Weavetech Archive 0108
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Traditions, Tourists, Trends Tracy P
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Traditions, Tourists, Trends Tracy P. Hudson University College London, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Hudson, Tracy P., "Traditions, Tourists, Trends" (2014). Textile Society of America Symposium Proceedings. 912. http://digitalcommons.unl.edu/tsaconf/912 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Traditions, Tourists, Trends Tracy P. Hudson That's rather abrupt, no subtitle. But obviously this is about textiles, and the interaction between these factors, which is too complex and multifaceted to encapsulate in an easy phrase. This paper begins with a series of questions and how they came up, and then looks at several different manifestations of this complex interaction in different parts of the world. It will end optimistically, with examples of success and an emphasis on the integrated quality of textile making, culture and identity. It's important to know what we're talking about when we say 'traditions' or 'traditional textiles.' The term can be problematic, but I'm using it to refer to a continuous set of practices embedded within a culture, or the textiles that grow from that ecosystem: the interaction of people, materials and environment. -
Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps University of California, Los Angeles, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln PreColumbian Textile Conference VII / Jornadas de Centre for Textile Research Textiles PreColombinos VII 11-13-2017 Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps University of California, Los Angeles, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/pct7 Part of the Art and Materials Conservation Commons, Chicana/o Studies Commons, Fiber, Textile, and Weaving Arts Commons, Indigenous Studies Commons, Latina/o Studies Commons, Museum Studies Commons, Other History of Art, Architecture, and Archaeology Commons, and the Other Languages, Societies, and Cultures Commons Phipps, Elena, "Andean Textile Traditions: Material Knowledge and Culture, Part 1" (2017). PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII. 10. http://digitalcommons.unl.edu/pct7/10 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps In PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII, ed. Lena Bjerregaard and Ann Peters (Lincoln, NE: Zea Books, 2017), pp. 162–175 doi:10.13014/K2V40SCN Copyright © 2017 by the author. Compilation copyright © 2017 Centre for Textile Research, University of Copenhagen. 8 Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps Abstract The development of rich and complex Andean textile traditions spanned millennia, in concert with the development of cul- tures that utilized textiles as a primary form of expression and communication. -
Apparel, Made-Ups and Home Furnishing
Apparel, Made-ups and Home Furnishing NSQF Level 2 – Class X Student Workbook COORDINATOR: Dr. Pinki Khanna, Associate Professor Dept. of Home Science and Hospitality Management iii-i---lqlqlqlq----'k'k'k'k----dsUnzh;dsUnzh; O;kolkf;d f'k{kk laLFkku]';keyk fgYl , Hkksiky PSS Central Institute of Vocational Education, Shyamla Hills, Bhopal Student Workbook Apparel, Made-ups and Home Furnishing (Class X; NSQF Level 2) March, 2017 Publication No.: © PSS Central Institute of Vocational Education, 2017 ALL RIGHTS RESERVED ° No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronically, mechanical, photocopying, recording or otherwise without prior permission of the publisher. ° This document is supplied subject to the condition that it shall not, by way of trade, be lent, resold, hired out or otherwise