janet dawson weaving overshot supplier

Our departure gate is a traditional overshot threading and our first stops in Week One are the most common variations on the overshot theme: closely related to standard overshot with just a little change here or a little change there.

In Weeks Two through Four we"ll venture farther and farther; by the end of our four week journey, your fabric won’t resemble overshot in the slightest. All without rethreading, resleying or even cutting off -- unless you’re too anxious to see your samples to wait!

Overshot is known as a coverlet structure, but it’s also ideal for placemats, runners, blankets, fashion accessories, table linens, rugs, and much more. Just about anything you want to weave can be done in overshot.

Our class project is a series of coordinated placemats and table runners, woven in inexpensive, easy to get materials you may already have in your stash. You’ll choose from three different threadings composed of classic overshot motifs, then treadle them in star fashion, rose fashion, and many other ways.

Don’t feel like weaving placemats, runners, OR samples, or don’t have a loom available? No problem! You can still participate in the class without weaving at all. The lessons, videos, Q&As, and pen and paper exercises will help cement your understanding of overshot even if you don’t take it to the loom right away.

Don’t have that kind of loom? No worries! You can still read, watch, listen, and do all the pen and paper exercises. Your deeper understanding of overshot will be beneficial when you do have a loom to use it on or decide to explore how to weave it on the loom you already have on your own.

Author: robert leclerc. Instructions for table and floor, warp and weave book counterbalance and jack- type looms. Provides detailed instructions for warping frame, vertical warping reel, using sectional warp beam and shed regulator ( for counterbalance looms), warp and weave book setting up and beaming table and floor looms, tips for inexperienced weavers, threading, reading patterns, etc. Warp and weave by robert leclerc 1979 " this classic book provides the beginner or advanced weaver with a guide to weaving covering basic loom design, operation, warping techniques, understanding drafts and weaving basics. Warp and weave weaving book. Author: robert leclerc 115 pp ( paper) this is the basic manual long supplied by leclerc with many of their looms. It covers loom parts. The book of pattern weaving written by n. Reed evans brothers limited, 1937. The book of pattern weaving was written by n.

Reed, a former lecturer for the board of warp and weave book education and the london county council. It includes chapters on pattern drafting warp and weave book warp and weave book and threading, traditional patterns ( weave structures), twills and suggestions for experimentation. This book is a series warp and weave book of 53 lessons with a technique sampler accompanying each lesson. Sampler i is completed and i will share that later in the post. But first, warp and weave book what is weft- faced weaving? In weft- faced warp and weave book weaving, the warp is completely hidden by the weft.

The warp acts as the scaffold while the design or pattern is built by the weft. This book by deborah chandler was originally published in 1984, and updated in. Although a relatively warp and weave book old book, it has stuck around for such a long time because it’ s full of useful information for weaving on a rigid heddle loom. The book is divided in 15 lessons that is supposed to take you from beginner to upper intermediate level. Durable loom warp thread ( natural/ off white), 8/ 4 warp yarn ( 800 yards), perfect for weaving: carpet, tapestry, rug, blanket or pattern - warping thread for any loom. Warp thread is similar to yarn but is much more tightly wound. To help you meet this and other weaving challenges, handbook of weaving covers every step of warp and weave book the process clearly and systematically, from fibers and yarns, fabric design and construction, and weaving fundamentals to the various modern methods of weaving, fabric structure, properties, and testing, and plant operations.

The big book of weaving. My journey through the big book of weaving, by laila lundell. Details – the warp and weft given in the book warp and weave book is listed, and any substitutions i made. Next, warp and weave book the weave structure and number warp and weave book of shafts used is listed, and my primary end use of the woven and finished fabric. Top ten – my top ten favorite projects. For the weft to dominate over the warp i need to weave a weft faced twill. That would be a 1/ 3 twill with 1 shaft up and 3, down. 1, 2, 3, 4, and 4, 3, 2, 1. That would be easy with only one shaft lifted at a time and the weft would show a lot and the warp hardly any.

You don’ t have warp and weft visually interacting, which affects the color, and, of course, warp and weave book the design. I have had quite a bit of experience with weft- faced weaving though— which i explored in my book the weavers’ idea book. This is also probably why i find the warp- faced fabric in an warp and weave book inkle band equally appealing. Weave- along with tien and janet has 1, 743 members. Weave- along with tien and janet is a place warp and weave book for weavers who are doing weave- alongs with tien chiu of. To operate their looms, leclerc provides a copy of their book warp and weave with almost every floor and table loom. This book provides a basic overview on how to prepare ( warp) and then warp and weave book use the loom to produce fabric ( weave) using leclerc looms. For small tapestry and rigid heddle looms, leclerc includes a copy of their book i weave, you weave. Contact us: warp and weave. I" m tien chiu, color ninja. Sign up for my newsletter and find out about my classes and free articles about warp and weave book color in weaving!

This remarkable drafting book, now available in english, is a perfect mate to the swedish weaving book. The same three authors present us an extensive collection of weave structures complete with full drawdowns and profile drafts. Get weaving in no time! In the ashford book of rigid heddle weaving by rowena heart guides you step by step through the many weaving techniques, showing just how easy it warp and weave book is to make your own woven warp and weave book creations. Learn to warp the loom, weave small tapestries, rugs, cushions, cotton towels and leno warp and weave book lace. 76 pages, softcover. Learn the rules underlying color in weaving so you can create gorgeous handwoven fabrics. Read these free warp and weave book articles and go from color novice to color ninja! Stash warp and weave book busting scarf weave- along.

Janet dawson and tien chiu will teach you how to design and weave a beautiful 4 warp and weave book or 8- shaft warp and weave book scarf from stash yarns in this warp and weave book fun, free weave- along! Learn to create beauty warp and weave book from a mishmash of leftover colors and miscellaneous yarns. More warp and weave book images. Warp and weft inspires and instructs with lessons on pattern drafting.

From the three most basic techniques of warp and weave book swedish warp and weave book weaving— tabby, twill, and satin— to more advanced techniques, the warp and weave book book can be used by anyone who warp and weave book weaves. And i’ ve spent my adult life studying color theory, then applying that knowledge in an artistic context. Whether it was passed down from my parents, who were both scientists, or derived from warp and weave book majoring in math at caltech - understanding warp and weave book the science behind weaving with color was literally in my blood! Warp and weft was originally published monthly by robin and russ handweavers, a weaving shop located in oregon. The digital archive and in- print warp and weave book revival of this publication is the project of textile studio weaver house. Warp and weave [ robert leclerc] on amazon.

