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Guild of

drapers

Tablet weaving

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Welcome to tablet weaving! This document is meant for those who are interested in learning this

craft, about the craft, and those who wish to practise.

This is very much a work in progress, please feel free to contact either Tilda Squirrels or Sarah

Morris, the authors of this document, with questions, suggestions, feedback, cups of tea or offers of

help, useful links etc. New research and findings will lead to updates of this document.

Good luck, may the threads be ever in your favour.

Tilda and Sarah

Legal information

All information contained within is the original work of Tilda Squirrels and Sarah Morris, Historia

Normannis, or other Normannis Officers, unless specifically stated otherwise. All information is

thereby property of Historia Normannis, and may be reproduced in part or in entirety by its

members for the purposes of informing, educating or referencing within the society or liaising

with event organisers. The information within is not to be reproduced in part or in entirety for the

benefit of those outside

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Contents

PART A – DRAPERS

Guidelines for levels within Guild structure

Examples of work with notes

PART B – PRACTICAL WEAVING

Glossary of terms

Choosing threads

Choosing a pattern

Placement and society colour charts

Making tablets

Threading up and pattern interpretation

Set-up and weaving (links for instructional videos)

Troubleshooting

APPENDICES

1. History of tablet weaving

2. Suppliers

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Part A - guild of drapers: tablet weaving

specialism

Please find below a table detailing the necessary skills and procedures for gaining levels within the

Normannis guild structure, along with the lengths of tablet weaving required to show consistency

and proficiency.

Tablet weaving ranking:

This list of skills may appear daunting but is based on the prevalence of more

elaborate extant pieces. Inferring from that, the level of skill required to

support yourself in the 12th century.

Competent Learning

Novice Weaving Setting up,

Consistent tight weaving,

Fixing broken warp and

wefts

set up and weave a pattern (3ft)

Apprentice Weaving

Set up

Consistent tight weaving,

Threaded in patterns bi-

directional, assorted

repeats and staggering

Fixing broken warp and

wefts

Set up and weave consistently (4ft)

Advanced Apprentice Weaving

Set up

Consistent tight weaving

Fixing broken warp and

wefts

Threaded in

Basic Double-face

(diagonals, Egyptian

diagonals or similar- at

least 16 cards of double

faced)

Set up and weave two pieces;

one must be double face (4ft) to assess the quality of double-face;

the other can be any authentic pattern of choice (9ft) to assess the consistency

over the length needed for the bottom of a tunic

Journeyman Weaving

Set up

Consistent tight weaving,

Threaded in

Fixing broken warp and

wefts

Complex double-face

(heraldry, etc.)

3 in 1 broken twill

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Basic Double-face

(diagonals, Egyptian

diagonals or similar

geometric designs- at

least 16 cards of double

faced)

Set up and weave one piece

Complex double face (heraldry, etc.)

at least 25 cards wide, for the section involving double-face (5ft)

to assess the consistency of complex double-face over a length, through several or

many repetitions of motifs, preferably a variety of motifs.

Advanced Journeyman Weaving

Set up

Consistent tight weaving,

Threaded in

Fixing broken warp and

wefts

Double-face

3 in 1 broken twill

Varying the width

(deliberately adding

warps and or wefts)

Brocade

Produce one piece (5ft)

It must vary in width by design and use a minimum of 20 cards wide for the

section concerning 3in1 broken twill. To assess the consistency and quality of 3in1

broken twill through several or many repetitions of motifs, preferably a variety of

motifs.

Master Weaving

Set up

Consistent tight weaving,

Threaded in

Fixing broken warp and

wefts

Double-face

3 in 1 twill

Brocade

Varying the width

(deliberately adding

warps and or wefts)

Addition layer of

embellishment*

Produce one piece 6ft that combines a variety of techniques from both the masters

and advanced journey skill-set.

Guild Master Weaving

Set up

Consistent tight weaving,

Threaded in

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Fixing broken warp and

wefts

Double-Face

3 in 1 twill

Brocade

Addition layer of

*embellishment

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Examples of weaving

What are we looking at, in a piece of tablet weaving?

Below are some examples and feedback, used with permission.

Competent Learning

Novice Weaving Setting up,

Consistent tight weaving,

Fixing broken warp and

wefts

We all have to

start

somewhere,

as an early

piece this is

solid work for

a novice.

The above

example is woven; there is a clear pattern with no mis-woven threads. As you can see from the

varying width of the bands, and exposure of the weft, consistent weaving has yet to be achieved.

That the weft is visible mid band, shows that the weaving is not tight. The white bars of a varying

width also indicate that the beating is inconsist.

