November 2018: Studio classes including woven shibori and continuing behind the scenes for my next exhibition

December 2, 2018

This month’s studio class was Woven Shibori.  Barbara, Ronda and Judy worked on class projects in a variety of fibres, structures, effects, warp and weft shibori, in fact a whole range of techniques that could be fitted into 5 days. Jan worked on her own project. She had attended last year’s class and wanted to extend that work.

Here are some images from the class. It was a very successful week. Sometimes students chose to weave a project from a warp. On others they chose to explore a variety of approaches and completed a sampler. The choice was theirs. As a result they went home with a collection of samples and projects and let’s not forget a whole collection of weave drafts.

Weaving: A variety of looms used including the draw loom.

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Pulling up.

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Dyeing: watching the magic of indigo.

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Undoing:

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The results:

Indigo.

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permanent pleating (not the bottom scarf).

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the acid dye bath

 

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Jan had to leave mid-week. Luckily she had finished the weaving of her rag rug but will return at a later date to finish the shibori process.

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One of the things that was considered in Colour in weaving, the October class, was the repeat that happens when yarn is commercially space dyed. We often pick up cones of yarns that look interesting and then wonder what we are going to do with them. The length of the repeat on this cone of space dyed yarn just happened to nearly match the width of a left over warp. So here was an opportunity to weave a space dyed yarn as weft ikat. As this was a shibori class I also wove it with a resist.

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Once the resist was pulled up, the fabric wanted to curl due to the resist being unbalanced in float length. So I worked with this, wrapped it around a rope and bound it before dyeing.

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Of course it ended up in the indigo which of course it was always going to overwhelmed it. I must admit I do like this fabric much better than the original because that red, white, black ikat is so subdued.

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Upcoming studio classes for 2019. All classes are limited to a maximum of 5 unless otherwise identified. Details under Kay’s weaving school.

21-25 January 2019          Linen and Lace.

18-22 March       Woven Shibori

13- 17 May          From a twill threading

10- 14 June         Special- own choice.

9 – 13 September            Colour in Weaving

21-25 October                   Weave a floor rug (class size limited to 3)

18-22 November              Double weave and friends

9-13 December                 Special- own choice.

BYO Loom one day a month class will continue next year.

Marja has been coming for the past 3 BYO loom classes. She had never woven crackle, so here was the opportunity to explore. As well as weaving a project a month, she has also come to understand the structure and how it is drafted.

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The ongoing saga that was begun last month for the exhibition celebrating 20 years of woven shibori with Catharine Ellis.

At the start of the month: Hot off the loom. I look at this pile and I am overwhelmed- not by the quantity of weaving that has worked out really well but by the amount of resist soon to be pulled up. And then I wonder in over 20 years how much resist would have been pulled up. This exhibition is a cause for celebration! Onward….

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Weeks later. The fabric lengths were finally all pulled up and ready for the dye baths. I decided that I wanted to get a range of colours to signify age. The colour had to come from sources that identified age to me.

I used pomegranate that I have had in my garden for probably well over 20 years. The original seed for this ornamental (unfortunately it can’t be eaten) came from my Grandmother’s property (50 years + ago) and then to my mother’s garden. I think that there is a lovely parallel there with my matrilineal line.

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The other dye source came from the old Tallowwood, Eucalyptus microcorys that grows beside my fence. It has been here a very long time. It was a very mature tree when we moved in 40 years ago so would have to be well over 100 years old possibly older than 200.

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Tallowwood were a predominant tree of this area before settlement. There is this wonderful example at a local nature reserve.

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This tree is protected and is over 400 years. It was never felled because it had been deformed by lightning when it was about 100 years old but it certainly gives a feel for what this landscape may have been like. I can just imagine the early settlers struggling through the scrub with these and other large trees dominating.

