Tag: Malin Selander

Life Happens…

I finished up my last blog, and headed “down” the shore (a NJ expression) for an overnight, meeting up with an old college friend and her husband, who had just flown in from the West Coast. It was a lovely day that Sunday, and then hurricane Erin stirred things up, and Monday was a cold, rainy day, thrilled to get rain, but sadly not at home two hours north, and definitely not a beach day. I headed home Monday night.

Tuesday I spent the day with my sister at the NY Botanical Gardens, finally getting to see the Van Gogh’s flowers exhibit. It was pretty incredible. But more importantly, my sister is a superior gardener and well versed in native plants. We poked around, examining labels, identifying plants with my trusty app, and acted like two horticulturists, or in my case really, a horticulturist wannabee… We discovered all the different variations of Rudbekia (hirta, fulgida, and triloba, if you are interested…)

Tuesday night I started feeling sniffly, and by Wednesday morning I was sick. I was so sick, feverish, I got really suspicious. 48 hours before, I was with a whole group of people… hmmmm.

So I wanted to start this blog post with all the glorious pictures of my new costume, and my cello debut at the Montclair Early Music Medieval fest. Turns out, I couldn’t go because, I TESTED POSITIVE FOR COVID! Damn… Bad timing. So basically I cancelled my life for the next 10 days, until I tested negative once more. I was really disappointed, so many things planned for the end of the summer. Fortunately I was sick for just a couple days, and stayed in bed, and did what any weaver would do, took a loom to bed with me.

I cleared one of my Inklette Inkle Looms of a Supplemental Weft piece that has been on there for too many years.

I was on a roll, and couldn’t go anywhere, so I cleared another Inkle loom, this one set up for turned Krokbragd. Both looms were donated to Jockey Hollow Weavers for their loaner loom program. Two more looms out of my studio.

Meanwhile, the gardens, in spite of no rain, (in spite of being sick, I still went out and watered the critical things) my tomatoes are prolific.

So I made a pot of sauce…

And that warp from hell? The one that wouldn’t end? I was determined…

6 yards of 20/2 fine cotton. I initially worked through the Robyn Spady overshot sampler from a back issue of Handwoven Magazine, switching back and forth from Rose fashion to Star fashion, and then I just said, “Screw it”, and picked one of the patterns that appealed to me, and just wove. And wove. And wove…

So now I have this incredibly long sampler I will have to do something with. I think zip bags? At least a portion of it.

Which meant that I could move another warp onto that loom from my dwindling collection of Structos. I chose to move over an 8-shaft Quigley, the original pattern on the Structo I got from Tom Knisely’s book of Table Linens. It was designed by Diane Click and is a four-tied Unit Weave.

It is complicated to weave, and when I originally posted it on my blog, a couple of years ago, Diane actually wrote me, told me she taught a workshop in this structure at the 2015 Florida Tropical Weavers Guild conference (I’m pretty sure I was there teaching) and generously sent me her handout. Since I had already set the loom up, I didn’t do much with it, but now that I had the opportunity to rethread, bingo! Now I can work through her handout and really study the structure.

I was on a roll, and though I finally tested negative for Covid, I decided to move the warp on the 4-shaft Structo I had set up with Doup Leno. I wanted to prove to myself that I could weave Doup Leno on a Structo, but table looms are painfully slow, so once I moved the warp, I blew through a half yard in a sitting. This is 10/2 cotton.

Then I decided to move the warp on another 8-shaft Structo with a Honeycomb draft, from Malin Selander’s Weave a Weave. Here is the original piece I cut off the Structo before I moved it to my 8 shaft 36″ floor loom.

This probably wasn’t my best idea, I should have waited for a smaller floor loom, but I wanted to reach out to my contact at FIT in NY who is patiently waiting for me to clear Structos. I wanted to make it worth the trip for her.

