Mastery

 

GCW Master Weaver Certificate holders and their monograph topics:

 

1955      Mary Black:  Tartans and Mary Sandin:  Linen

 

1958      Nell Steedsman:  Two Frame weaving

 

1959      Grace McDowell:  Box Loom Weaving

 

1973      Adrienne Whitelaw:  Ceinture Fleché

 

 1975      Mary Andrews:  Fundamentals of Weaving

 

1976      Sandra Feenstra:  Double Weaves and Dini Moes:  The use of Colour in Handweaving

 

1979      Judith Rygiel:  Stitched Double Weave

 

1980      Eileen Shannon:  Point Twill Treadling Variations

 

1986      Jane Evans:  Tied Latvian Weave; Linda Heinrich:  Linen; Noreen Rustad:  Beiderwand

 

1989      Anke Keizer-Bles:  Exploring the Moorman Technique for Clothing and Margaret Berg:  Multiple Tabby Weaves and Twills

 

1990      Sandra Fearon:  Shadow Weave Design

 

1991      Patricia Corbett:  Colour and Texture Variation in Knotted Pile; Ruth-Carrol, ; Gaye Hansen:  Twice warped – Twelve Techniques for the Second Warp Beam; Kay Reiber:  Summer and Winter – a System for All Seasons; Frances Timbers:  The Handkerchief.

 

1992      Valerie DePorto:  Design Dynamics of Multishaft Swedish Lace

 

1993      June Bell: Finnweave; and Mabel Verigin:  The Forgotten Weaves

 

1994      Margaret Hahn:  Opphamta

 

1995      Christine Hill:  Wool – Fleece, Fibre and Fabric; and Evelyn Oldroyd:  The Wonder of Weaving Silk

 

1997      Laura Fry – Transformations:  Fulling Handwoven Fabrics

 

1998      Carol Oberg:  Brain-based Learning in the Weaving Studio – process of regeneration

 

2001    Ruth Jarvis:  Ramie

 

2003     Helene Ruel:  La Magie de l’Ikat (The Magic of Ikat)

 

 There may have been more people who have achieved the master level granted by the Guild of Canadian Weavers since 2003, but I have not belonged to the organization for a number of years so no longer get the newsletter where such things are announced.

The program is a testing program, not a teaching one.  It is a way for people who may not have easy access to others to discover if they have enough knowledge about the craft to be considered a 'master' at it.  I chose to do this program in part because it was economical compared to others, and I could do it on my own schedule.  I could set my own goals and deadlines, which was helpful given my work load during the time I was working on the program.

Not everyone wants to take a deep dive into the craft, but for those who do?  This program might be just the thing.

If, however, someone wants an element of teaching of the craft, the Olds College program approaches the craft from that direction.  There are other programs, here and there, that do similar things - either testing or teaching/testing.

However one approaches learning the craft - on their own, taking as many workshops as they can afford, having a teaching program they can follow - I encourage people to look below the surface by reading, watching videos, taking on line classes.

On the other hand, it is also valid to work from kits and/or published patterns.  There is room for all.

With the growth of the internet we now have multiple resources.  Janet Dawson's Craftsy class is a great introduction.  Jane Stafford's on line guild will take students through the craft on a much deeper level.  There are all the videos through Long Thread Media, including my own, available as on line 'workshops'.  

With Covid and self-isolation, the internet has been a god-send and even I have bitten the bullet and begun to learn Zoom.  

But neither should we forget our history - the Margaret Atwaters, the Harriet Tidballs, the Mary Blacks and so on.  

I encourage new weavers to take a look at resources like the GCW library where many of the monographs done by the above are stored and available for guild members to take out and examine, including mine and the copy of Magic in the Water I donated to the guild.

Over the years many of the master weavers have gone on to write books, from Mary Black, to Nell Steedsman, Linda Heinrich, Jane Evans, Mary Andrews, Dini Moes.  Some were published by the authors themselves, others were done via traditional publishing houses.  I took the self-publishing route because I wanted to include actual fabric samples for Magic, then because The Intentional Weaver was a niche topic for a niche market, I didn't even try to find a 'real' publisher.  (I was asked to send a sample of the manuscript to one - they declined saying it wasn't 'right' for their market, which I expected and wasn't actually disappointed about.)  

One of the challenges about being such a small/independent publisher is that the marketing also falls on my shoulders.  OTOH, the book is as I wanted it - nice large text, white space, photos that showed what I felt needed to be seen.  Yes, I could have done better, but after five years of working on the manuscript, off and on, in between Life Happenings, I had to stop.  

It is said that authors never finish writing a book, they just stop writing the book.  I wrote until I felt I had the essentials, then stopped and called on expert assistance to first edit, then publish it on line via Blurb.

 A person can pursue weaving in the way that brings them joy.  Follow the rules or not.  Learn the rules well enough to break them.  Follow a pattern or make up their own.  Or all of the above.  The thing is, the people who hand weave in the 21 century are continuing a tradition that goes back thousands of years.  No one person can know everything there is to know about how to create cloth.  But individuals can 'master' the craft in such a way as to remember the shoulders of the giants we stand on.  And maybe help others along the way.

