Beadwrangler Special Feature
January 1, 1998

	Ileana Somerson's Weave World
	January 1998

Handwoven
Weaver's
Rocky Mountain Weavers' Guild's Shuttle Scuttle

Handwoven January/February 1998 Issue

This issue of Handwoven concentrates on Plain Weave, Designs to Wear, and Stripes and Plaid.

Learn "How Ann Wittpenn Turns Fabric into Clothing." In this lengthy article, Ann uses polyester fleece, sometimes cut in varying widths, for weft, creating fascinating fabrics for jackets and vests. She has also created a Mobius-strip shawl which drapes beautifully. Many excellent ideas are illustrated here. Check it out.

Virginia West "Designs on the Bias," creating drapable tunics and tops. Note the delicious beaded fringe. Both of these should help the weaver to design her own clothes.

Patti Ball, in "Weaving Random Plaids," perks up plain weave without math and with a minimum of planning the warp and weft color order. In other words, "Loosen up." Following are four more ways to create stripes and plaids and to make elegant household items.

For the more daring in math, Lana Schneider gives us "Algebraic Expressions: Designs for Weaving." While it sounds very complicated, it is simple to accomplish and has lovely results. Be sure to read the last paragraph by Lana, who says that "she has a dyslexia of numbers."

After you see "Warm Wraps" with a photograph of two beautiful alpaca scarves, turn to the instructions and learn how Betty Linn Davenport achieved the wonderful coloring of her yarn. It's just as important to read the instruction section as the article.

Loom too narrow to make a blanket? Look at Karen Freitag-Engstrom's "Christopher's Cover."

What can Bobbie Irwin mean by "The Weaver's Handshake"? She explains that when a weaver reaches out to touch another's handwoven article, it's the "Weaver's Handshake." She says, "All weavers have to touch."

Audrey Hoffman's "Fore-and-Aft Scarf" was inspired by the Linders' idea for a stole, two layers of double weave joined at one end to form a V. Very clever use of the warp as weft at the point makes this an unusual scarf.

Anita Luvera Mayer, in "Weaving for My New House," says, "There is an innate sense of satisfaction and joy in creating with one's own hands functional and beautiful articles for dalily living. As weavers of cloth, we have the opportunity to carry on this ancient practice and give our homes our personal touch." She started with pot holders woven in skulato (a Greek pulled-up loop technique), then wove draperies using fascinating color progressions.

In Concept to Cloth, Sharon Alderman tells of "Curving the Twill Line." Using similar concepts to networking, Sharon had an undulating twill create the curves suggested by a leaf. Note that she uses sewing thread for weft in the hems of her towels.

Be sure to read the regular department articles, and don't miss the inspiring story of 93-year-old "Henni Jaensch-Zeymer's Living Museum" by Manuela Kaulitz. Deborah Pulliam's "A Plain and Simple Mystery" is another inspiring example from a person interested in old textiles.

Be sure to turn to the last page and learn how Linda Ligon dealt with her "dog on the loom" in "Go, Dog, Go." It could be subtitled "How To Use Up Ten Yards of Unwanted Warp."

Weaver's Winter 1997

The new Weaver's deals mostly with fine threads. "Fine yarns make fine fabrics, ideal for tailored garments, scarves, stoles, curtains, table linens, and many types of miniatures."

Start with Feather Twill for "Treasure Bags," by Tracy Kaestner, using 60/2 silk sett at 50 epi. Assuming you have nothing else in your life, these can be done in one week. Ha!

Doramay Keasbey tells us to have "Fun with Fine Fibers." Fun with 140/2 silk at 72 epi? But really, Doramay gives wonderful advice for using fine yarns. Her Weaver's Project is a "Syncopated Plaid Scarf."

Check out Margaret Windeknecht's "Dollhouse Miniatures." She explains miniatures so well, you will want to do them--with sewing thread (spool placed directly on shuttle).

Bead Leno has been around for years, but William Hodge reinvents it in "Old Friend, New Twist."

"A good rule of thumb with leno is the old KISS theory (Keep It Simple Stupid)."

Another way to do loom controlled leno is to use doups. Rachel Dufton explains this in "Leno With Supplementary Warp." Be sure to check out Nancy Tracy's Leno Challenge--120/2 rayon sett at 160epi!

The nice part about all these articles is that each author gives wonderful tips for weaving with silk and other fine yarns. Sue Hunt tells how to make "Huck-Lace Butterflies" with gossamer 140/2 silk.

In "Color-Play Robe," Dorothy N. Smith uses 8-shaft overshot to make wonderful designs for a robe in 20/2 cotton. It really looks like a delightful dress.

Lillian Whipple tells us that "Patience and practice are the keys to weaving with fine threads" in "Weaving With Fine Silk Threads." Read this carefully.

The next Weaver's Project, which Barbara Walker calls "Patience, Persistence, Precision," has a very complicated warp, but is woven with one shuttle.

Kim Marie Bunke wants to take us "From 10/2 to Sewing Thread." The fineness of the threads suggests beading the fringe for gorgeous effects. Her explanation of Iridescence is excellent.

"Gebrochene twills, even on four shafts, look very complex," says Marjie Thompson in "The Earl's Canvas." Four, eight and 14 shaft drafts are given and beautifully explained.

For a breath-taking silk dress on a handmade porcelain doll, turn to Flavian Geis' "Cinderella for Cassandra." This one also offers three drafts and directions even for the long gloves.

Mary Berent has designed a color gamp worthy of framing and displaying. Using rayon embroidery thread, she has placed her colors distinctively.

Want to learn more about Boulevard weave? Jo Anne Ryeburn's Weaver's Project is "Boulevard Square Scarves." These beautiful scarves use a supplemental warp and only one shuttle. Dyeing directions are given, also.

The Reviews column features End-Feed Shuttles. I agree with every good thing Sharon Alderman says about these wonderful adjuncts to weaving.

Amy Preckshot offers a well illustrated article on "Easy Sectional Warping." A copy of this goes into my permanent notebook.

There's more--can you believe it? Gemma Montgomery has the terrific idea of making a "Spotted Swiss Valance" using a threading draft from one weave as the profile draft for another.

Make sure to study the final article "Picture This!," by Jane A. Evans. Using a combination of techniques, Jane makes sensational hangings. Her explanations are excellent. She uses a 4-shaft split shed method and embroiders the surface for gorgeous results.

Don't pass this issue by. Even if you just read the articles, you will learn so much about the use of fine threads that you might be inspired to do one.

Rocky Mountain Weavers' Guild's Shuttle Scuttle January 1998

The Rocky Mountain Weavers' Guild's Shuttle Scuttle has two fine samples in their January 1998 issue. The weaving sample by Letitia Rogers is an unusual twill with surface interest. The back has no floats, and the floats on front make a lovely pattern.

Debbie Brugger blended white and black alpaca until she got the gray she wanted--beautifully pale. It would be interesting to see the lace knitting she plans with this fine, soft handspun.

Be sure to turn this page over when you see it on the Library table. There is a strong WARNING!!! It states that "Amy Evans, loom inspector, is checking homes to see if your loom is dressed and decent!!! Don't get caught with a naked loom or you can be charged with having an obscene loom. If so charged, your name will be printed in the newsletter! The second offence brings a visit from Martha Stewart to your home."

Pinellas does not have a loom inspector--yet.

But, what an idea!