Red Revisited

Christmas placemats in 2/8 cotton by Jane Richmond in a pattern from the Marguerite Davison's Handweavers Pattern Book

Because we've had an overwhelming number of projects removed from the loom that had red as its dominant colour, and also since it is "Holiday Season Time" ....festivities that employs a lot of red ornamentation, I've decided to reprint this blog post (except for the projects) from last year on Red. Over the centuries the colour red has been obtained by using lead, bugs, and plants. It is one of the first colours to be produced by humans and at first was used to paint their bodies and then on cave walls and rocks. The fact that it is also the colour of the life giving fluid , blood, makes it even more of a  powerful colour charged with symbolism and significance.

Evan Davies' first project in 4/8 cotton, a table runner. Rambler Rose pattern taken from Marguerite Davison's book

When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1521, besides discovering silver and gold, they uncovered that the Aztecs obtained a spectacular red from drying and crushing a tiny cochineal, a parasitic scale insect which lived on cactus plants. They exported these to Europe where they provided them to  textile dyers. 

Lann Smyth wove these rag place mats. Warp 4/8 cotton. Rags cut manually in 1" strips. 

At first dyers guilds' in Venice and other cities banned cochineal to protect their local products, but the superior quality of cochineal dye made it impossible to resist. By the beginning of the 17th century it was the preferred luxury red for the clothing of cardinals, bankers, courtisans and aristocrats.

Baby blanket by Mai Liis Toome. Pattern from Handweavers magazine. 

There are many names given to red paints and pigments: vermilion, madder, scarlet, cerise, persimmon, sanguine, cinnabar, rouge, crimson, carmine, geranium, ruby and rose.Every textile can benefit by warming with red giving life to a muted colour palette.

3/1 twill shawl by Susan Abrams. 

Red is charged with emotion and possibility.  Red conveys heroism and bravery, honesty and patriotism, strength, power, authority. It demands that you pay attention to it. It can represent many emotions: love, hate, anger, passion, lust. Love may be like a red red rose, as one's  sins. Even  politics may be red. One "sees red" when angry. There is red tape, red ink, red wine, red lips, red blood, red earth, red barons, red barns, red hearts, red thoughts and red herrings. Even women have been described as scarlet and we all know what a red light district is.

Woven ribbon scarf by Toshiko Shindo. 

Red is the color most commonly associated with joy and well being,  celebration and ceremony. A red carpet is often used to welcome distinguished guests. Red is also the traditional color of seats in opera houses and theaters. Scarlet academic gowns are worn by new Doctors of Philosophy at degree ceremonies at Oxford University and other schools. In China, it is considered the color of good fortune and prosperity, and is traditionally worn by brides. In Christian countries, it is the color traditionally worn at Christmas by Santa Claus, because in the 4th century the historic Saint Nicholas was the Greek Christian Bishop of Myra, in modern-day Turkey, and bishops then dressed in red.

"May you Find a Joyous Path"

Marion Kirkwood, Lann Smyth, Julia Pelenyi with Marion's handwoven merino scarf

Recently I acquired the book  The Comfortable Arts: Traditional Spinning and Weaving in Canada, 1981 by Dorothy K. Burnham. It's an endlessly fascinating book with lots of  surprising discoveries. First I noticed just how many male weavers were practicing in 19th century in Canada, many hailing from Scotland, Ireland, and Germany. What also surprised me was that jacquard weaving was done in this country at the time. Weavers of the period were able to purchase a separate jacquard mechanism which they attached to their looms.

Weaving and Spinning class. Photo taken by William Notman in Montreal. Photo belongs to the McCord Museum also in Montreal. http://www.mccord-museum.qc.ca/scripts/imagedownload.php?accessNumber=VIEW-4037&Lang=1&imageID=161343

Burnham was hired by the  Royal Ontario Museum in 1929 as a "second assistant draftsman" .  In 1939 she became its first curator of textiles and retired in 1977, continuing her research and producing publications on Canadian textiles.

Warp faced rug by Jill Bidgood. 

Double weave lopi blanket in twill by Wendy Szpindel

Through her many publications she explored Canadian textile arts and developed research models that many generations of textile scholars employed. Some of her well known publications are:  Cut my Cote (1973), Keep me Warm One Night: Early Handweaving in Eastern Canada (with husband Harold B. Burnham, 1972),  and Warp and Weft: A Textile Terminology (1982).

