So, I finished up my travels, and am wanting to share with you some of the insights gained.
Examining sashes closely, human error is in evidence. What I am wanting to disseminate is a sense of hope: very skilled weavers of the past have done this before me. Because errors are in evidence in museum sashes, and indeed rather clever corrective measures were taken to get the pattern back on track, why should I hold myself up to a standard higher than ‘museum quality’?
A very common error is in evidence when the center of the arrow wanders off to one side. This is not always the sign of a real problem.
This weaver worked on one side of the sash forgetting to turn the work over. One side of the arrow grew ahead of the other. Note the start of a new row of lightnings on the right and not on the left. This is not really a problem. The weaver must only turn the work over and work on the shorter side for a few rows to bring things back into order.
A more serious problem is afoot when the lightnings on both sides of the arrow attest that the weaver has indeed been working both sides equally.
In this image the center has wandered to the right, but the lightnings on both sides of the arrow are at the same stage of development, two rows left to go before ‘adventure disappears’.
Many weavers have experienced this would-be-disaster. Often as not it has been building up over many rows, even over several pattern repeats. No, you do not have to rip back 30 rows to make this right. Here’s a simple solution, seen in many an historic sash:
The next time you are ready to start a new patternrepeat, count the threads in the central arrow. Find the very center by counting. Start your weaving by selecting your weft here. Count threads at the center for the next few rows to be sure of your choice of weft until you’ve re-established your center.
Say to yourself, “I am human. To err is human, to forgive myself is divine.”
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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 of many indigenous traditions and found in various forms all over the world. Let us re-discover this technique together.
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