The Journal for Weavers Spinners and Dyers

#277 Spring 2021

As I write, at the beginning of 2021, we look forward with hope for better times. During the difficulties of 2020 the JEC members – all of whom are volunteers – have worked very hard to continue to produce the Journal to its usual high standard and do all the necessary admin, including managing advertising, subscriptions and sales (our vital income), keeping the website and social media regularly updated, plus all the other essential administrative jobs. Our members and volunteers all bring a range of skills and experience which enhance the Journal.
Do think about volunteering to join the committee, if not this year, perhaps in the future. It is quite demanding, but very rewarding. Information about nominations for the two Association committees has been sent to Guilds, and is available on the Association website.

In this issue the students on Jenny Dean’s year-long natural dye course at Ditchling Museum report on their experiences, many of them finding it transformational. We have an in-depth look at Gotland sheep – characterful animals with fleece to match. Sandra King introduces a range of traditional Irish sheep breeds and tells us about her involvement in raising the profile of handspinning and weaving in Ireland. Across the world, Sandra De Berduccy’s holistic approach draws on the natural and cultural environment of the Andes in her innovative textiles. New graduate, Marcia B John, tells us what inspired her to weave and presents the work she showed at New Designers and the Surface Design Show. We have reviews of a couple of online exhibitions which help to widen our perspective while actual gallery visits have been impossible. Guild Highlights and Readers’ Showcase focus on what Guild members have achieved in lockdown and we also have reviews of a number of inspiring books. The value of having good textile books to hand has definitely been proven in the last year.

Hilary Miller, Chair, Journal Editorial Committee

#276 Winter 2020

Two weavers who take their inspiration from aspects of the natural world, but with very different results, are profiled in this issue. Stacey Harvey-Brown introduces us to Agnes Hauptli and Jennifer Robertson, both highly accomplished and innovative weavers. Two articles focus on sustainability. John Parkinson has revived the shoddy trade in west Yorkshire, producing recycled woollen yarn from discarded clothing carefully sorted by colour, which York Guild Members had the opportunity to experiment with spinning and weaving. Penny Wheeler writes about a project to investigate using local dye plants with British wool to create a closed loop system of textile production with environmental benefits. Readers’ Showcase is slightly different this issue; Anna Crutchley examines samples woven by the late Doreen Sanders, a founder member of Cambridgeshire Guild and past contributor to this Journal. Doreen’s approach to designing also supports sustainability – small amounts of yarns bought in sales were combined effectively in a variety of weave structures. Susan J. Foulkes and Tamaki Takagi introduce us to complex Japanese woven braids, Sanada-himo, still being produced in Japan for specialised purposes. Scotland had a thriving linen industry in the eighteenth century which subsequently all but disappeared. The Statistical Accounts of Scotland are an unlikely sounding source of information, but give us insights on skilled women handspinners in late eighteenth century Perthshire. The various restrictions this year mean that we cannot bring you exhibition reviews, but Linda More invites you to a Private View of her new textile studio. She has lots of useful tips for organising a textile workspace; inspiration for those of us ‘making do’ in less than ideal spaces to dream about creating our own studio. The Journal Editorial Committee (JEC) will be looking for new members to be elected at the Association AGM next April; if you are interested in being part of the team, do get in touch to find out more about working with the JEC.

Hilary Miller, Chair, Journal Editorial Committee

#275 Autumn 2020

The Association’s National Exhibition, sadly, will not be happening at Leigh Spinners Mill in Lancashire this autumn, but Dot Seddon has written a fascinating account of her father’s life in a cotton spinning mill in Leigh. It gives an insight into the lives of those who worked in the mills, often from a very young age. In other articles we look at the opportunities for weaving with discarded materials. Sarah Cooke’s work is inspirational and sustainable; I’m keen to try it, as I’m sure others will be. An afternoon to experiment with natural dyes in the New Hampshire countryside was irresistible to Carolyn Griffiths, with some interesting results. If you prefer the more predictable results of synthetic dyes, Rachael Prest looks at how temperature and pH affect the uptake of acid dyes. It helps to explain why synthetic dyeing isn’t always as predictable as we hope. Buying yarns for weaving can be a bit of a nightmare, but Wendy Morris sets out clearly how yarn counts work, to make it easier to order what you want for a specific project. We have two useful pieces for spinners; Katie Weston explains the difference between woollen and worsted spinning, and Cath Snape has assessed several methods of washing fleece and makes recommendations. Karen Garwood Young joined Kent Guild as a child and was mentored by one of its founders, Vic Edwards. Karen and her husband subsequently took over Vic’s loom making business – and still hear about some of those looms today. Finally, we can start thinking about the 2021 Summer School. The Convenor, Christina Chisholm, introduces the range of courses that will be on offer. Start planning now!