Crimped fabric samples by Christine Shipley based on a workshop with Dianne Totten

Crimped fabric samples by Christine Shipley based on a workshop with Dianne Totten (http://diannetottenhandwovens.com)

She was involved in  special research projects  for the National Gallery of Canada, the  Museum of Alberta and the Canadian Museum of Civilization. Her 1992 exhibition catalogue To Please the Caribou: Painted Caribou-Skin Coats Worn by the Naskapi, Montagnais, and Cree Hunters of the Quebec-Labrador Peninsula won critical acclaim for her innovative and illuminating methodology. At ninety, she collaborated with Judy Thompson, Judy Hall and Leslie Tepper to produce Fascinating Challenges: Studying Material Culture with Dorothy Burnham (Canadian Museum of Civilization, 2001).

Plain weave tea towels in cotton by Wendy Hayden  based on a Jane Stafford project. 

In 1998 Burham received an honorary doctorate from Trent University. In her convocation address to the graduating class she told them:

"Life slowly opened up in front of me, leading me on to a path where I was fortunate enough to find a way of making a living that I was good at, and, even more importantly, that I thoroughly enjoyed ......my wish for you is that in spite of all the cutbacks and complications of the present time, you will find a joyous path to follow."  

Expect the Unexpected

Twill scarf woven by Marion Kirkwood with Soxy Lady yarn from Diamond Yarns. 

Sometimes in my weaving projects I have many false starts. One problem after another seems to arise and it seems that I will never arrive at the point when I will start weaving. There may be mistakes in the threading. The loom may be giving me challenges I had not anticipated. Problems come up I hadn't expected. Sometimes I can't figure out how to fix it and can't give it my full attention because life is just so busy with other demands on my time or my mind too full of other things. This mirrors life. Weaving lures us into its hypnotic trance while we throw the shuttle, and at first we are not aware of what pitfalls might lie ahead. Like life. And as in life, weaving is very much about one's attitude to  problems in life. Sometimes these problems are easy to solve. At others time they are not. This elicits various emotions and reactions. Impatience, anger, discouragement, frustration, swearing. I am no exception to this. It's important to see though, that weaving is at some point, about problem solving and altering one's attitude towards it. An attitude that will make life more pleasant and bearable especially for an activity that we so love. When an especially big challenge comes up, I sometimes have to walk away from it for awhile and let myself calm down and return when I am in better spirits. Problems are a part of life. When things go smoothly, I don't take it for granted and instead, feel gratitude. Weaving has taught me to move steadily forward, thread by thread, pick by pick, persevering and seeing the project through, and to learn the lessons I need to learn from it , whether it be a weaving one or life lesson. I try now instead to enjoy that kind of journey too, to relax about it, for it brings along with it, the supportive relationships and situations I  need. When problems arise, we really need others to be alongside us giving us their encouragement, support and understanding. 

Bronson Lace wool scarves woven by Marion Kirkwood, taken from the Handweavers Pattern Directory, by Ann Dixon. 

In his book The Statesman,   Plato uses weaving as a metaphor to explore some of the ways fabric and its forms provide us with excellent metaphors to conduct ourselves, as well as govern society.  In it Plato outlines that ruling is itself a kind of art, in the sense that the ruler must make decisions often in the absence of laws, using intuition and perhaps good judgement for the benefit of those he manages or is responsible for.  Plato reviews an exhaustive list of arts and discards each one as not providing  good moral paradigms for governance.  To paraphrase,   the web of the state should be  fashioned by weaving. The strands run straight and true, and these strands are the gentle and the brave who are woven into a unified network. Unity is valued for it draws individuals into  fellowship by mutual concord and by ties of friendship which creates the finest and best of all social fabrics. 

Christine Shipley brought this Monk's Belt potholder made from loom waste warp threads. It was woven by Anne Lewis and she sold them at the Cedar Ridge sale. 

It is surprising that Plato exalted weaving at a  time it would have been  'merely' a woman’s craft, and it is almost always an attribute of female characters in Greek literature, such as Helen in the Iliad , Penelope in Ulysses, Clytemnestra’s tapestries that entrapped Agamemnon. Kant says that Plato thinks of weaving as exercising a kind of judgement which is not formulaic. It is a judgement that is formed by the planning , foresight, discipline, calculations, consideration for parameters and limitations,  that need to be anticipated, which create in the weaver a measured judgement, and an ability to deal patiently with the challenges that present themselves.

