Weaving Course Module 5–Traditional Weaving

Rutevev, unknown origin

This lecture will not go in depth, but point out some local variations.  It is taken from the weaving draft booklets we will use in the course.

Some questions come to mind when working with traditional weaving: how should you weave based on old pieces–reconstruct them, re-create them, or create something new? Use copying as a work method? Is it a utilitarian weaving or decorative? We have different ways of using things because we live in another time. Weaving has moved from the bed to the wall.

What is traditional weaving? Why are some coverlet techniques seen as more traditional than others? Tradition is a dynamic concept.

Åkle (Coverlet) Weaving in Norway—Scratching the Surface

Åkle – a woven coverlet used to place on a bed. From the Old Norse áklæði which means bed covering.

Brotkvitlar and brautåkle. “Brot” which means edge or a break, or border–a coverlet that is put together of stripes and borders. Kvitel is used for bedding. Åkle is a catch-all word today (p. 49, Skinveit).  Brosse and rugge are other local names–are there more? 

Tjukkåkle (thick-åkle)–thick weft-faced coverlets such as ruteåkle (geometric square weave) and krokbragd. The weft is dominant; it covers the entire warp. 

Tynnåkle (thin-åkle)–Overshot coverlets woven on a ground of plain weave, such as skillbragd and tavelbragd (monk’s belt).  In Vestland they are often used for rituals such as baptisms, weddings, and funerals. In Trøndelag they are often sewn to the backside of a skinnfell (sheepskin)–a fellåkle. (p. 34, Skinveit).

Many coverlets are sewn together, and often several techniques are used in one coverlet. Many are woven of two pieces sewn together in the middle. The materials, patterns and colors are related to the area it was made and the environment. Technical improvements, industrialization, aniline dyes and the growing importation of cotton after 1850 allowed for many new variations. New working methods raised the possibility for new techniques, and new colors and materials opened the way for excellent compositions, which in turn gave new expressions to traditions. Easier access to materials and already-spun yarn freed up more time for weaving or other activities.

In discussing composition, were weavers motivated by a fear of blank spaces, or the need to create, or affected by the limits of the weaving technique? 

Local variations: what was found where, tendencies.

Vestlandet – Hordaland, Sogn and Fjordane – geometric square weave (rutevev).
Rogaland, Agder-fylkene – square weave (rutevev)
Buskerud – krokbragd (single and double), square weave (rutevev), skillbragd.
Sør-Trøndelag – skillbragd, tavlebragd, fellåklær, doubleweave, saumaåkle
Telemark – skillbragd
Nordland, Nord-Trøndelag and generally along the west coast – båtryer (boat ryas)
Vestfold – Vestfold technique (vestfoldtepper/vestfoldsmett), blokkvev

Inlay and Interlock Techniques

In these weavings, the pattern is plucked or laid in by hand, between the ground weave. The binding is either a weft-faced weave where the laid-in weft completely covers the warp, or a binding with a ground weave where the pattern threads are laid in on top of an open or tightly-woven plain weave ground.  

Kelim

With kelim you weave in separate yarn butterflies in the warp without interlocking them. Small openings grow between the colors and the weaving hangs together by shifting the pattern sideways.  The front and back are the same. (p. 108, Zetterman)

The technique is little used for coverlets in Norway, but was used for narrow bands in Telemark, saumabelte.

Square Weave — Rutevev / smettåkle (Norway), rölakan (Sweden)

Swedish Scanian rölakan has double interlocks, and there is a right and wrong side. Norwegian rutevev is a single interlock technique and is the same on both sides.  (p. 108, Zetterström). Rölakan is woven in two ways. Either you interlock the colors with each shot (double interlock) or interlock on every other shot (single interlock). The double interlock creates a right side and a wrong side, where there are raised ridges along the color changes. That type is especially used in Skåne and is called skånsk rölakan. The single interlock technique creates a reversible weaving, and is called norsk rölakan by Ulla Cyrus-Zetterström in her textbook on weaving. 