* free* warp and weave book shipping on qualifying offers. We suggest moving this party over to a full size window. You" ll enjoy it way more. Warp and weave by robert leclerc instructions for table and floor, counterbalance and jack- type looms. Gives detailed instructions for warping frame, vertical warping reel, using sectional warp beam and shed regulator ( for counterbalance looms), setting up and beaming table and floor looms, tips for inexperienced warp and weave book weavers, threading, reading patterns, etc. Note: with a short, narrow warp and step- by- step threading instructions, this is a great first project if you" ve never woven with two heddles before. Weaving these warp and weave book bookmarks is addictive. Fortunately, they" re a quick weave and— tucked into the pages of a favorite book— make a meaningful gift. The warp and weft website is a catalog of weaving and textile related periodicals, pamphlets and books — all warp and weave book available warp and weave book to download and enjoy.

The books archive includes a twill of your choice, a book of hand- woven coverlets and hand weaving. Robin and russ handweavers also published books warp and weave book such as dressing the loom and warp and weave book 16- harness patterns: the. This book includes a very short description or history of each type of weaving pattern - i. , twill, swedish lace, overshot, etc. - and then gets down to the meat of the weaving structures. It offers patterns without any instruction, so you will need to know how to warp the loom, use tabby, warp and weave book add a selvedge, etc. Winding a warp & using a paddle. Winding a warp & using a paddle the first book in the series, peggy osterkamp’ s new guide weaving, guides you through every warp and weave book step of planning a project and measuring the warp threads in preparation for putting them onto the warp and weave book loom. Sonja also covers warp and weave book the egyptian diagonal, the prehistoric warp- weighted method, six- holed tablets, brocading and finnish reins. The original book, called brickvävning— så in i norden in swedish, was published in 1994 in connection with the nordic symposium on tablet weaving.

The translation is very good ( although the last sentence on. Plus, get instant access to my free e- book warp and weave book color secrets! 1, 136 likes · 12 talking about this. Warp & weave focuses on teaching you through online classes, blog posts and newsletter to warp and weave book use colors effectively in handweaving. Are you ready to warp and weave book learn about color in weaving? When you sign up for my newsletter, you" ll get regular warp and weave book tips about how to design beautiful, colorful handwoven cloth, learn about new warp and weave book online classes in color. Three keys to making warp and weave book crisp, clear warp and weave book designslearn how to pick colors and drafts that weave into bold designs - or [.

Treadling, tabby, double face weaving: 63 - 72: 1, 165, 286: 10 - circular and semi- circular weave - bird" s eye threading - weaving: 73 - 79: 774, 233: 11 - warp and weave book what a weaver should know: 80 - 86: 907, 538: 12 - fricrion brake - double warp beam - flying shuttle - warp and weave book understanding weaving: 87 - 95: 1, 039, 021: 13 - first project, second project - count. Warp and weave by leclerc, robert seller mullen books, inc. Abaa / ilab published 1971 condition nf interior, as if unread, but with some taning and rubbing to covers. In these you will find such timesaving information as a rule of thumb for estimating sett in different weave structures, formulas for calculating warp and weft yardage, how to make choke ties when warping, how to calculate yarn twist, an explanation of the draft conventions used by the most popular books and magazines, a collection of weavers. Handweaving / leclerc looms. A book for inkle weavers and band weavers. Learn what you need to know about color and warp and weave book design for weaving narrow warp- faced bands from one of the contemporary masters! This book is a feast for the eyes, containing many full- page color photos showing hundreds of bands woven by the author. Warp and weft are the warp and weave book two basic components used in weaving to turn thread or yarn into fabric. The lengthwise or longitudinal warp and weave book warp yarns are held stationary in tension on a frame or loom while the transverse weft ( sometimes woof) is drawn through and inserted over- and- under the warp.

Make offer - step- by- step weaving ~ znamierowski beginning weaving pattern book 1st ed 1967 falcot" s weave compendium ann sutton hc book textile designers weavers 1990 $ 65.

Jackie and Linda brought beautiful woven examples of their most recent creations for Show and Tell. Linda had created a cotton table runner in plain weave with an overshot detail in the center. Jackie had woven two scarves: one woven from Euroflax linen in Huck and the second in Log Cabin out of Lyte Hemp, available from Lunatic Fringe. She also showed us a purse made for Ikat that she created at Convergence and decorated with a Dorsett button, also made at Convergence this summer.

Janet’s program was packed full of good information and included some beautiful garments she had create in the 1970s and ‘80s. She led her fellow Guild members through a step-by-step description of the process, starting with planning and ending up with a finished garment. In doing so, she de-fanged the fear experienced by all of us, at one time or another, of cutting into our precious handwoven fabric.

Several of our members decided to put the finishing touches on the Shaw House loom on Thursday, September 29. It’s almost finished. All that needs to be done is tying up the lams and checking the threading.  Then the loom will be ready for the Shaw’s Houses annual open house and sale on October 8th, and they would love to have volunteers weaving and spinning there.

Linda reminded everyone that Mill Creek will hold its “Stepping Back in Time” day on November 12 from 9:00 a.m. to 5.00 p.m. and that volunteers are needed to demonstrate all kinds of fiber arts, such as weaving, spinning, quilting, inkle loom weaving, etc.  In December two Moore County Historical Association sites hold their Christmas Open Houses:  The Shaw House and the Bryant House–more news about them a little closer to the time.

During our Show and Tell Kate showed us a crocheted baby blanket for a niece, which she has just begun, and Janet has started an tapestry of a Candle and flame.

Jacque told the group she had taken a 3-day Crackle workshop, which was pretty intensive. She said that although she learned a lot she didn’t get much weaving done.  Once home,

Gradually evening turned into night and it was time to leave. But just a quick reminder that Janet will be sharing some sewing tips and tricks on handwoven fabric at out next meeting on October 18th.

