Welcome to Peggy’s Website
Share my passion > Explore, Browse and Learn
Welcome to Peggy’s Website
Welcome to Peggy’s Website
Share my passion > Explore, Browse and Learn
I had really nice responses to my previous post which showed details of my new collage wall hangings with my dyed fabrics. Now you can see what they are like in reality. There are seven–all 11″ wide and 36″ long. Now if you want to see details again, you can go back to the first post. Click on these thumbnails to see them full size then click again to see the detail.
Finally! I wove a record of 7 1/2 inches the other day–in a 2-hour session. I think most of the repairs are done now and I can weave along. You can see how it is going on the video.
Here is a close up of the cloth with only one broken thread repair–hooray! I think I am finally on my way now. I make the repairs with colored sewing thread so I can see what I’m doing. Usually those threads will continue until the end of the warp so it will be a bit of a surprise to see what it looks like off the loom. I have about a yard done so far with the previous sessions averaging an inch or so each because of all the repairs that needed to be done. For each repair, I have to find the missing heddle and route the repair thread in the exact position where the broken thread was. I join the sewing thread to the silk one and weight it at the back of the loom. See a previous post of my set-up to weight the threads and keep them in order–keeping them in order is crucial so I have a cross on the stand where the weighted threads are.
Each composition is made up of fabrics that were in the same dye pot. The differences in the tones are due to the different fabrics I put into the pot. I love these subtle “colors”. The yellows were from woad plants. The browns were from green persimmons over dyed with indigo. I especially find myself liking things that have almost no color at all. One of these is from oak galls. I can’t remember all the specifics but I like to put dyed fabrics in a bath of iron water to “sadden” the color.
Over the holidays I dyed a lot in my very first indigo vat. Lots and lots of dips were necessary to get the different shades. I always used a variety of silks and cottons in each dye bath to get a variety of close tones. I’m thrilled with the results and all the “colors” I could get just by using different cloths. Then I did similar experiments with saffron, henna and turmeric. It has been fun seeing what I could get. My next post will show some of the art pieces I made using these small pieces.
I’m excited to announce that my first Kindle book (booklet) is now available on Amazon. It is in response to My Top Ten List of the most popular of my weaving tips. The most viewed tip was for Hemstitching! Almost 34,000 people have viewed this tip in the 5 years that my new website has been up. That amazes me and thrills me.
Hemstitching is a way to begin and end weaving on the loom without having to sew hems or knot fringes later, after the cloth has been taken off. For years I thought I couldn’t do it but when I was taught it I’ve loved the technique.
I’ve updated the material in the Kindle book and added a gallery of variations from old embroidery books. What makes my instructions special is that there are 9 step-by-step illustrations and text whereas most weaving sources only show one illustration and no text. There are directions for hemstitching at the beginning of your weaving and also at the end.
It is available for download on Amazon for $2.99. Of course it can be viewed on all Kindle readers and on most smart phones, tablets, and computers if you install the free Kindle reading app on your device.
You can buy the book from Amazon here: Peggy’s Weaving Tips: Hemstitching. I’d love it if you would give it a good review. If this is successful I’ll publish more Kindle booklets of weaving tip collections.
I’m weaving 125 fine threads per inch so I can weave another ruffle (see my gallery) which I will shibori dye with indigo. Then the ruffle will disappear and appear in the dyed and un-dyed areas. [click any photo to enlarge]
I’m trying to weave with finer-than-ever silk threads. I should have starched them first but didn’t because I didn’t realize it would be necessary. That would have made the threads stronger. There are 125 threads per inch and I made more threading errors than I’ve ever made in my life. I have spent hours correcting these almost invisible threads and have lost a few and a few have broken –there are 16 threads to date that are hanging off the back of my loom and I expect I’ll have more as I weave along. Here is a close up of the weaving and one broken thread pinned in. (I’ve been mending the threads with sewing thread so I can see them.)
I used this stand which I’d used when I was weaving velvet to rig up a way to keep all the threads from tangling. Knowing that the only thread that can’t tangle is one under tension this is what I did.
I took the threads as they came from the warp beam and made a cross to keep them in order.
While in Kyushu Island south of the main island of Japan near the town of Karume is a distinguished master craftsman kasuri dyer. Kasuri is a form of ikat and can be warp-wise or weft-wise. The threads are dyed in a pattern then put on the loom and woven. Here is a photo of Shoji Yamamura tying threads to make a pattern. Then the threads are dyed with indigo for the traditional blue and white kasuri fabrics we know. We bought one of his gorgeous pieces–a length of cloth for a kimono with the idea of splitting up the piece when we got home.
On a Saturday afternoon the three of us met to divide the fabric–over 15 yards.
Here one third has been cut off and we are about to cut off the second piece.
This is the end piece– it’s the signature of the weaver and is woven at the beginning of the length of cloth. Note that the unwoven area shows the ikat pattern that was tied in the threads. Also notable is the dyeing of the warp stripes–a specialty of this artist.
We took a cable car up a mountain to get the famous view of the spit of land. Besides that view the town of Miyazu is known for its winner of the Ig Nobel Prize where it was studied to see if things looked different if you bend over and look between your legs. There were several locations provided for viewing and it was a hoot to see people bent over like this. When our Japanese friends tried to tell me about it ahead of time I couldn’t figure out what they were talking about! But this was the thing to do in Miyazu for sure.
