Perché ho scelto la tessitura con il telaio a mano? Perché è un'arte attuale con potenzialità illimitate che migliora anche lo stato d'animo.

Chiunque può tessere, bambini, adulti e anziani. La tessitura è una forma di meditazione e yoga, ha un potere terapeutico e porta a benef..

Oggi mi dilungherò più del solito, ma i miei occhi hanno ammirato e i miei orecchi hanno udito, cose meravigliose e mi sembra doveroso condividerle e divulgarle. Vi porto a visitare uno dei tesori quasi nascosti di Perugia: il laboratorio di tessitura a mano di Giuditta Brozzetti. Fondato nel 1921 da Giuditta Brozzetti, è uno degli ultimi laboratori di tessitura a mano in Italia. Su telai lignei del Settecento e Ottocento vengono realizzati manualmente tessuti artistici, riproduzioni di autentici disegni medievali e rinascimentali della tradizione tessile umbra e italiana. E' qualcosa di unico e meraviglioso, entrarci è come fare un tuffo nel passato. Il complesso architettonico che ospita il laboratorio è una chiesa risalente ai primi del Duecento "San Francesco delle donne": uno spettacolo!!! Ora preferisco lasciare spazio alle immagini, sono più eloquenti delle parole Storia del laboratorio - fino al 1996 la sede si trovava in una villa ai piedi del convento di Monteripido, trasferitasi poi nella sede attuale poco distante dalla precedente storia della chiesa che ospita il laboratorio l'attuale erede e proprietaria del laboratorio, Marta Cucchia, è grazie al suo enorme impegno ed alla sua straordinaria competenza e bravura, che il laboratorio sopravvive mentre esegue uno dei pezzi più straordinari della loro meravigliosa produzione: una tessitura chiamata Pintoricchio, è la riproduzione fedele della tessitura originale, di uno degli ornamenti raffigurati in un celebre affresco sacro del grande pittore perugino Bernardino di Betto detto il Pinturicchio o Pintoricchio il Pintoricchio i filati di seta usati per eseguirlo lavorazione di una raffinatissima tovaglia in lino è straordinaria!!!!!!!!!!!!!! la fiamma di Perugia Spero che la visita vi sia piaciuta, se vorrete approfondire l'argomento questo è il link al loro sito http://www.brozzetti.com/

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"Es un placer convertir plantas que la gente a menudo ve como malas hierbas en pequeñas cestas tejidas y joyas".

Sydney-based artist Michelle Robinson weaves textured fibers in vibrant hues into playful, bright wall-hangings and accessories.

Quelli che si innamorano della pratica senza la diligenza, ovvero scienza,per dir meglio, sono come li nocchieri ch'entrano in mare sopra una nave senza timone o bussola, che mai non hanno certezze dove si vadino. Sempre la pratica deve essere edificata sopra la buona teoria e senza quella niente si fa bene, cosi in pittura, come in ogni altra professione. Leonardo da Vinci

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Discover 10 contemporary textile artists inspired by nature that you HAVE to follow. This is ground breaking, innovative, inspirational art.

I’m completely hooked on Tablet weaving. Tablet weaving (or card weaving) uses cards and yarn to create patterned bands. I love the small details, how quickly it weaves up and how useful the finished product is. It’s a surprise every time I turn the cards and a pattern actually emerges! T

