Introduction The word ‘Kumibimo’ covers a wide range of braiding techniques using various types of equipment. This book concentrates on brats ‘made on the Marudat: a simple device that is surprisingly sensitive ‘and versal There are many reasons why making Kumibimo 30 appealing The equipment used is aesthetic in both appearance and ts tactile ‘qualities. Coupled with tbs, he braiding process with ts gentle, repetitive moves bas a calming therapeutic effect on both observer ‘id practitioner. Working different sequences of moves creates a variety of Jvarmonious rbytbms, each one producing a specific braid structure (Over 50 structures are explained tn this book. Different patterns ‘on these structures can be achieved by rearranging the starting ‘ositionsof the coloured threads. Examples are sboun and the unique drafting system enables the user to design and discover *@ myriad of oxber possiblities Alterations in stricture, texture, colour and pattern create an Infinite diversity of braids, This enables the braid to be created specific to requirement: bet forthe bratd alone or to compliment other mediums and 1s further Mustrated by various design concepts (nthe final chapter. ‘The simplicity of Kumibimo makes tt accessible to all whilst ts ‘potenital 10 expand provides endless fascination!1 traditional equipment for making Kumiimo is ‘not only simple and ‘compact but also aesthetically pleasing. The feel, sound and ‘appearance of the wood adds to the beauty and elegance of the braiding technique. Cardboard, and other substitutes, cin serve a pur- pose to the beginner as an accessible alternative, but can restrict the prcticalpossibili- ties as well as the flowing _movement of hnviding The following section described the — traditional ‘equipment used for making Murda raids MARUDAI (ROUND STAND) “The Marudai can be made in 3 sections; TOP, LEGS and BASE. 1. To This top surface is known as the ‘Kagan or “Mirror, the braid being a reflecion of the braidmaker. The most impor tant feature of this is. its smoothness. This allows the easy flow of threads whilst braiding ‘A light coloured, close grin wood such as Cherry, Maple or Sycamore is most suitable and should be left un- varnished. The repeated work: ing of the threads across the surface will give it polish that improves with age. ‘The dlameter can vary depending on the size of braids 10 be produced Generally an outer diameter of Equipment 25cm is used, This susface begins flat then tapers to a central bole of 4m. 2. LEGS ‘The legs are normally at a height of around 40cm, suit- able for working in the "wadi- tional Kneeling postion. It is possible to make the legs longer, thus raising the ‘mieror toa height for work ina seat- cd position. However, this may ‘cause stability problems, Alternatively, the Marudai could be raised to the required height by placing on a firm stool, or table, and sill retain the necessary stability. 3. BASE “The base is litle lager than the top surface and is square, for round, in shape. It needs 10 bbe solid enough 10 hokd the Marudai stable whilst work is in progress I is necessary to have some point of reference around the Marudi, so you ‘may wish to mark the base, or leg. This will ensure thar you always work from the sime postion However, by looking at the grain of the wood on the mirror it may be possible to fied a natural and traditional indication, Promgrpe 2 gts rnseT ey a , mn ;Equipment Bobbins are usually used in sets of 4, This book looks at braids using up to 16 bobbins They are made of smooth wood, and lead-filled to provide extra weight. This ‘weight varies, lighter ones being used for finer braids, and heavier ones for thicker braid, Weights of 100 or 70 grammes are common although 37 and 240 grammes ate also available, ‘The most important factor 4s that each bobbin is ‘equally weighted. If this point ' overlooked, uneven braid ing can occur COTTON LEADERS Each bobbin is wound with a ‘cotton leader. This is a thread of erochet cotton or similar, cut to a Jength of approximately 120m for each bobbin. The two ends of the threads are knotted together with an over- hand knot ancl attached to the bobbin using a lark’s head knot. The purpose of the leader isto prevent wastage of precious warp threads by allowing the bobbins to hang atthe correct height whilst the fend of the warp is braided. coatent “ted ‘This is used to counterbalance the weight of the bobbins and to provide the tension. The bag can be of any construction, bearing in mind the weight it must camy. The drawstring #8 tused to attach the bag t0 the braid being worked. The string must be soft enough to avoid damaging the braid, yet have enough grip to prevent st from slipping. Weally a fine Kumihimo braid should be used, A method for making a weight bag 1) Cut fabric 30 x 12cm, sew 2 hems allowing, room for the drawstring, 2) Fold in half and sew 2 side seams, making sure not 0 sew over the drawstring hem. 3) Turn inside out and thread the drawstring along both hhems. Join the ends of the drawstring with an overhand knot The weights used inside the bag can be of any form, ishing, or scale weights are an easily obtainable option, The amount of _ weight required is roughly half that of the total bobbins used. More details on Page 11.cuopstick ‘This, or a kniting needle sub> ‘tute, is used 10 secure the braid whilst work is not in Progress (Sew page 9.