaving. https://www.handweavers.co.uk/
I hoped you have enjoyed this celebration of Lithuanian weaving. I loved the country when we visited it in 2017. Do check out my previous blog for November 2017. Here is the link. https://durhamweaver64.blogspot.com/2017/11/ Happy Weaving Susan J Foulkes June 2019
If you follow my blog, you will realise that I love weaving towels.
Cottolin is great for tea towels but is also very hard wearing and absorbent for handtowels. Here is a pattern for towels that i finished last month. Warp: cottolin in dark blue, light blue, white and natural Weft: natural cottolin
Sett: 24 dpi
Weave structure: Point twill on 8 shafts. I used an extra shaft for the selvedge but a floating thread for the selvedge is fine.
Please note that using the point twill structure the colour stripes do not line up with the twill. I like this as it seems to add a dynamic quality to the design.
Dark blue 16 12 12 12 12 Central blue section can be adjusted. Natural 20 16 20 I used 152 ends. White 2 2 2 2 Pale blue 4 4
You can adjust how wide you wish the handtowel to be by altering the central dark blue section.
I used 152 ends for the centre section. This is shown on the Weave Drawdown in turquoise blue although fewer ends are shown so that the pattern will fit onto the page. You can use as many dark blue threads as you wish for the centre area depending upon your chosen overall width of the hand towel. The sett is 24 epi so you will need to count how many warp ends you want in the dark blue.
Total number of warp ends: 424
eight shaft point twill
Before washing After washing
Width: 17.5 inches 44.4 cm Width: 16 inches 40.6 cm
This pattern uses a single colour in the weft. The length of the handtowel can be adjusted easily. Remember to weave the first and the last 10 picks in 16/2 cotton. This will make the hem less bulky.
Close up of the pattern.
Here is a close up of the two striped areas. As you can see the point twill is off set in one area. This adds an extra dynamic to the design although I have to admit that it was a mistake. I meant to have both sides of the towel in a regular twill. You can see the difference in the striped patterns on both sides.
The full pattern showing the difference in the striped areas on the left and right.
The centre dark blue area can be as wide as you wish.
Hanging tagAs usual I wove a hanging tag in cottolin using the same colours as the handtowel.
Here is the pattern.
Warp for hanging tags
Dark blue 6 6 White 2 2 Pale blue 4 4 Natural 4
Total number of warp ends: 30 Weft: dark blue
Width of hanging tag: 11mm
woven band and hanging tag
Here is the finished towel alongside a tea towel hanging up in my kitchen.
I have just received a copy of this lovely new book about band weaving. I met Annie in Tacoma in 2016 at the International Braids Conference. Her blog is a real inspiration to anyone who enjoys weaving narrow bands. http://aspinnerweaver.blogspot.com/
Her enthusiasm for inkle weaving is infectious. The book has over 100 patterns in the most glorious colour combinations for 39, 59 and 79 warp threads. I could hardly wait to try one of her patterns. The layout of the book is very user friendly and the patterns are large and clear to read. Here is the pattern that I wove. It is number 11 in the book. I asked Annie if I could put a picture of her drawdown on my blog, so here it is.
It is a pattern for 39 warp ends. The two rows on the top show the warp threading: the pattern draft. You can work out very easily how many threads you will need of each colour. The top row are the heddled threads for an inkle loom and the bottom row shows the unheddled threads.
The rows below are the drawdown which is a picture of the final woven band.
Here is the band that I wove. I used Rowan cotton glace, a thick, shiny cotton, that weaves beautifully. I use it for guitar straps as it comes in a range of colours and is very sturdy. I use Annies guitar strap fittings for the straps from her Etsy shop. You can see how useful they are when you compare it to the actual band that I wove.
Actual woven band
close up of drawdown in Annie's book
The band is 1 inch (2.5 cm) in width. There are 39 warp ends.
You can see how the drawdown illustrates the woven band very clearly.
All of the patterns in the book are clear and enticing.
What will be my next choice? There are so many to choose from.
