The openings in the cloth are held open by various amounts of multiple twist in the interlinking, some one, some two, three, or four.
The photo shows the start of the cloth at the top. I worked downward. In the cloth at the top I compacted the rows but at the end, near the meeting line, the rows are looser. I wish I'd been more consistent. The uncompacted rows skew less and look better.
The fabric stretches sideways a lot. As you can see, the fabric looks more like mesh than plain interlinking does.
I tried this type of språng because I thought the diagram in the book looked pretty. You start with one twist, then as you work across the row the next interlinking has two and so on building up to four, then you reduce the number of twists in each interlinking, then build up again. Then the next row you offset this; you start with three twists, then decrease the number of twists in each interlinking, then increase. One row's height waxes while the other wanes, with an effect like waves. That's the theory, the actuality is rather blurred. Could be my fault for using a somewhat fuzzy yarn. Didn't help that for one row I wasn't thinking and did interlinking with four twists all the way across.
Multiple twist interlinking is part of the Bronze Age hair-net shown in the book. I think looking at the plate that while different rows have different amounts of twist in each interlinking, within a row the number of twists is the same. That would be more simple to work. The handspun wool yarn must be a firm sort as the twists appear well defined.