LynnAnnRose wearing an indigo faux-ikat skirt I sewed for her; Pablo kept me company. Her indigo shibori blouse from Mali and Maasai beaded necklace are from the International Folk Art Market, as are the pink and white handwoven ikat scarf on the left side of the photo and the royal blue nuno felted jacket on the right, both from Central Asia.
Huck lace embroidery with a supplemental weft brocade and soumak on the bottom edge. I think I’m going to use the fabric as a front, and maybe back, panel on a skirt made with matching commercial fabric. 20/2 mercerized cotton with 3/2 embroidery yarn. Originally I was going to make another huipil blouse for myself. I decided that I have enough handwoven and purchased huipiles in this general color right now, plus, I also decided to sell the table loom because my new 24-shaft loom, eight-shaft floor loom and rigid heddle loom are enough for both me and LynnAnnRose.
I have measured out a warp for a new shawl. The yarn is three different colorways from Great Adirondack yarns hand dyed organic DK cotton, which is the equivalent of 3/2 mercerized cotton weaving yarn. The main colorway is “Spring Garden.” I’m calling my shawl, “Sanibel Seaside Shawl,” after Sanibel Island, Florida, one of my favorite places. While the shawl will mainly be blue, the rainbow colors suggest bright tropical/sub-tropical flowers found on the island.
I’m currently tying on the warp to the white huck lace diamond poncho yarn on my floor loom. First, I re-sleyed that warp from a 12-dent reed to a 15-dent reed to create a warp-emphasis design.
The weft will be my handspun cobalt blue cotton singles that I’ve been spinning on my charkha. I’m not giving away any details yet, but the huck lace design is an experimental one that will involve more than a dozen tie-up changes for a highly complex pattern that I hope will create an underwater ocean-themed design.
A highly talented weaver from Laos at the International Folk Art Market working on a pick up design with beads. She wove everything in her booth. Most people have no idea that such intricate designs can be woven on backstrap looms. String heddles make some of the pick up designs much easier, but she also did quite a lot of pick up with a pick up stick.
I took a short video of this weaver. Unfortunately, WordPress does not allow videos to be posted unless I upgrade my blog for a price I don’t want to pay. To watch the video, please visit my Facebook page Lisa Rayner Handwovens!
This past weekend, LynnAnnRose and I attended the annual International Folk Art Market held outside the Museum of International Folk Art here in Santa Fe. I have dozens of photos to go through and post.
I’m wearing an amazingly beautiful cross stitch-embroidered dress I bought Saturday. Everything in this booth was handmade by Palestinian women in the Gaza Strip. Cross stitch embroidery is traditional to the region, and such dresses contain important cultural motifs, many of which pre-date Islam.
Visit the online store for the Sulafa Embroidery Center here: http://sulafa.org.
Their website says, “The Sulafa Embroidery Centre was initiated by the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) in 1950, to provide work for women in Gaza’s refugee camps. The World Bank assesses Gaza as having the highest unemployment rate in the world, making women’s embroidery income essential to their households.”
I’m spinning cotton on my Bosworth Charkha spinning wheel for the first time since I moved to Santa Fe almost a year ago. I plan to weave with the singles yarn for my next floor loom project. The yarn has a grist roughly similar to 20/2 cotton.
Pablo loves hanging out with me when I spin yarn. He especially loves charkha spinning, probably because I am sitting on the ground, but maybe also because the high drive ratio of the spinning wheel (80:1) is interesting to him.
Watch a video of me spinning on the charkha on my Facebook page.
I spent much of this week weaving the remainder of LynnAnnRose’s huck lace poncho and working on the finishing details like knotting the fringe and lacing the two sides together. LynnAnnRose wove about one-quarter of the two shawl halves, excellent work for a brand new weaver! As always, Pablo and Tiger helped out and Sasha kept me company. I love how the poncho turned out, and so does LynnAnnRose. It’s lacy and drapes well, with a subtle hint of pink. I like how the wet finishing created a seersucker effect on the plain weave areas between the huck lace diamond rows. I embroidered the two halves together with antique stitch, also known as baseball stitch. The poncho has a boat neck opening that I strengthened in the back with grosgrain ribbon across the inside of the poncho; I also turned down the front of the neck opening for comfort.
I kept the threading on the loom. I have plans to tie on another warp to make an tropical seaside-themed shawl using a complex treadling sequence.
I wasn’t expecting my new 24-shaft AVL Workshop Dobby Loom to be finished until June. However, it arrived last week. This week, we are assembling it. I can’t wait to start weaving on it. It has an AVL Compu-Dobby computer interface that makes long, artistic pieces really easy to weave. We still have to figure out the computer hookup. I will be selling pieces woven on this loom in my Etsy store.