Yet another novice level post on Balearic-style slings and Andean-style braiding

Zigzags!  I've done a zig and a zag and have started the next reversal.  I'm trying to do about six repeats between reversals, though I'm not keeping track all that closely.  My consistency is improving, yay!  And I think my understanding is improving, too.  I guess I'll find out as I keep braiding, start the next braid, etc.

I've also made another sling using the same instructions and methods as last time.  Hmmm, the sling is a bit less than a meter long, so I do think I'll make the next one longer.  The first one is also a bit less than a meter long.  This second one has a slightly longer pouch but a slightly shorter finger loop.  The release cord is about an inch longer than the retention cord (when I fold everything in half around the middle of the pouch).  I had thought the two would look and feel a bit different from each other, but no, they don't!  So I guess I have a ways to go before I'm content with the consistency of the braiding.  Or maybe this is good enough and I'm too picky.

I might soak this one to see if that makes a difference in how it looks, whether it stretches out or evens up, etc.

Dunno what I'll make next.  Maybe do this one again, but maybe a bit longer and maybe with 5 strands instead of 6.  Or 10 instead of 6.  Or try a braided sling with a woven pouch.  I guess I'll see what inspiration strikes.

I'm also starting to feel like I want to start some tablet weaving projects.  I'm not sure how much longer it'll be until I can set up my little weaving area again.  The sling-braiding and the fist-braiding don't take up much room and can be done anywhere.  For various reasons, weaving takes up more space and needs a dedicated spot where I can walk away for a few hours or a few days and things can be resumed without too much trouble.

I believe that's it for me today.

More sling chatter (and a new braid)

I showed my first sling to someone who knows how to use a sling.  This person confirmed that it looked and acted like a perfectly reasonable sling, yay.  This person usually makes slings by attaching paracord to a sling pouch made of duct tape.  I love that slings are so low-tech with so many ways to make them from whatever convenient items are in your local environment.

I've started another Andean in-the-fist braid.  I tried with 8 strands (4 strands folded in half) first.  It was difficult for me to see which was the lower and which was the upper strand.  So I cut another set of strands, and I'm doing another braid the same way I did the first.  It's going well.  I'll probably start zig-zagging soon, and then, depending on how much yarn is left when I get tired of that, will try some other variations.  At some point I will return to 8-strand braids!  Though it amuses me that the 16-strand braid is easier to learn on.

I've also tried a new-to-me braid.  I'm pretty sure I've done something very similar using a different technique.

It's from a youtube video on making a sling.  It's in Spanish, so they of course use the local terminology of Honda or Waraka.  Here's part 1, which shows the braid and the first half of the sling's construction: https://www.youtube.com/watch?v=KMJAAkhHcZE and here's part 2, which shows the woven split pouch and the rest of the sling's construction: https://www.youtube.com/watch?v=Kw1chCl6fXs&t=616s

The finger loop, made with 4 strands, is the standard 4-stranded cord made all around the world.  I like this particular method, where diagonally opposite strands twist past each other, alternating the twist direction.

Then it's joined, and the new braid is a braiding technique I've not done before.  It's a 4-strand braid (each strand has two pieces of yarn).  I'm pretty sure I've done this braid structure on a marudai and also through fingerlooping.  But this is a freehand braid, and it's kind of cool-looking and fun to do.

Not that I'm perfect at it or anything.

The video demonstrates the sling construction using a fairly thick single-ply yarn.  Interesting.

I wonder if I should do a track plan and compare it to the other braids I believe this resembles?

The braid is slightly elastic, though more so in compression than in tension.

I only used enough yarn to play around with the braid rather than doing a full sling.

The split pouch is one of the styles I see in the books (and websites and videos) on Andean slings I have access to.  I'm looking forward to trying it when I decide to make that style of pouch on a sling.

I wonder what the braid would be like if I use more than 4 braiding elements?  Also, will I get faster with time, and how will that compare with other braiding techniques?  The braid in the video was secured at the top, while I was randomly holding onto it while braiding.  Maybe I'd be faster if it was hooked to something.

I have no idea whether this is a traditional technique or a more modern shortcut.

