miniature overshot patterns for hand weaving pricelist

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.

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 volume is rooted in the weaving explorations of Bertha Gray Hayes, an early 20th century weaver from Providence, Rhode Island. Collected here are her unique miniature 4-shaft overshot patterns with computer-generated drafts. You’ll learn much about the history of American hand weaving, as well as the remarkable work of a single weaver, with her plentiful legacy of overshot patterns.

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Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. (Weft is an Old English word meaning "that which is woven"; compare leave and left.loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

In general, weaving involves using a loom to interlace two sets of threads at right angles to each other: the warp which runs longitudinally and the weft (older woof) that crosses it. One warp thread is called an end and one weft thread is called a pick. The warp threads are held taut and in parallel to each other, typically in a loom. There are many types of looms.

The warp is divided into two overlapping groups, or lines (most often adjacent threads belonging to the opposite group) that run in two planes, one above another, so the shuttle can be passed between them in a straight motion. Then, the upper group is lowered by the loom mechanism, and the lower group is raised (shedding), allowing the shuttle to pass in the opposite direction, also in a straight motion. Repeating these actions forms a fabric mesh but without beating-up, the final distance between the adjacent wefts would be irregular and far too large.

The principal parts of a loom are the frame, the warp-beam or weavers beam, the cloth-roll (apron bar), the heddles, and their mounting, the reed. The warp-beam is a wooden or metal cylinder on the back of the loom on which the warp is delivered. The threads of the warp extend in parallel order from the warp-beam to the front of the loom where they are attached to the cloth-roll. Each thread or group of threads of the warp passes through an opening (eye) in a heddle. The warp threads are separated by the heddles into two or more groups, each controlled and automatically drawn up and down by the motion of the heddles. In the case of small patterns the movement of the heddles is controlled by "cams" which move up the heddles by means of a frame called a harness; in larger patterns the heddles are controlled by a dobby mechanism, where the healds are raised according to pegs inserted into a revolving drum. Where a complex design is required, the healds are raised by harness cords attached to a Jacquard machine. Every time the harness (the heddles) moves up or down, an opening (shed) is made between the threads of warp, through which the pick is inserted. Traditionally the weft thread is inserted by a shuttle.

On a conventional loom, continuous weft thread is carried on a pirn, in a shuttle that passes through the shed. A handloom weaver could propel the shuttle by throwing it from side to side with the aid of a picking stick. The "picking" on a power loom is done by rapidly hitting the shuttle from each side using an overpick or underpick mechanism controlled by cams 80–250 times a minute.

The rapier-type weaving machines do not have shuttles, they propel cut lengths of weft by means of small grippers or rapiers that pick up the filling thread and carry it halfway across the loom where another rapier picks it up and pulls it the rest of the way.Picanol have reduced the mechanical adjustments to a minimum, and control all the functions through a computer with a graphical user interface. Other types use compressed air to insert the pick. They are all fast, versatile and quiet.

The warp is sized in a starch mixture for smoother running. The loom warped (loomed or dressed) by passing the sized warp threads through two or more heddles attached to harnesses. The power weavers loom is warped by separate workers. Most looms used for industrial purposes have a machine that ties new warps threads to the waste of previously used warps threads, while still on the loom, then an operator rolls the old and new threads back on the warp beam. The harnesses are controlled by cams, dobbies or a Jacquard head.

Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warp faced textile such as repp weave.weft faced textile, such as a tapestry or a Kilim rug. There are a variety of loom styles for hand weaving and tapestry.

There are some indications that weaving was already known in the Paleolithic Era, as early as 27,000 years ago. An indistinct textile impression has been found at the Dolní Věstonice site.

The oldest known textiles found in the Americas are remnants of six finely woven textiles and cordage found in Guitarrero Cave, Peru. The weavings, made from plant fibres, are dated between 10,100 and 9080 BCE.

