Jorvík 1307: This Project Grew in the Planning

Or, "what I did with the rest of that handspun warp."

It all started when I realized I'd spun a good bit more warp than I needed for my yard of  Jorvík 1307.  I thought I should probably try some other weft with it so I'd have a sample for teaching aids.

I should say here that I have a good-sized collection of samples I use as visual aids when discussing various weaving concepts, structures, treatments, and colors.  They're mostly offcuts from larger projects.  Once in a while, though, I weave something specifically for use as a teaching sample.  Jorvík 1307 was turning out to be the occasion for doing that again.

I looked through my stash of handspun worsted yarn in appropriate fibers—Icelandic, Manx Laoghtan, Shetland.  I noticed I had a fairish quantity of Shetland singles yarn in the 0.6mm diameter range, some Z-spun and some S-spun.  The yarn size was in the zone for Jorvík textiles, although not dead-on accurate for any of them when combined with the pre-existing 0.4mm warp.  But the Z-Z versus Z-S textile divide has been on my mind since I first read Lise Bender Jørgensen's work on spin direction nearly 25 years ago.  Here by happenstance I had an opportunity to experiment with it at period-correct setts using period-correct yarns.  I decided I'd weave some of the warp off with each of the two types of yarns so I would have an example of two cloths sharing the same sett, with the same size and fiber type of weft yarn but differing in their direction of spin.

Partly as a relief from the attentive work I'd put into making the first part of the textile as correct as I could, I decided to beat this part of the textile by instinct, until it looked and felt "right."  Purely subjective!  The 17-18 picks per inch of Jorvík 1307 was too loose for this smaller weft.  I didn't count my picks, but I worked hard to beat evenly, especially when it came to matching the beat I'd used in the S section when it became time to weave the Z section.  Overall the weaving went speedily and without incident.  I did not notice anything to differentiate the ways the two yarns behaved as weft.

It was difficult to get a good representative photo of the section woven with S-spun weft.  This washed-out shot (taken on the loom) shows the texture more clearly than any of the others I took.  You can make out the lozenges, but they're indistinct.

S-spun weft

When I switched to the Z-spun weft, the structure was immediately more clear.  Here's a shot taken off-loom that shows mostly the Z-spun weft area.

Transition from S-spun weft (below) to Z-spun weft (above)

Here's a better shot of them both together.

Z-spun weft at top, S-spun weft at bottom

After finishing, the S-spun section of the cloth has about 27 picks per inch, while the Z-spun section has only 25 picks per inch.  I am at a loss to know whether this result stems from my having failed to beat precisely across different portions of the warp or from some property of the weft yarns themselves.

I have let some other string geeks (mostly spinners) play with the finished cloth to see what they thought.  Everyone agrees that the Z-Z textile shows the weave structure most clearly.  That could explain why so many broken lozenge twills are woven with Z yarns in both systems.  If you're going to go to the trouble of knitting heddles for and then weaving a broken lozenge, I should think you'd want your work to be noticed!

But if that's the case, then why would Z-S broken lozenge twills even exist?  The answer to that question may have something to do not with appearance, but with handling.

The Z-S textile, like the Jorvík 1307 one, gives a thick and cushy impression.  Everything about it seems like it's smooshed a little more together, from the pick count to its appearance and handling.  It's more limp, less dynamic than the Z-Z textile.  It reminds me of a tablet-woven band with alternating threading:  the twists cancel each other out, leaving the textile neutral.  The Z-Z textile responds more quickly to movement, which gives it a more lively hand.

Refreshing my memory about the numbers and distributions of Z-S broken lozenge twills will be a research pleasure.  Perhaps it will even lead to some practical conclusions, or at least a testable hypothesis.  But for production purposes I will probably stick as much as I can to Z-Z spun twills, since I enjoy the look and dynamism of them.  Also, my Z yarns are much better spun than my S yarns!

Jorvík 1307: Finishing and Conclusions

Previous posts here and here.

After I finished the second part of the weaving (see next post), I cut the web off the loom.  I washed it by hand in warm water with gentle soap, then spun it out and hung it up to dry.  (Warp-weighted looms serve many useful purposes in the modern home; mine is also good for hanging string things up to dry.)  I gently ironed it, and then I played with it a bit.

Because this structure is so weft-faced, the weft yarn exerts a lot of control over the handling of the cloth.  The texture is supple, but thick and cushy owing to the soft weft yarn.  It isn't exactly felted, but it fulled together very nicely.

