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January 2010 Archive

13 January 2010

Powerhouse Museum International Lace Award

The Powerhouse Museum International Lace Award seeks to encourage contemporary design and challenge conventional notions of lace and its application in the areas of fashion, the built environment and digital multimedia. Professional and amateur artists, designers and practitioners around the world are invited to enter for the chance to be exhibited at the Powerhouse Museum and win a share of $40,000 prize money.

The Award defines lace as an openwork structure whose pattern of spaces is as important as the solid areas. Approximately 30 works will be selected for consideration for exhibition in July 2011. The selected entrants will have time to develop their proposed work from May until November 2010.

Expressions of interest close: 29 March 2010 by 5.00pm
Info: Powerhouse Museum International Lace Award

9th World Sheep and Wool Congress

This congress will take place at Rosehill Gardens Event Centre over five days during April and will include congress sessions with a trade exhibition showcasing innovative products and the latest developments in the wool, sheep meat, fashion and textile design industries. There's also a social itinerary with fine food, wine and entertainment, a welcome reception and trade exhibition, the Australian Wool Fashion Awards cocktail reception at the RAS and a congress dinner cruise on Sydney harbour. The congress will present a forum for active discussion and debate of the future and opportunities of the sheep meat and wool industries. Pre and post congress tours will concentrate on best practice in the wool and sheep meat industries as well as visits to leading sheep producers, studs and associated industries.

Info: 9th World Sheep and Wool Congress

Tips for Entering Shows

Read and Check your Show Schedule
Spinning, weaving, felting, braids etc are often included in a special section titled Crafts. Some schedules include General Regulations for Crafts which also apply to spinning, weaving etc and consist of requirements such as work must have been finished in the 12 months prior to the show. Check the Craft section of your schedule carefully. If there are no General Regulations then read the information and requirements set out for every individual class you are interested in. If you are required in any class to include information such as state purpose make a neat, clearly printed or written label which indicates a professional standard of work.

In most schedules for spinning and weaving there is usually a statement All skeins to be washed free of grease. Spinning entries should show a consistency/evenness of yarn diameter along with a consistent angle of twist suited to the end use stated.

An example of a spinning class
A specimen of fine hand spun wool, hand prepared and plied. Not less than 50gms. State purpose. Include fibre sample.

This class requires a yarn made from at least 2 (easiest) singles spun from fine wool which has been hand prepared (meaning commercially prepared wool top is not acceptable.) Hand prepared: easiest way is to use hand carders or a drum carder. Fine wool is usually between 18/19 micron or less and is most commonly fine merino. The washed skein needs to be over 50gms (so either wash your fibre before spinning and weigh out at least 52/54gms to be able to remove short cuts etc during spinning - or spin at least 60gms of unwashed fibre to allow for loss of weight with washing. The fibre sample needs to include at least two staples - this could be washed or unwashed.

Stating purpose - requires the potential use for such a yarn such as knitted fine lace collar, or knitted lace wrap which would require more yarn.

An example of a weaving class
Hand woven floor, travelling or knee rug. Entrants to supply a sample and description of each different yarn used. A description of weave used relevant to the end use of the rug is required.

Even though the class does not require it, a short statement of the selection of colours relevant to the weave and total design of the rug would assist the judge.

Present your entry in a professional manner - no unmended weave errors, finish off yarn ends, ensure the rug is the planned size all over, not bundled up and creased from transport and cover any sewn on label of the makers name. If made specifically for someone according to their own colour preferences just state that to assist the judge.

Felting
Many shows provide only one class for felting which can be - flat felting, 3 dimensional felting, nuno felting using a background fabric which can be partially covered with felt or totally covered with felted wool, needle felting and felted knitted articles such as bags. Some other shows offer two classes - one for wearable felt garments including hats and the other for non wearable felted articles such as floor mats, bags, dolls and jewellery.

