Seasons Greetings from the Summer School team ...

With this wintery scene from the Moreton Morrell college site the planning group would like to thank those who have already applied for places at the 2015 summer school. We also wish to remind anyone intending to apply that we will close the first 'call' on 31st December. During January 2015 we will be allocating spaces on courses, with the aim of ensuring that as many applicants as possible are given a place on their preferred course(s) for August 2015. Please make sure that you apply in time as we expect to have a 'full house'.

Details of the programme will be revealed during 2015, including information about those elements which guild members unable to attend may find interesting. So please keep watching this blog during the New Year.

Meanwhile happy holidays everyone.

A wintery scene at Moreton Morrell (site of the 2015 summer school)

Weaving patterned bands: a desire for individuality

In this blog post Susan J Foulkes reflects on her recent travels and shares an introduction the development of design in the topic that she will teach at Summer School next year ...

This summer my travels around the Baltic have been richly informative about the patterned bands produced in different countries. During the two workshops at Summer School, I will be sharing some of my findings, and showing the reproductions that I have woven and the bands that I purchased.

In the 1880’s society was changing over the whole of Europe. Some of the changes had a profound influence on peasant culture. Railways increased contact between rural and urban areas, countries freed their peasant populations from serfdom and there was an increased opportunity for some people to emigrate. Chemical dyes and their products, such as printed cottons and dyed thread, became available to village markets. It was at this time that interested groups and individuals became aware of the effects of such radical developments. Ethnological museums opened to try to preserve the best of peasant culture, art and craft, before it disappeared. Unfortunately, despite these efforts, the patterns on woven bands have not been studied in depth nor have the patterns from different countries been compared.

In contrast to this was the focus on examining the images used in peasant embroidery. In Russia, researchers noticed that in the 1880’s a new cross stitch rose design appeared almost simultaneously on embroideries made at a considerable distance apart. As printed embroidery patterns were not used, they wondered how this unique motif appeared so suddenly in so many different places. It was traced to a picture of a rose on the wrapper of a bar of soap, newly produced by a factory, which was sold in village markets. This illustrates that peasant culture has always absorbed fresh ideas and influences. It is highly likely that embroidery would also influence the patterns on bands.

Band patterns were not written down until the 20th century, so weavers would refer to a repertoire of designs woven by their relatives, friends and neighbours. However, it is mistake to imagine that weavers merely copied and reproduced. Any weaver who is skilled at their craft likes to embellish, alter and extend what they can do. Also, patterned woven bands were only part of their ‘best’ dress outfit. In many countries around the Baltic, patterns on the belt were also embroidered onto the sleeves, cuffs and collars of the blouse. In some cases, the pattern would also appear on the woven material for the skirt. Dalarnas Museum in Falun in central Sweden has two such complete outfits. It is highly unusual for complete sets of garments from the 19th century to be preserved. In the Russian Ethnographic Museum in St Petersburg, I saw a lovely Russian costume with a dramatic belt with a bell flower pattern. This was also woven into the material for the voluminous skirt and embroidered around the cuffs of the crisp white blouse.

Weaving designs

I am often asked how did these weavers learn to weave complex designs?
It takes time and lots of practice. Learning to weave was always started in childhood. A child would learn to weave a very simple pattern. At first, a child could copy from another patterned band with help and supervision from an older weaver. The process of learning is to embed the design into the mind and hand and eye so that it becomes automatic. A child will learn to ‘see’ the next pick of the pattern as they become familiar with the pattern structure. Once a simple pattern had been mastered, the design could be expanded. Here is an example of how a simple pattern can be extended.

The 5 pattern thread is a simple design of circles and crosses ‘OXO’

Here the circle pattern has been repeated to form a figure 8.

Patterns can be enlarged by using more pattern threads.

Here is a 7 pattern thread 'OXO' design.

Once a simple pattern has been mastered, it can be placed side by side to produce a wider pattern.

Here is a 13 pattern thread design.

Can you see that it is two ‘OXO’ designs side by side?

An asymmetrical pattern can be made into a mirror image.

Patterns can be woven as a negative image; that is, the background becomes the pattern and the pattern becomes the background. 

Here is part of a very complex 19 pattern thread Latvian belt that I have just woven.

  

I have trimmed the image so that you can see the two patterns, which are both a negative and mirror image of each other. This band pattern was a remarkable demonstration of weaving skills. There were over 2,500 picks with no simple pattern repeats. I followed a chart, but the original weaver who created this masterpiece would have developed the design as she wove from her own visualisation of the emerging pattern. It is a unique piece. Nowadays, patterns are written down so that beginners can follow the steps for learning in a more straightforward manner. Using the double slotted heddle makes patterns with more pattern threads easier to weave, even for beginners.


