Jockey Hollow Weavers – Daryl's Blog

For the win part 2…

It is rare that I write posts back to back, most subscribers don’t want me filling up their inboxes with emails about a new blog post. But I’m on a role, and it is important to me to document this moment, with all the looms in my possession warped. It is a ridiculous amount of looms, I admit, but I’ve been asked if I had to downsize, which one would I pick. I can’t answer that. Each loom has a purpose. Until I have to move, or can’t weave anymore, they are all staying as a happy family. After my husband died, I went through a brief period of really evaluating all of my fiber holdings, especially since I am an educator and have 15 of everything, 15 drop spindles, 15 dog slickers for hand carding locks, 15 small frame looms, 15 inkle looms, etc. My daughter who caught me contemplating this, declared that I couldn’t get rid of anything because well, it would all be hers when I die. Did I mention she holds on to stuff like her father? With that idea of downsizing nixed, I just began to add to the mix when the opportunity presented itself.

So to continue the loom inventory from yesterday’s post, here are the main table looms. Starting with the Tools of the Trade looms, all are 25″ wide except this one, which is only 16″ wide and an 8 shaft. I really love Tools of the Trade table looms, they fold for easy transport, are quite sturdy, have metal gears, and the back of the loom drops away with the removal of two bolts making threading a dream.

This 16″ loom I found on eBay, years ago, and had shipped from maybe the Chicago area. I’m bad at keeping the provenance of my used looms. The outside castle frame turns out was a bit bowed, and shafts would slip out of the tracks, but I moistened the wood and put a huge pipe clamp on the side walls of the loom and that stayed on like a brace for a couple of years. It is fine now. Looms for the most part are pretty indestructible, though truth be told I’ve seen some pretty horrific mistreatment. Anyway, its name is “EMH” (from Star Trek Voyager, meaning Emergency Medical Hologram). I probably wouldn’t have picked that name, but my daughter loves to print labels, and is a Trekkie, so it is a magical combination. I don’t interfere. On it is a four shaft Doup Leno spread over 8 shafts. I use it when I’m demoing for an online class. The yarn is all handdyed cashmere I think, there was no label on it, but it is buttery soft, and took the acid dye well. Once the tension is released, it should collapse into a soft airy scarf. I think this will be one of my priorities to clear. I wrote a Heddlecraft issue on the subject of Doup Leno, issue #19.

Next to it is also an 8 shaft, but this one is 25″ wide. I remember buying this from my guild, because no one liked the loom, they thought it was heavy and awkward. My guild, Jockey Hollow Weavers, has loaner looms available and no one was using it, so they offered it to me and I paid a chunk of money to have another 8 shaft loom. It is precisely why I liked the loom so much, it is heavy and therefore sturdy. I can tighten that warp as dense as I want. This loom is named “Chakotay” (Star Trek Voyager) and on it is a Bateman Blend, #110, which I set up for the issue I wrote for Heddlecraft Magazine, issue #38, on combination weaves. I sampled, cut it off and washed it, photographed it for the magazine, and started weaving again. I don’t remember how many yards I put on, it is slow weaving, but beautiful cloth.

I talked about “Kim” in yesterday’s post, which has the Rep weave experiment. I ended up cutting off what I wove, washing it, tossing it in a hot dryer to see how much it would draw up. I’m happy enough with the cloth that I’ll leave it sett at 32 ends per inch. I laid awake last night thinking I should try to resley, but I’m glad I looked at the cloth after washing. Always a good thing. It is still slightly damp, so the color is probably a little richer than it will ultimately end up.

I have another 8 shaft Tools of the Trade table loom, also 25″ wide, and I have a vague recollection of helping someone who rescued this loom and refurbished it, with lots of pictures and support, and ultimately purchased it from her. I think my sister lived near her and did a pick up for me. There may be a series of emails somewhere in the archives, but that really doesn’t matter to me. I love the loom, and I think this one is cherry. Its name is “Tuvok” (also from Voyager) and though it is 8 shafts, my daughter set it up for a four shaft Split Shed workshop we took together back in the fall of 2019, with Deborah Silver. We each set up my two 8-shaft Tools of the Table looms, because I think the 4-shaft looms were busy. Her loom still has the warp on it from the workshop, so it isn’t mine to touch, but here are the samples that are on it so far. I would love to have the 8 shafts back in rotation again, but I have enough other looms to keep me busy.