Annie's book gives lots of useful advice about colour and colour combinations. This is a real strength of the book. You will be rushing to the nearest yarn store to buy some colourful yarns. Her own designs are inspirational. It is always a thrill to find new books about the craft of band weaving. Annie has been weaving for many years and her creativity shows through in this lovely addition to any weavers bookshelf.
Recently I was contacted by a weaver who has become interested in band weaving. Lynne has two small band looms. She allowed me to use her pictures here.
One is a Norwegian cradle loom,bought last year from Vesterheim,the National Norwegian-American museum and heritage centre. The other is a home made tape loom made from an old Port box! It measures 91/2” by 4” by 41/2” high. Lynne managed to put a 6 foot warp on it. The pattern is from Annie MacHale's blog. Once you have caught the bug for weaving bands it is amazing how creative you can be.
Annie uses an inkle loom but there are many ways of weaving these bands.
In the UK, the Handweavers Studio sells a wonderful range of yarns which are excellent for band weaving. Their yarns come in small quantities so that you do not need to buy a lot of yarn in one colour. I am sure that other craft stores in the
Weaving letters and making your own messages is fun. Recently I was asked to weave six sashes for the Journal for Weavers, Spinners and Dyers.
However, I needed to check that the wording would be the correct length for the sash so I had to weave several samples.
The First SampleMy first sample was too long. I needed to weave the legend 'The Journal for Weavers, Spinners and Dyers' twice so that the sash could be read from the front and back For this sample I used 6/2 cotton and it was too long and too wide.
The Second SampleI tried a thinner cotton and came up with this design.
I only wove one repeat of the lettering so that I could check the length. This seemed correct. I chose the colour in the border area to represent dyeing and the red twist on either side of the lettering to represent spinning. The fancy heart pattern will be the centre section which will be on the shoulder of the wearer.
The Third SampleThe sash still seemed a little wide so for the third sample I reduced the white area.
I sent all the samples to the committee so that they could comment and see if they liked the design. One aspect that I should have foreseen was how clear the letters looked at a distance. I had been so busy with weaving and looking closely at the sashes, I had not considered how easy it would be to read the message from a distance. I was given some useful suggestions and went about redesigning some of the letters.
6 sashes showing the centre section
Here are the final versions. I do hope that they are useful.
Do have a go at weaving letters and making your own messages. Using the 13 Sunna double slotted heddle, weaving letters is much easier than using an inkle loom. Susan J Foulkes April 2019.
This wonderful illustrated book is an inspiration for any weaver to try double weave. It is a timeless classic.
Double weave on Four to Eight Shafts by Ursina Arn-Grischott. Published by Interweave Press in 1999. ISBN 1-883010-74-8
Using a double weave pattern with two blocks gives more flexibility to design. Bath MatsWarp and Weft: 2/3 cotton set at 10 epi for each layer
A double warp is used therefore sett at 20 epi. Twelve shafts are needed for this pattern. There are three blocks
Warp Black 16 60 12 60 12 60 16 White 16 60 12 60 12 60 16
Here is the drawdown. I simplified the drawdown so that you can see the blocks clearly. For each square the number of threads is 60 white and 60 black so 120 heddles are needed. In the diagram only 24 warp ends are shown. For the space in between each block 32 heddles are needed but only only 4 are shown. This makes the diagram smaller so that it will fit onto the page and you can see the threading and treadling clearly.
From the diagram you can work out which treadling to use for different effects. If you want all white on the surface and black on the reverse use treadling 1 - 4.
If you want all black on the front and all white on the reverse use treadling 13 - 16.
For each of the two blocks you can use the correct four treadles to place the block.
Drawdown showing possible treadling order to produce different effects.
You can vary the pattern in many ways.
Warp When making the warp, use a strand of white and a strand of black for each group. The white and black ends are threaded as shown. The black ends are threaded through the odd numbered shafts and the white ends are on the even numbered shafts.
Weft Note that the weft is alternately white and black. Two shuttles are required.
