If you are new to sprang and have no idea where to start, read this post.

If you are new to sprang and have no idea where to start, read this post.

ET bien figurez-vous que oui, je vous en ai parlé il y a quelques semaines à l'occasion d'une vidéo qui circulait sur Facebook. J'avais décortiqué la technique pour vous en faire un petit tuto. A revoir Ici Je viens de découvrir qu'il s'agit d'une...

Useful images There were others, and as soon as I figure out how to import PageMaker images to my blog, I will. Sprang Sites and Links:　 Phiala's sprang site: http://www.stringpage.com/sprang/sprang.html Regia Anglorum sprang site: http://www.regia.org/sprang.htm Contemporary sprang work on flickr: http://www.flickr.com/groups/1410201@N23/ My sprang site: wefttomyowndevices.blogspot.com/ (duh - you're here) ;-j Sprang on large loom: http://lunula.twoday.net/stories/2214501/ Viking Girl’s sprang hats: http://www.vikinggirlsworkshop.com/spranghats.html Graciela’s sprang site: http://gracielaforadoritecnicastextiles.blogspot.com/ Blau’s sprang site: http://www.denblauwenswaen.nl/public/sites/english/techniques/sprang/sprang.htm Patterned sprang bags, scarves, sweaters: http://www.b-oberholz.de/sprang/01.htm Standing sprang loom - Oseberg loom: http://news.webshots.com/photo/2468504770068722989GIJpqJ Bronze age craft article: http://www.pasthorizons.com/index.php/archives/12/2010/exploring-craftsmanship-in-the-bronze-age Sprang bags at Pennsic ’06: http://genvieve.net/sca/sprang.htmhttp:// Blue's sprang lessons on YouTube: http://www.youtube.com/watch?v=h2pcDEnN3Jk Spanish Peacock's sprang site: http://www.spanishpeacock.com/sprang.htm

