PROGRESS REPORT 32

A L I S A

I've been working on this great shawl called Sea glass. It's been a great carry around project of join-as-you-go crochet motifs. The best is that Kelbourne Woolens declared this summer Crochet Summer 2015 and there have been some amazing projects tagged. I used a very fun multi-coloured yarn and, as I usually do, ran out of yarn just in time for the border. This happens to me a lot and I really like that it does. It gives me a chance to get creative and add a fun new colour or texture element. This time, I'm using some fun hand-dyed yellow yarn that I had in my stash to finish it off! It's the perfect fall colours and I can't wait to give it a bath and wear it!

J E N N E

Merino, spun woolen, feels like spiderwoman spinning chewing gum so fine.  Its really my favorite way to spin wool, the ease of pulling the wool into place, letting it fill the twist as it will.  4 bobbins full to ply and then dye in a rudbeckia bath, then to overdye some of it in indigo as a test.  

PROGRESS REPORT 31

A L I S A

I've been working on a bunch of stuff lately. Some weaving (you can see some of it in the background of this picture), prepping for some cool classes I'll be teaching starting in a few weeks and dolls. The dolls have paper heads and I use weaving, hand-sewing, crochet and embroidery for the bodies. I'm trying to add some birds and reptiles to the bunch. I'm also thinking of making some of them into hand-puppets.

J E N N E

Aaannnd we are back!  It has been a record hot summer in the Pacific Northwest and we moved back here right in the middle of it - it has been great for starting some dyeplants in the garden to quickly harvest and dry to work with when the rain comes (and rumor has it thats tomorrow.)  I took a natural dyeing class from farm to field with Local Color Fiber Studio on Bainbridge Island a couple weeks ago in which we harvested from the dye fields in the morning and dyed in the studio in the afternoon.  I never really had the space to really get into dyeing anything until now in our new house, and this class renewed my intense love of playing with color and learning about what can be grown here in this usually short growing season.  Already planning next years dye garden in a borrowed plot, indigo and other things but for right now just cutting and keeping dahlias, marigolds and rudbeckia for days.  Heading out on a hike to look for hawthorne berries and oregon grape tomorrow, hoping to forage some to try too.  

PROCESS NOTES - On Circular Weaving

I N T R O D U C T I O N

"When craft is in dialogue with its audience, it does not and cannot stagnate.  The fresh flowing water of our field turns fetid when we as makers and audience assume, shut down, impose strict limitations, or end every thought or art work with a period rather than a question mark.  The common denominator among experts, innovators and outliers is curiosity.  Experts with years of embodied knowledge intertwine curiosity with persistence.  Sometimes, there are small shifts in the studio; other times, seismic shifts.  A level for inquiry is a constant force. Innovators dissect a precept and build from their discoveries, while outliers use curiosity to build bridges between their primary interests and others. The majority of artists I know combine aspects of these qualities."

-Sonya Clark "In the hands of the Curious,"  from Crafting a Continuum, The University of North Carolina Press 2013.  (Thank you Betsy Greer for bringing our attention to this quote and book.)

Craftophilia is a dialogue about process.  The projects Alisa and I are compelled to do, trying to see how the way we each work is motivated or inhibited by the weekly demand of having something "made" (or in the process of being made.) By posting (almost!) every week what we have been able to make with our hands we are learning about exactly why and how we do and make things.  

Craftophilia is totally transparent, laying bare the processes we go through, open with our personal experiences of making.  What works, what happens when you have no time at all to make anything, when it totally fails, at the pace of how it actually happens in our daily lives.  It is our biggest hope that it inspires you to pick up the material that sings to you and make, without fear of any of these outcomes or circumstances that may stand in your way of making something as there is no fail there is just DO.

PROCESS NOTES is an open ended list of ideas, questions and further explorations from what we found useful while making a circular weaving: from wrapping the first warp around the hoop to almost (finally) finishing one hoop.   Hoping that this inspires you to take material that is vernacular to your life (yarn leftovers, pine needles from the yard, darning needles, kitchen twine etc.) and experiment with it to make something new.

