Cardweaving set up with household items

The complete setup, ready to start. I would have liked smaller clamps but those were the smallest I could find in the garage.

My setup is a bit crude as I just went into the garage and scrounged around. I attached the clamps to a board so it would be portable (note to self - try to find a piece of lumber that isn't so rough and splintery for next time).


Part of the first finished weaving as well as the start of the weave. My beater is a knife from the kitchen drawer (using the blunt side, of course)


I have a little arrow drawn on a piece of paper. I use that to remind myself which direction to turn the cards if I have to leave the weaving for a while.


Gradually, I am acquiring items to make a complete medieval outfit. Now that I have shoes I need hose and garters.

I learned a bit about cardweaving last year, made a few experiments and then dropped it and moved on to other things. Last time I did the weaving using an inkle loom I made in woodshop. This time I decided to try the method of using C-clamps.

MATERIALS: Spun silk 2-ply from Aurorasilk in undyed and dyed with Brazilwood by Renee of Solar Colors. I used 12 cards with about 4 meters per card, totaling 48 meters of silk for the warp plus the undyed thread I used for the weft which was not more than a couple of meters. The finished length of the weaving is about 55cm (21.5 inches).

It's barely long enough to make a garter, something to remember if I do this again. Overall I am pleased with the evenness of the weaving and very happy to have another item for my outfit (as soon as I get buckles).

Lessons learned: Remember that there will be a lot of waste silk on either end. I should have made the warp longer. Also I needed a longer board.

Now it's finished

Here are the finished pictures of the little needle roll I made. They are posed in the corn we are growing in the front garden.

A small piece of embroidery

I think it is about time I posted about actually making something. This is what I've been working on for the last week. It is my brick stitch pattern #12 executed as a small piece of embroidery which later today will become a roll up style needle holder. Eventually I want to make examples of every pattern I draft so I will mostly be making small items, otherwise I will be stitching these forever.

Materials: 32 count Zweigart linen stitched with a single strand of Solar Colors spun silk thread dyed with weld (yellow), indigo (blue) and indigo over weld (green) with undyed thread for the white. Lining will be an off-white wool and ties and seam finishing cord will be 4 bobbin kumihimo cord. The pastel colors look very nice, I think, and something different from the deep bold colors I usually favor. Thank you to Renee of Solar Colors for suggesting I try pastels.

Solar Colors - naturally dyed silk

My friend Renee has been dyeing silk thread for the past couple years using natural dyes. You can see the results in some of my work, here, here, here, and here. Somehow the natural colors just look prettier than modern dyes and I really like working with them. It is also easier to use a single strand of thread on 32 count linen or two strands on 24 or 28 count linen than it is to use up to seven strands of Soie d'Alger. It is my favorite spun silk. I have used it for embroidery, kumihimo, and card weaving; Renee uses it for fingerloop braids.

Now anyone who wants to use this thread can get it because Renee just started a website, Solar Colors, and an etsy shop. She has a limited range of colors to start with but plans to gradually add more. The thread comes with magnet clasps tied on the ends so you can wear the skein as a bracelet. I had a lot of fun wearing thread bracelets while I contemplated colors for my latest project!

Brick stitch pattern #15

This is another pattern from the embroidered hanging at the Cloisters. The original is yellow and white like my pattern but where I used green the original has an unknown color that faded to a nasty brownish color.

I want to keep knocking out patterns as the mood strikes me. At 15 patterns I am now almost 1/3 of the way towards my goal of 50 patterns. When I decided to do 50 patterns I felt like I was making an insane commitment but now it feels more manageable.

Every once in a while I make incremental progress on learning the program that will allow me to make patterns with grid lines. Until then I am doing them this way. Sometime in the future all these patterns will be lovely handouts with background information and gridlines and organized on one website. I will also have a sample item worked in every pattern.

I am stitching away on the next example but feel the need to take a break and do another technique for a while. Klosterstitch seems to be calling my name...

