We will compare how they felt at different stages, ease of felting and possible uses. We will all do Merino and Corriedale so we can compare how we all felt the same thing and then move on to different wools. We don’t all have to have the same wools. It would be nice to have and many different breeds as possible depending on what people already have on hand and or want to order. Some mixed fibre would be interesting too.
The group starts April 21st. We will meet on zoom once every 2 weeks and meet on a Discord server ( a place to share photos, chat and ask questions between zooming). Discord was chosen because some people don’t like Facebook or are not on Facebook. We didn’t want to exclude anyone. Or if everyone is on Facebook we could make a private group there if that is what people want.
Everyone will get a worksheet to record information on so we are all gathering the same information to share.
I am based in Ottawa Canada, (GMT-4hrs.) I think that makes our Zoom meetings 9 am the next day in Sydney Australia. I hope you can join us and learn something while having some wet woolly fun.
The last time I posted here (in January) I described my plan to take various online felting classes. With all my sales and exhibitions cancelled or on hold I thought this would be a good way to keep me focused and motivated during our 3rd pandemic lockdown. Here’s the link in case you want to look back to January’s post.
This time I’m talking about my online learning since then, including how it has led me in some unexpected directions.
I was part-way through Teri Berry’s bag making class, which was great. I made my third bag, a backpack, and am very pleased with it. I’d definitely recommend Teri’s class. The instructions were clear and comprehensive and Teri was very responsive to my many questions, thoughts and comments. I learned a lot about bag making techniques, which is exactly what I was looking for.
Because two of the bags I made are large, relatively thick, and have to be fulled very hard, I admit bag-making was rather harder work than I’d anticipated. I rent a studio in an old industrial building that is largely unheated so maybe mid-winter isn’t the best time to be working so much heavy, cold, wet wool, but it’s a minor point. I had to use plastic gloves for the first time as my hands became so shredded and I often went home with sleeves wet to the armpit!
I’d planned to take 3 classes over January to March but was irresistibly drawn to a 4th: a 2-session live international felt-along by Aniko Boros (Baribon.Hu) learning to make her beautiful felted tulip pendant with pebble inclusions. Having signed up I realised it was going to be difficult to find the colourful 14 micron merino wool I needed. I only had white. I’ve never dyed my own wool before but I thought, why not have a go?
I already had some acid dyes so I started off with some 21 micron merino before going on to the finer and more expensive 14 micron. Then I tried silk hankies, Corriedale tops, mohair tops, silk fabric, alpaca & nylon …. nothing was safe. I had a blast. I had no idea how much fun dying would be.
Then it snowed and I thought ‘ooh, I could try snow dying’. That turned out to be great fun too. On the right are just a few of the snow dyed fabrics.
I had several colour choices of dyed 14 micron merino by the time Aniko’s workshop came around. The workshop itself was really interesting. A clear and detailed PDF was sent in advance and turned out to be very helpful on the first day when the sound or picture dropped out occasionally. It meant I could see what I needed to do next so was able to keep up. I’m pleased with my pendant (although I still have to add a fastener) including how the dyed wool worked, and feel I’ve learned techniques I will be able to use to make my own designs. Also, it led me into the entirely unexpected joy of dyeing.
In the meantime I’d started Fiona Duthie’s online class Ink + Cloth. We practiced adding ink at various stages of feltmaking with loads of potential for using these techniques in future projects.
Above are samples of adding dye / ink before felting (on silk fabric) and on prefelt
These are samples of ink added in different ways to finished nuno felt with cotton and two types of silk. I’d found an image in the V&A museum online catalogue (a fantastic resource) of an early 20th century furnishing fabric with this style of lollipop trees that I was thinking of using for the 1st quarter challenge …but that’s a story for another time.
At the end of this I decided to combine various things I’d learned: to dye my own Corriedale wool tops for a bag and maybe to decorate it with inked or dyed pieces. This is still work in progress as I am not completely happy with it. I decided to let it dry and have a think before doing the last bit of fulling. After I’d laid out the wool I dithered over whether to add silk and prefelt pieces or not as I quite liked the wool as it was. At the last minute I added all sorts of bits and pieces without properly thinking through the design. I fear it betrays its history. A colleague who saw me rinsing it at the studio casually commented it was very ‘hippie, trippy summer-of-love’ which is absolutely not the look I was going for! I will come back to it soon. I included the strap in the photo to give an idea of what it will look like finished.
