guild of drapers - historia · pdf filehistory of tablet weaving 2. suppliers . 4 part a -...
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1
Guild of
drapers
Tablet weaving
2
Welcome to tablet weaving! This document is meant for those who are interested in learning this
craft, about the craft, and those who wish to practise.
This is very much a work in progress, please feel free to contact either Tilda Squirrels or Sarah
Morris, the authors of this document, with questions, suggestions, feedback, cups of tea or offers of
help, useful links etc. New research and findings will lead to updates of this document.
Good luck, may the threads be ever in your favour.
Tilda and Sarah
Legal information
All information contained within is the original work of Tilda Squirrels and Sarah Morris, Historia
Normannis, or other Normannis Officers, unless specifically stated otherwise. All information is
thereby property of Historia Normannis, and may be reproduced in part or in entirety by its
members for the purposes of informing, educating or referencing within the society or liaising
with event organisers. The information within is not to be reproduced in part or in entirety for the
benefit of those outside
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Contents
PART A – DRAPERS
Guidelines for levels within Guild structure
Examples of work with notes
PART B – PRACTICAL WEAVING
Glossary of terms
Choosing threads
Choosing a pattern
Placement and society colour charts
Making tablets
Threading up and pattern interpretation
Set-up and weaving (links for instructional videos)
Troubleshooting
APPENDICES
1. History of tablet weaving
2. Suppliers
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Part A - guild of drapers: tablet weaving
specialism
Please find below a table detailing the necessary skills and procedures for gaining levels within the
Normannis guild structure, along with the lengths of tablet weaving required to show consistency
and proficiency.
Tablet weaving ranking:
This list of skills may appear daunting but is based on the prevalence of more
elaborate extant pieces. Inferring from that, the level of skill required to
support yourself in the 12th century.
Competent Learning
Novice Weaving Setting up,
Consistent tight weaving,
Fixing broken warp and
wefts
set up and weave a pattern (3ft)
Apprentice Weaving
Set up
Consistent tight weaving,
Threaded in patterns bi-
directional, assorted
repeats and staggering
Fixing broken warp and
wefts
Set up and weave consistently (4ft)
Advanced Apprentice Weaving
Set up
Consistent tight weaving
Fixing broken warp and
wefts
Threaded in
Basic Double-face
(diagonals, Egyptian
diagonals or similar- at
least 16 cards of double
faced)
Set up and weave two pieces;
one must be double face (4ft) to assess the quality of double-face;
the other can be any authentic pattern of choice (9ft) to assess the consistency
over the length needed for the bottom of a tunic
Journeyman Weaving
Set up
Consistent tight weaving,
Threaded in
Fixing broken warp and
wefts
Complex double-face
(heraldry, etc.)
3 in 1 broken twill
5
Basic Double-face
(diagonals, Egyptian
diagonals or similar
geometric designs- at
least 16 cards of double
faced)
Set up and weave one piece
Complex double face (heraldry, etc.)
at least 25 cards wide, for the section involving double-face (5ft)
to assess the consistency of complex double-face over a length, through several or
many repetitions of motifs, preferably a variety of motifs.
Advanced Journeyman Weaving
Set up
Consistent tight weaving,
Threaded in
Fixing broken warp and
wefts
Double-face
3 in 1 broken twill
Varying the width
(deliberately adding
warps and or wefts)
Brocade
Produce one piece (5ft)
It must vary in width by design and use a minimum of 20 cards wide for the
section concerning 3in1 broken twill. To assess the consistency and quality of 3in1
broken twill through several or many repetitions of motifs, preferably a variety of
motifs.
Master Weaving
Set up
Consistent tight weaving,
Threaded in
Fixing broken warp and
wefts
Double-face
3 in 1 twill
Brocade
Varying the width
(deliberately adding
warps and or wefts)
Addition layer of
embellishment*
Produce one piece 6ft that combines a variety of techniques from both the masters
and advanced journey skill-set.
Guild Master Weaving
Set up
Consistent tight weaving,
Threaded in
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Fixing broken warp and
wefts
Double-Face
3 in 1 twill
Brocade
Addition layer of
*embellishment
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Examples of weaving
What are we looking at, in a piece of tablet weaving?
Below are some examples and feedback, used with permission.
Competent Learning
Novice Weaving Setting up,
Consistent tight weaving,
Fixing broken warp and
wefts
We all have to
start
somewhere,
as an early
piece this is
solid work for
a novice.
The above
example is woven; there is a clear pattern with no mis-woven threads. As you can see from the
varying width of the bands, and exposure of the weft, consistent weaving has yet to be achieved.
That the weft is visible mid band, shows that the weaving is not tight. The white bars of a varying
width also indicate that the beating is inconsist.
