This two-part presentation, morning and afternoon) will ask, and attempt to answer, the question “What (and how and why) were Iron Age weavers producing the amazing woven cloth and bands they left behind? We will examine the textiles they made, the tools and technology they used, and other cultural artifacts found with those textiles which help shed light on their meaning and status. We’ll also look at how these revelations from the past encourage us to re-evaluate the limits of our modern understanding of the craft of weaving.

This two-part presentation, morning and afternoon) will ask, and attempt to answer, the question “What (and how and why) were Iron Age weavers producing the amazing woven cloth and bands they left behind? We will examine the textiles they made, the tools and technology they used, and other cultural artifacts found with those textiles which help shed light on their meaning and status. We’ll also look at how these revelations from the past encourage us to re-evaluate the limits of our modern understanding of the craft of weaving.

Deflected Double Weave lends itself well to being woven as “something else.” Crimp weave, loom-controlled weft shibori, and plain weave can all be woven on DDW threadings. On 16 shafts, DDW can be woven in 2/2 twill, combined with collapse weave or twill bands, and used to create stunning v-shaped shawls. Explore the options beyond traditional patterns.

Deflected Double Weave is a weave structure that has been around a long time and is quite popular today. It consists of plain weave with adjacent warp and weft floats. When the woven cloth is off the loom, the threads slide or deflect from their position into the float areas. This creates interesting interlacements and textures. I have been combining DDW with traditional double weave to create connections, layers, and pockets all in the same piece for dramatic scarves and shawls with a variety of fibers, colorways and designs.

John will join in-person. A tour through the varied techniques and equipment found in Japan’s kumihimo traditions. Kumihimo encompasses techniques ranging from pure manual skill with only a little help from tools, to the rich and varied possibilities enabled by the various Japanese braiding stands.

Rosalie will join via Zoom. This slide lecture presents a history of Japan through the perspective of kumihimo or plaited silk cords. It traces the historical development of Japanese plaited cords from fossilized remains in grave mounds to the exotic Samurai era when silk cords were used to lace together the warrior's armor. It also explores the current fashion trends using cords as obijime (an integral part of securing the obi and kimono) as well as decorative neckpieces. In addition to the slides taken in Japan and at the Metropolitan Museum of Art, there are also slides taken by a professional advertising photographer in Kyoto, documenting past fashions in kimono and obi. The samurai slides will include the recent exhibit of armor at the Portland Art Museum.

The design depth of Powell Shadow Weave is something barely plumbed by weavers. Enjoy an introduction to the concepts and basic structure parameters during the morning program. We will start with a brief review of the history of Shadow Weave. Inspiring you to pursue Powell Shadow Weave in your own weaving practice is the goal. In the afternoon Rebecca will show her recent series of numbered Shadow Weave art pieces called “Tapestries.”

The design depth of Powell Shadow Weave is something barely plumbed by weavers. Enjoy an introduction to the concepts and basic structure parameters during the morning program. We will start with a brief review of the history of Shadow Weave. Inspiring you to pursue Powell Shadow Weave in your own weaving practice is the goal. In the afternoon Rebecca will show her recent series of numbered Shadow Weave art pieces called “Tapestries.”

A BBC documentary featuring master weaver Margo Selby of the UK. In this film Margo takes on three students new to weaving and guides them through the process. It’s interesting to compare our own learning strategies with these three and a delight to follow them to a final public show and sale of their creations.

Janet will be speaking about the fabrics she has woven over the past 54 years, as a commission weaver, teacher of weave design, and author of weave design books.

Building on the discussion of counterpanes from the morning program, images of counterpanes will be provided along with images of weaves commonly found in counterpanes. The audience will discuss the images with others seated at their tables.

Southern Counterpanes were produced in America from 1800 – 1900. They can be defined as handwoven white on white cotton bedcovers with one or more weaving structures that provide relief. This distinguishes them from other handwoven white bedcovers such as weft loop, stuffed, Bolton, and Marseilles. Unlike coverlets, Southern Counterpanes do not include overshot, summer and winter or Beiderwand weave structures with a few exceptions.

We will be setting up for our sale during the afternoon program time. Please join us for our annual sale.

The production of linen was culturally and religiously important in Ancient Egypt. It was the only cloth used for clothing, bed linens, household fabric, and burial garments for several thousand years. This lecture will take you on a journey back to Ancient Egypt to follow the production of linen from the field to the clothes worn by the pharaoh himself.

This program offers a 2-hour discussion with examples of some of the best information available regarding your weaving equipment: Looms in general, shed mechanisms, shafts, treadles, reeds, shuttles, benches and tips/tricks to help you achieve a better handwoven product...and it'll make you feel more comfortable at your loom.

This program offers a 2-hour discussion with examples of some of the best information available regarding your weaving equipment: Looms in general, shed mechanisms, shafts, treadles, reeds, shuttles, benches and tips/tricks to help you achieve a better handwoven product...and it'll make you feel more comfortable at your loom.