Facebook en Pinterest zijn voor mij de grote bronnen van inspiratie en uitdaging. Je ziet banden langskomen, waarvan je zelf nooit had verzonnen dat het überhaupt mogelijk is om te maken. Begin aug…
Sep|E...
Weaving a Sámi band with 11 pattern threads. Sámi shoe band. I saw this beautiful band in Oulu in the Northern Ostrobothnia Museum. It is a Sámi shoe band. There are three motifs and the pattern repeat is: A,B,A,C, Warp and weft details Warp: red, blue and yellow wool Background: yellow wool Weft: yellow wool which makes a speckled selvedge. Warp plan for border There are 10 border threads on each side. The warp plan gives the warp order to the centre. Reverse the sequence for the complete warp. There are 51 warp ends in total. Remember that the red pattern threads are twice the thickness of the background threads. Using the Sunna double slotted heddle. The Sunna heddle has 13 shorter slots for the pattern threads. If you wish to weave a band with fewer pattern threads some slots will be empty. One pattern slot on either side is left empty. In order for the threading of the border threads to keep to the correct sequence of hole then long slot, one long slot has to remain empty on each side. Threading for the Sunna heddle. Note the empty long and shorter slot on each side. Using a standard heddle Threading for the standard heddle. Here is the pattern draft. first part of draft There are 58 picks for the pattern repeat so I have divided the chart into two. second part of draft This is the second part of the pattern draft. There are 58 picks for the pattern repeat in total. Using a standard heddle The dots on the chart indicate which pattern threads appear on the top layer of warp when raising or lowering the heddle. The heddle is raised on the odd number and lowered on the even numbers. When raising the heddle, pattern threads 2,4,6,8 & 10 appear on the surface. Lowering the heddle gives pattern threads 1,3,5,7,9 & 11 on the surface. Using a standard heddle on pick 1, you need to pick up pattern threads 1 and 13 from the lower level and drop down pattern threads 4 and 8 from the top level in order to select the correct pattern threads for the surface pattern. This is an attractive band. I like the way the weaver has made a speckled selvedge by having two red threads at the end and using a yellow weft. Can you see on the second part of the draft that the centre of the shapes has a row of three spaces? Look at the reverse side of the band. You can see that where there are three spaces on the front, the pattern on the reverse is not clear. If you look at the first part of the pattern draft, the spaces are in a cross formation and on the reverse of the band the cross is crisp. This is a typical example of Sámi design and is rarely used in other countries. It means that the band has a definite front and back. I have analysed many bands with this type of motif. It is used to great effect in the designs. Susan J Foulkes January 2015 Weaving a heart pattern. Here is a pattern for a heart shape using 11 pattern threads. You can use a Sunna double slotted heddle, a standard heddle or an inkle loom. Pattern for heart shape with 11 pattern threads. There are twelve picks for this pattern. Repeat until you have woven the length you require. Close up of the heart pattern. Happy weaving Susan J Foulkes February 2015
Using a Sunna double slotted heddle with 13 pattern threads. This is the heddle that I use most frequently. Bands with 11 or 13 pattern threads can be woven comfortably. Sunna heddle, Gehpa shuttle, band lock and G-clamp Here is a heart motif. The thirteen pattern threads are red. The pattern and background threads are 6/2 cotton. The red pattern threads are doubled. There are 12 picks for the pattern repeat. The pattern chart shows only the coloured pattern threads when they appear on the surface. The coloured squares show the pattern threads that should appear on the surface of the woven band. There are 12 picks for the pattern repeat. When you reach pick 12, start again at pick 1. The pattern draft only shows the 13 red pattern threads. It is a guide to which pattern threads should appear on the surface of the woven band. Raise the heddle on the odd numbered picks and lower the heddle on the even numbered picks. All the pattern threads remain in a line in the centre of the shed when the heddle is raised or lowered. This makes it easy to pick up the pattern threads that you need to show on the surface of the band. The tip of the shuttle is used to pick up the correct pattern threads to appear on the surface of the band. Weaving at the Weave Fair, 2014 Depending upon the thickness of thread that you use, this would make a useful bookmark, with five or six pattern repeats. I wove this pattern at the Weave Fair in Umea in 2014 The Sunna Double Slotted Heddle. Here is the threading for a Sunna double slotted heddle with 13 shorter pattern slots. Threading for the double slotted heddle. To see the weaving process with a Sunna double slotted heddle, look at this YouTube video: Weaving a Sámi patterned band The Standard heddle or inkle loom. The Heart heddle: perfect for weaving this band. This beautifully carved wooden heddle is made by Åke Erlandsson, who is eighty years old. It can be purchased from Vav Kompaniet who ship worldwide. 