I needed my 8-shaft Tools of the Trade set up for the Split Shed weaving class for the Bateman sample I talked about above. Because the Tools of the Trade looms are basically interchangeable, except for the size of the castle, I was able to preserve the leftover warp on “Chakotay“, by just swapping out the entire back of the loom with a 4-shaft named “Paris” (again from Voyager), so I could continue the technique. So now, my Split Shed warp is on a more appropriate 4-shaft loom, and I started a complicated design, which will probably take the rest of my life to weave off, and truth be told, I should have put on a different warp than the green carpet warp for the class, but I can recall the technique easily by sitting down at the loom.

The last of the Tools of the Trade table looms is one I set up just a couple weeks ago. It is for Zanshi fabric, which is a Japanese philosophy of wasting nothing. I wove a length of cloth in this technique a couple years ago, since I spent an inordinate amount of time in Zoom meetings at the start of the Pandemic, and just sat and tied all my thrums or loom waste together into balls. Simple overhand knots. The resulting balls get woven in a basic ground warp, knots and all, and I wove off the length of yardage in record time.

I wanted another warp to weave my endless stash of Zanshi thrums, so I set up the last of the 4-shaft Tools of the Trade table looms, “Torres” (again, from Voyager) with a fine black 10/2 cotton, and experimented with a couple different structures, plain weave, twill, ultimately settling on a rib weave, which is two shuttles. If nothing else, this should slow me down.

I should also mention that there are a couple of additional table looms in the studio, two of them are Leclerc looms, one a 12-shaft Dorothy, which my daughter bought from the estate sale of one of our own beloved guild members. She calls it “Data“. Right now it is the only loom without a warp, because it is my daughter’s and not mine to warp.

The other Leclerc is a folding Voyager, 16″ wide, also 12-shaft. We named this one “Janeway“. I bought it from another guild member, who is buying and selling looms all the time. I don’t think I ever sold a loom that came through the studio, I almost did once, but changed my mind at the last minute. My first Tools of the Trade 4 shaft table loom. I did permanently loan someone a loom, another Dorothy, a young weaver that needed a jump start, and I had a wooden Structo that got beat up in the garage before it was my studio, that I donated to someone in the guild who vowed to clean it up, but now that I have a real space for all these looms, I’m careful to protect each one. Anyway, “Janeway” has a 12 shaft Echo weave on it, which I wrote about just a couple of posts back. (The draft is from Denise Kovnat, from her collection of WIF files for Echo Weave available on her website. This is a variation.)

And finally my daughter’s folding 8 shaft Ashford table loom. When she went off to college in 2011, she wanted a loom to take with her. Friends suggested a rigid heddle and she looked at me like I had three heads. “Why would I want a rigid heddle loom when I can turn a jack loom into shaft switching!”, she declared. So the folding Ashford 8 shaft was her go to loom away at college for four years. It has seen a lot of yardage, because she is my daughter and that’s what we do. Unless we are specifically weaving towels, we never have a plan for what we weave. All that comes later. So, this is “Spock“, her first love in Star Trek, and her first loom of her own. Right now there is a warp that’s been there a while, from a couple of hand painted warps she procured from a Kathrin Webber class in my guild a number of years ago, and says that the 8-shaft structure is a modified Atwater Bronson from Strickler. Whatever she says.

I should mention the one remaining floor loom in the studio that isn’t a Tools of the Trade and caused a lot of Sturm Und Drang when it first came to me in very poor condition. I spent a lot of money rehabbing it, much to the consternation of the other looms, but they all seem to get along now, and each has its purpose. This one is a 25″ 8 shaft Macomber from the 1970’s. It is a full size loom with two warp beams. We call it “Mac“. Because it is a Macomber after all. I’ve never been a huge fan of Macomber looms, but this one does get the job done, and after all these years it is still a workhorse. And it was the loom that got me weaving one armed when I broke my shoulder the end of 2021. Right now I have an 8 shaft combination warp on it, from my 12-shaft draft I wrote for Heddlecraft Magazine, issue #38, which upon studying closer I found I could convert to 8 shafts easily. Sometimes I just amaze myself. Most of the yarns are hand dyed, which is something I tend to do in the dark winter months.

