Exhibition: Enamels & Textiles April 17-23 2012 Palm House Royal Botanic Garden, Sydney

Scarves on a straight 8Heather and I set up our exhibition at the Palm House, Royal Botanic Garden, Sydney on April 17th, opening at 12 noon.  The rush is on… all the last minute finishings that suddenly become urgent.

I’ve spent the weekend wet finishing the pieces that are complete, and this week getting the last warps on the loom.

These were woven on my Mecchia dobby loom.




Scarves on a straight 8

Hand dyed 3/20's machine washable wool warp, fine wool weft woven in oatmeal weaves. Soft handle, good drape. AUD $115


draftsof oatmeal weaves

Any 8 shaft tie-up with

  • a vertical cut between ends 4 and 5, and 8 and 1, and
  •  a horizontal cut between picks 4 and 5 and 8 and 1,

will weave as an oatmeal weave.  The warp or weft changes face at the cut line, giving a clean edge to the small block of 4 ends and 4 picks.










Tying on a New Warp

It’s time to tie on the warp I dyed  for  the Convergence fabric length exhibit.  I have long missed the deadline,  family and life intervened.   (Lots of cuddles for a visiting grandchild instead!)

I prefer to tie on if at all possible. Its quicker, you can make tiny colour changes as you go and after you tie, you wind it onto the  warp beam just as if you were using a raddle.   If it’s a wool warp I usually lift half the shafts while winding on, to prevent little balls of fluff forming… which happens sometimes on 12-15m warps.

The video shows me at the half way stage… I have all the dark ends tied on and sitting on top of the castle and am now working across the warp, tying on the light ends.

I prefer to tie on  one thread at a time, taking a thread from the cross in my hand as this preserves the thread order and I find it easier than cutting all the way across and then trying to find the right end to tie..

Next hanging

The next one is to be finished by Monday!!! Again in turned taquete on the same black and natural warp, using a gold-brown weft.  The second experience was quicker to weave,  mistakes were more recognizable and therefore easier to undo and reweave. I am enjoying using the Megadoo for a wider piece.

I used a free hand line design for the lifting plan, and tried to make the design vary for the entire length of the hanging.  I networked this design so that the image edges are rough and jagged- and spear like, to link to the tribal feeling.   I wove 2145 picks of a 2400 design, deciding that almost 2 metres was long enough. Part of the design and a close up are below.

Turned taquete hanging

Turned taquete hanging

A new start with Turned Taquete

Taquete Pattern HangingThe exhibition theme at Craftnsw, the gallery of the Society of Arts and Crafts of NSW in the Rocks, Sydney, was “Pattern”. This was the stimulus for weaving hangings, with large patterns. Turned taquete produces large patterns. I designed an extended parallel threading which was one design in the threading without a repeat, and a long weaving repeat.  The lifting pattern starts to repeat approx. 1/3rd from the bottom.

The hanging is in hand-dyed 20/2’s silk, set at 36epi, and woven at 30ppi with the same silk. Normally a finer grist weft is used for turned taquete, but I wanted the cloth to have sufficient body to hang well. It was 81.5cm in the reed and reduced to 71cm after finishing, 150cm longweighting repaired ends.

Grey Hanging

There were quite a few knots in the yarn and at the finish of weaving, there was  a lot of hardware hanging off the back beam. These are small garden plant/basket hanging hooks which are a good weight for tensioning a single warp end.

In the pic of  the hanging on the loom, you can see that with the thicker weft, the structure shows that it has been derived from Summer and Winter, but the floats are warp floats.    A repaired thread is shown at the base of the pic with the thread wrapped around a pin.