disposed of without the publisher’s consent in any form of binding or cover other than that in which it is published. • The document is only for free circulation and distribution. Coordinator Dr. Pinki Khanna Associate Professor, Department of Home Science & Hospitality Management Production Assistant Mr. A. M. Vinod Kumar Layout, Cover Design and Laser Typesetting Mr. Vinod K. Soni, C.O. Gr.II Published by the Joint Director, PSS Central Institute of Vocational Education, Shyamla Hills, Bhopal-462 013, Madhya Pradesh, India Tel: +91-755-2660691, 2704100, Fax: +91-755-2660481, Web: http://www.psscive.nic.in Preface The National Curriculum Framework, 2005, recommends that children’s life at school must be linked to their life outside the school. This principle makes a departure from the legacy of bookish learning which continues to shape our system and causes a gap between the school, home, community and the workplace. -
Fall Fiber Festival 2019 Schedule of Events
Fall Fiber Festival 2019 Schedule of Events Ongoing Activities Saturday and Sunday Montpelier Sheep Dog Trials, sponsored by the VA Border Collie Association Skein, Garment & Fiber Arts Competition and Display - Display & Demo Tent Fiber Arts Demonstrations and Hands-on Activities - Display & Demo Tent Fleece Sale - Fleece Sale Tent Saturday October 5, 2019, 10 am – 5 pm ALL DAY Weaving & Spinning Demos, Fiber Prep & Combing, Knit/Crochet Help, Circular Sock Knitting Machines, Yarn/Ball Winding ~ Display & Demo Tent 9:30 am-4:30 pm FELTING WORKSHOP: Felted Necklace ~ Workshop Tents 9:30 am-12:30 pm SPINNING WORKSHOP: Interaction of Color in Spinning ~ Workshop Tents 10 am-4 pm FACE PAINTING ~ Near Animal Exhibit Tent 10 am-4:30 pm DEMO: Circular Sock Knitting Machines ~ Display & Demo Tent 10 am-4:30 pm DEMO: Spinning from a Bunny ~ Display & Demo Tent 10 am-Noon DEMO: Knitting on a Knitting Machine ~ Display & Demo Tent 10 am-11am DEMO: Spinning Shetland Fleece ~ Display & Demo Tent 10:30 am-Noon DEMO: Embroidery & Stitching ~ Display & Demo Tent 11:00 am SHEEP SHEARING ~ Animal Exhibit Tent 11 am-1 pm DEMO: Great Wheel Spinning (Weather Permitting) ~ Display & Demo Tent 11 am-Noon DEMO: Combing Wool for Worsted Spinning ~ Display & Demo Tent 11 am-1 pm DEMO: Nuno Felting ~ Display & Demo Tent 12:30 pm-2 pm DEMO: Tri-Loom Weaving ~ Display & Demo Tent 1 pm-4 pm DEMO: Needle Felted Flowers - Ginter Garden Felters ~ Display & Demo Tent 1 pm-2:30 pm DEMO: Kumihimo Braiding ~ Display & Demo Tent 1 pm-2 pm KIDS CLASS: Walk in Projects for -
General Agreement on Tariffs and Trade
GENERAL AGREEMENT ON CONFIDENTIAL TEX.SB/1395* 2 -•-Antr-i-/% ...K -m. PS.» October 1987 TARIFFS AND TRADE Textiles Surveillance Body ARRANGEMENT REGARDING INTERNATIONAL TRADE IN TEXTILES Notification under Article 4 Bilateral Agreement between the United States and Pakistan Note by the Chairman Attached is a notification received from the United States of a new bilateral agreement concluded with Pakistan for the period 1 January 1987-31 December 1991. it English only/Anglais seulement/lnglés solamente The previous bilateral agreement and modifications are contained in COM.TEX/SB/776, 934, 1024, 1162, 1163 and 1171. 87-1472 Wo -M / j$*£ 9^3 ) UNITED STATES TRADE REPRESENTATIVE 1-3 AVENUE DE LA PAIX ^ 1202 GENEVA. SWITZERLAND For |'i ,r»..j J L ,0 ^h£Vi t. !7"~- "^r L J "" Telephone : 320970 OPER CH-T A " NTk- & :-.--• 0 1 i Deie :r •.: : -••' I 1 • R£3 2 5 _-tP. ^ieptfember 24, 1987 Tracé & '• •: Z. • 1 ! ! ! « T6:- Cr ,7 t.v ' ! « Spec f"--. :•'."." i t GNS C ! 1 • OPE^DE^'^E ! j ; Ecc. F.A.-s- L'-il The Honorable -\ .„" Ao'-C^" "C ; • . Ambassadd£.liarcelo-4a^fireî1 i Te: Î • : . Chair ma n^»»*tirte« Sui Vël'Ulance Body E<- :-.-. ;. GATT " " i Rue De Lausanne 154 Cfi > • - 1211 Geneva .... _ Dear Ambassador Raffaelli: Pursuant to the provisions of paragraph 4 of Article 4 of the Arrangement Regarding International Trade in Textiles I am instructed by my government to inform the Textiles Surveillance Body of a new five-year (1/1/87-12/31/91) bilateral textile agreement between the Government of the United States of America and the Government of Pakistan. -