From these two sources, I required 8 different colours. These were obtained by the use of mordants (tannin + alum), the two dyes and a dash of iron. Pomegranate doesn’t technically required a tannin pre-mordant but I did add to help shift the colour for two dye baths. The tannin pre-mordants were tannic acid obtained from oak galls and myrobalan. Because pomegranate is so high in tannin, I also used it as a mordant for one of the Tallowwood baths. Usually I would add a dash of iron to make the colour muddier. In one case it was liquid from a collection of rusty bits that I found and that had been soaking for at least 2 years. While the mordanting was very measured according to weight of fibre, the dyestuff, proportion of them and the quantity of iron certainly weren’t. Here’s an overview of the dye combinations for the 8 colours. As you can see I aimed to cover different combinations of the basic elements.

  1. Pomegranate, no tannin, iron
  2. Pomegranate, tannic acid, iron
  3. Pomegranate, myrobalan, iron
  4. Pomegranate, tannic acid, iron
  5. Tallowwood, pomegranate, tannic acid, iron
  6. Tallowwood, myrobalan
  7. Tallowwood tannic acid
  8. Tallowwood, tannic acid, soaked iron liquid.

 

The tallowwood leaves were collected whether fresh or old, covered with water and soaked for a day before being boiled, strained and reused. I did not retrieve these for the next bath.

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To prepare the pomegranate bath, I collected both old husks and fruit- whatever I could find, covered it with water and left for a day or so. Before dyeing, the mixture was boiled and then strained. The fruit was returned to the bucket and soaked again till the next day of dyeing. The dye process took well over a week. It is interesting to note that the recycled pomegranate continued to give equally strong dye on each progressive dyeing and that there was still plenty of dye to be extracted by the time I was finished with it. I must admit the odour was pretty strong though luckily hasn’t stayed in the fabric.

Here’s the end result showing the variation in colours though you will have to wait to see what the finished pieces look like till the exhibition.

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October 2018: Colour in Weaving studio class and an exhibition announcement

November 4, 2018

The studio class this month was Colour in Weaving. It provided an opportunity to explore all manner of colour related activities and an in depth look at colour theory. There was a total of 8 warps provided exploring different aspects.  I’ll share a couple of their experiments because it was good fun and the results of their labours.

From straight theory they each wound a section of warp choosing a particular colour scheme. These were later combined.

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Then the challenge was to choose a colour that would unify.

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There was an opportunity to dye so we dyed warps and skeins randomly and for ikat which they took home to experiment with. I will look forward to seeing what is done with those. There was both ikat and painted warps in the workshop. They looked at how to combine several elements together without getting into a tangle. And an opportunity to experiment with a fan reed. Look for this effect in their collections.

This cone of variegated yarn provided one of the challenges. We analysed the colour repeat. They experimented.

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I loved overhearing the discussion involved in what colour choices were being made. It was no longer “I’m using this colour because I like it” as is so often the case when weavers are choosing weft colour. There was discussion of colour schemes, types of contrasts, values, hues and so on. The decisions being made were very much informed and quite often independently being considered and that was apart from the specific colour challenges I set.

Batch 1 of Sharon’s collection.

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and the second part.

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Some of Jan’s work. She could only attend two days. She also wove a colour and weave effect tea towel.

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Rochelle’s collection. She also worked on an extra warp for a couple of alpaca scarves.

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Karen’s collection

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Sometimes I get to finish off the warps.

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It was an extremely busy and productive week and of course a great week of very special camaraderie.

The BYO Loom class met with Marja bringing along her first project in crackle. She loves the structure. I love the end result.

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I have a couple of announcements to make.

Firstly I have been working on next year’s program prompted in no small way by two weavers wanting to book in to the Linen and Lace class.

Next month:    Woven shibori. It is full.

10-14 December 2018. Special. Own choice of project or technique. Weave on any loom including 8 or 16 shafts, draw loom or SE Asian style loom. Experiment with a fan reed.

21-25 January 2019          Linen and Lace.

18-22 March       Woven Shibori

13- 17 May          From a twill threading

10- 14 June         Special.

The rest will be listed shortly.

