The Seattle Weavers' Guild meets on the fourth Thursday of the month, with exceptions for holidays and the summer break. If you are interested in guild membership or a particular program we invite you to join us. Visitors are always welcome. Meetings are located in Bloedel Hall, behind St. Mark's Cathedral: 1245 10th Ave East, Seattle, WA.
The meeting starts at 10am, followed by "Hot Off the Loom" (members exhibit their latest work), and the morning program. Program speakers typically bring woven samples to accompany their talks, which are displayed on tables in front of the stage. After a lunch break at noon, the afternoon program follows, sometimes a hands-on project.
- 9am - 2pm - Library open (SWG members may check out materials)
- 10am to 12 noon - Business Meeting, "Hot Off the Loom", Morning Program
- 12 noon - Lunch
- 1pm to 2pm - Afternoon program
For more information about Seattle Weavers' Guild Programs, contact email@example.com
Photo by Marilyn Moore
Morning Program - Jane's Big Adventure to India
It has been a great pleasure to travel with Charllotte Kwon to India twice in the last 3 years. Through her vast connections I have been able to visit villages where weavers, block printers, and dyers endeavour to keep ancient textile practices alive. Through Charllotte’s support and that of the Maiwa Foundation these artisans are encouraged to keep moving forward with their craft. I can’t begin to tell anyone about what these trips have meant to me on every imaginable level.....I have fallen in love with India...... it has simply filled my heart to overflowing. Come and spend a morning seeing some of the highlights.
Afternoon Program — Jane's Big Adventure to Africa
I am not a world traveller and the thought of travelling to Addis Ababa in Ethiopia never crossed my mind but I have learned to let fate interrupt my quiet life. While in India I met Kathy Marshall founder of Sabahar, a certified Fair Trade company working out of Addis. It was another life altering experience. My son Eben and I spent 3 weeks this past January working with traditional Ehtiopian weavers. I could never have imagined the sights we would see. Needless to say, I have fallen in love with Ethiopia too, the tenacity of her people will leave you speechless. Come meet the weavers, spinners, dyers and silk growers of Sabahar.
Jane StaffordWebsite: https://janestaffordtextiles.com/
“Fabric of Life” The phrase can evoke many things. Jane Stafford has been weaving for most of her life. She has been exploring the design of cloth – the structure, the graphic, and, of course, the colour – for over 35 years, and she sees no end to the joy of discovery. “One of the things I love about weaving is it appeals to so many different personalities – from the precise, analytical mind, that loves structure and order, all the way to the wild adventurer, in love with colour and expression – weaving works for everyone.”
Jane began weaving at the age of 21, purchasing a new Fanny with the help of a chattel mortgage on her Chevette. Before two years were up she was accepted as an under-qualified, but very ambitious student at the Banff School of Fine Arts. Two years later she was a teacher’s assistant there and, in a few more, an instructor herself.
In subsequent years, Jane has had the great fortune to be able to earn a living doing what she loves most, weaving, and sharing her passion for excellence in cloth. Jane has been both a production weaver and a workshop instructor, helping students reach their potential across the continent, for over 25 years. She is the instructor for certified Louet dealers in North America, and is the Diva in Louet’s instructional DVDs. It is no coincidence that Jane shares her name with Louet’s latest table loom. It is an acknowledgement both for years of contributions towards loom design in general, and for the “Jane” in particular. She was the recipient of the “Teacher of the Year” award for 2014 from Handwoven Magazine. Jane now teaches exclusively in her studio on beautiful Salt Spring Island, British Columbia.
Morning Program - Wire as Fiber: Where Inspiration Meets Technique, Color, Form and Texture
There are many things that inform an artist’s work: color, form and texture are just three of the things that have influenced my work over the years.
Many use color as a means of indicating status, emotions and symbolism. I have used color, form and texture not only to delight the senses, but to symbolize stages in my life, and I am not the only artist to do so. Explore the use of color by cultures and artists who use it as a means of expression. This program will focus on my own work as it relates to this topic.
Afternoon Program — Seattle Weavers’ Guild Sale Set-up
Marilyn MooreWebsite: http://www.marilynmooreswired.net/
Marilyn's first love is basketry. Since 1979, she has taught her basketry techniques for guilds, conferences, conventions and craft schools around the country and has written numerous articles and been featured in many publications. A member of the Seattle Weavers Guild for many years, it is a pleasure to return as a guest. After living in Seattle, WA for most of her adult life, she moved to Iowa City, IA, to be closer to family. Her most recent work is focused on working with wire in new and unique ways.
