30 Pattern Drafts

These pattern drafts were created by Anna Bakken, based on her analysis of historical  Flesbergplegg, coverlets woven in three-shaft bound rosepath technique. The drafts, which are treadling guides to obtain a variety of patterns, are available below as separate pdf documents. Background information on the project and the technique are included in “Flesbergplegg: An Enduring Norwegian Regional Design.”

The basic threading and tie-up are here. 

How to Read the Pattern Drafts

For each pattern below, the corresponding pdf file includes the treadling order for the pattern and a color photograph (a bigger version of each numbered photo).

The treadling patterns are written in columns. Begin at the bottom of the right-hand column, weave to the top of the column, and then up the succeeding columns to the left. Occasionally more than one border is on a sheet. They are labeled “Bord 1,” “Bord 2,” etc.  (example)

1. Gåseberg
2. Juveli Søndre
3. Brekke
4. Høimyr Nordre

5. Væråsmagen
6. Nordre Gjellerud
7. Gjellerud Søndre
8. Berget Vestre

9. Berget Vestre 2
10. Underberget Nordre 1
11. Underberget Nordre 2
12. Underberget Nordre 3

13A and 13B. Åsland Vestre A and Åsland Vestre B  (Note: The photos were labeled A and B. There are two borders in the draft, but it is unclear which border goes with which photo.)
14. Åsland Nordre 1
15. Åsland Nordre 2
16. Rindem

17. Aslefedt
18. Førli Nordre (Photo of a sample woven by Jan Mostrom)
19. Sønstegård
20. Wangestad Nordre 1

21. Wangestad 2
22. Ørstein A and Ørstein B
23. Ørstein 2

24. Ørstein 4
25. Ørstein 5
26A and 26B. Wingestad (Note: This is slightly confusing. It is unclear which photo goes with which treadling pattern. The draft is noted “Bord I and Bord II” and the photos are marked “Wingestad” and “Wingestad 1.”)

27. Wingestad 2
28. Wingestad 3
29. Wingestad 4 (Photo of a sample woven by Jan Mostrom)
30. Håvardsrud

A Note about Materials

By Robbie LaFleur

For the Norwegian Textile Guild study project, and in the original pattern drafts, the suggested materials were 12/6 black seine twine for warp (set at 6 ends per inch) and Rauma åklegarn for weft. To some weavers, that might seem like a thin warp for a wide sett. But the late Syvilla Bolson, a dealer in Norwegian yarn and an expert weaver from Decorah, Iowa, wrote to our study group members, “Don’t think that the patterns are wrong when the 6 ends per inch of the 12/6 cotton is given as the warp measurement. I tried other arrangements, but it has to be the 6 epi to work with the Åklegarn in this form of boundweave.”

Of course the warp, weft, and sett can all be varied successfully. Sample, sample, sample! I wove  pieces with the heavier åklegarn, like this rug. 

I also wove two pieces with the same 12/6 cotton seine twine, but at 10 ends per inch, with Rauma prydvevgarn (a thinner plied yarn). This photo shows the difference in outcome. The finer sett yields tinier, crisp patterns. 

Fabric strips give a speckly look to this wall hanging (woven with 12/6 seiners twine at 6 epi).

In another exploration of Flesberg in fabric strips, here is a close-up of the bands in Jan Mostrom’s nature-inspired piece.