Hilary Miller, Chair, Journal Editorial Committee

#274 Summer 2020

Jenny Dean is a well-known natural dyer and this issue includes an in-depth interview with her. Jenny has built up a wealth of experience which she has shared through her books and teaching. For a completely different approach, why not experiment with Ice Dyeing? Other features include a report on a Rare Breeds Survival Trust project examining the financial viability of several breeds of ‘primitive’ sheep, with the fleeces being carefully assessed by a handspinner. In the first in a series of Technical Notes, Sonya Hammond looks at twist and explains why it is a useful measure of the yarn you make. Carolyn Griffiths wanted to explore Saori weaving and arranged a workshop; she reports on the creativity of freestyle weaving. Very different, Dinah Clements explains how she extends the abilities of the rigid heddle loom. The From Sheep to Sugar project throws light on to a little-known aspect of history. Few would have imagined there was a direct link between impoverished rural spinners and handweavers in eighteenth century mid-Wales and the Atlantic slave trade.

As I write, we are all experiencing a completely different way of living. I am so grateful that I have spinning, weaving and dyeing as an integral part of my life and to be part of a great creative community. While all the usual highpoints, such as wool festivals and exhibitions, have had to be cancelled various online activities are springing up to keep people connected and involved. I am sure we wish the the event organisers and traders well and hope they will be there when things do eventually return to normal. But at least for now, the stash is fully justified.

Thanks to all the Journal Editorial Committee who have continued to maintain our usual high standards. We have decided to suspend the Diary until such time as there is greater clarity about what events are happening; it will be back as soon as possible.

Hilary Miller, Chair, Journal Editorial Committee

#273 Spring 2020

This issue includes the second part of Lesley Willcock’s article on making garments from handwoven fabric. She has plenty of practical advice to reassure and inspire weavers to use their handwoven fabric imaginatively. Chrissie Freeth documents her journey into the world of medieval tapestries courtesy of a Churchill Fellowship. The medieval dyers relied on plants for dyes and Pat Denne has spent many years experimenting with dyes derived from woody plants. Today we have a wide range of textile equipment suppliers, but when Tim Willcocks set up a business making drum carders in the UK the situation was rather different. His story of developing the business is a window onto the spinning community in the 1970s. 

With spring approaching thoughts turn to the garden. Carolyn Griffiths provides advice on growing woad and dyeing with it. 

We also look back on last year’s Summer School, with reports from each of the courses, profiles of two graduates who exhibited their work there, and a report on the work submitted for the Certificate of Achievement in 2019.

#272 Winter 2019

This issue focuses on garments – historic and modern, and in particular on making them ourselves. Lesley Willcock, in the first of two articles, encourages us to be brave and cut into that handwoven cloth and make a wearable item. A different approach is taken by Sally Eyring in Stacey Harvey-Brown’s second interview with innovative weavers. Sally shapes pieces on the loom, with spectacular results. In medieval Japan, the art of dyeing was highly developed and kasane, layers of different coloured silks in a kimono, was a symbol of the aristocracy. The traditional recipe for extracting red pigment from safflower is illustrative of the sophistication of the dye techniques of the age. A selection of eighteenth century garments in the Fashion Museum in Bath gave Carolyn Griffiths an insight into fabrics (handwoven) and dyes (natural) of the age. This is a reminder that you can gain so much more if you can arrange to examine items in museum collections, rather than just admiring them in a showcase. The soft squishy properties of woollen-spun yarn for warm jumpers, hats and other garments is enthusiastically promoted in Freyalyn Close-Hainsworth’s article on longdraw spinning. As an encouragement to use handspun yarn for garments, Jo Nash shows how to translate a commercial knitting pattern for your handspun. Marietta Richards was prompted by a recent article on Norwich Red which seemed to fly in the face of established madder-dyeing techniques; her careful experiments tested the recipes and provide useful advice on getting good reds with madder. Melanie Venes looks back on the life of the inimitable Nancy Lee Child, founder of the Handweavers Studio in London, and for many an introduction to spinning and weaving. Lastly, the weaving section of Peter Tavy Guild challenged themselves to produce a wearable item, with considerable success. With a National Exhibition in 2020, why not challenge yourself to a ‘Made to Wear’ project?

Hilary Miller, Chair, Journal Editorial Committee

#271 Autumn 2019

This issue looks at innovations and traditions. Innovative approaches include spinning with synthetic and semi synthetic fibres explored by Jean Thorn and Carol Leonard. Susie Taylor’s  innovative approaches to weave structure are revealed by an interview with Stacey Harvey- Brown. Looking back, Hanne Dahl looks at the end of the long history of the woollen industry in Trowbridge, Wiltshire and Carolyn Griffiths visits a very traditional silk weaving workshop in Japan. Bridging the gap is Catherine Ellis’ exploration of new techniques for natural dyeing, which she uses in her woven shibori work. There are a series of short reports by the recipients of grants from the Theo Moorman Weaving Trust, which gives an insight into the way these weavers are taking their work.  Reader’s Showcase tells the story of the development of a striking hanging in last year’s National Exhibition in Glasgow: Njál’s Saga, created by Caroline Thomson. And finally, an introduction to Leigh Spinners Mill, the venue for the National Exhibition 2020, which will, no doubt, combine tradition and innovation.

