Eleven New Weavers Launched

Penland School of Crafts

Session 4

July 5 - July 17, 2015

Beginning Weaving 

Instructor: Bhakti Ziek

Cast of Characters:

Top to Bottom, Left to Right: Janie Woodbridge (assistant); Donna Anthony, Kat Nicholas, Monica Brown, Daniel Garver, Lew Greenwald, Joshua Kovarik, Rachel Qualliotine, Nikki Curry, Haley Toelle, Morgan Elkins, Jacqueline Sullivan

There are 12 people in the images above but Janie Woodbridge, pictured at top, was my assistant, and together we launched the 11 new weavers shown below. Classes at places like Penland self-select, and I am sure that teachers each think they have the perfect class with the right students, and perhaps each class feels like the best one you have ever taught, but I know for a fact that Janie and I made a perfect team for the perfect class and together we launched eleven new weavers into the world. A couple of the students had woven a bit before, but they still qualified as beginners and I think we can safely include them in this launch.

Student Work:

Top to Bottom, Left to Right: Work by Jacqueline Sullivan (pulled threads, detail of pulled threads, brocaded picnic; 4-shaft structure study by Haley Toelle; shaped ground for woven necklaces by Rachel Qualliotine; work by Joshua Kovarik (ombre undulating twills, double corduroy on loom, undulating twills)

Top to Bottom, Left to Right: Undulating Twills by Donna Anthony; work by Nikki Curry (block twills with areas of stuffed double weave, double weave pocket shown on the loom; brocaded elements in plain weave); work by Monica Brown (woven shibori cloth and dyed woven shibori sample; brocaded garden); twill sampler by Lew Greenwald and Lew weaving class scarf for auction

Top to Bottom, Left to Right: Turned twills by Daniel Garver; tapestry by Morgan Elkins; plain weave blocks by Janie Woodbridge; Bhakti Ziek removing her plain weave linen cloth; work by Kat Nicholas (double weave; twill blocks; clasped weft scarf)

Book woven by Haley Toelle in spider weave (deflected warps and wefts)

Almost immediately each student found their own path. This was a group that grasped the principles of weave so quickly that I had to abandon any thought of a plan, and just let each of them lead the way. You can see from the images above that they explored a huge variety of woven possibilities--twills, overshot, monk's belt, huck lace, block weaves, double corduroy, double weave, tapestry, clasped wefts, woven shibori, deflected warps and wefts, pulled thread plain weave, and shaped plain weave. There was more, and of course there were color and material studies along with the structural research. Clean selvedges were not stressed but they all wove long lengths with straight edges. This class had all winners. And watching them, I was the biggest winner of them all. I love weaving--everyone who knows me knows how enthusiastic I can get about the process of weaving--but these new weavers made me love weaving even more.

Visitors & Excersions:

Amanda Thatch, coordinator of fibers, and one of her ikat weavings below 

We packed so much into two weeks. The studio was in excellent condition thanks to the work of Amanda Thatch and her summer intern, Audrey Schroeder. Amanda also accepted my invitiation to talk to the class about her own work in weaving. I wanted the class to be exposed to as many ways of approaching weaving as possible, and Amanda's wonderful ikats were a great introduction into how dye and structure can work together.

Catharine Ellis showing piles of her woven shibori fabric which she dyed with natural dyes

Catharine Ellis lives in the region and has been instrumental in helping the textile area of Penland for many years. I met her years ago in the 80s when I was at Penland and have admired everything she has done ever since. She came with bundles of woven shibori, another way that dye and structure can interact, and filled the table with inspiration. Her book, Woven Shibori, is going to be re-released soon with all new images and the dye portion has been rewritten and deals with natural dyes. One of the students, Monica Brown, also lives in this area and she is an herbalist, so it was a perfect introduction for her to meet Catharine and try woven shibori.

Alice Schlein visited the class and wowed everyone with her handwoven jacquards and books

Our third visitors were my good friend and co-author of The Woven Pixel, Alice Schlein, and her wonderful immensely curious photographer husband, Bruce Schlein. Time with them is never enough, but I will take what is given. Alice can bring me to tears with what she knows about weaving, and how she shares it with others. She is smart, funny, and kind. Alice and Bruce are really engaged in life and everything it offers. Everyone was lucky to meet them and see the cloth and books that Alice brought with her. Not just the books she has written, but the books she is handmaking and covering with her own cloth.

