*The hard copy of this handout includes a collection of patterns. I will upload them individually later on.
Introduction
A very –very– brief history of tablet weaving
This class is meant to be about the mechanics and various techniques of tablet weaving, but I felt it necessary to mention the historical context. Although I could spend hours just on the history of tablet weaving, I will keep it short and sweet.
The starting point for tablet weaving’s history is unfortunately highly debatable. There are several fragments that fits the “earliest fabrics which could have been tablet-woven” category. The famous girdle of Ramses III along with several other Egyptian bands are part of this category. For the longest time they were considered to be the oldest tablet woven pieces, but nobody was ever able to reproduce them exactly as the original using tablets so it’s still in the could have been category. As of November 2022, it is impossible to say where or by whom tablet weaving was invented or even pinpoint exactly when. One thing we know for sure is that there is evidence of early tablet weaving of various techniques found in North Africa, Asia and in across Europe.
What is tablet weaving
Tablet weaving is a specific weaving technique which uses tablets to create a twine and a shed. The twine is created by turning the tablets and the shed is create thanks to the shape of the tablets.
The shed is changed by turning the tablets forward or backward. This as for effect to change the position of the thread and creates a pattern on the fabric. The colour of the threads is usually what defines the pattern, but it is possible to weave a single colour band and still see a pattern. This is due to the direction of the twist of each twine. The number of threads per tablet can also change the look of the pattern.
To create a tablet woven fabric, you will need at least 2 tablets (although this will make for a very boring band), the maximum of tablets is whatever you think you can handle while staying sane.
Tablet weaving is a “new” ancient method of weaving. Yes, you read that right a new ancient method. Up until the turn of the 19th to 20th century there were few if any evidence of tablet weaving in European cultures. Archaeologists and anthropologists often handled fragments very poorly so the scraps that were left were dismissed and overlooked. It wasn’t until someone whose name is lost to history noticed that these fragments didn’t look like “regular” weaving. In the 1960’s and 1970’s*, when tablet weaving saw a come back, most weavers learned how to recreate fabrics by following recipe like patterns but the mechanics behind the patterns was less known. Most of the 60’s – 70’s weavers didn’t have the understanding of the full capacity of what tablets could do and its complexity, and this isn’t their fault, the information wasn’t available! Keep in mind that the knowledge of the mechanics of tablet weaving had almost completely disappeared from the western world and when it was rediscovered it was out of context, out of cultural practice, and out of history. That is until these weavers, following recipe like patterns, noticed that the tablets are just tools to create sheds and that they operate in a similar fashion that heddles do on a harness loom. Most harness looms have four harnesses, and the warp threads are distributed between those harnesses through the heddles. Using this logic, each hole in a tablet is a heddle and one or more tablet is a harness. This was the birth of the “new” ancient tablet weaving method. Weavers labelled each hole of each tablet with a letter or number and thus knew which hole was which harness. This is about the time when textile archaeology became its own discipline and archaeologists started collaborating in analyzing textile fragments.
* I was informed my a knowledgeable source that although in North America tablet weaving made its come back in the 60’s-70’s, in Germany it was in the first decade of the 1900’s with “Ueber Brettchenweberei” by Margarethe Lehman Files published in 1902.
Regular Weaving V.S. Tablet Weaving
In “regular” weaving you will see two sets of threads, a warp and a weft, intersecting at right angles with each other. This will result in the appearance of diagonal lines.
Tablet weaving on the other hand doesn’t work that way. The warp is threaded through the tablets and the tablets are not at a right angle with the weft. As said before, the threads of each tablets’ twists around each other to create a twine. Each of those twines are connected to the neighbouring twines with the help of the weft. You will still see diagonals, but they will change directions depending on the directions the tablets are turned. This creates patterns on the fabric, even when weaving with one single colour the manipulation of the tablets will create twists that will create a pattern. The design will be visible and noticeable by touch.
Nota Bene
Tablet weaving is like any other skill. You will have great days; you will have bad days. Both types of days are important to your learning curve. Do not get discouraged by bad days. Take breaks, keep it fun, take notes of your progress. Your success starts the moment you pick up your project.
