Get started weaving with small rigid heddles! Spin Off editor Kate Larson will show you how to warp and weave a handspun band in this tutorial. You’ll be weaving sweet bands, ribbons, and ties in no time.
‘Braided Rawhide Strapping’ Leather strapping for handbag design can be made by braiding using the same leather skins used in the construction of the body of a handbag. Often rawhide th…
The Braid Society is a fantastic organisation for anyone interested in narrow wares - braiding, plaiting, band weaving, tablet weaving, spr...
If there is such a thing as a spinners paradise, Iceland is it. Icelandic wool roving has been a staple in the history of this magical island for centuries. Without it, the people who came from Norway during the Viking Age would never have survived. The sheep they brought with them, known as Icelandic sheep, have a versatile double coat of wool. With their sheep, the Vikings brought textile traditions to Iceland, including working the wool, tanning the skins, loom-weaving, tablet-weaving, braiding, embroidery, and dyeing with plants and lichens—all of which remain part of Icelandic culture today. Of these, knitting is the most popular. Icelandic wool roving is ideal for spinning due to its dual-fiber structure, which makes the resulting yarn warm, waterproof, and light. Whether you intend to spin it into a hat, scarf, or Icelandic lopapeysa, Icelandic wool roving is easy to work with and produces a beautiful fabric.
Three days away from warping up our sprang-along project! If you're hesitant to join because you don't have a loom, this tutorial is for you!Sprang-AlongDay 1: WarpingDay 2: SprangDay 3: FinishingThere are many ways to make a loom and many ways to work your sprang warp without a loom. So first, I am going to go over DIY looms and work arounds if you don't have a loom or don't want to make one. Though my cross loom is very easy to make.DIY Looms for Sprang BraidingIf you already have a loom you l
In this post you'll find free crochet dishcloth patterns, so check them out if you are a beginner! These projects work up fast and look great.
As a lover of fiber arts, I want to try it all! Knitting, crocheting, weaving, spinning, dying, just to name a few! This includes developing even more obscure talents, like making lucet cords. …
If you are new to sprang and have no idea where to start, read this post.
Handweaving blog by Beryl Moody
Most egy olyan csipkefajtával ismerkedhetünk meg, amelyet nem sokan ismernek. A sprang fonott csipke. A sprang nagyon ősi technika. Már egy antik görög vázán is megjelenik: A legkorábbi fennmaradt példánya az i.e. 1400-as évekből származik. A régészek Dániában egy mocsárba sűlyedt leletnél találtak rá. Feltehetően egy hajhálót találtak. Több korai középkori régészeti lelet igazolja létét Norvégiában, Svájcban, Egyiptomban. Elterjedt kézimunka technika volt Közel-Keleten, Közép-Ázsiában, Indiában, Dél-Amerikában, Észak-Amerikában is. Eleinte szövésnek, vagy kötésnek gondolták. A 19. században ismerték el önálló kézimunka fajtának, miután csaknem egyidejűleg sprang régészeti leletekre bukkantak Dániában és Egyiptomban az 1870-es években. A hagyományos sprang készítéséről, hasznosításáról nem készültek írásos feljegyzések. 1882-ben egy Bécs melletti gyárban megkísérelték egy sprang függőágy készítését. 1889-ben a párizsi világkiállításon bemutattak egy ősi sprang technikával készült darab másolatát, ami felkeltette az érdeklődést a technika iránt. Röviddel a világkiállítás után elkezdték dokumentálni a technikát. 