Susan J Foulkes
http://durhamweaver64.blogspot.co.uk/

More about the Spin to Knit course - this time from Carol Leonard

Any of these questions sound familiar?

• What do you do with this yarn?
• Do you need to ply that?
• Is there enough to make.....?
• How do you manage to spin a thicker yarn – I can only manage very thin these days!
• What patterns can you use?

The first question on that list is one that I have been asked so many times over the years. What is more, I have asked it of myself! When I started out, I spun everything I could lay my hands on, with no thought whatsoever as to what that yarn might grow up to be. I then spent many hours attempting to make silk purses out of sows’ ears, entire sweaters out of 6 ounces of Herdwick, and then when I did have enough to make something, being faced with a quantity of left over yarn not quite sufficient to knit .....well, anything, really. And I did love every minute of it, even when a bit frustrated by not quite getting it right.

Gradually, as I learnt more, I started to assess the fibre that I was about to spin. I even – yes, really! – would sometimes do some samples. I came to understand what my wheels could do or I could do with them, how different fibres behaved. The Cormo lesson could have been a bitter one as, completely inexperienced with this fleece, I did not remember to sample, spun what I thought was a fine yarn only to have it poof up into more like a DK weight on washing! Fortunately, there was just enough to make a cosy shawl, if you ignore the fact that the border is merino and silk!

“Spin to Knit” came about because I came to the realisation that I, as something of a reluctant knitter initially, had collected over the years a rag tag body of information about spinning yarn and what could be done with it. And that it would be great fun to share this with people, whilst at the same time benefiting from what they might have discovered as well.

So in this course, we shall be looking at fibre and yarn and projects in a coherent way – what process might work to what end, there are many ways to express it. The whole craft of hand spinning has changed hugely from when I first learnt, with a sack of unwashed fleece of uncertain origin at my side, and maybe a simple dog comb to hand if I remembered. I could take it one little step at a time, and nothing wrong with that, of course, but maybe learning a few tips, wrinkles and shortcuts might be a good thing, eh?

 Because Pete and I team teach this class, we are able to encourage very new spinners to take it. As long as you have had a little tuition, can treadle reasonably fluently, draft a yarn that is not so twisty that it refuses to go on to the bobbin, you will be fine. This is not of course to say that more experienced spinners will not find plenty to keep them occupied as well!

Martin Weatherhead introduces his Ikat Weft course for 2015

Martin Weatherhead (pictured in his ikat woven 'snail coat' here describes his plans for the 2015 summer school and the roots of his interest in ikat).
I was first introduced to Ikat by the Japanese weaver Jun Tomita in a workshop with the Ceredigion Guild back in 1979.  We wove warp Ikat samples using Indigo.  Later, with Mary Restieux, I discovered you could have as many colours on a single thread as you wanted.  What an eye-opener!  From then on I was hooked,  experimenting with both warp and weft Ikat.

In 1998 I gained a Winston Churchill Travelling Fellowship to study Ikat in Central Asia.

At the 2013 Summer School in Carmarthen we experimented with warp Ikat.

This time we will be exploring weft Ikat. We will concentrate on balanced weave because the patterns show up more readily. The most striking thing is the way the patterns move. The patterns shift left and right as you weave creating a diamond mesh. The process is dynamic. The pattern is affected not just by how you dye the threads but also how you weave them.

We will examine how to control this dynamic technique and we will create a variety of patterning both with static blocks and with shapes that move.

The principles can also be applied to weft- faced weaves. My rugs (below) are weft-faced. 

Click on image to see weaves in more detail

The ultimate in weft Ikat is Picture Kasuri to give it its Japanese name. This is where a single weft is Ikat-dyed over a distance of many meters and when it is folded up in the weaving process the picture emerges as if by magic. This will be covered more in theory than in practice but it would be fun if there was time to try making one as a group so that everyone could take away an Ikat weft to weave at home.       

Picture Kasuri lobster by Jun Tomita         

Debbie Tomkies – A Dyer’s Recipe Book

When I was putting together this course I asked myself, what would I have liked to have known when I started out as a dyer 25 years ago? And the answer was both simple and a bit embarrassing!

When it comes to writing books, articles or patterns, preparing handouts and tutorials, I am a highly organised, note-taking, sticky-note wielding, filing fanatic. A place for everything and everything in its place was my Grandad’s motto and I’ve always (tried) to follow it. But my art was another story, particularly my dyeing. I have samples and photos from “back in the day” with no idea what dyes I used, what yarn it was and how I created the effect. So, some years ago I decided to start recording my processes and methods, keeping my colourways and building what is now a substantial catalogue of recipes.

