Category Archives: Weaving

Where’s a blue zebra when you need one?

Untitled-1

Drawing

The design

Here’s the drawing of what I’m working on, except that I decided to make all the solid blue stripes the same size. I had to do this because of the way I measured and wrapped the zebra stripes, based on another design entirely.

IMG_1471

Weaving

The Weaving

Here’s the piece being woven. Now I’m not so sure about those solid stripes, at least not sure about the color. In the drawing, they are a darker blue, but when I put those yarns and the zebra stripe together, they didn’t look good. I tried several other colors and decided to just go with the blue you see. If I really don’t like it when I take it off the loom, I’ll do some surface embellishment. What I am happy about is the zebra stripes themselves. They are really weaving up nicely. And easily. Of course, it took lots of sampling before the right warp width could be found. Then I was worried that after weaving all the bottom magenta portion, that those zebra parts wouldn’t fit. So, yippee! AND I am to the top of the design, ready for the next color block.

Update

This turned out to be a horrible piece, which I can see from the drawing that it was destined to be. My only possible defense is that I really wanted to practice ikat.

Death of a Dyer

I wrote about Death of a Dyer here. Briefly, the book is a mystery set in 1796 in which the main character is a traveling weaver. That fact and the title compelled me to check the book out and start reading.

Within the first chapter or two, I had to do a little research, and that always takes me down a few rabbit holes. Here’s what I’ve learned:

Nankeen-a quote from Wikipedia. If you follow the link, you will see a picture and a bit about stencils and indigo on nankeen cloth.

Nankeen, also called Nankeen cloth, is a kind of pale yellowish cloth, originally made at Nanjing from a yellow variety of cotton, but subsequently manufactured from ordinary cotton which is then dyed. Also in the plural a piece or variety of this cloth.

Southern Exposure Seed Exchange had nankeen cotton seeds before they were destroyed by a fire. I was glad to be reminded of this company because they have lots of interesting seeds there—worth a look.

As the title says, there is the death of a dyer, so dyestuffs are mentioned, like Spanish Red. I’ve heard of Turkey Red, but not this one. That is, until I looked it up. Spanish Red is actually cochineal. The Spanish settled in the Americas long before the pilgrims came to North America, so the red dye was already in use. Like cacao becoming a desired food, cochineal was a valuable dye material. So, even though I am familiar with cochineal, I still found some articles that are interesting. There are a few of them below.

This Washington Post article by Diane Ackerman is really a book review, but it’s still interesting. The book is A PERFECT RED: Empire, Espionage, and the Quest for the Color of Desire by Amy Butler Greenfield.

I recently was in Arizona (I spent one night with Barb Nelson) and saw a type of prickly pear that’s purple. I wish I had taken a picture of one that was covered with cochineal bugs, but we were driving down the street. If you’re interested, you can see a picture here..

Scutching was mentioned, and I was pretty sure that it has something to do with linen, or rather flax. But scutching knife? There was one that was sold on eBay.

I finished the book, although I really did not enjoy it very much. Turns out that a travelling weaver has a loom that breaks down quickly. Hmm… One small complaint—the dyer had been using local plants to find a green that was all the rage. That’s a problem since most greens from natural dyes are actually a two-step process using indigo (or woad) and overdyeing with weld or another yellow dye. Again, Wikipedia has a nice article about natural dyeing.

Guild meeting-Kay Sekimachi

Sekimachi Nagare VII1970 Kay Sekimachi, born San Francisco, CA 1926 woven nylon monofilament 80 x 9 x 9 in. (203.2 x 22.8 x 22.8 cm.) Smithsonian American Art Museum, Museum purchase 1972.183.* I read that she did quadruple tubular forms. I’m not sure if this is one of those, but it looks like it could be. You can see pictures of more work that is in the Smithsonian Collection here. None of them are on view currently. I wonder if you could see them if you made an appointment.

Our guild is doing something a little different this year by having a couple of programs about weavers who do notable work, but may not be well known locally. The program was given by Sarah, and she did a great job. It happens that I was actually familiar with this Kay Sekimachi, having read about her in American Craft magazine. What I remember most from the article is how organized her “stuff” is, becoming art in itself by being placed on a shelf with nothing else. Take a look at her worktable here. Is that the way your worktable looks? Not mine! Of course, maybe that helps explain her success and her work.

Kay was born in San Francisco in 1926. During WWII she was interned with her family. Later, after seeing one weaving class, she bought a loom. Her oral history interview can be found here; I found it very interesting.

You can always do an Google search to find images. Here are links to a couple of galleries that either have or have had her work: Jane Sauer and Brown Gotta. I love her leaf bowls!

*Personal, Educational and Non-Commercial Use
Personal, educational and non-commercial use of digital images from our Web site is permitted, with attribution to the Smithsonian American Art Museum, for all images unless otherwise noted.