Good Luck!
Materials
Tablets
The tablets are usually square but triangular, hexagonal, and octagonal ones were used at various times. Each tablet has a hole in each corner (although some techniques do use tablets with holes on the length rather than the corners). Historically there were made from bone, ivory, wood, clay, metal, leather, tortoise shell, fish skin, and horn.
The earliest tablets found were found at the late Bronze Age site of Abri Mühltal I, in present day Niedersachsen, Germany. They were 3cm X 3cm in size and made of bone with a hole in each corner. In the same era there is evidence of wooden tablets from a site in present day Longola do Poggiomarino, Italy, these ones were considerably smaller at 2cm X 2cm. There is several other evidence of tablets found at other sites, but these are the earliest (so far).
You can absolutely use tablets made of period materials or you can use more modern options such as plastic and cardboard. A very easy and cheap way to make tablet is by cutting playing cards in the desired shape. The ones supplied in my class kits are made of recycled cardboard from desktop calendars. It’s important that the material use is stiff. Other things to keep in mind is the size. Although bigger tablets can be easier to manipulate, smaller ones behave differently and will tend to shift less when using empty hole techniques. The tablets you choose to use will depend on what you’re comfortable using. Anyone who says you are not using the right tablets can go take a hike.
Tablets or Cards?
If you’ve ever searched for patterns online or even flipped through the pages of a weaving book you’ve probably noticed that some will use the word tablets, and some will use cards.
Both terms are correct. The difference is simply due to the English translation of the Icelandic word spaldvefnadur. The Americans translated the term to card weaving while the British translated it to tablet weaving.
Being Canadian, I use the term tablet weaving due to our proximity to the British Crown.
Another translation that is accepted in Canada is tissage aux cartons.
Yarns
Wool, linen, and silk seem to be most commonly used types of fiber for period warps. Horsehair was sometimes used for weft. Today we have access to several synthetic fibers that are great alternative for people with allergies. It is much easier to weave with medium plied yarn as it frays less. Cotton and silk are my go-to as they are solid and can take a lot of tension. Again, your choice of fibers will depend on what you want. For my class kits I use a synthetic blend to avoid any possible allergic reaction (wool allergy is more frequent than I thought).
Shuttles
Not everyone uses shuttles. Some keep the weft in a bundle and use a knife or a ruler for beating. I use a belt shuttle which permits me to roll my weft on it and beat with the tapered edge. For demos or during re-enactment events I use a weaving sword. Again, what you use is based on your comfort. Take time to try various shuttles. Also, you will notice that the fibres used, and the technique used will influence your choice of shuttle. The things you need to keep in mind when choosing a shuttle is: weight, loading capacity if you keep your weft on it, a good, tapered edge, size (it needs to fit in the shed), and comfort.
Looms
There are 2 categories of “looms”: The one where the warp is attached to two fixed points and the one where the warp is attached to the weaver and a fixed point.
Two fixed point warp
This is when the warp is stretched between two fixed points. The weaver is at one end of the warp or sitting across it.
Advantages:
- The convenience of movement. If your warp is tight enough, you can get up and come back to your weaving without losing tension (do not leave your weaving unattended if you have cats… just don’t).
- It can be much easier on the body.
- You keep an even tension.
- You are more visible to people around you. The risks of someone walking into your warp are slim to none.
Disadvantages:
- If you are using a loom, it can take some space.
- If you are using two fix points (hooks on a wall), you can’t really change location.
- If you are someone who prefers a lot of tension, you will break your loom or at best you will distort and warp the pegs.
- If you can’t reduce tension between weaving sessions, there is a risk that the warp will stretch due to being under constant tension.
- If you are using a physical loom, you might have a maximum warp length (especially true for inkle looms)
- Depending on the loom used you may have a maximum width.
- Examples of this category is the box loom, the inkle loom, the floor loom, 2 trees, chair legs, the Oseberg loom, the post loom used by The Virgin Mary from the Book of Hours, tent posts…
The weaver and one fixed point
To be one with your warp. This is when the warp if stretched between the weaver and a fixed point. The weaver does not have an option on where they site, they will be at one end of the warp.