I wove two mats. The width was 23.6 however with double weave and cotton this will shrink considerably.
Generous allowances were made for take up and ends of the mats.
Here is a closer look at one of the mats.
Here you can see the two sides of the mats. I deliberately varied the height of the 'squares' as it is difficult to end up with an exact square in double weave. I counted how many weft throws for each square. You can alter this to make your own variation. The warp and weft shrink when off the loom and washed.
To start and end the mats I used a thinner cotton yarn to weave 12 picks in plain weave in the same colour as the warp. This ensured that I could turn in the hem to the inside of the mat without adding too much extra thickness.
Here is a close up of the hem. I think that it is neat.
The second mat is shorter and I used a different size of square in the pattern.
As you can see at the selvedges, it is difficult to keep the black and white from showing. The two wefts should be twisted around each other so that the edge is as neat as possible.
I enjoy double weave but it is time consuming both the warp and weave. I have only used thicker threads. One day I will try a pattern with fine silk.
Last September we spent a week in Sienna. It is a beautiful city and there is so much to see and do I feel sure that we will go back.
Wandering around Sienna, I found two shops that had a working loom. In one shop, the loom was in use so naturally I stopped to have a chat. On my Facebook page there is a short video of a weaver in a shop. It was wonderful to see and to talk to a handweaver. If you go to Sienna do remember to visit this lovely shop.
Weaver at work
Inside the shop were two looms, one of which was in use.
See my Facebook page for a short video of her weaving on her large loom in her shop.
The Pinacoteca Nazionale is a wonderful art gallery. We spent two afternoons there as there is so much to see. The web site can give a you a short tour of some of the paintings.
I am taking a part time MA in Art history and art and architecture have always been important when we go on holiday. The Pinacoteca Nazionale is a national museum in Siena. One exhibition was particularly interesting. The theme of the exhibition display was how paintings can inform us about contemporary life in Sienna at the time they were painted.
One aspect that I noticed was the bed covers in lovely check patterns.There were several lovely patterns. Here is one of them. The painting showed a miracle. An infant had fallen out of a cot and had died. He was brought back to life by the Blessed Agostino Novello who flew to the rescue. The painting is by Simone Martini and dates from the early 1320's.
The bedspread is on the left hand side of the painting.
I thought that it would make a handsome check for a tea towel. Looking through my stash of yarn I found a selection of colours that I thought would be suitable.
YarnCottolin in four shades for the warp and the weft.
Weave StructurePlain weave. Warp colour order Orange 20 20 pale orange 8 off white 30 30 white 8
Add 4 ends in orange to each side. Total number of warp ends= 510
DrawdownHere is the pattern.
There are five orange stripes and four wider off-white stripes across the width of the cloth.
Drawdown for the tea towels
Ends per inch for the warp.
There are 20 ends per inch In a 10 dent reed thread 2 ends per dent.
Width in reed = 26 inches.
The weft is woven at about 20 epi. Follow the colour order for the warp.
How I finish the towels
Cut the towels off the loom.
Iron, then cut off the waste thread
Now iron the first turn down. The first turn down is the 10 rows of 16/2 cotton and a couple of rows of the cottolin. The finer thread at the beginning makes the hem less bulky.
Ready for ironing.
Iron the first turn-down.
Now turn down again to the depth of hem that you want. Iron the turn-down. Then place pins to hold the hem in place.
Now run tacking stitches along the hem to hold it in place. Iron once again and the towel is now ready to hem on the sewing machine.
before washing after washing
width 63 cm 58.5 cm length 69 cm 66 cm
I was amazed that both tea towels turned out to be exactly the same length and width. Usually I find that one tea towel is longer than the other!
Hanging tag for the dish towels.
I wove three different tags. The first tag I wove using a new type of heddle which I had seen on a YouTube video. https://youtu.be/HMbcwQ_rpoM
I bought the heddle from Stephan and tried it at home. It is very simple to warp. I placed it in a holder so that it would be upright when threading. I tried it with a backstrap. It is not quite as firm as a conventional heddle and does bend slightly in use. It is more stable when used in a loom like the one on the video.
