Completed Projects

Here are some of the fun and beautiful things our members have finished recently.

 

CATRINA BALLOU

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Here is my first completed antler basket with the mentoring of Larry Worley. The processes started with selecting and cleaning the antler and then deciding the sion the rim and ribs of the basket. Once they have been chosen you need to find a drill bit that matches the size and drill into the appropriate areas of the antler. The majority of the basket was woven in #3 round reed dyed with acid dyes or left natural. The most difficult part is filling the sides of the basket with triangular woven sections to compensate for the curves and bowed out shape and still create straight lines in the center of the basket.

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RACHELLE WEISS

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This is a piece I just finished. Room for improvement and lots to learn about what I was attempting to accomplish. I designed this on WeavePoint using the software's instructions for network drafting. I'm clueless as to how I did it, however! It was woven on my 8-shaft table loom using TempoTreadle. I think the error in treadling occurred because I unwove several picks and made an error when reweaving. TempoTreadle displays just the current pick and the prior pick. To see earlier picks, you have to manually "click" backwards, so confusion is an easy result. On the AVL, you select Reverse and it's easier to keep track of where you were, where you are and where you want to return to begin forward treadling. I'm getting expert at this!

Both warp & weft are 10/2 perle cotton. The sett differs between the red bands (sett at 15epi) and the multicolor areas (sett at 30epi). The multicolor areas needed the higher sett to develop the pattern (so parallel threading, echo & iris, etc.) and I thought that the lower sett would help to retain the black/red point patterning on the red bands. 6/20/19

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RACHELLE WEISS

2 Saori style vests. Each vest (a 5-y warp yielded 2 vests + I think enough left over to weave cloth for a bag) has 2 different faces and I think can be worn with either face as the front (especially for those of us not so well endowed). So, maybe 2 vests with 4 different fronts and backs. Warp is 8/2 cotton sett at 20 epi. Weft is varied, some fabric strips/rag weaving/sakiori interspersed with yarn that I've accrued over the years. Very free weaving.

Vest 1, front

Vest 1, front

Vest 1, back

Vest 1, back

Vest 2, front

Vest 2, front

Vest 2, back

Vest 2, back

JOAN VIERRA

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This is my 4th bird wall hanging.  It is inspired by the birds I saw in Michigan when I went to my sister's memorial.  It is a way of pulling joy out of a sad experience.  

My technique is tapestry in a wedge weave format.  The  tapestry aspects let me evoke the bird's coloring and the wedge weave provides movement, giving the bird flight.

I struggle with the borders between realistic and abstract.  I want to weave an idea, not a picture.  I am trying to weave a portrait of each bird, not a strictly literal depiction. 

The bird bands you can see are blue jay, oriel and black capped chickadee.

JANET POLLOCK

These rugs are a saddle blanket technique using swedish single ply yarns and brown sheep lamb’s pride singles. They are dark brown, charcoal and shades of grey primarily.  Very neutral palette for specific tastes!

 

JANETTE GROSS

These are each 5" x 5" wedge weave tapestries. They are the first four samples from my online class with Rebecca Mezoff and Sarah Swett's "Fringeless Weaving" also called 4-selvedge. There are no warp ends to deal with when you are done. They were woven on my little Mirrex tapestry loom.

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I had woven a large piece using Martha Stanley's method on a floor loom and wanted to master the same thing on a frame loom for sampling. I like to use the Mirrex for sampling design ideas, but I also like to have a useful piece when I'm done (like coasters for gifts). Running in ends or folding them over and sewing them or making fringe with the warp ends on such small pieces is a pain. This method does away with that problem. However, it's a bit tricky to set up and one has to carefully plan the design because the warp length is set. I still don't have it really mastered. More practice needed!


KRIS NARDELLO

These are the Krokbragd rugs I’ve been weaving. All of the colors are from plant-based dyes on 4-6-ply rug wool which I’ve over spun and steamed to set the twist. I used heavy rug yarn to make the rugs thicker and feel good to bare feet in the bathroom. using traditional Norwegian 3-harness patterns on a 32” Gallinger counter-balance loom.

The natural dyes used are black walnut hulls and Pisolithus tinctorius for Browns, Brazilwood and madder for reds, nettles for greens, rabbitbrush for gold and indigo for shades of blue.

Krokbragd rug, 20”x26” Wool warp and weft, Natural dyes used: Indigo, Pisolithus tinctorius (fungus), madder, Eucalyptus ssp. Card woven selvedges.

Krokbragd rug, 20”x26” Wool warp and weft, Natural dyes used: Indigo, Pisolithus tinctorius (fungus), madder, Eucalyptus ssp. Card woven selvedges.

Krokbragd rug, 21”x36” Wool warp and weft, Natural dyes used: Indigo, Pisolithus tinctorius (fungus), madder, Eucalyptus ssp., loquat. Card woven selvedges.

Krokbragd rug, 21”x36” Wool warp and weft, Natural dyes used: Indigo, Pisolithus tinctorius (fungus), madder, Eucalyptus ssp., loquat. Card woven selvedges.