Tapestry Weaving Workshop: Caron Penney

Caron Penney

Tapestry Weaving Workshop

Dates: 7 – 10 September
Times: 10 – 5pm
Lunch 1.00 – 2.00pm
Level: Beginners and improvers.
Tutor: Caron Penney
Assisted by: Katharine Swailes (Thursday – Saturday)

Course Description
This is a lively and varied workshop. It is designed to develop and encourage weavers to look deeper into the technique of tapestry weaving. The course relies on both experienced weavers and new students to create an exciting dialogue. Experimentation, dexterity and a sense of fun and risk taking are encouraged.

Those students that are more experienced should bring ideas which can be manipulated, enlarged and used as a vehicle to make an exciting development in your work. Design approaches which will be encouraged include those exploring geometric / graphic mark-making.
There will be a series of demonstrations to help the students progress through the four day workshop.

Beginners will be guided through the basic techniques, starting with warping up a frame.

Course held at The Mill Studio – New House Farm Barns Ford Lane, Ford, Arundel, BN18 0EF

To find out more information www.eventbrite.co.uk

New Designers: The Swedish School of Textiles Borås

Johanna-Samuelsson 01Students from The Swedish School of Textiles University of Borås exhibited at New Designers 2016. Three of the weavers are profiled below.

Johanna Samuelsson

Surface Synergy – Woven 3D texture merged with pattern

Surface Synergy – Woven 3D texture merged with pattern, is an innovative textile project that explores digital jacquard woven textures in combination with pattern. A digital visualising tool is used to create complex multilayered bindings that in combination with carefully chosen materials transform the flat textile surface into a patterned 3D-texture.

Textile designer Johanna Samuelsson explains that shrinking is used to transform the flat surface into a texturized one. At the same time as the pattern is created in the loom, also the texture is formed. Or rather, there is an interwoven ability for shrinking; this action of transformation is planned at the same time as the rest of the weave. As long as it is held   in the loom, the fabric is under tension and little shrinking can occur. First after cutting down and steaming, the final result of the shrinking can be seen. This work proposes on-loom effects requiring minimal finishing processes.

Woven patterns, such as plaid and houndstooth, are updated by merging with texture, twisting the traditions of the flat patterned surface. One of the strength with mixing pattern with texture is the concept of sensory manipulation. Johanna states ”I think that if a design, somehow breaks with the assumed aesthetic, or its traditions, we might look upon the object and start to really see it, just because it is distorting with over expectations. I think that a texturised textile has the power to evoke curiosity since its dynamic surface distorts the pattern and breaks up the ground surface into several visual elements.”

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New Designers: Weave Graduates

Josephine Ortega 2LRJosephine Ortega
My project investigated the perception of ‘comfort’ and culminated in concept proposals for transport seating. In order to define this abstract notion, I explored where and when people feel at their most comfortable through a questionnaire. The documentation of these answers through photography allowed for the visualisation of comfort to become more transparent, which ultimately meant that the concept of ‘comfort’ could become tangible and definite, making it easier to depict. The main visual inspiration taken from an individual’s home and swimming pool were translated into the designs through extracting elements that referenced colour, pattern and yarn choice.

 I wanted to challenge the existing transport seating designs therefore decided to approach my project using an alternative construction method, exploring traditional techniques used to create rugs. This method meant that the designs pushed the boundaries of weight, density and scale, yet still remained practical through the use of wool.

www.josephineortega.com

Central Saint Martins, University of The Arts London.

Katie LangKatie Lang 2, The Glasgow School of Art

My collection of handwoven fabrics was initially inspired by modern architecture. After drawing and creating collages from photography of buildings around Glasgow and Edinburgh, it became apparent that some of my drawings were very graphic whilst others were more painterly; this led to me exploring the idea of developing fabrics that contrasted graphic and painterly qualities.

I identified weave structures which allowed me to play about with geometric patterns and shapes, and used different blends of colours and yarns to achieve the more painterly aspects identified from my drawings. The final collection is a range of fabrics intended for interiors, woven from silks, soft cottons and lambswool yarns.

 

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New Designers: Worshipful Company of Weavers Prize Winners

IMG_6825The Worshipful Company of Weavers‘ prize for best woven fabrics at New Designers 2016 was awarded to Lydia Hiles from Manchester School of Art.

Lydia Hiles describes her work as: ‘captivated by methods of recording and storing information my intrigue into both the digital realm and the natural world has led to the development of a body of woven textile designs for fashion. I am particularly interested in adding a contemporary edge to traditional menswear fabrics by employing an innovative approach to colour, yarn, and structure.