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 push down the unheddled threads, the pattern threads 1,3,5,7,9, 11 and 13 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. For hints about weaving, see my YouTube video: Weaving narrow warp faced bands. Threading for a standard heddle or inkle loom. For a standard heddle, look at the pattern draft. You will see that some squares have dots. This indicates which pattern threads will normally be on the surface when you raise or lower the heddle. For pick 1, when you raise the standard heddle, pattern threads numbered 1,3,5,7,9,11 and 13 appear on the top. You will need to drop down pattern threads 3, 5, 9 and 11. For pick 2, when you lower the heddle, pattern threads numbered 2,4,6,8, 10 and 12 appear on the surface. You will need to pick up 7 and drop down 4 and 10. The dots on the weaving chart show which patterns threads appear on the surface when you raise or lower the heddle and are also a guide for designing your own patterns. Look at the pattern draft. A pattern thread which is raised over three picks, always starts and ends on a dotted square. Any single pattern thread will always be on a dotted square. Starting to weave using a backstrap. First make sure you find a comfortable weaving position. The far end of the warp is attached to a G-clamp or other post. The weaving end of the warp needs to be tied around your backstrap. 1. Divide the warp into two and take the ends around the backstrap or band lock. Take each bunch of warp ends over the backstrap or band lock. 2. Adjust the tension on the warp ends. If you pull one way and then the other you will find that the heddle rocks from side to side. The heddle should lie straight on the warp. If it leans then the warp is unevenly tensioned. The heddle leans to one side if the tension is not even. The heddle lies straight on the warp. 3. Insert a thicker thread or some sticks into the first three sheds of the warp. This helps to provide a firm base on which to start the weaving. It also spread the warp at the weaving end. Adding some sticks to the first three sheds. 4. Now start to weave the first pick. Leave a long length of weft thread at one side. Leave a tail of weft thread at the side of the first pick. 5. On the second pick, take the shuttle and weft through and also take the length of weft from the first pick through as well. There are now two weft threads in the same shed. Two wefts in the same shed. 6. Now pull on the shuttle and the loose weft end. the warp ends will pull together and the weft is secure. I usually put the weft end through the next pick as well to secure it. The warp is now ready for weaving. Happy weaving Durham Weaver 2017
Most often, I seem to work in 2" widths, creating the guitar straps which are the main product that I sell. Consequently, many of the pattern drafts which I have previously shared are for 2" wide bands. Recently, I made some new products in 1" widths and had difficulty adjusting my designer's mind to this narrower width. I was using the same yarn but had only half as many threads to design with. Wow! At first I was frustrated, but then, after a few tries, I started creating designs which I really liked. I thought I'd share some of these with you here. Each pattern draft is shown below the photo. Consider the top row of the draft to be heddled warps and the bottom row to be open warps. If you use any of them, please send me a message with a photo as I really enjoy seeing how my designs inspire other band weavers. And if you like this post, please share it with others in your network on Facebook, Pinterest, Google+, etc. (Note: The yarn I'm using for these is Omega Sinfonia, a sport weight yarn which is slightly thicker than a #3 crochet cotton. If you use a finer yarn, your woven band will be narrower. Or, if you use a heavier weight yarn, your band will be wider than 1".)
If you’re hooked on inkle weaving and wondering what to do with all your new bands, here are a few clever ideas—from tried-and-true to mind-blowingly creative.
Weaving a Sámi band with 11 pattern threads. Sámi shoe band. I saw this beautiful band in Oulu in the Northern Ostrobothnia ...