There are always some positive lessons to be extracted from problems and challenges. Always some fruitful result if you are willing to wrestle with it honestly and authentically. And in these challenges, there can be nuggets of joy,  if, like a miner, you dig for it and realize that what you thought might have been a problem is a gift, because it forced your hand in transforming you, your life or your relationships in some incredible way you could not have imagined before. On your weaving journey, expect the unexpected. Sometimes it's problems we'd rather not be dealing with. At other times it exceeds our expectations in the most exciting way!

Escaping the Limits of Functionality

Last weekend I went to the opening of the World of Threads Exhibitions. I picked up Louise Lemieux Berube at the train station in Toronto and off we drove to Oakville. Shortly after we arrived we bumped into Pat Burns Wendland on the left, shown above with Louise Lemieux Berube from the Montreal Centre for Contemporary Textiles, herself an internationally known jacquard weaver. Pat's beautiful hand dyed, painted and woven Japanese style kimono hangs on the wall behind her. 

 Multi panel jacquard weaving by Louise Lemieux Berube

There were lots of fibre art works that were woven and on my blog I mainly feature those works of art. Many others  very worthy and spectacular works and equally worthy of mention but I limited myself to what was woven. 

Cathryn Amadei, USA

I'm glad I went to the opening because I met many of the fibre artists who came from all over the world. It was nice to connect their spirit to their work, as well as their faces. Since most of us work disconnected from other weavers in our artistic weaving practice, it was invigorating to spend time and talk to other fibre artists. To have this creative energy converging in one place was extraordinary. 

Double woven hand dyed wall hanging by Sarah Nording, Indian USA

Many of the works intrigued me as I pondered technically how they were done. Sarah Nording's work definitely captured my curiosity. 

Double woven hand dyed wall hanging by Sarah Nording, Indian USA

For years I wove and sold practical things  while simultaneously maintaining my own fibre art practice. Often the practical money making side overtook my creative time in the studio. These days there is much less focus on weaving the practical in my practice  but by helping my students I keep practiced at it, and I love it regardless. Weaving functional items has taught me so much about weaving technically, and as I help my students progress in their own technical forays, it helps to expand my own capacities, which in the end benefit and inform my creative endeavours. 

Double woven hand dyed wall hanging by Sarah Nording, Indian USA

The practical and functional weaving is focused on definite pre-established outcomes. Art weaving is more about wondering, wandering and taking the weaving to a place one hadn't thought of before. There is the element of  magical delight, and surprise. Although progress has been made in taking fibre art more seriously, there is still a long way to go before the art investing/buying public considers it as real art. It's true that the bulk of fibre artists are predominantly female and perhaps that has something to do with the state of affairs. To gain that respect as fibre artists is something we still have to crusade for. I encourage everyone to be more supportive of fibre art by purchasing it and supporting its practitioners. It will in the end, be a good investment, as  little by little , fibre pieces are acquired by museums. Buy  while the prices are still comparatively low. 

Double woven hand dyed wall hanging by Sarah Nording, Indian USA

After seeing this exhibit and the art weaving, it infused my own art weaving practice with energy and once again, I was eager to get back to the studio to explore my ideas and continue working on them. Weaving (artfully) will be my companion until the end of my days. There is no need to retire here until I expire! 

Unidentified artist

Donna Kim took basket weaving in Southern France this past summer. She sent me a link to the person who taught her,   Eva Seidenfaden teaching http://www.vissinggaard.dk/Courses.aspx.

More work from the World of Threads Exhibit is featured in the Tapestry/Exhibitions blog. The exhibit will continue until November 30 2014.

Overshot patterned scarf by Helen Skelton

Helen Skelton has commenced moving forward on creating her colour sampler. Together we figured out how to measure the quantities for weft colours using a special counter that speeds up the process dramatically! 