The rest of the looms are my collection of 26 Structos, and 5 Leclerc Sample looms, and multiple inkle looms including a Gilmore Wave, and one from John Mullarkey, all named after Star Trek characters. I’ll cover them in a follow up post, because they are all warped, or most of the inkle looms anyway, some are on loan to a guild mate who is doing a program for our guild.

Definitely stay tuned…

All on account of…

My friend came to visit this afternoon. She said, “You haven’t posted in a while, I keep checking… I miss your posts…” My friend isn’t a weaver, has no sewing skills. We are musicians together, and raised our kids together, but she loves reading my posts. Who knew?… So, I promised her I’d sit down tonight and post one. And I was shocked at how behind I was on all the interesting goings on in my neck of the woods.

I made it through the holidays. They were quiet and somewhat challenging, but this is January, and a fresh start, and unlike this time last year, my shoulder is mostly healed and I’m carrying on. But January, after a couple of years break for Covid, means it is time to buckle down and do the final preparation for the Learn To Weave Class that I teach for my weaving guild, the Jockey Hollow Weavers. I spent the last few months rehabbing a number of additional small Structo looms I had acquired, and though the looms were ready to go, I had to wind 16 warps (I wind two at a time, cross at both ends and cut in half), and print all the handouts, and of course packing and loading the car. All on account of I had agreed to do this. I always ask myself why, until I’m actually doing it and I realize why I agreed to it and how much I love it.

We ended up with 14 students after a number of last minute cancellations, mostly from people not feeling well and terrified of spreading something nasty to fellow weavers. In the past no one would have thought twice about coming with a little cold or cough. But I appreciated the caution, and to my knowledge everyone from the class was and still is healthy.

So I give them each a small 4 shaft loom for the day. Most have no previous weaving experience, though a few are rigid heddle weavers, wondering what the shaft experience is all about. I prewind a warp from 8/4 cotton, in two colors, with a striped section in between, and they sley the reed, thread the loom according to the draft I give them, which has a point threading and straight draw, learn to read a draft, and weave off a small sampler of all the cool structures you can do on that point threading and straight draw. In one day. They work hard, and learn a lot.

Usually they either kindly thank me for opening their eyes to the work involved in weaving, or they want to jump right down that rabbit hole and immediately join the guild and borrow loaner equipment and become our newest weavers. I already have three who have since joined the guild. And one discovered a two shaft structo loom hiding in her basement purchased from some consignment shop years ago. It is only 2 shaft but she is on her way. These were her samples.

All on account of I did something really really dumb, something I’ve never done in 35 years of teaching, I double booked the day. Apparently back in May, I agreed to pencil in a date to give a lecture for a guild in Oregon. The same day as the Learn to Weave class. Which wasn’t officially in my calendar at the time. I didn’t hear back from the guild until the end of December with final plans. That’s not unusual, but what was highly unusual was there was no record of the lecture in my calendar. I never ever make that mistake. They couldn’t switch speakers from another month, and I’m too professional to just say, “sorry…”, so my daughter and I decided to actually film a video on the topic of What to Do with Leftovers, which was what the guild had asked me to lecture on. I scripted it, used the slides from the original presentation, and we created a YouTube video, about 48 minutes long, which I offered to the guild for free as compensation. I admitted to them they were basically doing a beta trial for me, so I didn’t feel like I wasn’t benefiting from the experience myself.

There were some technical challenges streaming the video, my daughter worked with them to try to iron out any issues. This was a guild who was not only showing the video to the in person meeting, but to those out in Zoom Land who were tuning in. That in itself presented challenges. I was on pins and needles all afternoon during the Learn to Weave class, hoping we wouldn’t get a call that they couldn’t get it to work, or something technical went wrong and they didn’t have a program. In the end, it all worked well. I heard they loved it, there was laughter all through the video, something about my deadpan comedic expressions (all my daughter’s clever editing, I can assure you) and applause at the end. They told me it was one of their best meetings. The palpable relief at the end of a successful Learn to Weave class and a successful guild lecture happening at the same time, was incredible. All on account of I screwed up.

