.I've been travelling, teaching in Quebec and Iowa. It's lovely to meet people, share what I know, and learn from so many talented people. As a consequence I've updated the contents of the twining patterns on my website, tweaking the directions, hopefully making them easier to understand.
The Midwest Handweavers Conference took place in Grinnell, Iowa recently, and I had the privilege of sharing with several very talented people. One of them, Jason, made it all the way through my twining patterns, and gave me some excellent suggestions. I've now edited those twining patterns on my website. Anyone who has already downloaded them, and who wants an update ... please contact me and I'll send you the new-and-improved version.
I taught sprang at the assembly of Quebec Handweavers in St George, Quebec. There I met some extraordinary fingerweavers.
I also met Monique Dumas, who had taken a sprang class from Peter Collingwood years ago (her first encounter with someone speaking with a British accent), and who went on to be the very first to teach sprang at the Maison Routhier. She showed me her lovely sprang shrug.
My students at my class at Maison Routhier did me proud.
Lovely meeting every one of you. I wish you many happy hours of sprang.
I was talking today with members of a Colorado-based sprang study group. They had some questions, and I was wanting to refer them to a blog post of mine ... and then I realized that I never posted those pictures, never told that story on my blog. So here it is, the making of that shirt that was on display at HGA's Convergence last summer.
I have been exploring different ways to create a sprang shirt.
The obvious way to create the neckline is to make a slit for a V-neckline.
When I did this, I found that there is stress on the stitch at the bottom of that V, and it does not look nice. Because of this, I have begun to look for other ways to create that neckline.
This pullover began with a false-circular warp to create a large rectangle for the front and back. The loops will sit near the hem of the garment. There is a chain line at the shoulders.
I laid the piece out flat, and traced a circle (basting stitch) with a red thread at the place that I thought should be the hole for the neck. The hole must be as large as the circumference of my head. I then cut across the stitches inside this hole, being careful to leave threads long enough to tie knots. I unravelled the stitches to the place of the red thread, and tied knots.
This gave me a neck opening, with unsightly knots all around. I covered the knots with a collar.
The collar started out as a long flat warp. I chose a 2-2 interlacing stitch for the collar.
For the sleeves, I wanted to try making them narrower at the wrist, wider at the shoulder. To make the cloth wider, you must add threads.
I added a loop of yarn every second row. This gave me two sleeves, that are wider at the shoulder, narrower at the wrist. I cut the sleeves apart, and tied knots. The knots are hidden on the inside of the garment.
The finished pullover was judged worthy of the fashion show at the Handweavers Guild of America conference Convergence in 2018 in Reno, Nevada.
While in Vancouver earlier this year, I stopped in at Maiwa on Granville Island. I will be teaching a sprang class there next year. I wanted to have a look at their yarns, to evaluate their use for my students. I saw some lovely linen yarn.
I decided to try to make yet another sprang shirt, using this linen yarn. OK, I purchased seven skeins.
Wanting to use some of those colorful motifs from Coptic bonnets, I set up a multicolored warp.
This piece will be the center back of the shirt.
Now for two pieces to go on either side of the center back. These pieces will go over the shoulder, starting and ending at the hem of the shirt.
Now for the front of the shirt. I decided to use the lighter green as the background for the front of the shirt. The first time I sewed the front into the shirt, there was a clear difference in tension (rows per inch) between the lower part of the front, and the side pieces. I re-sewed it a couple of times before getting it right.
Now for two narrow pieces to go under the arms.
And lastly, sleeves. I shaped the sleeves as I went along.
I chained around the hem, to give a firmer edge to the shirt.
I finished assembling the shirt, and washed it.
Look for me this summer, sporting my new sprang shirt.
And here's a better image of that shawl I made last month, demonstrating perhaps some of the drape and flexibility of the fabric
Photo by Chris Black
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.
Last Summer I made a scaled down copy of the Braddock-Washington sash for Carlyle House. The word is that the display is now complete, and viewable to the public. Here is the photo they sent me, the mannequin wearing the general's uniform .... complete with sash.
https://www.taprootvideo.com/preview_class.jsf?iid=7&cid=1Tap Root Video has now posted a free video .... me showing you the basic 'stitch' used in sprang. No loom is necessary to do this activity ... and discover what I mean when I say "two rows made with every one row of work". Check it out at Taprootvideo.com
And here is the first review of the video, posted hours after the video went live:
This was the easiest to understand introduction to Sprang! I wasn't sure how interested I was in this technique but after seeing this I am excited to learn more.
Over two years ago the weaving guild in Grand Forks BC invited me to teach them sprang and fingerweaving. At last the date has arrived.
Flying in an airplane from Winnipeg to Grand Forks, BC, took me right over the Canadian Rockies. I love looking out the window of an airplane.
Grand Forks is surrounded by mountains. It snowed most every day I was there. It looked like Christmas.
Three days of class. Fingerweaving the first day, then two days of sprang. The students were keen and eager, completed a number of projects, exploring these braiding techniques.
Thank you to Sue for organizing this, and to all who contributed to the lovely lunches, the setup and takedown.
The Textiles of the Nile Valley Conference is held every two years in Antwerp, organized by Antoine De Moor, Petra Linscheid, and Cäcilia Flück. I arrived in Antwerp at the central train station ... a truly beautiful building.
The conference is held at the headquarters of KatoeNatie. This is also the location of an amazing collection of Coptic garments. I presented a paper along with Ines Bogenspurger and Julia Galliker on the subject of textiles found in the ancient town of Karanis. My part of the research had to do with examining and reconstructing bonnets from the collection at the Kelsey Museum.
I set up a display of reconstructed bonnets from the Kelsey and Krefeld collections. I invited participants to touch, and to try them on.
Curators and scholars were very happy to be able to touch and e explored a variety of ways to wear these bonnets.
Proceedings from these conferences get published in a lovely, full-color book. My paper from 2015, presented with Fabienne Medard, appears in the volume we received at this year's conference. Yes, this year's papers will be published in a volume that will be released in 2019.
In the Fall of 2013, I visited the Krefeld Textile Museum, at the invitation of the director, Dr Annette Schieck. I viewed their collection of sprang bonnets, and then went home to try to write up the patterns and make replicas. I now return to verify details that I failed to note on my last visit.
At the CIETA conference last month in St Petersburg, I met Aachen textile conservator Monica Vroon. She had a question about a certain set of 'dresses' for a statue at the Aachen cathedral. She met me in Krefeld, bringing the garments in question.
It is a set of two garments. They are for a statue of the Virgin holding the Child Jesus ... so two 'dresses', one for mother, and one for the child. Looking closely at the pieces, yes, this certainly could be sprang.
The next day I travelled to Herne, to visit with Torsten Verhülsdonk of VS-Books. We are talking about a German edition of Sprang Unsprung.
Mr Verhülsdonk treated me to a tour of a very lovely archaeology museum in Herne.
I then went on to Munich, where I taught a one-day sprang class, organized by Gitti ... it was a pleasure to meet you and your friends. (Sorry that I did not think to take photos.) Looking forward to seeing all the lovely sprang things you will make in the future.