Fashion as Art, Art as Fashion

A recent submission, handwoven on a floor loom (above)  for the Fate, Destiny and Self Determination international (tapestry) installation is from Maite Tanguy . She has distinguished hereself in her weaving practice in Paris France for the last 10 years by creating art /fashion fabrics for Haute Couture such as Balenciaga, Christian Lacroix, Celine, Bouchra Jarrar, and Proenza Schouler. She enjoys these collaborations and describes them as robust and envigorating experiences but also challenging and demanding in terms of productivity. She has had numerous exhibitions in Latin America and has participated in "Artextures" , an exhibition of fibre art in France directed by Marie Francine Brochard.

detail of  shape by Maite Tanguy
 She loves to travel and weave connection with others which she considers very important...weaving ...people and threads - the fibre that gives meaning to her life! In her 20s she acquired her skills at sewing fashionable clothes in Paris and at night she worked on her own creations, where she discovered her gift for colour and her passion for it. When she was unable to find the kinds of fabrics she wanted to sew, she decided that she had to weave her own in order to create the garments she imagined. When she was 30 her parents gave her a weaving loom and the process was an ecstatic experience and embarked in studying textiles and weaving at the atelier National d'Art Textile under Genevieve Dupeux.

detail of shape by Maite Tanguy
Weaving for Maite is also about transmitting it to others and she has been giving classes for the last 30 years at workshops in Vanves, a suburb of Paris.

Maite says she loves fibre art because she loves to use it to share her stories and love for nature. After a rigorous spell of production fashion weaving she realized she needed more creative time, and time to express what was important to her. Marine life are great sources of inspiration for her work.

Another important element for creative work is silence. She feels it nourishes her creativity, and helps her to release the flow of ideas, further  rejuvenating and revitalizing her in so many ways. Its all the sweeter when many opportunities like exhibitions, have resulted with her being true to her calling and direction and honouring what she needs to have her in life.

Maite's website: http://arts-up.info/MBR/page_dediee/galerie.php?id=286
other websites featuring her work:
http://www.aiguille-en-fete.com/A-la-decouverte-de-Maite-Tanguy-creatrice-de-tissus-uniques-et-inspires_a1052.html
http://www.ateliersdeparis.com/pro.php?pro=911

Exciting things also happening here at the Toronto Weaving School. 

Carole Hibbert wove this incredible mercerized cotton shawl on her 28" Ashford Knitters loom, available for sale at the Toronto Weaving School. She created a lace weave pattern that was all hand manipulated. She added a hemstitched twisted fringe. 

Margaret Raines wove these cotton runners for a friend. We know these are NOT her kind of colours so she really put herself outside of her comfort range. 

Marion Kirkwood wove this twill scarves in wool. 

Michelle Kortinen did an especially good job at weaving her beginner sampler. She numbered all the samples and included a  threading draft at the top for quick and easy reference for the projects she will be making in future. 

Wendy Hayden did a wonderful presentation of her latest woven project. She made a cake which she brought in, gave us a lovely talk about the reasoning behind her choices of colour and placement.  

Wendy writes: "I took a Colour and Design weaving workshop at Jane Stafford Textiles earlier this year and used the theory to create eight (8) tapas-sized napkins as my canvas for freestyle weaving.  These napkins are my first attempt to work without a draft created by someone else.
My first thought was to create two bold stripes set in a yellow background for the warp and use a natural-colour weft to create the eight napkins. The number of yarn ends for the colours in the stripe were a simple 2-1-3 proportion (these numbers found in the Fibonacci sequence: 1,1,2,3,5,8…).
As I finished the first napkin I thought, what if I added an accent stripe? I played with the secondary colours (honey and lilac) and the accent colour (dark rose) following the stripe sizes and placement within the warp to determine where to change colours in the weft. I finished each napkin with hemstitching to get practice.
Just a simple little project in 2/8 cotton but it allowed me to practice my weaving and hemstitching skills and gave me the freedom to play with colour and design. Freestyle weaving can easily be adapted for napkins and towels of varying sizes following the same proportion theory."

 

A close up of the the 4 designs for Wendy Hayden's scarves. 

Karen Bota sent me this from the One of a Kind Show featuring a black and white woven scarf selling for $250 ! 

http://oneofakindonlineshop.com/home/weaving/stay-calm-and-focused-organic-cotton-handwoven-scarf.html?utm_campaign=ooakos_lessismore&utm_medium=email&utm_source=product-newsletter&utm_content=&utm_term=scarf

Don't forget to go to the World of Threads exhibitions happening in Oakville and kicking off this weekend. Go to their website for more info. 