The oldest-known weavings in North America come from the Windover Archaeological Site in Florida. Dating from 4900 to 6500 BCE and made from plant fibres, the Windover hunter-gatherers produced "finely crafted" twined and plain weave textiles.wefts. A round bag made from twine was found, as well as matting. The yarn was probably made from palm leaves. Cabbage palm, saw palmetto and scrub palmetto are all common in the area, and would have been so 8,000 years ago.

Evidence of weaving as a commercial household industry in the historical region of Macedonia has been found at the Olynthus site. When the city was destroyed by Philip II in 348 BCE, artifacts were preserved in the houses. Loomweights were found in many houses, enough to produce cloth to meet the needs of the household, but some of the houses contained more loomweights, enough for commercial production, and one of the houses was adjacent to the

Weaving was known in all the great civilisations, but no clear line of causality has been established. Early looms required two people to create the shed and one person to pass through the filling. Early looms wove a fixed length of cloth, but later ones allowed warp to be wound out as the fell progressed. Weaving became simpler when the warp was sized.

Around the 4th century BCE , the cultivation of cotton and the knowledge of its spinning and weaving in Meroë reached a high level. Export of textiles was one of the main sources of wealth for Kush. Aksumite King Ezana boasted in his inscription that he destroyed large cotton plantations in Meroë during his conquest of the region.

In the Inca Empire of the Andes, both men and women produced textiles.backstrap looms to make small pieces of cloth and vertical frame and single-heddle looms for larger pieces.cumbi as gifts of reciprocity to lords (other elite) in the Empire. In regions under direct control of the Inca, special artisans produced cumbi for the elite. Women who created cumbi in these regions were called acllas or mamaconas and men were called cumbicamayos.

The weaving of silk from silkworm cocoons has been known in China since about 3500 BCE. Silk that was intricately woven and dyed, showing a well developed craft, has been found in a Chinese tomb dating back to 2700 BCE.

Silk weaving in China was an intricate process that was very involved. Men and women, usually from the same family, had their own roles in the weaving process. The actual work of weaving was done by both men and women.sericulture and weaving emphasized the idea that men and women should work together instead of women being subordinate to men. Weaving became an integral part of Chinese women"s social identity. Several rituals and myths were associated with the promotion of silk weaving, especially as a symbol of female power. Weaving contributed to the balance between men and women"s economic contributions and had many economic benefits.

There were many paths into the occupation of weaver. Women usually married into the occupation, belonged to a family of weavers and or lived in a location that had ample weather conditions that allowed for the process of silk weaving. Weavers usually belonged to the peasant class.specialized workshops that hired skilled silk weavers as well. These workshops took care of the weaving process, although the raising of the silkworms and reeling of the silk remained work for peasant families. The silk that was woven in workshops rather than homes were of higher quality, since the workshop could afford to hire the best weavers.

The quality and ease of the weaving process depended on the silk that was produced by the silk worms. The easiest silk to work with came from breeds of silk worms that spun their cocoons so that it could be unwound in one long strand.pupae. Women would then find the end of the strands of silk by sticking their hand into the boiling water. Usually this task was done by girls aged eight to twelve, while the more complex jobs were given to older women.

After the reeling of the silk, the silk would be dyed before the weaving process began. There were many different looms and tools for weaving. For high quality and intricate designs, a wooden draw-loom or pattern loom was used.

In the Philippines, numerous pre-colonial weaving traditions exist among different ethnic groups. They used various plant fibers, mainly abacá or banana, but also including tree cotton, buri palm (locally known as buntal) and other palms, various grasses (like amumuting and tikog), and barkcloth.Neolithic stone tools used for preparing barkcloth found in archeological sites in Sagung Cave of southern Palawan and Arku Cave of Peñablanca, Cagayan. The latter has been dated to around 1255–605 BCE.

