Past Speaking Engagements

Over the past year, I have had several opportunities to demonstrate flax processing and talk about natural dyeing. Here is a quick summary of four events that I didn’t get around to writing about when they happened. I just want to document and share them before too much more time passes.

Last August (2016) I did a flax processing demonstration at the Amherst History Museum, in conjunction with the art exhibit “Artifacts Inspire” by the Fiber Artists of Western Massachusetts. The museum asked the participating artists to create original works inspired by objects in the museum’s collection. Two of the pieces in the show were created by Martha Robinson, inspired by two antique hetchels, which are flax processing tools. There’s a good photo of one of her felted pieces here. It was great fun to show people how flax was processed in the past, and to let folks try their hand at using the tools.

Here’s a shot of crowd at the beginning of the demo:

Here I am by the brake and the scutching board:

And here’s Marianne, their consulting curator, getting a kick out of using a hetchel:

The next gig I wanted to mention was my presentation to the Weavers Guild of Springfield on March 4, 2017. I showed a slideshow about planting, growing, harvesting, and retting flax:

Then, I did a quick demonstration of how to use the tools:

It was lovely to meet a new group of weavers, and inspiring to see some old acquaintances there, too.

The third event I wanted to note was the FIBERuary panel I was part of on Feb. 19, 2017 at Sheep and Shawl in Deerfield. FIBERuary is a relatively new event here in Western MA celebrating our local fiber farmers and fiber artists. It’s spearheaded by Carole Adams of Whispering Pines Farm in Colrain, MA. In the past two years it has included a month-long blog and speaker series at Sheep and Shawl. On our panel, we addressed dyeing natural fibers from three perspectives: Linnie Dugas of Woollies of Shirkshire Farm talked about dyeing wool with natural dyes, and brought some luscious dyed batts and roving. I talked about natural dyeing skeins of linen. Scott Norris of Elam’s Widow talked about his process using Procion fiber reactive dyes to dye the linen yarns he uses in his spectacular handwoven kitchen towels.

Last but not least, I was a presenter on a panel at the Fashion Institute of Technology’s Sustainability in Textiles Summer Institute in New York on June 7, 2017. Our panel was called “Local Fiber Connections” on the theme of “Farm to Fashion”. The other panelists were Jeffrey Silberman, Chair of the Textile Development and Marketing Department at FIT, Mimi Prober, designer, and Sara Healy of Buckwheat Bridge Angoras. My portion of the panel was a slideshow about retting and processing flax, and basic information about spinning and weaving linen. Sara has worked with Mimi to create custom blended batts for felted garments in Mimi’s collection.

Jeff, Mimi, some other folks at FIT, myself and other members of the New England Flax and Linen Study Group are working on a Farm to Fashion project in which we are collaborating to grow and process flax, spin and weave it, and produce garments for a runway show! At this point, the flax is still in the field, but it’s an exciting prospect.

 

Purple Cloth

I wove some cloth! This shouldn’t be so remarkable, I suppose, but I’ve been really unproductive in the fiber art realm lately so it’s big news. Ultimately I plan to use this cloth to make a new batch of books with purple covers. I had hoped to have a few made in time for the upcoming “Purple Show” at the Shelburne Arts Co-op, but alas they will not be ready in time. I may get them finished before the end of the show…. The show hangs this Tuesday March 31st, and is up until Monday April 27.

Here are the weaverly details about this project: The warp is 20/2 cotton, from the discontinued UKI line. The color is called Malay Purple. There are 598 ends in the warp. The sett is 30 ends per inch. The width in the reed is 20 inches. My draw-in (how much the edges pulled in as I wove) was about 6% and the shrinkage in the width was about 4%. Shrinkage in length was about 6%. I washed it by hand in hot water and hung to dry.

The pattern is a miniature overshot motif called Maltese Cross. I’ve written about overshot in earlier posts, but I’ll quickly recap here. To weave overshot, you typically weave one pick of fine yarn (the same size as the warp) alternating with one pick of thicker yarn (approximately twice the diameter of the warp). The fine yarn makes a background that stabilizes the cloth creating a plain weave structure called tabby. In this piece of cloth, I used the same color of 20/2 cotton for the warp and the tabby. The thicker weft yarns float over several warp ends and form the pattern. I’ve woven most of my book cloth using overshot motifs. I really love them. To me they are simultaneously old-fashioned and psychedelic. Continue reading “Purple Cloth”

Planning a Linen Warp

After I spun up that modest quantity of linen singles yarn (the bleached Louet top I wrote about last time), I got excited about planning a warp for it. I plan to use the handspun as weft. My current thought is to use the wet and dry spun yarns in alternating stripes in the weft. I think this will create stripes of different textures. But what to use for the warp?