Alongside my woven fabric designs I have also developed a trio of scarves commissioned for Flowers Gallery, London by the Michael Kidner trust. Inspired by the repeated undulating line motif of the column and wave works of Kidner the trio of woven lambswool scarves used his work as both a visual and conceptual catalyst. Taking particular interest in the themes of mathematics, chaos and wave theories I sought to capture the character of Michael Kidner’s artwork. I found that the scarf offered a unique canvas, in which composition and fabric qualities combined to create an exclusive piece of design for the gallery.” Continue reading →

Making it in Textiles Conference: Calling Science/Engineering undergraduates

DSCF0268Are you a science/engineering undergrad considering working in the UK textiles industry?

Making It in Textiles is a free two-day conference aimed at inspiring undergraduates to consider a future in the UK textiles industry. The UK textile industry is experiencing a resurgence, which is creating jobs but there is a skills gap.

The conference is in its 3rd year and the event offers a mix of plenary talks, interactive sessions, a networking dinner and a trip to a textile mill. The sessions are also videoed and available online.

Previously only BA (Hons) Textile Design students have been invited, via a selection of UK educational institutions, but feedback from the industry has suggested those with engineering/science degrees could have the right skills for a career in textiles.

This year the conference organisers are offering up a handful of places to final year undergraduates (entering their final year from September 2016) who are studying engineering or science related degrees at a UK university. They are looking for those who intend to work in the UK post-graduation and are willing to consider the textile industry for their career.

The event is being fully funded by three City of London Livery Companies and the Campaign for Wool. There is no cost to attend, and they will cover your accommodation, catering and train fare.

If you are interested please contact Abby Wright-Parkes who is organising the event on behalf of the sponsors via abby@optimistconsulting.co.uk asap for information.

Historical weaving items available

IMG_6943The Museum of London is currently undertaking a major review and rationalisation of its social and working history collections.

As part of this review they have identified a number of items that no longer fit within the Museum’s collecting policies and long term strategic plan. They would ideally like to transfer these items to an institution which is better placed to care for and provide access to them.

The Museum is also keen to breathe new life into these historic items by offering them to new professional weavers, weaving colleges or recent graduates wishing to establish their own weaving workshops. The items on offer include bobbins, shuttles and many other items related to the weaving industry. Expressions of interest are particularly welcome from new start up weavers and weaving colleges who feel such historic items would be of benefit to a new generation of weavers.

They have a number of items from two London weaving firms.

Below is a summary of the two London firms where these objects originally came from:

1. Sindall’s Silk Trimming established in east London in 1864. During the early years of the of 20th century, Sindalls emerged as one of leading surviving manufacturers of silk cords and braids in London. The firm closed in 1981 at which point the Museum acquired a large collection of equipment including narrow weaving power looms and jacquard mechanisms as well as specialist machinery and equipment used in the production of silk cords and braid. The items they now wish to transfer to other institutions are surplus or duplicate items in the collection and range from large items such as squirrel cage swifts for unwinding skeins of yarn and weavers creels, through to smaller items such as shuttles, spools and bobbins.

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Job: Asiatic Carpets Ltd

Koko CoralAsiatic Carpets Ltd are looking for an in – house designer to work at their London head office 4 days a week. The successful applicant will be creating designs for their own collections as well as for their clients.

This role would be suited to a Textiles Graduate with strong attention to detail, an ability to work in a broad spectrum of styles and a eye for colour. Strong Photoshop and Illustrator skills are extremely important, along with good hand drawing skills. The successful applicant will work closely with the product development team but will also need to be able to work independently.

This is a varied role and responsibilities include, but are not limited too;

Following design and trend briefs provided by a range of high street interior brands.
Creating new designs and adapting existing designs, for both the high street and the companies own collection.
Conducting research into current and future trends.
Compiling mood boards and colour stories.
Carrying out Comp Shops.

Essential skills and experience
Degree in a relevant subject, preferably textile design (Print, Weave or Surface pattern).
Creative flair and commercial approach to design.
Sensitivity to colour.
Strong CAD skills, Photoshop and Illustrator experience.
Ability to identify key trends, and interpret these in a relevant and commercial way.
Knowledge of high street interiors market.
Ability to work towards specific and varied briefs.
Ability to work in a fast paced environment.
Must be able to successfully work as part of a team and independently.
Strong communication skills, both verbal and written.
This is an entry level role but some relevant experience within a similar role or internship is required.
Hours of work: 9am to 5.30pm Monday-Thursday Location: London N4

Salary: Dependant on experience
To apply for this role please send your CV with a covering letter to justin@asiatic.co.uk

The Cockpit Arts / Clothworkers’ Foundation Award 2016: Call for Entries

Rowenna Mason_weaving (1)Applications are invited for the Cockpit Arts / The Clothworkers’ Foundation Awards 2016.