four shaft Wall of Troy (M. P. Davison) Wall of Troy extended to 8 shafts For the past few years I have played with 'fancy' twills. Someone asked me what I meant by 'fancy' and I had to think about that term for a bit. While I knew what I meant, I had to think about how to define it. There are many examples of 'fancy' twills in many resources e.g. the little booklet called The Fanciest Twills, which is likely where I first heard about fancy twill. Beginning with the four shaft Wall of Troy, it is not a straight draw but reverses in a /\/ progression and repeats. Technically one might refer to this as an extended point progression. In the drawdown area of the draft, there are connected diamonds and a clear straight diagonal running through the cloth. Extending this over eight shafts enlarges the design and makes it more dramatic. The tie up can change from a 2:2 twill to a 1:3:3:1. When you have more shafts, the combinations can become much larger, more complex and the tie up can also become more complex. One of my favourites is 1:3:2:2:3:1:2:2 This keeps floats to 5 (usually) and in the finer yarns I tend to use, a five end float does not adversely affect the cloth. The key to unlocking how fancy twills worked was from S. A. Zielinski's publications. Robert Leclerc collected Mr. Zielinski's works, edited them into topics and published them in the late 1980s early 1990s (if I remember correctly). One of them took twills and played with them on four shafts creating very complex patterning. His premise was that you didn't need to have more than four to make cloth with complexity. Since I had 16, I began to play with twill progressions to make quite large repeats. Having a loom with a dobby meant that I could then enter the tie up and treadling into the computer, and at a flick of a switch change from one tie up/treadling to another making scarves and shawls that were related but different. Working in a series like this made my inventory more diverse and gave customers a choice over which options they liked best. Last night I thumbed through Ars Textrina - the information translated from the Old German by Patricia Hilts - about a class of weaves called Gebrochene. I'm looking for inspiration for my next warp and being entranced once again by 'fancy' twills. I think I could just weave these kinds of drafts for the rest of my life and still find fascination in them! The test warp currently on the Megado is one of these fancy type of twills. Each shawl is being woven with a different weft colour, but also a different tie up/treadling. As I mix and match the threading with different treadlings, the resulting cloth is similar but different. At the end of my thumbing, however, I reflected on the colours I was going to use for the next warp and instead of a fancy twill, I will do something with twill blocks. My inspiration will be the colours of the south west and my pattern will reflect something of my feeling of the desert when I visited New Mexico and Arizona. At least, that's the plan. For now. 8 shaft Swedish Snowflake. Another example of a 'fancy' twill. Areas of straight and point progression, advancing and satin.

In her second book on takadai braids, Makiko Tada details four different flat braids of the ryuko (dragon/tiger) design, all done with 50 bobbins on the takadai braiding stand. I worked my first on…

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Card Woven Ukulele Strap: Card weaving (or tablet weaving) has been used to weave selvedges, tapes, belts, straps, and trim since at least 800 BC. I'm going to walk you through the steps to basic card weaving with a pattern to make a colorful diamond strap for a ukulele. I u…

At Fine Cell Work, we use only the best quality yarns and cloth in our production. Linen cloth is used in some of our best selling items such as our lavender bags, our Shakespeare range and of course, our popular pineapple collection. If you have ever bought one of our embroidered products then you are probably familia

We’ve moved quite a few times since we got married. I’ve enjoyed each place we’ve called home: Utah, Washington, Texas, and Arizona. Each place marks a different focus of my creative journey, and our family’s season of life. We recently moved to San Jose, CA four months ago, and this time was a bit

This is a very easy 4-shaft color and weave pattern for twill. I’ve never done a light/dark twill project before! Each of these makes a swirl that completely goes around in a circle. So cool!! I ...

Interview by Emme Martin | Photography by Ruben Guerreiro, courtesy of Studio Vanessa Barragão The beauty of humanity is that […]

Zöldek, sárgák, narancs, barna, bordó, vörös: gyönyörűséges ékszerek őszre! 35 ötlet és ez még csak a kezdet :)

16/2 Organic Cottolin is provided on 1/2 pound (227 gram) tubes. Each tube has about 3360 yards and has 6720 yards per pound. This yarn is a blend of 60% organic cotton and 40% linen. It is spun and dyed in Quebec. Natural and Bleached are priced lower than the color options. Remember that you can substitute this 16/2 Organic Cottolin for any weaving pattern calling for 16/2 Cotton. Possible Weaving Setts: Plain weave: 30 epi; twill 36 epi This listing limits to in stock colors and quantities. In stock orders ship very quickly. If you aren't able to select what you need, we are happy to accept a custom order and get your yarn within 2 weeks. 1st Picture - Cottolin-RedsOrangesPinksYellow Bottom Row: Orange Fonce, Rouille, Orange Brule, Scarlett Rouge Middle Row: Brick, Jaune Or, Vieil Or, Cerise Top Row: Wine, Yellow Fonce, Rose Pale, Bourgogne 2nd Picture - Cottolin-Neutrals Bottom Row: Beige, Brun Chocolate, Noir, Ivoire Top Row: Blanchi, Gris Pale, Charcoal, Natural 3rd Picture Cottolin-Greens Bottom Row: Vert Fonce, Vert Emeraude, Olive Middle Row: Seaton, Vert Nil, Limette Pale Top: Turquoise 4th Picture Cottolin-Blues-Purples Bottom Row: Marine, Royal, Vieux Bleu, Slate Middle : Peacock, Periwinkle, Blue Pale, Mauve Top: Lavander, Magenta Here is a link to purchase a color card with yarn swatches: https://www.etsy.com/listing/630790759/cottolin-color-card-maurice-brassard?ref=listings_manager_grid