While the overall length wasn’t supplied (3ft minimum for the piece to graduate to apprentice),

this is an example of a unidirectional piece that is what would be expected for all apprentices to be

able to do, and for novices to submit as an assessment piece.

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Competent Learning

Apprentice Weaving

Set up

Consistent tight weaving,

Threaded in patterns bi-

directional, assorted

repeats and staggering

Fixing broken warp and

wefts

This is an example of a bi-directional pattern,

which has been set up by the weaver.

You can see that the width of the band is

inconsistent, the weft is exposed, and that

there are loose threads. This is fine for a

novice as they are still learning to weave

consistently and tightly. That they have remembered to switch directions consistently is good.

While they have achieved a pattern, the jagged lines indicate that the setup is not quite perfect, as

such would not be acceptable at the apprentice level. (This is the only aspect that is wanting.

Otherwise, it would be acceptable apprentice level)

Things to work on ensuring that threading direction in setup is used to create smooth diagonal

lines, and to improve the weaving consistency and tightness.

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Example of some feedback on a piece submitted for assessment

Our thought process:

Good use of contrasting colours

The different width and length of the ‘S’ motif (a little trouble with beating consistently)

The zig zag border (some trouble keeping the width of a band consistent)

should be horizontal

Loose selvedge threads (try and

keep these to a minimum)

The diagonal lines are not smooth,

check the s and z threading

Feedback:

Impression: Nice use of materials and contrasting colours. Ideally I’d like to see a close up of an

extended section, to see how tight the weave is.

Things to work on for your next piece are:

try to alter the S or Z threading in the set up to give smoother diagonal lines- if you fix this you

will be considered an apprentice (as long as the piece is the length required)

focus on keeping the width even and beating consistently

try to keep the loose border threads to a minimum

Overall, excellent work for a novice, and with the improvements it will not be long before you will

be an apprentice, as always if you need any clarification please ask.

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Part B - practical weaving

Glossary of terms

Glossary

Materials and set up:

Warp: The set of lengthwise yarns that are held in tension on a loom or between the weaver and a

fixed point. In Tablet weaving these yarns are threaded through holes in tablets, usually 4 to each

tablet.

Weft: The yarn that is passed through

the shed formed by the turning of the

tablets. It is this which holds the

weaving together in tablet weaving, although should usually not be visible in the weaving.

Shed: The temporary separation between upper and lower warp yarns through which the weft is

passed. In Tablet weaving, this is created and manipulated by the turning and positioning of the

tablets.

Beater: Wooden or sometimes metal object use to beat the shed. It is inserted into the shed after

turning the tablets /or passing the warp through

the shed. The beater is then pulled towards the

weaving to ensure a nice tight and even weave

that is necessary for definition and regularity.

Often knife shaped. (Collingwood p40)

Border: Most tablet weaving from the simplest threaded in pattern to elaborate brocade has a

border of two or more tablets each threaded with four threads of the same colour and all turned

consistently in the same direction. This border is also known as a selvedge. The selvedge evens out

points where the pattern makes the weaving want to vary in width. The selvedge edge also provides

the structural stability especially in double-face or weaves using less than four threads per tablet.

These borders can also improve the appearance of a band, if the outer-most tablet is threaded with

the same colour as is used for the weft will ensure the weft is not visible at any point. Addtionally,

the selvedge provides an anchorpoint when attaching the final weaving to a garment.

Tablets: The most important item needed for tablet weaving, and where it gets its name from.

Tablets can be of many shapes and sizes with many numbers of holes as long as it is relatively thin.

However in terms of twelfth century Europe (looking at northern and western Europe mostly and

finds as close as I can get, so 11th-13th centuries though some earlier, but we can see the general

trend etc.) they would be;

Small (3.5-5 cm are the most common sizes found)

Wooden or sometimes Bone (Jutland, Scandinavia and UK have finds of both). Though

there are finds of tiny metal tablets, but these were probably pendants or trinkets of some

sort.

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Square, with rounded corners

With usually four holes. Though sometimes 5, 6, 7 or more rarely eight holes, those with 5

or 7 include a central hole. Some finds with six holes have the 5th and 6th holes cut over

decoration showing that they were an afterthought. 6 or 7 holed tablets make it easier to do

patterns that only use two holes as it is then easier to get a clearer shed. (Diagrams below

based mostly on finds from Oseberg ship burial)

Probably plain. There are some early finds of bone tablets with incised decoration, but not

for wood.

Threading: Used to describe how the card is set up, both in terms of colours in holes, number of

holes with threads in and direction of the threads within the tablets.

S-threaded & Z-threaded: These are terms used to describe

the directionality of the four warp threads as they pass

through a singular tablet.