Advantages:
- Some technique requires a frequent change of tension, the tension can be change with very small body movements.
- You can weave anywhere, if you can physically tie your warp to something, you can weave.
- You do not have a maximum warp length. You might have to wrap your warp on a frame or tie it halfway, but the only thing limiting the length of your warp is the space you are in.
- Your warp is very compact. A several meter long warp can fit in a Ziplock back.
- Your maximum width is determined by the number of tablets you own and your sanity level. If you want to with 200 tablets, go at it.
Disadvantages:
- You can’t just get up. You need to secure your tablets before untying yourself from your warp.
- It can be very hard on your back. It’s very easy to have a bad posture.
- Warping can be challenging. You may need some sort of warping board or a warping mill.
- Depending on the fibers used (looking at you very thin 2 ply wool…) your warp may tangle with the twists.
- If you are weaving in a public area, you run the risk of someone walking straight into your warp.
- If you prefer a tight warp, you have risks of ended up with sore and even bruised thighs and butt cheeks. (There are ways to avoid this, but this required making a sling)
- To add to the previous point, this requires a bit more equipment. (a belt or something to secure the warp to you, some sort of attachment to secure to the belt, something to warp on, something to tie your warp to a fixed point…)
There are no wrong or right method, like with everything else regarding material it all depends on you, on your comfort, on if you want to weave in a period way, on your needs. Don’t let anyone tell you your choices are wrong.
A few more things you’ll need
Here are a couple other items that you might want to keep handy.
- Good scissors or shears
- Elastic bands
- Para-cord
- Horsebar or chip clip if weaving back-strap.
- Skewers (cut) or toothpicks.
- Popsicle sticks
- Something to secure your tablets like a stitch holder
- Measuring tape
Warping
Some terms
Depending on which version of my class you are taking your project might already be warped. If so, this section will help you warp a future project. Feel free to reach out if you need help.
Whether you chose two fixed points warp or weaver and one fixed point warp the basics will stay the same.
The warp consists of the vertical threads that run through the tablets.
The shed is the space that is created by the position if the holes on the tablets. The shed is always between the weaver and the tablets. Most of the time, you will pass the weft in the shed. The exception is when you use a brocade technique (we’ll get to that later).
The fabric is the woven pattern. I will use the terms fabric to avoid confusion with the written pattern but know that in some books the terms fabric and pattern are interchangeable. It is not shown on the graphic above but it’s between the weaver and the shed.
The weaver, well… that’s you!
Threading
The threading is one of the most important, if not the most important part of warping. The threading is how the yarn is thread in the holes of the tablets. There are two ways to describe the threading and just to keep things interesting, both ways use the exact same notation on a pattern. The threading is either done in S or Z. Sometimes S and Z refers to the direction the threads enter the tablets, sometimes they refer to the slant a tablet has once under tension. The catch? A tablet threaded in S will have a Z slant. Oh, and the twist direction is also described with S and Z and those change depending on how you turn the tablets.
Don’t panic, it’s not as bad as it sounds, it’s just physics.
Let’s untangle this.
Tablet direction
The tablet direction is the slant in which the tablet is when under tension. When a tablet is threaded with 2 or more threads it will automatically slant one way or the other. We will say that the tablet direction is S if the tablet is slanted like a backslash ( \ ). If a tablet is slanted the opposite way, like a slash ( / ), the tablet direction is Z. The graphic bellow should make this clearer for the visual peeps. You will sometimes see the backslash and slash instead of S and Z on some pattern instructions. I have a personal preference for using tablet direction when writing patterns, but you will find some patterns who uses threading direction.
Threading direction
The threading direction also uses the S and Z but this time the this indicates which way the thread enters the tablet. A Z threaded tablet will be threaded from right to left and a S threaded tablet will be threaded left to right.
Slant and twists
What does the slant of the tablets have to do with all of this? EVERYTHING!!!
REMEMBER
Tablet weaving is a specific weaving technique which uses tablets in order to create a twine and a shed. The twine is created by turning the tablets and the shed is create thanks to the shape of the tablets.