After I played with it for a while, I carefully measured it. 

Take-up and finishing gave me a 6% shrinkage rate in the warp and a 4% shrinkage rate in the weft.  I had expected a little more shrinkage in the weft direction, maybe 7%-8%, but at 26 ends per inch I was pretty close to my target warp count of 27.5 ends per inch.  As for my target weft count, it was 17.5 picks per inch.  In most spots I exceeded my target by a bit, sometimes getting as much as 20 picks per finished inch, partly because I underestimated warp take-up and partly because I incompletely compensated for my linen weaving habit of a firm beat.

Next it was time for the photo session!  With bright indirect sunlight and a grey background (yes, I know it looks blue, but it's grey), I got a pretty representative couple of photos.  Here's the whole five feet of cloth.

the two-yard piece

And here's the diva closeup shot.

detail

Conclusions and Other Thoughts

I'm really happy with how well this turned out; given my inexpertness with a spindle, it could have gone much worse.  I'm especially proud of how well my first foray into warp spinning succeeded; it's given me courage to reach for a larger project.  But I'm even more happy about what I've learned about relative yarn sizes.

Many factors led to me choosing Jorvík 1307 as my target textile.  One of those factors was definitely the size disparity between the yarns used in the two systems of this textile.  I wanted to examine the common premise that Viking Age textiles are best recreated with yarns of similar grist in warp and weft.  I already knew that most of the Jorvík wool textiles are woven with differently sized yarns in warp and weft.  With Jorvík 1307 I would be working with an extreme example of that phenomenon.

Jorvik 1307 displays a warp yarn is among the very finest of the Jorvík, i.e., Viking Age York, wool finds.  Of the 31 wool textiles from Viking Age York in Walton's catalogue, only four (1261, 1299, 1308, 1382) have warps as fine as Jorvík 1307.  Only one textile has a finer warp, Jorvík 1300, which has warps in the 0.3mm size range but is an unevenly spun warp with other yarns up to the 0.7mm size.

Differences also come to light when considering the weft yarn.  Among those 31 Jorvík textiles there are four (1257, 1258, 1296, 1297) coarse tabbies with thicker wefts than 1307; another (1379) with a thicker weft is a coarse 2/2 twill.  The herringbone twills 1264 and 1302 have weft the same size as 1307 but their warps are not nearly as fine, making them more evenweave.  Jorvík 1300 has wefts in the same size range as 1307, but again it is uneven, with the wefts varying between 1.0mm and 1.5mm. 

In other words, Jorvík 1307 has a finer warp than about 83% of the Jorvík textiles, and a thicker weft than about 74% of them.  The contrast between its warp and weft—with warp at the small end of the scale and weft at the large end—is remarkable even among its own peer textiles.  And that doesn't even take into account the question of sett; I'll have to take that up with another project down the line.

I will use the shrinkage and take-up factors from this textile to inform future projects.  I expect these factors depend to some extent on loom type, yarn diameter, and degree of spin.  I think I'll change yarn diameter first in order to see how that affects the overall picture.

I will definitely be spinning another wool warp.  Next time I'll pick a textile with a slightly heavier warp and less size disparity between warp and weft.  That still gives me plenty of Jorvík textiles to choose from even if I stick to my favorite period.

I will definitely be separating and spinning þel for weft again, too.  The uneven S-spun weft was, I think, the weakest part of this project; there's lots of room to improve that particular skill!  The processing of fine undercoat wool is somewhat of a mystery to me, since my big combs didn't work with it.  The cards I used are inappropriate tools for Viking Age textiles.  While I did not use them in the way that would have been typical in the Middle Ages, to produce rolags of coiled fibers for woollen spinning, it still bothered me that I was using them at all.  As an interim solution they worked pretty well to get the fibers straight, but I'd like to move to a less anachronistic tool.  Next time I will try smaller combs.  If need be, I will resort to hair combs to get the fibers straightened out a bit before I try spinning them.

I'll do at least one more piece on the table loom before trying my homespun on the warp-weighted loom.  I'd rather not push my luck.

In the final installment:  what I did with the rest of the warp.

