My Attempt at the Masku Humikkala Band

I finally finished a new band!

This band is based on the Masku Humikkala band, and the pattern came from the book Applesies and Fox Noses.  I have mentioned this book a couple of posts ago, and it is quickly becoming one of my favorite tablet weaving books. I suggest anyone looking to table weave purchase it.

This band had been on the loom since October, but I only had the time to work on it in spurts, and often at SCA events where my attention span was limited. I was finally able to finish with it at The Tourney of the Three Ships in Southkeep.

I will admit that this band gave me some trouble at the beginning due to some poor fiber choices, but once I figured out how to fix the issues and how to work around the problems the poor fiber choices caused, I was able to weave it, but unfortunately with some difficulty which I'll explain after the cut.

The First Law of Tablet Weaving

The band that I am currently weaving is the most complex I have tried yet. Consequently, it is taking a very long time to weave, mostly thanks to the huge amount of unweaving I've had to do to fix some mistakes. This got me thinking that it would be a good idea to make a blog post about a basic rule of tablet weaving which is invaluable in figuring out where you went wrong. This rule is so important, in fact, that I like to call it the First Law of Tablet Weaving.

The first law of tablet weaving states:

"When turning a tablet, the thread which is up and moves across the top will tell you what color you will be weaving that pick."

Think of it this way, before turning the tablet you will have two threads at the "up" position (I am defining "up" as the face of the band you are weaving). When that tablet is turned, one of these threads will move towards the "down" position, and one of the threads will move across the top of the band but still remain the the "up" position. Here is an illustration which shows what I mean:

Note that before turning the tablet, the thread labeled A is in the "up" position, after turning it has moved across the top but yet remained in the "up" position. Conversely, the thread labeled B is in the "up" position at first, but drops into the "down" position after turning the tablet.  In this example the line being woven will be red for this pick because that is the color of the thread that has moved across the top of the band.

I cannot over stress how important it is to understand this rule if you are tablet weaving.  It will not only let you know ahead of time if you are weaving correctly, but if you have made a mistake, it will be invaluable in figuring out what went wrong and how to fix it.  As in all arts and sciences, understanding the theory of what you are doing before you do it will demystify the "magic" behind the patterns you are following and you will then be able to solve your own problems. In fact, once you understand this rule, it becomes possible to make your own complex patterns.

How can understanding this rule help you figure out a mistake? Well, when unweaving, paying attention to the position of the threads in the tablets which are giving you the mistake will tell you which thread moved up when you turned it. If that thread does not match the color that you are expecting, then you can further deduce whether you perhaps turned the tablet an extra turn, or maybe missed turning it altogether. It takes some practice, but since any weaver will make plenty of mistakes, and therefore do a lot of unweaving, then you will eventually be able to quickly pick out where mistakes were made.

Finnish Diagonals

In this post I'll be talking about a technique which is almost identical to the 3/1 twill from the last post.  It's the Finnish Diagonals technique. My guide for this band was the wonderful book Applesies and Fox Noses by Maikki Karisto and Mervi Pasanen.

A Very Long Adventure in 3/1 Twill

Wow, I have not had a real post on this blog since June, and that's a real shame. Unfortunately real life has become too hectic to be able to spend much real time with weaving.

I have actually had the same project warped on the loom for the past few months and just yesterday managed to finish it up. This was definitely the most difficult project I've worked on, but one which came with a lot of fun and a healthy dose of frustration. The project was my very first attempt at 3/1 twill.

Mid-August Updates

I have not posted in a while due to an extremely busy life schedule ... work, school, D&D, and SCA are taking up most of my time.

I have, however, been slowly working on my first 3/1 twill project, and will try to be done with it and have a post by the end of next week.

I will have to complete another band for a piece of garb for my partner Suzanne in time for the Trimaris coronation in a couple of weeks. I promise I'll have some more posts up within the coming month.

I have also been working over the past few days (with very little success) to recreate a pattern for the Horchdoff band No. 5, after having failed miserably at finding a pattern anywhere online. Once again, I may have bitten off a more than I can chew, but this may be a longer term project.

"Not so Livestock" Competition - Andean Pebble Weave

On my last post, I mentioned Sangre's very successful event, the Shrewsbury Faire.  As the name implies, the event was themed as a medieval faire in the market town of Shrewsbury in England. As any proper faire, there were plenty of competitions. We had a very yummy baking contest, a cordial tasting, and a "Not so Livestock" competition.  This last one involved people bringing in their crafts with some sort of livestock theme to be judged by the Duchess (no actual livestock need apply). I decided that I would enter this competition, and managed to land a third place ribbon (also woven by myself).

Since I've been on a pickup streak, I technique I decided to go for this time was Andean Pebble Weave.  Luckily Anne Dixon's book has a couple of very nice animal motif patterns which I was able to use.  I chose swan and rabbit patters (both medieval feast fare) with some additional patterns to separate the motifs.  I also went one step further and decided to add an interesting little border pattern on either side. All in all, this is the most complicated piece I have ever woven, so it was probably not a good idea to start 2 days before the event. Once I started weaving I realized how very time consuming this technique is.  Even the "plain" weave requires a lot of pickup. Since it was just a short demonstration pattern, though, it did not take as long as it could've.