& 12) The chopstick must be sampoth 10 avoid soagaing the threads. Ifthe chopstick has a fine point, this can be used to loosen the threads evenly ‘whilst winding bobbins up or down, ‘' HOOK These small metal 'S° shaped hhooks can be obtained. frem most hardware shops. An S hhook is only used at the start of braiding to attach the ‘weight bag to the warp. WARPING POSTS ‘Two smooth posts ane needed for winding a warp, the warp boeing the group of threads to be braided. At least one must be made moveable in order to allow the alteration of distance between them, thus varying the length of warp. During the winding process the posts must remain swationary. They must have suf: Fcientiy weighted bases, or be damped down in some man- ‘THREADS A smooth lustrous sill i the traditional medium for Kumihimo, This illustrates the szructure of the braid with the play of light and shade, and Equipment gives a precise finish to the stitches made However, the choice of thread is limitless, Varieties and mixtures of texture, thick ness and colour can be used, as well as more unusual items such as leather, fabric, wire oF paper. the choice of thread ‘will obviously affect the appearance of the final braid Prep 3 and should therefore be select md ng una ra Fg ) ced for the appropriate project. ‘Also needed will be & supply of crochet cotton oF simila. This will be used to tie off the threads and the fin- Ished braidsSetting Up HHOICE OF WARP 2 COLOURS 3. NUMBER OF THREADS ‘THREADS This {is an important decis as i can dramatically change on each bobbin, and the total the appearance of the braid. number of bobbins used, dic The braid sequence prockices tates the thickness of the final the structure, or shape, of the braid. It is worth noting that braid, bur i isthe colours thatthe finer braids require more The number of threads wound Before any winding ean com: mence various decisions ubout the warp must be reached Bach decision will affeet the Bee Sena sive the patter on that struc- stitches per centimetre and res tune. Therefore the number of therefore take longer to produce. different colours used to make The quantity of thread wound. 1. Type of thread. See esa the warp, and their propor- on each bobbin does not have ‘wakes tions will determine the pat to be uniform and can be used Maat of torent tem created whilst braiding. AS to create unusual effects (see ‘per heaaen the pattern on a braid structure photograph 4, below’. Crag ar wreitste can be altered by rearranging ee the inital colour layout, sever- 4, LENGTH al pattems cin be achieved leat w dosnt prsiperpe As itis dificult to do a satisfac 1 THREAD TYPE tog th . Tri aeonaant source tory join of threads) whilst As we have seen, the choice of of amazement that striking braiding, it is necessary to thread is endless. I's also pos- changes can take place simply KNOW the ‘take up" of threads Tay. if order to wind the corre sible t use a combination of by rearranging this c different materials in one out (refer to Page 16 for more Sent. this take up, will vary braid, This can he done elther working details Any colour depending on the following by winding the different mate- combination can be used, but * Type of thread ral onto sepa ate bobbins, of jt is worth remembering that * Braid sequence by mixing the various threads the stronger the contrast in * Weight of bag tension ‘on a single bobbin, This also colour, the more defined the _* Personal tension applies 10 the mining of ‘colours In some braiding sequences it will also vary from bobbin to bobbin Experience soon shows that sampling is the only accurate ‘way to calculate the take up of final piece. However, as a rough guide the following can be used, if a 1 metre warp Tength is wound it will pro- duce approximately 6) cen pimctees of braidAll de previous information ‘can be ratber confusing 10 the beginner, but will become ‘clearer with experience. For ‘his reason the four decisions Jor an example warp to ‘make bratd 4A (ee page 33), 4 bobbin braid, bave been sted: 1 Thread type: 2 ply woot 2 ‘Number and ratio of colour: tno contrasting colors in ‘equal proportions. Tuo ofthe ‘bobbins wound with one colour, the two remaining bobbins wound with the ‘ther at Number of threats bobbin: Four. 4 ‘Thread lenge: 1 metre, ‘These decisions can now be used tn the following wind- ‘ng procedure. Guidelines are given in coloured bases «atthe end of each section Setting Up WINDING THE WARP METHOD 1 INDIVIDUAL BORBINS This is not a Japanese method but an easier, more adaptable fone 10 learn, It's advisable to wind even numbers of thread font. the bobbins, as avoids having to tie in the odd Place the warping posts apart at your required Warp length. Secure the thread at pos A and wind clockwise Set winding posts 1 metre ‘apart, Wind 4 threads of the “frst colour (Ao Bio A twice) Attach the bobbins as shown around the posts. Keep the threads parallel, Winding from ‘A to B creates one thread for the bobbin. Winding back from B to A creates a second thread, Continue winding unt sufficient number of threads have been wound for one bobbin. Keeping the threads hanging from post B, lift the thread off the star/finish post (A) and attach this end te the bobbin as shown on the next page, ong § et ge+ Hoth oder between your oh thar and dex ge. Tako te ‘wp treads ure te aaer ans 2.Tah he end the wap fread ‘ver he hur tothe et, oti he vrrp Brand ad down ovr he ear. old mpace win nub and Ae = 3. Mai a sat oop wit endo ‘oleae ‘Te roptacse re hur when bo ‘saps pasha of he thumb anc ‘roe ep. Plight onthe wap ‘ed unt hat ec to ce Setting Up ‘The to can easy be lead by ‘lege ee he ctton ene eater oot 9228 cera bet ca be wed i one proven oo ait or re “nen be tras ae ataches aly rd am cn be bot al april 40 connate trom post Secure the bobbin wh stp ira as shown, 1. Hee Bobo ine ot hand ‘hat a theend comes rom aomoam ard anay om you. TS PMPORTANT TO HOLD THE BOBBIN UKE ‘THIS AT ALL STAGES. 