weaving designs by bertha gray hayes miniature overshot patterns quotation

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns.

Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

About the authors: The Weavers" Guild of Rhode Island was founded in 1947 to promote understanding and the practice of handweaving. It offers monthly programs and workshops, and is an active member of the New England Weavers Seminar.

By Norma Smayda, Gretchen White, Jody Brown, and Katharine Schelleng. These four weavers have assembled the sample collection of miniature overshot patterns for four harness looms created in the early 20th century by Bertha Gray Hayes. The book contains color reproductions and computer-generated drawdowns for 92 designs. These differ from traditional overshot designs in that they are often based on name drafts and many are not woven "as drawn in", giving many of them a dynamic, asymmetrical style.

Features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

Hardcover. Condition: new. Hardcover. This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. _x000D_Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving. AUTHOR: The Weavers" Guild of Rhode Island was founded in 1947 to promote understanding and the practice of handweaving. It offers monthly programs and workshops, and is an active member of the New England Weavers Seminar. This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

The Gallery and Fashion Shows at NEWS have always been a favorite of weavers. As you probably know, the NEWS Trustees have decided not to hold an in-person NEWS in 2021. The Trustees debated how to replicate the opportunity to see and be inspired by the work of other weavers, and decided that as a substitute there will be a photo gallery on the NEWS 2021 website showing woven items submitted by any guild member who would like to participate. Entries will not be juried, and any weaver who is a member of your guild is eligible to participate. Weavers may submit a photo of one item (one per weaver no matter how many guilds they belong to). Photos will be visible to anyone who visits the NEWS website, not just NEWS members.

We are excited to announce the formation of The Rhode Island Weaving Center (RIWC), a non-profit educational center dedicated to handweaving. After years of long waitlists and an elevated interest in handweaving, Norma Smayda of the Saunderstown Weaving School and a board of local, talented weavers will open a weaving center with looms for classes, studio spaces, and a weaving library. The initial space will be smaller with hopes of expanding within a decade to have more looms, larger rooms, lectures and workshops, and possibly a meeting room for The Weavers Guild of Rhode Island. The RIWC will aim to provide the same individualized, specialized instruction Norma has provided for the last 45 years. The RIWC and the SWS will operate concurrently with the center eventually acquiring the school"s extensive weaving library, supplies, and looms. The RIWC will celebrate Norma’s dedication to handweaving and continue Rhode Island’s rich history of textile arts.

2020 update about Weaving Designs by Bertha Gray Hayes, or Bertha as we fondly call her: It has impressed the four authors with how popular this book has been, and continues to be. Partly this is witnessed by the royalties from sales that the Weavers Guild of RI receives biannually.

Even more interesting has been the number of letters we receive from weavers across the US and beyond. Often the weaver will include a sample of her weaving, and once a kitchen towel, as thanks for writing this book. Also we frequently see the book referenced in articles in the weaving journals.

The most surprising occurrence happened a year ago. I received an email from a woman in Maine who had a used table loom I might want. She had tried to give it away in Maine, but no one was interested. My first impulse was to say thank you but I had no room in the school for another loom. Then I read her email more closely. She is the great granddaughter of Mrs. MacAllister, who was a good friend of Bertha’s. We quoted Mrs. MacAllister several times in our book.

So we set a date for her to deliver the loom. She and her sister arrived with the loom and a few boxes of assorted weaving stuff, and we spent the better part of the morning sharing stories. They had a photograph we did not have, and we had one to give them. I have a sample book of weaving by Mrs. MacAllister, and they could point to some of the plaids and remember an uncle with a jacket made of that cloth woven by Mrs. MacAllister, etc.

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs.

Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

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.