Do I wish I’d done that from day one? I certainly do. Do I wish I’d had the opportunity to make a big headstart on my recipe catalogue back then, I certainly do. So, if you are a serendipitous dyer who would like to get your dye catalogue started or an experienced dyer who keeps telling yourself you’ll get more organised “next time”. If you’re a bit daunted by the thought of all that measuring and recording, or if you’re a natural-born organiser and like to have all your knowledge at your fingertips, saving time (and money) by being able to quickly replicate your favourite colours, I think you’ll love this course.

The course will be broadly in two parts and you can join both parts or just one. In the first part, we'll be making sample cards using wool as our primary fibre type. We'll be building a reference recipe book and the aim is that at the end of the course you'll have a good selection of repeatable recipes that you can use as an ongoing resource. There will also be the opportunity to work with alternative fibres to wool and to try out your recipes on a larger scale, as well as playing with some fun techniques and dyeing methods. I haven't finalised the course timetable yet but broadly speaking I anticipate it will look something like this...

Essential dyeing principles:

• Depth of shade (DOS) - what it is, how it works and how to calculate it to get the results you want
• Colour mixing and blending
• How fibre type affects colour
• Record-keeping - ideas for keeping track of your experiments, projects and colourways
• Putting it into practice:
• Colour theory basics:
• Producing great colour schemes and colourways
• Working with inspiration materials (photographs, fabrics, pictures, objects etc.) and using these to develop successful colourways
• Dyeing techniques and methods:

Exploring a range of interesting dyeing techniques to produce great yarns that look the way you want them to!

This part of the course will run twice so students can join for just half the week if they wish (either the first or second half of the week). For students who want to get deeper into colour or who would like to continue with their recipe book, try additional techniques or work on their own projects, there will be the opportunity to stay on for the full week. For these students, I'll be there to provide guidance, support and ideas but the structure will be less rigid and more self-directed.

The images used in this blog post represent some of the work from earlier Summer Schools. To see more examples you can follow this link. These were for a different course in that it was more about techniques and less structured around recipes but they should give you a good idea of how much fun we have!

EXTRA (ADDED) INFORMATION FROM DEBBIE ABOUT MATERIALS COSTS: To ensure everyone gets the maximum benefit from the course and consistent results, all materials are supplied. This includes a selection of lovely yarns from our extensive range (200-300g), sample cards, dyes etc. The charge for all materials is £30 for short course students (part week). Students staying on for the full week will receive additional sample yarns, sample cards, dyes etc. and will be able to bring their own yarns/fibres etc. to dye. For full week students the materials fee will be £40. There will also be lots of lovely yarn and fibre to buy during the week if anyone needs any extras.

I do hope you're inspired to join me and please don't hesitate to get in touch via my email, debbie@dtcrafts.co.uk, if you have any additional questions. My courses are always flexible and I like everyone to have a great time so I'm sure you'll enjoy it :-)

Eccentric weaving and Coptic techniques with Louise Martin

Caption: Amara looked at the sun
and the lay of the land

Here Louise Martin talks about her Woven Tapestry courses on Eccentric weaving and Coptic techniques (with some stunning examples, click image to expand)

Over the past 20 years I have produced work that is a response to the countries I have lived and travelled in. At first I incorporated superstitions, traditions and folklore, however, latterly I have become interested in capturing the essence of the land and my feelings towards it. As I walk in Mongolia or Turkey or Iceland, I clear my mind, open my senses, and allow the surroundings shape the result. When beginning a weaving I choose my palette, but I do not  interpret from an image or cartoon, preferring to work from my internal feelings, trusting in my experience and technical expertise. As a result my work has become more meditative and joyful in production, and the surface livelier, due to the exposed warps and eccentric wefts.

(Caption: Near the land of dinosaurs)

Caption: Eccentric weaving

Amara looked at the sun and the lay of the land and near the land of dinosaurs were both inspired by my travels in Mongolia and are both constructed with wefts woven at different angles to the warps - eccentrically. Another image, eccentric weaving, was woven during a two month residency in Turkey last year and clearly shows the movement of the weft threads. This is one of many eccentric methods which will be covered during the short course.

In Coptic bird and Coptic flower I have used Coptic imagery and techniques, including eccentric weaving. These were woven for a British Tapestry Group exhibition titled Tapestry Mischief, where images from old tapestries were interpreted in a contemporary way. Conventional tapestry is weft faced, but in many of my new works the warp is exposed.

I have been lucky enough to see many Coptic tapestries over the years in the Metropolitan Museum of Art, New York, the Cluny Museum, Paris, the V&A, London and the Islamic and Coptic Museums in Cairo. The tapestries are often exquisitely woven, with a refined palette. For the course I aim to bring my collection of Coptic publications and a couple of small Coptic pieces I am lucky enough to own.

Spin to Knit: Thoughts by Pete Leonard

The Spin to Knit course is the only one which is taught by two tutors. Carol and Pete Leonard will offer an opportunity to spinners who can spin at a basic level (a continuous thread) and those who are more experienced spinners.  Pete here draws on some examples from his own knitting.