Morning Program - Couture Passementerie Through the Eyes of a Fiber Artist
From Chanel and Balenciaga to the House of Worth and Ralph Lauren, passementerie has been a way to elevate a garment from something ordinary to something extraordinary. What is passementerie? It’s a French term without an English equivalent. Passementerie encompasses a multitude of techniques used to create embellishments. It includes the creation of buttons, cording, trim, garment closures, braiding, tassels, and much more.
Modern day uses of passementerie may be found in couture fashions, like the trim edging on French cardigan-style jackets made famous by Coco Chanel and the fashions seen in period films or shows, like Downton Abbey. Passementerie also appears on historical garments, military uniforms, and in high-end home interiors.
In this program, Robyn Spady will share insight into how many couture fashion designers incorporated passementerie into their garments from the perspective of how simple some of the techniques are and how they could be easily recreated and adapted into our own wardrobes.
Afternoon Program — How to Create Couture Braids
During this hands-on program, Robyn will present some simple techniques for creating braids inspired by ones found in couture using little more than an old-fashioned clipboard. Get started in the afternoon with some basic techniques that you can take with for a new portable project that offers a tremendous amount of fun and versatility.
Robyn SpadyWebsite: http://www.spadystudios.com/
Weaving has always been a part of my life. It started with my baby blanket handwoven by my great-grandmother. While growing up, it helped instill in me a sense of creativity and confidence at a time when my self esteem was developing. During my years while working, in what I like to call "Corporate America", weaving helped give me sanity and feel a sense of productivity, which was very important while working on long-term projects when day-to-day progress was not evident.
In 2001, changes in my life provided me the opportunity to dedicate myself to weaving fulltime. One of the earliest undertakings, that has had a huge impact on my life and my weaving, was tackling the Handweavers Guild of America's (HGA) Certificate of Excellence in Handweaving (COE-W). In October 2002, I successfully completed the Level 1: Technical Skills in Handweaving. In October 2004, I successfully completed Level II: Master in Handweaving with the specialized study Loom-controlled Stitched Double Cloth.
I am fascinated by the infinite possibilities of crossing threads and love coming up with new ideas to create fabric and transform it into something that has never existed before. My intrigue with stitched double cloth encouraged me to explore the many ways to weave double-faced fabrics as a way to create versatile fabrics that are reversible, self-lined, etc. In addition to double-faced fabrics, I love to discover uncommon and unusual weave structures, especially if they can be woven on only four-shafts. Recently, I've also been studying how elaborate trims can be woven on narrow warp weaves.
For many of us, weaving is a type of circle of life. The loom my great-grandmother used to weave my baby blanket on over 45 years ago is in use on a daily basis helping me transfer my inspirations into new fabrics and inspiring new generations of weavers.
Morning Program - Weaving by Design
In this talk, Kelly Marshall shares the evolution of her weaving business, Custom Woven Interiors, her passion for weaving and designing, the magic of Rep and its endless possibilities.
Afternoon Program — Designing in Rep
Kelly discusses the basic structure of Rep weaving, designing in blocks and the effective use of color in Rep.
Kelly MarshallWebsite: http://kellymarshall.com/
Kelly Marshall is recognized for combining Rep weave’s rich texture and linear structure into extraordinary textiles inspired by the esthetics of the Arts & Crafts movement, contemporary design, and traditional Scandinavian textiles. She has a B.S. degree in Applied Design-Textiles from the University of MN and studied design and weaving structure for 1 year in Forsa, Sweden. In 1992 she founded the Minneapolis-based company Custom Woven Interiors Ltd and her textiles are exhibited and marketed nationally through galleries and fine art craft shows. Her beautifully illustrated book “Custom Woven Interiors: Bringing color and design home with Rep weave” published in 2012, includes projects, design inspiration, technique and tips to weaving Rep.
Morning Program - Seeing Color in Everything
This talk, with images from Kathrin's world, garden and fiber art, is designed to help other fiber artists feel more comfortable making fearless color choices by paying attention to the colors around them. In addition to digital images, she will use weaving samples to discuss the choices she made in color and technique while designing each piece.