While the overall length wasn’t supplied (3ft minimum for the piece to graduate to apprentice),
this is an example of a unidirectional piece that is what would be expected for all apprentices to be
able to do, and for novices to submit as an assessment piece.
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Competent Learning
Apprentice Weaving
Set up
Consistent tight weaving,
Threaded in patterns bi-
directional, assorted
repeats and staggering
Fixing broken warp and
wefts
This is an example of a bi-directional pattern,
which has been set up by the weaver.
You can see that the width of the band is
inconsistent, the weft is exposed, and that
there are loose threads. This is fine for a
novice as they are still learning to weave
consistently and tightly. That they have remembered to switch directions consistently is good.
While they have achieved a pattern, the jagged lines indicate that the setup is not quite perfect, as
such would not be acceptable at the apprentice level. (This is the only aspect that is wanting.
Otherwise, it would be acceptable apprentice level)
Things to work on ensuring that threading direction in setup is used to create smooth diagonal
lines, and to improve the weaving consistency and tightness.
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Example of some feedback on a piece submitted for assessment
Our thought process:
Good use of contrasting colours
The different width and length of the ‘S’ motif (a little trouble with beating consistently)
The zig zag border (some trouble keeping the width of a band consistent)
should be horizontal
Loose selvedge threads (try and
keep these to a minimum)
The diagonal lines are not smooth,
check the s and z threading
Feedback:
Impression: Nice use of materials and contrasting colours. Ideally I’d like to see a close up of an
extended section, to see how tight the weave is.
Things to work on for your next piece are:
try to alter the S or Z threading in the set up to give smoother diagonal lines- if you fix this you
will be considered an apprentice (as long as the piece is the length required)
focus on keeping the width even and beating consistently
try to keep the loose border threads to a minimum
Overall, excellent work for a novice, and with the improvements it will not be long before you will
be an apprentice, as always if you need any clarification please ask.
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Part B - practical weaving
Glossary of terms
Glossary
Materials and set up:
Warp: The set of lengthwise yarns that are held in tension on a loom or between the weaver and a
fixed point. In Tablet weaving these yarns are threaded through holes in tablets, usually 4 to each
tablet.
Weft: The yarn that is passed through
the shed formed by the turning of the
tablets. It is this which holds the
weaving together in tablet weaving, although should usually not be visible in the weaving.
Shed: The temporary separation between upper and lower warp yarns through which the weft is
passed. In Tablet weaving, this is created and manipulated by the turning and positioning of the
tablets.
Beater: Wooden or sometimes metal object use to beat the shed. It is inserted into the shed after
turning the tablets /or passing the warp through
the shed. The beater is then pulled towards the
weaving to ensure a nice tight and even weave
that is necessary for definition and regularity.
Often knife shaped. (Collingwood p40)
Border: Most tablet weaving from the simplest threaded in pattern to elaborate brocade has a
border of two or more tablets each threaded with four threads of the same colour and all turned
consistently in the same direction. This border is also known as a selvedge. The selvedge evens out
points where the pattern makes the weaving want to vary in width. The selvedge edge also provides
the structural stability especially in double-face or weaves using less than four threads per tablet.
These borders can also improve the appearance of a band, if the outer-most tablet is threaded with
the same colour as is used for the weft will ensure the weft is not visible at any point. Addtionally,
the selvedge provides an anchorpoint when attaching the final weaving to a garment.
Tablets: The most important item needed for tablet weaving, and where it gets its name from.
Tablets can be of many shapes and sizes with many numbers of holes as long as it is relatively thin.
However in terms of twelfth century Europe (looking at northern and western Europe mostly and
finds as close as I can get, so 11th-13th centuries though some earlier, but we can see the general
trend etc.) they would be;
Small (3.5-5 cm are the most common sizes found)
Wooden or sometimes Bone (Jutland, Scandinavia and UK have finds of both). Though
there are finds of tiny metal tablets, but these were probably pendants or trinkets of some
sort.
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Square, with rounded corners
With usually four holes. Though sometimes 5, 6, 7 or more rarely eight holes, those with 5
or 7 include a central hole. Some finds with six holes have the 5th and 6th holes cut over
decoration showing that they were an afterthought. 6 or 7 holed tablets make it easier to do
patterns that only use two holes as it is then easier to get a clearer shed. (Diagrams below
based mostly on finds from Oseberg ship burial)
Probably plain. There are some early finds of bone tablets with incised decoration, but not
for wood.
Threading: Used to describe how the card is set up, both in terms of colours in holes, number of
holes with threads in and direction of the threads within the tablets.
S-threaded & Z-threaded: These are terms used to describe
the directionality of the four warp threads as they pass
through a singular tablet.