A major highlight of next year will be my joint exhibition with Catharine Ellis to celebrate over 20 years of woven shibori.  You may be aware that both Catharine and I independently yet at the same time developed the technique that became woven shibori. In 1998 she taught it at Convergence for the first time while I coincidentally had the first article published in Weavers. I thought that it was a significant enough milestone to celebrate so I invited Catharine to be a part of a joint exhibition.

Here’s some advance notice.

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Redland Art Gallery, Cleveland, Queensland. Sunday 10 March – Sunday 14 April 2019. The contract finally came through this month so now it is official.

Now that of course means that I am now officially busy creating. Thank goodness some of the work is retrospective and it is a two person exhibition!  Mind you I have been quietly working away, considering, planning and procrastinating in some cases, since last year when I first proposed the exhibition. While I won’t share the final pieces, I thought that it might be interesting to share some process. This is a glimpse of the start of one of the ideas that I’ve been following.

I am a long time resident of this area. In fact I have lived here for nearly 40 years. It is the place where my husband and I settled when we got married. It’s where our children were born, raised and left from and have even come home to. It’s where he died. It’s where I live and create. It does in some way give me a sense of belonging.

I have a general awareness of the history of this area of The Redlands. I have long been aware of the historic homes: Ormiston House, Whepstead Manor, The Pines, The Old Court House and the like. There are roads named after early settlers.  Perhaps its history could well provide a starting point for inspiration for a new body of work. And so I began researching. I found out lots about blokes who settled here. How much reference was made to females? Not much of course and the further back in time, the less you find. Why not limit research to history before 1900’s and even further to female history within that time frame? That will allow for a time frame of about 50 years when this area first had white settlement. As an aside, while I certainly acknowledge the first people of this land, I just don’t feel qualified to present it. I have had a very interesting time visiting the Local History section in the library, going on line for oral history, visiting the Museum, having discussion with people who have stories to tell. Everyone who I’ve had connection with in this project have been extremely helpful. I certainly appreciate their help. I have collected stories and references and found out all manner of interesting things. And sometimes there’s an echo of my family history even though I my family is not from here.

I hear the voice of my mother who praised 1961. That was the year that the contraceptive pill became available in Queensland. I have of course found references to women and family sizes. That was always going to be easy but here are two that are remarkable. I have intentionally removed names for now.

One bloke had been married twice before he left England (The first wife died after 5 children and the second after 10.) I wonder what happened to those children as he then emigrated to Australia and became the first squatter in the area, 1850 before acquiring a lease five years later. And of course he married: Louise in 1856 and had 7 children raised in this area.

The second story involves a husband, wife and a couple of children who took up a selection here. (You had to work 5 years and make improvements of a certain value before it was yours). She raised 14 children of her own (with the “midwife knowing the track to her house”) and 5 of a neighbour’s. I gather their mother had died.

While family size is often commented on, I have ferreted out other tales. Some are direct references to women while others can be inferred. There are fascinating tales of how the women got here. Apart from coming with their husbands, some came out independently and in the case of one was employed for the trip as a nanny and then abandoned here in spite of being promised a return trip.

I’m amazed at tales of intrepid settlers. I can’t imagine how a woman must have coped with a young family newly arrived in Australia deposited in a clearing and a simple slab hut, isolated with no neighbours close by, tracks that are merely blazed trails and children who have to be kept safe and raised and all those new sounds, strange animals, dangers. Yet they survived, their families grew and each successive generation built on the success of their toils.

And occasionally there are funny quirky tales of life. One involves corsets being worn to work, taken off and hidden and then put back on to go home so that if they met a young gentleman they would be “nice and shapely”.

And so I’ve collected stories, facts and figures and now have to develop a body of work. The research has been fun and an excuse to delve into our history. In fact it’s been rather addictive and I’ve gone down so many side tracks. I think that I had better stop the hard core research and get to making. To celebrate I visit Ormiston House for Devonshire Tea.

