The fell of woven cloth refers to the edge of the woven fabric where the newly inserted weft thread meets the warp threads that are still on the loom..

The fell is constantly moving up the warp as the cloth is woven. It’s really important that the fell is level

Fibre: Meet the fibre, the essential starting point for all things textile! Think of it as the fundamental building block – a slender, often hair-like strand that possesses the key qualities needed to create fabrics.

These tiny strands have the necessary length and fineness to be spun together, forming stronger yarns. It’s these yarns that then get woven, knitted, or otherwise constructed into the fabrics we use every day.

Fibres come in two main flavors: natural and manufactured. Natural fibres are sourced directly from our planet – think the soft fluff of cotton plants, the warm fleece of sheep, or the luxurious threads spun by silkworms. Manufactured fibres, on the other hand, are created through human ingenuity. These can be entirely synthetic, like the stretchy magic of elastane, or regenerated by cleverly processing natural materials, such as turning wood pulp into smooth viscose.

So, in a nutshell, the fibre is the tiny but mighty foundation upon which the entire textile industry is built!

What happens after the exciting part of weaving, when the threads are all interlaced and you’ve cut your cloth from the loom.  This stage is called finishing, and it’s where the raw woven fabric really comes into its own.

Newly woven cloth, is actually called “greige goods”, as being a bit rough around the edges. It might still have some natural oils or waxes from the fibres, maybe a few stray threads, and it probably doesn’t feel quite as soft or look as vibrant as the finished product you’d buy in a shop.

Finishing is a whole series of processes designed to enhance its appearance, feel, and performance. Depending on what the fabric is intended for, it could go through a variety of treatments.

• Cleaning up: First, the fabric usually gets a good wash to remove any impurities. Think of it as a deep cleanse!
• Smoothing things out: Sometimes, the fabric needs to be stretched and straightened to make sure it’s the right width and that the weave looks even. This might involve processes like tentering.
• Adding some softness: For many fabrics, making them feel nice against the skin is key. Techniques like calendering (passing the fabric through heated rollers) or chemical softening treatments can do the trick.
• Boosting the look: This is where things get colorful! Dyeing adds the vibrant hues, while printing can create amazing patterns.
• Upping the performance: Depending on the end use, the fabric might get special treatments. Think about making it water-repellent for a raincoat, wrinkle-resistant for a smart shirt, or flame-retardant for safety.

So, finishing is the crucial set of steps that transforms a basic woven structure into the beautiful, functional, and touchable fabrics we rely on every day. It’s where the magic really happens after the weaving is done!

Fingering Weight Yarn: Characterized as a “1 – Super Fine” weight in the standardized yarn classification system.

The definitions of yarn weights are usually measured in terms of wraps per inch (WPI) or metres per 100 grams. While exact figures can vary slightly between manufacturers and fibre types, fingering weight yarns generally fall within a range of approximately 14-18 wraps per inch (WPI). This a relatively high WPI indicating that the indivual strands are fine.

In terms of metres per 100 grams, fingering weight yarns typically yield a significant length, often ranging from 360 to 480 metres (approximately 394 to 525 yards) per 100 grams. This high meterage for a given weight underscores the fineness of the individual strands.

The gauge, or the number of stitches and rows achieved per a standard measurement (usually 4 inches or 10 cm), is a crucial consideration when working with fingering weight yarn. Recommended knitting needle sizes typically range from 2.25 to 3.25 mm (US size 1 to 3) to achieve a gauge that allows for intricate stitch definition and a lightweight fabric with good drape. Similarly, recommended crochet hook sizes generally fall between 2.25 to 3.5 mm (size B-1 to E-4).

The resulting fabric from fingering weight yarn is typically lightweight and exhibits a fine texture due to the small stitch size. This makes it well-suited for projects requiring intricate detailing, such as lace work, detailed colorwork, and fine gauge socks. The relatively thin nature of the yarn, while allowing for delicate fabrics, also necessitates a longer working time to achieve a substantial fabric area.

Furthermore, the fiber composition of fingering weight yarns can vary widely, including single-ply or multi-plied constructions in materials such as merino wool, cashmere, silk, cotton, and various blends, often incorporating nylon or other synthetic fibers in sock yarns to enhance durability. The specific fiber content will further influence the yarn’s drape, handle, and suitability for different end uses.

