Tapestry Weaving Fundamentals-2
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A Special and Unusual Loom Frame from the First Half of the Nine
FINDING THE THREAD RESTORATION OF A PROFESSIONAL WEAVER'S LOOM Rabbit Goody A special and unusual loom frame from the first half of the nine teenth century now in the collection of the Ontario Agricultural Mu seum, Milton, Ontario,1 has provided an opportunity to examine some of the specialized equipment used by weavers in the nineteenth century to weave cloth with speed, intricate geometric patterns, and/or accommodate longer lengths of cloth. Surviving examples of cloth have made it apparent that trained weavers, weaving fancy cloth during the nineteenth century were using more complex equipment than that commonly associated with home textile produc tion. However, until now surviving examples of the equipment have been scarce. The museum's loom is one of a small number that can be linked to the production of the more complex cloths of this pe riod. At least, it has specialized equipment which professional weavers might choose to place on their looms. It is the most com plete example currently known. In their book, "Keep Me Warm One Night", Dorothy and Harold Burnham have identified this loom as being a professional weaver's loom because of its specialized features.2 It is being restored for the purpose of reproducing some of the more intricate cloth woven by professional weavers in the Niagara Peninsula. The survival of this loom frame, with its special features, has made it possible to set certain criteria for identifying other looms used by professionals and to corroborate the descrip tions of equipment and methods found in publications and manuscripts from the last half of the eighteenth century and early nineteenth century used to weave fancy cloth rapidly by profes sionals. -
Extract from Earth Guild's Tapestry Crochet Patterns
EXTRACT FROM EARTH GUILDS TIPS & NOTES TAPESTRY CROCHET PATTERNS: Crochet in a chair with arms that comfortably support your elbows, or at least that of your primary General Information arm. This will ease your shoulder, though it wont Color Changing do anything much for your wrist. a piece of Graph Paper When adding a new color, or a new strand of the same color, set it in as a second core yarn about six stitches before it becomes the working strand. Do TWISTING, AND WHAT TO DO ABOUT IT the same thing when you end a strand; carry it for Not as trivial as it might seem. about six stitches as an additional core before you When the colors are switched, the two strands cut it off. Leave a tail about half an inch long. Use wind around each other. This will happen it does your hook to pull tails to the front, a couple of rows not mean that you are doing something incorrectly. back into the web, so they wont get snagged as you When the twist becomes annoyingly snarly, and in work. Hanging there these ends can make it harder the way of the work, it needs to be undone. to see mistakes, or even how the design is building There are many ways to do this. While the up, so trim them or return them to the back when work is small and light, hold the two balls of yarn in youre a few rows further along. I prefer not to cut either hand, a foot or so apart. -
20/04/2015 Slit Tapestry Red/Green
Lucy Dean Exercise: ‘Exploring modern art’ 20/04/2015 Slit Tapestry Red/Green (detail), 1927-28, by Gunta Stolzl "Slit Tapestry Red/Green" is manufactured from cotton, silk and linen and was designed to be a stand-alone piece. This is one of her Once the weaving workshop had most important works as it was been divided into two separate inspired by Goblins tapestries- departments at the new premises in monumental, highly stylised and Dessau; it allowed the students to brightly coloured works produced in embrace the artistic potential of the France from 1662 onwards. medium and push the boundaries of design. Some of her textile designs reference the influence of Paul The use of red and green dyes Klee; a Bauhaus master who The striking abundance provides a pleasant contrast and sympathi sed with the difficulties of pink/ flesh tones the vertical forms help to balance faced by the textile students. contrasts beautifully with the composition. There are a wide- the other grey greens. variety of curvilinear forms, checks Her combination of and chevrons which add interest This hand-woven tapestry colours show evidence and elevate the status of the of her studies during the represent s Stolzl’s unique approach tapestry. This results in a piece to manufacturing her textile pieces. Vorkus preliminary which is dynamic and appears to Stripes, squares, rectangles and course which was run by have a life of its own. The piece free-form designs are her hallmark; the renowned artist also evokes the energetic as is a confident use of colour. Johannes Itten’s. -
