While some people might think that sprang is a verb (she sprang out of bed in the morning, fully alert and ready to face her day), today it has been a noun.
I have seen sprang mentioned in various books and articles on archaeological textiles over the years, and it always looked interesting, but I wasn't motivated to try it. In part because the diagrams showing the (often complex) patterns generally showed only enough of the pattern to show the repeat, and there wasn't a photo of an entire item made of sprang. Therefore I didn't really have any idea what it was good for, or why one would want to bother.
Two things recently have given me an idea of why one would want to bother. When I attended the Boar Hunt SCA event in the West Kingdom in December Sir Maythen had a cute little cap that she's had for many, many years. Several of us spent quite a bit of time looking closely at it, analyzing its structure and getting photos of it. While I'd never seen an example of sprang in person, it was very, very clear looking at it that the cap was made by sprang. The yarn was twisted one string to the next in regular patterns (and the pattern changed now and again, in a regular manner) and there was no warp or weft, just the interlocking side-by-side strings.
Then, after I returned home from my travels, I received the latest issue of the Archaeological Textiles Newsletter, wherein I read with interest the article on Tight-Fitting Clothes in Antiquity – Experimental Reconstruction by Dagmar Drinkler. This article focuses upon ancient Greek statues and depictions upon pottery of foreigners wearing tight fitted, patterned, articles of clothing. It points out that while we have no way of knowing how said items of clothing were produced, that the patterns can all be produced via the sprang technique, and that the technique lends itself very, very well to close fitted items (like hose) which one wants to be tight enough to stay on, but adjustable enough not to constrict. Photos were included of a variety of very pretty patterns whcih match the ancient depictions that the author made in sprang. She also included one photo of a person wearing an entire pair of tights in sprang in a two-colour diamond pattern.
Looking at the texture of the fabric thus produced in the photo, I suddenly found myself wanting some tights made of sprang. However, I don't happen to have (nor have I ever seen) a copy of Peter Collingwood's book "The Techniques of Sprang: Plaiting on Stretched Threads" (though I did once check out his Tablet-weaving book from the UTAS library, and thought it wonderful. Based on that one, I'd dearly love to own them both). In the absence of his book I turned to the Internet, and found
phialastring's intro to sprang handout (see link in the first paragraph above). Her handout talks about making a bag, but I've never been one to follow directions. Besides, I had only a little bit of a yarn I didn't much care about to play with, so I wound up making a length of narrow band instead. I did, however, play with both forms of interlocking that she described in that handout, and now I truly understand how that hat was made, since it also used both patterns of interlocking.
duchessletitia, was it you who took the photos of the cap at Boar Hunt? Now that I understand how to make those kinds of patterns, I think I'd like to try my hand at such a cap, since I don't have a frame large enough to try tights. Granted, improvisation works wonders. I didn't have a frame available today, either, so instead I took one of the sticks that normally holds up the flag on my trike and set it through the legs of the heavy brass and stone globe that I've got on my desk and put the other stick through straps on my backpack, whcih was hanging over a chair, and then wound the yarn between the sticks. The globe and the chair-backpack were both heavy enough to provide all the tension I needed, and yet were adjustable as I worked my way towards the center of the project (without some form of adjustment the strings would get too tight to continue to plait together).
I *had* planned to do uni work tonight. But instead I spent three hours and 12 minutes working on this project and listening to the Italian Language lessons that
blamebrampton gave me ages ago. This is the first time I've made time to listen to them since late November. (No wonder I've not made much progress in learning to speak Italian!) I guess that since I am working at a Uni in Italy that my language lessons do count as "uni work", in some sense of the word.
( photos of my first attempt at sprang )
I have seen sprang mentioned in various books and articles on archaeological textiles over the years, and it always looked interesting, but I wasn't motivated to try it. In part because the diagrams showing the (often complex) patterns generally showed only enough of the pattern to show the repeat, and there wasn't a photo of an entire item made of sprang. Therefore I didn't really have any idea what it was good for, or why one would want to bother.
Two things recently have given me an idea of why one would want to bother. When I attended the Boar Hunt SCA event in the West Kingdom in December Sir Maythen had a cute little cap that she's had for many, many years. Several of us spent quite a bit of time looking closely at it, analyzing its structure and getting photos of it. While I'd never seen an example of sprang in person, it was very, very clear looking at it that the cap was made by sprang. The yarn was twisted one string to the next in regular patterns (and the pattern changed now and again, in a regular manner) and there was no warp or weft, just the interlocking side-by-side strings.
Then, after I returned home from my travels, I received the latest issue of the Archaeological Textiles Newsletter, wherein I read with interest the article on Tight-Fitting Clothes in Antiquity – Experimental Reconstruction by Dagmar Drinkler. This article focuses upon ancient Greek statues and depictions upon pottery of foreigners wearing tight fitted, patterned, articles of clothing. It points out that while we have no way of knowing how said items of clothing were produced, that the patterns can all be produced via the sprang technique, and that the technique lends itself very, very well to close fitted items (like hose) which one wants to be tight enough to stay on, but adjustable enough not to constrict. Photos were included of a variety of very pretty patterns whcih match the ancient depictions that the author made in sprang. She also included one photo of a person wearing an entire pair of tights in sprang in a two-colour diamond pattern.
Looking at the texture of the fabric thus produced in the photo, I suddenly found myself wanting some tights made of sprang. However, I don't happen to have (nor have I ever seen) a copy of Peter Collingwood's book "The Techniques of Sprang: Plaiting on Stretched Threads" (though I did once check out his Tablet-weaving book from the UTAS library, and thought it wonderful. Based on that one, I'd dearly love to own them both). In the absence of his book I turned to the Internet, and found
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I *had* planned to do uni work tonight. But instead I spent three hours and 12 minutes working on this project and listening to the Italian Language lessons that
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( photos of my first attempt at sprang )