The May/June 2015 issue of Handwoven is all about texture--texture you can touch with your hands and texture you can see with your eyes. Texture on a printed page is a challenge; pictures need to be close up to capture it, and the issue meets the challenge with many close-ups.
Combining cloth from the loom and the art of garment construction is a marriage that celebrates the best of both mediums.
Choosing a shuttle is one of those age-old discussions that begins on your first day of weaving and carries through year of weaving experience. As an instructor, students are always asking me, “What’s your favorite shuttle”? In uttering those words what they’re really asking me is for the green light to choose a shuttle that will help them become the best weaver they can be.
Fortunately for me and all other aspiring seamstresses and seamsters of handwoven cloth, Daryl Lancaster has an excellent series of webinars dealing with different aspects of sewing with handwoven cloth.
Business plans are the maps for our businesses. Maps help us to avoid wandering in circles or having to retrace our steps because the road we’ve blindly followed is a dead end.
The motifs were stunning--distinct pattern areas in orderly rectangular blocks of varying sizes. I knew if I expected to sell any of these wonderful scarves, I had to find a faster way to weave them. Then it hit me. What if I turned the draft?
The more practice you have constructing garments from handwoven cloth the easier it gets.
Who doesn’t like sprinkles and a cherry on the top of their sundae? That’s sort of my mentality when it comes to adding surface embellishments to my handwoven fabrics.
While I love every issue of Handwoven I work on, the one I look forward to the most each year is the March/April issue.
Those of you who are familiar with Taos probably know of Weaving Southwest and of the wonderful Rachel Brown. Rachel was an exceptional tapestry artist and weaver who not only designed beautiful works of woven art, she also designed a walking loom, based on the traditional looms used in the Southwest, and the Rio Grande spinning wheel.
Yarn Fest offers classes for all skill levels and techniques bound to spark the imagination for many more projects in the future. I love being a part of these multiday fiber events because you get the opportunity to work with so many different people and be surrounded by fiber and fiber enthusiasts for days on end!
About eight years ago, I started experimenting with an idea I picked up in a Catharine Ellis Handwoven Shibori workshop several years before. At the time, I never thought I would still be discovering new possibilities using the technique that produces what I named “crimp cloth.”
In her wonderful post, Janney Simpson writes of the amazing fiber traditions found in Micronesia.
The most difficult part of creating handwoven clothing is not creating exquisite yardage or having the construction skills to make a truly beautiful garment. The difficult part is getting the garment to fit your body correctly.
Spinners can and should weave . . . but weavers can and should spin, too. Here’s why.