Looking back at this link, I realise I sold the sea picture I used as the blog header this week. Happy times! A couple of people asked in the comments if I’d also show how I’ve made beaches, so here we go.
The beaches where I live are mainly pebbles, but there are sandy beaches a little to the east and I’ve used both types of beach in my pictures.
Whitstable West Beach: the pebble beach at the bottom of my road
Here’s a picture of two Sanderlings at Minnis Bay: a lovely sandy beach with chalk rocks embedded in places in the sand.I’m starting with this as it was an early picture and the first time I thought of using a blue cobweb felt overlay to represent a wet beach reflecting the sky. It’s a technique I like and use quite a lot.
Layout for and final picture “2 Sanderlings, Minnis Bay”
There’s a pewter-coloured base for the sand and light prefelted sections and silk fabric pieces for the chalk with a bit of darker shading around them
Here’s another Sanderlings picture, also at Minnis Bay. This time I’ve used a few different sandy shades to add the idea of shade and texture in the sand.
3 Sanderlings, Minnis Bay
Pebble and shell beaches are more common in my pictures as this is what I see when I walk near home. There are quite a lot of variables in how I create them. Some choices are for ‘artistic’ reasons (how do I want this to look and feel?), some for experimental reasons (what would happen if?) and some are entirely pragmatic (what suitable bits of prefelt and felt offcuts do I have kicking around at the moment?).
This is a Big Wave picture that is now owned by a friend of mine. Here I have cut up felt and pre-felt into pebble shapes and put them on a base of several layers of sandy coloured wool tops. I then laid a bit of blue cobweb prefelt and silk over the pebbles nearest to the wave to give the impression of the remains of a previous wave over the pebbles before wet felting everything together
This is a similar picture where I’ve added more patterned silk scraps (recycled charity shop scarves) which are topped with wisps of wool to help them felt in.
Here I’ve taken a different approach. Whitstable is on the north Kent coast of the UK. It’s famous for oysters and has a very long history of oyster catching and farming. Empty oyster shells are piled up on the beach next to a local restaurant to be reused for farmed oysters. When it’s quiet, turnstones pick over the shells, ferreting out bits of left-behind oyster. I love the turnstones! You can see one in action in this video and hopefully see where they get their name from.
Turnstone picking over the oyster shells
I’ve made a few turnstone pictures. In this one I prefelted lots of oyster shells for the foreground then snipped up loads of different coloured tapestry wool for the beach as I wanted a more distant background impression rather than individual pebbles. The tapestry wool is all from charity shops: I really like recycling old and second hand materials.
It took a surprisingly long time to snip all that wool into a large plastic washing up bowl ready to mix it up and lay it out on top of sandy wool layers. It also made a bit of a mess as the felting threw up lots of loose wool strands because the fibres were very short.
“Turnstone Dining at the Royal Native Oyster Stores”
Another experimental approach was a picture I made earlier this year using pieces of recycled silk (cut from charity shop scarves, of course) on top of a couple of layers of wool tops with some wisps of wool on top for colour and to help attach the silk. This gives a different feel – more impressionistic – but still (I hope!) the impression of a pebble beach.
This penguin picture was a commission. Unusually I was working from someone else’s photo rather than my own observations and pictures. By necessity the felt picture is similar to the original photo (though I had to give the penguin on the right a proper head!). I custom made various sheets of light grey pebbly prefelt which I cut up to make this beach as there’s quite a lot of it so I couldn’t just rely on scraps.
And finally, I think this is my favourite beach so far (maybe apart from the oyster shells). It includes several of the techniques I’ve described. I pre-made some shell shapes and used prefelt pieces for pebbles. There’s lots of silk too – I think I may have put down a whole sheet of silk on top of wool layers then added the rest on top of the silk. This gorgeous ringed plover was standing on a shingle spit that juts into the sea just along from my house and I felt this was a good representation of that particular terrain.
Do you have a favourite? Or anything you don’t think really worked? I’d love to hear your views.
