I now find myself at the FibreWorks Gallery near Madiera Park, British Columbia. I've been offered a short residency. This place is also called "The Yurts" because of the buildings that make up the campus.
Planning to create a sprang scarf, I brought along yarn, beads, and the top and bottom of my sprang frame. I purchased 4 ft long dowels locally, and set to work.
A sprang project needs the yarn mounted on the frame in an orderly fashion ... I needed to organize a first cross in the warp.
The weather was pleasant, I sat outside the FibreWorks Workshop Yurt, and worked. My pattern is inspired by pieces I saw at the Vesterheim Norwegian-American Museum in Decorah, Iowa.
On Monday, FibreWorks was closed. I went along to speak to a spinners' guild, bringing them the good news of sprang.
I worked on the shawl on Tuesday, and finished it by Thursday afternoon.
The Weavers Circle meets at the FibreWorks Gallery on Thursdays, they watched as I cut the fringes, and tied the knots.
I visited the Kelsey Museum collection in the spring of 2016, went home and worked out the pattern for this hat, and then came back in the summer of 2017. At the occasion of my second visit, I took a photo of my replica beside the original. Actually I took two photos. In one of them, my replica is inside-out.
If anyone is interested, my SprangLady website contains three tutorials that take you step-by-step, showing you how to do this twining technique on a background of interlinking. And I do still have the specific pattern for this bonnet.
I set out to make a new sprang top. In the past I'd say the choices are a V-neck, a boat-neck, or you cut out a hole for the neck. Last spring I made a shirt comprised of ten separate pieces of sprang. I was using 'estate yarn' (yarn of an unknown age and unknown fibre content).
While I like the shirt, some of the threads are shattering ... the shirt is not standing up to wear. So I need another one. I purchased new yarn, nine skeins of Berroco Mixer, and made up nine pieces for this new shirt.
Although it might seem overwhelming to set out to make nine pieces, it's no worse than knitting a sweater. I made a center-front piece and a center-back piece. These pieces start at neckline and hem, and work to a place somewhere near the waist. There are two pieces that go over the shoulder, working from hem to hem, and meeting at the shoulder. I also made two pieces, one to go under each armpit ... worked from armpit and hem towards the waist. These pieces were all flat warp.
There are three circular warp pieces, two sleeves and a collar.
Assembled together, they make a shirt.
The basic stitch is a 2-2 twill, it has a comfortable amount of stretch. The Berroco is a mix of cotton, polyester, viscose and nylon, so I'm hoping it will stand up to washing and wearing.
No need to hem this material. The pieces have selvedges all around.
Still working on those sprang patterns. I sent out drafts to friends and former students. They’ve given me some great feedback. Presently I’m updating the patterns, making them easier to use, and hope to start posting them soon.
Made another pair of sprang gloves, this time with a thumb.
Yes, you can make sprang gloves with fingers. The deal is that you create the cloth with an eye to the size and shape of the intended garment. Have a look at a pair of gloves made out of leather or cloth. There are little strips of cloth between the fingers. That’s what I think will be the easiest way to make sprang gloves. I made a short thin piece to go along the webbing of my hand between index and thumb.
Getting ready for a series of teaching engagements.
I’ll be at the London Knit and Stitch show on Thursday, Oct 9, showing the world how to finger weave. In honour of this event, I’ve set up a warp for a neck scarf.
I’ve completed another pair of sprang leggings, this one inspired by another portrait in Dagmar Drinkler’s research. I’ll bring them to the ETSG conference on October 10-11.
I’m working on a series of sprang patterns. Some people have commented that they need a bit more information than what is in my book. Maybe what people need is something like what has already been done for knitting and crochet, books of patterns for hats, vests, scarves and the like.
I’ve gone back to the hats in my book as a starting point, describing the ‘how-to’ of these hats in greater detail. Now, just how much detail do people need? That’s the question.
Here are three basic shapes of hats. I’m starting with a rather detailed step-by-step describing the making of these three.
Once I’ve written out the basic instructions for these three hats, then there can be variations. For example, working a lace pattern on the tam, you get a lacy tam.
OK, so I’m needing to write something about how you get the lace pattern, and then how to work the lace pattern onto that tam.
I’m needing to do a similar thing for S and Z patterns. That’s this green hat.
I’m open to suggestions for patterns.
Back in Lyon, staying with my friend, I tried to keep up with my daily walk. There are the remains of a Roman amphitheatre near her house.
In my spare time I’ve been working on writing out patterns for some of the hundreds of sprang lace motifs that I saw in Brussels.
I taught a finger weaving class in TheHague.
My host in TheHague pointed out some flocks of birds, all bright green. It seems that escapee parakeets have adopted certain parks in TheHague as home.
Quite a while ago I started a pair of socks. The warp’s been hanging off the backside of my kitchen door, waiting while other more pressing projects have attracted my attention.
Now it’s time to finish those socks.
Now, sprang is quite elastic, but not so elastic that the same tube allows for my ankles as well as for my calfs. Once finished, I confess, I ‘unwove’ a thread at the back, and inserted a ‘gusset’ of more threads.
The socks were finished off by tying the threads in bunches of four. I am quite impressed that there is no need for elastic. The socks stay up just fine without elastic at the top