2019

‘Spinning Techniques’

The January 19, 2019 meeting of the Weavers of Orlando, was all about the basics of Spinning.   WoO member Nancy Reed presented.

Ms. Reed has been spinning for nearly 15 years. Beginning with a student- grade top whorl-drop type of spindle, she has collected almost 20 different types of spindles and owns two treadle wheels and two kick-starter campaign electric wheels.  A former school teacher, she knows how to hold an audience. She regularly offers demos and provides introductory spindle lessons in her spinning group, The Drunken Monkeys, named for a coffee bar in Orlando where her group meets for spinning networking.

Ms. Reed covered the basic tools, types of fiber, and how to prep the fiber. Fiber artists use both prepared fiber, or prep their own. She shared with the group the differences in yarn samples and introduced different yarn sources and covered the different types of fiber blends, such as sheep’s wool, alpaca wool, cotton, silk, Tencel^TM , bamboo, and others.  Ms. Reed provided a great variety of equipment and samples and shared her slides on her laptop. It was very energetic and the group remain engaged after the formal program to pose questions and to hear new information.

For more information on Spinning Techniques and the Drunken Monkeys spinning group, contact. Ms. Nancy Reach, program chair at   weaversoforlando.org

This event has already taken place.     JG

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Photo captions: (1) Nancy shares her experience from many years of spinning at the January 19 meeting of Weavers of Orlando. (2) Different spinning wheels were set up for WoO members to explore.  (3) Liz gets a close-up lesson in the mechanics of spinning.  (4) A very lively exchange. (5)  Janet explains the characteristics of different blends of yarn and how the spinner can create colorful and textural custom blends. (6 and 7)  Freddi shows off some of her finished projects which incorporated her personally blended fibers. (8) Jody and Nancy display their personal hand spinners. Spinners can even be made using a CD.  (9 and 10) Wheels from a variety of manufacturers were set up for members to try. (11)  Skeins of different fibers and blends were presented for members to feel the difference spinning makes.  (12) Nancy offered a slide show for additional references.

2018

‘Old Becomes New Again in Dukagang’

WoO Member Audrey Smith presented her favorite topic, ‘Old Becomes New Again in Dukagang’ on August 18, 2018. A former art teacher, Audrey learned to weave in 1954 on a big, old barn loom which stood in the middle of her classroom.  “The students were allowed to weave on the loom after their art projects were finished,” said Audrey.  “They would quickly finish their projects just to have a chance to weave.”  Audrey was fortunate to move to Central Florida during two auspicious events: the creation of the Florida Tropical Weavers guild, that would later become Weavers of Orlando, and meeting guild member and mentor, Betty Terlouw.  Under Betty’s guidance, Audrey studied weaving techniques for several years and quickly learned Dukagang. It became her all-time favorite weave structure because it combines her love of art and weaving.

Dukagang is a weave structure first discovered in woven cloth from ancient Egypt and later popularized by the Norwegians.  The weave is composed of a strong ground cloth with lots of short contrasting, colored floating threads that form the pattern. “This is a ‘laid-in’ technique using plain weave,” explained Audrey. “It is a twill pattern using shafts 1-2-3-4. Shaft one is by itself, so the tabbies are 1-3 and 2-4.”   Audrey prefers 28 epi white cotton on the warp. For her weft, she prefers a thicker yarn, possibly embroidery floss. Audrey shared that early on in her exploration, she was taught to use a mirror to check the bottom of the weaving. She soon abandoned that after much frustration. She credits Elmer Hickman as her inspiration. Early in her experience with WoO, Audrey had access to and photographed hundreds of his drafts. They can be accessed through the WoO library. Referencing her draft of the wedding cake, Audrey explained that there are no hard and fast rules about completing a design; her only simple caution is to standardize on an odd-number of threads so that there is an accurate center to the design. Audrey enjoys using these colorful graphic motifs as Christmas and greeting cards to her friends; you know you are one of her friends if you have received one of her weavings.   JG

“Basketweaving… It’s in the Bowl”

Jennifer Williams admitted that she just recently fell in love…. with basket weaving!

Her program for the Weavers of Orlando on July 21, 2018 was simply called: ‘I Love Basketweaving.’  Her two and a half day workshop at the Westminster Towers was called: “Basketweaving…It’s in the Bowl,” since each basket required a plastic bowl as a mold to shape the basket. Weavers who took her workshop were shown how to finish their baskets with a braided rim. Multi-color-accents could also be employed to finish off the rims. All materials and tools were provided. A small materials fee was charged. Some weavers were able to complete three baskets- perfect decorative centerpieces or serving bowls.

According to Jennifer’s research, basketmaking closely followed the progress of civilization, since humans started out as hunters and gatherers and quickly found a requirement for some device to carry their daily scrounging. By necessity, they turned to the natural materials around them…. including grasses, bark, bamboo, palm fronds, leaves and wood.

Basic construction techniques are simple, there are only about four different types of basket weaving… plaiting, twining, splint and coiling.

Jennifer’s parting mantra was simply: “Basketry is the only handcraft that has yet to be mechanized.  Every basket you see was made by someone’s hands.”

