Please note the meeting will begin at 6:30 due to our presenter being on the East Coast
Karen Donde https://karendondehandwovens.com/home.html
Turned Beiderwand: One Threading, Multiple Structures
Although the history of the weave structure known as Beiderwand predates even its name, Beiderwand remains a powerful tool for creating contemporary designs. When the traditional draft is turned, converting the customary supplementary weft to a supplementary warp, that power expands exponentially. This lecture will explore Beiderwand history and traditional drafting and design characteristics, then illustrate the exciting results of turning that draft, results that extend well beyond faster, one-shuttle weaving. Join Karen to discover the hidden potential of a Turned Beiderwand draft.
Karen Donde weaves garments, fashion accessories and home textiles for sale and teaches beginning-advanced weaving classes and assorted workshops for guilds and conferences. Teaching credits include HGA’s Convergence 2012, 2014 and 2016 and 2022 (postponed from 2020), Southeast Fiber Forum, the Mid-Atlantic Fiber Association’s Workshop Weekend, Midwest Weavers Conference, Intermountain Weavers Guild Conference and Florida Tropical Weavers Conference. In Asheville, NC, she has taught at Sutherland Handweaving Studio, Friends & Fiberworks, Local Cloth and her own studio.
Karen is a juried member of the Southern Highland Craft Guild and graduated in May 2013 from Haywood Community College’s Professional Crafts-Fiber program. An experienced and award-winning writer with a bachelor of journalism degree from the University of Missouri, Donde now writes for and about weavers. She is a contributor to Handwoven magazine and other allied publications.
Please note the meeting will begin at 6:30 due to our presenter being on the East Coast
Reds, Glorious Reds: The Cultivation and Use of Cochineal for Dye in Oaxaca, Mexico
Cochineal is a scale insect that lives on the pads of Prickly Pear Cactus (genus Opuntia) and
whose body and eggs contain carminic acid, an historically important natural dye. To the Maya and Aztec people of Mexico and Central America, cochineal dyed textiles were created as early as the second century BC and dried cochineal insects were paid first as annual tribute to Montezuma in the 15th century as recorded in Codex Osuna. Second only to silver in value, cochineal was then sent back to Spain by the conquistadores after they defeated this powerful ruler. Spain maintained a monopoly on this magnificent red dye source for several hundred years. Carmine, a dye and pigment produced from cochineal, was used to dye Catholic cardinals’ robes and the uniform jackets of English Redcoats.
Having dyed with imported cochineal for years before traveling to Oaxaca, Mexico, for the 10th International Shibori Symposium in 2016, Kris was particularly interested in seeing cochineal being raised commercially on a farm south of the city. In nearby Teotitlan de Valle, a Zapotec town famous for its handwoven rugs, those weavers using natural dyes often include shades of orange, red, pink and purple produced by cochineal insects in their rugs. Take a virtual trip to a Mexican cochineal farm to learn more about the history and use of these amazing (female!) insects and see examples of the rugs that glow with the cochineal dye colors.
About Kris Nardello
Blending advanced degrees in both art and science education, dyer, weaver, spinner, quilter and retired middle school teacher, Kris is often found foraging for native California plants and mushrooms for her natural dye pots. The dyed yarns are used for weaving small tapestries and rugs using traditional Scandinavian patterns as well as knitted garments. The indigo-dyed shibori and eco-printed fabrics are used for boro stitched bags, pieced quilts, garments and fabric collages. She has studied Zapotec rug techniques and symbology with Porfirio Gutierrez and works in Martha Stanley’s studio with 5 other weavers. Kris is currently the secretary of the Santa Cruz Textile Arts Guild, part of the Northern California Handweavers Guild.
Our next meeting will be a social meeting, perfect for bringing a portable project and catching up with your fellow Guild Members!