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I spent a lovely afternoon with Jessica, their historian. This house and garden is credited to Captain Louis Hope, the father of the sugar cane industry in Queensland amongst other significant positions. We know lots about him. He built this house over a period of time 1858- 1865. There is a wife in the background.  In 1859 he married Susan Frances Sophia Dumaresque.  They had 8 children. However there is some recorded history  made about her and thank you Jessica for providing these and more references: ‘Mrs Hope is just as nice [as Captain Hope], so very good natured and lady like’ (Harry Alington Creaghe in a letter home) and by Mrs Evelyn Alford, who used to visit Ormiston House as a child ‘we often saw her sitting in her favourite position – sitting beside the big windows doing her fancy sewing or entertaining friends’. They eventually sold the property and returned to England.

I should mention that Ormiston House is open to the public on Sunday afternoons.

There was an unexpected bonus from today’s excursion: it’s a real treasure! I have collected some dye material that I’m sure will find its way to being used. This collection of rusted metal is from the large sugar pan that was used by Mr Hope when he ran his sugar mill. It is one of two of the original artifacts from the sugar mill. By the way, the caretaker gave these to me. I didn’t just take.

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What imagery, process, structure or form will I use? And there so many more red herrings, not even related to this research which can distract.  It is major decision time. I need to weave.

 


August 2018: The Bradshaw rock art and weaving in the studio

September 8, 2018

A trip away and then a week of studio class has resulted in a very late blog.

In the main, I only report on textile related matters and of course weaving on my blog. So you will not be seeing images from The Kimberley in N W Australia. It is extremely remote and has featured on my wish list for many years. It would not even rate a mention here apart from an unexpected and amazing encounter with ancient Aboriginal rock art.

We were headed up that dotted road heading north on the map to Mitchell Plateau and Ngauwudu Safari Camp. The road is not for the faint hearted (understatement). A turn off brought us to a significant Aboriginal rock art location. There are no fences or glass panels around this art but once you are here, it is extremely accessible. That in itself was great for us for viewing but with a significant concern for the preservation of the art. My later research pointed out that: In a detailed study of 66 Bradshaw panels, approximately 9% of the Bradshaw images have clearly been vandalized. Some were scratched with stones, some damaged by thrown stones, and some have been broken by hammering with large rocks.* There’s a fine of $2,000 and 12 months imprisonment for interfering with cultural heritage sites. Another cause of destruction is back burning. Since 2009 as part of the government’s fire prevention strategy to aid the exploitation of oil and gas reserves has caused paint to peel from over 5,000 of the 8,742 known examples of Bradshaw art. A survey by archaeologist Lee Scott-Virtue has determined that up to 30 per cent of the rock art had been completely destroyed by fire.* In the light of these facts I consider myself very fortunate to have seen these.

We were in Wunambel Gaambera Country. There were several styles of art here but of particular interest for me were what westerners known as the “Bradshaw rock art” after the pastoralist who discovered them in 1891. As the Kimberley is home to various Aboriginal language groups, the rock art is referred to and known by many different Aboriginal names, the most common of which are Gwion Gwion or Giro Giro

The Gwion Gwion are at the bottom of this image. The rock art at the top is from a later time.

It is common to have later paintings drawn over the top of Gwion Gwion. These later paintings are often not as permanent with the ochres wearing off. We only saw Gwion Gwion with only two colours though it is thought that many more were originally used. The pigments in these two colours have been chemically bonded with the rock. Research suggests that it is the result of symbiotic relationship between black fungi and red bacteria.*

This example shows the style known as the Tassel Figures and identified by their characteristic tassels hanging from their arms and waists, various other accessories can be recognised, such as arm bands, conical headdresses and boomerangs. This style is the earliest, most detailed and largest. It has been dated as up to 22,000 years old from a fossilised wasp nest.

These are finely executed drawings. The lines are fine. It is possible that a feather was used in their execution; an imprint of a feather found at one site may support this possibility*. There is no evidence of several tries being attempted in their execution. They would require an extraordinary amount of skill.