2. Ugh reg Rand om ao ‘rang ne he Weads 5s ae" stom ndogam, 83. Place na sp tnaton oe boi, by passing the btn ito ‘heloop rm undemethSetting Up bin should now hang from the post (B) by loops in the threads, Either leave the bobbin in this position, or remove to hang on another suitable point (coat hook or ‘door knob will do). Repeat this process using the appro- priate thread for each bob- bin until all bobbins are wound and hanging Take a piece of ton through | ps on all of bbins. Knot the cotton, thus securing all he threads together Then knot the cotton again t will be used when attaching the chopstick BEGINNERS EXAMPLE Secure the warp on the Manudat as directed. Now proceed the Bobbins’ on page 11 Arranging Lift the warp off ts post and bring to the Marudi nash the cot n loop down through the central hole and scoure by slipping the ehop- stick through the wv the ManicaMeri SECTIONAL WARP Tis is more suitable for wind- ing longer lengths as the poses are eloser together. Odd num bers of threads are also eas to deal with, Place the warp pests half the warp length Apart. Secure the end of the Head at post A and wind dlockwise. Winding from A 10 B10 A creates just one thread, Wind the required times. for ‘one bobbin and secure, Then using crochet cotton, tie a —___—_ Setting Up Larks head (see page «on fone side of the warp approx ‘mately 20. centimetres from post A. This is the thread for ‘one bobbin, Do not remove these threads, but repeat the process until the thread for all the bobbins fs on the warping posts, Make sure to tie off each, ‘group of threads for each bob bin, When this is completed, very tighily tie all the threads together in 2 phices (C.& D) at rae secon wane no Bagram! 10 a distance of approximately $ and 6 centimetres from post A The distance between post A and tie D will dictate the Jengths of the tassel Cut all the threads along, post. the chopstick through the threads between ties C and D, Now insert the chopstick through the centre Of the Marudi. The chopstick needs to be held secure against the underside of the eror unl atleast one bobbin, has been attached. This can be achieved by placing the weight bag on top of the warp resting on the mirror (diagram 2. Separate the thread for fone bobbin (marked by a cot in tie). Attach the bobbin and wind as shown in method one, Repeat the process until all bobbins are wound, Preparation can be approached in other ways including the use of pre-cut warps. Whichever method is used, care should be taken in getting the threads to lie Straight and even, Failure to do result in a poor quality braidSetting Up ARRANGING THE BOBBINS ‘Avrange the bobbins around the Marudi so that the starting position andl initial colour ly ‘ut is correct for the chosen braid. The bobbins should hang. evenly, approximately half-way down the — legs. Loosen the slip knot andl wind for unwind gently to alter the height of the — bobbins Aleratively, remove the slip knot and ete in.a new position. BEGINNERS EXAMPLE WEIGHTING Arange the throads across Fill the weight bag with | Mbe miror by moving the appropriate weights. This will P0bbin postions, so tbat one vary depending on the bride oltre Nort and Soul smaker, threads used, bobbins ‘and the ote Hes ‘East and West and desired braid. Weighting is ‘often overlooked sa variable. Ieean be particularly important to et right in braids that use Soe ee ‘unusual thread, Experimenting 's the best way to understand 4 what weight will work best under different eireun ‘As a rough guide add up the total weight of bobbins and tse about half that in the weight bag, Aach one end of the 'S' hook fonto the drawstring of the weight bag. Attach the other ‘end onto the loop. through ‘which the chopstick is resting, Now that the weight bag is creating a counterbalance 10 the bobbins, the chopstick c bbe removed and braiding com- menced Remember: The more ‘weight, the more elongated the stitches, and slacker and softer the braid. The less ‘weight, the more compact the stiches and tighter the braid. r * : P| P ; ‘ Pl cy r r ¢ ¢€ - r . é 4 aWODADETSHe\fopsiyey 3- Patterns [ise nent i ee ame © different sequ sequences of siyles of moves. There are four busie pes of movement advisable SHORING ROBE un the the ‘iiial Colour La moves with 8 bobbins so that colour pattern examples. for Progression to 16 bobbins is each braid structure are shown better understood. fon page Theie relevant For every braid struc- inital colour layouts are given. ture a multitude of different on pages 98 & 98. Remember: Braid structure Is created by the sequence Lilferent coloured thteads are of moves. The pattern on use, the pth that