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Tips, articles and how-tos related to fibre crafts.
Sasha Torres, of the Spin Doctor podcast, issued a challenge to spinners to try to source and spin fleece from rare breeds. She started the competition at the beginning of the year after she attended a workshop that introduced her to many breeds of sheep that she hadn't spun before.
Beautiful Silks are absolutely thrilled to announce that, so far, they have the following firm arrangements:
The opening celebration and speech will be presented by Janet de Boer OAM 27 June 6.00pm.
3 day workshop Shifu Books In The Ecotone with Velma Bolyard (USA) 29 June to 1 July. Workshop fee is $375
One day workshop Nature's Colours Fabric with India Flint, July 5. Fee $198. This workshop is almost sold out.
One day workshop The Natural Dyed Thread, tutor Roz Hawker
One day workshop Stitching the boundary, layering with natural fibres, thread and fabric, tutor Roz Hawker
Two one-day workshops, Asa Walquist Yarns: Natural dyeing and Traditional Patterns in Knitting
Please register if you have not done so already.
Weaving has many social, cultural and technical traditions and conventions which provide rich sources of reference for contemporary practice. In this workshop some of these traditions will be examined, adapted and explored for designs that suit the current environment of contemporary design. Participants will design and make woven structures that reflect the current concern for environmental issues and sustainable materials while designing and weaving pieces for the body or as 3D objects.
Continue reading "Contemporary Weaving: Masterclass with Liz Williamson" »
Don't miss the opportunity to create gorgeous Ikat Weaving with Monique van Nieuwland at TAFTA's Geelong Forum 2011 to be held from 25 September - 1 October at Geelong Grammar School, Victoria. Monique is a well known weaving teacher with great colour skills. She will help you master the creation of woven colour patterns through resist binding and dyeing of warp threads. Even a very simple resist pattern offers a great variety in design opportunities.
To learn more: www.tafta.org.au or email Janet De Boer
Glenys Mann has a new
business name: Fibre Arts Australia.
She organises 5 day textile/fibre conferences throughout Australia and has scheduled the next 12 months. Glenys has taught and coordinated workshops for the past 30 years.
One of the exciting events close to the Sydney region will be Cloth Arts @ Hawkesbury from 25 September to 1 October. Find out what it is all about, what classes are offered and who is teaching at Fibre Arts Australia
There are over 1500 visitors per month on Glenys' website, Fibre Arts Australia. If you would like to place your website on her link page she is only too pleased to do so. If you could reciprocate, she would be thrilled.
Information: 9 Hannaford Ave, Tamworth, NSW 2340
Macknit (the NSW Machine Knitters Association) feels there may be some of our members who spin their own yarn and would like to machine knit it. This course may be convenient for them. Country members are very welcome.
In 2010 Macknit Inc introduced a correspondence course for beginner machine knitters on Japanese machines. It has been well received in NSW and they would like to extend it.
Continue reading "Correspondence Course in Machine Knitting" »
Sasha Torres, the Spin Doctor, has started a competition on her group in Ravelry to encourage her listeners to spin fleece from rare breeds. They are happily exchanging sources in the US and UK. Which makes me wonder. What is available in Australia and where would I buy it?
The focus at next year's Väv conference is clothing sewn from hand woven fabric. next September Handwoven and Väv magasinet are co-sponsoring a runway fashion show at the conference in September. Handwoven is looking for five tailored and five loom-shaped garments from their readers.
Digital photos must be submitted to the Handwoven website by 1 April 2011. Complete information will be published in the magazine and posted on www.weavingtoday.com. The selected items must be sent to Handwoven, who will ship them off to Sweden. The winning garments will also appear in a special garment issue of Handwoven scheduled for September/October 2011.
For more information about the conference go to www.svenskavav.com [Google Translate]
A very interesting video, Be Linen: A Short Documentary about the European Linen and Hemp Industry, is currently on Core77.
French filmmaker Benoit Millot made this 15 minute documentary (in French with English subtitles) on behalf of the European Confederation of Flax and Hemp, CELC, supporting the linen and hemp industry in Europe.
BE LINEN MOVIE from Benoit MILLOT on Vimeo.
Sturt is investigating the possible implementation of a new weaving course. If you could take the time to complete the survey and indicate whether you would consider attending such a course or not, it would be greatly appreciated.