After a long pause from felting to work on the Guild Library survey (why did no one tell me data analysis was so much fun?) with interruptions to torture incent unsuspecting flax plants, I am now back to working on the Mer’s. Shark Boy is coming along nicely but seems to be missing something… hair!! They will all need hair, but I want it to work with their tail colours too.
Well, I should have some locks or at least some bits of fleece that might work for long hair, because what Mer would not want long hair? All that floating along behind them in the water, looking flowy, and lustrous. Gorgeous tresses, getting in their eyes when they are hunting. ok maybe a braid might be better or another somewhat controlled hairstyle but long, defiantly.
I am imagining picking up bits of colour from the body may be a base of black or dark gray with streaks and accents of some of the body tones. Since Hair should be different than skin, I want to use a different fibre than the Corriedale I have used for the body. Something with a bit more body, (without the use of styling products or heavy conditioners).
In 2019 I picked up a couple of “Coarse” fleeces from the Wool Growers Co-op. Both are quite soft but are more towards a wavy hair than a fluffy crimpy type of sheep. Both are off white to light gray. I also have a reddish-brown Shetland fleece that might be interesting overdyed. I collected a sandwich zip lock bag of each from my stash and turned to the problem of changing their colour.
I need hair dye! Well, I have threatened my hair with that if it didn’t do something interesting as it’s progressing back to the “blond” I was born with. (Ann says it’s a shade of light gray, I claimed it’s just transforming to blond a very light shade of blond that I hope one day will be white) so I don’t have any hair die and none in greens and blues. Humm.
1 I don’t have any hair die
I do have some old Ritz dies in the basement but they are for dyeing medieval gowns so a bit too much for small samples of fleece. I have heard rumours that you can use food colouring to dye with. Yep, checked youtube, they seem to show only dyeing yarn but it should work with what you make yarn with! Ok, check the kitchen, no food colouring. I have a plan! Ask Glenn to pick some up on his way back from work! Thanks, Glenn.
So I had collected samples of the two coarse fleeces and a bit from one of the Icelandic. My final fibre to add was horsehair to give a bit more body. I have some dark and light tail hair but unfortunately, it was clumped together and tangled. I was able to extract some and got them laying parallel, held together with a bulldog clip.
Now what do I cook all this in. it’s a bit small for even my smallest pot. Hummm. I am not using the plastic organizer trays I was using for saucers on some of the outdoor plants. I wonder if they would go in the microwave? They don’t say that they don’t go in the microwave!
2-3 Plan B
I am likely too impatient but I soaked the fibres in warm water and vinegar to prep them for dying. I realized I could fit most of my samples in one organizer and left one sample in the other. I let it soak until the fibre seemed quite saturated and removed some of the excess water.
4-6 Soaking in water and vinegar
When I could not stand the wait any longer, I dripped in drops of strait blue die on one end of the containers.
7 Dye just sitting there
Well, that was disappointing. They just sat there, maybe I took out too much water. I think it needs a poke to inspire the die to migrate a bit. (One of the YouTube videos poked at their skeins in the dye bath) where did I put the spare take out wooden chopsticks? Found them! Why are they with the plastic straws? (maybe filed by the similarity of shape?) Poke, poke, stab, poke and the die is migrating along the top. Ok, let’s add some green and see if we can get a bit of migration and mingling. This is starting to sound quite social. I should put out cookies and make drinks! Again, green drips just sat there. Maybe a bit more water, AH! Yes, now it’s mingling better. More poking but not stirring and I have a nice blue-green, not the Prussian blue I was hoping for but it’s not the right base blue I suspect.
8-9 Poked with chopsticks then tipped the container to migrate the dye
Next, I dripped in some yellow to both samples and worked that in with more poking. Finally, I tipped the containers and got the unattached die to migrate towards the undyed parts. I assessed how it looked and deemed the blue was not quite what I wanted. Maybe a bit of red to get the blue a bit more towards purple would be better? Let’s try that on the samples with the darker one. A few drops! Oh, my! Red is an aggressive colour! Well, I’m not sure you would call that blue but it is investing. Let’s see what it looks like when it’s dry.