25 Steps

Deflected doubleweave scarf in 18/2 merino woven by Jennifer McDermott. 

Recently I saw a wonderful video about the (jacquard) weaver/fibre artist Bhakti Ziek. I loved how slowly she spoke and though I've been teaching weaving for over 25 years, I never really thought about how many steps preceded the moment of actual weaving until I watched this short video on her, describing her process and a commission for Princeton University. Bhakti Ziek on weaving: https://www.youtube.com/watch?v=3KBy3oaEQDU

Rep weave placemats in 2/8 cotton by Michelle Kortinen. Michele was inspired by another matt she had in her possession and copied the design almost perfectly. She has launched her own handweaving business and you can check her out at www.bloomtextiles.ca or at etsy.com/shop/bloomhandwovens. She has created fresh and enticing marketing campaign for her new venture. 

I first heard of Bhakti Ziek when I became interested in Jacquard weaving. She co-authored a book with Alice Schlein, The Woven Pixel. This was one of the earliest books to be written on jacquard weaving. Though she is known today as a jacquard weaving fibre artist, in the early part of her woven path she studied backstrap weaving instensively with Mayan women  in Guatemala where she lived for 4 years, which resulted in her co-authoring Weaving on a Backstrap Loom. As many weavers do, her practice evolved, endlessly exploring and investigating different weaving techniques and applied them to her fibre art and wallhangings.

A beautiful soft alpaca scarf that has irredescence perfectly capturing the colours of urban living in winter. Woven by Jane Tucker. 

So, I decided if I could come up with 25 steps and could not. Many of the steps though would be taken up with the design process, especially if it is jacquard weaving, where considerable time would be spent on the computer, and if it was a commission, more time and steps taken with the client. 
1. Research
2. Deciding on what you will make
3.  Design 
4. Experimentation, exploration, sampling (most weavers bypass this)
5. Deciding on the materials to be used
6. Choosing weave structures 
7. Calculations of yarn amounts and sett. 
8. purchasing / ordering materials 
9. Preparing the warp 
10. threading the reed 
11. threading the heddles 
12. tying onto the back 
13. rolling the warp on 
14. tying onto the front 
15. adjusting tension 
16. testing 
17. correcting mistakes 

Lann Smyth created this vest with a mohair and ribbon rectangle that she wove. The softness of the picture seems to mirror the mohair! 

What's Happening at the Toronto Weaving School

Colours for the colours samplers are ready!

This week we received 2 loom donations. Above, the Klik loom, a Louet version of the knitters loom but with 16 shafts! Wow...now you can weave those complicated patterned scarves you always longed to, though it will be slower than a regular table loom. Below, a 22" Leclerc tableloom donated by Burr House, a weaving guild in Richmond Hill. http://burrhousew.blogspot.ca/ a very BIG THANK YOU to all and thank you for thinking of us and making that effort!!!!! 

Textile Talks and Exhibits

At the ROM http://www.rom.on.ca/en/exhibitions-galleries
Islamic Textiles 
http://www.rom.on.ca/en/activities-programs/events-calendar/cairo-under-wraps-lecture-series

Textile Museum of Canada, 55 Centre St, Toronto
http://www.textilemuseum.ca/
From Ashgabat to Istanbul: Oriental Rugs from Canadian Collections
http://www.textilemuseum.ca/apps/index.cfm?page=exhibition.detail&exhId=363

Looking for irresistible yarn and the latest trends in knitting yarn (many good for weaving) ? Go to http://www.diamondyarn.com/ and if you buy a whole bag will give you 25% off. 

To promote or not promote yourself

The inspiration for this blog comes from Lann Smyth, who  gave me an inspiring catalogue of an exhibit she had seen  at the Art Institute of Chicago. Ethel Stein: Master Weaver, is being exhibited until November 9 2014. To learn more about her and the exhibition go to http://www.artic.edu/exhibition/ethel-stein-master-weaver. At the age of 96, Ethel Stein's weaving and artistic talent is only now being recognized by the broader public. She began her weaving forays with a 4 harness loom and gradually used a drawloom to create her contemporary art pieces whose visual simplicity give it the impact they have although obscure s their complexity. She was an artist and weaver who did not adhere to trends. The drawloom weaving show were produced over a 34 year period and blend historical weaving techniques with pared down aesthetic. Her creative and weaving process was preceeded by a vigourous art training as well as research of the historical textiles at the Cooper-Hewitt Museum, the American Museum of Natural History and the Metropolitan Museum of ARt, all located in New York.