1890-ben ukrán falusiak mutatták be a sprang készítésének tchnikáját. Ők többféle ruhadarabon alkalmazták: sapka, öv,stb 1980-ban Linda Welters a görögöknél azonosítja a zonari nevű öltözék kiegészítőt, a 2-3 méter hosszú rojtos övet, ami sprang tecnikával készült. Az idős falusi asszonyok akkoriban is még készítették, s ismerték a sprang készítésének technikáját. Mivel nem volt megfelelő szó a csipke eme technikájára, úgy emlegeti Linda Welters mint kötés botokkal, vagy mint szövést, ahol nem halad keresztül szál. Ma is ismert, és alkalmazott technika Guatemalában, Mexikóban, Kolumbiában, ahol függőágyakat készítenek a sprang technikával. Kolumbiában a mechita nevű bevásárló táska is sprang csipke. Pakisztánban a sprang a férfi selyem nadrágok húzózsinórjaként van használatban ma is. Nézzük, hogy is készül a sprang. Kifeszítünk párhuzamos szálakat, amelyeket egy kerethez rögzítünk: Ezután kezünkkel elkezdjük a szálak keresztezését: Érdekesség, hogy ha a szálakat keresztezzük, akkor alul és felül is egyszerre keletkezik a minta. Az egyes minták között pálcák bedugásával stabilizáljuk az elkészült mintát. Később ezen pálcák helyett fonalat fűzhetünk be, vagy akár a pálca maradhat is dekorációs elemként. A befejezést is kétféleképpen végezhetjük. Vagy egy fonal szálat fűzünk be középre a szálak között, vagy pedig hurkolással lehet befejezni a munkát: Néhány alkalmazás: kis sapka főkötő falikép táskák sál is készülhet ilyen mintával kabátka
I love to work with Tenntråd and I love to make viking age posaments. I try to get as close to the appearance of the remnant pieces as I can. But still there was the problem of the material. Tenntråd is lovely to work with, but it is a relativly modern material. The Sami people fabricate it and work with it in their traditional craft, making beautiful embroideries and braided bracelets and necklaces. The material at the Birka burials isn't Tenntråd, though. According to A. Geijer the spiral wires used for the posaments consisted either of a drawn gold or silver wire with a round cross section wrapped around a silk core: "1. Drahtgold oder Drahtsilber: ein massiver, im Querschnitt runder Draht, der durch ziehen hergestellt ist. Es kann in der Stärke recht beträchtlich variieren. 2. Spiralgold oder Spiralsilber besteht aus einem derartigen Draht, der in dichten gleichmässigen Windungen um eine textile Seele gewunden ist, die jetzt aber meist vermodert ist. Diese Seele ist nur in etlichen sehr stark korrodierten Stücken mit Silber erhalten und konnte als Seide bestimmt werden; vermutlich wurde aber überall Seide als Stütze für die Spirale verwendet." (Geijer, A.: Birka III - Die Textilfunde aus den Gräbern, Almquist & Wiksells, Uppsala, 1938, p. 68.) So insdead of using the rather modern pewter wire from Scandinavia I wanted to try making my own spiral silver. I made some attempts earlier, but since I dindn't have the right tools I was not very happy with the outcome. The procedure of making the spiral wire seemed similar to that still used today by some Sami craftspeople. Obviously for big scale production of Tenntråd machines are used nowadays, but there are still people around who know how to make the wire by hand. I found this very helpful video from Norway, 1984: https://www.nb.no/nbsok/nb/6f0a0f1eb2841bd2a98c1358864bb718.nbdigital?lang=no For my own first experiment I used Kromski drop spindle, top-whorl, 85g Silver coated copper wire, 0,2mm Serafil 20, 100% polyester, z-plied Lazy Kate to hold the wire I tied the core yarn to the spindle and started to wrap/z-spin the wire around the core, very much like core spinning with textile fibres. There were little gaps between the individual coils, so I had to stop after a while an push the coils down with my fingertips to get an uniform spiral wire. I measured 1m of the craft wire to give me an idea how much spiral wire could be made of this length. I was able to make 11,8cm of spiral wire from 1m of the silver coated 0,2mm copper wire in about 16 minutes. I guess the time will improve with skill, this was measured during my first try. When I had enough spiral wire for a test braiding, I went for a simple P9 Birka posament. The spiral wire I made was not as smooth to work with as the Tenntråd. I guess the copper work hardened while coiling it. So the next step will be to get some fine silver wire and real silk as core material. But I'm quite happy with the overall outcome and the technique works very well to produce a considerable amount of spiral wire, which is needed to make Birka posaments.
