Explorations with a rigid heddle: double hole rigid heddle weaving

   Using rigid heddles with two rows of holes. 

When I started to learn to weave narrow bands with a rigid heddle,  came across a very useful article.

https://fiberarts.org/design/articles/rigidheddle2.php

This article was the first I had seen which discussed the use of rigid heddles which had been designed with a specific purpose.  It was not easy to find such heddles in the UK.  My first idea was to take a standard rigid heddle and drill a second row of holes.

For the pattern described on the information sheet, the heddle with two rows of holes was threaded in a very particular way. 

There is an error in the threading on the download. This chart gives the correct threading should you wish to use it.

The unusual feature of this way of weaving is that one centre row of holes is not used. Only the row of holes above them are threaded and these are the pattern threads. I decided to start small for this exploration and used only five white pattern threads and 16 green threads for the background and border.

Warp: double knit cotton in green and white. 

Weft: double knit cotton in green.

Here  you can seen the woven band. It is warp-faced so that the weft is hidden by the warp threads.  The white pattern threads in the holes form part of the warp layer so here is only one green warp end between each white pattern end. 

I tried several different ways of picking out the pattern. 

Keeping all five pattern threads on the top leaves a solid line of white across the band. 

Each pattern repeat is four picks in length.  For the final pick all pattern threads are on the bottom layer of the warp so that the green warp ends are on the surface. 

Here are some pattern variations.

The simple alternating stripe. 

Raising the heddle - all the threads in the holes are on the top of the warp so that there is a white stripe across the centre of the band.

Lowering the heddle - all the threads in the holes that is the five white threads and the border green threads are on the bottom layer. There is a green stripe across the centre of the band. 

Here is a sample. 

To start, raise the heddle and keep all the pattern threads on top.

Then lower the heddle and keep all the pattern threads underneath.

Now you can continue with a pattern. These variations involve picking up a number of white ends when they are in the lower layer of the warp. 

Here is the weave chart.  The left column indicates the picks. R means raise the heddle and L means lower the heddle. 

Each pattern repeat is four picks. For pick 8 when the heddle is lowered two pattern threads on the right side  should be picked up. For pick 12, two pattern threads on the left side should be picked up.

Here is another variation.

A further variation.

Here is another variation. 

The reverse side of the woven band.

This was an interesting start to exploring this type of heddle. The weave structure is unusual. In the excellent book 'Weaving Bands' by Liv Trozig and Astrid Axelsson (1974) it is described as 'the pattern threads form part of the ground when they do not form the pattern.'   It was this book which I used to teach myself patterned band weaving so I have a real fondness for it. They use a standard heddle for this weave structure,  but the second row of holes makes picking out the pattern easier. 

Heddles with two rows of holes - using both rows.

In subsequent years I bought heddles with a second layer of holes. Adding in a row of pattern threads in the second row of holes forms a different weave structure.  For warp faced bands, the pattern threads in the second (upper)row of holes are described as a supplementary warp. These float over or under the warp faced plain weave formed by the ground threads. The ground threads  are in the spaces and holes across the centre of the heddle. In this weave structure there is one ground thread between the pattern threads.

Usually, the pattern threads are picked up in groups rather than singly. 

Two standard heddles with second row of holes

In the Sami weaving tradition, some pattern bands were woven using the pattern threads over the heddle. 

Sami weaving with pattern threads over the heddle.

 These were not under tension and could be selected by pulling the pattern threads down by the use of a string heddle. It is not an easy technique to learn. 

This method is beautifully illustrated in the book Oahpa cuoldit by Liv Nilsen and Jane Juuso (2018) pub: Isak Saba guovddas.

One weaver designed her own version, the Beavi heddle, and Stoorstalka produced it for her.  Here is her video of the heddle in use. 

Sami Double Hole Rigid Heddle Weaving

https://youtu.be/f1c3lzq3o2k?si=ny80aHtwtIHZcIKR

This heddle has two rows of holes but neither are in the centre of the heddle. This enables the threads to be picked up or dropped more easily.