Hello all, I received an inquiry concerning the history of women's crocheted caps in Lithuania. In response, i will give a part of what i have found in my research. Crochet does not seem to go back earlier than the middle of the 19th century in Lithuania, at least as far as caps. The tradition of crocheting or looping footwear from twine may well go back earlier, but i cannot verify that. Women's caps were originally made from netting, This technique is old and widespread, it was also used in western Ukraine, as well as Scandinavia where it is called Sprang, and undoubtedly in other places. I will insert here the words of A & A Tamosaitis/Tamosaitiene on the subject, as they give a good description of the technique. Here is a photograph of a pair of caps in progress, two caps were made at a time, because every time you twist two threads, it crosses twice, and the two twists are separated, and the design is built up from both the bottom and the top. This image is from a Ukrainian Museum, but the technique was essentially the same in Lithuania, and undoubtedly over a wider area as well. Here is a drawing showing close up how the threads interact in the netting. A large section of untwined warp was left in the middle when the twined material was finished. The tension was released, and as the shed rod was removed, the warp threads were separated into bundles, formed into loops and the loops pulled through one another to keep the work from unraveling untill the 2 middle edges could be secured. [Incipient crochet!]. Here is an example from a Lithuanian museum of a piece of netting at this stage. The short edges will become the sides, and the long edges will be gathered to form the front and back. This technique resulted in a very elastic, breathable material. The finished product was taken off the frame, cut into two caps, the front and back were gathered, and often the sides were bound with cloth. The open work on top was able to expand to contain all the hair, which was usually braided and pinned on top of the head, had a pleasant design, and enabled the head to breathe. Thus the social requirement of married women to keep their hair covered was satisfied in a way that was reasonably comfortable. When going out in public, a nuometa or kerchief was worn over the cap, kykai or chepets. Here is a closeup of one example. Here is an example of a piece of netting apparently destined for another use, as the edge has been knotted to secure it. And here is a photograph of a nuometa from northeastern Lithuania with a decorative netted edge, as well as a woven in design. Here is a photograph which was posed and taken in the 1970's. She is wearing the cap incorrectly, the hair should not be visible. She was most likely unaware of this. Here are a few more examples, showing some of the diversity in the design of the netting and also of the decorative edging. In the 19th century, with urban influences from outside, caps came to be made in other ways, with open work cloth, brocade, damask, knitting, etc. One technique which reached Lithuania is crochet. The origins of crochet are obscure, I have done a little research on the subject, and there are several theories, some of which are highly unconvincing, but no hard evidence. Some claim that it is derived from the very old tradition of knitting, single needle knitting, finger looping, or needle looping, all of which have an ancient heritage, which has survived particularly well in Scandinavia. The 'ice man', a bronze age man who was frozen in a glacier in Switzerland, and whose body was recovered several years ago, had a pouch which had been made by finger looping. These techniques are essentially similar.They all involve making loops in thread or yarn and then pulling the loops through other loops. All it would require is for someone to have the idea to use a little hook to execute the technique. Here is a photo of a long length of warp which is ready for the loom and is being temporarily stored by looping it back into itself in a long chain, showing that the basic concept had been around for a long time. Another theory is that it derived from the practice some people had of using a small hook to do embroidery on netting, reticello. Perhaps, although in reticello one does not create a tissue, one makes patterns on a net which already exists. Others claim that it derived from tambour work, which was very popular in Central Asia, and certainly many examples of which survive from northwest Russia, Southeast Finland and other places in Europe. The problem with that is that tambour work is a shortcut to executing chain stitch embroidery. Again, the point is to make a design on the surface of an existing fabric. Another point which argues against this is that tambour hooks had a little gate, or baffle; this was open when the hook was pushed through the cloth so as to catch the thread underneath, but then closed on the return journey so as not to snag the cloth. This is essential to the technique of tambour, but also makes it impossible to use such a hook to do crochet. I find this unconvincing. It seems to me that those who propose this theory are focusing too greatly on the hook itself, rather than on the process. A similar theory is put forth to derive crochet from hooks used to make rugs. For more discussion of this topic, you can consult this article. http://en.wikipedia.org/wiki/Crochet I would find it credible that someone may have seen tambour work done who was familiar with one needle knitting or finger looping, and thought that it would be easier to do with a hook, just as tambour work proceeds more quickly and easily than doing chain stitch with a needle. In any case, what actually happened is not recorded. People who write history do not usually take notice of such daily activities, especially when done by women. As far as we can tell, crochet appeared around 1800 in Europe, became very popular, and reached Lithuania about the mid 19th century. There started about that time the practice of making these caps using crochet instead of netting. It was easier, you didn't need to carry around a frame, industrial thread and yarn of great uniformity of thickness was readily available, it had the same qualities of being elastic and breathable, and it was fashionable. At first such caps were bound around the edges in the same manner as the netted caps. here is one example with a cross stitch design in red and black on the edge. Here are a couple more examples of crocheted caps made in the form of the old netted caps. Most were all white or ecru, but this one has a design in red worked in, and is almost more in the shape of a bonnet. They continued to be worn under the kerchief outside the home. As you can see from these last two images, it was not long before the caps were being made entirely in crochet, taking advantage of crochet's ability to make decorative edges. Here are a few more examples of crocheted caps from the late 19th century. Eventually, with the change in social mores, the caps came to be worn by themselves, even in public, like this example from Lithuania Minor. In fact, all of these older examples are from southern Lithuania, especially Dzukija, although a few are known from Suvalkija as well. A very few caps have long flaps worked in, perhaps in imitation of the tulle caps popular in Mazovia at this time, or the ribbons sometimes attached to the backs of them in other countries. With the disappearance of the taboo of married women showing their hair in public, the caps became smaller, showing the hair around the edges. Such caps remain popular today, and are now worn by girls as well as married women. I am informed that one can easily find them being sold at souvenir shops in Lithuania to this day. Here is a photograph of girls from the dance group Seltinis posing with their crocheted caps. Thank you for reading, I hope that those of you who crochet may find inspiration in the concepts and/or patterns set forth here. Perhaps someone will be inspired to try netting. It seems like a craft which it would be very good to revive. Thanks also to Karina, who provided the impetus and inspiration for this posting, and who will shortly be writing an article herself on this subject for the online magazine Crochet Insider, focusing on the more recent history of the crocheted version of these caps. A couple of people have asked me more about the actual process of how to do netting, pletinya or Sprang. I have looked online, and i have found a couple of informative websites that give instructions. http://www.stringpage.com/sprang/sprang1.html http://housebarra.com/EP/ep07/11sprang.html http://www.denblauwenswaen.nl/public/sites/english/techniques/sprang/the_technique.htm Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974 S. Sydorovych, 'Khudozhnia Tkanyna Zakhidnykh Oblastej URSR', [Artistic Weaving of the Western Provinces of the Ukrainain SSR], Kyjiw, [Kiev] 1979 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000

Loving a life weaving.

