Its been a long time between meetings. A few of us made it out last night to Yukonstruct and had our first Show & Tell. These are Kate Williams Finger Puppets that she knit as well as used a few felt pieces. Great way to use up scraps. They are adorable. Thanks for showing us, Kate!
By Nicola Hanna
Seeing that we have a cooler summer so far, I decided to make a summer vest from raw and Mulberry silk yarn I acquired at last year's and this year's auctions.
I found a pattern that I liked:
But I had to adjust the pattern for the weight of the yarn I was using and the amount I had available!
This is the finished result:
I am happy with it - and would also be happy to get some really warm days so we can take the vests and jackets off!
Felted pieces by Nicola Hanna
Created last fall as gifts for family members.
I call this piece “Prairie Sky”, it is wet and needle felted. It was fun to play with the colours for the sky, using different kinds of material like roving yarn and dyed sheep locks.
The old cabin was a bit of a challenge for me in regards to getting definition and shading.
For “Yukon Mountain Valley in Fall” I used the same techniques and similar materials. The challenge for me always is to get definition and dimension - it is an inspiring process.
by Carolyn Steele Lane
using 8/2 un-mercerized cotton, 24 epi
I fell in love with the colours in the Sunset Towels pattern by Sarah Resnick and bought several cones in Canada minus the Italian Cotton/Linen cone. Without the Cotton/Linen, I decided to find another pattern to use it on.
Then I discovered the Circles and Checks Towels in Taqueté by Susan Poague that were in Handwoven May/June 2019 and I just happened to still have a 8-shaft loom on hand.
Right away I was conscious of the fact that I chose colours that looked awesome in a stripe and proceeded to make something that had a yellow tabby in the warp. Unsure of the yellow, I added some nile green and as I didn't like how the colours flowed, I added purple because well, I like purple. And two greys - one of which ran out one thread short on the warp, so I substituted.
The first sample I wove made me think I might create something very ugly indeed. Then I learned how many errors I had made in setting up the loom. There were many.
It didn't improve the next sample.
I tried to relax and enjoy the process more. This of course went out the window when I was finishing the last towel. I learned that I had room for one more "last" towel and proceeded to weave it in a day.
I think I learned about colour. The colour of the weave changes with the angle you look at the cloth because I had a tabby in my warp. This lesson is still sinking in. I definitely learned about tension and got better at it as I went along - my last towel is probably the best. And washing improved everything!
I've already got another project on the loom and its in plain weave on 4-shafts. What a difference! I can actually walk away and easily pick it up again without losing my position in the pattern. It's quite relaxing and this time I'm only making two towels.
by Susan Clark
Pattern “Chartreuse” by Baby Cocktails
Material : Llama Natural Worsted from Estelle Yarns by way of Itsy Bitsy Yarn store.
The sleeves were done first on double pointed and then circular needles in the round. The body was knit as a single piece adding the sleeves in at the appropriate place with pockets incorporated as the body was knit. The wool was a Christmas gift from my son and it was a challenging knit, especially at the yoke and shoulder area and matching the two front cable panels coming around to the back of the neck.
"View From Savary Island"
by Susan Clark
After attending my first tapestry focus group where I was assisted by Wendy Nixon and others to get started on my tapestry loom, I decided to try and model my tapestry on the attached photo. I used wool that I had in my stash, some commercial and some homespun and a bit of light blue ribbon. I am now looking for a piece of sand coloured linen to mount it.
"Winter Light" by Bronwen Duncan
The inspiration for this is the Yukon December late afternoon light that is so warm-tinged in the absolute cold. This was very loosely based on a hike I did last December. The challenge of the project was to get the fox's face right; allowing the shadows to basically take over, and figuring out how the shadows work around the bottom of a tree. A mixture of wet-felting and needle-felting.