In rutevev butterflies are used to weave over a specific number of warp threads to result in squares, on an open shed with two shafts, and is woven wrong-side-up.  It can be woven on an warp-weighted loom, an upright loom or a floor loom.  On a floor loom it’s easy to get a distorted perspective and weave flattened squares; measure carefully. The ends per inch in the reed must be suitable to the weft yarn and the tightness; the weft should cover the warp completely. While weaving the yarn end is laid under a warp thread to secure it and is clipped off with 1 centimeter remaining on the wrong side (with double-interlock). The weft is laid in with even bubbles and beaten in the closed shed, after changing sheds. (Zetterstöm). 

In Hardanger the coverlets are called dokkåkle, or doll coverlets after the yarn-dolls (butterflies) they are woven with. In Sunnhordaland it’s called inlay-coverlet (smettåkle).  Ruteåkle, or square-weave coverlet, is the general name for the technique and tells us that the pattern is composed of squares. These coverlets have had high status. 

In Hardanger double-interlock is used the most, which means that the weaver interlocks the weft in both directions. With double-interlock the joins appear as vertical ribs on the wrong side. The coverlets are thicker and the right side is smoother than with single interlock, where the interlock join is woven when weaving in only one direction. The single interlock lies between the warp threads and the coverlet looks the same on both sides. 

In Hardanger square-weave coverlets are characterized by small squares and patterns. Typical weavings sold by traveling peddlers were the so-called “hardangeråkle.” Square-weave coverlets from Sogn had larger squares and patterns. In communities in Agder rhombuses dominated. 

Left: from Ullensvang, Kinsarvik, purchased 1895. Center: Sogn og Fjordane, Førde, purchased 1895. Right: Vest-Agder, Lindesnes, purchased 1896

Hotel Ullensvang in Lofthus (in the Hardanger region of Hordaland county) has a number of old coverlets hanging on its walls. 

“Solstol”, Hilde Opedal Nordby

“Solstol”, by Hilde Opedal Nordby, shows rutevev used in a contemporary way.

References: p. 106-107 Skintveit, p. 108-109 Zetterström

HV-technique

Handarbetets Vänners technique (Handarbetets Vänners is the Swedish Handcraft association)  is a simplified rölakan/billedvevsteknikk (tapestry technique) where the pattern is laid in in certain sections, while the ground weave is woven with a shuttle. The ground is a tight weft-based plain weave and the inlay thread is in the same shed is the ground weave. Weaving shifts between two inlay shots and two ground shots. (See diagram.) (p. 117, Zetterström).

MMF-teknikk

Märta Måås-Fjetterströms-technique (MMF) is woven in plain weave. The inlay pattern and the base weft are woven in the same shed.  It is used mostly for decorative weavings–draperies, curtains, and wall hangings. 

Vestfoldsmett (Norway) – Krabbasnår (Sweden)

Krabbasnår is a much-used technique in Sweden. Patterns placed with much space between them are typical for Norrland, and used extensively in Gästrikland og Hälsingland. In southern Sweden, however, the patterns are set so closely that the ground weave almost disappears.  It is reminiscent of smøyg (a form of embroidery), with similar pattern elements. 

Krabbasnår from Skåne

Krabbasnår from Småland

Krabbasnår from Dalarna

 

 

Nøtterøyteppe

In Norway the technique is especially known in Vestfold and has pattern elements tightly or more loosely placed, always in borders, with unusual and varied patterns.  It is not widespread, with just coverlets from Vestfold and one in Telemark, but it pops up in combination with other techniques in other areas of Norway. 

Asketeppe

It was a popular technique for runners and pillows in the 1940s and 50s with new patterns and colors. 

A runner in new colors and designs

Vestfold inlay is woven with the wrong side up.  The pattern threads are plucked on a closed shed under a certain number of warp threads (often 3). Between every pattern thread the ground thread is thrown in plain weave, which gives the colored background for the pattern. The pattern inlay is moved one warp thread diagonally for every inlay. The warp is linen or cotton; the ground is woven with a single strand of wool and the pattern woven with doubled wool yarn. The number of ground shots must be chosen so that the inlay pattern threads are neither too close nor too far from each other, for example two,  three or four shots between each pattern inlay. The ends are fastened by laying the yarn end under a warp thread so the fastened end is hidden by the pattern float.  1 centimeter of the thread can remain on the wrong side. 