My mother taught me to knit, close to 60 years ago; I’ve been spinning, and a Guild member, for 25 years. I still count myself only a beginner weaver. While I am aware that there is an excellent organisation devoted to knitters and crocheters, I also know that there are many more people who spin and knit than there are those who spin and weave.

It was with this thought in mind that we devised the course “Spin to Knit” that we taught, successfully I think, at Summer School 2007 in Lincoln. We’ve revised the content of this course quite substantially, but our purpose remains the same: to cater for spinners who want to knit their handspun yarn.

Many spinners routinely create their usual generic yarn with not much thought to what the end purpose is to be. In this course, we will explore the different methods of fibre preparation, drafting, types of fibre and how these work together in creating a suitable yarn for our chosen purpose.

All knitters know the importance of swatching, even if we sometimes ignore it. When knitting a commercial pattern, especially if using the yarn recommended, it is possible to get away with not swatching. With handspun yarn, you risk spending a lot of effort, ultimately to be disappointed in the outcome; ask me how I know! Some years ago, I knitted a jacket type of sweater for a friend’s 50th knitted a small swatch and determined that my gauge was 5 stitches to the inch. I can’t remember exactly how far I got – but it was a long way, as I am good at sticking my head in the sand - before admitting that what I was making was more like an overcoat! An error of one stitch per inch in such thick yarn made an enormous difference; my friend eventually received his gift for his 51st

The photo on the right reminds me of another reason for being aware how my yarn will behave when knitted. I derived the pattern for this sweater from Priscilla Gibson Roberts’ excellent Knitting in the Old Way; I owe her a great debt for being the person who taught me to spin on a top whorl spindle. One motif is a cable that shows up perfectly well in my slightly variegated handspun, dyed Polwarth. The other is a series of triangles, formed by purling nine stitches, then eight, seven, decreasing to one(with the remaining stitches knitted) on successive rounds. This actually shows up much better in the photo than “in the flesh”. I am quite happy with my sweater (except that we hardly ever get weather cold enough to warrant my wearing it) but I could have loved it even more if I had done a larger swatch and chosen a more appropriate alternate motif.

I am currently knitting a “Diamonds” sweater, using a nice dyed wool/mohair blend. The photo in the pattern, from the Wensleydale Longwool Sheep Shop, uses a plain coloured commercial yarn that shows the diamonds very sharply. Yes, there are diamonds in my swatch! I made the conscious decision to continue with the sweater, as I believed that the pattern would show up better in the full
piece. This is proving to be the case; making a good sized swatch has enabled me to make an informed choice.

This course will look at various types of fibre; the different methods of preparing them or the commercial preparations available; the drafting methods that could be used; the nature of the resulting yarn; and matching the type of project with the yarn. You will have the time to make your own swatches and compare the different effects of long and short draw, thicker and thinner yarn, “solid” coloured or variegated yarn, singles and plyed yarns, and a good deal more. As we always say when introducing ourselves, our primary purpose is for you to have fun.

Lace Weaving : Huck and Bronson

In the latest tutor blog post Anne Dixon offers us a clear (and well-illustrated) overview of her course:

The aim of this course is to use and experiment with the huge variety of possibilities available with both Huck and Bronson lace, comparing and contrasting them. Lace weaving is usually treated as separate types, each with its own rules as to threading and weaving. 

I enjoy exploring the structure of weaves, always querying the standard and asking “Why?” and “What if?” I want to encourage others to approach designing in the same way. There will be information sheets at all stages, with suggested weft patterns as well as design sheets to create your own patterns.

Bronson warp & weft spots

With Huck and Bronson the standard rules, of blocks and ‘profiles’ mean that the linear patterning is horizontal, vertical or diagonal, but even within the rules there can be diversity of numbers within each unit, to create different patterning.  Bending the rules only slightly can result in a variety of patterns, even with a standard threading, whilst breaking the rules means that a variety of curves can be woven.

Huck warp & weft spots

With a standard threading the number of possible lace units depends on the number of shafts available. This is always two less than the number of shafts. Eight shafts gives six possibilities, sixteen gives fourteen. Table and dobby looms mean that all the possibilities can be used singly or in combination.   For the class I suggest an eight-shaft table loom, this will give an insight into the possibilities. However, if students wish to use a loom with more shafts, that is not a problem!

We will be weaving samples – not yardage, so the width will be narrow. I will contact each student to find out what is their loom width, shaft numbers, and preferred yarn. Then I can divide the class evenly into Huck and Bronson and send each student a warping draft so that the looms can be pre-warped. Get someone to help you with this if needed! Then we can get to work immediately.

