weaving overshot redesigning the tradition supplier

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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)

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Buschman annotates more than 550 books and periodical titles published on the techniques and history of handweaving from 1928 through October 1989. She includes works on how to weave_basic weaving texts, books on looms and equipment, and patterns both for weaving and for woven articles; handweaving history and historic fabrics from around the world; works on Native American weaving, ranging from the Chilkats of the Northwest coast of North America, to the Pueblos and Navajos of our Southwest, Mexico, and Central America, and on through the rich weaving culture of the Andes; reference works containing specialized bibliographies and information on fibers, dyes, education and marketing; and periodicals. With author, title, and subject indexes.

Summer & Winter: A Weave for all Seasons by Donna Sullivan "Summer and Winter is a traditional American weave structure, best known for its use in some of the blue-and-white Early American coverlets. The name comes from these colonial fabrics, which were predominantly dark on one side and light on the other. In this book, Donna Sullivan shares her knowledge of the traditional uses of summer and winter, as well as a number of new applications which stretch the limits and expand the creative horizons of this familiar structure. Every weaver should know summer and winter, for its historic value. Every weaver will want to discover this weave, for the wide variety of radically different fabrics which can be woven with it. A brief glance at this book hints at the possibilities for developing both textural effects and colour interactions; summer and winter invites continual exploration. The new weaver who can read a draft will discover here a simple weave system capable of producing sophisticated results. The experienced weaver will learn to master what is truly a "weave for all seasons". "

Weaving rag rugs is an immensely satisfying process that enables you to use cast-off remnants of fabric - and a favorite old shirt or two - to make something beautiful and functional for your home. In this book, you"ll explore the fascinating history of rag weaving, learn how to weave a basic rag rug, master some of the most popular traditional designs, and experiment with contemporary techniques for weaving and embellishing rugs. Filled with scores of colour photographs of rugs by more than 40 artists from around the world, this book is a delight for weavers and non-weavers alike.

Weaving with rags developed out of genuine necessity centuries ago, when cloth was so highly treasured that it was often unwoven in order to reuse the thread. Although fabric is now commonly available at very low cost, weaving rag rugs remains an especially satisfying process. Transforming fabric remnants and old articles of clothing into beautiful, functional rugs yields a wonderful feeling of accomplishment, and it instills a sense of connection with history and tradition.

The basics of rag rug weaving have remained the same over the years, but the materials, designs, weave patterns, and color combinations have changed significantly. Today"s weavers have access to an abundant array of warp and weft materials, with a wide variety of fiber content, color, and pattern. There are few-if any-limitations on what you might incorporate into your design: plastic shopping bags, bread wrappers, nylon stockings, and industrial castoffs have all been included.

In this book, you"ll find the old and the new, traditional designs and contemporary approaches. Starting with a basic, plain-weave rug, it describes the materials and tools you"ll need, how to prepare your warp and weft, how to dress the loom, and how to weave with a rag weft. Then you"ll learn how to make more complex designs: stripes and plaids, block patterns, reversible designs, inlay motifs, tufted weaves, and many other variations. Applications of surface design techniques, such as immersion dyeing, screen printing, and painting with textile inks, are also explored. In the chapter on design, you"ll be guided through the process of choosing colors and deciding upon compositions for your rugs. You"ll also find several options for finishing your rug, from traditional braided fringe to a crisp, clean Damascus edge.

Once you feel comfortable with the basic techniques, you"ll want to sample the rag rug projects. There are a dozen in total, ranging in style from a subtle gradation of stripes to a vibrant tapestry inlay. You"ll find seaside motifs and square blocks, pale pastels and brilliant jewel tones. There is even a double weaving project chenille "caterpillars" are woven first, and these become the weft in a wonderfully textured chair pad. Each project is described in complete detail and accompanied by a weaving draft.

Throughout the book are full-color photographs of works by more than 40 artists from a dozen countries around the world. These images, together with how-to photography and detailed illustrations, will instruct you and inspire you to sample new directions in your weaving. A fascinating history of rag weaving complements this glorious collection of contemporary rugs.

You may remember that I recently returned from a visit to The Philippines. It may not surprise you that I am always on the lookout for interesting textiles, and especially handwoven fabrics. I don’t mean to do that; it just happens… Well, when I met sweet Beth at the Sunday market, I felt like I hit the jackpot! Beth and I had a common language – Handweaving! (She speaks fine English, too, of course; but you know what I mean.)