I didn't get pictures of the afternoon visit we had by Susan Morgan Leveille but it was quite a treat. Susan is the great niece of Miss Lucy Morgan, and everyone who goes to Penland knows about Miss Lucy. Susan had some clothing with her that Miss Lucy had woven and worn. Now that was a true piece of Penland history. One student, Donna Anthony, was the one student who contacted me ahead of time saying she had taken two classes before but felt she could benefit from the class--and I encouraged her to sign up and that I would work with her at her level, as long as she understood that rank beginners needed more help the first days than others. Donna came into the studio one afternoon saying she had just bumped into her first teacher--who turned out to be Susan!

Our class spent one evening before dinner with Edwina Bringle hearing stories about the early 60s at Penland and the transition from Miss Lucy's times to today. I loved sitting there looking at my students and thinking that we were the current moment in this long history. Is anything more perfect than sitting on the deep porch of Craft House drinking wine and listening to old Penland stories?

We also were invited to a short visit to the archives by Penland's archivist, Carey Hedlund. Among the things that Carey showed us were some samples woven by Miss Lucy Morgan as well as an old shuttle, that showed the patina of use and love, that might have been used by Miss Lucy. 

Details of looms at Valdese Weavers

Penland is located in an area that used to be full of textile mills. Lucky for us Valdese Weavers is still going strong and Janie knew someone who works there. I had toured the facilities many years ago with another Penland class when I was still teaching full-time and had former students who worked there. Turns out I still have a former student who is a designer there. It is incredibly gratifying to walk into a professional office full of cloth that is in production and designed by someone who studied with you. And I love touring textile mills. Big electronic looms are awesome. I couldn't take pictures of fabrics in production but I think the details of looms above show you some of the beauty of a mill. I know the students as excited about the visit as I was. Cloth is so ubiquitous and most people don't think about the ingenuity that has gone into the technology of producing it today. Also, having woven on looms themselves for a week, the students knew the foreign language being thrown at them--warp and weft and pick and fill and twill and selvedge and harness and more.

Picnic after mill visit--happy and exhausted

Finished Work:

Top to Bottom, Left to Right: Some of the finished work--Kat Nicholas with her clasped weft scarf; Daniel Garver holding his exquisite twill fabric; Janie Woodbridge offering Bhakti the scarf she wove (lucky me!!); Rachel Qualliotine modeling one of her woven necklaces; Joshua Kovarik tired by triumphant after a night of weaving his double corduroy rug; Jackie Sullivan modeling the poncho she team wove with Monica Brown and Dan Garver; Morgan Elkins radiently wearing her new scarf; Donna Anthony showing me her monk's belt fabric that I wish I could say I wove; Kat Nicholas hidden by her twill block fabric; Nikki Curry beaming as brighly as her overshot cloth.

Monica Brown, Daniel Garver and Jackie Sullivan teamed together to design, weave and sew this poncho, that they will continue to share. Penland really makes connections.

Cleaning up the studio on July 17th before putting up finished work at Northlight

It has taken me weeks to cull through the hundreds of images I took at Penland and try to eliminate them down for this post. Even so, it is long. How do you distill a time warp into a blog post? It was two weeks where time was so compressed that at the end of the two weeks you felt like you were saying goodby to people you had known your whole life. It felt like two weeks that really changed lives. I know it brought a very needed reinvestment of energy into my life. I often talk about being exiled in Vermont--but I left feeling appreciated and relevant. I left with renewed respect for weaving and its importance in people's lives. I left with hope for the future. I left very much feeling present. To paraphrase something I heard someone say the other day, it did wonders for my zen. 

