Noemi Speiser
The anual OfBraiding
THE MANUAL OF BRAIDING NOEMI SPEISER Haupt Verlag 2182814_Haupt_Speiser.indd 1
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Prologue Haupt Verlag in Berne has kindly suggested to reprint my original MANUAL OF BRAIDING in the same form as it was published from the second edition onwards, that is, with no further amendments or changes. I am very grateful for this offer. In view of the reprint I went through the book once again, wondering whether one or the other revision was required. After careful scrutiny, I came to the conclusion that everything expressed therein is still valid. The Manual provides an extensive overview of the foundations of oblique interlacing. 7KHQ EDVHG WKHUHRQ VHYHUDO VSHFL¿F EUDLGLQJ PHWKRGV ZH GLVFRYHUHG LQ WKH FRXUVH of the seventies and eighties are meticulously described, explained, discussed and, moreover, illustrated by means of my system of Track-Plans. So I am convinced that DQ\ QHZ GLVFRYHU\ RU SHUVRQDO DGYDQFHPHQW ZLOO ¿W LQ RQH RU DQRWKHU FRPSDUWPHQW RI this Manual. 7KLUW\ ¿YH \HDUV DJR , GHVLJQHG WKH ZKROH OD\RXW RI WKH ERRN ZLWK RXW SURIHVVLRQDO support, compressing the large volume of text and the many diagrams into as concise a form as possible. This lent the Manual its own, special face – something I have never regretted. I am happy that this face is to be preserved in the upcoming edition. Noémi Speiser, September 2018
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Reprint of the 2nd edition 1988 Bibliographic information published by the Deutsche Nationalbibliothek: The Deutsche Nationalbibliothek lists this publication in the 'HXWVFKH 1DWLRQDOELEOLRJUD¿H detailed bibliographic data are available at : http://dnb.dnb.de ISBN 978-3-258-08111-3 All rights reserved Copyright Š 2018 Haupt Berne and the author Any kind of reproduction without permission of the owner of copyright is prohibited. Cover design: Katarina Lang, based on an illustration of the book Printed in Germany www.haupt.ch
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CONTENTS
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx INTRODUC TI ON PREFACE PREAMBLE: FIELD RESEARCH IN JAPAN 1.
1.1. 1. 2. 1.2.1. 1.2.2. 1.3. 1.4. 1.5.
1.6. 1. 7. 1.7.1. 1.7 .2. 1.7 .3. 1.8. 1.8.1. 1.8.2. 1.9. 1.10.
PREPARATORY ANO AUXILIARY PROCESSES Calcul ating the number and the length of elements Warpfng and mounting Mounting by hitching or knotting the elements to a dowel or a string Mounting by applying auxiliary threads Fastening the mounted set of elements How to deal with exceptionally long elements Auxiliary tools and preparatory processes in a Japanese Workshop Some general considerations regarding the use of hands and fingers Some useful knots A h t wr The slipped weaver's knot very s or a P . The square knot Mountfng without aux1liary threads The constrictor knot Interwarking a set of elements wi th free ends The three-strand brafd A larger number of elements Oisentangling the ends Finishing processes
4.7.3.
Enlarged unfts
5.
5.10.
FLAT ANGLED RIBBING WITH PAIRED ELEMENTS IN THE CONCEALED COURSE Rfbbed interlacing Ribbed twinfng Different methods of working flat-angled ribbing in two sections The starting edge Twined oblique interlacing wfth spaced elements in the concealed course Shaping the fabrics Formfng angles with one sfngle band A blunt angle An acute angle Interpolatfng wedges in balanced ribbing Three-dfmensional shapfng Curving a braid consisting of two sections of flat-angled rfbbing Increasing the width of a fabric Working with several groups Occasional rows of twining Colour-effects in ribbed oblique interlacing and twining
6. 6.1. 6.1.1. 6. 1.2. 6. 2. 6.3 . 6.4. 6.5.
INVERTING THE SLANT OF THE PASSAGES One inversion at midpoint Forcing the concealed elements Interpolating irregular passages Repeated inversions worked in two sections Colour-effects Japanese Kara-kumi Peruvian braids with inversions
7.
7.2.
7.3. 7.4. 7.5.
THE ARROW- PATTERN The Assomption-sashes The brafds of the Eastern American Indians The working-arrangement of the Quebec braiders Technical description of the linkings The desfgns
8. 8.1. 8.2.
INTRODUCTION OF THE TRACK-PLANS Abstract approach Romantfc approach
9.
THE INDUSTRIAl BRAIDING MACHINE History The pr1nc1ple A comparison of machfne-brafdfng and hand-braiding
5.1.
5.2. 5.3. 5.4. 5.5. 5.6. 5.7. 5. 7. 1.
5.7.2. 5.7 .3. 5.7.4. 5.7.5.
5.7.6. 5.8. 5.9.
2.10.
BALANCED PLAIN INTERLACING General rules for interworking a set of elements with free ends The basic laws for flat braids Brafding with strips Startfog on a transverse edge Foldfng the strips at the selvedges Joining braids selvedge to selvedge with an auxiliary thread Oividing a braid into two or more separate braids Formfog an angle Forming a tube Adding elements Ooubling the structure or forming three-dimensional corners Straw bra1d1ng in Europe Extended plain fnterlacfng 8alanced plain 1nterlac1ng wl th bundl ed ele~nts Colour effects Lfnkings applied to modffy t he colour-effect Beaded Braids Double-cloth balanced olafn 1nterlac1no and tw1nfno Large fabrics
3.
THE CRAMMING-SPACING EFFECT
10.
4.
BALANCED RIB8ING Plannlng a desfgn Thread-calculation Mountfng Interwarking The selvedges Colour-effects Colaurs arranged one by one Unfts of different colours Further Oevelopments Occasional linkings used to fnfluen ce the colour-effect
10.1. 10.1.1. 10.1.2. 10.1.3.
2. 2.1.
2.1.1. 2.2. 2.2.1.
2.2.2. 2.2.3. 2.2.4. 2.2. 5.
2.2.6 . 2.2. 7.
2. 2.8. 2. 3. 2.4. 2.5.
2.6. 2.7.
2.8. 2.9.
4.1.
4.2. 4.3. 4.4. 4.5 . 4. 6.
4.6.1.
4.6.2. 4.7 . 4. 7 .1.
7 .1.
9.1.
9. 2. 9.3.
10.1.4.
10.1.5.
10.1.6.
10.1. 7. 10. 1.8. 10. 2.
10.2.1.
Some more variants of balanced ribbing
TWILL OBLIQUE INTERLACING FLAT AND TUBULAR WORKED WITH FREE ENDS Flat tw111 oblique interlacing with longitudinal ridges The total number of elements making up a flat bra1d Two· eyed tracks Tracks wfth four or any even number of eyes Tracks w1th three or any odd number of eyes Colour-effects Starting a tw111 oblique interlacfng on a transverse edge The cramming-spacing effect in twfl l oblique interlacing Combfned twill and extended plain oblique fnterlacing Tubular tw1 11 oblique fnterlacing longitudinal rfdges 5
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10.2.2. 10.2.3. 10.2.4. 10.2.5. 10.2.6. 10.3. 10. 4. 10.5. 10. 5.1. 10.5.2.
Colour-effects in tubular braids The total number of elements making up a tubular braid Practical remarks Some tubular braids Combined flat and tubular interlacing Flat and tubular twill oblique interlacing with transverse ridges Combined longitudinal and transverse ridges Two peculiar methods of producing the two-ridge braid Braids worked in one single length 8raids inside of leather bands
11. 11.1. 11.2. 11. 3. 11.4. 11.5. 11.6. 11.7. 11.8. 11.9. 11.10. 11.11. 11.12. 11.13. 11.14. 11.15. 11.16.