This is going to be a bit technical, so if you are not a weaver, just skip to the picture and move on. Malin Selander’s book is written for a sinking shed loom. I have rising shed jack looms. In a sinking shed loom, in Honeycomb, only one shaft gets pulled down at a time, the rest stay up. Easy treadling. (Though I’m curious because I’ve never seen an 8-shaft loom with a sinking shed, at least from the era the book was written). I have rising shed jack looms, like I said, which means, to have one shaft stay down, I have to lift 7, 36″ wide rock maple shafts. This is quite the workout. And yes, I could weave it upside down, but trust me, you don’t want to do that in Honeycomb. Cause I’m kind of designing as I go… Not only that, one of the designs in her Honeycomb sampler calls for 18 treadles. I have 10. It is easy to weave on a table loom, you just pull levers and engage the shafts you want. (There are 254 combinations of shafts in an 8-shaft loom) Not so easy on a floor loom. So I jumped down a rabbit hole, determined to figure out a skeleton tie up so I could use more than one foot, and get the tie-up down to 10 or less treadles.

There is an old program on the internet called Tim’s Treadle Reducer. I went there, and either it is no longer functioning, or I blew it up. If anyone knows its status, please let me know, it was a really handy tool. So I was on my own.

I sat with the draft for an hour or so, after transferring the tie-up for a rising shed loom. And slowly I worked it out to be able to use less than 10 treadles, two or three at a time, but set up in a way that one foot could press two at once, having the treadles adjacent to one another. I was pretty damn proud of myself. (I tweaked it further, shifting the plain weave to the middle, the photo shows the middle of my calculations.)

I haven’t woven that one yet, but this is a different design in her Honeycomb sampler, it is a very cool weave structure, but I’m going to be with this one for a while, since there are something like four yards on this 16/2 cotton warp.

Yesterday was an interesting day. First, it rained. We have been under extreme drought conditions here, I’m struggling daily to keep my plants alive, and Wednesday we planted another four dozen native bushes and perennials. It started raining Thursday night, resumed on Saturday, and well into this morning. I’m thinking we got more than 2″ of rain. For that I got on my knees and gave thanks to the universe for taking care of its own.

Secondly, if you own a PC with Windows 10, you probably know that October 15th is D Day. Microsoft will no longer support Windows 10 with security updates. Which is really problematic, leaving any computer with Windows 10 vulnerable. My tech guy came over yesterday, I was not going to try this myself, to upgrade my two computer systems to Windows 11.

Yeah, so the first computer, my laptop I use for teaching online, which I can annotate with a pen, set up in my studio, the processor in it won’t support Windows 11. So $1000 later, I have a new laptop on its way. Apparently the processor in my desk top computer will also not support Windows 11, but my tech guy, who is really brilliant, found a work around, and got everything on my desktop updated. Of course I have high anxiety knowing by the end of the week, I’ll be ripping my hair out making sure all my programs work on the new laptop, finding registration codes, passwords, etc., and getting a new code for Fiberworks. Which I definitely need that critical piece of computer software.

So one computer is safe and updated. And it rained. And I’m Covid free. And my sister didn’t get it. And my garden continues to delight and astound me. Leaves are starting to turn, things are beginning to die back. And I just cleared a number of looms, all going to good homes who will use them for teaching.

And I looked at the calendar and my eyes got really big, and I realized I have six weeks to make as much stuff as I can for the guild sale, inventory sheets are due the end of October. OMG! Fortunately I have a 5-yard plus Overshot sampler to start with…

Stay tuned…

Derailed…

I had every intention of following up my last two posts with two more, because I was only halfway through talking about the 64 named looms in my studio and what’s on them. I had intended to just jump right into the Structos, which I have many, along with the five 10″ 4-shaft Leclerc Sample Looms.

But the universe had other ideas. Right after I posted my last blogs, apparently as best we can piece together, Microsoft did one of their famous security updates, which caused havoc over at Google (don’t ask me how I know this), and the end result was a suspension of my main business email account I’ve had since I could get a domain outside of AOL. Somewhere in the 90’s?