each eolour the bald is created by the RORTAROS ROP Fils can be altered to cre- inital colour layout. ach f hase cou beat ‘wy oentation. age 1Patterns GRIDS sequence is The following information is explained by following the not intended for the total dlagrams. The large circle rep- beginner asi san aid for cre resents the Marudal surface ating new braid patterns not Viewed from above. The small already illusirited. Circles represent the position The drafing grids are a ‘of the bobbins hanging down 2-dimensional representation from the mirtor. The arows of the braids. The shape of the show the path the bobbins grids is dependent on the rust take to reach their new braid structure. The grey lines positions. The numbers denote show the ceting point of two the order of movement within sides, of faces, of bral struc the sequence. When the last ture. Each number shows the ‘movement has been reached, path and ‘Stitches’ created by a movement 1. The particular bobbin. The st nce of moves is repeated positions and designated mums nil the requined braid length ber of the bobbins is shown i reached. References to on page 26. Remember th WH and “LAN refer to the grids are repeatable both bobbins to be lied with toprand bottom and that the 2 the right and left hand — sides join together when the 3 respectively. 1 & 2 dimensional braid is formed, defines the order in The grids can be used wh must move, This 1 braid prior to production been seen that from the ‘ensures the thread crosses in the start positions (page 26) cach correct manner. bobbin can be tof ber. By relating the 10 the ini shown tal colour layout itis possible is the position of 10 the threads at the These colou re each number a colour end ofthe substituted in place of ‘the sequence, ready for numbers on the grid giving the movement 1 resulting pattern for that par ticular set up. BEGUNNERS EXAMPLE Now move on to page 33 1o start working braid 4APatterns 090 oo m0 star rosmon NUMER oo | ° oo ‘Trin example stows tt otbins 18 2ar6 e Botbin 6 e Botte 4.5,78880 CO) The cnc gf row chosen ‘ore tats 1obe word he case baiThe gids can also be worked in reverse, The pattem on a Finished braid can be drawn, fon ity relevant grid to reveal the initial calour layout rumored gids can be road a weenie bint a pemnee2 45,6880] ai sebe czar ec spats eo ; Oo} \e e iO 00 9Patterns ‘The pum ot bon 5 lo as ln tes clans, rect under ‘he tenes of ttnPatterns Tracy the pat fbotin 7 ‘Botti & cones he stches ven stches crated inst ‘hat are aways dec unc thw sacond and four coke. those of bobbin 7. The number patterns reveuled The second and fourth Bobbins 1, 4, $ and 8 all work show that the first and thied columns are ut with a anticlockwise whilst remain columns are built up with the number order of 7, 6, 3 and 2. ing in the sime order to each samme number order 1,4, 5 and This is reaffirmed by other. Bobbins 7, 6, 3 and 2 8, akhough the cokimns sare observing the bobbin paths on also remain in order but work ‘out of step with one another, the mirtors surface ing in a clockwise direction.Patterns EXPANSION OF BOBBIN NUMBERS METHOD 1 As a general rule, braids are ‘made with multiples of 4 bob- bins. Direct expansion of braids can be achieved by increasing the numbers of Dobbins in each ‘group at the ‘sant of braiding, The number ‘of moves in the sequence remains the same but the bob- bins take longer in returning 10 ther original positions, METHOD 2 Alternatively, more groups of bobbins cin be added, This will increase the number of moves needed to complete the OOO 2coco re ° ao CPatterns ‘This information can also be applied to increases beyond 16 bobbinsStarting Positions FoR BRAIDS. FOR BRAID 44 FOR BRAID 84 SBDEGHIRLN. oo}CID 1 GBGa ip ce Bo ed =e os£ See4aO £% IIIT Browns Exar This the ment basic Kumihimo bak, However are ls meeded to ensure that the bobbins are crossed in For movement the bobbin For moventent 2 height eer back wo hap for eas are ited withthe am ecromed under he leven it ch and eft tas time the thease picid hag the Bra indicted inthe dam, The up-The move ke made an dnc in chapter 5 fends move snadlaiesady, ani-dockwss econ, re-poskionng the bobbins on _ucrosng the arm 0 take the opponte ide ofthe the bobbins to the new tcc, ithe mower le pouRonon th opps 14s ade li doco tie the mir, elle Gig hand other, ‘Thee 2 movement are left han othe ef the ction repeated 1 ats thread comely andl ese length of be rai toe conc ae ofeach aha Ce ° a tt = > Es 33in EZ)Bs S 9 > eX SORESKEES Boos oar CNN SADADAAAAA?Z a J , KF ye ~~ r% . 