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Sprang Bonnet

11/6/2015

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A few years back I used some of my single spun wool to make a bonnet. The wool was quite dark in color, and does not photograph well.
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I’ve since made another bonnet, this time using some commercially spun linen.
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The pattern is based on a bonnet in the collection of the Danish National Museum in Copenhagen. The pale color in the linen makes it easier to see the stitches.
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It is really a few simple stitches, combined to make an interesting pattern and a lovely bonnet.

Now, examining historic hair nets, some of them were made from tightly spun singles. I experimented with some tightly spun wool, not treating the overtwist, nor waiting for it to settle down. It worked just fine. The weaving was easier than I expected, not really hampered by the extra twist. The finished piece, well, yes, I soaked it and blocked it twice, but it looks just fine.
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Work of Other Artists

11/4/2015

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Here are some bits of sprang by others, photos they sent to me.
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Sally Breckenridge sent me this photo of her work, a piece she started in class.
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a lovely scarf, worked 1-1 and 2-2 interlacing of random colors by Frieda Sorber.
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A bag by Sylva Cekalova, incorporating a delightful color palate, lacy holes, and twining.
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Another Sprang Sock

11/1/2015

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The Art and History museum in Brussels, Belgium, has a lovely collection of sprang items, including a pair of socks. These socks feature sprang ‘uppers’ and a knitted sole. I decided to try my hand at this.
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I began with a 3 ft long (75 cm) warp.
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This will form the top of the foot and front of the leg.
I worked these threads for about six inches (15 cm). I then added more warp.
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I attached the second, shorter work to the frame beside the original warp.
This now, is the complete warp for the ‘upper’ of the sock.
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I separated the two sock uppers, cutting along the midline of the warp.
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I cut the threads six at a time, tying little knots.
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Sewing up the side seam. With the interlinking stitch an invisible seam is possible.
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The upper is now complete. All that is missing is a knitted sole.
OK, to be honest, when I measured out the second, shorter warp, on a warping board, my first attempt was too long. I realized this as soon as I tried to mount the second warp beside the first. I should have warped directly onto the sprang frame. What to do? I am too lazy to un-wind that warp, and do not want to waste the yarn … so I set that warp aside. Now that the socks are complete, I think I’ll try a pair of fingerless gloves.
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Here’s that second warp, plus some more threads.
I started working at the fingers. I’ll have one hole for the thumb, and another larger one for the rest of the fingers. This means I started out working two separate strips.
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I left a gap for the first several rows.
And then I worked across the warp, closing the gap.
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Here’s what it looked like at the bottom of the frame. Yes, there is a thread that crosses the gap. I’ll cut this thread in the finishing.
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Separating the two gloves. Tying small knots.
Now, making these up into gloves, I decided I needed a small bit to breach the gap between index finger and thumb. So, I set up two tiny warps.
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These two tiny warps for the gussets are exactly the length of the gap in the larger piece.
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One mitten complete, one mitten and gusset not yet assembled.
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Carol acknowledges that we are on Treaty 1 territory, the traditional gathering place of the Anishinaabe, Cree, Oji-Cree, Dakota and Dene people and the traditional homeland of the Métis people. Carol also acknowledges that sprang is part a meany indigenous tradition and fuond in various forms all over the world. Let us re-discover this tecking together.
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