Now I’m part way through another class with Fiona Duthie: Fibre + Paper. It’s a fascinating process of combining specialist paper with wool. We started by making lots of samples: paper and felt, paper relief, extreme paper relief and paper with prefelt.
Above are samples showing different amounts of paper felted into 21 micron merino wool and bottom right combines prefelt and paper. They feel lovely and there seems to be so much potential to use paper with felt in different ways.
This week I made a vessel with paper embedded into the surface. It’s not perfect: I got a bit over-confident near the end and tore some of the surface (you can just see it bottom left, between the two ribs). I’ve been interested in shell shapes for a couple of years so I shall enjoy making more 3D paper & felt shell-inspired objects.
In the coming week I will be trying out adding colour and surface designs with ink and paint plus making samples with some different papers. Fiona’s classes have been really enjoyable with excellent PDFs, photos and videos and lots of class interaction.
All the online classes I’ve taken have been great fun and very inspiring. They have given me lots of new skills and techniques that I will be able to use in my work. And they have definitely achieved my other objective: they have been really helpful in keeping me learning, focussed and motivated during what could otherwise have been quite a bleak time.
I am writing this Sunday evening. My plan was to work on my cowl this afternoon. But after lunch, I just didn’t have any energy to do it, so after an incredibly busy week of baking, I decided on a nap instead. So at this point, I have nothing to show you about that.
I have booked a little hall for a workshop though. I had a request for a cat cave class. I am not sure I will get enough people to join as we have a short timeline. I have to have 4 people to run the class( 6 is the maximum) and I need them by Oct 9 so we can order the wool and get it here on time. her is the spiel Jan did for me for the class. the one I wrote up was boring. For those who don’t know where I hale from it is just outside Ottawa Ontario Canada. I included that info with all the shared posts on Facebook. it is a personal pet peeve of mine when people don’t post where it is for non-locals. Do you have any idea how many Perths and Cornwalls there are around the world? I have gotten all excited, only to find something is in Perth Australia or Cornwall, California USA?
Cat Cave Workshop
Do you have a present for that hard to shop for Cat on your Christmas list? Have you tried all the toys but are still being snubbed? I may have a solution for you! Have you considered making the perfect cat cave for your perfect cat? Whether you have a big or small cat if they like curling up and sleeping in cozy spaces then a cat cave may be your solution.
There will be a group order of wool (Finn) and consultation in creating your resist. Sign up quickly we have limited space so we can be socially distanced while we are felting together. Properly Fitting masks are required, and we will have our hands in warm soapy water!!
Wool: Finn (Pre-workshop group order) 1-4 KG depending on size and thickness of cat cave shapee.
When: Nov 7-8th 2020
Where: Pierces Corners Hall (Near North Gower, I will supply directions)
Cost: $100 plus costs of wool and a portion of shipping and duties
Suitable for enthusiastic beginners and people that have felted before.
Sign up soon and do not disappoint your cat, no one wants an unhappy cat Christmas morning.
To sign up or if you have any questions, please email me firstname.lastname@example.org
Terry Berries Popular Hat class will be running again. The price for this four-week course is £50 GBP (approx. $66 US, $85 Canadian, €56, $88 AUD, $97 NZ) and the number of places will be limited to 30 students.
The class will still run in July / August as originally planned. Registration for that class will open on 2 July 2020.
First felting tutorial posted on 16 July 2020 with another tutorial posted in each of the following 2 weeks. The class forum will remain open for you to share your work and ask questions until 27 Aug 2020.
This week I made some samples. First is a sample for my guild summer poker challenge. In this challenge, you get to pick 4 cards that have instructions like colour fibre or yarn weave structure, spinning type and more. I asked if we could add a felting challenge too. because it was close to the time we play we used the spinning cards but removed the spinning type. You get to exchange one card from the hand you are dealt with. I got cotton, fluorescent and metallic. I tossed back fluorescent and got blue. Every one thought cotton was very funny when I pulled it. Little do they know I had a project planned with some cotton. I couldn’t find my big bag of cotton but my memory was that it was gauze. I had a little bit of that in a draw.
I laid out some blue merino on top of 2 layers of gauze. Then added some coppery silk and some white silk and some orange sparkly nylon and a square of one layer of gauze. I meant to take a picture dry but wet it down to add the next piece before remembering to take a picture.
I then added some scrunched up cotton. It needs to be wet or it won’t stay scrunched up.
and the back
The sample worked out very well.
I did find my bag of cotton. I had put it in the laundry room to wash. It has a very open weave but it is nothing like this, so it will have to make another sample.
