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8-shaft Towels

5/5/2020

 
Picture
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.






2 towels
more towels

Cardigan knit

5/5/2020

 
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.

Picture
Cardigan knit by Susan Clark

Tapestry of Sunshine Coast

5/5/2020

 
Picture
Photo of the Sunshine Coast near Lund, BC, viewed from Savary Island by Stu Clark
"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. 

Picture
View From Savary Island by Susan Clark

3 Felted Paintings

4/30/2020

 
PictureWinter Light



"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.




Picture
Poppies

"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.

Picture
Spring
"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.

Spring

by Mary Oliver

Somewhere
    a black bear
      has just risen from sleep
         and is staring

down the mountain.
    All night
      in the brisk and shallow restlessness
         of early spring

I think of her,
    her four black fists
      flicking the gravel,
         her tongue

like a red fire
    touching the grass,
      the cold water.
         There is only one question:

how to love this world.
    I think of her
      rising
         like a black and leafy ledge

to sharpen her claws against
    the silence
      of the trees.
         Whatever else

my life is
    with its poems
      and its music
         and its glass cities,

it is also this dazzling darkness
    coming
      down the mountain,
         breathing and tasting;

all day I think of her--
    her white teeth,
      her wordlessness,
         her perfect love.

Felted rugs

4/30/2020

 
PictureRug 3 Detail
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!


Felted Rug 1
Felted Rug 2
Felted Rug 3
Felted Rug 4
Felted Rug 5

Four Small Rugs

4/30/2020

 
PictureDetail of Woven Rug 3
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 rug 4

2 Tapestry Pieces

4/22/2020

 
PictureMountain Waters logo

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!

tapestry of logo
tapestry of logo
tapestry of Avalon Peninsula
detail of tapestry

silk Scarves

4/22/2020

 
PictureWhite Silk Scarf with musical note
by Janice Brodie


White one is 2/20 silk sett at 20 epi. It's a lace weave with the pattern in plain weave. The pattern is quarter notes.
The pink-ish one is an undulating weave using handspun silk that was dyed in the roving. The weft is 2/12 silk l dyed TWICE... the first time it was dyed scarlet at 1% DOS. Yikes. It was too pink. Overdyed it with .5% DOS with violet.

White silk scarf

Braided Rugs

4/7/2020

 
Braided rag rugs created by Susan Ross:

I took the braided rug workshop with Jill’s mom (Lois Johnstone) about 10 or 15 years ago and did nothing since except collect wool that I thought would make colorful rugs. My stash grew and this spring I dug it all our from various places and realized that I had a great deal. I had 3 old blankets, one winter coat and lots of skirts. I cut and dyed and developed a bit of a pallet the using the written instructions from the workshop I started. My first two or three were full of errors but with each one I am seeing products that I am very pleased with.  


Picture
Braided Rugs by Susan Ross

Wild Rabbits

4/7/2020

 
PictureBarbara's 2nd Wild Rabbit
Created by Barbara Scheck
Pattern: Wild Rabbit by Claire Garland
Purchased through Ravelry.com

This rabbit, the second of three that I am knitting for my granddaughters, is mostly knit with wild fibre. Grizzly Bear, Arctic Blue Fox, Mountain Goat, and Quiviut make up most of the fibre. This fibre was handspun and purchased from Wendy Chambers several years ago. Some alpaca that I also found in my stash was used as well. 

The 15 pages of the pattern were at first daunting as not many rows were ever the same, but it was fun to see it come together and I am still enjoying the knitting as I begin the third and final bunny this weekend.


Picture
First Bunny made with grizzly bear, quiviut, and commercial fibres
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