Photoshop for Weavers Photoshop for Weavers at Penland August 25-31, 2013. Build your own library of weave structures and design for dobby or jacquard. Participants will work on their own laptops (Mac or Windows). For more information, click on above link and go to Summer 2013 Class Info.
The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop® Co-authored by Alice Schlein and Bhakti Ziek. 362 pages, many illustrations. Now available for free download on handweaving.net. The accompanying CD with 1400 pattern presets is not included with the free download, but may be purchased separately. Email me at aschlein[at]att[dot]net for more information.
Network Drafting: An Introduction By Alice Schlein. Break away from the block. Curves for your dobby loom. Originally published in 1994, now available as print-on-demand from www.lulu.com.
A Crepe Is Not Just a Pancake 52 pages of text, b&w and color diagrams, and drafts for multishaft tradle & dobby looms. Many color photos of actual cloth. Methods for drafting your own crepe weaves. Annotated bibliography. Pdf available for immediate download. $21. USD. Payment by PayPal. Email me at aschlein[at]att[dot]net for payment instructions.
Echo Weave Based on the 1996 article in Weaver's, Issue 32. With brand new diagrams and high resolution scans of original fabrics. Pdf available for immediate download. $7. USD. Payment by PayPal. Email me at aschlein[at]att[dot]net for payment instructions.
Doodling today in ProWeave while waiting for the thunderstorms to pass. Thinking about circles, and a satin network. This isn't the usual networked satin, but it does fall on a 5-end network. I like the way the edges blur out -- again, it's not the usual sawtooth effect of network drafting, but something close. A feathering. Click to enlarge.
And speaking of circles, if you've been wondering how to draw teacups, please check out this wonderful explanation of circles and ellipses by the fabulous architect & sketcher Liz Steel. I guarantee you will never look at your teacup the same way again.
First there was the Little League game, season opener.
Then more clean-up in the office. I'm getting closer to the end, I think. We carried out seven more bags of shred. Here's a close-up:
I did make some more amazing discoveries, some of which I'll share with you in the days to come. This sample is one I vaguely remember weaving of silk warp & weft, but alas, the notes are lost. It appears to be brocaded inlay on an overshot warp. The sample has been washed, and has a luscious drapey hand. The shiny reeled silk pattern weft glows against the silk noil ground. Glad I found you, little swatch.
Found: notes composed in the Eighties, judging by the appearance of the computer printouts in the same folder (Weavers! Date your samples!!!). Looks like I was getting ready to write a book? monograph? an article? Don't remember. But I think there is a good germ of an idea here. It was all pre-network-drafting, pre-Photoshop. Extended Point Twills for Eight Shafts. How about that?
The fancy equation on the lower left really tickles me. Did I really think that would make 8-shaft weaving any better?
Maybe I'll pack this folder up and take it with me to the beach later this summer. Minus computer. With a pad of graph paper and a pencil. I hope the beach house has a nice shady porch. I'm allergic to the sun.
Cleanup neverending. Now going through study group notebooks, throwing away 2 out of 3 samples, just keeping the good ones. Let's face it, there are a lot of bad samples out there! An exception is the The Sixteens of 1989. Most are quite interesting and keepers. I don't want to violate copyright, but I'll show you one of mine, face and reverse (click to enlarge), and my comments on the back of the sample sheet. You might get a chuckle.
Warp: Face, 10/2 rayon, lt. blue; stitchers, 10/2 cotton, mocha. Weft: Face, 10/2 rayon, as above; backing, 10/2 cotton, as above; wadding, acrylic baby yarn, turquoise. Weft order: 2 rows face (rayon), 1 row wadding (baby yarn), 1 row backing (cotton). Repeat. Reed: 12 dent reed, with 2 ends face yarn and 1 end stitcher per dent; in other words, face warp is 24 epi and stitcher warp 12 epi. References: Sullivan, Pique Plain and Patterned
Comments: Face warp fairly relaxed tension; stitcher warp on separate beam under very heavy tension. This would make very good upholstery fabric, except that I will never weave pique again, as I found that working with three shuttles is not my cup of tea!
Well, never say never. I have not woven any more piqué (so far), but I've done several projects with three and four shuttles: lampas, double twills, and others. Still don't like it much. But there is no denying the tactile pleasure in a well tensioned and wadded piqué luciouswith its luscious hills and valleys.
Found while cleaning out my office: a networked jeans twill draft for 8 shafts, no dobby. Weaves nice circles with a conventional treadle loom. Repeats on 30 ends & picks. My notes say "These spots look even rounder when the cloth is actually woven. Use a sett halfway between plain weave and 2/2 twill." First a single repeat, then three repeats each way, and then the WIF file is you'd like to try it out for yourself. Send me a picture!
Has it really been three weeks since my hike into the mysterious Dogtown? I did try to upload this video at the time but had technical difficulties. All solved. So here is the video. Points to observe (as musicologist Robert Greenberg is wont to say): the abundance of birdsong and the intermittent Kerplop! of the bullfrogs. We were definitely beside the swamp.
I was wanting a journal with beefier paper, something I could use for watercolor if needed, and small enough to tuck into a travel bag with a few pens. I got out the text blocks I had made with Stonehenge paper, a 90 lb weight, and made this little (just under 4" x 6") book with 40 pages (80 sides).
I love putting wrappers on the signatures to add spice to the spine, but find the stubs annoying on the pages when drawing a 2-page spread. So instead I ran a line of watercolor down the edge of each signatures before binding, and this is the result:
A cheerful spine and no interruptions on the pages.