Ann Redmond, left.

“Eight-Shaft Weaving Patterns”

For all weavers, but especially those of us juggling too many plates, Carol Strickler’s ‘The Weaver’s Book of 8-Shaft Patterns’ is a God-send!  WoO member Ann Redmond shared Carol Strickler’s secrets at the June 17, 2017 meeting of the Weavers of Orlando at the Westminster Winter Park Towers.

Professionally, Ann is a plant ecologist who works as an environmental consultant. In her spare time, she pursues interests in fiber, music, and travel. Ann has been working with textiles since her 7th grade home economics class where her first weaving project was a rag rug-style bath mat. She describes her weaving as “trending to the practical and, hopefully, lovely and enjoyable.”

“For most patterns in the book, with a single threading, a weaver can adjust treadling to achieve patterns with very different looks,” said Ann.  “For those using a single threading, a simple adjustment to the treadle tie-up or an adjustment to the treadling will produce different patterns. For the busy weaver, it’s a treasure trove!  Pick a threading and make necessary adjustments to get very different patterns and products.”

Ann showed how she uses the book as a reference to plan a wonderfully varied weaving adventure. This must-have draft book is richly illustrated with almost 1,000 different patterns on more than 25 weave structures, charts and photos of weaving structure, weaving samples, draw downs and tie ups. Introductory chapters provide a thorough understanding of how each structure works.  This is an essential addition to a basic weaving library and serves as a guide for novice weavers taking steps toward mastering weaving programs. Ann testified that it helps develop the ability to interpret and combine weaving drafts to form patterned fabrics to incorporate into textile art pieces. –  JG

       Cynthia Starr, left.

“Beading Triangle Earrings”  was the topic presented at the May, 2017 meeting.   WoO member Cynthia Starr presented a brief overview of a workshop that followed the regular meeting.  The earrings are made with size 11 Delica beads using both Peyote and Herringbone stitches. Seen at the screen, below, Cynthia is a long time member of WoO and considers herself a ‘utilitarian weaver’ who loves to weave towels, napkins etc. She learned to weave in Vermont in the late 1980s as a way to use up her handspun so she could spin more. All of her blankets were woven with handspun yarn because no one told her it was difficult!  The photo to the right, below, shows a beautiful pair of earrings created by WoO member Cyndi Landers, in the workshop that followed the regular meeting, using gold and black beads. – JG

      Betty Vera, left.   

“Courageous Color: Weaving with Hues that Terrify You!” was the topic for the February 2017 workshop presented by Betty Vera.  Ms Vera has taught at Montclair State University, the Fashion Institute of Technology, and conferences and guilds nationwide. Her work has appeared in American Craft, Fiberarts, Shuttle Spindle & Dyepot, and Surface Design, and Carol K. Russell’s book Fiber Art Today.

“It was a color explosion this past weekend. Members of Weavers of Orlando spent three days in a intense color study workshop,”  said WoO member Mary Schmutte. “Her workshop was designed to take us out of our color comfort zone and push our limits.”

Many of us say we like—or even love—color, but are we actually afraid to use it? We may tend to fall back on neutrals, or on colors that we know are “safe”—pleasing, somewhat muted shades that we assume will look good together—and then we wonder why our woven designs lack that special spark of inspiration.

In this class, we learned to push past our “safe colors” & explore a wide selection of color options.

“Betty led us into some daring new color experimentation…it was great fun, and WAY out of the comfort zone for some of us!”  exclaimed WoO member, Marilyn Frew.

Choosing from weaves and color suggestions provided in advance of the workshop by the instructor, everyone brought a loom threaded with colors they were uncomfortable with—along with as many weird, truly awful, “outrageous” weft colors as they can find in their stash. With experimentation the goal, we had nothing to lose but the yarns we want to get rid of.

Everyone in the workshop came away with a eye opening experience with colors along with a swatch notebook chock full of fascinating fabrics!

“The workshop was wonderful!  It was great to see colors create such different patterns in weaving. The instructor uses the definitions of color terms in new way.  For example, instead of tint, tone, shade, she used value as warm, hot, gray, etc,” added Pam Welton, WoO President. – MS

Examples of work produced in Betty Vera’s workshop by guild members, below.