8RAIDING WITH COMPLEMENTARY PASSAGES Colour-effects 8asic method The diagrams The passages of the active elements The outward-shifting of the passive elements The process of sorting out two distinct series The size and the colour of the ridges The allotment of the elements to distinct tracks Countered passages of rotational symmetry Sequences of three and of four steps Two-layer plain oblique interlacing exchanging faces between each crossing Enlarging the ridges of the outward-tending course Abnormal central ridges Warking with an odd number of elements One-step passages Conclusion
12. 12.1. 12.2. 12.3. 12A. 128. 12C. 12C.l. 12C.2. 12C.3. 12C.4. 120. 12.4. 12E.
PL Y SPLITTING General description of the working-principle Advantagesand limitations of the method The material WARP-TWINED FA8RICS WITH A DIFFERENTIATED WEFT FREE-FORM OBJECTS OBLIQUE INTERWORKING BY PLY-SPLITTING Oblique twining Double-cloth plain oblique interlacing with interchanging layers Mixed oblique interlacing and oblique twining Oblique fntertwining "TWINED LINKING" 12. 4.5. Twill Conclusion A JAPANESE LOOM PRODUCING WARP-TWINED FABRICS BY PLY-SPLITTING
13. 13.1. 13.2. 13.3. 13.4. 13.5.
SPRANG The Sprang-princfple The working-method The characteristics of the structures Some remarks on the term "Sprang" Sprang on oblique fells?
14. 14.1. 14.2. 14A. 14A.l. 14A.2. 14A.3. 14A.4. 14A.5.
LOOP-MANIPULATION General remarks Preparing the loops LOOP-MANIPULATED WARP-TWINING The "guill oche" Tubular twining Fringe-tri11111ing Edge-trilll!ling Col our effects
14A.6. 14A.7. 14A.8. 148. 148.1. 148. 2. 148.2.1. 148. 2.2. 148.2.3. 148.2.4. 148.2.5. 148.3. 148.3.1. 148.3.2. 148.4. 148.4.1. 148.4.2. 148.4.3. 148.4.4 148. 5. 148. 6. 148. 6.1. 148.6.2. 148.6.3. 14C. 14C.l. 14C.2. 14C.3.
Cross-relations Warp-twining with several loops al igned in sequence The fringed aprons of Roumania LOOP-MANIPULATION - OBLIQUE INTERLACING The 17th century pattern-books Twill oblique interlacing Handling the loops One person working Two or more people cooperating 1 Colour-effects Fancy designs based on twill "The Arme Beadth" Four people cooperating Cross-relation Plain oblique interlacing Two workers cooperating Colour-effects Double-cloth plain oblique interlacing with interchanging layers Drafting designs Identification and distribution "Unorthodox" patterns A prominent "unorthodox" pattern Distribution A degenerate form of loop-manipulation TWO OR MORE LOOPS ALIGNED IN SEQUENCE ON INDIVIDUAL FINGERS Two ridges Four ridges Eight ridges
14D.
"RECIPROCAL 8RAIDING"
15. 15.1. 15.2. 15. 3. 15.4. 15. 5. 15.5.1. 15.5.2. 15.5.3. 15.5.4. 15.6. 15.6.1. 15.6.2. 15. 6. 3. 15.6.4.
TAKA-DAI Range of possibilities Description of the apparatus Mounting the set of elements The working-process Working on one plane Plain oblique interlacing Ribbed interlacing Twill linkings applied to influence the colour-effect Working on two planes The selvedge-connections Some patterns worked on two planes Swapping bobbins Double-cloth oblique interlacing giving motifs by interchanging l ayers Two layers forming diamonds by exchanging faces "Kikko" - a definite colour-effect produced by two layers exchanging faces
15.6.5. 15. 6.6.
16. 16A. 16A.l. 16A.2. 16A. 3. 16A.4. 16A.5. 16A.6. 16A.7.
TABLE-SUPPORTED BRAIDING JAPANESE MARU-OAI AND KAKKU-DAI Upward braiding Downward braiding The core The counterwefght Shape and size of the table-top Mounting the set of elements The configuration of the threads on the table-top
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160.1. 160.2.
The process of braiding The effect of upward and downward brafding The braiding-materfal The twist Colour-effects The patterns 16A.l3.4. Ovaltracks overlapping centrally Round tracks same rotation throughout Two-eyed tracks Three-eyed tracks Two antique braids of extremely complex structure Oblique twinfng on Maru-Oai HAIR-8RAIOING Some general words on hair-work The tools used for hair-brafding Preparing and mounting the set of elements After-treatment The pattern-books The pecularities of the patterns Flat braids Solid braids made up by round tracks Reetangular braids Three-eyed tracks Coiled tracks Tubular braids THE HYPERBOLICAL PROJECTS OF ASHLEY THE FOUR STRAND SQUARE BRAIO WORKEO ON A TRANSVERSE FELL 8UT WITHOUT SUPPORTING TABLE In vertical position In horizontal position
17. 17 .1. 17.2. 17.3. 17.4. 17.5. 17.6. 17.7. 17.8. 17.9.
NAIKI-OAI, A JAPANESE MACHINE OESIGNEO TO PROOUCE TUBULAR BRAIOS History Oescription Mounting the set of elements The working-process Twill oblique interlacing with transversal rfdges Twill interlacing with longitudinal ridges Flat braids Concluding remarks Cross-connection
18. ISA. lBA.l. 18A.2. 18A.3. 18A. 4. 18A.5. 18A.6. 18A.7. 18A.8. 18A.9. 18A.10. lBA.ll. 18A.12. 18A.l3. 18A.14. 18A.15. 18A.16. 18A.l7. 18A.18.
FIST-SUPPORTEO, FINGER-SECUREO BAAlDING SOLID BRAIOS Starting a braid Braiding-movements The properties of the structure The propertfes of the method Colour-effects The same twfning-twist in all cords Reversfog the twfning-twfst Other track-plans Flat brafds Working with a core Figurative motifs produced by substituting threads Certain tracks appearfng and disappearfng temporarily Exchanging elements between tracks Three-span floats Two-eyed tracks Three-eyed tracks Distribution A few words on slfngs
16A.8. 16A.9. 16A.10. 16A.ll. 16A.12. 16A.l3. 16A.13.1. 16A.13.2. 16A. 13.3. 16A.l3.4. 16A.14. 16B. 16B.l. 16B.2. 16B.3. 16B.4. 16B.5. 16B.6. 168.6.1. 16B.6.2. 168.6.3. 16B.6.4. 16B.6.5. 168.6.6. 16C. 160.
18B. 18B. l. 18B. 2. 18C. 18C.l. 18C.2. 18C.3. 18C.4. 180.
TUBULAR BRAIOS IN PLAIN ANO TWILL INTERLAQ\NG Plain interlacfng Twill fnterlacing with transverse ridges TUBULAR LINKING Two-span floats Substitutfog threads of contrasting colour Three or more-span floats A track with only one cofl "CROWN SINNETS"
19. 19A. 19A.l. 19A.2. 19A.3. 19A.4. 19A.5. 19A.6. 19B.
WARP-TWINING ON SPECIAL TOOLS AYA-TAKE OAI, A JAPANESE TOOL Oescription of the tool Changing the shed The weft Wings with two ledges 1~1 ngs wi th th ree 1edges Oblique intertwining THE "TRILLER" OR CORELL-MACHINE
20. 20.1. 20.2. 20.3. 20.4.