We have a full 2022 calendar of community outreach engagements through the remainder of the year, starting with the Shaw House Heritage Fair & Moore Treasure Sale from 9:00 a.m. to 4:00 p.m. on Saturday, October 8. This is a fun event with lots of visitors, demonstrations, activities, vendor booths and food. The more volunteers we have out there having a good time and demonstrating spinning and weaving the better.

And so on to the main event of the evening: Needle felting roving. Many thanks to Kate for setting up a Zoom meeting so I could take part long distance. Janet’s “show and tell” was a beautiful vest she had felted. Jackie had brought along a fun collection of needle felted animals, including the whimsical knitting owl pictured below. She, then demonstrated how to create an acorn from a small ball of roving–stabbing so it would harden into an acorn shape. The final touch was securing it was a dab of glue into a real acorn cup. She warned us not to stab ourselves with the felting needles. But just in case she had packed a box of BandAids along with her supplies.  Very thoughtful and, on more than one occasion, very welcome!

I truly believe that our Guild is at its best when it comes together around a community project. And, sure enough, Linda, Jackie, Laura, Diana, Janet, Teri, and Cindy rolled up their proverbial sleeves, braved the heat and made terrific headway on dressing the loom in the Sanders Cabin—no small accomplishment on a scorching July morning.

No news from the Swap Meet at present, but Janet had a couple of spectacular projects for her “Show and Tell.” The first was a beautiful Huck stole that she had embellished with beading and the second was an orange and green striped table runner on a cream 1/3 broken twill background that she has made for sale at Common Thread.

In October, Janet will present a program on “How to sew your handwoven fabric.” She will help you expand your horizons by overcoming your fear of cutting into your handwoven cloth.

This month we celebrated Rock Day in April. Following lots of hellos and snacks, we held a brief business meeting, during which Janet volunteered to be our presenter in October. She will give us some hints on how to sew clothing with our handwoven fabric–a wonderful way to expand our horizons beyond scarves, stoles and household articles. Additionally, she will have a handout with a variety of helpful resources for everyone. Jacque reported that she had looked into setting up a PayPal account; thus, making it make it easier for members to pay their dues. However, she advised that for just a few procrastinators, it hardly seemed worth the effort.

Kathy modelled a scarf from rainbow chenille and a black yarn she had woven in log cabin. She had used string heddles, thus avoiding some of the pesky problems you can have when weaving with chenille. However, she regretted that by using the rainbow chenille she lost the log cabin effect. However, the rest of us agreed that it really didn’t matter because the vibrant colors created a design of their own. It was spectacular–and no worms!

Janet explained that she had learned to weave from a Swedish weaving friend and that she was interested in researching more Swedish weaving and techniques. She said that she had done a great deal of weaving since moving to Southern Pines and, consequently, had a large collection of thrums. She put them to good use, by knotting them together and then winding them into a ball, which she used as weft for her runners–lots of them. The knots created a really interesting texture. Additionally, she had woven a beautiful piece of fabric that will become curtains. She had used a fine white cotton yarn with an open sett, and blue patterning. The finished piece had a very Swedish feel about it–simple, uncluttered and elegant.

A cup of tea is Jackie’s favorite way to relax. So it was only natural that her challenge project should be a lovely overshot tea cozy, which she then lined with a complementary printed fabric. The finished result was both functional and fabulous.

Show & tell–Fabulous!  Jackie and Sharon brought in deflected double weave scarves from a workshop they had taken, together with their own further experimenting. Sharon brought in a very colorful warp she had dyed in her own studio. Janet showed a shawl she had woven from a workshop at Harrisville Designs. Cindy showed a knitting project currently in progress, and Paula showed some tapes she had woven for curtain tie-backs at the Shaw House.

Thanks to Kate’s Zoom hosting, this month’s meeting was an extremely successful hybrid affair, during which we got a great deal accomplished. For the first time in well over a year our members were able to meet in the College’s Horticultural Visitors Center, and Jacque and Cindy joined via Zoom. We welcomed a new member, Janet–a weaver–who has recently moved to the area.

Several members had “Show and Tell” items: We were awestruck by the exquisite aqua scarf Cindy had knitted.  It was a beautiful combination of cable and lace stripes, to which she will add a fringe and embellishments at a later date. Laura has been weaving towels on an 8-harness loom. However, in order to make a each one different she had had to change the tie-up several times.  Kate continues to work on the crocheted hexagons for a baby blanket she is making, and Sarah continues to explore weaving with paper.

In conclusion, Sarah would like us to let her know of any children’s books on spinning and weaving that we know of. She said she feels it would be a good addition to the Handweavers Guild of America website. Her email address is: beyersarahr@gmail.com.

We discussed the Yoga/exercise Zoom session that we had originally planned for September. We decided that July would be preferable because we hope that Sandhills Community College’s horticultural visitors center will be open by September for our program on sergers. So an exercise meeting via Zoom would work out well for July.  Laura is our liaison, and we decided that a $50.00 honorarium would be appropriate. Our exercise instructor would like to address your specific problem areas. We came up with an impressive list: Neck, hips, back, shoulders, knees, problems getting down and back up again from under a loom. If you have a particular ache while weaving please email Laura so she can add it to the list.

Aug. 17 program will be about incorporating beads into your weaving. Members are invited to bring examples of weaving embellishments using beads so we can discuss and learn about all the different ways they can be incorporated.

Seven of us got together on Tuesday evening, and once again, we had a terrific meeting. During our “Show and Tell” portion, Jackie showed us a beautiful overshot tea towel she had made during the past month.

First, the warp—Jackie uses a 16-end warp, (four ends to a heddle) made from a sturdy wool because it fluffs up nicely for the hair and hands. Then on to the weft: The thickness of the weft yarn will govern how fat your Halleluiah Doll will be. Weave the right leg over two groups of four threads each and finish it off by threading the end down the back of the leg. Then weave the lower body by going over and under pairs of threads across the whole width of the band, finishing off as before. Next weave the left leg and finish that one off too. The trousers are now complete. On to the body in a contrasting color. For the neck just use the center two groups. The arms are made using the outer two groups. And finish up your doll by weaving the head using the center two groups with flesh-colored yarn.  Loosen the warp and, giving the doll enough warp space for its hair, cut it off.  If you are going to use it for a brooch, glue a pin on to the back.