The predominant fibre in Europe during the medieval period was wool, followed by linen and nettlecloth for the lower classes. Cotton was introduced to Sicily and Spain in the 9th century. When Sicily was captured by the Normans, they took the technology to Northern Italy and then the rest of Europe. Silk fabric production was reintroduced towards the end of this period and the more sophisticated silk weaving techniques were applied to the other staples.

The weaver worked at home and marketed his cloth at fairs.Warp-weighted looms were commonplace in Europe before the introduction of horizontal looms in the 10th and 11th centuries. Weaving became an urban craft and to regulate their trade, craftsmen applied to establish a guild. These initially were merchant guilds, but developed into separate trade guilds for each skill. The cloth merchant who was a member of a city"s weavers guild was allowed to sell cloth; he acted as a middleman between the tradesmen weavers and the purchaser. The trade guilds controlled quality and the training needed before an artisan could call himself a weaver.

Colonial America relied heavily on Great Britain for manufactured goods of all kinds. British policy was to encourage the production of raw materials in colonies and discourage manufacturing. The Wool Act 1699 restricted the export of colonial wool.cotton and flax (linen) for weaving, though hemp could be made into serviceable canvas and heavy cloth. They could get one cotton crop each year; until the invention of the cotton gin it was a labour-intensive process to separate the seeds from the fibres. Functional tape, bands, straps, and fringe were woven on box and paddle looms.

A plain weave was preferred as the added skill and time required to make more complex weaves kept them from common use. Sometimes designs were woven into the fabric but most were added after weaving using wood block prints or embroidery.

Before the Industrial Revolution, weaving was a manual craft and wool was the principal staple. In the great wool districts a form of factory system had been introduced but in the uplands weavers worked from home on a putting-out system. The wooden looms of that time might be broad or narrow; broad looms were those too wide for the weaver to pass the shuttle through the shed, so that the weaver needed an expensive assistant (often an apprentice). This ceased to be necessary after John Kay invented the flying shuttle in 1733. The shuttle and the picking stick sped up the process of weaving.Bridgewater Canal in June 1761 allowed cotton to be brought into Manchester, an area rich in fast flowing streams that could be used to power machinery. Spinning was the first to be mechanised (spinning jenny, spinning mule), and this led to limitless thread for the weaver.

Edmund Cartwright first proposed building a weaving machine that would function similar to recently developed cotton-spinning mills in 1784, drawing scorn from critics who said the weaving process was too nuanced to automate.Doncaster and obtained a series of patents between 1785 and 1792. In 1788, his brother Major John Cartwight built Revolution Mill at Retford (named for the centenary of the Glorious Revolution). In 1791, he licensed his loom to the Grimshaw brothers of Manchester, but their Knott Mill burnt down the following year (possibly a case of arson). Edmund Cartwight was granted a reward of £10,000 by Parliament for his efforts in 1809.Stockport. Only during the two decades after about 1805, did power-weaving take hold. At that time there were 250,000 hand weavers in the UK.British Industrial Revolution, but weaving was a comparatively late sector to be mechanised. The loom became semi-automatic in 1842 with Kenworthy and Bulloughs Lancashire Loom. The various innovations took weaving from a home-based artisan activity (labour-intensive and man-powered) to steam driven factories process. A large metal manufacturing industry grew to produce the looms, firms such as Howard & Bullough of Accrington, and Tweedales and Smalley and Platt Brothers. Most power weaving took place in weaving sheds, in small towns circling Greater Manchester away from the cotton spinning area. The earlier combination mills where spinning and weaving took place in adjacent buildings became rarer. Wool and worsted weaving took place in West Yorkshire and particular Bradford, here there were large factories such as Lister"s or Drummond"s, where all the processes took place.Pawtucket and Lowell.

Woven "grey cloth" was then sent to the finishers where it was bleached, dyed and printed. Natural dyes were originally used, with synthetic dyes coming in the second half of the 19th century. A demand for new dyes followed the discovery of mauveine in 1856, and its popularity in fashion. Researchers continued to explore the chemical potential of coal tar waste from the growing number of gas works in Britain and Europe, creating an entirely new sector in the chemical industry.

