Warp Rep Reverie
Karen Donde is a fine weaver and teacher whom many of you have met through the pages of handwoven, through Weaving Today, and some of you through her most recent web seminar on weaving design. One good teacher appreciates another, so who better to tell you about Rosalie Neilson's lessons for rep weaving? ––Anita
My first adventure in weaving warp rep is currently in a pile on the laundry room floor awaiting yet another toss into the washer and dryer. The three throw rugs I wove for my kitchen early in my weaving career were designed using colors from the commercial pile rug I had purchased from Ikea for under the kitchen table.
I no longer have the pile rug, but the warp rep rugs are going strong. The colors have faded a bit, and two of them have small holes from a former family dog with lightning-fast jaws, but otherwise the rugs look good and function fine. Durability (dog teeth aside) is only one reason to love the warp-faced (or warp-dominant) rep structure in which alternating thick and thin wefts create colorful block patterns and weft-wise ridges.
One of Rosalie's warp rep projects on the loomAs much as I enjoy weaving block patterns, I haven’t woven many warp rep projects since those rugs. I’ve done several mug rugs and samples for use with an Intro to Warp Rep class I teach where I focus on a design technique I figured out while weaving the rugs. But nothing has been wider than five inches on the loom.
Thirty-three minutes into watching Rosalie Neilson's new video Weaving Rep, I remembered why. I had threaded the rugs’ four-blocks-on-four-shafts pattern the traditional way, with each block using two adjacent shafts: Blocks A and C on shafts 1 and 2 (C flips which of the two shafts carries the pattern color) and Blocks B and D on shafts 3 and 4.
Because warp rep is generally warp faced, the sett is very dense, up to double the balanced tabby sett. I remember trying to depress a treadle and getting no shed. . . and I mean none. I had to press the treadle several times and then clear each shed with a long weaving sword. Thankfully, it only took a few picks to weave an inch, and I was enamored with the patterns I could create or I never would have finished.
Rosalie has been weaving warp rep for more than 35 years (her numbers), and I wish I had taken her workshop or seen this video before I started that project. The first suggestion she made for dealing with the density/shed challenge was to thread the alternating ends of each block as far from each other as possible. That is, thread Block A on shafts 1 and 3, and Block B on shafts 2 and 4, etc. If you have eight shafts, thread A on 1 & 5, B on 2 & 6, C on 3 & 7, D on 4 & 8. Give the warp ends some room to move.
Rosalie at the loom Another suggestion, a skeleton tie-up intended to maximize treadling options, also helps open stubborn sheds. Lifting the first shaft of each pair with one treadle followed by the second shaft of each pair with another helps pry the warp ends apart. Even so, I felt a bit better about my own struggles as I watched Rosalie’s sticky shed when she started to weave. However, her experience prevailed, and she calmly pulled the beater forward to strum the warp ends behind the reed with the back of her hand, clearing the shed.
To be honest about the video, Rosalie had me at "Hello." The gorgeous warp rep examples hanging over a spool rack beside her were mesmerizing. Then she started peeling them off the rack one by one, illustrating the design possibilities and demonstrating the depth of her knowledge about the technique. I couldn’t look away.
She goes on to demonstrate how to design and draft the many treadling options possible with warp rep, winding the end-on-end warp by holding the pattern and background yarns together, beaming the dense warp evenly, threading and sleying the alternating colors correctly, her lashing technique for tying onto the front apron rod, how she handles rep’s weaving challenges and even lessons in replacing a knotted warp end and hemming. It is a very thorough explanation of warp rep, but also includes many tips Rosalie has learned during her career that would be helpful for any kind of weaving.
Suddenly, those little bite marks in my kitchen rugs are starting to bother me. It might be time for some new ones. All I need is a little design and color inspiration.
Speaking of design inspiration, I’d like to invite you to participate in an upcoming web seminar I am teaching for Weaving Today. While it’s a follow up to one I presented earlier this month, you don't need to have taken the first seminar to take the second. I'll be presenting about how weavers can take their design process to the next level and how to turn inspiration into a finished project. It's called Spice Up Your Weaving II: Design Theory and Inspiration, and weavers of all levels are welcome to join the fun! It will air live on , although you can choose to watch it live or download the recorded version to watch later. Hope you can join me!
Sunday, January 26, 2014
Monday, January 13, 2014
I posted recently about an online "webinar" I am giving for Interweave/Weaving Today this coming Thursday at 1pm Eastern. The subject is Spice Up Your Weaving: A Guide to Weaving Design. You may still sign up for that workshop at the Weaving Today site, but since I posted, Interweave has asked me to do a follow up webinar on Jan. 28, called Spice Up Your Weaving 2: Design Theory & Inspiration. The second goes more deeply into design development, while the first is more focused on the technical decision making. I hope you'll attend both--or download the recorded version for viewing later.