Here are the tags that I wove.
The warp and weft are cottolin in the same colours as the tea towels.
Tag 1 woven on new heddle.
Warp Orange 4 4 4 4 White 2 2 2 Beige 4 4
Total number of warp ends = 30
I made two variations of this pattern. For one pattern I swapped the white and beige colours.
The two tape variations. I only used one of these for the towels.
Patterns 2 and 3
WarpBeige 8 1 8 White 1 1 Orange 8 1 8 pale orange 1 1
total number of warp ends = 38
My band weaving book
Designing your own tags is fun.
My book The Art of Simple Band Weaving not only has many designs but also shows you how to create your own variations.
In these turbulent times, it is important that we find a calm space.
Last September there was a lovely article in the Guardian newspaper in the UK
Craft has the power to save us all - a wooden spoon at a time.
Here is an extract from the article by Rhik Sammader
It doesn’t even matter if you’re good or not. There is something about making things that many of us are missing out on. An inherent mindfulness, a state of flow. It needn’t be solitary – the emphasis at Make More is on group workshops and skill sharing. It’s an essential way to un-knit our current crisis of mental health. There’s a word doing the rounds, “welldoing”, which points to why craft is great. Creative expression provides a tangible reminder that we are more than our use to advertisers, more than data to be sold. Making connects us to our species’ essence: we are Team Thumb.
What’s more exciting is that the philosophy behind all this could have a deeper impact than simply therapeutic benefit. “Engaging with our products, repairing and maintaining them, rather than expecting to get things cheaper, from further away … at a systems level, that’s a different economic paradigm,” explains Tom Mansfield, who runs the talks here, and is involved with a number of social enterprises, including the League of Pragmatic Optimists, which bills itself as “a club of doers, committed to making the world a better place”. He cites community-owned energy projects: selling renewable energy to the grid, using the profits to fund community gardens, apprenticeships, and more energy projects.
I love the term: Welldoing
Don't use all your precious free time just for passive entertainment.
Do and create something using your own hands, heart and head. It is so satisfying.
Don't just click and buy.
Do and make something yourselves. Express your own creativity however humble the result might be. This creative expression 'provides a tangible reminder that we are more than our use to advertisers, more than data to be sold.'
Don't just throw away.
Do and repair and maintain.
Some inspirational quotes for the New Year. Theo Moorman's book 'Weaving as an Art Form' was written in the 1970s. She had noted how young people were turning to crafts.
'As Noah, hearing and seeing the waters rising, must have recognised the power put into his hands in the form of the simplest possible tools and materials, the hammers, nails and planks of wood which were to save the living world, so perhaps spinners and weaver today treasure and revere their spinning wheels, loom, and fleeces when they hear the daily news that pours from radio and television.'
'What dark, or melancholy passions can overshadow his heart, whose senses are always full of so many various productions, of which the least progress, and success will affect him with an innocent joy?' a quote from 1669
Last year I read a fascinating book called Finding Flow: the psychology of engagement with everyday life. by Mihaly Csikszentmihalyi (published in 1997). Although I thought that there was not enough about craft work in the book, this quote was particularly penetrating.
He reminds us that:
'All folk art - the songs, the fabrics, the pottery and carvings that give each culture its particular identity and renown - is the result of common people striving to express their best skill in the time left free from work.'
I have taken this to heart and wondered what am I going to create this year? Where will my interest in weaving take me?
I want to share my love of weaving in my blog so do follow my creative journey and find your own space for the creative activities that you love.
This year I decided to weave some designs to make my own Christmas cards.
Drawdown without tabby
This design is an overshot pattern. This drawdown does not show the tabby.
Christmas tree designHere is the drawn down with tabby inserted.
Drawdown with tabby
This pattern uses 8 shafts. Use a floating selvedge to catch in the threads at the side.
Threads I used 2/20 cotton for the background and tabby
The green is three strands of embroidery cotton and the yellow is some gold yarn I found in my sewing box.