Hello All~ I sure do hope you are doing okay, wherever you are. I have so much I’d like to say and share about what this COVID-19 pandemic is teaching me. I may have to do that in another post. But here and now, I will share with you a project I made up for wonderful kids I get to spend time with, even though we are all doing some wicked epic social distancing. I have spent large bits of the last seven years teaching fiber art in my kids’ classes (and in some others, too!) and I can tell you, the kids inspire in me so much longing to keep making, keep creating and keep sharing. Now that our Fiber Friday classes are happening on Saturdays via Zoom, I’m trying to figure out lots of yarn-y things to teach using materials we might have kicking around at home. The thing with weaving is, you can make a loom out of so many things! “Homework” for this week is to look around the house and yard to see if we might find weird, unexpected, unique or random “looms” that could be woven on. These could be sticks, frames, chairs, trees… whatever! I hope I see some good ideas next week!

This project is aptly called the Cookie Sheet Weaving Project. As you can see, I’ve used a cookie sheet, yarn, and tape to make this loom. I’ll give step-by-step instructions and maybe you can give it a go!

This is what your loom will look like once it is set up. I’ve chosen to warp my tray the long way, making my weaving piece wide. You can do it the other way, too. You can also choose to warp only a portion of the tray.

I opted for making a very fringy piece. Rather than moving back and forth and back and forth with the yarn, leaving no fringe on the edge, I chose to cut lengths of yarn that were several inches longer than the width of the cookie sheet. I wove each thread individually and then made sure that the remaining yarn was about equal on each side. If you don’t want fringe, just keep weaving back and forth with a long length of yarn, being sure not to pull too hard on the warp threads as you come back the other way.

Row 2: With the next cut length of yarn, I went over the first warp thread, under the next, over the next, under the next and so on. In this way of weaving, I noticed that I liked weaving from right to left, over and over again. This is different than when you weave with a very long length, moving back and forth from right to left, and then left to right as you head back again.

Because I have a LOT of small balls of yarn, I chose colors and textures that go well together and I cut a bunch of lengths at a time so I could just get into the flow of weaving. This is a very portable project, so I had it all over the house depending on what I was doing.

If you have a tapestry needle, this is a good time to get it. Threading it with the yarn you are weaving with (the weft), you can really get up to the edge of the tray.

Then, the choice… Do you leave the warp as fringe, too? Or do you sew it into your weaving? There is no right answer except for doing what you think is best for your piece. If I had used a thicker, more interesting or robust yarn for my warp, I think I would have left it as fringe, but the yarn I chose is kind of tame compared to my fringy side, so I opted to sew it in.

Using your tapestry needle, bring the warp threads back through the weaving, drawing the needle through the column of the woven piece that is right under it. Don’t pull too tight here as you’ll pucker your cloth.

Flip your piece over to make sure the warp threads are really hidden in the column of weaving. Sometimes they peep through too much and you have to do it again.

Hello All~ I sure do hope you are doing okay, wherever you are. I have so much I’d like to say and share about what this COVID-19 pandemic is teaching me. I may have to do that in another post. But here and now, I will share with you a project I made up for wonderful kids I get to spend time with, even though we are all doing some wicked epic social distancing. I have spent large bits of the last seven years teaching fiber art in my kids’ classes (and in some others, too!) and I can tell you, the kids inspire in me so much longing to keep making, keep creating and keep sharing. Now that our Fiber Friday classes are happening on Saturdays via Zoom, I’m trying to figure out lots of yarn-y things to teach using materials we might have kicking around at home. The thing with weaving is, you can make a loom out of so many things! “Homework” for this week is to look around the house and yard to see if we might find weird, unexpected, unique or random “looms” that could be woven on. These could be sticks, frames, chairs, trees… whatever! I hope I see some good ideas next week!

This project is aptly called the Cookie Sheet Weaving Project. As you can see, I’ve used a cookie sheet, yarn, and tape to make this loom. I’ll give step-by-step instructions and maybe you can give it a go!

This is what your loom will look like once it is set up. I’ve chosen to warp my tray the long way, making my weaving piece wide. You can do it the other way, too. You can also choose to warp only a portion of the tray.

