February 2019: Parallel, more adventures with vertical storage and woven shibori in Tasmania

February 28, 2019

All is organised for the exhibition next month. Here’s the invitation. Next month of course there’ll be more on the exhibition. It will be well under way by then.

RAG Invites March 2019 Parallel HR

Now to continue on from last month’s blog.  I had started to explore the possibility of weaving with a vertical storage positioned between the beater and the shafts. Previously I had worked with it behind the heddles at the back of the loom. Having it positioned at the rear of the loom allows for free movement of the shafts. Having the storage in front of the loom means that if anything is selected on the pattern shafts, it has to either work with the heddles or it has to be disengaged every time the basic fabric structure is woven.

In the previous month, I explored the use of the stored pattern being used in addition to plain weave to create vertical floats for Bronson Lace. This is an ideal application. What else could I do? As an extra challenge, all the patterns to be woven had to have elements of the same pattern developed for the Bronson Lace.

I have already shown this image of 3 approaches last month. The previous month recorded the process of weaving Bronson Lace. As you’ll see there was more woven on this warp.

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It is extremely logical to achieve weft floats for woven shibori. It was also timely weaving some woven shibori as it has been the focus over my studio work leading up to next month’s exhibition. The resist floats can easily be stored in the vertical storage. It is common and especially so in this pattern, that every resist row is different. This suits storing it and allows for a progression of sequences with plain weave being woven on the shafts between.

This undyed woven shibori design shows direct correlation to the Bronson Lace table mat.

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I decided to explore other possibilities.

The next challenge was to weave the design as a supplementary weft motif. This is a typical style of weaving for this type of loom in S E Asia. I have modified and extended the original pattern. There are 37 pattern rows. As this is an image with a mirror repeat, I needed to store the design to achieve this. I have discovered that the number of bamboo sticks that can be efficiently used to store a design is limited. This was my opportunity to investigate using loops of thread to store the design. I was very familiar with this from Se Asia but had never had the occasion to apply it.

Loops of thread are passed between the long heddles instead of bamboo or dowel. These loops are suspended on hooks attached to a length of wood. For multiple repeats, there need to be a series of hooks at the top and bottom of the storage unit.

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See blog October 2015 (second half of the blog) for a full explanation on how to pick up the motif and store a design.

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Here’s a close up of the storage loops. Move each one down (or up) to select the next pattern row.

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Looking from the top down, the stored pattern can be easily seen.

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Two rows of pattern are woven, separated by a row of plain weave. As I suspected, I needed to deselect the pattern lift between plain weave rows. The lift otherwise would be included in the plain weave. Having the storage unit behind the shafts means that the selection does not alter plain weave. The same pattern row can be left selected for however long you wished to weave the same row. In this case however no selection could be maintained. Rather I left the thread loop in position and reloaded the pattern lift for the repeated row. It was a little inconvenient however the ease of storing the pattern made up for this inconvenience. In spite of the double handling of the pattern loop, weaving the reverse of the pattern happened surprisingly quickly. I took nearly 2 days to pick up the pattern and wove it backwards in less than 3 hours with a cuppa included.

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Rather than weaving a long runner with several reversals of the stored pattern, I wondered what else was possible.

I decided to revisit Becker’s Pattern and Loom and repeat the technique I had already explored. (Blog: September 2017 ) I decided to start with a simplified smaller version of the same motif that I’d been using. Rather than paired threads there were 4 or 6 threads lifted together. The design is interpreted so that each square equals 2 threads, necessary for this technique of changing twill direction to work, so 3 squares in this case equals 6 ends. The front and back of this series are labelled below.

I soon decided that I didn’t like the effect. (A)

Next I reworked the design so that there were only single squares to be lifted. This was then woven in the style outlined in Becker. There is that interesting effect of the sides of the diamond being different. (B)

It was in my mind that the weavers of Cambodia  ( Blog:  May 2017) wove diagonal lines using this loom set up and basic principle. I have this lovely ikat cushion with the diamond ground structure. It is woven in plain weave with pattern shafts.

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I decided that structurally this would be achieved by including either an extra thread being picked up at the reversal points in the stored design or an extra row being woven in the weaving sequence. This would achieve the outside threads in a series of 3 working in the same manner. I now have a clean diagonal line. (C) The same motif is used for B and C.

The final motif in this series works with a stored lift of 2 or 3 pairs lifted together in combination with a single pair. In essence it is an extension of A and C. One extra thread or row is included at the reversal points. Again the lines are clean. (D)

It is important to note that the reversal points in C and D must be on the same line of the treadling sequence.

Here is the record of that series. A is on the right.

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And then I ran out of warp! This is an overview of all the work from that warp.

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The really great news is that all that effort I took in preparing the warp so that individual warp threads pass through single long heddles is done, ready for the next experiment.

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The Handweavers Guild of Tasmania had invited me to run two, two day woven shibori workshops. One was in Launceston. The other was in Hobart.

Both groups produced an exciting array of work. It is quite amazing what was achieved in two days. Weavers wove on rigid heddle looms as well as those with 4 or 8 shafts.

Here are some images.

The Northern Group.

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The Southern Group.

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Thanks go to the organisers of both workshops and to the weavers who participated so enthusiastically and with such a willingness to learn.

Coming up next month:

The report on the exhibition.

The studio class on Woven Shibori will be from 18-22 March. There are still places available. Right now I’m working at setting up warps for this class. If you would like to attend and work on a specific project, this is also an available option. There are a number of design approaches being set up but as usual there is often something out of left field.

This loom has been set up to weave an 8 shaft fabric on an 8 shaft loom with a 5 shaft warp shibori pattern using a horizontal storage system. This system is typical of SE Asia. It is a very useful technique for any situation where you need just one or more shafts extra to what you’ve got available.

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For full details of this class: woven shibori

The featured image at the top of this blog is an image of the hard copy invitation.


May 2018: Part 5 of The Lesser Sunda Islands trip/Looms and weaving processes

June 23, 2018

This blog continues my experiences of the textile research trip to the Lesser Sunda Islands by Sea Trek. It will be the final in this series. This blog covers all aspects of weaving.