4Pee N Lae as > Le CE ES| square braid sing comiinaton of mose types cea pairs eros the soo and opponite pairs sero the $10. oo 2101600 = ‘Asien bobbin vartation of Dail 84, producing soft rexural brad 4 i 3 " 2] TGs 10 13 1 6 9 4 12 7 15 + |u ler |8] | 6 10] 13 2] Lis | ° is} LK 6| (4 cS k 7 16 8See ee eee tee at eT Dejel«[eleTelelel*#[+Tel-[e[=[-Te} [+l 2] «7-7 =? s[Pet-[e/e[eTeTeTetr[et DeTe[-]2l~[ 2] el-[=)°1*[[#]°[e[ey P-T#leTelele(ete[ef-[efe[-feleol sy r Tepe eee eee [eTeT=l#lelel=lel2[~[er [eTe[e[«TsTeTe{e] [-T=TeT#Ts] [2 [-T: Te SCH 16B CQ)oa oo F fe a CF OYEPP eee eee eee Pepe ere beh bbb CCC Da) ya a a www =stelle sleet lees Le |e ee eee eee +l ou CK DD oess16K OH his chainlink braid appears «4s.a complex sequence of moves but i us the rectangular bra 16) worked a ifierent anes. 56 ‘The readusting in moves 9 sid 15 achieved by lifting the pairs and sling them «9 positions ea foe Dee | ‘Work 1,2.34567.8 L235 45.6.7.8 1,2,3.4,5,6,9 10,11, 12,18, 14,18, 16,17 0.11 10,11,146 Avough beth sides ofthis Nay, wide bral appeat ‘erica, there ate in fac a “ferent numberof stitches ‘on each side “Tension the eross made in ‘move H in an East - West Alraton, This ean be reinforced with anther gentle pull movement 2 tt ‘willbe more effective i the pull sin an East - West Alrction, The resul of all he tensioning to keep the itches tight ap together, although ican be quite effective to mate this braid ‘very loose and soft so that the rg ag of threads can be ely 000, “The dl appeats complex Fouche verte eohumns all follows the sime number ‘order hon they sat at clllercat pesions 5816P & OR a his round honeycomb bal ‘This forms straight oster J constructed using 190 Sets g threads compared to the of ald BF worked dresty crossed threads of braid 16, ‘on wp of one anche “These siraight floating, (Moves 14 makiog one set | threads ane exaggerated by moves $8 creating the other? working a sequence ofthe ere two tepeats of each set ‘The vanation of this brid is set (Move 1-4) repeated fe made but vartions in shown on pute AO is insur 0 thre tes before a ingle repeats can alter the density bid 16P but the second set repeat of the secon set fof the Honeycomb effec. (Moves 3.8) work a brad AD. (Moves SA-8A) a— MI = sets finds the fine stitches of brut foc every thie repeat the Be (Moves 1-4 bordered and sequence ates so that postioned by the anger moves 58 ae a follows stiehes, (Moves 58) 14| 13 [7] 16 [7] 10] 9 Pa 200 c) : s sae? Sr cet22te0 20 staa!6 6“= oy of bobbins working 8 (Moves 1-4 19 horde rather than divide the set working fn moves 58, 68eee ee Ket pees acl EEE geo K eoee OODOI 1 6ee SESOOK: 3 : : 3 oOVILLE Pd Sy BOO SN WOT Vi 2 | SS SWS BSS NN16ac [H] 8 - orto oo oo 5 3 g 8 QW ig oe oo16aD $2 NI D REE Here Dvald 4A forms uae : Inner cone with a twelve bobbin version of braid 8M forming four outer ridges Wj \ 2 LAIN 4, ; ; | q BY 4 { 5 }9 13] + Ne 4 } 4 } B5 the braiding process draws to a dose, take are that the knots jot ing the warp and the bobbin leaders do noe interrupt the flow and rhythm of your work IF you want the braid to end at 4 specifle point, it is always worh doing a few exiri sequences to allow for ‘wastage during the finishing process. When the braid has heen completed it will be nee essary to secure the braid tem poraily to stop it from unray tlling, This can be done by tying crochet cotton. around the braid just below the ‘Point (of Briiding’. After a more per manent finish has been addled, the crochet cotton can be remaved Finishing When the braid is secure, lower the weight hag until it rests on the base of the Marudal, Now the bobbins ean be removed! by pulling. the release knot of the cotton leader. Finally, remove the Weight bag, Be aware that as the braid has been made under tension, a certain amount of shrinkage will take phice as the braid relaxes, ‘TASSEL ENDS. The usual procedure at this point is to make tassels with ‘the warp threads at each end ff the braid. This is done by sewing with 3 suitable thread Into the braid at point where the brakl will end and the tas sel begin, Then whip smoothly over the sewing by winding the thread ound and round the bra End with a couple of neat stitches into the brakd side of the whipping. Loosen any braiding stitches left in the ta sel side of the whipping. If winding method 1 has been used, the fist section of braid will need to be unravelled t0 form the tassel now be steamed over a ketle to straighten them, which will alo help to remove kinks and ‘et’ the braid, To achieve an evenly cut tassel, roll the tassel threads in a small piece of straight edged! paper. Trim the threads dose to the ends of this paper tube 1c ends can‘TRUE BLUNT ENDS ‘the decision to make a true blunt end needs to be made before winding the warp. The swarp threads need 9 be con- rected to two bobbins, one at each end, s0 that when work starts, they interlock ane the braid is prevented from unav= cling (see example phocograph 37, top right. As the bobbins need to be wound in pairs, colour ‘combinations using even num bers will have 10 be used, ‘Winding for blunt ends is sim- iar to winding method 2 (see page 10), however, the dis tance between the Posts must bbe full distance, Wind the threads for two bobbins at a time, the thread! wound from A to B being for one bobbin; the ‘thread wound from B to A for the other bobbin, Tie off with ‘rochet corton on both sides before continuing to wind for the nest paiz, When all the threads have been wound between the posts, ie them together very tightly at post "W, making an extea loop in the cotton for the chopstick Cut all the threads at post ‘A’ ‘The warp can then be brought to the Manudal and the bobins attached, Finishing a ‘The layout of the bobbins before braiding should be aver some thought as it will affect the form of the blunt tend. It may help to loesen the central tie t0 see the thread layout more easly. For exam- ple, in braid BF, the threads ‘can be arranged in adjacent pairs to produce a hollow end ‘or arranged in opposite pairs to produce a solid end (see diggram below’. cc ) rT f U ( CL Wu) Hollow blunt ends can