Journey

dolphin at the aquarium

On a trip to Florida a few years ago we visited one of the aquariums.  They stressed that their primary mission was to care for those creatures who had been injured - they treat their injuries, provide as good a quality of life as could be managed, given they would not survive outside of the protected area of the aquarium.

In many ways life is like that for humans too.  We have our protected areas that we tend to live in, pretty much ignoring what is happening outside of our 'bubble'.

In weaving people find processes that work for them, and pretty contentedly stay in that circle of knowledge.  When confronted by something new or different they will go back to the tried and true and when that doesn't work may feel frustrated.

I have my own area of contentment - my 'happy place'.  I have worked with a small slice of yarns that are commonly available (here), know them intimately, pretty much know the limits to which I can put them into use.

When I go outside of my comfort zone, I have to check my assumptions.  This may be a quite different yarn from what I most commonly use.  I cannot expect it to behave in the same way.

One of the reasons I appreciate the Olds program (and others) is that the student is forced outside of their comfort zone in order to learn.

Once they have learned, they may decide that not all of the things that one can do is of interest to them.  And that is also a perfectly good lesson to learn.  One I put into practice almost daily in my own studio.

But from time to time I do dip into other techniques.  For example I'm not overly fond of weaving with two shuttles.  Because it takes so much longer to alternate between the two - it isn't twice as long but more like 3 or 4 times as long to weave.

Recently I did an overshot project and all the reasons why I don't much like doing overshot came back to me.  In spite of the cloth turning out the way it was supposed to.  I felt fumble fingered, repeatedly dropping a shuttle, having to climb down off the loom bench, dig around in the herd of dust buffalo below the loom to extract shuttle and bobbin (which frequently popped out of the shuttle), get back onto the bench and deal with a bobbin covered with dust bunnies, find my place in the treadling sequence, begin again.

Not my idea of fun! 

But.  But.

The cloth turned out quite nicely.

Am I a fan of using two shuttles?  Still no.

Doing the Guild of Canadian Weavers tests, I was required to weave things that required two shuttles.  I was required to use yarns I wasn't comfortable with.  I was required to understand the weave structures that I might not be all that interested in.  Still aren't in some cases.  But I do have a basic knowledge of things like overshot, crackle and so on.  I was required to understand how to do draw downs and understand things like unit weaves, how to design with them, how to create motifs.

If we are to keep the craft healthy, not just 'alive', we need to have a core group of practitioners who understand the principles of the craft.  Who understand the mechanics of looms, not just paint all looms made by a specific manufacturer as 'bad' when what they are complaining about is a particular style of loom, never mind who made it.

We need people to understand the mechanics of the three main styles of looms, their benefits and restrictions.  And to understand that within one of those styles - counter balanced - that how the mechanics of the loom works matters.

I consistently see people say that you 'cannot weave unbalanced weaves on a counter-balanced loom' when what they really mean is that you may have issues on a roller style mechanical system.  I also keep seeing people say that you cannot have a counter balanced loom with more than four shafts when what they should be saying is that a roller style counter balanced loom is four shafts, but that a lever/ horse type of mechanics means you can have many more shafts.  For example I have woven on a 16 shaft lever/horse style counter balanced loom.  And the shed was nice and lovely.

It is tiring to see these generalizations repeated over and over and over again.  It is why I am committed to teaching for the Olds program for as long as I am able.  And why, if the classes in Cape Breton meet student enrollment in September, I will most likely climb on an airplane to make the journey from one coast to the other. 

Wearing a mask.

Stubborn

Stubborn, my mother called me.  As if that was a bad thing.  Which I suppose from her perspective it was.  Personally?  I prefer persistent...

But it can also be negative.  Especially when I stubbornly procrastinate about doing something that needs to be done, putting it off longer and longer until I really don't want to do it at all.

Maybe one of these years I will learn that if I just go ahead and do it, I wouldn't need to have it hanging over my head.

But stubborn?  I'll accept that.

I stubbornly worked at making weaving (in one form or another) my life's work.

Stubbornly I stuck to working on my Guild of Canadian Weavers master weaver certificate.

I would not give up on trying to find teaching gigs or submitting articles for publication.

Persistently I worked at producing Magic in the Water.  And then The Intentional Weaver.

If I hadn't stubbornly carried on with those things, I would not be the person I am today.

On the other hand, I have also learned when to cut my losses and give up on something.  How do I know which is which?  I don't.  Not really.  I have no idea which ideas I have had that were worthwhile.  I just kept on working on some things and let others go.  It is almost as if - stick with me here - the bigger the dream, the more I had to do it. 

In spite of how much money it took to get it done (because Magic was *very* expensive to produce), in spite of the emotional toll it took on me.  In spite of the energy and time I poured into it.  Maybe because of that last one.

But there comes a time when I can assess where I am, how much energy and time I have left, and let go of Big Dreams.

And that is ok, too.

So while I am 'retired', it is from a slice of my professional life.  Specifically, I am no longer seeking teaching dates (beyond Olds, when ever that program might be possible - if I still have the energy when it does), or weaving primarily to sell.