Back strap looms are nothing if not portable. They can be easily packed up at the end of the day and put away. They can be easily transported and set up somewhere else. All you need is some sort of structure to anchor it too. The other end is attached by a strap to a means (fabric or carved support) that when passed around the back of the weaver allows tension to be created. By bending forward, tension is removed, allowing the weaver to change a shafts. Here you see the basic elements: the frame provides both a seat and a means of slotting in the back beam. There’s the back strap ready to be put around the back of the weaver. Note that not all back strap looms have a frame. Sometimes it’s just a couple of posts in the ground.

The loom may fit into an existing structure or be tied to one.

The length of the actual loom correlates to the length of the weaving. One end will be anchored by a physical means, the other by the body. This warp must have a very long loom.

A weaver must be able to create good tension. To facilitate this, she or he must be able to push against the opposite end. Here extra pieces of wood have been put to shorten the distance.

How looms are actually used in daily life can only be seen when you look at home. Often they are outside under some sort of roof or under a house.  Sometimes they are in a favourite location. It is probably unlikely that the looms used in demonstrations are usually used on this site. On a wander around Umapura, Bettes and I came across a woman weaving beside a man making a canoe. It was away from the area where the demonstrations and selling were so one could suppose that this site may be used often. I was pleased that we both had an opportunity to weave. We realised how heavy the weaving was to lift to clear each shed or row of weaving. That warp is very dense and there were a lot of threads.

All weaving is done on a circular warp, resulting in only a small gap where it cannot be woven. Only one item is woven at a time.

Ikat.

Making sure everything is aligned when it is on the loom is the tricky bit. I have 5 warps and they are all secured differently to go on the loom.. From top to bottom the first is tightly bound at the top end and individual sections are loosely tied at the bottom. There are multiple warps here with different lengths, thereby indicating several projects. The second is woven at the top at the top , and loosely tied at the bottom with a short stick attached that would float. That might be useful in dyeing of finding the opposite end. The third is undone ready to go on the loom and only has a tight tie at one end. The forth has 10 short sticks bound along the length. The last also has sticks bound along the length and an additional series of knots across the top. All the weavers will have developed skills in how to make the imagery stay in place when it is put on the loom.

Here they are put onto a frame to be organised.

Once everything is aligned heddles need to be made so that every alternate thread will lift. This diagram explains the basics. Note that one heddle is made for every 4 threads or every 2 on the top. The heddle may be made over any combination of sticks or a single thick thread to create a required length. We saw quite a bit of variation. Sometimes there was a rod underneath to make sure the bottom  layer remained isolated from the top.

 

 

This video shows combining two warps, separating out the ikat threads making heddles and then adding in an extra solid colour warp with again their appropriate heddles.

Sticks and rods are inserted to enable the creation of the two sheds or the gap between one set of threads being up of down. This gap is where the weft yarn will be inserted. This yarn is often wound onto a long straight stick. In some places it will be used like this. At others, it may be inserted into a hollow tube. This video shows ikat being woven at Freddy’s studio in Sumba. There was an interesting variation here that we saw no where else: the fabric was beaten. That may be to loosen the threads and ensure they don’t catch with its neighbour. Note how much the warp slides forward sue to the force of beating with the sword. It needs to be continually pushed back.

When ikat is not a component and only plain weave is required or supplementary warps are used, it is possible to wind the warp and make the heddles at the same time.

Weaving pahikung (the name it’s called here) or with a supplementary warp.

This is an example to show the basic characteristics.: a clean finely detailed image on the front with the long floats tied down in a horizontal line at the back.

The supplementary warp is much thicker than the background thread. It appears that it is wound at a 1: 2 ratio. We did not see how the warp is made but I suspect that it uses a similar process to ikat with the additional warp being added at the same time. Perhaps 3 balls of yarn were used. We have seen 4 being used for ikat. Heddles will need to be made for the background fabric. Again we didn’t see this done but perhaps it is most logical to expect this to be done while the fabric is being warped.(as for ikat or a solid colour)

The design is picked up and stored on narrow very narrow sticks. They must be narrow as a lot of them may be required. The weaver here has an existing stored pattern on her lay. A long pin marks her current spot.

If the pattern required 2 stored patterns, one is completed first and then the other.

Sometimes you can find old stored patterns in a market or being sold by a trader.

This image shows the basic components to weave pahikung. From the front of the loom. On top of the weaving, there’s a temple or stick with points on the end to keep the weaving at the same with. This was used universally. Sometimes it may be placed under the weaving. It is constantly moved at very small intervals for the length of the weaving. A sword opens a gap (shed) to allow for the passage of the shuttle. Then there is the rod with all the heddles. A large diameter bamboo stick which is used to create the other shed. A series of sticks of the same width that hold the transferred pattern. A set of heddles that are used for the tie down row. A number of very fine sticks that store the pattern.

During weaving the stored pattern is moved to the front of the loom behind the heddles. They are moved forward and used in conjunction with the plain weave lifts underneath. At a regular intervals the ground weave anchors down the floating warp threads on the back of the weaving. As weaving progresses the supplementary warp because it is not used all the time as the plain weave fabric will lose tension and become slack. When this happens extra sticks are inserted to take up the tension. By the end of the project, quite a roll of sticks will be on the top of the weaving. On a western style loom, we would use either a second warp beam or some system of weights to ensure even tension is maintained throughout. This image shows the bundle of stick that take up the tension. All the pattern sticks have been used. A new set will need to be brought forward.

This movie shows transferring the pattern to the front where it becomes usable, tightening the tension and weaving. Note how the weaver has to keep moving the weaving edge back. It keeps moving forward due to the force of the beat used. This is a very dense fabric.

Finishing

Here are two unusual finishes. This decorative fringe was seen on textiles in Lamalera. (Lambata)

We saw several Sumba textiles with this woven fringe.

The warp of the textile becomes a secondary weft. Once the first textile is cut from the loom, it is turned and the warp becomes a weft for a second narrow circular warp on a back strap loom.

 

 

We were told that often beginner weavers do these. There’s quite a skill to keep the lower edge of the main textile from pulling in.

Once finished the second warp is left cut. And the left over fringe is then plied.

This movie shows the weaving.

On Reflection:

I have seen dyeing. How many ways can you dye with indigo and morinda? And then there was that feast of colour at Umapura. I have enjoyed seeing how textiles are produced and enjoyed the challenge of understanding process. There was a wonderful range of textiles. I have come to an appreciation of the diversity of regional cloth (especially as it was all woven on a back strap loom), its motifs and its role in daily life. It has been a wonderful experience and I feel fortunate in having been there. And that boat- what a magical experience! It really wouldn’t have been possible to go there to all those islands and weaving villages in such a space of time apart from by sea.