The Beavi heddle with two offset rows.

Stoorstalka also designed a special heddle for this type of weaving.  with a Sámi  weaving tutor. This is the Sigga heddle. 

Three Sigga heddles from Stoorstalka.

The Sigga heddle has a separate layer of shorter slots for the pattern threads. In Sámi  weaving the pattern threads are slightly thicker than the background threads. The weave structure for the ground threads is warp faced plain weave.  There are two ground warps in between each pattern warp. I made two YouTube videos to illustrate this. 

Weaving Sámi bands with one group of pattern threads 2015

Using the Sigga heddle to weave Sámi bands with two groups of pattern threads

Here is one of the Sámi  bands that I wove with this heddle. 

Using the Sigga heddle

Weaving a belt at home in 2022

Bryggen heddle

Some older heddles also have additional rows of holes such as the heddle from Bergen in Norway.

I decided to demonstrate this with the heddle designed by Robin Goatley based on the Bryggen heddle. This heddle has the second and third row of holes at the top and bottom edge of the heddle.

I started by just using the centre holes and slots. 

Here is the threading diagram.

E means that the hole or slot is empty.

The band  when woven just using the centre row of holes and slots appears like this. The band has a red centre stripe alternating with a blue stripe. The woven band is on the same front and reverse. 

Woven band is the same on front and reverse

Using two rows of holes.

Bryggen heddle

 

I started simply by just using the top row of holes in addition to the centre holes. Here just two rows of holes are threaded. The top row is the pattern thread.  The centre row and the slots from the ground warp. This means that the ground warp weaves as a warp-faced plain weave with the pattern threads floating over it. The pattern threads are a supplementary warp. 

This heddle has three rows of 13 holes. For this pattern I am only using the top and centre row. The five pattern threads are white. the centre of the warp-faced plain weave band has five red threads. When the second row of holes is added, the white pattern threads float over the top surface of the band.  Simple patterns can be made. 

Here is the threading diagram

Front of band showing white pattern threads.

The reverse of the band does not show any white threads but the picks alternate red and blue in the centre. The band is thicker than the previous band because of the extra layer of white pattern threads.

Bird Heddle from Sweden

I made another warp for the lovely Bird heddle. This heddle has holes and slots for 53 warp ends with a row of 13 additional holes 

Bird heddle handle underneath

Here is the threading chart.

For this heddle the two birds are on top and this is the handle.  This means that in use the two birds will be underneath and the red pattern threads are in the row underneath the central row of holes. 

Raising the heddle leaves the red threads in the centre of the shed. Putting the weft through underneath this row of red and between the two rows of blue warp ends means that only the blue warp threads will appear on  the underneath of the band. 

raising the heddle

Lowering the heddle puts the row of red threads below the bottom layer of warp. Taking the weft in the shed between the two blue warps, leaves all the red threads showing on the underneath of the band. 

Lowering the heddle

By varying the number of pattern threads to appear on the  underside of the band, patterns can be made.ere is a close up of the woven band showing both sides.

Close up of woven band

Like the first band, the pattern here repeats over four picks. Experiment with the pattern to produce variations. 

Next month I will examine weaving with three rows of holes.  Wish me luck!

Happy weaving exploration.

Susan J Foulkes November 2024

Weaving with a small rigid heddle: Questions and debates

 I have received a set of small wooden heddles from Robin Goatey. from TheDancingGoats etsy store. He has an excellent YouTube channel as well.

http://www.youtube.com/user/TheDancingGoats/videos

A selection of beautiful heddles.

These beautiful heddles are recreations of ancient weaving tools from the Roman period and the early Middle Ages. 

I am enjoying using each of these heddles with a variety of threads. I have picked out designs from my book The Art of Simple Band Weaving https://www.blurb.co.uk/b/11486284-the-art-of-simple-band-weaving

Heddle one        Bryggen Norway

Here is the weaving drawdown. 

seven warp ends in 3 ply sock yarn

Heddle two   - Briord France

There are only 13 warp ends but the simple bead pattern is very effective. 

thirteen warp ends in 6/2 American cotton

The Roman heddle recreation.