Wayne, our guide, pointed out that these are not the oldest rock art paintings (earlier crude drawings are up to 40,000 years old) but they are the oldest that represent ceremony and therefore well- established culture. This can be deduced from the postures of the figures. By the way, the well- known cave paintings of Lascaux,  France are thought to be 20,000 years old and are of animals.

So why am I so excited by this art? Here’s my observation: If, as Wayne suggests that Gwion Gwion is the earliest known rock art (world- wide?) where the human form is shown performing ritual, then doesn’t it also follow that these are the earliest rock art paintings that include textiles as part of ceremony. Well, tassels of some form are a textile aren’t they?

Additional information on the Bradshaw Rock Art and selected quotes* https://en.wikipedia.org/wiki/Bradshaw_rock_paintings

Update: I have had a private email and whether I got any sense of a fringe/skirt and the formation of the tassels and whether it was too hard to see. Here are my comments as it was such a great question.

I gained the impression from both my research following and from what Wayne said that these are not “skirts” in the traditional sense and the figures are likely to be men. Women are drawn differently. I understand that these fringed ornaments/aka “skirts” are for ceremony and perhaps not daily use. I couldn’t see any detail but I presume they would be of twisted grass/bark or some fibre with an object on the end. You can gain a sense of what some of the objects were from the paintings. Remember some of the original pigments didn’t last so not all detail is here. These are 20,000+ years old and have been exposed to the elements somewhat so we’re lucky to be seeing anything. It’s mind blowing (a) what they are and the detail, (b) the subject matter and (c) that they are still around. Amazing, truly amazing!

Then reality returns. I have just completed a studio class in Doubleweave. There were three wonderful students: Jan, Barbara and Karen, who accepted the challenge of drafting, theory and completed some great work. A wide variety of techniques were explored. Even small samples have the potential to be turned into drink coasters. The following are images from the class.

Four versions from the one threading. The students developed the pattern on the loom.

Different aspects appealed to each student. While some projects are similar, others are quite different.

Karen’s collection.


Barbara’s collection.

Jan’s collection.

Jan and Barbara model their scarves.

Sometimes in a studio class, a student will come with an idea to explore. Karen brought one such project. She wanted to weave a dishcloth…. Yes a dish cloth! She wondered if her Vavbo Lin dish cloth from Sweden could be interpreted into double weave.  It is marketed as a very hygienic way to wash up with the natural qualities of linen meaning that they can be laundered over and over again, becoming softer and more supple with age. And when they eventually wear out, they can be compostable. She has acquired several but as a weaver thought it would be nice if she could weave her own version.

It caught our imagination. This is our version of a dish cloth. It has some elements of the original.

Karen weaving her dish cloth.

It is woven in linen.

We intend it to be compostable. We will avoid all micro fibre dish cloths in our kitchens in future.

It has an open weave body as the result of a stitched double weave structure. The stitching happens on the diagonal.

The selvedges and hem are in plain weave to give stability to the open structure of the main cloth.

We intend it to be compostable. We will not be adding to land fill or pollution.

It will be easily washed and quick to dry because of the linen and the open structure.

We know that it will be serviceable. Even though the structure is open the stitching provides a well- integrated cloth. Nothing will get caught between layers.

We intend it to be compostable. It is a plant fibre and will break down.

It has texture- ideal as a dish cloth. It is also flexible and will become increasingly so with wear and washing.

The double weave layers will enhance the absorbency of the linen.

And it will go into the compost after its lifetime of being useful!

I think I’m hooked on these. They’ll be a great addition in my kitchen.

Update: Charlene has requested details of the draft. I believe that this is such a great thing for the environment that I am happy to share. If you share it please acknowledge the fact that it is my draft. Here is the basic draft. Shafts 7&8 are for the selvedge. Repeat the rest of the draft as required for your width, sett and yarn. Weave plain weave for the hems.