Eind oktober publiceerde ik De Kleurenuitdaging: een opzetschema met alleen nummertjes met daarbij de uitdaging om je te laten inspireren door iets in je omgeving en vijf kleuren te kiezen. De inze…
Recently, I wrote a set of instructions and a made a video about my favorite, fantastic free online tool, the Band Weaving Pattern Editor, created by Jeff Bigot. I hope they will help users to take advantage of many of the cool features of the program. They only cover plain weave designs, although the program also has the ability to create pickup patterns as well. When new functions are added, Jeff writes about them along with other tips here on his blog. This is where the instructions can be found. They are in PDF form, so you can download the document and keep it handy when designing. http://www.raktres.net/blog/2020/06/29/basic-instructions-for-using-seizenn-%e2%88%92-band-weaving-pattern-editor/ You can watch the video here or on my YouTube channel: https://www.youtube.com/watch?v=VWV1McKtNuM&t=29s This week I've been working on camera straps (1.5" wide) which are a little bit narrower than the guitar straps (2" wide) which is what I am often making. The main yarn that I use for all my straps is Omega Sinfonia. Jeff has made it really easy to match my yarn colors by creating a list of codes for the yarn colors. You can find that here: http://www.raktres.net/blog/list-of-yarns/ The new instructions give some detail about adding colors to use in your designs. It's fun to choose colors to add to your Loom Color Pallet! Colors on the World Wide Web (and therefore this online tool) are represented by 6-character HEX codes. You can select any color using it's HEX code and add it into your yarn palette. Of of my favorite sites for color choosing is this, although there are many. : https://htmlcolorcodes.com/ Or this: https://encycolorpedia.com/named You can even google the name of a color you want, for instance "turquoise hex code", find the code and add it to the color chooser on the Pattern Editor. If you use DMC products, they provide a chart of their floss colors with HEX codes here: https://threadcolors.com/ It's easy to draw up a pattern using the Band Weaving Pattern Editor and then change it up in a myriad of ways. So, I can play around with different color combinations and preview the patterns before deciding which one I want to weave. The graphic preview of the pattern so closely represents what the woven pattern will look like that I've been using it to show customers when I'm creating a custom woven strap for them. The first two patterns below are the same, except for a change from red to dark red and a change in positions of the colors. (Below each pattern, I've shared the direct links. You can click on them to go to the Band Weaving Pattern Editor and use them as a way to edit and create your own pattern if you wish.) http://www.raktres.net 4i http://www.raktres.net/l/2F I changed the look radically by using different colors in the turquoise and purple one below left. And on the right, I shifted the elements of the pattern slightly before changing colors again. http://www.raktres.net 4v http://www.raktres.net/l/2o Here's my collection of camera straps so far. Most commercial straps have a patch of leather or vinyl which attaches the 1.5" strap to the 3/8" nylon webbing that fits to the camera. To skip this difficult part, I found a plastic piece that acts as a reducer. I've put it together as a kit and sell it in my Etsy shop here. https://www.etsy.com/listing/206025133/camera-strap-kit-do-it-yourself The straps also show up also in this photo that I took last Saturday when I had a small weaving class at my house. As it seems like traveling to teach workshops will not be possible any time soon, I plan to join the new way of doing things and have committed to learning to use Zoom for online classes. I don't yet have a timeline for getting this done, but if you are interested, send me an email and I'll put you on a list for the future. [email protected]
Weaving is one of my favorite crafts because it's meditative and challenging, practical and artistic. It combines plain-woven cloth's simple elegance with
