Band weaving is a simple activity that helps you notice the little things. You see how each thread falls into place. How the thread turns the selvedge corner just so. How the pattern threads stand proud in floats or hide in subtle patterns. I enjoy practicing my skills as a band weaver. And more so, now that Steve has turned his attention to making band heddles for me.
Workshop at Contemporary Handweavers of Texas Conference 2019 got me started with weaving patterned bands on a rigid heddle.First heddle by Steve is made from Soft Maple. Band has 21 ends (with 5 pattern threads, doubled). 8/2 cotton and 22/2 cottolin.Heddle made from Spanish Cedar. Wood-burned top represents the Texas Hill Country hills that we enjoy. Band has 45 ends (with 5 pattern threads, doubled), using the heddle’s full width. 8/2 cotton and 22/2 cottolin.Walnut band heddle in the making.Torgenrud, H. (2015). Norwegian pick-up bandweaving. Schiffer Publishing; Foulkes, S. (2018). Weaving Patterned Bands. How to Create and Design with 5, 7, and 9 Pattern Threads. Schiffer Publishing; Neumüller, K. (2021). Simple Weave. (Language: Swedish). Natur & Kultur, Stockholm.
Pictures in the following slideshow video tell more of the story.
Edited: Steve has compiled photo documentation of how he made my Spanish Cedar and Walnut heddles. Click HERE to send me an email requesting a PDF copy of Making a Band Heddle.
Day after day, pick after pick, this fabric lengthens and becomes ever more significant. As daylight dims, I stay at the loom a while longer. The rhythmic series of weaving motions is soothing. A handweaver finds calm in the complexity and delight in the detail. Challenges that arise are seen as problems to be solved.
Weaving for a short while in the evening helps wind down the day.
This monksbelt table runner has been a good long conversation between the loom and me. In fifteen more centimeters (six inches) I will put the closing exclamation point at the end of this lengthy runner. The warp that remains will be my playground for some creative experimentation.
Long monksbelt table runner wraps around the cloth beam.Monksbelt pattern with weft repground weave. 16/2 cotton warp. 6/1 Fårö wool pattern weft in six colors. 16/2 ground weft in three colors.
When our patience is stretched thin, when we forget why we do what we do, when hard times go on longer than we ever anticipated, we need hope. We need more than what we can gain by ourselves alone. Relationship with our heavenly Father brings hope into the fabric of our days. He beckons us to walk with him through Jesus Christ. He wants to sustain us through the long stretches of this day-by-day life. The time will come when we look back with wonder, seeing the colorful threads that have become fabric for a beautiful purpose.
Snow in Texas Hill Country is minimal. To make up for it, I am putting together a virtual snowstorm—four Christmas Snowflake towels on the drawloom. Each towel has three large snowflakes at the bottom and top borders. The body of the towel has delicate snowflake crystals drifting to the ground.
Nordic star pattern used for Christmas Snowflake towels. Towel begins with a broad brush of red along the lower border.
Starting with Selbu Mittens: Discover the Rich history of a Norwegian Knitting Tradition, by Anne Bårdsgård, I transpose Nordic star patterns into drawloom graphed designs. Affinity Designer (graphic design software) takes the place of graph paper for me. Being vector graphic design, it enables me to make changes without having to start over. I can easily move, separate, copy, and/or transform elements as I work through a design. I print out exactly what I need, scaled up in size without losing clarity, in a format that enhances my ability to make the right moves at the combination drawloom.
Single unit draw cords, held in place on the hook bar, form the snow crystals in the body of the towel. The three large snowflakes at the bottom border are made using pattern shafts. The simple side borders also use pattern shafts.In Affinity Designer I am able to separate, copy, and move elements of the large snowflake design. These individual elements become the scattered snowflakes and little snow crystals that are “drifting down” the body of the towel.Snowfall in Texas Hill Country.
We have a faithful designer. Our Grand Weaver creates his image in us. He moves, separates, copies, and transforms elements in our lives until his image clearly shows. It takes a lifetime. The Lord is faithful. Since he has brought us this far, let us also be found faithful to him, conforming to his image.
I am happy to say that with only four shafts we have exactly what we need for a checkerboard rag rug. Thank you to Megan for asking about it. ”I am searching for a 4-shaft draft for a checkboard pattern. I am limited to only 4 shafts.” Double binding opens up a world of opportunity!
Let’s talk about blocks. A block is a specific sequence of warp ends or weftpicks. Double binding on four shafts has two blocks for the warp and two blocks for the weft.
→ Use graph paper to plan the configuration of your blocks.
For the threading blocks, use two rows of squares. One row is for Block A and one row is for Block B. Each square on the paper represents one threading unit. You can make a checkerboard pattern by uniformly alternating the A blocks and B blocks. Or, you can make a wildly different geometric pattern by varying the size of alternating blocks. Your two-row graph becomes a profile draft to use as your threading key.
For the weft blocks, use the same arrangement of blocks as for the threading, and turn them vertically for the treadlingdraft. Or, use your creativity to make a unique configuration of weft blocks. The sky is the limit!
Three possible block configurations for the threading. The bottom example is a part of the sequence for the rug currently on my loom.Weaving with two ski shuttles. Glimåkra Ideal. 4 shafts, 6 treadles.Printout shows me where the blocks change in the weft.
Check out these resources for more double-binding rag rug ideas: Alla Tiders Trasmattor, by Monica Hallén and Ann-Kristin Hallgren; Så Fint med Trasmattor, by Monica Hallén and Ann-Kristin Hallgren; Älskade Trasmattor att väva som för, by Monica Hallén and Ann-Kristin Hallgren; Swedish Rag Rugs 35 New Designs, by VävMagasinet; Happy Weaving, from VävMagasinet.
Dressing the loom with two sets of lease sticks keeps me on my toes. It means I am thinking carefully as I transfer lease sticks from in front of the reed to behind the reed. And, after beaming the warp(s), it means I am counting carefully as I put ends into threading groups of 48 threads each—32 ends of 20/2 cotton, and 16 ends of 22/2 cottolin.
Two set of lease sticks have been carefully moved from in front of the reed to behind the reed. After straightening all the warp ends, I will beam the warp.
I group ends together before threading. Then, when threading, if there is a discrepancy in the number of ends, it alerts me to find a threading error. Counting out these delicate unbleached cotton threads is challenge enough. Having the layer of cream cottolin threads underneath presents additional complexity. With all these ends, this part of the process is tedious. Still, it’s worth it if it lessens my chance of making threading errors with these 1,472 ends.
Preparation for threading. Ends are gathered into threading groups and tied together with a loose slip knot.Each set of lease sticks is tied to the back beam separately, so they can hang at different heights. The lower set is tied around the side frame and over the back beam.If I stand behind the loom, my back is in a leaning-forward position and not comfortable for long. I placed a child’s chair and cushion behind the loom. Kneeling behind the loom at this height gives me good visibility and access to the threads.View from the back of the loom. Ends are counted at the center of a pair of lease sticks. These counted ends are tied together in a loose slip knot.View from behind the loom. Loop of unbleached ends just counted lay on top to clear the view. Ends on lower pair of lease sticks are counted and tied separately. I tied the cotton threads and the cottolin threads separately to make it easier to find an error if I miscounted along the way (which, fortunately, didn’t happen).Counted ends are dropped into hanging position before moving on to the next grouping. (After taking this picture, I re-tied the lease sticks closer together, making counting easier.)Threads remain in the reed. I pull threads out of the reed when they are counted.Pretty sight of counted ends. Ready for threading!