But it doesn't mean I'm not weaving.  Because I am.  I am also being selective in what I weave and for whom.  But I did accept a commission from someone else and today I am putting the finishing touch to that.

I am also finding that weaving on the smaller loom is becoming more of a problem.  I am going to have to monitor my physical health and then decide if I really can keep weaving on that loom or if I find it a new home.

These changes over the past year or so have not been easy.  Nostalgia colours what I do - what I think I can do (but may not be able to).  Hope springs eternal that my physical issues resolve, but in reality?  They are probably just going to get 'worse'.

But I'm stubborn.  So I will carry on, as best I am able.  For as long as I am able.  

Challenges

When I achieved the master weaver certification from the Guild of Canadian Weavers, Doug made me two cups with a copy of the certificate printed on them.  One facing me, one facing away from me.  One was to remind me that I had risen to the challenge and done it.  The other was to remind others.

For the last while I have been coasting in my comfortable rut.  It's a nice rut.  I know how wide it is and how deep.  The bottom is well trodden with few pot holes (yes, some, but usually anticipated.)

It has been quite satisfying, plodding along that well worn path.  From time to time I would branch out, usually because I was 'ghost weaving' for someone else.  Nothing like trying to meet someone else's specs to sharpen ones focus!

It was one of my stated objectives when I 'retired'.  'Retirement' being not weaving for sale as a major focus of my practice.  As such I didn't need to keep my eye on how long something was taking, working only with the most efficient of practices.  I could dip into weave structures that were, by their very nature, slower to weave.  Such as using two shuttles.

So I took on a project that required two shuttles just to see how it would go.  There have been some pot holes.  It has pushed me, in just the way I had said I wanted to be pushed.

It has not been comfortable.  But it has been a growth experience.  On the other hand, I am looking forward to the next warp being another comfortable rut.

We are all going through a challenge right now.  We have arrived at that state of 'interesting times' and many of us are feeling stressed and tired.  We are missing our usual routine (our comfortable rut) and longing to get back to 'normal'.

But 'normal' is a long way aways, and given that 'normal' wasn't all that great for a lot of people, maybe we need to look at new ways.

Each One, Teach One

Interest in weaving as a craft waxes and wanes.  I started weaving in the mid-70s when weaving was in an upsurge.  I found myself in the midst of a group of (mostly) women who were intrigued by the craft and the unexpected nuances that could be discovered in the exploration of the craft.

I quickly got to know several of these women who became role models and mentors.  (I was 25 when I started - they were in their mid-30s to mid-40s)

Four of them dove into the Guild of Canadian Weavers master weaver certificate and with the excitement of discovery and challenge the program provided I was inspired to begin the program myself a few years later.

Three of the four continued on to achieve the final level and certificate and all were supportive of me as I started the program myself.  When I flagged they encouraged me to get back at it.  They wanted to see my explorations and when I passed a level, they oo'd and ah'd.  When I finally(!) passed, they gifted me with a lovely book by Jack Lenor Larson "Material Wealth".

I always taught, right from the beginning.  Weavers who had kept the craft alive during the down part encouraged me and others to pass the knowledge of the craft along.  For those too shy to teach classes, the encouraging phrase was 'each one, teach one'.

Today I spent another couple of hours at a local high school.  The teacher said she had 6 or 8 students on her list but only three showed up.  Two could only stay for one hour and then had to leave.  The third one?  I left her with the guild table loom and a warp she had wound for a scarf.  In the two hours we talked a bit about tapestry, then I showed #3 how to wind her warp, then we beamed the warp together and I showed her how to thread.

There weren't enough heddles on the first four shafts so instead of just using four shafts, I showed her how to thread a straight draw over all eight.  When you are new, there are no preconceptions that 8 shafts are any more difficult than 4.  It's all just a mysterious blur no matter how many shafts are there!  So I don't tell beginning weavers that they shouldn't use 8, I just get the loom set up and get them started.

There wasn't time for her to finish threading before next class, so we talked about when she would be available and it turned out that Friday morning she didn't have any classes so her homework is to finish threading the 200 ends by 10 am Friday.

She says she likes the detail of the process and we talked about weaving being a working meditation.   That frequently I go to the loom precisely because I'm frustrated with the way Life is Happening and I go to the loom to centre myself.

If we can get her equipment, I think we may have found one more.  Maybe she will teach one, too.

Hurdles

One of the biggest hurdles I've ever faced was producing this massive missive.  It went on for literally years.

First I worked on obtaining the master weaver certificate from the Guild of Canadian Weavers.  I thought that goal was the biggest hurdle I'd ever attempt.  It was just the prelude to first writing, then illustrating - with actual samples - the principles of wet finishing.  And then marketing a fairly pricey book.

I've never shied away from tackling Big Projects.

I have chaired - or co-chaired - something like four conferences.  Or maybe five.  I forget.

But usually I'm smart enough to not attempt so many Big Projects all at once.  But right now?  Not only am I in the midst of trying to wrap up another book (lord, help me) I'm also wrangling another major conference (major in terms of textile arts) into shape.