Last year I saw this lovely project download on Webs (www.yarn.com) that had kitchen and dining room textiles, in three color ways. The structure for the striking mats and runner was Summer and Winter on 6 shafts. I bought the download and printed it. It called for 8/2 cotton, which I had a tonnage of…

It was all on account of I couldn’t see what I actually had because the cones were all stacked to the ceiling on top of the wall units four deep. So I had my daughter climb up and pass me down all the cones, which I lined up on the dye sink counter so I could start keeping a log of what I had, where it was from and how much of each color I had.

We eventually got all the yarn labeled, catalogued on little cards, and stacked back up, but I held back yarn I thought would work for the mats. I didn’t have a key color for each of the colorway choices, but I wasn’t about to order more yarn for a missing color, so I got creative with what I had. I substituted out the green for a more celadon color, I didn’t really like the green anyway (I did have that green, just not enough).

And I spent the day Wednesday, winding the 8 yard warp, sleying the reed, threading the loom, and beaming the yardage. I was weaving by Wednesday night. It is nice to know what’s on your shelf!

Meanwhile, on account of I was giving a remote lecture to another guild, also on the west coast, late last night, on the topic of Doup Leno, I decided to try to see if I could actually do that technique on one of my four shaft Structos. And so, I spent the early part of the week figuring that out, and was really pleased that not only did it work, but I really liked the fine lacey cloth from the 10/2 cotton, and I could use it as a second live demo during the lecture last night. I’m still experimenting with the cell height, but that’s expected.

And earlier in the month, or maybe it was during Christmas week when nothing happens, and there is always fun to be had in my studio, I set up an eight shaft Structo with a honeycomb structure, from Malin Selander’s book, Weave a Weave. I am having a blast with this one. All on account of I have these 30 Structo looms…

I’m sorry January is nearly over. I like this month, it is cold and nothing happens in the garden and I can hunker down and really play. Once the Learn to Weave class is over.

Stay tuned for more adventures on account of I have a bunch of looms that are naked and not happy with me, and of course, I have to update the prospectus now, for the What to Do with Leftovers lecture that has a viewing option of watching my video instead of me live on Zoom, for a lot less money! Seems like each time I do anything digital, there are 57 things that then have to be updated…

Happy New Year!

When it rains it snows…

Just once I’d like to go to bed at night and think, “What a boring uneventful day. Nothing happened, no major weather issue, no major political headlines, no one in my family had any drama, nothing went wrong with the house, or the dogs or the people I love. Nothing.” Hahahahahahahahah…

So it is supposed to be -20 tonight with wind gusts of 45 mph. Everything has a coating of ice from all the rain yesterday. Hahahahahahahahah…..

For now, I have power, and internet, and I’m going to try to post this way overdue blog, because, it isn’t like anything important happened this month… I read a lovely funny meme on Facebook, 30 days hath September, April, June and November, all the rest have 31 save January which has 374… I use to love January, it was dark and cold and there was no travel, and no drama, and I got to hunker down in my studio and just make stuff. It has been that way since I started doing craft fairs in 1979. I loved January because it was so dark and uneventful. I didn’t want it to end, because that meant February and craft fairs started with the ACC show in Baltimore. This is 40 years later, and nothing has changed, I get on a plane next week for the first trip of the season, to Southern California for a five day garment construction class.

This January was an anomaly. Just like everything else in life. It goes from 40 degrees and raining to -20 overnight. The world is an anomaly. My family is an anomaly. My life is an anomaly. But I finally broke through all the things that were pulling at me preventing me from doing what I love and buckle your seatbelts, its going to be a wild ride…

I finished the first draft of my article for Heddlecraft. 16 pages. Toughest article I have ever written. Meanwhile, I had applied to a number of exhibitions last fall, and not only was I accepted, I received the print copies and found out I had won an award. At the Blue Ridge Fiber Show, when the work was returned to me, there, attached to my yardage, was a third place ribbon. This was the yardage, Chaos, the draft is available as a download from my eShop.