Rag rug for cabin by Helen Skelton

One of the points they made in the catalogue is that Ethel never promoted or sold her work. She wasn't concerned with that. She concerned herself instead with the process, with  exploring the possibilities and potentialities of her weaving and of  building on her knowledge and experience. This is definitely a very noble and ideal approach, more often subscribed to by women. It's true, that in some circles it is considered bad form to promote yourself and if one does not have to be concerned with earning an income from one's endeavours or does not regard it as a profession, then certainly its as good a strategy as any to embark upon.  So many of women have been conditioned to believe though that it's 'unladylike' behavior to promote yourself, and to be ambitious but this perception is changing.

With the advent of the internet, social media and innumerable websites that will help you promote yourself as a weaver, craftsperson or artist,  the opprobrium this stirred up is quickly dissipating. The truth is, if you don't have important social connections in places that you could do you such honour and favours, then you do have to get your work out there somehow.  For some of us that will mean swallowing our pride and integrity. For others that will mean taking more pride in what you create. Destiny is kinetic. Destiny is  an expanding field of possibilities alluding to our potential to influence outcomes.

There are advantages and disadvantages of both strategies. Each person decides for him or herself which to take. Throughout a lifetime of pursuing one's weaving, one can also change course and realize that what once was important, no longer is and you find yourself  going off in another direction. Your weaving path is your own individual path, your own journey , one in which only you decide the itinerary, and create the map. Above all, make it a joyous and inspiring (a)vocation.


Spinning Workshops with Barbara Aikman
Riverdale Farm, Toronto
Sat. Nov. 1st, 2014
How to use a “Drop Spindle”
9:30am to 12:30pm
19yrs+     Barcode: 2697417
Adults 25-59yrs                     $   77.00
Older Adults60+ yrs              $   39.00
Youth 19-24yrs                     $    45.00
Each participant will receive their own drop spindle to take home,
and learn how to prepare a variety of spinning materials.

Sat. Nov. 1st, 2014
How to use a “Spinning Wheel”
1:30 pm to 4:30pm
19yrs+         Barcode:   2701230
Adults 25-59yrs                    $   57.00
Older Adults60+ yrs              $   19.00
Youth 19-24yrs                     $    25.00
Participants will learn the basics of operating a spinning wheel.  Feel free to bring your own wheel, or you may borrow one from the Farm for use in class.
Registration hotline 416 333  4386              
For more information contact: farm@toronto.ca or 416-392-6794

World of Threads Exhibit

November 1-30 2014

for more information go to 

http://www.worldofthreadsfestival.com/

There will be weaving at this multi-venue exhibition. Of note, Louise Lemieux Berube, co-founder of the Montreal Centre for Contemporary Textiles,  has jacquard woven pieces in the exhibit. She will be present at the opening reception November 1 2014, 2-4pm. 

Pat Burns Wendland will also be part of the exhibit. 

Learning Strategies and Resources

There are different strategies one can take to advance one's learning in weaving. You can choose to learn different weave structures and let that guide you. Taking a project by project approach is also a good process of learning weave structures and practicing your weaving skills. Many students these days are finding so many resources on the internet.  Of course experience is definitely one of them. Last Spring Louise Granahan made it her goal to learn 8 different kinds of weaving techniques or kinds of looms. She did meet her goals and here are some of the results of what she accomplished. 

Inkle loom woven strap for carrying a water bottle or coffee. Louise Granahan. There are inkle looms in the weaving class waiting for you to give it a try. 

8 shaft pinwheel pattern woven by Louise Granahan. 

Louise decided she try 8 shaft patterns. We have several 8 shaft looms in the class. 

8 shaft variation of the houndstooth pattern. Louise Granahan. 

8 shaft reverse twill blocks. Louise Granahan

Louise also did the doubleweave sampler. There is so much one can do with doubleweave. If you are interested in doing it, let me know. 

Baby blanket by Patti Wibe in 2/8 cotton and waffle weave, aka honeycomb. 

Judite Vagners wove these colourful scarves in 2/8 cotton and orlec (acrylic). 

Judite Vagners wove these scarves (above and below) with 18/2 merino yarn also available in the class.