Final Exhibition:

Ceramics by Robin Ziek made in Kip O'Krongly's class

Shots of the weavers putting up their work at the final Northlight exhibition

Top to Bottom, Left to Right: Holbrook Newman who taught yoga (thank you Holbrook for creating a space of trust) pointing out the print work she did this session; Lisa Grey, one of my close friends, who assisted Jason Pollen, another great friend, in upstairs textiles (thank you Lisa for quiet walks home to our rooms and sitting quietly in the dark talking); Audrey Schroeder, intern in textiles this summer who was the honorary participant in the studio

No one wanted to say goodby, and setting up the work at Northlight meant goodby for some of us (I left right after lunch, some people left from the show). But watching these students work together hanging each others work, making sure everyone was shown properly, really made me happy. I was grateful for all the wonderful people I met during these two weeks--people not shown in these images. I was grateful for time spent with my sister, Robin, who took Kip O'Krongly's ceramic class this session. I was grateful for the trust I found in Holbrook Newman's yoga class and for my student Rachel Qualliotine who also teaches yoga and who kept at me until I finally attended a yoga session (and went from paranoia to trust). I was grateful for each of the 11 students who took my workshop. And I was grateful for Janie Woodbridge who took my class at Belinda Rose's place in Scotland last summer and was the most supportive assistant anyone could have asked for. 

Janie Woodbridge, Kat Nicholas, Haley Toelle beaming at final exhibit

Me (Bhakti Ziek) and Janie Woodbridge proudly showing all the work the weavers accomplished this session

So I am filled with good memories and very optimistic about the future of weaving and the young people who will carry it into the future. When I think of Penland, this is the image that comes to me--with gratitude:

Left to Right, Standing then Kneeling: Haley Toelle, Donna Anthony, Bhakti Ziek, Joshua Kovarik, Morgan Elkins, Jackie Sullivan, Nikki Curry, Lew Greenwald, Dan Garver, Rachel Qualliotine, Monica Brown, Kat Nicholas, Janie Woodbridge

July Already!

Bhakti Ziek preparing her Mirrix Loom

It's July already and I never got to post in June. So much for my intentions to be a regular blogger. But here I am today, preparing my Mirrix loom so I can take it to Penland with me. I leave on Sunday and have a full class of beginning weavers. Some people have expressed "sympathy" to me about teaching beginners but it is my choice. I could have proposed anything for my workshop but I want to work with new weavers. I hope to entice them to begin a journey that goes on for years.

Two tencel scarves woven by Bhakti Ziek in June 2015

I plan to start my students with 8/2 tencel and weave scarves (or table runners or just plain cloth). If someone wants to work with other yarn, that is fine--I see my role as explaining and demystifying the process of weaving on a floor loom. I wove the scarves above because I didn't know whether I prefered 24 epi or 30 epi for this yarn. Guess what--after washing and ironing I still don't know. At least the students will have physical examples to touch to help them make their choices.

Detail on top shows the two sides of scarf woven as a 1/3 twill (so reverse is a 3/1 twill)--there are changes of structure woven in stripes but always 1/3 tie-up; bottom shows the other scarf, woven as a 2/2 twill, with the weft color sequence forming a plaid (both sides of this scarf are the same); scarves woven by Bhakti Ziek, June 2015

Alpaca and silk scarf woven as a deflected double weave, by Bhakti Ziek

Here is an image of the second deflected double weave scarf I made using alpaca from Wild Hair Alpacas and silk from Henry's Attic. I was really pleased with the results and look forward to more exploration of this structure with those yarns. I sent this scarf and the other alpaca scarves out to Colorado to the store at Wild Hair Alpacas. They are having several open houses this summer and fall, so check their website for more information.

Third tapestry sampler woven by Bhakti Ziek for the online course taught by Rebecca Mezoff

I am continuing with Rebecca Mezoff's tapestry class online. This is my third sampler, which concludes the end of part two. There is another part to go--which makes me happy. I still have to finish the three studies--sew in the ends, that kind of thing. The instructions are in part three, along with learning to work with cartoons and weave shapes. I am going to do another study though of what we covered in parts one and two before proceeding with the rest. That's what I am doing in the first image--preparing the warp for another study that will probably be blocks and stripes, hatching and interlocks, demi-duites and floating bars. Rebecca has a video showing work by many artists using these processes and I am in awe of their skillfulness and creativity. Most of them are quite intricate narratives, which of course is a great tapestry tradition, but I am feeling very minimal these days and I think squares and color are going to be enough for me for now.