Shuttle: Object on which a large amount of weft is held, to

aid storing it and passing it through the shed. Due to scale

and method of tablet weaving and the ease of invisibly adding new wefts a shuttle is not necessary

for most tablet weaving, however, it can be helpful or double as a beater

Weaving Process and Method:

Warp Twining: the technique in which each card is turned consistently either forward or backwards

so that their threads twist around each other to form a cord. The design is determined by the

colour of the threads and variations in twining. Even with frequent changes in twining direction to

create designs this method of weaving creates a very strong and flexible band. Nearly all extant

bands have a border of at least two cards of four threaded warp twining.

Threaded-In: A pattern in which the design is controlled by the initial set-up, how the tablets are

threaded and their positioning. Almost all threaded in designs are warp twined.

Uni-Directional: In which all tablets are turned in the same direction

for long lengths consistently. Often for the whole length of the band

or only reversing when there is too much twist left in the unused warp

to continue.

Bi-Directional: In which all tablets are turned in the X-forward, X-

back, X-forward manner.

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Staggered: In which some tablets are turned forwards and some

backwards, turning direction and which tablets are being turned

which direction can change. It is possible to create some very

intricate designs using certain threadings and staggered turning

patterns.

Double-face: A method based around the turning pattern F-F-B-B using cards usually threaded with

two colours (in the manner shown in the diagram on the right). By varying the position of the

cards the design is created, said design will be the same but colour reversed on both sides of the

band.

3 in 1 broken twill: This is a particular turning method of double face, capable of creating very fine

detailed and sharp designs. Each warp will pass over 3 wefts and under 1, in the broken form this

sequence is interrupted. Many extant ecclesiastical pieces use this method, often

combined with brocade.

Brocade: The use of an extra weft on the surface of the weaving, which passes under

some warp threads in order to create a pattern on the surface of the weaving. This weft is often of

gold or silver (either very fine and flattened wire or a thin metal layer around a silk core) or more

rarely silk. Most brocade is completed over a base band of warp twining or 3 in 1 twill double-face.

We are currently researching additional levels of embellishment such as embroidery and

alternative woven structures. Specifically we are trying to date various finds.

Looms: At its simplest extent a tablet weaving loom is two fixed points. These points can be as

simple as the weaver’s foot and belt, or two posts. (Oseberg loom mediaeval paintings, two upright

poles on a flat board, oft with stabilising section.)

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Choosing threads

How to tell what threads mean?

Threads have two pieces of relevant information, the number of plies (i.e., strands twined together)

and the thickness of the individual strands (distance of the thread in a specified weight).

Example

So both 30/2 nm and 60/2nm both have two strands twined together. 30 metres is a shorter

distance than 60 metres, so the 60/2nm thread is twice as fine as the 30/2nm.

Working towards using finer threads

Given that surviving examples show work with very fine threads this is something to be working

towards.

St Ulrich’s maniple 6.5cm wide needing 134 tablets, threaded with silk.

St Cuthbert’s girdle 69 tablets 2cm wide silk. (pre-Norman)

So for wools ideally fine tightly plied worsteds( 16/2nm or finer), and for silk 30/2 nm or finer are

advised (not expected).

Switching from relatively thick thread to much finer threads will be awkward for everyone, it is a

learning process, and we are here to help. We do not expect an overnight switch, but to be able to

mimic the level of skills displayed by the Normans will take practice and perseverance.

Authentic

Threads

Wool Not knitting. Ideally worsted

(approx. 16/2nm or finer) and/or

tightly plied. * if the wool isn’t

tightly wound enough it will be

likely to snap.

Linen As fine as possible (approx.

16/2nm) or finer.

Silk 30/2nm or finer

Gold or Silver

(Brocading)

Wrapped around a silk core

or

Fine, flexible gold wire (spun gold)

and then hammered

Working out how many strands of a particular sized thread to give a band of a certain width

Be careful, different suppliers use different measurements in terms of the units for distance per

unit of weight (nm, nel, wc amongst others). Remember different materials have different weights,

and so 20/2 in silk, wool or linen will most likely be different thicknesses. So you might have to

attempt to convert to a known standard, they will usually know this information. Otherwise

comparisons to machine thread, wool, embroidery floss, etc. might be required.

If in doubt most suppliers will provide samples although some will charge. Please ask for guidance

if you are stuck.

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Choosing a pattern

Normans had a preference for geometric shapes, patterns and heraldry. Try to find inspiration

using Norman sources, bear in mind the country of origin and the altered aesthetics. Due to the

nature of tablet weaving the heraldic designs should be rare. In order to stabilise the tablet

weaving there should be a thin edging usually in a solid colour. If you have any questions or need

help please ask.

