Here are all the places we plan to visit together. I am going again with my friend Cathy Cerny. She has done all the planning just like in many previous trips. I counted 9 hotels in 21 days so we’ll be moving right along. I hope I can do a post every day! – Click photos to enlarge –
Our first trip is a flight to Amami Island to the town of Oshima. (it is way south and off my map.) We want to see a particular type of ikat called orijimi. The resist is done on a loom forming a mat with the ikat warps or wefts to be woven in. Then the mat is unwoven to reveal the resisted places (dots) where the warps on the original weaving resisted the dye. The dye is also a special mud dye from the area. Oshima fabrics are expensive and have been imitated. We will look at the selvedges to see the tiny white dots to be sure we are getting the true orijimi technique. A friend and expert sent me this precious fragment so we would know what to look for.
This was forwarded to me by Yoshiko Wada–my textile guru who I adore. I’ve been on several of her trips to Japan and taken wonderful workshops at her studio in Berkeley. Slow Fibers Studio is her website. Her trips anywhere are fabulous and she is enormously knowledgeable about so many things and people where ever she goes. She gives classes on many of the techniques you see on the video. I took one by this master in Japan in the town of Arimatsu where the video is located. The town is a lovely town with traditional Japanese architecture everywhere. It is south of Nagoya. Nagoya itself has a fantastic museum: the Toyota Museum–Toyota first was a loom manufacturing company and there are wonderful old and modern looms working on display. There also is a huge and wonderful automobile section.
I’m already to meet people on the trip to China. there will be three parts: 1 week around Shanghai before the symposium. One week at the symposium in Hangzhou: BoND natural dye symposiium. And one week in Yunan Province, the Yi Minority Autonomous Prefecture in Guizhou Province. > click photos to enlarge <
Here’s the map we made for you to keep up. I’ll be sending posts everyday, I hope.
I’ve been weaving a lot of white lately, mostly silks that Iinherited from Ethel Aotoni when she died. I had the intention to dye them. The silk threads took the light differently whether you looked at them warps wise of weft wise. This fabric is a white 12-end satin. I tried to see if I could make it completely warp face with strong colored wefts. i.e white on one side and red or black on the other. When I had the fabric in hand I noticed that it changed color accoring to whether the warp or the weft was vertical. You can only see the borders and center when the light is just right. (You can see bits of white showing the warps peeking through on the edges of the squares I cut). These are works in progress, nothing is set yet. [ click to enlarge any photo ]
Here is what the red and white pieces look like when looking straight on–no borders or center color change.
This piece I dyed with black walnuts. Weaving the 12 end satin going in 11 stages from warp face to weft face. It didn’t look very interesting as a whole but I liked a lot of the sections. That is why I decided to cut the squares. Then I realized the light-play and came up with this design.
Another satin warp of silk dyed with black walnuts. I dyed the weft silk before weaving. Then I dyed the whole piece again in a light walnut dye with iron after bath. This photo shows how the light changes the darks and lights.
This was the first white warp satin I did and I couldn’t bear to dye it. It feels gorgeous, and I love the way the fabric takes the light.
Here is one of the lovely towns we’ll visit before the symposium. There are three parts of the trip and I am going on all three–one before the symposium (Shanghai and ancient villages nearby), one in Hangzhou during the BoND Symposium on Natural Dyes (where my piece will be in the exhibition), and the third after the symposium. On the first part we’ll visit Shanghai, Jiangsu, and Zhejiang with traditional highligts at Jin Ze Arts Centre.
The tour after the symposium will explore first-hand heritage provinces of minority group Yi in Sichuan, Guizhou, Yunnan and Yi Minority Aautonomous Prefecture. This area is most interesting and not so easily visited. These groups are ethnically different from the main Chinese people.
Another exhotic scene.
More from the last part.
Here is the website for Slow Fiber Studios China tour. Yoshiko’s trips are fantastic. She knows so many people and we visit textile people, not just tourist sites.
I went to Windrush Farm in Petaluma to one of the “Lamb Days” and it was a glorious treat. The wool felt wonderful.and he was so cute. It was a treat to hold this baby lamb in my arms.