A twine is a strong thread composed of two or more thinner strands twisted together. Keyword: Twisted. The threading will determine which directions the threads will twist to create this twine. This will be the difference between a smooth line and a jagged line when weaving a multicoloured fabric. If weaving a monochrome fabric, this will permit the creation of a design that will be created exclusively by the twist directions.
When turning the tablet forward, a Z tablet will create a Z twist and a S tablet will create a S twist. Following this logic, when turning backward a Z tablet will give a S twist and a S tablet will give a Z twist. This information is extremely useful when drafting a pattern based off of an existing piece such as a historical fragment.
Warping on a loom
When you are warping the tablets don’t worry about the position of the holes, we’ll place them when all the tablets are threaded and we’re ready to weave.
Thread each tablet one at a time. Thread 1 thread in a hole, hold with 1 hand at the top/beginning of your loom and work the thread around the pegs until you reach the top, cut the thread, secure with a double knot and repeat. If you have multiple skeins, you can thread more than one hole at a time, just make sure you are all threading them in the same direction. If your loom has a tension bar (this will be a piece that you can move, either slide back and forth or a flat peg that you can move from horizontal to vertical.) Make sure that it is in the tightest position. In the image above, the tension bar is the movable peg right where the arrow points to the knot. This should be as close to the weaver as possible.
A threading pattern is read left to right. The first column is the first tablet on the left-hand side of your warp and so on. Some patterns will name the holes in the tablets (ABCD, 1234, …). You may have noticed that the tablets that came with the course kit are not marked, feel free to mark them if it’s easier for you. I don’t use a marking method as it’s really only useful at threading and there’s visual cues on which thread goes where, but I do include the ABCD on my drafts since I share my patterns. In all the patterns in the handout, A and D will be your “home” which means that hole’s A and D are at the top of the warp. But don’t bother with this just yet, you’ll place the tablets in a later step.
Once all your tablets are threaded, count them. If you missed a tablet now is when you want to know, not when you’re weaving. Secure your tablets. You can shove something in the holes like a stitch holder, wrap them in elastic bands, anything that will prevent them from turning when you’re not using your loom. If you have pets (looking at you cats…) or children, I suggest using something that they will not temper with.
When you are weaving and you’ve reached a point where you are out of space, SECURE YOUR TABLETS, release your tension (slice the tension bar forward or move the horizontal/vertical lever) and gently pull your warp towards you, rolling it on the loom until the unwoven part is where you can weave it. Put the tension back on and keep weaving. Did I mention to secure your tablets before doing this?
Warping for backstrap
Disclaimer, there are several methods to warp back-strap, this is the one I use. Another method might work better for you.
As mentioned previously, sometimes you are the loom. Start by threading your tablets. To do this you will need a warping board, or a warping mill, 2 fixed point like the legs of an inverted chair. Side note… I suspect that the “Oseberg loom” was actually a warping aid rather than a loom. The threaded band found in the burial ship was warped to be used back-strapped. I will die on this hill. Anyways, you need something to warp on. Whatever you chose, the technique is very similar to using a loom.
You will thread a tablet, secure (or hold) that thread to a fix point, warp around the pegs, chair legs, fix points until you reach the length you need (if using some thing else than a warping board or warping mill be sure to space your fix points so the distance is slightly more than the length you want your fabric to be).
If this is the only thread of that colour in your tablet, tie it to that fix point. If not, you can wrap around that fix point and make your way back, thread the tablet and tie it to the other end of the thread.
Do this again until all your tablets are threaded. Once all your tablets are threaded, count them. If you missed a tablet now is when you want to know, not when you’re weaving. Secure your tablets. You will want to use something that can stay put like an elastic bands or those big metal clips used to secure knitting.