She had a wealth of reference materials and finished baskets for members to examine.

“Deflected Doubleweave”

At its June 16, 2018 monthly meeting, WoO member and past president, Mary Schmute lead WoO members through the intricacies of Deflected Doubleweave to help make the weave structure become more understandable.

Deflected Doubleweave is referred to on the internet as a popular weave structure due to the many different possibilities of results by using a minimum number of shafts and different sett structures in order to create many elaborate designs. Over time, Deflected Doubleweave has been known and referred to by many different names: ‘Ancient colonial Shawl weave’  by Mary Meigs Atwater, ‘Thin/Light Weight Doubleweave’ by various weavers, ‘False Doubleweave’ by Dimi Moes, ‘Integrated Cell Weave’ by Lynn Tedder, and  Deflected Doubleweave’ by Madelyn van der Hoogt, to name just a few.

A self-admitted rug weaver, it was a 10/2 silk shawl created by Madelyn van der Hoogt in 1999 for a Midwwest Weavers Conference in Bloomington Indiana, that gave Mary her epiphany introduction to the weave structure and motivation to continue exploring the many possibilities.

According to Mary, “By varying the fiber and sett, the weaver can create beautiful and different results. Using a 30 epi sett produces a more controlled finished effect. Or, weavers can select a sett they would normally use for single layer fabric to maintain a soft hand. Also, using two different fibers that don’t shrink at the same rate will produce textured designs and dimensional puffs and shapes.”

The amount of shrinkage needs to be factored into both the length and width of your project before the project is begun.

“A good YouTube video to use as a reference,” says Mary  Weaving Deflected double weave selvedges

Mary had several references on display: books, samples and a project on a table loom. She remained after her presentation to answer questions from the members.

click on photos to enlarge

“Getting the Most Out of WoO”

For the May, 2018 meeting,  WoO Program VP Ann Redmond (1, left) chose to have a panel discussion on existing WoO programs that are available and how to make them more accessible to members and guests. Her panel consisted of seven senior members of the guild: ( 2)  Berna Lowenstein, not present, but represents the Structures study group; Joy Bergman, who spoke on Weaving 101 study group; Bev Tavel, who spoke on Demonstrations, Joan Furci, who spoke on the Tapestry study group; Mary Schmute, who discussed the Exchange study group; Diane Click, who talked about her Shuttle Clicks group; and  Sandy Lazarus, who described the Lazy Kates study group.  For details on each of these, see the tab on each, located elsewhere on this website.  Seen below is panel leader Ann Redmond who introduced each speaker and kept the conversation moving. (3)  Part of the problem with coordinating the study groups is the broad, geographic reach of the membership of WoO; the slide shows the immense footprint of members.

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 “Weaving the Days of Your Life”

Tommye McClure Scanlin lives in north Georgia surrounded by the beauty of nature. She loves to take daily walks and make observations of the beauty she encounters. When her speaking and workshop engagements require her to travel, she explores the environs of her engagements, capturing new images every day. She has an eye for the smallest of details and will record, either by camera, or by sketching, what she sees: a leaf, a feather, a stone, a pine cone, a gnarly tree root, pebbles frozen in a puddle… small, found objects all are captured in her heart and are taken back to her studio, where she converts them into colorful tapestries on her loom. ( photos 3,4,5 below).  She shared her unique, artistic process with the guild through a slide presentation, entitled “Weaving the Days of Your Life,”  on February 17, 2018.

Ms. Scanlin has been weaving for over thirty years, exploring different techniques through the woven structure. In 2008, she decided to focus on weaving every- day, small geometric patterns in a design that would eventually become a journal of each day, each month, each year. “Weaving the Days of Your Life” serves as a very personal reflection on her daily thoughts, actions and memories from 2008.

Her process is to convert photos and sketches into a line drawing which she prints out using her computer. Placing the line drawing behind her loom, she gathers cones of colored yarn to create a palette. The process is much like a paint-by-number we are familiar with, but the colors in her palette are yarn and other fabrics and are woven into her tapestry, not painted on boards.

Her looms are oriented vertically, ( photos 7,8 below). She prefers to let the yarn take shape on its own, rather than beating it tight. She is able to work on small sections at a time instead of passing a shuttle left and right. Some of her designs take up to six months to complete. The size of her tapestries are sometimes very large: 60″x70″, and sometimes tall and narrow. The size and shape are determined by the needs of her customers or the final installation; she can easily adapt a tapestry depending on the design details and application.

In her “Days of her Life” project, she separates the days and months into small motifs,( photo 6 below), in which she depicted the year 2017 using flowers as her motif. She includes the date of the month, much like a bookmark. If a period of no weaving happens, she fills in with strips of cardboard which she later removes, leaving empty gaps in the weaving. ( photos 9,10 below).

She freely shares her weaving experiences in classes and workshops at popular learning centers such as Arrowmont, John C. Campbell, Penland and Peters Valley, as well as at the Southern Highland Craft Guild, the Hambidge Center for the Creative Arts, the Warren Wilson College, and Artspace in Raleigh, NC. In 2017, she and Bhakti Ziek collaborated on an eight week course for Spring Concentration at Penland School of Crafts. She has earned the Lifetime Achievement Award from the Georgia Art Education Association for “…dedication to craft education.”

