All posts by Terry

Show and Tell, July 2022


Upcycled cotton thrums and blended with wool and spun for a second life.




Weaving with cotton knit rag coils from Great Northern Weaving




The Natural Dye Workshop from Maiwa School of Textiles wraps up this week. I spent the past 2+ months creating nearly 200 unique dye and fiber samples. Such an incredible class!


Double Ikat sampler made with 5/2 Perle cotton and dyed with indigo and madder. For more information, visit my blog.


Show and Tell, June 2022

We’ve got a lot of show and tell this month. Make sure to scroll all the way to the bottom so you don’t miss anything!


Our friend Melanie Fuller passed away earlier this year, quite unexpectedly. On her floor loom she left an unfinished blanket for her new granddaughter. A family friend reached out to the guild to see if the blanket could be finished. I volunteered for the task and recently completed it. The family is very happy with the blanket and with the sense of closure.


This square ribbed basket is based on traditional Appalachian basket designs handed down over generations. The basket has an extra detail along the top of the handle which was a lot of fun to weave and easier than it looks. It took just about all of the 10 hours that the teachers predicted. It was a lot of fun to weave and a basket that I’ll enjoy for years.


My ikat scarf from Mary Zicafoose’s Shifted Warp Ikat at CNCH. Warp is 10/2 tencel that we measured, tied resist wraps & dyed in class before warping the loom & learning shifting techniques; weft & stripes are Bambu 12 from Cotton Clouds.



Jacket was created using 3 prior weavings-one done in high school, one done as a wall hanging about 25 years ago and one was done in a SF City college weaving course a few years ago.  My goal was to learn to piece weavings together using a technique from Daryl Lancaster using sheets of fusible tricot.  I then tailored the jacket to submit for my sewing/fashion course I was taking at Canada College.  I used both wool and cotton weavings and a Thai silk lining to finish it. I wanted it to be sporty so I used a long front zipper.  I have already worn it  and am pleased with the end product.
Turned Taqueté, 22/2 cottolin with 12 threads per cm in a 40/10 reed. Every second weft shot was white, the first was in one of the three warp colors
– The white/blue napkin is a cotton warp with linen weft in plain weave with a blue cross twill pattern. Sett was one per dent in a 100/10 reed.
– The overshot pattern is called Sun & Moon, it has a white 17/2 tabby shot in every second weft.
-The grey striped napkin is an 8/2 cotton in plain weave, stripes per Fibonacci method
– The grey and red table runner is a 10/2 white cotton for warp and grey and red cotton for weft. 1 thread per dent in an 80/10 reed.
– Pineapple 132 basket, dyed cane, Japanese flower knot plaiting on a hemp leaf plaited base.
– Shark for Bob Darchi. He carried it in the BABM CNCH Tableau. Round reed, grape vine, paper, waxed linen, paint
– Blue and Gold fish, round reed, paper, waxed linen.
  Created for BABM CNCH Tableau.
CNCH 2022 Tableaux:
Fun was had by all at CNCH 2022.

Show and Tell, May 2022


“Gisela’s Wool, Split-Ply Rug #2”
The rug is made with 360 cords, each consisting of 40 threads of an old yarn called Maypole, Willamette from Oregon Worsted Co., 5600 yrds/pound.  I over-dyed most of the yarns so the variation in color comes from the original colors. I took a class in Split-Ply from Linda Hendrickson and finally found a use for the two big boxes of yarn I had had for many years.  The technique is mainly used for bands but also for baskets and bags and other 3-D items.  I have not seen any other rugs made with the technique.  Rug #3 is on the way here in Sweden.
I am now working on a body of work that is based on using up yarns that have been given me over the years.  Old yarns / New work.  Use them all up, the yarn stops here, etc.



These are pins/pendants (the larger pieces have a bail on the back to accommodate a leather or satin cord) made from both woven and sashiko fabric. They range from 1” – 2.5”. The fabric is mounted on a small piece of wood that fits into the hoop frame and then covered with a matching size wood before the pin back is attached.




Huck lace tunic in white made of 8/2 cottolin.  It is a Robin Spady pattern from Heddlecraft Magazine. It was woven on my 8 shaft AVL loom. I made it using a Simplicity pattern.