And of course I already knew that my other entry, the duster, won the HGA award. The draft for that is available as well.

And the latest Fiber Art Now magazine arrived within days, featuring the Annual Excellence in Fibers Catalog, an annual print exhibition. There I am on page 63.

And then a few days later, when I dropped my artwork off at the Montclair Art Museum, they handed me the catalog for the exhibit, New Directions in Fiber Art, 2019 NJ Arts Annual – Crafts. The exhibit runs through June 16, 2019, unfortunately I’ll miss the opening Friday night February 8th, because, well I’ll be teaching in Southern California. I hope it is warmer than 20 below.

I loaded the car with my 16 Structo looms and set off to teach a one day Learn To Weave class for my guild. It was a nail biter, the weather was iffy right up to the day of the class, with a major storm due in late in the afternoon. The governor had already called a State of Emergency. I’m happy to say, there ended up not being a major weather event, you might say the afternoon was uneventful, except that there were more than a dozen new weavers and some very happy people.

I said goodbye to my son, he is off to war, first to Texas and then onto a location in the middle east, which I can’t name for safety reasons. I’m very very proud of him, I wish his father could have been there. Meanwhile I put all his stuff in storage, vacating the basement apartment he has inhabited for the last 14 years.

I had my handyman come in and paint and fix up the basement space. My daughter is slowly moving in down there. She has stuff all over the house. Way too much stuff for a 26 year old. But she is the creative sort and so everything has potential use in some grand piece of artwork. I totally get this. Which is why I’m working with stuff from my stash for my current project that dates back to 1981…

Meanwhile, the last big project I wanted to do on the house was to have the wood stove removed and replaced with a similar stove except gas fired. No mess, no chimney cleaning, no wood to haul, no ashes to clean up. The installation was completed last week, and I’m just waiting for the rest of the inspections before the final hook up. I want to curl up in the living room with my dogs and my knitting, flip on the fire, and then when it is time to go to bed, flip it off.

Meanwhile, once I finished the first draft on my 16 page article I promised my fiber friend Linda, who sponsors my wonderful five day retreat in the Outer Banks the end of October, that I would make her vest for her, that she wove out of Kathrin Weber Blazing Shuttles warps, in exchange for a pair of clogs from Chameleon Clogs, using a gorgeous hand dyed Tencel scrap from one of my students, Victoria Taub. I love my clogs and Linda loves her vest. Done and done… (There might still be a spot or two left for next year’s retreat, leave a comment if you are interested…The vest is one of the options to make in my workshop)

I will say that one of the major obstacles in my life right now is the inability to function in my studio. When my daughter moved back home to take a job closer to me, she brought four looms with her (leaving one with a friend), more yarn than any 26 year old should have, and a cat. The two 8 shaft 45″ looms had no where to go but into my already too small studio, the one I just had renovated. I struggled for a few months, falling over equipment, barely able to lay out a piece of fabric and the plan to move one of them to the basement once she settles down there, is still probably a couple months away, because there is a huge warp on it that has to be woven off first. I’ll keep my original 8 shaft, the first one I bought in 1978, and work around that in the studio, but the second one is making me nuts. I got a brain storm yesterday, since we hadn’t moved the second bed down from the attic to the guest room she just vacated, and in a fit of shear craziness, with help from my willing studio assistant Cynthia, we folded that baby up and pushed it right across the hall into the guest room. Done and done…

Now I can actually move in my studio. It isn’t great, but I can function in it.

So with my new found freedom of space and major projects crossed off my to do list, I dove in head first. My looms are screaming at me to put warps on them. They have been naked for months. I have requests to exhibit work this summer and I have no new work. I bought some new fiber reactive dyes from Dharma a couple months ago and want to see what’s inside. So I started up the dyepot again. First batch is something called Mars Dust. Gotta love the name.

Second batch is drying, called Muir Glen. I misread the calculations and put 3 Tablespoons instead of 3 teaspoons. Hahahahahaha…. I’ve never gotten such a gorgeous deep gray before.

