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Weaving Holiday

1/29/2019

 
Picture
Nope -- not the burn carbon,
catch a cold on the airplane
on the way to someplace else
kind of holiday.

That sun is shining
​into my very own studio.
Picture
Though  I did go somewhere --
me and my big black rubber boots
strolled through the slush
to The Yarn Underground (my local yarn store),
where I was dazzled by the abundance 
and walked home with 
8 skeins of Harrisville flywheel yarn.

 So did you know about this?
That you can buy yarn that has
already been carded and spun?
It's a little weird.
But AMAZING. 

(One of the great things about spending most of my time in the studio
is that am a cheap date -- dazzled and overwhelmed by
the local downtown shops.
Of course I'm also dazzled by dead leaves 
which is slightly less helpful to the local economy....).
Picture
But no matter how you look at it,
this feels like a mighty quick turnaround--
from a mad desire
​ for a long, dark grey Sarah-Dippity skirt,
to yarn in hand.
(if not exactly fast fashion, at least less glacial than my usual approach).
Picture
Backstrap loom parts.
Said mad desire was initially generated
by a vision of the thing I wanted to wear that day,
the realization that I had the knowledge and technology to make it,
and a teensy bit of project envy generated by
 slipping Backstrap Dialogues zines into envelopes 
and mailing them to Sweden and Germany, Califorina and Kentucky
as Sarah-Dippity instructions are downloaded
to computers around the world.
Picture
At any rate, it felt (and still feels), rather marvelous
to take a mid winter break from my cellulosic adventures,
and start winding a warp almost before 
shucking off the rubber boots.

Alas, my starry-eyed haste
also led to a teensy bit of
of a miscalculation --
this mill spun yarn is NOT
​ as much like mine as I thought.
Picture
I stormed about a bit and felt like an idiot
for making assumptions, 
and for not weaving a sample --
or at least doing a yarn wrap.
But drawing this comic gave me an idea
(you might note that the little "but maybe if..." thought bubble
was written in with a different pen),
so I clipped together a ten dent rigid heddle 
from four Schacht Variable Dent Rigid Heddle sections, 
scribbled a new sketch for the skirt
and away I went.
(10 epi vs 12 epi  meant weaving two narrower swaths of cloth since I did not want to buy more equipment, which leads to the skirt being made of  four or maybe five 8" wide panels instead of three 12" ones-- though I don't have to decide for sure till later since the design is flexible and the final
shaping and fitting is in the knitting).
Picture
The broken threader was another bummer,
but this paper clip worked just fine-- 
​indeed, maybe better than the diz threader
I've been using for the last couple of years.
​Golly, I love makeshift solutions.  
​And I really love this loom.
Picture
Picture
Picture
Picture
The last few inches of the first warp
turned into cloth
​ just before I started to write this morning.
And there's a good chance
I'll start winding the second warp 
shortly after I hit "post."
Picture
Perhaps  next week I'll be knitting the skirt wedges
and my holiday will be done.
zoom zoom zoom!
But so restful.

And then back to real life.
​
If that is what this is.
Picture

Bookish Thoughts

1/22/2019

 
Picture
I had a plan,
this morning,
to examine
form and function 
​as they relate to the book form.
Picture
Four Selvedge Tapestries in side-by-side progress. Each 2.5" x 2"
Picture
Four selvedge Tapestry Book Covers; Kami-ito; hand spun used coffee filter; hand spun variable annuity pages; indigo ; 2.5" x 2";
Picture
Tapestry Sketchbook; two needle Coptic binding; BFK Rives lightweight printmaking paper; handspun linen thread;
Snazzy topic, eh?
I pretty much impressed myself when I thought of it. 
Not that I have the language or training for such a discussion,
but it has been on my mind.
After all, I've been building and binding little tapestry books,
putting the final touches on set of a PDF instructions,
and sending paper instruction/story zines around the world,
so it's  hard not to wonder
as I choose a design for each--
​ why this --why that?
Picture
I also read other people's books every day--
mostly the kind I can hold in my hand,
though sometimes those of the e-reader variety. 
Picture
And I have  yards of reference books.
​
How different then, are my feelings 
about books I read for their stories,
Picture
Tapestry Cartoon, never woven; graphite on paper; 18" x 24"
and those I open to a specific page to learn something?
Picture
Needlepoint Book Bag (back); hand spun wool; natural dye; cotton canvas
In what ways do I relate to
books I've written (but not designed), 
Picture
Kids Weaving -- published in 2005. Now out of print but copies can be found!
differently from books I've designed and made?
Picture
Flora; Needlepoint Book; hand spun wool; natural dye; cotton canvas, cotton fabric
What about books I'm in--
if long ago when my hair was still dark
Picture
First published in 1996, Knitting in America by Melanie Falick, is now known as "America Knits" . Click the photo above for a link.
Picture
and books that are in me--
often so demanding
that I have to create imaginary shelves
in which to house them. 
Picture
Bluestocking (detail); egg tempera on gessoed board; 24" x 18"
Picture
Bluestocking; egg tempera on gessoed board; 24" x 18" 2005
In addition, there are books I listen to,
as stories read aloud
and ​as part of insightful discussions. 
Picture
Then there are books that act as muse--
Picture
On A Lily; egg tempera on gessoed board; 10" x 8" 2005
as vehicles for transport,
Picture
Egg Tempera on gessoed board; 20" x 24" 2006
as objects in a still life.