Jackie kicked off our round table (figuratively) discussion, showing us a  table runner she had woven in overshot.  Her challenge last year had been to use triadic colors. She chose red, yellow and blue and  using cranberry as her red color, she added complementary shades of blue and yellow from her stash. It was absolutely beautiful–an inspiration to us all.

Laura’s challenge had been to use complementary colors. Since her daughter-in-law is a big fan of Christmas, she made her a Christmas tea towel, using summer and winter to create a really pretty squared design. But the bread bag she had been weaving in double weave using linen turned out to be a learning experience.

Then on to a discussion of 2021’s challenge, which didn’t take long at all. Linda suggested we use “Hope and Healing” as our theme, and Jackie suggested “Plain weave doesn’t have to be plain.” Two terrific ideas. Since this is a year in which we all need hope and healing and since “Plain weaving doesn’t have to be plain” gives us a framework in which to channel our creativity we were unanimous in our agreement. Jackie is going to come up with something catchy to weave these two elements together.

Kate is crocheting a spectacular round blanket, and Deborah has one arm and a leg of a doll for her granddaughter knitted, and is working hard to have it finished in time. Jacque showed a couple of scarves she had made for family but both needed finishing, and confessed that there was still one on a loom that was far from done! Kathy has a ten-yard warp on her loom for tea towels, in addition to having made a made a bread bag and now just needs to weave a drawstring for it on her Inkle loom. And Jackie explained an intriguing scarf she was wearing that was based on a single overshot design for the warp, but woven with 17 variations in the weft.

January, which traditionally is our Rock Day celebration–beef stew and our challenges for that year–will be held via Zoom on January 19th, at 7:00 p.m. (our regular meeting day). Bring your challenges, your food and drink of choice, find out what our new challenge will entail, celebrate our Guild’s creativity and have fun. At our February meeting Kathy will demonstrate how to use “Fast Sam,” a system she has found extremely helpful without having to create samples at the loom. In March Jackie will demonstrate making Halleluiah dolls on an Inkle loom, which was first published in Handwoven back in 1997.  Sharon will present a program on weaving a tam in April, and Nancy will help us make Easter Bunnies in May. By that time it should be safe for us all to be back together for Amber’s program in June.

Then on to the program: Before our meeting Kathy had emailed the instructions to everyone and asked that we cut out a loom from a sturdy piece of cardboard. She then led us through the warping process and started us on  weaving the snowman’s hat.  Being a weft-faced project the weaving went fairly slowly so we didn’t get our snowmen finished during the meeting, but she demonstrated how to finish it up, remove it from the loom, stuff and embellish it with beads and a crocheted scarf. Laura suggested that we bring our finished snowmen to the next meeting for a mini-show and tell. Sarah sent me the picture of her “Wonky Snowman.” Please take a picture of your finished snowmen and email it to me. I’ll fit it in this report. Thanks.

Before we ended the meeting Deborah updated us on news from another guild to which she belongs. The Hudson-Mohawk Weavers’ Guild show and sale will be virtual this year and will be held November 21 and 22 from 10:00 a.m. to 5:00 p.m. each day. It will include weaving and spinning demonstrations, along with fashion shows and interactive features. You can check it out at  www.hmwg.org/show.

In other news Linda described how impressed she was by the teleconferenced lectures and studio tours offered by the Handweavers Guild of America (HGA) during Spinning and Weaving Week, celebrated the first week in October. Sarah told us how much she enjoyed participating in HGA’s kitchen towel exchange–great event, she said, but exhausting!

Our program followed:  Jacque led off, showing a picture of a commissioned blanket she had made. Sarah had woven a tapestry from paper of a seed catalog and embellished it with seed pods. Deborah had been knitting for her grandchildren and Laura has been working on bread bags in double weave, but finding it slow going since she has to check it frequently to make sure she hasn’t accidently caught the two layers together. Linda has been experimenting with weaving some of the cotton yarn she had spun on a Charkha. And Kathy has been gardening and canning food. On the weaving front she has made a four-block twill baby blanket for her niece’s new baby.

Kathy told us that Janet Dawson and Tien Chiu have joined forces to present a free courses on color theory. The latest one starts on October 24 and runs for three weeks, by the end of which time students will have woven a set of mug rugs and gained a deeper understanding of color.  If interested, go to https://www.warpandweave.com/.

Kathy then gave us an overview of next month’s meeting (November 17). She demonstrated all the steps that will go into making a woven snowman Christmas ornament, starting with a cardboard loom and weaving a weft-faced head and body from it. She will send out instructions a little closer to the time and would like us to come to the meeting with our looms warped so that we can actually create our Snowmen in our Zoom classroom. This sounds like a fun activity. I hope to “see” you there.

Linda presented a program on color for weavers called Things You Need to Know about Color. It was the second installment of the series Next Steps in Weaving, and followed up last month’s program on looms.

These programs are designed to present information that you should learn and know to become acbetter weaver. The handouts are designed to put in a notebook so that as we continue this series, everyone will have a notebook of what they should be studying and learning about weaving. The handouts are a guide for self-study.

Linda presented some color definitions that everyone should become familiar with because learning and talking about color requires knowledge of specific vocabulary. We discussed basic color schemes to become familiar with in your weaving. She reviewed how to use a color wheel and showed examples using the color wheel from Colorworks by Deb Menz which has templates to isolate specific color schemes. How color interacts and how yarn properties affect weaving was also highlighted.

We watched a short segment about value from a DVD by Deb Essen called Color in Weaving: Successful Color Choices for Handwoven Cloth. Linda had brought lots of yarn in a wide variety of colors so that everyone could try selecting color schemes and practice selecting yarns to be used together. They were challenged to try colors that were not their “comfort” colors. Everyone received a handout for their Weaving Notebook.

At the end of June Jackie and Betty attended the MidAtlantic Fiber Association biennial conference on the campus of Millersville, PA, University. Jackie told us that she had taken Swedish pattern weaving with instructor Joanne Hall. It was a round-robin workshop in which six different samples were woven using Swedish yarns, shuttles and temples, supplied by Joanne.