them- selves be very useful as a new oem of finishing. Braid ends ‘can disappear into the hollow tend, thus hiding the finishing theeads. ‘Continuous’ braids ‘can be made in this manner with the end of a braid disap- Pearing into its beginning. Careful matching and sewing fan conceal the join reason ably effectively (Gee photo- raph 22).Udd OdlSSoj cq] SSOBO|BNuauizauawauy//:cdnyLOOPED ENDS WHIPPED Loops Sometimes looped ends are a design requirement, The eas: est way to do this i to fold the braid back on fiself, Sew th braid together and make an extended whipping over the If you wish to trim the ends to remove the tassel, ensure that the whipping and sewing are suitably tight. Another option is wo cover the join using an ‘dea from the next section, BUTTONHOLE LOOP As with the blunt end! structurally sound loop needs to be started at the point of winding the warp. The easiest ‘option is to wind the bobbins Using the method for blunt ends (see page 78). When the bobbins have all been wound, use one bobbin to make but- tonhole stitches over half of the warp. Remember to wind cexini thread on this bobbin to allow for the take up. Work from the central cotton te, out to 4 suitable — distance Temporarily tie both ends of the butionholing rogether, forming the loop. Braiding will secure the loop permanently Finishing ‘View OF Mammon suRACE BRAIDED LOOP. Alternatively, whem the warp is ready, only attach bobbins to fone half of the warp. Take care that the thre slip through the central cotton does not Push the other half of the warp down through the central hole of the Marudai Use the wound bobbins to braid small section, This will be a 4 bobbin bntid, of an 8 bobbin, — depending on whether the final beac uses 8 (oF 16 bobbins. Do not forget to alter the weight bag accordingly When a suitable amount of braid has been made, pass the remaining warp back through the hole sand attach the rest of the bob- bins, Use a cotton tie to tem pporaily hole the loop until the braiding interlocks it in place. ngs 80 ies ye gst if mn =}JAPANESE LOOP, A more traditional approach is as follows Wind the warp fora blunt end Take the threads for just (wo bobbins and tle them together at post", Gut them at post ‘A fand remove them from the remaining warp, tach this parc warp to the Marudat in the usual fash jon. Taking the thread intend- ‘ed for just one bobbin, split ino 4. This wil probably inf fence your inital choice of threads per bobbin, Attach 4 bobbins to the split threads, Push the remain= Ing threads through the mir- rors central hoe, aka small section of 4A. When this is complete secure the beaid with crochet cotton and remewe the bob- bins. Sew the braided section together to form a loop. You ‘now have the thread for 2 bobbins with small braided loop at their centre. Allow these threads (0 rejoin the ‘main warp and continue as formal. Remember that the ‘take-up’ of this method will not be standard COVERED ENDS The ends of the braids can be covered or inserted into any number of different objects of various materials meta, wood, cenimic, plastic etc, providing there & an accom ‘meodating hole into which the braid can fit, One stich exa pile isthe use of metal bell Finishing ‘caps for jewellery. To attach the braid tw a bellap, first make a strong neat sewing and whip over the top. Carefully im the threads close 10 the whipping, Then, using a suit able adhesive, fix the end of the braid into the bell-cap, @eal-( Where appropiate this method cin be used 10 join braids to larger objects, so that the braid becomes an attached feature. Ends can also be hid iden in fabric either by losing the end of the braid ito a seam of a large fabric piece or as shown in photograph 27 Gottom), by covering the braid end with fabric 81 BEADED ENDS Heads ean be used as a decor native feature on braid ends, such as the gokd beuds sewn ‘on the padded tassel in photo graph 25. They can also be used as a covered end such as the eximple shown in photo- ‘graph 26 (insed, The braid is attached! inside the bead using the same method as shown previously ‘The example in photo- shows a beaded tas- 1 weightier fend than a thread tassel. Here a ‘skit’ of beads is sewn around the braid end (OTHER FANCY ENDINGS In addition to the above, there are a multitude of other finish es, far too many to be covered in ‘this book. However, there follows a few examples t0 austategory XN S \ YE Pe > ha my hh ,SPLIT ENDS Before arriving at the end of the warp, secure the braid and remove the bobbins, Divide the threads that were on one bobbin into 4, Add bobbins to each division and work a 4A. braid to the end, Do not forget to adjust the content of the weight bag, Secure this braid and repeat forall the remain ing thread for each bobbin, ‘The eximple shown in photograph 27 Gop righ) is for biel 166, tt divides into four 4A braids. No securing is needed for this split as the braid moves hokd the threads in place, Hach 4A. brid is secured, then sixteen 4A braids are worked using the divided threads from each bobbin, KNOTTED ENDS Many different knots can be added 1 braid ends, The example, right, is a Chinese bull knot, At a calculates point the braid changes from Ht to 8K. When braiding is complete 4 Chinese ball knot is tied at Finishing the pattern change-over poi The end of the brald is secured by sewing within the knot ‘COVERED BALLS A boll of wadding is sewn at the centre of the tassel and the threads carefully arranged around it A new tassel is cre ‘ated under the ball and sewn in place, The ball ein then be ‘covered, in these examples in Photogeiph 25, by sewing ‘open. work button-hole sich= a ces and by couched threads and hb DIRECT ATTACHMENT The warp threads canbe tached 10 objects before braiding commences. In exams ple photograph 27 (lop left) each bobbin i attiched to the keyring by making a larks head knot with the warp thneads. When all the bobbins ate attached, the weight bag, ‘can be bung from the keyring and braiding commenced.