Along with health issues.

So, why, I ask myself, do I keep doing this to myself?  I honestly don't know.  Except that they both seem somehow...important.

Yesterday someone said on Twitter that an author never 'finishes' writing a book - they just *stop* writing the book.

And so I am in that place.  I am 'done' writing the book.  At least I'm done writing the text of the major part of the manuscript.  What is left are the projects that will help illustrate the weave structures I want to use as additional insight into understanding weave structure theory.

Because sometimes people need to just follow the directions so that they can see how it all goes together - yarn selection, density, colour choices, weave structure.  And of course, wet finishing.

There will be no actual samples in this publication.  I have been using blurb.ca as a test to see if that is a good route to go and after six months of having Magic available for sale there, I'm pleased with it.  So we are carrying on with the intention of posting The Intentional Weaver for sale there as well.

One of the reasons for publishing this way is that people will have a choice - they can download a digital version (pdf) or they will be able to order a hard copy.  So far customers who have purchased the 'magazine' version of Magic have said they were pleased with the quality of that hard copy, and I have been pleased with their professional standards.  They pay what I am owed within five days of the end of the month. 

Today I am dressing the loom with the 'last' of the table runner warps, with the intention of finishing it tomorrow.  And then I will be going through the manuscript again, checking to see which weave structures I already have projects for (in part because some friends have jumped in to help by designing and weaving projects - love you all!) and deciding which ones still need to have a project.

I am also chasing down details for some of the conference instructors so that their info can be posted to the conference website.  We have had some technical issues with the website - and Internet Explorer will no longer display the website so people will have to use another browser.  Nothing we can do about that since IE is no longer supported.

I am hoping to hear soon when my editor can come to take the photos for the book - and once those are done my part in 'birthing' this book will be pretty much over.  Then it will be in her hands to mash it all together.

While I have a lot of hubris, I don't have enough to think I can do this last crucial part on my own.  At this point I have zero perspective left in order to assess if the manuscript is acceptable.  It's time to have fresh eyes - and professional editor eyes, at that - to polish this project and take it to the finish line. 

And I will concentrate on the conference and the craft fair season.

Multi-pronged

There has been conversation on one of the internet groups I belong to about what it takes to be a professional in the leisure/hobby textile profession.  An oxymoron, of sorts, but not really.  

Because there are many people who follow the profession of teaching or producing textiles to a greater or lesser extent.

There are people who practice the craft, designing and making textiles for sale.  There are people who research and write about the creation of textiles.  There are people who teach the craft.  And mostly?  There are people who do all of the above.

There are also people who provide the supplies for the crafts, from growing the fibre, to importing it from other countries, to dyeing unique colours, to having local yarn shops, to selling supplies on line.

For me, I did all of that including weaving cloth for others.  I made a great deal of my income for 9 years weaving for a fashion designer, which I discussed previously, but also for other textile artists.  Sometimes it worked out, sometimes it didn't.  Sometimes an international border stood in the way, like the time I wove 'samples' for a designer in New York.  Getting materials across the border and back again was a pain - for both of us.

Right from the beginning I taught.  My very first workshop was a (gasp!) spinning workshop.  No, I wasn't very good at it.  But I was better than those people who came who knew nothing at all - and wanted to.

Right from the beginning I wrote - first the local guild newsletter, then bravely sending articles off to magazines.  The very first one that accepted one of my articles was The Weaver's Journal.  

As soon as I could create enough inventory I took a booth at the local craft fair, plus I sold my textiles on consignment at a local shop.

And I learned.  Boy howdy, did I learn!  I knew very little about retails sales, but I did know how to set up a double entry ledger and how to balance it, reconciling it to my chequebook.  I knew enough that I'd rather pay an accountant than do my year end and file my taxes, so I wove enough to pay for those services.

Eventually we were both working in the studio - Doug was my studio assistant, winding warps on a 'spare' beam while I wove, doing the wet finishing, hitting the road and selling what we were making.  At one point I was weaving 240 yards per month - 200 for the fashion designer, 40 of my own design.  We had 28 shops in western Canada buying place mats, table runners, napkins.

Then everything came crashing to a halt.  Instead of 28 shops, suddenly there were three.  There wasn't enough work for two so Doug got a job elsewhere while I tried to figure out how to continue.

I worked on the Guild of Canadian Weavers master weaver certificate, writing, teaching, scrambling to bring in enough money to keep going.  And I saw the need for a book on wet finishing, so I worked on that, eventually self-publishing so I could include before and after samples.

The book launched in time for Convergence in Vancouver 2002, but taking a booth to just sell a book wasn't going to pay for the booth, let alone anything else so I had started importing yarns and selling them.  From there I started selling yarns at other fibre events, but most of the vendors were all pretty much selling the same things so I started importing yarns from China and dyeing them so sell.

And in between, I wrote and taught, and wove.

I gave up weaving for the fashion designer when I spent more time away teaching one year than I was home.

