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Taos calls me back again and again. I lived near there for most of a decade and never tired of visiting and hiking nearby. I now teach there several times a year and next week I get to go back again! I’m teaching for Taos Wools Festival which happens October 6 and 7. My class is earlier in the week (I might be able to sneak one more person in if you want to come!).
Taos Wools Festival is a brand new festival.
Sarah Swett and I had a fun time talking to all of you on YouTube as we discussed tapestry weaving, Fringeless four-selvedge warping, and not nearly enough about our dogs, though we were reminded to bring them into the mix! The recording of the chat is below and I’ve included some “show notes” below that.
Spending time with people who are deeply passionate about making, materials, and playing with ideas is invigorating to me and that is why people like Sarah are part of my world. We talked about many things mostly in the realm of tapestry weaving. We talked about the value of limitations and how important playing is to learning and growing.
Part of my mission in teaching tapestry weaving is to remind people that though this is an art tradition with a lot of history behind it, there are no tapestry police. You can make whatever artwork you want and utilize any fiber techniques you want to get there. Sarah is a fantastic idea of someone who uses the techniques of tapestry to experiment with all sorts of fiber ideas. Enjoy the chat and if you want to join the class which is full of more Sarah wisdom with some nuggets from me as well, there is a discount code in the video that is good a bit longer for 20% off.
Sarah Swett is one of the most joy-filled people I’ve ever met. We made an online class together called Fringeless: Four-selvedge Warping with Sarah C. Swett in which Sarah teaches us all how to do her four-selvedge warping method. She is a fabulous teacher and by the end of the course you’ll not only have laughed many times over at our antics, but you’ll have a solid understanding of how to use this wonderful warping method yourself. Sarah also includes bonus material about her methods of tapestry weaving.
My point in saying all that is that I got to know Sarah much better over the course of the four days it took us to film the class and she has become a fantastic role model for my own creative practice.* From spinning novel materials (milkweed and coffee filters anyone?) to natural dyeing, tapestry weaving, backstrap weaving and tapestry ON a backstrap loom, to her daily cartoon journal and her new dog Beryl, her creative journey is an inspiration.
I am frequently asked this question by readers of my book, The Art of Tapestry Weaving, and by students in my online classes. The best way to really know how tight the warp should be is to feel the warps of experienced tapestry weavers. But if you aren’t able to come to an in-person workshop or retreat any time soon, the video and discussion below will help you figure out what the right warp tension is for you.
When I got my first Mirrix loom I was thrilled with how tight I could make the tension. The looms come with a little wrench that you can use to tighten the wing nuts beyond what you can do with just your hands. I use a cotton seine twine warp which is very strong and can take a huge amount of tension. So I’d tighten that Mirrix warp very very tight. It was far tighter than I can get the tension on my beefy rug loom.
C wrote this in response to a question about how their first warping went on a small tapestry loom. It made me think back to my first tapestry warping and how I felt exactly the same way.
I was warping a very large frame in Navajo-style from a book. The loom was given to me by my grandparents. My grandfather made it. But I was on an occupational therapy travel assignment in Seattle and my grandmother, the only person I knew who had any experience with this sort of warping, was 1300 miles away and unable to help. I managed the warping using one of Noel Bennett’s books, but it wasn’t pretty.
Over the last couple years I’ve been fortunate to find such a connection in Gist Yarn. This small yarn company based in Boston is all about yarn, weaving, and making connections among people. They’re operating principles include supporting diversity and sourcing their raw materials locally.
The Tapestry Discovery Box is a collaboration I’ve been working on with Gist for the last year. The first box went live in January. The boxes include Array tapestry yarn and a new course with a project from me shipped out every quarter. . . .
We’ve had so much fun in the first two boxes. Below are some of the work the participants have been creating.
The first box was about Openings. My example tapestry was of a door and window, but people interpreted the theme in many different ways. The technique we were playing with was weft bundling. I was amazed at the different color effects people got with the very same set of yarns.
What do you do after your tapestry comes off the loom? There are many ways to finish a tapestry, but my favorite thing to do is steam it.
The finishing chapter in my book, The Art of Tapestry Weaving, talks about using steam as the final finishing of a tapestry (see page 265). Recently, students in a couple different online classes have asked me for a video showing how I do this, and so this blog post was born..