10 3 drops of red
11-13 Heating it up, then letting it cool
Now on to the microwave, let’s guess a minute at a time. Two minutes total gave a nice hot dyebath but still a lot of suspended die. I cooked both for 2 minutes covered with cling wrap and remembered to take the mettle bulldog clip off the horsehair before I stuck it in the microwave. Now let it sit covered until it cools down on the stove and see if I have suspended dye left in the wool.
14 one leaked but it did seem to have survived the microwave
Usually, I am much better at this patents thing, maybe I will go make some oolong tea. In addition, one of the last of the season’s butter tarts made by Ann. She is amazing and her butter tarts are Really good!
15-16 Oolong with one of the last tarts of 2020.
17 Cooling fibre on the stove
Enjoyed the Butter tart, drank most of the tea and worked on the computer….. Then went to drain and rinse the wool samples. Looking good!! I added some soap and re-rinsed, seems to have mostly stopped leaking blue.
18-19 Rinsing in the sink
So a light squeeze and draped over a chopstick and paper towel to dry.
20-21 set out to dry
Went back to the computer (played Rune scape) then back to the kitchen to check on the wool and start dinner (miso and ginger soup with shitake mushrooms, onion and noodles). The wool seems to have left a few spots on the paper towel but is looking very colourful.
22 a bit of staining on the underside of the paper towel
23-24 dyeing made me hunger for dinner
25-26 Dry and ready to use
It was interesting to see how little die the white horse tail hairs picked up. I may get better results by letting them simmer overnight in a die bath but there is a bit of colour and they may still work.
It has been years since I got a chance to dye anything and this was a lot of fun. I will have to keep an eye out for variegated grey fleeces in 2021 and consider doing some dyeing outdoors next spring. (Glenn does have that second forge but it might make the dye bath a bit too hot. So maybe I can use the barbeque.) Have fun and happy felting!
I don’t know whats happened to my last year’s hat. It is probably at the back bottom of the deep shelf in my hall closet. I don’t feel like cleaning that out so I am taking it as a sign I should make myself a new hat. I think I will make it to go with my new cowl. https://feltingandfiberstudio.com/2020/11/16/the-cowl-is-finished/
I know it will be a purple wool base and have the orange/gold silk lap on it. I am not sure about the leaves. I am thinking of several possibilities for the hat.
You will have to excuse the very crude drawings but my drawing ability is very small.
The first option has a brim like this hat. The brim folds up twice but stands away from the hat. I was thinking of putting the silk fibre on the inside so it would show when rolled up.
The second thought was to elongate the brim on one side so that I could cut it and make a rosette on one side but still have the other side just folded up.
The third option is to make it with a normal turned up brim and the elongated part for a rosette. In the picture, I did it so it would have a very turned up brim but maybe a regular slight turn up would be better with the rosette.
Forth option( not pictured) is to just do a normal brim with some silk on the underside.
The leaves. I am not really sure they wouldn’t make the hat too busy. Maybe I could felt a couple by themselves and add some vanes on the sewing machine and then tuck them in behind the rosette.
Then there is doing a swirl or rings with shaping on the crown.
So many options, now tell me your thoughts on this hat. I am open to suggestions.
Although I don’t normally make a big deal out of Christmas the one thing I’ve always enjoyed, and can’t imagine not doing, is decorating my tree. The bigger the tree the better….in fact if it doesn’t touch the ceiling it isn’t up to the job! At this point I will come clean and admit that, as the trees got bigger and bigger, I made the shift from real trees to an 8 foot artificial one. I can hear the groans from those who wouldn’t dream of buying artificial, that used to be me, but it is what it is!
Most of my tree decorations have been homemade or received as gifts with some of the quirkiest, and most meaningful, coming from my Aunty Das who sadly isn’t with us any more. These lovely wooden decorations were gifted from Das to my partner who’s hobby is flying.
And these are a few I’ve made in the past…..
These rosette paper baubles took hours to make and won’t be repeated! The dark one is 17cm diameter and was made from black and white photos cut from magazines, the other two are 11cm and made from an old book.