If you don’t have time to look at all the textile pictures today, at least scroll down and see my little granddaughter carrying her big umbrella on the way to the market. Umbrellas are always in season in Metropolitan Manila. For the rain in the rainy season (our visit), and for shielding your skin from the sun all the rest of the time. (You can always come back later and finish looking at the rest of the pictures. Smile.)

Chris Acton randomly took a weaving class in 2005 as a way to counteract her boredom with a corporate job in the Chicago suburbs. It was love at first sight. Little did she know, this would be a major turning point in her life. Because of that class, she then left her job, moved to Indiana, and became a full-time weaver. Over the years, she has participated in art fairs all over the country and created hundreds of yards of handwoven fabric that have been transformed into unique handbags and home goods. These days you can find her carving a new path with weaving classes and resources, encouraging people everywhere to give weaving a try.

Melvenea Hodges is a Fiber Artist residing Indiana. She creates clothing and accessories using traditional techniques such as block printing, sewing, weaving, spinning, knitting, crocheting, and embroidery. In 2006 Melvenea earned a bachelor’s in Apparel, Textiles, and Merchandising from Eastern Michigan University.  She was inspired to begin growing, spinning, and weaving cotton to reclaim an undocumented heritage of fiber arts as a Black American maker. Melvenea finds tremendous joy in helping others learn new skills; she teaches at a primary school, and she connects with other textile enthusiasts through community events, social media, and her local weaving guild. Her mission is to honor and preserve our fiber arts heritage through practice. She blogs about her work and traditional textile techniques on her website and on Instagram as Traditionsincloth where she also offers handcrafted accessories and spinning supplies. She has also published articles with SpinOff magazine.

Máximo Laura, born in Peru in 1959, is a tapestry weaver, designer, consultant, and lecturer recognized as one of South America’s pre-eminent textile artists. His work is featured in collections worldwide and he has exhibited in many museums, art centers and galleries. Laura has won awards in both national and international competitions including a UNESCO Prize for Latin America and the Caribbean, Spain, 1992; Best in Show Award—Latin American Art VIII, USA, 2005; People’s Choice Award—Land the tapestry foundation of Victoria, Australia, 2008; Outstanding Award—From Lausanne to Beijing International Fiber Art Biennale, China, 2008, 2010 and 2022; HGA Award—USA, 2009; Award—10th Latin America Sustainable Luxury, 2022, Argentina, among others. He teaches national and international workshops, has a studio in Lima, and opened the Maximo Laura Museum in Cusco in 2014. Máximo Laura was nominated a “National Living Human Treasure” in his native Peru in 2010.

Walter Turpening grew up in Southeastern Michigan, earning degrees in Physics and Geology/Geophysics. In 1972, he began work in oil and gas exploration doing geophysics research, development, and technology support. His wife, Ellen, and he lived in Texas and Pennsylvania from 1977 through 1998 where Walter took woodworking classes from a Pittsburgh furniture maker. In 1998 the couple moved to Kingsport, TN. There, Walter made chairmaking fulltime and set up a small shop. In July 1998, Walter experienced his first national show at the Handweavers Guild of America Convergence in Atlanta, GA. Then, one year Walter vacationed in the Southern Appalachians and saw Shaker and rush woven chairs. Inspired, Walter began teaching himself how to weave seats with commercial braided cord with Ellen teaching him weaving patterns and color blending. In 2003, Walther tried hand dyeing commercial cord and later taught himself how to braid cord. Today, two apprentices have joined Walter.

Originally from Teotitlán del Valle, Oaxaca, Mexico, Omar Chávez Santiago is part of the fourth generation of weavers in his family.Omar, who learned to weave at age 8, is involved in all parts of the creation of his pieces—he carefully uses exclusively natural dyes, respecting the history and natural timing in each element. He develops ideas and weaves without a fixed pattern, following his experiences and emotions as they change.An industrial engineer, he learned to be detailed and careful in his processes. Each rug is carefully considered to convey harmony and freedom; through the joining of warp and weft he searches for inspiration to create new possibilities and ways to do and see things.Omar has given presentations about his creative process across Mexico and the US, received the Alice Brown Memorial Scholarship from Weave a Real Peace, and has been featured inSelvedge. He is in charge of the design and production department at Fe y Lola Rugs and Textiles in Oaxaca, Mexico.