‘All About Silk’    The new year presents opportunities for new pathways, new challenges, and of new excitement in our lives. The same is true of the Weavers of Orlando. WoO member, Kay Callaghan of Cashiers, NC and Cocoa, FL was the presenter at the January, 2017 meeting and spoke on a subject new to many of us: silk’s history, its qualities that make it such a great fiber, the different types of silk, and spinning and dyeing silk.  Kay has been a member of WoO for many years. She learned to weave in the mid-1970s, learned to spin in the mid-1980s, and learned shibori techniques in the mid- 1990s. She has taught numerous workshop on various weaving techniques, spinning, shibori, and color and design to different guilds and groups through the years, including The Weavers of Orlando. She presented the “History of Weaving” to the Lifelong-Learning Group of the Florida Institute of Technology (FIT) in 2015 and a presentation on spinning to FIT’s fiber course in 2010. She has sold her work professionally in retail shows from New York to Miami and through galleries in Pittsburgh, Orlando, and St. Petersburg. She recently moved to Sapphire, NC, where she continues to spin, knit, and quilt and is active in the Cashiers Quilters guild, and in an informal knitting group there.  In her presentation, she revealed many details of the silkworm larvae: the cocoon, the physical characteristics of the silk fiber including its tensile strength, color and intrinsic shimmering beauty. She brought samples and a wheel to let those who have never spun silk try their hand spinning it. And she challenged members present to become better acquainted with this special fiber in the coming year. – NR

      Kay Callaghan, left.

‘The Iban Textiles from Borneo’ was the topic of the February 20, 2016 regular monthly meeting of the Weavers of Orlando. Presenting this topic was renown author, lecturer and textile expert, Ms. Winnie Nelon. Ms. Nelon is an a former co-chair of the Textile Society of Hong Kong and a Society colleague. Her presentation explored the history and techniques behind the creation of these textiles which were made on simple backstrap looms. Several examples from her collection were available for viewing.

The Iban of Borneo have a long heritage of using intricate, complex and powerful designs in their plaiting and weaving. Their textiles traditionally were integral in ceremonies providing the protection, support and harmony needed for the dangerous and challenging world of tribal rivalry. Only very experienced weavers could produce the most powerful patterns without risk to themselves and consequently were ranked as equals to men who had succeeded in headhunting. The works are ceremonial textiles used in rites of passage—birth, marriage, death—dyed with natural colors and woven in traditional ikat techniques; many have never been published before. As unmistakable as it is colorful, this Southeast Asian textile tradition remains influential for contemporary textile artists and designers.

Ms. Nelon discovered this unique cultural phenomenon after spending almost a third of her banking career in Asia where she developed a passion for traditional S.E. Asian textiles. She was co-chair of the Textile Society of Hong Kong, a Society Colleague and coordinated the TSHK newsletter for many years and also coordinated the publication of two editions of The Guide to Asian Textile collections. Since retiring, she has learned to weave and is active with the Manasota (Manatee/Sarasota, FL) Weavers Guild in Florida. She has spoken about textiles in her collection to weaving guilds, college seminars, conferences and Asian art organizations. – JG

          Winnie Nelon, left.         

‘Tablet Weaving’ was the topic of the October, 2016 meeting. Presenting was nationally-recognized teacher and weaver, John Malarky of Malarkycrafts of St. Louis. John has been tablet weaving for over a decade. Tablet-, or card-, weaving is a technique using cards as a loom to weave. The finished product can be anything – from shoe laces to belts to straps. His work has been displayed in the Missouri History Museum, and garments using his card woven bands have been featured in international fashion shows. His designs are featured frequently in the national publication, ‘Handwoven’. John is the primary author of “A Tablet Weaver’s Pattern Book,” and has produced two DVDs for Interweave Press: “Tablet Weaving Made Easy” and “Double-Faced Tablet Weaving”. He is the developer of the Schach Zoom Loom. John’s web site is www.malarkycrafts.com. John teaches workshops around the country. For the Weavers of Orlando, he lead a three-day workshop in addition to his introductory program on tablet weaving at the monthly meeting. John is seen below in his workshop setting with members of WoO. – JG

     John Malarky, left.