Bauanleitung und Aufzug der Kettfäden. Schon immer wollte ich wissen, wie eigentlich ein Inkle Loom funktioniert. Leider kenne ich niemanden, der so ein Teil besitzt also habe ich mich entschlossen selbst einen zu bauen. Erfreulicherweise gefiel meinem Mann die Idee und er erklärte sich bereit die Schreinerarbeiten zu übernehmen. Benötigt werden: Ein stabverleimtes Buchenbrett aus dem Baumarkt, zwei Stangen Rundholz aus Buche, je 1 m lang mit 20 mm Durchmesser sowie ein 15 cm langes, dickeres Rundholz, unseres hat einen Durchmesser von 40 mm. Eine Flügelmutter mit Unterlegscheibe und eine Stockschraube, das ist eine Schraube mit verschiedenen Gewinden an beiden Enden. Da ich vergessen habe die Stockschraube zu fotografieren, habe ich gestern im Baumarkt schnell ein Foto gemacht. Durch die Reflexe der Kunststoffverpackung ist das Bild etwas verwirrend aber ich denke man kann die beiden unterschiedlichen Teile erkennen, das offenere, vorn spitze Ende des Gewindes, das später in das dicke Rundholz geschraubt wird und das enge Maschinenschraubengewinde, das dann durch den Schlitz gesteckt wird und die Flügelmutter samt Unterlegscheibe aufnimmt, so dass sich das Spannungsholz festklemmen läßt. Das Buchenbrett hatte die Maße 80 x 30 x 1,8 cm, die Zeichnung zeigt, dass 80 x 25 cm gereicht hätten, dieses Format war im Baumarkt aber nicht zu bekommen. Das lange schmale Stück unten wird das Längsbrett, die beiden kurzen werden für die senkrechten Teile gebraucht und das Holz oben rechts ist das Grundbrett. Der Rest ist Verschnitt. Zuerst werden alle Maße aus der Zeichnung übertragen, erst dann sollten die Ecken abgerundet werden. Die senkrechten Teile werden mit Überplattungen in das waagerechte Längsbrett eingepasst. Den Längsschnitt hat mein Mann eingefräst, er läßt sich sicher auch sägen, das ist in Hartholz aber wohl etwas mühsam. Die Teile sind zusammengeleimt und die durchgehenden Bohrungen sind fertig Das Grundbrett ist montiert, geleimt und geschraubt Die Rundhölzer, wurden eingepaßt und eingeleimt. In das dicke Rundholz, das zum Spannungsverstellen verschiebbar sein muss, ist das Holzgewinde der Stockschraube eingedreht worden. Auf der Rückseite kann man die Flügelmutter erkennen. Damit ist der Inkle Loom webbereit und die erste Kette kann aufgezogen werden. Zuerst müssen die Litzen vorbereitet werden. Das Video How to warp and Weave on the Schacht Inkle Loom zeigt sehr schön wie das geht. Als Material für die Litzen habe ich Teppichkettgarn (Kordonett) genommen und an meinem Inkle Loom die 4 senkrechten Rundhölzer als Lehre benutzt. Ich spanne das Garn einmal um sie herum und befestige es dann mit einem doppelten Knoten, beim ersten Knoten lege ich den Faden zweimal in die Knotenschlinge, dadurch wird er nicht locker, im Video kann man das gut sehen, Die Enden des Knotens werden knapp abgeschnitten, damit sich später nichts verhakelt. Auf diese Art und Weise habe ich 23 einzelne Schlingen hergestellt. Jetzt kann das Aufbäumen beginnen. Für meinen ersten Versuch habe ich nur die äußeren Hölzer genutzt. Wenn ich die Kette um alle Hölzer winde, erreiche ich bei diesem Gerät eine Kettlänge von gut 3 Metern. Das Bespannen beginnt an dem dicken Rundholz auf der linken Seite. Es sollte in Mittelstellung stehen, damit man die Spannung nötigenfalls in jede Richtung nachjustieren kann. Ich habe den ersten Faden vorn im Schlitz angeknotet, dann über die obersten Rundhölzer außen entlang und unten zurück zum Spannungsholz gespannt, dort ein paar Mal darum gewickelt und die Litze angebracht. Dafür die vorbereitete Schlinge doppeln, die Mitte über den Kettfaden und die Enden mit dem Knoten um das Litzenholz legen. Der zweite Faden wird unterhalb des ersten oberen Rundholzes geführt, nimmt danach aber den gleichen Weg, bekommt aber keine Litze sondern bleibt frei. Nun geht es von vorn an wieder los. Bei Farbwechseln verknotet man einfach den alten mit dem neuen Faden am Spannungsholz. Zum Schluss wird der Anfangsfaden, den ich vorne im Schlitz befestigt hatte, gelöst und mit dem letzten Faden zusammengeknotet. Im nächsten Post werde ich das Weben beschreiben. Nachtrag vom 10.7.2015: Maker Mauz hat den Inkle Loom leicht verändert nachgebaut und darüber ein Video veröffentlicht: https://youtu.be/PwGaCFDHHxA