What’s on the loom (almost)

yarn-on-shuttle It’s been an interesting week in a sort of bad way. I went in for a crown on Monday, the dentist discovered another broken tooth, then a trip to the oral surgeon on Wednesday. Oh well, at least the directions say to do no strenuous exercise for a few days. Wonder if that includes mowing?

squirrel-cage

Squirrel cage with yarn on board. Yes, it’s a bad picture. The white sections top and bottom are because I straightened the picture.

Weaving is not too strenuous, and that’s what I want to do anyway. Above is my ikat weft on the shuttle ready to go. It’s interesting how these wefts look like absolutely nothing until the weaving begins. This particular warp had to be redone several times to get the width correct. It’s ready to go now–the first color before the above section has been balled up, ready to go on the bobbins. I am reminded again how much I like my squirrel cage from Hockett Would Work. The shuttle above is also one of his, which you can see better here. You can see a picture of his squirrel cages here. They are on the right at the back wall. I may have to check out the foot-powered skein winder next.

Busy, busy

Colors-color-aid

Color aid papers

©Sherri Coffey-Illusion

Illusion

The latest piece was cut off the loom yesterday and I plan to start the finishing of warp ends today or tonight. Force myself. I have started a series of yoga classes and hurt my back last week. I have no idea what I did to cause that because nothing hurt or felt bad during class. Plus, I seldom have back issues. Today, on the way home, I had a long list of errands to do. That idea was scrapped quickly. I was trying to do these things during the lunch hour– on a FRIDAY! Fridays are always crazy. What was I thinking!

This afternoon I plan to play around with color, since that was successful for me before. Gettin’ out those Color-aid papers. Who knows? I may even cut them!  Above is the finished result.  When I look at this photo, though, I realize all over again that I need to get to the photographer. Or get some lights. Or something…

 

 

Towels

MLH's towels

The Fort Worth Weavers Guild show is hanging, as mentioned before. Several items caught my immediate attention, but alas, they already had red dots and were sold. These towels were already sold, but there were more at home. Yippee! These and the next two pictures Towels2

show towels woven by Margaret Humphries.  Towels

Both sets of towels are part of her drink series, as in Tequila Sunrise series and Margarita series.

I love handwoven towels and use them daily, but I also buy them for gifts. Those of us who use them, like to think and acknowledge the weaver each time we use them. It’s nice to have Margaret in the kitchen with me–and many other weaver friends.

Below are three towels that I picked up at the guild sale. Towels3

This picture really does not do them justice, because the weave structure is not very visible. Click on the picture to really see how beautiful they are. These towels were woven by friends Lynn Smetko and Nancy Berger. As for Margaret’s towels–I bought the ones on the right in each picture. And they’re gorgeous! Just like the others.

Inspiration

The Fort Worth Weavers Guild biennial show is hanging now at the Fort Worth Community Center. For Fall Gallery Night, the crowds fill the halls and galleries, looking at the art and participating in the various food (and drink) offerings for opening receptions. There were many beautiful and interesting works to see, and I got a nice surprise. First, I should explain that in all the guild shows until the last one, there was no judge and/or critique. We started having a judge with the last show, with an emphasis on the critique part. No prizes. I had actually forgotten about the judging, and was very pleased to find that both of my pieces had wonderful handwoven ribbons hanging next to them. The theme for the show is In the Eye of the Beholder. Everyone was expected to turn in an inspiration photo when their work was delivered. Many times the pieces were made, and then there was a desperate search for “inspiration.” This time I was able to follow the directions exactly. Both of my pieces had inspiration.

The-zebra-in-my-head2 For “The Zebra in My Head,” I used a really bad picture I took at the zoo. “Zebra” received the HGA award. The other piece, “Headin’ Home” was Headin'-Home inspired by all the times I have seen birds either flying out in the morning or heading home to their roosting spot in the evening. By the way, this design is the result of an online class Working in a Series that I took with Lisa Call. I was thinking about the many variations of a line that might be possible, thinking dotted line, and so evolved this design. In fact, I don’t think I’m through with this idea. For the guild show, no work could be larger than 1440 sq in–an unusual parameter for me.

I think about inspiration a lot. Sometimes inspiration comes from a picture, or colors in a painting, a feeling, etc. For me, sometimes inspiration is as mundane as a desire to experiment with a technique. More on that later.

By the way, for a really beautiful tapestry with birds flying, look at the American Tapestry Alliance’s website.  There’s a piece by Evelyn Campbell, who won the ATA Award for Excellence in Tapestry. Beautiful!

What’s your inspiration? Or an artist that you admire. What was the inspiration? How was it translated into art?