"Poppies" by Bronwen Duncan
The inspiration for this project came from how poppies are so incredibly graceful and happy. The challenge was how to make the petals of a poppy not seem very heavy and wooly, but have some lightness to them. This was the first felt picture I've done where I did not add any further wool after I wet-felted - I just tidied up outlines with the needle.
"Spring" by Bronwen Duncan
The inspiration for this came from the poem by Mary Oliver of the same name which has long haunted me.
The challenges in this project were to get the trees to meld into the foreground, and to get the green grassy pieces to stay put (I'd cut them from a prefelt and so some of the fibres were so short they just wanted to bounce around). I was very pleased with how the trees seem to be dancing and as my English cousin noted: "The bear's eyes gaze on us rather than at us" (not quite sure how I did that!)
A mixture of wet felting and needle felting.
by Mary Oliver
a black bear
has just risen from sleep
and is staring
down the mountain.
in the brisk and shallow restlessness
of early spring
I think of her,
her four black fists
flicking the gravel,
like a red fire
touching the grass,
the cold water.
There is only one question:
how to love this world.
I think of her
like a black and leafy ledge
to sharpen her claws against
of the trees.
my life is
with its poems
and its music
and its glass cities,
it is also this dazzling darkness
down the mountain,
breathing and tasting;
all day I think of her--
her white teeth,
her perfect love.
Felted rugs by Toos Omtzigt
I made a series of ~ 2x3 ft floor rugs in the course of about a month. The rugs are numbered in the order they were made. Rug 1, 4, and 5 are mostly Icelandic wool; Rugs 2 and 3 a combination of C1/Pelssau and Merino. Designs are all my own, using prefelts and yarn to create design patterns.
Rugs 2 and 3 were made during a 3-day nomadic rug felting course with Mary Reichert at the North House Folk School in MN. Rug 2 was created by placing the design pieces on top of unfelted wool, followed by felting the entire unit. For the other rugs I did the opposite, placing the unfelted wool on top of the design pieces and then felting it all together.
Rugs 4 and 5 are essentially the same, but rug 4 was dyed with some left-over cochineal bath. It’s a bit red, but it works well as a door mat on the red-brown wooden floor we have. I have also thought of stitching around the design features in the red rug (maybe some day I will do that).
One interesting note is that I found that using zigzags was a good way to create basic repetitive geometric shapes that are easily cut from prefelts. Apparently, it is a common way to depict mountains in nomadic rug designs…. And now I cannot stop seeing mountains!
Woven by Wendy Nixon
I made these small (62 x 88 cm) [24.5" x 35"], weft faced rugs on a 4 harness floor loom using #6 cotton seine twine warp at 6 ends per inch, and a variety of wool and wool blend yarns in the weft. It was a great use of some of the coarse yarns that I have acquired over the past few years. The pattern of the more complex one was inspired by a rug that friends have had on their floor for many years. The primary challenge was dealing with the edges, and aiming for consistency in both pattern and tension along the selvedges. I now know what I should have done to achieve that!
My plan is to warp the loom for 3 more small rugs, in a variety of colours and patterns. I am making these rugs for family, and as my technique improves, I hope to make some for friends. Many thanks my weaving mentors, Jean and Janice. You have both shown me there are no limits in the world of weaving.
Woven by Jill Johnstone from commercial yarns (Knitpicks “Palette” collection, fingering weight). Warp is #12 cotton seine twine, 8 ends per inch.
The first piece is based on the logo for a retreat centre in Nelson BC (Mountain Waters) and I will be sending this to the owner as a gift. Once the piece is cut off the warp, I will bind the edges under and the solid black borders at the bottom and top will no longer be visible.
The second piece is my interpretation of a photo taken along the treeless coast of the Avalon Peninsula in Newfoundland. I’ve been playing around with colour mixing by having different colours on the same bobbin and interweaving with different bobbins. Again, the upper and lower borders on this will be sewn under and not visible.
I’m just about to start on a third piece that is likely to be more difficult than both of these (although on the same warp) - we’ll see how it goes!