Woven Textiles E-Book

Sharon Kearley

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2014

Beschreibung

Weaving is an age-old craft but it has boundless potential. The beauty and joy of weaving a finished piece of cloth can be enhanced by creating your own designs and using the latest ideas and techniques. This new book explains to the novice how to start weaving textiles, but also develops techniques for the more experienced so they can learn to appreciate colour, patterns and structures, and thereby design their own richly-textured cloth. As well as practical information on how to get started, Woven Textiles looks at design concepts and how to experiment with ideas, such as mark-making skills on paper and embroidery on fabric. It introduces new weave structures and suggests ways to explore colours and yarns. The author shares her passion for this craft in pages packed with inspiring ideas, exciting examples and lavish illustrations. Her own work is supported by that of other leading contemporary designers, making this book a visual treat. Aimed at all weavers, craftsmen, dyers, feltmakers and interior designers, and lavishly illustrated with 332 colour photographs.

Leseprobe

Woven Textiles

A DESIGNER’S GUIDE

Sharon Kearley

THE CROWOOD PRESS

First published in 2014 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

www.crowood.com

This e-book first published in 2015

© Sharon Kearley 2014

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.

ISBN 978 1 84797 815 8

Frontispiece: Honeycomb scarves. Woollen crêpe and silk.

DedicationFor Isla.

CONTENTS

Acknowledgements

Preface

Introduction

1 WEAVING EQUIPMENT AND ACCESSORIES

2 YARNS AND FIBRES

3 COMBINING YARNS

4 PRE-WEAVE

5 THE WEAVE PROCESS

6 BASIC STRUCTURES

7 A DESIGN CONCEPT

8 DESIGN EXPLORATION AND INTERPRETATION

9 FURTHER STRUCTURES

10 FINISHING TECHNIQUES

11 TROUBLESHOOTING GUIDE

Appendix: A Blank Draft Plan

Glossary

Bibliography and Further Reading

UK Suppliers

International Suppliers

Useful Addresses and Websites

Index

ACKNOWLEDGEMENTS

I would like to thank all those who have been with me every step of the way throughout this project. Without your help this book would not have been possible. First of all, Winchester School of Art for access to its studios and equipment. Thanks also to Jane Landau, Head of Weave Design for permitting me to delve into the art school woven archives and all my colleagues at the college for their input, advice and support.

Peter Straus, Amanda Brimm and Bob Kruger at AVLusa for their knowledge and expertise. June Quackenbush and Dana Cartwright at WeaveMaker for allowing me to use Dana’s quote in Chapter 7.

Adam Daber, Curator at MOSI (Museum of Science and Industry in Manchester) for his knowledge and input concerning sustainable textiles, and for sharing his contacts for further research purposes.

Tim Booth, Product Development Manager at the British Wool Board for the manuscripts and telephone conversations about the subject of eco, organic, sustainable and fair trade wools within the British woollen industry. I should also like to thank The Soil Association for advice on organic farming practices.

Karen and Peter Oglesby of Meon Valley Alpaca Farm in Droxford for the use of their images.

A big thank you to the designers who permitted the use of their work: Helga Matos, Liz Clay, Rachel Richings and Aston Bradley. Thank you to Bry Seymour, Alik Cotterill and Mike Cooter for their invaluable advice on photography; the author took the photographs unless stated otherwise. Ann Richards and Mary Keer for general advice and help on writing a first publication. Helga Matos for invaluable advice and second opinions on the technical aspects of woven design.

‘Princess’ cloth designed for bridal wear. Cotton and woollen crepe warp, cotton weft with pearl bead embellishment.

Thank you to Shirley Channon, Chairwoman at Hampshire Spinners, Weavers and Dyers, Graham Taylor, Ruth Peacocke, Josh Du Monde at ‘biglittle projects’, Diane Smith and Dorothy Elias for the hours of proofreading you all provided.

I feel I would also like to mention the many students I have taught (and will teach) and the fellow weavers who provide me with the drive, ambition and passion to keep learning and progressing on this chosen career path. I should also like to thank Natalie Franklin and Ditchling Museum, alongside the late Hilary Bourne, Valentine Kilbride and Ethel Mairet who inspired me during my residency and archive work at the museum back in 2010. Perhaps most importantly the old CIBAS crew at the University of Portsmouth: Paola Campari-Moss, Peter Davison and Steve Fisher. Sadly, due to the current climate it is a shadow of its former glory; you gave me the confidence to branch out and take my business forward.

Finally I would like to give a heartfelt thanks to my mum and dad; without your hours of babysitting, love, support, understanding and constant supply of hugs and enthusiasm I could not have done this. And Isla, my beautiful bundle of happiness and cheer, my little cherub, this book is for you.

Thank you to you all.

