S-101 Flip-flop Tassel * Shirley Berlin
Tassels can be jazzy, slinky or rustic. Making them in a group is fun because you'll all come up with different results, even following the same page of instructions. You'll also make a plied and twisted cord to build into the head of the tassel. This is a satisfying introduction to a great art.
Materials fee: $5.00 includes handouts and yarns Equipment: scissors
S-114 Hands-On Ply Splitting * Linda Hendrickson
Learn a technique developed by the camel herders of India. Linda will bring braids in different shapes for you to examine, as well as ply-split jewelry, ornaments, mats, baskets and hats. Using prepared cords, learn the basics of SCOT (single-course oblique twining.) Go home with a colorful braid attached to a key ring – you can put keys on it, or attach it to a zipper on your suitcase to make it easy to identify.
Level: Beginning.
S-124 Great Garments from Handwoven Cloth * Daryl Lancaster
Interactive lecture and open critique of her own and participant’s hand-woven clothing. Those participating in the critique will be asked to bring “show and tell”: garments they have made, garments that didn’t work, garments under construction, hand-woven fabrics that haven’t been made up yet, and lots of questions, both technical and aesthetic. Daryl will also give a short presentation on tips for working with handwoven fabric.
S-132 - Plying for Color and Design * Deb Menz * FILLED
This is a lecture and demonstration that shows that plying is not an afterthought, but a design choice for spinning yarn. Lecture will cover how you can use color principles to choose colors for plying. You will not want to ply yarns on themselves ever again. It will also show how to achieve specific color effects in plying. There will be lots of samples on display. 2, 3, and 4 as well as Navajo plying are all covered in the talk. This is not about novelty yarns, but basic yarns created with colors and some forethought.
S-135 Drafting for Multiple Warp Weaving * Sheila O’Hara
Now is your chance to get drafting and designing experience in the unique weave structure, which the instructor has been developing since 1976. In this technique, the color comes from warp faced twills, which create a single layered, reversible fabric. Drafting for both 8 and 16 shafts will be covered as well as design options from one warp. This fabric can be used for wall pieces and functional items. The seminar will be both informative and entertaining.
S-136 Finishes for Kumihimo Jewelry * Rodrick Owen
This seminar reveals the "tricks of the trade" secrets by demonstrating various ways to finish off braids for jewelry. This includes using beads of different sizes and attaching findings to the ends of the braid. Students are invited to bring their "how to" questions and examples of work for which they wish to find design solutions. Slides of Rodrick’s work will describe how different finishing techniques were developed and solutions found. (click here for materials/equipment)
S-139 Fabric Analysis Is Fun! * Sigrid Piroch
What do you do when you see a wonderful woven fabric and want to weave it but there is no written draft to assist you? Learn how to analyze and re-weave simple, layered and complex fabrics by traditional methods, as well as specialized methods. Learn tricks to quickly memorize and document them. Evaluate your strengths as a weaver and designer. Now weave them again for yourself!
Materials fee: $5 includes wire-bound booklet with work session pages and other references.
S-150 Color, Technique, and Tapestry * Kathe Todd-Hooker
Explore color usage in tapestry and how it can be achieved through technique. Learn to use a limited color palette. Expand the range and diversity of those limited colors with the use of chenes, melanges, hachures, hatches, color fades, using multiple strands of color on a single bobbin, then use silk, rayon's, perle cottons, metallics, different densities and spin of wool to change the quality of the light reflecting from the tapestry.
S-160 Designing for the WOW * Mary Zicafoose
How do you design non-loom controlled tapestries & rugs? Where do you begin? When do you stop? How much is too much? How do you convert great visual ideas into sound, structurally integrated textiles? Mary shares her journey of 23 years behind the art loom, helping you give voice to your personal direction and designs.
S-103 The Lucet – Make Another Useful Cord * Shirley Berlin (FILLED)The lucet produces a firm square knitted cord and (probably) dates back to Viking times. You will learn how to make a cord, ruche along a thread, work in two colors, and add beads.