My stash of random acrylic is getting low.  I also use it for charity knitting and share it with another charity knitter/crocheter.  We're both fairly productive; there's not much left.  My second in-the-fist braid is using different colors because some of the skeins of yarn I used in the first braid are now with my friend, being turned into charity hats.

A braid pic (first try at Andean-style braiding in the fist)

It's not quite done, but I'm making progress.

You can see how I'm finally getting the hang of things.  The braid is properly spiraling, yay!  And my tension is starting to become more consistent.

I'll work on this for a little while longer, but the strands are getting short.  They are not even in length -- I must not have adjusted the tension/evenness very well when I first started.

After this, I think I'll play around with 8 strand braids for a little while.  (The above braid is a 16 strand braid.)  There are some fun variations that seem very logical in their construction/development when I look at the charts in Cahlender and the Owen and Owen/Flynn and Tada books.  So I'll check them out.  Owen and Tada make charts for the marudai or square disk, but it's straightforward enough to generalize them back to in-the-fist braiding, I believe.  If I understand and can make the various 8-strand braids for realz, it'll be a good sign for when I return to the 16 strand braids and beyond.  It'll also help me to continue gaining the physical finger skills to make my braids more consistent and more efficient to braid.  And heck, I can always use a marudai or disk for any of these braids if I want to.

I've wandered into a bunch of fun videos in Spanish on slings and Andean-style braiding and cordage.  I don't know enough Spanish to follow all the details of what is being said.  But I recognize some of the words and I can certainly watch what's happening in the video part of things.  It's a nice complement to English-language sling-braiding videos.  And it's also a nice complement to the many videos I enjoy watching about other kinds of braiding and narrow wares, in whatever language they may be in.

Andean/Tibetan-style braiding in the fist and other sling-related baby steps

No pics yet, but I'm starting to learn how to do this, yay!

I started with 8 strands (of acrylic worsted weight yarn) folded in half, which is probably slightly more complicated than it needed to be, but it's giving me a lot of good info on what not to do and why.

My baby braid is very uneven.  Hopefully it'll be a lot better by the time I'm done.

I used 4 different colors -- one color each for lower N/S, upper N/S, lower E/W, and upper E/W.  That way, it's easier to keep track of each level and what it's doing.  I'm doing the same moves each time and am getting a square braid with vertical stripes.  I'm not fully sure why it's not spiraling like it seems to do in a lot of Youtube videos, but it looks about right compared to my in-print resources and according to what my brain thinks is happening.  Or maybe not.  I guess this is one of the things that will become obvious eventually.

One I finish mangling this braid, I'll retreat to 4 strands folded in half (2 threads per side instead of 4) and try again.

I do understand the underlying theory of having upper and lower threads, with the lower threads being the ones that move.  I understand the idea of crossing the strands clockwise or counterclockwise, and I also understand rotating 90 degrees to do each side in turn.  I'm sure there's a lot I don't understand yet, and probably am not even aware of not understanding.  But that's what this kind of learning is all about, right?

I'm getting comfortable with holding the braid in my fist along with the threads that are not to be bothered during the current braiding step.

I liked the starting method, which I saw somewhere I can't remember but is probably universally known and I just didn't know it.  Lay down the lower N/S threads, then the lower E/W threads, then the upper N/S threads, and finally the upper E/W threads.  I used a piece of thread to hold the cross in place for the first few moves.  One starts with braiding the lower N/W threads and goes from there.  The threads will not be locked into place for a round or two so it's possible to adjust where the middle is.

I will probably show a pic of my baby braid when it's done, baby missteps and all.

One of the goals, obviously, is to be able to make Andean and Tibetan style braided slings, in addition to making cool braids in general.

The braided sling I wrote about in the previous post is keeping me entertained.  I need something heavier to toss around -- cat toys don't have sufficiently predictable aerodynamic properties.  But not too heavy, since my accuracy is still garbage and I don't want to break anything with a poorly-aimed projectile.  What I really need is to find someone who is already a decent slinger to give me some good feedback.

