Since my last blog entry, I’ve been busy. The last few weeks of August and first part of September were given to making a set of bonnets to replicate the collection of Coptic bonnets in the German Textile Museum in Krefeld, Germany. This was in preparation for a paper that I gave at the Textile Society of America Conference in Vancouver, BC in Mid September.
I find these bonnets fascinating. For one thing, they are rather representative of the variety found in Coptic bonnets in general. For another thing, each time I’ve learned a great deal in making replicas. I look at a bonnet, and then set up a warp, and start working, and then I get to a point where I check back with the original, and find, wait a minute, there is something else going on here. The details in these bonnets are a testament to the mastery of the technique.
Once I had an ‘acceptable’ set of nine replica bonnets, I set to another project. A colleague of mine has been working on the Spiral Textile project. Check out the website.
Julia has been encouraging me to make a contribution, some sprang samples. If you are working with sufficiently fine threads, you can get a spiral using the lace technique. Plot out a series of holes in a spiral shape, and you’ve got your sprang spiral.
S and Z work provides a different challenge. As Peter Collingwood notes, A design worked in, say, S, will not completely ‘stand out’ in front of a Z background. Collingwood does offer a kind of a ‘fix’ for this. You must divide the background into 4 quadrants, and then place the design onto this quadrant.
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 of many indigenous traditions and found in various forms all over the world. Let us re-discover this technique together.
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