Four color-patterns for the 7-loop, D-shaped braid. These color-patterns look very different, but they have almost the same starting setup. If you want, you can switch between any of the four patte…
The Braid Society is a fantastic organisation for anyone interested in narrow wares - braiding, plaiting, band weaving, tablet weaving, sprang, etc. There is a public discussion group on Facebook at https://www.facebook.com/groups/BRAIDSandBANDS/ There is also an on line discussion group at https://groups.io/g/braidsandbands Do join. It is a wonderful forum for finding out about different crafts to do with narrow wares. It was founded in 1993 and has members around the world. The aim of the Society is to promote the education and practice of the art and craft of making constructed or embellished braids and narrow bands. I have just received their latest annual journal Strands. I always look forward to it as there are so many different craft interests and so many interesting craft practitioners. This edition is no exception. Here is the contents page of the Journal. Interests range from plaits, lace, finger looped braids, reed and rush plaiting - so many techniques and, I sometimes feel, so little time to explore them all. I am particularly interested in any article about the history of narrow wares and their production. This exploration by Peter Davenport is no exception. All the articles have colour photograph illustrations which bring the techniques to life. Membership of the Braid Society is easy. Just go to their web site at http://www.braidsociety.com/ Do think of joining. It is not expensive and you gain so much from the web site, newsletter and Journal and online discussion group. The last Braids Conference was held in Manchester UK in 2012. There were many workshops to choose from and people came from all over the world. The previous Conference was in Japan and the next will be in Tacoma in the USA. Online discussion group. There is also a Yahoo group - Braids and Bands - which is a forum for discussing the practicalities of braiding. I have organised four online workshop for Braids and Bands over the years. I will be running another workshop early next year for Braids and Bands. As you know, one of my passions is band weaving. I have been exploring the band weaving heritage around the Baltic region. As part of my trip, I attended the Weave Fair in Umea and met Per Niila and Lotta from Stoorstalka. They had been asked by a Sámi weaving tutor if a new design of heddle would make the traditional Sámi bands, which use groups of floating pattern threads, easier to weave. They worked on this idea and put a new design out to test. Traditional way of weaving Sámi bands with groups of pattern threads. My previous online tutorial in 2012 looked at how to weave this style of band. In traditional Sámi weaving, the floating pattern threads go over the top of the heddle. In order to pull them down, string heddles have to be used. The background threads weave plain weave. As a result of this request by a Sámi weaving tutor, a new heddle is now on sale for weaving these type of bands. It is called the Sigga heddle. The background threads weave plain weave and are threaded alternately through a slot and hole. The pattern threads have their own shorter slots. It works in the same way as the Sunna heddle. The Sigga heddle Early next year I will be organising another online workshop for Braids and Bands looking at how this heddle makes this type of weaving so much easier. I have started to trial the heddle and it really does work well. I will be busy weaving different examples for use during the tutorial next year over the next few months. This band has one group of ten 'jumping' pattern threads I was asked for the proper weaving term for the supplementary warp pattern threads but I think the term jumping pattern threads is so much more evocative. They do seem to jump up and down on the band. Here is an example that I wove for the previous tutorial. This band has two groups of jumping pattern threads. I love this Sámi design. Happy weaving Susan J Foulkes Oct 2014
A history of the lucet with latest discoveries. What is a lucet, the archaeological finds, with timeline and map, museums, bibliography.
Spinning for weaving is a hot topic, and one of my favorite spinner/weavers is John Mullarkey. John is known for card weaving incredible silk bands, his clear and comfortable teaching, and good humor. I asked him to share a few spinning tips for those of
Poteau de tissage de tablette / carte - pivots pour le tissage de tablettes. Cet outil rend le processus de tissage beaucoup plus rapide, car vous n’avez pas besoin de retourner le fil à la main - les pivots le font! 16 pivots en acier sur une plaque - possibilité de faire des garnitures jusqu’à 16 comprimés. Matériaux: Plaque de bois franc et pivots en acier. Mensurations: Longueur: 10 cm Largeur: 3,5 cm Épaisseur : 1 cm. Longueur pivotante en acier: 2,4 cm Diamètre du trou pivotant: 0,6 cm. Si vous avez des questions, ou si vous avez besoin de quelque chose de spécial - n’hésitez pas à m’écrire un message! Plus de pivots que vous pouvez trouver ici: https://www.etsy.com/shop/VytuVatu?ref=seller-platform-mcnav§ion_id=22454335
I was going to name this post “Taming the Tube” and that would have possibly been one of the weirdest titles I have come up with for a blog post so far but I decided to go with “L…
Malabrigo nube - their ultra-soft merino wool now available as an unspon top! Perfect for spinning, weaving, thrums, or needle felting. Composition: 100% Merino wool Size: Roving Weight: 113 g Length: 5 yards / 4.6 metres Care: Hand Wash in cold water Note: Colours may vary based on dye lots, the nature of hand-dy
Did you know that the little plastic tips on the end of your shoelaces have a name? Of course they have a name, everything has a name right? But, there are some things we can go a lifetime not know…