With a big tree there’s always room for more baubles and with the fourth quarter challenge being Christmas Decorations it was the perfect excuse to make more. I found some 10cm and 8cm polystyrene balls locally and covered the large ones with four coordinating cream/black fabrics and the small ones with four green/red fabrics.
Some of the balls have been cut into eight segments and others have had extra horizontal cuts to create a patchwork effect.I’ve found a stash of old baubles in the loft and these are getting a makeover this year, drawing on them with the hot glue gun and then covering them with Matt emulsion.
One of the first wet felting workshops I attended was run by Robyn Smith who taught how to make these gorgeous fairy boots…..I’ve made them as gifts every Christmas since then. With more time on my hands this year, and prompted by the Challenge, I’ve made myself some plus a few extras to sell.
As it’s the season to be jolly, and gnomes have always made me smile, I’ve had a go at making some of those too. The Scandinavian gnome is typically associated with the Winer Solstice and Christmas season so I thought I’d have a go at making my version of a Scandi gnome.
The gnomes came about by accident really. Spurred on by the challenge I’d ordered some 14cm high polystyrene cones online (by this time we were in lockdown) with the intention of making Christmas Tree shaped table decorations. When they arrived every one of the ten cones was damaged.
Rather than send them back, the challenge now was, what could I make with them that didn’t need to be a perfect cone shape? That’s when the gnomes came to mind….the wonky cones would make the perfect base!
Originally I thought about making flat felt for their clothes but then decided to use the same cream/black fabrics I had used for the large baubles, plus a few others. Being in lockdown and wanting to get straight on with them I searched around for something to make the beards out of and found an old cardigan at the back of my wardrobe that had a faux fur collar…..needless to say it doesn’t any more! The first beard I cut didn’t look right. With trial and error I’ve discovered that the way to cut faux fur is by working from the back and only cutting the backing fabric, not the fur itself, using a scalpel blade. That way you get a nice shaggy beard.
The females have Merino wool plaits and both sexes have felted button noses. I’ve machine sewn their outfits but if you were making these with children they could be made just with the glue gun for a quicker finish.
The clothes are simply a triangle for the hat, a semicircle for the jacket and a circle for the dress and/or gents undergarment.
The dress circle is simply hand stitched around the circumference, put on the cone and then pulled tight and the thread knotted. The front of the dress is then pulled up to approx 10cm from the base and hot glued in position.
I decided to use a belt and braces method to attach the nose as I was afraid it might get knocked off (really??) It’s been hand stitched to a strip of white fabric and that in turn is glued onto the cone. Thinking about it now, was this over engineered? Definitely!
The waistcoat was finished with a metal bead and the Merino fibre plaits attached either side of the nose using hot glue. The oversized hat has been glued in several places to create the sloppy look. To finish them off I’ve stood each gnome on a slice of wood.
I’ve had fun making these and I’m keeping a male and female on a shelf in my studio because I can’t look at them without smiling! Besides, a gnome isn’t just for Christmas!
Whatever you get up to over the Christmas period have fun and stay safe!
Like many of you, I belong to some textile groups that would normally meet in person but this year have needed to find alternative ways to work together. One such group is the Farnborough Embroiderer’s Guild (EG). This EG group is quite unusual in that rather than inviting speakers to talk about their practice, we all take it in turns to teach each other new skills. Three months ago we started meeting via Zoom and I have to confess in some ways I actually prefer it! We aren’t a large group but when we meet in person I often end up only talking to the 2-3 people I am sat nearest to, on Zoom the whole group shares the same conversation which is nice and feels very inclusive. The other advantage is the lack of commute, for me, this means I get to eat before we gather and I can have a glass of wine while we play together 🙂
Last month Sue took us through a technique to create foiled pictures; I don’t know about you but I can’t resist a bit of bling! As we are approaching holiday season it also feels very appropriate to share this with you now, I think it would make some wonderful textile Christmas cards and gifts. I hope you enjoy it and feel inspired to have a go!
