New Book

 

Stacey Harvey-Brown's new book Creative Dimensions in Weaving is now available.

If you are curious about creating 3D effects in textiles, Stacey has been doing lots of digging into how to make that happen.  The book can be purchased immediately as a pdf download.  I haven't invested yet as I really prefer print, but getting books from overseas is getting expensive, and a pdf download is (ahem) immediate.  

And let's support actual human knowledge, not LLM/AI.  

And check out her web site for some other books she has written.

Better Questions

 

pretty painted warps for eye candy

I have been thinking about how learning works.  I mean what does a person need to do when confronted with a very large pool of knowledge - more an ocean than a pool.  Where do they start?  How do they manage the info dump that can be presented?  How do they file that info dump away?  How do they access it later?

Perhaps these questions are more important to me since the brain injury, which happened in my speech centre.  And because I was hoping to keep teaching for my twilight years.  And now struggle with words.

And over and over I come back to the same answer.  If you want better answers, you need to ask better questions.

Which is facile, I know, and what the hell is a 'better' question when you don't know anything?

So I've been thinking.  A lot.  About learning.  And teaching.  

I gave the first Zoom presentation in two years on Saturday.  It was, thankfully, a small group, but a diverse one.  At least two of the people were very experienced and the rest seemed to range from beyond beginner on up.

The topic was The Weaver's Toolbox, and I talked about how looms functioned, trying to convey the mechanics of how most of the common looms worked.  Plus some other tools.

At the end, there were questions.  Thoughtful ones.  Questions that let me know that the questioner had been processing the information, thought about it, started to follow the thread I had presented, and wanted to define the information so that they could fit it into their foundation of knowledge.

As we get AI stuffed down our throats from every direction, this is a process that we need to keep active - the absorption of information, processing it to make sure it is making sense within context, and analyze it to make sure it is fully understood.  This is the very opposite of what LLM/AI does - which is essentially make stuff up.  

I see it on chat groups when someone asks a question and someone responds by posting an AI response - inevitably not helpful or even accurate in many cases.  AI does not understand the craft.  How can it?  It is just making up an answer that appears plausible.  

OTOH, dozens of us are out here trying our hardest to help new weavers make sense of the craft.  Sometimes even showing a light on something they may have not quite understood before.

After sitting and thinking about the presentation on Saturday, I am encouraged.  I managed to get through the 60+ minute presentation without losing my words.  It helps that I already have my 'script' created, which reminds me of the path I want to follow.  The thing that helped me the most was realizing that even in the 30 minutes after the presentation I was still able to answer questions, not all of them directly related to the topic.  So I'm feeling a glimmer of optimism that I can take up the reins again, and who knows, keep teaching.

I am also encouraged to see others saying the same things I've been saying for decades.  Even new weavers seem to be aware of wet finishing, and are taking that 'final' step into consideration.

I suppose if nothing else, helping to bring awareness of that step means that I've done my 'job'.  

Over the past couple of years I've seen notices of the original Magic in the Water for sale - weavers downsizing, or in estate sales.  If one comes up it has 20 (or more) samples with actual fabric samples, before and after wet finishing.  I hoped it would become a valued resource for weavers, and so it appears it has.  The text (with photos) version is still available both in print or pdf download.

My other books were an attempt to explain some of the subtle effects that need to be considered in weaving.  (Also available using the above link.)

If you are a new weaver, get some books.  Read as many as you can.  Realize that not all experienced weavers will make the same recommendations - we may differ on details, but most agree on the principles of the craft.

Find the end of a thread and carefully tease it out until you can see it fully - if you can.

Weave 'samples'.  A sample can be a scarf.  Or a tea towel.  A pot holder.  A mug rug.  Study samples woven by others if you can.  If you can't, study photos in magazines.  And read how the weaver created the effect that intrigues you.

Above all - think.  Don't assume.  Ask yourself why something is happening.  Ask questions.  As you learn, your questions will become more informed and you'll get better answers.

Learning is a lifetime activity, if you should desire to make it a part of your creative processes.

The life so short the craft so long to learn...

Twist and Texture

 

I finally got a photo of the texture that developed during wet finishing.  Below is how the cloth looked in the loom...

Now, the cloth in the loom was really pretty.  And no doubt I may do something similar in the future.  I'm planning some white on white silk (warp) and cashmere (weft) scarves, and I think this sort of design will look really lovely.

But the goal was to use up some of that single 6 with high twist 'energy' in it, and on the whole, I'm pleased with the results.  

As tea towels, I think they will work (i.e. they will dry dishes) and they have an interesting texture.  The cloth feels a bit 'rough', so not something one would want to wear against the skin.  But neither will most people want to work with a highly energized yarn, which generally means a yarn with a high degree of twist.

There are other ways to encourage 'tracking' (for that is what this is, ultimately, just an extreme version of it) by using yarn with lycra in it, or the differential between yarn that will full and shrink versus one that will not.  I've done both and they can be quite effective.  And yes, sample before setting up for a big project because the results can vary in ways that might not be intended - or welcomed.