Brick stitch pattern #14

It's been a while since I posted but I have been busy. Here is one thing I've been doing, working on patterns. There are a couple of patterns, #12 and #13, that I haven't posted yet but I did make them. They'll be published later. On this handout I list my website, www.medievalartcraft.com, but it doesn't exist yet except as a domain name. That's coming up as well.

Want to learn to paint with egg tempera?

Go to Prosopon School website and click on "The Icon, release of DVD on practice and theory, 2009" to find more information about this DVD and watch clips (which are very good).

I bought this DVD recently, anxiously awaited its arrival, and with great anticipation and excitement watched all four hours of it. It cost $98 but worth every penny! The artist, Vladislav Andrejev, is a master painter and it was a joy to watch him work. I learned several things I have already done incorrectly or would have done incorrectly if left to my own devices. It is really going to help me improve my painting. I'm sure I'll watch it many times, reviewing each section before I start that step. If you are a rank beginner, there are a few things that are not explained enough, such as making bole and shell gold paint. I highly recommend taking a workshop to run through everything at least once. Luckily I already know how to make shell gold paint. The use of wax paper as an aid in handling loose gold leaf was a revelation and makes using it a snap. No expensive gilder's tips, pads or knives necessary; just cheap scissors and wax paper from your kitchen, plus a dedicated gold brush (doesn't have to be an expensive one) and a plastic container for the gold scraps to use for making shell gold paint later.

BTW, I am still working on an embroidery project but don't want to post pictures until it is further along. I also ran out of yellow thread and had to order more. That is taking up the precious little free time I have what with this being spring (gardening season) and working more hours at work and finishing woodshop class for the semester. Too many irons in the fire!

Brick stitch pattern #11

One of the difficulties of making patterns from low resolution pictures, especially black & white pictures, is that some of the patterning is guesswork. The colors are a rough guess as well as some of the stitches. I would love to be able to see better images of most of the known brick stitch embroideries, but I do what I can.

The image above is a comparison of two guesses as to what the pattern is in the B&W photo. I think the one on the right is correct but I am not positive. Anyway, here it is, Pattern #11 (and variation #11a).

Icon and other painting links

I added a new link list on the right that is a list of some of my favorite links regarding supplies and techniques in painting, especially icon painting using traditional methods. The great thing about modern icon painting is that it is little changed from icon painting of the medieval and Renaissance periods, so techniques practiced today easily translate to period techniques. Most of the sites linked to on these websites are in English and the classes are in the U.S. but Iconofile has links to classes all over the world, including this site in the Netherlands. If you are in Texas you are in luck because there are workshops in silver repousse, icon writing and illumination this year so check out Icon Arts.

Kalish Finest Brushes has really nice brushes, my personal favorite. The Series 8 liners (scroll to bottom of page) are awesome for illumination and much better than even the Kolinsky sable brushes from major manufacturers that are sold in art supply stores. Not only are they better, they are cheaper!!

Natural Pigments has the most amazing supply of traditional artist materials. They even carry such traditional and hard to find (not to mention hazardous) pigments as orpiment, cinnabar, lead white and real Naples yellow. They also do the Iconofile website and hold annual workshops in iconography (Yaroslavl 17th century style) and traditional fresco. I'd love to learn fresco but I have too many irons in the fire as it is, unfortunately. Pesky job eats up too much of my time!

I study with Betsy Porter, a wonderful lady who volunteers her time twice a month to teach an ongoing workshop in San Francisco. The cost is only ten dollars per 4 hour session and she shares her bole and pigments with students as well as some of her tools. This makes the cost of getting started very minimal. She studied with the Prosopon School, which holds workshops all across the U.S. at various times during the year. I will be attending the 6 day class in Santa Barbara this summer and I am really excited!

The Prosopon School also released a DVD this year which contains over four hours of instruction in the creation of an icon from preparing the gesso panel to applying gold to painting and finishing. Check out their website to watch clips from the DVD, it looks really good. I think I may have to order a copy!