#270 Summer 2019

In the final part of our series on Designing with Colour, Cally Booker, Matty Smith and Alison Daykin share their different approaches, with the common subliminal message : sample! Another warm summer could inspire you to try solar dyeing after reading about Christina Chisholm's experiments; or take an historical perspective with Carole Keepax's  interesting postscript to Susan Dye and Hannah Sabbertons' article on Norwich Red in the Colour Issue (J267, Autumn 2018). Colour is a major focus for Mark Cullen's rug designs, and Janet Phillips shares her design development to create her very colourful Cosmopolitan Cobblestones scarf.  Or, for something completely different, turn to Michael Williams's precision construction of his Great wheel, and the advantages to her wider spinning community of Chris Pegler's CoA learning journey.  Visit Kurume Kasuri textiles in Japan with Beryl Cole, or closer to home Christina Chisholm explains the reasons for keeping detailed records of spinning projects. 

#269 Spring 2019

Brush up your knowledge with Jill Riley's back-to-basics Weaving Glossary, clearly explaining the commonly used but sometimes confusing terminology of looms and other equipment. Belinda Rose describes the operation of computer-controlled Jacquard looms, with their myriad of exciting design possibilities. Try eco-friendly dyeing methods by following Aprina Murwanti's interesting marbling techniques, using vegetable waste from the kitchen. Amanda Hannaford describes how she prepared Cornish camel fibre to produce a subtle natural colour gradient of combed sliver and rolags, ready for spinning.

Our mini-series exploring different approaches to working with colour continues as Theo Wright describes how his designs explore control of colour values, while Isabella Whitworth helps her pupils develop their colour confidence. Christina Chisholm, very often inspired by the natural landscape, describes developing colour design from photograph to woven/knitted sample.

Jessie McCaffrey describes her creation of a traditional Shetland Taatit marriage rug for a wedding gift, we highlight Guild activities around the country and provide reviews of exhibitions and new books to inspire your creative projects.

#268 Winter 2018

Our Autumn 2018 issue focused on the fascinating subject of colour; we had so much lovely copy to try to squeeze in that it spilled on into this next issue! So we continue to explore colour with a feast of ideas, starting with Sarah Pape's explanation of how the theory of colour perception explained in her earlier article can be applied to planning our textile projects. 

Amanda Hannaford explains how space dyed tops can be spun and plied in many inventive ways, whilst Leonor Calaca works from an individually designed and carded 'art' batt; both create lively and interesting core-spun yarns with their different approaches. Dyers will be impressed by Patricia Dyson's striking but practical Handspun Swagger Coat, using a unique mix of handspun and hand-dyed skeins.

Jill Riley interviews tapestry weaver Naomi Robertson of the Dovecot Studio, and Rosalind Lobb researches the construction of a striking Baluchistan tent hanging. Dyeing knitted blanks to create very individual and colourful projects is easily achievable following step-by-step practical advice from Debbie Tomkies.

In this issue we start a mini-series exploring different, often personal, approaches to colour in the context of textile design, with contributions from talented multi-disciplined practitioners.

Bright colours shone in the hot sun at London Guild's Natural Dye Demonstration at Southwark Cathedral this summer, whilst at the other end of the UK visitors were enjoying the beautifully-presented National Exhibition in Glasgow. Turn to Guild Highlights and Exhibition Reports for details. And to drop 'gift hints', don't forget our book reviews!

#267 Autumn 2018

Our special colour themed issue looks at many aspects of this fascinating, and often challenging, subject. To start, and before our visual senses are confused by a kaleidoscope of possibilities, Sarah Pape explains in very straightforward terminology the theory of colour perception. We move on to the primaries: a whistle-stop tour of blue, looking at indigo under the expert guidance of Jenny Balfour Paul, Association President; fascinating research into Norwich Red with Susan Dye and Hannah Sabberton; and finally we explore the warm yellows of the Moroccan sun with Aviva Leigh.

Practical advice follows; Rachael Prest experiments with spinning hand-dyed tops to produce varied striped, woven fabrics, whilst Michael Crompton describes his distinctive method of using colour in tapestry weaving. More advanced weavers will enjoy following Rosalie's Neilson's step-by-step guide to weaving a colourful rep runner on 4 or 8 shafts. We've also tried our best to focus on colour in our regulars – Notebook, Book and Exhibition Reviews and Guild Highlights – for our most colourful issue ever.