References: p. 216-217 Brodén & Wiklund; p.119 Zetterström

Vestfold Husflid organization research: There were 12 old coverlets found in Vestfold and one from Solum outside of Skien in Telemark. The oldest is dated 1708 and the latest, 1840. The coverlets received their name from the place they were found. Vestfold was on the rise at that time. Andebu, especially, is notable for many coverlets. At this time, many of the large farms in Norway were being divided.  These coverlets were special, and not owned by everyday citizens. In comparing the Vestfold coverlets, you see they are all composed of borders of varying sizes, separated by narrow borders in pick-and-pick or small pick-up designs. Many of the borders are symmetrical over a mid-horizontal line. 

They were originally used on beds, which were the living area’s finest pieces of furniture. Later they were hung on walls as decoration. 

It is not a typical Norwegian technique.  The Vestfold area had a lot of contact with foreign countries and little rural culture. Perhaps it was easier to access textiles to purchase?  It resembles the Swedish krabbasnår technique that is very common in Sweden, especially Skåne and Norrland.  Perhaps Norwegians adapted it to their area?

Else Poulsson from Husfliden (the handcraft store) in Oslo drew patterns based on coverlets.  They were displayed in Stockholm in 1939 at a Nordic handcraft meeting (Nordiske Husflidstinget). They were woven in new colors popular then–rust, green, beige, sheep-black (a deep brownish-black), and gold. It became popular to weave the patterns, often combined with rosepath, in coverlets, runners, and pillows.

Examples of “new” Vestfold designs

Blokkvev (Norway) – halvkrabba (Sweden)

Block-weave draft

Blokkvev (block-weave) was used mostly in combination with other techniques, especially Vestfold. The pattern threads are laid under two warp threads (or 3-4 threads) and shifting to the side is always done over the same number of threads to give a checkerboard pattern. Each square has the same number of pattern threads. Block-weave is usually woven from the back, and the pattern shed is picked. One or two ground shots are woven between each pattern shot, and enough pattern shots should be woven to made the design square. 

References: p. 216-217 Brodén & Wiklund; p.119 Zetterström

Sjonbragd (Norway) – Dukagång (Sweden)

The pattern is characterized by lines along the warp direction.  The pattern threads always float over the same number of warp threads, bound by an even space between. Common divisions are over two and under one warp thread, or over three and under one warp thread as in the example below. In the first instance you thread 1,2,3,2,1,4.  Here it is shown with the right side up. 

Left: over two threads, under one; right: over three threads, under one

Sjonbragd is woven with the back side up so that when the pattern weft is picked in different colors, it is easier to manage the butterflies. If the pattern weft is woven in the same color across the whole width, the pattern weft can be inserted with a shuttle and can be woven right side up. 

In Sweden the technique is most used in Skåne and nearby areas. It has been used in decorative weavings, combined with other techniques in clothing fabric, and woven in both wool and linen. 

References: p. 119-120 Zetterström; p. 241 Brodén & Wiklund

Pile Weaves – båtryer og andre ryer

From the book Båtrya i gammel og ny tid (Boat Ryas in the Past and Present), by Ellen Kjellmo, Orkana forlag, 1996.

To the highest degree, the båtrya was a practical item and served its purpose–to keep fishermen warm in cold and wet conditions. Important characteristics were insulation, ventilation, humidity-absorbing abilities, suppleness, and elasticity.  The båtrya acted like a sheepskin, which was the common coverlet inland–but a sheepskin would become stiff and heavy when wet. 

Ryas are known from various parts of Norway back to 1500.  Ryas from inland were used as bed  coverings or in sleds. In Nord-Norge (Northern Norway) ryas were commonly used as equipments in boats, fisherman’s shanties, and beds. They were especially found in the Lofoten islands, Vesterålen, as well as the coast of Helgeland (more richly decorated the farther south you go). Ryas lost their popularity around 1900. Aside from one rya from the Grytøya community, there are no known preserved ryas from Troms or Finnmark–probably because most were lost during the Second World War (p. 22, Kjellmo). 