May 2018: Part 4 of The Lesser Sunda Islands trip/Dyes and processes for ikat.

June 21, 2018

This blog continues a report from my recent textile research trip to the Lesser Sunda Islands hosted by Sea Trek.

The technical aspects of textile production: common dyes, ikat preparation.

Dyes: Indigo and morinda

These are the two dyes that we saw consistently through the trip. Localised dyes have already been covered; in particular those wonderful colours found at Uma Pura on Ternate Island.

Let me say first up that this section was the most complex to sort through from my field notes. We saw dyeing at many locations. I will give an overview and then note any variations.

There are no exact measurements used. The dyers put in an amount according to their experience- a bit like a cook who knows how much of an ingredient is required. Sometimes it was also difficult to interpret the identity of a tree or plant. And perhaps, it might be handy to remember that perhaps like any chemist safe guarding a recipe and the edge to their livelihood, there is a secret ingredient that we are never told about. We’ve all known cooks that don’t share the total recipe.

This was our first experience of a dye demonstration in Flores. Having the materials and plants in a nearby garden labelled was very helpful. However it was the only place where this was done. For any of the unknown ingredients we had to rely on our guides ( Anastasia and Narto) who also may have had to interpret the word before identifying or spelling.

It should also be acknowledged that the dye processes are usually speeded up for a demonstration. Often each stage requires several days for each step and a number of days for drying in between.

These are the recipes as recorded. I make an effort to keep an open mind and record what I actually see and not what perhaps I would expect to see based on past experiences.

Reds are obtained from Morinda. These are the 3 basic ingredients but there were variations with additional material being added to both stages.

Stage 1: The first step is referred to as “oiling”. This makes the cotton fibre receptive to the dye. Candlenut is the main ingredient.

In Savu, where the soil is limestone, there is no candlenut growing.  The nuts of the Nita tree are used in a similar way. Sometimes additional ingredients are added. In reality the oiling may take up to a week with the yarn dried in the sun for up to 3 days before dying.  The yarn will be used dry for the dying process. In fact at no stage did we see wet yarn being used for any dye process.

Additional information:

At Bolok (West Timor) the bark and some leaves (perhaps) of the “delas/deras” tree was added to the candlenut. Delas is a local coastal tree. I couldn’t find its botanical name.

At Ledetadu (Savu), we were told that ash (from nitas), fresh nitas, garak,lonton flowers, water, turmeric and para leaves were pounded together.  This oil water was left for a week before adding the yarn. Then it was left for 3 nights in the liquid and left 7-8 months to dry before being used for dying.

Stage 2:

The morinda comes from the outer bark of the root. In Ndona (Flores) we were told that the oldest trees and the smallest roots provide the best colour while there is little difference in the colour according to the season. See also the morinda  both as sticks and shredded in the first image.

The morinda is shredded to make it fibrous. Water is added. (image from Bolok, West Timor) Before dyeing, the morinda matter is removed, leaving only liquid. Morinda on its own will not dye cotton. It must have something that makes the dye “stick” to the yarn or else it will wash out.

This other ingredient is loba (local name). It acts as a mordant or dye fixer. Loba is from a Symplocos tree and is known for its high level of aluminium. In some villages the men go into the hills and harvest it. Other villages that don’t have access to local loba, trade it. We saw bundles that had been bought in the market. It looked like a bundle of sticks and bark.

In West Timor to Sumba, it may be bought as a powder (blog 3 image) or nita nuts used instead. This tree is also high in aluminium. For western dyers we would use alum as a replacement.

The loba may be pounded with the morinda (Ndona). In Bolok, it was added as a liquid to a morinda dye bath. We saw the morinda change colour as the loba was added. The more added, the deeper the red.

Ikat warp and yarn in a morinda bath. (Bolok)

Additional information.

The morinda bark is removed and the yarn immersed. The process may be repeated up to 8 or more times to get a good colour. (Ndona)

At Bolok, nitas are burnt, ground and the water strained and then added to the symplocos powder. This increases the alkalinity of the symplocos (loba).

It is worth noting that the dyed yarn may be left 7-8 months before weaving to gain optimum dye result.

Blue from Indigo: Fresh leaf process

From Flores to Savu we saw cotton being dyed with fresh leaves. This indicates that indigo is readily available in these areas.

The basic process is: the leaves are soaked overnight and removed. Lime is then sprinkled on top and the bath is vigorously beaten. It was then used. In this image you can see the indigo leaves, the next step of frothing and then indigo ready to be used. (Savu)

 

In Bolok, lime powder was sieved into the indigo.

In this series of images watch how the indigo changes colour as it was aerated.

Additional information:

In Bolok we were told that the yarn was put in the dye bath and left for a week. If you wanted a darker colour the whole process was repeated.

In Ledetadu it was quite a complicated recipe for the soaking of the leaves. As well as the indigo leaves, “raru”, betel nut and its flower were used with ash water. This mix was soaked for 8 hours.

Blue from Indigo: Using indigo paste/cake.

Raijua and Sumba use an indigo cake recipe. I understand the climate means that the indigo plant is subject to drought on these limestone islands and so to achieve access to indigo for dyeing the indigo is processed into a form that will keep.

This is the process seen in Sumba at Freddy’s studio: It was identified that hands must be clean and free of soap, creams etc. The indigo leaves are soaked for 12 hrs. A rock is put on top to make the leaves stay under the level of the water. The leaves are removed. This is the size of the vessel used for soaking the indigo. I wonder if it is also referred to as a jar in the process described below for Raijua. Note the lid for covering the jar and rock for weighing down the leaves in the background.

It is then mixed with lime and left for a day. That sinks the indigo to the bottom. The top liquid is removed till there is about 1.5 litres of “sludge”. The indigo liquid is put in a bag and hung to dry for 2 days.

To use the indigo, the paste is dissolved in ash water and an extra unidentified (secret) ingredient from a tree root was added. The dye must be used in 1 -2 days or else it will rot. Multiple dips are required for a deep blue. I have recorded that 500g of indigo paste = 4 times dipping of 500g of yarn. This time of year (May), the quality of an indigo is poor as it is sensitive to heat variations. Freddy’s dye master shows us the paste/cake.