HOW TO ANALYSE ANO TO REPRESENT THE STRUCTURE OF A FINISHEO BRAIO Initial remarks Analysing a braid without unravelling it Analysing a braid by disentangling it Analysing a braid by removing the threads of certain tracks
21. 21.2. 21A. 218.
CLASSIFICATION Preliminary remarks CRITERIA FOR OESCRIBING ANO CLASSIFYING THE FINISHEO PROOUCTS FACTCRS CHARACTERIZING THE WORKING-METHOOS
22. 22A. 228. 22C.
THEORETICAL CONSIDERATIONS THE RANGE OF POSSIBILITIES PROPER TO DIFFERENT METHOOS THE PROPERliES OF WARP-WEFT INTERLACING, WARP-TWINING ANO BRAIDING CONVERTING A WOVEN FABRIC INTO A FLAT OBLIQUE INTERLACEMENT
23. 23.1. 23.2. 23.3. 23.4. 23.5. 23 .6. 23.6.
STRUCTURES WHICH COULD BE MISTAKEN FOR BRAIOS Interconnected looping Simple looping Meshwork Turks heads Slft leather braids Transposed warps Soumak on tubular fabrfcs
24. 24.1. 24.2. 24.3.
DEALING WITH THE TWO-RIOGE FLAT ANO THE FOUR-RIDGE "SQUARE" BRAIO How to pick up a "square" brafd fn disorder Invertfng the slant of the floats in a two-rfdge braid Combinfng two two-ridge braids GLOSSARY BIBLIOGRAPHY
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PREFACE again an expert iu industrial braiding XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX would be utterly perplexed to hear how This 'book gives a general systematic sur- .handbraiders are capable of producing vey of all the types of braids, defined structures he deemed to be uniquely the as long and narrow fabrics constructed of products of the braiding-machine. threads which run on zigzag or helical The result of my twelve years' recourses, interlacing, twining and, ocsearch has been the recognition that casionally, interljnking. The aim is to seemingly identical structures can be show both the working methods and the produced by completely different methods; resulting structures and to illustrate and that patterns which I at first thought how these two aspects are related. typical of one certain ethnic group, may This special subject has thus far in fact occur all over the world. never been treated as a whole. In both This made me realize that a general the "Primary Structures" and the "Basel survey was needed. I had started off with the subjects Systematic" flat braids are only touched on with a few words and three-dimensional for several monographs and I wanted to braids are "not reviewed" (Emery, page 62) combine them into a single classification. at all. I think the reader of this book This, of course, is a contradiction in will be surprised, as I was myself in the itself . Therefore the ethnographical ascourse of my twelve years of research, to pects had to give way to the purely see how complex this narrowly defined structuralist and technical aspects. I subject is , and how extensively it is decided to write a compendium of braiding, subdivided. giving something like an aerial view This book is an attempt to understand where general facts come out clearly, albraiding on its own merits, as a totally lowing the expert to draw information and autonomaus class of techniques with its spot cross-connections at a glance, while own set of delightfully logical rules and details were excluded. not as some bastard form of weaving, an interaction of vexatiously misbehaving Program I give a comprehensive course of instrucwarps and wefts. tions. Starting, as it were, with the "Kindergarten" I gradually advance to the History of my research University, and finally I enter the My interest in the subject was first caught in Japan, where the ancient tradi- sphere of the truly initiated. Thus the book is a whole in itself. tion of "Kumi-Himo", i.e. the construction of braids, is kept up and tended by Every subsequent chapter relies on the preceeding ones and all of them are ina guild of highly skilled craftsmen . I terrelated. Single chapters, taken out saw them using a number of sophisticated of the context, are necessarily i'ncompletools and equipment, perfected over the te and therefore al l but useless. You are centuries. requested to start your studies at the Now it is a well known fact that the very beginning . Then you progress as far first impression you gain in some field as you like, and whenever you fail to folof experience establishes your views low the argumentation, you can reconsult which, from then onward, will be biased. the 1nit1a1 statements . The basfc facts are explained minuteIndeed when later I came in touch with equally refined braids of other origins, ly , but the more advanced techniques are reduced to their essentials. I expose the I immediately looked out for analogaus underlying pr1nc1ples rather than describtool s - only to find out that the arti sans used nothing but their very dexter- ing single 1nc1dents; I offer general rules instead of giving dozens of recipes. ous fingers and maybe toes in manufacThis is, in fact, the only way to pack a turing them. great deal of information into a restrictThis notion came to me as quite a ed space. But it does not make the book shock and I had to revise my premises easy to read. Not unless he contrfbutes totally. actively, can the practitioner draw the But surely a person who happens to information needed to adapt the technihave his first experience with Andean ques to his creative visions. shepherds braiding their elaborate slings In order to give a synopsis an imout in the field as a part-time job would mense documentation is packed in a nutbe equally surprised to hear ahout the shell. This manuel, in fact, contains the paraphernalia of a Japanese Workshop. And substance for several monographs which
deserve to be¡ written sooner or later. Let me point out some subjects: -The techniques of Straw-braiding (page 36); -of Hair-braiding (168). -New patterns in Indian split-ply camel-girths (12) Peter Collingwood has this on his mind. -The Peruvian flat braids (chapters 4+5+6). -The objects worked in Fourcroya fibres (page 225). -The elaborate braids mentioned on page 96, a subject of Mary Frame. -And the possibilities already explored or still latent in flat-angled ribbing (5) would make up an exciting book on their own. I hope that the general survey and the nomenclature given in this manual may prove useful to future authors. The track-plans In the course of my research I devcloped the concept of "tracks". A track-pl an illuminates the internal construction of even the most complex braids in a flash. Thus they are suddenly seen to be built up by a number of simple braids, interlacing in intricate ways. The immense satisfaction I derived from the concept of track-plans inspired me into the most daring speculations. This is certainly not to everyone's taste; yet in my long teaching experience I found that among a majority of practical minded partners some single individuals will take a theoretical outlook . They formulate questions which cannot be answered unless the matter is probed to its very debths. For this purpose the track-plans proved tobe an indispensable intellectual tool . Specification of the given examples This compendium is based on a very large documentation and on innumerable analyses of braids from all over the world. It is impossible to enumerate every single incident which has been traced. The patterns described in the relevant chapters are usually distilled from several examples which might even descend from different places and periods. Since they are meant to figure as representatives of certain classes, a painful enumeration of every single incident would be impossible or even absurd. Therefore, except for some really unique cases, I refrain from giving exact data . The kind of detailed information indispensable in an ethnographic treatise. cannot be expected in a technical survey of this sort.