Gently take your warp off your warping device. The method will vary depending on what you warped on. On my warping mill I just yank out the start and end pegs that everything is tied too. Technically, your warp is ready to be woven but I like to do one extra step that is extremely useful if your warp has an “accident”. If this doesn’t interest you, skip. Tie both ends to fixed points or tie the extremity with the tablets to you and the other to a fix point (next step shows how to tie it on yourself). Create tension by moving away from your fix point and find your shed. Your shed is the void that the tablets create. Shove a Popsicle stick in there (trust me…). When you reach the end, tie a second popsicle stick to the first one using 2 elastic bands, one on each side, the top half of your shed is now in between
the 2 Popsicle sticks. Put back some tension, unsecure your tablets and turn 1/2 (so 2 X 1/4) forward. SECURE YOUR TABLETS. Find your shed again. Go back to the Popsicle sticks. You’ll notice that the bottom stick is stuck. Undo 1 elastic and without removing the stuck stick, bring the other one in the shed. Put the elastic back on. Create tension. Unsecure your tablets and turn 1/2 backward. SECURE YOUR TABLETS. Find your shed again. Your warp is now crisscrossed in the sticks. What this does is that it keeps your threads in the position they should be. If something happens and your warp is dropped while your tablets are not secured you will now be able to know where each tablet goes. This technique is also used when warping a floor loom, but big sticks and binder rings are used instead.
Alright, your warps is ready to weave, now you need to secure it to yourself. You’ll need a belt that fits around your hips, a horsebar or a chip clip, elastic bands or safety pins.
Sit on your belt, this is why it needs to be wide enough for your hips. If it’s more comfortable on your waist, feel free to do that instead. If you’re using a horsebar, hook it to your belt and fasten the warp to the horse bar. I like to use rubber bands to make sure it stays shut. If you don’t have a horsebar you can tie the war to your belt or fasten it with a chip clip and a safety pic.
And so it begins
I’ll show you a simple pattern, usually the first one I give out with my class and probably the one that is already warped for you if you’re taking my short class. We’ll see here how it was threaded followed by an explanation of the mechanics.
Warping Oseberg 12L1
This band is amazing because it’s simple to warp and weave, it has an irregular threading sequence so you will very easily see if you forgot to turn a tablet, and ☆it’s period☆!! It’s also the type of pattern that most mistakes look great so no need to worry, we’re here to learn.
Threading instruction for Oseberg 12L1
The first thing we need to determine is how many tablets are needed. Each column is a tablet. In this case we need 10 but nothing says we can’t add more if we want, we could even warp the pattern twice to mirror itself. But let’s just do 10 for now.
We also know by looking at the threading pattern that every hole will be threaded. We’ll see later that sometimes 1 or 2 can be left empty. This is important to know when calculating if you have enough fibres to warp your project. The rows are the holes of the tablets.
This pattern uses 2 colours, this isn’t a firm rule, you can use as many colours as you want. This one is really nice if the design is one colour but the background rainbow or in a gradient.
If you look at the bottom of the pattern you see the tablet directions. Be careful, some threading pattern will show the threading direction, this is the tablet direction which means that when you look from above the tablets are slanted / Z or \ S. If you notice a tablet should be Z but it’s S simply pivot it by flipping it. If your patterns ask for 3 or 4 different colours per tablets, you will not be able to fix the tablet direction by flipping the tablets as this will switch the position of the colours.
Getting your warp ready
Placing your tablets in the right direction
Now that all our tablets are threaded it’s time to make sure they are in the right direction and then we’ll place them in the right position.
Look at your tablets from above and look at the slant. For Oseberg 12L1 it should look a little like \ / \ / / / \ / \ /. If it does not, go ahead and flip the tablets that are not in the right direction.
This band uses all forward turns. This can be determined by looking at the original fragment closely. It’s hard to see from the image provided but the twists are always the same meaning that the tablets were never turned in the opposite direction.
Remember! When turning the tablet forward, a Z tablet will create a Z twist and a S tablet will create a S twist. Following this logic, when turning backward a Z tablet will give a S twist and a S tablet will give a Z twist.
Placing the threads in the right position
When you look at your warp from the top the only easily visible threads are the two (or one if using an empty hole pattern) at the top of the tablet. That’s great because those are the only 2 threads that we’ll concentrate on for now.
The first row of the threading pattern is the top hole closest to you, the last row of the threading pattern is the top hole furthest from you. By default, the second row of the threading pattern is the bottom hole closest to you and the third row is the bottom hole furthest from you.
Here is how the threading of Oseberg 12L1 should look like if you are looking at them from the front (not from above like we did earlier for the threading and tablet direction).