I've included the selvedge in the photo although you'll have to biggify the image to really see it.  It is not a plain weave selvedge and it is not straight.  And it doesn't matter.  The selvedges are secure enough for use.  

Normally I would give tea towels another hard press after hemming, but I don't think I'm going to bother.

I'm down to the last (maybe) 4 towels, and once those are woven, I'm going to move on to the next stash challenge - the silk and cashmere.  

I'm looking forward to working with some co-operative yarn for a while.  And weaving down more of my stash.  

Challenges

 

after wet finishing

loom state

Someone asked about weaving something that resembled ribbing.  I suggested something like the above, which isn't exactly what they wanted but what might be experimented with to get the effect they wanted to achieve.

Then I suggested that if they kept their stripes narrow enough, they might be able to encourage the cloth to 'collapse' and wind up with something even more 'rib' like.

Today was the first time I felt able to agree to doing a zoom presentation.  They had chosen the topic of 'Weaver's Toolbox'.  I spent a lot of that time explaining how the 'main' types of handlooms work, because if something is going on, it's good to know if it is a 'weaver' problem or a 'loom' problem'.  One of the things I missed talking about is tightening the nuts/bolts/wedges of a loom which is primarily wooden.  

Relative humidity has been on my mind a lot lately because we are in the depths of winter, where the relative humidity drops, significantly.  Doug mentioned a while ago that he went round the loom and tightens the bolts.  (He knows how difficult I find such things right now, so I was grateful he took care of that for me.)

Anyway, the presentation this morning seemed to go well, once I'd sorted out the technical issues yesterday (thanks Microsoft - NOT!) and the next one is in 4 weeks time.  Once I'm done that I'll assess how they went and decide if I begin promoting my giving more.  I feel hopeful that if people find things of interest, maybe things they were not consciously aware of being issues and that they needed to pay attention to.  

As usual, I went beyond  the time allotted, but people were asking really good questions.  Usually when that happens, I know I've opened some possibilities for people.  Helped them think beyond the 'usual'.  

And bottom line, that's why I do this.

My website is still giving out 'danger' warnings, largely because my security certificate has expired or something.  But I don't collect your data so hopefully you can just click on through, if you are interested in my zoom topics.  Just scroll down the page a bit and they are listed.  

No Rules!

 

A weaving draft for a twill - or in this case a 1:3 twill

The other day I saw an ad for a weaving class.  NO Rules!  Ok.  You're going to ignore millennia of history regarding the things that make weaving rational and just...wing it?

Which would be fine if people bothered to learn what those rules actually say.  Instead they are 'doing their own (ahem) research' and leaning heavily into their creativity.  Because rules limit one's creativity.  Or something something gazpacho.

If going 'no rules' makes their hearts sing, then ok.  But don't assume that I am crippling *my* creativity because I know the nuts and bolts of how threads work together, understand the mechanics of the craft, understand how colours blend or contrast in a woven textile.

Or assume that any 'answer' you get from AI or LLM (Chat GPT) are going to give any kind of meaningful information.

So I'm going to discuss - briefly - what some of those 'rules' mean, specifically when I talk about a 2:2 twill.  Pop quiz...does the draft above depict a 2:2 twill?  No.  No, it does not.  How do you know?  Because I've labelled it a 1:3 twill.  See?  I know one of the rules and can distinguish the difference.

The ratio refers to how many warp threads are up at any point, and how many are down.  So that 1:3 twill has one warp thread up and 3 are down.  The weft crosses them in a 1:3 ratio.

If that was a 2:2 twill, there would be two warps up and 2 down and the resulting twill would be considered 'balanced' - if the epi/ppi is equal.

You could also weave this as a 3:1 twill, in which case 3 warps would be up and one down.  In that case, the warp is more visible.

If the warp and weft are different colours. a 1:3 twill would place the majority of the weft colour on top; a 2;2 twill would show the warp and weft colours equally; 3:1 would show the warp colours more than the weft.  Again, these aspects depend on the warp and weft being more or less equal.  The three cloths are then labelled 1:3 = weft emphasis, 2:2 = 'balanced' (for certain kind of 'balance) and 3:1 would be warp emphasis.  Weft faced means the weft entirely covers the warp; warp faced means the warp entirely covers the weft.  (There may be some instances where coverage is not complete, but you get the gist, I hope.)

There isn't any particular necessity to *know* that unless you want to design something that looks a particular way.  Or if you want to manipulate the threads to create a particular effect.  All of which are possible.  But it makes it a lot easier to do that if you just understand some of the 'rules' of the craft.

Or if you are following a 'recipe' and there is an error in it.  Or maybe you just don't know the 'rules' and interpreting the instructions is difficult to understand.

Just saying... 

Unpopular Opinions

 

The Prime Minister announced that one of the new budget initiatives would be 'investment in AI training'.

