The subject of first books for Rigid Heddle weaving seems to arise regularly. I thought it would be a good idea to have a look at two of the most popular books side by side: Betty Linn Davenport's "Hands on Rigid Heddle Weaving", and Rowena Hart's "Ashford Book of Rigid Heddle Weaving". I'm not going to talk again about "Creative Weaving", but
I have written about it before in some detail.
Both "Hands On..." and "the Ashford Book..." seek to introduce the simplicity and portability of rigid heddle weaving to both new weavers, and to experienced weavers who may not be familiar with rigid heddle looms. "Hands On" presents a table comparing 7 brands of rigid heddle loom and their attributes, side by side. The Ashford book assumes you have an Ashford loom, but it really doesn't matter, especially if you are in Australia or NZ, where you probably do. Each has an introduction to the loom and its parts, followed by step by step instructions for warping a rigid heddle loom.
I really wish everyone could have both books. The Ashford book has
lovely, modern projects. The Davenport book's projects are, admittedly
dated and fairly uninspiring. However, "Hands On" uses these projects
to introduce a series of important lessons. The Ashford book gets you
up and weaving too, but could leave you asking a lot of questions later
that the Davenport book answers, or worse, not realising that there
*are* other questions. "Hands On" has an extensive bibliography- one
glance at it lets the reader know that there *is* more to learn.
"Hands On" was my first Rigid heddle book, and to be completely honest, I never could get my head around the warping method. In fact, without watching Betty Davenport's dvd (actually I have an ancient VHS version) I don't think I would have ever understood. I did make a warping board, and stubbornly warped my loom this way a couple of times, but I fudged at points where I lost my way in the instructions. As soon as I tried the peg method (shown step by step in the Ashford book), I've never looked back, especially since I like laying in different warp yarns spontaneously, as I warp. That said, the peg method of warping can be seen
online- you don't need to buy a book to learn it.
"Hands On" suggests setting up your heddle with marking inches out from the centre (something I'm glad I did, its really handy), and discusses the qualities of special weaving yarns, as well as sett calculations. This is a sign of things to come- in my opinion, Betty Davenport's book contains a lot more 'meat' than the Ashford book. Concepts that apply to all weaving are introduced, as is some of the terminology of weaving. Throughout, "Hands On" treats the subject seriously, assuming that the reader has a certain level of interest in the process of weaving as well as in "how to".
In section called "Discovering plain weave" Betty Davenport explains sett in depth, showing a series of samples ranging from weft faced to warp faced, and the use of spaced yarns to make open fabrics, with spaces between the threads. She explains drafts- a schematic you can use to keep track of your weaving design, on paper. There is a discussion of the use of different yarns together, and of blending textured yarns and plain yarns. I hope that if "Hands On" is ever re-released, that the publisher commissions some more exciting examples of the fabrics discussed, because there is a lot of information here, but it's not all that appealingly packaged.
"The Ashford Book" takes a different approach. Starting with "experiments in colour", where we are encouraged to weave four scarves, each combining different proportions of any two colours that you choose, to learn about what can be accomplished with a balanced weave and varying warp and weft colour combinations. In "Hands On" there are several pages devoted to a serious discussion of colour theory and a project to weave a colour sampler or gamp to see how different warp and weft colours interact in a balanced weave. Way more information in "Hands On", nicer projects in "Ashford Book" (although I think the Davenport gamp is really beautiful):
Tapestry weaving is sampled in "the Ashford Book" in a series of 'mug rugs' and a pillow. The only weft changing method shown is the 'slit' method. "Hands On" shows a much more comprehensive array of tapestry techniques, and a project to try- a purse to weave (on the left here). Again, the Ashford projects are probably more eye catching to most people, but the technique taught is limited.
"Fleece rugs" are the project the Ashford Book uses to teach pile weaving. They're cute and funky. "Hands On" shows a sampler of a variety of soumak and pile weaves in the 'surface textures' section- a good project or example photo would do wonders for this chapter too- there is loads of information here in 'Hands On' but you have to be ready to look for it to want to use it, as presented.
"Textured cushions" (Ashford) introduces the idea of adding unspun fibre as a weft accent in an otherwise plain weave- a very nice project. "Hands On" has several variations of inlay and supplementary weft set out. I wonder whether in the 1980s, when Betty Davenport was working on her CoE, she was still avoiding anything that reminded her of '70s craft- and the unspun fibre thing kind of does remind me of some of the wacky craft project books I have from the '70s. "Hands On" has inlay projects with silk thread- the project is not memorable, but the content of the chapter are solid and well explained. Ashford: one technique, fun project. Davenport: many techniques, naff project (that's not really fair- the transparency inlay that is given in "Hands On" as a project is something I really want to try, I just don't love the example in the book).