Third batch is in the pot, called Kingfisher Blue. Meanwhile, I started winding a warp. Way back, a couple of years ago, I bought some Noro Taiyo Lace on sale at a knitting shop somewhere in the Pacific northwest. I made this jacket from the cloth I wove using one of the colorways.

I still had four balls of a different color way, and I’ve been dying to weave that off into a similar kind of fabric.

So I looked at my stash, and I had about 21 ounces of Harrisville Shetland Singles from my early craft fair days, circa 1981 or 2. They don’t even spin singles anymore, well actually they do, but they ply the yarn and don’t sell it as singles. I wound a seven yard warp until I ran out.

Then I looked around for something else since I wanted the fabric wider than the 14 inches I would get from the Harrisville. I found four 2 oz tubes of Maypole Nehalem, a 3 ply worsted very close in grist to the Harrisville, and in a close enough color to blend. So not ask me how long they have been in the stash. I think I inherited them.

I got about 6″ worth of warp out of those babies, and then sat down at the computer with my trusty Davison and picked out a draft where I could use the two warps most effectively. I chose a Finnish Twill, page 37 if you have the book, and figured out exactly how to use what I wound. I love to wind first and then decide what to make later.

Meanwhile, my studio assistant sat all day perched on a stool winding 2 yard skeins of some of my vast stash of dyeable cellulose yarns. She wound a lot but didn’t make a dent. I have hundreds of pounds of natural yarn. Don’t ask…

And between us we cleared a lot of cones. Unless you are a weaver, you don’t understand the importance of a trash can that looks like this…

Because I was running around like a distracted crazy person, enjoying the space in the studio and finally getting to do something fun, and running back and forth to the dyepot and the washing machine which I use for rinsing skeins, I did the most stupid thing a weaver can do, I don’t think I’ve made this mistake in 40 years if ever, I forgot to tie off the cross of the first bout of warp. If you aren’t a weaver the magnitude of this mistake will be lost on you, trust me, it is a big deal. Fortunately it was only the first 6″ bout, and each 1/2″ was carefully marked, so the warps won’t be too out of order. But this is a sticky singles warp, of all warps to screw up… Sigh…

I am going to curl up now and watch the next episode of Project Runway All Stars. And hope that the rest of my life will be uneventful. Or maybe just tomorrow. Or maybe just get through tonight and hope the pipes don’t freeze or my trash cans don’t blow down the street…

Stay tuned…

Bliss

The house is quiet. It is morning. My husband has gone off to work, my daughter is off to her second day of Junior year of HS, and my 19 year old son is asleep in the basement, no surprise there. There is nothing major on the calendar calling me to actually leave the studio. For today, life seems almost normal. Big exhale…

I have one more big push of a workshop to teach, I leave on the 20th to teach at Sievers Fiber School on Washington Island in Wisconsin. I have to start printing handouts, and getting interfacing and pattern paper cut, and shipped ahead, but not today. I have a lecture to give to the American Sewing Guild local chapter on Saturday, but not today. Today, I’m going to try a repeat of my routine yesterday, which was simple, healing, and mind clearing. I did some housework in the morning, 20 minutes of yoga, took care of business stuff, paperwork, emails, got in my blog, and then spent the day in the studio creating something.

Sidebar: In November, the 14th and 15th to be exact, my guild, The Jockey Hollow Weavers, has its annual show and sale. Timed to take advantage of the upcoming holiday season, it has been a hugely popular event, and the members of the guild spend all year producing items to sell, handwoven, knitted, crocheted, felted, whatever their specialty, it can be found at the sale. And there are demos, and things to eat, it is a great weekend. I have never put a single thing in the sale.

Bigger Sidebar: I sold my work in craft fairs for 10 years. When I quit doing craft fairs, in 1989, I swore I’d never sell my work again. That was 20 years ago. I’ve raised two kids since then (my son was born in 1990, six weeks after my last craft fair), and lots has changed in my life. But I have held steadfast to my rule. That all changed last month when I was contacted by a woman who saw one of my pieces in the Small Expressions Exhibit in Grinnell Iowa, and wanted to buy the piece titled Survivor. Since the gallery was not authorized to act as a selling agent for the work, she contacted me directly. She bought my small postcard size work, the show ended this weekend, the work should be making its way home to me shortly, and I will forward the piece on to her as soon as I get it back. This experience has made me realize that 1) I am hoarding my work and running out of room to store it and 2) others might want to share a bit of me and own something I do.