I particularly loved the heddle based on one from Aquincum, in Hungary. The original is broken but one side was decorated with two dolphins.  Robins' recreation of this heddle is beautiful.

Here is the weave drawdown for the 11 thread pattern

eleven warp ends in 16/2 linen

The Handle

The unusual feature of this heddle is the handle - the two dolphins, on one side.  Usually the 'handle' is on the bottom of the heddle.  This means that the heddle when on a horizontal warp will be stable with the handle - the weighted part of the heddle, underneath.  On a horizontal warp this Aquincum heddle has a tendency to shift sideways and downwards.

To make the shed when the weighted part of the heddle is on one side requires the heddle to be moved vertically up and down with one hand.  This involves using the right hand to change the shed each time.  (or the left hand depending upon which way you set up the warp and heddle.).  Holding the handle to keep the shed open with the the right hand means that the shuttle is taken through with the left. The right hand then takes the shuttle. Changing the shed by lowering the heddle with the right hand involves holding the shuttle and the heddle in the same hand. 

Another way of using the heddle.

What if the heddle has the weighted part, the handle, underneath?

Heddle pulled to the left

Heddle pushed to the right 

In this position, the weft would need to be inserted vertically, first from the top and then from underneath. Once the shuttle is in the shed, the heddle can be released. 

There are many Medieval images depicting tablet weaving on a loom consisting of two vertical poles with a cross piece. Here the shed is vertical and the beater can be seen inserted vertically through the shed. 

The warp spacer appears to be in the wrong position

The third and fourth  pictures are interesting as they appear to show a vertical frame with holes to keep the warp threads from each tablet separate. In picture three, the weaver is manipulating the tablets but has not yet commenced weaving. However, picture four shows the warp spacer in front of the woven part of the band. Clearly, this would not work. The shed would not extend through the warp spacer. 

Of course, depictions in art of craft activities may not be accurate. The depictions could be intended to show the craft as visible as possible rather than the actual position of the weaver in relation to the warp. The Oseberg Tablet Weaving loom has been reconstructed and the warp is shown as being in the same position as these pictures. Here is a link to the reconstruction.

https://sites.google.com/site/thasthimindunna/home/recreations/loom

One re-enactor says that although it looks fantastic, the weaver has sit next to the warp and to twist her torso. This proves to be very uncomfortable for long periods.  

Trying to find a modern weaver using this particular method is not easy.  Most re-enactors seem to use the  Oseberg style loom as if it were a modern day inkle or backstrap weave with the cards positioned so that the weft is inserted horizontally. 

The Swedish Band Loom

The Swedish band loom is designed so that the weaver also has to sit in front of the warp.  Here is a link to band weaving at Skansen Museum, Stockholm.

https://youtu.be/jPeBqxW6ZUw?si=gR5ZQdD4giYvLckf

Personally, I find this position very uncomfortable and I weave on my band loom from one end. My band loom is the second method shown on my YouTube video. Five ways of weaving narrow bands

https://youtu.be/ZzhuDomPtxE

So, although the Oseberg loom and subsequent depictions in Medieval art show the warp as stretched between two posts and vertical, this is not an easy option for a re-enactor. 

The dolphin heddle may have been used in this position with the warp attached to the two uprights; not in a horizontal position which we are used to, but in a vertical position.  The heddle handle would then be moved horizontally to the left and right to provide the shed. The weft would be inserted vertically downwards then upwards. 

There is no definitive answer. It is only through trail and error that we can reconstruct ancient methods of weaving, and spinning. I do feel that we need to remember that just because we weave or spin in a particular way that this has always been the case. 

For example, when weaving a narrow band using a rigid heddle and backstrap, we weave so that the woven part of the band is nearest to our waist.  In North Sweden, the Sami in one area have always woven using a rigid heddle and backstrap with the warp tied to the waist band and the woven part beyond the heddle. The weft is beaten in, away from the body, on the other side of the heddle.  It is thought that this method reflects the action of a warp-weighted loom where the weft is beaten upwards. Side borders in tablet weaving on a warp weighted loom use this method.  