But that sort of teaching schedule wasn't sustainable, especially when I started having health issues.  Something had to give and I pared back on the teaching.  And then the dyeing.  Because dyeing is actually harder physically than weaving (for me).  And of course I never seemed to have the 'right' colour in the right yarn in the right quantity.  Eventually I just wove up whatever yarn was left over from those days.

Because I had essentially three stashes - the yarn I actually used for weaving my textiles, my teaching yarn stash, and my re-sale yarn stash...

I've been in this business for 40+ years now.  I have pretty much tried everything.  I have pretty much enjoyed a lot of it - some of it not so much.

Bottom line?  If you want to be a professional in this line of work?  It's hard.  You have to show up.  Every day.  You have to be self-motivated.  You have to either do it yourself, or make enough money to hire someone else to do it.  But most of all?  You have to just do it.  Nike got that part right.

Olds College vs Guild of Canadian (Master) Weavers

One of the samples woven for the GCW Master Weaver certificate program, with photo of finished jacket.

I am frequently asked about the difference between the two programs - Guild of Canadian Weavers and Olds College master weaving certificates.

Essentially the GCW program is a self-directed testing program while the Olds College program has in person classes in order to teach the participants, not just test their knowledge.

With GCW, there are four levels with set problems that each candidate must answer.  Most involve weaving samples and providing full documentation.  The final level has some problems which require woven cloth, some are paperwork only, and one involves weaving a traditional tapestry, along with the research project which again involves weaving samples and providing full documentation.

The Olds program requires the presence of the student at the 5 (or 6) day class for lectures and the weaving of samples, then there are homework assignments to be done in the following months at home which are then sent to the instructor to be marked.  All components of the homework must be passed in order for the student to pass to the next level.

When I tackled the GCW program there were very few options for learning weaving in-depth.  I could not afford to enroll in (another) college level two year certificate program - I'd already done that.  However, I felt that there was still much more to learn and I set about digging further and deeper, approaching the craft in an analytical way to try to understand the principles.

By the time I investigated all the options, I had determined that the GCW program would best suit my needs.  I was very self-motivated so a self-directed program meant I could fit it into my schedule.  I could do it at home, in my own studio.  And I could really dig into the sampling required to make sure I could execute the test samples as well as I could.  I had to become my own best/worst critic - by understanding the requirements, then setting the very highest standards for myself, I could accept - or reject - my own work and either submit or re-do, as seemed appropriate.

Along the way I did a lot of pure sampling, comparing the results, analyzing them, adjusting things like density and weave structure and the wet finishing to see how changing one variable changed the end results.  Gradually conclusions formed and I felt I was beginning to really understand the underlying principles.

The Olds program is the first one that I have come across where those very underlying principles are actually taught to the students.  The lectures present the principles and the foundation information, then the manual directs them through a series of woven samples to help them understand how those principles work in practice.

The in-class weaving they do are the pre-sampling they need to do in order to go home and weave their samples to complete the homework assignments.

When possible, I bring my samples done for the final research project of the GCW tests, partly as an example that I have already done the work that is being asked of them.  That I am not telling them to do what I say rather than what I do, because I have already done that sort of experimental sampling myself.

I hope to show them that I believe deeply in the concept of doing the work in order to fully understand the craft.  That the class is not just to 'force' them to do things that are not meaningful, but that - if we are to truly grasp the essential nature of the construction of cloth - we must all do the work.  Because change one thing, and everything can change.  That the only correct (short) answer about weaving questions is - it depends.  It depends on the yarn.  It depends on the loom.  It depends on the weaver.  It depends on what, precisely, the weaver wishes to result from their efforts.  And the only, only, way to know any of that...is to weave the samples.

So yes, I am an ardent supporter of the Olds program.  Yes, it may be a little more expensive than taking a workshop, but the depth of investigation goes much further than most workshops because the aim is to bring the weaver to the point where, instead of being told what to do, each weaver will begin to learn how to make those decisions for themselves.  To give them the tools to make good decisions.  It is a serious commitment of time and energy, and even, yes, of the yarn to weave the samples.  The program is also a 'for credit' college course, so participants ought to be prepared to invest the required time and energy, and money required for materials.

Because they are not just taking a workshop.  They will be getting an education.  And yes, it is intense.  Students feel like they are drinking from a fire hose along about the end of day two.  But it is all important information, and all of the course content is there for a very real and specific reason.

More satellite programs are being developed - in addition to the classes here in Prince George, BC and Yadkinville, NC, negotiations are underway to begin level one at the Gaelic College, St. Ann's, Nova Scotia, June 5-9, 2017.

Testing, Testing

After taking the year long (two semester) class in weaving at the local college, I knew I had merely scratched the surface of what could be learned about cloth construction.

Now there is no need to delve into the depths, as it were, but like an iceberg what you see initially is only the tip!

Being a compulsive perpetual learner, I wanted to know as much as possible.  I scraped up the pennies to take every workshop I could afford, bought as many books as my budget would allow, read extensively (this was all pre-computer, pre-internet, pre-digital days), haunted the library requesting books on inter-library loan.  And wove.  I wove lots and lots of things.  Everything I could think of - rugs, tea towels, scarves, shawls, wall hangings.  If it could be constructed with thread, I would give it a go.