Shuttle: Object on which a large amount of weft is held, to
aid storing it and passing it through the shed. Due to scale
and method of tablet weaving and the ease of invisibly adding new wefts a shuttle is not necessary
for most tablet weaving, however, it can be helpful or double as a beater
Weaving Process and Method:
Warp Twining: the technique in which each card is turned consistently either forward or backwards
so that their threads twist around each other to form a cord. The design is determined by the
colour of the threads and variations in twining. Even with frequent changes in twining direction to
create designs this method of weaving creates a very strong and flexible band. Nearly all extant
bands have a border of at least two cards of four threaded warp twining.
Threaded-In: A pattern in which the design is controlled by the initial set-up, how the tablets are
threaded and their positioning. Almost all threaded in designs are warp twined.
Uni-Directional: In which all tablets are turned in the same direction
for long lengths consistently. Often for the whole length of the band
or only reversing when there is too much twist left in the unused warp
to continue.
Bi-Directional: In which all tablets are turned in the X-forward, X-
back, X-forward manner.
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Staggered: In which some tablets are turned forwards and some
backwards, turning direction and which tablets are being turned
which direction can change. It is possible to create some very
intricate designs using certain threadings and staggered turning
patterns.
Double-face: A method based around the turning pattern F-F-B-B using cards usually threaded with
two colours (in the manner shown in the diagram on the right). By varying the position of the
cards the design is created, said design will be the same but colour reversed on both sides of the
band.
3 in 1 broken twill: This is a particular turning method of double face, capable of creating very fine
detailed and sharp designs. Each warp will pass over 3 wefts and under 1, in the broken form this
sequence is interrupted. Many extant ecclesiastical pieces use this method, often
combined with brocade.
Brocade: The use of an extra weft on the surface of the weaving, which passes under
some warp threads in order to create a pattern on the surface of the weaving. This weft is often of
gold or silver (either very fine and flattened wire or a thin metal layer around a silk core) or more
rarely silk. Most brocade is completed over a base band of warp twining or 3 in 1 twill double-face.
We are currently researching additional levels of embellishment such as embroidery and
alternative woven structures. Specifically we are trying to date various finds.
Looms: At its simplest extent a tablet weaving loom is two fixed points. These points can be as
simple as the weaver’s foot and belt, or two posts. (Oseberg loom mediaeval paintings, two upright
poles on a flat board, oft with stabilising section.)
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Choosing threads
How to tell what threads mean?
Threads have two pieces of relevant information, the number of plies (i.e., strands twined together)
and the thickness of the individual strands (distance of the thread in a specified weight).
Example
So both 30/2 nm and 60/2nm both have two strands twined together. 30 metres is a shorter
distance than 60 metres, so the 60/2nm thread is twice as fine as the 30/2nm.
Working towards using finer threads
Given that surviving examples show work with very fine threads this is something to be working
towards.
St Ulrich’s maniple 6.5cm wide needing 134 tablets, threaded with silk.
St Cuthbert’s girdle 69 tablets 2cm wide silk. (pre-Norman)
So for wools ideally fine tightly plied worsteds( 16/2nm or finer), and for silk 30/2 nm or finer are
advised (not expected).
Switching from relatively thick thread to much finer threads will be awkward for everyone, it is a
learning process, and we are here to help. We do not expect an overnight switch, but to be able to
mimic the level of skills displayed by the Normans will take practice and perseverance.
Authentic
Threads
Wool Not knitting. Ideally worsted
(approx. 16/2nm or finer) and/or
tightly plied. * if the wool isn’t
tightly wound enough it will be
likely to snap.
Linen As fine as possible (approx.
16/2nm) or finer.
Silk 30/2nm or finer
Gold or Silver
(Brocading)
Wrapped around a silk core
or
Fine, flexible gold wire (spun gold)
and then hammered
Working out how many strands of a particular sized thread to give a band of a certain width
Be careful, different suppliers use different measurements in terms of the units for distance per
unit of weight (nm, nel, wc amongst others). Remember different materials have different weights,
and so 20/2 in silk, wool or linen will most likely be different thicknesses. So you might have to
attempt to convert to a known standard, they will usually know this information. Otherwise
comparisons to machine thread, wool, embroidery floss, etc. might be required.
If in doubt most suppliers will provide samples although some will charge. Please ask for guidance
if you are stuck.
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Choosing a pattern
Normans had a preference for geometric shapes, patterns and heraldry. Try to find inspiration
using Norman sources, bear in mind the country of origin and the altered aesthetics. Due to the
nature of tablet weaving the heraldic designs should be rare. In order to stabilise the tablet
weaving there should be a thin edging usually in a solid colour. If you have any questions or need
help please ask.