Jorvík 1307: Fiber and Spinning

I recently had occasion to weave a reproduction textile.  Since I only needed about a yard of 8" wide cloth, I decided to challenge myself by spinning the warp and weft myself.  Even though I am a slow and not very accomplished spinner, with no experience of weaving from my handspun before this project, it seemed like the best decision.  I wanted to make this project very memorable, to try something new.  Spinning my own yarns would also place within my grasp a much greater range of textiles from my chosen time and location (Period 4B at Jorvík, i.e., the mid-tenth century Anglo-Scandinavian culture of York, England) than I would usually have to choose from based on the availability of commercial yarns in the right fiber content, fiber diameter, spin direction, and yarn diameter.

After looking through my stash of spun yarn and spinnable fiber, I chose Jorvík 1307 to reproduce.  It was from the right period in a classic weave structure for the period, the 20/18 (or 10/9, if you prefer thinking of it that way) broken lozenge twill.  Although I've woven other BLTs (that's my shorthand for broken lozenge twills), I'd never done a 20/18 one before.  It was also apparently an undyed textile, although brown in appearance.  I decided to do it in naturally pigmented wool because I thought the recipient would appreciate that more than plain off-white.

The first hurdle was warp yarn.  According to Penelope Walton's book Textiles, Cordage and Raw Fibre from 16-22 Coppergate I needed tightly spun, smooth worsted singles yarn about 0.4mm in diameter of a hairy medium fleece type.  In mundane terms, that's a warp yarn about the size of a doubled piece of standard sewing machine thread, and I needed nearly 500 yards of it for my project.  (This project grew in the planning.)  The mode for fiber diameter in the Jorvík 1307 warp was 24 microns.   Luckily, I had plenty of Manx Laoghtan combed top which met that standard pretty well.  It's a heritage breed found only on the Isle of Man and believed to be period to the Viking Age.

Manx Laoghtan combed top

Although the Manx Laoghtan top was a little kempy, I succeeded in pulling out many of the kemps during the spinning.  Since I apparently like to spin small and tight, working to this fine a specification was significantly less of a problem than I expected.  I spun it to about 35 degrees of Z twist on a handspindle using a reproduction soapstone whorl; I set the twist with hot water and weighted drying.

warp yarn, twist set and ready to warp

So far, so good, and the project even managed to survive my energetic young cat's frequent "help" with the spinning.

I'm sure there's some cat hair in that yarn.

 Next I needed a really soft weft yarn.  The mode fiber diameter for wefts in the Jorvík 1307 textile was 20 microns, making them even finer and softer than the fibers in the warp yarns.  The original is very weft-faced, which would have accentuated the properties of the weft yarn.  Of the period-appropriate sheep breeds, only the þel (undercoat) from a purebred Icelandic lamb was likely to get me close to the micron count I needed.  After considering and discarding a number of possibilities, I bought an Icelandic moorit lamb fleece.

some of the washed locks

I washed some of it up, hand-separated the tog (guard hairs) from the þel, and spun only the þel into my yarn.
 

 separated tog (guard hairs) and þel (undercoat)

Manageable fiber prep was key to this part of the process.  The fluffy þel proved too unstructured for me to spin from the cloud.  I knew combing was the correct technology to use, but the þel was too short to mount properly onto my Indigo Hound Viking combs.  I gritted my teeth and tried using a flick carder on it.  That didn't work well.  Eventually I cursed and brought out my hand carders.  I used them to card the fibers parallel and doffed the carded fibers sideways.  I rolled the batts from the side edges too, making sure to keep the fibers parallel instead of coiling them into the more typical rolags.  This made reasonably manageable short lengths of not-quite-top for me to spin.  

The yarn needed to be 1.2mm in diameter, a "well-spun" S singles.  That's way outside the size range for the weaving yarns I am accustomed to use; it's more like a fingering weight knitting yarn (roughly a 4 ply size in the standard used at Ravelry).  I don't spin yarns as thick as 1.2mm by choice, and I rarely spin in the S direction either. I needed all the help I could get!  Fortunately I only needed about 150 yards of this weft.  I wound up doing a lot of park and draft spinning, and it took me about five times as long to spin as had the warp.  The result, while falling short of "well spun," was at least respectable enough to use for weaving.  I spun it to about 25 degrees of S spin, setting the twist with warm water followed by a light weighting.

I didn't take any photos of the completed weft yarn, and I used up every single scrap of it in the weaving, so I don't have any photos of just the weft to share here.

In the next installment:  warping and weaving.