Next month’s studio class: Colour in Weaving. We’ll be exploring colour theory, colour and weave effects including log cabin and shadow weave amongst other structures. There’ll also be the opportunity to explore dyeing techniques such as painted warps or skeins, ikat and how to use these. And perhaps we’ll even get to use the newly acquired fan reed. There is currently 2 places left. 1-5 October.

The BYO loom series starts on the 24th September. It will be held on the 4th Monday of the month finishing in November.


June 2018: My studio and other events.

July 3, 2018

This will be a short blog after the mammoth job of writing up the series from my textile tour to the Lesser Sunda Islands. However life has been busy.

Soon after arriving home I was off to Canberra for the weekend to teach for the guild there. There were a great group of weavers who were enthusiastic about learning Summer and Winter. Great results were achieved but unfortunately, I forgot to take photos. Twelve students had at work.

And then it was home for a 5 day “Special”. The three students had the opportunity to weave whatever project they wanted. Rochelle and Jan had both missed out on the twill class so decided that this was an ideal opportunity to expand their knowledge.

Jan took delight in weaving a set technique and then threw caution to the wind and developed some exiting variations.

Rochelle completed variations on a theme by exploring treadling sequences for her 3 scarves. They are all quite different.

Katie, from the USA had been travelling in S. E. Asia and stopped off for the class. Her project was to weave fabric for a tunic in weft ikat and silk. Here’s the fabric just off the loom.

A close up view of one of the sections. 3 dye baths were required to achieve this ikat. There’s a hint of olive or pink at either edge of the black.

I have finally got this piece of weaving off the loom. It’s taken a while but then again, I guess you have to be home to weave. And it was at about this stage that I wondered why I did weft shibori. Warp shibori would have taken way fewer threads to pull up.

 

 

And then some indigo. After my trip, there was a definite pull towards indigo as a preference.

And the great undoing. I’m very happy with the result.

I have been asked by several weavers about running a one day a month studio class at my studio. So on a Monday from September to November inclusive the studio will be open. I’m calling this a BYO loom class. Students will be required to bring their own loom. They may do any project according to their personal requirements. It may be to learn to weave or brush up on some skills for a beginner or something more advanced for the more experienced or even designing and planning a series. My intention is to provide the framework that allows students to decide on a project, have the month to weave and then bring it back for evaluation before starting a second one.

Other forthcoming classes include:

3-7 September Double weave and friends

1-5 October Colour in weaving: colour and weave effects, shadow weave, echo weave and optical colour blending.

12-16 November Woven shibori

10- 14 December Special also includes beginning weaving

 

All the details are on this blog under “Kay’s Weaving School” at the top of this blog.

I’m enjoying my Textile Wall. It is certainly bringing back great memories and it was certainly way too early to put away those wonderful textiles from my last trip.


At the end of April 2018: profile drafting and weave structures among other things.

May 6, 2018

I have been on an adventure to western Queensland. No, this blog will not be about that but in passing I will mention that I’m sure that the colours, textures and history in particular will find expression sometime in my work. The Longreach and Winton areas are extremely interesting destinations.

Rochelle spent a couple of days in the studio and finally finished her gigantic double width blanket. She has promised to bring it back totally finished. I bet it will keep her warm as toast. A reminder for others out there: the studio is available on a negotiated basis for students to come and weave.

This month’s studio class was Beyond Basics where we started with profile drafting and extended into structure. Jen and Hilary, both from Western Australia, produced a quantity of weaving files and actual weaving. This is an overview of the 5 day class. All the warps had the same profile drafts for the treading, while the treadling was based on each students profile draft. In this way all the samples related.

There were several hours spent on creating weaving drafts.


Jen weaving Atwater Bronson lace on a wool warp with a silk weft.

Hilary is weaving twill blocks on a draw loom. The pattern shafts are arranged as for the profile draft. What a great way this is to promote understanding of how profile drafting can be used. It’s also a fun experience.

Fabrics include 4 and 8 shaft overshot, crackle, atwater and bronson lace, summer and winter, twill blocks. The following images were taken late on the last day when the lighting wasn’t all that good.