Everyone will use their own threading for two days; cut off the samples; then exchange to the other type of lace threading for two more days and back again to your own loom with even more ideas. Lace needs to be washed to see the full impact, so this will give time for that. 

Finally, by going even further and using a simple Rosepath threading, there is even greater freedom to position the lace units – we will also explore this.

Alison Ellen on Diagonal, Bias and 3D knitting

In this post Alison Ellen introduces some of the influences she draws on in her knitting design work, some of the influences and ideas behind her Summer School courses.

Diagonal/bias knitting workshop

Diagonal and bias knitting have always fascinated me, from an early memory of an ancient aunt in a hand knitted jumper which had a decrease line down the centre, so all stitches sloped on either side towards this centre line. It was black, fitted, and so smart and understated. Years later, when I began to think about knitting ‘seriously’, the wonderful Mary Thomas showed the same idea, in her 1930s ‘Book of knitting patterns’. Gradually I explored this theme into several designs over the years, often with the dipping hem that happens naturally if you increase and decrease within the knitting.

Lots of traditional stitches, especially Shetland Lace patterns, have zigzags and waves which also tip the stitches over, giving the whole fabric an intriguing ‘bias’ drape. I’ve been exploring stitches in detail for a new knitting book, and experimenting with how the fabric can be tilted in this way with increases and decreases, playing with irregular as well as symmetric patterns.

The direction of the knitting makes for wonderful design opportunities even using simple stripes. And as for modular knitting. . . there is so much to explore. Use it one way and the stitches are vertical and horizontal, but place the decrease line straight upwards and you have a bias fabric again.

The ultimate ‘bias’ stitch is Entrelac which does it naturally, as each block is constructed on the diagonal. A knitting workshop is ideal for trying this stitch for the first time, but once you get the hang of it, so much room to explore, experiment and take it further.

As I have usually sold my work direct to customers through fairs, the way shapes work on different people has become a very important element in designing, and the difference between the way ‘straight’ knitting hangs and the drape and fit of ‘bias’ knitting has been fascinating, and instructive!

3D knitting workshop

My approach to knitting has always been practical: find the simplest way to get the effect you want, and use what the materials and technique want to do naturally. If I want diagonal stripes, knit diagonally (see bias knitting workshop). 

I’ve always made practical pieces for wearing or using and always call myself a craftsman and designer, not an artist. However, this year new opportunities have opened up and there has been time to play and experiment. One driving force is working on a new book exploring how stitches can alter knitted fabric, and how 3D shapes can be constructed without seams, this needs many small pieces to be explored and knitted. The other is working towards a group exhibition of ‘Art inspired by gardens’. So while experimenting with short-row knitting (a great tool for those who don’t like knitting in the round), and picking up stitches to knit in different directions, I’ve also been looking at seed heads and pods. The flexible technique of hand knitting can grow in an organic way, with shaping emerging within the knitting (not just at the edges), making the fabric bulge and expand in a similar way to a plant developing. Pods are now emerging and growing in my studio, embellished with i-cords and whiskers, experimenting with linen, hemp and garden twine. 

I will be brought back to earth eventually by the need to make something practical, but think bags and hats, and these ideas can surely be combined. 

Other projects, sculptural and useful, can be created in one piece without seams, from cushions to clothing; all that’s needed is an open mind and confidence in picking up stitches and knitting in another direction, and learning new ways of joining pieces.

Booking for the 2015 Summer School is now open!

This is the exciting bit for those of us who have been working behind the scenes. Just under a year to go and booking opened on the 31 August. We can now offer you a brochure full of information about the lovely courses we have planned and the tutors who have been blogging about their ideas. What choices will you make?

Thank you to those who have already booked using the online form and who have sent us feedback on our activity so far. The printed brochure will be mailed out in the middle of next week. We will send copies to guilds and also mail copies to UK-based people who have supplied an SAE with 95p stamps. Please do spread the word amongst your fibre friends and networks.

For convenience a big button has appeared in the sidebar of this site so you can easily view/download the brochure. Because we have short courses this year (which allow many permutations) you are asked to pay particular attention to the advice on selecting a course and completing the booking form. Please read both the brochure and form carefully. These show how you can mix and match options and explain how to fill the week in different ways.

For convenience a list of the relevant links (to the form and brochure in different formats) is shown below. You can use these as shortcuts but please also refer to the fuller advice on the Tutors and Courses page and the Booking page for further information.

** Link to online booking form

** Link to printable booking form (PDF)

** Link to Booking page (further info about bookings)

** Link to Tutors and Courses page (list of courses and links to tutor blog posts so far).

If you have not already done so please subscribe to this blog if you are interested in the AGWSD Summer School 2015 (you just need to add your email address into the field on the sidebar. This website (also called a blog or 'weblog') will continue to share 'added extras' as the event draws closer. We will have lots to add as we confirm speakers, start to share details of the Wednesday visit, the social events, the trade fair and - of course - the plans of your tutors. Watch out for blog posts during September from the tutors who have not yet published here.