For more complex bands such as those more likely to be seen worn by royalty, the uber-rich and

the upper echelons of the church, the use of metals would start to appear. You can combine

patterns, borders, to frame more intricate motifs that can repeat throughout the length of the

piece, to yield a broad complex band. For incredibly extravagant pieces, several lanes of complex

motifs separated and surrounded with patterned or plain borders can be designed.

The following are unacceptable patterns as they have been identified as from a much later period.

The use of four separate colours in a single tablets is also unacceptable (regardless of design).

Patterns to avoid (like the plague)

Snartemo: - 4 colours per tablet the motif is irrelevant.

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Tablet weaving on garments

Guidelines for wearing of tablet weave

It is important to consider the combination of several aspects when designing a kit impression; the

quality and cost of materials, and the complexity of techniques used. There are several factors to

consider in relation to kit impressions. The amount of tablet weaving (width and length) of a band

would have added considerably to the cost of raw materials. The cost of wool, linen and silks have

been covered elsewhere in the clothing regs in relation to rank, and are relevant to the costs of

producing tablet weaving. The complexity of the design would be a significant factor in relation to

labour costs (the amount of time it takes to weave an inch can vary hugely from minutes to hours).

Tablet weaving to be worn should be well executed with consistent tight weaving and ideally no

loose threads.

Bands that are highly complex (3-1 twill etc.), very broad (more than 1 inch) or utilising any

brocading would be the preserve of the church and the incredibly rich. Try to bear in mind any

other embellishments you have in an outfit and aim to achieve a balanced look suitable for your

rank.

Things to look for when buying/selling tablet weaving:

Weave

Is it tight, even, and consistent throughout the length?

If it is loosely woven it will fray, catch and fall apart considerably quicker. All extant pieces are

tightly woven with next to no weft visible (except at the selvedge edges).

Has it been made using authentic threads, in authentic colours?

Otherwise, it won’t be acceptable.

Does it conform to an appropriate style and pattern?

As a general rule, when picking patterns try and stick to geometric shapes and patterns akin to

what would be acceptable for embroidery, and more rarely heraldic designs. Try to use Norman

sources to inspire design choices or to inform purchases before asking for further guidance.

The most prevalent patterns: See choosing patterns section

Is it suitable for the rank and within the overall outfit?

How much tablet weaving? Where to put it (on a garment)?

Primarily Biceps, cuffs and collars(not hidden by wimples), there are very few finds for the

following (which are discouraged): around the bottom edge of tunics/dresses, cloak edges, garters,

lanyards.

How wide?

A minimum of 1cm- otherwise it will not be visible, the widest pieces found attached to normal

clothing are not more than 3cm wide. Varying width will only be used in ecclesiastical attire.

If in doubt, please ask.

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Materials Complexity Quantity Colours Oratores

Tier

1

Tier

2

W Simple Cuffs +1

Tier

3

W Simple/Normal Collars +1

Tier

4

W/L Normal Cuffs, Collars +1

Tier

5

W/L Normal Cuffs, Collars, Biceps +1 Stole

Tier

6

W/L Normal/Elaborate Long lengths/Cuffs,

collars

+1 Stole

Tier

7

W/L/S Normal/Elaborate Long lengths /Cuffs,

collars, biceps

+1 Stole

Tier

8

W/L/S Elaborate Long lengths +Cuffs

and collars

+1 Chasuble,

Stole

Tier

9

W/L/S Elaborate Long lengths +Cuffs

and collars

+1 Chasuble,

Stole

Simple: Threaded or simple double-face (not changing many cards at a time with small repeating

motifs

Normal: Double-face (changing many cards at a time)

Elaborate: complex double-face (changing a most of the cards and a variety of motifs), Brocade,

3in1 Twill.

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Appropriate colours are those for one tier above what you’re allowed for clothing (i.e. if you are T3

you may choose from the T4 palette). However, be sensible, remember to compromise with the

colours you choose bearing in mind the rest of your outfit in order to achieve a good/ideal kit

impression.

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Making tablets

Tablets

So you want to give tablet weaving a go, how do you get started? You’ll need the equipment

(tablets/playing cards-see below for a how to), some form of tensioning, miscellaneous bits of

string clothes pegs, etc. and of course the threads.

Tablets / cards are both acceptable terms.

A good starting number of cards is at least 12. If you have the inclination, a whole pack of cards is

always helpful especially when working with very fine threads and you need to make a broad band.

You can either make your own (see below) or buy them in (see suppliers section)

I find playing cards a quick and cheap way to give it a go. Although you can try with other

materials such as cereal boxes, wood, bone, etc.

In terms of size, period tablets were quite small between about 3.5-5cm, much smaller than 1 inch

will be hard to work with. When starting you may find larger cards easier to turn / handle, however

if they are excessively large they will be more difficult to turn.