Because I started traveling a lot, and my late husband as well, for our jobs, my husband found a way to reroute my main email, theweaver@weaversew.com, which was part of a hosted platform, to IMAP through Google, allowing me to look at my email in my laptop, or tablet. This is before the invention of Apps. So for years, that email IMAP’d through Google, and all was well. Until about 10 days ago. When it became inaccessible. At first my tech support thought it would come back, that Google was scrambling, and all would be well. Then he tried updating my email program, Microsoft Outlook, and nothing would bring back accessibility.

As I freaked out, people close to me reminded me that no one died, and that I hadn’t lost my files and records, I just couldn’t email anyone and anyone who emailed me, the emails would bounce back as no such address. Some people called or texted and asked, WTF? I gave them an alternative email. I desperately thought about who needed to reach me in the next few days, like the tour company sponsoring my upcoming trip to Japan, I leave in a couple weeks. I thought about all the guilds I’m working with for upcoming lectures and workshops. I spent days trying to change my email address so I could be reached. I lay awake a nights haunted by MFA which is a nightmare, meaning Multi Factor Authentication, meaning each address change I could actual make happen, took 15 – 20 minutes with all the 2 factor authentication, email confirmations, snail mail letters generated, texts and whatever. I get the need for security, but this was ridiculous.

Anyway, I’m not out of the woods yet. I worked with my hosting company Pair.com (which by the way is incredible) and they gave me a multi page step by step on how to redirect the email off Google back to a hosted mailbox through my weaversew domain. Sounds complicated, I can assure you, I’m not so tech savvy and these last couple weeks have been my worst nightmare. (I know, there are a lot of things worse than this).

My tech support, who is probably the best in the state, is not so easy to get, largely because he is the best in the state… While waiting for him, I kept trying to figure out what to do, working with tutorials, working with my hosting company, and I was able to get my email working again, but not in my preferred email program Outlook. I spent hours trying to come up with the right set of settings or protocols to make it work. It didn’t help that two of my three email programs were affected, and that there were 11,000 emails in my inbox on my main email address, and apparently 5,000 emails in my back up gmail account. So I spent hours filling and sorting and deleting until I was down to almost nothing.

I was finally successful in getting the right settings and got both email accounts to work in Outlook, but only on my office computer. I was afraid to even start messing with my laptop. One thing at a time. Turns out that was a good move, because by the afternoon yesterday, all of my email folders I’d created over the years, disappeared. Gone. I’ve never been so devastated, and I’ve had some pretty crappy things happen in my life. “You should have backed everything up” was not helpful, because I didn’t know how. Because my laptop remained untouched by my successful transfer of the emails back to Outlook, my daughter and I successfully spent until about midnight last night, with my tech support logging in remotely, retrieving 33 GB (no that’s not a typo) of email data off my laptop, dating back to 2013? maybe beyond… So I have everything, at least I think I do, and my emails are all functioning. If you emailed me and got no response, I lost about a week of emails, they would have been returned to you. Try again.

I’m waiting for tech support to help me reinstall the 33 GB of data back into Outlook, but I have it. And those 11,000 plus emails? They are all back. I’m thrilled and yet devastated that I have to go through them again and sort, file and delete.

I wanted to title this post For the Win, part 3, but I wasn’t sure if I felt like I won anything anymore. My filling all my looms seems rather anti-climactic. Nevertheless, I’m going to plow forth, and document anyway, so bear with me, because at the time (2 weeks ago) this was a big milestone for me. I’ve already cleared one of the floor looms I talked about in my last posts, so before I clear anything else, here is the list.

The first 13 Structos and 2 Leclerc sample looms are all set up and ready to go for a Learn To Weave program I do annually, and they can be used for any demos my daughter and I should encounter during the year. They live up on shelves around the studio patiently waiting. But they are all warped thanks to the class we taught at my guild in January. Their names, all after Star Trek characters, are “Yar, Worf, McCoy, Sato, Kes, Chekov, Uhura, O’Brian, Bashir, Troy, Scotty, Crusher, and LaForge“. The two Leclerc looms are “Neelix and Phlox“.