This is the process as told at Ledeunu (Raijua). Indigo cake is made over a three month period. This would correlate to when optimum amounts of indigo can be obtained from the plants.

Indigo leaves (packed in), lime powder and salt water are put in a “jar” and left for a week. The material is then squeezed and removed from the jar. It is then put in basket and the water drips out. This process takes 3 days. Here’s the resulting cake.

 

To use the indigo cake is dissolved in ash water. Nitas are burnt to obtain the ash water. It “lives” for 3 weeks. The quantities that we were given for dyeing was 10 cakes = 1 sarong for 40 dips. Allow to dry between each dip. This is a very dark blue. I didn’t see the yarn go in but I presume it’s had several dips. I didn’t hear how long for each dip or how many or any other details. I just saw them pull this out.

 

Here’s some other interesting observations.

A plastic bag is used to exclude dye from an unwanted area. (Ndona)

 

This bundle consists of several warps all dyed at the same time. They are separate. (Kelompok Kapo Kale)

This warp is partly unwound. Maybe it will be having a second colour applied. However I understand that indigo is usually but not always the last colour. Maybe it will be a 2 tone indigo warp. (Freddy’s studio). How do you identify which bundle to undo if a second process is required? Freddy told us that different types of knots are used for identification.

I was shown that this small section of ikat will be one of the stripes used in a warp to achieve this sarong. (Lamalera, Lembata)

Ikat preparation for dying

As this is often a step before dying, I will cover this topic on this blog.

Ikat here is all done in the warp. So first step is to wind your warp. The warp will be the length required for weaving an item on a circular warp on a back strap loom. A frame is used. The length of the frame will therefor equal half the required length. In the case of a tubular skirt for instance it will be the distance required for the width of the skirt divided by two.

Mostly we saw the warp being wound in a continuous circle for the required number of threads. Usually two people work together. It makes it efficient to reach both sides. Strings were added during the winding process. This will be a means of keeping threads in order for creating heddles for weaving when it is put back on the loom and to keep the sequence in binding for ikat. (Ledetadu, Savu))

In Kelompok Kapo Kale each section of warp was tied in groups at regular intervals. I suspect that this will aid in the design not shifting.

Here’s a close up of the finished warp just prior to binding. Note the strings to keep everything in sequence. Each group of threads has the potential to be wrapped singly as they are clearly identifiable.

This warp is then wrapped for the required design. It is amazing to me how the designs are often just memorised and reference isn’t made to something to do the wrapping. The wrapped areas will be where the dye will not penetrate. The binding at the bottom has secured a straight line and stabilised the warp to prevent slippage. (Ndona)

It is worth noting that the bound design will weave as a mirror image on each side. The blue string was put in during winding the warp. It can easily be seen how it has been used to identify bundles for binding. (Ndona)

Here’s an interesting way to keep everything secure. A band of plain weave has been done by hand. There’ll be nothing getting out of sequence here. I only saw this in Lamalera.

Wrapping is done using this palm leaf. The long leaves are stripped into narrow lengths. (Nggela, Flores)

 

In some areas we did see plastic being used. (Savu)

According to Freddy (Sumba), the palm leaf is better for binding than plastic. It is stronger and plastic breaks when multiple dips are carried out over a long period of time.

The actual process of weaving with ikat warps will be covered in the next blog along with other forms and aspects of weaving.


May 2018: Part 3 of The Lesser Sunda Islands trip/ The Limestone Islands.

June 20, 2018

This post follows on from the previous one. It is a record of my experiences on a textile research trip to the Lesser Sunda Islands hosted by Sea Trek.

From Lembata Island we head south across the Sunda Straight to West Timor. (see map from Part 1). From there we’ll be heading west to create a loop that will eventually take us back to Flores.

The landscape changes. The mountains are less steep. No more volcanoes to be seen. Accessibility to plant materials for dyeing appears to be impacted.

I had been to West Timor in 2007- that’s 11 years ago. I wondered what Sue and David Richardson had planned for us to visit and whether I’d see any change.

We landed in Kupang and traveled in this bus.

We visited the Bolok weaving group and saw an extensive dye demonstration. Here an essential ingredient in morinda production, symplocos can’t be grown and candlenut may not be accessible. The conditions just aren’t right for the symplosos so they have to buy it in. In this case in a powdered form. Candlenut may be replaced by nita nut. More to follow in the technical notes in another blog,

We also visited the Museum of Nusa Tenggara Timor with some great displays of textiles.

Then it was onto Baun (Kelompok Kai Ne’e)  and then Barat . Our destination was to an audience with the King and Queen of Amarasi in their Royal Pavillion. The king and queen are in the background while the children perform an opening ceremony.

After the reception we were taken to the complex where we saw textiles and a demonstration of papermaking. I had been here before.  My impression is that it was now a much more active and viable community. It seemed much more prosperous than what I remembered.

This is the royal motif being woven, interspersed with some float work stripes. Note that the additional design element is being picked up as it is being woven.

At the nearby village of Barat we saw yarn skeins of yarn in an extensive colour way. This is just one section of line.

There were also a variety of textile techniques.

There was ikat with lots of morinda, though there was some pale indigo too. The designs were bold. Obviously the design is popular or they have an outlet requiring textiles of the same design. It had a commercial feel.

 

There was also some warp float work done on alternating coloured warp threads. On one side there were warp floats while on the back there were weft floats. Note the appearance of uncut circular warps. From my previous trip, I knew that this was a way of identifying desirable new textiles. There were other designs but it is interesting to note that the design while woven individually is the same.

The patterning was very familiar and it stirred memories of other great textiles and interesting techniques I’d seen in 2007. Maybe I need to come back again. It was only a fleeting one day visit.

We sailed west to Sawu or with an alternate spelling: Savu. Here we visited Ledatadu and Namata. Here was another demonstration and with a couple of noteworthy aspects. Here they were removing the seeds from cotton not with a gin but rather by rolling the fibre on a piece of wood with a round stick.

Plied cotton in 2 colours is used as an extra design element in a stripe.

Some areas of bound ikat were being hand painted. This enables isolated areas of motif being dyed as opposed to whole areas being bound and redyed in the required dyebath. The process is repeated at least 4 times with drying time required between each application.