The application of the braiding-techniques Whilst many methods given in this book can be practiced immediately, because they require little or no tools, some others are neither recommended nor even possible, since the appropriate equipment is not available or not .worth purchasing . I include them in this book because I mean to give a comprehensive survey. They should inform and serve as cross-reference for the scientific-minded reader. Braids have been in general use throughout the history of mankind. They appear as fringes, edgings, drawstrings on textile fabrics, or as detached accessories such as belts, sashes, straps etc. Immense care and mental effort went into making them not only strong and efficient, but also refined and beautiful. Strangely enough in modern times they are in little demand. This may be largely due to the invention of elastic. Though a fabric of oblique interlacement as well, it is seldom used decoratively; usually it is concealed as far as possible. This book offers many ways to vary the patterns and the colour-effects, also for dividing or combining braids, for producing loops or slits etc. As for the working of extended surfaces and shaping these into two or three-dimensional objects, such as hoods or caps, waistcoats, shoes, gloves etc. only the techniques of braiding with strips (chapter 2) and the structure called "flat-angled ribbing" (chapter 5) offer possibilities; these were tested with successful results . However, it is not the aim, nor is it within the limits of this book, to publish any particular projects. Even if it addresses the practitioner, it will not satisfy the hobby-worker who is looking out for models. Such suggestions, anyhow. are necessarily influenced by the fashion of the period and limited by the taste and the abilities of the designer. Therefore they will not appeal to everybody and they will soon be outdated . The illustrations I offer a great number of diagrams which sh~ld be clear enough to give information even to a person who cannot read the text. A lavish supply of photos would have enhanced the appeal of this publication considerably, but at the same time it would have increased its costs. Since it is meant as an unpretentious manual for the specialist and not as an object
8
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of idle luxury, I decided to reduce the photos to a minimum. The text I ventured to write this book in English, because, owing to a large correspondence with specialists, I am more familiar with the English than with the German technical terminology in this field, and I find it better applicable to my special subject. In fact the complete lack of agreement between the English terms "plaiting" and "braiding", both covering only a fraction of the very extensive meaning which has been given to the German word "flechten", proves tobe the main obstacle to a parallel vocabulary. Yet with literally NO English speaking partner in my near neighbourhood I was in a completely isolated position when composing my texts. I am very concious that there are bound to be mistakes of diction, and that I certainly could not present matters as lucidly as I would have done in German . It was my realization of this fact that prevented me seeking publication through normal channels. Thanks My research into such a specialized subject was a real adventure and brought about delightful contacts. lt is impossible to name everybody to whom I owe thanks. Let me thank especially the staff of "Museum für Völkerkunde Basel", in particular Marie-Louise Nabholz, curator ~f Asian textiles, and Elisabeth Krehl, conservator of textiles, who assisted my research from the very beginnings . Among my correspondents I mention in particular Ann Pollard Rowe (on general questions), Adele Cahlander (on sling braiding), Marian Cardale (on loop-manipulation), Virginia Harvey and Judith Stein (on ply-splitting), Dorothy Burnham (on the Assomption sashes), Shimpei Domyo and Toshiro Adachi, both with their families (on Kumi-Himo), Torben Juul (on hair-braiding) . As a particularly indefatigable help, I pointout Mary Frame, specialist on Peruvian textiles, who generously offered her splendid collection of slides and her meticulous documentation, and who shared the discoveries she made in her attempts to reconstruct unusual patterns. But most of my thanks are due to Peter Collingwood who never deserted me in my lengthy efforts. When correcting my
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texts, on the one hand he tried to behave like an ignoramus and warned me whenever he thought the "average reader" could not follow, and on the other hand he pointed out most astutely the weaknesses of my reasoning on the level of a high specialist. Being, however, an eminently warpweft minded man he faces the facts of oblique interlacing with a firmly rooted apprehension, and this made me think of my texts as a p1ea in the cause· of bra iding!
pa9es. Therefore the mounting of the maquet tes, in many cases, had to be altered completely. Rewriting, retyping and remounting were done by myself. All this had tobe coordinated in one single working-process; decisions had to be taken on the spur of the moment. Therefore it was practically impossible to submit the altered and added bits of text to an English-speaking corrector. For so much non-professionalism I must apologize.
I want to conclude this preface with thanks to the authors of three most important books I worked with when I started my textile education ( about in 1948). Raoul d'Harcourt: les Textiles anciens du Perou, Alfred Bühler: Systemati k der textilen Techniken ( originally called "lkl~ Katalog") and Irene Emery: The Primary Structures. Only later in my life I realized how thoroughly I had absorbed the contents. Often when rereading passages I stop short, because I hit upon conceptions and views which I thought I had made up myself. A young student is extremely susceptible: It is of greatest importance that his fundamental training is of first quality. In particular he should acquire the ability to see the principles underlying single incidents, and the notion of a solid system of classification. Once this is imprinted in his mind, he will be able to place every new discovery in its proper context.
Certainly the field of braiding is by no means drained. I know about several research projects going on. Among these is Masa Kinoshitas work on loop-manipulation in Japan (cf. 14C.3. 1+2). With intense acuteness she deciphered and interpreted old Japanese braiding instructions. In discussing her discoveries with me, she finally worked out the theory that some of the most complex antique braids could have been worked on loops.
PREFACE SECOND EDITION The first edition (1000 copies) was sold out in 1987. The Manual being still in demand, I prepare a second edition ( 500) which will appear in 1988. In trying to keep the price within reasonable limits, I decided to reduce the size of the printin9. One page of the new edition is equal to two pages of the original. The quality of the typing as well as of the diagrams is heterogenous; it is, therefore, possible that the reduction will cause some inconvenience. Many diagramswill be come clearer if you marle the different parts with colours. The second edition is thoroughly revised. Many minimal amendments, some minor Supplements and a few large and very important updates in text as well as in diagrams are added. For technical reasons the photos had to be taken away from the black and white
Such argumentswill always go along with additional daring speculations, reaching far beyond the points which had to be proved. · Fri eda Sorber, another one of my correspondents, is the keeper of textiles in a Belgian Museum. She studies the history and techniques of Passementary, to~ether with Lotus Stack, USA. Mary Frames vast research project on old Peruvian textile techniques develops in silence. Peter Collingwood carries on exploring and teaching the vigorous and masculine techniques of ply-splitting. He spent ten weeks on a successful field research in lndia, but there is still no end to it. This technique, which apparently is in a state of prolific development, yields more and more prospects. Peter certainly does not face the facts o~ oblique interlacing with apprehension any more,- if ever he did so! In his delightful new book "The makers Hand" the whole range of textile techniques is discussed in a most knowledgeable way.
And as tor myself: a few weeks ago 1 was shown six small purses for relics and "aumoni~res" with drawstrings, which appeared out of a casket belonging to the cathedrQl of Vannes, Brittany. The purses are called "Hispano-mauresque", XII or XII I century. Each one of the brqids has its own, unusual feature. Two of them are so tightly interlaced and, alas for me! in such perfect state of preservation, that I was unable to extract the secrets of their internal construction. A frustrating experience! And to think that perhaps innumerable such humble but tell-tale objects lead an obscure existence in crammed caskets of cathedral treasuries. Will I be able to prove one day that loop-manipulation like 14C.3. did exist in Europe? Recently Joy Boutrop, a textile teacher in Kopenhagen, introduced herself to me and displayed a number of intricate samples she had done solely by following the Manual. Before that she knew nothing about braiding and therefore, being unprejudiced, has fully adopted my classification and term• nology. This proved to me that the book, in spite of of its terrifying conciseness, affering general rules instead of explicit recipes, still can convey its message. When the first edition was out, Peter Collingwood wrote in a personal letter to me:" •.. a veritable mine of information for those who just want to know methods, PLUS a rigorous intellectual framewerk into which any structure can be logically fitted. You have both explored a strange country and provided a fool-proof way for those who want to follow."- This was, indeed, my highpitched aim. If it is attained, I am very satisfied.