Molly’s talk centered Anni’s Albers’ accomplishments at Black Mountain College, explaining that while Josef taught art, Anni found time to establish a weaving studio, where she encouraged students to imagine materials as an adventure and to created textiles from the unlikeliest objects they might find.  She went on to have a profound impact on hand weaving in America.

Andie presented a fascinating program on card weaving on an Inkle loom, a new twist on a traditional technique. By using cards, she is able to expand the number and complexity of possible designs exponentially. She had several examples of her work and showed us how to create patterns using cards.

The Sandhill’s Community College Weaving Show will be held in the Boyd Library in September.  We discussed and agreed on the subject of “Handwoven Covered Journals.”  We will display the journals that were created at a past meeting thanks to Teresa Storch.  Since we have many new members who were not present for the journal-making, we will be making inkle bookmarks to display in the cases also.

Linda led this month’s Guild program, which focused on planning a weaving project. She used Peggy Osterkamp’s  Planing Project worksheet that is available on line.

Following the business meeting we had a great Show and Tell with Linda explaining how she transcribed an old draft using Fiberworks and Lynne and Betty showing us their latest weaving creations. To see the captions run you mouse over the picture. Some things about WordPress are still a mystery to me. I don’t really have the hang of consistently getting the captions to show up below the pictures!

And so on to the main event of the evening. In preparation for the up-coming workshop, Jackie showed members her special technique for warping a  table loom from front to back. In this process Jackie chains of the warp from the bottom of the warping board and then pre sleys the warp into the reed. Jackie chose a mixed warp of many colors 20 epi producing a weaving width of 14 inches.  She threads 4 threads thru each dent skipping one in between and then places lease sticks in the cross and secures the ends with a figure 8 tie. After all threads are thru the reed she places the reed in the loom and attaches a back beam. She winds fiber on back beam, then undoes the warp from the front and puts it thru from the front of the reed and ties behind the reed. Then she resleys the reed after threading through the heddles.

This month’s meeting was held in Nancy’s weaving studio. We started out with Betty’s delicious refreshments and a business meeting, the details of which can be found on the Members Page.

It was with mixed feelings that some of our members attended the sale. After all it was Barbara’s weaving and knitting supplies. She had been precious to us and a driving force behind the Guild. On the other hand, it was exactly what she wanted to happen to all her craft stuff, and our members went away from the sale with mementos from a dear friend.

We had a great time surveying, poking around, looking at, buying, and generally getting our fingers in and around lots of “new to us” fiber, yarn and related stuff. We had a pretty good spread, with a full table of items donated to the guild. Everyone sold some things, but Anne gets the prize because she is down-sizing and needed to re-home lots of things. Nancy brought some delicious refreshments, so we had plenty of fuel for our chatting during Show & Tell. Teresa brought some very impressive small triangle weavings she had woven and then embroidered with blackwork designs. It will eventually be a knitting bag. She also showed some larger work from her triangle loom. Louella brought a stunningly beautiful quilt that the Randolph Quilters Guild is raffling off as a fund-raiser. Our own Louella did an amazing amount of hand quilting on it. Of course, we all wanted to purchase chances on that quilt! Mary brought two of her delightful flower paintings and told the inspiration behind them.

Our July meeting took the form of a round-table discussion on the technical aspects of weaving. Sarah explained weights and thicknesses of yarn, including silk deniers, which had always been a mystery to me! Then she fielded a bunch of questions about the technical weaving that is done right here in North Carolina.

The Alexander Technique is a way to “unlearn” harmful lifetime postural habits in order to find relief and solutions for chronic pain. It a powerful tool that can be used in anything you do, whether you are sitting at your desk, playing a musical instrument or weaving.

Laura had brought a good deal of weaving equipment to the meeting, including her small floor loom, a warping board and a warping mill. We explained to Heather how each piece of equipment was used, and she figured out the best way for each of us to use it, eliminating the postural problems we have as weavers due to poor body mechanics—you know the sort of thing—folding up like a pretzel to get under your loom to tie up or stretching beyond reason to thread your heddles.

From beginning to end, it was an enormously interesting meeting. We learned so much that we can put to work for us in our weaving lives. Thank you, Laura, for introducing us to Heather.

Backstrap weaving is Laurel’s creative outlet. She received her undergraduate degree in home economics, after which she taught school for a while. Then she went on to Graduate School in the Arts Department at the University of Minnesota where she discovered weaving. But what she was really wanted was a craft that was far more portable than working on a floor loom. Backstrap weaving was the answer. Here was a beautiful fiber art with endless possibilities that she could do just about anywhere.

Louella had brought some beautiful quilts that she was in the process of finishing up for an exhibition she was planning in Asheboro, NC; Michele, our newest weaver, showed the dish towels she had woven during the last six weeks or so—fabulous pieces. She has been exploring twill and even created a complex overshot gamp. WOW! There’s no stopping her now! Elizabeth had woven a shibori stole, a gorgeous example of her work—definitely something for the rest of us to aspire to.

Linda presented a program on color for weavers called Things You Need to Know about Color. It was the second installment of the series Next Steps in Weaving, and followed up last month’s program on looms.

These programs are designed to present information that you should learn and know to become acbetter weaver. The handouts are designed to put in a notebook so that as we continue this series, everyone will have a notebook of what they should be studying and learning about weaving. The handouts are a guide for self-study.

Linda presented some color definitions that everyone should become familiar with because learning and talking about color requires knowledge of specific vocabulary. We discussed basic color schemes to become familiar with in your weaving. She reviewed how to use a color wheel and showed examples using the color wheel from Colorworks by Deb Menz which has templates to isolate specific color schemes. How color interacts and how yarn properties affect weaving was also highlighted.

We watched a short segment about value from a DVD by Deb Essen called Color in Weaving: Successful Color Choices for Handwoven Cloth. Linda had brought lots of yarn in a wide variety of colors so that everyone could try selecting color schemes and practice selecting yarns to be used together. They were challenged to try colors that were not their “comfort” colors. Everyone received a handout for their Weaving Notebook.

At the end of June Jackie and Betty attended the MidAtlantic Fiber Association biennial conference on the campus of Millersville, PA, University. Jackie told us that she had taken Swedish pattern weaving with instructor Joanne Hall. It was a round-robin workshop in which six different samples were woven using Swedish yarns, shuttles and temples, supplied by Joanne.

