You are browsing the The Weave Shed archives for July, 2016

Texprint 2016: Weave Participants

alice image 5

Texprint interviews, mentors and promotes the UK’s most talented textile design graduates with the support of industry professionals worldwide.

Those selected are introduced to buyers, press and sponsors at the Texprint London event, and at Europe and Asia’s leading yarn and textile exhibitions.

Texprint is entirely funded by the generous sponsorship of industry and by British charitable foundations, who believe wholeheartedly in supporting textile design talent and in encouraging design innovation and excellence.

The following Weave Designers were selected:-

Alice Timmis
(Photograph above)

For my final collection, I was inspired by the gestural presence that an artist gives to his or her canvas. I produced a collection of woven fashion fabrics, hand finished using a variety of experimental techniques, sometimes using unorthodox tools.  I approached some of my fabrics like an artist would his canvas, and used my weave as the base ‘coat’ for other layers including embroidery, thus breaking away from the liner restrictions of the loom.

As part of this fashion-fabric collection driven by finishing methods, I developed a technique whereby woven cloth can be manipulated and shaped directly to the body.

Royal College of Art Continue reading →

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

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.

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 →