For more complex bands such as those more likely to be seen worn by royalty, the uber-rich and
the upper echelons of the church, the use of metals would start to appear. You can combine
patterns, borders, to frame more intricate motifs that can repeat throughout the length of the
piece, to yield a broad complex band. For incredibly extravagant pieces, several lanes of complex
motifs separated and surrounded with patterned or plain borders can be designed.
The following are unacceptable patterns as they have been identified as from a much later period.
The use of four separate colours in a single tablets is also unacceptable (regardless of design).
Patterns to avoid (like the plague)
Snartemo: - 4 colours per tablet the motif is irrelevant.
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Tablet weaving on garments
Guidelines for wearing of tablet weave
It is important to consider the combination of several aspects when designing a kit impression; the
quality and cost of materials, and the complexity of techniques used. There are several factors to
consider in relation to kit impressions. The amount of tablet weaving (width and length) of a band
would have added considerably to the cost of raw materials. The cost of wool, linen and silks have
been covered elsewhere in the clothing regs in relation to rank, and are relevant to the costs of
producing tablet weaving. The complexity of the design would be a significant factor in relation to
labour costs (the amount of time it takes to weave an inch can vary hugely from minutes to hours).
Tablet weaving to be worn should be well executed with consistent tight weaving and ideally no
loose threads.
Bands that are highly complex (3-1 twill etc.), very broad (more than 1 inch) or utilising any
brocading would be the preserve of the church and the incredibly rich. Try to bear in mind any
other embellishments you have in an outfit and aim to achieve a balanced look suitable for your
rank.
Things to look for when buying/selling tablet weaving:
Weave
Is it tight, even, and consistent throughout the length?
If it is loosely woven it will fray, catch and fall apart considerably quicker. All extant pieces are
tightly woven with next to no weft visible (except at the selvedge edges).
Has it been made using authentic threads, in authentic colours?
Otherwise, it won’t be acceptable.
Does it conform to an appropriate style and pattern?
As a general rule, when picking patterns try and stick to geometric shapes and patterns akin to
what would be acceptable for embroidery, and more rarely heraldic designs. Try to use Norman
sources to inspire design choices or to inform purchases before asking for further guidance.
The most prevalent patterns: See choosing patterns section
Is it suitable for the rank and within the overall outfit?
How much tablet weaving? Where to put it (on a garment)?
Primarily Biceps, cuffs and collars(not hidden by wimples), there are very few finds for the
following (which are discouraged): around the bottom edge of tunics/dresses, cloak edges, garters,
lanyards.
How wide?
A minimum of 1cm- otherwise it will not be visible, the widest pieces found attached to normal
clothing are not more than 3cm wide. Varying width will only be used in ecclesiastical attire.
If in doubt, please ask.
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Materials Complexity Quantity Colours Oratores
Tier
1
Tier
2
W Simple Cuffs +1
Tier
3
W Simple/Normal Collars +1
Tier
4
W/L Normal Cuffs, Collars +1
Tier
5
W/L Normal Cuffs, Collars, Biceps +1 Stole
Tier
6
W/L Normal/Elaborate Long lengths/Cuffs,
collars
+1 Stole
Tier
7
W/L/S Normal/Elaborate Long lengths /Cuffs,
collars, biceps
+1 Stole
Tier
8
W/L/S Elaborate Long lengths +Cuffs
and collars
+1 Chasuble,
Stole
Tier
9
W/L/S Elaborate Long lengths +Cuffs
and collars
+1 Chasuble,
Stole
Simple: Threaded or simple double-face (not changing many cards at a time with small repeating
motifs
Normal: Double-face (changing many cards at a time)
Elaborate: complex double-face (changing a most of the cards and a variety of motifs), Brocade,
3in1 Twill.
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Appropriate colours are those for one tier above what you’re allowed for clothing (i.e. if you are T3
you may choose from the T4 palette). However, be sensible, remember to compromise with the
colours you choose bearing in mind the rest of your outfit in order to achieve a good/ideal kit
impression.
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Making tablets
Tablets
So you want to give tablet weaving a go, how do you get started? You’ll need the equipment
(tablets/playing cards-see below for a how to), some form of tensioning, miscellaneous bits of
string clothes pegs, etc. and of course the threads.
Tablets / cards are both acceptable terms.
A good starting number of cards is at least 12. If you have the inclination, a whole pack of cards is
always helpful especially when working with very fine threads and you need to make a broad band.
You can either make your own (see below) or buy them in (see suppliers section)
I find playing cards a quick and cheap way to give it a go. Although you can try with other
materials such as cereal boxes, wood, bone, etc.
In terms of size, period tablets were quite small between about 3.5-5cm, much smaller than 1 inch
will be hard to work with. When starting you may find larger cards easier to turn / handle, however
if they are excessively large they will be more difficult to turn.
