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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. -
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. -
Simply Schools 2020–21
2020 Learning with Museums & –2021 Galleries across Lancashire www.simplyschools.org.uk Welcome to Welcome to the Simply Schools 2020–21 brochure, we are confident that you will find ideas and inspiration from our Heritage Learning site activities, CPD, loans boxes and outreach, and from those activities delivered by our wider museum partners. Heritage Learning is back for 2020/2021 It gives me the greatest pleasure to with new sessions, projects and announce that the Heritage Learning programmes. Last year the Heritage Team will be delivering the learning Learning Team delivered site sessions, programmes on behalf of the Harris outreach and loans boxes that engaged Museum, Art Gallery and Library in with over 35,000 school children Preston from September 2020. across Lancashire. We have once again David Brookhouse worked with schools on some amazing As part of the national DfE funded Heritage Learning Manager projects including ‘Lancashire Sparks’ Museums and Schools Programme, we an exploration of Lancashire’s intangible are always keen to work with teachers 01772 535075 heritage through clog dancing, music and schools to develop our learning and literacy. The TIME project continues offer. Our themes for this year are STEM, to work successfully with schools Literacy and teacher development. embedding the creative arts into the curriculum. Please contact us if you The funding for Heritage Learning comes would like more information about our from a de-delegated budget which range of new school projects. schools vote to continue each year. This funding allows the team to deliver Once again our teacher CPD, twilight award winning, high quality cultural and INSET programmes have grown from learning across Lancashire. -
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. -
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. -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy .................................................................................. -
Learn to Weave on the Table Loom Welcome to the Wonderful World of Weaving
Learn to weave on the Table Loom Welcome to the wonderful world of weaving ... Welcome to the wonderful world of weaving. You are starting an exciting journey of discovery and we know you will enjoy all the texture and colour, creativity and satisfaction that weaving will bring. We make a range of table looms. The four and eight shaft looms are available 40, 60 or 80cm (16, 24 or 32in) wide. There is also a 16 shaft table loom 60cm (24in) wide. This booklet shows our easy warping method and gives instructions for a first project. We used a 40cm (16in) table loom but the instructions apply to all our table looms. Happy weaving. Four Shaft 60cm (24in) pictured with optional stand Elizabeth and Richard Ashford and treadle kit Eight Shaft 40cm (16in) Sixteen Shaft 60cm (24in) pictured with optional stand and weft around a ruler or yarn gauge for Glossary one inch (25mm). The number of times the warp yarn wraps around the ruler is the correct sett. Before you begin your first project on the table loom, here is a Shafts(Harnesses) Frames which hold the heddles. Shaft one glossary of weaving terms you will need to know to get started. is the shaft closest (front) to the weaver. Shed Opening formed in the warp to allow the Beaming Winding the warp under tension onto the shuttle to pass. back roller. Shuttle Holds the weft yarn. Beater Frame holding the reed. Beats the weft Sleying Threading the warp ends through the thread into place. reed. Cross Sticks Sticks used to keep the warp threads in Threading Cross Made while winding the warp. -
The Textile Terminology in Ancient Japan
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 The exT tile Terminology in Ancient Japan Mari Omura Gangoji Institute for Research of Cultural Property Naoko Kizawa Gangoji Institute for Research of Cultural Property Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Omura, Mari and Kizawa, Naoko, "The exT tile Terminology in Ancient Japan" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 28. http://digitalcommons.unl.edu/texterm/28 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 Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Textile Terminology in Ancient Japan Mari Omura, Gangoji Institute for Research of Cultural Property Naoko Kizawa, Gangoji Institute for Research of Cultural Property In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. Salvatore Gaspa, Cécile Michel, & Marie-Louise Nosch (Lincoln, NE: Zea Books, 2017), pp. -
Henry James and Romantic Revisionism: the Quest for the Man of Imagination in the Late Work
HENRY JAMES AND ROMANTIC REVISIONISM: THE QUEST FOR THE MAN OF IMAGINATION IN THE LATE WORK A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (OF ENGLISH ) By Daniel Rosenberg Nutters May 2017 Examining Committee Members: Daniel T. O’Hara, Advisory Chair, English Alan Singer, English Steve Newman, English Robert L. Caserio, External Member, Pennsylvania State University Jonathan Arac, External Member, University of Pittsburgh © Copyright 2017 by Daniel Rosenberg Nutters All Rights Reserved ii ABSTRACT This study situates the late work of Henry James in the tradition of Romantic revisionism. In addition, it surveys the history of James criticism alongside the academic critique of Romantic-aesthetic ideology. I read The American Scene, the New York Edition Prefaces, and other late writings as a single text in which we see James refashion an identity by transforming the divisions or splits in the modern subject into the enabling condition for renewed creativity. In contrast to the Modernist myth of Henry James the master reproached by recent scholarship, I offer a new critical fiction – what James calls the man of imagination – that models a form of selfhood which views our ironic and belated condition as a fecund limitation. The Jamesian man of imagination encourages the continual (but never resolvable) quest for a coherent creative identity by demonstrating how our need to sacrifice elements of life (e.g. desires and aspirations) when we confront tyrannical circumstances can become a prerequisite for pursuing an unreachable ideal. This study draws on the work of post-war Romantic revisionist scholarship (e.g. -
Lancashire: a Chronology of Flash Flooding
LANCASHIRE: A CHRONOLOGY OF FLASH FLOODING Introduction The past focus on the history of flooding has been mainly with respect to flooding from the overflow of rivers and with respect to the peak level that these floods have achieved. The Chronology of British Hydrological Events provides a reasonably comprehensive record of such events throughout Great Britain. Over the last 60 years the river gauging network provides a detailed record of the occurrence of river flows and peak levels and flows are summaried in HiflowsUK. However there has been recent recognition that much flooding of property occurs from surface water flooding, often far from rivers. Locally intense rainfall causes severe flooding of property and land as water concentrates and finds pathways along roads and depressions in the landscape. In addition, intense rainfall can also cause rapid rise in level and discharge in rivers causing a danger to the public even though the associated peak level is not critical. In extreme cases rapid rise in river level may be manifested as a ‘wall of water’ with near instantaneous rise in level of a metre or more. Such events are usually convective and may be accompanied by destructive hail or cause severe erosion of hillsides and agricultural land. There have been no previous compilations of historical records of such ‘flash floods’or even of more recent occurrences. It is therefore difficult to judge whether a recent event is unusual or even unique in terms of the level reached at a particular location or more broadly of regional severity. This chronology of flash floods is provided in order to enable comparisons to be made between recent and historical floods, to judge rarity and from a practical point of view to assess the adequacy of urban drainage networks.