The other sample I did make this week was some Tunis. My friend Bernadette gave ma a little bag to try out. I have never tried Tunis before.
I divided it in half so about 25 grams of wool.
I carded it into little batts with my hand carders. I place them in 2 opposite layers and wet it all down and rubbed and rolled. It didn’t take long. The square was 10×10( 25.5 cm by 25.5 cm) to start and it ended up 7.5 inches by 7.75 inches( 19 cm by 19.6 cm). so shrinkage is about 25% I could have made it square if I had stretched a little one way or rolled a little more the other. It ended up as a nice fairly smooth dense felt. It would make great slippers or boots I would think. It feels a little prickly if I put it under my chin. I like the way the coloured tips gave it a mottled look.
When we were last chatting about the workshop we had got the students to the point where the image had been transferred to the felt and they were beginning to work on it.
As with other painting mediums, I had them work from the background towards the foreground. This is common in pastel, and often seen in Oil or Watercolour painting. You can lay-in the required colour by hand blending your fibre then checking it against your reference photo. The students discovered that very little fibre could affect a significant colour change in the resulting blended fibre.
7-10) laying in the background then working forward.
One student using her own picture decided that the figure in the foreground was unnecessary for her landscape and after much debating removed him.
11-12) Re-editing image and checking with phone
Kim’s lighthouse image was mostly blues and a bit more challenging. It was a photo taken at dusk, so the colours become more subdued.
13-17) the progression of the light house
One student chose the round hay bales picture I had also done.
18-22) Winter hay bales progress as more detail is added
Another chose the sheep in a snowstorm shot. It was vary painterly! The sheep are suggestions hidden behind the grasses amongst the snow.
23-25) sheep in snow behind branches
The alpaca picture was coming along nicely. When I checked again it had suddenly gone from 5×7 to the full size of the frame without the mat! (That is twice the felting space of the other pictures.) I like the tree details she was developing.
26-27 Alpaca in progress and finished
The students did very well with their pictures and even had time for a relaxing lunch break! It was fun to see them putting the frames on their pieces, which always makes it more of an artistic statement rather than just bits of fluffs of wool.
28-34) the students framing their finished paintings!
One student was having so much fun she started her second picture on the remaining half of the wool felt.
35) One student was starting another picture at the end of the workshop
This was a fun workshop to teach and the students seem to have had fun too. I still have 3 workshops full of 3D felted sheep coming up this spring. They will be scheduled when we have a classroom available and I am back to fully healthy again. (ok March has got to be an improvement on January and February Right?) I hope you avoid the flu, both the imported and domestic varieties and instead have lots of fun felting!
On the last day in February, I ran the Needle Felted landscape workshop for the Ottawa guild. We had six students sign up but one had to stay home to attend a first time mom who was expecting twins. The impending mom, being a sheep, was not as forthcoming in accurately indicating her due date and did not actually go into labour during the workshop but I am sure she would have them if he had joined his wife and left the sheep alone.
I brought a good amount of my fibre stash (I have been collecting fibre focusing on the landscape workshop and the sheep workshop). By the time Glenn got the car loaded, I had a full car of fibre and supplies to the point I could not see out the back window! Ok, it’s a Kia Soul so not a huge car but that was a lot of wool!
1) This is the foyer at Hartwood house. The studio is on the other side, through the double doors that Glenn is moving my stuff towards.
I had intended to get a picture of the room once I got it set up but I got distracted by one of the students arriving early and then I forgot. I had set out all the items the students were getting with their workshop.
23 pages of notes plus an appendix of photo options,
the foam kneeling pad that is made of a pool noodle like foam,
4 types of felt, (for a name tag, a large piece of good wool felt half of which was to be used for the project, a cheaper lower percentage wool felt and an acrylic felt to compare to).
different Needles, (including a finer spiral)
a test tube with a lid to keep the needles,
hard ruler (not a tape measure),
paper to make a template for the mat,
3 sizes of finger protectors (wooden)
Wooden frame with mat and glass
Fine particulate mask (no one wants to get wool lung!)
I had also brought Sock yarn to make their names and Lots of wool to select colours from!
To borrow I had extra scissors and a 7 needle holders tool with a guard (it’s the fake clover tool from somewhere in China).
I had them start with making a name tag allowing them a chance to try out the needles and work on eye-hand coordination. They wrote their name in yarn on a piece of felt from an accidentally felted duvet. Only one bandaid was needed so the practice was helpful.