Out in the field there were lots more baby lambs with their moms staying close. So far there ar 30 lambs born this spring with one ewe left to give birth.
These twins were especially cute. The black and white is unusual.
Lambs of different types are bred for different types of fleece. This fleece is from a previous year’s shearing. The farm sells fleece and yarns –natural and dyed. They teach spinning too. Here is the link to Windrush Farm in Petaluma California.
My mobile is 9 feet tall. We had to rent a photo studio to be able to take pictures for the entry. All the pieces are dyed with natural dyes: indigo, green persimmons (kakishibu) and black walnutes.I dyed lots of different white fabrics to get so many shades of colors.
It was exciting to be in a real photo studio. The Image Flow Photographic Center has this studio is in Mill Valley. There was equipment all over the place and being there made it possible to get these great photos by my photographer, Bob Hemstock.
The bamboo structure on top is constructed like an Alexander Calder mobile. Until we got it permanently balanced and held in place, it got knocked down time and time again whenever anyone touched it to rotate the pieces. To have it change sides and rotate in the air currents we used 7 fishing gear swivles.
A detail with mostly green persimmon dye. The Japanesse word is kakishibu. I got many colors and shades with it. I have quite a stash now of white fabrics that take the dyes differently and I have figured out ways to get mottled looks. The transparent blue fabric peeking out from the back side was dyed in my indigo vat.
This detail shows how I took shiny silk and turned the pieces 90 deagrees so the light caught it in different ways–similar to nap. I liked the way the fabric looked when it wasn’t ironed completely flat. That makes it shimmer more I think. Wish me luck at getting accepted into the international show.
Now my studio really looks like a weaving studio. My newest loom is in the center. All my looms except this new sweetie were built by Jim Ahrens. Now the new one was made by AVL looms—the “A” stands for Ahrens, so all the engineering is related. The ‘V’ stands for Jon Violette, who began the company with Jim and the ‘L’ stands for looms.
Are you wondering what the other looms are that circle the new one in the center? Starting with the loom on the left and going around clockwise: 10-shaft, side tie-up, 4-shaft loom, 40-shaft dobby built by Jim Ahrens in the 1940’s, and my love, the 4-shaft loom made of bird’s eye maple wood which I have used exclusively for years and years. Going to 12 is a giant and exciting step for me!
Here she is—a real sweetie. I’ve been trying to reduce and give away things but this loom from Jan Langdon I fell in love with years ago. When she decided to down size, she said I was the only person who had longed for it. It is a 12-shaft dobby about 36” wide. Note that in the photo, my 10-shaft loom with a side tie-up is back behind the new loom. Small in a way but the dobby will increase my capacity for new structures greatly. I’ve been wanting to weave a structure for years and finally decided to do it until I realized I would run out of treadles. The dobby solves that problem. Two treadles work the mechanism to raise the shafts. Notice it is on wheels—that has been very handy already. I just need a pillow on my bench.
Here’s the back of the loom. The dobby mechanism is on the left side in the photo.
This is the dobby mechanism. Each bar represents one shed or row of weaving.
A close-up shows the pegs in the bars. A special tool makes it easy to ‘peg’ each shed. The holes without pegs are the shafts that will go up. Since there are 12 shafts, there are 12 holes in each bar. When the right treadle is pressed, the mechanism raises the shafts for one bar—one shed. When the left treadle is pressed, the shed closes and the mechanism readies itself for the next shed. When all the holes are filled nothing will go up. It’s a way to mark the end of a repeat.
Here is the first thing I’ve woven! I wanted to shade the 12-shaft satin weave to go from only the warp showing graded to only the weft showing. The white warps are shiny spun silk (2 different yarns) and the weft is handspun silk from Bhutan that is not shiny.Then I dyed the piece lightly in black walnut dye. I was hoping the shades of the color would contrast more, to go in shades from light to dark–but that is what I’ll work on next. I thought the two yarns—one shiny and one mat would contrast more when in the dye. Lately I’ve been weaving cloth for the dye pot—really fun to weave and get my creative juices flowing.
