For the 15 years I’ve been a traveling fiber arts instructor, I’ve tried to provide most of the materials for workshops I teach. As a student, my personal pet peeve is getting an extensive materials list for an event and not needing those things after I’ve carted them through connecting flights. And I know people appreciate materials and preparation that show respect for students’ time and money.
I’m almost packed for a two-week road trip that will take me to two conferences. The first is the Midwest Weavers Conference. I’ve been teaching at this biennial event since 2005, and it’s one of my favorites. This time I teach three different workshops — one full-day, two half-days. They’re topics I love, or I wouldn’t have proposed them. But they’re short teaching time frames.
Short workshops often mean more instructor preparation. Like basting fabric to stabilizer and pressing seam allowances so 16 students can focus on stitching and possibilities in the three hours they have with me. As a student and as an instructor, I know the disadvantages of having prep work done for you. But I understand why short time frames are standard at many conferences in the United States.
I had planned to remain the instructor with the short student materials list and the long instructor preparation to-do list for as long as I can manage it. Or at least, that’s the plan for events I can drive to and classes for which materials can reasonably be shipped. But I may rethink that on my way home from the second conference.
That’s the Willow Gathering at Luther College in Decorah, Iowa. I’m not teaching there. My friends Jo Campbell-Amsler and Lee Zieke Lee organize the event, and I’m going to act as Conference Auntie. That way Jo and Lee can take workshops without the frequent interruptions that come when a bunch of people are living and learning in unfamiliar surroundings. And I can study other instructors’ teaching methodology. The Danish basketmakers I met there last year gave me much to think about.
But what about you? What do you see as the pros and cons of short workshops, longer workshops, instructor-supplied materials, student-supplied materials, different teaching models… Hit Comments and give me something to think about on the drive. I always appreciate your input!
Having a jar of willow bark alkaline extract sitting on the shelf comes in handy when you need some quick color. This is silk ribbon and silk cord immersion-dyed in liquid from the jar of willow bark extract I’ve been working on since last fall. I just keep topping off the liquid in that jar, adding a bit of soda ash when I do.
The color on silk from this method is much like the buff color of willow boiled or steamed with the bark on before peeling. But in this case, no heat is applied to extract the color from the bark — only when I simmer the fabric.
Continue reading More On Willow Natural Dye
Last week I made a trip to Iowa’s historic Amana Colonies to visit with basketmaker Joanna Schanz, who curates the Philip Dickel Basket Museum Gallery. The looped white pine bark egg gathering basket I made last winter is now on exhibit there. And there’s nothing like a long drive to help me sort things out in my head. I spent some time thinking about bases, but also about making do, making things that are useful, and making friends.
First, making do: This coiled bread rising basket is one of the samples of historic Amana baskets that complement the work of contemporary makers in American Baskets: Made To Be Used. Notice the different colors? Different materials were used when this basket was repaired.
Continue reading It’s All About The Base
After 10 days, the heads on my 25th anniversary roses were starting to droop. So I channeled my inner Morticia Addams and cut off their heads.
They’re in the freezer now until I have a chance to use them in an ecoprint project. I also pulled the stems out of the vase to let the leaves dry. When I’m ready to bundle, I’ll rehydrate the leaves with hot water.
Continue reading Roses In The Freezer
Inviting a bunch of friends to a party at your house is good incentive to get spring cleaning done. About the only time I had to take pictures, though, was while my braided hall runners were in the front-loaders at the laundromat. After 14 years, they still looked pretty good when they come out. Except for where the stitching needs to be repaired.
Generally I loathe stitching with a curved needle, but not in this case. It’s absolutely the right tool for the job of repairing a braided rug. I draped the rug over a bench and sewed up the gaps while we watched Mad Men on DVD one night.
I finally got to the top of the wait list for Season 1 of Outlander at the library, and am planning to mend jeans while I watch it. My new mending basket is all set up and ready to go. More on that another time. I see a spot I missed on that window.
Years ago, I read a rhyme used to help stake-and-strand weavers learn their craft. On a solo drive to a basketry conference in Michigan, I expanded that rhyme into an ode, recitations of which were so hammy that I’m glad there were no cell phone cameras back then. I found that poem again while cleaning last winter. Since April is Poetry Month, I give you An Ode To Willow Weavers. Feel free to post your own hammy YouTube video!
In casual conversation with non-fiber people, I try to keep a lid on my enthusiasm for a technique many people have never heard of. Don’t want to scare people with raving and weird vocabulary. But when someone wants to talk about looping and asks great questions? You can’t begin to know how much I appreciate it!
Leanne Jewett did just that when she interviewed me for the artist profile in the National Basketry Organization’s Spring 2015 quarterly magazine. It arrive yesterday, and NBO gave me permission to post a PDF of the four-page article. You can read it here.
There’s still time to register for my July 15-17 workshop New Age Looping: Process and Possibilities at the NBO biennial conference in St. Paul, Minnesota. The class is open to all levels. We’ll cover basics, even if you’ve been looping for a while (I’m a big believer in solid fundamentals), then I’ll be able to tailor challenges for students of different experience levels and interests. Want to come spout weird vocabulary with me?
When I can glean materials for natural dyeing that would otherwise end up on the compost pile, I’m a happy dyer. That’s what I’ve been working with lately — the waste from processing bark for this basket, and rhubarb leaves I saved from last summer.
Bill and I grow rhubarb, which we gorge on in summer and freeze for winter. When I harvest the stalks, I save the leaves for natural dyeing. The oxalic acid in rhubarb leaves seems to help yarns take up other natural dye colors better, but on its own the color is not that special. Usually. This time, I got an electric yellow-green — best color ever for me from a rhubarb leaf dyebath by itself. So now I have a fade test going to see how colorfast this yarn will be.
Continue reading Natural Dyes: Rhubarb Leaves and Bark Extracts
For thousands of years, people have learned to make the most of materials they can grow or gather locally. To celebrate that tradition, for an exhibition in Iowa this summer I’m sending a looped basket made from white pine bark I gathered in my own yard.
The show is American Baskets: Made To Be Used at the Philip Dickel Basket Museum Gallery in West Amana, Iowa. The technique was inspired by the Swedish bastabinne tradition. There are very good videos that show bastabinne looping technique here and here.
Continue reading Looping With White Pine Bark
My cavalier approach to natural dye documentation must drive some of you nuts. Any 8th grader knows from working on science projects that I go about things all wrong. Well, maybe not all wrong. But I certainly don’t make it easy for others to replicate my results. When was the last time you read “weight of fiber” here? Right.
This is going to sound awful, but I really don’t care if others can “replicate” my results. I do care, and care deeply, that others feel encouraged to explore uses of natural dye materials they can grow or gather where they live. That’s why I share these experiments in the first place. Chances are you won’t have access to the exact same materials. Or you won’t have the recommended weight of materials in relation to weight of fiber. Or your water chemistry will be different. Or any number of other variables will make your results unique. That’s why I write about the process, instead of the product.
Continue reading Natural Dyes — The Unscientific Method