hrj: (doll)
ETA: photo credits (sorry!)

(As usual, I'm belatedly putting up a project diary because someone wanted to see it and this is the easiest place to make it available.)

For years, people may have seen me wandering around spinning with my drop-spindle and heard bits and pieces of the story of this project.  I present here the status so far.

Inspiration

There are a number of textiles from northern Europe from the Migration Era and early medieval period that have a checked or plaid-type pattern created entirely by the spin direction of the thread (S versus Z) rather than by using multiple colors of thread.  The light reflects off the two spin directions differently enough that, at a first glance at photos of these textiles, you would swear they were dyed.

First Test Piece

I wanted to see just what this effect looked like in real life. My first test-piece isn’t a particularly good piece of weaving, but you can see a bit of the spin effect in the warp stripes. They're most visible when viewed obliquely. There are also supposed to be weft stripes but the weaving ended up being somewhat warp-faced which makes this more difficult to see.

SpinDirectionSample
(photo courtesy of Sandra Linehan)

Second Test Piece

Since my first test had been at least somewhat successful, I started planning a larger piece. The second test piece focuses primarily on the warping border, with various experiments in spacing the warps to see how to get a well-balanced warp and weft and a slightly tighter weave. This piece doesn’t involve any spin-direction effects. I was also playing with several possible border decorations: texture effects from the tablet-turning direction, wool brocading, metallic thread brocading, and extending the warp threads out for a twisted fringe. Unfortunately this sample isn't very visible in the photo below. You can see it spread out to the right, in front of the pottery.

SpinDirectionWarp
(photo courtesy of Sandra Linehan)

Main Project

In the end, I decided on a plain warp border and no fringe.  My project is a rectangular cloak, to be woven on an upright loom with tablet-woven borders. There are a significant number of cloaks of this style surviving from northern Germany and Scandinavia from the Migration Era and early medieval period, so the garment seemed compatible with the weaving technique. The cloak is planned to be approximately 6ft x 6 ft with alternating 1” stripes of each spin direction in both the warp and weft. (16 threads per inch). The warping border is a simple 10-tablet band (4 threads per tablet) with the tablets alternating turn direction. The plan is to work a similar tablet-woven band along both edges and finish the warp off with a similar band that will also weave in the warp ends.

Status

The starting warp border is complete. You can see it in the photo above primarily as a mass of chained groups of warp threads.  (Each group of 16 threads forming a directional stripe is loosely chained to keep them in order until I’m ready to begin weaving.) You can see how the different spin directions cause the group of threads to twist in one direction or the other.

The current stage of the project is to spin all the weft thread, in equal quantities of S and Z spin. While the amount of thread needed is based on length, I can estimate that by weight. As I will be weaving this on an upright loom, I don’t want to set the weaving up until I’m ready to work on it intensively. Based on my past spinning rate, this could easily take another 5 or 10 years! Typically, I can spin one ball of yarn of the size displayed (which is one spindle-full) in approximately 4-6 hours of work, though I don't usually spin continuously for that length of time. A typical spindle-full measures out at 210 yards. The total weft I'll need is 72" x 16 threads/inch x 2 yards (plus a bit for fudge factor, but we'll leave it at that for now). This comes to 2304 yards, so about 10 balls of thread, half S, half Z. Wow, really? Because I already have about 7 spindle-fulls of weft done. I could do this. I could totally do this.
hrj: (doll)
(Just for grins and giggles -- and for various other sociological reasons -- I've taken up the challenge to enter the West Kingdom's A&S championship this year. There have been a number of years with relatively few entrants -- and sometimes no entrants eligible for the overall championship -- so I'm doing this not for the sake of trying to win, but for the sake of supporting arts and the visibility of the arts in this kingdom. I'll most likely be blogging my entries. In most cases, the blog may be just my accompanying documentation with pictures or text, as applicable, of the entry.)

West Kingdom A&S Championship - 12th Night 2014 - Woodworking (Tools Made of Wood)

This is an upright weaving frame used as a free-standing anchor for tablet-weaving and other narrow-ware techniques. Frames of this type are seen in medieval art, especially in genre scenes involving the Virgin Mary. Although a variety of structures are seen in these depictions, not all of them are functional, as depicted. The general structure involves two upright pillars fastened to a base plank, and a cross-brace running between the uprights to act in opposition to the tension of the weaving. This cross-brace may be placed below the weaving area ...