Le double-face est une technique de tissage aux tablettes très prisée pour faire des motifs et des lettres. Si les motifs sont souvent moins jolis à mon goût que ce qu’on peut obtenir en serg…
A while back I received this enthusiastic message, "I have been searching high and low to find a strap to match one of my guitars. I am so happy to have come across your website! I absolutely love your straps! They are exactly what I’ve been looking for." (My website is here: www.WeaverGuitarStraps.com) "I would love to have one made to match my guitar if you’re interested. The guitar is a 3 tone sunburst Telecaster. It has a few subtle appointments that make it what I consider to be a very beautiful guitar, off white binding and abalone dot inlays on the fretboard." I can never resist a creative challenge like this. So, what would I make to match this guitar? Since I LOVE color blending, I started with a design which played off of the color gradation, or "burst" as they call this type of paint job on a guitar. I used 9 colors and loved the progression! But, it didn't include any of the colors from the abalone, which he really wanted. So, Jason, being very clever, found his way to the "Band Weaving Pattern Editor", my favorite design tool and created his own strap pattern, shown below! Good job! Not enough threads, though. He and I kept playing with variations on this design until we got one that he liked. I sent him some photos of yarn, so he could help choose the colors. Then, magic happened! He wrote, "When I started looking at a color wheel to help pick the colors for the guitar strap, I realized that it was separated into 12 sections just like the circle of fifths used in music." (Wikipedia: https://en.wikipedia.org/wiki/Circle_of_fifths) "You and I had already discussed some possible colors inspired by the finish adornments on the guitar so I had an idea of some bass notes, or base colors to look for. I used the I V vi IV musical progression and set the C note to line up with orange on the color wheel which gave me: I - C - Orange V - G - Yellow vi - A(min) - Green IV - F - Purple/Wine red There was the palette! I used that as a base when I set up the colors in the pattern editor. So what we have represented in the colors is: The red, orange, and yellow gradient from the sunburst finish on the guitar body. I really liked the first weave you did with the really elaborate gradient, It was beautiful! I wanted to make sure we paid homage to that. Then we have the green which was matched to the slight tint of green in the pick guard and also one of the colors in the abalone inlays. There is also a deep purple / wine red which matches the abalone and the darkest shades of the sunburst finish. Black as a background color. And finally the off-white from the binding on the guitar. We checked all of the boxes from the original inspiration!" So, I wove Jason's design, sent him a photo and it was a hit! His response, upon receiving the strap, " It’s awesome! It looks even better in person! I am so happy with it! It matches the guitar beautifully. I’ve attached a picture for you. Thanks again! This was a great experience. You are a master of your craft!" So then, he made me this color wheel combined with the circle of fifths so I could experiment!!! "You could find the chords to a song you like and see how they correspond to the colors on the color wheel - or vice versa- You could use the color from a pattern you create and then see how it translates musically. Bear in mind too that you could shift the color wheel or the circle of fifths in either direction to get different combinations. Like if C lined up with blue instead of red, you could still use the same intervals and get a harmonious color palette. Depending on ones knowledge of music theory and/ or color theory you could dig kind of deep with this. You’ll notice that a lot of the same harmonious relationships exist on the color wheel and on the circle of fifths. Using this method, any piece of music could be interpreted as color and any instance of color could be represented by sound." I'd love to hear from anyone about experiences designing with musical harmonies! ~Annie
If you’re hooked on inkle weaving and wondering what to do with all your new bands, here are a few clever ideas—from tried-and-true to mind-blowingly creative.