And (she wails)
​what about the midcentury feminine middlebrow
my favorite book category of all ?
Picture
Lincoln Blue; hand woven tapestry; 18" x 24"; hand spun wool warp and weft; indigo; ©Sarah C. Swett 2003
My plan,
​made early this morning while lying in bed
and thinking this up,
was to illustrate my as yet undiscovered 
but undoubtedly insightful thoughts
on these pressing questions
with a few images of the books
  I've drawn, painted, woven and built over the years.
​
It seemed a reasonable  approach at the time.
​Of course I hadn't yet had any tea.
Picture
Escape Literature; hand woven tapestry; 60" x 48"; hand spun wool warp and weft; natural dyes; ©Sarah C. Swett 2002
Alas, once I got going, 
​ three things happened.

​First: a visit to the bowels of my computer
unearthed a crazy number of images, 
each of which stirred up all kinds of distracting memories.
Picture
Two Recipes for Coffee Cake; hand woven tapestry; 48" x 24"; wool, natural dye ©Sarah C. Swett 2007
Second: after devoting a good many of the subsequent hours
to tying myself in letter-ridden knots,
I remembered that I am not an academic
and really don't have the language for such a discussion.
Picture
Pen and Ink; hand woven tapestry; 18" x 18"; wool, natural dye ©Sarah C. Swett 2007
Third: when I decided to untangle
​and rewrite one of those knots,
(heaven knows how),
the Weebly blog app,
in its wisdom,
deleted every word I'd written thus far--
for which action
I can only feel tremendous gratitude
(as, no doubt, should you).
Picture
Three Tapestry Sketchbooks in a Tapestry Box; four selvedge tapestry; coptic binding; flax, coffee filters, indigo, plastic bag, various papers; 2018/19
So here I am at the end,
bowing to the wisdom of bits and bytes,
shelving the whole idea of codex deconstruction,
and leaving you with this:
​
Books are the best, right?
​ps.   Next Day Edit -- I've been asked about instructions for the wee blocky books, and all I can say is that, while I'm pretty comfy with weaving the tapestry covers, I'm still learning about paper and binding etc, so here are a couple of links to help further
--HERE is where I learned the two needle coptic binding.  
---Keith Smith's books -- Volume 1 of Non-adhesive binding; Books  Without Paste or Glue--where I learned the curved needle coptic binding I've used up till the ones in this post, 
--
Velma Bolyard has also shared an enormous amount of book and paper related info, particularly information of kami-ito and shifu (spun and woven paper)
​

Sarah-Dippity

1/14/2019

 
Picture
In October 2017,
I had an idea for a skirt.
My thought was to combine
shaped, hand knit panels
with my myriad backstrap experiments
to build a flexible and fitted garment. 
Picture
It was just an experiment.
​
Definitely a one-off.
Picture
Or....er...two...
ummm....actually..
​four...I mean..
gosh--
​Well, I do wear a lot of skirts.
Picture
Though not usually short ones--
or at least I haven't since the early 1970s
when my mother and grandmother tsk tsked 
over my desire to share more adolescent leg
than they thought fitting or attractive.
Picture
But attractive is as attractive does
(whatever that really means),
and anyway, the skirts are fun at any age--
to make and to wear.
Picture
The simple structure makes fitting a breeze--
the unbeatable texture of specially selected (or spun) yarn,
the underlying energy of hand woven cloth,
the built-in stretchiness of  hand knit panels
all work together to to make each skirt
as comfy as plain leggings--
and as long or short as I want
(​or fabric length will allow).

note: my skirts are mostly short because I made them 
using existing color and weave experiments
designed, warped and woven
with no thought to future leg coverage.
Picture
Anyway,
I've long wanted to share the idea
and fully intended to have these instructions done
shortly after the concept showed up.
Backstrap Dialogues,
(the instructional story zine that led to
the cloth that led to Sarah-Dippity),
was freshly out in the world
and somehow I imagined
that after a 56 page comic,
 a straightforward skirt guide
​ would take a mere few weeks!
​Sigh.
Picture
​But finally, after writing and re-writing,
drawing and re-drawing,
and overriding a firm decision
to shelve it permanently,

​(shows what I know),
I am beyond pleased
that Phineas reminded me
about the underlying joy
of the garments themselves--
(well, he bullied me just a bit,
​ as only a squirrel can do,
insisting that other weavers and knitters 
might well want
to cover their butts
​with their own magnificent cloth).
Picture
So HERE IT IS, 
freshly loaded into my web store:
a 16 page downloadable PDF guide
​ to using your cloth (hand woven or otherwise),
and your yarn (knit at a gauge that suits your hands and taste),
to make a garment that fits your body,
your life and your style. 