Return to:
Head of Sturt
PO Box 34
Mittagong NSW 2575
F: 02 4860 2081
E: mviner@sturt.nsw.gov.au
The Bothwell SpinIn is an occasion for people from many countries with similar interests to celebrate their stories, to explore and share ideas, to renew old acquaintances, to exchange information and to make new friends in a spirit of good fun and friendship. It is particularly enhanced by the cultural exchange that occurs between participants and the officially invited international, national and state guests
There are competitions to enter, eg longest thread, thread of friendship, article made from one or more previous longest thread entries.
When: 406 March 2011
Where: Bothwell, Tasmania
Info: PO Box 394, Moonah TAS 7009, woolsuppliers@bigpond.com
The 2011 MAFA (Mid Atlantic Fibre Association) Workshop Weekend will be held Gettysburg College in Gettysburg, Pennsylvania, July 7-10. The full descriptions of the classes listed below will be in the brochure which is due out 1 December.
Ymmyarns, producer of hand dyed wool and silk yarns for tapestry and other textiles, is pleased to announce a yearly award for the top first year student from the SWTAFE, (Warrnambool, Vic) Diploma of Tapestry course. This award will be for the student who achieves the top marks over the prescribed set of first year subjects.
This year it will be presented in July and mmyarns will announce the winner and hope to feature a photo of the winner and a work on the ymmyarns blog in August.
Yvonne Eade, Marie Clews and Mary Wederall.
Email: ymmyarns@yahoo.com.au
Web: ymmyarns.blogspot.com
If the yarn is solely of one category (cellulosic, synthetic or protein), then a burn test, if correctly done, can easily reveal which category it is in. This means that silk, polyester and rayon, though all can be lustrous and can have long fibres, burn in a completely different manner.
Textile artists and enthusiasts are encouraged to participate in this exciting program of textile talks, exhibitions & workshops.
The main symposium from 10.00am-3.30pm on Saturday, 3 July will include keynote speakers artist Lorraine Connelly-Northey, Sylvia Kleinert, Associate Professor of Australian Indigenous Art, Charles Darwin University, textile artists Rodney Love and Louise Saxton and Cheryl Thornton from the Victorian Tapestry Workshop.
Workshops run over the following four days include:
Exhibitions on during the symposium include:
Click here to see the full symposium program
When: 3-7 July
Where: Wangaratta Performing Arts Centre
Info: 03 5722 0865, gallery@wangaratta.vic.gov.au
Elizabeth Bay House, Vaucluse House and Elizabeth Farm are properties whose interpretation is based on recreated 19th century interiors. Soft furnishings such as curtains, blinds, carpets, upholstery, loose covers, cushions, hassocks, bed hangings, bell pulls give these interiors a lot of their quality as recreated 19th century environments as opposed to collections of antiques. Elements such as curtains, blinds, floor coverings and loose covers serve an interpretative and a conservation role. It is anticipated that the group will be involved in the maintenance and repair of existing soft furnishings, minor conservation work and refining and extending the collection of soft furnishings in line with ongoing research into the history of the domestic interior.
Continue reading "Historic Houses Trust Soft Furnishing Volunteer Group" »
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)
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
Merle Thompson is currently organising a seminar on behalf of the Blue Mountains Group of the Australian Plants Society on the depiction of native plants in art and design. This will be their 13th seminar. Two years ago the theme was native plants from an Aboriginal perspective and last year was from the perspective of white settlers and visitors to late 19th Century.
This congress will be held in Canela, in the south of Brazil on 4-9 September 2009. There is a fabulous program of papers, woolcraft workshops and competitions plus the possibility of visiting the biggest agricultural show in southern Brazil.
The Laje de Pedra Resort in Canela in the beautiful state of Rio Grande do Sul will be the Congress centre. Post congress tours offer visits to different sheep properties as well as vineyards, wool cooperative's and the agricultural research enterprise with other tours to Rio De Janeiro, Iguacu Falls or Buenos Aires.
Information: www.arcoovinos.com.br/worldcongress
There is a very interesting explanation about the origin of the words weaved and wove on Michael Quinion's excellent WorldWideWords web site
Weaved or Wove? — WorldWideWords
We had a very successful day, with all present participating and communicating well. The advisory panel answered questions from the students as we went through the course booklet. The panel was also able to give helpful information about the course and what is expected of the students, eg deadlines for submission of work, that no names should appear on submitted work, fees, checks on spinning throughout the course (if requested).
