Innholdsfortegnelse for September/October 2022 i Handwoven

Since 1876 Arizona FIBER CREEK Prescott AZ 86305 (928) 717-1774 fibercreek@hotmail.com California CUSTOM HANDWEAVERS Mountain View Tel: (650) 967-0831 Fax: (650) 967-1005 www.customhandweavers.com webemit@sbcglobal.net CUSTOM HANDWEAVING Redondo Beach Tel: (310) 316-0910 or: (866) 656-1060 www.nancyscustomhandweaving.com customhandweavin@aol.com JULIAN WEAVING WORKS Julian (760) 765-2432 info@weaverslink.com SAN FRANCISCO FIBERS CO. Oakland (510) 893-2015 www.sanfranciscofiber.com lou@sffiber.com Colorado BOUNTIFUL Livermore (877) 586-9332 info@bountifulspinweave.com www.bountifulspinweave.com FIRESIDE COUNTRY STORE Grand Junction 970-858-9288 lynnjenks9@gmail.com Florida SERENDIPITY FARM & STUDIO Leesburg (757) 651-2632 serendipityfarmstudio@gmail.com Illinois FINE LINE CREATIVE ARTS CENTER St. Charles (630) 584-9443 www.fineline.org info@fineline.org Indiana THE WEAVERS LOFT Guilford (812) 576-3904 weaving@nalu.net www.weaversloft.com Kansas THE YARN BARN Lawrence (800) 468-0035 yarnbarn@sunflower.com Kentucky THE WOOLERY Frankfort tel: (502) 352-9800 fax (502) 352-9802 http://www.woolery.com info@woolery.com Louisiana WEAVIN' PLACE Folsom (985) 796-8048 www.weavinplace.com cheryl@weavinplace.com Maine HALCYON YARN Bath (207) 442-7909…

An Inspiring Vacation I have enjoyed your magazine for over 20 years. I was inspired by Daryl Lancaster’s article “Using Color Forecast Palettes for Warp Stripes” in the March/April 2011 issue of Handwoven and by a trip to the southwestern United States. Our trip took us to the Grand Canyon, the Vermilion Cliffs, Bryce Canyon, and Zion National Park. It was the first week in March 2020, and we had little internet access, so we did not know about the upcoming COVID-19 pandemic. Oh, were we grateful to take that trip! I decided to weave a scarf in memory of that trip. I used the inspiration of the Handwoven article and the vast, amazing views from the trip. The result is in the enclosed picture. I was reminded of this…

This beautiful and inspiring new book should be on every weaver’s bookshelf. In Tapestry Design Basics and Beyond, Tommye McClure Scanlin demonstrates how an effective and caring artist-educator passes on valuable and necessary information to a new generation of weavers. While reading, I often felt that Scanlin was in the room talking directly to me. Her method of clearly sharing information is evident on every page. While geared for tapestry weavers, the book covers design basics helpful to artists and makers working in any media involving color or compositional decisions. Tapestry weavers will especially appreciate the wealth of images of woven art included and referred to in the text—with explanations as to why the pieces were chosen. With the work of 50 artists spread throughout the book, there is something…

When I started planning the dress, I knew that if I picked the right silhouette, I could make my dream of using handwoven fabric more attainable. I fell in love with the style of dress created by Leanne Marshall (see Resources) because it felt airy and light. I love the unpredictable effect she achieves with her dyes. Her dresses usually feature a simple bodice with large flowing skirts of layered organza. I decided to weave the fabric for the bodice and dye commercial silk organza for the skirt. Fitted bodices get their structure from using several pattern pieces, so each piece of fabric is relatively small. Once I’d drafted a bodice I liked, I measured each of the pieces. The largest pattern piece was only 10 inches at its widest…

STRUCTURE Twill with color-and-weave. EQUIPMENT 8-shaft loom, 23" weaving width; 8- or 12-dent reed; 2 shuttles; temple (optional but recommended). YARNS Warp: 5/2 pearl cotton (2,100 yd/lb; Valley Yarns; WEBS), #8990 Black, 824 yd; #8418 Silver Birch, 828 yd. Weft: 5/2 pearl cotton, #8990 Black and #8418 Silver Birch, 619 yd each. Note: The woven yardage you need will depend on your jacket pattern and size. For each additional yard of fabric needed, add about 1 ¼ yd to warp length. OTHER SUPPLIES Fusible thread (optional); jacket pattern 1800 from The Weaver Sews or a jacket pattern of your choice; sewing supplies and notions required by pattern; Nikwax TX.Direct Wash-In or other waterproofing for wet-weather clothing. WARP LENGTH 367 ends 4½ yd long (includes floating selvedges; allows 11" for take-up,…

