Seasonal greetings

These are the first fruits off my nectarine tree. How appropriate then that they are also the Christmas wreath!

I saw beautiful images in the Sept/Oct issue of the Selvedge magazine of Gonul Paksoy's* 'edible beads', and thought that I can be inspired to make an edible version of the wreath.

Happy holidays!

*Lovely Miss C is doing some work over there in Istanbul with Gonul Paksoy so have a visit of her blog.

Shibori catch up

At the beginning of December, a few of us who participated in the Yoshiko Wada workshop got together and did a mini-dyeing session. We had a lot of fun eating, chatting and did some dyeing. We also discovered that we all enjoy sewing and will probably get together to do some of that as well!

Here are some of the results:

Jane R. had a piece of cream coloured silk and she had already started a serious of ties before hand and finished them off while we were getting everything ready.

The dye we used is a Procion MX Morrocan red. It resulted in different shades and intensity of the colour depending on the fibre and the base colour.

This was mine and it was a piece of ready-rolled hem silk scarf that I had left over from the workshop. I was not very well prepared for the get together and only rolled and knotted the scarf on the day.

Esmae folded, tied and knotted this piece and it also came out really well. The colour is more pink but this is a cotton base.

Jane S. who also prepared an eucalyptus natural dye pot had to leave hers in the pot overnight so we don't have a visual yet. She is also the person instrumental in getting all the dyes so we were very grateful for her expertise!
We are going to get together again in the new year so it will be interesting to see what we come up with next time!

Shibori blooms

This came as a little pre-tied bundle of white cotton. At the last shibori group get together, we set up som procion dye in 'Morrocan Red'.
I never thought that shibori can be this easy. Literally open the packet and add dye.
The hardest bit was waiting for this to dry so that I can see what it looked like as it unfolded.

This little bundle of surprise (54 x54 cm when opened fully) was bought at this amazing shop. The Tanaka Tadashi dye shop which was established in 1733. So if you are in Kyoto or Tokyo, put it on your intinerary.

Keep calm and keep weaving

In this period when it is sometimes called the 'silly season', it is nice to focus on something that is set up already. All I have to do is wind the bobbins and weave.

When I am weaving, the frenzy of Christmas approaching is somehow forgotten. I can put the multiple batches fruit cakes in the oven and forget about them for a couple of hours. No thoughts of shopping malls, supermarkets, etc. Just the shuttles going from side to side, and making sure that I have not crossed over the weft yarns so that the 2 layers remain separate on the edge.

For the black layer, the weft is of the same cotton. For the coloured layer, I am using a single strand of Avril's silk stainless steel in black. It will be interesting when wet finished whether there will be any textural changes.

Saori, Osaka: IV

Although the Saori loom arrived with the warp pre-wound on the back beam, threaded and sleyed with the standard black cotton.

At the studio we also learnt to put on a new warp using yarns of our choice. We used the warping board with the cone holders fixed at the top, and learnt to use our fingers, with some deft movement, creating the cross with multiple strands of yarn as we wound the warp. There was no need for a warping paddle. It seemed smooth and easy at the time. Kaz had taken some videos and I hope that when it comes to doing this again, it will remind me how to proceed!

I have never wound a warp from front to back, nor have I ever seen one of these cross-boxes where you can sley the reed and thread the heddles off the loom. I have read about tying on a warp from front to back but they looked a bit different from this. I suppose this is one of the appealing aspects of these looms, no bending over to thread and sley.

The reed is held in place in a horizontal position on the table. Each end comes off the cross-box in sequence and is pushed down by the sleying tool.
Then the shafts are put in front of the reed in a vertical position and again, each end is treaded in sequence. There is a weighted holder for the ends. The ends can be combed so that they lay flat in the groove and was held down by the metal rod. It works really well with cotton and silk but I did not use it for the wool warp. The wool was a bit 'sticky' and did not work so easily with the holder.

The combination of reed and shafts were then fitted back onto the loom and the ends were tied onto the rod at the back of the loom.

The other end was tied to the handrail and the loom pushed away to create a certain amount of tension. The warp is then wound onto the back beam slowly. It was easy, quick and we did not encounter any problems with snagging.

The ends were then secured into the clipping rod at the front. Easily done!

I hope that when it comes time to wind on a new warp, I will remember everything and it will be as easy as how I have described it!

Talented people:II

I feel honoured to be friends with these very talented people! I am in awe of their ability to create and to inspire. Best of all, they have encouraged me and I am grateful.

Shipbuilding has a limited edition of textile creations and she has launched an online shop.

I admire her ability to work with different mediums: yarns, textile, and paper, and her patience for printing her own fabrics and dyeing her own yarns. 

Alternative thoughts has just graduated from the RMIT textile course. Her works are displayed at the Fuse exhibition. So I would encourage you to go to see that.

She works with an amazing variety of materials and techniques. This is an example of her glass works. Her blog is being updated slowly. Blogging takes time and effort. I also understand that when you are new to blogging, it takes even longer.

Jane B. is a shibori and batik artist whose patience is amazing. Her attention to detail is admirable and the length of time it takes to create one of her pieces is mind boggling.

As I said, I am in awe of them. I feel privileged to know them and I have learnt much from them.

Rooftop Cowl

A photo of one of the rooftops at Nijo Castle in Kyoto. I originally took the photo as inspiration for a weave pattern. I can see it so clearly as a weave.

However, since being home, I started to knit the 'alexandria cowl'. It is a gift to a friend in Japan and hopefully she will get it in time for their cold winter. As I knitted, I kept seeing the image of the rooftop in my mind, especially in this colour.

I love the texture, the contrast of thick and thin creating these ridges.

I have knitted this before and had also given it away. I think I will end up knitting it a third time (and hopefully the last time, for myself).

In the meantime, this edition has been re-named the 'rooftop cowl'.