2-3) Nametags – note the bags of wool in the background of the second photo
Next, they were on to choosing a picture from the ones I had pulled or three had brought one of their own. Two of my adventurous students had painted before and the other one had done a number of other types of felting so I felt they might be up to a bit more challenging subjects.
4) Using the phone to see details of the image and checking the pictures as they progress.
I had asked the students to bring a camera, an eye pad or a phone with a good camera function so they could check their work as they progressed. One had her Lama picture on her phone and could zoom in and look at details which was also an excellent use of technology. The phone works similarly to looking at your drawing in a mirror. It allows you to see proportions and negative space more clearly.
Transferring the chosen image to the felt
I discussed the lightbox or window method of tracing. This works well on thin light coloured felt or pre-felt but not as well on thicker or darker felts. If you are using a window, it works best on sunny days (sunny days can be scarce in winter). This transfer method was used in the workshops I have attended.
I also mentioned the grid method to scale a drawing while transferring it to your work surface. It is a lot slower but can produce an extremely good underdrawing. I suggested they check out their notes for other methods like the projector, Lucy and camera obscura.
I wanted to give them another option if they did not like to draw freehand or using a lightbox. I explained the template method of transferring an image, which requires scaling your image by photocopier or by computer and printer to make your image the size you would like to work with. Make a border on your felt, the outside size of your picture. Then divide your picture into basic tonal areas again working from the background to the foreground. It can be handy to put your image in Microsoft word then adjust the image with “Artistic Effects” look at “cut out” to give tonal blocking. While you are in Microsoft, you can check under “colour saturation” to see what hidden colours are in your image.
This is the point that you move trees or tilt hills to suit your wants. You are God of your landscape! If you want to have a tree lose or gain a bit of weight, you can decree it!
5) Freehand drawing and the use of a paper mat
One student went with the freehand method. She referred to her phone to get the detail in her picture. I had a number of different colours of permanent markers. We were using permanent markers since I have used quilting makers in a workshop I had taken that did not stay on the felt but appeared as a blue smear on my arm from finger to elbow as I worked on my piece. (The options of various colours of permanent markers are nice since they stay where you put them and they will be hidden under the fibre you are adding.)
I had them make a paper mat the size of their picture, 5×7. This lets them check to see if their picture was getting bigger or smaller as they worked. Checking your image with your paper mat will save you money by ensuring that your image will fit in your mat and frame when it is done.
6) Template method of transfer and using the phone to check the progress
Continued in part 2 scheduled for March 15th 2020 (lots more pictures to come in part 2!!)
During this 5 week course, you will have the opportunity to make at least 3 bags/purses.
In week 1, you will make an animal themed spectacles/phone/pencil case, this could be in the image of your favourite pet or a friend’s pet (they make very thoughtful gifts) or a mythical beast of your own imagination! You will use multiple resists, introduce some nuno felting and make a closure entirely from wool.
In week 2 you will learn to make a small to medium shoulder/handbag (purse to our US friends), this tutorial will demonstrate how to add internal pockets, a magnetic clasp, adjustable shoulder straps and take shaping the felt to the next level so the bag has a flat bottom and stands up on its own.
The week 3 tutorial is a little more ambitious, you will learn to make a backpack with adjustable straps, multiple internal compartments and internal pockets.
Weeks 4 and 5 will be for catch up / further development, you might like to apply your own design to a bag, Teri will be on hand to answer any questions and talk through any challenges your design might create.
As with all the online courses, there will be lots of opportunity to share your work with the rest of the group and share ideas.
The content of this workshop is suitable for felters with some experience, you do not need to have made a bag before but if you are confident making felt pods, bowls etc. over a resist you will be able to make these bags.
The class begins on February 13th. The price for this five-week course is £60 GBP (approx. $79 US, $105 Canadian, €70, $112 AUD, $119 NZ) and the number of places will be limited to 30 students.
How did I ever manage to get anything done when I was working?
I have been working on importing and exporting File maker databases for the 2020 workshop and the guild library. I did 2 options for the workshop flyer for Elizabeth, our workshop coordinator, to choose from and will restart the workshop 2020 catalogue in the requested sort order after I have written my blog post. There was much fussing but with a bit of help I got the files exported in a format for the guild website and handed that part of the job off to the rest of the workshop team. <deep breath> I need to celebrate! Isn’t there a workshop coming up I really wanted to take when we were working on the catalogue last year? Yes! It was #1949 Peg Doll Loom Weaving with Mariann Hegedus as the instructor. Oh no! It’s about to run and we don’t have enough students! Quick, bug Elizabeth and Kelly and post it on the Facebook page! Yes, we now have enough students!
