Bullet Train to Kyoto

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It was fun to see the sleek bullet trains going in an out of the station but hard to catch a picture. So these are the best I could get.

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Kyoto has beautiful shrines and buildings which is what Kyoto is for me. This gate is to a shrine nest to our hotel.

Yoshiko took on a tour of her favorite designers and shops. I did some serious shopping. I need to get money today. Weather is hot but manageable.

Shibiri: Day Two

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We worked all morning to make new patterns. I was surprised I could do it, even though mine were fairly simple and crude. See me working hard to finish a sample to get it into the dye pot.  The photo with 4 patterns is of my accomplishment for Day One. The other two pieces were on Day Two. photo 3We visited the Toyota museum in Nagoya in the afternoon. It was heaven! They used to manufacture looms and spinning equipment. Now they make sophisticated power looms. Old and the new were shown and demonstrated. We saw the shuttle-less looms at slow motion. So we could see the rapier actually moving and carrying the wefts. Also in slow photo 4motion we saw the water jet method of shooting the wefts. So exciting to see these and other mechanisms up close and in slow motion. A working water wheel worked an old spinning machine! They make big spinning machines, too. All the old and looms as they progressed were there. The photo shows the huge space where the equipment is.
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Saw wild silk production Today

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We left our Japanese inn in Matsumoto (www.koyanagi.biz) on a train to Hataka and taxied to visit a wild silk living museum in Azumino City– southern part of Nagano Prefecture–called the Tensan Center. Www.city.azumino.nagano.jp tenseness means the Wild silk, I think. We saw things I’ve never known about silk production in a great exhibit and video.  The eggs are put on oak trees to hatch. The silk worms eat the leaves of this oak and make their cocoons in the trees. This variety of silk has a much larger cocoon than regular silk that feed on mulberry leaves and the cocoons and silk are a lovely light green.

They sprinkle the eggs on drops of paste on paper and then attach them to the branches. They left some moths develop for breeding. A pair of moths is put in a small wicker cage to mate and the eggs are taken from the cages.  These eggs are about the size of capers, photo 4much smaller the regular silk moth eggs.  It was totally fascinating. It wasn’t the time for feeding on the trees, sadly, or to see them making the cocoons. There were two weavers weaving the lovely spun silk. I bought a gorgeous silk scarf–will need to have another show so I can wear it.Then soba place for lunch and trains back to Matsumoto then to Nagoya.  We met the group at the hotel, and a hot pot-like dinner.  We start class at 8:15 on Saturday.  What a glorious whirlwind it has been!
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First Day of Shibori Class

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This first photo shows my fingernails after my first dyeing! Don’t know if the will ever come clean. The second photo is one of the patterns we learned that we dyed today. The workshop is sponsored by The World Shibori Network. It was a surprise to see the big sign outside the classroom building.

Shibori is everywhere–big banners waving in the train photo 5station–even the sign for the restroom. The last picture is of a Shibori pattern on a Noran which is a curtain over a doorway.  I thought it might explain what I am talking about.  We are doing specialized tie dye.  At the end of the week we will come back to the town for their annual Shibori Festival. The town is Arimatsu which is near Nagoya. Class was only in the morning. In the afternoon we went to a flea market at a temple a train and subway from

photo 1Arimatsu. I got a Shibori scarf at a bargain price.

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A Day Going to a Weaving Company

2013-05-15 at 21.32.57[click photos to enlarge]
We took so many trains today I lost count–small, medium and the bullet train. We went to the town of Udea in the Nagano area surrounded by mountains. The name of the weaving company is: Koiwai-tsumugi. Www.htp://~Koiwai-tsumugi.shop-prob.jp/ The photos show the outside of the building which is a large, very old, beautiful traditional Japanese house in a residential neighborhood. The hand hewn beams in the weaving room

2013-05-15 at 19.57.54were lovely and worn. The daughter showed us around and answered every one of my weaving questions. Cathy’s two friends shepherded us on the trains and taxis and translated. There were about six looms with three2013-05-15 at 19.52.27 old ladies weaving the tsumugai cloth (spun silk weft yarn) for kimono, place mats and coasters. We saw the dying area and the warping area and the show room with things to buy–expensive, of course since everything was hand woven. It was heaven!  We bought bento box lunches at the station and ate in the showroom.

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More train rides as we went to Matsumoto. We admired the gorgeous castle (please Google it) on the taxi ride to a lovely Japanese inn. We had a bath, of course, and dinner. The four of us slept in our room on futons and tatami mats. We found WiFi on the second floor–available but not spoiling the tradition of the 300-year old inn.