Lucet Braiding
Lucet Braiding A lucet is a simple 2 pronged device used during the Middle Ages (and earlier and later) for making cords. It is most often associated with the Viking Era but were used through out Europe. It makes a strong either square or flat cord. Lucets were made of horn, bone or wood. The cords, also called chains, were used as drawstrings in clothing and bags or purses. They were also used ornamentally as trim on clothing and other items and to hang items from belts. Larger versions of these cords were probably also used by sailors. Making Your Own Lucet A lucet can be made from any 2 pronged item. My first lucet was a plastic 2 pronged fork. My second lucet was a large wooden fork with the center prongs removed. The lyre shape can be cut out of 1/4 inch wood such as pine or oak and then the edges sanded. Basic Square Cord Crochet thread or thin yarn is good for beginners to start with. 1. Drop a 6 inch tail of the thread through the hole going from front to back. If your lucet doesn't have a hole, it is not a problem, just pull the tail around to the back of the lucet. 2. Holding the lucet in your left hand with the thumb holding the tail in place above the hole, wind the thread as shown: front to back on the right arm, then front to back on the left arm and then front to back on the right arm again, making a "figure 8." The thread should now be on teh back side where you can hold it between two fingers to keep it snug around the arms. -
Area # 1 Area #2
Area # 1 Black Sheep Handweavers Guild 2-Clip Fringe Twister Knit Wits Kit for Making a Stuffed Penguin, including the Double Point Needles 3 Skeins of Yarn Glenna Harris Weavers’ Guild 1 Boat shuttle 1 Heddle maker 4 Balls Boucle’ Yarn, Beige 1) 1 oz. Bag of White Corriedale Roving 5 Bags Multicolor Roving, from 1 oz. - 5 ozs. Carmel Crafts Guild Harrisville Design Boat Shuttle 6 Wooden Bobbins Area #2 Del Oro Spinners & Weavers Guild Assorted yarns Bucilla Spice, 14) 1.75 oz. Skeins Bernat Fabri, 5) 2 oz. Skeins (600 yds. Ea.) 4 Burgundy, 1 Grey Peaches and Cream - 1 lb. Cone 4 Ply Cotton (Emerald Forest) Knitting Books - H ip to K n it by Judith Swartz & Tops to Toes edited by Kara Gott Warner Whole Rambouillet/Cormo fleece (unwashed) 6.5 pounds, 3.5" to 4" Staple Length Golden Valley Weavers and Spinnters 2 DVD’s - A rtists G u ide to Color an d D ou blew eave P ick u p Mother Lode Weavers and Spinners Our fiber basket is almost exclusively filled with fiber donated by fiber ranchers in Tuolumne and Calaveras Counties. The MLW&S Guild is fortunate to include a versatile range of fiber artists & ranchers. We wish to take this opportunity to thank all of our vendors for their generous donations to this basket. The fiber basket also includes a book, written and donated by Peggy Huth, about a little sheep named Bummer (a true story). The book is a sweet story with heartfelt illustrations that will delight children of all ages. -
Weaver's Fancy
