Krabbasnår (or Krabba), Rölakan, Halvkrabba, Dukagång, and Munkabälte (Monksbelt). These unique weaves have intrigued me since I first saw photos of them. Some of the designs look like hand-stitched embroidery. The Swedish Art Weaves workshop with Joanne Hall introduces the simple techniques used for weaving these traditional patterns. I’m thankful to have the opportunity to learn how to weave these beautiful designs for myself.
Joanne brought examples of Swedish art weaves for the students to view.
Joanne’s presentation to the San Antonio Handweavers Guild was enlightening. Photos of her travels to Sweden show how the rich weaving heritage there continues to thrive. That, along with Joanne’s knowledge of Swedish weaving traditions, gives context to these Swedish art weaves.
Krabbasnår (krabba) is a laid-in technique with a plain weaveground. The pattern uses three strands of wool Fårö yarn. The warp is 16/3 linen.Besides maintaining warp width, the temple is useful for covering up the weft tails to keep them out of the way.Joanne explains the next step to workshop participants.Dukagång is another laid-in technique with a plain weave ground. A batten is placed behind the shafts to make it easy to have the pattern wefts cover two warp threads. (A jack loom can do the same by using half-heddle sticks in front of the shafts.) Dukagång can be woven as a threaded pattern, but then the weaver is limited to that one structure, instead of having different patterns all in the same woven piece.With threaded monksbelt, as I have woven previously, the monksbelt flowers are in a fixed position. With this art weaves monksbelt, the monksbelt flowers can be placed wherever you want them. Half-heddle sticks at the back, batten behind the shafts, and a pick-up stick in front of the reed–a fascinating way to weave this traditional pattern.Last loom standing… Time to pack up. As I prepare the loom for transport, I detach the cloth beam cords. Now we can see the right side of what I have woven.From the top:
Krabbasnår, Rölakan Tapestry, Halvkrabba, Dukagång, and Munkabälte.
Väv 2/2013 has instructions for the art weaves. I have the magazine issue, but Joanne’s workshop brings the historical techniques to life and makes them understandable. That is exactly the prompting I needed to begin exploring these fascinating patterns on my own loom.
Back at home, my little loom is getting ready to weave some more beautiful Swedish art weave designs.
