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What a hectic week! It started with me cutting up a piece of work and then deciding to make something new (that’s another story) and ended with setting up Chinese Whispers which is the new ex…
Susanne von Textile Geschichten sammelt heute Stoffspielereien zum Thema „seltene Techniken". Das Thema gibt viel Spielraum, bereits 2015 gab es dazu eine Linksammlung. Mein Beitrag zu diesem Thema kam zustande, ohne dass ich darüber nachgedacht habe. In den Osterferien durfte ich einen Upcycling-Workshop mit Kindern betreuen. Am Ende gab es reichlich Stoffreste. Zeitgleich hatte ich ein paar Nachfragen nach Chenille-Box-Mäppchen. So war es naheliegend, die Stoffreste zu stapeln und altbewährt zu Flächen für Stifte-Mappen zu vernähen: Beginnend auf einer Bügelmarkierung diagonal; parallel mit Nähfußabstand von 0,75 cm. Es hat sich bewährt, die untere Lage größer zu halten, dann ist das Anschneiden der Lagen leichter. Auf der untersten Lage drehe ich gleich mit ein paar Stichen, ist besser als Abschneiden. Versehentlich habe ich vereinzelt am Cutter eine Seite mit zu schmalem Führungselement erwischt und meine Schnitte sind mitunter sehr dicht an der Naht. Für einen Nahtabstand von 0,75 cm ist die Einstellung M am Chenille-Schneider zweckmäßig. Durch mein Missgeschick hatte ich das Bedürfnis, die Raupen zusätzlich zu fixieren und erinnerte mich an Fotos von Stoffmanipulationen. Dazu lasse ich nun Fotos sprechen (eine kleine Auswahl). Beim Stapeln der Lagen habe ich mir kaum Gedanken gemacht, wie sich dieser Zufall später auswirkt. Besonders umgehauen hat mit der Effekt mit einem lila-orangen 80er Jahre Bettwäschestoff und in einem anderen Stapel eine mint-rosa-karierte Lage, die unter der Titanic hoch kam. Auch schwarzer Denim ergab eine interessante Optik. Die Verwandlung der "Altstoffe" war faszinierend, ich konnte dann gar nicht aufhören mit Stoffe aufräumen. Wenn mein Chenille-Cutter noch scharf wäre würde ich wahrscheinlich auch jetzt gerade Chenille-Raupen schneiden, aber meiner Ersatzmesser ist noch nicht eingetroffen. Dem Fixieren der Chenille-Raupen vor dem Nähfuß habe ich zunächst mit einer Häkelnadel nachgeholfen, später mit einer Stricknadel: mit der Nadel von der Seite zwischen die Raupen gleiten, drehen und vor der Näh-Nadel positionieren. Die Fläche mit Umrandung habe ich später mit einem Dreifach-Zierstich zusätzlich über die Umbiege-Nähte gefestigt, die vielen Lagen brauchen Halt. Die monatliche Stoffspielerei ist eine Aktion für textile Experimente. Sie ist offen für alle, die mit Stoff und Fäden etwas Neues probieren möchten. Der Termin soll Ansporn sein, das monatlich vorgegebene Thema soll inspirieren. Jeden letzten Sonntag im Monat werden die Links mit den neuen Werken zwecks Erfahrungsaustausch gesammelt. Die weiteren Termine der Stoffspielerei: 28.05.2017: Denim (Griselda – Machwerk) 25.06.2017: Thema noch offen (Lucy – Nahtzugabe) Juli/August 2017: Sommerpause 27.10.2017: „Fäden auf Farbe“ (Ute - 123-Nadelei)
A blog about weaving, dyeing, knitting, spinning, sewing, and the related fiber arts.