On Saturday I arrived early like usual and discovered a line of people blocking the door to go into the building! Oh, there is a huge fabric sale happening and they have leather hides and scraps! Oh well, maybe I can make a quick run in at lunch. (i was able to get a bag of scraps of leather before the sale closed). now on to what i was actually there for.
Mariann had brought the little Peg Doll looms in for show and tell and their cute shape piqued my interest. She had brought them back from a visit to Hungary. She said they were used to weave sleeves and had examples of dolls and puppets she had woven on them.
She had a book with good pictures but unfortunately it’s in Hungarian. I did an online search to find more info but I mostly found Peg looms which are not like the peg doll looms. I did find 3 books; two of which might be the same (I don’t read Hungarian and I suspect that one is the hardcover and one the paperback version?) The book with the green cover is the one she showed us. Even not being able to read the language it was still educational to look at. There were a lot of more advanced techniques to try with this loom.
6-8 szövés kereten szádfán karmantyúfán
The concept we were working with was not too taxing in one way; how can you screw up under then over then under than over….(plain weave). Let me tell you we found a lot of ways to mess that up! But the light bulb eventually went on for all of us.
This loom allows for plain weave, weft face or tapestry and all the two harness finger manipulations. I started to think about Butinay!!! Maybe the next work will have some!
If you sew the bottom (or top) end together you get a pouch. If you add a circular base of fabric or leather you get a cylinder that would be good to put a spindle or other small equipment in.
Warping is not too difficult. Keeping the tension snug and even is important. You wind your warp around the pegs up and down until you have gone around twice. (You can change colours as you go.) Each peg has 2 loops on it so that would be pairs of threads. The exception is the first peg, which needs to have 3 threads in one group. This gives an odd number so you can create a continuous plan woven cloth as you weave.
Now wind a butterfly and starting at the bottom weave every second thread.
(This is a very old needle felted sheep I made years ago standing with the new loom and second weaving.)
I suspect I may have not interpreted the instructions as spoken. When I took the weaving off I stated to loosen my first row of weaving! ( I thought about this and decided to modify the instructions for my second attempt. – third row I used a crochet hook between the loops and created a loop which I went through capturing the first and second row before going on to the next bit of weaving. Let that try to unravel!!)
I was admiring the bands of what looked like inkle banding in one of her samples. So I tried it. It looks complicated but it was achieved by alternating a gray row with a blue row, then compacting the weft to make it weft faced.
One of my classmates finished her bag during the workshop I decided to purchase the loom (she had a couple more of the smaller ones available for sale) so I could make my bag taller in hopes of having it fit a spindle. As you can see, the top comes off the loom.
Here is the second one that was completed. I gave a piece of the leather scraps I had purchased at the fabric sale (yes, I made it in time to buy a bag of leather scraps)
I kept going, adding a fringe and switching to a long needle that is either an upholstery needle or a dollmaking needle (I’m not sure which) but now it is a peg doll loom needle. So I have plain weave and various stiffnesses of compacted weft face weaving. I also added a fringe. When I took off the weaving, the bottom (which suddenly became the top) started to unravel. I fixed that inappropriate behavior by a quick overhand blanket stich and then tightened up the plain weave so I could put a lacing cord through and use a edging stitch to stabilize the lower side of the lacing spaces. I think the purple cord will work better or I may make a blue and grey kumohimo band to use as a tie. I have decided on the grey leather to make a circular base .
I had enough fun that I bought the loom and started a second project immediately. There has been a bit of chatting amongst a few of the guild members who are curious with this cute little loom and we have a few ideas on modifications to allow taller bags to be woven. I will let you know if anything develops from this curiosity.
Now I have to get back to the Guild catalogue and I accidentally seemed to have driven to Carleton Place winding up at the wool growers Co-op after visiting a Friend in Kempville. It was a wonderful visit and now I have a car that smells of wool and 4 more fleeces to wash before the snow flies, and more bulbs to plant and the guild Sale Ann is running to help with. Maybe it’s time for bed. I have so much to do tomorrow!
The two coarse fleeces I took which are actually nice and soft.
Some of the fleece that is coming in to be sorted
Some of the fine grey and dark brown I didn’t buy but I did buy a light and medium grey!
This is the rest of the Not-White fine bin. I will tell you more about this wonderful source of fiber another day right now it’s time to sleep.