Weaving! (Finally)
I lied.. we need to do cover the mechanics first.
Now that all are ducks (tablets) are in a row let’s go over how these tablets work. Like mentioned earlier, this part is absolutely not mandatory to understand. A weaver can produce breath taking fabrics just by following a written pattern and not giving a flying duck of why the tablets are doing what they are doing. It’s good to know, but don’t feel like you need to carve this in your brain to be a good weaver. However, if your goal is to draft your own patterns, troubleshoot your stubborn projects, modify existing patterns that might have symbols that while period have had their meaning changed due to a terrible human being… knowing the mechanics will make things easier for you.
How is the design created?
At first glance it might seem like magic but really, it’s physics.
We’ve already covered the twists, how the slant of the tablet or threading of the tablet and the direction the tablet is turned will determine the twist. If your tablets are not in the right direction, you will notice right away. This is one of the factors that creates the design, but this won’t change which thread will show up on the design.
The thread (or lack of thread) that creates the design is always in one of the two holes at the top of the tablet. This applies to any turn, forward or back. There is always a thread that will be lifted as a result of turning the tablet and deposits itself on top of the warp. In the event that the hole is empty, the void created in the warp will also contribute to the design. This is not influenced by the slant of the tablet; this has everything to do with which thread is in which hole and which thread is being lifted. This applies to ¼ turns, it applies to ½ turns, and it applies to the rare ⅛ turns.
A simple way to remember this without having to bother with the mechanics is: If you turn forward, the thread that finishes the furthest from you is the thread that will show on the design, if you turn backwards the thread that finishes the closest to you is the thread that will show on the design. Knowing this makes it waaaaay easier to find where you are on your pattern, and it also makes it less of a nightmare if you need to unweave to fix a mistake.
A ½ turns will be obvious if the colours don’t follow the 1,2,3,4 pattern they’ve been threaded in. For example, if we use the tablets above, if we start on red but the showing colour is yellow, we know it’s a ½ turns. The following colour will tell us if that turn was forward or
backward. If the thread appears to float on top of the fabric without changing it means that the turning sequence was alternating backward and forwards. Knowing these couple details about mechanics will permit you to troubleshoot 99% of the issues you’ll encounter and it will permit you to look at a finish fabric or even a fragment and determine the turning sequence. For example, here’s a section of a band I did using 1/4 turns, 1/2 turns, and floaters.
This is the basics of the mechanics. Of course, there’s more but everything else will relate back to these few points.
Ok. Now we start for real
Now that our tablets are in the right slant, the threads are where we want them, and we went over the basics of the mechanics, we can weave.
First step is to find the natural width of the band. There’s a very simple way to do this that doesn’t involve guessing. You can use whatever is handy, thick yarn, toothpicks, narrow Popsicle sticks. I usually go with skewers cut between 5 to 10 cm or toothpicks but go with what you have on hands. You’ll need 8.
Place one stick in the shed and pull it towards you, turn all your tablets forward (away from you), count 1. Do it again, count 2, push your threads together. Do that until you counted to 4, gathering the threads on the sticks together each time. After 4, put another stick but turn backwards (towards you). Do this until you are back at your stating point. You should have done 8 turns (4 forward, 4 back) and have 8 sticks in your warp. If your of sticks are solid enough; tie them together on each side using elastic bands. If not, don’t worry about it. This will give you a really good idea of what the width of your fabric will be. Results will depend on the fibres you’re using but generally this will give you a good solid start.
Starting the band
The reason why this always the fragment I choose to teach at beginner level is because it is simple enough to see immediate result while being complex enough to actual learn something. Bonus; it’s period. This fragment uses a technique called threaded-in. Patterns using this technique are beautiful on their own but also make amazing borders for other patterns. These patterns are more often than not woven with all forwards or all backwards turns or an equal amount of each. These uses just forward turns, I didn’t include a weaving pattern for that reason.
1- Pass the shuttle into the shed created by the tablets. That’s the space between you and the tablets. Be sure to leave a weft tail of about 10 cm. The side you start doesn’t matter, go with what you’re more comfortable with, I usually start from left to right, the side you choose will not change anything to your weaving you’re the results.