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PREAMBLE: FIELD RESEARCH IN JAPAN **********************************
Before I start wi th the subject of this book let me give an account of mY personal experiences on a field-research in Japan. Indeed this was my first insight into braiding techniques, and the harvest brought home from the trip represents the nucleus of this book and was the cue for all mY further studies. Brai ding in Japanese is called KumiHimo. Himo designates every kind of string, cord, tape, band or braid. And Kumi means constructing, somewhat in the sense of building a loghouse . The craft was imported at an early age from China, through Korea, into Japan. A corporation of selectest craftsmen developed it to a summi t of perfection and preserved it religiously, whilst in the
country of its origin it degenerated long possible I tried to find out the founago. dations of the craft which at that time In old times braids were used abundant-were totally new to me. ly in temples and at court. Japanese arIn Kyoto one among the few wholesale mour consisted of small oblong tablets dealers decided to Sponsor my research. My ardent interest and my knowledge of arranged in overlapping rows which were joined by silken braids. The helmet was related Western techniques, e.g. laceadorned and tied with cords, and lengths making and Sprang, won his sympathy to of elaborate braids were attached to the such an extent that he divulged to me swords. When armour went out of use and more and more of the carefully protected later on even swords were done away with, Japanese traditions. I was allowed to accompany him on several of his business the corporation would have been doomed, had not braids found a new use as acces- trips. We visited many remote workshops, sories for ladies Kimono-wear. The wadded bringing bundles of prepared warps and cords of woven material formerly used for collecting the finished braids which fastening t he Obi (sash) were replaced later, on his own premises, would be by braids, and a pair of tiny straps with neatly labelled and packed. He made the tassels on one and loops on the other artisans demoostrate their specialities end, were fastened to the lapels of the to me and he asked them to give me samples Haori (overcoat). The former are called and waste bits. And then whilst he was Obi -j ime and the latter Haori-himo. discussing work and chatting endlessly Only a small range of classical patabout family matters, I had plenty of terns was used in bygone centuries, but time to flash my eyes areund and take in many details, the notes and sketches of 'now the artisans, catering for the demands of ever-changing fashion, ware ob- which proved to be invaluable in my liged tobring out novelties every season. further analyses . Thus incredible intricacies are teased In some of these highly select and out of the venerable old prototypes. secluded werkshops I probably was the very first foreign visitor. I treasure When I started my field-research in these memories dearly, because shortly 1971, Kumi-Himo was an esoteric subject. afterwards the situation altered compleEvery workshop seemed to have some care- tely. Since the demands of Kimono-wear fully guarded speciality. The secrets diminished, the artisans decided to spread Kumi-Himo as an attractive hobby for were orally transmitted from father to son, from master to pupil; hardly any everybody. Whilst many of the smaller written report existed. werkshops had to close down, the main Through personal recommendation, I was ones started flourishing schools. The introduced to the famous dynasty of secret doors of Kumi-Himo were suddenly braiders by the name of DOmYO in Tokyo. thrown open. Now the tools and outfits are available in handy kits, readily They run an exquisite little shop; in packed warps can be erdered by mail, and the rear building a number of artisans were occupied in braid-making. In accor- many lavishly illustrated books appeared in quick succession. All the workingdance with Japanese usage they all felt and were treated as members of a big fa- processes connected with. Kumi-Himo are meticulously recorded in photos and diamily. DOmYO was the first, and at that pegrams, and numberless braids are displayriod the only one, to offer private les- ed in gorgeous colour-plates. sons for some select amateurs. The school The books are written in Japanese, yet was in a remote Japanese- style house, the amount of information which can be dimly lit through paper-windows. Some gathered visually makes them well worth young teachers with warbling and twitbuying for anyone interested in the subtering voices, kneeling down in front of ject (cf. bibliography). Considering such an ample supply of every student in turn , gave explanations, advice, warning - but never any reproofs. information I reduce the Japanese chapAt the end of each lesson tea and flower- ters (6 : Kara-Kumi, 15: Taka-dai, 16A: Table-supported upward and downwardshaped sweets were served in tiny cups braiding, 17: Na i ki-dai, 19: Aya-take and saucers . I was lucky enough tobe allowed as a dai) which once were intended to make up spectator. Be~aving as unobtrusively as a book on their own, to their very essentials.
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l. PREPARATORY AND AUXILIARY PROCESSES
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx 1. 1. CALCULATING THE NUMBER ANO THE LENGTH OF ELEMENTS If you are planning a fabric with definite features, you have to calculate the length and the number of your working-elements. Of course, you can always make them as long as twice the length of your project, then .you are quite sure to have ample length. But if the material is precious, e.g. silk, gold, hair, leather, it is certainly worthwhile calculating exactely to avoid wastage. The length is influenced by two factors: First you have to consider the zigzag path which the elements take through the structure. Assuming that the braid is totally relaxed and that the countered courses meet at right angles, the addition to the desired length of the finished fabric will certainly never exceed 1/2. The more the slant of the threads in relation to the midline diverges f~om 45°, the less it is . This percent-.ge is the same whether the braid is narrow or broad . The second allowance is due to the undulating movements of the elements over and under each other; the term used for this in weaving is "warp take-up". This depends on the texture, the quality of the material and your personal way of handling it; we estimate more or less 1/10. So, to calculate very roughly the length of the elements required for a flat braid ADD ONE HALF TO THE DESIREO LENGTH. ++++++++++++++++++++++++++++++++++++
Considered the other way round SUBTRACT ONE THIRD FROM A GIVEN LENGTH +++++++++++++++++++++++++++++++++++++++
to find out how long a braid it will give you. This is, however, very vague, and moreover it is not applicable to the more complex types of fabrics.
In order to determine in a reliable way the length as weil as the number of elements needed for a project, I would suggest the following procedure: braid a sample of the chosen pattern with the appropriate material. Then, leaving out the crammed starting-edge and the loose bottom, measure that part which is of normal texture. Mark with ink one single element at both ends of this measurement and then withdraw it from the structure. Compare its length with the braided length and apply this ratio to your project. Then measure the width, count the elements and again apply this ratio to your project. Note that these two calculations are totally independent of one another. Finally, do not forget to allow both for the fact that you cannot braid down to the very bottom of the elements and for any intended knots or fringes. Also keep in mind that a set of elements serves only as far as the shortest of its cut ends; any extra length on the others will then be useless. So make sure that all of them are equal. Concerning the length of the elements, one more fact has to be mentioned: if you work on oblique fells, every passage shortens the non-interworked portion of the respective elements. Therefore the cut ends change Ievel incessantly; they are unequal throughout, except for that one transitory moment when a repeat is completed, i.e. when each element has performed the same number of passages. You may become aware of this phenomenon when working with very short elements. It will be mentioned again in the chapter on Sprary.g ( 13). 11
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1.2. WARPING AND MOUNTING For warping I soggest using C-clamps or warping posts fixed to a table the required length apart (1*1). Fasten the thread-ehd by means of a clove hitch , then carry it around the two uprights the correct number of times, ending with a clove-hitch on the other clamp. Leave long ends, otherwise the outermost elements, when mounted, will prove incompplete. Remember that each complete circuit around two uprights gives you either one or two elements for braiding, according to the way you mount the set. 1.2. 1. Mounting by hitching or knotting the elements to a dowel or a string
A very short warp can be wound over your left arm and hand ( 1*1 bis)
If you intend to mount the elements on a supporting cord (1*2) cut them now.
!nstructions: pinch a cut end at a distance of about 15 cm with left index and thumb. Wind the thread round hand and elbow. Then tie both ends tightly around that "hank"( 1 bis b). Since in the course of braiding there will be aseparate pull on each thread, the far ends will have to be fixed very tightly: fold the hank and apply a constrictor knot . Pull it as hard as possible, thus forming some ktnd of "head" and "neck". Such a fastening should be sufficient for any material which is not exceptionally stiff or sleek. This gives you a set of loops. If you wish single ends, cut them at the bottom.