Little by little, the enormity of the iceberg was slowly revealed.

I didn't rely on other people to tell me what to do or how to do it, although I was always open to constructive feedback.  I would take that feedback on board and decide if it was valid for what I wanted to achieve.  Sometimes yes, sometimes no.

A group of local weavers were following the Guild of Canadian Weavers levels and I decided that I would do the same.  By the time I began I felt I was well beyond 'beginner' but was I really?  Doing the tests would allow me to see if I really did know what I thought I knew and how well I could execute the physical skills involved in weaving.  Wanting to teach more, I also felt that if I could pass the tests, other people would have some idea if I had a grasp of the concepts.  Whether or not I could convey those concepts was another matter - just because you are very knowledgeable doesn't mean you can teach someone else.  Teaching is another skill entirely.

So I did the tests for a number of reasons.  Being a self-directed program it was also a test of my dedication to learning.  Could I actually fit the test problems into my life?  How much was I going to invest in terms of time and money to accomplish the task?

It was a struggle at times.  The tests are not meant to teach you how to weave, but to see what your level of knowledge is.  So there were times when I had to find resources, read up on a weave structure, do the draw downs, weave the samples.

The tests also forced me to look at weave structures that didn't actually appeal to me.  Doing the test problems gave me a greater understanding of weaving than I would have pursued on my own.  They broadened my knowledge and gave me a greater appreciation of those weave structures that I didn't enjoy doing.

Understanding a larger variety of weave structures gave me a greater understanding of how threads interlacing worked so that I could pursue the things I did enjoy in a much more thorough way.

The tests were a challenge and part of the reason I did them was to see if I could rise to that challenge and succeed.

Ultimately not everyone is interested in delving that deeply into weaving, nor is there any need for everyone to do so.  But weaving can be a lifelong investigation into and study of textiles.  It all begins with a glimpse of the tip of a very large iceberg.

Currently reading Speaking in the Bones by Kathy Reichs

Digging Through the Archive

click to biggify - not sure the resolution is high enough to see any detail though....

Kate asked about the coat fabric, and wondered if it wasn't too distorted from the shrinkage differential to be used.

Well, yes, that is a valid concern.

In terms of designing this cloth it had to be flexible and stable.  I also wanted it to provide insulation.  I do live in an area of the world where cold in the winter is a reality.

This cloth is just pushing the edge of working.  It is thick.  You may be able to see that the seams have been stitched down (see sleeve) as one way to stabilize the seam.

The warp was wound on two beams, the 2/8 cotton at 16 epi for the surface, the fine wool/cotton blend at 32 for the lining.  Since the two warps would take up at different rates, beaming them separately was the safe thing to do.  Since my loom has two beams, it was also easy to do.

The cotton was woven in a plain weave structure, the wool/cotton blend in a 4:4 twill.  The two layers were woven separately except for the occasional tie or stitch which was accomplished by pulling one of the surface threads into a lining shed in a way that the stitcher would be hidden.  I could have just as easily made the stitchers be decorative as in pique', but that wasn't the effect I was aiming for.  The stitching order was a satin progression because I wanted to minimize the twill line.  This was sort of successful.  The stitchers were far enough apart to loosely bind the two layers together and the twill line is not continuous, giving a crackly, pebbly surface to the cloth.

Unfortunately my software file for this design did not survive a computer upgrade, several upgrades ago and I no longer have the original file.  The photocopy of the version I do have is tiny in order to fit into the binder.

If anyone wants it to see if they can reconstruct the draft, I will happily scan and email it.  I tried, but it is going to take more hours than I have to spare to do it myself.

Guest Blogging

I confess that it is always a bit of an ego stroke to be asked to supply a guest post for someone else's blog.

Recently I was asked to make a guest appearance on the blog of The Woolery a shop in Kentucky.

When I visited their website I discovered that they carry yarns from Maurice Brassard & Fils.  Since weavers in the US are always interested in my 2/8 cotton yarns, it was nice to discover another US supplier of the yarn I use so often.

The fabric in the above coat is a stitched double weave.  The exterior is good old 2/8 cotton, the self-lining is a fine wool/cotton blend.  I wove this fabric, oh, way back in the late 1980's, as part of my master weaver level for the Guild of Canadian Weavers.  I still have it and wear it occasionally; in fact I wore it to an appointment yesterday where it provided a few minutes of conversation as an example of the type of thing I can weave.

The purpose of using the wool/cotton in the lining was to full the cloth causing the lining to shrink and create air pockets between the two layers which provides insulation.  It's quite a warm coat and I have worn it during winter for a long time.  Unfortunately I noticed that it is finally beginning to show signs of wear.  After 20+ winters, I suppose I should consider retiring it sometime soon....

Butterflies

click to biggify to see the butterflies

here is the profile draft

This is the final woven 'sample' for the master level.  It is a scarf woven in a fine silk (2/60) set at 45 epi/ppi.  I did a series of scarves and chose the best one to submit.  :)  The weave structure is huck lace.