A single båtrye could weigh up to 1 vog, or 17.95 kilos (almost 44 pounds). They were from 130-170 centimeters wide (51-67″) and 180-200 centimeters long (71-79″). Two or more woven strips were sewn together. 

The smooth side was often woven with symmetrical stripes or squares. The knots were not visible on the smooth side, to protect the backs of the knots from wear. They were woven in three- or four-shaft warp-faced twill. The warp was quite closely set, with 50-90 threads per ten centimeters (approximately 12-22 ends per inch), depending on the thickness of the yarn. The warp yarn needed to be strong, even, and smooth, often left-twisted yarn, always two- or three-ply. It was spun of the guard hair of the wild sheep (utegangersau). The under hair was used for the knots. The weft is spun from the coarser hair of the belly and leg. It could have been twisted in the opposite direction of the warp yarn, but most often the warp and the weft were both left-twisted. The weft was not packed so hard, from 3-6 shots per centimeter (approximately 7-15 shots per inch). (pages 62-77, Kjellmo)

The pile side is the “noppasiden.” The pile length varied from 5-9 centimeters (approximately 2-3.6″). The pile side was meant as the back side and was often without pattern. The wool pile yarn was often supplemented with rag strips. It varied between 1-2 centimeters (.4-.8″) between each knot. The pile was cut beforehand in double lengths, often with the use of a “noppakjevle” (a “noppa-pin,”  or rolling-pin sort of implement).

Knots are tied on an open shed. 

The knot is the Smyrna knot or the gjordes knot, known from Turkish, Caucasian, and some Persian rugs. It is tight and is not visible on the back side. It was the most often used knot in Norway and in båtryer. It can be knotted with short ends or with one strand over a ruler. 

The Senné knot is used in central and east-Asian, in Egyptian and in Persian rugs. This knot is easier to pull out and the back of the knot is not completely hidden on the smooth side. 

The Berber knot, or soumac, is a variation of the smyrna knot.  It gives a rougher look.  (page 101, Kjellmo). 

Pile has been used in many decorative textiles, different from the båtrya’s useful and practical function. 

Pile was used in combination with knitting and as edging of various garments.

 

 

 

References: p. 106-107 Skintveit; p. 108-109 Zetterström

Taatit

Rugs from Shetland use a coarse base where the pile is sewn on after weaving, to free up the loom for other projects and to give more freedom in designing patterns afterwards. (VÄV, Number 4, 2016, pages 27-29).

http://donnasmithdesigns.blogspot.no/2015/06/taatit-rugs-exhibition.html

Chenille

Noppväv, or chenille, became common during the 1800s in Sweden, along with the increasing availability of cotton.  Cotton was especially suited to nopp-technique. The technique is known back to ancient Egypt. It was especially common in the western Swedish areas, where the access to cotton was good through the cotton mills both in Uddevalla and Göteborg.

Left: Skirt from the mid-1800s. https://digitaltmuseum.se/011024287337/kjol

It was less known in Norway; it was a newer city phenomenon, with examples like pillow covers from the collections of Husfliden in Oslo.

 

It was also a traditional technique in Sardinia, called “pibiones” which means grapes.  It was used for interior textiles such as pillow covers, tablecloths and curtains, and it is still woven today. 

Shuttled Techniques

Gammelbragd

Gammelbragd (“old-weave”) is a combination of pick-and-pick and other picked techniques. In galmmelbragd the patterns are picked over two, three or four warp threads, with the remaining warp threads used as the tie-down. It is often combined with pick-and-pick and you can achieve many interesting color effects. 

Synnøve Erdal from Ålesund analyzed a fire-damaged cradle blanket from Norddal in Sunnmøre. The warp-weighted loom continued to be used in Sunnmøre longer than in many areas; coverlets have a “third selvedge” on the upper edge where it was attached to the loom. 

References: p. 35 Skintveit; p. 49-58 Skintveit

Monk’s Belt: Tavlebragd (Norway) – Munkabälte (Swedish)

Monk’s belt, or tavlebragd, is a simple and easily-executed weave structure woven with four shafts and treadles. The pattern is woven with a shuttle or picked so that the pattern weft floats freely over and under the ground weave.  There are no binding threads, so the floats can’t be too long. The ground weave is most often plain weave in linen or wool. Tavlebragd is always threaded in at least two sections and creates a stacked pattern.  Each stack consists of several pattern shots with the same treadle, always with one or two ground shots between. 