A series of unfortunate events

Colors-color-aid

The colors of the piece that needs its finish work finished. 😉

Friday did not go as planned. Nor did Saturday. The plan had been to finish the finish work, take a picture, and plan for September. Instead, events went differently than planned, starting on Friday, and ending (I hope) Saturday afternoon.

Prius My car is a 2006 Prius, which I love. There have been absolutely no problems (knock on wood!), even though it’s got somewhere around 130,000 miles. It’s been to NM several times, and lots of other places. And now for the saga….

Friday, after leaving a yoga class, the car showed an unusual display, but I thought that I had not done my usual whatever-it-is-that-I-do before starting the car. Move forward to afternoon…I take my mother to the doctor, we go back to her house, I work on her computer issues for a while, go outside to leave, and I can’t get into the car. I thought it was just my key fob needing a battery, so I called the Toyota folks, they directed me to remove the emergency key and unlock the door with it. When I started the car, I got that same strange message from the morning, so I called the service department again. They told me that the message sometimes comes on when the battery goes out and that I should get a jump charge. Jump start? That is the first time I had heard of a second battery! A starting battery! After the jump, I was able to drive home. I backed the car into my carport, you know, just in case. Yep, next morning it was even deader than the day before. My driveway is almost invisible from the street, a kind of country narrow gravel kind of thing, with trees on both sides. Two service tow trunks later, my car was jumped and on the truck to get its new battery. An expensive weekend, but if you amortize the expense over the 7 years of life the battery gave me, not very expensive at all.

Sunday was then devoted to the finishing, steaming, photographing, planning for the next week, and NOT going to the movie at the Modern Art Museum. Oh, and laundry, the usual housework, etc. I am already behind for September, but hey, I am taking yoga again!

Wari

Wari-catalog

My book

Wari and pre-Columbian designs from what is now Peru have long been an interest of mine, so the Friday workshop at the Kimbell was greatly anticipated.

A few of the tables set up for work.

A few of the tables set up for work.

Here is a quote about the workshop:

Up-close examinations of intricate Wari textiles and other luxury goods from ancient  Peru will direct our hands-on exploration of color, repetition, and alternation in symbolic patterns. Offered in conjunction with the exhibition Wari: Lords of the Andes. (The highlighting is mine.)

That is exactly what we did. After a brief introduction of the program, the docents led groups of “students” to particular items, with an emphasis on textiles. I wish I could post pictures about the exhibit, but I will have to post links instead and pictures of my book. (I’ll explain why no pictures at a later date.)

What I wish is that everyone could see how fine the tapestries are. The yarns used must be absolutely tiny! And of course, they were spun with a drop spindle. The other observation about the weaving is how the pattern bands line up perfectly, even though they must have been woven at different times and probably by different weavers. I have Catalog-page trouble with that when the weaving must be symmetrical. The colors are still beautiful even though natural dyes such as cochineal are used.

Here is a link to the Kimbell page about the exhibit. At the top of the page there is a slide show of a few of the pieces. Of interest to us fiber people are the two right and left stationary pictures. That brightly colored piece is really quite large in the exhibit, It is woven in about 6 inch squares, then tie-dyed. Yes, tie-dyed! After the dyeing, it is put back together to form the whole. Here is a picture from my catalog.

From my book

From my book

In order to understand more about the patterns and color repetition, I am going to have to read the catalogue, in which there are drawings to help explain more about the symbols and patterns.

 

The dyeing blues

Color-aid-box

Color-aid box

Not the color blue…colors that I want to dye. I’ve got a project on the loom, using the colors I have, although they aren’t totally what I want. So, in an effort to try and match the colors, I took the RGB colors and went on a web search for find color chips. Well, if I’m not going to buy a Pantone set for bunches of money, it’s back to the drawing board. A couple of the skeins that I dyed were tied with an orange yarn. I love the color that resulted from the over dye of turquoise and blue. Maybe that’s where I should start. But as I have been writing this, I remembered the Color Aid papers. Gonna give that a shot. Then some of those skeins of orange and yellow are going to get over dyed.  Oh, and just as an aside, it’s really hot here. My dye room is like a sauna–really.

Colors-color-aid

Color-aid paper practice

Later–I got out my itty bitty set of Color-aid papers and searched for the right colors. I was able to find some that are pretty close. Let me clarify why I wanted to do this. I took my very simple design and added color to it on the computer. The printout did not print the colors as accurately as I wanted, and it is hard to take the computer picture and match it to my yarn samples. That’s why I wanted “chips” to carry around with me. I was able to do that with these colored papers. Here are the matches I came up with, although the photo of these colors is not spot on. Those blues look more purple-y than in the picture. There are 314 color chips in this small set–that makes for a lot of sorting through for just the right color. And these sets are not cheap. This small box of 2 x 3 chips is $34.50.

Goals for the week:

  • studio hours-20
  • clear brush by driveway
  • dye more yarn
  • steam press one more piece