Demi-duites in top form are very neat on the face of the tapestry, but a mess on the back; detail of tapestry weaving by Bhakti Ziek, woven as a study in the online course taught by Rebecca Mezoff

Mark Goodwin preparing walls of Chandler Gallery, to hang Sisyphus, a seven panel weaving by Bhakti Ziek

There is another opportunity to see my seven panel weaving Sisyphus! The current show at Chandler Gallery in Randolph, curated by Rebbie Carleton, is called Creative Cosmos. It is up through September 7th. There will be a reception for the artists on August 8 from 6-8:30 pm and earlier that day, at 4:30 pm, the artists will talk about their work. My wonderful husband, Mark Goodwin, once again helped me hang my work. Okay--he did all the work and I watched.

Three panels from the seven panel weaving, Sisyphus, by Bhakti Ziek, 2015. Each panel is 28"w x 88.5"h, silk, cotton, metallic yarns, handwoven satin damask, hand woven on TC1 looms

Mark Goodwin's studio, June 2015

I will get home from Penland the night before Mark has an opening of new work at BigTown Gallery on July 18th. Perfect timing. His work and paintings by James McGarrell will be up from July 15-September 6, 2015. Meanwhile if you haven't seen the Viva Cuba! exhibit that is showing there now, it is not to be missed. 

Studying Tapestry Weaving

Bread and Puppet 2015 Calendar

I know I said I would do a new post in a week, and that was three weeks ago, but really, three weeks is much better than a year--and I do say I am an "erratic blogger" right up there under my name. So here is my tale of how I came to my current study of tapestry weaving--a meandering story of course.

Taqueté study by Bhakti Ziek, 2015

Taqueté is a weft-faced structure using two warp systems and multiple wefts, and it is one of the structures I taught last summer at Belinda Rose's studio in Scotland using her Thread Controller loom. The basic structure of taqueté is always plain weave, like tapestry, but the wefts travel from edge to edge, unlike the discontinuous wefts of a tapestry. The wefts should completely cover the warp, and you can see in my study above, that my warp is definitely showing--especially at the bottom. So I began to think I could learn something from tapestry and tapestry weavers and contacted a few friends who are experts in tapestry.

Emergence II by Rebecca Mezoff, 40"h x 40"w, hand-dyed wool tapestry, in the permanent collection of Craig College, Craig, Colorado

It seemed like everyone kept pointing me to Rebecca Mezoff and her online tapestry courses. I wasn't really thinking to take a class, and as a former teacher of weaving (well, I still do teach sometimes but not full-time) I have taught tapestry--but Rebecca has posted some wonderful free videos on the internet and I began to watch everything that was available and realized I could learn alot from her. So I signed up for her Three-in-One Course. You can read all about her different courses and options HERE.

Front (left) and back (right) of Bhakti Ziek's Part 1 sampler from Rebecca Mezoff's online tapestry course.

What works for me, besides the fact that she has made professional videos that are in focus, clear to follow, and funny (so you enjoy watching the videos), is that these are self-directed courses. There is no meet-up time when all the students and Rebecca are online together--you work at your own speed, whenever you want, and you can ask as many questions as you want. Rebecca tries to answer everyone within 24 hours, but my experience is that she responds much quicker than that. I can watch her videos over and over--and I do. In fact, I watch so often that Mark and I think we have a roommate. You also can see what the other students have done in any section--after you post what you have done. That is a really nice feature because you get a sense of sharing without feeling competitive.

Tommye Scanlin's mirrix loom, on loan to Bhakti Ziek

Okay, here is the truth--I wanted a new loom. I saw people using the Mirrix loom in one of the workshops when I taught at the ANWG Conference in Bellingham, WA in 2013. I loved what everyone was doing, and I loved the looms. So for two years I have been wanting one of those looms, and I got it in my head that if I got one, I could work downstairs at the kitchen table by the woodstove at night, instead of going to bed and reading. And Rebecca demonstrates most of the steps so far on a mirrix loom--and that tap tap sound of her beating the weft into place is very enticing. You can hear that tap tap sound at about minute 2:30 of her splicing video.

