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Understanding Krokbragd Part 2: From Structure to Pattern
This article is part two in a series about Krokbragd—a traditional three-shaft weaving structure that has been used for centuries to weave colorful rugs and coverlets. We recommend rewinding and starting with article one to understand the basic structure of Krokbragd, then coming back to learn about about creating patterns and motifs.
Now that we understand how individual color columns are created, let's begin combining them.
The simplest motifs emerge when these columns are gradually combined and widened.
Before starting, one important note: each motif in the following exercises is separated by at least one complete row of the background color. In my examples, this means weaving all three picks in orange before starting a motif and again after finishing it. These plain rows help separate the motifs and make their construction much easier to read.
Creating a Square
Before reading further, take a moment to study the first swatch below.
Can you figure out which picks must be woven in white to create the square?
You already know the three possible column positions. Which ones need to be combined?
The first question to ask yourself is:
Is Pick 2 involved?
It certainly is.
The white square is too prominent to be built only from Picks 1 or 3. Remember that Pick 2 creates the strongest columns because the color appears on every other thread. So we already know that Pick 2 must be white.
But is that enough?
No. If only Pick 2 were white, we would simply create the same dominant column as in our previous exercise.
Could all three picks be white?
No. Then we would end up with a completely white fabric.
So there is only one possibility left: Pick 2 must be combined with either Pick 1 or Pick 3.
Which one?
Look closely at the swatch. In this example, the center of the square aligns with Pick 1. Therefore, the square is created by weaving Picks 1 and 2 in white, while Pick 3 remains orange.
Repeat this sequence several times until the motif reaches approximately the same height as its width—usually three to six repeats, depending on your yarn and sett.
Could we instead weave Picks 2 and 3 in white and keep Pick 1 orange?
Absolutely.
In fact, that is exactly what I did in the second sample, shown below. The same square appears, but shifted to a different position.
The important thing is not to memorize a draft. Instead, observe where the color is placed within the three-pick sequence.
The shape itself is simply the consequence of those color choices.
Creating a Cross
Just like before, first study the swatch below and try to determine which picks are white and which remain orange.
The cross is slightly more challenging than the square because it can be divided into three sections:
column → horizontal bar → column
Ready?
Let's start with the lower column.
Is Pick 2 involved?
No, it isn't.
The column is narrow and resembles the subtle columns we created earlier on Picks 1 and 3.
In my sample, Pick 1 is woven in white while Picks 2 and 3 remain orange. You could also use Pick 3 instead of Pick 1. The result would be identical, only shifted to a different position.
Repeat this sequence several times to establish the lower part of the cross.
Now let's create the horizontal bar.
The white on Pick 1 continues, so Pick 1 remains white. But to widen the motif and create the bar, the surrounding threads must also become white.
This means that Pick 2 now becomes white as well, while Pick 3 remains orange to separate the neighboring crosses.
Weave Picks 1 and 2 in white for two or three repeats.
Finally, return to the upper column.
This section is identical to the lower one: Pick 1 remains white, while Picks 2 and 3 are orange.
Could we instead build the entire cross using Picks 2 and 3 in white while Pick 1 remains orange?
Absolutely.
In fact, that is exactly what I did in the second sample, shown below. The same cross appears again, but shifted to a different position.
And don't forget to finish with one complete row of the background colour before starting the next motif. These simple rows act like little pauses between the motifs and make the structure much easier to read at least for now.
Creating a Flame
By now, you know all the building blocks of Krokbragd.
You understand the three column positions. You know that Pick 2 creates the strongest visual effect and that combining different picks allows shapes to emerge.
So let's try something on your own.
Study the flame motif below.
Which picks are white? Which remain orange?
Can you break the motif down into smaller sections, just as we did with the cross?
Take a few minutes and try it on your loom before looking at the answer.
THE ANSWER:
Did you find it?
If so, congratulations. You are no longer simply following patterns—you are beginning to read and construct them yourself.
One Last Possibility: Introducing a Third Color
Until now, we have worked with only two colors: a background and a contrasting motif colour.
But Krokbragd becomes even more interesting when a third color enters the picture.
Remember: one complete row consists of three picks.
This means that each pick can potentially have its own color.
You can weave:
-
all three picks in the same color,
-
one contrasting pick to create columns,
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two contrasting picks to create shapes,
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or even three different colors within the same row.
Suddenly, motifs begin to shimmer, colors appear to move across the fabric, and entirely new design possibilities emerge.
And yet, the structure itself has not changed.
It is still the same simple sequence:
1 → 2 → 3 → repeat.
Weaving by Looking Rather Than Following
This is actually how I weave Krokbragd myself.
I almost never work from a detailed draft.
Krokbragd is a rather slow technique. Sometimes it can even feel a little repetitive. But this slowness is also one of the things I love most about it. There is time to think, to observe, and to develop a motif as you weave, without feeling rushed.
In fact, I only need to remember one simple rule:
The weft colour always appears over the warp threads that stay down.
That's it.
Before every pick, I simply look at the threads that remain below and ask myself:
Is this where I want the color to appear?
For example, when weaving a cross, I look at the threads that stay down and ask:
Do I want the column of my cross to be here?
If the answer is yes, I throw the white shuttle.
If the answer is no, I use the background color.
Krokbragd is wonderfully suited to this way of working. Instead of mechanically following a draft, you begin to observe where the color will appear and make one small decision at a time.
Little by little, the motif simply grows on the loom.
From Understanding To Designing
At this point, something interesting usually happens.
You stop looking at Krokbragd motifs as mysterious patterns and start seeing them as combinations of simple color placements.
A square is no longer a square. A cross is no longer a cross.
You begin to recognize columns, shifted positions, and the stronger presence of Pick 2.
And once you can read a motif, you can also change it.
Try shifting the motif by using Pick 3 instead of Pick 1. Reverse the background and motif colors. Introduce a third color. Suddenly, entirely new designs begin to emerge.
The structure has not changed.
It is still the same sequence:
1 → 2 → 3 → repeat.
Only your color choices have changed.
In Review
You started with three simple columns.
Then they became squares and crosses.
And now, when you look at a Krokbragd textile, you will probably begin to see not just a pattern, but the simple decisions that brought it to life.
To me, this is one of the most beautiful things about Krokbragd. Its motifs never lose their mystery completely—but once you understand the underlying structure, they stop being intimidating and become an invitation to explore, experiment, and play.
Although Krokbragd has centuries of history behind it, I believe it feels remarkably contemporary. Its bold geometric motifs, endless color possibilities, and slow, meditative rhythm make it just as inspiring for today's weavers as it was for generations before us.
And perhaps that's why I keep coming back to it. No matter how many times I weave Krokbragd, it always reminds me that extraordinary complexity can grow from a few beautifully simple ideas.
More than ten years after discovering Krokbragd, it still surprises me. And I hope that once you've discovered the simple logic behind it, it will continue to surprise you too.
All image and graphics courtesy of Petra Marciniak unless otherwise noted.
About Petra Marciniak
Petra Marciniak is a French-based handweaver, textile designer, and weaving teacher originally from Germany. She specializes in weaving techniques such as Krokbragd and Deflected Double Weave, and is passionate about helping weavers understand structures rather than simply follow drafts. She teaches workshops in France and online, and shares her love of weaving through articles, courses, and contemporary textile design.