The motifs in the textiles to have an elegance and to be quite refined.

 

These children in their ikats are just too good not to share.

As well as warp ikat there was some textiles using float work (warp floats on the front and weft on the back)

The village of Namata provided us with a dance performance. It was a chance to check out the textiles.

And of course there was another opportunity to buy. There was evidence of more chemical dyes used for the ikat. This piece has a more contemporary feel.

On Raijua Island we visited two textile villages: Uoja Dima and Namo. It was the second village that proved the most interesting.

There was another indigo demonstration. Until now we had seen only indigo being used from fresh leaves. We were told that because of the “extended drought” indigo was being converted into indigo paste. There will be more on this actual process in a later blog. I suspect perhaps that it is an effect of living on the “limestone islands” with what I understand is their lower rainfall. It seems a well-entrenched process.

Cotton is spun using the drop spindle in a different manner: “upside down”.

The textile motifs here remind me very much of damask patterns from Europe.

There is also a strong Dutch influence. Note the crowns and the KN which stands for Koningsland der Nederlands or Kingdom of the Netherlands

We also saw these solid indigo dyed cloths with tie dye patterning. We were told that these are often worn for funerals and other important ceremonies.

Our last island was Sumba. These textiles were one of the reasons I’d joined this trip. They didn’t disappoint. We visited the villages of Uma Bara (King of Pau), Pau and Rindi, Waingapu as well as the studio: Tenun Ikat Sumba at Prailiu. Freddy, the owner acted as our guide for the time on Sumba.

Here’s some background to the social hierarchy. Sumba has “slaves”. They can never move up the social ladder. They can never own land. The children will also be “slaves”. However if they weave and sell textiles they do get the money. Some textiles are sold as being done by royalty. This may mean that they are produced by the “slaves” of that royal. The word “slave” didn’t seem to imply that they were abused but rather describes a position in society.

The importance of textiles in that community was confirmed. We saw a burial tombs for royalty. There was often a weaver carved into the stone as well as other auspicious objects.

When a royal person dies, the body is wrapped in a foetal position and over time till an auspicious date for the burial textiles will be added. This princess has been covered with 75 textiles in 6 months. The burial we were told will probably be in September at which time there will have been many more textiles added. Apparently the best two textiles will be next to the body and on the outside. A slave always sits with the body.

We saw demonstrations of dyeing at Freddy’s studio. I’ll note now that indigo paste was also used, however actual technical details will come later.

There are two main textile techniques: ikat and weaving with supplementary warps. They may be on their own or combined. The actual technique of weaving with the supplementary warps will be covered later. These are the textiles. The motifs are often strong and bold.

I love the large scale motifs found on the ikat. Here are a couple of examples.

 

 

Just blue but look at the complexity and detail with shades of blue.

This one is just a bit extreme though it did make me smile.

Supplementary warp fabrics are different on both sides. The front imagery is definite with the back having the negative design but with long floats being tied down at regular intervals. The back can just be seen on the underneath fabric. This image also shows the stored pattern behind the heddles on the left. The weaving edge is not shown. As the fabric is woven, the supplementary warp is not used at the same rate as the background fabric. To take up the slack and to control tension, it is wound onto extra sticks. This is the roll of sticks on top of the loom. The full process will be shown in a later blog. The colour showing behind the heddles is not a dyed warp but rather the background warp showing through.

 

 

 

A fuller look at the two sides of the fabric. The wrong side looks as though it has lines in the design.

 

 

Supplementary warp on a striped warp woven beside ikat for a woman’s tube skirt. The top fabric is woven separately and joined.

After weaving, the supplementary warp fabric may be hand coloured.

 

Lastly, here’s an interesting fringe treatment. A weaver sits with a small circular warp and the fringe of a completed weaving is woven as the weft. Here’s a completed fabric. The warp of the finished narrow weaving is just cut. The remaining original fringe is then plied.

The next blog covers all those technical details I’ve been promising.


May 2018: Part 2 of The Lesser Sunda Islands trip/ The Volcanic Islands/Andora, Lembata, Ternate, Alor, Pantar

June 20, 2018

This blog continues my experiences of the textile research trip to the Lesser Sunda Islands by Sea Trek. We sail east from Floes. There’s a map on the previous post.

At Bama on Adonara Island we saw more ikat dyed indigo and morinda. This ikat was decorated with sea shells. The shells are placed in the eye of a coconut and the top sliced off before being stitched onto the cloth.

 

An overview of textiles produced.The ikat stripes are very fine.

On Lembata we visited Mawa and Dikesara* (I had this noted as Lowelain). Here was a case of how living in a actively volcanic region influences life. At Mawa village, there is no drinking water as it is very high in sulphur. Water is imported. Imported water is also used for dyeing though we told that the local water gives yellow on yarn. The dye pots used come from another village. They are bartered for corn, textiles and cocoa. Perhaps the pots are also full when they arrive. We also saw more broken threads in weaving. Is this a case of seeing less experienced weavers or weaving with no sizing to help strengthen the handspun yarn or does the atmosphere or water if it has been used create weaker threads? There were some very beautiful warp striped fabrics here. Dikesara had similar textiles. I think that it was here that when they changed the water pipes, the dye colours also changed.

The colours are more “earthy”.

These are all those broken warp threads I referred to.

What a delightful way to go shopping. Yes that’s the sea in the background.

A more detailed look at stripes and combinations of ikat patterning in one textile.

What a colour feast awaited us at Uma Pura on Ternate Island. Up to now we’d seen predominantly morinda and indigo with an odd spot of other colour, but here was a magnificent array of colour. All were natural dyes, some obtained by plant matter with others from the sea.

Yellow is obtained from turmeric and lime fruit. Orange is the yellow dye bath + lime powder (used for indigo). Both are hot processes. (orange above)

Another group dyed yellow from turmeric, milk weed leaves and candlenut.

 

Pink from the bark of the hong tree. It has very hot water poured over it 5 – 6 times to get the deepest colour. Bone (front) from sea weed or sea grass.

Rose brown comes from the sea hare. The sea hare is shown at the back and yarn is being dyed in the dish at the front. You may also see it in the image above.

 

This orange/brown from a sea urchin.

 

Beige from the castor plant leaves.