Macomber loom set up for tapestry in Bhakti Ziek's studio

But I have this perfectly wonderful 24" 8-shaft Macomber loom in my studio and I haven't used it for a long time, and I knew it was a great loom for tapestry--so I couldn't legitimize buying a loom, especially if I didn't know if I was going to be serious about tapestry or not. So I started Rebecca's class and put seine twine cotton (I didn't know about this wonderful yarn before watching her videos) on my macomber.

Start of Part I of Rebecca Mezoff's Online Tapestry Course being woven by Bhakti Ziek

What I was totally unprepared for was my reaction to doing tapestry. I was completely mesmerized and engaged and loved it. My friend Sandra Brownlee explained it perfectly: she said "my fingers were thirsty." (You can experience Sandra's wisdom in The Tactile Notebook workshop she is teaching at Longridge Farm this summer.) I am going to write more about this in a future blog because I think it is an interesting topic, about the differences I perceive between the jacquard work I have been doing and the hand manipulation of tapestry--but it is a big topic and I think I should leave it for a future discussion. Let's just leave it that my hands, which have done so much brocade in the past, and yes, I have done tapestry before, felt at home with the butterflies and moving of weft threads that is part of tapestry.

Tapestry rug woven by Bhakti Ziek about 45 years ago with holes carefully chewed by her beloved dog when she was a puppy--and now is gone but the holes remain

Of course, the same week that I set up the macomber for tapestry, my brother and sister-in-law who own Wild Hair Alpacas in Colorado Springs called to see if I could weave some alpaca scarves for them (that too will be another post). Suddenly my macomber loom was in high demand. And that is when my friend, Tommye Scanlin offered to lend me her Mirrix loom--so I could test the loom in person to see if I wanted one and also free up my macomber for the scarves. The mirrix is pictured above, and yes, I do want one.

Front (top) and back (bottom) of Part II sampler from Rebecca Mezoff's Online Tapestry Course as woven by Bhakti Ziek

I had to finish the warp on the macomber before I could start the scarves, and you can see my work from Part II of Rebecca's course. We are weaving from the back and in Part III I will learn how to deal with all those tails hanging down, and then the back will be almost as clean as the front, and I will be sure to post it for you to see. 

Area of different ways to join wefts in a tapestry, part of the lessons in Part II of Rebecca Mezoff's Online Tapestry Course, as woven by Bhakti Ziek

I am constantly amazed at how the smallest detail can change the effect of the weaving. I pulled out my Peter Collingwood The Techniques of Rug Weaving (the weaving books are all coming off the shelves these days and piling up by my bed for night time reading) and just couldn't understand how the difference between one weft going over the other versus the other going over the first could make a difference, but when I tested it at the loom I saw that he was completely right. That is another thing--tapestry is an ancient process and one that has been used by cultures all over the world--so there never is one way to do anything, and what is right for one group is wrong for another. I really like how even-handed Rebecca is about all the variations. She is quick to point out what others do, and often sends us to videos by other artists, and she is very clear about why she does something, and of course she is teaching us her way, but she always leaves it open for the student to decide what works best for them.

Sisyphus, a seven panel weaving by Bhakti Ziek, 2015; each panel is 88.5"h x 28"w, silk, cotton, metallic yarn, handwoven satin damask; woven on TC1 looms

I didn't have enough warp on my loom to finish all the exercises in Part II, so I will either finish them on Tommye's mirrix or--isn't it funny how things happen-- I met some friends at Brattleboro Art Museum last week so they could see my weaving Sisyphus (I will do a blog post soon about this piece), which is up until Sunday, May 3rd in their current exhibition. Of course I went on and on about studying tapestry, and one of my friends who is moving her studio soon offered to give me her tapestry loom, which she isn't using.

Nilus Leclerc Tissart loom now residing at the home of Bhakti Ziek

So yesterday Mark and I drove over to her place and got the loom. Although she had sent me a picture, I was rather surprised in person to see it is really a sturdy big loom. Luckily we had the topper off the truck, and it just fit perfectly. This loom makes me think I had better get serious. I actually don't have any idea of what I want to do in tapestry. Right now I just love the process of learning and understanding. At the moment I have the sense that despite all my years as a weaver, I know nothing, and there is so much to learn that I am never going to get "there." Of course, I also know there is no "there" and that one of my pleasures right now is that I do know something about weaving, and can grasp the nuances of the differences I am being taught--and this was not something I could have understood when I did tapestry in the past.