When I was first interested in illumination and tempera painting I had a hard time finding good references and suppliers and was really at a loss about where to begin. If I had known about these websites and schools years ago I would have been jumping for joy. I plan to add to the links as I find more and have time to look through all my bookmarks. I hope this is helpful to anyone who has a similar interest and if you know of other great places please let me know.

Icon painting, step three

I don't much like driving in the rain, especially on the freeway. Driving crowded freeways through San Francisco after dark is even worse. Lately it rained on a lot of Sundays which is when the icon workshops are held in San Francisco. Before daylight savings and the advancing season the class let out after dark, even worse. Hence my lack of progress. Yesterday I finally went back to the class and this is the result of my efforts.

The background colors are all filled in now. In egg tempera one works from dark to light so these are the darkest colors, the roskrish or base colors. The flesh and hair base color is called sankir. Can you believe that the pink robes of the angel will eventually be light blue? My dark blue came out too roughly textured so I sanded it just a bit. The sankir is supposed to be opaque but the other roskrish colors may have some translucence. I worked a bit thick on some of them. I added another layer of the brown sankir color to the flesh and hair because it was not opaque enough.

All pigments are traditional egg tempera: powdered period pigments mixed with egg yolk (and a bit of wine in the egg yolk mixture in the Russian tradition).

Brick stitch pattern #2, different colors

The figure illustrated in the image is from the border of this hanging. I loved how the variation in color gives a striped effect and makes a simple pattern look more complicated.

I put together this picture as a starting point for developing a handout. I would like to teach brick stitch at an event and need something to give to students.

Brick stitch pattern #10, reversed

I flipped pattern #10 to make an "S" instead of a "Z" since both exist among extant embroideries. You could just use the original pattern and flip it in your head, but I find it easier when I have something to look at. I am still busy working on Pattern #7 so I haven't done much else lately.

Pattern #10 as a needle book

I keep coming back to the needle book because it is a way to make a small example of a pattern into something that can actually be used. My goal is to make a small stitched example of most of the patterns, but they can't all be needle books so I have to come up with some more small items to make.

The finished size is approximately 2.5 by 3 inches when closed. Materials are 32 count even weave Zweigart linen ground stitched with a single strand of silk floss from Aurora Silk dyed with Indigo for blue, Brazilwood for burgundy/red, and undyed for white. Natural dyeing of silk floss was courtesy of Renee. The cord used for trim and ties was made using kumi himo technique with four bobbins and two strands of silk on each bobbin to get the required thickness. The lining is burgundy wool scrap from my wool scrap stash.

Brick stitch pattern #10

Pattern #10 comes to us from various sources, including this hanging currently in the collection of the Metropolitan Museum in New York City. The embroidered hanging dates to the late 14th century, in Germany. In this hanging the symbol looks like a letter "S". The photograph I used to make the pattern was of the above reliquary box. According to the info on the photo the box dates to the 13th century and is (questionably) from Köln. In this pattern the "S" is backwards, more of a "Z". I liked the variation of the character laying on its side.

My pattern making has slowed down considerably as I now work on stitching examples of some of the patterns. I am also still working on Pattern #7 but I think I am going to stitch it before I post the pattern.

Brick stitch pattern #9

This is the pattern from the outfit one of the angels is wearing from the same embroidery as Pattern #8. When I did not have such a good image of this I tried to recreate it as can be seen with the scissors case here. As you can see I was close but not perfect when I made the scissors case. As is also with pattern #8, this pattern's stitches are all of equal length, over 4 threads or 3 holes depending on how you count on the fabric.

Brick stitch pattern #8

Here is pattern #8 as per a request from Taschen. (If you use it I'd love to see a picture!) It is from one of the columns flanking an angel from the embroidery pictured in this post. The entire pattern is stitches of the same length (over 4 strands of linen or three holes, however you count it) so it was pretty easy to chart. The original embroidery is German and dates to 1400 and is held in Hannover, at Kestner-Museum Inv. Nr. WM XXII, 10.