2- Once you have a 10 cm weft tail on the side and your shuttle is on the opposite side, turn the tablets as per pattern instruction. In the case of Oseberg 12L1 all tablets turn 1/4 turn forward.
3- You’ve created your first twists! If you look at the new shed you’ve created, the threads should be equally divided up and down, you shouldn’t have any threads just hanging out in the shed. If you do (it happens, especially if you are using wool) just fan out your tablets or move your fingers through the shed. Make sure your tablets are all straight. They should have made a distinct “crunch” sound when you turned them.
4- Now take your shuttle and beat down on the twist. Usually, a swift flick of the wrist does the trick, for wider bands I’ll hold my shuttle with 2 hands and pull it toward me to make sure everything is nice and even.
The sequence of actions you’ve just did is called a pick. Pass the weft, turn tablet, beat, that’s a pick.
5- Your shuttle is now in your shed. Pull it through until you feel resistance. I like to pinch the loop the weft created while I pull so I can feel when the weft hugs the threads of first tablet. That tells me that I’m done pulling. Once you have a couple picks done, you’ll be able to feel what I mean.
6- Your shuttle is now on the same side you started on. Turn your tablets as per the pattern directions. Make sure your shed is nice and neat. Beat your twists.
7- Before pulling your shuttle on the other side again, we’ll secure our weft tail. Since your shuttle is in your shed, you have a loop on the same side your weft tail is. Take that tail and gently pull it through that loop. Pull your shuttle like you did in step 5.
8- Repeat. Each time you form a loop on the tail side, thread it through that loop. After about 4 picks of this (about 8 total) you can leave it be. We’ll trim it later. Threading your weft tail will prevent your band from unravelling. It’s not always necessary but it’s useful. You can also do this when your weft breaks, or you run out of weft and start a new one. There’s also way to secure the ending weft tail, we’ll see that very soon. Keep an eye on the width of your band, if you pull your weft to tightly your band will narrow, if you don’t pull tight enough it will widen. If you don’t beat hard enough or tightly enough the design will elongate.
Congratulations, we are weaving! But wait! There’s more! Remember the twists you are creating? You’ve probably notice that the other end of the warp is also twisting! This will become a problem because we’re just doing forward twists. Don’t worry, there’s a way around that, more than one actually. A lot of weavers will simply start weaving backwards to untwists their warp, it’s a simple and easy solution and it works great. The downside is that it will create a complete pick of floaters and depending on your fibres it could be pretty noticeable. There’s the progressive flip method (yes, I made that term up… I haven’t seen this technique in any book or online, but I doubt I’m the only one to do this). It’s a bit more work than just turns your tablets backwards, but I find it makes a neater border. You are welcome to use the method that you are most comfortable with, there’s no right or wrong way of doing this.
1- When the twists are too tight or too close to your tablets, choose a side to start (I chose left) and flip the tablet to change its slant. In my example, I took a S tablet and flipped it to a Z. Weave a complete pick (turn tablet forward, beat, pass weft)
2- Flip the second tablet. Weave a full pick.
3-Flip the third tablet. Weave a full pick… Do this until all tablets are flipped and just keep weaving turning forward.
Why does this work? Because by flipping the tablets you’ve change the slant, the slant determines the direction of the twist. You’ve changed the direction of the twist. Same as if you would weave backwards but you’ve done it gradually by flipping one tablet at a time so instead of having 10 floating threads in one pick, you have 1 floating thread per pick for 10 picks. Also, if
you put your weaving down, you don’t have to ask yourself which direction you were turning your tablets, it’s still going forward.
When weaving any pattern with threaded-in borders, you will run into twists no matter what the design between the borders is. When flipping border tablets, I like to do one per side at each pick.
Finishing the band
Now that you’re at the end of your project, you might want to secure the weft to prevent unravelling. Just like at the beginning, this isn’t mandatory but it’s a nice touch to avoid seeing hours of your work unweave itself.
1- When you’re a few picks from being done, weave as usual until you are at a point where you pull your weft. Leave a loop big enough for your shuttle to pass through. You will have a loop on one side of your band and the shuttle on the other.