My next bast-fiber sling might be with a 5-strand pigtail/herringbone braid.  I'll probably do the same basic design.  I do need to double-check how to split or join the braids at the pouch since I think it's slightly more complicated than doing it with a 3-strand braid.  After that, I might start experimenting with different ways to add a sling pouch.  Eventually, of course, I'll start tapering the various parts -- heavier near the pouch, perhaps more slender by the end of the release cord.  Not all historic slings do that but some do.

So many fun things to learn and play with!  (Netting!  Sprang!  More fingerloop braiding!  More tablet-weaving!  More inkle-weaving!  Kumihimo/marudai fun!  Etc.  So much etc.)

A simple braided sling

My weaving area is still unavailable.  But I guess the sling-braiding itch got too hard to ignore.  Thus, a sling!

It's made from 6 strands of 48 lb hemp, in a simple 3-strand braid with a split pouch.  I followed the Dan Bollinger tutorial on slinging.org, here: https://slinging.org/20.html

His instructions are for a 1m sling.  He recommends starting with strands that are 2.8 times the length of the desired finished length.  So, for the 1m sling (39"), cut 6 strands at 110" each (280cm).  Braid the central finger loop for about 4", then join.  Braid about 14", split for the pouch.  Each side of the pouch is about 4" long, then rejoin and braid another 18".  Do an overhand knot (or some kind of sturdy knot) to finish, then trim the ends.

Hemp is hard on my poor fingers!

My braiding is not as consistent as I would prefer.  I'll have to see how well the sling works...  I'm also wondering if I should try waxing or oiling it, and what effect that might have.

This is similar to the Balearic style in that it has a simple pouch made from splitting the cordage for braiding and then rejoining.  A lot of slings use a leather pouch, or they sew a bit of leather or something to these split braids.  Or they weave a pouch that is incorporated into the braiding at each end.  Most of the tutorials I saw for Balearic slings had the release cord tapering at the far end, sometimes ending in a tassel made from much thinner material.  Many tutorials also did 5-strand pigtail braids rather than 3-strand.  And some were made from grass that was twisted into cordage as the braiding proceeded.  That made it easier to increase or decrease the size of the braids.  Some had thicker braids near and in the pouch area, for example, in addition to narrowing the release braid.

I still plan to do slings made from animal fiber (or maybe just acrylic yarn at first, and then animal fiber) and the fancier square braids, with various styles of woven/braided/sewn/etc. pouches.

But these quick bast-fiber braided slings are cute, too.

And yes, even with the delightfully amateurish construction, I am exceedingly pleased with myself.  I'll get better with more experience and with the feedback from actual real-life use.

The demo/teaching thing

I did the demo/teaching thing referred to in the last post.  Most people took their braids, but a few were left behind, or were ones I did as part of teaching and demoing.

I mostly taught people the 5-strand unorthodox fingerloop braid, A-fell.  (though it was kind of slentre-like in that it was easiest to go through the middle finger loop on the way to the ring finger loop by holding my hands mostly palm-downwards rather than palms-facing)

For a few young children, I did twisted-loop cords with them.  One slightly older child learned the 7-strand fill-the-gap disk braid.  (I had a pile of disks with me for just that purpose)

A few people already had done fingerloop braiding, so we had fun with 5-loop orthodox braids (square, flat, and split/double), 7-loop orthodox braids (square and flat), 7-loop unorthodox braids, and the 7-loop pigtail braid done as a V-fell braid (load up 4 fingers on one hand and 4 on the other, and the empty little finger grabs the index finger loop of the other hand).  We also did a 4-loop loop-exchange braid, and I tried playing around a bit with various unorthodox 7-loop braids though none turned out so well that I needed to write them down.

As you can see from the above photos, people had fun choosing different colors to see what would happen.  With the unorthodox braids, sometimes the back side (the one that looks interwoven) is more interesting than the front side (the one that looks like Vs).

I also got to spin a bit, on both wheels and spindles.  Someone had some raffia and shared it around so we could all make some cordage (twist one side and fold it over/under the other side).  And as always I had my knitting with me and got a fair amount of knitting done.