STRUCTURE Twill. EQUIPMENT 4-shaft loom, 24" weaving width; 8-dent reed; 2 shuttles; 3 bobbins. YARNS Warp: Cottolin (60% cotton/40% linen; 3,300 yd/lb; Bockens), #2002 unbleached, 673 yd; #2000 half-bleached, 758 yd; #2005 black, 225 yd. Weft: Cottolin, #2002 unbleached and #2000 half-bleached, 542 yd each; #2005 black, 213 yd. OTHER SUPPLIES Crescent Tote pattern (see Resources); ⅓ yd commercial print fabric for exterior pockets and bag bottoms; zippers, handles, and other notions required by pattern; general sewing supplies. WARP LENGTH 509 ends 3¼ yd long (includes floating selvedges, 8" for take-up, 27" for loom waste). SETTS Warp: 22 epi (2-3-3-3/dent in an 8-dent reed). Weft: 22 ppi. DIMENSIONS Width in the reed: 23⅜". Woven length: (measured under tension on the loom) 82". Finished size: (after wet-finishing) fabric 19 7/8" ×…

STRUCTURE Plain weave. EQUIPMENT 2- or 4-shaft loom, 28" weaving width; 12-dent reed; 2 shuttles; 4 bobbins. YARNS Warp: 8/2 cotton (3,360 yd/lb; Maurice Brassard), #4275 Charcoal, 1,216 yd; #101 White, 800 yd. Weft: 8/2 cotton, #4275 Charcoal, 455 yd; #1507 Lilac, #101 White, and #4616 Peacock, 332 yd each. WARP LENGTH 504 ends 4 yd long (allows 5" for take-up, 31" for loom waste, 14" for sampling). SETTS Warp: 18 epi (2-1/dent in a 12-dent reed). Weft: 18 ppi. DIMENSIONS Width in the reed: 28". Woven length: (measured under tension on the loom) 94" (47" each apron). Note: The aprons are woven sideways, with the hem at one selvedge and the top of the apron plus waistband at the other selvedge. The fabric for the skirt is woven 37"…

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One of my college friends used to claim that she didn’t trust anyone who got along with their parents in junior high. She may or may not have been joking—she was also the person who said you can’t really diet after you’ve eaten a donut for breakfast. Getting along with my parents aside, I think of junior high as when I was formally exposed to sewing and weaving. Like most girls of that time, I studied home economics as part of the curriculum. During one semester, we learned to sew, and during the other semester, we learned about nutrition and how to cook. The subjects of sewing and cooking weren’t fully foreign to me thanks to my mother, who was an accomplished sewist and good cook. She made many of…

A certain solidarity had crept into the group, and by 2004, we were batting around ideas about taking a few risks and finding a way to rent a decent-sized space. Toward the end of 2004, we noticed new workshops being built in the countryside between Ashprington and Totnes, and—with nerves of steel—we signed a lease, agreeing among ourselves that we would see the idea through its first year financially and walk away after that if it wasn’t working. Looking back, it all sounds perfectly sensible, but then it was—to say the least—a wee bit absurd. We had little experience in starting up such a venture, and we all had busy lives with families, jobs, not much money, and little spare time, although we were never short on enthusiasm and plain…

STRUCTURE Plain weave and twill. EQUIPMENT 6-shaft loom, 32" weaving width; 8-dent reed; 1 shuttle. YARNS Warp: Lamb’s Pride Worsted (85% wool/15% mohair; 190 yd/4 oz; Brown Sheep), Hand Painted, 834 yd. Lanaloft Sport (100% wool; 1,400 yd/lb; Brown Sheep), LL21 Orchid, 400 yd; LL50 Alexandrite, 800 yd; LL245 Botanical Garden, 500 yd; LL215 Green Agate, 170 yd. Woolstok (100% wool; 123 yd/50 g; Blue Sky Fibers), #1311 Rusted Roof, 260 yd. Weft: Lanaloft Sport, LL245 Botanical Garden, 2,920 yd. Notes: Coat is shown with Lamb’s Pride Hand Painted, which is a limited-edition yarn. Use Lanaloft Hand Painted or other worsted-weight handpainted yarn as a substitute. The yarn quantities listed include additional amounts for finishing. OTHER SUPPLIES Five 1" buttons (or other closures); crochet hook, size D-3 (3.25 mm); sewing…

