weaving overshot redesigning the tradition brands

Currently enrolled in the Master of Fine Arts Program at the University of Missouri at Columbia, Donna Lee Sullivan is a recipient of the Master Level Certificate of Excellence in Weaving, awarded by the Handweavers guild of America. Besides serving as a graduate assistant, she continues to teach and exhibit throughout the US and Canada, as well as finding time to explore the possibilities of various weave structures. Donna Lee"s other books include more than one hundred articles, two other books ("Summer and Winter: A Weave for all Seasons" and "Pique: Plain and Patterned"), and a videp )Colour Interaction for Handweavers)

In very rare cases, your book may take longer to reach than quoted for unexpected reasons. If there is any problem with ordering or shipment, please contact us right away. We ensure a response within 48 hours. Please note that the chance of shipping delays is higher during holiday seasons.

Very Good: A book that does not look new and has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket (if applicable) included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See the seller’s listing for full details and description of any imperfections.See all condition definitionsopens in a new window or tab

A book that looks new but has been read. Cover has no visible wear, and the dust jacket (if applicable) is included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See the seller’s listing for full details and description of any imperfections.See all condition definitionsopens in a new window or tab

desertcart is the best online shopping platform where you can buy Weaving Overshot: Redesigning the Tradition from renowned brand(s). desertcart delivers the most unique and largest selection of products from across the world especially from the US, UK and India at best prices and the fastest delivery time.

desertcart ships the Weaving Overshot: Redesigning the Tradition to and more cities in Bermuda. Get unlimited free shipping in 164+ countries with desertcart Plus membership. We can deliver the Weaving Overshot: Redesigning the Tradition speedily without the hassle of shipping, customs or duties.

desertcart buys Weaving Overshot: Redesigning the Tradition directly from the authorized agents and verifies the authenticity of all the products. We have a dedicated team who specialize in quality control and efficient delivery. We also provide a free 14 days return policy along with 24/7 customer support experience.

Yes, it is absolutely safe to buy Weaving Overshot: Redesigning the Tradition from desertcart, which is a 100% legitimate site operating in 164 countries. Since 2014, desertcart has been delivering a wide range of products to customers and fulfilling their desires. You will find several positive reviews by desertcart customers on portals like Trustpilot, etc. The website uses an HTTPS system to safeguard all customers and protect financial details and transactions done online. The company uses the latest upgraded technologies and software systems to ensure a fair and safe shopping experience for all customers. Your details are highly secure and guarded by the company using encryption and other latest softwares and technologies.

I’ve been sitting at the Fanny loom once again, working on overshot weaving samples for a couple of months now. I’ve been wanting to work through the different variations – how do you treadle star fashion, how do you treadle rose fashion, or how does flame point work. Having different weave structures available from different books, it’s one thing to go through and read all of these books where I can logically say “oh yeah, I know how that works”. But when you sit down and do it – physically lay those weft picks into the shed and change the shuttles – that entire feeling of actually doing it, it makes a difference.

Join me at today’s Lo Meets Loom vlog where I talk about the difference between reading about things versus doing things, and how it can make a difference.

Recently we received an email from a reader who wanted to know how she could make a project woven on a loom wider than hers work on her home loom. While answering her question, I realized it’s been a while since we covered this topic (if ever!), so I thought I’d share my approaches to narrowing projects to fit the loom you have. First a disclaimer: I’m not talking about reducing extra-large weavings, such as 42" blankets and throws, to fit much narrower looms. I’m talking about pieces where the difference would be probably 6" or less.

When I want to weave a narrower version of a specific Handwoven project, I look first at the number of ends in each repeat in the tie-up. Let’s start with an easy hypothetical project and pretend it’s a project woven in Finnish twill/Ms and Ws using 8/2 cotton sett at 24 ends per inch (epi). The towels are woven 24" wide, but we need to make them weavable on a 22" loom. Each pattern repeat is made up of 22 ends so sett at 24 epi, that means each pattern repeat is just less than an inch. So if we need to remove 2 full inches from of the original towel, then we can just cut 3 pattern repeats (66 ends) and the new draft will be just over 21".

Of course, not all projects have small repeats or even any repeats at all. Take Sarah Jackson’s Gee’s Bend Towels from the March/April 2016 Handwoven. The stripes are all random sizes and colors. When trying to narrow a project with random patterning in the warp, I again look first at sett, in this case 20 ends per inch. Depending on how much I need to cut off the width, I might look at the pattern and see whether:

Then there are cases where there are no repeats because the design goes the whole length of the piece, cases where the few repeats that do exist can’t be cut because it would take away from the symmetry of the piece, and cases where the repeats are so large that cutting one would result in a piece far too narrow. In these instances, there isn’t an easy one-size-fits-most answer. For some weave structures, such as summer and winter or overshot, you can reduce the block sizes, or even reduce some and enlarge others, as long as what you do to one side equals what you do to the other if you want symmetry.

Another option is using finer sett threads in the warp and weft—subbing a 10/2 cotton for an 8/2 cotton, for example. You’ll want to make sure it doesn’t reduce your width too much, but I’ve found adding to a too-narrow design is often easier than taking away. When dealing with extra-large repeats, I find removing one repeat and then adding a border on either side can help make up for too much width lost. No matter what, using weaving software (or at least graph paper) is an invaluable way to see how your changes will affect the final design so you can easily adjust until you get exactly what you want.

While you might not be able to reduce every design to work with your loom width, for most pieces, it is possible. It might take some trial and error on graph paper or your computer, but, in my experience, the planning of a piece is half the fun.

The School of Weaving (formerly called JST Online Guild) launched in January 2017 as a response to weavers wanting to come to Salt Spring Island to study in our studio. Our wait lists were getting longer and longer each year, so Jane decided to try a different approach. This was to take the beginners workshop she offered, flesh it out with more wonderful content and offer it by way of streaming on the great inter web. The immediate response spurred her on. She decided to take every one of her workshops, expand them in greater detail and now we have over 280+ videos available online.

The first year goes over all the fundamentals of weaving. Warping, various methods of dressing the loom, great weaving technique, project planning, understanding sett, information about different types of looms and yarns, weaving with difficult yarns like mohair, fulling and finishing.

Season 2 lays the foundations of colour and design. The format is simple and easy, encouraging original design and making it accessible and fun. Concepts regarding colour theory, graphic, division of space and the architecture of design are laid down in a way that allows weavers to bring their ideas to reality.

Season 3 takes an in-depth look at Plain Weave. We get really familiar with our reed exploring denting, cramming and denting, weft faced, warp faced, double weave, collapse weave and supplementary warp. All of these ideas are laid down on top of what we learned in Season 2.

Season 4 is absolutely twilling