A Wonderful Full Day in Tokyo

Bunka Gakuen Costume Museum, and fashion school - Toyko Peggy Osterkamp

Bunka Gakuen Costume Museum
Peggy Osterkamp
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After croissants and coffee across the street from our hotel,Washington Shinjuku, we discovered we were next door to a famous costume museum, Bunka Gakuen Costume Museum, and fashion school. It felt like FIT in New York.  The exhibit was a big one and beautiful–18th century European gowns and dresses in movies we knew and several that Princess DIana wore.  Here is a picture of one of the students studying the show.  I couldn’t resist asking for her picture!

After a lovely lunch of sashimi Cathy’s friend helped buy our train tickets for our advevture to silk weaving places on Thursday.

Then We walked an hour from our hotel to the Minami-Aoyama District. This is an areas on everyone’s list where the Issey Miyaki and other like designers have shops and where lots of young people are walking the streets in interesting costumes. We happened on an absolutely wonderful place.

Aoyama Flower Tea Shop Peggy Osterkamp

Aoyama Flower Tea Shop
Peggy Osterkamp

2013-05-14 at 23.42.55We were looking for a place to rest and have tea and saw a sign in front of the Aoyama Flower Market for a tea shop in the market.  The flowers were lovely but when we slid open the door to the tea shop we were totally transported! These pictures are of the tea shop at the Aoyama Flower Shop. We both had glorious raspberry parfaits. A large, black plastic bucket was underneath every stool–to put your purse and shopping bags in. This is a great idea.  I can’t say enough praise for our experience there.

 

We know for sure we are in japan

food 2We got settled in the hotel in Tokyo then went out to explore. It was surprising to see lots of people on the street, at 8:00 maybe going home from work. We are near a big subway station–Shinjuku Station. We knew we were in Japan for sure when we saw all the plastic food 

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displayed in front of the dozen or so food places in our big hotel. Cathy and I decided to have pot stickers–perfect for slight hunger before bedtime. The 10
1/2hour flight was easy.  Now to see if we can sleep all night. I love the Frenchi Toasto sign the best!

 

I’m Off to Japan with Yoshiko Wada on a Textile Tour

Plane to Japan
Just textiles! No shrines, gardens, just textiles and wonderful food and Japanese inns! I’m turning my bog into a travel blog with daily updates and photos of my adventures. From Tokyo we’ll go to a town with silk manufacturing. The tour begins in Arimatsu where we’ll learn shibori techniques and participate in the annual shibori festival. After that, more artists and crafts people along the way. We’ll end after the tour back in Tokyo and go to Yuki City to see tsmugi weaving.

Peggy’s Weaving Studio Update

Peggy Osterkamp’s Weaving Studio

I got 15 small collapse pieces back from the framer in New York who makes may special plexi shadow boxes and had to do some rearranging in the studio to get them on the wall. If you like how they look, let me know and I can give you his contact information.

We decided they would look better with a black background so up went the felt pieces I had and I think they look really nice. They are the small pieces on the black background.

While I was at it, I thought I’d share pictures of the studio as it is just before I leave it for 3 weeks while I am in Japan.
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Weaving with Rose Canes

Rose Canes Woven in Silk Peggy Osterkamp - click to enlarge

Rose Canes Woven in Silk
Peggy Osterkamp
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I have wanted to combine thorny rose canes with the sheer silk from the beginning of this warp. Kept trying fleeces with no luck and finally I got back to my original idea. I found nice, thin, curvy stems and a few dead blossoms in the bags of cuttings I got when the gardener pruned the rose bushes in January. It looks nice on the wrong side when you see the curved lines through the sheer cloth. From the right side the twigs look fairly thorny and wild. I think it has the feeling of a black and white line drawing. Of course it is a tube.

Woven Bookmarks by Peggy Osterkamp

Woven Bookmarks  - Peggy Osterkamp - click to enlarge

Woven Bookmarks
- Peggy Osterkamp
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Here I am again with more tubes. I needed gifts for my upcoming trip to Japan and wanted to use the warp I’ve been working on. This time I wove in horse hair. I tried black but liked the creamy white better. I also have brown horse hair but didn’t think I would like it. The challenge or inspiration was how to make bookmarks when the warp is about 4 inches wide. Each one is woven about 2 ½” high. The supplementary warp holds the horse hair inside the tube and it floats inside when not securing the horse hair. What fun it was when the inspiration struck when I had 5 minutes of quiet in our hot tub just before water aerobics class.

My New Weaving (part 2)

Peggy Osterkamp - Rose Buds - click to enlarge

Peggy Osterkamp – Rose Buds – click to enlarge

More things I’ve inserted in my weaving. The rose buds and canes I collected when the gardeners pruned the roses where I live. The buds were dried on the stems.