The Andean Pebble Weave technique for inkle is not exactly the same as the authentic South American craft, which is done with a backstrap loom. Rather it is a recreation of the same motifs and styles adapted for use on an inkle loom. The basic idea is to have the loom warped such that the shed is separated into background and pattern threads. Background will always be heddled and pattern will always be unheddled. This means that by doing a plain weave, you will actually get alternating bars of pattern and background.  The pebble texture is created by pickup and is ultimately achieved by alternating two steps:

1. Weave one pick of plain background.
2. Weave one pick of the pattern by dropping/picking up alternating pattern threads.

Repeating this will create a "pebble" pattern, with dots of pattern staggered every other pick, and the background threads forming a sort of diamond shaped pattern around them. This produces a very striking and beautiful look.

Now onto the actual weaving. this being a very complex pattern, the total number of warp threads came out to 90. It became immediately obvious that my heddles were far too thick to accommodate that many threads on my inkle loom. This meant that I had to make new heddles. 45 of them.

The inkle loom all warped

90 warp threads means very tiny heddles

Notice the separation of pattern and background threads in the shed

Since I used an amalgamation of different pattern from the book with some personal additions, I had to draft my own pattern. As always, Excel makes this a whole lot easier than doing it by hand. The pattern turned out to be about two pages long. 

I would not exactly call weaving for this technique difficult, but it is time consuming and requires a lot of concentration to keep from making mistakes.  This is just due to the comparatively huge amount of pickup that needs to be done compared to other techniques like Baltic Style.  Here the background does not form naturally, so care needs to be given to picking up to create the background every other pick.

Half of the pattern used

The swan's head

There we a few minor mistakes in picking up that I did not notice until it was too late to unweave, but the largest issue I came upon was getting the band width to stabilize. In order to keep the pebbles in the background well separated, the band needs to be woven somewhat loosely. I began way too lose and it took about a couple inches to get down to where I wanted the width of the band to be. However, even being very careful, the width of the band very gradually decreased as the weaving progressed. Fortunately, it's not noticeable unless you fold it over itself.  Since this is just a presentation piece, I am not too worried about it.

Below under the cut are some additional images with closeups of the motifs.

First Attempts at Baltic Style Pickup

Time for another project update. This time it will be about pick up inkle weaving.  I've been wanting to try this technique out ever since I bought the wonderful book The Weaver's Inkle Pattern Directory by Anne Dixon. This desire to work on pickup also coincided with our latest SCA event, the Shrewsbury Faire. As part of the faire, there were baking and "livestock" competitions, and I volunteered to make prize ribbons. That turned out to be a very good excuse to give pickup a try.

The first thing I did was warp up the loom for the usual 2 yard length I use, and begin with a practice pattern in order to get the technique down. It's not very difficult once you get used to it, but can be somewhat tedious. The specific technique I used was Baltic style pickup, which involves warping in the sequence B-B-P-B-B-P ... with alternate threads heddled and unheddled and with the pattern (P) threads being thicker than the background (B) threads or doubled up.

Baltic Style threading scheme for 9 pattern threads

I used #10 crochet thread for the background and #3 for the pattern. For the weft I used the same thread as the backgrond, this is a requirements for this technique, as the weft thread does show through the background.  This band has 9 pattern threads.

First few repeats I wove, slow going, but not too difficult.

A great feature of Baltic Style pickup is that the reverse side of the band will have a color-mirrored version of the pattern. This can lead to some very interesting shapes.

the reverse of the band also has a cool pattern!

Once I wove a couple of feel of that band, I used some popsicle sticks (buy them in bulk, they are super useful!) to create separations and began on the prize ribbons.  For the third place, there is already a font drafter out in Anne Dixon;s book, so it was easy enough to use that. I chose a slightly different pattern from the same book. One thing which I quickly learned is that when weaving letters, special care must be taken, otherwise the letters will come out looking spiky as in the upper band shown below. My way to fix this was to use a popsicle stick (like I said, very useful) to push the pattern threads back towards the woven band at every pick. This makes them pop out of the body of the band and makes the floats come out cleanly.

Third place prize ribbons, note the top one had some issues with the spiky T.

I next set up a short warp for the first place. This time I used a blue background and metallic gold pattern. I did not have #3 gold thread so I doubled up on it to get the correct texture.  This is something I do not recommend. By having doubled up threads rather than a single thick one, the opportunity for mistakes is greatly increased.  These ribbons use 13 pattern threads.

First place prize ribbons.

I also made some second place ribbons with red background and white patter (11 pattern threads), which I think came out by far the best of the three sets. Unfortunately I neglected to take any pictures of them and they have already made their way to the contest winners.

The font patterns for 1st and 2nd place I had to draft myself since there are no font patterns included in the book for those number of pattern threads.