This Just in from WA

Imagine my surprise when I opened my mail today and found this!

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A beautiful Jarrah wood music box, playing “Waltzing Matilda”.

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Some Dreamee Wool top of Western Australian wool.

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And a wonderful hand-made card containing notes from all my weaving friends.  Thanks to all the Western Australia Weavers and Spinners, including Jo, Sally, Janet Sue, Jeni, Rosemary, Connie, for making me feel so welcome.  Thank you so much for bringing back to me the spirit and fun I found in Western Australia.   I will treasure this keepsake always and think of you often.  I hope I can get back there someday soon.  Love and miss you all.

Again, I extend an open invitation for you to visit me if you have a chance to come to Vancouver.

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And the results are . . .

After the workshop I returned home and finished weaving, then washed dried and hemmed the mats.  The results are four reversible place mats, and one shorter mat for the centre of the table.  All now ready to be put into service.  Makes me want to have a black and white dinner party!

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Here, I think using warp floats made a very interesting effect.

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For anyone interested in Repp Weave, I would highly recommend this workshop – Rosalie Neilson is a very knowledgeable and patient teacher, and the pace of the workshop, between theory and hands on, was just right for me.

Using black and white cotton for the workshop encouraged me to focus on the pattern as it developed.  Next I want to try using multi-coloured warps and maybe even something in silk.  I have lots left to explore using this weave structure.

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Repp Weave Day 2

Today we worked on weaving motifs in repp weave.  Repp weave is a relatively simple to weave, based on plain weave pairs with elements of colour and weave and double weave thrown in.  The beauty and versatility is all in how you put it together.  Rosalie is a master of this weave and her work is stunning to see in real life.

For this workshop I chose a simple black and white for my warp and the pattern motifs are showing up in clear contrast.  A quick glimpse of my co-students’ work shows Ariane’s work in regal purple and gold, and Sandy’s with a very multi-coloured side contrasting with dark brown.  Hurray for our differences.

We learned how to splice in the thick yarn at the beginning, ending, and in the middle when the shuttle ran out of yarn.  Rosalie also helped us understand how to create a skeleton tie-up for an 8 shaft floor loom, and sent us home to do colour wrappings with random colours.

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Repp Weave Day 1

Woke up bright and early to make my way across the bridge to Queensborough Community Centre for the Repp Weave workshop taught by Rosalie Neilson from Oregon.  The building is in a beautiful park-like setting, and the sunshine poured through the large window wall.  The large room was a wonderful open space for the workshop with the only bump being the very noisy playschool in the room next door competing with Rosalie’s voice.

In preparation for the workshop I chose my colours, black and natural, of 3/2 mercerized cotton for the warp and thin weft, and white mop cotton for the thick weft.

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Then I measured my warp, 348 ends, and sleyed and threaded my loom in blocks with pairs of black and natural in plain weave pairs: Block 1 -white on 1, black on 5, Block 2 – white on 2, black on 6, and so on.  The warp was sett at 30 ends per inch.

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Rosalie taught us how to tie on to the front beam with a lashing thread, and then taught us the theory of block weave.  In the afternoon, I played with the different block combinations.  My workshop loom is a Jane Loom from Louet.  I think that this loom was not so happy with such a heavy and densely sett warp, and I am having some issues with the shaft cords jumping to the neighbouring pulleys and jamming up.  However, I am pleased with the results of my afternoon weaving.

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In a Blink

This last period of time, from Spring Break to Easter, flew by in a blink.  A BLINK!  A quick opening and closing of the eyes and it was gone.  At the same time, so many good things happened in this time, and I would like to remember them all.

  • I taught my first weaving workshop, “One Warp, Many Weaves”, at Fibres West
  • I attended a workshop on “Creating a Felted Bowl”, taught by Donna Hunter
  • I acted as substitute teacher for three beginning spinning classes while Kim was away on vacation.
  • I was awarded the contract to teach the on-going spinning classes at Place des Arts starting in September
  • I will be teaching a second weaving workshop “Crackle Weave, Traditional to Modern” in May
  • Both my beautiful daughter and I had birthdays in April.  I spent the day walking around the house singing “When I’m 64” now that I am.  My family thinks I am eccentric, an image I encourage. They never know what I will do next.
  • A celebration of Easter, and the coming of Spring, wrapped in the love of my family.  Watching the happy Easter Bunny faces of my grandsons, and receiving little boy hugs and kisses.