Materials fee: $5.00 includes plastic lucet and yarns Equipment: scissors
S-123 Closures * Daryl Lancaster
Do you avoid jackets because you don't know how to close them? There is nothing like a beautifully done bound buttonhole to set your garment apart from the rest. Also demonstrated will be machine and hand-worked buttonholes, buttonhole facings, fabric cords for loop and button closures, ideas for buttons, and other suggestions for closing up those jacket fronts.
Level: Some sewing experience helpful.
S-130 Combing for Multi-Colored Yarns * Deb Menz
This is a lecture, slide presentation and demonstration about creating multi-colored fiber preparations using various hand held combs and hackles. It is a multi-step process, beginning with combing each color alone, blending, and next placing combed colors onto a hackle to arrange the final color placement for the yarn. The last step is pull the fibers off of the hackle with a diz.
S-134 Contemporary Jacquard Weaving 1991-2005 * Sheila O’Hara
Weaving has been a lucky beneficiary of the new computer age technology. Handweavers, once thrilled with computerized dobbies, are now searching out computerized jacquard looms for exploration. Several colleges in the US, Europe, and Canada now have partially automated jacquard looms available to their students as well as outside individuals. Enjoy a slide lecture on the exciting new ideas and designs, which are being developed by contemporary textile artists as the dream of individual thread control becomes more accessible.
Materials fee: $5 fee for handouts
S-137 Peruvian Core Carrying Sling Braids * Rodrick Owen * FILLED
The Peruvians have no equipment to make the core carrying sling braids. They make the slings holding the strands in their fist. A whole range of patterns can be created by manipulating and exchanging the active and passive core strands in different sequences. This seminar offers a way to learn how to do this in two stages. As a way to observe how the active strands are moved and how to deal with the core we will begin making the braid on the square piece of cardboard. This will help you understand how the upper and lower strands figure in the structure. When the braid is long enough it will be removed from the card and transferred to our fist. Braiding will continue, referring to a handout that charts the hand moves.
Materials fee: $10.00
S-144 Guidelines for Hanging, Mounting and Framing Textiles for Display
* Rebecca SmithLearn the best ways to mount and hang textiles, from lightweight, sheer silks to heavy, hand woven fabrics or tapestries. Topics will include methods and materials for safely mounting textiles; how to avoid damage to textiles and protect them for long-term display; and aesthetically pleasing ideas for textile mounting and framing. Participants will learn how to mount textiles themselves, as well as how to work with a framer to get optimum results.
Materials fee: $5.00
S-146 Yarn Over Idaho: Concerning Toes, Teapots and the Pursuit of Tapestry
* Sarah SwettTapestries are built of yarn and ideas and time. This seminar will involve an intimate look at one woman's process, from natural dyeing through cartoon design and weaving. We will follow the progress, the thrills and the pitfalls, of several tapestries as they evolve from fleeting images and become stories woven into magical cloth. The seminar will consist of slides, discussion and the examination of both actual tapestries and the materials used to produce them.
Materials fee: $2 for handouts
S-152 Lines and All that Stuff * Kathe Todd-Hooker
Have you ever wondered if there was something beyond the basics in tapestry? Well, there is. This is an exploration and demonstrations of a few of the advanced techniques-vertical lines, loosing stair steps on angles, wavy and non wavy straight lines, soumack, eccentric weaving, wedge weave and shaping, blisters, texture, metallic, switching warp setts, outlining, arras, interflection, reflection, transparencies, etc. Slides, handouts and demonstration support teaching.
S-159 After the Loom: Finishing, Packing & Shipping Your Treasures * Mary Zicafoose
Cutting the rug off the loom is only the half-way point! This seminar deals with the final 101 decisions and details of creating and presenting beautifully finished tapestries and rugs for exhibition and sale. We will cover steaming, hanging treatments, photography, archivally friendly packing and shipping.