So, the side handle on the Dolphin heddle is an anomaly. 

What do you think?

Happy weaving and exploring!

Susan J Foulkes

October 2024

A Sámi Plait

 In my blog for May 2024, I described the process to plait a flat braid for the end of a bookmark. 

In Sweden, finger weaving is thought to have been introduced to the Swedish people by the Sámi.  Göran Karlholm, in his booklet about Swedish woven bands, found that the techniques are similar. He thought that it was likely that Sámi from a nearby village taught the art of finger weaving or exchanged bands as payment for goods.  Decorative plaiting is a lovely addition to the end of a woven band or belt.

In Kautokino in north Sweden, the  Sámi used two colours in a five strand braid which gives an added dimension to the braid pattern. This type of ending was used for handwoven belts, hat bands and mittens for Sámi women.

Making the decorative plait

Step 1

Step 2

Step 3

Plaiting in progress

Close up

It is the same procedure as the bookmark flat braid in my earlier blog. There are two moves.  

1. Take the right hand group to the left, over one and under one group.
2. Take the left hand group to the right, over one and under one group.

The  design emerges because of the starting colour order of the five groups of threads. 

The Sámi have a variety of decorative braids in different patterns. These patterns are not new.  If you examine braids from other early cultures you can find some lovely examples.  The delight in the beauty of even small and seemingly insignificant parts of a garment is universal. 

I made a YouTube video to show how to plait. 

Plaiting with five groups of threads.  https://youtu.be/SZt3p87oI68

Susan J Foulkes  September 2024

Sámi in the news

There have been a number of articles in the newspaper in the UK about the Sámi in Sweden.  

Three recent articles from the Guardian newspaper.

Sámi call to protect reindeer in Sweden after 10,000 road deaths in five years

https://www.theguardian.com/world/2023/nov/09/sami-call-to-protect-reindeer-in-sweden-after-10000-road-deaths-in-five-years?CMP=Share_iOSApp_Other

‘A lot of collective trauma’: Sweden’s Indigenous Sami people speak to truth commission

https://www.theguardian.com/world/2024/apr/30/a-lot-of-collective-trauma-swedens-indigenous-sami-people-speak-to-truth-commission?CMP=Share_iOSApp_Other

In Norway, this process culminated in a report to the government last year. 

Commission exposes injustices against Norway’s Indigenous people

https://www.theguardian.com/world/2023/jun/01/commission-exposes-injustices-norway-indigenous-people-sami-kvens?CMP=Share_iOSApp_Other

Over the past few years, the History of Anthropology Review has published some very interesting and thought provoking articles about dealing with memoires of harsh assimilation policies and racism towards the indigenous population. 

An article in The Norwegian American, published July 2021 and updated in Febraury 2024,  discusses Bååstede: The Return of Sámi Cultural Heritage.  

https://www.norwegianamerican.com/baastede-the-return-of-sami-cultural-heritage/

After years of negotiation amongst the University of Oslo,  Norwegian Museum of Cultural History and the Sámi Parliament, almost half the 4,200 objects from the Sámi collection in Oslo are being returned to the geographic areas where they were originally created. They will be housed and displayed in one of the country’s many Sámi museums. 

Susan J Foulkes  September 2024

Making a rigid heddle - the very simple way.

Many years ago when I prepared my second online workshop about band weaving I was aware that obtaining a rigid heddle for backstrap weaving was not easy in the UK. My first workshop booklet gave details on how to make your own heddle. I have updates the information a little as nowadays it is possible to buy very sturdy craft sticks from craft stores.  

For your completed heddle you will need: 

• I used wooden coffee stirrers. Nowadays craft sticks are much better.  These tend to be stronger and smoother but will still need some sanding. 
• glue (woodworking PVA would allow for final adjustments—impact adhesive sticks straight away).
• fine sand paper or wire wool. 
• a drill: you will need a very fine drill bit.
• And a length of wood, approx 24 mm in width at least as long as four sticks.  (This should be flat one side but may be shaped on the other. This will be used to sandwich the sticks into place and forms the top and bottom of the heddle.)