Dark green from the Indian Almond tree + indigo. Mustard is from the jack fruit bark. Blue is of course indigo. Black is from indigo + lime. Dark brown from morinda and candlenut.

Bright green is from the Indian almond tree. Here’s a comparison of the two greens.

This deep purple came from the sea sponge. The sponge is beside the yarn.

Here’s a couple of interesting additional information on dyeing. Men must not be involved in dyeing with indigo. It will affect their fertility. Dyeing must be done during daylight hours. The dye baths must be taken in at night or “the moonlight will change colour”.

There were 5 weaving groups represented here with about 20 members in each group. Lines of interesting textiles with various colours and imagery were stretched around an oval. The imagery was also reflective of life by the sea with various sea creatures: whales, sting rays, fish, crabs, turtle though there were other more “usual” styles of imagery too.

The Kalabahi Museum was the highlight of our visit to Alor Island. The museum had a wonderful collection of textiles all displayed in glass cabinets though the staff were more than willing to open these doors for us.

On our arrival at Tama (Tamakh*) on Pantar Island, everyone was presented with a scarf; all different. Usually it is just the representatives of the group who receive one if at all. I am delighted with mine, not because it is a wonderful piece of craftsmanship but because it is a true weavers delight. Here is a scarf that obviously combines a whole lot of leftovers: hand spun (yellow) and commercial cotton, natural and synthetic dyes all overlaid with a bit of patterning. It’s something that I might do to use up all those odd ends. The pattern is a result of creating warp floats (weft on the back) on alternately coloured warp threads. The locals trade textiles as there is none made in the village.

Lamalera on Lembata Island is a whaling village where whaling is done from small outriggers. Another aspect of textiles in daily life is shown here. The sail is hand woven.

However there are also textiles produced here. Naturally coloured cotton is grown and spun.

 

This is the first time that I saw plying of cotton being done. It is used as a decorative stripe in woven fabrics. One ply is natural white cotton, the other is a naturally coloured or dyed cotton. Note the end of the spindle is a whale bone.

Whales and boats did feature in some of their textiles. We’re back to a more limited colour way. The dye demonstration showed red (morinda), blue (indigo) , yellow (turmeric) and green being produced.

Place names updated by Sue. Thanks Sue. *

The next stop: The limestone islands of the Lesser Sunda group.


May 2018: Part 1 of The Lesser Sunda Islands trip/ The Volcanic Islands/Flores

June 20, 2018

In May 2018, I went on a textile tour to the Lesser Sunda Islands, organised by Sea Trek with Sue and David Richardson (UK) as textile experts.

To put it all in perspective, here’s a map of Indonesia with the area to be visited identified.

Overview

There was a 3 day pre-tour land based tour that started in Ende, Flores. We then crossed the country to Maumere, visiting Ndora, Kelompok and Nggela villages. For those who wished this could be taken independently or omitted. This was followed by a 13 day cruise around Flores, Lembata (formerly known as Lomblen), Alor, Pantar, West Timor, Savu, Raijua, Sumba before returning to Flores.

This map, supplied by Sea Trek shows where we went.

I had long wanted to explore Flores and Sumba in particular as some of my friends had already been there. I had seen the textiles that they had acquired and had heard their stories and I was fascinated. I hoped to see some similar as well as researching how they were made. In addition it was an ideal way to get an overview of textile production on the smaller islands. In all reality visiting these would be unlikely otherwise. In essence, I thought that this trip would be an ideal opportunity to gain an overview of textile production in this area. It would also inform me of any area which I would like to revisit to do more in depth research. And I’d get to revisit West Timor which I had thoroughly enjoyed in 2007.

Sue and David are both avid collectors with a passion for ethnic textiles and in particular traditional cloth, dyed only with natural dyes and lean towards museum quality pieces. Each night of the cruise Sue or David would give a comprehensive lecture. The lecture, on the regency to be visited, would cover such textbook topics as ethnography – cultural linages (matrilineal, patrilineal), marriage laws and settlements, language; European history in particular, geography and examples of textiles found in collections including their own extensive one. Included were handouts with comprehensive bibliographies. I’m sorry to say that some nights I did find it hard to concentrate (as did many) especially after a day out and about and a relaxing drink in hand. The handouts will be helpful if I wish to research any theoretical aspects at a later date. However they do know their stuff and their years of travelling around this area have certainly enabled them to put together a comprehensive trip. Thanks Sue for the updated place names.*

In addition Sea Trek provided two guides, Anastasia and Narto. They were wonderful: professional, friendly, extremely helpful and obliging. A tour can really be enhanced by the local guides and they certainly filled that category. I’ll also mention the wonderful staff on the boat. It was a truly wonderful experience because of their friendliness, care and willingness to go out of their way and help. And the boat, Ombak Putih – what a truly wonderful way to get around the islands. Sea Trek run other cruises. I’d highly recommend the experience. www.seatrekbali.com .

 

There were 14 on this tour. It was a great group to get to know. Everyone was widely travelled and all with interesting stories.

To get to shore we were taken by these zodiacs.

I will divide this blog into two main sections: one covering the volcanic islands, and the other; the limestone ones. Yes, there are many active volcanoes in this area. Some were even “smoking”. They are all on the northern side of the Savu Sea. The other islands on the southern side are limestone. This is late afternoon cruising with a volcano in the background.

Before starting though, I’ll do an overview of traditional dress. Usually when we visited a village, we were given a welcome event with everyone dressing for the occasion. I guess after all here is their opportunity to show off to those foreigners and perhaps encourage income. This is just one of our many welcomes.

 

At Dokar  (Umauta), Flores, our two representatives, Irene and Phil were taken and dressed for the occasion. This picture will illustrate the requirement of traditional dress for both men (a sarong and shoulder cloth) and women (a tubular sarong). The shirt for a woman may be made from hand woven fabric but is usually a commercial blouse.

 

At the villages we did see demonstrations of the steps from cotton fibre through to weaving. In fact we were to see this a number of times both on the volcanic and limestone islands. While they demonstrated spinning, it did not necessarily mean that they only used homespun. Here’s a pretty typical presentation that we saw throughout the trip; a collection from several places.