 

 

 

Monk’s belt examples

Tavlebragd is found in many areas of Norway. 

A monk’s belt from Flat, and its draft

http://www.husflid.no/fagsider/aaklaer_fra_buskerud/tavlebragdaakle_fra_flaa

References: p. 221 Brodén & Wiklund; p. 82 Zetterström

Skillbragd (Norway) – Upphämta, Smålandsväv (Sweden)

In Sweden the technique is called uppämta and has several place-specific names such as Smålandsvev, Västgötateppe, Morateppe, and Åsedaväv.

Well-known examples in Norway are telemarksksteppe and nordlandsåkle, along with  åmotsdalsåkle (in Sør-Trøndelag). Skillbragd is common throughout Norway. It is often been used in religious contexts such as baptism, bridal coverlets, and coffin covers. This is reflected in descriptions such as kristnaåkle (christening blanket)  og likåkle (funeral cover). These items were well-cared for and not in daily use– perhaps that is why we find so many well-preserved skillbragd coverlets today? 

 

 

 

Skillbragd is a group name for weave structures of plain weave ground with pattern shots with floats, most often across the entire width. Inlay can also be used to include several colors in the same width. It is common to have six distinct pattern shots, and correspondingly, 6-8 pattern harnesses. 

It was originally woven with pick-up.  The ground weave is created by straight threading on four harnesses and a plain weave treadling, and that explains the name skillbragd (shed-weave), because the pattern was picked.  The pattern is picked up on half-heddle sticks that are raised behind the plain weave harnesses. This variant gives the greatest design freedom, but is very time-consuming. The pattern is built up of mirrored borders. 

Looms with Horses and Pulleys: 

It is important to have a loom deep enough to accommodate both sets of shafts and with room between the two sets. The ground weave shafts for plain weave are hung farthest back.  The ground weave shafts are tied up [in countermarch] at normal height with the warp threads resting at the bottom of the heddle eye.The pattern shafts are hung 20 cm (8 in) in front. Tthe pattern shafts hang in elastic bands at a height that places the warp threads in the upper end of the heddle eyes, in order to obtain a clear shed as pattern shafts are treadled. It is easiest to weave if the plain weave treadles are placed in the center so the plain weave shafts are well-balanced without lams as those shafts are tied directly to the treadles. The pattern treadles are tied one by one through a corresponding lam and to the shafts. 

How is the pattern read and threaded?

The plain weave is threaded with one thread in the each heddle on two shafts. 

The pattern is threaded in heddles with long eyes (the warp is threaded under the eye of the heddle with common heddles) on four shafts, with 2-4 threads in each heddle depending on the pattern. On the pattern shafts you thread the warps that create the pattern.  You have the right side up. 

Each pattern square is one pattern shot (of 2-4 threads). An empty square = no heddle; the thread passes the respective shaft.  A filled square = threading a thread pair per pattern heddle and respective shaft. 

Weave with narrow shuttles and many spools. 

Rosepath — Single rosepath or bound rosepath

 

 

Rosebragd is known for a wide variation of both pattern and color.  The pattern is often improvised so that the weaving is different from the start to finish.  It is also woven with borders in plain weave of weft-faced sections between. 

Rosebragd is called rosengång in Sweden and is one of the most common decorative weaves. Perhaps that’s why it is sometimes called svenskåkle, or Swedish åkle, in Norway?  It is a common and popular technique that is often used in teaching and home weaving of practical textiles here in Norway.

Rosebragd is woven in two variations; as a weft-faced boundweave or as a pattern that floats on a plain weave background. 

Single rosepath (Norwegian: rosebragd, Swedish: rosengång) is a shifting weft-faced weave where the even-numbered weft shots always bind the opposite warp threads of the odd-numbered weft shots. The same combination [of weft shots] is often repeated several times before the weft-faced pattern shifts.The shuttles are thrown around each other to secure the edges.In a weft-faced weave the warp threads lie unbound inside the pattern and the weft can slide on the warp. Picks on the opposite warp threads can therefore be replaced by a weft shot in plain weave, thereby achieving a tighter woven fabric; Zetterström calls this a ”twill on a plainweave ground.” In Sweden they also have a variant of rosepath which is called “bound rosepath,” and is similar to the Norwegian krokbragd technique.