I chose to really live in the moments of these events, and to appreciate and enjoy every moment.  I tend to be a goal oriented person, and set myself challenges and goals to work towards.  I’m not going to change this behaviour; it keeps me fresh, focused, and moving forward.  Still, I need to remind myself to stop, and take a moment to breathe, in between the goals and events of my life.  And to reflect on how lucky I am to have all this; looking forward to the future, enjoying the present and remembering the past.

This morning I am packing up my loom and supplies and heading off to a three-day workshop on Repp Weave, taught by Rosalie Neilson.  What fun!

 

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Summer and Winter Sample 2

The second challenge of the Summer and Winter study was to look at eight-shaft Summer and Winter weave on a one-colour warp.  On eight shafts, six blocks are available.  I chose 8/2 tencel in the colour olive green for warp.  I followed Mary Bentley’s profile draft from her Summer and Winter workshop, and put on a warp 9 inches wide, and three yards long, sett at 20 ends per inch.

As with the four shaft version, I treadled for “singles”, “O-pairs”; and “X-pairs”. I also sampled different pattern colours against the olive ground.

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I felt the profile draft had an Asian feel and through the sampling, I loved the impact of the blue pattern yarn against the green.  I then used the remaining sample warp to weave a scarf.  The pattern yarn is Ming Blue 2/8 tencel.  For tabby, I used 2/16 cotton in pale limette.  I beat the warp to achieve 20 pattern ends and 20 tabby ends per inch.

The scarf is predominately blue on one side and green on the reverse.

 

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The tencel shines like silk against the cotton background and looks like a Chinese brocade.

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A Quiet Spinning Day at Festival of the Arts

Snow has blanketed our neighbourhood, bringing calm, but making the streets a little slippery.

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Snow is not all that usual in the Vancouver area, with only 2 or 3 snowfalls a winter, so we really are not used to driving in it.  We live near the bottom, but there are quite a few steep hills around, the city is slow at ploughing the roads on the assumption that the snow will melt in a day or two, making it risky to go even a few blocks.  But I did venture out because yesterday the Coquitlam Weavers and Spinners Guild had their annual “Spin-in”  demonstration as part of the Port Moody Festival of the Arts.  This is our project of the year, and many members created works along the theme of “A Plethora of Colour” inspired by the Theodor Geisel (Dr. Seuss) painting “Plethora of Cats”.

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The challenge included each member being given a length of luxury yarn and a silk cocoon to incorporate into the finished pieces. Members wove, spun, felted, dyed and even made baskets for the display in the Atrium of the Port Moody Inlet Theatre.

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Six spinners from our guild gathered around the display to spin and answer questions from the people passing by.  We spun and talked and ate yummy chocolate brownies baked by Terry.

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Irene laughed to see that the colours I was spinning were the same as the colours I was wearing.  Does this ever happen to you?

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Uncomplicated

After weaving several projects that involved complicated processes and multiple shuttles, it was a delight to weave something completely uncomplicated.  These two scarves practically flowed from the loom.  The draft is adapted from Daryl Lancaster’s scarves in the article “Using Color Forecast Palettes for Warp Stripes” in Handwoven March/April 2011(page 32), and combines twill, plain weave and supplementary warps in the same scarf.  Thanks, Daryl for the inspiration.

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I started with the hand-painted tencel on the left.  It has a green-purple theme.  I added two other purple tencel yarns, a silk-tweed in purples that has a soft, nubby texture, and a silk straw that has a paper-like rustle.

Warping took a little longer than usual because I manipulated the hand-painted yarn to line up the colour blocks.

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Once the warp was threaded on my eight-shaft Baby Wolf, the weaving proceeded like a dream.  One shuttle only, the treadling and beat formed a natural rhythm.  I wove one scarf using the darker violet coloured tencel used in the warp, and one scarf in the lighter lilac coloured tencel.

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Off the loom, no repairs needed, The ends were twisted and then the scarves had a quick trip through the washer and dryer.  Then, just a light pressing was needed, and Voila.