It was fun, both the teaching and the hanging out with other people who enjoy playing with fiber.

My weaving area is still unavailable, so I haven't done much else in the way of narrow wares this month, at least not so far.  All the stuff mentioned in my last post is still on my want-to-do list.  We'll see what happens.

One of my feline weaving assistants has passed away.  She was old and it was sudden.  I'll miss her.  Yes, even her deeply non-helpful weaving assistance.

Thoughts for an upcoming demo/teaching thing (braiding)

My tablet-weaving area is still unavailable, thus no tablet-weaving or other narrow wares this past month.  I did do some real weaving on a rigid heddle loom.  I'm sure my experience with band weaving (tablet, inkle, heddle, etc.) helped as I did my first beginner-ish project.  If/when I do more weaving, I can add some narrow wares to use as handles and trim and what-not.

I've been asked to be part of a demo this weekend.  Specifically, I've been asked to demo/teach braiding, and in particular, fingerloop braiding.  I'll be in the family crafts area, so I'll be doing quick one-on-one teaching to people of all ages, plus or minus a bit of whatever I want to demo when I don't have customers to teach.

Hmmm.

This calls for the standard, most common/famous fingerloop braid, right?  The 5-loop unorthodox A-fell braid!  It's pretty easy to learn, not much to wrap your brain around.  The hardest part is the finger dexterity as you walk the loops.

Put loops on the index, middle, and ring finger of one hand, and the middle and ring finger of the other.  Use the empty index finger to go through the middle-finger loop on the other hand and pick up the ring finger loop.  Walk the loops down on that hand, and repeat with the other index finger.  Etc.  It doesn't matter if the loops are taken reversed or non-reversed.  Well, with the usual caveats about bicolor loops, I suppose, or the other subtle differences in the braid's structure or appearance.  But the braid looks roughly the same either way and it doesn't do anything weird like fall apart or become two braids.

For people for whom that is too complicated, we can do the 3-loop variation.

What I like about the above braid (in addition to its near-universal prevalence) is that it is relatively bomb-proof, i.e., you'll end up with SOME kind of braid, and also that it generalizes very easily.  With your index finger of one hand, go through the loop next to the loop on the smallest finger on the other hand and pick it up, then walk the loops and repeat with the other hand.  That works whether it's 3, 4, 5, 6, 7, etc. loops.

I might bring discs with me to teach the 7-strand fill-the-gap braid, too.  Or even the 8-strand kongo-gumi braid.

I should have some random demo braids on display, as well.  Plus maybe make sure I remember how to do several other kinds of braids if I get bored, either for demo or to teach.  Other variations on a 5-loop braid, of course.  Maybe one of the loop-transfer braids (the 4-loop, probably), since that's fairly easy to teach.

Should I pre-cut yarn in addition to having some for others to cut their own lengths with?  Should I do this in the context of making a project such as a small bracelet?  Or not, and suggest using the braid as a bookmark or keyring attachment or small tie, etc.?

I should probably also re-read a bit on the history of cordage so I can spout a few facts and what-not at people.

I might want to bring a hand-out, taped down, that people can take pics of if they want info on links to good websites and other resources for learning.

Should I bring silly things such as a sprang project?  Plus my knitting, of course.  The inkle loom is probably too fragile to be out in public (i.e. too easy for people to break or steal).

I want to practice some in-hand Andean-style braiding at some point (in addition to everything else I want to do), so that's another potential project for me to bring to entertain myself with.  Hmmm...  is that a possible method that could have been used by people doing the common 4-strand sennit/braid?  Or does it not generalize as easily?  Is the braid easier to make going up from the hand, or down from a tie-on point?

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I also wanted to mention that Noemi Speiser has passed away.  She was 99, I believe -- a good, long, productive life. Her contributions to our knowledge of historic braiding and braiding techniques are immense.  I've learned a lot from her publications and from the people she educated and inspired, and I have plenty more to learn as I continue to explore the world of braiding and other narrow wares, both woven and not.

https://trauer.nzz.ch/traueranzeige/noemi-speiser

Some idle thoughts

No tablet weaving is currently happening, alas.  My tablet weaving space is not currently available.  I've been doing other things but not tablet weaving.

