Band weaving with a small rigid heddle

Threading the rigid heddle

I make a warp with a singles cross in the same way as I make a warp for my floor loom. I put the cross sticks through the singles cross which means that the warp is in threading order.

Having a stand in which to support the heddle at an angle is very useful.  I use a mobile phone stand which I bought in IKEA.

 I use a drawdown to check the warping order.  This pattern is from my book   The Art of Simple Band Weaving   which is published by blurb.com. This book has many designs using different threads and widths. 

The first 15 patterns show the weaving effects that can be made by altering the warp order from simple stripes, off set ladder, bead, off set 1:2 stripe etc. There are 114 other designs as well as suggestions for how designs can be altered and created.

Narrow rigid heddles only use a small number of warp ends for the narrow band.  The original pattern had 29 warp ends in double knit cotton which produced a band of 20mm in width. 

 I only needed 25 warp ends for this heddle.  I took off the two red warp ends at each side which left 25 warp ends. This gave a weaving width of about 14 mm. Of course widths  are not exact as you can pull in the warp ends very tightly or leave them a bit looser and still cover the weft. 

The band is very sturdy and was easy to weave with a backstrap. Only the centre row of holes is used. 

Weaving this band was useful as it gave me a chance to feel the heddle in action. 

I also tried using just the centre holes and slots in the narrow heddle.

This band has four blue threads in the slots and three pattern threads in the centre holes. There are seven warp ends in total.

Using the two rows of additional holes.

I wanted to try using the additional rows of holes in the two heddles which I got from Robin. His ETSY site is thedancinggoats.

These two heddles were inspired by the Bryggen heddle from Bergen in Norway. 

The wider version of the Bryggen heddle.

Two versions of the original heddle.

Using the wider Bryggen heddle.

I started by threading the wider heddle using two rows of holes. 

In this diagram, E means that there are no threads in this hole or slot. 

The red and white warp ends float over one pick.  The pattern is relatively neat on both sides of the woven band.

The weaving sequence is: 

Pick one: raise the heddle. As you put the shuttle through the shed, pick up the five white threads in order with the blue warp end in between. These will form part of the under layer with all the blue threads in the slots. In fact the white threads will be hidden in the centre of the woven band.

The red threads remain on top.

Pick 2: lower the heddle. As you put the shuttle through drop down the five red threads in order with the blue warp thread in the slot, in between. These will be hidden in the centre of the woven band. The white threads remain on the reverse. 

Alternating these two picks will produce a horizontal stripe of red threads on the top of the band and a horizontal strip of white threads on the reverse. 

The pattern threads rest closely together and float over one pick.

Red floats on the top of woven band

White floats on the reverse side of the band

Alternating these two picks will produce a horizontal stripe of red threads on the top of the band and a horizontal strip of white threads on the reverse. This is shown on the photographs. 

Using the original size version.

The miniature version of the heddle is the actual size of the archaeological find. The original was made from elk antler and it thought to date from 1228 - 1332. An earlier heddle made of pine which does not have these additional rows of holes dates from 1170 - 1198.

Warp 1

Here is the threading chart. 

There are 7 blue warp ends in the center holes and slots.  There are 3 red ends in the top row of holes and 3 blue ends in the bottom row of holes. 

16 warp ends in total.

The weft is white and the weave structure is warp-faced plain weave. I used dk cotton for this band for warp and weft. 

Lower the heddle

Lower the heddle

Raise the heddle

Raise the heddle

You can see how there are two layers close together when raising or lowering the heddle. 

I found weaving with the small version very difficult.  I tried the weaving sequence of two picks like the wider version. However, I could not achieve a neat band.  There does not seem to be enough background threads to make a solid foundation for the pattern threads. 

I tried a four pick sequence so that the pattern threads float over three picks. 

Weave Sequence.

1: Raise the heddle.  The weft goes through the shed with the white pattern threads and red background threads on top and the blue pattern threads and the red background threads in the centre hole on the bottom.

2: Lower the heddle. The weft goes through the shed with the white pattern threads and the red background threads through the centre hole on top and the blue pattern threads and the red background threads through the slots on the bottom.

3: Raise the heddle. The white pattern threads and the red background threads in the slots are on top. You need to select each white pattern thread and bring it under the red background threads. You can see that the pattern threads are offset between the slots.  It is easy to select the correct pattern thread so that it goes between the appropriate two red background threads. 

4: Lower the heddle: The white pattern threads and the red background threads in the centre holes are on top. The blue pattern threads need to be selected in turn to go between the adjacent red background threads in the slots. 

Pattern.

The finished band will have the white pattern threads on top and the blue pattern threads underneath. The pattern threads float over three picks and then are hidden in the centre of the band. 

White ends on top of band

Blue ends on  reverse side of band

I decided to try an extended weaving sequence where the warp ends in the top and bottom row of holes each float over three picks.  Even with this sequence, I found it hard to get and even beat and have the pattern threads move close together. 

Warp 2.

I was not happy with this band so I tried a different warp. This time in a thicker wool.

The threaded heddle

I thought I would try a dk wool to see if  it was easier to weave.  The weft is white. The pattern threads are red and black. 

Here is the threading chart.

My attempt was slightly better with the wool version. However, the two pick weaving sequence was still  unsatisfactory. 

I tried the four pick sequence where the top and bottom rows of pattern threads float over three picks. This produced a better looking band. However, I will need to practice to improve the even beat.  The band is very chunky because of the four layers. 

I took this heddle to my Guild meeting in November  and experimented with the band .

At the Guild meeting

Close up of the woven band. 

I found weaving with the small heddle a challenge. I was unhappy with the way the pattern threads do not lie close together and the pattern thread from the bottom shows through slightly. I will need to practice with this heddle to see if I can achieve a neater weave. If you have any hints let me know!

Here is a YouTube video from Robin about this heddle.

Weaving bands with the Bryggen configuration

https://youtu.be/mqJ8DDE0Dv0?si=tGxibtquESl3626g

He has a YouTube channel and the video he made about this heddle is Bryggen Heddle Pick Up Threads.

https://youtu.be/gdJeCHgZ4kU?si=LlnD5IgEJMCyeV_r

POSTSCRIPT

I realised that I had not included the weaving instructions for the Bryggen heddle. Here are two charts which indicate the sequence.

This chart shows what is happening when you raise and lower the heddle.

The next chart indicates when the pattern threads should be picked u or pushed down.  The weaving sequence is four picks.

The column on the shuttle action indicates whether the pattern threads are left in place or picked up or pushed down. 

Basically for this weave sequence the pattern threads, top and bottom layer,  float over three picks and are then secured in the centre of the band. 

The top pattern threads a are pushed down in between the background threads in the slots. 

The bottom b pattern threads will be picked up through the four background threads and secured in the centre of the band. 

I am intending to do a short YouTube video of the sequence as it is much easier to see than describe. 

Seasons Greetings  and happy weaving

Susan J Foulkes  December 2024

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