If you intend to start braiding halfway along the length of the threads and work down to one end first and to the other end afterwards, then you have to mount the elements with hitches tied in the bight, i.e. without manipulating the cut ends. Loosen the tension slightly by moving one clamp. Then deal with them as shown in 1*3a+b for half hitches, and add 1*3c+d for clove-hitches . In order to secure the arrangement you can tie a second dowel to the first one (1*3e). Cut the threads afterwards.
a Dl
(d)
11E FRCNT:
LAYER :
1*1
1*1 bis
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1.2.2. Mounting by applying auxiliary threads 1*4a shows how to apply two rows of countered twining, 1*4b the variant with two different colours and *4c suggests an end-hitch. The loop can be used for suspending the set. 1*4d shows a row of half hitches. It is convenient to apply such fastenings whil-st the elements are still uncut and under tension. You can regulate the spacing by entwining only one or more than two elements between each twist and by choosing a quality more or less coarse for the twining material.
It is also possible to use the two ends of the supporting cord, or the four ends of the twining rows as additional elements for braiding ( 1*5 f+g). In this case you have to plan the exact number and colourorder beforehand very carefully.
1*5 shows several ways of suspending¡a set mounted by twining rows. After the braiding is completed, the auxiliary threads may be withdrawn, or they may remain in the fabric as a support and decoration .
1*4
1*3 13
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1.3. FASTENING THE MOUNTED SET OF ELEMENTS clasp may also prove helpful (*6c). These objects are easily available for everybody. In order to intet~ork the set, it is neSpindle-shaped devices, stuck into apcessary to fasten its far end, i.e. the propriate holes, are used for the purpose starting-point of the braid, in some way. in European passementerie, and the upIf you are barefoot, one of your toes right pole of a Japanese Bo-dai (cf. 1. 5), will serve most conveniently; it is bearing a metal lever, is shown in *6e. readily available and set at a suitable distance. In the course of braiding, the distance People who braid outdoors whilst between the fell and the point of attachmoving about, chatting or herding, may ment gradually grows, and work becomes carry a stick or a branch grasped under unhandy. Therefore you must find a way to their arm or propped against their waist, withdraw the fabric and fix it again. You with the growing braid fastened to its can double the braid over the dowel, if bent or forked top. there is any, and join it with pins. Dr you can stabilize it with a heavy weight, If you are sitting down, you can pin a book or a wrapped brick which can easily the braid to the garment covering your be removed and adjusted at any time. knee . Otherwise, any kind of C-clamp serves readily for bearing a starting loop or a transversal string or dowel (1*6a+b); a
1. 4. HOW TO DEAL WITH EXCEPTIONALLY LONG ELEMENTS The detailed reports of the Assomption braiders (cf. chapter 7) represent an opportunity to learn how professional artisans deal with very long and numerous elements: the elements are more or less tightly stretched in a slanting position. Halfway along their length they are mounted onto a dowel. Braiding starts below the dowel and is worked down to one end; then the whole arrangement is turned upside down and braiding continues down to the other end. Another way of dealing with very long elements is to wind them up, in order to have a mass of tightly wrapped balls or finger-hanks close to the fell. I know this method is used in Peru (d'Harcourt) and in Palestine (Crowfoot). I have never tried to interwork fraehanging wound elements, nor have I seen it being done. Presumably, although the problern of tangling is eliminated, there are other problems to deal with. This is a matter of practice: if you were taught to work in such a method, you would find inconvenient another method which somebody else, being used to it, might deem 1*6 the best one.
1*5
If any support like a frame, a stand, a saddle, a cushion etc. is used to All these, as well as many other make- spread out the elements, some kinds of shifts adapted to the size, quality and yarn-carriers are indispensable to ensure nature of the fabric in work may serve a proper and regular winding and to furnish your purpose. a weight in order to hold them under tension. Heavy screws with one or more screw- nuts may serve as an easily available makeshift. The Japanese braiders of Kara-Kumi (cf. chapter 6) use flat metal tablets wrapped in paper. Hair braiders {cf. chapter 16) use either some outsize wooden lace-bobbins, or various kinds of leaden objects shaped like bobbins, skittels, spindles or hooks: these latter are remarkably practical since the elements need no fastening loop, being secured by the weight of the hook itself (1*7). All these carriers are wound permanently with a length of thread designed to be connected with the 1*7 working-material.
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1.5. AUXILIARY TOOLS AND PREPARATORY PROCESSES IN A JAPANESE WORKSHOP
the supplementary elements needed for the intended pattern are added by appropriate ties and knots . The floor in a traditional workshop is For warping, the Waku bearing the padded with rice-straw mats, called necessary threads are arranged in rectanTatami. Chairs are non-existent; the gular formation on the floor. The threadartisans work in a kneeling position. ends are led vertically up to the bamboo Below the ceiling, several bamboo rods rod suspended from the ceiling; from hang horizontally within reach of an out- there they descend, converging in the stretched arm. The pretty reels, called right hand of the worker. Thus they are Waku are found by the hundreds - hanging withdrawn upwards from the Waku, and from the ceiling like bunches of grapes gliding over the bamboo they unwind or piled up in the corners when unused, smoothly and at an even tension. Warping standing about in picturesque disorder is usually done over two or three Bo-Dai. when loaded with the beautifully coloured But in the traditional and most delicate silks. way of warping, the worker , in a kneeling An essential and very versatile piece position, guides the threads between a of equipment is Bo-Dai, tbe.pole~stand.; : single Bo-Dai and his raised left hand. a massive wooden cube bearing an upright Whilst his body sways back and forth, he pole. There is a small hole at the top, holds his hand constantly at a fixed into which a metal pin or a twice bent distance, which must not alter throughlever can be inserted, for holding loops, out the process, otherwise the skein hooks, bobbins, reels or whatever devices will be uneven. This method calls for happen to need support. Another one among considerable physical discipline. the many official or improvi sed functions The groups of threads intended for of Bo-Dai is to serve for warping each working-unit are separated by halfJapanese handbraiders in recent times hitches applied with a soft cotton-cord. have used fine plied silk, made up into When finished, the skein is secured by units of many elements: depending on the knots, then cut. Its far end is bent backwards and secured once more (1*8a) , type of braid, from about ten to more than hundred. Such strands are supple and Then it is fastened to the stand where it mould themselves into shape, making a will be interworked later on. Each strand smooth and even surface . Thus they are is released from its hitch and spread out more or less equivalent to the extremely on the floor, ready to be wound. delicate untwisted silk fibres used in The Japanese bobbins are graceful proancient braids, yet they are easier to ducts of tradition and craftsmanship. handle and more resistant to friction. They have a smooth and continuously Also they are perfectly neutral as to curved surface, so the delicate silk twist , which is essential for many types material does not rub on any edge or of braids. catch on any notch. According to the The silk thread is wound singly from material and the tool in use, they are of hanks onto Waku which are usually for different size and weight, but all of this purpose mounted onto some frame and them are the same shape . The biggest bobbins, weighing up to one kilo, are turned by a lever. Once I was able to watch a Waku being wound in the tradimade of clay; some very small ones are tional way: it was fixed on top of a stem made of brilliant white metal. But the which the artisan was spinning round in bobbins generally used are turned in his cupped hand at an astanishing speed. w~od; their cores_are hollowed, ~illed This stem - an heirloom used for genew1th lead and cal1brated to a we1ght of rations - was as shiny and smooth as glasseither 70 or 100 grams . When suspended, due to the constant friction. This amaz- they immediately assume a horizontal ing feat of dexterity is mastered by only position. Hanging at a more or less equal the selectest artisans. level, they prevent each other from When the required number of Waku are rotating. When clashing together, they wound, they are ready for warping. Each emit a dull clank; the pleasin~ sound of Japanese warp, be it ever so short, is a whole workshop, once heard, lS never prepared, wo und onto bobbins, mounted on forgotten. . the stand braided and finished indiviEvery bobbin is permanently wound w1th dually. If it starts with a loop, the a length of about 50 cm of cotton, en~ing four strands are braided initially, then up in a small knot. The precious work1ng
material is tied to these bobbin cords, thus the former can be braided down to the very end, the latter supplying the last bit of length needed for the hanging bobbins. The bobbin-cord is connected with the working material spread out over the floor {1*8b). Then the worker winds it in the following way: turning the bobbin with both hands, he gradually moves towards the point of attachment; thus the silk is hardly touched at all and is not given the slightest twist. It is fastened to the bobbin by the Special loop shown in 1*8e+f.