The Awards are only open to weavers who have graduated within the last 5 years.

The Awards aim to assist emerging weavers each year to set up in business by providing studio space and business support provided by Cockpit Arts as well as shared use of looms. The selection panel, including the acclaimed ikat weaver and designer Mary Restieaux, and a representative of The Clothworkers’ Foundation, will be looking for up to three individuals who demonstrate entrepreneurial spirit as well as creative excellence and craft skills.

The Award contributes to the cost of a place at Cockpit  for one year from July 2016 and will include a space in a shared studio equipped with 3 looms, Leclerc and Louet, and it offers the following benefits:
• Studio space and use of looms within the creative community of Cockpit Arts at Deptford, London, SE8 with access to office facilities and resource centre.
• Business and professional development services including on-site coaching, a personalised development plan, workshops and seminars.
• A range of selling and promotional opportunities including Cockpit Arts Open Studios selling events twice a year.
• Award worth £2,000 with the remaining £2,000 fee being provided by the Award winners, payable on a monthly basis.

How to Apply:
Please request a “Clothworkers Award” application pack from dana@cockpitarts.com

Deadline for receipt of applications is 5pm Friday 27 May 2016

Interviews with shortlisted applicants will be held on Monday 6 June 2016

Winners will be expected to take part in our Awardee Induction Day on Wednesday 13 July and move into Cockpit Arts Deptford no later than 1 September 2016

Job: Stephen Walters- now closed to applications 11.05. 2016

AD photosStephen Walters are silk weavers designing and producing fabric for international luxury brands. They have built their reputation as design leaders working exclusively with fashion houses across the world. They are recruiting for the following position to join our highly regarded design team:

Entry Level Textile Designer to work within their creative design team producing CAD representations of their jacquard designs.

The design work is extremely varied and covers a broad range of fabrics from men’s neckwear to contemporary womenswear and furnishings.

They are looking for a designer with good artistic ability and drawing skills, a sensitivity to colour, a diversity of styles and attention to detail. An understanding of CAD systems would be beneficial but not essential, as full training will be given to the successful applicant.

Their design team is currently made up of trained designers from a variety of disciplines such as print, surface pattern and weave. They would like to hear from anyone who is qualified in similar areas.

Hours of work: 8am to 5pm Monday to Friday (40 hours)
Location: Sudbury, Suffolk
Salary: Depending on experience

 

Now closed to applications 11.5.2016

London Craft Week 2016

Harris tweed Hebrides

The second edition of London Craft Week will showcase exceptional craftsmanship from around the world through a  programme of 129 events across the city, featuring hidden workshops and unknown makers alongside celebrated masters, famous studios, galleries, shops and luxury brands from 3rd – 7th May 2016.

Weaving events include:
Dashing Tweeds  working on a table top loom to show the basics behind the design and development process used to create their urban cycling reflective tweeds, using unique reflective woollen cloth also known as lumatwill.  Dashing Tweeds specialise in creative woven textiles for menswear, tailoring modern sporting tweeds into ready to wear collections.Dashing Tweeds cloth for CraftW (1)
Lin: The Arts of Taiwanese Rush Weaving : Curated by Native & Co with Chia-En Lu and the Taiwan Yuan-Li Handiwork Association, this exhibition including a workshop explores the craft and techniques behind Taiwanese rush weaving, following its history and rebirth through contemporary design.

Native & Co, London Craft Week 2016With 300 years of history, rush weaving is one of Taiwan’s oldest and most traditional crafts. Lin wild rush grass, is native to the paddy fields of Yuanli in western Taiwan. First used by the Pingpu tribe to weave everyday objects, rush weaving evolved over centuries. At its peak the craft thrived under Imperial Japan, becoming one of Taiwan’s main exported goods. Rush weaving cannot be reproduced by machine and requires immense skill and patience. Chia-En showcases a series of hand-woven rush-weaved baskets, made in collaboration with the Taiwan Yuan-Li Handiwork Association. Each piece is handmade by master weaver Xue-Yun.

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