Making your own tablets

1. Cut into squares

2. Round the corners

If you do not they will catch threads as you use them-> snapped threads or a lot of stop

starting instead of weaving

3. Make a template using ruler and compass (see diagram above), do not fold.

4. if the holes are too close to the edge, then they will be less sturdy

5. Make holes in the template where the diagonal lines intersect with the circle.

This can be done with an awl, hole punch, drill.

These holes need to be of a uniform size, one that is easy to pass threads through.

These holes must be flush with the surfaces of the cards to reduce friction on the

threads.

These holes must also be of a smooth nature again to reduce friction on the threads.

6. Use this template to punch the holes in the other cards /tablets.

7. Make sure they are finished and are smooth

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Threading up and interpreting patterns

Threads

Now you have tablets; you will need some thread.

Wool and silk examples from out period, in our area have been found, but not linen. Lien is

notorious for degrading but its use is acceptable. You’ll want to start with some thread that won’t

fray, felt or snap easily as the process of weaving requires quite a bit of tension. If you are doing

things inauthentically some fine crochet thread, cotton (not sewing cotton) might be useful. If you

are buying in threads, you will need to work out how much you need in advance.

You need to calculate how much thread you’ll need for a single thread,

How long the piece you want to weave, e.g., 1m

(length x1.2) + 50cm (100x1.2) +50=170cm

So each thread must be 170cm

The x 1.2 is because you will lose a little length going over the wefts

The +50cm is because the shed prevents a weaver from weaving the final 50cm or so,

and you also lose a little from the setting up process with knots.

Multiply length per thread by 4 (there are 4 threads in a tablet)

170x4=680cm=6.8m thread per tablet.

To calculate the lengths need for a pattern depends on the number of tablets

12 tablets so 6.8x12=81.6m in total.

However if all the threads were the same colour it would be a very odd band (unless youre using it

as a base for brocade), so depending on the pattern you will need different total length for various

colours.

For this inauthentically coloured pattern, you would need equal

amounts of each colour, so 81.6 divided by 4=20.4m of each (assuming

you stretch this to 12 cards wide)

For more awkward patterns, you may need to count the number of each

colour of threads

12 dark and 32 light threads

12 x 170cm = 2040 cm = 20.4m

32 x 170cm = 5440 cm = 61.2m

You can double check your maths -

20.4 + 61.2 = 81.6m, which matches the above total.

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You’ll also need plenty of weft that differs depending on thread size.

Interpreting a pattern- setting up

There are various forms a pattern can take, here is an example of a

threaded in pattern (inauthenically coloured)

Here each column represents a single tablet, whose holes are

labelled in a clockwise fashion.

The directionality of the threads within a tablet are denoted at the

bottom; these are all S threaded as the author instructs that slash

indicates the directionality of the threads through a tablet. All the

threads going through a singular tablet must go through in the

same direction, otherwise the tablet will not turn.

So for the first column on the left hole all the threads will be S

threaded, in hole A the thread will be red, B green, C blue, and D

yellow.

Important note, be sure to read each author's individual threading instructions before you start as

there is no uniform manner in which to interpret a pattern. Authors work left to right or right to

left, interpret S and Z from differently, as up/down, left or right, even displaying the tilt of tablets

as opposed to the direction of threads. Read the instructions.

A B

D C

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Set-up and weaving

I could attempt to describe in detail how to do each of these, but in reality it is better explained

through seeing and doing. The important thing is to check the cards, draft, and threading

repeatedly as once the weaving starts it is much harder to fix mistakes from setting up. Weave

whatever way you find comfortable. One incredibly

important thing to remember: all the threads going through

a single card must be either S or Z otherwise the cards will

not turn.

You will need at least 2 fixed points (clamps, chairs upside

down on a table, bannisters, sturdy door knobs, warping boards, belt) to create tension. Useful

things are bits of string, clothes pegs (to hold the pack) and an extra pair of hands.

Individual threading

Applicable when setting up threaded in patterns or you haven’t got two reels of each colour

making it difficult to warp continuously,.

https://www.youtube.com/watch?v=AGC7zPtCvZ4&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC

Subtitled Eng, French voice. Pre-cut threads, clear pattern interpretation

https://www.youtube.com/watch?v=9cyTMU7lfHg

Set up and interpreting threaded pattern, and s and z threaded differentiation

https://www.youtube.com/watch?v=9cyTMU7lfHg

Setting up threaded patterns one strand at a time tie on cut as you go. Importance of threading

each card with threads either s or z not mixed

Continuous warp

https://www.youtube.com/watch?v=ZcwVcLgpWQw&index=44&list=PL0pltHQUj2elCZ1MqvALrYir

QFsIJyiOL

Continuous warp for tablets of the same colour and the double face, area in the middle. Beautifully

clear steps

Once the pack is threaded, check the pattern, threading, etc., get the cards in the right order and

orientation.