MS Fr 598 fol. 29 arachne low bar cards
Arachne Bibliotheque Nationale de France (MS Fr 598 fol. 29) early 15th century

... or it may be placed at the top of the pillars, creating an overall square frame.
BNF Fr. 376, fol. 116v high barFestal Missal - high bar w cards
Annunciation, Pilgrimage of the Heart
(BNF Fr. 376, fol. 116v), second quarter
of the 15th century
Less functional depictions may omit the cross-brace ...
base no bar
... or may have no base-plate (also essential for countering the tension of the weaving) ...
British Library Royal 16 G V penelope high bar no base
Penelope (fol. 45v), De claris mulieribus (British Library Royal 16 G V), c. 1440

...or may omit any sort of connection between the two pillars entirely.
PML M.453, fol. 24r no base no bar
Mary weaving, a book of hours (PML M.453, fol. 24r), c. 1420-1435

A more practical piece of evidence for construction than simple force dynamics is the surviving example of this type of frame from the 9th century Norwegian Oseberg ship burial.
Oseberg
Brøgger, Anton W. & Arne Emil Christensen. 1928. Osebergfundet 2. Kristiania: Universitetets Oldsaksamling.



Construction and Modifications

I have followed the general construction of the Oseberg find for my frame with several modifications. Specifically, mine uses the flat base-board with stabilizing cross-feet at the end, uprights that are square in cross-section at the base and more rounded above the cross-brace in the weaving area, and a cross-brace placed below the working area.

The major differences in my frame are overall smaller dimensions, omitting the decorative shaping of the base-plate, using somewhat longer stabilizing cross-feet, giving the upper portion of the pillars an octagonal rather than round cross-section, and making the whole thing easily disassembled with certain other modifications to this end.

In order to make it possible to disassemble the frame for transport, rather than the pillars being pegged through the base-plate and cross-feet, a 1/4” x 3” hanger bolt is screwed into the end of the pillar which then passes through drilled holes in the base-plate and cross-foot and is fastened with a wing-nut. There is a washer counter-sunk into the bottom of the cross-foot to prevent wear that could result in a loose fit. As the base-plate and cross-feet are meant to come apart, they are not joined with a dovetail as in the Oseberg frame, but simply overlapped and held in place relative to each other by friction. In order to leave room for the protruding wing-nut, I added an additional layer to the end of the cross-feet to raise it off the ground slightly. These pieces are glued to the cross-feet with wood glue and have been carved into decorative “lion’s paw” shapes. This design (with the protruding feet) will also make the frame somewhat more stable on uneven ground if I take it to outdoor events.

The cross-brace is shaped into a tenon at the ends and fits into a mortise cut into the pillar. No additional fastening for this joint is required as the tension of the weaving will hold the cross-brace in place during work.

The frame is made from oak 1x2, 1x3, and 2x2 lumber. The lumber for the pillars was intended as spindles for stair railings, hence the protruding round post at the top. I’ve left this part unfinished at the present with the intention of using it to attach decorative finials when I’ve been able to locate appropriate pieces.

The wood is finished with beeswax.

IMG_1585
hrj: (Default)
Dashing hither and yon all weekend. Saturday I dropped by Crown Tourney for a couple hours in the morning, mostly to drop off the tunic I made for the Prince of the Mists (who was gratifyingly appreciative). Then it was off to [livejournal.com profile] badassslinky's wedding (fortunately, also in the South Bay). That was a bit of an emotional smorgasboard: she was radiantly beautiful (of course); when her brother walked her up the aisle it really struck me how he's made the transition from "kid" to "man"; on the other hand, I wasn't the only person pondering that the last time I'd been in that church was for [livejournal.com profile] maestrateresa's funeral. There was one point at the reception, when [livejournal.com profile] badassslinky and her husband were dancing, and she turned just so and I saw [livejournal.com profile] maestrateresa in her face. A very joyous day, all in all.

Then it was back to the Crown site to hang out a bit, even though the "Booze for Boobs" fundraiser isn't really my style. I got some nice conversations in, but when most of your friends are participating in a ritual of recreational drunkenness (even the ones who aren't themselves drinking) it gets a bit boring when that isn't your thing. And anyway it was cold and I had to get up early to come back Sunday for peerage meetings, so I didn't stay very late. Stayed through last court on Sunday, mostly to see [livejournal.com profile] dave_orphal receive a Pelican. Then swung by [livejournal.com profile] mad_duchess's post-Crown-and-housewarming party for a while. I see why she fell in love with that house! I do so love the craftsman style -- especially the built-ins.

Over dinner I started browsing various 14th c. cookbooks in preparation for the cooks' play-date at Coronet. For some reason I'd been thinking coronet came right on the heels of crown, but I have a weekend off in between them. So that gives me a little more time to choose a source and pick some recipes to try. Oh, and belatedly send off my class proposals for Collegium. (The original call for classes came out during the Investigation That Ate My Life.) And then there's the loom to work on! I think I've decided that my first "test" project will be some narrow tabby wool based on the specs for the Dublin Viking caps that I taught at the A&S Tourney. (The wool caps were mostly made out of a 20-25cm wide fabric, and having the selvedges on both edges affects the sewing techniques, so it would be cool to be able to make them out of fabric the right width.) After that maybe I'll try a length of diamond twill sufficient for a Thorsbjerg tunic. And then ....

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