The silk is now the right color, or as close as I can get. Still tied in sections to prevent tangling in the dyepot, I’m leaving those ties to try to avoid troubles un-reeling.
Here you see the sprang frame. It consists of two 2x4s, one on the floor, and one on the seat of chairs. There are convenient holes drilled every foot or so. Holding the 2x4s together are 1.5 inch dowels at either end. Small pipe straps hold finer dowels for the cross. To make it easier to see the cross, we placed my cutting mat behind the cross.
Usually I set up the sprang frame by myself. In honor of the size of this warp and the fine thread, this time it is a three-person job.
One person manipulates the umbrella swift, preventing tangling at that end, another winds the thread around the sprang frame. The third person keeps track of the cross, makes sure it is laid in correctly. This third person also keeps track of the number of warp threads, lets me know when we’re done.
It required six hours to set up the warp. Whew! Glad that part is done.
The 2×4 that was on the floor gets placed on top, and then the frame is turned and lifted.
Enough work for one day.
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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