Gudrun: Twill Blocks

These twill blocks were woven on a 4 harness loom as an exploration of split-shed weaving. Find out more about this technique by visiting the website of Deborah Silver,
The placement of the blocks mimics the drawdown of 5-end satin.



Crochet Temperature Blanket for 2022. For each day of 2022 I am crocheting a granny square with the center color representing the high temperature of the day.



Show and Tell, April 2022

Ann M:

The red/yellow shawl is 30/2 silk from Redfish Dyeworks. The draft is from Shalp’s Eight Shafts: A Place to Begin. The treadling is my own adaptation. It’s for a friend’s wedding next month. Finished dimensions: 18×72
The blue/zephyr is tabby and of my own design — really it was an itch of an idea that had to be scratched so I pulled out a long abandoned warp that’s been hanging on the back of the coat closet. I added a 1″ red ribbon down the center. It turned out a whole lot better than I imagined. Finished dimensions: 20×66.
Sarah A:
Lift a Finger, 2022. Merino, polwarth, bamboo, silk, nylon, angelina, cotton, polymer clay. 7.75”x8.75” This piece was donated to @artiststakeaction and auctioned to support the people of Ukraine.
Betsy B:
Knit sweater.
Allison K:
Ikat projects.
Barbara S:
Never Again is Now.
Never again, never again! Each time there is a horrible war, we repeat this phrase. The phrase Never Again was used after World War II at the time of the creation of the State of Israel. Never again would the Jews of the diaspora have nowhere to go when their very existence on the earth was threatened. Now it is the Ukrainians who are forced to leave their homeland under the threat of the extinction of their country and their culture. You see them fleeing with a single bag of belongings, and fortunately being welcomed by strangers.  The horrors they fled are reflected in the singed contents of my bag. Hope is expressed in patching and mending, reflective of families that will hopefully someday be reunited and cities rebuilt.
Completed several weeks before, but unnamed until Russia attacked Ukraine. Never Again is Now is the 6th in my Horn Bag series.
Materials: Hemp cloth, Kozo fiber inserts and woven kozo patch, indigo dye and sumi Ink. Plaiting, stitching, assemblage.

I just finished off the second assemblage of card woven bands in a work called Family Choir. Family Choir is a companion piece to The Elders completed in 2021. Watching people sing from their balconies during the pandemic inspired me. I finally decided to use the vertical openings I could create to make mouths for this ensemble of people swaying as they sang together. They seemed to form a family unit and that gave me a title.

The bands are woven of my own space-dyed pima cotton and woven in the so-called “Egyptian diagonal” technique. The feet were tinted blue in indigo long after weaving and cutting the bands. Like The Elders, this work is framed in a black picture box frame, but I photographed it without the box and glass. Dimensions are 12 x 16 framed.

Terry E:
Tatza, a traditional Polish bread basket pattern.  I wove this basket in Charlie Kennard’s workshop using peeled willow grown and processed by Mr. Kennard.
Stefanie S:
My latest project, an exploration of Summer & Winter. 8/2 cotton at 24 EPI. White warp and 3 different shades of color in the weft, one being a 16/2 tabby shot.

Show and Tell, March 2022


These are two card woven mask lanyards. I used 20 cards of 10/2 cotton in black, charcoal, natural, and white, then sewed the bands to lobster clips to attach to mask. The patterns are in John Mullarkey’s monograph  Tablet Weaving: Egyptian Diagonals.



My project is an experiment with collapse weave. In this structure, two different fibers in the warp react differently to wet finishing. The black warp threads shrank and the brightly colored cotton threads did not. This gave me wonderful bumps. The degree of agitation and the water temperature affect the degree of shrinkage of the wool parts. The bumpy texture of the cotton areas emphasizes any iridescence that might come into play between the complementary colors of the warp and weft threads.



My project is a set of placemats from a kit I purchased from Halcyon Yarns several years ago called Peaceful Harbor Placemats. They are plain weave with a warp set of 10 EPI, and a warp length of 3 1/2 yards to make 4 placemats. There are three different variegated and solid color yarn’s, a heavy weight, medium weight and light weight alternating throughout both the weft and warp. It’s woven on a Schact Flip rigid heddle loom.