Finally warped up the bent cane sprang loom I made mumble mumble years ago. I left it off, but I can see why it needs the bar across the bottom (separate from the working bars) to stabilize the loom. I'm forever pushing the bar down to tighten the warp. Stabilizing the loom might minimize that (or it might not -- I also need notches in the bars or the loom). It's incredibly light weight. I'm used to more heft with a stretcher bar loom, and I guess I've been using gravity to hold my shed taut. Having to experiment some. I twined a cord across the bottom to hold a little more tension. ~*~ Coming along nicely. About ready to break for the tapestry portion. And here's the middle portion starting to be spread out. I'm thinking the best way to work the tapestry is to take it off the sprang loom and tack it onto a foam core board. Getting it started is going to be tricky. It should be ok after that. ~*~ I've moved the sprang over to a foam core board for tapestry weaving. Have yet to tack it down with pins. Just about ready to begin pin weaving. Now all I need is a cartoon. ;-> ~*~ Cartoon in place. It's really more of a suggestion than a pattern. I played around with pastels this afternoon, then took a pic of one I liked and printed it out. ~*~ Learning curve. Takes a lot of pins to stabilize the sprang so tapestry can be beaten hard enough. Difficult getting it weft-faced. Sprang doesn't want to spread far enough. More bubbling. ~*~ Ok. I had to unweave what I'd done and start over, with only the top shed. I've moved the cartoon to the middle. I'm not sure what I'll do with the bottom shed yet, but I could weave something else on the other side. Afterall, with sprang, there is no front or back. I'll have to see. ~*~ Inching along. Detail Messy again. Detail ~*~ Eyeball is serendipitous, but I'll probably do something like that. Remembered, belatedly, that it's a good idea to do some sumac stitch at the top and bottom of the tapestry (all the moreso because the sprang needs stabilizing). So I'm adding it now. I can scootch the work down from the top and squeeze the sumac in. ~*~ Sumac stitch at the bottom (and top). Tucked some more tails. The other day when I was showing this to Jan, I called it a chimera, meaning a cross between sprang and tapestry, but actually the beast is a bit of a chimera, or at least a generic beast. So I think I'll call this piece Chimera. ~*~ ~*~ A bit of a hiatus, but back at it again. Working on the grassy area.

[:nl] Hieronder vindt je een korte beschrijving van de basissteek. Er zijn vele verschillende vormen van sprang maar hieronder wordt de meest eenvoudige vorm uitgelegd. De draden zijn bij sprangen …

Challenged myself recently to make a garment using the sprang technique. Using an egyptian cotton I began with a very large rectangular shape, working from hem to hem. At about armpit level I added…

Dentro del proyecto de tejer gasas, figuraba el del telar de cintura. Las imágenes siguientes ilustran el proceso de armado del telar y los primeros centímetros de tejido. La idea es realizar diseños más complejos que los lineales, pero repetando la horizontalidad de las líneas. Imágenes más libres se pueden ver en el tejido con fibra sintética, en el post siguiente.. En este caso estoy trabajando con un hilo de algodón de 3 hebras, tal vez grueso para realizar estas estructuras, pero adecuado para un camino de mesa..Se ataron una por una las lazadas en ambos extremos de la urdimbre ya que deseaba una terminación sin flecos. Seguiré poniendo más imágenes a medida que el tejido progrese. ya está terminado las lazadas atadas una por una, para evitar flecos (the loops were tied one by one, to avoid fringe). Esto lo realizo en ambos extremos. Vista lateral. Coloco papel en el rollo posterior, como en un telar de mesa. separando las hebras pares e impares para realizar cruce y lizos(I am separating the strands even and odd) colocacion de los lizos (I am placing Heald) Podemos ver los lizos, cercanos al tejedor, y la varilla de cruce.(You can see Heald and rod for the crossing.) detalle ( detail) realizando un cruce de gasa simple 1/1 realizando cruce de gasa compleja cortando los " cordones umbilicales"( cutting the umbilical cords) Borde sin flecos ambos bordes. Bonito, no? Ya está terminado. Es realmente mágico poder tejer estas maravillosas gasas en un telar tan económico, sencillo, ya que luego del esfuerzo de la práctica, podremos manejar con soltura. Nuevamente, dedicadas estas piezas a nuestros ancestros tejedores. Nos han legado la hebra, el tejido, el trenzado, y tantas otras técnicas. Compartamoslas, difundiendo el conocimiento. Ahora tenemos, gracias a los tejedores informáticos una web, una red que nos permite unirnos.