Jen’s collection:

Hilary’s collection:

Congratulations to both. They have some very beautiful results and all projects are totally finished. It was a great 5 days. What a lot of work they did!

There was enough warp left over on two of the “overshot” looms for me to play. There had been much discussion on the length of supplementary weft floats when weaving overshot. So the challenge was for me initiated by the students was to find ways to make use of these long floats to make interesting fabrics. I’ll share these 3 experiments. It was a great way to clear the looms and to enable students to really appreciate the potential of a structure.

Of course there’s always woven shibori. Any structure that achieves long supplementary floats is ideal for converting into weft shibori. Eventually I will get around to dye this hand towel.

This hand towel uses just one block of supplementary weft which are then stitched into groups once removed from the loom. It’s a pretty effect.

When weaving multishaft overshot (a 4 shaft profile draft converts to 8 shafts of structure) each block can be woven independently. This meant that I elected to use just the half tones with just weft floats on the front to weave this fabric. The pleating will stretch because of the wool/lycra yarn that was used. The finished result and the reverse side and before laundering.

 

 

I thought the weavers may enjoy my installation. I had acquired these very rusty reeds over a number of years. Here, at the entrance to the studio, was the opportunity to do something with them.

 

Next month: There will be no studio classes. I’m getting ready to set off on another textile adventure.


March 2018. Individual journeys in two workshops

March 31, 2018

There has been two remarkable workshops this month. Gatakers in Maryborough hosted the first and a week later, the second was in my studio school. I am feeling very blessed to have spent time with both groups of weavers sharing their journeys of wonderment.

At Gatakers in Maryborough there was this sign in the studio. I thought that it was appropriate. Maryborough have laid claim to Mary Poppins as P L Travers, the author was born there.

In the studio there were four weavers: one was a beginner and the other three explored aspects of double weave.

I’d like to share their journeys.

Gloria is now a weaver. In five days she explored structure, colour interplay and some finger manipulated techniques. She started from never having threaded a loom to this.

The three weavers doing double weave each had a different threading. The first few days was spent exploring some basics.

Then each worked on their individual areas of study. It was great having the three different threadings as each weaver could learn from the others.

Anne wanted to explore aspects of pick up.

Karen explored structure on different layers. She even completed a small project with a complex interplay of colour, twills of different balance and supplementary wefts. All the activity is on the front while the back is just plain weave.

Chris explored double weave blocks. As her blocks were very small she could also play with warp and weft floats.

It was a very special week. Here’s an overview of what they achieved.

The following week there were two students in the studio exploring “From a Twill Threading”. I’d set up the looms to explore different aspects. It’s always interesting to see what aspect excites and where the development of ideas takes them. Sue was a new weaver while Jennie had more experience.

There were some basic techniques to be covered but also time to explore “What if?”. According to Jennie she really appreciated what she called “thinking time”: yes there was plenty of theory.

Sue weaving corkscrew twills on a parallel threading.

Jennie weaving twill blocks with colour interplay.

 

Here’s what they’d achieved by the end of the week. (Jennie’s collection and then Sue’s)

 

I’ve included some close ups of their work because I found what they chose to do fascinating. You might too. Unfortunately I didn’t take many close up details of Jennie’s work. She had to leave early and rushed out the door.

At 4.00 on the last day, Sue ( a beginner weaver) decided that she’d really like to try the draw loom. She found it a fascinating experience choosing what to do with her blocks of twill. And yes, Sue put into practice what she’d been playing with and went “back and forward”. Random blocks she called this. It’s great to see someone on a loom that looks complicated but makes sense when she weaves on it.

It truly has been a remarkable two weeks. Congratulations to all weavers!

Next month in the studio, the next class is “Beyond the basics”. We’ll explore profile drafting and converting them into classic weave structures. There’s one place left.


February 2018: Linen and Lace, Woven Shibori and other stuff.