I made some valentines Kuhimino bracelets for a couple in my apartment complex. One is made of hemp, and the other is made of assorted yarn from my stash.



Huck lace runners.


Show and Tell, February 2022


6th and final towel on the warp on the loom.


Barbara S:

Fantom Boats, inspired by our view of ships in the fog that we see on the SF Bay. I wove the
stiff silk kibisu yarn into a long panel in 2020, and later cut it up to create these sculptures. The fabric is almost stiff enough to stand on its own. Each boat has a speckled Japanese paper-covered cardboard deck. Each one is about 16”L X 14”H x 4 to 6”D. Lots of fun to make these.



Peach-colored, huck placemat made from a draft by Madelyn van der Hoogt. The green/yellow tea towel is made with 3/2 mercerized cotton using a draft from Handwoven. The yarn was dyed at Creative Endeavors.



These are Sashiiko pillows that I completed recently. The three larger pillows, 18” square, I stitched from preprinted fabric with wash-out guide lines. The two small pillows, 12” square, were hand drawn the traditional way. The  one on the lower left in Pine Bark motif (mastsukawa bishi) I started during a sashiko workshop with local artist Marico Chigyo.



These are towels woven in a modified Huck Lace with a natural 8/2 cotton warp and woven in 8/2 cotton in colors. Towel with natural weft was woven with hemp.



This is a collection of scarves woven in Deflected Double Weave. The pleasure of this  structure is that the weaving has two very different sides, possibly different colors, or circles on side, squares on the other, horizontal stripes vs vertical stripes. Any kind of  yarn can be combined, wool, silk, tencel, cotton. Check your stash.



My latest art installation titled “In Deep Water” is featured now in a new publication Arte Morbida published in Italian and English.  It is a magazine focused on contemporary textile arts, and it has many interesting articles for weavers and other textile artists and should be of interest to Black Sheep Handweavers Guild Members. The news about my exhibition in Sonoma through Feb. 23, is at this link, and from this people can also look at the whole website for Artemorbida.



This is my first chenille project and my first try at a log cabin draft. I didn’t realize that the red yarn was twice as thick as the black yarn until after I had wound the warp. Dottie Calabrese helped me recover from this mistake and I made two decent scarves.



Knitted sweater. This is a sweater that Brenda of Pans Garden dyed for me from 1 handspun strand of alpaca and one from a soft wool. I spun the yarn for it at about a dk to fingering weight yarn. The pattern is Sarah Swett’s Magic Medium Sweater. The color inspiration was from the color of a sky at sunset. I think she interpreted that very well.  A big shout out to Brenda, a fantastic local master dyer.



These are dish towels for my daughter, I wanted to make it an American theme.

This is a 4 harness pattern called broken diamond twill. The yarn in 8/2 cotton in both warp and weft.

Show and Tell, January 2022

Ange: Ikat Scarves

I dyed 20/2 natural colored cotton with black procion dye for a random
ikat pattern. I’m not sure what went wrong with the dye process but I
got dark navy instead of black. I wove both scarves in a birds eye
twill; one is woven with yarn dyed with the weft, and the other is
commercially dyed cotton. It’s hard to tell from the photos, but the
one with the black weft shows the blue delightfully leaking into the
white areas.


Show and Tell, December 2021

Ange: Spun Paper

TIssue paper sewing patterns spun then plied with red silk singles; the knitted sample held up to hand washing. I learned how to do this in a 2021 SOAR class with Judith MacKenzie.




Ulla: Margit’s Flower Yarns, 23×30″, Linen, Cotton, 2021

This is the second piece I have woven on this warp.  The first one was finished in 2018  which shows that the warp has been on the loom for at least four years.  The piece is part of my theme of Old Yarns, New Work.  The old warp and base weft yarn here is a singles linen that a friend found in her father’s attic as she cleaned out his house. Big hanks that filled a pillowcase.  The warp having been on the loom for such a long time and in our sunroom where the temperature reaches 120 degrees when we are not here, meant that I had more than a few broken ends.
I got the colored weft after a cousin of my mother, called Margit, died.  She loved to embroider, buying kits from Denmark and these are her leftovers. The yarn is a 24/2 cotton and is called flower yarn since most of the kits depict plants of different kinds. As with the DMC yarn I had used in the first piece, this yarn came boxed in small boxes that had contained a French soap.  The smell is still quite strong. To weave the piece was extremely time consuming, each colored shot took 12 minutes, but that is all forgotten since I love the piece and how it flips three-dimensionally.