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Two beautiful scarves, on and off the loom in three days.  The hand, feel and weight of these scarves are just amazing.  They beg to be touched.  Uncomplicated.  Like a fresh sorbet between heavy meals, these provided just the relief I needed to cleanse my weaving mind.  Now on to my next adventure!

 

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Crackle in Silk

I’ve been experimenting with Crackle Weave in preparation for the class I will teach in May.  IMG_1639

I love how the colours look together on the warping board.  I use elastic bands to hold the yarn on the warping board until I am ready to chain it off.

These two scarves are in a new silk from Jane Stafford Textiles, “Hot Line of Hand-dyed 20/2 Tussah Silk”.  In these scarves I used three colours: Tiger Lilly, Chocolate Cherry, and Persephone’s Pip.  This yarn has a beautiful hand, soft and lustrous, and wove up well in a four-shaft Crackle weave at 20 ends per inch.

In the “Traditional Crackle Weave” scarf, I used the same yarns as pattern weft, and a fine 30/2 silk in gold for the tabby weft.

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Traditional Crackle on the loom.

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Classic Crackle on the loom.

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Traditional Crackle weave – close up.  It has a flatter, smoother, profile, and the colour blocks stand out clearly in columns.

For the Classic Crackle Weave I used three colours in Zephyr wool-silk: Chrome, Mahogany, and Garnet.  In this method of weaving the colours cycle through with no tabby used.  By changing the colour order, the blocks appear.

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Classic Crackle weave close up.  It has a comfortable, cushy profile, and reminds me of a patchwork quilt.

So, two distinct scarves are made on the same warp.  References for these weaves are “Classic Crackle and More” by Susan Wilson (2011), and “Crackle Weave” by Mary Snyder (1961)

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A Year of Learning

I’m starting to think that my idea of retirement is very different from that of others.  This year is shaping up to be a very intense year of learning and teaching with an almost vertical learning curve and I am super excited about it.  When I retired from my full-time job three years ago, my goals were to travel more and to spend more time pursuing my passion for weaving and all things fibre arts.  The first year of retirement was spent doing some contract work for my previous employer, and designing and building a new house that would fit our entire family and a new studio for me.  The second year was spent travelling to China and Australia, and was a wonderful year of adventure.  This, the third year, I am devoting to my chosen “Retirement Career” of weaving and spinning.  Previously, I worked full-time and fit weaving into the sides and corners of my life.  Now I can follow my passion full-time, and fit the other parts of my life into the sides.

It looks like this year I will be quite involved in learning new ways of weaving and spinning, and passing on the experience of 30 plus years to others.  My learning will include both individual and group self-study, short workshops taught by others, and being involved in contests and challenges.  My teaching will include presenting both formal and informal talks, short workshops, and if possible, longer workshops and classes, starting locally this year, and moving further afield as I gain more confidence and experience.

I have joined an intensive study group with some weaving friends and guild members, and we will be focused on “Summer and Winter” weave.  I have completed the first sample for “4-shaft Summer and Winter”, learning the basics of “single/brick”

Brick Style, Winter Side

Brick Style, Winter Side  

Brick style, Summer Side

Brick style, Summer Side  

Brick Style, Close up

Brick Style, Close up

You can see the distinct summer side, and winter side of the cloth.  Notice in the close up how the blocks are distinctly rectangular and just touch each other at the corners.

“pairs in X”

Pairs in X, Winter side

Pairs in X, Winter side

Pairs in X, close up

Pairs in X, close up

Notice how the blocks seem to be holding hands with each other, and form a distinct X shape where the blocks change.

and “pairs in O”.

Pairs in O, Winter side

Pairs in O, Winter side

Pairs in Os, Close up

Pairs in Os, Close up

In the “O” style, the blocks stand as independent individuals, and form little circle shapes like small flowers.  The blocks don’t touch each other at the corners.

I then completed a runner in “2 Block Polychrome Summer and Winter”, The colours are very close in value in this runner.  I wove it in “O” style pairs, and the colours make me think of spring flowers.  The sun this week has encouraged the bulbs to start sprouting, but I am sure they will be devastated by the predicted low temperatures that are still to come.

A table runner for Spring

A table runner for Spring

and another runner in “2 Block, 2 Colour Dukagang.

Runner in Dukagang style

Runner in Dukagang style

This style creates distinct columns of colour that interact well with the background.

 

 

 

 

 

 

 

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