In addition to the woven samples the candidate is sent fabric swatches that they are to analyze.  The samples are handwoven and the candidate is to determine the threading, tie up and treadling and the yarns used.  Sometimes this can be quite a challenge! 

So, now that you've been given a tour of the fourth and final level of my tests, do you want a tour of the other test levels?  The levels have been changed somewhat since I did them lo, these many years ago.

The test problems can be used as a personal study guide (along with Mary Black's (New) Key to Weaving and can be found on the Guild of Canadian Weavers website here.  The file is a pdf which can be downloaded for free.

Satin Problem

my camera didn't seem to like the royal blue of the yarn and the photo looks very greenish

As part of the fourth and final level for the GCW tests, there is a problem on satin.  It took me a couple of warps to get everything correct.  Fortunately I had quite a bit of hand dyed silk so was able to set the 'failed' scarves aside for sale and keep trying.

Since my loom has 16 shafts I used two 8 shaft satin blocks.

For the final level there are fewer woven samples in the problems and more written/theory work, although of course the candidate is expected to weave all necessary samples for their monograph/research topic.

When I did the tests the major project was called a monograph - I think the terminology has been changed to research project. 

At last count I believe that there have been a total of 29 people who have achieved the Master level, the first two being Mary Black (yes, that Mary Black) and Mary Sandin.  The most recent was Helene Ruel who submitted her test levels in French.  The first, I think, to have submitted in French.  I think I've blogged previously and listed all the master weavers and their monograph topics, several of which have been turned into books that have become classics in the handweaving world.

The tests are not restricted to Canadians.  There is one American GCW master weaver and I know that others from outside Canada have done at least some of the test levels.  

Marking duties are shared out amongst the current master weavers and from time to time I have had the priviledge of marking a test level.  The test administrator mails the test to the marker and it is all done anonymously.  The only one who knows the names is the administrator.

Doing the test requirements was most definitely a challenge and very intimidating.  One of the reasons I did the tests was to get a broad over view of the craft.  I was 'forced' to deal with weave structures that didn't particularly appeal to me and strive for a level of perfection that was, in many ways, much higher than my inclination.  I am not a perfectionist! 

I was determined to learn as much as possible and working on the tests kept me focused on exploring and learning.  And, having done the problems, why not submit them for marking?  A couple of times I had to re-do a test problem and I learned even more because of that.

Currently reading The Tipping Point by Malcolm Gladwell

Master Level Tapestry

As part of the master weavers certificate, the candidate must weave a tapestry.  It was actually the tapestry that delayed the submission of my fourth and final level for consideration by about two years as I struggled to get it woven.  Why?  Partly because I don't fancy myself an artist and partly because progress seemed so very slllloooooowwww compared to what I was used to on the big loom(s).

The border was free form (no cartoon) as was the background.  For the butterfly I did follow a cartoon.  Since I don't draw very well I purposely made the whole design a little - um - rustic?

The yarn was a blend of silk, wool and linen for the background and silk for the butterfly.  All the weft yarns were dyed by me.  The warp was a linen rug warp.

I used one of the techniques in Peter Collingwood's rug book for finishing off the ends and sewed all the warp ends back into the textile.  I also sewed in all the weft tails so that the back side looks about the same as the front.  There were some quite long slits in and around the butterfly because I wanted as clean an edge as possible (although if I'd been a more skilled tapestry weaver I could have probably dovetailed or in some other way joined them during weaving.)

But in the end the tapestry had become such a road block that I just kept telling myself that all I needed was a 'pass' and to get it finished!

There are 3 judges for the master level.  I don't remember what marks they gave me although I seem to remember that one of the judges was not at all happy with my efforts.  But the combined score meant that I got that pass.

Thanksgiving Day

In Canada we celebrate a day of thanksgiving in October.  It's a great way to remind ourselves, whatever our religious beliefs may or may not include, that life is good no matter how challenging it may be.

In the course of the past 4 and some years I have learned many lessons.  I've always been the type of person to look for the silver lining in any clouds that may gather over my life but now I have really learned to stay in the present moment.  Because ultimately that is all we have.

I doubt that being goal oriented is going to change but somehow those goals have changed into more of a lodestone - a direction to which I am tending, not the imperative that they used to be.

I have also learned to choose my battles much more carefully.  When energy has been lacking it became much easier to see what things needed to be fought for and which could be left to slide away uncontested.

Ultimately the thing that I am most grateful for during this particular Thanksgiving Day is that I am remission - much sooner than I expected.  That I did not have to go through the entire course of 8 treatments and that I am in much better shape than I had any expection of being by this milestone.  Yes, energy is still low, but generally every day is a little bit better.  Most noticable improvement?  I am sleeping 'properly' for the first time in years and years.  What I had attributed to menopause appears to have been due to the lymphoma.  I am no longer bone weary with fatigue even though I still don't have much stamina.  But I am hopeful that as the chemo clears my system that that will return.

I am also grateful that my mother is finally moving into an apartment.  The timing could have been better, but it looks like she will be into the apartment before her surgery and winter.  Then all we have to deal with is selling her house - not something easily done in this town during the winter months.  But step by step we will deal with it.