We Are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017)
“We are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017) by © Laura Marie Andrea Sanchini A thesis submitted to the School of Graduate Studies In partial fulfilment of the Requirements for the degree of Doctor of Philosophy Department of Folklore Memorial University December 3rd, 2018 St John’s Newfoundland Abstract This thesis is the story of how utilitarian material culture was transformed into a cottage industry, and eventually into high art. Chéticamp rug hooking is an artistic practice, one wrapped up in issues of taste, creativity, class and economics. Rug hooking in Chéticamp rose to prominence in the first half of the 20th century when Lillian Burke, a visiting American artist, set up a rug hooking cottage industry in the area. She altered the tradition to suit the tastes of wealthy patrons, who began buying the rugs to outfit their homes. This thesis examines design in rug hooking focusing on Chéticamp-style rugs. Captured within design aesthetics is what the rugs mean to both those who make and consume them. For tourists, the rugs are symbols of a perceived anti-modernism. Through the purchase of a hooked rug, they are able to bring home material reminders of their moment of experience with rural Nova Scotia. For rug hookers, rugs are a symbol of economic need, but also agency and the ability to overcome depressed rural economic conditions. Rug hooking was a way to have a reliable income in an area where much of the labour is dependent on unstable sources, such as natural resources (fishing, lumber, agriculture etc.). -
Textured Tapestry
Textured Created by Susan Beck Tapestry This small wall hanging is filled with simple techniques that create texture on fabric. Easy to make, each swatch is texturized in a unique way, then cut to a specific size. Backed with fusible fleece, the swatches are stitched together using the zigzag stitch for joining. Ribbon sashing covers the stitching and the outer edges are finished with bias binding (not shown). Finished size: 18” x 18” Supplies Machine & Accessories BERNINA 3 Series or 5 Series machine Pintuck Feet #30, #31, #32, #33* Edgestitch Foot #10/10C/10D Button Sew-On Foot #18 Clear Embroidery Foot #39/39C/39D Cutting & Preparation Secondary Bobbin Case Cut the following rectangles, using the fabrics of your Extra bobbin for elastic thread choice (see placement diagram on next page): Best Press Starch Alternative Steam-a-Seam 2 Lite—¼” wide - A: 14” x 6.5” *Directions call for Foot #30 and Foot #32 - B: Two, 5” x 8” each but all four (#30-33) may be used for variety - C: 11” x 5” - D: 8” x 8” Note: The rectangles Fabric & Notions - E: 8” x 8” will be cut to the final Five coordinating fabrics: ¼ yard of four; ⅝ yd of - F: 6.5” x 5” size after all textures one to be used for backing & binding - G: 15.5” x 5” have been created. Coordinating ribbon, ⅜” - ½” wide - H: 14” x 8” OESD Fuse & Fleece 2.0 and 4.0 Double Needles Cut the same size rectangles listed above from the Narrow cord such as perle cotton Fuse & Fleece but DO NOT fuse at this time. -
NEEDLEWORK / FIBER Introduction to Inkle Weaving
Inkle and Tablet Weaving Next Steps – Beyond the Basics A lecture and discussion class covering inkle and tablet (card) weaving techniques that go beyond warp based designs. Class will cover: Patterning using brocading and pickup work; adding beads, loops, bells, and fringe; adding and removing warp threads; using multiple shuttles. There are no hands on activity in the class; we’ll have descriptive handouts, samples, demos, and discussion. I. Who am I: Mistress Lynnette de Sandoval del Valle de los Unicornios … [email protected] II. Who are you? A. Lots of Inkle? B. Other weaving? C. Bring anything to share? III. Art vs. Functionality A. What does that mean? B. Who cares? C. Is inkle weaving Period? 1. The looms we use – no 2. Warp faced weaving – yes! D. What do you expect in the way of wear and tear IV. Adding stuff to the Warp and Weft threads A. Adding sticks / feathers / etc 1. Lay in while weaving 2. Sticks wider than loom 3. Should you glue at edge ???? 4. Christmas Tree 5. Spacing: Count Warp threads / measure B. Measure: Pre-measured / knotted non-stretch cord 1. Weaving Multiple, measured strips in one warping C. Concept: Secondary Weft 1. What is it? a) Additional Weft thread(s) 2. Why? a) Main Weft holds the weaving together b) Secondary Weft adds style elements 3. Disadvantages a) Adds thickness to rows 1) Use thinner / softer yarn if possible 2) Beat down harder b) Shows at salvages 1) Use same or complementary color if possible 2) Monofilament thread / fish line @Debbie Coyle (Unicorn Fiber Arts) & Angela of Rosebury p. -
Tapestry Crochet, Granny Squares, Lacy Stars, and 3-D Flowers Stars, Lacy Squares, Crochet, Granny Tapestry Maria Gullberg Tapestry Crochet Tapestry