In the course of braiding, the bobbin approaches the fell and has to be unwound. lf you undo the loop, take care to do it in the correct way, as shown in 1*8g. If you do it as shown in *Sh, a knot forms in the strand. It is, however, not necessary to undo the loop at all if the bobbin is properly wound. You can let the eye of the loop rise slightly (1*8d) , then unwind the bobbin as far as needed, and finally give it a small jerk in the opposite direction to tighten the loop and settle the eye again. From here on, the processes are different for each tool; they will be described in the relevant chapters. Each workshop, of course, has its own little tricks and practices which may differ in detail from the above descriptions. Any experienced master would be able to offer many more tips, which have been tested and proved by centuries of experience.
1*8 15
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1.6. SOME GENERAL CONSIDERATIONS REGARDING THE USE OF HANDS AND FINGERS
But the above described deliberations should take place at the very beginning, because once a clumsy movement is cemented by repetition, you will find it hard to get rid of. It is far more tedious to "unlearn" than to learn~
Every professional engaged daily in a special manipulation will pay the greatest attention to the exact way in which he uses his hands and fingers. He can demoostrate an apprentice the manner 1.7. SOME USEFUL KNOTS which he has found to be best or which has been transmitted from generation to generation. The apprentice, for his part, 1. 7.1. The slipped weaver's knot (1*9) would be unwise to disregard tradition, presumptuously trying to find his own way. As for the process of braiding without tools, only few of the many traditions existing throughout the world are recorded minutely; it needs an extremely zealous ethnologist to take on such a specialized and time-consuming task. The famous "Annual Report" by Walter Roth is in this respect an unsurpassed document for textile technologists as well as for practitioners (cf. bibliography). However, the distinct movements depend to a certain degree on the proportians of your hands, especially on the relative lengths of index, middle and ring finger~ which are particularly involved in these processes. Here are some helpful hints: first of all , keep in mind that every single finger can be used, and if any one is kept idle, its potential is not only wasted, but it may even prove obstructive. A lazy finger must not be allowed to rest, it must, on the contrary, be trained to participate. I advise you to watch attentively how your fingers behave when carrying out a certain action, and to judge if there is any vague or awkward shifting which could be replaced by a more appropriate manoeuvre.
Note: the free end of the tying thread Instructions: hold end A with left thumb should be neither too short nor too long and index so that it extends for about to be handled with ease . 5 cm (*a). Cross end B behind it at a right -Passive end of the tying thread held by the teeth (1*10): angle, lead it up around the t~umb, behind its own extended end and then 1n front Instructions: wrap the free end twice of end A (*b). There are three crossings a~ound the bundle (*!); ti~ a hal~ knot now, press them firmly with left thumb. w1th one h~nd only ~ b); t1ghten 1t, at With right thumb push bight of end A the same t1me r~tat1ng the bun~le towa~ds straight against left thumb, which swiftly y~u; t~en rotat1n~ th_e bundle 1~ oppos1~e rises, snatches the bight and pinches it d1rect1on, press 1t w1~h thumb ( c+d): T1e tightly. Forthis tricky maneouvre, it the seco~d half.knot_ 1n counte~ed tw1st is essential for the two thumbs .to stand (e+f); t1ghten 1t wh1lst rotat1ng ~he in exactly the same axis, facing each bund~e further away fr~m you and w1thother. To tighten the knot, pull B (*c). draw1ng the thumb caut1ously. Take care that the. knot catches properly (*d) . If the loop formed by B tips over, the knot is ineffective. The slipped loop formed by A allows the knot to be untied easily. Note: one element constituting a weaver's knot crosses itself, the other merely bends. If there is no slip, the knot can be untied by straightening the latter and stripping off the former . If there are two different qualities of material, see which one is better suited for straightening out. If there is a knot at one end ( as on the Japanese bobbincords) this end must be B. In order to gather and tie a set of elements intended for a tubular or solid braid and to secure the ends of the finished fabric, I suggest two binding knots. 1.7. 2. The square knot
Once you have found the best way, consciously carry out every step of the sequence, maybe in exaggerated movements distinctly set apart from each other. In this way your head will direct your fingers to do what afterwards becomes automatic. If the action is planned properly and the phases blend smoothly into each other, you will be able to speed up your work to an unexpected degree. 1*9
A s ..uare, also called reef-knot consists of two superimposed half knots of countered twist. The first one has to be tightened and held in place firmly before the secend one is added . If nobody's helpful index-finger is ready to do so, you have to manage yourself, and this is an extremely delicate manipulation . The bundle which has to be tied is gripped firmly with the left hand throughout the process. The tying thread is managed ex-' clusively with the right hand, therefore one of its ends remains passive. This knot is very important in the trade of passementerie, also called trimming, which is closely connected with the subject of our book; I will explain two versions in detail.
1*10
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1.7.3. The constrictor knot This is easier to do and more or less answers the same purposes as the square knot, though generally the latter is regarded as a permanent and the former as a temporary binding . The material for tying should be streng but supple and not too thin. -Version I: 1*12: 1nstructions: hold bundle along with tying thread in left fist, a moderate length of the latter protruding under left thumb (a); wrap free end twice round bundle and thumb, the secend turn distinctly crossing the first one. Release the bight from your grip, draw the free end outside, then above it (b). Withdraw left thumb. The two crosswise turns are now 1oose. In troduce the free end a t a right angle below the cross . Close inspection reveals that the constrictor consists of a half-knot covered by a bight (c). If you pull the two ends in opposite directions, the knot tightens and fastens itself at the same time: the bight on top firmly presses the half-knot against the bundle of passive elements. 1*11 A tightened constrictor cannot easily be undone; however, if you pull both ends
upwards, moving them to and fro, it may loosen slightly. If you then strip it off, it will fall apart: no knot remains in the tying thread. 1f the constrictor is used as a permanent fastening, its two ends should be taken to the opposite side of the bundle and secured with a square knot. Note: it would be utterly wrong to superimpose a square knot on the constrictor; instead of reinforcing the constrictor, this would weaken it.
-Version 111: 1*14 shows how to tie a clove hitch or constrictur areund a bundle of passive elements fixed at both ends: with left thumb and index hold one end of the tying thread, with right hana wrap the free end round the passive bundle once above the fixed end, then, whilst left middle and ring-fingers catch a loop, wrap once more below it (a). If both ends are pulled tight whilst the loop is dropped, a clove-hitch is tied (b); if the active end of the tyingthread is passed through the upper bight before tightening, a constrictor knot is tied (c+d) 0
o
-Passive end of the tying thread fixed beyend the hands (1*11): Instructions: wrap the free end twice areund the bundle (*a); tie a half knot and press it with index (*b); rotate the bundle away from you; then tie a secend half knot (*c+d) withdrawing the index cautiously whilst rotating the bundle away from you. The knot is now out of your sight behind the bundle. The crux of this intricate process is the fact that one end remains under constant tension and still has to accomodate the knot; by rotating the bundle at appropriate moments, it is induced to kink and fold upon itself. 1f this does not happen correctly, the knot is ineffective. Since fine thread is normally used for the purpose, you cannot check the result with your eyes. Therefore I advise you to choose a coarse, though not stiff material and practice the process consciously until the succession of deli- ~ cate movements is perfectly synchronized and becomes automatic.