I opted for making a very fringy piece. Rather than moving back and forth and back and forth with the yarn, leaving no fringe on the edge, I chose to cut lengths of yarn that were several inches longer than the width of the cookie sheet. I wove each thread individually and then made sure that the remaining yarn was about equal on each side. If you don’t want fringe, just keep weaving back and forth with a long length of yarn, being sure not to pull too hard on the warp threads as you come back the other way.

Row 2: With the next cut length of yarn, I went over the first warp thread, under the next, over the next, under the next and so on. In this way of weaving, I noticed that I liked weaving from right to left, over and over again. This is different than when you weave with a very long length, moving back and forth from right to left, and then left to right as you head back again.

Because I have a LOT of small balls of yarn, I chose colors and textures that go well together and I cut a bunch of lengths at a time so I could just get into the flow of weaving. This is a very portable project, so I had it all over the house depending on what I was doing.

If you have a tapestry needle, this is a good time to get it. Threading it with the yarn you are weaving with (the weft), you can really get up to the edge of the tray.

Then, the choice… Do you leave the warp as fringe, too? Or do you sew it into your weaving? There is no right answer except for doing what you think is best for your piece. If I had used a thicker, more interesting or robust yarn for my warp, I think I would have left it as fringe, but the yarn I chose is kind of tame compared to my fringy side, so I opted to sew it in.

Using your tapestry needle, bring the warp threads back through the weaving, drawing the needle through the column of the woven piece that is right under it. Don’t pull too tight here as you’ll pucker your cloth.

Flip your piece over to make sure the warp threads are really hidden in the column of weaving. Sometimes they peep through too much and you have to do it again.

I"ve been wanting to weave a few rugs, but have been so indecisive with a pattern. I ultimately chose Trellis by Bertha Gray Hayes, but opted to weave it as summer & winter, using the overshot draft as a profile draft.

I used "Overshot for Rugs" by Tom Knisley as a guide and inspiration. For his rug, he used 8/4 cotton, doubled, in a 12 dent reed. I don"t have a 12 dent reed, so I sleyed 2 ends per dent in my 10 dent reed.

I had a few sleying & threading snags along to the way which might explain why I completely forgot to weave the "twill" border to the bottom of the rug. I put twill in quotes because what would"ve been a 6 thread twill border, when woven in overshot, now becomes 24 threads woven in 6 blocks in a converted draft.

After weaving for a while, I also realized that I had omitted a 4 thread block. I cut the weaving, added 4 string heddles, re-threaded and resleyed. Not fun.

This is the work of about 5 or 6 children. It was really cool to see them weaving and to see how much they liked it! I know the museum got some pictures of me with the kids and I"ll post them soon.

Back to the rug. Always one to try several patterns on one warp, rug #2 was woven with doubled 8/4 cotton in Spanish Blue with a dark heather grey rug wool for pattern weft. I inverted the treadling for the blocks, ie.: 2-1-1-2 becomes 1-2-2-1 and 4-3-3-4 becomes 3-4-4-3 and so on.

Water wheel A water wheel is a machine for converting the energy of free-flowing or falling water into useful forms of power, often in a watermill. A water wheel consists of a large wooden or metal wheel, with a number of blades or buckets arranged on the outside rim forming the driving surface. Most commonly, the wheel is mounted vertically on a horizontal axle, but the tub or Norse wheel is mounted horizontally on a vertical shaft. Vertical wheels can transmit power either through the axle or via a ring gear and typically drive belts or gears; horizontal wheels usually directly drive their load. Water wheels were still in commercial use well into the 20th century, but they are no longer in common use. Prior uses of water wheels include milling flour in gristmills and grinding wood into pulp for papermaking, but other uses include hammering wrought iron, machining, ore crushing and pounding fiber for use in the manufacture of cloth. Some water wheels are fed by water from a mill pond, which is formed when a flowing stream is dammed. A channel for the water flowing to or from a water wheel is called a mill race or simply a "race", and is customarily divided into sections.