Making your own tablets
1. Cut into squares
2. Round the corners
If you do not they will catch threads as you use them-> snapped threads or a lot of stop
starting instead of weaving
3. Make a template using ruler and compass (see diagram above), do not fold.
4. if the holes are too close to the edge, then they will be less sturdy
5. Make holes in the template where the diagonal lines intersect with the circle.
This can be done with an awl, hole punch, drill.
These holes need to be of a uniform size, one that is easy to pass threads through.
These holes must be flush with the surfaces of the cards to reduce friction on the
threads.
These holes must also be of a smooth nature again to reduce friction on the threads.
6. Use this template to punch the holes in the other cards /tablets.
7. Make sure they are finished and are smooth
19
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Threading up and interpreting patterns
Threads
Now you have tablets; you will need some thread.
Wool and silk examples from out period, in our area have been found, but not linen. Lien is
notorious for degrading but its use is acceptable. You’ll want to start with some thread that won’t
fray, felt or snap easily as the process of weaving requires quite a bit of tension. If you are doing
things inauthentically some fine crochet thread, cotton (not sewing cotton) might be useful. If you
are buying in threads, you will need to work out how much you need in advance.
You need to calculate how much thread you’ll need for a single thread,
How long the piece you want to weave, e.g., 1m
(length x1.2) + 50cm (100x1.2) +50=170cm
So each thread must be 170cm
The x 1.2 is because you will lose a little length going over the wefts
The +50cm is because the shed prevents a weaver from weaving the final 50cm or so,
and you also lose a little from the setting up process with knots.
Multiply length per thread by 4 (there are 4 threads in a tablet)
170x4=680cm=6.8m thread per tablet.
To calculate the lengths need for a pattern depends on the number of tablets
12 tablets so 6.8x12=81.6m in total.
However if all the threads were the same colour it would be a very odd band (unless youre using it
as a base for brocade), so depending on the pattern you will need different total length for various
colours.
For this inauthentically coloured pattern, you would need equal
amounts of each colour, so 81.6 divided by 4=20.4m of each (assuming
you stretch this to 12 cards wide)
For more awkward patterns, you may need to count the number of each
colour of threads
12 dark and 32 light threads
12 x 170cm = 2040 cm = 20.4m
32 x 170cm = 5440 cm = 61.2m
You can double check your maths -
20.4 + 61.2 = 81.6m, which matches the above total.
21
You’ll also need plenty of weft that differs depending on thread size.
Interpreting a pattern- setting up
There are various forms a pattern can take, here is an example of a
threaded in pattern (inauthenically coloured)
Here each column represents a single tablet, whose holes are
labelled in a clockwise fashion.
The directionality of the threads within a tablet are denoted at the
bottom; these are all S threaded as the author instructs that slash
indicates the directionality of the threads through a tablet. All the
threads going through a singular tablet must go through in the
same direction, otherwise the tablet will not turn.
So for the first column on the left hole all the threads will be S
threaded, in hole A the thread will be red, B green, C blue, and D
yellow.
Important note, be sure to read each author's individual threading instructions before you start as
there is no uniform manner in which to interpret a pattern. Authors work left to right or right to
left, interpret S and Z from differently, as up/down, left or right, even displaying the tilt of tablets
as opposed to the direction of threads. Read the instructions.
A B
D C
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Set-up and weaving
I could attempt to describe in detail how to do each of these, but in reality it is better explained
through seeing and doing. The important thing is to check the cards, draft, and threading
repeatedly as once the weaving starts it is much harder to fix mistakes from setting up. Weave
whatever way you find comfortable. One incredibly
important thing to remember: all the threads going through
a single card must be either S or Z otherwise the cards will
not turn.
You will need at least 2 fixed points (clamps, chairs upside
down on a table, bannisters, sturdy door knobs, warping boards, belt) to create tension. Useful
things are bits of string, clothes pegs (to hold the pack) and an extra pair of hands.
Individual threading
Applicable when setting up threaded in patterns or you haven’t got two reels of each colour
making it difficult to warp continuously,.
https://www.youtube.com/watch?v=AGC7zPtCvZ4&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC
Subtitled Eng, French voice. Pre-cut threads, clear pattern interpretation
https://www.youtube.com/watch?v=9cyTMU7lfHg
Set up and interpreting threaded pattern, and s and z threaded differentiation
https://www.youtube.com/watch?v=9cyTMU7lfHg
Setting up threaded patterns one strand at a time tie on cut as you go. Importance of threading
each card with threads either s or z not mixed
Continuous warp
https://www.youtube.com/watch?v=ZcwVcLgpWQw&index=44&list=PL0pltHQUj2elCZ1MqvALrYir
QFsIJyiOL
Continuous warp for tablets of the same colour and the double face, area in the middle. Beautifully
clear steps
Once the pack is threaded, check the pattern, threading, etc., get the cards in the right order and
orientation.