Afternoon Program — From Thread to Fabric
This is a talk about possibilities and surprises, about informative play. About waking up to new fabric, weaving good cloth and having fun doing it. Kathrin will discuss how yarn of vastly different natures in size, fiber content, texture and color ways can be used in creating unique, usable handwoven fabric with excellent hand and tension. These ideas may be new tools for designing fabric and livening up your same old, same old warps, or simply great stash-busting techniques. We will brainstorm how those new warps can be woven to create fabrics in a variety of weights, patterns, textures and uses.
Kathrin WeberWebsite: http://blazingshuttles.com/
Kathrin Weber has been self employed as a studio fiber artist since 1980. She is known for her colorful fabrics and hand-dyed yarn. She has marketed through national level craft shows, galleries, and commissions. Kathrin teaches weaving and dyeing workshops at Penland School of Crafts, Arrowmont School of Art and Craft, John C. Campbell Folk School, Peter’s Valley as well as other crafts schools, conferences, fiber guilds and symposiums in far flung places. She has a fearless approach to using color and encourages her students to reach beyond their comfort zones while designing, weaving and dyeing.
Morning Program - Dimensional Double-Cloth
This presentation will highlight the sculptural possibilities of the double-cloth technique. Anastasia Azure weaves extensively with the double-cloth technique, transforming metals and plastics into dimensional weave forms and jewelry.
Afternoon Program — Weaving with Fishing Line
Short videos will reveal her tips and tricks to working with fine wire and slippery fishing line on a loom. Weavers will leave inspired to create unusual shapes with unconventional materials.
Anastasia AzureWebsite: http://www.anastasiaazure.com
Anastasia Azure combines ancient weaving, traditional metalsmithing and contemporary materials to create sculpture and jewelry. Her work is hand-woven on a floor loom with metals and plastics. Her forms are inspired by the elegance of geometry and complexity of science.
She teaches outreach programs in public elementary schools, a variety of collegiate courses, and specialty craft workshops in jewelry-making, fabric dyeing and weaving. She has been an Artist-in-Residence at the Appalachian Center for Craft and Umass Dartmouth.
First introduced to jewelry fabrication at Wellesley High School in Massachusetts, she continued more rigorous training at the Revere Academy of Jewelry Arts, San Francisco, graduating in 2001. While earning her BFA in 2005 from California College of the Arts, she discovered weaving’s immense importance to her life’s work. She completed her MFA in Textiles at the Rhode Island School of Design and resides in Providence, RI.
Her art has won many awards, including three Niche Award (2008-2010). Her sculptural bracelet, Egg Hunt is featured on the book cover of "500 Plastic Jewelry Designs" published by Lark Books. She exhibits nationally and internationally, and her work is collected by museums.
Morning Program - Understanding Supplementary Warp: Creating and Developing Designs for Handwoven Cloth
Would you like to achieve clean, clear, multi-colored motifs using a single shuttle? In this lecture we will explore the “Rules for Supplementary Warp According to Barbara”. Using examples and photographs of her work, you will see how she creates eye-catching fabrics with unlimited design potential. Take home the knowledge and confidence to design your own weaving using this supplementary warp technique. No weighted warp ends, water bottles or rods involved!
LENO Yesterday’s Design, Today’s Application
Leno can form a line to which the hem is turned. Yes, but that is only a basic introduction to leno. Building upon the familiar crossed threads technique, we can accomplish lacey backgrounds of leno and imbed solid areas in the leno open weave. Make very large holes (on purpose) that can be placed deliberately into graphic designs using leno. The techniques and information Barbara developed as a result of researching Andean textiles thousands of years old. Her open weave fabrics have taken the age old techniques and created cloth of contemporary design. Included in the lecture presentation are also examples of bead and doup leno. The finished pieces are labor intensive works of art no machine can reproduce.
Barbara HerbsterWebsite: http://shuttlesong.vpweb.com/?prefix=www
Barbara has trained as a teacher and taught art to Junior Hi students in Oxen Hill, MD. For years she has been sharing her weaving enthusiasm with others through exhibiting, teaching, and lecturing. Interests in the field of weaving are many and varied. Articles in SS&D, Hand Woven and Weavers magazines expanded communication to many weavers outside her normal reach. Invitations have been extended to teach coast to coast.