1.  Choose sticks  that are straight and not warped.  

2.1 Sand them to ensure that they are completely smooth. 

2.2  Mark the centre and drill a small hole in each stick.  You will need at least 18 sticks for the final heddle, plus extras for the top and bottom.

2.3 Measure the width of the heddle by separating the sticks with a space.  This will be the final width of your heddle.

2.4 Sand them again and finish with wire wool.  Make sure that the sides of the sticks are smooth.  You will need more sticks than you eventually use for the heddle.  Some will splinter or split.  In others,  you may find that your drilled hole is not central.

3. From your piece of wood, cut four pieces the final width of the heddle.  These will form the top and bottom of the heddle.

4. Take two undrilled sticks ( or more if the heddle is wider) and glue them to two of the wide sticks on the long edge. Leave until the glue is dry. These will form the buffers against which you line up the rest of your stirrers.

5. Spread glue along the wide sticks and place one drilled stick at each end.  You now have the outline of your final heddle.  It is important that the corners of the frame are square.  Use a piece of square card ( a postcard for example) as a right angled corner to check.

6. Start to place the rest of the sticks into place onto the glued ends sticks  Adjust the gap between each stick.  Make the gaps as even as possible. Use a piece of card  as a spacer.

7. 1  To complete your heddle, glue the remaining two cut wide pieces of wood to the top and bottom, sandwiching the ends of your stirrers.

Side view of heddle top/bottom

7.2 Place a weight on the completed heddle and leave the glue to dry.

The completed heddle

8. You will need to sand the top and bottom of the heddle as any unevenness will catch on the warp threads.  

The heddle is now complete.

I made several heddles like this and gave them away.  Here is the one that I kept.

Threading the heddle 

I made some other simple pieces of equipment to make threading a heddle easier. 

Here are a set of cross sticks for making the warp, and a heddle holder. The cross sticks are two narrow slats of smooth wood with two fasteners to hold them together. The heddle holder is a rectangular piece of wood with four screws to hold the heddle upright. As you can see I am not a woodworker!  

Threading the heddle.

The heddle is slotted between the sets of large screws so that it is upright. The cross sticks hold the warp. I use a heddle threader and a needle threader.

Here is a close up with half the warp threaded through the slots and holes.

Weaving.

I use a back strap and a band lock.  

Here is the drawdown for this simple warp faced band.

Here is the warp diagram for this band. The centre of the band is marked.

The warp plan - there are 18 warp ends in total. 

   X 5   X 5

Blue {1 {1

Brown 1} 1}

Pale blue 8

This band is a sanada-himo band which are the traditional woven bands in Japan. The weft thread is thicker than the warp threads.  here the warp threads are a 16/2 cotton and the weft is a natural 8/2 cotton ( approximately twice as thick as the warp threads). The final width of the band is about 6mm.

Weaving the sanada-himo band

I use a band width checker to ensure that the width of the woven band is constant.  Attached to the back strap is a band lock device which is a quick release way of attaching the woven band to the backstrap.  

I bought this one a few years ago.  They are available from 

https://www.vavkompaniet.se/

They are called strap locks. 

This is a wonderful shop in Boras in south Sweden.  Check out the beautiful heddles.  I have the horse, the bird and the heart heddles. They are lovely to use. 

The Finished band.

Some more tips.

I used my own handmade heddle stand - yes, it is a bit crude. For thinner heddles I have successfully used an IPad stand from IKEA.

The IKEA IPad stand

I found that an additional strip of felt holds the heddle more firmly and more upright.

The heddle sits at an angle in the stand. If the heddle is very fine then the slot holding the heddle may need to be padded. 

The front view.

Here is another view showing the threading in action.

Happy weaving

Susan J Foulkes  August 2024

Susan J Foulkes  August 2024