(c)
- Version II: 1*13 shows how to tye the constrictor in the bight, i . e. in a length of thread without free ends. When tied, it can be s1ipped over the bundle which is to be fastened, and then it is pulled tight.
1*12
Of course such a binding does not prevent each single element, if pulled by itself, from slipping out. In order to have the ends perfectly secured, bend them backwards and twist them vigorously (cf. 1*Sa); when loosened they will kink by themselves, and you can fasten the doubled-over bundle by a square knot. 17
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1.8. INTERWORKING A SET OF ELEMENTS WITH FREE ENDS 1.8. 1. The three-strand braid As an example of a highly suitabl e and efficient procedure, I introduce Peter Collingswood's manipulation of a threestrand braid (1*15). It is based on the following premise: each hand forms two clamps, 1 between thumb and index finger, 2 between middle and ringfinger. This gives you four clamps for three strands, each of these moves constantly from L2 to L1, from there to R2, to R1 and back to L2. Instructions: left hand rotates inward, i.e . it changes from palm upward to palm downward; R2 takes the strand from L1 (*a) . The strand from L2 is shifted to L1 (*b). then the same movements are performed in mirror- image: L2 takesstrand from R1, R2 shifts strand to R1. This is one cycl e. Keep repeating it. Of course this procedure is only suitab1e for three strands; any 1arger number has t o be treated differently.
1.8.2. A larger number of elements There are two ways in which an active ¡element can be made to interlace with a group of passive ones: either a shed is plucked and the active element is pulled through, or it is guided in an undulating movement over and under the passive elements . You may consider the following Suggestions and either reject or adopt them.
-Method ll (1*17): Instructions: with thumb and index pick up the outermost but one element, with middlefinger push the outermost, which will be active, below it and over back ot thumb (*a). Wi th thumb and i ndex, pick up the third element; throw the active element over it and behind all the fingers (*b). With middlefinger hook up the fourth element and push it into the palm; slipping below the active element with thumb and index pick up the fifth one (*c). Go on repeating *b and *c. As they are dealt with, the passive elements are grasped one by one with ring and middlefinger. The movements are helped by appropriately rotating the wrist.
1*17
-Method I (1*16): Instructions: with middle finger and index pinch the outermost element (*a); then with index and thumb pinch the second one (*b), and so on, moving the hand up and down slightly, until the passive group is divided into two sheets separated by index; now thumb joins index in order to spread out the shed; the other hand hooks up the outermost element and pulls it through (*c).
However complicated these instructions may sound, the movements are enjoyable to perform, and dexterous hands can speed them up to a high degree. I prefer method II to method I, because it is more versatile. But note: no shed is open at any time. If you want to beat home the last active element, you must tighten it slightly, whilst loosening the passive group which will, then, fall apart into two sheets. Introduce the finger and p~ the fell.
Most frequently a set of elements is divided into two groups and the active elements are led either from selvedge to centre or from centre to selvedge in both groups alternately. This means that the two hands exchange functions reciprocally for each successive passage. Since one hand is normally more skilled than the other, it takes some practice and discipline to make them both work at the same speed and with equal effectiveness. Some teachers recommend turning over the braid after each passage (cf. chapter 7). Thus the fabric changes faces and the group tobe interworked next now lies in Some teachers recommend turning over the braid after each passage ( cf . 7.3.). Thus the fabric changes faces and the gr group to be interworked next now lies in the position of the one interworked previously. This means, that your right and left hand can constantly behave in their own special way. Such is the habit of the skilled Canadian artisans ( chapter 7) and also of the Indian braiders in splitting plies, when working in two, or in several sections (chapter 12). Both are based on firmly rooted traditions. I am not using this method. I personally feel that the growing fabric should not meet the deficiencies of maladroit hands, rather that your versatility should allow it to remain static. The quality of the working material, the lenght and the number of elements and whether they are divided into one, two or more groups - all these different conditions must be met with slight modifications of handling. Oblique interlacing worked without auxiliary devices is a sound and useful tr-1i.ning not only for your fingers but also for your sensibility and for your mind. Every textile student, even if not particularly involved in braiding, should try out the sampler introduced in chapter 3; it is a most important experience to feel how some special yarn - not stretched between beams, not spaced by a reed and not beaten by a batten - interlaces in your bare hands. You will become mindful and observant of the demands of the working material.
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1.9. OISENTANGLING THE ENOS
1. 10. FINISHING PROCESSES
Once braiding has come to an end, you have If you interwork a set of elements, the to deal with the free ends in some practical mirror-imaged interlacing forms below way in order to prevent the fabric's unravelling. your hands. With elements long and The way you do so is largely dependent on the numerous, and with a material not smooth, type of the interlacing, on the quality of the this becomes an annoyi~g problern which material, on the intended use of the object and, has to be dealt with. As soon as a of course, on your personal taste. passage is completed, you can disengage If you want to have the bottom of your braid spread out, you can subdivide the width into the cut end of the active element with one hand whilst the other hand secures several narrow braids of the same texture. This is particularly suitable for plain interlacing. the braided structure by pinthing the fell firmly. Or you can permit the If the ends are tightly crammed along the mirror-imaged interlacing to build up as fell, you can ply them by four (1*18) or you you work, and from time to time turn to can work them into tubular four-ridge, i.e. unravelling it. Secure the fell, as ex- square braids (cf. 10*12 a+b+c). plained above, and pull one single end If you feel the fell is too loose, fasten after the other out of the bundle lying it by some rows of twining (1*19) and afterloosely in your lap. If the threads are wards fix the bundles by Whipping (1*20a), by long, they may need several tugs. The half-hitches (1*20b) or by overhand knots (*c). first ends disengage reluctantly, but by and by the tangle falls apart. Note: if instead of pulling only one thread at a time you try to pull two or 1 *21a gives a tight edge with hanging more, you will not, as you may have hoped, fringes, *21b an equally tight edge save any time; on the contrary the obwhere the cut ends are more or less construction gets worse~ cealed, and *21c shows you how to gather tif}, all the ends into ONE very voluminous bundle.
In order to form a voluminous tassel you can add fibres to the cut ends of a narrow flat or solid braid. 1* 22: a separately tied bunch of threads is fastened between the cut ends. A whipping may or may not be added. This method is used in Japanese Kumi Himo
1*22
For further ideas I advise you to consult instructions for fringe-finishing in woven textiles(e.g. chapter 14 in Peter Collinwood's Rug Book) .
1*18
Another tassel (1*23): arrange a bunch of threads all round the previously seized end of the braid ( only the lateral threads are shown in *23 a + b but the circumference must be covered c~m pletely). Fasten by whipping. Then brush the lower ends upward, so they will conceal the whipping. Add another whipping . The finished tassel is shown in *23 c.
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This Manual- a reprint ofthe second edition of1988-gives a comprehensive course of instructions for oblique interlacing. Starting with the basic knowledge, it gradually advances to more complex and eventually to the highest spheres. A consistent terminology, a Iist of criteria for classification and an original system of representation will help the theorist in hisquest for analytical understanding. The practitioner will find a view over the traditional Braiding Methods, several ofthem newly discovered in the author's lifelong research.
" ... It is a veritable mine of information for those who just want to know methods, plus a rigorous intellectual framework into which any structure and any technique can be logically fitted. It is a real creation- so mething which did not exist until you came along and made it. You have both explored a strange country and provided a fool-proofway for those who want to follow...." A personalletterfrom Peter Collingwood to the author, in 1983