References: p. 33-37 Zetterström; p. 46-47 Skintveit

Krokbragd

 

 

Krokbragd or krokåkle is one of the most popular coverlet techniques, with an unbroken weaving tradition up to today (page 59, Skinveit). The technique has been common over large areas of the country for practical textiles such as bed coverings, coverlets for sleighs, and in rocking chairs; many bear signs of wear and use. Today it is common to have krokbragd in the entire weaving, but in older traditions krokbragd was used as borders in combination with two-shaft pattern techniques from gammelbragd, and woven with warp-weighted looms. Krokbragd is also called  tjukkåkle (thick coverlet), because they are thick due to using at least three shots to cover the warp in each row. 

Krokbragd is a weft-faced weave where the weft covers the warp and it is the color changes that create the pattern. The pattern is dominated by small squares and zig-zag borders in uncountable combinations. Krokbragd is threaded on three or four shafts. The relationship among the warp, weft, and yarn quality must be correct. The weft will too easily slide or shift if the warp is too open. It can be smart to use doubled warp threads. 

In Sweden there is a technique called bunden rosengång (bound rosepath); in Norway the technique is called krokbragd with rosepath threading (V-point threading) because it is woven in the same method as krokbragd, but always on four shafts and the V-point threading. It is called losningteppe in Åmli.

How do we use traditional weaving today? 

• Copying and reconstruction
• Decorative work and commissions
• Inspiration for your own work, new creations and new development

Berit Overgaard weaves rutevev hangings with plastic bags, with political undertones. 

 

www.ruteaakle.no

Brita Been is a textile artist from Porsgrunn, who was a weaving instructor.  She is great with color. 

 

http://www.britabeen.no/#2_repetisjoner

Hilde O. Nordby’s contemporary bag in krokbragd

 

Companies: 

 

Røros Tweed tradisjonally inspired wool blankets 
– Anderssen&Voll – “åkle”

 

 

– Kristine Five Melvær – “Åsmund” og “Mikkel”

 

http://www.kasthall.com/en/products/chenille-bloom

Kari Traa – åkle

 

 

Angie Parker is a British handweaver, living and working in Bristol on a Glimåkra loom. She is inspired by Scandinavian weaving traditions. 

http://www.angieparkertextiles.com/

References: 

Brodén,  and MärtaSignild Wiklund, Vävning. LTs förlag, Stockholm, 1976.

Cyrus-Zetterström, Ulla. Handbok i vävning – Bindingslära med konstvävnader. LTs förlag, Stockholm, 1974.

Gauslaa & Østbye. Åkleboka – nye mønstre i gamle teknikker. Landbruksforlsaget, Oslo, 1977.

Kjellmo, Ellen. Båtryer i gammel og ny tid. Orkana forlag, Stamsund, 1996.

Lund-Iversen, Berit.  Å veve – grunnbok i bindingslære.  Universitetsforlaget, Oslo, 1980.

Lundbäck,  Maja and Märta Rinde-Ramsbäck, Småvävar. ICA-förlaget, Västerås, 1957.

Skintveit, Kristi.  Åklebragder frå Jondal og kring Folgefonna – historier, mønster og oppskrifter. Jondal : KristiAneVev, 2012.

http://www.rorostweed.com/

http://kristinefivemelvaer.com/

http://www.husflid.no/fagsider/aaklaer_fra_buskerud/tavlebragdaakle_fra_flaa

Hilde Opedal Nordby is an Norwegian textile artist working with traditional weaving techniques, as well as contemporary and digital weaving. She is based in Sundsvall in Sweden and is working as a teacher in the weaving department at Sätergläntan Institute of Crafts in Insjön, Sweden. She also has her own company offering courses and weaving services as well as hand woven textiles such as interior textiles and textiles for clothing.

See also Norby’s previous article for the Norwegian Textile Letter, “Women Weaving Women,” in the August 2018 issue.