*remember that different authors have different systems

Work out any twists, tangles, etc. by combing or moving the cards along the warp(the cards acting

as a comb). It is better to work from one end to the cards, use the cards as a comb, slipknot the

trouble free end. Then work out the oddities from the other end, use the cards as a comb ENSURE

EVEN TENSION, knot, change the slipknot into a standard knot taking care to maintain the

tension.

Storing excess lengths of warp

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Twisting, tying knots around the warp at intervals of 5inches or knotting like braes cord

https://www.youtube.com/watch?v=qGaXrxL_8o4

https://www.youtube.com/watch?v=ZcwVcLgpWQw&index=44&list=PL0pltHQUj2elCZ1MqvALrYir

QFsIJyiOL

Essentially making braes cord with the excess length.

Setting up a loom

Authentic looms

Osberg style

Tie one end closest to the tablets to the loom using luceting and a slipknot, pull to check that it

won't undo, then pull the warp to the other pole, under high tension. About 1 inch before the pole

tie a slipknot in the gathered warp strands, TAKING CARE TO ENSURE EVEN TENSION IN THE

SECTION THAT IS EXPOSED TO THE TABLETS. Use some more luceting to secure to the other

pole ensuring tension is maintained, and that as the luceting is moved up and down, the tension

slackens sufficiently, if not adjust tension and repeat until you are happy.

Back braced

Tie one end closest to the tablets, to a strong thing that can support the tension, using luceting and

a slipknot. Pull to check that the knot will not undo, then pull the warp towards yourself, under

high tension, check to ensure that the tension is even. Attach to your belt via luceting or whatever,

ensure tablets are within easy reach. If you do not have enough room to work the weaving in one

length, tie a slipknot in the gathered warp strands. TAKE CARE TO ENSURE EVEN TENSION IN

THE SECTION THAT IS EXPOSED TO THE TABLETS, use some more luceting to secure to the

the thing ( you weave at the end closest to you), adjust tension, ensure it is even, and repeat till you

are happy.

Foot braced

Hold one end to your belt, stretch your leg out comfortably (slight bend in the knee), get your

glamorous assistant to measure out the length to your foot. Tie a slipknot in the gathered warp, tie

the slipknot section to your foot with lucetting as stirrup, tie the other end to your belt. Fix the

tension using hands to pull the excess towards the belt and weaving the loops onto the reverse side.

Inauthentic

Box loom

Set it up warp of desired length using continuous warp or threaded (see above).

Ensure tangles have been worked out, and that the tension is even,

The knot at the far end is secured in or to the roller at one end. Maintain tension and wind on the

warp, keep the tablets at the near end, attach the near end knot to the near roller, secure, check

tension.

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Inkle

https://www.youtube.com/watch?v=Cheht5FC0Fs

They use a continuous warp method; you can combine this with an individually threaded method

if desired.

Weaving

Turning cards

https://www.youtube.com/watch?v=GC_aWPi1PR4

at 6mins or so, the importance of not squashing the cards together, they need space to turn.

https://www.youtube.com/watch?v=qGaXrxL_8o4

general weaving,

Two-pack method

https://www.youtube.com/watch?v=XRd-LNOogiI&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-

https://www.youtube.com/watch?v=Zvohefehwpw&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-

&index=5

https://www.youtube.com/watch?v=gaQC8NXE3Og&index=9&list=PLoOvjef668d54XvNSTzhS95BG

xaE7oEC-

25

Beating and Passing the weft

https://www.youtube.com/watch?v=qGaXrxL_8o4

https://www.youtube.com/watch?v=l3K_eAhOxb0

notice the care with which the weft is pulled after a turn to ensure a smooth edge and an even

width

https://www.youtube.com/watch?v=kuUNJ_rXilY&list=PL0pltHQUj2elCZ1MqvALrYirQFsIJyiOL&i

ndex=27

nice method to ensure that the selvedge is smooth, and the weft hidden whilst maintaining a

consistently wide band

https://www.youtube.com/watch?v=9wV-fwnv9-

8&list=PL0pltHQUj2elCZ1MqvALrYirQFsIJyiOL&index=57

Flipping / rotating individual cards

Can be carried out under slackened tension, card can rotate around their vertical axis resulting in

the opposite twining of those threads. An alternative to the two-pack method but a bit more

unwieldy.