Although I have played with foils before it was only as decorative finishing touches never as the basis to create a whole textile picture. Even so, I still managed to make every mistake in the book but was pleased to find foils are remarkably accommodating, if you make a mistake, it can (mostly) be rectified with layering more foil over the top.
Unfortunately it did not occur to me to take photos of the process until I was half way through my picture, I apologise for the lack of photos covering the initial stages of the process. The first few photos are where I went back and reapplied the bondaweb on the beak as my initial application had not transferred completely.
This was the reference photo I used for inspiration:
Some useful tips before you start:
set your iron on a low to medium (1 to 2 dots) setting without steam
always use a sheet of baking parchment to protect your iron
work on an ironing board
1: Cut a piece of medium weight, iron-fusible interfacing / fabric stabiliser slightly smaller than the background fabric and iron it to the back of your fabric. We used black cotton velvet but most non-synthetic fabrics will work (synthetic fabrics are best avoided for this technique as they might melt when heat is applied).
2: Draw out your design with a pencil on the paper side of a sheet of bondaweb. If you aren’t confident drawing freehand, you can trace the design from a printed image. Cut out your design, either as one solid shape or in sections if you plan to create a stained glass effect. For the hummingbird I cut out the whole bird as a single piece.
3: Transfer the bondaweb design onto your backing fabric.
If you are using the stained glass technique you might want to transfer one piece at a time, foil it then apply the next bondaweb shape.
4: Once cooled, carefully peel off the paper backing from the bondaweb.
5: Lay a piece of foil (coloured side facing you) over the exposed bondaweb and cover this with a piece of baking parchment, using the tip or edge of your iron, apply gentle pressure to the areas where you would like that coloured foil to appear.
Allow the piece too cool before peeling back the foil backing.
Tip: you can cut out pieces of baking parchment paper to mask off areas where you do not want that particular colour to appear.
If there are areas where the bondaweb has not transferred so well, or you have already applied several layers foils and want to lay a different colour over the top you can reapply the bondaweb but cutting a shape to match the area, I did this for the edge of breast where I wanted the purple to form a solid line:
If you want a sharp edge in a specific shape, it is also possible to cut the foil to match the shape you desire:
6: Continue adding different coloured foils to your design. If using cotton velvet for the backing it is possible to build up layers of different coloured foils without applying more bondaweb.
Tip: keep the scraps of partially used foils, they can be used to overlay different colours on top of each other very pretty marbled colours.
It is possible to “draw” lines of foil using just the tip or edge of your iron, I used this technique to create the feathers on the wings:
It is not very easy to capture foils in a photo, especially the holographic ones so I shot a short video that I hope shows all the different colours more effectively:
Our group met again last night to add some embroidery to our designs, this is how far I managed to travel in the couple of hours we had together.
…and a little sneak peek of my most recent foiled “painting”.
In part 1 we saw the history of the guilds’ old 90 and 100 inch loom. In part 2 we chatted about the arrival and unpacking of the new 100 inch loom. Now lets take a peek at the reference binders related to the old looms and consider continuing that tradion.
My hope is that today’s guild members, as they chose a topic, whether it’s a coverlet or blanket or something else to try out the new loom, they look back to the weavers from earlier in the guild’s history. Like these earlier weavers they record their projects and designs, take photos of their weaving so we can get a glimpse of them as well as what they are creating.
In the past the guild weavers have sporadically documented their projects both with the 90 inch and 100-inch loom. I (in my capacity as one of the guild librarians) would like to see a new binder documenting the projects which our modern weaving teams will make with this new loom.
94 The 90” loom Samples 1 May 1973 to 1 May 1974
95 – 101 sample pages from the 90” loom sample binder
102 OVWSG 100” Loom Samples Aug 1982 to Oct 1983
103- 110 sample pages from the 100” loom sample binder
111 OVWSG 100” loom Samples 1987 to 1992 (while the loom was in Donna G’s Basement. Donna also taught the beginner and intermediate weaving at that time with table looms)
112-121 sample pages from the 100” loom sample binder
We have some sample binders in the reference section of the library, including guild projects, workshops and individual members weaving careers. It would be nice to have sample binders from Spinners, Basket makers, Dyers and Felters too. Keeping records in a sample binder is a way to keep track of your work and experimentation. Your collected projects will give inspiration to yourself or others. Try to make your sample binder in a way that will keep your samples safe from damage. (Use acid-free materials if you can get your hands on them, sew in your samples if possible rather than tape or staples) and always take lots of photos as you work to include to show the process you went through to make it!
