SPRANG LANGUAGE & TECHNIQUES REVISED THIRD EDITION

by Jules Kliot

Transamerica Building

LACIS PUBLICATIONS Berkeley, CA 94703 INTRODUCTION The original edition of this book was written to coincide with a major event held in and around the Transamerica Pyramid in San Francisco in 1974, focusing on the technique of . The event “Fiber Allusions” was sponsored by the Transamerica Corporation and timed to co- incide with “Convergence ‘74” as hosted by the City of San Francisco. Conceived by Bay Area artists, Jules and Kaethe Kliot and Jenifer Kaufman, hundreds participated in the realization of this project. Using 35 miles of quarter-inch sisal , sprang panels up to 120 feet long and weighing over 800 pounds were fabricated and joined to form a netted landscape in and around the lower five floors of the building. This living exhibit, melding building, urban landscape and the human ele- ment into one, was the focus of many events including theater, music and dance as well as the unplanned by visitors to the site. This book served as the guide to the fabrication of these nets and the specific techniques used for working at this scale are included. An inside display of sprang art further explored the possibilities of this most versatile of techniques.

THIRD EDITION © 2002 by Jules Kliot Original edition © 1974 by Jules Kliot, Revised Second Edition, 1979 L A C I S PUBLICATIONS 3163 Adeline Street, Berkeley, CA 94703

ISBN 1-891656-46-5 SPRANG LANGUAGE & TECHNIQUES by Jules Kliot

CONTENTS

Description ...... 4 Brussels Ground ...... 14 Materials ...... 4 Rose Path Ground ...... 15 Equipment ...... 4 Complex Stitches ...... 15 Open Frame ...... 5 Horizontal Lines ...... 15 Bar Frame ...... 5 Double Sprang ...... 15 Warping ...... 5 Special Techniques ...... 17 Open Frame ...... 5 Grouping ...... 17 Bar Frame ...... 5 Combinations . . . . . 17 Technique ...... 6 Multiple Thread Crossings . . . 17 Rules and Nomenclature ...... 7 Color ...... 17 Layering ...... 17 Basic Sprang ...... 8 Tarascan ...... 17 oles 9 H ...... Warping ...... 17 Single Hole ...... 9 Tubular Working ...... 18 Extended Hole ...... 10 Series of Holes ...... 10 Working Techniques ...... 18 Rows of Holes ...... 10 Suspension ...... 18 Staggered Hole Patterns ...... 10 Circular Warp ...... 18 Stacked Rows of Holes . . . . 11 Horizontal Warp ...... 19 Star Forms ...... 11 “A” Frame ...... 19 Twists ...... 11 Long Warps ...... 19 ...... 20 Plaiting ...... 12 Plain Plaiting ...... 12 Interlock ...... 20 Overplaiting ...... 12 Weave ...... 20 Wrapping ...... 20 ...... 12 Twisting ...... 20 Lace Sprang ...... 13 Cutting ...... 20 Lace Stitch ...... 13 Mounting ...... 20 Lace Twist ...... 13 Torchon Ground ...... 14 references ...... 21 Lille Ground ...... 14 Gallery ...... 22 SPRANG

DESCRIPTION as Lace. This technique of pure plaiting is Sprang is a type fabric formed solely from parallel believed to be the inspiration if not the forerunner of warp strands stretched between two supports. No Lace. weft is involved, the fabric formed solely by the twisting or plaiting of select warp threads around each Although some contemporary evidence of Sprang can other. Characteristic of this fabric is its elasticity and be found during the middle of the nineteenth century, mirrored symmetry about an axis perpendicular to the the technique has essentially remained dormant till its warps. Unless stretched and current revival. A textile show, held in tension in all directions, it Fiber Allusions, held in San will collapse into a tight band. It Francisco during the summer of is this characteristic which makes 1974 was the first presentation it ideal for such items as shopping and display of contemporary bags, hammocks and stretch explorations of Sprang. The garments. The symmetry is the major work of this show was a direct result of the twisting as each 2500 pound exterior sculptural twist made is mirrored above piece which incorporated the and below on the same warps. Transamerica headquarters Although the twist motion will be building in downtown San the same on the opposite end of Francisco. the warp from where the twists are made, the twist will be of The intent of this guide is to the opposite direction. It should describe the basic techniques be noted that the symmetry is in and establish a language for its terms of structure only, the actual understanding and dissemination. final configuration determined by The term Sprang as used herein the maker. is used in its broadest sense to define any stretched warp- In working Sprang, the twisting plaiting technique without the starts at one end of the stretched use of weft. warps, each row of succeeding Monofilament and Copper Wire twists pushed up and down, MATERIALS each half working towards the center. The center Sprang can be worked with virtually any material is then secured to prevent the warps from untwisting. ranging from soft to smooth monofilament and In some cases the fabric is simply cut at the center wire. For clarity and ease of working as well as to producing two identical pieces. It is this characteristic aid visual comprehension, a smooth, soft, tight twisted which makes Sprang work quicker to execute than any cord such as DMC “Baroque” is suggested as other finger controlled textile technique. a starting material.

