The orange is DMC cotton embroidery floss, doubled, so 12-strand, and the light green is an unknown brand of silk knitting yarn of similar weight (sport? or maybe thinner). The braid is a little over ½” wide.
The color theme was “citrus” this year [this was Dec. 2010, for the 2011 Traveling Exhibition] . I’m usually pretty open-minded about colors, but I hated this theme—every combination of citrus colors I came up with looked terrible.
Finally my sister helped me find two citrus colors that didn’t seem completely hideous together. (Sorry about the glare in the photos—in real life the orange is duskier, and the other color is a very light green.) When the color choices resolved down to 2, it dawned on me that I should make a letterbraid.
The definitive analysis of these inscription braids just came out about a year ago. Joy Boutrup, a textile scholar and student of Noémi Speiser (the world authority on braiding) cracked the secrets of all 3 known 17th Century alphabet braids, and published instructions for making them (the traditional multi-person braiding method, which required 2 braiders working in tandem).**
It’s an amazing accomplishment. The letter braids had stumped Noémi Speiser when she wrote her major work on loop braiding. That was Old English Pattern Books for Loop Braiding, 2000**, which analyzed and explained all the (then) known loop-braiding treatises from the 15th and 17th Centuries. Among a myriad of other braid “recipes”, the 17th C. manuscripts contained two different methods for braiding written inscriptions. Unfortunately they were notated with such cryptic directions that even Noémi Speiser couldn’t decipher them—the 17th C. manuscripts were much harder to understand than the ones from the 15th C., oddly enough. (since then, another manuscript with a third method has turned up.) In figuring them out, Joy Boutrup basically rescued a very sophisticated textile technique from oblivion…
I chose the quote for the citrus reference plus it has a little bit of the sound of some of the 17th C letterbraids. One of the manuscripts actually had text suggestions for letterbraids, all of them rhyming couplets (when this you see : remember mee). For me it also has a little ominous echo of George Orwell’s 1984. I decided that the braid would be a bell-pull, at least theoretically, since I don’t have a bell for it yet.
I can’t even imagine how Joy Boutrup figured these braids out—but it’s even more amazing that anyone could invent them to begin with. These were “team” braids—made by two people working together and interconnecting their braids. The way the colors get arranged on fingers to get them to come out as pixels in the appropriate spot on the braid is very non-intuitive. The charts that the two braiders follow—even the easier-to-read versions that Joy Boutrup has adapted from the original ones—don’t look like the finished letters. And you can’t see the result of any particular row/cycle of braiding until a couple more rows have gone in. You just keep following the chart for the letter, and you gradually see it emerge on the braid. (This is really fun!)
Aside from the letters there are charts for other graphic and decorative symbols as well. The design I used in this braid is one of the less interesting ones—I wanted something simple and blocky that would stand out at a distance. You could actually use the charts purely for decorative patterning rather than making words. I’m making myself wonder why I haven’t been braiding more of these! I did some samplers when I first got the monograph, and a couple of longer pieces, but then got sidetracked with other braids since. (So little time, so many braids.)
*The Traveling Exhibition is less ‘grand’ than it sounds!—I’ve never actually seen it, but apparently it is a (non-juried) bulletin board of braids and bands representing the Braid Society that gets taken around by volunteers to textile and fiber-arts events in the U.K. in which the Braid Society has a booth.
** European Loop Braiding: Investigations and Results–Part II Instructions for Letter Braids in 17th Century Manuscripts 2009, by Noémi Speiser and Joy Boutrup
[this is a separate publication from Part I. Available from BraidersHand].
This book/monograph is not (primarily) a set of instructions, despite the title. Instead, it is about a set of instructions. It’s an analysis of several manuscripts with braiding instructions from the 17th Century. The main focus is how Joy Boutrup deciphered the three braiding methods, and a detailed analysis of the braids themselves. It does include very brief braiding instructions (hidden away in the appendices), with no illustrations of the moves.
If your primary goal is learning how to make the letterbraids, before purchasing the monograph, I recommend learning how to make ‘double braids’ in cooperation with another braider, and then following my video tutorial on how to braid one half of the 14-loop letterbraid.
The instructions in the monograph will only be useful for loop braiders who are already familiar with the methods and terminology taught in Old English Pattern Books for Loop Braiding, including how to braid in cooperation with another braider. That is not taught in this monograph, it is prerequisite knowledge. Once the braiding method for one of the 3 types of letterbraids has been learned, you then use it along with Joy Boutrup’s extensive letter charts for forming each of the letters. Aside from the 14-loop braid of my post above, the monograph also covers two different 10-loop letterbraids. All three types of letterbraids are presented as two-person braids, which is not the way I make them.
I wrote a review of Parts I and II for the Braid Society quarterly back when they came out, since reprinted in L-MBRIC issue 13 (scroll halfway down the issue to find it). This series of monographs (parts III and IV will be out soon) are primarily scholarly discussions of new research and discoveries about European loop braiding, with a lot of very technical and academic detail, and with beautiful full-color illustrations of historical artifacts. They are supplements to Noémi Speiser’s Old English Pattern Books for Loop Braiding, so they assume the reader is familiar with or has access to the information already covered in OEPB.
© 2010–2014 Ingrid Crickmore
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