Pitti Filati F/W Fall Winter 14/15 - Research Forum, Florence Italy, novelty stitches, novelty sweaters, knitwear
Hello. I'm Helen Howes, and I'm your Guest Artist for March, on the entertaining and rather compulsive subject of Manipulating Fabrics. Couple of things - I'm English, so my spelling may worry some of you.. think of it as Trans-Atlantic cultural fusion, or the Language of Shakespeare (he couldn't spell for toffee) Anyway, I thought I would start with a relatively new technique - sometimes called Faux Chenille, but also Slashing... If you haven't seen this before you will think it's rather magical.. if you have, bear with me, as I have a few twists of my own... Part the first You need lots of fabric - layers and layers.. it works best with slightly loose weaves (not batiks), hand-dyes, woven colours, solids.. You will find that some printed fabrics look weird, as the white backs take over the design. Plain muslin (USA) or calico (UK) is also fantastic for this I started with a set of Oakshott cottons (disclaimer, I do a lot of pattern-designing for Oakshott, so I tend to have a lot of their fabrics at my disposal. Such a tragedy...) These are "shot", that is, woven with one colour in the warp and one in the weft.. they shimmer lightly. This was an odd pack that just came to hand, and has a close set of pinky-purply-orangey colours. I also chose a dark purple for the base colour. In any set you will see most of the bottom and top colours. Cut the layers to a shape of your choice (a bit bigger than the end required, as it can distort), then (Hint number 1) cut the bottom layer at least 1/2 an inch bigger all round. If these had Right Sides, they would all face UP.. (Hint number 2, press the layers on top of each other - they will stick together quite well) Pin in a few places if desired You will note that I have 10 layers. Much of the online and printed advice about chenille assumes 5 or 6 layers at most. This always seems rather skimpy, and you need to sew your lines a lot closer together... I'm lazy and fussy, so I use more cloth... Sew on the diagonal, starting with a line across the middle from corner to corner.. The diagonal bit is important. I always use a walking foot, but if you don't have one, pin the layers together and sew.. Sew parallel lines across the fabrics. I'm using the width of my walking foot as a guide here, about 1/2 an inch. If you have fewer layers, sew closer; more, further apart... DO NOT sew across the ends of the channels, please All sewn. Now, those of you of an Observant Nature (hands up, if you aren't paying attention?) will notice that my extremely Low Boredom Threshold set in on the second half, and I sewed some different diagonals.. As long as you are working on that diagonal idea, you can play.. Note that the lines that go in and out of the middle are continuous.. You don't want odd thread ends or weak spots anywhere. Use good thread, cotton or poly, and a small stitch. Check your tension is good both sides Now you need to cut between the lines of stitching. I did this sample with scissors, we'll look at the Technology next time. You will, at this point, understand why the bottom layer is bigger, as you don't want to cut that one. It makes it easy to get the scissors in the Right Place Now, take your sample to the sink and Wash It.. I use a little dish-washing liquid and warm water, and rub gently.. Big pieces can be machine-washed, but I don't usually feel the need.. Rinse, and dry The result is just sooooo tactile.. More tomorrow HH
Tramas de puntos, lineas logrados en estampados, teñidos, bordados, tejidos, calados.
I hold simplicity as a firm principle in my work. To express an idea in a minimum of terms means a serious commitment to removing all extraneous elements: paring away and discarding all that is not essential in pursuit of clarity. Saying much in just a few words has been a strong expressive tendency in Japanese culture. My aim is to achieve an expressiveness that is profound within the constraints of the clarity and simplicity of the single indigo colour. I believe that it is depth that is of the greatest importance in a true work. Depth means a penetration into the deep and fundamental nature of things. Depth is not just a matter of rational concept or idea, nor is it something one can always achieve through sheer commitment and devotion. The Japanese word OKU indicates an inner realm; maybe emphasis placed on inner depths - oku - is unique to japan; however, I believe it is a universal value. The difficulty of expressing oku and any success in expression must surely be an intrinsic part of the artist's talent and temperament. I find it extremely difficult to realize, and have no clear idea of how to go about it. I do not know to what extent I achieve it. Shihoko Fukumoto All the text in this post is by the artist. All the images are from the internet.