#266 Summer 2018

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This issue of your Journal ventures far and wide! Explore traditional weaving on the Pacific Outer Islands of Yap as the indigenous craftswomen maintain their cultural identity, whilst, firmly within our shores, a Bradford-based group of enthusiasts attempt to recreate historical dye recipes at a restored local mill. Follow the inspiring story of a new weaver, who mounted her own private exhibition of textiles woven on homemade looms just a year after starting to weave. Then travel overseas again, this time to the Ryukyu Islands of Japan to learn the intricacies of the meticulous art of ikat, a resist dyeing technique practised in many countries. For spinners, we provide tips for maintaining your spinning equipment - and pose an interesting question : Are dog combs suitable for fibre preparation?

Our regular features include Guild Highlights, Reader's Showcase (featuring the collaborative boundweave project on our front cover), Exhibition Reviews (from London to India) and Book Reviews.

#265 Spring 2018

Don Porritt, loom-builder, supplier and silversmith is profiled by Pete Leonard and Paddy Bakker, Life President of the Association, is interviewed by Janet Maher on the occasion of her recent retrospective exhibition, Cloth and Clay. Isabella Whitworth describes her amazing chance discovery in an industrial dye manufacturer's archive - purple threads, stated as having been dyed using shellfish, a process not known to have been carried out since the 15th century. Tamara Poff provides practical advice for successfully combining yarns of different weights on a rigid heddle loom, including a simple cowl for you to weave. Christine Jordan seeks the perfect fleece for Aran knitting, whilst tapestry weavers will take inspiration from Leslie Fox's art deco design development. The Orkney islands inspire Christina Chisholm to design a silk handspun accent yarn for weaving. Janet Maher, the Foundation Certificate Co-ordinator, details the Spinning syllabus and invites you to hone your skills by signing up.

#264 Winter 2017

We start by exploring the traditional natural dyeing practices of Scotland with Carole Keepax. Either natural or synthetic dyes could be used to follow the practical advice from Martin Weatherhead describing how to create interesting effects with warp ikat, on either an inkle or a shaft loom. During a coffee break, we can travel across the Irish sea with Susan Foulkes in her quest to discover the fascinating background to the crios, a traditional woven belt from the Aran Islands. In an informative back-to-basics article, Ann Fisher explains why fleece should always be washed before spinning. Isabella Whitworth adds an interesting twist to natural dyeing with the use of mordant pastes to create her distinctive silk scarves, and Nik Knott describes her experience trialling the Association's recently launched Foundation Certificate in Spinning.

#263 Autumn 2017

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Amanda Hannaford takes us to Tibet, sharing her experience last year teaching spinning, natural dyeing, knitting and crochet, as part of a project to establish a textile workshop to support Tibetan nomads. And on a textile tour to Gujarat, Alison Stattersfield, Jane Stockley and Lucy Rhodes received a warm welcome from the traditional handweavers they visited, greatly admiring their considerable skill in producing fine fabrics from basic and very well-used looms.

Back home, Susan Dye and Ashley Walker provide a very comprehensive guide to growing, harvesting and getting the very best reds from madder, whilst Christina Chisholm demonstrates that you don't necessarily need to use metallic salts for effective mordanting.

Judith Edwards describes the fascinating history of her Bosworth Journey Wheel and Jane Deane explains how to spin a unique yarn from paper and flax. Equally unusual are some of the innovative projects supported by the Theo Moorman Trust for Weavers, as described by the latest award recipients.

#262 Summer 2017

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In this issue we unravel more mysteries of the much-prized dye process, Turkey Red, under the expert guidance of Julie Wertz, and learn how to produce both red and yellow natural dyes using the same safflower petals from well-known author Jenny Dean. 

Michael Crompton describes his design process from travel inspiration to woven tapestry, while Ann Fisher brings us back to basics with her detailed Spinner's Glossary. 

Historians will enjoy Glenys Crocker's exploration of the capabilities of the warp weighted loom, while Beryl Cole's recently designed and registered tartan provided a unique highlight to her daughter's wedding. 

Our Exhibitions Reviews have an international flavour, from Edinburgh and Zetten, Netherlands, to Georgia, Vancouver and Seattle. Closer to home, Guild activities explore growing flax within the M25, coastal inspiration, alpacas, natural dyes...and then cross the continents to Kashmir.  

#261 Spring 2017

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Gardening gloves ready? With a wealth of practical information, The Dye Plant Garden is the ideal place to start planning new adventures with natural dyes - as authors Susan Dye and Ashley Walker confirm, 'using home-grown colour in a piece of textile art or functional clothing is without price.'