‘Spice Up Your Recipe Weaving: Project Planning and Design’ was the topic of the January 16, 2016 regular monthly meeting of the Weavers of Orlando. Presenting was the renown author and weaving instructor, Ms. Karen Donde of Cotton Mills Studio, Asheville, NC.

Ms. Donde shared how weavers can take their design process to the next level and how to turn inspirations into finished projects.

Trained as a writer and editor, Ms. Donde discovered weaving 10 years ago and didn’t look back. Her passion is experimenting with structures to see what can be accomplished. Along the way, she has found that writing about weaving has opened up new paths, and has been fortunate to have several stories published in Handwoven.

Karen’s teaching credits include HGA’s Convergence 2012 and 2014, Southeast Fiber Forum, the Mid-Atlantic Fiber Association’s Workshop Weekend, Florida Tropical Weavers Conference, Warren Wilson College Fiber Crew, and Sutherland Handweaving Studio and Friends & Fiberworks in Asheville, N.C. She is a juried member of the Southern Highland Craft Guild and graduated in May 2013 from Haywood Community College’s Professional Crafts-Fiber program and currently writes for and about weavers. She is a contributor to Handwoven magazine, its Weaving Today email newsletter, Interweave Press special publications and serves on Handwoven’s Editorial Advisory Board.  – KD

          Ms. Donde, left.

At the January 17, 2015 meeting of the Weavers of Orlando,  ‘Exploring Fashion’ was the topic presented by WoO member, weaver, instructor and author, Mimi Smith of Mount Dora, FL.

Ms. Smith has published several articles in WEAVERS magazine, (Summer, 1996, “Found Treasure: Lace and Honeycomb Mat”) and HANDWOVEN (May/June 2003, “Evolution of a shawl in Bronson lace”) and (Sept./Oct. 2005, Warp-Faced Rosepath Rugs”). She has presented instructional workshops on overshot, double weave and Kente cloth design.

Mimi learned weaving from the Cincinnati Weavers’ Guild before moving to Connecticut and joining the guild there. After four years in New England, she returned to the Cincinnati Guild and organized a 16-person overshot friendship group which produced a display at the Cincinnati Historical Society.

After retiring and relocating to Sarasota, FL, Mimi established herself with the Manasota Guild. She is the former president of the Cincinnati, OH and the Manasota, FL weavers’ guilds. Mimi now resides in Mount Dora, FL.  –  MS

Several selected garments were modeled by members of the ‘Lazy Kates’ of Mount Dora, FL, below.

‘Crimp and Create’  was the topic of the February 21, 2015 meeting of The Weavers of Orlando, WoO. The meeting combined a three-day workshop and featured guest speaker, noted weaver, educator, lecturer, Dianne Totten of Marietta, GA.

Ms. Totten’s Powerpoint presentation and accompanying on-loom workshop was on “crimp cloth.” Using a variation of woven shibori for both warp and weft, crimp cloth is a permanently crimped design that holds its ‘memory’ even when washed.

Ms. Totten is a popular lecturer, educator and presenter and published author. She has presented to weaving guilds across the United States on a wide variety of techniques and has been published in The Complex Weavers’ Journal, VAV magasinet, Shuttle, Spindle and Dyepot, and Handwoven. She has been awarded the 2011 VAV/Handwoven Challenge ‘Best of Show’ and the 2011 Midwest Weavers Conference ‘Joy’ People Choice award, the Convergence Runway Fashion Shows in 2012, 2008 2004, 2002 and 1996, The Blue Ridge, NC Handweaving Show Judges’ Choice Award in 2008, as well as many others. She has held workshops at the John C. Campbell Folk Art School, the Chattahoochee Handweavers’ Guild and the Gadsden, AL Weaving Guild.   – DT

Ms. Totten is a prolific weaver and garment designer. Three of her creations, above.