PREFACE

The effect weave can have on a person and their reaction to it interests me greatly with regard to the teaching side of my practice. I have found weave to be a catalyst for healing when applied to workshops with outreach and community groups. A funded project I undertook with dementia patients showed the practical elements of weave to be a method of relaxation and provided internal healing. Facts and figures can be easily forgotten, yet the memory of body movement, particularly the rhythm of weaving through the body, was remembered. I noted similar results during my artist’s residency at Ditchling Museum. A collaborative project used archived cloth by Hilary Bourne, Ethel Mairet and Valentine Kilbride. These woven pieces acted as a focus point in a series of workshops for a group of teenagers classed as ‘hard to engage’. The action of weaving was not dissimilar to ‘switching on a light’ as they became chatty, happy, interested, questioning and most importantly open and confident, so that their sense of self-esteem developed over the three days.

Certainly for me weaving is an element of escapism, a way of making the world more beautiful, a subject that I can immerse myself in and be surrounded by colour, texture, rhythm and form. I am fascinated by process and outcomes – the weave process can be exasperating, liberating, challenging and downright difficult. At times it is slow, there is not enough time in the day to dedicate myself to it and generally life gets in the way. Yet when I sit at my loom, the world seems to slow down and my hands itch to touch, to move, to weave and create. It is such an intriguing subject; there is always something more to learn, some avenue yet to explore. Weave is a subject that is difficult to master entirely, yet it feeds your senses with an element of fulfilment.

‘Spring’ shawl: cotton, crêpe, merino tops.

Weave did not come naturally to me during my studies, or so I thought. My ten years’ experience as a tutor have shown me that it was the method of teaching that did not suit. The focus was to develop commercial weavers with a natural feel for design. I was a curious weaver tending to feel and explore my way rather than follow what I was told to do. I was not a technical weaver and I battled with the mathematics, so my method of working developed through experimentation and making mistakes. Often it was these mistakes that became elements of the final design. I have since learnt that it is all right to make mistakes; it is what you do with them that is of importance. How one chooses to display the work is vital to the positive perception of it. It is this experience that now reflects in my own teaching methods and design practice.

My career has been incredibly diverse, and this has enriched so many aspects of what I do today. I worked for many years in costume and fashion – styling and making for both television and theatre. I have come full circle and as a result costume, particularly historical costume, has become one of my primary design inspirations. The yarn itself and its reactions also fascinate me; I perceive yarns as not too dissimilar to people with differing personalities. The relationship is an interesting and volatile one – sometimes they get on and work well together; at other times they react against one another, fighting for dominance.

Colour is of course another inspirational aspect to any textile design and a further element that is incorporated into my cloth; the balance of colour within a structure is fundamental.

My business involves tutoring and designing, activities that run hand in hand. My designs are within the bespoke spectrum of the market, the interplay of yarn and reaction making it difficult to create two pieces exactly the same.

‘Sculptural’: lambswool, cotton, Lycra, cotton bouclé.

‘Lavender’ summer shawl: cotton and woollen crêpe, embellished with pearls. ‘Marie Antoinette’ summer shawl: cotton and woollen crêpe, embellished with feathers.

My aim is to weave textiles that evoke a bygone era but with a contemporary twist, verging on the dramatic. I firmly believe that a cloth is a living and breathing entity, changing and adapting to our lifestyle choices.

In my teaching the majority of my work tends to be with beginners and pre-intermediate level; this book is therefore aimed at these weavers in particular. However, I would not exclude the more advanced weavers who may feel they want to refresh and reinfuse their skills in design techniques.

‘Cinderella’ summer shawl: cotton, wool, crêpe and Lurex.

Questions such as ‘Can I…?’ or ‘What would happen if...?’ are exactly the forms of thinking I aim to ignite in class, the answer being ‘of course’ or ‘try it’. If a tutor tells you to do something, it does not stay in your mind. It is only through asking similar questions, then applying the practical techniques yourself, that you will retain the information and learn. It is envisaged that this will lead on to asking and solving further questions. So the journey of personal self-learning and discovery has begun.

A tutor is there to provide guidance, inspire and boost confidence. A tutor is also there to help with untangling warps, knots and weave disasters. This book may not be able to untangle warps or knots, but it is hoped it goes some way to providing an element of guidance, inspiration and enthusiasm.

I have found that confidence, or rather the lack of it, can be the root of all evil. Use this book as a vehicle of reference and exploration as it is intended to build your confidence as a weaver, helping your work to develop and flourish.

INTRODUCTION

This book has been written as an easy to use, hands-on guide to learning to weave and create exciting fabrics. It also intends to serve as an aid in beginning to design and create your own unique innovative cloth.

My intention is to shape and direct you into becoming a confident weaver and designer. My goal is to fire the weaver within you, to excite you into pushing your own personal boundaries through experimentation, play and curiosity, and not to hide these pieces in a cupboard to gather dust. I urge you to relish in your achievements and display them to all.