Cotton being ginned using an often beautifully decorated wooded hand gin. (Mawa Village)

Cotton is fluffed using a bow. This is a preparatory step to facilitate spinning. (Kelompok Kapo Kale*)

 

Spinning is carried out on a drop spindle. The thread that is produced is fine and even. It is very labour intensive, Commercially spun cotton is also being used. Sometimes rayon was also used. It dyes as well as cotton. In the market place trust the feel of the fabric to tell you the fibre whether it is hand spun or commercial cotton or a much more drape-able rayon.

Cotton being spun. (Mawa village)

After spinning it is wound into a skein or ball. (Mawa village)

 

Dyeing is carried out on either a skein for the weft or solid colour warp, or on a wound and bound warp for ikat. More will be covered on these steps in a later blog.

We’d see warps being prepared and dyeing demonstration. In this area, the typical colour was orange/red from morinda and blue from indigo. In fact, the orange/red was by far the most predominant colour that we saw. (Ndona)

The results of dyeing in morinda on an ikat warp. (Ndona )

 

We’d see many versions of warps being put on a loom. This is one in Kelompok Kapo Kale. The warps are circular and need to be cut off the loom when weaving is finished. There will be just a small distance left unwoven.

 

And warp faced fabrics woven on a back strap loom. Back strap looms were only used in this area. This image shows both a complicated combination of different warps being prepared and a woman weaving. (Bama)

 

Much more detail will be provided on winding the warps, binding for ikat, putting the warps on a loom and weaving in a later blog. There’s way too much information for here. This is just an overview.

The volcanic Islands: Part 1 Flores

Here’s an overview of what we saw and experienced.

Flores

We arrived in Ende and drove across to Maumere  staying in the Kelimutu Echo Lodge for two nights. This gave us the opportunity to visit 3 weaving villages at Ndona, Kelompok Kapo Kale and Nggela.

Travelling by road is challenging as they are not smooth or straight. However it does give you the opportunity to look for looms or warps drying that may indicate the presence of weaving. I do like trying to get that glimpse into daily life as we travelled along these roads.

Weaving is done in the coastal villages. In the mountains at Saga, we were told that it is bad luck to weave. They acquire textiles by barter.

Here is a typical textiles from this region.(Kelompok) Some of the images above are also from this area and show cloth.

This market gives an idea of what was both on sale and what was worn. The dyes used here are synthetic but the colour aesthetics is typical: predominantly red/orange with some blue.

And then it was time to board the boat. From Maumere we sailed to another village in Flores, Umauta. What was very interesting here was that we saw several forms of weaving. Cotton is used (handspun and commercial) with natural dyes (mainly morinda and indigo). There was ikat; check out the skirts too.

 

 

 

There were lots of interesting stripes.

And fabrics that had supplementary weft patterning.

 

Here’s a very interesting technique. I had never seen a reed being used on a back strap loom. This simple technology resulted in a more open fabric. It is, when questioned, a traditional technique. As nowhere else was doing this, here is some information on this specialised technique.

The trick is: how to put on a warp that is circular, that will be woven on a back strap loom AND that is threaded through a reed.

A close up of the reed and a stand to stabilize it for threading. The spacing tells you how fine the fabric will be. Two threads go through each space or dent.

Winding the warp, creating heddles on one layer on every second warp thread and putting through the reed.

Here’s a diagram that may explain it.

This woman is weaving with a reed and with supplementary weft patterning. Note all the sticks that have pattern stored. (perhaps from another village in this area)

This movie shows the basic process of weaving with a reed on a backstrap loom.


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.


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.

 


August 2017: The last hurrah, Job’s Tears and in the studio.

September 12, 2017

This post is late. But a trip away and limited internet access are the culprit.

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It’s the end of an era. My exhibition, Pattern: A Universal Phenomenon has had its last showing. It has been on tour for the past four years and Childers Arts Space was its last venue. The staff at Childers did a great job hanging it and were very welcoming. I have enjoyed the contact I have had with them. I was driving past the gallery on the week before it came down and called in. My timing was perfect. There was a group of Year 7 students from a local school. They were there on an excursion to look at pattern. I gave an unscheduled artist talk.

Afterwards the group was on the veranda of the gallery where there was some lovely iron lacework.

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While I waited for the day to demount the exhibition, I got to spend a couple of days at Burrum Heads. I just happened to be there when some trees were bring trimmed and look what I found: lichen!

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As well as being on the trees, there was some adorning an old fishing table.

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I have come home with quite a collection ready for some natural dyeing – maybe this month. I wonder how successful the dye extraction (if any) will be. However I just couldn’t pass up the opportunity to collect it.

From an earlier trip: Job’s Tears.

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I had this Akha (an ethnic group in Laos) necklace out the other day. I have been meaning to pass on some information on these beads which are really seeds, since I came back from Laos at the start of the year. I have come across textiles that use these seeds ever since I started travelling in S E Asia. A display in The Traditional Arts and Ethnology Centre in Luang Prabang detailed great information. This museum is highly recommended.

Pronunciation of “Job” in Job’s Tears: It’s probably easiest to describe as “Job” in the biblical person and not “Job” as in work.

In the museum, there were some great didactic panels which I’ll share detailing aspects of these beads as well as some great textiles.

I didn’t realise that there were four types of beads. I did however recognise that I was seeing different beads in different places. Check out the beads and the different shapes.

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This map shows the distribution of the ethnic groups using Job’s Tears in S E Asia. Note the comment that “their disappearance is a indicator of our changing relationship with nature”. Beads are used extensively though often they are mass produced.

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Naga shawl. Sagain Division, Myanmar/ Yangon, Myanmar.

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Karen skirt borders. Mae Hongsorn Province, Thailand/ Bago Division, Myanmar.

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Akha Jacket. Shan State, Myanmar/ Louang Namtha Province, Laos.

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Katu shawl for sale in the Museum shop.

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Earlier on in August, I had three weavers in the studio for a “Special” class. This allows for open choice and in this case the three students all chose to do something different. Now before I show you what they did, I would like to point out that one had never woven before and this was her first ever experience. Another weaver had done a token amount and had barely wound a warp. While the third was experienced.

Here’s Sharon weaving a fabric length for a blouse.

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Sharon is the experienced weaver. The fabric is finished. It has a cotton warp with a silk noil weft: a very beautiful fabric.

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But wait- a decision is pending. There are some supplementary warp threads in there for woven shibori. Will she or won’t she overdye? Sharon will be back this month and we’ll find out then.