Upon her return to her home, she created a blog on her Winter Park experience. You can read about her workshop in her own words here…Tommye Scanlin Blog

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 “Harris Tweed and English Estate Tweeds”

The January 20, 2018 meeting of the Weavers of Orlando was devoted to ‘Harris Tweed and Scottish Estate Tweeds.’   WoO member and past president Berna L presented at the Westminster Winter Park Towers. “Everyone knows about tartans, but Scottish Estate Tweeds have their own special history and registry” said Berna, “and Harris Tweed is the Champagne of tweeds!  In order to get the special Harris trademark, the tweeds have to meet special criteria.  Just when you think, ‘Oh, it’s only twill,’ you learn something new,” said Berna.

Berna L is a computer programmer who has been knitting for over 50 years, and spinning and weaving for 30 years.  Since computer punch cards were originally designed to control jaquard looms, computer programming and weaving are very similar.  Berna has won many awards from FTWG and HGA for her weavings, and has presented programs and workshops for the Weavers of Orlando for many years.

Ann R, WoO program chair, introduces Berna L and her presentation on Harris Tweed.

2017

Holiday Luncheon

“Block Party” 

Robyn Spady, internationally acclaimed publisher, author and lecturer, opened her three day experience, October 20, 21 and 22, with the Weavers of Orlando with an intimate, lecture-format presentation to members of the Weavers of Orlando on Friday evening, entitled ‘The Devil’s in the Details,’ reminding them of their responsibility to pay particular attention to the details of their projects in order for the results to be above ordinary. She challenged her workshop attendees to find ways to make their fiber art projects more intriguing, to see different ways to incorporate fiber into other projects, or to look for simple ways to improve their projects and set themselves apart as fiber artists.  “Sometimes the most understated detail or accent can make the difference between something ordinary and something extraordinary,” said Ms. Spady. The chevron detail shown is illustrative of her advice.  Participants were presented with a variety of fiber techniques for adding details to create exceptional results in their projects.

    Detail, chevron edge treatment.

The group rejoined on Saturday morning in the crafts room of Westminster Towers in front of their looms which had been previously warped and ready for Robyn’s workshop, entitled, ‘Block Party.’  The Towers’ arts and crafts room is located on the top floor of the building and its wall-to-wall glass windows, excellent lighting and scenic vista of Winter Park provide a perfect weaving environment.

In the workshop, WoO participants learned how to develop new patterns and how to push their looms to new limits. Through one-on-one instruction, slide presentations and classroom lecture techniques, the attendees saw a practical understanding of blocks, profile drafts, and how to use them to create new and exciting drafts. They examined the fundamental building blocks of many weave structures and how they can be manipulated into new designs, hence the formal title of the class, ‘Block Party.’

The visit by Ms. Spady also included an overview lecture to the general membership of the Weavers of Orlando on Saturday morning. Introducing the workshop presenter at this meeting on Saturday, Oct 21, Program Chair, Nancy R  described Ms. Spady as ‘a world-renown authority.’ Certainly an accurate title for this author and lecturer from the Seattle area. Her presentation on Saturday morning was entitled, ‘One Shuttle Wonders,’ and provided information on the many ways to weave fabulous fabrics on looms with only a single shuttle.

Robin Spady’s enthusiasm for weaving and teaching is what makes a workshop with her so enjoyable.  “She is such a sharing instructor,” said member Mary S.  “You come away from the three-day workshop with so much information on designing using block weave structures to help plan your next projects.  This workshop gave me so many options and ideas on how to design projects that I now have an even longer to-do list, which is not a bad thing!”

Corrina H, a new member of the guild,  pictured above, left with Nancy R, WoO Program Chair, immediately registered for the workshop to gain better weaving skills.  “When I arrived at the workshop, I was seriously apprehensive. From the get-go, I was made to feel included and comfortable,” she said. “Everyone in the workshop welcomed me with open arms, and included me in every aspect. Robyn is an incredible teacher and I got so much out of this workshop.  I want to thank all the wonderful ladies I spent that weekend with. They are a wonderful, fun and a gracious bunch and I hope to spend many more experiences like this with them again.”

This is truly a high-value membership benefit for for members of the Weavers of Orlando.

This is Ms. Spady’s first visit to Orlando. We hope she returns often.  JG

“Eight-Shaft Weaving Patterns”

      Ann  R, left.

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 R 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

“Beading Triangle Earrings”

       Cynthia S, left.

“Beading Triangle Earrings”  was the topic presented at the May, 2017 meeting.  WoO member Cynthia S 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 L, in the workshop that followed the regular meeting, using gold and black beads. – JG

“Courageous Color: Weaving with Hues that Terrify You!”

      Betty , 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 S. “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 F.

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 W, 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 C 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 C, left.

2016

‘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.

2015

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 S of Mount Dora, FL.

Mimi 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 P  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 S  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

Audrey 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.

2014

‘Weaving a Wedding Gown’ was the topic of the June, 2014 meeting of The Weavers of Orlando. The presenter was WoO member, Ms. Diane C 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.