Preferring to weave fabric with a clean simple appearance, she creates original color combinations and achieves texture through carefully chosen structures. Often inspiration comes from colors suggested by a painting, an experience, or a travel photograph. Her aim is to achieve a balanced appearance in her weaving, without the fabric being symmetrical. Barbara wants to give the person who studies the piece a little surprise for his attention.
Morning Program - From Idea to Woven Form
Elizabeth Buckley will share some of her artistic process and journey in this retrospective of her work. She will show sources of inspiration and some of her drawings that are part of the development of her designs for tapestry. Join her on the journey of how one idea leads to another, and how each tapestry informs the next one to be woven.
Afternoon Program — The Element of Light in Tapestry
In this presentation, Elizabeth will go into more technical details in her use of transparency and French shading techniques, both of which incorporate the implied element of light. She will share her view, as a weaver, of her work on the loom which is the back of the tapestry. This will include still images of the weaving process, as well as close-up details of technique in context with design, synchronizing the language of tapestry with the image growing on the loom.
Elizabeth BuckleyWebsite: http://www.elizabethbuckleytapestryartist.com
Elizabeth Buckley is a second-generation tapestry artist and teacher of over 40 years, whose work evolved from using techniques of the Mexican and Rio Grande traditions to those of French tapestry. She further honed her skills in Aubusson, France at the atelier of Gisèle Brivet. With her degree in art, Elizabeth brings to the classroom her deep grounding in design principles and color theory that specifically apply to tapestry. She draws from multiple tapestry traditions to provide her students with the technique vocabulary for finding and expressing their own unique voice.
Elizabeth Buckley’s tapestries have a lengthy exhibition history, including national and Canadian juried and invitational shows, as well as in museum exhibitions. Her work is in numerous private collections, and her publications include: FiberArts Design Book V and Carol K. Russell’s The Tapestry Handbook: the Next Generation, and Contemporary International Tapestry. In 2011, Elizabeth was awarded the American Tapestry Alliance Award for Excellence in Tapestry.
2015 - 2016
|Sarah H. Jackson||Morning||One Thread at a Time; A Weaver's Journey|
|Afternoon||Sample is Not a Four-Letter Word!|
|October||Anita Osterhaug||Morning||Weaving in the Digital Age|
|December||Melanie Burgess||Morning||The Art of Costume Design and Fabric Modification|
|Marcy Johnson||Afternoon||Wheat Ornaments|
|January||Giovanna Imperia||Morning||Weaving with Unusual Materials|
|Afternoon||Braiding with Wire|
|February||Jette Vandermeiden||Morning||The Noble Napkin|
|Afternoon||Blocks and Profiles|
|March||JoAnn Bachelder||Morning||Towels: Transcending Tradition|
|Afternoon||Transcending Tradition continued|
|April||Sandra Swarbrick||Morning||John Landes Sample Project|
|Afternoon||Plaid Llama Sale|
|May||Inge Dam||Morning||Fashion Show|
|Afternoon||Threading and Turning Defined Patterns|
|Summer||Kathleen M Hewitt with Barbara B. Suess||Temari - Long Live the Chrysanthemum!|
2014 - 2015
|Elaine Palmer||Morning||The Making of ‘Interlaced’|
|Afternoon||Photographing and Styling Handwovens|
|October||Polly Adams Sutton||Morning||Sardinian Basketry|
|December||Jan Paul||Morning||The Art of Japanese Paper Weaving|
|Marilyn Romatka||Afternoon||Baumschmuck ‘Tree Jewelry’|
|January||Madelyn van der Hoogt||Morning||On the Shoulders of Giants|
|Afternoon||Tips and Tricks for Weavers|
|February||Tien Chiu||Morning||Evolving Designs|
|March||Dianne Totten||Morning||Cone to Clothing|
|Afternoon||Commenting on Crimp|
|April||Daryl Lancaster||Morning||Parallel Threads that Parallel Life|
|Afternoon||Color and Inspiration|
|May||John Marshall||Morning||Dealing with What's Been Dealt|
|Afternoon||Treasure and More Treasures: John Marshall Trunk Show|
|Summer||Flóra Carlile Kovács||Make a Felted Pouch|