S-102 Kumihimo on a Plain White Card * Shirley Berlin
Round, square, and simple beaded braids - all braided on a card you can carry in your pocket with no numbers involved. Warning: these techniques may lead to loom lust, but the card remains unbeatable for portability and cost. Directions will be provided for improvised two-handed equipment.
Materials fee: $5.00 includes 3 cards, warps, color handouts Equipment: scissors
S-109 California Fibers - Contemporary Fiber Artists * Christie Dunning
California Fibers is a group of contemporary artists working in various media and techniques traditionally related to textiles. This group was formed in San Diego in 1970 as a professional, juried organization seeking to promote interest and excellence in contemporary fiber art. Its' members are internationally renowned for their conceptual approach to art, using weaving, non-woven textiles, felting, papermaking, quilting, basket-making, dyeing, collage, assemblage, sculpture and jewelry to express themselves. This slide lecture will highlight work created by the thirty-plus current members.
S-115 Hands-On Tablet Weaving * Linda Hendrickson
Here’s a wonderful opportunity to get the feel of tablet weaving. Warps will be ready – just choose one in your favorite colors, and tension it between your C-clamps. Learn how to flip and turn the tablets to weave a variety of geometric designs in a structure called warp twining. Linda will also demonstrate how to make a continuous warp, and will show many pieces from her collection, including jewelry, inscription bands with a variety of letter styles, and bands with traditional pictorial and geometric motifs.
Level: Beginning
S-125 Leftovers Again? What To Do With Leftover Handwoven Fabric Daryl Lancaster
Explore and experience creative ways to use every precious bit of hand-woven scraps. Some require sewing, some a hot glue gun. Some ideas become great garments, some can be sent through the mail! Lots of ideas and lots of handouts. Learn piping, piecing, and applique techniques!
Materials fee: $8.00
S-131 Drum Carding and Color for Handspinning * Deb Menz
Demonstration, slide presentation and lecture of how to produce complex and repeatable multi-color handspun yarns through a multi-step process using a drum carder. Basic drum carding will be covered, as well as blending colors and fibers on a drum carder. Multi-colored and multi-layered batts and how to effectively use them will be discussed and demonstrated. Many samples will be displayed.
S-138 Peruvian Turban Braids * Rodrick Owen -
Turban braids from Pre-Hispanic times date between circa 200OBC to AD 1500. The braids can be divided into ‘families’, each family comprising pattern variationsof one type of structure. Were there hundreds of braiders in those far off days? I think not, my guess is that very few people knew the skills. Perhaps it was contained within a family group, a village, do we really know? Not all turbans were wrapped around the head; many of these braids were also used as short tassels attached to woven pieces. In this seminar we will reproduce several turban braids using our fingers on simple equipment.
S-140 Textile Conservation and Restoration * Sigrid Piroch
Almost everyone needs expert advice at some time on the care of special textiles from coverlets to quilts to samplers to teddy bears. Do you know what and who to ask? Evaluate textile characteristics such as fibers and dyes, consider how to select what to keep value, store, use of archival materials, displaying and mounting, if and when and how to clean them, professional restoration and cost considerations.
S-145 Down the Garden Path--Playing with Composition and Design * Sarah Swett
FILLED
Life is a work in progress; we act as designers when we get dressed, pick up yarn and knitting needles, or simply walk into a room. Noticing and then controlling this design process can make the difference between that which is enticing and that which does not merit a second glance, be it a meal, a sweater or a garden. Playing with principles such as value, balance and symmetry, in this seminar we will practice controlling the elements of composition. Using the space that we are in, a variety of familiar objects and even pencils and paper, we will practice the art of "moving the viewers eye" as we seek an increased understanding of the influence that we have on everything that we create.
Materials fee: $5
& Area Map |
||
3 day 1 day |
||