Wabi Sabi Art + Design from a Scandinavian perspective Natural elegance Scandinavian modern Harmonious style Creative spaces Clever DIY Tutorial
Close up Block type: 4-patch Block size: 10 1/2 inches Colour scheme: reds, greens and neutrals Texture/fabric manipulation: layered fabrics Cut: one 5 1/2 in square in red fabric one 6 in square i…
WORKSHOPS Painted Warps and Parallel Threadings 5-day workshop This workshop takes you on a weaving journey through Echo and beyond, with the steps as follows: Day 1: Paint two warps in different but complementary color-ways Day 2: Rinse and dry your warps and begin beaming them together as one on your loom Day 3: Thread in an Echo pattern (using your two warps on opposites in an extended parallel threading) Day 4: Finish threading, sleying, and tying on and begin weaving Day 5: Experiment with tie-ups and treadlings to achieve a variety of patterns in Echo, Jin, Shadow Weave, Rep, Double Weave and, if you choose, differential shrinkage You will go home with a beautiful array of samples and new techniques to deepen and broaden your weaving practice. 4-shaft looms are fine, 8-shaft and more are preferred. Students must know how to dress a loom and read a drawdown. Familiarity with weaving software is helpful as well. ____________________________________________________ One Warp, Many Structures: Explorations in Extended Parallel Threading 2 1/2 to 3-day workshop As Marian Stubenitsky has shown in Weaving with Echo and Iris, extended parallel threadings offer endless possibilities. In this workshop, designed for advanced beginners and beyond, you will arrive with your loom dressed in a two-color warp on a parallel threading. (Drafts will be provided about 6 weeks beforehand.) Working with a variety of tie-ups and treadlings, you will weave a series of designs in Echo, Jin (Turned Taqueté), Shadow Weave, Rep, and Double Weave. The takeaway is a sampler of colorful patterns and a broader, deeper understanding of the potential for extended parallel threadings and how to design them. For 4-shaft to 32-shaft looms. _____________________________________ Dimensional Weaving for 4 to 32 Shafts 2 1/2 to 3-day workshop 4 shafts 8 shafts 32 shafts In the water, textured fabrics can change before your eyes: pleating, folding, buckling, and curving into three-dimensional shapes. In this workshop, we will look at the three basic techniques for creating collapse fabrics: weave structure, the use of active and inactive yarns in warp and/or weft, and differential shrinkage. Participants will choose among designs for 4 to 32 shafts and then weave 5 or 6 samples using different yarns, tieups, and treadlings -- all demonstrating how texture, working in synergy with pattern and color, adds beauty and interest to a fabric. Registrants must be able to read a draft and dress a loom. ____________________________________________ Weaving Outside the Box: How to Make Dimensional Cloth 2 1/2-day workshop Color and structure are usually cited as the two most expressive elements in weaving, while texture, a vital factor in artful weaving, is often overlooked. This workshop focuses on creating three-dimensional pleats, curves, and other forms, emulating the organic lines and shapes of nature. Using certain advantageous structures, active and inactive yarns, and finishing techniques, you will learn how to expand your weaving repertoire and create "tactile art." You'll choose a project for 4, 6, 8, 12, or 16 shafts from my book (shown above) and arrive at the workshop with your loom dressed and ready to go. The workshop id designed for intermediate weavers: those who know how to dress a loom and read a draft. Materials fee of $50 includes purchase and shipping of book beforehand. _____________________________________________________________ Designing with Deflected Double Weave 2 1/2 to 3-day workshop* Participants will share an in-depth learning experience with Deflected Double Weave. This is an on-loom workshop, with students weaving a number of samples in a design for 4 to 16 shafts. We'll look at how to vary tieups and treadlings to create new designs and learn the different techniques for weaving selvages. In addition, we will work with active wefts such as Colcolastic, gold gimp, fine merino, and wool/stainless steel to achieve textured effects after finishing. We will discuss a variety of methods for designing this visually intriguing, graphic structure and practice creating our own designs with Fiberworks or other weaving software. Students will wind their warps and dress their looms prior to the workshop, ready to begin weaving the first morning. *This can also be presented as a one-day, off-loom workshop. ______________________________________________________________ Deflected Double Weave for Collapse Fabrics 2 ½ to 3-day workshop This workshop gives weavers an understanding of and practice with Deflected Double Weave as a structure that will collapse, pleat, and pucker after washing. Participants will choose from drafts I have designed for 4, 8, 12 and 16-shaft looms and will wind warps and dress their looms before the workshop. At the workshop, they will weave a number of samples for reference, washing at least one to learn how collapse techniques are applied in the finishing. They will also practice drafting and planning their own Deflected Double Weave designs using collapse techniques. ___________________________________________________ Echo and Jin: Playing with Color Chords 8-shaft Echo design on a 4-color warp For 