Continue reading "Certificate of Competence in Hand Spinning Information Day Report" »
Itinerary: The tour begins with two days in Dili visiting local projects. On day 3, participants have the choice to make a day trip to visit the Maubara basket weavers or stay in Dili for a conference about sustainable livelihoods. On day 4 head east to Com with its stunning beaches and spectacular Tais. On day 5 head inland to Los Palos, renowned for its strong traditions for the first of the weaving workshops. On day 6, go through the hills to the isolated sub-district of Iliomar for two days of workshops culminating in a celebration feast with the community in appreciation for their hospitality. Day 10 to Baucua. Day 11 return to Dili to visit local sites.
This conference is being held in Dunedin, New Zealand, at the University of Otago, New Zealand's first University. This will be the first joint conference of branches of the Textile Institutes in New Zealand and Australia. Both the conference theme and sub-topics are relevant to challenges facing those with diverse interests in natural fibres.
The conference objectives are to:
When: 15-17 April
Info: www.otago.ac.nz/textiles/naturalfibres09
As I do each January, I made my way from Coramba to Sydney for the Guild's annual Summer School.
This year choosing my courses was even more difficult than usual. There were so many great workshops to choose from but some were on at the same time as others. After some deliberation I made my choices. I selected four workshops. A day travelling in each direction - I was having a ten day fibre holiday.
Catharine Ellis from the USA is featuring next April in Orange with a spectacular workshop on Woven Shibori Shaping and Special Fibre Effects where "participants will begin to grasp the unlimited options open to them when various kinds of fibres and processes are combined in the finished cloth as shaping and texture are explored using polyesters, crepe spun yarn, felting and felt resist, cross dyeing and burn out." Some dyeing will also be explored. This workshop is still open for enrolment.
Others in which you can take part include:
Leather Breastplates & Body Adornments: tutor Rick McGill
Faces/Figure/Expressions: tutor Cheryl Bridgart
Digital Photography: tutor Steve Gonsalves
Paper/Bags/Embroidery: tutor Isobel Hall (UK)
Running Stitch with Style: tutor Jan Irvine-Nealie
Bags of Felt: tutor Rachel Meek
Procion MX Dyeing: tutor Heide Stoll-Weber (Germany)
Luscious Leather Bags: tutor Yvonne Twining
Glass Beadmaking: tutor Kathryn Wardill
And there's the Scrumblers/Loopers Mini-Forum:
From Square to Eternity: tutors Ashforth & Plummer (UK)
Fizzy Fibre Loops: tutor Susan Bowring-Miller
Creative Looping: tutors Jenny Dowde & Lynne Johnson
Full details on tutors, plus course descriptions from:
Janet De Boer: tafta@iinet.net.au or phone (07) 3300 6491
Or go to: www.ggcreations.com.au/tafta/
The Certificate of Competence in Hand Spinning Parts A and B are available to all members of the Guild as a self-guided study comprehensive spinning course. The course was set up by members of the Guild to maintain a standard of spinning knowledge and skills throughout the spinning community.
Continue reading "Do You Want to Expand or Consolidate Your Spinning Knowledge?" »
After carefully knitting pattern sections it is difficult to sew cast off edges together and get a smooth seam. It is much easier to graft them together before they are cast off. This also eliminates the problem of sometimes pulling the cast off too tight and distorting the edge.
This method is known as grafting or Kitchener stitch.
Fleece
When spinning for exhibition and shows be sure to choose fleece wisely. Choose one that is:
It is important to choose suitable Mohair (fleece of the Angora goat) for your end purpose.
Superfine kid mohair runs about 23 micron and is over 150 mm long. Fine kid may be between 23 and 27 micron and both are the result of the first shearing and should contain no kemp (short, dead white fibres which are coarse and will not accept dye).
Young goat (second shearing) is still soft and silky but the ringlets will be less tightly curled and the individual fibres will be coarser. Adult mohair, over 33 microns, should not be used in garments which will touch the skin but may be wonderful woven into a knee rug and brushed. Avoid any fleece with kemp or dandruff and fleece from a working buck.
Pills are formed of a small accumulation of fibres on the surface of a fabric . . . and are usually composed of the same fibres from which the fabric is made
. Dictionary of Fibre and Textile Technology, Hoechst Celanese Corporation (1990).