Finally, if you have a query that is not answered in any of the above, or you simply want to share some feedback, please email wsdss15@gmail.com - we are learning a lot from your comments and queries!

Jane Deane introduces Cocoons to Cloth - her silk spinning course

Why am I passionate about silk? Well there are all the usual reasons: the luxurious nature of the fibre, the affinity it has for dye, the fact that most of what is available to us to be spun is actually waste from the commercial industry...Lots of reasons and I’m sure that lots of people share them.My love affair with silk, as opposed to other fibres and yarns, really began at an Association Summer School a long time ago. The course, tutored by Sue Hiley, was amazing and I learnt so much but one of the high spots for me was that Sue had brought along some tussah silk worms to show us. One look and I was captivated!

We were in the middle of a major house move around that time and so my caterpillar activities were postponed until we were settled again when I embarked on raising tussah silkworms. 10 or so oak eating caterpillars were very manageable, but then I discovered that there are many different types of silk moth all with wonderfully coloured caterpillars that emerge from their cocoons as beautiful moths. Unlike their aristocratic cousins, the Mulberry silk moth (bombyx mori), these Saturniidae, or Giant Silkmoths, will eat easily available plant material, including lilac, beech, oak, apple and privet.

I do not much care for the Mulberry silkworms as they are like giant maggots, have no spirit of independence and are fussy feeders. That is hardly their fault as they have been bred for thousands of years to produce high quality silk and haven’t had the option of living as they were originally intended, but I like caterpillars with a bit of spirit! I also love the variety of silk that these wild caterpillars produce. If we have access to Mulberry at Summer School I will raise a few, as well as bringing some tussah caterpillars, so that course participants can see for themselves the miraculous process that gives us silk. There are lots of people who don’t like caterpillars and if you want to do the course but not see the caterpillars I assure you they will be very easy to avoid and will be securely caged!

I do not reel the silk from my caterpillars because my end use for the silk is for hand-spinning and I enjoy the moths but I will have some unbroken Mulberry cocoons so that we can reel them.

Design Development – Part 3

The last in Alison Daykin's set of three blog posts ... a thorough grounding to get you thinking about Design and her course. As with the other posts this one includes useful advice about what you might bring with you to help prepare for designing in other courses too.

In the last blog post I gave you ideas of what to collect to bring to Moreton Morrell next year for Summer School.  You will see that the title says Design Development, this is what we will do once our art work has begun and when ideas pop into our heads.  Design development uses samples to try ideas to see if they work in practice

Now I know you will all have different projects in mind, so you will all be designing for different disciplines, knit, weave, crochet, embroidery, etc., etc.  So here is a list of materials and equipment that you might want to bring appropriate to your discipline:

·        Woven fabrics – yarns in the colours of your inspiration to match the colours in your mood board in a range of fibres that you may feel appropriate for your project.  Textured yarn to match colours and textures in your inspiration and mood board.

◦     A small loom with any number of shafts that you are used to working with.  Associated warping equipment to help you make short warps, such as posts, guide string, raddle, ties, threading hooks, bobbins, etc.  Record sheets.  Tape measure.

·       Tapestry – yarns in colours and/or textures of your inspiration and mood board. 

◦     Frame loom, small loom, tapestry warp, tape measure, bobbins, etc.

·        Knit – yarns in colours and/or textures of your inspiration and mood board.

◦     Needles, stitch markers, tape measure, pins, etc. 

·        Crochet – yarns in colours and/or textures of your inspiration and mood board. 

◦     Hooks, stitch markers, tape measure, pins, etc.

·        Embroidery – fabrics and yarns in colours and/or textures of your inspiration and mood board.

◦     Needles, tape measure, frames, hoops, pins, Wonderweb.  Notebook and record sheets.

·        Patchwork – fabrics in colours and/or textures of your inspiration and mood board, sewing thread to match, wadding, paper for templates. 

◦     Pins, tape measure, chalk, etc. 

·       Spinners – fibres in colours of your inspiration and mood board.  Anything you might want to insert into your yarns.

◦     Spindle or spinning wheel, bobbins, niddy noddy, lazy kate, etc.

·        Everyone - other bits and bobs you'd like to use in your samples, such as ribbons, feathers, cords, lace, felt, noils, etc.  Books with stitch/weave ideas.  Notebook and pen, labels, file and clear pockets.

I'm sure I've not included every discipline that you might want use your designs for, nor have I written an exhaustive list of materials and equipment you might need.   I am a weaver, spinner and dyer and have touched on knit, crochet and embroidery in the past and have tried to remember what I've used in the past, but you are the best person to know what extra things you are likely to need.  Equally, some of the things I've listed may not be appropriate, it's for you to decide.