The invention in France of the Jacquard loom, patented in 1804, enabled complicated patterned cloths to be woven, by using punched cards to determine which threads of coloured yarn should appear on the upper side of the cloth. The jacquard allowed individual control of each warp thread, row by row without repeating, so very complex patterns were suddenly feasible. Samples exist showing calligraphy, and woven copies of engravings. Jacquards could be attached to handlooms or powerlooms.

A distinction can be made between the role and lifestyle and status of a handloom weaver, and that of the power loom weaver and craft weaver. The perceived threat of the power loom led to disquiet and industrial unrest. Well known protests movements such as the Luddites and the Chartists had handloom weavers amongst their leaders. In the early 19th-century power weaving became viable. Richard Guest in 1823 made a comparison of the productivity of power and handloom weavers:

A very good Hand Weaver, a man twenty-five or thirty years of age, will weave two pieces of nine-eighths shirting per week, each twenty-four yards long, and containing one hundred and five shoots of weft in an inch, the reed of the cloth being a forty-four, Bolton count, and the warp and weft forty hanks to the pound, A Steam Loom Weaver, fifteen years of age, will in the same time weave seven similar pieces.

...it may very safely be said, that the work is done in a Steam Factory containing two hundred Looms, would, if done by hand Weavers, find employment and support for a population of more than two thousand persons.

With the Industrial Revolution came a growth in opportunity for women to work within textile factories. However, in spite of their gender, their work was perceived to have a lower social and economic value than work done by their male counterparts.

In the 1920s the weaving workshop of the Bauhaus design school in Germany aimed to raise weaving, previously seen as a craft, to a fine art, and also to investigate the industrial requirements of modern weaving and fabrics.Gunta Stölzl, the workshop experimented with unorthodox materials, including cellophane, fibreglass, and metal.Anni Albers published the seminal 20th-century text On Weaving in 1965.Otti Berger, Margaretha Reichardt, and Benita Koch-Otte.

In the Bauhaus, the weaving workshop was considered “the women’s department”, and many women were forced to join against wishes to study another art form.

Hand weaving of Persian carpets and kilims has been an important element of the tribal crafts of many of the subregions of modern day Iran. Examples of carpet types are the Lavar Kerman carpet from Kerman and the Seraband rug from Arak.

Handloom weaving was done by both genders but men outnumbered women partially due to the strength needed to batten.spinning mill, and working as outworkers on a piecework contract. Over time competition from the power looms drove down the piece rate and they existed in increasing poverty.

Textile weaving, using cotton dyed with pigments, was a dominant craft among pre-contact tribes of the American southwest, including various Pueblo peoples, the Zuni, and the Ute tribes. The first Spaniards to visit the region wrote about seeing Navajo blankets. With the introduction of Navajo-Churro sheep, the resulting woolen products have become very well known. By the 18th century the Navajo had begun to import yarn with their favorite color, Bayeta red. Using an upright loom, the Navajos wove blankets worn as garments and then rugs after the 1880s for trade. Navajo traded for commercial wool, such as Germantown, imported from Pennsylvania.Don Lorenzo Hubbell), red dominated patterns with black and white, "Crystal" (founded by J. B. Moore), Oriental and Persian styles (almost always with natural dyes), "Wide Ruins," "Chinlee," banded geometric patterns, "Klagetoh," diamond type patterns, "Red Mesa" and bold diamond patterns. Many of these patterns exhibit a fourfold symmetry, which is thought to embody traditional ideas about harmony, or hózhó.