May and June 2020 Newsletter Weaver’s Fancy *********************** We are here together, weaving this dream we call life. We are the weavers and the woven ones, the dreamers and the dream. Devaa Haley Mitchell ************************ Wow, what a crazy time this is that we are going through! We hope you all are healthy and well and using this time to fill up your creative soul….. I am so grateful for family and friends and the magic of modern technology It’s amazing what you find when you to keep all of us connected! Thank clean out boxes and files! Who knew you, Jennie for suggesting and then that Van Gogh painted weavers….I setting up our very first Zoom meeting didn’t! in April! It was wonderful seeing all of you! I have also learned the importance of stash building- thank heaven I was well prepared!!! ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Book Review- I recently viewed a recommended Going through my library, I website for the Pikes Peak Weavers rediscovered a gem of a book. The Guild. It’s a neat website and one of book is- The Textile Arts by Verla the best offerings is a free e-book. It’s Birrell. It originally was published in called “Sensational Towels, Napkins 1959 and it covers not only many and Placemats!” Their website is aspects of weaving, but also dyeing, www.pikespeakweavers.org To go directly to the e-book, google the title braiding, knotwork, lace, fabric and it should pop-up for you. There printing and needlework. It is a are many 8 shaft patterns and a few 4 worthy read! shaft, as well as lots of great ideas. -
Bayou Tapestry
Officers Page Reeve Bayou Tapestry Baron and Baroness Ldy Adalyde Desardaigne (985)960-3395 (nocalls aftr 10 pm) Master Charles de Bourbon adalyde.desardaigne(at)hotmail.com Charles Burk [email protected] Barony of Axemoor Chronicler Lady Martha Effingham of Baroness Stasi Stewart Kepe [email protected] Diane Martin [email protected] Herald Giada Maddelana Alberti Seneschal (Gigi Coulson) 824 Ida st Lady Gillian La Dyer New Orleans, LA 70119 (504)495-5806, apaleshadow(at)yahoo.com Historian Marshall Adalyde de Sardigne, Dawn Wilkin- sonAdalyde.desardaigne(at)hotmail.com THLord Mika'il al-Rashid aka Dex (985)201-5317 (nocalls aftr 10 pm) Web Minister Lord Egil Haraldsson destric(at)yahoo.com (985) 223-3568 Arts and Sciences Minister eagleclaws_skyrider(at)hotmail.com THL Elene Kirchenknopf Quartermaster MKA: Lisa Baumer Isabella of Axemoor Put"Barony of Axemoor" in subject line of Brandy Decker email 225-892-9072 Vacant Offices Elenek1(at)msn.com Minister of Childen Group Rapier Marshall 15th century Chirugeon Chatalaine Garb and Grub Lady Alis Baronial Website Please email if possible www.axemoor.net/index.htm (504)512-7321 [email protected] Baronial E-list June 2011 Costumers Guild E-List Viking helmet from Gjermunbu, Ringerike, Norway. C 950, Peter Harholdt for Smith- Greetings from the Chronicler sonian Institution, Universitetets Oldsaksam- of the Bayou Tapestry. ling, Oslo As some of you know I will be returning to the Pacific northwest at the end of the July. ca. 8th century --- An eighth-century Viking stele, with depictions of the Norse god Odin I have enjoyed my year here and I love this Barony. -
TAPESTRY SAMPLER BAG Designed by Jane Patrick
TAPESTRY SAMPLER BAG DESIGNED BY JANE PATRICK Try out tapestry weaving and make a handy little bag at the same time. You’ll use many techniques in this project: shading studies, rya, soumak, weft-faced color-and-weave, interlocking weft, clasped weft, Damascus edge finish, pick-up patterning on an inkle band. We wove the bag in one piece, starting at the top edge of the back. Shading studies in plainweave and soumak form a gradient with interesting textures. Rya knots mark the fold and create the fringe at the bottom of the bag. On the front, bright colors form bold patterns in plainweave, interloking joins, clasped weft, and soumak. The Damascus edge, worked off loom, was used for the edge finish on both ends of the weaving. For the strap, we worked an inkle band with pick-up. BAG Finished size: 5-1/2" x 5-1/2", excluding fringe. Bottom