Tapestry weavers will be inspired and entranced by Ros Wilson's work under the skilful guidance of Máximo Laura in Peru, whilst three of the graduate award winners at New Designers 2016 describe their skill development experiences during their studies, and their plans for the future. Jane Lucas gives spinners detailed advice on preparing and spinning alpaca fibre - and then combining it with other fibres in interesting and innovative blends.

Our Exhibition Reviews include three reports of the much acclaimed National Exhibition, and Janet Maher, the Exhibition Convenor, provides a fascinating insight into the work involved in planning a national event. But before our feature articles you will find moving tributes, from friends and colleagues, to the late Stuart Groom, ex-Chair of the GPC.

#260 Winter 2016

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Variety is the spice of life - as we compile the content of your Journal, members of the Editorial Committee seek to encourage exploration beyond conventional practices and traditions. Turn to page 32 for Jennie Parry's exquisite woven paper yarn suspended sculptures and page 41 for Electronics in Textiles and Clothing, a new cutting edge book explaining how science and art can be blended.

In our regular feature articles, Janet Phillips provides practical advice on Cloth Finishing, while Debbie Bamford explains the fascinating history of Turkey Red. Ideas for collaborative guild study groups will be inspired by the Cambridgeshire Guild's Peruvian Textile Study Group. Berry Cutler's achievements show that our younger guild members are taking delight in producing wearable textiles - turn to our Correspondence pages for some more ideas. Explore the different effects at the fingertips of weavers who also spin and dye their own fibres. Or sit back to read a fascinating account of traditional textile production on the Outer Hebrides.

#259 Autumn 2016

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As autumn is traditionally the start of the academic year, our new issue encourages you to learn new skills. Isabella Whitworth's in-depth Dye Glossary is an ideal place to start for spinners or weavers who would like to expand their options by learning to dye their fibres or yarns for unique, eye-catching projects.

Spinners who love combining colour and texture will appreciate the boost to their creative juices from Helen Melvin's in-depth description of spinning Art Yarns. Stacey Harvey-Brown celebrates the versatility of weaving with just eight shafts with her amazing doublecloth structures. 

Start planning for next year with the mouthwatering list of courses on offer at the Association Summer School, to be held in Hampshire next August.

#258 Summer 2016

Theo Wright describes his mathematically based weave project, Permutations; Laura Rosenzweig shares some simple art based ideas for igniting design and colour ideas for weaving, plus the benefits of doing these in the company of like-minded friends; Christina Chisholm explains how she found inspiration in her garden for a beautiful hand spun, dyed and woven silk wrap.

Spinners and upcyclers will find inspiration, and instruction, in Lorna Lindfield’s article The Mother of Invention, for turning waste fabrics into unique and characterful yarns.

Summertime is often the season of travel, Jenny Balfour-Paul offers us some tantalising glimpses into the colourful textile culture of Myanmar. Continuing the travel theme, Catharine Ellis recounts the fascinating story of how a global team came together in the Natural Dye Project to sensitively assist a Guatemalan textile community.

Ruth Winterbottom shares an inspiring personal journey, the one she undertook to discover how she could continue spinning and weaving, despite unexpected disabilities.

The Theo Moorman Trust Award recipients of 2014 explain what their award has meant to them and for their work.

#257 Spring 2016

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With spring in the air, Jenny Dean shows us how to dye a stunning range of greens with natural dyes.

Join two Online Guild members as they experience cotton cultivation in Barbados, then listen to Gretchen Roth describe the challenges of growing warmth-loving cotton plants in Lancashire!

Would you like to learn to spin, but without a big financial outlay?  Would you like your spinning to be more portable? And, even easy to do whilst sat in an armchair? If the answer is yes to any, or all, of these questions, be inspired by Sally Hands who, as a result of her own experience, writes In Praise of the Humble Spindle.

Have you wondered about the potential longevity of your lovingly created works of art? Margaret Smith and Frances Leonard explain research that has been undertaken to understand the yarns and fibres used in the Stirling Tapestry Project.

Read reports from the Association Summer School 2015 and the Certificate of Achievement programme. 

#256 Winter 2015

Feed a sense of adventure!

Join spinning tutor Amanda Hannaford in Kabul when she taught local professional spinners to spin beautiful, repeatable yarns from Afghan cashmere. Amanda describes her pre-trip sampling, which may inspire your own cashmere adventure…

Hear from Rex Cowan how dye stuffs are not only being recovered from shipwrecks, but can still, after many years in sea water, produce beautiful colour. 

Interpreting artwork in tapestry requires a range of yarns in specific colours; Philip Sanderson explains how they do this in the studio dye laboratory at West Dean College.

Jenni Stuart describes her challenge to weave a throw with yarn spun from a local farmer’s sheep, and two experienced weavers write about their projects inspired by a London Guild competition.