*remember that different authors have different systems
Work out any twists, tangles, etc. by combing or moving the cards along the warp(the cards acting
as a comb). It is better to work from one end to the cards, use the cards as a comb, slipknot the
trouble free end. Then work out the oddities from the other end, use the cards as a comb ENSURE
EVEN TENSION, knot, change the slipknot into a standard knot taking care to maintain the
tension.
Storing excess lengths of warp
23
Twisting, tying knots around the warp at intervals of 5inches or knotting like braes cord
https://www.youtube.com/watch?v=qGaXrxL_8o4
https://www.youtube.com/watch?v=ZcwVcLgpWQw&index=44&list=PL0pltHQUj2elCZ1MqvALrYir
QFsIJyiOL
Essentially making braes cord with the excess length.
Setting up a loom
Authentic looms
Osberg style
Tie one end closest to the tablets to the loom using luceting and a slipknot, pull to check that it
won't undo, then pull the warp to the other pole, under high tension. About 1 inch before the pole
tie a slipknot in the gathered warp strands, TAKING CARE TO ENSURE EVEN TENSION IN THE
SECTION THAT IS EXPOSED TO THE TABLETS. Use some more luceting to secure to the other
pole ensuring tension is maintained, and that as the luceting is moved up and down, the tension
slackens sufficiently, if not adjust tension and repeat until you are happy.
Back braced
Tie one end closest to the tablets, to a strong thing that can support the tension, using luceting and
a slipknot. Pull to check that the knot will not undo, then pull the warp towards yourself, under
high tension, check to ensure that the tension is even. Attach to your belt via luceting or whatever,
ensure tablets are within easy reach. If you do not have enough room to work the weaving in one
length, tie a slipknot in the gathered warp strands. TAKE CARE TO ENSURE EVEN TENSION IN
THE SECTION THAT IS EXPOSED TO THE TABLETS, use some more luceting to secure to the
the thing ( you weave at the end closest to you), adjust tension, ensure it is even, and repeat till you
are happy.
Foot braced
Hold one end to your belt, stretch your leg out comfortably (slight bend in the knee), get your
glamorous assistant to measure out the length to your foot. Tie a slipknot in the gathered warp, tie
the slipknot section to your foot with lucetting as stirrup, tie the other end to your belt. Fix the
tension using hands to pull the excess towards the belt and weaving the loops onto the reverse side.
Inauthentic
Box loom
Set it up warp of desired length using continuous warp or threaded (see above).
Ensure tangles have been worked out, and that the tension is even,
The knot at the far end is secured in or to the roller at one end. Maintain tension and wind on the
warp, keep the tablets at the near end, attach the near end knot to the near roller, secure, check
tension.
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Inkle
https://www.youtube.com/watch?v=Cheht5FC0Fs
They use a continuous warp method; you can combine this with an individually threaded method
if desired.
Weaving
Turning cards
https://www.youtube.com/watch?v=GC_aWPi1PR4
at 6mins or so, the importance of not squashing the cards together, they need space to turn.
https://www.youtube.com/watch?v=qGaXrxL_8o4
general weaving,
Two-pack method
https://www.youtube.com/watch?v=XRd-LNOogiI&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-
https://www.youtube.com/watch?v=Zvohefehwpw&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-
&index=5
https://www.youtube.com/watch?v=gaQC8NXE3Og&index=9&list=PLoOvjef668d54XvNSTzhS95BG
xaE7oEC-
25
Beating and Passing the weft
https://www.youtube.com/watch?v=qGaXrxL_8o4
https://www.youtube.com/watch?v=l3K_eAhOxb0
notice the care with which the weft is pulled after a turn to ensure a smooth edge and an even
width
https://www.youtube.com/watch?v=kuUNJ_rXilY&list=PL0pltHQUj2elCZ1MqvALrYirQFsIJyiOL&i
ndex=27
nice method to ensure that the selvedge is smooth, and the weft hidden whilst maintaining a
consistently wide band
https://www.youtube.com/watch?v=9wV-fwnv9-
8&list=PL0pltHQUj2elCZ1MqvALrYirQFsIJyiOL&index=57
Flipping / rotating individual cards
Can be carried out under slackened tension, card can rotate around their vertical axis resulting in
the opposite twining of those threads. An alternative to the two-pack method but a bit more
unwieldy.