4 to 16 shafts, this is an on-loom study of the color wheel and theories of color harmony, based on the teachings of 20th-century artists Johannes Itten and Josef Albers. The focus is on developing a subjective and objective sense of how to optimize the use of color in your weaving practice, particularly in weaving parallel-threaded designs. At least six weeks prior to the workshop, you will choose from a series of Echo and Jin designs provided by the instructor, with options for 2-end or 4-end parallel threadings. Next, you will choose warp colors based on Itten's theories of color chords, drawing from his 12-point color wheel. During the workshop, you will weave samples using different tieups, treadlings, weft yarns, and weft colors. __________________________________________________________ Echo and Jin: Variations on a Theme 2 ½ to 3-day workshop Echo on 8 shafts, 20/2 cotton warp and weft, 2 colors in both warp and weft Echo on 12 shafts, 2 colors in warp, one in weft Working with a variety of yarns, tieups, treadlings and setts (if you choose), you'll weave a series of designs in Echo and Jin (Turned Taqueté). You'll explore the interaction of color and structure, using two to four colors in the warp and a variety of colors in the weft. And you'll explore design, learning how different treadlings, tieups and setts change the pattern and learning how to use Fiberworks to create your own designs. This workshop is for intermediate weavers and beyond, for looms with 4 to 16 shafts (with designs for 24 and 32 shafts upon request). With drafts and warping instructions provided beforehand, you will begin the workshop with you loom dressed in a two or four-color warp using an extended parallel threading. ___________________________________________________________________ Echo on the Double: Doubleweave on Parallel Threadings 8-shaft doubleweave sample on an Echo threading, front view Same sample, back view Echo threadings -- also known as extended-parallel threadings -- offer limitless possibilities for flowing designs and bold color combinations. When woven as doubleweave, using two or more colors in the warp and two colors in the weft, the interactions among warp, weft, and pattern create striking motifs and color interactions. Weavers will choose their designs, gather their yarns, and warp their looms prior to the beginning of the workshop. Color theory, profile drafting, network drafting, and designing doubleweave tieups are some of the topics covered in this workshop. For intermediate to advanced weavers, with the use of weaving software recommended but not required. For 4, 8, 12, and 16 shaft looms (with designs for 24 and 32 shafts upon request). ______________________________________________________________ Paint Two, Beam One: Painting Two Warps and Weaving Them as One 2 1/2 to 3-day workshop This workshop teaches students how to hand-paint two warps in different color palettes and beam them together to weave one luminous fabric on their loom. Students will plan their project, paint two warps in different but compatible colorways of about 4-5 colors each, and then beam these warps together in stripes or blocks of their own choosing. Many warp-emphasis designs -- for 4 shafts and beyond -- lend themselves well to this technique. The focus is on exploring the possibilities of color and learning new skills. Also, studio safety is detailed and emphasized. Skill level: Intermediate to advanced, although adventurous beginners are welcome. __________________________________________________________________ One Warp, Four Fabrics: Weaving with 60/2 Silk 2 1/2 to 3-day workshop This workshop aims to take the fear out of weaving with fine silk using different wefts, tieups and treadlings to achieve widely varied results. Students will come away with samples of four distinctly different and useful fabrics: one suitable for scarves, with a delicate hand and wonderful drape; one resembling rag rugs, suitable for jackets and coats; one collapse fabric with lots of texture and personality; and one historic fabric that stretches vertically, simply because of the yarns and structure. Students will also have a primer on the history and potential of silk fiber. Skill level: intermediate to advanced. _____________________________________________________________ Paint Two, Beam One: Painting Two Warps and Weaving Them as One 1-day workshop This shorter workshop has the same focus as the 2 1/2 to 3-day workshop, but covered in one day, with dyeing, beaming of warps, and weaving taking place after the workshop. We will cover how to wind your warps, plan your colors, prepare your dyes, paint your warps, and beam them as one on your loom. In addition to handouts, you'll receive a variety of WIFs and PDFs giving you threadings, tieups, and treadlings for patterns on 4, 6, 8, and 12 shafts. (You also have the option to work with a pattern you've chosen beforehand.) ____________________________________________________________ How to Make Dorset Buttons 3-hour workshop Learn to make colorful, whimsical buttons – for jewelry, surface decoration or fasteners for your handmade garments – using only curtain rings, a tapestry needle, yarn, and perhaps beads. Based on 19th-century patterns from Dorset, England, these buttons are easy to create and customize to match your own fiber creations. To make your own buttons for a current weaving, felting, or knitting project, bring along your project and yarns. No prior experience needed. __________________________________________________________________ LECTURES The Power of Craft: A Weaver's Perspective 1-hour lecture and PowerPoint “There is something in every human soul which seeks to create a thing of beauty, given any sort of opportunity and materials to do so. Throughout all the ages people have pursued their own ideas of beauty, building, shaping, weaving, painting, decorating. They have carried on that pursuit through every medium that ever came to hand: wood, stone, feathers, bone, ivory, cloth, jewels, metals, glass, clay, shell, leather, pigment… and yarn,” writes Barbara G. Walker in her 1968 book, A Second Treasury of Knitting Patterns. This lecture, accompanied by images of weaving and crafts throughout history, looks at the pursuit of craft, from ancient to modern times, and why it continues to enrich our lives -- from a weaver’s perspective, of course! ___________________________________________________________ Dorset Buttons: A Heritage Craft 1-hour lecture and PowerPoint Dorset buttons, designated in England as a "Heritage Craft," continue to delight fiber artists today as colorful, whimsical embellishments for jewelry, surface-design and fasteners for handmade clothing. The variations are limitless and they can be created anywhere using only curtain rings, a tapestry needle and yarn (and beads if you choose). Further, you can customize these buttons to match your own creations, using yarns from your stash. Dorset buttons have been around for centuries, beginning in the 17th century as a cottage industry in County Dorset on the English Channel. Come hear the history of these lovely designs, viewing lots of inspirational photos along the way, and learn how to make them on your own. _____________________________________________________________ Echo and Jin: Variations on a Theme 1-hour lecture and PowerPoint This lecture illustrates how extended parallel threadings -- known as "Echo" threadings -- offer weavers unlimited options for designs, textures and color palettes, just by changing your tieup and treadling and varying your weft yarns and sett. Echo and Jin designs take weaving "off the grid," allowing weavers to create flowing lines, circles and unique shapes. These techniques can include networked threadings and treadlings, which will also be discussed. _____________________________________________________________ Echo Threadings: The Warp that Keeps on Giving 1-hour lecture and PowerPoint 12-shaft Echo sample courtesy of Maryann Ariizumi 12-shaft Jin sample courtesy of Maryann Ariizumi 12-shaft Shadow Weave draft 12-shaft Rep draft 12-shaft double weave draft How can you weave Echo, Jin, Shadow Weave, Rep, and double weave on just one warp, with just one threading? With an extended-parallel threading, that's how -- simply by varying the tieup, treadling, and weft yarns and, in the case of Rep and double weave, by re-sleying as well. This lecture traces, which looks at techniques for intermediate to advanced weavers, sheds light on the wide-ranging possibilities of Echo threadings, as discussed by Marian Stubenitsky in her groundbreaking book, Weaving with Echo and Iris. _____________________________________ Tactile Art: Collapse Fabrics from 4 to 32 Shafts 1-hour lecture and PowerPoint This one-hour lecture and PowerPoint explores the many techniques and possibilities for creating dimensional fabrics. The three basic elements for these fabrics are structure, active and inactive yarns, and finishing techniques. The results make the most of an often-overlooked aspect of weaving: that of texture and depth. Add color and form, and weavers can maximize the potential of our craft to create imaginative fabrics with great visual and tactile appeal. _______________________________________________________ Paint Two, Beam One: Painting Two Warps and Beaming Them as One 1-hour lecture and PowerPoint This lecture and PowerPoint presentation, accompanied by garments and samples, presents designs and methods for painting two warps and weaving them as one on your loom. You'll learn how this technique, when used with extended parallel threadings and other warp-emphasis weaving patterns, can optimize the use of color in your weaving. ______________________________________________________ Once Upon a Warp: From the Loom to the Runway 1-hour lecture and PowerPoint This lecture traces my weaving journey from concept to completion of a garment, followed by a fashion show of the garments themselves. Every year since 2008 I have set myself a challenge: Weave a garment (or two) that will be juried into the Convergence fashion show, part of the biannual conference of the Handweavers’ Guild of America. To date, I have been able to meet the challenge – but there’s more to the story, with some ups and downs along the way! Anyone who weaves or creates fabric or designs garments will relate.
Some of the most interesting art for your home is created with unexpected or nontraditional materials. Homedit found great examples of these art ideas in
Applique - Hand Embroidery (more pics to come)
Learn how to create surface effects by stitching together shrinkable and nonshrinking fabrics, then washing them.
Some of the most interesting art for your home is created with unexpected or nontraditional materials. Homedit found great examples of these art ideas in
http://www.lboro-textiles-graduates.co.uk/weave-2012/ellen-simpson/
BLOOM WALL PANEL - Design Drapery fabrics from ANNE KYYRÖ QUINN ✓ all information ✓ high-resolution images ✓ CADs ✓ catalogues ✓ contact..