On the drawdown, the blue indicates the white tabby. If I had used white on the drawdown, it would have been difficult to see the pattern.
On the loom.Here is the weaving on the loom.
I also wove some snowflakes in silver.
Snowflake designHere is the drawdown with the tabby inserted.
Drawdown with the tabby weft
The drawdown shows the snowflake in yellow and the tabby and background in blue.
snowflake on the loom
I wove each design in groups of two. The plain weave section before and after enabled a hem to be sewn to keep the weaving from unravelling. I left space of unwoven warp in between each piece.
Off the loom, the strip of weaving showed reed marks. These did become less after a day or two but I decided to wash some of the pieces. The loom marks disappeared.
I hemmed each piece of weaving at the top and bottom.
Here are 6 of the Christmas cards on display. I cut two slits into the front of the card and threaded the weaving through top and bottom. For the inside of the card I printed messages on plain white paper.
Yes, they did take a long time to plan and weave.
Decorations for the Christmas Tree If you want a quicker project for Christmas, what about weaving some Christmas decorations for your tree.
My friend Nancy in the States sent me some lovely woven hangings for my tree.
Christmas tree decoration
Here is one of them. It is just under 4 inches in length and sparkles in the Christmas lights. Thank you Nancy for a lovely present.
There was a lovely article in the Guardian recently about Advent Calendars.
'In simpler times, the thrill of Advent calendars involved finding a picture of a Christmas tree or holly sprig hidden behind the cardboard door. But then the tradition was hijacked by upmarket retailers, and you came to expect a craft gin miniature, artisan cheese or mindfulness tips. This year, though, traditionalists are fighting back.'
The article was about crafting your own calendar. A kit is available but it would be so easy to make your own; for example, a hanging mobile of little bags each with a number and containing simple things. It does not have to be expensive or complicated.
It is so easy to click and buy but so much more satisfying to make and give.
with very best wishes to everyone for this festive time.
Susan J Foulkes December 2018
I belong to Durham Guild of Spinners Weavers and Dyers. One of our wonderful members has just written this blog for the web site. I would like to share it.
Craft is a wonderful way to bring people together - old and young - experienced and learners. Soo reflects on two Guild events. Do read it - and share.
I have just been reading Theo Moorman's book 'Weaving as an Art Form'. She has a lovely quote at the beginning.
'..what constitutes the dignity of a craft is that it creates a fellowship, that it binds men together...'
Another Postscript This year I taught two workshops at the Pitt Rivers Museum in Oxford about Sami band weaving. Sharon attended one of the workshops and sent me this lovely photograph of bands she has woven.
Coffee bags made by Sharon with handwoven ties.
She makes coffee bags out of leather and wove the beautiful straps to tie the top. She tells me that she really enjoyed the workshop. The look of these wonderful woven bands shows that she has learned all the skills needed. They are so colourful. Thank you Sharon for letting me share this photograph.
In November I went to see an exhibition at the Embassy of Japan in London. There is one room filled with beautiful examples of weaving. I had not heard of the Hakata-ori before and I was delighted to be introduced to another woven belt design.
Two handweavers were mentioned. Ogawa Zenzaburo and his son Kisaburo Zenzaburo.
If you have time, do go and visit this lovely exhibition.
'Protecting the heritage and customs of the past whilst preparing for the future is essential for any traditional craft to prosper in modern times.'
Unfortunately, photography was not allowed but I have searched the web so that you can see some of these lovely woven pieces.
The stripes separating the pattern stripes are also important. There are two main designs; nakagomochi and ryogomochi
Hakata-ori are wide warp faced belts woven in a very fine silk thread. The colours and patterns are traditional and have particular meanings. Go-shiki Kenjo go-shiki means five colours and Kenjo means a gift for the emperor. Righteousness: purple is a noble colour and represents repose and grace. Benevolence: green is the colours of spring and represents calmness, tranquillity and peace. Courtesy: red represents true sincerity and symbolises happiness and wealth Wisdom: navy is apowerful and dignified colour and represents confidence. Trust:yellow is the colour of earth. Here is an example of the Go-shiko Kenjo design.