A couple of weeks ago I went on a sublimation printing workshop with Dawn Dupree, a well-established textile printer based in south London near me. She specialises in multilayered collage, often made using sublimation printing techniques, like those below.
Sublimation printing uses a heat press and solid ink, usually painted on paper, and only works on synthetic fabric. You put the inked paper face down on top of the fabric, sandwich it between newsprint to prevent the ink from getting on the heat press, then press it in a heat press for around 30 seconds.
The heat causes the ink to sublimate to a gas and also opens the “pores” of the fabric, allowing the gas to penetrate. As the fabric cools down, the ink returns to a solid state and becomes part of the fabric. Unlike with heat transfer printing, the colour does not sit on top of the fabric so doesn’t crack or peel off.
You can buy ready made dye papers in different colours, and you can also make your own papers by painting them with dye and leaving them to dry. The colour of the paper is usually very different to the final colour on the fabric – the fabric is much brighter! So it’s better to do some sample testing if you are after a particular colour.
You can create collages in several ways. The simplest way is to cut the dye paper into different shapes, or use stencils to create a negative outline. You can also use transfer the dye to a photocopy in the heatpress and then use the photocopy to create an image on fabric. Carol’s pieces below, based on the beautiful work by her daughter Alex, used these techniques.
You can also transfer the dye to other items, such as lace, doilies, or yarn, like Gabriela and Maritza did below.
With the heat press you can also add foil to highlight various parts. Catherine’s multilayered piece below included foiling.
I wanted to see how shibori techniques worked in the heat press. So I took a piece of Vilene and folded it in a series of knife pleats in one direction and then the other. I printed this folded piece in one colour, and then unfolded it, repleated it along different folds, and printed with another colour.
Below you can see the folded Vilene on the right after printing with two colours. The purple dye paper is on the left.
Below is after printing withe four colours:
And this if the final piece after printing with five colours:
I also tried stitching. I stitched a piece of white polyester with five rows of running stitch, pulled up the stitches into pleats and then printed it with pink dye paper.
This is what it looked like when opened up.
I removed the stitches, pressed it and restitched in different places, and printed with a second colour.
I repeated this twice more. Then I tore the piece in half and foiled one half (the piece at the bottom).
I noticed that the papers I used for printing retained a very clear image of the stitched fabric. So I used them to print on other pieces of fabric, which looked amazingly 3D.
I hope you enjoyed this post, even though it doesn’t include any felt! Please note that the post is being scheduled to publish while I am on holiday, so I may not be able to respond to comments immediately.
This last weekend I took a Card weaving class at my Guild. Judy Kavanagh was the teacher. I am not a weaver but this looked so fascinating I wanted to give it a try.
After Judy explained generaly how it all worked and how the chart we would use to thread our cards worked we picked our colours and made our own charts for the colours we had picked.
We used playing cards to make our cards. First we cut them square and then we punched holes in the corners and labeled them so we could thread them correctly. We wound a short warp (the long threads we put through the holes) I don’t have a picture but you just wound threads around the 4 corners of a warping board. We could have used anything with about a 1.5 meter circumference.
Then following our charts we threaded the cards. It looked a bit of a mess to start, but after making sure all the cards were the right way and I straitening them we were all set.
Some of us tied to the cabinet doors and others to the looms. We started weaving. It got very quiet as we all concentrated. The shuttles we used were made by Judy. I bought this one because I really liked it and didn’t want to give it back.
We rotated the cards 4 turns forward weaving between each turn and then backwards 4 turns weaving between each turn so that we made lozenge shapes in our weaving. We tried variations on that.
Here is a short video (taken by Judy) of me actually weaving….. applause here. LOL
You can see that mine is smaller than the others. Judy said to beat the weft (the cross fibers we are putting in) very firmly. It seems we have different definitions of firmly. No matter, the only thing I didn’t get to try because of it was making my weaving round like a tube. My weaving was to inflexible. You can see the little broken thread sticking out on the right hand side of the right hand picture. That is where I tried to pull it into a tube and broke the thread instead. if you click on the picture it will pop up bigger so you can see it better.
It was cool. This was only 10 cards but you can do as many as you like. There is a free program that you can use on line to make patterns for up to 64 cards I think it is. https://twistedthreads.org/ You have to join to play with it but its free. You can get very complicated, turning some cards forward and some back at the same time. You can spell out words and do very complicated patterns and pictures. If you google image card weaving patterns you will see so many. I couldn’t chose which to show you.