Don't forget that the aim of the course is to give you confidence and to have fun so don't be intimidated by the list.  What you've not got someone else might and you'll have plenty to work with at Summer School and when you get home.

Preparing to Design – Part 2

The second of three blog posts about Design. (Link to Part 1 - or scroll down).

In this blog post I want to give you ideas of what to collect in readiness for the design process and
help you decide what you might want to bring if you'd like to join us in 2015 for the Design for the Terrified course.

The list is by no means a definitive one, it will give you ideas and hopefully will
get you thinking about other things you can add to your own collection:

• I collect a range of papers for drawing on, they don't have to be expensive, but different paper gives different effects to your art material; wallpaper lining paper, cartridge paper, sketchbooks, watercolour paper, layout paper, tracing paper, brown parcel paper, cheap sugar paper in a range of colours from discount book shops, smooth, rough, textured wallpapers; A4, A3. Think “blank sheet”!
• My art materials give colour or can be monotone, cheap or expensive; coloured pencils, acrylics, watercolour pencils, watercolour paints, soft pastels, oil pastels, felt tip pens, inks, drawing pencils, charcoal, school paint, biro. Borrow from an “arty” friend to try a new medium. Think what could give colour to paper?
• How do I put marks onto paper? Fingers; art brushes, small or medium decorators paint brushes; sponges, synthetic or natural; potatoes, carrots, etc.; rubbers to remove pencil or charcoal from the paper to give negative spaces; sticks, cocktail, bamboo, twigs, dowel to apply medium or to scratch marks into larger areas of colour. Be open to new ways to apply or remove marks.
• I love to collect miscellaneous papers; sweet wrappers, foil, cellophane; magazines, colour supplements; wrapping paper, hand made papers, tissue paper; cards, birthday cards, christmas cards, post cards; newspapers, comics; wallpaper, glossy, matt, textured. Think colour and texture here and get your family and friends to collect and donate to your collection.
• All the other things! Glue, flour paste, sellotape, double sided tape; scissors, cutting knives and mats; rulers, straight edges; jam jars, plastic bottles; artist palettes, saucers, plates; yarn, fabric, tapes, bandages, ribbon, rubber bands, string; sand, soil, peat, stones, pebbles, shells.

Think outside the box, as they say. Collect things that give you inspiration in themselves or provide texture, colour, shape and form and remember what you bring should be in relation to your chosen inspiration.

This seems a huge list of things, but I keep them in two crates, papers in one, everything else in the other, plus a bag of miscellaneous bits and pieces!

Design for the Terrified (Part 1 of 3 posts)

In this first of her set of blog posts Alison Daykin introduces the thinking behind her Summer School course. Even if you are not doing her course there is plenty of useful advice to consider. Parts 2 and 3 will follow later this week.

What is design?

Despite what most people think, it's not art!  You don't need to be able to paint or draw, there are lots of ways to help you do that, some you even learnt when you were at school.  Design is learning to look at your inspiration in a number of ways that will help you develop your techniques into stunning projects.  Design work doesn't  have to be shown to any one; it can be as scruffy or as neat as you like; but should contain all your thoughts, including written words, and show a logical progression from inspiration to to project detail.

How to prepare to design

In Avril Otiv's blog post she stressed that preparation and good technique were key to most skills, I heartily agree, and this can be applied to the design process.  Design is the beginning of any project that you want to be unique and beautiful and here is how I get ready to begin the design process and how you can prepare for the Design for the Terrified course if you're thinking of joining us in 2015:

·         I always have my finished project in mind; this can be anything from a garment to a cushion for the home.

·         My inspiration is put out on a desk if I'm working from life or pinned to a board if it's a photograph so that I can keep looking at it over a few days.  This observation is vital and I usually keep it in view throughout the time I'm working on a design.

·         I start to prepare a “Mood Board” starting with a photograph of my inspiration.  You can add pictures of similar inspiration; pictures of similar finished projects, a type of garment, or cushions, for example; colour samples to match those in my inspiration in the form of yarn, fabric, paint chips; similar fabrics as you have in mind for your project such as a knitted swatch in a textured stitch that reminds you of your inspiration.  I continue to add to my mood board while working on the project.

·         As I start my mood board I also start to collect together my art materials, paints, paper, etc., in the colours, textures and shapes that remind me of my inspiration.  I'll talk about this in my next post.

At home, finding a space to work can be difficult, especially if you've got to share the dining room table with the family at meal times, but can be overcome.  Think outside the box;  a drawing board made from an off cut of MDF, resting on our knee, could be all you might need as a “ design studio”.