I am thinking about a Next Project, though.  I'm thinking it's going to be the practice band for the tie-down technique, #50 in Tablet Woven Treasures.  Not because I specifically want practice, but because I rather like the motif.  Mervi Pasanen posted a pic of it done in different colors and that sent me looking...

Here's an instagram pic of it:  https://www.instagram.com/p/DMUzit3t7Kj

I do not plan on doing tubular selvedges at this point though it's possible I could change my mind.  I might do the wrapped/braided tassels, though.

I'm also considering some other potential tablet weaving projects.  Nothing I can remember offhand, but I do remember that they're all less fiddly techniques.  Eh, we'll see what happens once the tablet-weaving area is available again.

Speaking of Finnish Iron Age bands, Applesies and Fox Noses has been reprinted, yay!  It's available through a couple of different sources.

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I was going to be teaching some fingerloop braiding this weekend, but a conflict came up so that won't be happening.

I did do some impromptu teaching/demos a few weeks ago.  I showed/taught the 2-loop loop-exchange braid, the 4-loop loop exchange braid (in two colors, for a spiral), and then the 4-loop sinnet (the Skjoldehamn 4-loop braid), also in a two-color spiral.

Although I haven't done much other braiding recently, I was having fun going through some online museum archives and spotting the braids, whether or not I could get enough resolution to see what was going on or not.

One of them is the International Dunhuang Programme.  Here are a couple of links to braids in the collection, including a couple of slings!

https://idp.bl.uk/collection/D244E5464D954BE2855CEDF81EF4077D/

https://idp.bl.uk/collection/EE55C581E46942499DD8DAB5455B588A/

https://idp.bl.uk/collection/1B110B210B104CBC9AAE6E407CE0A7A2/

https://idp.bl.uk/collection/B7289C7590C441ABAA857511168C12A9/

https://idp.bl.uk/collection/48FF9807471C4CD896A5796DB6694AA9/ is a cute little purse that does have some cordage.  I can't quite tell from the photo if it's a twisted cord or a small braid, though my first impression is twisted cord.

The collection has some cool shoes and sandals, too, made from cordage and weaving/interlacing techniques.  There are a bunch of "strings" in the collection as well, most of which appear to be simple bast-fiber cordage.

Ack, there was some other site I'd been wandering through recently with either bands or braids or both, but it's slipped my mind for the moment.  What a reminder to me to keep good notes, perhaps even in this here blog!

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For some reason, I recently watched a few Youtube videos on World War I archaeology, which included a project where the bones of unknown soldiers were recovered.  What was interesting to me (in addition to everything else in the videos) is how badly preserved any textiles are.  It's only been a century (less than a century when some of the digs happened) and not much is left, and what is left is usually fragmentary and filthy.  That gives me a bit of perspective on the much older sites where textiles or textile fragments have been preserved, both the ones where anything left is in bad shape and ones where the preservation is excellent (such as the Dunhuang textiles in the above paragraph).  It also gives me a bit of perspective on the effectiveness of Our Microscopic Friends and how efficiently and effectively they go about their recycling work, and ditto for natural chemical processes.

Leather tended to be better preserved than cloth, or rather, boots often at least partially survived their long decades underground.  Some metal was preserved with a lot being very corroded.  No soft body tissues seemed to be present but bones were still in pretty good shape, some showing terrible injuries that no doubt contributed to the deaths of the people whose bones they were.

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I don't remember if there was anything else I wanted to write down.  I can always add to this post later.  Or write another.

Rib weave tablet woven band from Maksu, Humikkala (a 2-hole pattern from Tablet-Woven Treasures)

This one has appealed to me for a while.  I'm not sure why I decided to do it now, but that's fine.  It was a pretty straightforward project.