Here is my current warp on my loom! Just what I taught my students to avoid–unevenly handspun singles yarns that are lumpy and sticky for warp threads. This is silk yarn I brought back from Bhutan–mainly to show the tour group what handspun yarn looked like. I did use plied threads for the 4 selvedge threads on the edges and weighted them separately. I used 5/2 cotton but a plied silk might have been a better idea.
From Linda Heinrich’s linen workshop at Convergence in 1994 and from her book on weaving linen I learned how easy it is to size a warp on the loom. Before now I’ve always been afraid to size anything. Her recipe is 1 tsp flax seed (any kind will do) to 1 cup of water. Simmer 15 minutes and strain. Refigerate and use within 2 weeks or freeze.I brush on the sizing then strum the threads and then open the shed to dry. Don’t apply too much–sort of like dry painting but pat the threads to get the sizing to go through to the bottom of the threads.
This is the yarn on the skein. I’ve shown it before to show the cross made in the skein. The threads are horribly sticky but with the cross the threads are coming off perfectly. There are plenty of soft-spun lumps and thin areas where it is twisted tighter. I knew from winding the yarn off the skein that the threads were strong–that’s what convinced me to try them for a warp. The stickyness would have prevented the sheds from opening without sizing I realized.
Here is the cloth off the loom and wet finished. I got the cloth really wet in the sink then blotted with a towel. And ironed until dry I love ironing and ironing until dry and I love the sheen I got with the totally mat yarns.
Here is the cloth I just dyed with black walnuts I collected last week. What frun all this is. I can’t wait for the warp to dry and begin weaving again.
The fine silk warp at 125 ends per inch stymied me and I walked away and left it on the loom for a year and a half. I thenbegan dyeing. I knew there were enough threads left unbroken to weave so I began weaving with some heavier handspun silk from Bhutan. When I took off the entire warp, This piece is what I found had already been woven–and I loved it. Originally I was weaving a tube but had decided to weave two separate layers–hence this piece was formed! [click photos to enlarge to see detail]
Here is the cloth woven with the silk from Bhutan. I decided just to weave off the warp with it so I could cut it up to dye later with the natural dyes I’ve been playing with.
You may remember the skein from Bhutan from another post. The skein was unusual because there was a cross in it. Even this extremely sticky thread came off the skein perfectly.
Here is my latest peice–5 yards to try the new silk/retted bamboo thread I saw in Handwoven Magazine. I love it. I the twill warp face on one side and weft faced on the other so when I dye it I’ll have two choices of tones of color.
Here’s the jacket–Cathy Cerny and I are sharing it. I have the summer when I go to Japan and Cathy has the fall when her exhibition opens in the fall. After that we’ll dicide how the sharing will go. Neither one of us could bear to part with it.
Here’s a map of where I’ll be for the 11th International Shibori Symposium. I’ll begin around June 23rd or so. Bye for now!
I have revived my indigo vats and neither of them is dark enough for my taste. This picture is what I gave as gifts to the artisans we visited in Japan last year. The writing is Peggy Osterkamp. Gift wrapping is important there. This is the blue I hoped for with the revived vats now. [click images to enlarge]
This is what I got from my oldest vat after many dips. I was disappointed but maybe I’ll learn to like it. I plan to dip again in my “younger” vat and see if I can achieve the depth of color.
The technique I learned from a class with Yoshiko Wada with Chris Palmer. After folding the cloth I wrapped it on a pole for dying–called “arashi shibori”. I love the technique and the mysterious lines it makes.
I have my indigo vats from some months ago and they look awful but i was determined to revive them if possible. The vats were covered with mold.After I doctored up the little vat, I think it looks pretty good–the flower looks just fine, but maybe the surface needs to be more coppery–not just along that edge.
Here is my asparagus cooker vat–I love the size for doing the small pieces that I do and the basket inside keeps things from getting lost in the vat and off the bottom, too. My tiny kitchen in my apartment is also my dye kitchen. When I’m not heating dye pots on my two burners, my dish drainer sits on the burners. This is my ironing set up for small pieces. I take my iron down the hall to a regular ironing board when needed. I absolutely love my cordless iron–it has points at both ends. Mine is a Panasonic.