Molly’s talk centered Anni’s Albers’ accomplishments at Black Mountain College, explaining that while Josef taught art, Anni found time to establish a weaving studio, where she encouraged students to imagine materials as an adventure and to created textiles from the unlikeliest objects they might find.  She went on to have a profound impact on hand weaving in America.

Andie presented a fascinating program on card weaving on an Inkle loom, a new twist on a traditional technique. By using cards, she is able to expand the number and complexity of possible designs exponentially. She had several examples of her work and showed us how to create patterns using cards.

The Sandhill’s Community College Weaving Show will be held in the Boyd Library in September.  We discussed and agreed on the subject of “Handwoven Covered Journals.”  We will display the journals that were created at a past meeting thanks to Teresa Storch.  Since we have many new members who were not present for the journal-making, we will be making inkle bookmarks to display in the cases also.

Linda led this month’s Guild program, which focused on planning a weaving project. She used Peggy Osterkamp’s  Planing Project worksheet that is available on line.

Following the business meeting we had a great Show and Tell with Linda explaining how she transcribed an old draft using Fiberworks and Lynne and Betty showing us their latest weaving creations. To see the captions run you mouse over the picture. Some things about WordPress are still a mystery to me. I don’t really have the hang of consistently getting the captions to show up below the pictures!

And so on to the main event of the evening. In preparation for the up-coming workshop, Jackie showed members her special technique for warping a  table loom from front to back. In this process Jackie chains of the warp from the bottom of the warping board and then pre sleys the warp into the reed. Jackie chose a mixed warp of many colors 20 epi producing a weaving width of 14 inches.  She threads 4 threads thru each dent skipping one in between and then places lease sticks in the cross and secures the ends with a figure 8 tie. After all threads are thru the reed she places the reed in the loom and attaches a back beam. She winds fiber on back beam, then undoes the warp from the front and puts it thru from the front of the reed and ties behind the reed. Then she resleys the reed after threading through the heddles.

This month’s meeting was held in Nancy’s weaving studio. We started out with Betty’s delicious refreshments and a business meeting, the details of which can be found on the Members Page.

It was with mixed feelings that some of our members attended the sale. After all it was Barbara’s weaving and knitting supplies. She had been precious to us and a driving force behind the Guild. On the other hand, it was exactly what she wanted to happen to all her craft stuff, and our members went away from the sale with mementos from a dear friend.

We had a great time surveying, poking around, looking at, buying, and generally getting our fingers in and around lots of “new to us” fiber, yarn and related stuff. We had a pretty good spread, with a full table of items donated to the guild. Everyone sold some things, but Anne gets the prize because she is down-sizing and needed to re-home lots of things. Nancy brought some delicious refreshments, so we had plenty of fuel for our chatting during Show & Tell. Teresa brought some very impressive small triangle weavings she had woven and then embroidered with blackwork designs. It will eventually be a knitting bag. She also showed some larger work from her triangle loom. Louella brought a stunningly beautiful quilt that the Randolph Quilters Guild is raffling off as a fund-raiser. Our own Louella did an amazing amount of hand quilting on it. Of course, we all wanted to purchase chances on that quilt! Mary brought two of her delightful flower paintings and told the inspiration behind them.

Our July meeting took the form of a round-table discussion on the technical aspects of weaving. Sarah explained weights and thicknesses of yarn, including silk deniers, which had always been a mystery to me! Then she fielded a bunch of questions about the technical weaving that is done right here in North Carolina.

The Alexander Technique is a way to “unlearn” harmful lifetime postural habits in order to find relief and solutions for chronic pain. It a powerful tool that can be used in anything you do, whether you are sitting at your desk, playing a musical instrument or weaving.

Laura had brought a good deal of weaving equipment to the meeting, including her small floor loom, a warping board and a warping mill. We explained to Heather how each piece of equipment was used, and she figured out the best way for each of us to use it, eliminating the postural problems we have as weavers due to poor body mechanics—you know the sort of thing—folding up like a pretzel to get under your loom to tie up or stretching beyond reason to thread your heddles.

From beginning to end, it was an enormously interesting meeting. We learned so much that we can put to work for us in our weaving lives. Thank you, Laura, for introducing us to Heather.

Backstrap weaving is Laurel’s creative outlet. She received her undergraduate degree in home economics, after which she taught school for a while. Then she went on to Graduate School in the Arts Department at the University of Minnesota where she discovered weaving. But what she was really wanted was a craft that was far more portable than working on a floor loom. Backstrap weaving was the answer. Here was a beautiful fiber art with endless possibilities that she could do just about anywhere.

Louella had brought some beautiful quilts that she was in the process of finishing up for an exhibition she was planning in Asheboro, NC; Michele, our newest weaver, showed the dish towels she had woven during the last six weeks or so—fabulous pieces. She has been exploring twill and even created a complex overshot gamp. WOW! There’s no stopping her now! Elizabeth had woven a shibori stole, a gorgeous example of her work—definitely something for the rest of us to aspire to.

Linda presented a program on color for weavers called Things You Need to Know about Color. It was the second installment of the series Next Steps in Weaving, and followed up last month’s program on looms.

These programs are designed to present information that you should learn and know to become acbetter weaver. The handouts are designed to put in a notebook so that as we continue this series, everyone will have a notebook of what they should be studying and learning about weaving. The handouts are a guide for self-study.

Linda presented some color definitions that everyone should become familiar with because learning and talking about color requires knowledge of specific vocabulary. We discussed basic color schemes to become familiar with in your weaving. She reviewed how to use a color wheel and showed examples using the color wheel from Colorworks by Deb Menz which has templates to isolate specific color schemes. How color interacts and how yarn properties affect weaving was also highlighted.

We watched a short segment about value from a DVD by Deb Essen called Color in Weaving: Successful Color Choices for Handwoven Cloth. Linda had brought lots of yarn in a wide variety of colors so that everyone could try selecting color schemes and practice selecting yarns to be used together. They were challenged to try colors that were not their “comfort” colors. Everyone received a handout for their Weaving Notebook.

At the end of June Jackie and Betty attended the MidAtlantic Fiber Association biennial conference on the campus of Millersville, PA, University. Jackie told us that she had taken Swedish pattern weaving with instructor Joanne Hall. It was a round-robin workshop in which six different samples were woven using Swedish yarns, shuttles and temples, supplied by Joanne.