Finally warped up the bent cane sprang loom I made mumble mumble years ago. I left it off, but I can see why it needs the bar acr...

In about three weeks I'll be leading a workshop in making these sprang designs on a twill cloth. We'll be using a supplementary warp technique to float some warps over the fabric, then plaiting the warps. The stretchy fabric that results forms an interesting curved shape. Participants can make a sampler, trying out different size, shape and placement of the motifs as well as various weave structures and even different yarns, or they can choose to repeat a pattern and create a scarf like this one. To register for the workshop, you can visit this page at the Southern California Handweavers' Guild site.

A nice study group that I am in focuses on various aspects of color. Our latest study has been about tetradic color schemes. A tetradic color scheme is basically two pairs of complements on the color wheel. The scheme I chose is a square one, in which the four colors are equidistant around the wheel. It's supposed to be a difficult scheme to work with, and after my experience I think I agree. My first approach was to pick four colors from my existing yarn stash that met the criteria in hue, i.e. their position around the wheel was close to the right spot. I thought the blue I had on hand was too dark in value, so I dyed a medium-valued blue and substituted it in my sample piece. For my sample, I used a portion of the Black and White schematic but added my selected colors. Unfortunately the color I had the most of was orange. Now don't get me wrong; orange is a nice, happy, comforting color. I like orange. Orange is the favorite color of one of my sisters-in-law. But it was not good in this sample. If you think the color combination in this photo looks garish, believe me it is worse in person! Analyzing it, I think it is not working for several reasons. First, orange-dominant is just too much: it is half orange, one quarter yellow-green, and about one eighth each of red-violet and blue. Another problem is that the red-violet is too red, and the yellow-green is too yellow, so they don't really meet the colors I was trying to get exactly. Also the values (light vs. darkness) of the colors are contrasting a lot: although I did do something about substituting for the really dark blue, the red-violet now stands out too much value-contrast-wise. I think with such an "aggressive" set of hues as a square tetrad (where no color is analogous or close in hue to any other), it may help to get the colors closer in value, and maybe also all lower in saturation (make them more subdued). So I applied all these observations in making my full-size piece for this study.

Sprang Class Prep - Fiber Retreat Loom warped up for sprang bag from a previous class. Dowels, skewers, string placeholders, warp, bobbin...

Nelle tante fiere fatte abbiamo sempre notato la curiosità dei bambini verso la tessitura. I genitori ci chiedono sempre se è costoso un telaio ... Se si trova facilmente ... Quando ci è stato chiesto di organizzare un laboratorio di tessitura per bambini, abbiamo pensato di creare dei telai a costo zero, in modo da permettere ai genitori dopo di ricrearne facilmente uno a casa.

Three days away from warping up our sprang-along project! If you're hesitant to join because you don't have a loom, this tutorial is for you!Sprang-AlongDay 1: WarpingDay 2: SprangDay 3: FinishingThere are many ways to make a loom and many ways to work your sprang warp without a loom. So first, I am going to go over DIY looms and work arounds if you don't have a loom or don't want to make one. Though my cross loom is very easy to make.DIY Looms for Sprang BraidingIf you already have a loom you l

As this very cold winter begins to show signs of thawing, I have been working on a number of projects. I lost my computer last fall and so the pictures of my husband’s display board for his …

Il pettine liccio Si chiama pettine liccio perché a differenza dei pettini dei telai tradizionali, svolge la funzione sia dei licci per l’ap...

Testing an idea for a fast sprang frame. At the 99 cent store I bought a plastic basket (13.5 inch x 11.5 inch x 3.5 inch) , a bag of square dowels, and a ball of acrylic yarn. I tied the dowels to the basket and wrapped yarn around with figure 8 wrap. The string on the left will the "safety string." Sprang. Test complete. Cost of materials $3 NOTE: Try using loops of elastic to attach sticks to frame, but allow elastic to stretch. That would allow sticks to pull closer together as work progresses. Have a good day!