The band is in Tablet Woven Treasures by Maikki Karisto and Mervi Pasanen.  It's on p.131, 15. Maksu, Humikkala (KM 8656:H30:1).  They call it a rib-weave pattern.  It's a two-threaded pattern with all the threads in holes A and C, not offset like a lot of other 2-hole patterns.  There are 7 pattern tablets.  Each side has 3 four-threaded edge tablets which are tubular-woven.  (In other words, both sides have tubular edges and all 3 edge cards on each side are part of the tubular edge.)  That makes 13 tablets total, 6 edge and 7 pattern tablets.

It's pretty adorable!  Unblocked, it's about 7/16" wide and about 65" long.

A warp thread snapped in the middle, yikes!  I have no idea whether to blame the cats, the thread quality, or happenstance.  I'm glad I already have experience with this, and indeed, it was not an issue to attach a new warp thread and keep going.  There's one spot where apparently I forgot to do the tubular edge on one of the sides.  I tried to fix that, too, a bit less successfully.  It looks fine on the top but is slightly visible on the bottom if one knows it's there and looks at the right spot.  Or if one runs fingers along the band -- the repair spot feels a bit different, but that's also true of the unrepaired area before I tried to fix it.

The width varies slightly.  I really wanted the red on the edge tablet to show.  But I had to balance that against pulling the weft tight enough for the pattern to look right.  I'm a trifle disappointed that the red edge is not too visible most of the time.  Oh, well, it can be a secret, I guess.  Or I can use this as a strap since both sides of the band are very cute.  Or attach it at the very edge of something and/or attach it loosely so the red can be glimpsed.

I'm glad I did this band, but I think I'm tired of tubular edges for a while.

I have no idea what I'll do next.  Something, I'm sure!

Brocade Sampler, 8th and maybe the last post -- it's finished!

Done!

Here are the last few in-progress pics:

The top photo is a 13-tablet pattern taken from Ecclesiastical Pomp & Aristocratic Circumstances, p.120.  It's the border from band "2. Band on the chasuble attributed to St. Wolfgang, Bishop of Regensburg, 11th/12th century".  I did two repeats.

The middle photo has two motifs.  The one on the left is a 9-tablet pattern from the Saxon Rabbit handout, from Grave 44 mid 6th century, Lyminge, Kent, pattern 10 in the Crowfoot paper.  I did 4 pattern repeats.  The longer one on the right is a 13-tablet pattern from Anna Neuper's Modelbuch, No. 76 (fol 79v), p.56.  I did 4 pattern repeats.

I ran out of background weft at this point.  The new stuff is the same color but maybe a bit thicker and softer.  It doesn't matter.

The bottom photo has the last two motifs.  The motif on the left is a 9-tablet pattern from Roslein und Wecklein, #214, p.179.  I did 2 repeats.  (Hmm, it would look nice with a pearl or pretty bead in the spot between motifs.)  The motif on the right, the last one, is a 13-tablet pattern, a motif adapted from EC&AC, p. 134, pattern "17. Bands on a pontifical skull cap, 11th/12th century".  I did the little diamond motif on the upper left part of the chart, 2 diamonds and then one more row to close up the upper diamond.

I maybe could have gotten one more small motif in, but I decided that was enough, and so endeth my first brocade sampler band.

Fresh off the tablets, unblocked, the band is about 5/8" wide and about 63" long.

There are 25 different motifs.  Wow.  I didn't even get to all of the charts I'd printed out, and also didn't end up making up more of my own patterns.

Many of the motifs look better in person.  The brocade weft is shiny enough that it affects how the pics look.  Not surprisingly, the later motifs tend to look better than the earlier ones I did.

I'm still working on consistency though I'm getting better.  Adding a brocade border stripe, as many of the historic patterns did, probably helps with that since then the slight angle difference at the turning points will be in the edge stripe rather than in the main motif.

I really like the interplay of positive and negative space -- both the brocade and the tiedowns (in the background warp) make interesting patterns.

I'm pretty sure I managed to not accidentally weave any swastikas.

Brocade is pretty easy as tablet-weaving techniques go, at least for the basics, and really about the same, time-wise, as other fiddly tablet-weaving techniques.

I'll definitely do brocade again!  It'll be interesting to do it with silk and/or metallic threads, similar to the materials used for many of the historic bands.

