Very beautiful, delicate earrings that can be designed as different variations - with both elements, with upper element only or with the bottom element only. Instruction can be used as a pendant or to become a part of a necklace. List of materials includes three color suggestions. Project Difficulty : ADVANCED You can order KIT for Renaissance earrings here.
5- loop square and flat braids are easy to learn, and make great-looking cords and bands. For an even easier intro, try my new tutorial for 3-loop braids. After 5-loop braids, move on to 7 loop bra…
One range of objects that I am always delighted to make are tools that produce something which will become part of a finished item. Below are a few of these tools, starting with three variations of rigid heddle that I use to produce straps for bags, pouches or decorative detail on garments. The two objects below are the most recent to roll off my work bench. The slotted disc in the background is a version of a kumihimo disc carved from a slice of pine. Kumihimo is a Japanese form of braid-making where a number of threads or cords are interwoven to create thicker ornate cords. The four pegged disc in the foreground is for spool knitting (sometimes called French knitting) This I carved from a slice of boxwood and used just a simple pointed piece of bamboo for the hook. This is a very traditional way to teach the basics of knitting. With just four pegs, this produces a knitted cord from a single yarn. The photo below shows two lucets. The smaller one I carved from boxwood and the larger from ironwood. These two prong tools are very similar in use to the knitting spool above. With just two prongs, it produces a thinner cord. Lucets, like rigid heddles, have a very long history and would have possibly been in use during the time of the vikings and in many parts of the world. The following images are just a closer look at the rigid heddles I made for the construction of simple woven straps. The smallest is made up of individually carved bamboo slats that have been bound together with hemp twine, This was my first attempt at a rigid heddle. With a very small number of slots and holes, it is only possible to create rather thin straps on this one. A beautiful slice of boxwood enabled me to create a slightly larger heddle with the ability to take more warp threads, therefore create broader straps. The most recent and also the largest I have made is this heddle pictured below. Its frame has been carved from a single slice of soft pine with small bamboo rods used to create the holes and slots. The holes are quite small, which limits the range of yarns I can use on this heddle. To give you an idea of the straps made so far, the image below shows three made on the boxwood heddle and one on the larger pine heddle. All of the weaving done to date tends to emphasize the warp threads. That is to say that the threads visible on the finished strap tend to be those of the warp, leaving the weft threads mostly hidden. Natural fibres, Natural dyes and Original designs http://www.sorazora.com/
Updated 1/4/2022 I’ve been obsessively working on a new to me (quite old) pleating style. Here is some of the info on my success so far. I will be updating this article some more over the next seve…
I really have been thinking hard about custom made labels lately to label my stuff with, but I don't really want to spend the money to get...
With this post I’m going to lose whatever reputation I might have with all the feminist and politically correct denizens of the blogahedron. Why, because I intend to explode one of the greatest myt…
The use of bright colors became especially popular during Renaissance times. The cultures and style of art and architecture developed during the Renaissance were based on a wide range of colors. Renaissance art depended on the size of their purse, or perhaps more accurately, that of their patron. Colors were made from earths and minerals such as plants, flowers, and berries and were relatively easy to acquire. This Renaissance Scarf would be a warm gift to your family, friends, and even yourself. Weave structure: plain weave Yarns: Bambu 7, and Zig Zag Boucle Equipment needed: rigid heddle loom; 15" weaving width; 10 dent reed; 1 shuttle Finished size: one scarf approximately 13" x 72" plus 6" fringe Instructions: Pattern included with kit Designed by Jodi Ybarra exclusively for Cotton Clouds, Inc.
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Embrace elegance with huipil dresses for every occasion. Discover the beauty and cultural significance of these stunning garments. Whether it's a wedding, party, or casual outing, huipil dresses effortlessly blend tradition and modernity.
15th (1400-1450) France Cambridge, Harvard University, Houghton Library MS Richardson 042 fol. 20 http://app.cul.columbia.edu:8080/exist/scriptorium/individual/MH-H-309.xml?