In het blad Weven van Weefnetwerk las ik begin april over “Weven voor totempalen”, een kunstenaarsproject van Clara van den Bosch op het Textielfestival in mei 2020 in Leiden. Meteen do…
I watch many new weavers who are anxious to weave beautiful and complex patterns like the ones they see others posting photos of, maybe not even realizing that there are so many levels of pattern and designs, even to narrow warp-faced bands. While the various pickup patterns are beautiful, I sincerely believe that the place to start is with plain weave. And plain weave has endless pattern possibilities! You don't have to do pickup to have a good time! FOR SIMPLICITY OF USE, CONSIDER THE TOP ROW TO BE HEDDLED THREADS AND THE BOTTOM ROW TO BE OPEN THREADS ON ALL OF THE DRAFTS. This pattern, over time, has proven to be the most popular one posted on my blog. I've seen so many iterations of it in various color combinations. It works well with lots of color combinations! It is pattern #179 in my book, In Celebration of Plain Weave: Color & Design Inspiration for Inkle Weavers. For this band, two types of pattern drafts are shown below. Then a link is given to the Band Weaving Pattern Editor where you can call it up yourself and edit as you wish. This type of pattern draft closely represents the threads as they show in a woven band. This type of pattern draft shows the warp threads as squares with blank spaces in between them, making it easier to read at a glance. If you'd like to redesign it in your own colorway, you can start with the pattern here and switch up the colors to suit you. http://www.raktres.net/l/K0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ My inkle weaving is at a production level. I make and sell hundreds of pieces each year; about 90% of these are plain weave. Since I state that "each one is one-of-a-kind", there need to be new and creative combinations of color and pattern each time I set up my loom. I've been weaving for years and keep inventing something new each time. Plain weave is never boring to me! In this post are an assortment of straps woven in 2013 each illustrated with a photo and pattern draft so that you can create your own versions if you wish, or use them as a jumping off point to draft your own patterns. These are all combinations of a few pattern elements like stripes, chains and "teeth". ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Here on my Flickr page, there is an album devoted just to plain weave patterns if you'd like to browse. http://www.flickr.com/photos/aspinnerweaver/sets/72157626855413579/
Using a Sunna double slotted heddle with 5 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. UK: London STOP PRESS! Here is a new outlet for the Sunna heddle including the Sunna 5 kit. They sell rigid heddles, inkle looms and yarn in very useful small amounts.Their shop is an Aladdin's cave. Well worth browsing the online shop or better still visit their beautiful shop in London. https://www.handweavers.co.uk/ Handweavers Studio London. An ideal Christmas present. An ideal Christmas present is the Sunna 5 kit. What a wonderful gift for someone interested in trying a new craft. The kit contains everything that is needed to start weaving. The heddle is ready warped and the shuttle is wound with thread. There is a backstrap band and a clip for weaving. Three patterns are given. Why not treat a friend this Christmas. The Sunna 5 Kit: everything you need to start to learn this wonderful craft. Pattern draft. Weaving with the Sunna 5 heddle. Here is a pattern for you to try with the Sunna 5 heddle. The five white pattern threads (shown as green on the weave draft) are threaded through the 5 shorter slots on the heddle. The pattern threads are twice as thick as the background and border threads. The pattern draft only shows the pattern threads which should appear on the surface of the band. Here is the pattern draft for the simple pattern in white on a green background. There are 40 picks for the pattern repeat but it is very easy to learn. Remember that on the odd numbered picks the heddle should be raised and the even numbered picks the heddle should be lowered. The white pattern threads are twice the thickness of green background threads. The weft is green. Top side of woven band Reverse side of woven band Both sides of the band have lovely patterns. Threading the Sunna 5 heddle. Here is the threading for the Sunna heddle with 5 pattern slots. The 5 pattern threads are numbered and are indicated in red. They should be at least twice as thick as the background and border threads. You can use as many border threads as there are slots and holes in the heddle. I have only indicated four border threads on each side on this diagram. The Sunna 5 heddle has room for 12 border threads on each side. Threading for Sunna 5 double slotted heddle To help beginners learn to weave, there are two useful videos from Stoorstalka. Weaving Zigzag pattern with Stoorstalka band weaving kit Sunna 5. Click here to view it. https://youtu.be/1yY2Vm_xBPI Weaving hearts with Stoorstalka band weaving kit Sunna 5. Click here to view it. https://youtu.be/d2A1K8oEWTU Using a standard heddle or an inkle loom. This pattern can also be woven using a standard heddle or on an inkle loom. Threading for standard heddle. 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 numbered 3 (and pattern threads 1 and 5) will appear on the surface. If you look carefully at the pattern draft you will see that some squares have small dots. This indicates the pattern threads that will appear on the surface when you raise or lower the heddle. 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. Susan J Foulkes November 2017 A close up of the Sunna double slotted heddle with 5 pattern slots. The Sunna heddles and kit can be brought direct from Stoorstålka. Stoorstålka sell rigid heddles and shuttles for weaving narrow bands. They ship items worldwide. They supply double slotted heddles (the Sunna heddles) and double holed heddles (the Beavi heddle) as well as standard heddles with long slots and holes. Their web site is https://shop.stoorstalka.com/en/start.html If you are in the USA, Canada, Australia or Japan, Stoorstålka have a dedicated web site at https://bandweaving.com/ For Norway go to https://no.stoorstalka.com/nb/
Inkling my way through life....