Peggy Osterkamp Pomegranet Twigs - click to enlarge

Peggy Osterkamp
Pomegranet Twigs
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The twigs were trimmings from a pomegranet tree. I thought the lichen on the stems went with the pink sewing thread wefts.

More tubes and supplementary warp. This type of supplementary warp I learned to call “split broche”. The threads lie in the middle of the sheds just like floating selvedges do. You put the shuttle over the threads if you don’t want them on top of the cloth. You put the shuttle under them to put them on top. And I usually weave with them in the middle of the layers and only bring them up when needed for tie-downs.

I wanted to try some color and thought the pinks would blend with the white warp threads. I used light, medium and darker pinks to try to create depth in the cloth–a la Randall  Darwall.

My New Weaving (part 1)

Rose Hips 2

Peggy Osterkamp – Rose Hips – click to enlarge

Moire with Rose Hips - click to enlarge

Peggy Osterkamp – Moire with Rose Hips
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Finally I’ve woven something I like! After my show in January, it’s been hard to get going again. I’ve been trying to weave “out-of-the-box” and for February and March nothing pleased me. I was trying to incorporate locks of fleece. Everything was ugly–oh, one small part looks all right but it isn’t a composition…yet.

I cut lots of rose hip stems and really like them. In the second piece I was interested in the shapes of the stems–then I looked at it from the back–voila! Lovely shadows plus the moire that I’ve been trying for.

I’m still weaving tubes on my 4-shaft loom. I have a supplementary warp that is threaded between the heddles. Those are the threads that hold the rose hips. They are weighted separately so I can slip extra things under them as needed.

I love making the tubes and only using 4 shafts. For the moire, I need certain shafts for the top and bottom layers. When I want one side to be a different color from the other I use other shafts for the top and bottom layers. 4 treadles: I just dance a different dance.

My Thoughts about Color Wheels

screenshot.02-04-2013 15.43.36A color wheel that was introduced to us in our guild program on Optical Mixing is the first one shown here. It is called the Magenta, Yellow, Cyan (turquoise) color system or color wheel and the one more suited for weavers. Our speaker told us it was better to use this one than the one we all learned and are familiar with which is the Red, Yellow, Blue system or color wheel (which is for mixing light). This is the second one shown here.

 If you look at my previous post screenshot.02-04-2013 15.44.02showing my own stash of colors, you won’t see anything like on either wheel. That’s because the color wheels show us intense colors. In real life, most of us don’t stick to only those intense colors—we darken, or lighten, or dull them, or mix them optically with other colors.

 So, how do you use a color wheel if the colors aren’t what you like? The colors on the wheels are NAMED. That is what is important. You need to name the colors or read them first. For example, red and red-orange and red-purple are names of three colors (officially called hues). Then you can use the wheel for relationships of the hues to one another or to put together color harmonies. For example, harmonies might be hues that are opposite one another or beside each other on the wheel. THEN when you know the names of the hues you are looking for, you can “doctor” them us (so-to-speak) so they aren’t so intense and to my mind, more beautiful or interesting.

 You can change a hue these ways:
Change the value,
Change the intensity
Change the temperature

 That’s how you get nice interesting colors that don’t look like kindergarten colors.screenshot.02-04-2013 15.48.20

 One of my teachers, Cameron Taylor Brown, had us make different color wheels. We named the colors from the regular color wheel we were used to. Then made these: one color wheel with all the hues being light in value (pastels), one with all dark hues, one with duller hues, etc. You see, we named the hues but then made up color wheels (like pallets) with the same hues but changed in the ways I listed above: value, intensity and temperature. There were some I liked screenshot.02-04-2013 15.49.00better than others. Using the yarns from one wheel makes your work look coordinated: to add punch, she suggested adding something from a completely different pallet (color wheel).

 For our talk on Saturday about Optical Mixing, we will be talking about value. Threads that are of the same value will blend or mix.

 One important thought: You don’t need to have all the colors in the wheel—just work with the ones you like or have.

 Use what you like and used the color theory color when you are stuck.

 My mentor, Helen Pope, always used to choose what ribbon for her pony tale by using a color that was one step from the opposite of the color of her outfit. In other words she used the harmony “split complementory”

My Color Stash for Weaving

I’ve been planning a little lesson for my weaving guild about color—especially optical mixing. I’m going to show color wheels we are used to seeing and talk about using yarns and threads that aren’t on the wheels, per se. That is, not the vibrant, intense colors you see but what I think are more beautiful colors. I’ll show how beautiful colors are made and how to use them, using the information on the color wheels.