We’ll meet on the third Thursday on the lawn outside the Senior Center in Redwood City where we usually meet. If there are issues with air quality we’ll move inside. Bring a portable project and an outdoor chair, and your own food and drink, no refreshments will be served.
At the time of this posting, masks are not required indoors, but if we move indoors, we recommend that you wear one.
Date: Thursday, July 21, 2022
Time: 6PM Pacific
Location: Redwood City Veterans Memorial Senior Center
1455 Madison Avenue
Redwood City, CA 94061-1549
Our May Guild meeting will be on the 4th Thursday this month (May 26) due to CNCH. This will also be our first in person meeting this year!
Our guest speakers will be you, our guild members! This will be an extended show and tell. Share what you’ve learned at CNCH, both in and out of the workshops. What is grabbing your interest right now? What are you exploring? We want to hear from you! So bring your projects and stories.
While masks are no longer required in indoor spaces, we do encourage using a mask, asking that you do what is comfortable and safe.
Uzbek Ikat: The Personal Saga of an Exceptional Cloth
Marilyn’s textile journey started with pack animals, llamas to be precise, and rapidly moved from there to spinning, then knitting, then weaving, and then to exploring textiles around the world. In the process, she became passionate about learning a wide variety of textile folk arts. She shares her knowledge through demonstrations at museums, projects with children, and through her book “Creative Crafts of the World.”
Our program this month will be a blend of travelogue and technique. We will explore the traditional Ikat techniques of the Uzbek people in Central Asia. In Marilyn’s own words:
Experience the exotic in your own home town; travel to Central Asia in this multi-media presentation. We have all seen Uzbek Ikat on the runway in New York and London, now travel back to Uzbekistan with Marilyn to watch the process of its production. Each thread manipulated, dyed, and woven into exquisite cloth – truly hand-crafted. Plus, a show-and-tell after the presentation.
Marilyn’s presentation will be followed by a question and answer session, and then by our own guild Show and Tell.
Our March speaker will be Miriam Omura. Miriam is a textile and visual artist who works with many types of media, including weaving, fabric and photography. She will be speaking to us about her unique warp painting technique. Miriam will first describe the technique she uses and then take us on a journey through some of her pieces and their stories.
Memories result is a translation that acts as an interpretation of an event. As an immigrant, I have found my place through trying to understanding culture and place. This began with my past work, which dealt with personal identity through memory and family history connected to England and Sri Lanka. In recent years, that focus has shifted to exploring broader overlapping concerns that intersect with identity and social issues. Building on ideas of perspective and perception developed in my past work, my current imagery attempts to understand and ask questions about who and what makes up society around us. In looking for a way to comment on issues that will invite conversation and further investigation on the part of tthe viewer.
The memories we recall can be intentionally or accidentally distorted, changing without our realization. When memories are retrieved, they fuse with other memories to produce an unclear view that sits between truth and fiction. As a memory is recalled, it becomes layered and reshaped by the chemical process of retrieval in the brain. It is my hope to visually capture these ideas within my work, showing the intangible aspects of memory.
Also of interest is her story about moving from being working in museums to becoming an entrepreneur.
Textile Traditions of the Peruvian Highlands
During this hour long hosted video presentation, weavers, dyers, knitters, and spinners of the Peruvian highlands who are cooperative members of the Center for Traditional Textiles of Cusco (CTTC) are featured. The focus is on the preservation and revitalization of their traditional textile arts—including some techniques dating back to the Incas. These include the Andean way of spinning, dyeing, and knitting, as well as the tools to create belts, bands, textiles, woven edges, and skirt borders. Through the video clips and images, the weaving of doubleweave, ikat, tapestry, and discontinuous and supplementary warps are also highlighted.
This video program is narrated by ATA board member and well-known doubleweave author and teacher, Jennifer Moore. In addition to the video presentation, one or two ATA board members will be present on the scheduled Zoom call to field questions in real time at the end of the video. The total program, with the Q&A, is about one hour.