DARYL LANCASTER RETURNS!
We are also thrilled to announce that we have booked Daryl Lancaster for another round of her Wearable Extravaganza workshop, May 12-18, 2014. For this workshop we stow the looms, set up tables and proceed to fit patterns and sew our little hearts out. If you're new to the workshop, you'll make Daryl's signature jacket, learning all about fitting and finishing details along the way. If you've been there before, you are free to bring whatever sewing challenges you're facing.
Last time, we had some students who brought several patterns and spent the week making and fitting muslins. Others brought handwoven garments that never quite fit right, and Daryl helped restyle and refit them. Another brought the unfinished projects from previous Daryl workshops and got them done! Whether you are working with handwoven fabric, some other special fabric, or any fabric and just need some one-on-one help with fitting, this is a great opportunity.
You may choose either the five-day or seven-day option, depending on your needs and schedule. If you only need a few days and have heard the lecture before, we may be able squeeze you in for just the weekend if space permits. Call us to find out.
Cost is $450 for the five-day workshop or $630 for the seven-day, plus a $35 supply fee that includes a wonderful handout. We'll need a deposit of $225 by April 1 to reserve your space. There's a 10 person maximum and seven-person minimum to run the workshop, so don't delay. Email us for more details and we'll send you the workshop flyer. Or just call us to sign up now if you're ready.
WEEKLONG WEAVING INTENSIVE
And if you would like to spend a week focusing on some new weaving techniques, Karen is teaching a six-day intensive, April 7-12, 2014, that combines her More Twills & a Taste of Overshot workshop with the Handwoven Lace workshop back-to-back. Sign up for both, or if there's space available, you may take either three-day workshop at that time. Cost is $430 for the week, or $215 for either workshop alone, plus a materials fee based on usage.
Hope to see you at Sutherland soon!
Karen and Barb
Monday, January 6, 2014
Karen's Spice Up Your Weaving Webinar
Sunday, December 8, 2013
|The Ultimate in Portability for Pattern Weavers|
Friday, May 24, 2013
What that means, and no one is happier about this than Barb, is I will be much more available to work at Sutherland, and I am eager to welcome new and returning students back to the classroom. So I have been thinking about how to structure classroom time while maintaining flexibility for those who must schedule weaving classes around a job or other commitments or those coming from some distance to take a class. At the same time, I’m trying to carve out a little weekend time for myself, now that my weekdays are not dedicated to attending school.
Here is the plan, beginning in June 2013.
Open Classroom Saturdays
Most Saturdays of every month, except those where I am otherwise committed or the studio is busy, will be Open Classroom days from 10 am-4 pm. On these days, students may schedule Just Weave, Weaving I; or any of the Next Step classes in four- or six-hour sessions.
Next Step classes include “Weave a Twill Gamp, More Twills & A Taste of Overshot, Handwoven Lace, Color and Weave (a color a weave gamp below ) and Spice Up Your Recipe Weaving: A New Weaver’s Guide to Design & Project Planning.”
Students may begin a class at any time as long as a loom is available. They will continue the class on consecutive Open Classroom days, sharing the classroom and instructor time with others who may be at different stages in the same class or in a different class.
Advance registration and a 50% deposit are required to reserve an Open Classroom loom. Two make-up classes will be allowed, but if a student needs to miss more than two sessions, I simply ask that he or she leave the loom empty during the absence.
Fees will be the same as posted in the Class Listing: $95 for Just Weave; $310 for the 32-hour Weaving I class; or $215 for the 18-hour Next Step classes, plus yarn fees. If Saturdays just don’t work for you, call and we’ll work something out.
For the next few months, Open Classroom Saturdays will include June 1, 15 and 29; and July 13 and 20.
To better accommodate those who travel here to take a class, or who would prefer a more concentrated focus on a subject, I will schedule a two- or three-day workshop on Friday- Saturday or Friday-Sunday every other month. The subject may be any of the classes currently on the Class Listing or new ones I develop. First up will be Introduction to Designing & Weaving Warp Rep, July 26-27.
For some workshops, including this one, students may be asked to bring a pre-warped loom, or they may reserve an available classroom loom one day in advance. A small fee will be charged for loom rental for workshops.
Participation will be limited, based on space required for a particular workshop, and a minimum number of participants will be needed for the workshop to run.
Two-day workshops will be $180 per person and three-day workshops will be $215 per person, plus yarn fees if applicable.