The aim of this course is to give you confidence to start a project with the design process.  It will help you eliminate huge mistakes, but above all it will be fun; how often are you given permission to play with pencils and paint, to cut, rip and stick as you did as a child and in doing so begin to develop your designs into stunning textiles!

Dawn Willey introduces her Rigid Heddle weaving course

 Dawn shares some of her passion for rigid heddle loom weaving and explains what experiences her course offers:

My first adventure into weaving was with a rigid heddle loom. I arrived at a class where my newly assembled (by the supplier) loom was awaiting me. That afternoon, under the tuition of Rowena Hart from Ashford I warped and wove my first scarf. Returning home I soon had my handspun alpaca on the loom. It was magic, I was making real cloth where only loose threads had existed before! I was hooked and this excitement has never left me.

Some people say that you progress to a shaft loom, however even though I have woven on and added many types of loom to my collection (from backstrap to individual digital thread control), I  still continue to use my rigid heddle. Perhaps this is because of it’s speed of warping, low loom waste and versatility, or perhaps the charm of discovering that what is woven on a particular style of loom is, to a large extent, governed by the weaver’s own imagination and willingness to experiment. I am constantly fascinated by what weavers around the world produce using very humble tools, but with great expertise. I love to push the boundaries and am always thrilled when someone cannot easily determine which type of loom I used to produce a particular piece of cloth!

For me, woven structure added to yarn style, fibre content and colour interaction of warp and weft means that weaving will always have horizons waiting to be explored. During this coming summer school I hope to help you to discover some creative new skills to expand your rigid heddle weaving frontiers.

The addition of a few smooth wooden sticks and string are all that is needed to hugely expand your rigid heddle loom’s weave possibilities. These are explored in the first of the two short courses where we focus on ‘The Pick-up Pattern Stick and Friends’. We will concentrate on how we can use a pattern pick-up stick to create warp and weft floats to create lace and textured weaves. We will discover how useful a heddle rod can be, learn how to set it up and use it to produce weaves such as twill not usually associated with rigid heddle loom weaving.

Add a second heddle and this deceptively simple loom takes on a whole new life and opens the way to many possibilities - the topic of my second short course is ‘Double the Heddles, Double the Fun’.

It is not only the fun that can be increased but also the sett possibilities, meaning that much finer cloth than usual can be woven. Did you know that weaves such as blocks, twill and Theo Moorman Technique can also be woven on a rigid heddle loom equipped with two heddles? We will creatively sample as many of them as realistically possible during the course.

Either course can be taken as stand-alone course or you could 'bolt them together' and spend the whole week exploring more of your rigid heddle loom’s potential.

Patricia Greaves asks 'Why felt'?

The reason why I really enjoy working in wool is because it lends itself to the simple hand processes to make new fabrics surfaces and things. I have a background in painting, in sewing, in pottery, in knitting, in twisting up bits of coloured papers, in taking photographs but it is the teasing out, the fluffing up, the stretching or pulling, and the caressing into soft flat doughnutty pads that is so quick and instinctive. That this can be simply shaped with a little water (and soap) into a soft  pad of 'fabric' is a marvel, and then my mind goes to what can I do with lots of these!

We learn through touch, and through play and exploration; we can pause and dwell and take small pockets of time to think of ideas to take our art or craft further. It may be into the realm of the useful, to thinking of covering our body, or our neck, our head or our arms: like playing dressing up when we were little; thinking what would happen if we just put that bit there, or attached that different coloured dangly bit there? Or it might be into the the search for the fantastic, the evolutionary, the 'moody' wall hanging or gargantuan (lightweight!) sculptural form.

 My work isn't always 'big' (though the work that goes into exhibitions usually is!) sometimes it is small, a little patch of combined wools, tatters of silk or cotton fabric and may be  even the odd stitch or needle felted detailing creeps in when the dried fabric calls out for more attention or a dramatic full 'stop'.

Currently I'm looking at photos I've taken with my iPad, deliberately swirling and merging the image to extend my ideas. I've got an App that tells the camera to take panoramic images and these can be captured as arcs and circular forms. Ideas are springing up in my mind. I intend to get my cotton fabrics out, lay down the fibres and any remainder or spare  prefelts I have lying around, and 'do' some felting. I don't know what it will look like at this moment, all I know is it will not look like the photographic image, but it will start from there, the fibres won't 'go crazy' on their own, I will have some control, but I am prepared to let a little risk in, and see what happens.

On the summer course I'll aim to encourage new ideas, but I'm also well aware there are some of us who need to know where they are going, and need to have an end product. Between us we can work through ideas and plans, and I'm quite good at thinking of solutions especially if some one's 'wheels are starting to fall off', because they've started an adventure and are worried about the path along which they are travelling! 

My paths always lead to the seashore or the hills, so be prepared for some wide  panoramas.

Patricia's website is http://www.art-felt.com/ if you wish to see more examples of her work.