Pills are the product of the fineness of the fibre used to spin the yarn and the method of spinning the fibre - ie woollen spinning. Pilling indicates that you have spun your woollen yarn correctly from rolags and that you have used fine quality fibre with a small diameter. The outcome of woollen spinning is a soft, resilient singles (or yarn) which is not as strong as worsted spun yarn, and which has fewer twists per cm, contains more air and bulk and more fibre ends protruding on the surface than a worsted yarn. Because of these fibre ends protruding on the surface of knitted or woven articles (particularly under the arms or where the body causes the yarn/garment to be rubbed frequently) the fibre ends twist together to form little balls
of fibres or pills
.
Members of WeaveTech had an interesting debate last year about dyeing bamboo. The following is a précis of the discussions of Laura Fry, Su Butler, Ruth Blau, Diane de Souza, Ingrid Boesel, Sara von Tresckow and others.
Bamboo yarn, according to the National Geographic, is made from an extremely fast growing species of bamboo, which makes it a viable renewable resource for fibre as compared to wood which takes years, not months, to reach harvest. The yarn is a viscose rayon fibre not manufactured by a retting process as is linen. Viscose can be made from any wood or cellulose source as that is what it is - regenerated cellulose fibre. Rayon has been around since the 1920's. Instead of using cotton or wood pulp from trees, and instead of using chemicals to break down the cellulose into solution, industry is now looking at more sustainable crops (bamboo) and using enzymes which are then filtered out and re-used. Rayon has been considered by hand weavers as a natural
fibre because it is cellulose, not a petroleum product.
This method is for K1, P1 and slip stitch ribbing
Thread the tapestry needle from right to left through the edge stitch (and if the next one is a knit stitch, through the knit stitch too.) Drop the worked stitches off the needle.
1. Beginning with the purl stitch, thread needle from left to right through first stitch on the needle and pull firmly. It is important that the yarn does not leave a loop showing on the right side of the fabric at this step. * Leave the stitch on the left needle.
Woollen yarn is meant to be fulled. If you haven't done this before do it by hand in a tub so you can monitor the process.
kneadthe textile. You will probably notice the water turning colour as the spinning oils in the yarn begin to come out. The bubbles from the soap or detergent will disappear as it binds with the oils. When there are no bubbles left, drain the water, move the textile to the far end of the tub and draw fresh water the same temperature as the textile.
At the June meeting we will learn all about how to weave and wear a kilt. But what to wear with it:
Harris Tweed must be made from 100 per cent pure virgin wool, dyed, spun and finished in the Outer Hebrides and hand woven by the islanders at their own homes in the islands of Lewis, Harris, Uist, Barra and their several purtenances
.
At the height of the industry in the 1960s the islands' weavers produced 7million metres of cloth a year, largely for the American market. Clint Eastwood sported a Harris tweed jacket in the Dirty Harry movies. By the mid-1980s the average was 4.5million metres, but the bottom fell out of the US market in the late 1980s.
In recent years the industry has been boosted by renewed interest among designers and film stars. In 2006 the weavers produced around 1million metres of cloth, the best output for nine years.
The information day at the Guild on Sunday, 4 February was very well attended with some people travelling quite a long distance. Some came to check on their spinning standards, others to take advantage of the chance to have questions answered and listen to other people's questions, as well as those seeking to find out just what was involved in this independent course of study in hand spinning.
Continue reading "Certificate of Competence in Handspinning" »
The Purl Bee has one of the best tutorials I've ever seen on how to get your knitting tension correct on your knitting projects. The section on adjusting tension is filled with essential tips all knitters should read.
Not Too Tight Tutorial — The Purl Bee (via CRAFT: blog)
Ugh ! A dull subject. But if you have some down time, it's a good time to check the loom over. I can't pretend to tell every point to check, as there are a ton of different makes of looms out there, but here's a few common items to think about.
For scratches use a matching color crayon, they're made of dye and wax, just the thing for scratches in wood. For an old screw or nail hole put in a brass wood screw and it'll look like it was well cared for. Any steel or wood axle that turns in a wooden hole, put in candle wax. Any steel pin or axle that turns in a metal hole or bearing, put in a drop or two of medium oil (not if it's part of a brake.) Avoid very light oils like " a sewing machine oil", use about 30 to 50 weight oil, it'll tend to stay in place and not be as likely to drip out.