The felt needs to be of a suitable thickness for the specific use and felted so that it will not pill with use nor fall apart. The use of colour and quality of design along with an appropriate thickness or thinness is most important. Ensure a professional presentation by stating the planned usage of the felted article, a brief relevant reason for the shape and highlighting any special feature or structure as a clear, small label attached to the article (easy to read).

Braids and woven bands
Require the selection of suitable yarn, the evenness of pattern and edges, end finishing (preferably weft woven in and not hemstitched.) Ends must be secure and allowance made for properties of both yarn and fibre when used. A neat, clear label stating the fibres/yarns used and the end use of the braid or woven band needs to be attached. A useful reference for both Braiders and judges is Byways in Handweaving by Mary Meigs Atwater.

Sprang

There is a new group for discussion of sprang, a string craft of interlocking warp used to create webbing for sashes, bags, hairnets, hammocks and more. You are invited to join and share information about sprang both modern and historical.

groups.yahoo.com/group/Sprang_List

The owner of the list, Franco Rios, has a web page with lots of fibre related links: Rabbit Geek: Links Fiber Related

How to Achieve New Year's Resolutions

There's an interesting concept that comes out of modern software development methodologies - collectively known as iterative development. Instead of starting with a fully thought-out plan (which almost always changes anyway between the start and finish of a project) and executing to completion, you develop your product in quick iterations, each of which produces a usable product. This allows you to change plans rapidly as you learn new things about what works and what doesn't, while still having something finished and usable at any given moment (ie it prevents you from wallowing in dithering forever.)

The application of this concept to making New Year's resolutions work seems pretty straightforward. You can't plan everything out in advance because you honestly don't know where you're going - you don't have enough information to make a decision.

So - make a list of the four or five goals that are important to you. Pick one to get started. Write down a description ("story") of what that means to you and pick out one or two items out of that description that you think would be most valuable to tackle first. (It might be something that is so basic that you can't achieve the goal without it, eg "learn to weave" in the goal of "becoming a master weaver" - or it might be the most important thing on the list, or it might be the easiest to knock off the list. It's entirely up to you.)

Once you have those one or two items, break it down further into something you can complete - usefully - in a relatively short time period. (For Agile software development, the suggested timeline is 2-4 weeks, and that's a good place to start.) "Get the COE in Hand Weaving" is a big task, but the first phase, something achievable within a few weeks, might be "Weave the first two samples in the COE requirements". (It should ideally produce some sort of useful end product, so "study tapestry for two weeks" doesn't really work - you need something more concrete.)

At the end of the first time period, you go back and re-evaluate the goals and priorities. Maybe you discovered that you weren't interested in the COE in weaving after all. In that case, you can decide to do something different. The effort isn't wasted - you still have the samples, and you still have everything you learned doing the first two samples. But you consciously re-evaluate every two to four weeks and ask yourself, "What did I get out of the last iteration? Is it getting me closer to what I want? If not, what do I need to change
to get closer to what I want? Should I change my goals?"

In this way you can get useful things done while identifying and refining your goals. It will probably also be much less frustrating than trying to decide everything up front and then be faced with perpetual temptation.

On a related note, I've always loved Rainier Maria Rilke's Letters to a Young Poet (Stephen Mitchell translation). Among other insightful things, he says this:

Always trust yourself and your own feeling, as opposed to argumentation, discussions, or introductions of that sort. If it turns out that you are wrong, then the natural growth of your inner life will eventually guide you to other insights. Allow your judgments their own silent, undisturbed development, which, like all progress, must come from deep within and cannot be forced or hastened.

...have patience with everything unresolved in your heart and to try to love the questions themselves as if they were locked rooms or books written in a very foreign language. Don't search for the answers, which could not be given to you now, because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer.

There are lots of different ways to interpret those quotes, but what it specifically brings to mind in this context is the importance of experiential, intuitive decision making versus intellectual analysis when it comes to life goals and particularly to artistic goals. I don't think you're going to get to a decision about your priorities by making lists, you'll need to approach it iteratively and experientially in order to get good clarity. Living your way into the answer is something for which the iterative approach works really well.