And to help celebrate the joy of hand woven cloth,
hard copies of Backstrap Dialogues
are now on sale for $13 
(I love prime numbers)
with free shipping.
Picture
FYI -- the sweater I'm wearing is knit from the same fleece as one of the colors in the checked skirt--the one a 10 ply (actually two 5-ply strands knit together), the other a 2-ply. How coordinated is that?
Endless thanks to Phineas, for spurring me on,
and my ever patient reader/testers,
for all their support.

Feeling my way in

1/8/2019

 
Picture
flax; willow distaff; 3D printed turkish spindle (11 grams);
Yesterday,
my drawing comrade and I
​ were talking about that feeling you get
when you are making
or designing
or working with
the 'right' thing.
Picture
Hepty spindle (my primary spinning tool); wrist distaff; drum carded wool
It's the feeling you might already have
with long term projects
where decisions have been made
and inherent pleasure already built in
so (at least for the time being),
there is nothing to do
but enjoy the doing. 
Picture
It is, however, a truth universally acknowledged
 that in the midst of long term making projects
other ideas are given to showing up--
and you might find yourself
pulled off onto 

a compelling but slightly foggy path,
Picture
used coffee filter (brown); indigo (about to be spun into yarn)

enjoying the general direction,
not quite sure what you're doing,
but aware
(or at least hoping),
that pretty soon
there will be more information--
about material
 texture
color 
or even medium
that will shift things,
​ this way
or that. 
Picture
It's important, at least for me,
to stay loose when walking this path --
to not analyze every step--
(it's usually too foggy for that anyway), 
but rather to feel,
to listen,
to notice nuances--
Picture
kami-ito/ spun paper; indigo; coffee filter; variable annuity report; four selvedge tapestry; each 2 1/2" x 2"
alert and hopefully awake
(though sometimes not)
​to the way that ideas,
processes,
hands,
feet,
eyes,
​mixed metaphors
and materials
​respond to one another.
Picture
Thistle (left) and Iris (right) cordage on linen warp
Eventually,
​if you keep walking
(for minutes, hours, weeks, months).
you find yourself in that magical reciprocal relationship
where the stuff you are making
is also making you.
Picture
You never know what you have that will make the perfect pipe loom platform: a box my son hammered together when he was five, perched on a shipping box, kept from rocking by an ancient camping pad from a friend's basement.
I'm in the foggy part right now. 
Full of hope and possibility.
Honing my nerve endings.
Meandering with intent. 

It's interesting, 
​clearly compelling,
​a teensy bit unnerving.

But so what?
There is much to be learned
even when I stumble.
Picture
Glycerine soaked Iris cordage -- flexible even when dry.
Speaking of learning,
and to end on a practical note,
I've been doing some glycerine experiments. 
Jillayne brought the idea to my attention.
and Sue mentioned it again in the comments a couple of weeks ago.


The point is to soak dry plant material in a glycerine solution
which keeps it permanently flexible even when dry again. 

The point, for me, is to have cordage that doesn't need soaking before weaving
and which can be made into things that won't crack when bent.
Some internet sources talk about soaking the stems of fresh plants in the glycerine solution and letting the plant draw it up into the leaves and flowers,
but so far I've only worked with  dry material --
​both cordage and leaves -- to good effect. 

We'll learn more if lots of us try.
Anyone up for some experiments?
Picture
Doesn't' have to be vegetable glycerine unless you're vegetarian or vegan. This is just what I found first.

Glycerine  + Cordage + leaves --
2 parts water, 1 part glycerine.
Cover cordage and/or leaves with solution 
(I used a weight to keep them under)
Soak 24 to 36 hours.
Rinse/wash/ let dry


More info on the internet, but this can get you started.

The Blank Pages of 2019

1/1/2019

 
Picture
Tiny Tapestry Books.
Picture
Who knew?
Picture
Not me.
Picture
But perhaps the tapestries did.
Picture
Woven side by side last July
Picture
they refused to be parted.
Picture
Four Selvedge Tapestries,
(spindle spun linen, silk, cotton and wool).
Picture
Scraps of  Washi
​and Reeves Lightweight printing paper.
Picture
 Coptic Binding,
Spindle spun linen thread
(coated with beeswax from my Aunt's old hive).

​Business as usual, I suppose--

the materials dictating what I do--
my job merely to listen--
then dive in--
even if I have no idea what or why. 
Picture
Sometimes it is a little unsettling.
​

But ultimately,
I cannot resist.
Picture
May your book of 2019,
be filled 
with  surprise,
​and kindness,
and  joy in the unexpected. 

    Picture

    ​Sarah C Swett 
    tells stories
    with
    ​ and about

     hand spun yarn. 


    Picture
    Click for info on
    my four selvedge
    warping class
    with
    ​ Rebecca Mezoff  
    fringeless


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