I have a collection (only images!) of paintings by past artists that show women engaging in different types of fiber art. Not that it was called fiber art in the past - more like "womanly past times." Looking at these works gives me such a feeling of connection to women who lived so long ago and, like me, used fibers to knit, crochet, weave, embroider - to make the clothing and furnishings needed for everyday life. And to not just make serviceable items, but to embellish them and make them more than just clothing and fabric. As I'm sitting with my own work, I like to think of these paintings and these women. Here are some of my favorites: circa 56 BCE This piece, showing ancient Greek women weaving, is the oldest image I've found of original artwork. You can see the types of looms they used, upright and attached to the wall. The round shapes at the bottom of the warp threads are clay weights that held the threads down. And to the far left, you can see how the fiber was kept in a bucket and spindle spun. Weaving was an important tradition for Greek women and there are many stories in Greek mythology and writings that feature weaving - among them, Penelope weaving her father-in-law's shroud and one of my favorites, the weaving competition between Arachne and Athena. In the Middle Ages, needlework was seen as an appropriate past time for "well-bred" women. The tapestries that insulated those cold stone walls were all hand woven, fabrics from coarse cloth to fine linens had to be woven, and embroidery was needed on special garments. This illustration is from Concerning Famous Women, a book by Boccacio written in 1402 and now in the Bibliotheque Nationale in Paris. Look closely and you can see all stages of weaving going on - carding, spinning, weaving. And from the clothing the women are wearing, I can see that the queen is working alongside her lady-in-waiting as well as women who are dressed in the manner of servants. Jan Vermeer is pretty well-known since the movie Girl with a Pearl Earring. He did like to paint women. He probably didn't get a chance to do more than that as he, his wife, and their thirteen some children lived in his mother-in-law's house. And some art historians believe the girl in the painting was his daughter, Maria, not a servant. See this link for a discussion of the book/movie versus historical record. Dutch lace in the mid-1600's, when this painting was done, was made by rich and poor women alike - the lace was needed for trimming and could also be relied upon for extra income. The woman in this painting is making bobbin lace - thread on bobbins is wound around pins that are arranged in patterns on a cushion. These are all depicted in the painting, as well as the special lace making table that is used. This site has more information on the process. Jan Vermeer, The Lacemaker, c. 1669 - 70. Oil on canvas transferred to panel, Musee du Louvre, Paris. I love this oil by Adolphe Bouguereau painted in the late 1800's and showing a young (and very flirty!) girl crocheting. I can hardly see the thread she's using, but it looks like it is extremely fine. I believe this is still when crochet was used for making fine lace, so that's most likely what she's doing. William-Adolphe Bourgereau, Young Girl Crocheting. Date unknown. Oil on canvas. Eugene du Blaas, The Knitting Lesson, oil on cradled panel. And this oil, also from the late 1800's, painted by Eugene de Blaas is wonderful. He completely captured the look of heavy concentration on the young child learning to knit and the careful watching, without wanting to look like she's hovering, of the woman teaching her. While I'm not sure I want to be included in this particular gathering (although if I'd lived then maybe I would have), this Jeanne-Madeleine Lemaire oil painting makes me think of how nice it would be to have an embroidery group. I can just feel the camaraderie and friendly competition (I love the woman slyly peeking at her neighbor's work) and hear the great gossip! Jeanne-Madeleine Lemaire, An Afternoon Embroidering. Oil on canvas, private collection. Diego Rivera painted the ordinary people of Mexico going about their daily business and managed to make much of it look exotic and romantic - I'm not sure this was on purpose, but had more to do with accurately capturing the colors and atmosphere without using photo realism. This women is weaving with a backstrap loom much like is still used in much of Guatemala and southern Mexico. I love her yarn holder - I've been toying with buying a swift instead of using the upside down piano bench, but now I'm going to have my husband build me one of these. Diego Rivera, The Weaver, 1936. Tempera and oil on canvas, The Art Institute of Chicago. I hope these give you inspiration for your own work! Happy Creating! Deborah
Intricately patterned and sumptuously textured, jacquard fabric has a luxurious quality that is hard to beat. In contrast with printed textiles, jacquard patterns are incorporated into the weave with a slight raise, giving them a long-lasting lustre and durability that resists fading or fraying over time. A modern take on the long tradition of brocade,...
Obe Golding Lucets by Golding Fiber Tools
I don’t claim to be an expert on dyeing, however over the years I have dyed a lot of stuff (basket related and not), I have used a lot of different dyes – natural, all purpose, direct and reactive, I have dyed natural (protein and cellulose) materials and synthetics, trial and error (failure and success) […]
If I want to try out a band pattern or just weave something quickly I usually set up the warp and thread it onto my heddle at the same time. This isn’t the
Die Textilkünstlerin Luba Krejčí (1925–2005) nimmt im Feld der sogenannten Fiber Art der 1960er-Jahre mit ihren poetischen Fadenbildern eine Einzelposition ein. In unorthodoxer Weise erfand sie darin die traditionsreiche Klöppeltechnik neu.
~Will you Sow the seeds of premonition Into a fruitful action To ignite the weave In radiant expectation…? ~hag