I also have a baby 2 shaft Structo named “Rand” that is only 4″ wide. I keep that set up with a handpainted warp, because it is really helpful to be able to explain how a loom works, with one that is set up, and help students identify the different parts of the loom.

The other three Leclerc Sample Looms are “Lursa“, a 4 shaft loom with a Huck sampler from an article titled “Stuck on Huck / 4 shaft Library” by Lynn Tedder from Best of Weaver’s Huck Lace, edited by Madelyn van der Hoogt.

“Bettor” has a 4 shaft doubleweave sampler from Jennifer Moore’s Doubleweave, but I used the threading from Ursina Arn-Grischott’s book Doubleweave on Four to Eight Shafts. I don’t know why I did that, for a challenge maybe? It hurts my head…

And “Hemmer“, which I talked about in a recent post, another 4 shaft loom, threaded in a straight draw (I think), intended for intense pick up. I found a booklet from Elizabeth Tritthart, historicweaving.com called 100 Horizontal Stripes. I love this one, and yes, it is really slow cloth, tedious as most pick up is, but you really can lose yourself in it and take pride in seeing the design build. And it uses up embroidery floss!

The remaining dozen Structos have cool drafts and structures on them, and I periodically pull one out and just weave. I can take one easily onto the deck and weave outside! The documentation on each one is important, because I have to remind myself each time what I’m doing, where I am in the draft, and how it even works. I have a guild mate, a relatively new weaver, who comes once a week to explore a different loom. It helps to teach it, and we work out together what a newer weaver understands and doesn’t understand.

If you are still with me on this… in no particular order…

This little 2-shaft loom, “Chapel” was pulled out of the attic for parts, and I decided to set up a simple clasped weft technique after a workshop with Deborah Jarchow.

“Dax” has a 4-shaft Theo Moorman threading, which allows me to weave narrow strips of silk habotai, printed with an image in an ink jet printer, on a linen ground, using sewing thread as the tie-downs. I have a monograph on the subject, including step by step how I do this technique. This is a photo of pansies.

“Picard” is an 8-shaft Structo, threaded for a 4-tie pattern called Quigley, which I’d woven in a class with Madelyn van der Hoogt, and loved. This particular pattern was designed by Diane Click and is found in Tom Knisely’s Handwoven Table Linens book.

“Riker” has a 4-shaft overshot gamp, adapted from a draft by Robyn Spady in the May/June 2014 issue of Handwoven Magazine. Robyn does great gamps! I love Gamps, I define them as a sampler that works like a grid, each vertical stripe is threaded in a specific pattern, and each horizontal stripe is a specific lift plan, and the intersections of each creates stunningly different patterns.

“Sulu” has a 4 shaft twill variation on a twill color gamp, again by Robyn Spady in Handwoven Magazine, November/December 2008. Getting the beat correct so the twill lines move at a 45 degree angle is harder than it looks.

“Kira” has only 3 shafts. This is an amazing structure on only 3-shafts. It is a rug technique called Krokbragd, which no one can pronounce, but it is gorgeous, and also very tedious. This draft is from an article Vakker Mug Rugs, by Anu Bhatia, in Handwoven Magazine, May/June 2022.

“Archer” has a structure called Deflected Doubleweave, this one is on 8 shafts. I drafted this from the Marian Stubenitsky’s book, Double with a Twist. The real beauty of this cloth will come out after it is washed, when the yarns in the structure deflect into each other. The yarns are 8/2 Tencel.

“Burnham” has an 8 shaft Rosepath point twill threading. Carol Strickler’s book, A Weaver’s Book of 8-Shaft Patterns, has pages of little Rosepath designs, which are so much fun to weave.

“Kirk” has an 8-shaft Honeycomb threading, taken from a sampler in Malin Selander’s Weave a Weave. I’ve done three of the five variations, and within each of the variations are even more variations. These are really fun. They are named after operas, the first is Tosca, followed by Aida, and then Isolde.