Since I mostly make complex garments from my handwoven cloth, and they are made to fit me, it makes it really hard, and very expensive to sell my garments which are largely one of a kind. I’ve had pressure from teaching venues to develop smaller project like workshops and seminars, and I can see where all this is leading.

So here is a no pressure/no cost to me opportunity to put some of my work out there for sale, the absolute worst that can happen is I sell nothing. But I will have forced myself to experiment with techniques, on a smaller scale, and potentially make seminars out of them, which is what I do best. Think of the samples I’d have. At the moment, I could root around in the archives and come up with a few things to put into the show, but I have some time in the studio, during the next six weeks, minus the trip to Wisconsin, to actually come up with some concrete ideas and small salable pieces.

Of course this means applying a deadline and pressure to myself. I know the previous paragraph started with “So here is a no pressure opportunity…”, but pressure and deadlines are what I do best. If there isn’t any pressure, then it goes to the bottom of the very substantial to-do list. Since I work for myself, there is no boss plopping something on my desk telling me he or she needs it “yesterday”. I do that very nicely to myself thank you very much. I’m always asked how I get things done. I set impossible deadlines and expectations, and kill myself trying to meet them. The best part for me is when I actually accomplish what I’ve set out to do, and I get the most enormous sense of pride, in having met my impossible goals, that I’m spurred on for the next big impossible task I set for myself.

In January of 2008, I decided to enter all eight of the Convergence 2008 Tampa Bay exhibits. There were categories I don’t usually play in, like basketry and functional textiles for the home, but I entered them anyway. And I got work accepted to 6 of the eight shows. But it wasn’t about the acceptance, it was about applying. And this guild show and sale for me is not about actually selling work, though that would be nice, it is about having a couple dozen items to put into the show.

So, I’ve embarked on yet another impossible deadline, to create as close as I can, to one item to sell per day during any day I don’t have a major calendar event. Yesterday was one of those kind of days. So I put in my headphones, listened to the first few chapters of The Devil Wears Prada on my new iTouch, and I wove one scarf. It helped that the loom was already set up, there are two more scarves to go on this warp. But it is a start. I love the warp here, it is inspired by a class I took with Barbara Herbster at the Jockey Hollow Weavers Guild last May. The class was in Supplemental Warp, and after I finished the two scarves from the class, I rewarped the loom with whatever I had in the studio, and just had fun.

Today is another non calendar event day, though I do have to warp a small portable loom for an ongoing project for my other guild, Frances Irwin Handweavers. We are suppose to set up the loom and bring it with us to the meetings to try a series of rug techniques at each meeting during the fall. That should only take an hour or two, it is a small 4 shaft table loom, and the rest of the day, I get to create. Stay tuned…

Earth to Daryl…

You know that feeling, the one where your wheels are spinning and you aren’t moving forward? My wheels have been spinning so fast for the last few weeks, and I feel like I am not getting anywhere, I’m making mistakes, I’m struggling to keep my head above water, and I look at the clock and declare, “Oh no, the time”!

We are busy here, wrapping up the summer, getting the kids back to school, but there is so much else going on I’ll be blogging around the clock for a week!

Last weekend, my daughter Brianna (16) and I did our yearly volunteer stint at Millbrook Village, near the Delaware River in Western NJ. It is an 1850’s farming village, that has been kept alive by the National Park service, and has a wonderful weaving and spinning house, Hill House, kept alive by an industrious group of volunteers supported by the Frances Irwin Handweavers and the Jockey Hollow Handweavers, organized by Sally Orgren.

We dressed up in costume and showed off the myriad looms and spinning equipment in the house. My daughter elected not to wear the dress she wore last year, one because she hates dresses, and two because she decided that she needed a cap to cover her blue hair (yes, I know it was fuchsia, but now it is blue, happened some time while I was away this summer).