The topic of the May 16, 2015 program of the Weavers of Orlando, WoO, was ‘Rigid-Heddle Looms.’ WoO member, Barbara Pietruk of Rockledge, FL demonstrated direct warping, which is really the most convenient way to warp today’s rigid-heddle looms. Several looms were available for guests to try their hand with this technique.

‘Embroidery on the Loom’ was the topic of the June 20, 2015 meeting, presented by WoO member, Audrey Smith of Fern Park, FL. This program illustrated the close relationship between weaving on the loom and needlework which integrates brocade, inlay, overlay, and underlay as the background material is being woven.

Traditionally, embroiderers have had almost complete freedom to create either linear patterns or flowing pictorial compositions where the needle and thread are not bound by a geometric foundation, as on a loom. The genesis of the embroidery technique dates back to the latter half of the 1800’s, when innovative Swiss fabric designers combined the mechanized loom and the sewing machine to create a new machine which utilized the combination of a continuously threaded needle and a shuttle containing a bobbin of thread. The shuttle itself looked similar to the hull of a sailboat. “Schiffli” means “little boat” in the Swiss dialect of the German language, so this new machine came to be known as a schiffli machine. Today, the artistic effect is produced on both large, computerized machines, and by hand-weaving artists.  – JG

Ms. Smith is pictured below with WoO members and examples of her embroidery on the loom. 

Ann Welly Revels of Titusville, FL presented ‘Triaxial Weaving’ on September 19, 2015 at the Weavers of Orlando’s monthly meeting.

Unlike the traditional loom setup of a warp and weft, triaxial weaving is weaving with three elements. The first element is vertical (like a warp) the second and third elements interlace diagonally. The technique dates back to around 5,700 BC in Japan and originated as a plaited basket weave.

Triaxial weaving produces material which is structurally superior to traditional rectangular weaving. Since the structural elements run in three directions, the resulting fabric is much more resistant to shearing forces and doesn’t easily crimp.

Triaxial weaving can be done on the loom… but with great difficulty! For the last 20 years it has been commonly done with ribbon, giving the technique a whole new dimension as the color possibilities are endless. Small pieces create ornaments and greeting cards. Larger ones are used as framed art, runners or placemats. It can be appliqued onto clothing or used as fabric to create a vest or tote bag. –  JG

Examples of Triaxial Weaving, below.

‘Weaving a Wedding Gown’ was the topic of the June, 2014 meeting of The Weavers of Orlando. The presenter was WoO member, Ms. Diane Click of Merritt Island, FL. who explained the challenge of creating the fabric for her daughter’s wedding gown.

“What an adventure!!,” exclaimed Diane. “We had a year to accomplish the gown; a year spent weaving samples, samples, and more samples! Decisions needed to be made about dress style, fiber, weave structure… so many options to consider for such an important event.”

The actual gown and her sample were displayed. Her article about designing the wedding dress, ‘Huck lace is for Weddings,’ was published in The Handwoven magazine, September/October 2001 issue, page 34.

“This dress uses two different fabrics,” said Diane. “Huck and Tencel (TM) ruled!!” she declared after much, exhaustive sampling. “Small squares of huck lace in a diamond arrangement contrast with a plain-weave background. Tencel (TM) is a wonderful fiber,” said Diane. “It has the sheen of silk, is as easy to work with as cotton, and has a wonderful, soft hand.”  – DC

Diane, and her completed garment are shown, with photos used in the magazine article.

The ‘Perfect’ Towel was the topic of the February, 2014 meeting of The Weavers of Orlando and was presented by weaver, instructor and popular guest speaker, Tracy Kaestner. Ms. Kaestner has published several articles in Handwoven magazine and has been instructing at conferences and guild workshops for many years. She offers instruction and weaving supplies in her Houston, TX company, The Lone Star Loom Room and through her website, www.lonestarloomroom.com.

What is a ‘perfect’ towel? What are the characteristics of a hand-woven ‘perfect’ towel? Simply stated, it is a beautiful, functional towel, produced on your loom that serves your needs.  – TK

Susan Wilson of Arvada, CO, presented on January, 2013 on Crackle Weave.