Weaving frames and samples

After hours of research and planning the time has come to finally make the weaving frame for my exhibition piece for the American Museum. 

As I intend to make three 6' long narrow tapestries, I decided to make the frame large enough to fit all three strips across the warp, running parallel to each other. This will  reduce the amount of warping up needed and will allow me to develop the composition to flow well.

The frame will be used on its side, horizontally for eccentric weaving which fits best with the long vertical rust patterns of my design.


At first I was concerned about the tension in the middle of the frame due to possible deflection in the over the long length of timber but under light pressure it held well. So fingers crossed. 

To gauge the best size warp I am making small samples on a make shift mini frame using different sizes and types of warp with the same design so that I can compare  the results. 

This first sample did not go too well as the warp needed to be fairly loose to weave on the short frame which led to a narrowing of the work.  Further samples are being made on a larger frame to avoid this problem.

Eccentric weaving, Rag Rugs and Rust

Continuing with my weaving experiments I have been using eccentric weaving techniques to depict the texture of rust. Our old rusty Frogeye Sprite has become the focus of inspiration for pattern and texture. Sadly the car is beyond restoration but can live again as a model for my rust work.

Several of the rugs at the American Museum were made using a rag rag technique which I think may be useful as an addition to my eccentric weaving where I want rust to bubble on the surface.

I did this practice circle and found it is quite quick and easy to do as long as you pick the right fabrics. Elastic fabric worked well and my dyed netting was best. In some areas I used standard stem stitch to vary the texture and size of fibre.

American Museum Project

In collaboration with the American Museum, Bath, we have been asked to produce a piece of work in response to the Museum's permanent collection, to be exhibited in the museum in May this year. 

Drawing our inspiration from the diverse forms of 'making' to be found in the collection, our responses will reflect on the relevance of hand - making in the context of contemporary textile practice.

I was particularly inspired by the plight of the Navajo Indians and the styles and weaving techniques of the American Indian rugs and blankets. 

As our exhibit also needs to tie in with our current investigation, I have decided to make some strip weaving, depicting the deterioration of rust, in the style of the Navajo weaving techniques and referencing the long walk.

Here are some of my sample weaves looking at the claw and lazy line zig zag patterns.

I particularly like this mottled yarn in muted rusty colours

Shaped MDF Frames

Continuing with my 2D contemporary landscapes investigation I have been making shaped MDF frames to paint on. Not an easy task! For a start you need a good sharp tenon saw to cut the MDF board and a very steady hand.

I began by making a scaled template of the shape so as to minimise wastage of board and position the shape best for cutting.

Next was measuring the composite and acute corner angles. For this I used an adjustable sliding bevel  (fantastic tool ), to transfer the angle to the 2"x1" timber frame pieces.

Each corner was glued and secured with panel pins

Once all the angles were cut and glued I sanded all the edges smooth.

The MDF was also nailed to the frame support at regular intervals with a nail gun. ( would not recommend doing this again, as it was very difficult to hide the indents on the surface after filling and sanding and depending on size of frame was not necessary)

A support bar was added across the middle for strength and hanging.

Then came the endless filling sanding and priming !

 

All ready for further coats of acrylic primer then the fun begins !