Molly’s talk centered Anni’s Albers’ accomplishments at Black Mountain College, explaining that while Josef taught art, Anni found time to establish a weaving studio, where she encouraged students to imagine materials as an adventure and to created textiles from the unlikeliest objects they might find.  She went on to have a profound impact on hand weaving in America.

Andie presented a fascinating program on card weaving on an Inkle loom, a new twist on a traditional technique. By using cards, she is able to expand the number and complexity of possible designs exponentially. She had several examples of her work and showed us how to create patterns using cards.

The Sandhill’s Community College Weaving Show will be held in the Boyd Library in September.  We discussed and agreed on the subject of “Handwoven Covered Journals.”  We will display the journals that were created at a past meeting thanks to Teresa Storch.  Since we have many new members who were not present for the journal-making, we will be making inkle bookmarks to display in the cases also.

Linda led this month’s Guild program, which focused on planning a weaving project. She used Peggy Osterkamp’s  Planing Project worksheet that is available on line.

Following the business meeting we had a great Show and Tell with Linda explaining how she transcribed an old draft using Fiberworks and Lynne and Betty showing us their latest weaving creations. To see the captions run you mouse over the picture. Some things about WordPress are still a mystery to me. I don’t really have the hang of consistently getting the captions to show up below the pictures!

And so on to the main event of the evening. In preparation for the up-coming workshop, Jackie showed members her special technique for warping a  table loom from front to back. In this process Jackie chains of the warp from the bottom of the warping board and then pre sleys the warp into the reed. Jackie chose a mixed warp of many colors 20 epi producing a weaving width of 14 inches.  She threads 4 threads thru each dent skipping one in between and then places lease sticks in the cross and secures the ends with a figure 8 tie. After all threads are thru the reed she places the reed in the loom and attaches a back beam. She winds fiber on back beam, then undoes the warp from the front and puts it thru from the front of the reed and ties behind the reed. Then she resleys the reed after threading through the heddles.

This month’s meeting was held in Nancy’s weaving studio. We started out with Betty’s delicious refreshments and a business meeting, the details of which can be found on the Members Page.

It was with mixed feelings that some of our members attended the sale. After all it was Barbara’s weaving and knitting supplies. She had been precious to us and a driving force behind the Guild. On the other hand, it was exactly what she wanted to happen to all her craft stuff, and our members went away from the sale with mementos from a dear friend.

We had a great time surveying, poking around, looking at, buying, and generally getting our fingers in and around lots of “new to us” fiber, yarn and related stuff. We had a pretty good spread, with a full table of items donated to the guild. Everyone sold some things, but Anne gets the prize because she is down-sizing and needed to re-home lots of things. Nancy brought some delicious refreshments, so we had plenty of fuel for our chatting during Show & Tell. Teresa brought some very impressive small triangle weavings she had woven and then embroidered with blackwork designs. It will eventually be a knitting bag. She also showed some larger work from her triangle loom. Louella brought a stunningly beautiful quilt that the Randolph Quilters Guild is raffling off as a fund-raiser. Our own Louella did an amazing amount of hand quilting on it. Of course, we all wanted to purchase chances on that quilt! Mary brought two of her delightful flower paintings and told the inspiration behind them.

Our July meeting took the form of a round-table discussion on the technical aspects of weaving. Sarah explained weights and thicknesses of yarn, including silk deniers, which had always been a mystery to me! Then she fielded a bunch of questions about the technical weaving that is done right here in North Carolina.

The Alexander Technique is a way to “unlearn” harmful lifetime postural habits in order to find relief and solutions for chronic pain. It a powerful tool that can be used in anything you do, whether you are sitting at your desk, playing a musical instrument or weaving.

Laura had brought a good deal of weaving equipment to the meeting, including her small floor loom, a warping board and a warping mill. We explained to Heather how each piece of equipment was used, and she figured out the best way for each of us to use it, eliminating the postural problems we have as weavers due to poor body mechanics—you know the sort of thing—folding up like a pretzel to get under your loom to tie up or stretching beyond reason to thread your heddles.

From beginning to end, it was an enormously interesting meeting. We learned so much that we can put to work for us in our weaving lives. Thank you, Laura, for introducing us to Heather.

Backstrap weaving is Laurel’s creative outlet. She received her undergraduate degree in home economics, after which she taught school for a while. Then she went on to Graduate School in the Arts Department at the University of Minnesota where she discovered weaving. But what she was really wanted was a craft that was far more portable than working on a floor loom. Backstrap weaving was the answer. Here was a beautiful fiber art with endless possibilities that she could do just about anywhere.

Louella had brought some beautiful quilts that she was in the process of finishing up for an exhibition she was planning in Asheboro, NC; Michele, our newest weaver, showed the dish towels she had woven during the last six weeks or so—fabulous pieces. She has been exploring twill and even created a complex overshot gamp. WOW! There’s no stopping her now! Elizabeth had woven a shibori stole, a gorgeous example of her work—definitely something for the rest of us to aspire to.

With my retirement from production weaving and selling my work, the move out of the annex, the disbursement of production equipment, there have been many, many changes in my life and my work space.

For about 40 years I have had goat trails in the studio as the boxes of yarn and such were stacked here and there. Not to mention I wasn"t just weaving, but teaching, spinning (at times), lace making, knitting, writing, self-publishing small run publications - and not so small run. I not only wrote it, I - and Doug (and various family and friends) - assembled and shipped it. So, shipping boxes, labels, unsold copies - all had to be stored somewhere. Which is where the annex came in, for a while.

The top photo is the Megado. Changing the AVL (60" weaving width with fly shuttles, two beams, air assist et al) to the smaller footprint Megado helped enormously as it freed up quite a bit of space. Every inch of wall space that could be was converted to more shelving.

At the weekend I led an Intro to Weaving class and it was a delightful group of six who got that they needed to understand principles, gain knowledge, practice their physical skills mindfully. I am hopeful they will continue, but mastering weaving is a lifelong pursuit.

Learn the vocabulary and basic skills of making your own fabric on a 4-shaft loom.   The instructor will lead you through making a warp and dressing a loom as well as weaving techniques and planning a project.   No experience or equipment is required, but if you have your own loom, please let the instructor examine it before class.    An extra materials fee (approx. $25.00) may be required if you wish to have special yarn for your final project.