March 5, 2018

In the studio this month I held the second Linen and Lace class. The class was nearly full with 4 students. That is why this follows on from #1 in January. There were great results again. Here are some images of work by Karen, Jen and Jan. It is worthwhile to note that two of these are fairly new weavers.

They wove. Karen is missing from this photo.


And they finished off. Here a Swedish Lace series is being mangled using a marble rolling pin.

And went home with a great collection.

Jen’s collection

 

Karen’s collection

 

Jan’s collection.

Rochelle after attending #1 decided that she’d like to weave a double width alpaca blanket, so she had the opportunity to also refresh on the theory… and to check out what the others did.

 

One of the additional challenges of this week was to experiment with pick up on lace weaves if time permitted. In this way all could come to an understanding that more complex design could be achieved with minimal shafts. There are some projects in both Jen and Jan’s collection. Having the loom threaded that way also allowed me to play with a couple of combinations both while the class was underway and afterwards.

On the Bronson Lace warp students could accomplish pick up of a design for an overall pattern or combine it with inlay. I got to weave these two examples.

 

For those interested in drafts, here it is.

The other pick up warp was on Spot Bronson. Jen got to weave a complex spot Bronson design while I got to play with combinations afterwards. This is my playtime, all off the one warp.

I threaded that one so that both lace and Summer and Winter could be woven at the same time. Jen got to weave a complex spot Bronson design while I got to play with combinations afterwards. I also wanted to revisit the experimentation I’d done with doupe leno from the previous workshop. So it was a 3 way challenge and a bit of forward planning was required.

Here’s the basic draft.

Spot Bronson and Summer and Winter combined. Note as well as being woven full width, there’s an isolated motif in the middle of the lace weave.

To weave the leno, I required a group of 4 threads per dent if I was going to explore more doupe leno stored on an additional stick. My aim was to compare the method that I’d used in the previous month on a countermarche loom with this on the jack loom. However the loom had been threaded 2 per dent. As I knew that I’d be taking advantage of this warp I used a reed where I could remove the uprights allowing me to maintain the sett while achieving 4 per dent. Part way through increasing dent size.

An overhead view of this reed. Once I’m finished, I slide the brass strip back into place securing the reed.

This image shows the leno being picked up. Note the wider spacing has also grouped four threads across in the plain weave.

Preparing one group of 4 to be placed on a doupe. More about this process can be seen on January’s post. I found this process much easier to weave on the Jack loom. The important thing to remember is to put light tension on the pick up leno shaft as each row is woven. It prevents doupes being caught as the shafts change.

 

The finished leno.

On modifying my reed spacing: One might ask why I just didn’t use a reed with wider spaces to start with. So for the last experiment, I also wove a piece with leno (pick up alternating) and Spot Bronson as an all over pattern. While weaving the threads were very much isolated in groups of 4. After finishing, the warp threads are more evenly spaced. However while weaving, because of the denting, it was impossible to beat the fabric to square as a result the lace floats are elongated.

Here’s the finished collection from that experimental warp.

 

At the end of this month I was invited to teach at a weaving retreat for 5 weavers at Sewjourn, just north of Melbourne. They had chosen woven shibori as the focus for their study with a bit of additional dyeing tossed in.

Sewjourn is a perfect location for a small group. It has well set up and basic accommodation where you self- cater and a great studio space, set in a rural location. Those weavers sure can cook!

It was an amazing 5 days. Congratulations to Trudi, Di, Jillian, Elizabeth and Kaye. Here are some images.

The studio. Weavers hard at play (aka work).

Some fibre reactive dyeing both as painted warps and pulled up woven shibori.

Different shades of blue from the indigo bath.

Completed dyeing of warps (painted and ikat) and small skeins for weft ikat.

A weft ikat being woven. While the focus was on woven shibori, it was too good an opportunity to see how this would weave up.

The result of a fabulous five days of play.

Next month: In the studio there will be a 5 day class focusing on all manner of twills. There are still 2 places available.