Go-shiki Kenjo: A close up of a belt showing the traditional patterns and stripes.
This foundation promotes Japanese traditional culture and has an interesting page about this type of weaving.
The Sunna double slotted heddle with 9 pattern slots.
The Sunna double slotted heddle with 9 pattern slots.
Here is the treading chart for 9 pattern threads. You can have up to 12 border threads on each side.
Threading chart for 9 pattern threads.
A pattern for a bookmark
This pattern is for 9 pattern threads and makes a lovely bookmark. There are 46 picks in the pattern repeat.
There are 43 patterns in my book for 9 pattern threads. This pattern is not in my book. Now you have an additional pattern to try. I made many bookmarks in this pattern and distributed them to outlets selling my book.
Here is a picture of some of the bookmarks that I wove.
Using different colours for the pattern threads and the border threads makes lovely variations.
Here are six further ideas for making different effects.
6 colour combinations
The top band uses 16/2 linen for the background and border threads. The pattern thread is red double knitting wool.
The next band uses 16/2 cotton used double for the background and border threads. The pattern thread is red four ply knitting wool.
The third band uses 4 ply sock yarn for the background and border threads. The pattern thread is a double four ply sock yarn.
The fourth band uses 4 ply sock yarn for the background and border threads. The pattern thread is a double four ply sock yarn.
The fifth band uses red 6/2 cotton for the background and border threads. The pattern thread is a double black 6/2 cotton yarn.
The sixth band uses 4 ply sock yarn for the background and border threads. The pattern thread is a double four ply sock yarn.
Coloured borders can enhance the design.
Remember there is plenty of help on line. here is the link to my YouTube video Weaving bands with 5 pattern threads.
I saw this pattern when I was on holiday in Lithuania last year. There are 9 pattern threads.
close up of woven band.
My workshop for the Braid Society in October used this pattern as an example of how to transfer a pattern to a pattern chart. If you look at the pattern you should be able to transfer it to a weaving chart.
Using a Sunna double slotted heddle with 9 pattern threads. The double slotted heddle is available in smaller sizes of 5, 7 and 9 shorter slots for patterns threads. These heddles can be used with a back strap, in a box loom or on a larger inkle loom.
I have used the Sunna double slotted heddle for 9 pattern threads on my inkle loom. Using an inkle loom with a 9 pattern slot heddle.
Using the 9 pattern slot Sunna heddle on an inkle loom.
To use the heddle on an inkle loom, you will need to check that it will fit. The 9 Sunna heddle is 7 inches wide and 5.5 inches in height. (17.5 x 14 cm).
First measure the length of the warp that you want by winding a thread around the path it will take on the inkle loom. Add on about 4 inches for tying it on.
Make the warp and thread it through the double slotted heddle.
The warp should then be wound around the inkle loom with the two ends of the warp at the front of the loom. It is important that the warp is spread evenly when wrapping it around the inkle loom pegs.
The warp ends need to be tied together so that it can move freely around the loom. It is important the the tension is even across the warp ends.
Adjust the final tension on the inkle loom. You are now ready to start weaving.
Knot the two ends of the warp.
Here is a close up of the knot tying the two ends of the warp together.
Here is the pattern draft for 9 pattern threads. The coloured squares show the pattern threads that should appear on the surface of the woven band.
When raising or lowering the heddle, the pattern threads remain in a line in the centre of the shed. The tip of the shuttle is used to pick up the correct pattern threads to appear on the surface of the band.
The heddle should be raised on the even numbered picks and lowered on the odd numbered picks. There are 22 picks for the pattern repeat.
Here is the woven band showing the two sides.
The weaving side of the band.
The underside of the band.
Using a standard heddle or an inkle loom.
Here is the threading chart for a standard heddle or an inkle loom and 9 pattern threads.
Threading for a standard heddle or inkle loom.