Well, the country will not need to spend any money on me because I won't use it.  Period.  The books pictured above were all written by me, long before AI or LLM were sparkles in anyone's eye.  I will continue to generate content out of my knowledge and skill pertaining to a rather complex craft that has multiple layers of information.  As far as I am concerned, there is NO room for AI in the field of weaving.  At least for the understanding of the principles of the craft, and understanding the marriage of the weaver, their body, their loom and the yarn they choose to work with.  There may be other tasks they could do well enough but I don't need those services, so...

Then this morning I answered a fairly simple/basic question on a chat group and a Reply Guy responded rather rudely.  He demanded to know what had 'informed' that answer.  I told him my 50 years of weaving while paying attention to the results.

As regular readers of this blog are well aware, I have been struggling for years with health issues that are adversely affecting my ability to weave, and every trip to the loom is part therapy as well as an exercise in discovering more about the craft - how threads interact with each other, in the loom, and during wet finishing.

Plus the current events lately, and the scorn in his 'reply' was not going to be ignored.  Not today, Reply Guy.  Not on this day.

I rarely respond to Reply Guys, but today I did.  Do I regret it?  Maybe.  But not at the minute.  I'm tired of Reply Guys telling me I know nothing.  It happens less now as I've limited my participation on public chat groups.  Perhaps I ought to have introduced myself when I joined the group.  But the people who know me, know me, and I thought that my answers (when I made them) would at least introduce me (and my knowledge) to the newer weavers and let them know that I had knowledge that they might consider.

It is no secret to me that I do NOT have 'all the answers'.  But I have a broad base of experience in designing and weaving a large range of qualities of cloth.  I can usually make an informed guess.  If I can't, I won't reply and let someone else respond.  

But weaving is as deep as it is wide.  OTOH, there are quite literally dozens of books that will present information on various facets of the craft.  And now the attitude is to ask the the 'secret', the magic potion to make 'perfect' cloth on their 3rd warp.

There are a lucky few who come to the craft with excellent fine motor skills, and a knowledge of working with textiles so they do have some experience working with thread.  But every new weaver's question(s) are generally found between the covers of multiple books.

Some are 'historical' (as in written in the 19th and 20th century with a few more in this), but the principles remain the same.  The language may seem 'stilted', the photos may be grainy black and white, authors may differ in minor ways.  But essentially the principles remain the same up to even this very day.

One of the founding principles to any 'practice' of weaving is weave the samples you need to find out what is going to happen.  Don't take my word for it.  I can point you in a direction.  And then you have to figure out where it is you actually want to wind up.  And you do *that* by setting up the loom, with the yarn you intend to use, in the colour(s) you want to use, weave the sample and wet finish it.

If it doesn't turn out the way you want, back to the drawing board, figure out what needs to change to bring you closer to your goal.

Seems like today is another day to post the links to my personal set of resources...

Classes

School of Sweet Georgia (four classes)

Long Tthread Media (Handwoven)

Books

All 3 above available at blurb.com with a fourth available in my ko-fi shop - A Thread Runs Through It - pdf download only

Leaping Into the Deep End

 

A local weaver has arranged to purchase a draw loom and since I've woven on one (attended Madelyn van der Hoogt's Weaving School) I have rusty memories about how they work.  I've offered to help, and Amanda has suggested that I can come 'play' on it once it is up and working.  So I'm very excited.

I really enjoyed weaving on a draw loom, but my neck was less than impressed.  So it didn't seem prudent that I spend the money required, try to find the space that would be needed, and the time to really get comfortable with getting to know more.

I loaned Amanda some books, the loom's owner gave her some more, and we've discussed a few others that will help her get ready for the plunge.  In the meantime, I've suggested that she set the loom up as an 'ordinary' shaft loom because she's not woven on a Glimakra previously and it would a good idea to get familiar with the mechanics of the 'standard' loom before attempting to use the draw attachment.

Not all of the books that I recommended to her are commonly available, but I gave her some suggestions of where she might obtain copies - Inter-Library Loan, for one, Handweaving.net for another.  Complex Weavers may have some as I think they have a draw loom study group.  But it's been ages since I have been a member of CW.  They also have a library, but I don't know about shipping books from the US into Canada, given current events.

I know that I'm not the 'best' resource for her, but I'm the only one here who has woven more than once on a draw loom.  And I have some of the books she needs and am willing to loan them.  It is also giving me something new and exciting to think about, and polish off some of the mental rust.  It's been decades since I wove at The Weaving School.  But I still have my samples, and I can dig them out for Amanda to take a gander at.

Coincidentally, I have a Zoom presentation booked for Saturday in which I will talk about The Weaver's Toolbox and one of the things I will discuss are the mechanics of the 3 main types of looms commonly available - rising (jack), sinking/rising (counter balanced) and direct sinking/rising (counter march).

This is the first guild presentation since I had the brain bleed.  I'm very nervous if I can manage it, but if I can, I will be open to add more bookings to my calendar.  (If you belong to the Greater Vancouver Weaver's Guild - it's Saturday morning this weekend.  Just saying.)

My list of online guild presentations is available at https:laurafry.com