Here Brianna is demonstrating on an 1850’s Weaver’s Friend rug loom, which totally fascinates her. She figured it out pretty quickly a couple of years ago when we first started demo-ing, it is a two shaft loom with a mechanism like the top of a carousel, where the horses ride up and down on a revolving cog, when one is up, the other is down. When she beats the rag weft into place, a cog mechanism rotates the two shafts so the opposite one jumps into place. It makes an incredible racket, and she loves to warn the little kids to put their fingers in their ears before she uses the beater.

In the second photo, Brianna is figuring out the overshot pattern on a nearby table loom. She loves patterns and figuring them out.

I’m growing fond of the big barn frame loom, that sits next to the rug loom in this very cramped tiny building. The beater is worn so smooth, it is like glass, and members of the guild re-threaded the loom at the beginning of last season, so we would have something to weave since a few critters found that the linen warp made a nice warm winter bedding making it tough to weave with so many broken threads.

So I demonstrate this old 1700’s barn frame loom, which is clunky and graceful at the same time. I often think, if only this loom could talk. Where has it lived, who has woven on it, what children have played around it, and how many beautiful functional items for the home have been woven on it?

While we were at Millbrook, we stopped next door and chatted with the coopers, two woodworkers who were demonstrating making barrels, very technical work, and they are both trying to perfect the technique.

Sidebar: Last summer, I taught a class at Peters Valley. This particular class, which was designed to give an overview of basic fiber techniques to anyone interested in teaching fiber in a classroom, or using fiber techniques in their work, is one of my favorites. Every three hours we move on to a new technique, it is a whirlwind of activity and creativity, and I bring a carload of equipment and supplies for it. One of the techniques is of course, spinning on a drop spindle, made from a couple of CD’s, and when they have a sufficient amount of yarn, they wind it off onto a Niddy Noddy, an old measuring device used to skein yarn.

When I was first dating my husband, in the early 1970’s, his mother, an avid lacemaker and spinner, would suggest gifts for me for Christmas or my birthday. One year, he bought me a beautiful Danish lace pillow. Another year, Kevin bought me the most gorgeous hand carved Niddy Noddy, which I have cherished over the years. I have no idea who made it, but it was purchased at a weaving store on Croton on the Hudson, somewhere in NY State. The store is no longer there, I’m sure.

Last summer, one of the students in my Peters Valley class, wound off their yarn onto the Niddy Noddy, and failed to hear the part where I explained how to remove the yarn from the Niddy Noddy, over the smooth spoke, not the curved spokes. To my horror, and I’m sure her’s as well, the Niddy Noddy snapped off at the neck, and I nearly cried. Later, after the workshop was over, I wrote to a woodworker I had met the year before when I was demonstrating at another historic festival, who had remarked on the uniqueness of the design and loved copying old textile equipment. He had made a lovely lucet and had given it to my daughter who proceeded to become quite the expert on the lucet and will give a program on it for the November meeting at the Jockey Hollow Guild. But I digress.

Wayne Grove, and Steve Wenzel, two very enthusiastic woodworkers, told me to send the niddy noddy to them, and they spent a few months trying to find the best way to repair a very splintered neck, too thin to be doweled for strength. They ended up epoxying the neck back together, and repairing the finish, so the break is nearly invisible, but they used the opportunity to really copy the design and create a few new ones, with a slightly thicker and doweled neck that won’t be so fragile.

Wayne and Steve were the coopers demonstrating barrel making on the porch of the building next door to where Brianna and I were working in Hill House. Wayne had brought my now flawlessly repaired Niddy Noddy, and the improved copy, and presented them to me, I can’t tell you how thrilled I am to have my cherished Niddy Noddy back, and a new one I can actually use without fear.

I bought a dozen lucets from Wayne, for the November class, and I also bought a Turkish drop spindle, which is a fascinating tool, it comes apart, into three pieces, leaving a wound ball of yarn.

Bri and I were exhausted by the end of the weekend, but had a great time, and I was thrilled with my new and repaired spinning equipment!

If anyone is interested in having one of the Niddy Noddy’s that Wayne and Steve made from my original, they cost about $150. and you can contact Wayne Grove at swgro78@embarqmail.com. Wayne not only makes beautiful textile tools, he is better known for his Windsor Chairs.

Tomorrow: My adventures with Liz Clay