My spools of weaving thread - Peggy Osterkamp

My color stash of sewing threads.
Peggy Osterkamp

My color stash of sewing threads.Peggy Osterkamp

My color stash of sewing threads.
Peggy Osterkamp

 

 

 

 

 

 


Here is my color stash of sewing threads. I just picked spools of colors that I liked when visiting a shop in the garment district of Manhattan on several trips. I expected to mix them together and whenever possible I took colors with different dye lots. Variations in colors make them more beautiful, in my opinion.

Optical Mixing in a Woven Table Runner

ALO Runner - Close Up - Peggy Osterkamp

ALO Runner – Close Up
Peggy Osterkamp
click to enlarge

A few weeks ago our guild had a speaker who explained the theory of optical mixing. When I got home, I noticed I’d been doing that without knowing it for a long time. I kept finding pieces that were examples of taking two colors and mixing them to form a third color. I was excited to see several examples so decided to do a study group after our next meeting to discuss optical mixing and show some examples.

I’m also going to talk a bit about using complementary colors. The table runner is woven of oranges and blues.

ALO Runner - Corner Detail - Peggy Osterkamp

ALO Runner – Corner Detail
Peggy Osterkamp – click to enlarge

There is so much to learn about color theory that I get overwhelmed easily and not much sticks in my brain so I just want to talk about these two subjects.

This runner I wove for my mother-in-law but I knew she wouldn’t appreciate it so I never gave it to her. It’s one of my very favorite pieces. The linen fabric is thick because I put together the two warps from a previous double weave project into a single layer.

ALO Runner - Peggy Osterkamp

ALO Runner
Peggy Osterkamp
click to enlarge

I ironed it hard with a rolling pin on a bread board while it was damp. I love the weight, the sheen, and the subtle colors.

The idea of putting two warps together as a single layer happened when I was sampling for making some table runners. I ran out of color combinations to try, so just wove the warps together for a warp face structure where the warp was completely hidden. It still made a thick cloth which I wanted and I loved the way the two warp colors mixed.

A Wonderful Testimonial

Getting this email from Judy Wheeler really made my day!


I just wanted to say THANK YOU!! for writing the New Guide to Weaving books. I have all three, and literally could not weave without them. I learned to weave many years ago at a weaving shop that was only in business a short while…

I love weaving, but it was always a struggle. Warping was difficult, tension was never good, and my projects rarely turned out like I had hoped. Then I found your books. Weaving is now so much more enjoyable and rewarding, and your books are just amazing! I always refer to them when weaving, but often I pick one up and just read it, because I always learn something new.

Thank you again!

A New Wrinkle for My Ruffles

When I was ruffling up the tube for the ruffle for the Room Art Gallery show, I got an idea for the next one. I like this photo of the ruffle–not so tight. Maybe I’ll make one “loose” like this that would be a sculpture and sit on a pedestal in a plexi-glass box (called a vitrine).

Peggy Osterkamp's Sculptural Ruffle [click to enlarge]

Peggy Osterkamp’s Sculptural Ruffle
[click to enlarge]

I loved the look when the ruffles were tight together. My idea for another one is to make it tight so it would be a sculpture and sit on a pedestal, rather than hang from the ceiling.

Peggy Osterkamp's Pedistal Ruffle [click to enlarge]

Peggy Osterkamp’s Pedistal Ruffle
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At Work on My Website

Here I am at my computer spending more time here instead of weaving. But the California sky is nice and I love my website. And connecting with other weavers makes it worthwhile. The view from my window on the 8th floor is always changing. There are  cat beds at the base of the window where my two cats rest and keep me company.

Weaver Peggy Osterkamp

Weaver Peggy Osterkamp

My New Knitting Project

 

from "Ori Ami Knits" © 2010 Vanessa Yap-Einbund [click to enlarge]

from “Ori Ami Knits”
© 2010 Vanessa Yap-Einbund
[click to enlarge]

I’m having fun knitting this necklace out of the stainless steel/silk yarns (threads?) from Habu Textiles in New York. The pattern is from a book using Habu yarns: “Ori Ami Knits”. I had to learn to do “short rows” and it is fun learning something new (and easy). I had yarn left from my sweater then needed a second strand of another color for the necklace so needed another cone. I guess this is how a stash begins.

Peggy’s Planning Weaving Projects Worksheet

Worksheet Clip

I gave a lesson the other day about planning projects and gave out the worksheet my students have liked and that is in my book, Weaving for Beginners. I thought it would be good to share it. It is used to calculate the many things needed when planning a project. This worksheet lets you figure out how long and wide the warp should be and the amount of warp and weft yarn you need. When I was starting out, I was always worried that I’d forget a critical calculation. I’ve used it with my students for many years so I don’t worry that I’ve forgotten a calculation they needed for their projects. You may download the worksheet HERE.