STRUCTURE Doubleweave. EQUIPMENT 4-shaft loom, 5" weaving width; 10-dent reed; 2 shuttles. YARNS Warp: 8/2 cotton (3,360 yd/lb; Maurice Brassard), #415 Gris Pâle, 175 yd; #83 Noir, 20 yd; #5169 Fuchsia, 25 yd. Weft: 8/2 cotton, #415 Gris Pâle, 60 yd; #83 Noir, 5 yd; #5169 Fuchsia, 6 yd. Strap: 8/2 cotton, #415 Gris Pâle, 20 yd; #83 Noir and #5169 Fuchsia, 2 yd each. OTHER SUPPLIES Fray Check; two 14" × 3½" pieces of cardboard or cardstock; fringe twister. WARP LENGTH 176 ends 1¼ yd long (allows 1½" for take-up, 30½" for loom waste). SETTS Warp: 40 epi (4/dent in a 10-dent reed; 20 per layer). Weft: 40 ppi (20 per layer). DIMENSIONS Width in the reed: 4 4/10". Woven length: (measured under tension on the loom) 13". Finished…

STRUCTURE Finnweave. EQUIPMENT 4-shaft loom, 22" weaving width; 15-dent reed; 2 shuttles; pick-up stick. YARNS Warp: 10/2 pearl cotton (4,200 yd/lb; UKI; Yarn Barn of Kansas), #075 Cobalt and #117 Stone or #01 White, 1,650 yd each. Weft: 10/2 pearl cotton, #075 Cobalt and #117 Stone or #01 White, 560 yd each. Notes: Stone is the light color shown in the hexagon pillow and White is the light color in the striped pillow. Yarn amounts are for one pillow. For each additional pillow, add 1¾ yd to the warp length. OTHER SUPPLIES 16" × 16" pillow form. WARP LENGTH 1,320 ends 2½ yd long (allows 5" for take-up, 33" for sampling and loom waste). SETTS Warp: 60 epi (30 epi for each layer; 4/dent in a 15-dent reed). Weft: 32…

My final semester quickly approached, and the Senior Project and presentation loomed over me. The final project required 50-plus hours of work and needed to showcase the skills I’d learned in the program. After a little thought, I came up with three requirements for my project: it had to include my passion for historical clothing in a way that wasn’t a costume, something from my heritage, and fabric I had woven myself. I spent hours researching historical clothing from almost every era. Some fashions were discarded immediately, some were kept as an idea. I kept coming back to two of my favorite eras, the 1880s and 1950s. The fashions of those times have many similarities: diagonals, plaids, poufed skirts (although the bustle was out of style in the 1950s), and…

NOVEMBER/DECEMBER 2022 Exploring the Ifs Many aspects of weaving are clear-cut, but there is still room to play. This issue will look at the “as ifs” and “what ifs” of weaving. “As ifs” are those times when a weaver decides to weave a threading using another structure’s treadling, and “what ifs” are when a weaver decides to throw caution to the wind and experiment. JANUARY/FEBRUARY 2023 Wool and Wool Blends Weavers love wool for many reasons: it’s warm; it takes dye beautifully but also comes in many natural colors; and last, but surely not least, it’s forgiving on the loom, making it a great fiber for beginners. Wool blends have many of the same characteristics and add a few of their own. MARCH/APRIL 2023 Architectural Details Many weavers see pattern…

After being part of Handwoven for over a decade now, I can tell you that a weaver’s favorite question is almost always “What if?” So many incredible designs, not only within Handwoven but throughout weaving history, started with that very question. Though she doesn’t say it outright, I’m fairly certain it’s this question of “what if” that inspired Susan Kesler-Simpson’s latest book, Creative Treadling with Overshot. Kesler-Simpson showcases the many possibilities available when you take an overshot threading and tie-up and combine it with treadlings common to other structures. The book begins with a basic overview of overshot and what it means to treadle something as another weave structure. At the end of this explanation, Kesler-Simpson provides an incredible visual tour of 27 samples, showing, for example, how Star of…

Comfortable clothing became “a thing”—and it still is. I have a wardrobe full of gorgeous runway-ready handwoven garments but nothing like that slouchy commercial sweater jacket I wore every day. I started to wonder, why couldn’t it be handwoven? I wanted a garment that was comfortable and pretty to look at but simple to weave and even simpler to sew. No facings, no fuss. One with simple construction and floppy lapels to wrap up in while curled up on the sofa in front of the woodstove. Big roomy pockets. Nothing complicated. Maybe crochet around the edges. THE YARNS Noro knitting yarns are known for their gorgeous color gradations. I had some Noro Taiyo Lace, picked up on sale and now discontinued, that I had previously used as weft for some…