For an inkle loom, the heddled threads are indicated by the hole and the unheddled threads by the slot. Note that the centre pattern thread is always threaded through the centre hole in the heddle. When you raise the heddle, the centre pattern thread (and pattern threads 1, 3 and 9) will appear on the surface. When using the pattern draft, you may have to bring up a pattern thread from the bottom layer or push down a pattern thread from the top layer to weave the pattern. See my YouTube video: Weaving narrow warp faced bands.
Threading a 13 slot heddle for weaving a 9 pattern band
I have been asked to show the threading for weaving a 9 pattern thread band on a 13 Sunna heddle. i would not recommend using fewer than 9 pattern threads on the 13 pattern slot heddle. It becomes harder to keep an even width.
P indicates the pattern threads which are always at least double the thickness of the background and border threads. B indicates a border or background thread.
The background threads in the centre of the band are threaded in two slots then two holes. The weave structure is half basket weave. The border threads are threaded alternately in long slots and holes. The weave structure is plain weave.
Now look at the how the 13 pattern slots can be used for 9 pattern threads.
Threading a 13 pattern slot heddle for 9 pattern threads.
Look at the threading for the 13 Sunna double slotted heddle. Only half the threading is given. Pattern thread 5 is the centre of the band and is threaded into the centre pattern slot. The threading needs to be completed on the right side. Two pattern slots on each side are empty: four in all.
The background threads in the centre of the band are threaded in two slots then two holes. The weave structure is half basket weave.
The border threads are threaded alternately in long slots and holes. The weave structure is plain weave. However, a couple of long slots and holes must be left empty. It is important to keep the border threading as plain weave. The border threads must go alternately into a long slot and hole. Look at the threading diagram above and you can see that the border threads are in the correct order. To do this, a long slot and a hole must be left empty.
Weaving the band.Using a 13 double slot heddle to weave a band with 9 pattern threads means that the threads are not as close together in the heddle on the border as they would normally be. When weaving pay particular attention to the band and make sure that the weft is pulled in tightly enough. The warp threads have a tendency to pull the band open where there are gaps in the threading.
So, it is possible, but a little more care needs to be taken in the weaving and, of course the threading should be correct.
Using a Four Shaft Loom
You can also weave patterned bands on a four shaft loom.
Here is the threading for a 9 pattern thread band.
threading for a four shaft loom
Note that the centre pattern thread is on shaft four. The background and border threads are threaded alternately through shafts 1 and 2. the border can be as wide as you like.
The order is important. In the centre of the band the background threads will weave half basket weave. In the border area the threads will weave plain weave.
The sett will depend upon the threads that you use. Sampling is the only way to find out what sett is correct.
In order to make the pick up you will need to view my YouTube video: The Lielvārde belt: weaving motifs. Here is the link.
This remarkable belt has 33 pattern threads. If you have never woven a patterned band on a loom before, do start with something simple like using 9 pattern threads. Once you have understood the technique, you can use more pattern threads.
My book has many patterns for you to try.
My latest book has been published by Schiffer and is available from bookshops and Amazon.
'Narrow bands woven in colorful patterns are a centuries-old part of Baltic craft tradition. The double slotted heddle makes patterned band weaving quicker to learn and easier to do, and this is the first book that offers beginners instructions for using it. The craft doesn't involve bulky equipment―all you need can be stored in a shoe box! Learn how to weave these beautiful bands step by step, from the simple 5 pattern threads to the more complex 7 and 9 patterns. Color photographs illustrate the instructions for learning to weave.
More than 140 patterns are included, along with principles for planning your own unique designs for contemporary uses such as straps, belts, bracelets, and even handfasting bands. The breathtaking range of colorful bands woven in Sweden, Finland, Russia, Estonia, Latvia, Lithuania, and Norway are explored and offer additional inspiration.'
You can order this book on Amazon and from the Book Depository UK.
The Braid Society is an excellent forum for sharing ideas and getting help with techniques. Do check out their web site for information on how to join. https://thebraidsociety.wildapricot.org/ Happy Weaving Susan J Foulkes November 2018