Interpreting a pattern- weaving

https://www.youtube.com/watch?v=AGC7zPtCvZ4&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-

&index=34

Precise threaded pattern interpretation

https://www.youtube.com/watch?v=iwK-

vxKLPAs&index=23&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-

Lovely step by step walk through of a double face pattern

https://www.youtube.com/watch?v=Zvohefehwpw&list=PLoOvjef668d54XvNSTzhS95BGxaE7oEC-

&index=5

Interpreting complex patterns

Brocading

https://www.youtube.com/watch?v=BW3pdsBYR_M&index=10&list=PLoOvjef668d54XvNSTzhS95B

GxaE7oEC-

https://www.youtube.com/watch?v=DSc96uBCAtY&index=25&list=PLoOvjef668d54XvNSTzhS95BG

xaE7oEC-

https://www.youtube.com/watch?v=OZGyAFEMoCM&index=93&list=PL0pltHQUj2elCZ1MqvALrYi

rQFsIJyiOL

Good luck weaving, once you’ve finished, congratulations. Show us some pics (we all need

something to add a splash of colour to the day)

26

Troubleshooting

Breaking warp threads during the setting up

Tie a knot, replace with a single length, when the rest of the cards are threaded

Breaking warp thread mid weave

Replace the end that is not woven, going through the cards, and then either:

Ensure that it is long enough to have an inch overlap with the band or replace the whole thread,

pin to the wrong side of the band, weave it in. check that the brokenrepacement thread is trapped

in the weft and trim, sew the end into the band taking care not affect the surface.

Tie a suitable knot, (this will get tricky to work with) endeavouring to weave the knot onto the

wrong side

Replacing the weft (it’s run out or snapped)

Overlay with new weft at least one pick, bury the end of the old weft partway through the shed.

Unpicking a mistake

Carefully step by step reverse the weaving process, removing the weft, and any felted

material. With fine threads be gentle, it might be easier with slightly slacker tension, trying not to

snap or overly stretch the warp threads(creates odd tension). Take your time, you can use the top

woven strands to rotate the cards in the right direction. You might find it helpful to use a needle or

similar to coax threads individually.

Jumbled cards

Using the woven band as a guide put the cards in the right order, you may need to untangle them,

take your time. Then once the cards are in the correct order manipulate them into the proper

orientation, unpick one weave to be sure. Carry on, taking care to secure the cards in future.

Breaking lots of warp threads when weaving, or lots of frayed threads

Friction. Either from the cards themselves, excessive turning in a particular spot (not moving the

weaving along frequently). Tension that is too strong will exacerbate these problems. Loosely spun

threads are more likely to break or fray, and do not cope well with high tension.

Trouble with tension

When warping the cards, you must ensure that the tension created should be even and sufficient.

As cards twist they either create or shed tension, it helps to be able to adjust the tension as you

weave. On the upright Oseberg looms, I move the luceting connecting the tablet weaving up and

down the poles to accommodate these changes.

When a thread snaps, the tension is usually off. Try to pull any excess to the underside of a band in

a loop, weave past the loop several picks, pull the loop to ensure correct tension with the other

threads.

Sometimes we need to work with delicate threads and the tension desired for good consistent

beating can be achieved with slacker tension than normal. Use your hands to temporarily create

tension (by pulling against the woven band, before the cards, beat, then insert weft).

27

https://www.youtube.com/watch?v=gaQC8NXE3Og&index=9&list=PLoOvjef668d54XvNSTzhS95BG

xaE7oEC-

She has a slack warp but uses her hands to create tension temporarily to beat in the pattern.

Weft visible / bumpy border

Before passing the weft gently tug the weft to remove any excess from the previous pick until

smooth. Take care to ensure an even width along the band.

Attaching tablet weaving to a garment

Using strong fine thread that blends into the border. Use small neat stitches that are invisible

(ideally) so that the band doesn’t move despite scraping a nail against it. Do this for both long

edges of the band, making sure to follow the curve of the garment where appropriate. Pins are

useful to help keep things in line, always leave plenty of excess, as once it is cut it is harder to sort

out if you need more. As with all matters, take your time and have plenty of cups of tea.

You can trap the ends of tablet weaving the the seams of a garment try to insert about an inch, or

you can try to weave them together,

https://www.facebook.com/Lautanauhat/photos/a.542277809189068.1073741829.470858679664315/5

97073930376122/?type=1&fref=nf

I have not tried weaving the ends together yet, but it looks quite nice (if tricky)

28

Appendix 1 – history of tablet weaving

Here is a brief history of tablet weaving and its use in the Norman period.

Tablet weaving is often considered only in the context of Saxon, Viking, and Medieval usage and

thought of as only being around from the Saxon era onwards, whereas it is, in fact, much older.

Tablet weaving has a nearly 3,000 year history and in that history has gone through many changes

and developments in method, style and usage.

