Added to this information  from the past, I began to find more and more  non-traditional possibilities, for instance, in the use of only two threads per tablet and adapting the pasaka idea. At the request of museum workers I put an asterisk against every such technique I had evolved.

Gradually my pre-electric typewriter produced, with the help of carbon paper, three piles of text on the floor of the upper room in our garden barn. Any corrections were tediously pasted into all three copies, this included a big re-write after N S's valuable criticisms of the M S.

The diagrams meant much work with a ruler, then hand drawn details. I tried to combine in one diagram  the set-up of the tablets, the resulting structure and a fairly realistic view of the finished band. Once the convention was established there were days of  careful but arm-stiffening work.

With seeming logic I argued that B/W photos resulted from B/W samples. But as I began to take the shots (I rigged up a table for this with fixed photoflood lamps and camera stand) I saw my horrible error. The exposure could never be correct for two such extreme shades. So I had to re-weave every one in two close shades of blues kindly donated by Dryads, a craft firm closely associated with TW.

Unlike the sprang book this did lead to economically viable weaving - the production of the Alphabelts and inscription belts, which I continue to make.

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              320 pages, 240 diagrams, 232 B/W plates 

 This book has now been re-printed by Robin and Russ and is available from Unicorn Books for USA or myself for Europe. My address is

<plysplit@onetel.net>