Day 20 a visit to the village Kami-Seya outside of the town of Miyazu outside of Kyoto. Kami mean upper and we were at the top of these steps at a former school where people came for a workshop to learn to weave with wisteria.
This is what the wild wisteria vines look like. I had no idea they are so thick. Of course certain vines are better suited for the fibers and a certain part of the vine is used. The preparation is hugely time consuming.
Here is a spool of thread. I’m not sure if it is for the warp or weft. From the look of the woven cloth both warp and weft threads may be prepared in the same way. These students have been coming to learn once a month to learn all the stages. The first one was In the spring to cut the vines when they are soft. It was a wonderful experience for our next to the last day in Japan.
Day 19. I found the little bags for the tea in the tea ceremony at a very special beta shop with tea bowls and other supplies. I am thrilled to have 3. It is interesting to me how they are made. I also learned how to tie the cord.
The stick shuttle with the weft thread in the fly shuttle being woven on the loom. I couldn’t imagine how the thread came off the shuttle so fast. When the looms were turned on the shuttles zoomed across the warp threads as they were being woven. Maybe this photo is a repeat but you can tell I was intrigued .
Here is a hand tied and hand woven kasuri or ikat fabric by Mr Shoji Yamamura the distinguished kasuri master near Karume. See the next photos to see the dyed threads. In this cloth both the warp threads and the weft threads are tie dyed then matched perfectly when woven. This takes a lot of planning and skill. The light patterns are where only the weft threads were tie dyed.
Threads that were tied dyed. That means where the threads were tied together they resisted the indigo dye and remained white. That is what we call ikat. The Japanese indigo and white fabrics we call kasuri.
We visited a factory using old looms to weave weft ikat or kasuri. Mr. Shigehori Maruyama showed us around. The name of the company is Marugame. Seeing kasuri machine woven and machine tied—and machine untied was interesting.
The tie dyed weft threads are wound on special stick shuttles that can be woven by a fly shuttle. This was amazing to see. I’m not sure just how the stick shuttles unwound so fast with the fly shuttle.
This is a close look at part of the machine that does the tying for the tie dyed weft threads. 12 bundles of weft threads are being tied at once. The spools spin around the threads. Then stop and the machine advances the threads then the next sections are tied. It is very fast.
Day 17. We visited a factory where they weave a special type of obi outside of Fukuoka. We were served tea first and saw lovely pieces. They are known as Hakata obis. Hakata is a part of the city of Fukuoka.
Here the president of the Hakata Ori factory, Mr Kazuyuki Kuroki was showing his special obi with areas you could see through. I have a macro lense I can attach to my iPhone so we all could see that those areas were a gauze weave we call Leno.
Day 16. A Day in Okawachiyama. Another town known for porcelain. Long ago the feudal lord Nabeshima took the best potters from Arita village to the valley where he lived to make porcelain for him and to send to the Shogun as his tax payment rather than sending rice. Now we know it as Nabeshima ware. Notable is the painting done on the ceramics and also for celadon porcelain. From my vantage point I could see 4 chimneys for kilns. If you zoom in you can see two. The valley with its surrounding mountains was picture-perfect.
A display of the hairs used in the brushes for painting the pottery. Some of the examples here were eye brows from horses, goats, pigs, and raccoons. An especially spikey one is from the belly of a deer. One of the bushy ones is from the tail of a chipmunk. Our guide told us that somewhere in Japan there is a shrine or monument honoring all the animals sacrificed for all the artists’ brushes.
A climbing or step kiln. It was interesting to learn some of the techniques involved. For example the different temperatures as you go higher in the kiln and where they would put pieces in to be fired again.
At the shrine commemorating the Korean potters who founded Imari ware as in every shrine there is a cord attached to a bell above. People come and make a wish and shake the cord to wake up the gods to grant their wishes.
This tiny pot is a container for special tea for the tea ceremony. Its little bag is made of antique fabric. Each bag is made to order to go with the pot it will hold. I hope to go to a tea ceremony supplies shop and find out more about the little bags and maybe learn how to tie the cord. The artist is the one who made the big black pot: 14th generation Tarouemon Nakazato.
This is Takashi Nakazato. We took a taxi to his lovely compound in the country. He showed us the kiln he built and explained a lot about how a step kiln functions. He goes to Aspen twice a year to teach.
Finally. A Loom! And what a wonderful one. If you zoom in on the blue spot you can see the weaver. This is a jacquard loom– the jacquard mechanism is up above. There is a ladder going up to it. That is the part that makes the intricate patterns for the well known Hakata obi. In a few days we’ll go back to this town and visit a factory weaving Hakata obi.
A traditional Hakata obi design. We have seen many innovative designs being made for today’s fashions. There is a school where the students are encouraged to be creative. This is keeping this old tradition alive. We’ve seen many of the traditional obi worn on this trip however.
We visited Aoni Textiles shop this morning. They specialize in bast fibers: linen, hemp, and ramie but here are examples of wild silk from India. Look for the stem in the photo where the silk worm attaches the cocoon to a branch. Those stems are what the skein of yarn is made of. The loose fibers come from the outside of the cocoon–not the good silk from unwinding the cocoon. We were told nothing is wasted: neither the stems or rough stuff on the outside of the cocoon; it all goes into making carpets. The cocoons were bigger than I’ve ever seen, maybe 1 1/2 inches long ( and beautiful).