October’s program will be an evening of skill sharing from our talented members. Mary Jean Betts will demonstrate boro-stitching. Gail Maier will have a fibre identification table, so if you would like help determining the fibre content of something, bring it along. Brenda Nicolson will demonstrate tablet weaving. Christine Purse will show us how to spin designer yarns. Laura Proctor and the natural dye group are going to have a natural dyeing display table. Jill Yelland-DeMooy will be spinning using the Spinneret designed and created by her mother Pat Yelland. We will also have Steve Ashton, who has built a 20-harness loom. He will be bringing his circular sock-knitting machine as well.

We will be having a Basket weaving workshop making a Zarzo flower basket (gathering basket), with Johanne Byskov. There will be room for 8 participants.

Jill Yelland-DeMooy completed an in-person weaving course for beginners with Brenda Nicholson. She will discuss what she learned from the course, provide examples of what she has woven since taking the course and how she hopes to use her new skills.

Bronwyn Zozula completed an online course on overshot departures with Janet Dawson. She describes the course as “an in depth look at the numerous ways one can alter an overshot threading to masquerade as different weave structures”. She feels that it made her much more aware of what is possible with a four-shaft loom.

Traditionally, spinning and weaving among the early Pueblos was the realm of men.  Louie, like many Pueblo weavers, began learning the foundation of the Pueblo weaving tradition at an early age from his grandfather, and he actively works to revive ancient and long forgotten techniques.

Learn the vocabulary and basic skills of making your own fabric on a 4-shaft loom.  The instructor will lead you through making a warp and dressing a loom as well as weaving techniques and planning a project.  No experience or equipment is required, but if you have your own loom, please let the instructor examine it before class.   An extra materials fee (approx. $20.00) may be required if you wish to have special yarn for your final project.

Sanjo Silk  and The Silk Weaving Studio have launched a YouTube channel. If you feel so inclined, you can subscribe to the channel. This will help Sanjo to qualify to have the link changed to sanjosilk instead of a series of numbers.

There is an action-packed start to 2021 with the second part of Elizabeth Ashdown‘s presentation at Noon on January 13 highlighting her passementerie and frame loom weaving.

Beads & Wires Jewelry: A Step-by-Step Workshop. Ani Afshar. Step-by-step methods for weaving jewelry with beads and sterling silver wires. Create 5-strand and 3-strand necklaces and a 3-strand pearl bracelet with beads of your choice, or similar to those in the demonstrations. A gallery of Ani’s jewelry that uses the same techniques will inspire designs of your own • 11" x 8 1/2" (279 x 215 mm) • 141 color photos • 48 pp. • 978-0-7643-2730-8 • PB • $12.95

Off-Loom Woven Bead Necklaces. Deb DiMarco. This comprehensive guide to off-loom, seed bead weaving uses the square stitch to explore design patterns. A photo-illustrated instructional chapter clearly explains stitching and joining techniques. This easy-to-read pattern book is for anyone interested in learning off-loom, seed bead weaving. Three necklace projects and three bracelet patterns are included • 8 1/2" x 11" (215 x 279 mm) • 230 color photos • 128 pp. • 978-0-7643-3306-4 • PB • $19.99

Paracord Knife Handle Wraps: The Complete Guide, from Tactical to Asian Styles. Jan Dox. This clear, photo-by-photo guide teaches everything you need to know, including selecting appropriate paracord and weaving the correct wrap styles for underlays, tactical uses, skeleton handles, and more. Over 16 styles and approaches are covered, from basic handle wraps to standard military or looped, to paradox, to artistic Japanese tsukamaki wraps • 6" x 9" (152 x 228 mm) • 564 color images • 160 pp. • 978-0-7643-54250 • PB Spiral • $24.99

Weave It!: 15 Fun Weaving Projects for Kids. Maria Sigma. Featuring 15 projects with clear step-bystep instructions and colorful photography, teaches kids one of the oldest worldwide craft traditions. Using natural and recycled materials, Maria Sigma, a professional tapestry weaver, helps you share the joy of creating beautiful woven items with a new generation of young crafters. • 8 1/4" x 10 3/4" (209 x 273 mm) • 125 color photos • 80 pp. • 978-0-7643-6065-7

Decorating Gourds: Carving, Burning, Painting and More. Sue Waters. Produce gourd-geous results in minimal time! Step-by-step photos and text demonstrate several techniques for decorating gourds, including carving, wood burning, painting, staining, stenciling, and pine needle weaving. The projects covered here include vessels, a hanging potpourri, and an adorable Santa Claus. Patterns are included to get you started • 8 1/2" x 11" (215 x 279 mm) • 190 color photos • 48 pp. • 978-0-76431312-7 • PB • $14.99

New and Different Materials for Weaving and Coiling. Marianne Barnes. Over 350 color images display the raw materials, techniques, and final works of art created in weaving and coiling baskets and decorating gourds. Where to find, collect, and how to prepare natural materials ranging from vines and reeds to plants and grasses are explored. Projects from weavers and gourd artists are included • 8 1/2" x 11" (215 x 279 mm) • 358 color photos • 208 pp. • 978-0-7643-3992-9 • PB • $29.99

Weaving on Gourds. Marianne Barnes. Five projects show how to combine basket weaving and gourd art. Twine on a gourd, add undulating tapestry to a gourd basket, and make a continuous twill woven gourd. Includes 200 color photographs, step-by-step directions, and a gallery of completed works • 8 1/2" x 11" (215 x 279 mm) • 200 color images & 3 b/w patterns • 112 pp. • 978-0-7643-3565-5 • PB • $19.99

Powder Horns: Fabrication & Decoration. Jim Stevens. 275 color photos illustrate working, shaping, decorating, and finishing techniques, including inlays, engrailing, and scrimshaw. Leather strap weaving and braiding methods are also provided for carrying the finished horn in an authentic manner. For inspiration, a photo gallery shows finished powder horns and a contact list includes the artists featured • 8 1/2" x 11" (215 x 279 mm) • 275 color photos • 176 pp. • 978-0-7643-3489-4 • PB • $29.99