P R O C E S S   N O T E S   O N  C I R C U L A R   W E A V I N G

S U P P L I E S :

Hoop.  Embroidery hoops, wooden, metal, various sizes,  weird brass hoops from craft store, hula hoop, old bike wheel...

Embroidery needles - straight, bent tip, plastic, brass, bamboo.  Try a few to find the one that works for you.  Some work better in smaller hoops, others in larger hoops.

Warp thread - carpet warp, kitchen twine, thick embroidery thread from the japanese dollar store, yarn...

Weft thread - ANYTHING.  Experiment with single ply and double ply yarns, thick yarns, thin yarns.  Mohair and Angora will make a lovely halo that you can brush up after to great effect.

Is it malleable? Use it.

Scotch tape and masking tape.

W A R P I N G :

Experimenting is extremely important.  Sitting down with your hoop and warp thread and playing with the warp is almost better than following directions. Creating a visual, tactile memory and a rhythm. Does warping in a figure-eight work better for a "diameter warp" than over one side of your hoop and under coming back? How about tying each thread individually to create an off centre "spoke warp"? Remember, using an embroidery hoop is beneficial as once you attach the outer hoop, it will hide any peculiar knotting. You can also secure your warp threads by using tape on the side of your hoop - once you have woven, it will be secure enough to remove the tape.

v. 1 - spoke warp (above)

v. 2 - diameter warp (above, warp anchored directly across the circle)

T E C H N I Q U E :

Over and under one warp thread at a time? Several at a time? Change it up?

What happens when you use thin thread and heavy yarn in the same piece?

What happens when you coil your yarn around a warp thread?  Around 2?  Around 5?

Does warp have to go in one direction?  Where are all the places you can anchor warp?

Again - observe! Books, pictures, online - analyze what you see. Ask yourself questions.

O T H E R  W O N D E R S :

How will you finish the piece? Does it stay on the hoop or is it removed? 

What about wrapping the hoop in fabric or yarn?

Is fringe your thing, or not?

Try adding non-traditional items like pine needles, strips of fabric, feathers or pieces of spinning fibre. If you can trap it in the warp, you can put it in!

PLAY!  Make mistakes!  ENJOY!!!

PROGRESS REPORT 7

J E N N E

Getting back to my handmade wardrobe.  I have several muslins going right now, testing different dress patterns to find a uniform in which to make a million iterations for every occasion.  None of them have been satisfying enough in fit to make "the one" so two weeks ago I started Cal Patch's Patternmaking Class on Creativebug to make a pattern to just fit me already.  I am halfway through that process (and it is MAGIC.  I have a bodice that actually FITS!)   I took a break from patternmaking this weekend to break out a new pattern to try and wow.  This is the Endless Summer Tunic, the first pattern from A Verb for Keeping Warm. I made one first too big then took a chance and made the smallest size and it fits perfect. Fabric is insane, something that has been in my stash forever, asymmetrical batik/shibori/bleach don't even know (lots going on) and silver dots printed over it.   So now I have a dress to wear while I finish my tunic from Cal's class.  So much closer to that handmade wardrobe.  

A L I S A

These are some doll/puppets that I'm working on - a Rabbit, a Goat and a Cat. I finished building the heads over the weekend and so now I have to paint them. I have to make a woven body for the Goat too. I'm totally into making these and am not quite sure how I'm going to display them. I kind of want to make shadow boxes for them and crochet and weave other stuff to jam in the boxes with them - not sure yet, we'll see. 

PROGRESS REPORT 3

A L I S A

This is a picture from a Blending Party my Weaving and Spinning Guild had. We used blending boards. I have had a Fancy Kitty blending board for a while now and have never used it. The great thing about them is that you can use all your leftover fibre and make really cool colour repeats. It's kind of like a flat drum carder. You lay the fibre out and roll it off using dowel. You're left with some pretty neat rolags!

J E N N E

Whats life without taking risks?  Warping the rigid heddle loom with a couple Noro yarns in magical colorways to start a Saori inspired weaving.   The weft will be the same yarns.  This is going to be awesome and a little like living on the edge.  Warp be strong!