STRUCTURE 3-tie weave (Bergmanesque). EQUIPMENT 8-shaft loom, 37" weaving width; 12-dent reed; 2 shuttles. YARNS Warp: Linen 14 (100% linen; 7,000 yd/lb; Silk City Yarns), #14 Teal, 5,190 yd. Weft: Linen 14, #14 Teal, 4,224 yd. Shetland 2-ply (100% wool; 1,800 yd/lb; Harrisville), Goldenrod, 4,224 yd. OTHER SUPPLIES Wool wash; sewing pattern AW006, Cardigan Coat from All Well; notions and sewing supplies as required by pattern; 45"-wide lining fabric, 2½ yd. WARP LENGTH 865 ends 6 yd long (includes floating selvedges; allows 16" for take-up, 17" for sampling, and 23" for loom waste). SETTS Warp: 24 epi (2/dent in a 12-dent reed). Weft: 48 ppi (24 ppi tabby; 24 ppi pattern). DIMENSIONS Width in the reed: 36 2/12". Woven length: (measured under tension on the loom) 160". Finished size: (after…

STRUCTURE Plain weave. EQUIPMENT 2- or 4-shaft or rigid heddle loom, 28" weaving width; 10-dent reed or rigid heddle; 1 boat shuttle; one long stick shuttle. YARNS Warp: Nature Spun Sport (100% wool; 184 yd/1.75 oz; Brown Sheep), N91 Aran, 735 yd; 730 Natural, 245 yd. Weft: Nature Spun Sport, N91 Aran, 457 yd; Handspun llama (llama/merino blend, about 550 ypp). Note: Try Baby Llama Chunky (100% baby llama; 109 yd/100 g; Cascade) in color Latte as a substitute. Brown, 229 yd. OTHER SUPPLIES Burda Style 6252 or similar pattern (see Resources); all notions and sewing supplies required by pattern; fabric for lining if desired. WARP LENTH 280 ends 3½ yd long (allows 8" for take-up, 38" for loom waste). SETTS Warp: 10 epi. Weft: 10 ppi. DIMENSIONS Width in…

STRUCTURE Plain weave. EQUIPMENT Rigid-heddle loom, 16" weaving width; 15-dent heddle; 1 shuttle. YARNS Warp: Yoga (82% cotton/18% nylon core; 3,168 yd/lb; Ashford), #30 Denim Blue, 231 yd; #8 Pine Bark, 60 yd; #3 Natural White, 48 yd. Weft: Yoga, #30 Denim Blue, 132 yd. OTHER SUPPLIES Espadrille soles (see Resources); espadrille pattern (see Resources); fusible interfacing; lining fabric; notions and sewing supplies as required by pattern. WARP LENGTH 226 ends 1½ yd long (allows 2" for take-up, 28" for loom waste). SETTS Warp: 15 epi. Weft: 12 ppi. DIMENSIONS Width in the heddle: 15 1/15". Woven length: (measured under tension on the loom) 24". Finished size: (after wet-finishing) fabric 14" × 22" (enough to construct a pair of adult-sized espadrilles). I have always looked longingly at stylish, breezy, and…

STRUCTURE Twill with color-and-weave. EQUIPMENT 4-shaft loom, 25" weaving width; 12-dent reed; 2 shuttles; 4 bobbins. YARNS Warp: 8/2 Tencel (100% lyocell; 3,360 yd/lb; Maurice Brassard), Vert Foncé and Noir, 432 yd each. 8/2 cotton (3,360 yd/lb; Maurice Brassard), Vert Foncé and Émeraude, 435 yd each. Weft: 8/2 Tencel, Vert Foncé, 426 yd; Noir, 355 yd. 8/2 cotton, Vert Foncé and Émeraude, 355 yd each. OTHER SUPPLIES Jumper dress pattern (see Resources); buttons and/or other notions required by pattern; dress lining material (optional); scrap fabric for muslin (optional). Note: Adjust yarn amounts and weaving widths as needed for chosen pattern. WARP LENTH 578 ends 3 yd long (includes floating selvedges; allows 6" for take-up, 18" for loom waste). SETTS Warp: 24 epi (2/dent in a 12-dent reed). Weft: 24 ppi.…