This book is written with students of weaving and emerging professionals, the passionate hobbyist and the complete beginner in mind, with tips and advice on colour and structure, and includes such topics as designing your own woven creations and providing ideas of how they could be applied to a fashion or interior design function. The message throughout the book is clear: the idea is to have fun through learning and developing a new skill.

I do not want this book to be viewed as a manual, logbook or catalogue of woven structures that should be followed religiously. The weave process can certainly be followed from start to finish for those who are new to the subject. The more experienced weaver can delve into any relevant chapters of the book depending on their level of skill and confidence.

The first half of this book provides simple instruction on the subject of weave from the basic equipment, yarns and fibres, which are covered in Chapters 1 and 2, to the theory and practice of calculating, making and weaving your first warp in Chapters 3, 4 and 5. Chapter 6 completes the preliminary stage by suggesting some simple first weave structures to experiment with. The easy to follow step-by-step guide is perfect for the beginner or for the weaver who requires a little more confidence before branching out on their own.

The second half of the book is intended to bring out the designer in you. Chapter 7 is dedicated to the theory of design concepts and initial ideas. It includes a thorough explanation of colour theory and its application in weave design. This chapter also covers how to begin your own individual design concepts and ideas, and observational and research studies. Instruction on executing, developing and applying them through to a full practical design conclusion is clearly described in Chapter 8. Chapter 9 provides further weave structures and more testing draft plans, incorporating explorations in colour and yarn, thus enabling you to further develop and push your knowledge in woven design.

Chapter 10 is a concise and important chapter guiding you through the final finishing touches that should be applied to your work to polish it to its intended glory.

Finally, no book written on a practical subject is complete without admitting the problems that we, as humans, are likely to encounter due to mistakes made through lack of concentration. The simple Troubleshooting Guide in Chapter 11 provides suggested solutions to some of the more common problems that will occur in your weaving throughout the course of this book.

Weave is a vast subject with many areas for research. I have confidence that this book will inspire you to find your own particular area of interest and help you to create your very own weave story.

The information and advice given throughout this book is based on my personal experience. There are many methods in weave that will achieve the same outcome; these are simply the ones that I have found work well for me. There will be weavers who apply and prefer other methods. I would suggest that you follow the advice provided, but also listen to any further advice you are given. Form your own opinions through your own learning and personal judgement, and then duly pass that on to others so they may learn too.

CHAPTER 1

WEAVING EQUIPMENT AND ACCESSORIES LOOMS

LOOMS

Although the size of loom you choose will often be dictated both by space in the home or the studio and cost, it is nevertheless important to try many types of loom before committing yourself to purchasing one. It is vital that you are aware why you are purchasing your loom and what you plan to weave with it; there is little point buying a huge floor loom when you only intend to produce samples.

The most common looms on offer and their uses are covered in detail later in the chapter, although it is important to note initially that looms are available with 2, 4, 8, 16 or 24 shafts. The general rule is the more shafts you have, the more flexible your weave possibilities will be through experiments with both pattern and structure, your use of yarn and your skills in design (Chapters 7 and 8 give advice on improving your design skills).

For the beginner, the quantity and purpose of these shafts and how to use them can be a minefield, but this will also dictate your decision on which loom to take home. Many structures can be woven on a 4-shaft loom, which is adequate for learning the basics and producing simple patterns. Eight shafts can be used for more advanced structures, allowing room for the weaver’s knowledge to develop and the fulfilment of the urge for experimentation as confidence is gained in the subject.

It is worth noting that there are looms available with 32 and 40 shafts. AVLusa, for example, produce looms with shafts of these quantities, their purpose tending to be for the experienced weaver whose livelihood is dependent upon commercial weave design.

A bobbin winder.

Possibilities become endless as you gain an interest in weaving more complex warps such as supplementary or even double cloths. You may decide to work with a varied mix of yarns in your warp, and even experiment with more elaborate thread-ups – all of this is really only possible on at least an 8-shaft loom. It is then perhaps the vast possibilities that will dictate the loom you buy rather than the size and space in which it will live.

WHAT TO LOOK FOR IN A LOOM

Look for a loom with two back beams; these beams enable a better tension when using different yarns. For example, wool will have more elasticity than cotton. Wool warps tend to stretch over the course of weaving and so need to be tightened regularly, whereas a cotton warp does not. Therefore, if these yarns with such differing properties are put onto the same beam, they will not weave to the same tension. The wool will stretch and bag whereas the cotton will not, creating an uneven tension in your warp threads, which makes weaving difficult. The result will be an unbalanced cloth that will be not only displeasing to the eye but also useless for its intended function, not to mention that the yarn will be near on impossible to weave with and the whole process incredibly frustrating. Double back beams are also imperative when weaving with more than a single warp.