I'm also applying the iterative method to creative projects - I currently have two doozies in my lap, redoing my website using Wordpress as a content management system and making my wedding-dress, which will be a year-long project. Breaking it down into short "sprints" makes it a lot easier, flexible and less intimidating. It also means that if I change my mind, I'll still have something useful - eg if I don't feel like redoing all 100+ pages in my current website, I'll at least have those pages I've already done, and because I've prioritized the most important stuff first, I'll at least have the ones that matter most.

Reprinted with permission of Tien Chiu

Alpaca: Word, Beast, Cloth

In Howard Priestman's book, Principles of Woollen Spinning (1924), he discusses a variety of carding and opening processes. Included in these is a rag machine or devil which is used to grind or pull rags of all kinds of knitted and woven wool fabric. The rags are beaten by a toothed swift and are literally shaken to pieces. In the book, he says:

The product of the devil is shoddy, mungo, or alpaca, as the case may be; shoddy being made from hosiery and other milled goods, mungo from milled cloth, and alpaca, or extract, from any class of material that has been carbonized.

He says that wool is said to be carbonized when it is treated with sulphuric acid or other chemicals, in such a way as to destroy the undesirable vegetable matter and to leave the wool uninjured.

It would appear that a class of recycled woollen material was called alpaca as compared to the wool from the Peruvian animal.

According to the OED, the name is made up of the Spanish (Arabic origin) al plus paco which is described as probably a Peruvian name. The word was originally alpaco.

There is a 1604 citation from a history of the West Indies to pacos, sheep bearing wool, then a 1753 citation to pacos as a species of camel, also known as the Indian sheep or Peruvian sheep. In 1827 another publication says The paco or alpaco was first clearly described by M. Frederic Cuvier in 1821. Then in 1836 there is an advertisement for the Liverpool wool sales offering 400 bags of Alpaca wool, just landed.

Then the name seems to have been transferred to clothing made of alpaca, or of other thin wool resembling alpaca. There is no mention in the OED of any carbonization processed wools. The most recent citation in the OED is to 1900, to a woman wearing a shabby, ink-stained alpaca dress. The name now is used only for the wool of the animal and signifying a luxury fibre.

Here's a web page that talks about shoddy and mungo and mentions using alpaca noils as well as other noils in the manufacture of cheaper woollen goods: Wool Substitutes And Waste Products

Freda Neale Grant 2010

Aim: "To give the joy of weaving particularly to the disadvantaged or handicapped"

The Hand Weavers and Spinners Guild of NSW Inc will give one or more cash grants to a total of $400 in 2010. If a grant is not awarded this year, this sum will be added the grant available next year.

Applicants must be financial members of the Guild but the grant need not be distributed to that member/s: it may be applied to another person/group.

Range of proposals expected (this list is a guide only)

  • to further a member's fibre knowledge, assist her/his technical and aesthetic development in the fibre arts
  • to attend a seminar or workshop
  • to contribute to travel expenses to attend a seminar or workshop
  • to assist others to learn about weaving, eg fund the training of a sheltered workshop carers in weaving, sponsor a fibre workshop for kids, fund a workshop in a disadvantaged area, etc

The applicant must submit a written proposal for a specific project. The proposal may include requests for travel funds, tuition and registrations, fiber supplies, film, video tape, etc.

Equipment will be given a low priority. Any topic in the fiber field may be proposed but weaving will be favoured.

Applications must be received by 30 April. The recipient/s will be selected by a reviewer who is not a member of the Guild. Notification of the award will be made at the June Guild meeting. Proposals not accepted may be resubmitted in following years.

By the end 2011, the recipient/s is required to arrange to share the results of receiving the grant with the Guild. This may be in the form of a slide talk, lecture, workshop or exhibit.
For more information and Grant Application Guidelines:

Hand Weavers and Spinners Guild of NSW Inc
PO Box 578, Burwood, NSW 1805
Phone: 02 9745 1603
Email: nsweave@spin.net.au