— Creative Effects 86————— Creative Effects ————————_____. HOLLOW BRAIDS AON Js the most obvious hol low braid but many others have this potential, The hol lowness of a braid ean be exaggerated by the use of a former. This is usually a wooden stick around whieh the bral is made. As brain 1s completed, it is. removed leaving an empty space within the braid structure, However, braids can be made using more peemanent filling sich a in the framework for the eas: ket (sve photograph 29), In this case braid 16P was worked around mesal rods resuking in 1 solid braid that was strong enough fo create a structure t0 support the lace work. Passive threads can also he braced around in the same manner. “They cin be simply extra padding for the braid, lying dormant within the sirueture, of ean be iaver- changed ‘with warp threads at spedifie points to change the character of the braid being worked To actually work these ideas, an overhead support is required, This can be a bar, or «4 hook, secured from the cei ing or from the sides and pos tioned directly over the Marudi, String is hung over the suppod, one end attached to 4 counterbalance weight the other to the Former, 0 pase sive threads thas keeping them nan upright position above the point of bniiding. ‘The countertbalince should be Tight enough to allow the for mer, or threads, 1 descend slowly as they are brakled round, Do make sure the ‘weight bag is fimly attached, providing tension on the inner core as well as on the outer threads, Aword of warning 10 those wishing to braid around — metal rods. Remember that the completed braid will be unable to bend when it reaches the hase of the Marudui, therefore extended legs may be needed.EXAMPLE 1 Photograph 30 (below) In this example a warp of twelve bobbins is wound, although itis always raid 8F that is worked. Six bobbins are louded with black, two with red, two with orange and (wo ‘with rust, Initially eight bob bins are arranged around the ‘mirror in this order Bobbin numbers 1, 3.4.5, 7 and 8 are black Bobb numbers 2 and 6 are red. ‘The four remaining bobbins are bung from the support bar to,form the inner core. AAs the threads are already attached to weighted bobbins, no counterbalance Is require. Wadding, oF inthis cease small polystyrene balls, are added in the core to create Dulges in the hollow braid. Care is needed to get the stitches lieing evenly around the sphere. It may help to sew, ‘or te, the ball in place t stop it rising above the point of ening "When the ball is cov- ‘ered the bobbins on the sup- pont bar are swapped so that four black bobbins are now passive and the colour layout fon the mirror is as follows: Bobbin numbers 1 and 5 are black, Bobbin numbers 2 ‘and 6 are red. Bobbin num- bers 3 and 7 are rust. Bobbin members 4 and 8 are orange. Altera short fength of braid BF the bobbins are swapped back Creative Effects to their original positions and another ball is added. As soo. as the ball is covered, the see= fond layout is used again. to produce a long lenggh of braid ‘with intermittent changes. These are produced with a colour layout as follows Bobbin mumbers 1, 3.4. 5.7 and § are black. Bobbin umber 2 is red. Bobbin number 6 is orange. “This leaves two rust, one reat and one orange passive on the ‘support bar, The braid is ended with the additon of two more balls worked in the same man- nner as the two others ‘When the braid is com: plete, each interchange is whipped in black thread wo secure the bulls and to dis guise any imegularities. Black threads are cut out of the tas- se] and extra coloured threads added as shown on page 77. Pgh 30 Dale ed splFLOATING THREADS This occurs when certain bob- bins test” whilst the others continue braiding. When the bobbins come buck into play float’ is created over the con- tinued braid. (Some examples of floating bread bave already boon illus. trated in Chapuer 4, 0g braid 16P and tts warsation), Any number and pos tion of bobbins ean ‘rest and their point of return ino work does not have to be from the same point from which they left. This is shown in the fol: lowing examples: EXAMPLE 1 Photograph 31 (ef This is worked with initial colour layout Bobbin numbers 1, 2.5, 6 10, 13 and 14 are blue. ° Bobbin mumbers 3,4, 11 and I2are gold. Bobbin numbers 7, 8, 15 and 16 are black. One sequence of braid 16) is worked, The second sequence omits movements 1.8 2 allow- ing the gold bobbins to rest By moving these bobbins 10 a fnew position the angle of the oat is changed, “The gokd bobbins must be taken to their new position tunder the adjacent bobbin threads Creative Effects —————______—_. Another full sequence of braid 16) is now worked This is fo