Chi non l'ha pensato, specialmente all'inizio?Gli schemi di GTT a volte sembrano incomprensibili. Poi si monta la tessitura, e il disegno non esce.Quindi si prende il telaio, e lo si lancia dalla finestra.Fermi fermi, vediamo cosa si può fare!Tempo fa, grazie alle difficoltà di un'amica, ho pensato che anche gli schemi potrebbero funzionare come la scuola, avete presente quando dicono: "o sei bravo in matematica, o in italiano!"? Ecco. Io adoro GTT, e sono incapace a seguire gli schemi Twisted t

One of the students' projects in my class used thick and thin warps alternating, two thin loops and one thick loop repeatedly. It was coming out so nicely that when I got home I wanted to try it myself. I used the warp I had on my frame already, and added some thin cotton seine cord between the thick cotton twine/cord I'd been demosntrating with in class. Here's how the structure looks when stretched. You can see clearly what the thick pair of warps does in the fabric. I love the cabled look between the lacy bits: But look at all the folds that happened when I took it off tension and sewed it up into a little bag! I think this is so cool, all the movement that it has. It's doing this on its own. I have not tried to block it out. This seems kind of like the "tracking" patterning that sometimes happens spontaneously in plain weave fabric.

Språng is plaiting (braiding) on stretched threads. Språng creates wide cloth, not just narrow wares. The cloth is a bias fabric and so co...