Equipment needed: Arras Tapestry Loom, Schacht fringe is 1-1/2" long. weighted beater, 9" weaving stick, 2 stick shuttles, tapestry EPI: 6 needle, sewing needle, iron (for fusible interfacing), sewing PPI: to cover the warp. machine (optional). Number of warp ends: 36 Warp yarn for bag: #18 cotton seine twine, about 50 yards. Warping: Warp length as wound on the Arras is 45"; you can Weft yarn for bag and warp/weft yarn for inkle band: weave two bags on this warp. Use a tight tension to make Jamieson Shetland Spindrift (105 m/115 yd per ball), in weaving easier. Ginger #462 (rust), Natural White #104, Pebble #127 (light Weft: We used 3 ends for the plainweave areas and rya gray), Sholmit #103 (medium gray), Oxford #123 (dark knots. -
EXPLORE TAPESTRY WEAVE-ALONG by Jane Patrick the Last Time I Wove Tapestry Was Back in the 70S When I Frst Started Weaving
EXPLORE TAPESTRY WEAVE-ALONG by Jane Patrick The last time I wove tapestry was back in the 70s when I frst started weaving. Everyone was weaving wall hangings—much like many of the new weavers are weaving today (but they have better colors and materials). We wanted to develop the Arras loom to help meet the needs of new weavers who were transitioning from wall hangings to more serious tapestry weaving. Of course, as the Arras developed, I yearned to try tapestry again. Though I’ve been weaving for over 40 years, tapestry just wasn’t in my toolbox. This is a bit strange because I have always appreciated the pure colors of weft-faced fabrics. You don’t have warp and weft visually interacting, which affects the color, and, of course, the design. I have had quite a bit of experience with weft-faced weaving though—which I explored in my book The Weavers’ Idea Book. This is also probably why I fnd the warp-faced fabric in an inkle band equally appealing. You only see the warp colors and the weft is obscured except where it turns around at the selvedges. You can see weft-faced tapestry and warp-faced inkle weaving put together in my tapestry sampler bag at www.schachtspindle.com/tapestrysampler/. WELCOME Thanks for joining me on this tapestry exploration! I hope you’ll share your progress and ideas on Instagram, Facebook and Ravelry as we go along. Above all else, I hope you’ll have fun and try to play (though I know this is hard) as much as possible. -
Graph Paper Napkins
GRAPH PAPER NAPKINS his elegant napkin pattern is a perfect, easy project T for weaving with fine linen for the first time. and if you are a linen pro, it is a great pattern for whipping up a stunning housewarming, host/ess or wedding gift. !" © 2020 ELISABETH HILL plainweave.net [email protected] GRAPH PAPER NAPKINS STRUCTURE: Plain Weave WARP LENGTH: 508 ends 4½ yards long (allows for 6 EQUIPMENT: 4-shaft loom, min. 20" weaving napkins) - increase length of warp by 1 yard width; 15-dent reed; 2 shuttles, 3 bobbins. for an additional pair of napkins). WARP YARNS: WIDTH IN REED: 40/2 Linen (100% wet-spun line linen; 7,000 16¹⁴⁄₁₅". yds/lb from Jane Stafford Yarn); Cream, 1,404 yds; Flax, 864 yds; Spruce, 18 yds. SETT: 30 epi (2/dent in a 15-dent reed) WEFT YARNS: 30 ppi 40/2 Linen (100% wet-spun line linen; 7,000 yds/lb from Jane Stafford Yarn); Cream, 967 FINISHED DIMENSIONS: yds; Flax, 868 yds; Spruce, 12 yds. 6 napkins 16" x 16" after washing and hemming. © 2020 ELISABETH HILL plainweave.net [email protected] Steps 2 1. Wind a warp of 508 ends, 4½ yards long following the warp color order below. Use your preferred method to dress your loom and center for a 16" plus 14 dents (16.9") weaving width. Take care to wind Colorway 1 Colorway 2 38x 38x 312 8 8 Cream 312 8 8 Flax 4 2 2 Spruce 4 2 2 Spruce 192 58 2 58 Flax 192 58 2 58 Olive 508 508 your warp with even tension.