Now to decide what project I feel like doing next.  So many possibilities but nothing is screaming at me.  So I'll do some thinking and browsing of books and websites and what-not to see what appeals.

Brocade sampler, 7th post (and still going....)

Another three samples in my brocade sampler are in this pic.

The left one is  a 13-tablet pattern from Roslein und Wecklein, #169 on p.151.  I did 4 pattern repeats.  The middle one is a 13-tablet pattern from Anna Neuper's Modelbuch, pattern No. 74 (fol 78v), p,54.  I did 3 pattern repeats.  Since the left is 12 rows long and the middle 16, each one is 48 rows long.

The one on the right is a 13-tablet motif from Roslein und Wecklein, #164 on p.147.  I did one repeat because I didn't feel like doing two.  I assume this little motif is a standalone star rather than a repeating motif.  And of course I could have added pearls!

I like all of these.  I'm also able to unweave fairly quickly when I notice a problem, assuming the problem isn't so far back that I prefer to ignore it.  I feel fairly comfortable doing brocade, so this band achieved its hoped-for purpose.  I can add brocade to the list of techniques I have experience with.  I'll do it again, for sure.

What next for this sampler?  Possibly a few more 13-tablet patterns from R+W and ANM.  Maybe another coptic.  Maybe some free-association stuff, or another Birka (if there are others that fit into my band's number of tablets).  I'm also going to see if anything from Ecclesiastical Pomp is narrow enough.

I probably won't bother switching brocade thread since I still have plenty of this stuff left.  But you never know.  And if nothing else appeals, I can plain-weave until the end, or play around with texture patterns on the monochrome warp

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Brocade sampler, sixth post

Wow, I'm really spamming my own blog with every little bit of progress on this sampler brocade band!

This is the brocade motif from the 10th-century Chernigov, Ukraine band.  I used the chart from Aisling's website.  Here is where she discusses it (with a link to the chart): https://aisling.biz/index.php/galerie/historisch/fruehmittelalter/262-chernigov-ukraine and here is the chart: https://aisling.biz/images/brettchenweben/Anleitung/Chernigov.pdf

This is a fairly popular band -- I found a good half-dozen or so examples of it that people have woven.  What is interesting to me is that most of the ones other people have done use a thinner brocade weft that lies flatter, so that the background-warp tiedowns are more prominent and noticeable.

Hmmm.  That is something to ponder for future bands.  I know that the interaction of background warp and brocade weft threads are one of the issues people deal with when weaving brocade.  I might not be doing those kinds of experiments with this sampler band since I don't have thin metallic thread lying around.  But I wanted to note this specifically so that I am reminded on future tablet-woven brocade projects.

The ones I see online also have the extra strip of brocade as part of the edge pattern (19 tablets total rather than the 11 needed for the center motif).  I have no idea if or how that affects things.

There are three repeats above, each 26 rows, and it's an 11-tablet pattern.  I messed up a bit on the first repeat, oops, but it's not too noticeable.  It's a cute pattern.  I like it, though I do prefer other people's versions, where the background tiedowns really stand out against the gold and silver bling.

This was another chart where the tick marks referred to the tiedown and blanks were brocaded squares.  This means I'll be confused for a few rows on the next motif if it's charted in the opposite way!  But again, it's interesting to think about positive vs negative space and how brocading can emphasize either the pattern of the brocade weft or the pattern of the background-warp tiedowns.

I'm probably more than half down with my sampler band.  It's not going to be particularly long or anything.  Most of these little snippets of motifs are a mere few inches long.  I believe all of them are fewer than 100 row, each with 2-4 rows of plain tablet-weaving between them.

Dunno if I'll do any more brocading today.  If not, then there will be another post after the next few motifs are done!  (or if there's something I particularly want to mention, as I did today)

Brocade sampler, fifth post

I might do another motif or two today, but just in case I don't, here's what I've done recently on my little brocade sampler band.

The one on the left is another 6th century Saxon band, from the Saxon Rabbit handout.  (I don't think it's in the Crowfoot paper.)  It's from Sarre, Kent.  I think I did about 6 repeats.