“Chase the Autumn Chill” Invited Artist, Convergence 2022. Weft crimp, cotton/Orlon from Lunatic Fringe “Untitled” Invited Artist, Convergence 2022. Weft Crimp, cotton warp …
WORKSHOPS Painted Warps and Parallel Threadings 5-day workshop This workshop takes you on a weaving journey through Echo and beyond, with the steps as follows: Day 1: Paint two warps in different but complementary color-ways Day 2: Rinse and dry your warps and begin beaming them together as one on your loom Day 3: Thread in an Echo pattern (using your two warps on opposites in an extended parallel threading) Day 4: Finish threading, sleying, and tying on and begin weaving Day 5: Experiment with tie-ups and treadlings to achieve a variety of patterns in Echo, Jin, Shadow Weave, Rep, Double Weave and, if you choose, differential shrinkage You will go home with a beautiful array of samples and new techniques to deepen and broaden your weaving practice. 4-shaft looms are fine, 8-shaft and more are preferred. Students must know how to dress a loom and read a drawdown. Familiarity with weaving software is helpful as well. ____________________________________________________ One Warp, Many Structures: Explorations in Extended Parallel Threading 2 1/2 to 3-day workshop As Marian Stubenitsky has shown in Weaving with Echo and Iris, extended parallel threadings offer endless possibilities. In this workshop, designed for advanced beginners and beyond, you will arrive with your loom dressed in a two-color warp on a parallel threading. (Drafts will be provided about 6 weeks beforehand.) Working with a variety of tie-ups and treadlings, you will weave a series of designs in Echo, Jin (Turned Taqueté), Shadow Weave, Rep, and Double Weave. The takeaway is a sampler of colorful patterns and a broader, deeper understanding of the potential for extended parallel threadings and how to design them. For 4-shaft to 32-shaft looms. _____________________________________ Dimensional Weaving for 4 to 32 Shafts 2 1/2 to 3-day workshop 4 shafts 8 shafts 32 shafts In the water, textured fabrics can change before your eyes: pleating, folding, buckling, and curving into three-dimensional shapes. In this workshop, we will look at the three basic techniques for creating collapse fabrics: weave structure, the use of active and inactive yarns in warp and/or weft, and differential shrinkage. Participants will choose among designs for 4 to 32 shafts and then weave 5 or 6 samples using different yarns, tieups, and treadlings -- all demonstrating how texture, working in synergy with pattern and color, adds beauty and interest to a fabric. Registrants must be able to read a draft and dress a loom. ____________________________________________ Weaving Outside the Box: How to Make Dimensional Cloth 2 1/2-day workshop Color and structure are usually cited as the two most expressive elements in weaving, while texture, a vital factor in artful weaving, is often overlooked. This workshop focuses on creating three-dimensional pleats, curves, and other forms, emulating the organic lines and shapes of nature. Using certain advantageous structures, active and inactive yarns, and finishing techniques, you will learn how to expand your weaving repertoire and create "tactile art." You'll choose a project for 4, 6, 8, 12, or 16 shafts from my book (shown above) and arrive at the workshop with your loom dressed and ready to go. The workshop id designed for intermediate weavers: those who know how to dress a loom and read a draft. Materials fee of $50 includes purchase and shipping of book beforehand. _____________________________________________________________ Designing with Deflected Double Weave 2 1/2 to 3-day workshop* Participants will share an in-depth learning experience with Deflected Double Weave. This is an on-loom workshop, with students weaving a number of samples in a design for 4 to 16 shafts. We'll look at how to vary tieups and treadlings to create new designs and learn the different techniques for weaving selvages. In addition, we will work with active wefts such as Colcolastic, gold gimp, fine merino, and wool/stainless steel to achieve textured effects after finishing. We will discuss a variety of methods for designing this visually intriguing, graphic structure and practice creating our own designs with Fiberworks or other weaving software. Students will wind their warps and dress their looms prior to the workshop, ready to begin weaving the first morning. *This can also be presented as a one-day, off-loom workshop. ______________________________________________________________ Deflected Double Weave for Collapse Fabrics 2 ½ to 3-day workshop This workshop gives weavers an understanding of and practice with Deflected Double Weave as a structure that will collapse, pleat, and pucker after washing. Participants will choose from drafts I have designed for 4, 8, 12 and 16-shaft looms and will wind warps and dress their looms before the workshop. At the workshop, they will weave a number of samples for reference, washing at least one to learn how collapse techniques are applied in the finishing. They will also practice drafting and planning their own Deflected Double Weave designs using collapse