Historically, the technique can be traced back almost EQUIPMENT 3500 years to the early in . Sprang requires little in the way of tools and equipment. Evidence of ancient knowledge of the technique Fixed supports or a rigid frame is necessary to keep the has also been found in , and . warp threads in tension. There should be provision Lace fabrics found in ancient Egyptian tombs were for adjustment in warp length as the piece is worked, as formed by this technique and have been referred to there is a good deal of take-up in the warp, dependent  on how the piece is stretched laterally as well as the 4 3/8” x 6” supporting rods specific stitches worked. In addition to the frame and 3 3/8” x 6” working rods tension system at least three sticks will be necessary to 3 3/8” x 4” stretch rods control and secure the work as it is being made. The 1 long elastic sticks can be used to push the twists up and down or a 3 small holding elastics separate knife edge beater can be used. For securing the center of the work a crochet hook will be useful. A long steel needle or needle can be an BAR FRAME invaluable aid for picking up previous rows and when Supporting Rod working near the center. Two basic frame assemblies are presented, which can be simply fabricated, for use in working Sprang.

OPEN FRAME: The open frame is best suited for working wide pieces. A basic stretcher bar set, which can be found at any art supply store is satisfactory. A minimum size open frame assembly would include: Warp 1 24” x 30” wood frame Bar 2 3/8” x 24” warp rods 2 long elastics WARPING POSITION 3 3/8” x 20” working rods

Tension Supporting Rod Elastics

Warp Rod

Tension Working Rod Tension Elastics Elastics Warp Rod Temporary Warp Warp Tie Rod WORKING POSITION

Warp Frame Tension Elastic

Cord Tie WARPING OPEN FRAME OPEN FRAME: From two equal lengths of cord, BAR FRAME: This frame is preferred by the author approximately 9” long form two loops around the lower and is best suited for narrower pieces and long warps. frame bar. From two lengths of cord, approximately 4’ Its compactness makes it extremely portable and easy long, form two more loops. Place these over the two to handle. It is easily warped, making it a good frame warp rods, near the ends, and then secure the upper for the beginner. The standard assembly would bar to the top frame member by wrapping with the include: two elastics as shown. Place each end of the lower 1 36” wood bar with 3 side holes drilled warp rod through one of the small loops attached to the to receive 3/8” rods frame, securing the rods in place. Initially the elastics

 can be wrapped around the lower warp supporting frame and rod twice. As the rod, from the adjacent hole work proceeds and tension above, with the warp intact increases, the wrapping can and secure it to the lower be changed to only once rod and bar with the large around and then finally tension elastic as shown. simply hitched to the frame From two equal lengths of and looped over the rod. cord, approximately 3” long, form two loops. Remove Tie one end of your warp the upper warp supporting cord to one of the rods and rod from the upper hole then wrap around both rods with the warp intact. Insert in a figure “8” using the forth supporting rod a continuous length of . into this hole so it projects For an initial piece, at least equally on both sides of the 12 complete loops should bar. Place one of the small be made. After the desired loops on each end and then number of warps have been onto the corresponding made, tie the free end of end of the upper warp rod, the warp to one of the rods, securing the warp in the completing the warping. working position. As work Center the warp on the progresses, warp take-up rods between the elastics, will increase the tension and threads close together, and adjustment of the tension pull individual strands as elastic will be required. required to establish uniform tension in all threads while The working and stretch making certain that both rods rods are used to control are straight and parallel. the working rows and to spread the work. The BAR FRAME: Three holes latter is done be setting the are drilled edgewise through outer warp threads, at least the Bar. The end with the two or three rows above single hole will be referred the working row (or open to as the top. Insert two shed), into the notches at Supporting Rods into the the ends of the rods. When Bar, one in the upper hole the rods are used to control and the other in the nearest the working rows, they lower hole. Tie one end of can easily be secured with your warp cord to the upper a small elastic by looping rod close to the bar. Wrap over the end notch of the the warp cord around both rods and running the elastic rods in a figure “8” fashion in a continuous manner behind the work. till the desired number of threads have been made. Again, 12 complete loops are suggested as a minimum for an initial piece. Tie the free end of your warp cord TECHNIQUE to the upper rod, completing the warp. All the twisting in Sprang is worked with the hands alone. After each row of twists is completed, the Place a third supporting rod in the lower hole of the row is pushed or beat up and its mirrored row down, bar so it projects equally on both sides. Remove the