#255 Autumn 2015

Discover how dyer, Jane Spavold Tims, finds poetic inspiration through the collection and use of plant dyestuffs gathered from her Canadian surroundings.

Spinners will be interested to hear Retha Durose describe her journey into spinning and the spinning wheel her husband made for her.

Barbro Heikinmatti shares her fascinating study of six Nordic sheep breeds.

Weaver Jette Vandermeiden discusses the variety of boat shuttles; explaining when and why to use them.

Suzanne Townsend describes how The Handweavers Diploma enabled her, and fellow students, to develop their weave skills and interests.

Robbie LaFleur explains how she has interpreted one motif in many different textile mediums.

A recent highlight of the Lancs and Lakes Guild activity, was the reproduction of the Kendal Pattern Book; Alison Ongley writes about their joys, and challenges.

#254 Summer 2015

Join Lydia Hill on her quest to master the art of sheep shearing and Steve Higgins as he writes about the history and special qualities of Lincoln Longwool sheep.

Find out how natural dyer Deb Bamford tackled an epic dye project; dyeing linen cloth with weld and madder for a Viking-style sail.

Steven Byrd describes how traditional Peruvian weaving, spinning and dyeing skills are being kept alive and well at the Lorapo cooperative.

Two very different weavers explain how they went about specific projects; time was limited for Katherine Swales as she wove a tapestry interpreting artwork for Studio Toogood, while Sue Brigg designed and sampled triple-cloth for pleated textile jewellery.

Discover how a tennis ball’s cloth cover is produced using traditional skills.

#253 Spring 2015

Can you be sure to have enough fibre for a project, before starting it? Klara Decker explains how.

Amanda Hannaford shows us step-by-step, how to produce space-dyed tops. 

Weavers will be intrigued by Merilyn Green’s account of Weaving Damask on a Drawloom. Rita Parniczky tells us about her X-ray fabrics and Jo Atherton explains how and why she weaves art from flotsam.

See how spinners got ‘out and about’ for Worldwide Spin in Public Day.

Hear the fascinating story of a Shrewsbury Flax Mill and the 'Flax to Fabric' project it has inspired.

2015 sees the diamond anniversary of the Association of Guild’s for Weavers, Spinners and Dyers; Jill Riley takes us on a journey through its 60 years of challenges and changes.

#252 Winter 2014

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Spinners will find tips from Klara Decker on how to spin the yarn they want for their project; Ann Fisher Rhodes shares how she did exactly that, then dyed and wove her yarns into a truly handcrafted silk corset.

Dyer Fiona Sanderson shares her very personal experience of sandalwood washed ashore from Orcadian shipwrecks.

Are you wondering how to teach young people to dye, spin or weave - particularly in school? Jane Deane shares simple, effective and safe ideas to inspire them and their teachers. Carol James explains Canadian fingerweaving and how to get started with a simple project.

Follow along with Dianne Hewitt as she tries out Maori flax weaving in New Zealand. Closer to home, Lorna Lindfield interviews Rachel Powell about her creative projects involving visitors to Ormsby Hall.

Find out about some recent Guild activities plus recent exhibitions and new books that provide a creative spark.

#251 Autumn 2014

Discover why and how spinner Gemma Musson spins acrylic fibre.

Rare lotus fibre is extracted from the plant’s stems: find out how it’s spun into yarn and made into cloth as you journey with Cia Bosanquet through Myanmar’s traditional textiles.

Dyer Irene Taylder writes about the rainbow of colour that she and fellow mycologists create from colour-rich fungi.
Sandi Toksvig talks to the Journal about her love of weaving.

Learning from others can cut years off a learning curve, by gaining skills to weave a good weft-faced rug, starting a weaving class or working through a challenging commission. Experienced rug weaver Jason Collingwood shares tips for weaving a well-executed rug. Val Conway details setting up a weaving class and Martin Weatherhead explains how he faced up to recreating a nightmare Dr Who tweed!

Reports, reviews and images from the Association’s 2014 Spring Conference, AGM and National Exhibition reflect the work and creativity that went into making them a success. Planning for Summer School 2015 has started, convener Chris Pegler gives us a taste of what to expect.

#250 Summer 2014

Wendy Feldberg invites us to explore her approach to natural dyeing – printing plants directly onto fabric and paper. The exciting range of effects and colours will be irresistible to experimental natural dyers. Tara Osborough's subtle woven textiles are a celebration of the intrinsic beauty of hand-dyed yarns.  

Mayumi Kaneko's paper yarn lampshades are a detailed and thought-provoking study of the intriguing interaction of light and shade.    

As part of a sustainable initiative in northern Mongolia, Zoe Hillyard describes her voluntary work helping to teach nomadic herders to process and spin yak fibre for eventual sale as knitting yarn. At home in the UK, Kerry Lord provides a fascinating background to the production of alpaca fibre for handspinners. 