And I am enormously grateful for the friends I have.  Walt Whitman wrote in "I Sing the Body Electric"

I have perceiv'd that to be with
     those I like is enough,
To stop in company with the rest
     at evening is enough,
To be surrounded by beautiful, curious, breathing
     laughing flesh is enough.

Happy (Canadian) Thanksgiving to all.

Another worsted wool that would not full - surprise!  Darlene lined it with a brightly coloured lining and again knitted an edge trim to bind the edges.

Currently reading Heat Rises by "Richard Castle".  I don't know who is ghost writing these books, but I love the Castle tv series.  Great dialogue, human characters, little references to Firefly if you are paying attention.  BTW, if you've never seen Firefly and like a great space cowboy romp, I highly recommend Josh Weedon's series (with a much younger Nathan Fillion).

Coat with Angora

This cloth was traded for a piece of bobbin lace made by a friend - she tried very hard to get me making lace.  At the time I resisted but eventually did take up the craft a number of years later.  :)

One layer is 2/8 cotton, the other layer is a wool/angora blend.

The photograph isn't really out of focus - the angora has developed a halo during wet finishing.  You can clearly see that the loom state sample looks very open and loose on the back side.  After fulling it closed up nicely and a slight rumpled texture developed on the surface of the cloth.

The two layers are connected by way of the two layers exchanging places.

Currently reading The Vault by Ruth Rendell (the latest in the Inspector Wexford series - I find her other books to be too dark/bleak, generally)

And Another One

click to biggify - the cuffs are turned back to show the other side of the cloth

This coat is another double weave with areas of pique'.  The ribs are 'stuffed' with strands of lopi type wool.

The fabric was woven with the ribs horizontal in the loom, then turned or 'railroaded' so that the weft is vertical on the body.

Darlene very cleverly made it so that it is reversible.  The blue is hand dyed silk.  The white yarn is a fine wool merino.

Darlene machine knit the edge trim with the fine merino in order to perfectly match the cloth. 

The finished fabric doesn't look very much different from the loom state.   And yes, this fabric was given a hard press in order to flatten it and make it easier to sew.

Unfortunately I haven't worn it much as it is dressier than my lifestyle calls for.  :)

Bedford Cord

Bedford cord is often used in industry for clothing, most often for fabric that will wear well if the ribs are in plain weave. 

I wanted something with a some drape and using the very fine silk for warp with the fine wool/cashmere weft and the vertical ribs, the cloth has stability with drape, suitable for this swing coat.  It is also quite cosy and warm.  I gave the garment to my mother who has worn it for years, even in the winter on quite chilly days and she says it is comfy.

Currently reading Spellbound by Kelley Armstrong

Another Coat

This coat fabric turned into more of an adventure than I expected. 

Up until this fabric, all of the wool I had worked with fulled.  Some more than others, but they could all be made to full.

And so when I bought this lovely blue/green worsted yarn, it was with the intent of fulling it to make a warm winter coat.

This particular worsted wool did not full.  Period.

I tried everything.  I used hot water, the most vigorous of the washing cycles on my machine and ran the fabric through the complete wash/rinse cycle not once but several times. 

With the result of.....window screening.

Then I remembered that a friend had said that they threw running shoes into the washer if they really wanted to beat a woolen cloth up and get it to full.  I didn't have any running shoes I wanted to sacrifice so I started thinking of something else I could do.

I had a lot of the tubes from yarn purchased from Maurice Brassard that were rough so I tossed the wet fabric into the dryer along with about 18 of these tubes and let her rip.  Poor Doug nearly had a fit at the noise! 

But the tubes managed to beat the cloth up enough that loose fibres came to the surface of the cloth and it became quite fuzzy.  The cloth was then put back into the washing machine with hot water and allowed to agitate again until the surface fuzz fulled together enough to give the cloth stability.

I didn't want a fuzzy coat so once it was dry I got a large sweater shaver and shaved the surface, leaving the nap on the 'inside' to help provide some insulation.

The coat was sewn by Darlene who recommended a lining fabric called kasha.  Kasha has a rayon surface with a fuzzy back.  This fabric would also help provide insulation against the cold.

Another Garment

This is another of the garments done for the monograph for GCW.  I was exploring how to make fabric for warm clothing - jackets and coats.  Darlene sewed most of them.

The above jacket was used as my primary winter jacket for about 7 years.  The base fabric was, again, Harris Tweed, with a very softly twisted singles wool as the lighter accent thread.  The web was fulled heavily. 

Originally I'd intended to brush the cloth but decided after fulling that the accent thread had bloomed sufficiently that brushing wasn't necessary.  In the end I think that was a good call because the accent thread did tend to pill and if it had been brushed, would likely have pilled even worse.  In the end the reason I got rid of the jacket was because the accent thread had pilled and 'shed' enough that it was looking worn even though the Harris Tweed was still in great shape.  :) 

Since I rarely wear a commercially made winter coat more than 7 years, I figured I'd gotten good value out of it and it was time to retire it.