"Hands On" has several garments as projects. Blouses and tabards, and vests as well as scarfs and wraps. The facts of loom-shaped garment design are given in detail. Unfortunately the garments are all rather dated, and one would have to have more fashion-vision than I do to redesign them for 2008. The Ashford Book has a drapey cloak as a large project- teaching the joining of widths of fabric, assembly of a garment and a bit of freeform weaving as an accent. You'd learn more from making the Davenport garments, but you'd possibly wear the Ashford project (if you are in NZ. And you are elvish).
A set of shibori placemats in The Ashford book have no comparable project in "Hands On", I think. Thinking "what on earth has shibori to do with weaving" a moment ago- I'm now interested to see that the thread pulled to make the shibori 'puckers' is actually a weft float. Cool- is all woven shibori done like that? I always assumed that the pleats were stitched in later, after weaving.
The Ashford Book has a short chapter on weaving with silk, and a chapter on weaving with materials other than yarn,such as fabric strips, sticks, hemp, paper yarn, etc.
A set of really lovely blue and white cotton and linen towels sample several different weave patterns in the Ashford Book. In "Hands On" there are also several pages and samplers devoted to different colour and weave effects, more complex and thorough than those in the Ashford Book. Once more, there is a more serious and in-depth study of colour-and-weave in "Hands On", but the project in the Ashford book makes you want to weave it. My compromise would be to weave the "Hands On" samplers in crisp white and blue cotton and linen, to have the best of both worlds!
Davenport sampler and draft on the left, Ashford towels on the right:
Finally my favourite project in "The Ashford Book", and the one which makes it worth the price of admission, even if you use nothing else from it- leno lace. "Hands On" sets out instructions for several varieties on hand-controlled weaves- not just leno. Betty Davenport teaches here exclusively the method of using a pick-up stick to create these weaves.
The Ashford Book only goes into leno, and teaches a method involving making a string heddle, and using it to create the two sheds needed. Both methods work- I found the string heddle method faster, but now I am wondering if I created the pick-up stick shed in the wrong place when I tried it months ago! If you like the look of lacy weaves, though, again, "Hands On" provides more than one you can try, even if the linen sampler shown doesn't inflame your imagination.
For the purposes of this comparison, I have gone through the Ashford book and looked for the equivalent chapter in "Hands On". There are also sections in "Hands On" that, while mentioned briefly in "the Ashford Book", go into detail that the Ashford Book does not. A full section in "Hands On" on ways to treat fringes, join pieces of handwoven fabric and fabric finishing are examples of this.
The books both are commonly mentioned in the same breath as "the" learn to weave (on a rigid heddle loom) options. The major differences between the two books stem superficially from their relative years of publication, but more significantly from their different purposes.
"Hands On" (and "Colors and Textures for the Rigid Heddle Loom", her next book) were published as a result of Betty Linn Davenport's research into the capabilities of the Rigid Heddle Loom for the Handweavers' Certificate of Excellence (CoE). It is more than a fun introduction, but a serious work. For those who complain that others think their rigid heddle loom is a toy, or for those who are serious about finding out "what can you do with this loom?", this is the book you need.
The "Ashford Book of Rigid Heddle Weaving" is a book with the ultimate purpose of promoting the use of rigid heddle looms by new generations of fibre lovers- of converting knitters and spinners into weavers. It is great for its purpose. Once a new weaver is hooked, s/he will no doubt go on to explore other more in-depth publications.
Finally, here is a summary of what I personally see as the pros and cons of each:
Ashford Book:Pros- direct warping method; colourful, inspiring projects; string heddle leno project
Cons: narrower range of techniques offered; less general weaving theory, no bibliography.
Hands on Rigid Heddle Weaving:Pros: comprehensive section on plain weave; several hand manipulated weaves; colour and pattern drafts explained; sett explained and its application; several tapestry techniques; colour theory discussed; excellent bibliography.
Cons: direct warping not covered; projects and styling dated and uninspiring.
Myself, I think we all need both books!
Also please note that the
Ashford site says that "the Ashford Book of Rigid heddle Weaving" is about to be re-released in a new revision, July 2008. So it might be worth waiting til then to get it.