We report astonishing and diverse textile news in Notebook, from Janet Phillips' experiments weaving fine suture threads into delicate patches for surgery to the production of coloured threads from snail trails. Readers who responded to the Journal Design Challenge with the theme Landscape, Seascape and Skyscape created some stunning design boards. 

#249 Spring 2014

We focus on the warp weighted loom : Christina Petty explores the fascinating history of this upright loom whilst Jaquie Teal revisits the  techniques of its use, weaving her handspun Soay. 

The social history of spinners and their wheels is explored in Amanda Hannaford’s tour of her collectible spinning-focused postcards    

Aviva Leigh shares her recent colourful textile-inspired trip to Japan with us, with a particular emphasis on Indigo dyeing. 

Much closer to home, Ian Mackintosh relates the fascinating history of the Worshipful Company of Dyers.  

If you are visiting Manchester and Norwich as part of this year’s
Association events, then take a look through our suggestions for textile attractions in each area to make the most of your visit. 

The recipients of last year’s Association Bursary Awards describe the many benefits of attending their Summer School courses, and our usual Exhibition and Book Reviews will inspire your interests and studies.  

#248 Winter 2013

We travel to Indonesia in two separate articles to discover stunning traditional ikats on different Indonesian islands. Much closer to home, the courses covering all aspects of our three textile crafts, and more, at the Association’s Summer School in Wales are reported by their enthusiastic participants.  

Time travel takes us back to eighteenth-century Spitalfields, sharing the triumphs and struggles of Huguenot silkweavers with Claude Delmas and Roberto Campana. We also look back with appreciation on the lives and work of Anne Field of New Zealand, and Paul O'Connor of the USA. 

Five of the candidates who were awarded the Certificate of Achievement at Summer School share their learning processes and skills development whilst Linda Wilson explains a straightforward method of extending the design possibilities from a single loom threading. 

The issue includes all our usual Exhibition and Book Reviews, including exciting textile innovation from the New Designers Part 1 show. We even have suggestions for unique handcrafted Christmas cards and presents.  

#247 Autumn 2013

Education is a theme in several of our articles this issue - recent recipients of grants from the Theo Moorman Trust for Weavers report on their special projects or areas of study and Oxford Guild describe how the Journal’s Guild/Education Exchange Grant has helped their work with students at Oxford Brookes University.

Sarah Cage’s wallhanging educates members of the public about natural dyestuffs and Ann Richards explains how differences in yarn twist can be exploited by weavers to create fascinating 3-D textures. 

Irem Arig shares her intense enthusiasm for designing exciting handspun yarns for the twenty first century. Bess Jamieson describes how she spun an incredibly fine yarn to recreate her grandmother’s wedding veil (1831) in stunning, delicate Shetland lace. 

Jane Cooper reports on the Woolsack project, which gave Olympic athletes unique, handmade gifts made from British wool. Tributes are made to the life and work of Jill Goodwin.

#246 Summer 2013

Jennifer Moore provides a detailed introduction to doubleweave on 8 shafts through a step by step sampler, and is herself introduced through an interview giving a fascinating insight into her background and inspiration behind her weaves. 

For spinners, Claire Crompton explains how decisions made at the yarn design stage can create the perfect garment or accessory. 

Unusual plant dyes yielding turquoise and green shades are explored by Krista Vajanto. On the St Kilda archipelago Margaret Tattersfield meets one of Britain’s most ancient sheep breeds, the Soay, whilst Jaquie Teal explores how their fleece could have been prepared in Neolithic times. The qualities of Worsted spun yarns are explored by Matty Smith and Lin Squires through structured sampling. 

Readers’ Showcase highlights just some of the projects from the Online Guild’s 10th Anniversary Challenge while we include our regular round of Exhibition and Book Reviews, Guild Highlights and Diary of forthcoming events.

#245 Spring 2013

We have plenty to inspire you in our first issue of 2013. Learn about how stunning purple dyes can be produced from Murex shells in Qatar (photo left, by Inge Boesken Kanold) and how intricate and equally colourful tassels can be made to complement handwoven Swedish bands. 

Our series on the Certificate of Achievement concludes with advice on presenting your work and an insight into the completing the Certificate in Natural Dyeing. Or learn how growing and dyeing with plants can be therapeutic. We also include detailed, practical guidance on how to sort and wash a fleece for the best results. 

Members of the Stratford-upon-Avon Guild describe how they showcased tapestry weaving in the stunning setting of Compton Verney, Warwickshire, while weaver Sue Christian  was featured on BBC TV's 'Paul Martin's Handmade Revolution'. Our regular round up of news and reviews completes a packed Journal.

#244 Winter 2012

The winter Journal encourages you, subliminally, to explore new ideas and learn new skills. 