I will also offer private lessons or custom classes on Tuesday-Friday at $30/hour, based on loom and time availability.
Sutherland will continue to present workshops by guest instructors. In fact, we’ve had a few seats open up in Daryl Lancaster’s Wearable Extravaganza five or seven-day workshop June 3-7(or 9). But contact us quickly if you are interested.
We’ve also just booked Kathie Roig, who will teach her popular Warp Painting class on August 23-25 and Connie Lippert teaching Wedge Weave Fundamentals Nov. 2-3. You’ll hear more details about these soon.
A new Sutherland Handweaving Studio Calendar of Classes & Events also should be ready for you to access soon. I’ll post a link when we’re done testing.
For those who haven’t been to the studio in a while, remember that we have moved. We are now at 372 Depot St. Unit 20, a sister studio with Desert Moon Designs Studios & Gallery, just a few doors down. I hope to see you here soon.
Your proud Haywood grad,
Tuesday, April 23, 2013
|Weaving on a Deadline|
Tuesday, January 8, 2013
Hello Sutherland friends,
Happy 2013. We have three exciting announcements to share with you as the new year gets started.
First, the third year of our Sutherland Weaver’s Study Group begins this Sunday, Jan. 13, at 2 pm at Sutherland Handweaving Studio. With the start of a new study subject, this is the perfect time to join. We will be reviewing our projects from the 2012 block design study with projects we wove from our shared profile draft. Then we will be kicking off our 2013 study of color in weaving with a video by Laura Bryant. We will be using Color-Aid papers to assist in our study and will have some sets available at the meeting. Each month, one member does a presentation related to the study subject, and we will be deciding what form those presentations will take on Sunday. We also leave time each meeting for show and tell, or show and ask, which is always inspiring and often just as educational as our study presentation. Please think about joining us this year. We have members with all ranges of experience who work on all styles and sizes of looms. Dues are $15 per year.
Second, Sutherland will be moving to a new location Feb. 1. We have enjoyed our time at the Cotton Mill, but now are taking the opportunity to move to a new studio in the River Arts District. We will be at 372 Depot Street, Unit 20, under the building banner of Desert Moon Designs, a gallery a few doors down. Not only will we have a big, glass storefront and more visitor traffic walking by, we also will be air conditioned! We are excited about the opportunities this presents for more comfortable classes, events AND STUDY GROUP MEETINGS in the summertime. There is parking on the street outside the building or in a new free, lighted parking lot across the street. For those who are familiar with Magnetic Field Theater, we are in that building. We’re planning an open house to celebrate, but may wait until spring, when the weather gets nice.
Third, speaking of classes, we are pleased that Daryl Lancaster has agreed to return June 3-9, 2013, to teach her Wearable Extravaganza, sewing with handwoven or other special fabrics workshop. For those who have never taken Daryl’s jacket class, that is the focus of this workshop. For those who have made the jacket, you may bring any pattern or patterns you like and get the benefit of Daryl’s help with design, fitting and couture finishing techniques. This year, you’ll be able to choose from the standard five-day workshop (Mon-Fri), or an expanded seven-day workshop (Mon-Sun). The two extra days are optional, but well worth the investment in terms of finishing up your projects. We’re still working out all the details given our new location, which will be…did I already mention this…air conditioned. But if you’re interested, let us know and we’ll put you at the top of our contact list when registration opens.
Just to be clear, our Study Group meeting this Sunday will be at our Cotton Mill studio. Starting in February, we’ll be in the new location.
We’re looking forward to a creative, successful year in 2013. We thank you for supporting us and hope to see you in the studio soon.
Karen and Barb
Wednesday, November 14, 2012
|The Thrills and Agony of Collaboration|
Saturday, September 15, 2012
Time is running short and seats are filling for the Tommye Scanlin/Pat Williams Advanced Tapestry Weaving workshop at Sutherland Oct. 27-29. Tommye and Pat have been working on the program for the workshop and it sounds like it will be a very productive and inspiring three days.
Because they want you to get the most out of the workshop, they need to have a final count by Oct. 12. So that is the signup deadline. We have a 10 participant limit for this workshop, so if you’ve been thinking about this one, let us know right away if you’ll be joining us.
Call or email for more details.
Saturday, August 11, 2012
Popular tapestry weavers and teachers Tommye Scanlin & Pat Williams return to Sutherland Handweaving Studio this fall for more tapestry weaving instruction.