I have more to say--and obviously I have many more blog posts that I have to do, since I have promised them to you in this post--but I think I will end by saying, I could finish up Part II and do Part III on my Nilus Leclerc Tissart loom OR I could do it on my own mirrix--since I am buying one from another weaver next Monday. This story has a happy ending.

And thank you Rebecca Mezoff for being such a wonderful teacher and artist and a generous soul. Rebecca also blogs--so go here to see more. The color work she is doing for a new class is totally inspiring. 

Stardust

Stardust by Bhakti Ziek, a permanent installation at Whitman College, Princeton University (photo by Ed Wendell)

I have been working on Stardust (a permanent installation at Whitman College, Princeton University, Princeton, NJ) since May 2013. It was installed March 19-20, 2014. There are six panels, each 16 feet high x 27.25 inches wide. They are handwoven weft-backed jacquards made out of silk, tencel, and metallic yarns.

It was an incredible year. One that called on me to use all the knowledge I have acquired over the years related to weaving and art, and still it pushed me to new territory and insights. I will write more about it soon (relatively soon) but for now you can see more images (photos by Ed Wendell) on my facebook page if you go to this link.


Princeton University commissioned a video on the making of Stardust. It was produced and edited by Michael Sacca. Click here to see.

Master Weavers

Mark Goodwin deciding what to install next after hanging My Roof by Bhakti Ziek on back wall at AVA Gallery and Art Center, Lebanon, New Hampshire.

I am currently in two concurrent exhibitions with Cyndy Barbone, Deborah Carlson and Fuyuko Matsubara. It surprises me that many people think we are showing the same work at both venues, since their dates overlap. So just to be clear, the makers are the same, the work is different. The Fuller Craft Museum in Brockton, Massachusetts is hosting Grand Tales of the Loom: Four Master Weavers until January 20, 2013; AVA Art Gallery and Art Center in Lebanon, New Hampshire is hosting Affinity: Cyndy Barbone, Deborah Frazee Carlson, Fuyuko Matsubara and Bhakti Ziek from October 19 - November 16, 2012. Since we hung the AVA show on Saturday, I can post pictures from that installation in this post.

Margaret Jacobs, head of exhibitions at AVA Gallery (on ladder) and her assistant, Kayla Gilbert, did an amazing job hanging Fuyuko Matsubara's masterpiece, In the Earth 2, at AVA Gallery and Art Space, Lebanon, New Hampshire.

This is a good time for weaving and textiles in general. Material explorations have exploded and when one sees work using fiber materials in art galleries now it is just identified as art, not ghettoized as fiber art. Most of these artists will roam from media to media, as their ideas or fashion dictate, and I have no problem with this. Nor do I mind that many of them are reworking ideas that have been done before--though I do think it is sad that their education has not informed them of the artists who trod the path before them. And I do mind it when I read statements implying that they are the first ones to combine concepts with fiber materials--a blatant sign of ignorance and self-aggrandizement. On the other hand, one has to excuse some of their ignorance because many artists using fiber materials that express ideas have been excluded from major museums, galleries, exhibitions and catalogs just because they were using those materials.

Cyndy Barbone (left) and Deborah Carlson (right) photographing the installation at AVA Gallery and Art Space, Lebanon, New Hampshire with Cyndy's weaving on the left wall and Deborah's weaving on the wall between windows.

So I think it is a great thing that the walls seem to be coming down (okay, I am skeptical--just like when I think that women have come a long way since my youth, I realize how few women are in the senate or house of representatives or hold positions of real power, and I wonder if they will repeal the woman's right to vote after they take away her right to choose). And I think this is the time for all of us who have been working for years to make an effort to show. So naturally I am thrilled that I can be part of two strong shows happening right now. Thrilled because when I stand in front of the work of Cyndy, or Deborah, or Fuyuko I am reminded of why I love weaving (as a medium, not as a process). Of the awe I feel when I realize that they have patiently manipulated vertical and horizontal threads to create these personal, passionate narrative works that evoke place and spirit and light. I can get lost in front of each work in these shows, whether small in scale or large, mesmerized by their beauty and substance. 