I was busy over the holidays making this piece. All the fabrics were dyed with black walnuts I collected in early December. Some I put in iron water for a short time to “sadden” or grey the colors. There were two different fabrics which were shiny so I could play with the color differences when I turned them 90 degrees. I cut the squares and turned them 90 degrees from each other to get the same effect as changing the nap in corduroy or velvet. I mounted the pieces on cotton fabric strips and moved them around to make the composition. Then I mounted all the strips on black fabric. Everything was joined with long straight pins. Some time ago I realized the straight pins in my pin cushion were too fat for silk fabrics so I got “Extra-Long Satin Pins”.
Last night when only one light was on in the room, the pins themselves shimmered for further effect.
When I got started I wanted to know what fiber my fabrics were made of. I went to my files to look up “burn test” and there was a page from my own book! I’m still not exactly sure of what I have—it came from a warehouse sale I went to in November. I think they are silk. Here is the chart from my book, “Weaving & Drafting Your Own Cloth“.
I took a workshop with Yoshiko Wada’s Slow Fiber Studios in Berkeley, California recently. We learned to fold cloth in origami-like ways and then we did arashi shibori (pole wrapping shibori) with the cloth and got these lovely simple patterns. The teacher was Chris Palmer and his book is called Shadow folds: Surprisingly Easy-to-Make Geometric Designs in Fabric by Jeffrey Rutzky and Chris K. Palmer.
I folded and dyed 11” silk squares I got already hemmed from Dharma Trading Company. This was my first attempt at arashi shibori and I used my own indigo vat. I am proud of the results for such a novice. They can be used singly or as a group as pieces for the wall or gifts.
I took small pieces I’ve dyed and made little collage compositions and mounted them on squares of dark indigo linen I got in India a few years ago. We went to see the Matisse and Diebenkorn show yesterday and I decided to call these pieces “My Little Diebenkorns”! They can be used singly or in a group, too. I have put similar pieces in CD cases to present them! They also could be little coasters or gifts.
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.
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 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.
It’s always a treat to visit Mimi Luebbermann’s Windrush Farm in Petaluma. When I asked her if she would do a guest post for my blog she mentioned that there will be a spinning class beginning next week–October 1. Just being out in the country is special, but learning how to spin yarn from a sheep’s fleece is the icing on the cake. I think there are two sessions.
She told me about a flea market she has in the fall where people bring what they don’t want to keep in their stashes anymore and take home new stuff.
I went to her holiday sale and farm day last fall and look forward to going again.
“We have our beginning classes starting next week, Oct 1 and 2, a two part beginning to really get folks spinning. Then, on October 9, I am having a spin-in day, with spinners coming to the farm to spin and have a potluck lunch and for those folks who wish, a fiber flea market.”
There’s always a Holiday Sale at the farm: dyeing, spinning demonstrations and of course, seeing the sheep. (Lambs don’t come until the spring.) I forget when the day is to see the sheep getting sheared–but that is a really nice thing to do, too.
I took a workshop called Shibori and Sublimation Printing on the weekend. It was really inspiring. We were dying on polyester using shibori techniques and dying by sublimation using disperse dyes and a heat press. I hope to use the ideas with my persimmon dyes on silk and cotton.
I had a glorious day in the countryside near Petaluma at my friend’s farm with some of her fiber-loving friends. After a fine lunch we sat around and visited while knitting. Then we cooled off in the pool. I love this landscape and drive out to be in it whenever I need a country fix. In August I always look for blooming naked ladies. They were flourishing along the roadside. I brought home some precious green persimmons–perfectly hard–to make my own dye called kakishibu. It might take 3 years to ferment to really do a good job!
I’ve been interested that I could dye with green persimmons for awhile and I have a friend with persimmon trees. But when I got Chris Conrad’s book, “Kakishibu: Traditional Persimmon Dye of Japan”” and found I could buy the dye already made I was hooked. These are some of my first experiments. I love them and have more pictures for an album we’ll make later. Her book told me all I needed to know to get started. Visit her website : http://kakishibui.com/