techniques. ___________________________________________________ Echo and Jin: Playing with Color Chords 8-shaft Echo design on a 4-color warp For 4 to 16 shafts, this is an on-loom study of the color wheel and theories of color harmony, based on the teachings of 20th-century artists Johannes Itten and Josef Albers. The focus is on developing a subjective and objective sense of how to optimize the use of color in your weaving practice, particularly in weaving parallel-threaded designs. At least six weeks prior to the workshop, you will choose from a series of Echo and Jin designs provided by the instructor, with options for 2-end or 4-end parallel threadings. Next, you will choose warp colors based on Itten's theories of color chords, drawing from his 12-point color wheel. During the workshop, you will weave samples using different tieups, treadlings, weft yarns, and weft colors. __________________________________________________________ Echo and Jin: Variations on a Theme 2 ½ to 3-day workshop Echo on 8 shafts, 20/2 cotton warp and weft, 2 colors in both warp and weft Echo on 12 shafts, 2 colors in warp, one in weft Working with a variety of yarns, tieups, treadlings and setts (if you choose), you'll weave a series of designs in Echo and Jin (Turned Taqueté). You'll explore the interaction of color and structure, using two to four colors in the warp and a variety of colors in the weft. And you'll explore design, learning how different treadlings, tieups and setts change the pattern and learning how to use Fiberworks to create your own designs. This workshop is for intermediate weavers and beyond, for looms with 4 to 16 shafts (with designs for 24 and 32 shafts upon request). With drafts and warping instructions provided beforehand, you will begin the workshop with you loom dressed in a two or four-color warp using an extended parallel threading. ___________________________________________________________________ Echo on the Double: Doubleweave on Parallel Threadings 8-shaft doubleweave sample on an Echo threading, front view Same sample, back view Echo threadings -- also known as extended-parallel threadings -- offer limitless possibilities for flowing designs and bold color combinations. When woven as doubleweave, using two or more colors in the warp and two colors in the weft, the interactions among warp, weft, and pattern create striking motifs and color interactions. Weavers will choose their designs, gather their yarns, and warp their looms prior to the beginning of the workshop. Color theory, profile drafting, network drafting, and designing doubleweave tieups are some of the topics covered in this workshop. For intermediate to advanced weavers, with the use of weaving software recommended but not required. For 4, 8, 12, and 16 shaft looms (with designs for 24 and 32 shafts upon request). ______________________________________________________________ Paint Two, Beam One: Painting Two Warps and Weaving Them as One 2 1/2 to 3-day workshop This workshop teaches students how to hand-paint two warps in different color palettes and beam them together to weave one luminous fabric on their loom. Students will plan their project, paint two warps in different but compatible colorways of about 4-5 colors each, and then beam these warps together in stripes or blocks of their own choosing. Many warp-emphasis designs -- for 4 shafts and beyond -- lend themselves well to this technique. The focus is on exploring the possibilities of color and learning new skills. Also, studio safety is detailed and emphasized. Skill level: Intermediate to advanced, although adventurous beginners are welcome. __________________________________________________________________ One Warp, Four Fabrics: Weaving with 60/2 Silk 2 1/2 to 3-day workshop This workshop aims to take the fear out of weaving with fine silk using different wefts, tieups and treadlings to achieve widely varied results. Students will come away with samples of four distinctly different and useful fabrics: one suitable for scarves, with a delicate hand and wonderful drape; one resembling rag rugs, suitable for jackets and coats; one collapse fabric with lots of texture and personality; and one historic fabric that stretches vertically, simply because of the yarns and structure. Students will also have a primer on the history and potential of silk fiber. Skill level: intermediate to advanced. _____________________________________________________________ Paint Two, Beam One: Painting Two Warps and Weaving Them as One 1-day workshop This shorter workshop has the same focus as the 2 1/2 to 3-day workshop, but covered in one day, with dyeing, beaming of warps, and weaving taking place after the workshop. We will cover how to wind your warps, plan your colors, prepare your dyes, paint your warps, and beam them as one on your loom. In addition to handouts, you'll receive a variety of WIFs and PDFs giving you threadings, tieups, and treadlings for patterns on 4, 6, 8, and 12 shafts. (You also have the option to work with a pattern you've chosen beforehand.) ____________________________________________________________ How to Make Dorset Buttons 3-hour workshop Learn to make colorful, whimsical buttons – for jewelry, surface decoration or fasteners for your