“Textile Traditions of the Peruvian Highlands” is an inspiring virtual visit to the weavers, spinners, knitters, and dyers of the Peruvian Highlands. It is an opportunity to “travel” to this part of the world and be exposed to the area’s unique traditional textiles and cultures.
Mayumi Fujio has always enjoyed working with her hands to blend imagination into her creations. She loves learning traditional craft techniques – Ikebana, silver jewelry, ceramic art, sewing, dying with mushroom, and knitting. Fiber art is a natural progression and botanical printing is bringing together all of the handicraft skills she developed in the past. Her inspiration comes from art, nature, and simply looking at flowers and plants wherever she goes. After learning the technique of botanical printing, Mayumi has been experimenting with the combination of traditional and newly discovered natural dye techniques. As a modern craft, botanical printing is a constant cycle of learning and experimentation, yet it can never be fully controlled. Just like nature.
Her latest series is a combination of mushroom dye and botanical prints.All the plants she uses are ethically harvested from the Bay Area and her art pieces are sold at the Asian Art Museum in San Francisco, Seattle Asian Art Museum, and other prestigious art fairs around the Bay Area.
Her website is: https://www.mayumix.com
The Intersection of Weaving and Dyeing
Although weaving and dyeing are two distinct textile skills, the combination and integration of these processes one can vastly expand a design vocabulary. The result is a more complex and personalized finished textile. Applications for these weave/dye combinations include ikat, woven shibori, and cross dyeing. The primary focus of this talk will be the use of natural dyes, but synthetic dye use is also applicable. Catharine will share her thought process, her dye choices, and talk about the evolution of her woven and dyed work over more than 40 years.
Catharine Ellis has been a weaver and a dyer for over 40 years. After three decades of teaching the Fiber Program at Haywood Community College in NC she is now dedicated to studio work, focusing on natural dye processes. She also does specialized, selected teaching, in the U.S. and internationally. Recent projects include teaching natural dyeing in Guatemalan through Mayan Hands.
Catharine is the originator of the woven shibori process and author of the instructional book, Woven Shibori (Interweave Press, 2005) and The Weaver’s Studio – Woven Shibori: Revised and Updated (Interweave Press, 2016). Her most recent publication is The Art and Science of Natural Dyes: Principles, Experiments, and Results (2019). All three books are available to borrow from the guild library.
Bold graphic line, zig zag stripes and scalloped selvedges are striking characteristics of wedge weave. Instead of weaving perpendicular to the warp, as is usual for tapestry, wedge weave is an eccentric weaving technique where the wefts are woven at an angle to the warp. In wedge weave the patterned design and weaving structure are inextricably connected.
In her presentation Deborah will discuss the brief time when some Navajo weavers experimented with this “rouge” technique and the influence that their work and this style has had on her and other contemporary weavers. She will show images of Navajo wedge weaves and of her own work in wedge weave and that of other contemporary weavers experimenting with eccentric weft techniques.
Deborah Corsini has a lifelong passionate interest in the study of textiles, textile cultures and the making of textile art. A weaver for over 50 years she is a studio artist exhibiting her works nationally. She holds a Masters in Textiles from San Francisco State University and a B.F.A. from California College of Arts (and Crafts.) She has taught weaving and tapestry at City College of San Francisco and workshops in various textile techniques such as tablet weaving and wedge weave at the Richmond Art Center, the Mendocino Art Center, and the Conference of Northern CA Handweavers. She will be offering a workshop in wedge weave in the upcoming CNCH in 2022. Deborah has been lucky to have had two textile related careers. As the former Creative Director of P & B Textiles and a textile designer she honed her sense of color and design and appreciation of patterns both printed and woven. As the former curator of the San Jose Museum of Quilts & Textiles she gained a deeper respect and appreciation for the history of quilts and the ever-evolving contemporary fiber art scene. She is active in the community and continues her studio practice in Pacifica, CA.