A Fleece a Day – Amanda Hannaford

Part of the reason for basing the course on natural fleece processing and spinning is to make amends for the many years of encouraging spinners to use my dyed tops.

When I started spinning, processed fibre wasn’t readily available, so out of necessity I had a good grounding in fleece sorting, washing and preparation. Even now, with the huge choice of ready-prepared fibre that is available, I still go back to basics and enjoy processing my own fibres from scratch.

I feel that today’s spinners should be encouraged to learn all about the different characteristics of raw fleece, how to sort and wash it, and learn all the different methods of fibre preparation, so as to be able to match preparation method to fleece type and get exactly the yarn they want.

Throughout the week we will be working with five or six distinctly different fleece types. We will comb or flick the locks on longer wools for smooth sleek worsted yarns. Very short fibres will be hand-carded and woollen-spun for bouncy soft and lofty yarns. There will be double-coated fleece that needs separating to get at the best fibre. In short you will learn all the fibre preparation methods to enable you to get the best from any fleece. We will also aim to spin a wide range of yarns, from thick sturdy yarns for outer garments, to super fine yarns for delicate lace. We will blend fleece with other fibres, and use the special qualities of some of the fleece types to create a few of the more straightforward fancy yarns.

I see the course as being suited to the newer spinner who would like to learn all the different fibre preparation methods and spinning styles, as well as more experienced spinners who perhaps have been seduced by all those ready-prepared tops and would like to be re-introduced to fibres straight from the sheep!

Requirements for the course are a spinning wheel with at least four bobbins. We will also be using hand-carders, drum-carders, flick-carders, pet brushes, hand-held combs and table-mounted combs throughout the week. None of these are an absolute necessity as there will be a few of each to borrow, but if you do already own any of these tools, please bring them along.

Wax Resist on Silk

Some words of explanation about the two short courses on wax resist on silk which Isabella is planning. The course is the same course repeated, but depending on the students the effects produced can be very different as her pictures show:

Wax resist is an inspirational medium for those who love vibrant colour, texture and pattern. By working several layers of wax and dye on top of each other, a design is built up on stretched silk. The individual layers do not need to be fixed: this is done at the end of the process after the silk is partially de-waxed. Then the work is rolled in paper and steamed.

By the end of either of the short courses each student will have produced several practice samples which can be used as starters for embroidery, small items like bags, or even motifs for card-making. As well as samples they will have created several individual scarves.

I don’t teach to a step-by-step formula.  Everyone ends up with something different. I demonstrate the medium and techniques in various ways, explaining how one can use ideas or images from nature, photos or simple doodles, and various pattern-making tools and equipment. I encourage students to experiment freely on practice samples. They can explore the medium without pressure and find out what aspects of it intrigue and excite them. For every student, it will be something different. 

Students who are anxious about design are especially welcome! I’ve been teaching design-phobics for years and I believe I can help all students achieve satisfying results through simple and effective techniques and procedures.

I provide all the specialist equipment although if students already own a waxpot I’d be grateful if they could bring it. The materials fee guidance in the brochure does not include pre-hemmed silk blanks because these come in different sizes and weights. Students can buy them from me, or bring their own (I will advise students on the sizes which will best fit my frames). Prices for blanks start at around £5.00 per scarf.

Website:

http://isabellawhitworth.com

Tutor

Weaving patterned bands: a desire for individuality.

I have always been interested in mythology and folk tales.

Belts, bands, girdles and sashes feature in stories around the world. In ancient Greek mythology, when Hera wanted to distract Zeus for her own ends, she borrowed Aphrodite’s brocaded girdle.  ‘All her enchantments came from this: allurement of the eyes, hunger of longing and the touch of lips that steals all wisdom from the coolest man’  (Homer: The Iliad.)

In northern mythology, on her wedding night, Brunhild would not allow her husband Gunther to unfasten her silk girdle until he had told her the truth about Seigfried.  When he refused, she bound him hand and foot with the girdle and used it to hang him on a nail on the bedroom wall.  Tragedy unfolds when Siegfried steals the girdle and her precious ring. Even Sir Gawaine in the Arthurian legends falls prey to a scheming woman who, unable to seduce him, presents him with her green silk sash which leads to unfortunate misunderstandings.

But men too had their belts, symbolising power, authority and sovereignty. In Norse mythology, Thor had the belt Megingjörð (power-belt) which doubled his already exceptional strength.

Belts can also signify group allegiance. In Roman times, ‘to take the belt’, was to join the military. In England until the 17^th century, the Sovereign invested a new earl with a belt and sword, hence the phrase ‘belted earl’. In the 18^th century, a Russian peasant would never be seen without a belt: ‘ungirded, unblessed.’ The encircling belt has practical, decorative and symbolic functions.

Even how it was worn could send a message. In 19^th century Latvia, the belt had to be tied tightly three times around the waist; worn loosely it proclaimed a ‘loose woman’.

