Hmm, I guess my "next band" wasn't in the Icelandic Missed Hole technique. I saw a Sally Pointer pic of a colorful Oseberg-pattern band and decided that I needed one, too. Luckily Oseberg is easy to chart up, especially with the fairly clear photo that was posted. This version is symmetric and has 11 tablets.
Hers is probably in wool. Mine is the usual big-box store cotton. She used black, light green, yellow, and a pinkish red. I don't have enough black cotton left, so I changed it out for purple. And the reds I have are a little too bright, or something. I switched to orange. What the heck, let's make sure we cover all the secondary colors, right?
The backside is not quite the same as the front side. I have a small length of the reverse side along the bottom of the above pic, and you can see the blip of orange between the parallelograms, while of course the orange is in the middle of the parallelograms on the front side.
You may not be able to make out the colors in the above pic, so here's a close-up. The colors are still a little washed out compared to the actual band.
The weaving went as quickly as one might imagine. I like it a lot. It's very cheerful and colorful! It's destined for a gift. It's the usual 66"-ish long and about 1/2" wide (12mm/167cm).
You can see how the twist of the thread ply interacts with the twist of the tablet-weaving.
Maybe I should make a few more of these in various bright colors, just for fun. Or in between other, more complicated projects.
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Yesterday I nerded out about the Sion 269 purse braids with a friend. Now someone else knows how to make them! The friend might be a little more concerned about the reversed vs unreversed version than is necessary, but it's still a cool little detail that not everyone would have noticed let alone cared about. And it does say something about the group of purses -- even with apparently the same yarn, different knitters and different braiders were probably involved, given these small differences in braiding technique and also the differences in knitted gauge. I'm not sure the yarn is the same -- it's hard to compare the exact color shades and thus the dyelots from one photo to the next.
My friend randomly arranged the loop colors in a pleasing order and instantly re-created one of the color sequences of the actual purse braid. Boutrup/Speiser speculated that the braids were made by the same person or at the same time since a lot of these 6-loop unorthodox braids have the same or similar color sequences, and that seemed statistically unlikely if multiple people were making braids. It might just be something about how the human mind works instead.
I've changed my mind a bit on how the appearance of the 6-loop A-fell unorthodox Sion 269 purse braid changes based on whether the loops are taken reversed or unreversed. There really is little or no consistent difference, and my current theory says it's as much or more about how we do the moves and tighten the braid as it is about the exact path the loops take. So, unless one is doing bi-color loops, the braids come out looking pretty much the same either way. At least with the acrylic yarn I use for experiments.
I should do some Slentre style braiding experiments. Those Skjoldehamn wide braids (and the Hedeby apron braid) -- how easy are they using the Slentre technique? They're easy enough to do freehand, especially for long braids. But I have a small speculation that might need a bit of experimental data; perhaps the Slentre fingerloop braiding method, first recorded in the Faroe Islands, is the last stronghold of a much wider braiding tradition? Testing this idea with some of the archaeologic braids could be interesting. Probably not, but you never know. Many can probably be done with other fingerloop methods, with loops used to hold the tension even if loops are treated as single elements, as with the pigtail braids.
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