Weavers have the advantage of pre-made sheets (available from guilds or online) that save the draft or pattern of the weaving as well as noting yarns, yardage calculations and notes. i would like to see a similar collection of information for the other fiber arts. Spinners can keeps notes of what fibers were used, where they were obtained, what spinning techniques were used and what the end use for the yarn will be. For Felters, what fibers and their sources, weight of the fibers used, techniques used, amount of shrinkage when fiber was sampled, note on how the project was made. Photos would be useful to document your project (felt sculptures don’t fit in binders).
Figure out the information that would be useful to have for each project you create. You may want to include not only the date started and finished, but keep track of the hours worked on each project. Or you may be more interested in what fibers are used or what mix of fibers were used and in what amounts. If you have demo-ed you may recall getting asked common questions, how long did that take, where did you get the idea, where did you get the fibers, how heavy is it, how did you make it do that? theses questions mite help direct you in what to include in your binder.
If you make a binder documenting your work it will both keep a record of your artistic career, showing your progress, and looking back through it may inspire new work. I hope you will consider sharing it with other fiber artists too. If you show them yours, they may show you theirs!
122 Part of the Reference Section of the Guild Library
I hope the saga of the large loom has inspired you even if you do not go out and get one yourself! If you are suddenly yearning to weave a coverlet or a lovely warm blanket check with your local guild and see if they have a 100” loom you could use.
My name is Janet Bayar, I’m 60 years young and live in the lake District Cumbria. 2018 January I attended a day felting course,a Christmas present from me to my daughter, with my daughter and now I am hooked. I have created art all my life but feel that now I have found “the one”. I am excited for the journey ahead. Apart from the day course I am self taught and live by the “what if” mantra.
When taking part in the beginner wet felting day like many I couldn’t get my head around how you could make this fibre and flat felt into a 3 d item. With patient guidance from my daughter , who has a degree in art , I mastered the craft of felt vessels. My mind then went to , well if you can have one resist why not more and thus the journey began.
I am often asked , what do I mean by a resist. A resist is something that stops wool fibres from felting together. In vessels it could be a simple piece of plastic sheet , in shobori it could be a button or marble. Something that stops the fibres of the wool knitting. Recently I began thinking about using the same techniques I have used in vessels but adapting them to 2 d pictures. I first laid down a base of Marino topps then used herdwick in various shades sandwiching between three different sizes of circular plastic. After wet rubbing until I knew the fibres were well felted I cut out the plastic
Shaping the piece was next. I have mainly used the ever forgiving Marino in the past and wasn’t ready for the harsh corse herdwick and must admit ended up skinning the side of my hand rubbing the fibres into shape. In the end I put on disposable gloves and used bubble wrap to creat the shape.
I loved the process so much I then went on to experiment more.
This shows the piece with only one resist cut out. You can see where the other resists are positioned.
I will now develop these. I always treat the felting pieces as the base of my canvas. Sometimes I go into a project with a concept of where I am going it sometimes the piece takes me by the hand and leads.
In this case my sample piece is developing. It’s early stages yet but I know where I am going but will post how it develops to the final outcome.
This is my version of a commonplace Christmas decoration – it’s not an original idea but it’s unique because I’ve made all the bits. I used fibre in the form of fabric, yarn and merino wool tops.
My colour palette was inspired by the winter sky – blue, white, yellow, pink and grey.
I cut a suitable branch from my garden then coloured it with dark blue acrylic paint (photo below shows the branch before painting)…
…then I rummaged around in the glass recycling bin for a suitable bottle to put it in.