DUPLICATION PROHIBITED by copyright holder Compelling Color. Brilliant Contrast. Eyecatching Character. A Handbook of Crochet Techniques and Patterns Take Your Crochet to the and More Crochet Tapestry NEXT LEVEL Tapestry Crochet AND MORE TapestryAND Crochet, Granny Squares, MORE Lacy Stars, and 3-D Flowers Here’s the perfect introduction to a whole new set of techniques that will broaden your crochet horizons. Experiment with color, shape, and structure, using ribbed, relief, double- layer, and tapestry crochet. The result will be bags, totes, hats, wrist warmers, lace, and flowers with striking designs you almost won’t believe are crocheted. With a wide variety of patterns to hold the veteran’s attention and loads of practical tips to aid the less experienced, this is one crochet handbook you won’t want to put down! Maria Gullberg $17.95 USD ISBN 978-1-57076-767-8 5 1 7 9 5 Maria Gullberg 9 781570 767678 Printed in China www.trafalgarbooks.com © Maria Gullberg, and Trafalgar Square Books www.trafalgarbooks.com Tap Crochet Full Cover.indd 1 12/22/15 10:43 AM DUPLICATION PROHIBITED by copyright holder TAPESTRY CROCHET AND MORE A Handbook of Crochet Techniques and Patterns: Tapestry Crochet, Granny Squares, Lacy Stars, and 3D Patterns MARIA GULLBERG © Maria Gullberg, and Trafalgar Square Books www.trafalgarbooks.com DUPLICATION PROHIBITED by copyright holder First published in the United States of America in 2016 by Trafalgar Square Books North Pomfret, Vermont 05053 Originally published in Swedish as Virka! Copyright © 2013 Maria Gullberg and Hemslöjdens förlag English translation © 2016 Trafalgar Square Books All rights reserved. -
Glossary of Tapestry Terms
[This glossary is not meant to be all-inclusive, or the ultimate authority on definitions. It was developed from a few submitted glossaries and includes primarily words that refer directly to tapestry weaving. However, the glossary is meant to be useful. So with that objective, we would like to experiment with a “Wikipedia” style glossary. You can: • add a word and its definition. • add to, or modify the definition of one of the words already in the glossary. • submit a digital image to illustrate one of the terms. Submit your additions to: Mary Lane: [email protected] Thanks for helping out!] Glossary of Tapestry Terms Abrash – Slight variations in the weft color due to different dye lots, or to differences in dye absorption in the same dye lot. Arrondiment – (French) Soumak. Aubusson – (French) A city in France in which many commercial, low warp ateliers are located. The word is often used to refer, in a generic way, to low warp weaving. Awl – A pointed, metal instrument used for piercing small holes in leather, wood, etc. Weavers use awls to loosen, or pick apart, the densely packed weft and to manipulate the surface of the woven fabric. Basse-licier – (French) Low warp tapestry weaver. Basse lisse – (French) A low warp loom; low warp weaving. Bâton de croisure – (French) Shed stick. Battage – (French) A woven technique used for shading and transparencies in which the number of full passes of two or more colors changes in a proportional manner. Beams – Rollers on a loom, the warp beam holds the extra warp and the cloth beam holds the finished cloth. -
Dark Age Tablet Weaving
Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in Europe and Britain in the first millenium AD and is an excellent craft for historical re-enactors as it is portable, interesting, little known nowadays and you can make beautiful bands to decorate your outfit. However, creating replicas of Dark Age bands is challenging. Many of the surviving historic bands are difficult to weave, and so most re-enactors either buy in tablet-weaving or weave simplified bands, and may use patterns and techniques that aren't appropriate to the Dark Ages. The aim of this document is to describe the characteristic styles and methods of Dark Age tablet- weaving. There is also information about materials, equipment and tablet-weaving techniques. Perhaps the most striking theme of the historic bands is inventiveness, and the advantage of the historic techniques is that they allow the weaver to create a far wider range of patterns than the modern methods, which were mostly developed in the 19th and 20th centuries as tablet-weaving was 'rediscovered' in Europe1. This document isn't exhaustive, and I recommend that the interested reader explore further patterns and techniques. There are many good patterns available online. Just remember, as I once read on the internet, the first instruction in tablet weaving is “remove the cat”. Please contact me with any comments or corrections. -
Learn to Weave on the Knitters Loom