handmade garments – using only curtain rings, a tapestry needle, yarn, and perhaps beads. Based on 19th-century patterns from Dorset, England, these buttons are easy to create and customize to match your own fiber creations. To make your own buttons for a current weaving, felting, or knitting project, bring along your project and yarns. No prior experience needed. __________________________________________________________________ LECTURES The Power of Craft: A Weaver's Perspective 1-hour lecture and PowerPoint “There is something in every human soul which seeks to create a thing of beauty, given any sort of opportunity and materials to do so. Throughout all the ages people have pursued their own ideas of beauty, building, shaping, weaving, painting, decorating. They have carried on that pursuit through every medium that ever came to hand: wood, stone, feathers, bone, ivory, cloth, jewels, metals, glass, clay, shell, leather, pigment… and yarn,” writes Barbara G. Walker in her 1968 book, A Second Treasury of Knitting Patterns. This lecture, accompanied by images of weaving and crafts throughout history, looks at the pursuit of craft, from ancient to modern times, and why it continues to enrich our lives -- from a weaver’s perspective, of course! ___________________________________________________________ Dorset Buttons: A Heritage Craft 1-hour lecture and PowerPoint Dorset buttons, designated in England as a "Heritage Craft," continue to delight fiber artists today as colorful, whimsical embellishments for jewelry, surface-design and fasteners for handmade clothing. The variations are limitless and they can be created anywhere using only curtain rings, a tapestry needle and yarn (and beads if you choose). Further, you can customize these buttons to match your own creations, using yarns from your stash. Dorset buttons have been around for centuries, beginning in the 17th century as a cottage industry in County Dorset on the English Channel. Come hear the history of these lovely designs, viewing lots of inspirational photos along the way, and learn how to make them on your own. _____________________________________________________________ Echo and Jin: Variations on a Theme 1-hour lecture and PowerPoint This lecture illustrates how extended parallel threadings -- known as "Echo" threadings -- offer weavers unlimited options for designs, textures and color palettes, just by changing your tieup and treadling and varying your weft yarns and sett. Echo and Jin designs take weaving "off the grid," allowing weavers to create flowing lines, circles and unique shapes. These techniques can include networked threadings and treadlings, which will also be discussed. _____________________________________________________________ Echo Threadings: The Warp that Keeps on Giving 1-hour lecture and PowerPoint 12-shaft Echo sample courtesy of Maryann Ariizumi 12-shaft Jin sample courtesy of Maryann Ariizumi 12-shaft Shadow Weave draft 12-shaft Rep draft 12-shaft double weave draft How can you weave Echo, Jin, Shadow Weave, Rep, and double weave on just one warp, with just one threading? With an extended-parallel threading, that's how -- simply by varying the tieup, treadling, and weft yarns and, in the case of Rep and double weave, by re-sleying as well. This lecture traces, which looks at techniques for intermediate to advanced weavers, sheds light on the wide-ranging possibilities of Echo threadings, as discussed by Marian Stubenitsky in her groundbreaking book, Weaving with Echo and Iris. _____________________________________ Tactile Art: Collapse Fabrics from 4 to 32 Shafts 1-hour lecture and PowerPoint This one-hour lecture and PowerPoint explores the many techniques and possibilities for creating dimensional fabrics. The three basic elements for these fabrics are structure, active and inactive yarns, and finishing techniques. The results make the most of an often-overlooked aspect of weaving: that of texture and depth. Add color and form, and weavers can maximize the potential of our craft to create imaginative fabrics with great visual and tactile appeal. _______________________________________________________ Paint Two, Beam One: Painting Two Warps and Beaming Them as One 1-hour lecture and PowerPoint This lecture and PowerPoint presentation, accompanied by garments and samples, presents designs and methods for painting two warps and weaving them as one on your loom. You'll learn how this technique, when used with extended parallel threadings and other warp-emphasis weaving patterns, can optimize the use of color in your weaving. ______________________________________________________ Once Upon a Warp: From the Loom to the Runway 1-hour lecture and PowerPoint This lecture traces my weaving journey from concept to completion of a garment, followed by a fashion show of the garments themselves. Every year since 2008 I have set myself a challenge: Weave a garment (or two) that will be juried into the Convergence fashion show, part of the biannual conference of the Handweavers’ Guild of America. To date, I have been able to meet the challenge – but there’s more to the story, with some ups and downs along the way! Anyone who weaves or creates fabric or designs garments will relate.