The middle one is Birka B18.  I used the chart on Aisling's website, not that it really needs a chart.  I did 5 repeats.

The one of the right is from Anna Neuper's Modelbuch, pattern number 85 (fol 83r), the middle pattern on p.47.  I did 2 repeats.

Birka B18 is a 10-tablet pattern and the other two are 9-tablet patterns.

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Random free-association verbiage:

These Saxon patterns are still a bit hard for me to do well with this particular brocade thread.  The over-1-tablet vs over-3 tablet sections don't quite have the same consistency in the way they look, which obscures the pattern somewhat.  They look good at some angles but not all angles.  Looking back at the earlier ones I did, the little ones where most of the brocading went over 1 tablet are the most effective, at least for this brocade thread and my current level of competence (near-novice).

I like the Anne Neuper pattern.  The pattern of the background is interesting and sufficiently contrasting with the brocade.  And most of the brocade is over 2 or more tablets so the pattern appears more consistent.  A lot of the smaller patterns in the Modelbuch are these kinds of zigzags and diamonds -- they've very distinctive and self-consistent in their design sensibilities.  And yeah, it would have been cool to see the original patterns with their distinctive notation in addition to the modern charting.  I like that Claudia Wollny did that for the Col. Pad. Germ. 551 patterns.

The Birka B18 pattern is also nice.  Simple and easy, but effective.

I don't know how many Birka patterns I'll want to do (not now, but eventually).  Some people have a goal of weaving all of them.  Many of them are not particularly appealing/attractive to me.  Several have swastikas, which are too poisoned by modern political horrors, and I won't knowingly weave that motif.

I like the version of B2 I've seen, where there are interlocking braids separated by Xs, sometimes alternating with a stretch of the variation that is shown in fragment f (figure 19 f) in the Birka report.

B12 (figure 19 i) is something I've woven as a 4-threaded diagonals pattern, many years ago.  I didn't know it was originally a brocaded band from the Birka find.  I don't know if I'd want to do it again as a brocade.

B22 (figure 20 b) is kind of interesting, both the lower part (the interlocking brickwork) and the more elaborate upper part.  The lower part of B6 (figure 20 a) is cute, but the upper part has too many swastikas.

None of the others that are in the Birka report on p.82-83 interest me at the moment.  Hmm, I wonder where the other bands can be seen, since B18 is not in the sketches on p.82-82.  Oh, duh, they're photographed in the back of the book, in the various tables.  I should see if there are more motifs that look fun, though it's kind of hard for me to make out the patterns except for a few fairly clear areas.  I greatly respect the people who decipher and re-create the patterns in these archaeologic specimens.

There are some cool patterns I want to do from the Nancy Spies Ecclesiastical Pomp & Aristocratic Circumstance book.  That might be another warp, since a lot of the ones I want to try are a minimum of 15 tablet patterns and I only warped up 13 tablets.

There are other patterns that are on Aisling's website I want to try.  Some require more than 13 tablets, alas, but a few are narrower.  They're on my list...  And maybe I'll do more from her Egyptian tablet weaving book.

Now that I'm starting to feel comfortable with basic brocade, I'm thinking about "what next?"  Do I want to try anything else new with this band beyond a sampling of motifs, such as a second brocade color or a different brocade thread?  What kind of brocade do I want to make an entire band from, if anything?  Or should I do shorter sections?  Something that could be fun is a belt with occasional brocaded motifs, possibly made with little metal studs every now and then between the brocade.  Or I could do short lengths for cuffs or keychains or bookmarks.

Also, what do I want to tablet-weave next?  (and that's in addition to thoughts about sprang, fingerloop braiding, kumihimo on the marudai, spinning, knitting, and other semi-obsessions)  Icelandic double-cloth or pebble weave?  More brocade?  Some 2-hole or Sulawesi or 3/1 twill?  More cords?  Or something else entirely?

Here's a close-up of the Anna Neuper pattern no 85 again, just because:

No, it's not perfect, and yes, my cat has been sitting on it.  But it is cute.  And it shows that I am improving.

I'm glad that brocade is now something I've tried, that I'm comfortable doing, and that I'm willing to do again.