Show and Tell, November 2021

Ann: “Google” Towels

Cottolin in Google colors. 1 “Circle and Diamond Towels” from Handwoven Nov/Dec 2019, p34-35.  Five towels and three napkins made for Google work mates. Matching woven tape for towel hanging loops.




Gail: Deflected Double Weave Scarf

I’ve been playing with deflected doubleweave for the first time, as the Weaving Study Group recently chose this structure for extended study. Found a 4-shaft scarf draft on Gist Yarns. I altered the block proportions a bit and threw in some color blends in both warp and weft. I had wound a short warp just for casual sampling, but I liked the developing color effects enough to keep weaving for 34 inches. So I have a short neck scarf that I can clasp with a pin, or possibly seam into a cowl.

As a bonus, I might be able to apply the same threading to some woven shibori techniques as described by Catharine Ellis. (It’s identical to a basic Monk’s Belt.) I hope eventually to tie on to the bit of warp that is still on the loom with natural pearl cotton in order to explore some dyeing techniques.




Gudrun: Woven Pouch

This is a pouch woven in basket weave made of a single thread. It is definitely handwoven, but without a loom. I laid out the warp on a flat surface, then wove in the weft by hand to form a 10×5″ rectangle. Or was it the other way round? The last step was to fold the rectangle, close the sides, and tie the ends together.

Now I am passing the leftover yarn onto Barbie Paulsen, who is willing to accept the challenge. I am curious to see how that ball of yarn will inspire her.




Johanna: Daryl Lancaster Workshop Garments

It was long days and lots of work (until 11:00pm). But so nice to walk away with these pieces and a re-worked shadow weave top.




Jodi: Felted Pumpkin

We were invited to a pumpkin carving party & when I asked if there were any guidelines, I was told I could bring one already made & use anything I wanted, so I needle felted one. I used a 6 or 7 inch foam core to make it go more quickly, the covered with some scrap white fleece. I layered fleece for the ribs – brown first, then a mixture of dark orange & green & finally covered with a blend from New England Felting company of red & orange. I went back to the brown I had to make the stem.
Oh yeah, I won a prize for it ;o)

Show and Tell, October 2021

Cathy D:  Needle felted Crazy Cat.
Stands about 8 inches. He is created with grey and white wool. Whiskers are done with a heavy beading thread. They seem to curl up on their own, hence the “Crazy Cat” title. The cat has pink hearts on its paws so naturally, it needed a heart in a secret place, Thank you to Ginger’s Felters group for inspiration!
Ange M: Hand Towels
Just off the loom. Hand towels for the powder room in 10/2 cotton, twill with basketweave. Pattern from Weaver’s Craft #17 (available from the Guild library).
Gail B:  Crackle Scarf

7” x 72” plus 4” fringe

Warp and ground weft: black 8/2 bamboo
Pattern weft: scarlet fingering wool
The pattern as I wove it is on the left; the “wrong” side is on the right. I found a draft for the diamond motif among the online weaving archives of the University of Arizona. The border element I created myself. A link to the crackle draft (as well as others) is:
Jane Ingram Allen: Living Quilts
I wanted to send this link to an article in ART NEWS about my recent series of “Living Quilts” art installations. Here is the link:  I was the founder and first president of Black Sheep Handweavers back in the mid-seventies, when I was teaching fiber arts and weaving at Foothill College and Canada College.  I am now living in Santa Rosa, CA, and I am an honorary life member of Black Sheep Handweavers. I continue to offer workshops and do art projects around the world, now mostly with hand papermaking but still with some of my weaving and fiber arts processes mixed in. Some images show the same work when installed and some several months later when it is blooming.