I have a motley stash of naturally dyed linen yarns, including 20/1, 20/2 and 40/2 yarns. This project seemed like a good opportunity to use some of it. Since most of my dyeing consists of experiments and small batches, I don’t have a lot of any one color. So, I can’t make the whole warp from a single color, which obviously means I need stripes in the warp. Continue reading “Planning a Linen Warp”

Bookmark Success!

After I wove off that pink warp, dyed with madder, I finally put a new warp on the loom. It’s a blue warp, dyed with woad, for more “Jack Frost” pattern bookmarks. Amazingly enough, the first three came out exactly the same length! This is a feat of consistency of which I am rarely capable, so I was pretty happy. Here they are:

consistent weaving

What I have been aiming for in my bookmarks is a woven length of 10 inches, with 1 inch of fringe on each end. This allows them to fit exactly into the stylish wrappers Matthew designed, which are 12 inches long. Continue reading “Bookmark Success!”

Bookmark Failures (Successes Coming Soon)

This post is the latest installment in a longer saga about weaving bookmarks with naturally dyed 40/2 linen. The saga spans many months, if not years. I have posted about these bookmarks in the past. You can read my most recent post about it here.

Or you can just catch up on the back story in this post!

My linen bookmarks are woven with 40/2 linen. They are not too time-consuming to produce, though the pricing still works out to a meager hourly rate when I take into account all the steps involved in the dyeing plus the weaving. Continue reading “Bookmark Failures (Successes Coming Soon)”

I Am Pleased With My Linen Yarns

This is just a short post to say that I’m pleased with my stash of linen yarns. Here they are:

linen yarnsThe pink colors at the top come from madder roots, and also the little orange skein on the left. The browns are from black walnut. The light orange in the center is from orange cosmos. The blues are from woad. The greens are from weld with woad on top. The yellows are from weld. This modest-sized basket represents a ton of work, and I am very satisfied!

Continue reading “I Am Pleased With My Linen Yarns”

Newfangled Magnification Technology

Back in December I began working on a new batch of Huck lace heart bookmarks in 40/2 linen, dyed with madder. People buy these at all times of year, but my current motivation is to have them available before Valentine’s Day.

I have a wide range of pink shades to chose from at the moment, so I plan to make a lot and have a good stash of inventory for several months. Last weekend I finished ten in a very pale pink, and this weekend I worked on ten more in a slightly darker, more blue shade of pink. Next weekend I hope to make some rich terra-cotta colored ones.

In the past, the most tedious part of the process of weaving these bookmarks has been the hemstitching. Each bookmark took just over an hour to weave (not including dyeing the yarn and dressing the loom), at least 20 minutes of which was the hemstitching. Until recently, I employed a magnifying glass to assist me with this job, since 40/2 linen is a fairly fine yarn and I will be 45 on my next birthday. Hence, my eyes need some help. Actually, I wrote about using a magnifying glass in an earlier post a couple years ago. Apparently I felt way more philosophical and content about it back then. Continue reading “Newfangled Magnification Technology”

Hemming and Hanging

Over the past week or two I tied half-damascus knots to secure the warp ends on my ryas and hemmed them all. It took a long time, and even though I was very careful, they’re more on the “organic” side of a straight line than the “geometric” side. But they are still awesome.

Our cat Smitten, also known as Pippi or The Pippi, has been very unwell lately and not at all up to her usual high jinks. So, it was a pleasant surprise when she jumped up on the desk to “help” me hem this rya. Pippi likes to help, even when she’s feeling poorly. Here she is looking comfy and not wanting to be moved. Continue reading “Hemming and Hanging”

Animal, Vegetable, Mineral

The time is drawing near! Animal, Vegetable, Mineral: Work by Michelle Parrish and Amanda Quinby will go up on Tuesday at the Shelburne Arts Co-op, and will be open to the public from Wednesday October 2nd until Monday October 28th. Fall hours at the co-op are Sunday, Monday and Wednesday 11-5; Thursday, Friday and Saturday 11-8. The co-op is closed on Tuesdays. Here is a sneak peek of the ryas that will compose my portion of the show. The other portion of the show will be Amanda’s enchanting gilded panels, which have been on display at KW Home in Easthampton this month. Continue reading “Animal, Vegetable, Mineral”