The early uses of tablet weaving were the starting borders for pieces woven on a warp weighted

loom. A narrow band consisting of a few 4-hole tablets threaded all of one colouring alternate S

and Z threading would be woven, and then the wefts would be used as the warp for a larger piece

of fabric. This forms a sturdy and even starting edge for the weaving to begin on, sometimes also

found the side and more rarely the end of the fabric woven this way.

These starting borders grew in scale and complexity; warp twined patterned borders and borders of

50, or more tablets have been found. Including an exceptionally fine 3rd century AD Danish piece

in which uses 160 tablets to create a woollen starting border only 8cm wide.

By the 4th century, tablet weaving is commonly being used in its own right, as decorative bands,

and as belts. Finds from Scandinavia, Denmark and Poland to name but a few places show a wide

variety of weave structures and were skilfully executed.

However, it is not a simple linear development in skills and style as these finds would indicate.

Finds from the Hallstatt salt mine (Austria) dated roughly 800-400 BC show that complex weaving

(in this case 3in1 broken twill) was understood and practised, although they may not have been the

norm.

The Romans were aware of tablet weaving, as practiced by the Gauls who split the shed with little

shields. They noted it was different from that practiced in Alexandria which used heddles, but it is

uncertain if the used it themselves.

The 6th century shows several new developments in tablet weaving.

In Snartemo, Norway, a variety of techniques have been found including from grave V a style that

has come to be known as Snartemo technique. Tablets each threaded with four different colours,

and the manipulation of the warp floats to form intricate diagonal based designs.

Moreover, in Anglo-Saxon England (mostly in the South-East) brocading began to be used, thin

gold strips used as an extra weft on woollen bands. Many examples have been found in Germanic

and Anglo-Saxon graves from the period. Roughly three hundred years later finds from Birka,

Sweden also use brocade, though now on a silk base, alongside non-brocaded pieces.

From around the same time as Birka, are the finds from the Oseberg ship burial. One of the only

finds, of a band set up and in the process of weaving (A linen band with 52 cards). In addition,

many other bands were found in this site.

29

While non-brocaded tablet weaving continued to be used in secular life as decoration, brocade was

taken up by the church, as a favoured method of showing ostentation. Brocade was then

consequently developed in both scale and scope.

Vestments, cingulums, stoles, chausables, maniples, as well as bands of shoes, gloves, mitres,

dalmatics, almices and albs belonging to various saints, bishops, archbishops (and a few members

of the ruling classes) from 9th century Bishop Witgar. Though the tenth century pieces found with

St Cuthberts, and those belonging to Archbishops Henry de Blois & Hubert Walter in the 12th

century and onwards into the 14th and 15th centuries, have been found and still survive in various

collections. Almost all of these are exceedingly fine and woven of silk with brocaded with gold,

silver or occasionally with more silk, often using the brocade with other techniques and patterns.

Designs seen in the brocaded pieces include ornate geometric diamonds, knots, diagonals, crosses,

as well as many stylised animals and plants. Most ecclesiastical tablet weaving is brocaded, notable

exceptions are the silk maniple and stole thought to have belonged to St Bernard (d<1153). These

are a combination of 3 in1 twill, double face and warp twinning (in the borders). Together these

techniqus create a series of complex motifs of trees, foliage, dragon head shapes, birds, deer, other

beasts and what appear to be a centaur.

Heading into the 16th century, tablet weaving became less popular as new methods of creating

intricate designs such as lacemaking developed, and fashions changed. Not much is heard of in

relation to tablet weaving until the late 19th century, M.H.Stolpe brought tablet weaving to the

attention of the academic world with his report on the finds from Birka. In the spirit of exploration

and study of this age, people took to this new craft and studied it further, looking for historical

pieces and experimenting to recreate them, to gain a greater understanding. Notable scholars of

tablet weaving from the late 19th and early 20th centuries include Margarethe Lehmann-Filhés

whose study in the 1890's and publishing of Uber-Brettchenweberei in 1901 set tablet weaving on

the textile stage. (Further information on Deus Vult to follow, as a supplement, after the

completion of the Norman tablet weaving guild info.)

30

Appendix 2 - suppliers

Suppliers

Tablets

Lucy the Tudor (wooden quite large and thick)

Bikkel en been- bone tablets (beautiful quite small and fine, sadly extortionate)

Worsted wool

Mulberry Dyer

Handweavers gallery http://www.handweavers.co.uk/shop/2_16_nm_worsted_wool.html

Silks

Handweavers gallery http://www.handweavers.co.uk/shop/30_2.html

Mulberry Dyer

TORM

Looms

Various woodworkers in group

Lucy the Tudor

Beaters, shuttles and other paraphernalia

Lucy the Tudor (wooden)

Bikkel en been (bone)