2- Turn your tablets as per the pattern.
3- Beat with the shuttle and pass your weft through the shed. Now thread your shuttle through that loop you’ve created.
4- Pull your weft to tighten the loop until it disappears.
5- Turn your tablets as per the pattern.
6- Beat, pass your weft in the shed and create a loop again. It should be on the same side as the first loop.
7- Repeat this until you are confident it’s secured enough. Usually, 2-3 loops do the trick.
8- Trim your weft. Cut your band off your loom.
9- This step is optional. Gently wash your band. Use a soft soap if you want but usually just clear water works. DO NOT rub, especially if you are using wool, unless you want a felted band. (It makes beautiful straps for bags by the way). You can swish it around in water. Lay flat to dry, avoid hanging if you used wool or a fibre that stretches
Be absolutely certain your fibres are colourfast before wetting your band!!!
Customizing your projects
There are many ways you can customize your projects.
- You can leave an unwoven length at the beginning and end you’re your band to create tassels.
- You can thread beads on your weft and drop beads on your band. Simply let a bead pop up between the threads of 2 tablets.
- You can play around with the weft size. There’s several Iron Age fragments that has horsehair for weft (Hallstatt 123 for example). Varying the size of your weft will change the look of the design.
- Use variegated threads. It’s not period but it’s fun.
These are just a few ideas, use your imagination. Try stuff. You won’t know if it works until you try it.
Sources
Here are some of the sources I’ve used to write this handout and some that I often refer to when I weave.
• Banck-Burgess, Johanna. Hochdorf IV, Die Textilfunde aus dem späthallstattzeitlichen Fürstengrab von Eberdingen-Hochdorf (Kreis Ludwigsburg) und weitere Grabtextilien aus hallstatt- und latènezeitlichen Kulturgruppen. Germany, 1999
• Bustamante-Álvarez, Macarena. Sánchez López, Elena H. Ávila, Javier Jiménez (eds.). Redefinición de estructuras, herramientas y procesos de producción artesanales textiles antiguos, Universidad de Granada, 2020.
• Christensen, Arne Emil; Nockert, Margareta. Osebergfundet IV, Tekstilene. Universitetet i Oslo, 2006
• Collingwood, Peter. The techniques of tablet weaving, 1982
• Crockett, Candace. Card Weaving, Watson-Guptill Publication, 1973
• Di Fraia, Tomaso. Tablet weaving in prehistory and proto history: the contribution of the Italian record, University of Pisa, 2017
• Geijer, Agnes. Kungliga Vitterhets Historie och Antikvitets Akadamien. Die Textilfunde aus den Gräbern. Birka: Untersuchungen und Studien III, Uppsala, 1938.
• Gromer, Karina. Textilien aus Hallstatt: Gewebte Kultur aus dem bronze-und eisenzeitlichen Salzbergwek, Archaeolingua; Bilingual edition, 2013
• Historika data bank.
• Laporte, Pierre. Boyer, Raymond. Trésors de Chelles: sépultures et reliques de la reine Bathilde (vers 680) et de l’abbesse Bertille (vers 704) ; catalogue de l’exposition organisée au Musée Alfred Bonno David Coxall, responsable du Musée, Soc. Archéologique et Historique, 1991
• Pritchard, Frances. Crafting Textiles: Tablet Weaving, Sprang, Lace and Other Techniques from the Bronze Age to the early 17th century, Oxbow Books, 2021
• **Stoltz, Randi.
• Wollny, Claudia.
Alongside these books, documents, and websites, I have referred to many hand-outs from Mistress Madrun Gwehyddes, OL (An Tir) as well as some passed down knowledge that I’ve retained from her classes. If you have the chance to attend one of her classes, do yourself a favour and do it. She’s amazing.
** This website has several images of swastika. None of them are displayed for white-supremacist reasons but rather as a common Iron Age symbol. That being said, if you would like to access the patterns from this website but are uncomfortable with the sight of this symbol, I can retrieve swastika-free patterns from this website for you. Just drop me a line. No questions ask, no shame. Please reach out if something is painful for you.
Vefaradrekinn 