Il pettine liccio Si chiama pettine liccio perché a differenza dei pettini dei telai tradizionali, svolge la funzione sia dei licci per l’apertura dei vari passi per la trama, sia la classica funzione del pettine per accostare le trame. Le dimensioni del pettine e il numero dei suoi denti sono fondamentali sia per stabilire la larghezza del tessuto che il numero dei fili di cui sarà composto. In genere per i telai da tavolo esistono due tipi di pettini: Uno da 30/10 cioè 30 denti in 10 cm e uno da 40/10 cioè 40 denti in 10 cm. Con il primo otteniamo dei tessuti più larghi e morbidi, mentre con il secondo dei tessuti più fitti. L’orditura Prima di iniziare l’orditura dobbiamo sapere che tipo di tessuto vogliamo realizzare e quindi il tipo di pettine da utilizzare. Se volessimo realizzare una sciarpa conviene utilizzare un pettine da 30/10 (30 denti in 10 cm). La sciarpa sarà larga 20 cm, di conseguenza avremo in ordito 60 fili. A questi 20 cm del tessuto conviene sempre aggiungere almeno 1 cm per cimosa, questo perché c’è sempre un restringimento laterale del tessuto. A questo influisce molto il tipo di filato che utilizziamo e la mano stessa di chi tesse. In conclusione, aggiungendo altri 2 cm lo spazio utilizzato sul pettine sarà di 22 cm e in orditura dobbiamo porre 66 fili che nell’orditoio da tavolo saranno 33 fili per parte. Molto importante è terminare con l’ultimo filo di ordito dove si è iniziato, questo perché ci causerebbe un filo libero per ogni parte dell’ordito in più problemi durante la tessitura. La lunghezza della sciarpa verrà stabilita dalla distanza in cui mettiamo gli orditoi uno dall’altro. Il restringimento del tessuto in genere non avviene solo nelle cimose, ma anche nella lunghezza, specialmente quando si utilizzano lane morbide ed elastiche. A questo bisogna aggiungere in genere anche la perdita di ordito che si ha quando si realizzano alcuni tipi di tessuto, per esempio quando non si usano le frange ma si vuole realizzare un bordo. Se la nostra sciarpa comprese le frange è lunga 1,50cm conviene aggiungere dai 10 ai 15 cm di distanza in più tra gli orditoi. Dai 40 ai 50 cm in più se realizziamo tessuti più fitti. Si opera come segue: legare il filo al piolo esterno di uno degli orditoi e formare su ogni orditoio una sorta di 8. È importante che tra un orditoio e l’altro si formino due binali paralleli liberi al centro formati dai fili. Una volta terminato,fermare l’ultimo filo al piolo dove abbiamo posto il primo e legare i due incroci del filato con dei fili colorati. Nell’incrocio dove si hanno i 2 fili liberi utilizzeremo un filo lungo circa 80cm mentre sull’altro un filo lungo quanto basta per un nodo e un fiocco. Montaggio dell’ordito Una volta bloccati gli incroci dei fili su gli orditoi, levare l’ordito e stenderlo di lungo sul telaio da tavolo. La parte con il filo lungo e i due fili di ordito liberi andranno sul davanti del telaio, mentre la parte con il filo corto andrà sulla parte posteriore del telaio. Nel subbio di ordito srotolare un poco l’asticella di metallo quel tanto che basta per poterla liberare dal cordino di nylon da un lato. Inserire nel passo esterno dell’incrocio dell’ordito il tondino di metallo, facendo attenzione che tutti i fili siano inseriti. Agganciare nuovamente il cordino di nylon al tondino di metallo e dove abbiamo la legatura con il filo colorato inserire le verghe di incrocio e legarle negli appositi fori. A questo punto sfilare il filo colorato e stendere tutti i fili lungo l’asta di metallo facendo attenzione a non far scorrere i fili in senso verticale ( questo causerebbe un filo più corto e uno più lungo). Una volta sistemati tutti i fili lungo l’asta tenendoli ben stretti con la mano sinistra, far scorrere le verghe di incrocio verso l’alto fino alla parte alta del telaio. Mentre con la mano sinistra teniamo ben stretti e con una tensione uniforme tutti i fili, con la mano destra facciamo girare lentamente il subbio di ordito fino a quando sarà possibile inserire e bloccare il cartoncino ondulato tra i fili e il tondino di metallo. A questo punto continuare ad avvolgere l’ordito tenendolo sempre ben teso uniformemente, portando via via che si avvolge le verghe di incrocio sempre verso l’alto e cercando di mantenere la larghezza dei fili che avvolgiamo uniforme. Impettinatura Una volta avvolto tutto l’ordito, disfare il nodo e il fiocco del filo colorato nella parte anteriore dell’ordito senza sfilarlo e bloccarlo su ambo i lati nei poggia pettine. Bloccare le verghe di incrocio al telaio per fare in modo che non creino problemi durante l’impettinatura. Con il metro segnare il centro del pettine e calcolare la meta della larghezza dell’ordito che sulla sciarpa calcolata da noi sarà di 11 cm. A questo punto iniziamo con l’inserimento dei fili di ordito nel pettine che dovranno essere inseriti uno nel buco e un nella riga in modo sequenziale. Utile sarà seguire il movimento dell’ordito nel filo colorato legato al poggia pettine. Legare i fili inseriti in piccoli mazzetti per evitare la fuori uscita dai fori in caso di caduta accidentale del pettine. Legatura Terminata l’impettinatura sfilare il filo colorato e smollare le verghe di incrocio. Portare avanti il tondino di metallo del subbio anteriore e i fili dell’ordito smollando il subbio posteriore quel tanto che basta per legarli al tondino di metallo. Importante ricordare che la lunghezza dei fili che andranno legati al tondino, sarà la lunghezza delle frange della sciarpa. Se volessimo realizzare un tessuto senza frange è bene utilizzare i fili per la legatura quel tanto che basta per il nodo e il fiocco. I fili andranno legati due per parte dall’esterno verso l’interno e dovranno essere tutti con la stessa tensione per non creare difetti di tessitura. Le verghe di incrocio dovranno essere sempre posizionate in alto nella parte posteriore del telaio. tessitura terminata la legatura e controllato che tutti i fili siano ben tesi in modo uniforme siamo pronti per la tessitura. Caricare la spola come nella figura Si può iniziare a tessere sia abbassando il pettine liccio che alzandolo. Inserire la spola nel passo di ordito lasciando qualche cm di filo fuori ( filo che poi andrà bloccato cucendolo sul retro del tessuto o inserendolo con l’ago nelle trame) Nelle passate successive accostare la trama alla cimosa senza tirare troppo e dando al filo un movimento ad arco, questo eviterà di creare delle cimose irregolari. l’impugnatura del pettine durante la tessitura deve avvenire con tutte e due le mani tenendo il pettine su ambo i lati per far si che il tessuto non sviluppi storto. Terminato di tessere, srotolare tutto il tessuto dal subbio anteriore, disfare i fiocchi e i nodi da ambo i lati dall’esterno verso l’interno e annodare immediatamente per evitare che le trame possano scorrere. Stessa cosa nel subbio posteriore. Schede tecniche per la tessitura su telaio con due licci o telaio con pettine liccio.