We are getting there! If you are still reading I’m impressed. Remember I said a couple posts back, this documentary is for my benefit, a place to remember when I warped all the looms, with pretty pictures…

“Reed” has a 4 shaft Doup Leno threaded onto it. I wrote an entire issue of Heddlecraft Magazine Issue #19, on the subject. It is hard to see what’s happening in this small of a scale, but the lacy fabric is structurally sound because the turquoise warp threads twist back and forth because of a series of half heddles or doups.

“Sisko” has an 8 shaft Shadow Weave on from a draft by Joanne Wood Peters. You can purchase the draft from Webs, it is Valley Yarns draft #199, called Shadow Weave Sampler. The yarns are 8/2 Tencel.

And last, but not least, (because there are ton more “other” looms, like Inkle Looms, still to document), is “Pike“. He has an 8 shaft Summer Winter motif, heavily adapted from a draft I think I got from Madelyn van der Hoogt in her class. I had to rework it to fit the size of the Structo.

I know this is a long post, but like I said, this is my journal and I wanted to document something I was proud of. And I’m glad I did, because I feel like the entire email debacle pales as I look at all these images. The data is there, it will eventually get migrated back where it belongs, mostly. My greatest joyful moments come when I figure out something fun or cool in the studio. They are what keep me getting up in the morning, that and the cat sitting on my face, and I’m so grateful to have this craft, the looms, the yarns, and the library of reference books to sit and pour over while I drink tea.

Stay tuned…

Happy Spring…

This past week was full of highs and lows, I sort of felt like a pinball. Monday was the first day of spring, and here in the northeast, we have been hitting temps of about 60 when it is sunny, with steady spring rain in between. I walk into town, and everything has the smallest of buds, ready to just burst apart in some kind of chorus of life. I can’t wait for some color. Even my daffodils are just straining to bloom, tall stalks of yellow confined in their green outer skin.

On Tuesday, I had the wonderful opportunity to moderate an episode of the weekly Handweaver’s Guild of America Textiles and Tea. I prepared hard for this, did my research, collaborated with questions, and was thrilled that it all seemed to go extremely well. The person I interviewed, a knotter from Colorado, Al Canner, was really interesting, extremely talented, and made the most gorgeous work from the lowly macramé knot, the double half hitch, a throwback from the 70’s and the jute plant hangers with the ceramic owl eyes. I still can’t wrap my head around the work he does now, with one foot in the past. My first job out of college was teaching in a mall craft shop in Paramus, NJ, macramé, specifically owl plant hangers. Check out his work, there is nothing like it that I’ve seen in the fiber world. And the interview is on the HGA Facebook page, and will eventually make its way to their YouTube channel.

On Wednesday, my late husband’s birthday, I found out that two people who I really really respected and who had tremendous influence in my life, passed away. One was a weaver in the Pacific northwest, who died suddenly in a house fire from what I understand, and I’m still saddened and stunned that such a spark of life could be so snuffed out in a heartbeat. She was probably the most enthusiastic student I ever had in a class, just a joy to teach, and she will be truly missed. Rest easy Dori.

The other loss was a close friend, here in North Jersey. Ed and I shared a lot of good times creating music together, working on huge projects for Montclair Early Music, and a lot of sushi lunches from my favorite sushi place. I will miss his gentle spirit and musical talent. Too many losses.

So on Wednesday, with news of both deaths, and yet wanting to celebrate my late husband on his day, my daughter and I headed out to the garden center for our annual early spring trek, for pansies and lettuces and I was really really disappointed to find out that no one had any in stock. Which shocked me. Everyone had pansies this time last year, and the year before that. It hasn’t been that cold. I’ve since learned of a couple of places, but the point was, to do something to commemorate my late husband’s birthday. On his birthday. So instead, my daughter and I dressed all the beds after an intense clean out, fertilized, topped off the soil, and planted whatever seeds were in the back of the refrigerator that could go in the ground now. Of course, the hoses aren’t turned on yet, so watering will have to be done by dragging buckets from the house. Not something I look forward to. As if my husband smiled on us, it rained the next day, and then yesterday, and it is supposed to rain tomorrow. It’s like he said, “I’ve got this…”