Some of my posts will include warping drafts and pattern drafts and links will be listed below. Have fun browsing! If you use any of these yourself, I'd love to see photos. You can e-mail me at [email protected]. If you are new to inkle weaving, you may want to check out my FAQ's page here: https://aspinnerweaver.blogspot.com/p/inkle-weaving-faqs-and-answers.html I have two pattern books available from Taproot Video in both print or ebook form. The first is about how to use color and design bands using plain weave only. It includes a discussion of color theory and how to apply it in inkle weaving. There are 200 patterns included. Published in March 2019. Click here to learn more or to purchase. The second book, published in May 2021, is about a unique Baltic-style pickup technique. You should have experience using regular Baltic pickup before trying this. 100 patterns are included. Click here to learn more or to purchase. IN ALL WARPING DRAFTS ON THIS BLOG, CONSIDER THE TOP ROW TO BE HEDDLED THREADS AND THE BOTTOM ROW TO BE OPEN (UNHEDDLED) THREADS. Below is a sample of a plain weave warping draft shown in 2 different forms. The warping draft tells you in what order to arrange your warps on the loom to get the desired pattern. Each colored cell represents one warp thread. There are two rows. The top row represents warps that are heddled. The bottom row represents warps that are not heddled (open). Start with #1 by threading it onto the loom through a heddle and up over the top bar. Then, thread #2 without a heddle, under the top bar in the "open" position. Continue warping the rest of the threads in numerical order, always following the same order and alternating between one heddled and one open. Both of the below charts were created using the Band Weaving Pattern Editor. I like to use the first version as I think it more closely represents the look of the woven band. The cells look more like the threads as they appear in a woven band. Most weaving books and many other sources will show a pattern in the form like the one below. In this version, the colored squares indicate the warp threads with white blocks in between them. The white blocks are just space holders and don't represent warp threads. To see the correct paths for your loom, consult your owner's manual. If your loom did not come with one, you may be able to follow the instructions given by Schacht Spindle Company here. Or Ashford Wheels & Looms here. To chart your own patterns, here are some great resources. I've used them to create all the patterns on this blog. The graph paper was created by Misty Wood and can be found here: http://flufdrax.deviantart.com/art/Inkle-offset-graph-74494166 I'm very grateful to her for it. This online pattern-making tool created by Jeff Bigot makes it super easy to chart patterns in many variations. I used it to illustrate both of my books: https://www.raktres.net/seizenn/#/ Click the links below to access my free patterns. Use them as they are, or use them as inspiration to create your own. PLAIN WEAVE Simple Two-Color Patterns Patterns W/Links to Pattern Editor (Online Design Tool) Instructions for Using the Pattern Editor Most Popular Pattern A Dozen Plain Weave Pattern Drafts 10 One Inch Wide Pattern Drafts More One Inch Wide Pattern Drafts Design Elements- Chains Analogous Color Schemes Monochromatic Color Schemes Reptile Inspirations Using Red and Black My Best Design Secret Inspiration is Everywhere PICKUP Greek Key Pickup Tutorial Weaving Letters on an Inkle Band Introduction to Baltic style pickup Two Pickup Patterns
Tablet weaving is fraught with trapdoors, little mistakes that are easy to make. This pre-weaving checklist may keep you from falling into one.
Thanks to weavers who are more internet savvy than I, there is a lot of information out there. If you are interested in doing pickup patterns, check out this website: www.NorseGirl.com. There are written instructions and a link to her video on YouTube. She does an excellent job of describing the process. I couldn't have done it better myself and highly recommend viewing it if you are at all interested in pickup patterns. She demonstrates one of my favorite patterns, the Celtic knot. Here are some of the variations I have woven. These are done on the speckled background. She also shows how to do a pickup pattern on a horizontal bar background. Here are some examples of that.
We have recently been sent the following, lovely post, from long-term Woodlorean Bosco Li. Bosco has successfully tried his hand at making a pair of beautiful Sami shoe bands, after seeing them on …
6-20-22 - I still love the pattern, it is so beautiful! But I wasn’t able to fix the mess I made, without making more of a mess. It had worn me out. So I cut it off the loom, I would have only bee...
Ready to get started with your inkle loom? Here’s how to read basic drafts.