This time bring at least three designs, or photos, or something torn from a magazine--representations of what you would like to weave into a tapestry. In other words, at least three ideas that would get you started on developing a cartoon suited to tapestry structure. Based on the cartoon, you will be guided in choosing an appropriate warp sett and a suitable color scheme, and encouraged to try new techniques that might be used for this particular design. Then you will start weaving with either a sampler for your next tapestry or possibly the tapestry itself!
Tommye Scanlin. “Kudzu: Bad Seed,” 24" x 24"(c) 2010
Pre-requisites: You must be able to warp a loom and have taken a beginners' tapestry workshop in your lifetime. What to Bring: Bring your own loom and warp it in the workshop according to your design. A variety of warp and weft yarns will be provided.
TO REGISTER: A deposit of $110 payable to Sutherland will be required to hold your place. Send to Sutherland Handweaving Studio, 122 Riverside Drive, Suite C, Asheville, NC 28801. Do not delay! These workshops fill quickly! The usual cancellation policies apply: If you must cancel more than 30 days prior to start of the workshop, you’ll get your deposit back, less a service charge. If you must cancel within 30 days before the workshop, the deposit will only be refundable if we can fill your place with another student. October 27-29, 2012; 9 am to 4 pm; Class Fee: $220; Supplies Fee: $10
Pat Williams. “Red Winged Black Birds: Memorial to Their Falling From the Sky,” 59” h x 21 w (c) 2011
Wednesday, August 8, 2012
|What the Teacher Learned at Convergence|
Thursday, July 12, 2012
From Little Inkle Looms, Passementerie Grows
Thursday, June 21, 2012
|Here’s a Toast to Alternative Second Warp Beams|
Sunday, May 27, 2012
Call for Entries
Project Handmade Fashion Show to Feature Contemporary Designs by Local Makers
(May 23, 2012). Textile artists and fashion designers working within a 100-mile radius of Asheville, NC, are invited to submit entries for Project Handmade, a fashion show dedicated to showcasing contemporary garments made with traditional handcrafted detail using local materials. The goal is to inspire textile artists to engage resources available in the region and encourage innovation to showcase and distinguish the region’s creative fiber and textile art community. The fashion show will be fall 2012 at the Asheville Art Museum.
Entries are due July 15, 2012, and must include digital images of original garments or fashion accessories representative of the applicant’s work and an artist’s statement that explains the processes involved in sourcing, creating, manipulating or embellishing the work and/or the fiber, yarn, fabric or patterns used to craft it.
Participants selected for the juried show will be asked to create garments or fashion accessories following the theme: Earth Tone Palette. Finished work must be received by Oct. 15, 2012, and is subject to final approval by the fashion show committee after the actual work arrives.
Any hand-processed technique may be used to make the fashion show submissions: growing, spinning, weaving, knitting, felting, dyeing, printing, draping, stitching, tailoring, painting or molding. Locally produced and repurposed materials are encouraged, as well as collaborations. For example, a local fashion designer might obtain fabric from a local weaver using yarn processed locally from a local fiber producer.
The fashion show is a joint project of Local Cloth: Farm/Fiber/Fashion Network and the Asheville Art Museum. Local Cloth is a Western North Carolina-based organization that encourages and supports collaboration among textile artists, designers, fiber producers, suppliers and related small businesses. Its mission is to sustain and grow a thriving regional fiber and textile arts economy and bring locally grown and made textile products to consumers within and beyond the Blue Ridge. Both Project Handmade and Local Cloth: Farm/Fiber/Fashion Network operate in cooperation with Handmade in America.
More details and entry guidelines are available at www.projecthandmade.org.
Saturday, April 7, 2012
We are happy to announce that Pat Williams will return to Sutherland June 15-17, 2012, to teach another tapestry workshop. This one will focus on beginners, because we’ve had a lot of interest in that. No experience, equipment or materials are necessary. The class will also be great for those who need a little refresher on the basics, as I seem to every time I start a new tapestry, and for those who’ve taken a class but would like a little more practice and guidance before moving on to a more advanced class we hope to offer next fall.
As usual, Pat provides all looms and supplies, but if you have a tapestry loom, you may bring it. Cost for the workshop is $180 for three full days, plus a supply fee for handouts and use of Pat’s yarn.
Our tapestry workshop filled quickly this year, so don’t delay if you’re interested. A deposit of $100 will be required to hold your place. The usual cancellation policies apply: If you must cancel more than 30 days prior to start of the workshop, you’ll get your deposit back, less a service charge. If you must cancel within 30 days before the workshop, the deposit will only be refundable if we can fill your place with another student.
Here’s a picture of Pat taken during our tapestry workshop last November.
Let us hear from you soon if you’re interested and thanks for spreading the word!