Which allowed me some lovely studio time. One of my guild mates who lives nearby, came over to work on one of the Structos. I have so many set up with interesting structures. She picked the one with 8 Shaft Honeycomb variants on it, from Malin Selander’s Weave a Weave, specifically the Isolde version. (They are named after operas,) She worked on it for a couple of hours, and I finished it off a few days later. That’s a flat surface, but the deflection in the honeycomb around the gold threads creates the illusion of a wavy fabric.

And of course, my last blog post left everyone hanging with the threading of 8/2 Tencel in an Echo parallel threading on my 12-shaft Voyager Table Loom. It is gorgeous. (The draft is from Denise Kovnat, from her collection of WIF files for Echo Weave available on her website. This is a variation) I feel like there are so many cool things to weave in my studio; I’m a bit addicted to setting up looms, but at some point, I really need to weave what’s on them!

While showing my guild mate all the options with my Structos, I realized that one of them, though threaded for a Theo Moorman technique, hadn’t actually been woven on. I had cut off the piece that was on it, re-tied onto the front, and just left it. So I found a cool photo of the pansies from this time last year, what should have been in my flower pots by now, printed it on silk Crepe de Chine, and started cutting it into strips to weave in an inlay technique. The ground is linen, and the tie-down threads are serger thread. Barely visible. The technique is documented in my monograph called Weave a Memory. It is available digitally.

Those needlework threads I talked about last time, that I purchased from the Lace Day event? They have been calling me. I sat down after calculating the repeat in the handpainted threads, and figured out how many ends, five yards long, I could get with what I purchased in a specific color grouping. Something like 153 ends. So I sat with my weaving software and did a few versions until I liked what I had.

I wound the warp carefully, starting and tying together each end in a loop by the cross, since I would be using a loom I haven’t actually used before, my Gilmore Wave Mini. We named him Quark, (from Deep Space 9, I think). I’m a front to back warper, but the design of this loom requires warping back to front. Normally I would have wound each color separately, and incorporated the chains in the reed, following my draft. In this loom, as in inkle looms, there is no reed, so I had to wind the entire sequence of 153 threads, and try hard to get the handpainted colors to match up. I couldn’t exhale until I had wound the entire warp, because I was so afraid of running short. My calculations held, and I ended up having enough, but that would have been pretty depressing to have had to go to Plan B…

The directions for setting up this loom are strange. The Lease Sticks, two fat knitting needles that slip into the cross, and mount on the back of the loom, work fine for winding, but they have you add metal supports to the warp beam to channel the warp into something like a sectional warp. It doesn’t work. I needed precision winding, to keep the colors from shifting. After winding on 5 yards, I ended up pulling the entire thing back off and winding my own way, which has never failed me; a couple of fat zip ties on the back support, and stiff interfacing for packing material.

Threading from the lease sticks which are suspended a good five inches from the eyes of the Texsolv heddles, which are very densely packed together because this will be a warp face band, proved ridiculous. I ended up pulling the lease sticks and replacing them with a cross tie, like I always use, and just holding the cross in my hand and threading the heddles like I do when I thread the reed. Worked like a charm.

There is always a learning curve with every new piece of equipment I use. Weaving is weaving, but each loom has a personality, quirks, and oddities that make it unique. It is a team effort. So now I’m happily weaving away on this incredible loom, now that it is set up. It does weave like a dream. I’ve never seen such a small loom have the ability to tighten a warp so tight you can bounce on it. And the colors are lining up perfectly.

Life throws you curve balls, and people come into your life and leave. I am a better person for having known Dori and Ed, and I wish them peace on their new journey. And for those of us left behind, I wish for the will to keep on planting, and designing, and playing music, and welcoming the budding trees and bulbs in a joyous celebration of life.

Stay tuned…