Where is Pattern #7, you ask? It is not ready so I skipped it. It is going to be a HUGE pattern. I am over 800 layers in the charting so far and not finished yet. I am working on it 2-4 hours a day so hopefully I'll post it sometime next week.

How I make brick stitch patterns

A few people asked me what program I used to make my patterns and I started to answer those questions individually but then decided that it would be a good idea make a post about my method. (The full color version of the above pattern is shown in a previous post and a photo of the object from which the pattern was charted is here)

I started out by e-mailing Master Richard Wymarc because I thought the way he made his patterns looked really beautiful (and for me it must be beautiful as well as functional). He was kind enough to send me a sample file. As it turned out he had used Adobe Photoshop, one of the few programs besides Word that I can actually use. Hooray!

I started out by studying his template and the recreating something very similar. I finally (after a very long time) developed a basic template that is working well for both simple and complex patterns. I start with the basic shapes for various stitch lengths, then do a lot of copy and paste to get the larger building blocks. In Photoshop this creates a large number of layers. Once I have a basic building block I merge the layers, then copy and paste the various block shapes and assemble the basic pattern. I save a copy of both the basic building block and template file and a separate file with the complete pattern. I then make a third file and use the paintbucket to color in the pattern. I end up with both a colored and an uncolored version of each pattern. This gives me maximum flexibility with the pattern.

Photoshop is a bitmap program and as my boyfriend in all his computer-y wisdom says, a vector based program (such as Illustrator) is a much better choice for doing this type of work. Helene and I have discussed this and she is in agreement with my BF. Helene pointed out that Illustrator allows you to put the stitches against a grid which makes the pattern more closely resemble stitches on fabric. The grid makes the pattern easier for beginners especially to follow. I reluctantly concur. It did take a little trial and error to get the hang of the different stitch lengths but for me that was so many thousand stitches ago that I don't remember having much difficulty.

I will most likely (OK, definitely) transition to a vector based program for patterns but will still use Photoshop also. I like the clean look of the patterns without grid lines, plus I think it looks prettier on the page. That's just a personal preference.

The image above is a brief visual description of my patterning process. It makes the work of many hours look pretty simple. My goal is to provide patterns that allow those who are not interested in patterning to make these beautiful embroideries. As an additional note, I do take requests and your request will be coming up, Taschen, as soon as I have enough spare time to do it.

Brick stitch pattern #6

This next pattern comes from the embroidery which can be seen in this post. Thanks also to Helene for putting me in touch with Elies who sent me a detail photo of a section of this hanging. Elies took this photo on a trip to the Kestner Museum in Hanover. That's what allowed me to chart this with greater confidence of accuracy. Also of course thank you to Elies for sending me the photo!

I have seen this pattern in other embroideries of the period (14th C Germany); it is pretty basic. It makes a nice simple filler, I think. The blue and yellow colors in the original embroidery still look good, but whatever was in the centers has suffered over time so I just colored it purple.

Brick stitch pattern #5

Here is another brick stitch pattern, this time I do not remember what the source is, I didn't record it prominently so I could find it easily later, sorry. But it medieval and German and it does exist. It is nearly identical to the pattern I used for this purse that I made last year. That was copied from a purse on the Diu Minnezît website. I believe they had a source for theirs from an embroidery in the Halberstadt treasure but my German is nearly non-existent and I couldn't read much about it. I love strapwork and basketweave patterns and I feel happy every time I look at my purse so I had to make the pattern.

Brick stitch pattern #4

Here is the next pattern from this late 14th century German embroidered hanging at the Metropolitan Museum in New York. This is a very simple pattern and is also available in a nearly identical version on Master Richard Wymarc's site here but his version does not have color. I like color to get a better idea of the final product.

This one is so simple it does not really require a pattern but I am trying to be thorough.

A completed item using Master Wymarc's version of the pattern is here, a little needle case I made last year. The zigzag is very bold and strong colors such as the red and white in the original hanging really stand out. For all of its simplicity it is one of my favorites.