Learn to weave on the Knitters Loom spinning | weaving | carding | felting | knitting | dyeing Welcome to the wonderful world of weaving ... YOUR FIRST PROJECT – A SCARF You will need: Warp A pair of sharp scissors Use Ashford Tekapo in stripes of white, blue, yellow and green. A measuring tape Length – 2m (78ins) allowing 15cm (6ins) at each end for fringe Cardboard warp sticks Number of ends – 88 One long table or two smaller tables Finished width – 26cm (10¼ins) Yarn Weft For this project we have used Ashford Tekapo, a smooth Ashford Tekapo #206 Natural White. DK (double knit) sport weight yarn with a slightly textured handspun look, for the warp and the weft. Ashford Tekapo 8ply/DK yarn (100% wool, 200m/218yds, 100gm net) #206 Natural White, #230 Midnight Blue, #203 Butter, #221 Chartreuse. WARP AND WEFT These are two terms you will need to know as they form the basis of all weaving. The warp threads are put onto the loom first. They are held on the loom under tension between the front and back roller. The weft threads pass over and under the warp threads to form the woven fabric. warp weft SHED The shed is the opening formed in the warp, through which the shuttle passes. OPTIONAL ACCESSORIES Extra reeds 10, 20, 30, 40, 50 and 60 dents per 10cm (2.5, 5, 7.5, 10, 12.5 and 15 dents per inch), vari dent reed, loom stand, pickup sticks, shuttles, weaving needles, tapestry beater, warp thread weights, fringe twister. Knitters loom 30cm (12"), carry bag included, loom stand optional back roller warp stick ties handle cog pawl shuttles warp reed support block sticks clamps reed warping threading hook peg base cardboard warp sticks front roller warping peg THE LOOM The reed has large holes and slots to accommodate a larger The shuttle is used to carry the weft yarn from side to side to variety of yarns. -
Free Crochet Pattern: Vanna's Tapestry
Free Crochet Pattern Lion Brand® Vanna's Tapestry - Vanna's Choice® Off The Beaten Path Afghan Pattern Number: L40287 Drape this blanket over a couch or bed to give any room a modern-looking touch. Thanks to Vanna's Tapestry, you can crochet stripes without ever changing yarns. Add a black border to make the pattern stand out even more! Designed by Michele Maks. Free Crochet Pattern from Lion Brand Yarn Lion Brand® Vanna's Tapestry - Vanna's Choice® Off The Beaten Path Afghan Pattern Number: L40287 SKILL LEVEL: Easy (Level 2) SIZE: One Size About 38 x 46 in. (96.5 x 117 cm), with edging CORRECTIONS: None as of Jul 19, 2014. To check for later updates, click here. *Vanna's Tapestry (Article #864). 100% MATERIALS acrylic; package size: 3.00oz/85.00 gr. • 864-202 Lion Brand (145yds/133m) pull skeins Vanna's Tapestry: Scandinavia 10 Balls (A) • 860-153 Lion Brand Vanna's Choice Yarn: Black *Vanna's Choice® (Article #860). 100% 1 Ball (B) Premium Acrylic • Lion Brand Crochet 400, 401, 403: 92% Acrylic, 8% Rayon Hook - Size J-10 (6 402: 96% Acrylic, 4% Rayon; package size: mm) Solids: 3.5 oz (100 g), 170 yards (156 m) • Lion Brand Large-Eye Prints, Tweeds, & Heathers: 3 ozs (85 g) , Blunt Needles (Set of 145 yards (133 meters) 6) Twists: 2.5 oz (70 g), 121 yards (111 meters) GAUGE: 11 1/2 sc + 15 rows = about 4 in. (10 cm). One Rectangle = about 5 1/2 x 9 in. (14 x 23 cm). When you match the gauge in a pattern, your project will be the size specified in the pattern and the materials specified in the pattern will be sufficient. -
A Textile Workshop from Roman Times: the Villa Dels Antigons
28 OPEN SOURCE LANGUAGE VERSION > CATALÀ A textile workshop from Roman times: the villa dels Antigons by Marta Prevosti Photographs: © Marta Prevosti I ntroduction 1 EPR VOSTI 2011. The Roman villa dels Antigons, in Reus, was one of the richest and most 2 JÁRREGA and PREVOSTI important agricultural concerns in the territory of the city of Tarraco. The farm 2011. was in operation between the second century BC and the seventh century AD. 3 ANZUEV LE LA 2010. 4 JÁRREGA and PREVOSTI In the Imperial Age a residence was built for the owner which, to judge from 2013. the findings of the archaeological excavations – remains of a nymphaeum (a 5 We thank Jaume Massó monumental fountain), baths, sculptures, marble and mosaics – must have been i Carballido, director of a Roman country palace. The site has been known since 1849 but it suffered the Salvador Vilaseca Archaeology Museum in large-scale damage in the 1950s; then, between 1977 and 1979, an animal feed Reus, for providing access to factory was built on top of it, almost destroying it completely. the materials. As is often the case with the finest villas of the Roman provinces, a thorough- going study of the site of Els Antigons reveals the reasons for its splendour. Many major economic activities have been identified1. First, four pottery kilns have been found, which would have made amphorae for storing wine2. This provides indirect evidence that the agriculture of the villa included wine production, and in fact remains of a cellar have also been found. There are also traces of iron-making, and the bones found in the excavations highlight the presence of significant level of livestock farming, particularly oxen3.