To make the cracker, I used a piece of cardboard tube rolled up in fabric (you can see the white tube through the fabric in the middle) …
…then tied either side of the tube with sewing thread. The ends were trimmed with pinking shears and the cracker was finished with some narrow organza ribbon.
I knitted a stocking using a free pattern for mini knitted socks then stuffed it with some merino wool fibres. I like this pattern because it’s knitted on two needles, not the usual four, so it’s very easy.
The tree is a scrap of blue felt, cut to shape, then decorated with fancy yarn.
The star is cut from a scrap of thick felt – yellow on one side and pink on the other. I applied PVA glue to the edges to stiffen it.
I made 5 snowflakes but each is unique – that’s another way of saying that I made several mistakes because I was watching a film whilst crocheting and not paying enough attention!
I made 15 large felt beads in winter sky colours – but I only used 12. As I was hanging everything onto the branch I reached a point where I realised I had enough and I had to stop. The photo below shows them drying on a rack.
Everything was hung onto the branch using thin, yellow coloured wire.
This was a really easy, fun Christmas decoration to make and the variations are countless. I hope you enjoy making something for your own home, and if you want to share photos please post them here fourth quarter challenge 2020
The guild both Ann and I belong to had an old 100″ loom at the end of its life. With the greatly appreciated grant assist, we were able to order a new loom that will be much easier for our ageing membership to use. We had our grant request approved so put in our order with Leclerc Looms. We dispersed parts of the old loom, put in a new floor in the classroom and awaited the new looms arrival…..
Unbeknownst to us, other guilds seem to have had the same grant idea! So, the loom that should have been ready for us in a few months, was suddenly delayed, then delayed again. There was a backlog of orders at Leclerc looms for 100-inch looms! Then Covid 19 hit and there seemed to also be a shortage of wood (looking at the packing crates I can believe that!) so 18 months since we placed our order and a couple of grant extensions, our new loom arrived.
Long heavy wooden crates arrived and had to be carried up the stairs (there is a turn in the stairs too) since the 100” loom crates would not fit in the elevator. All the crates and boxes were transported up to the classroom (which is down a long hall from the stairs with a couple more corners just to make it a bit more challenging). That was enough of an accomplishment for the day and a different unboxing date was decided on.
41 – 42 A long way to carry all the heavy boxes up from downstairs
The evening they selected coincided with the day I would be doing the library book exchange, Oct 7th. The guild library during covid has been doing book requests and drive by pick up /drop offs at the side door for our members. It’s a bit more work for the librarians, but it is allowing the members to use the library again. I was finishing with the library and started packing up, as the team of unboxers arrived.
43-45 yes there is candy involved in the library book exchanged!
46- 47 I locked up the library, took the camera and headed for the classroom.
Upstairs in the Classroom, unboxing was already underway! Since we could not all be there to experience the extreme excitement of seeing the 100” loom unboxing I took photos and posted them on our guild face book group page.
48- 51 The Unboxing had begun!
I tried to capture some of the wonder of what is this? Where will this go? Is that a tensioning device for the bobbin rack? OOOH, a counter!!!! What are those extra beams for, are they just deflectors? OOOH, sectional bits and extenders!!!!
52-57 OOH!!
That is one big loom!!! In pieces it looks a lot bigger than 100 inches worth!!!
58 – 62 BIG!!!
63 There was ergonomic unboxing while sitting on a chair.
The last long wooden box was the one with the reeds, leash sticks and rods.
64-68 the last wooden crate
You can see the unboxing of the treadles and here is a close up of the treadles.
69-73 that box was the treadles!
You can see the bobbin rack also still wrapped up. This will be a useful addition to the 100 inch since with a sectional beam you will not need as big a team to warp this large loom! I spotted the tension box, a counter and I think a tensioner for the bobbin rack too (COOL! My 60 inch sectional didn’t have one of those!).
74-75 Bobbin rack!!
The loom parts were well packed! The packing crates look like long window boxes!