Interpreting a pattern- weaving
https://www.youtube.com/watch?v=AGC7zPtCvZ4&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-
&index=34
Precise threaded pattern interpretation
https://www.youtube.com/watch?v=iwK-
vxKLPAs&index=23&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-
Lovely step by step walk through of a double face pattern
https://www.youtube.com/watch?v=Zvohefehwpw&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-
&index=5
Interpreting complex patterns
Brocading
https://www.youtube.com/watch?v=BW3pdsBYR_M&index=10&list=PLoOvjef668d54XvNSTzhS95B
GxaE7oEC-
https://www.youtube.com/watch?v=DSc96uBCAtY&index=25&list=PLoOvjef668d54XvNSTzhS95BG
xaE7oEC-
https://www.youtube.com/watch?v=OZGyAFEMoCM&index=93&list=PL0pltHQUj2elCZ1MqvALrYi
rQFsIJyiOL
Good luck weaving, once you’ve finished, congratulations. Show us some pics (we all need
something to add a splash of colour to the day)
26
Troubleshooting
Breaking warp threads during the setting up
Tie a knot, replace with a single length, when the rest of the cards are threaded
Breaking warp thread mid weave
Replace the end that is not woven, going through the cards, and then either:
Ensure that it is long enough to have an inch overlap with the band or replace the whole thread,
pin to the wrong side of the band, weave it in. check that the brokenrepacement thread is trapped
in the weft and trim, sew the end into the band taking care not affect the surface.
Tie a suitable knot, (this will get tricky to work with) endeavouring to weave the knot onto the
wrong side
Replacing the weft (it’s run out or snapped)
Overlay with new weft at least one pick, bury the end of the old weft partway through the shed.
Unpicking a mistake
Carefully step by step reverse the weaving process, removing the weft, and any felted
material. With fine threads be gentle, it might be easier with slightly slacker tension, trying not to
snap or overly stretch the warp threads(creates odd tension). Take your time, you can use the top
woven strands to rotate the cards in the right direction. You might find it helpful to use a needle or
similar to coax threads individually.
Jumbled cards
Using the woven band as a guide put the cards in the right order, you may need to untangle them,
take your time. Then once the cards are in the correct order manipulate them into the proper
orientation, unpick one weave to be sure. Carry on, taking care to secure the cards in future.
Breaking lots of warp threads when weaving, or lots of frayed threads
Friction. Either from the cards themselves, excessive turning in a particular spot (not moving the
weaving along frequently). Tension that is too strong will exacerbate these problems. Loosely spun
threads are more likely to break or fray, and do not cope well with high tension.
Trouble with tension
When warping the cards, you must ensure that the tension created should be even and sufficient.
As cards twist they either create or shed tension, it helps to be able to adjust the tension as you
weave. On the upright Oseberg looms, I move the luceting connecting the tablet weaving up and
down the poles to accommodate these changes.
When a thread snaps, the tension is usually off. Try to pull any excess to the underside of a band in
a loop, weave past the loop several picks, pull the loop to ensure correct tension with the other
threads.
Sometimes we need to work with delicate threads and the tension desired for good consistent
beating can be achieved with slacker tension than normal. Use your hands to temporarily create
tension (by pulling against the woven band, before the cards, beat, then insert weft).
27
https://www.youtube.com/watch?v=gaQC8NXE3Og&index=9&list=PLoOvjef668d54XvNSTzhS95BG
xaE7oEC-
She has a slack warp but uses her hands to create tension temporarily to beat in the pattern.
Weft visible / bumpy border
Before passing the weft gently tug the weft to remove any excess from the previous pick until
smooth. Take care to ensure an even width along the band.
Attaching tablet weaving to a garment
Using strong fine thread that blends into the border. Use small neat stitches that are invisible
(ideally) so that the band doesn’t move despite scraping a nail against it. Do this for both long
edges of the band, making sure to follow the curve of the garment where appropriate. Pins are
useful to help keep things in line, always leave plenty of excess, as once it is cut it is harder to sort
out if you need more. As with all matters, take your time and have plenty of cups of tea.
You can trap the ends of tablet weaving the the seams of a garment try to insert about an inch, or
you can try to weave them together,
https://www.facebook.com/Lautanauhat/photos/a.542277809189068.1073741829.470858679664315/5
97073930376122/?type=1&fref=nf
I have not tried weaving the ends together yet, but it looks quite nice (if tricky)
28
Appendix 1 – history of tablet weaving
Here is a brief history of tablet weaving and its use in the Norman period.
Tablet weaving is often considered only in the context of Saxon, Viking, and Medieval usage and
thought of as only being around from the Saxon era onwards, whereas it is, in fact, much older.
Tablet weaving has a nearly 3,000 year history and in that history has gone through many changes
and developments in method, style and usage.