Portrait by Cyndy Barbone (on display at AVA Gallery and Art Center, Lebanon, NH) is woven with inlays of yarns of different densities creating a figure from degrees of transparency. 

And I realize that what I am looking at is the product of years of study, research, exploration and learning. Each of us has been weaving for more than thirty years. We bring knowledge of dyes and dyeing, materials, and weave structure to the table. Double weave or triple weave isn't used because it is complicated but because it is the right method to produce the elements needed for the ideas being expressed. The slowness of a process is not an end goal, but if the only way to produce the idea is slow, then that is the path that must be followed. The fact that I am using a computerized loom ("new technologies") is something I have grown into, from hand manipulated supplementary weft to weft-backed satin structures; it facilitates the making of my current work but it doesn't do the work for me. And our work is informed by the awareness of great works of art in textile form, from Coptic textiles to Safavid to Bauhaus to contemporary fiber art. We know we are the current practitioners of a long lineage of artists who have found their voice at the loom; a practice that dates back to centuries dated B.C. We want people to understand through our work that the expression of woven threads is sublime and spiritual.

Deborah Carlson's woven portrait of a memory, with its golden heart, and surrounding gold leaf will draw you into the room at the exhibition Affinity at AVA Gallery and Art Center, Lebanon, NH.

Just like I have earned the right to use my Thread Controller loom, so all of us have earned the title of Master Weaver. We aren't the only ones. I can name a handful of amazing artists who are also master weavers and could easily be in the shows with us. So I hope this is just the beginning. That our work will travel, that there will be other shows with more people, other shows with more work to dazzle the eyes and entice the contemporary public to appreciate weaving as an art form.

Deborah Carlson's work on left of left wall; Bhakti Ziek's weaving Vowels to right of it; and Bhakti Ziek's My Roof on back wall--on view at AVA Gallery and Art Center, Lebanon, NH.

Fuyuko Matsubara's weaving to the left; Cyndy Barbone's weavings are in the center and to the right--on view at AVA Gallery and Art Center, Lebanon, NH.

If you want to read more about my thoughts, there is an interview with me on the Fuller Craft tumblr site. I don't remember sending it off with all the typos and misspellings and words that should be other words (like wave for weave), but maybe I did. So if you can overlook those things, you might find it interesting to read. Click here.

The Woven Pixel Goes to Handweaving.net

Front Cover of The Woven Pixel

The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop®, Alice Schlein and Bhakti Ziek, was first published in 2006 in physical form. It was a 362-page black & white book with accompanying compact disk; the CD included all of the major illustrations in color, and all of the more than 1400 weaves described in the book immediately loadable as Photoshop Pattern Presets. The book went through two print editions.

After all the physical copies were sold in 2010, the authors offered the book and CD contents as a digital download, at a reduced price. Sales of the digital download continued until the present time (2012).

In the original TWP, the authors were working with Photoshop CS2 and Elements 4. The Adobe software has gone through many versions since then, and as I write this, Photoshop CS6 and Elements 10 are being sold. The techniques described in the book remain mostly valid for these later versions, although the user may have to look for  different paths to achieve the same ends.

The original TWP contains lists of resources, some of which are sadly out of date.

The vast majority of the book, however, remains as valuable today as it was in 2006: chapters on jacquard history, jacquard design, weave structures used by jacquard and dobby weavers, and an extensive bibliography are among the many gems to be found here.

The authors are not inclined to undertake a major revision of TWP, but want to ensure that this important text remains available to the weaving community. Toward that end, we have made an arrangement with Kris Bruland at www.handweaving.net to offer the digital version of the book, minus the CD, as a free download. We are grateful to our many supporters who have invested in the print and digital versions of the book and CD; without them we couldn't have committed two years of our lives to the work. The original CD will not be included in the free version of the book, but will be available as a digital download at a cost of $100. Contact Bhakti Ziek (ziekgoodwin[at]gmail[dot]com) or Alice Schlein (aschlein[at]att[dot]net) for more information.

We hope you will agree that TWP was an important contribuion to the world of jacquard design and that  it will continue to inspire weavers and add to the spirit of sharing which  is a hallmark of the present-day weaving community.

Back cover of The Woven Pixel