76-77 well packed
The assembly of this loom will be like a giant 3d jigsaw puzzle! I hope photos will be added as this part is started. This next step might take a number of sessions more to complete. I will check next time I’m in to work on the library to see the progress.
78
After seeing pictures of the 100-inch loom and the fun that the next assembly project will be, I bet you are glad that felting is just vast quantities of wool, soap, pool noodles, bubble wrap, needles, wire and odd bits of equipment that were not originally intended for felting. (ok, that can take up the same space as the big loom but the wool is lighter to move!!)
Next trip into the guild library to do a book check, pull a couple of magazines and get photos of a couple of reference books, I also went up to see if the 3d puzzle was underway. Yes! It was almost complete!
It looks so shiny and new with its bubble wrap still on the beams! (those extra pieces I wasn’t sure how they would fit turned out to be a rotating breast and cloth beams.) I look forward to seeing if the rotational aspect will improve take up of the cloth or warping the loom.
79-81 the 3D “Kebec II Loom Counter-balance with Pulleys”
The extenders and the sectional parts still need to be added to the back beam but that isn’t too big a job. The bobbin rack is still to be assembled too. But the new loom is almost ready for its first weavers!
82-84 Sectional pices yet to be attached.
85-91Loom close ups
92 – 93 the New loom even makes the Guild’s Grate Wheel look smaller!
Since the new loom is now here, it’s time to start thinking about what exciting things it will be making; Blankets, coverlets, catalogue, curtains, Icelandic blankets?
My hope is that today’s guild members, as they chose a topic, whether it’s a coverlet or blanket or something else to try out the new loom, they look back to the weavers from earlier in the guild’s history. Like these earlier weavers they record their projects and designs, take photos of their weaving so we can get a glimpse of them as well as what they are creating.
Weavers have kept samples binders of there projects with notes on drafts, samples of warp and weft yarn and a sample of the woven cloth. Sometimes there are notes about the designing the project or inspiration that they used. Some have photos of the weaving in progress, finishing, equipment and weavers involved in the project. Sample binders can be a history of a weavers life or inspire other weavers.
We have a few sample binders of previous 90 and 100 inch loom projects in the guild Library. I will show you a few next week. Since these binders are very helpful to weavers; the Spinners, Dyers, Basket makers and Felters may want to make there own versions of sample binders! Have fun and keep felting!
1 I don’t have any hair die
2-3 Plan B
4-6 Soaking in water and vinegar
7 Dye just sitting there
10 3 drops of red
11-13 Heating it up, then letting it cool
14 one leaked but it did seem to have survived the microwave
15-16 Oolong with one of the last tarts of 2020.
17 Cooling fibre on the stove
20-21 set out to dry
22 a bit of staining on the underside of the paper towel
23-24 dyeing made me hunger for dinner
25-26 Dry and ready to use
27 now on to more butter tarts!
94 The 90” loom Samples 1 May 1973 to 1 May 1974
95 – 101 sample pages from the 90” loom sample binder
102 OVWSG 100” Loom Samples Aug 1982 to Oct 1983
103- 110 sample pages from the 100” loom sample binder
111 OVWSG 100” loom Samples 1987 to 1992 (while the loom was in Donna G’s Basement. Donna also taught the beginner and intermediate weaving at that time with table looms)
112-121 sample pages from the 100” loom sample binder
122 Part of the Reference Section of the Guild Library
41 – 42 A long way to carry all the heavy boxes up from downstairs
43-45 yes there is candy involved in the library book exchanged!
46- 47 I locked up the library, took the camera and headed for the classroom.
48- 51 The Unboxing had begun!
52-57 OOH!!
58 – 62 BIG!!!
63 There was ergonomic unboxing while sitting on a chair.
64-68 the last wooden crate
69-73 that box was the treadles!
74-75 Bobbin rack!!
76-77 well packed
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79-81 the 3D “Kebec II Loom Counter-balance with Pulleys”
82-84 Sectional pices yet to be attached.
85-91Loom close ups
92 – 93 the New loom even makes the Guild’s Grate Wheel look smaller!
94 The 90” loom Samples 1 May 1973 to 1 May 1974