I also like two greases that you can find in a sporting goods outlet, "Reel Grease" and "Gun Grease" are both high quality greases that can be used sparingly on a loom and they come in small tubes so you don't have to buy a large amount when you don't want to. White Lithium grease is good for metal bearings, vaseline is not. Talcum powder squirted into a wooden bearing area will help to reduce friction also.
Inlay is the very simplest way of decorating plain weaving and can be woven on any threading giving plain weave. The inlay thread can be wool or cotton, or even linen, depending on the intended use of the article, but it should be softly spun so that it will pack down well. As the name implies, inlay threads are extra threads "laid-in" the web. For this reason the inlays cannot always be made in the same positions or the weaving will be distorted.
In all of the following techniques in this and subsequent lessons care must be taken in choosing threads and setts to get a proper balance between the pattern wefts and the warp and background weft. It is most important to watch the beat because the effect can be spoilt by the decoration being squashed or elongated. It is unfortunately very easy to beat so that the tabby is closer where the inlays are used tan in other portions. A good plan is to cut a sheet of newspaper the size of the planned article and on it to mark the placings of the design areas. In this way a visually pleasing effect can be achieved before weaving commences.
Throughout these lessons Tabby A refers to the shed opened by pushing the Lever to the back (when shuttle is inserted from the Right.) Tabby B refers to the other shed when the lever is pushed to the front and shuttle enters from the Left. (On a 4-shaft loom, Tabby A is 1-3 shed and Tabby B is the 2-4 shed.)
Inlays may be placed in the shed before or after the tabby background pick is thrown. Decide on one procedure and be consistent.
Some of the different types of Inlays are as follows:
Flecks
Small pieces of coloured weft are placed in the web at random intervals.
Tufts
Cut lengths of yarn and lay them in the same position for six consecutive weft picks leaving a short end hanging out of the web on each side. If this same techniques is used with a continuous inlay weft it is termed "Laid in every shed." The outline will not be vertical at the sides because of the different sheds used but it is very suitable for shapes with diagonal lines.
'When a large area is to be inlaid, wind the inlay thread on a small shuttle or wind it into a "butterfly". To make a butterfly wind the thread in a figure 8 between thumb and index finger of the left hand, the other fingers holding the beginning of the thread against the palm of the hand. Make 12 or 15 turns. Cut off the end and tie firmly with two half hitches around the crossed thread. Slip off the fingers and use the thread from the beginning. Do not overfill small shuttles or make large butterflies.
Squares
To inlay a square shape a better outline will result if the inlay thread is a little thicker is Laid in Every Other Shed.
The two types of Inlay just mentioned are given a new look in the Swedish way of doing them -- the H.V. Technique -- (see Shuttlecraft Nov. 1959.) The warp and weft are of linen and the background weaving is a little more open. The pattern weft may be handspun wool but is more usually several shades of one colour of singles linen wound together on the shuttle. The effect is very pleasing in curtains (see Australian Hand Weaver and Spinner, Nov, 1969, Judith Taylor's curtains.)
It is sometimes better to weave inlay patterns wrong side up so that the turns of the inlay threads can be easily controlled. If this method is adopted, use a mirror to check progress.
Continue reading "Joan Keats Weaving Workshop Notes: Inlay" »
A piece of weaving done with a weft of bouclé yarn looks better if that weft is not used for hemstitching. Instead use either the warp yarn or a machine cotton which will blend in.
Continue reading "Joan Keats' Weaving Workshop Notes: Hemstitching" »
Check out this complete tutorial on how to use your own digital images to create a cross stitch pattern in Photoshop. Then head on to Stitch's Stuff to get a complete RGB colour to DMC colour floss chart to match up your colours.
Make Your Own Cross Stitch Chart in Photoshop — Linda's Place (via MAKE: Blog)
If you only know how to tie a knot in a shoelace, I Will Knot! has examples of several useful knots and simple to follow instructions.
I Will Knot! — (via digg)
Felting is the art of matting wool. Any kind of knit that you want more durable can be done through felting. The process of felting can sometimes seem intimidating or complicated.
The Handweavers Guild of America has a complete feltmaking process with photos for every step.
The Feltmaking Process — Handweavers Guild of America (via MAKE: Blog)