Wendy Morris experiments with combining metallic yarns and wires with more traditional weaving yarns whilst Deborah Gray invites spinners to select their next fleece direct from the sheep. Theo Wright describes his personal highlights from innovative students’ work at New Designers, Texprint and the Bradford Textile Society design competition. 

Julia Complin describes her success teaching weaving in schools whilst Anya Moore, aged 11, is already undertaking weaving and crochet commissions. Heather Seddon and Mary Hildyard provide an insight on the challenge of the Certificate of Achievement in Weaving and Tapestry Weaving. 

Reports from the Association’s National Exhibition, Guild Highlights, Book Reviews and Exhibition Reviews, plus our new Showcase feature, round off a packed issue sure to distract you from the winter blues! 

#241 Spring 2012

This issue contrasts traditional and contemporary. Valerie Bryant leads us on a countrywide trail to discover historic spindle and cottage spinning wheels in National Trust properties while Christina Chisholm goes back to first principles of weave design. She has home-produced traditional Chisholm tartan cloth using handspun and hand-dyed yarns.

Kennet Valley Guild members focus on natural dyeing, preparing wool yarns to weave a series of cushions. Ann Hecht takes us to the plains of Patagonia to research the long history of the guanaco, and some of the world's finest fibres. Sue MacNiven provides essential advice and inspiration on how to blend and spin exotic fibres.   

In a highly contemporary vein, Belinda Rose's innovative three dimensional pieces illustrate how she weaves paper yarns, and Sarah Tucker reveals how Procion dyes and batik techniques can produce evocative 'painted' landscapes.

News of exhibitions, Guild activities past and future, book reviews and courses round off another packed and informative publication.

#240 Winter 2011

**LOW STOCK** FOR PRINT COPIES PLEASE CHECK AVAILABILITY BEFORE ORDERING - subs@journalwsd.org.uk

In this issue we celebrate ‘the blues’ with a strong indigo theme. Jane Deane introduces Michel Garcia’s simple fructose vat, Jenny Balfour-Paul describes a multi-disciplinary educational programme, Christina Chisholm and Isabella Whitworth share their tips for growing and using Japanese indigo and we review Mary Lance’s film Blue Alchemy.

Klara Decker explains how to blend fibres efficiently using a drum carder and we take a step-by-step view of dyeing and weaving ikat with Kaz Madigan. If you have ever wondered how the Vikings kept themselves warm and dry, you will find the answer in Satu Hovi’s article about weaving her own Viking rain cape.

Reports from the 2011 Summer School and Certificate of Achievement bring us up-to-date with Association events. We also hear from the recipients of the 2010 Theo Moorman Trust awards about how the grant has supported their work.

#239 Autumn 2011

In this issue Sue Hiley Harris tells the story of her Ancestor Bags, their meaning and their creation.

The final snapshot from Diane Gaffney’s “Meetings with Remarkable Dyers” takes us to an indigo plantation in Java, while in the downloadable article Stephanie Bunn introduces us to the fascinating woven textiles of Kyrgyzstan.

There is practical advice from Amanda Hannaford, who compares Scotch tension with double-drive spinning wheels, and from Stacey Harvey-Brown, who describes what to look for in a secondhand loom.

Lesley Prior invites Guilds to get involved with the Campaign for Wool, a profile of recent graduate Holly Bradley-Gill takes us on a tour of international trade fairs, and Diane Sergeant opens the door to Gainsborough Silk Mill.

We offer you another glimpse behind the scenes of Journal production and show how you might get involved.

#238 Summer 2011

This issue is now out of stock but copies of individual articles for personal or research use may be obtained by application to the AGWSD Librarian via library@wsd.org.uk

In this issue there are two articles on devoré; one by Dr Andie Robertson on her historical studies and another by Anne Field describing the process of weaving and decorating a scarf using the devoré technique.

Ann Hecht takes us on a fascinating journey into the past to explore why silk production did not survive on a commercial scale in the UK. Jane Deane describes how to rear silkworms today.

Jenny Dean and Krista Vajanto write about using natural dyes and mordants.

Tapestry weaver Joan Baxter shares her approach to concept and design for her tapestry inspired by Sorley MacLean's meditative Gaelic poem 'Hallaig'.

Peter Fisher gives a glimpse of the processes, machinery and history of Coldharbour Mill in Devon - a working woollen mill open to the public.

Dawn Willey has recently joined the Journal committee and writes about her first experiences as Journal book reviews editor. The committee comprises a small but very active team of volunteers - and there's always room for more...

#230.5 Summer 2009

Peter Collingwood Special Edition

Jason Collingwood’s memories of his father, and an interview with Peter Collingwood on ply-split braiding. Unpublished writing by Peter Collingwood on Burmese 
Manuscript Bands with an introduction by Ralph Isaac.