The early uses of tablet weaving were the starting borders for pieces woven on a warp weighted
loom. A narrow band consisting of a few 4-hole tablets threaded all of one colouring alternate S
and Z threading would be woven, and then the wefts would be used as the warp for a larger piece
of fabric. This forms a sturdy and even starting edge for the weaving to begin on, sometimes also
found the side and more rarely the end of the fabric woven this way.
These starting borders grew in scale and complexity; warp twined patterned borders and borders of
50, or more tablets have been found. Including an exceptionally fine 3rd century AD Danish piece
in which uses 160 tablets to create a woollen starting border only 8cm wide.
By the 4th century, tablet weaving is commonly being used in its own right, as decorative bands,
and as belts. Finds from Scandinavia, Denmark and Poland to name but a few places show a wide
variety of weave structures and were skilfully executed.
However, it is not a simple linear development in skills and style as these finds would indicate.
Finds from the Hallstatt salt mine (Austria) dated roughly 800-400 BC show that complex weaving
(in this case 3in1 broken twill) was understood and practised, although they may not have been the
norm.
The Romans were aware of tablet weaving, as practiced by the Gauls who split the shed with little
shields. They noted it was different from that practiced in Alexandria which used heddles, but it is
uncertain if the used it themselves.
The 6th century shows several new developments in tablet weaving.
In Snartemo, Norway, a variety of techniques have been found including from grave V a style that
has come to be known as Snartemo technique. Tablets each threaded with four different colours,
and the manipulation of the warp floats to form intricate diagonal based designs.
Moreover, in Anglo-Saxon England (mostly in the South-East) brocading began to be used, thin
gold strips used as an extra weft on woollen bands. Many examples have been found in Germanic
and Anglo-Saxon graves from the period. Roughly three hundred years later finds from Birka,
Sweden also use brocade, though now on a silk base, alongside non-brocaded pieces.
From around the same time as Birka, are the finds from the Oseberg ship burial. One of the only
finds, of a band set up and in the process of weaving (A linen band with 52 cards). In addition,
many other bands were found in this site.
29
While non-brocaded tablet weaving continued to be used in secular life as decoration, brocade was
taken up by the church, as a favoured method of showing ostentation. Brocade was then
consequently developed in both scale and scope.
Vestments, cingulums, stoles, chausables, maniples, as well as bands of shoes, gloves, mitres,
dalmatics, almices and albs belonging to various saints, bishops, archbishops (and a few members
of the ruling classes) from 9th century Bishop Witgar. Though the tenth century pieces found with
St Cuthberts, and those belonging to Archbishops Henry de Blois & Hubert Walter in the 12th
century and onwards into the 14th and 15th centuries, have been found and still survive in various
collections. Almost all of these are exceedingly fine and woven of silk with brocaded with gold,
silver or occasionally with more silk, often using the brocade with other techniques and patterns.
Designs seen in the brocaded pieces include ornate geometric diamonds, knots, diagonals, crosses,
as well as many stylised animals and plants. Most ecclesiastical tablet weaving is brocaded, notable
exceptions are the silk maniple and stole thought to have belonged to St Bernard (d<1153). These
are a combination of 3 in1 twill, double face and warp twinning (in the borders). Together these
techniqus create a series of complex motifs of trees, foliage, dragon head shapes, birds, deer, other
beasts and what appear to be a centaur.
Heading into the 16th century, tablet weaving became less popular as new methods of creating
intricate designs such as lacemaking developed, and fashions changed. Not much is heard of in
relation to tablet weaving until the late 19th century, M.H.Stolpe brought tablet weaving to the
attention of the academic world with his report on the finds from Birka. In the spirit of exploration
and study of this age, people took to this new craft and studied it further, looking for historical
pieces and experimenting to recreate them, to gain a greater understanding. Notable scholars of
tablet weaving from the late 19th and early 20th centuries include Margarethe Lehmann-Filhés
whose study in the 1890's and publishing of Uber-Brettchenweberei in 1901 set tablet weaving on
the textile stage. (Further information on Deus Vult to follow, as a supplement, after the
completion of the Norman tablet weaving guild info.)
30
Appendix 2 - suppliers
Suppliers
Tablets
Lucy the Tudor (wooden quite large and thick)
Bikkel en been- bone tablets (beautiful quite small and fine, sadly extortionate)
Worsted wool
Mulberry Dyer
Handweavers gallery http://www.handweavers.co.uk/shop/2_16_nm_worsted_wool.html
Silks
Handweavers gallery http://www.handweavers.co.uk/shop/30_2.html
Mulberry Dyer
TORM
Looms
Various woodworkers in group
Lucy the Tudor
Beaters, shuttles and other paraphernalia
Lucy the Tudor (wooden)
Bikkel en been (bone)