Among the indigenous people of the Amazon basin densely woven palm-bast mosquito netting, or tents, were utilized by the Panoans, Tupinambá, Western Tucano, Yameo, Záparoans, and perhaps by the indigenous peoples of the central Huallaga River basin (Steward 1963:520). Aguaje palm-bast (Mauritia flexuosa, Mauritia minor, or swamp palm) and the frond spears of the Chambira palm (Astrocaryum chambira, A.munbaca, A.tucuma, also known as Cumare or Tucum) have been used for centuries by the Urarina of the Peruvian Amazon to make cordage, net-bags hammocks, and to weave fabric. Among the Urarina, the production of woven palm-fiber goods is imbued with varying degrees of an aesthetic attitude, which draws its authentication from referencing the Urarina"s primordial past.diluvial creation myth accords women"s weaving knowledge a pivotal role in Urarina social reproduction.

mortuary rites, Urarina palm-fiber wealth is neither completely inalienable, nor fungible since it is a fundamental medium for the expression of labor and exchange. The circulation of palm-fiber wealth stabilizes a host of social relationships, ranging from marriage and fictive kinship (compadrazco, spiritual compeership) to perpetuating relationships with the deceased.

The Nvidia Parallel Thread Execution ISA derives some terminology (specifically the term Warp to refer to a group of concurrent processing threads) from historical weaving traditions.

Weaving is a practice that is typically considered to be “women’s work”, either part of their employment, cultural practices, or leisure.Sigmund Freud writes that “one technique which they may have invented [is] that of plaiting and weaving.”

Women’s work is often not recorded as a central activity to building Western history and culture.embroidering, or other fiber practices. These practices have existed for centuries documented through art history, myth, and oral history and are still practiced today.

Weaving is often classified as “craft” alongside other art forms like ceramics, embroidery, basket weaving, and more. Historically, there has been a hierarchy between artists who were considered “craftspeople” and artists who worked in traditional mediums of painting and sculpture.

In 1939, art critic Clement Greenberg wrote “Avant-Garde and Kitsch” where he presented his ideas about “high” and “low” art. His definition of “low” art was likely informed by years of theory against decoration and ornamentation, which was correlated with femininity in the early 1900s by critics like Adolf Loos and Karl Scheffler.

Only recently has the art world begun to recognize weaving as an art form and exhibit them as art objects. Exhibitions of large scopes have been organized to affirm textiles’s importance in the art historical canon, such as the Museum of Contemporary Art, Los Angeles’ With Pleasure: Pattern and Decoration in American Art 1972–1985.Anni Albers, are now the subject of major retrospectives across the world.

G. Mokhtar (1981-01-01). Ancient civilizations of Africa. Unesco. International Scientific Committee for the Drafting of a General History of Africa. p. 310. ISBN 9780435948054. Retrieved 2012-06-19 – via Books.google.com.

David A. Scott, Pieter Meyers, ed. (1994). Archaeometry of Pre-Columbian Sites and Artifacts: Proceedings of a Symposium Organized by the UCLA Institute of Archaeology and the Getty Conservation Institute, Los Angeles, California, March 23–27, 1992. Getty Publications. p. 8. ISBN 978-0-89236-249-3.

Page, William, ed. (1911). "Industries: Silk-weaving". A History of the County of Middlesex: Volume 2: General; Ashford, East Bedfont with Hatton, Feltham, Hampton with Hampton Wick, Hanworth, Laleham, Littleton. Institute of Historical Research. Retrieved 18 November 2011.

Müller, Ulrike (2009). Bauhaus women : art, handicraft, design. Ingrid Radewaldt, Sandra Kemker (English language ed.). Paris: Flammarion. p. 34. ISBN 978-2-08-030120-8. OCLC 432409234.

Backer, Patricia (10 June 2005). Technology in the Middle Ages, History of Technology. Technology and Civilization (Tech 198). San Jose, California, USA: San Jose State University. Archived from the original on 4 March 2015. Retrieved 18 November 2011.

Resource collection An on-line repository of articles (4720), books (459), illustrations (271), patents (398) and periodicals (1322) relating to weaving.