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Unità minima d'intreccio dei fili d'ordito e di trama, o anche il modo nel quale si alterna il movimento dei licci che dà l'effetto d'intreccio e di disegno nel tessuto. Le armature fondamentali sono tre, e si distinguono in semplici: tela (per tessuti ad effetto piano), saia (per tessuti ad effetto diagonale), raso (per tessuti ad effetto generalmente disseminato). e complesse (→lampasso, →broccatello, →velluto). Mentre l'armatura tela è unica nel suo genere, la saia ed il raso possono avere vario rapporto (esempio: spina da 3 - raso da 5, ecc.). La rappresentazione dell'armatura è chiamata messincarta (Norma UNI 9274). Per i tessuti a →maglia non si può parlare di armatura, in quanto non esistono i fili di ordito e di trama. Il tessuto a maglia è costituito dall'intreccio di un unico filo non teso, intorno a se stesso. Così si ottengono i tessuti a maglia ed il tessuto jersey. Francese: Armure - Inglese: Fabric weave - Tedesco: Bindung eines gewebes - Spagnolo: Ligamento de un tejido Rames Gaiba © Riproduzione riservata

First thing you need to learn when you want to start your adventure with weaving is how to warp a loom. Warp are all vertical threads you stretch between top and bottom beam of the loom. You will use them to weave weft - horizontal threads - between them. It’s important that your warp is stretched properly and has a go

Ines Seidel est linguiste de formation. Ses oeuvres tissent mots, bois et textiles. Ses dessins mêlent travaux d'aiguilles et littérature, couture et livres, fibres et papiers. Un travail fragile qui a du sens. Toutes les images : ©Ines Seidel En savoir + Le site Le blog La boutique DaWanda FlickR

Meet my family of inkle looms! Ashford Inklette- The cutest of inkle looms. I like this one because it is small enough to fit easily on my lap and can be held between my knees. I can even weave while riding in a car. Because of it's petite size, there is not a lot of clearance and it feels awkward for my hands to work within such a small space and narrow shed opening. Also, I am used to using a lot of tension and am always careful not to use too much tension on this one because it is more petite. But I find it nice for weaving really narrow things like the silk ribbon and stampede straps that I have been making. I have a small child's suitcase on wheels which just fits this and makes it a dream for traveling. Schacht- I have 3 of these. This loom is perfectly configured for ease of weaving, in my opinion. I much prefer the slide type tensioner of this loom to the paddle type of the Inklette. I also prefer the tensioner to be in front as this allows for the easiest of adjustments. The spacing of the uprights suits me; it has just the right length between me and the heddles for weaving. (Too long and my back gets tired of reaching, too short and I have to advance the warp too often.) Northwest- Beautifully crafted of walnut. This one is constructed much like the Schacht, with a couple of differences. It has a second side to the frame, which is removable. This makes it so convenient for taking to shows and demonstrations. The second side keeps warps from slipping off the ends of the pegs while I am toting it around. It also allows me to work wider without constantly herding the warps away from the edge and it provides that extra support and stability for those who use a lot of tension, like me. The front upright angles forward a little more than the Schacht, which creates a shorter weaving distance and it is necessary to advance the warp more often. Homemade- (Shown here with the Schacht for size comparison.) You could weave all week on this baby. I once made a sash 14' long on it, and I don't think that I used it's full capacity. If you are going for yardage, this would be the best choice. It stands on the floor and I find that I am most comfortable tipping it forward onto my lap to work. When I get a really long warp on it, the process of advancing the warp is a challenge. Makes me wish I had more arms. My brilliant husband pointed out that it would have been nice to have something for scale in each photo. I wish I would have thought of that. Other looms have come and gone from my life. This is the current collection and as you can see, each serves a purpose. There are a couple more that I have a hankering to own, though. There are so many varieties of inkle looms available; a recent brief search of the web turned up many small manufacturers. It would be fun to test them all! The beauty of the inkle loom above all others, I think is the ease of setup. A continuous warp wound directly onto the loom eliminates the step of preparing the warp. (If an inkle loom has two sides, one of them needs to be removable to accomplish this.) I have tried a little tapestry weaving. I also own a perfectly beautiful Kromski Harp rigid heddle loom. But the truth is, I love inkle weaving and will always come back to it.