lowed by a sequence that omits movements 5 & 6, The Floating gold hobbins are now retumed! to the centre under the adjacent bobbins ready for the whole procedure to be repeated, Variations of this proceclure are endless and ‘can include floats made ‘without allowing bob- bins to rest, as in the following example, te igh 89 EXAMPLE 2 Photograph 31 (middle) ‘The inital colous Follows Bobbin mumbers 1, 2, 9 and 10 are gold. Bobbin mumbers 3, 4, 7, 8 11, 12, 15 and 16 are blue. Bobbin numbers 5, 6,13 and 14 are black, In this example braid 16E is worked. Before each sequence the gold bobbin positions are changed by going under all the other threads, Remember to make each crossover uniform. In this case the two top bob- bins go outside the ones coming up from the ortoEXAMPLE 3 Photograph 31 (righ) Another possibility i 10 create floats by using passive threads from within a hollow bie Here braid 16F is worked around four passive gold threads that ate supported above the point of braiding (as shown on page 87). The exter. ral crosses are created at set Intervals by bringing down the ‘gold threads 10 lle in these Positions “Two sequences are worked of 16F. The gold threads are not Included in these moves. Now cross the gold threads under the threads of the North and South sets of bobbins Creative Effects “Then cross them over the West bobbins, Work two sequences of 168, Now cross the gold. bobbins under the West and Bast sets fof bobbins and over the Noth and South sets Work another two sequences of 16F, Finally ross the golds under North and South sets and return to pas- sive upward postion EXAMPLE 4 Photograph 38 Tufted braids are another fneresting feature that can be created using floating threads Providing the braid is tightly woven and the threads have suitable friction, floating threads ean be cut to form tufts that are held in place by the remaining sitehes inthe braid, ‘The following example shows one sequence that cre tes floats sufficiently. woven within the beaid to remain secure when cut ‘Work sequence braid 8A with ‘ewelve bobbins, The four extra bobbins will be the ones that- make the tufts. These are placed around the Marudai as shown Two extra moves are required Moves. Work the sequence with moves as follows: 1234 BA 3.4 L 5 1% 5, The lange floats ean now be cut in half to form two tuts.DISTORTED BRAIDS. EXAMPLE 1 Phowograph 27 (top) Floating threads can be pulled tight to distort the bral. In cis ‘example work is: commenced using braid 166, Floating threads are created by resting the bobbins numbered 5, 8, 13, ancl 16. A length of braid 16) is worked with the remaining bobbins (without moves 5. & 6), Now work one sequence of 16G, pulling hard on moves 5 6 50 thatthe floating threads become tight. The 16) beaid is forced tw the side forming 3 Joop. The example is created by varying the number of stitches in the 16) braid and the side to which the loop falls EXAMPLE 2 Photograph 42 Braids ean also be distorted by the use of unevenly weighted bobbins, or in this ease, by luneven tensioning of thread, The example is. braid 86. Bobbin number 1 is pulled hhard every time it reaches the edge of the fat braid this is every fourth sequence. Similar effects can be caused through the use of different threads When a beaid is finished and the threads are no longer lunder tension, any difference in the shrinkage of the threads ‘ean distor the bra. EXAMPLE 3 Photograph 33 Braid structre can be distorted when the threads are used in different ratios. Examples of this are seen inthe pho ‘graph. Here eight bobbins are each wound with ten threads of purple, The other eight bob: hins are each wound with fony threads of red. Braid 16T (lop) is made with the thicker threads lying in bobbin positions 1, 7, 8) 10, 11, 12,13 and 14 Braid) 16U imide) with the thicker th fs made cads lying in bobbin positions 5,6, 7, 8 13,14, 15 and 16. Braid 168 bowom) is. made with the thicker threads Iying in bobbin postions 9, 10, 11 12,13, 14, 15 and 16, onHOLES The create holes in a bral is 10 use braid BC. The concepe of mak: ing one biel dived into two braids, before returning to one most obvious method to braid, can be used in various Formats EXAMPLE | Photograph 37 (botiom lef) Shows braid 16D divided into 2 braids of 8D. This can be done by moving the SD sequence with the bobbins off Gee diagram right. ‘Work the miror image moves forthe right hand set of 8 bob bins. Repeat required. In this ex sequence as nple, four are worked with, ‘each 8D braid before returning to braid 16D. Alternatively, we the bobbins so thy set of 8 are worked from theit corteet positions, Then inter- change to work the other set of 8 Whichever method is ‘used, care must be taken with the tension, EXAMPLE 2 Photograph 36 Hole features can be created using a combination of fat braid 8G and hollow braid BF, In this example just sequences of BF are worked at set points along an 8G braid This produces eyelets through which smaller SF braids are threaded to form the lattice EXAMPLE 3 Photograph 35 The reverse of Example 2 isto Creative Effects - — work one sequence of 8G at intervals on BF braid. This ¢ ates holes in the he Here, they rev the passive {nner core of a metal rod94 ‘Photograph 36: Purse: Holes, pot.com blogs 7) o 5 | a Menu http://mamene:Creative Effects | 73 3 | mica “a . | |