Jan has just started weaving and is in the process of winding her first warp at home. She came to learn technique and at the same time experiment with some woven shibori. She had seen an example at the Redlands Spinners and Weavers Open day. Along the way she discovered the enjoyment of play.

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Here the treadles had been tied up for an 8 shaft twill. What happens if you go that direction and then that one and what happens if you don’t always keep in sequence? It’s fun! And she got to earn about selvedges and how to throw a shuttle and the process of weaving efficiently and with good technique.

And she also got to weave shibori. Here she is pulling up the resist threads. Later she got to experience the magic of an indigo bath. Unfortunately I don’t have images of this.

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But I do have some of a collection of things I put in the indigo too. The pattern on the scarf is not really a shibori pattern. The fabric is solid indigo and the pattern sunlight through some lattice work in the early morning. Now that could be inspiration for later.

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Rochelle has never woven before and wanted to weave an image inspired by a design on a piece of pottery. Why not? She got to prepare a warp and thread over a 1,000 warp threads. Not bad for a first attempt AND loved doing it. She did celebrate finishing though.

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This is what she’s weaving. The technique is Theo Morman and allows for great control of imagery.

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Later on final detail of pattern will be achieved by embroidery. So for a beginner weaver she’s learn how to set up a loom, throw a shuttle and get great selvedges and how to use a cartoon to achieve imagery. She’ll be back next week to finish off.

Some dates:

The weekend workshop at GO Create will now be on Friday and Saturday, 13-14 October.

Coming up in the studio:

18-22nd September         Doubleweave and Friends

16-20th October               Two extremes: Choose between weft faced rugs and warp faced textiles including rep or textiles inspired by SE Asia. (2 places for rep/warp faced textiles only)

13-17th November          Woven shibori (2 places left)

4-8th December               Special

Lastly: a very special event. When I was at Burrum Heads I got to experience the sun setting down the river and immediately after the moon rising out to sea. It was a remarkable experience!

 


July 2017: Ballarat and the USA

August 4, 2017

This has been a very busy month teaching away from the studio firstly in Ballarat and then for MAFA in the USA.

At the Ballarat Fibre Arts Australia event, the title of the workshop was Play +1. Each of the students chose a different topic to explore – in other words, play. They could choose an aspect of double weave or mixed warps or a technique of their own choice. There was as a result total diversity. After exploring their topic for 3 ½ days they added an extra component in an extra shaft to achieve a more complex cloth.

But before we started the workshop, there was the matter of a decoration for the top table. I took the opportunity to produce this in the “meet the tutor” afternoon slot. This was a fun activity: a bit of stitching and needle weaving into gutter guard. Everyone got to do whatever they wanted and using whatever yarn they wanted. It was also a great opportunity to meet new and catch up with past students in a very relaxed manner.

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Elizabeth started with an unfinished scarf as her project. It was colour and weave on a 4 shaft twill. After finishing her scarf she explored colour and structure variations, including removing and replacing a few warp colours before adding in an extra shaft for a supplementary warp.

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Jeanette explored combining lace and summer and winter. This provided the opportunity to explore both structures and some creative approaches to a block of warp threads that didn’t weave. Her extra shaft was used to fix a threading mistake.

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Trudi explored double weave with Summer and Winter as one layer. There were lots of variables here.

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Jillian explored double weave and rotational blocks. (Colonial overshot) and then introduced an extra warp thread on her extra shaft- one that she moved around changing it from one position in the reed across the weft and to a second position.

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Di came with a sample of double weave that we then interpreted into a 12 shaft draft. The draft combines blocks of twill and plain weave.

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Michael arrived mid workshop and luckily there was a loom set up. It was destined to be rag mug rugs. However, this was used to explore variations of plain weave and then by adding in an extra shaft, it was possible to achieve a 3 end twill.

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At the end of the week, the class puts on a display of their work. This is what was achieved. Unfortunately I had to leave early but I was delighted and privileged to spend this time with them. I must also acknowledge the great team that organises the event: Noni, Glenys and the Golden Team. Check out Fibre Arts Australia for details of the next Ballarat event and others run by this organisation. http://www.fibrearts.jigsy.com/ event.

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Later in the month saw me at Millersville in the USA for the MAFA conference. The class was East Meets West where various back strap structures and techniques are interpreted for a western shaft loom. It was a great class of 11 students and everyone accomplished much in 2 ½ days. Here’s an overview of what was woven with each student choosing their favourite section.

 

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Apart from the workshop, there was such a lot to do: catching up with friends and the market place and various structured activities including a fashion parade. Those who were involved in the organisation put on a great conference.

After the conference I had the opportunity to visit with my friend Judith Krone in Atlanta. On one day we got to see these two exhibitions at Lyndon House Art Centre in Athens.

The first one was Time Warp….and Weft, an exhibition by 6 artists.

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This is the artist statement followed by an overview of the gallery and work by Geri Forkner that could be walked through.

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The second exhibition was Fold Unfold.

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About 50 weavers/ university faculties created coverlets. Each of these were folded and placed in a pile. They will be opened at an “unfolding” event. It would have been great to have seen at least one of them unfolded and displayed. Accompanying the exhibition is a movie of each individual work unfolded with a detailed view. This of course can’t replace seeing the actual work.

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The other very important activity at Judith’s was our dyeing day. Judith and I have established a tradition of weaving a joint project over a two year period. The first year we each wind our warps of 2 scarves each warp, dye and swap. The second year we weave two scarves with the grand unveiling of the project occurring where we exchange scarves. Each of us ends up with two scarves (one of each other’s dyeing and the other of each other’s weaving). You may have seen previous results of our collaboration. Anyway this is the start of our 5th project (10 years). This time we dyed the two warps together and have swapped. What colour? Well you will just have to wait and see when all will be revealed next year.

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Coming up- a 2 day workshop at Go Create (www.gocreatenewengland.com) on the 9-10 September and workshops in the studio.

21-25th August                 Special (2 places left)

18-22nd September         Doubleweave and Friends (2 places left)

16-20th October               Two extremes: Choose between weft faced rugs and warp faced textiles                                                    including rep or textiles inspired by SE Asia. (2 places for rep/warp faced                                         textiles only)

13-17th November          Woven shibori (2 places left)

4-8th December               Special