In Dalarnas, Sweden, around the same time, a girl would weave her unique marriage belt.  These were four metres in length and narrow. The aim was not to repeat any pattern; a prodigious feat when patterns were not written down. There was great pride in these lovely examples of patterned weaving and weavers would add their initials and date at one end.

When I became interested in patterned band weaving, I had no idea how far my researches would take me.  Around the Baltic, each country has its own traditions and patterns.  It is a fascinating and rewarding study. The beautiful woven belts have a wide range of patterns and motifs. These geometric designs may once have had special symbolic meanings, but much has been lost.

Patterned bands were woven on looms and with rigid heddles. In Sweden, perhaps to encourage the continuation of a dwindling craft, a new type of heddle was designed to make patterns easier and quicker to weave.  This is the double slotted heddle which will be used in the workshops. 

If you have not used one before, now is your chance to try.  If you have one of your own, then there is the opportunity to learn new patterns, design your own and try different materials to weave.   I have a set of heddles which will be ready warped for the workshops and I will be bringing a variety of yarns for the second workshop.  

I cannot guarantee that you will weave a magical belt – but I hope you will have fun trying! Patterned bands, even short lengths, have a variety of uses.  I have listed some on my blog and I will be posting more details about patterned band weaving in the Baltic region over the next few months.  For more information about the workshops, check my blog and the Journal.  To see a double slotted heddle in use, I made a YouTube video:  Weaving a Sámi patterned band.  http://youtu.be/O4-Cq5peQTA

My article about Swedish woven bands will appear in the Nov/Dec 2014 issue of Handwoven.

Check out my blog at:  http://durhamweaver64.blogspot.co.uk/

Susan J Foulkes  July 2014

Reflections on Shibori for Summer School 2015

 Some inspiring words and pictures from Shibori tutor Cia Bosanquet:

Shibori top in man-made fibre

My travels through India and the Far East have been study tours exploring different weave techniques and dyes. Japan, which I visited in 2005 with the World Shibori Organization, was very different. Shibori is an ancient Japanese dye technique in which the cloth is bound, clamped, stitched and manipulated in many different ways to create patterns on the fabric. Any cloth can be used but silk or cotton are the favourites as both take dye well. The dye was almost always indigo in huge vats as seen in Hiroyuki Shindo’s studio in Miyama and other indigo artists in Arimatsu. Using shibori and heat techniques some synthetic fibres can be manipulated into striking three-dimensional structures.

I bought a scarf which was very different on this trip. Not Japanese but by Catherine Ellis, an American who also was on the tour. She explained how she had realised that by inserting an extra thread into the weft and/or warp whilst weaving and then removing it after dyeing, a new pattern appeared.  Luckily for me she came to a Summer School and I spent a week enjoying her expert tuition.

Silk, wool woven shibori (Madder and Indigo)

I favour plain weave  and  often use old fabrics which have  already had another life. Any original embroidery can be  incorporated in the new design. Rag rugs are part of my Swedish tradition. My home has many and they all have some of my family’s hand-me-downs. Often I dye the rags but also manipulate the warp/weft using the shibori technique to create a different look. I use old fabrics to make new textiles for domestic use. I always have a purpose in making them. They have to be decorative and useful. 

Shibori polyester

Ply-Splitting in Two and Three Dimensions

A message from Julie Hedges about her summer school course.

You may well ask “What is Ply-Split Braiding?” and when I answer “It is the method used to make camel girths in India” you may wonder why on earth you would you want to learn about it, unless you have a camel!

Well, it turns out that it is a relatively simple braiding method and, being an ‘off-loom’ technique, it is both portable and versatile. Also, you need very little equipment to get started.

It can be used to make anything from dog leads, belts, curtain tie-backs, bracelets and earrings to mats, hats, scarves, bags, handles, baskets and sculptural pieces. The highly twisted plied cords can be made from a variety of yarn from fine silk, cotton or linen through to heavy rug yarn or even sisal or paper cord. You can also make cords from warp ends and make co-ordinating cords or braids to go with your weaving, for bags, cushions etc.

The workshops on offer can stand alone, or ideally, the second one will be a development of the first or joined by those who have some knowledge of ply-splitting.

The basic requirements are enthusiasm, some patience and an enjoyment of working with yarn and colour.

In the first workshop, we will concentrate on designs that can be used for jewellery or accessories. Using prepared 4 ply cotton cords you will make samples of several different ply-splitting methods and develop your designs, making your own cords. I will supply a variety of yarn, but you may like to bring your own, to explore cord-making. This will include the use of multiple strands, ‘thicks and thins’, striped, spotted, S and Z, cords. Smooth non-hairy yarn works well.

In the second workshop, A number different starting methods will be introduced to make three-dimensional vessels and sculptural pieces. Make your own cords and work in the scale and yarn of your choice, to make vessels, dishes, or sculptural pieces based on natural forms.

Do look at my web site for examples of finished pieces:      www.juliehedges.co.uk

If you have any queries about the course/s, do email me:    julie.hedges at virgin.net