You can also use a wraps per inch guage to identify yarns in your stash that might have lost their ball band!

Sheep’s Fleece: we’re going straight to the source – the actual woolly coat that grows on a sheep. Think of it as their natural, all-in-one sweater that keeps them warm in winter and (surprisingly!) can even help keep them cooler in summer.

This isn’t just a uniform coat, though. A sheep’s fleece is made up of individual wool fibres, each with its own unique characteristics depending on the breed of sheep. These fibers are typically crimped (meaning they have a natural wave or curl), which is super important because those little crimps create air pockets that trap heat, making wool such a fantastic insulator.

Here are some cool things about sheep’s fleece right off the sheep’s back:

• It contains lanolin: This is a natural, waxy oil produced by the sheep’s skin. Lanolin helps to protect the sheep’s wool and skin from the elements, making it somewhat water-resistant. It’s also what makes raw fleece feel a bit greasy. 
• It can vary wildly: There are many breeds of sheep, each producing a fleece with different qualities. Some fleeces are super fine and soft (like merino), perfect for next-to-skin wear. Others are coarser and stronger (like Herdwick). The length of the individual fibres (called the staple length) also varies.
• It’s a renewable resource: Sheep need to be shorn regularly for their comfort and health, so their fleece is a naturally renewable fibre source. As long as there’s grass for them to graze on, they’ll keep growing more!
• It has amazing natural properties: Even before processing, sheep’s fleece has some incredible benefits:
  • Warmth: Thanks to those crimped fibres trapping air.
  • Breathability: Wool fibres can absorb and release moisture vapor, helping to regulate temperature and prevent that clammy feeling.
  • Some water resistance: Due to the lanolin.
  • Durability: Depending on the breed, wool can be quite strong.

Once the fleece is shorn from the sheep, it’s considered raw fleece or greasy wool. Before it can be used to make yarn or other textile products, it needs to go through a process called scouring to remove the dirt, grease (lanolin), and other bits of vegetable matter it might have picked up.

Fulling: Imagine a roll of woollen fabric just taken off the loom. The threads are nicely interlaced, but it might feel relatively open, perhaps a bit rough, and not yet have that characteristic dense, warm woolly handle we associate with finished woollens. This is where fulling steps in as a transformative process.

Right after weaving, fulling aims to:

• Encourage Interfibre Felting: The primary goal is to initiate the felting process in a controlled environment. The moisture (warm, often soapy water), heat, and mechanical action (agitation or compression) applied to the newly woven fabric cause the microscopic scales on the wool fibers to open and begin to interlock and entangle with each other.
• Consolidate the Fabric Structure: This initial felting action causes the individual warp and weft threads to draw closer together, making the fabric denser and more compact. The spaces between the yarns are reduced.
• Reduce Porosity: As the fibers interlock and the structure tightens, the fabric becomes less porous, which contributes to increased warmth and wind resistance.
• Prepare for Further Finishing: Fulling sets the stage for subsequent finishing processes. By creating a more stable and consolidated fabric, it can better withstand dyeing, raising a nap (if desired), and other treatments.
• Influence the Final Handle: The degree of fulling directly impacts the final feel or “handle” of the fabric. Less fulling might result in a lighter, more open fabric, while extensive fulling creates a denser, heavier, and often smoother material.

The loom creates the basic structure of the cloth. Fulling then takes that structure and encourages the individual wool fibers within it to bond more intimately, creating a more cohesive and robust material. It’s the first major step in turning a woven structure of wool into the kind of fabric we recognize for warmth, durability, and often a smoother surface.

Fulling usually takes place in a finishing mill – or in the bath treading with your bare feet!

Isn’t this the most important part of any textile endeavour!

When people mention about fustic in the context of dyeing textiles, they usually mean the dye derived from the heartwood of the Maclura tinctoria (old fustic) tree.

• Old Fustic (Dyer’s Mulberry): This is the more historically significant and commonly referred-to fustic. It comes from the heartwood of the tree Maclura tinctoria (also known historically as Chlorophora tinctoria or Morus tinctoria), a medium to large tree native to tropical regions of the Americas, from Mexico down to Argentina.

What makes fustic so special for textiles:

• The Colour: Old fustic produces a range of warm yellows, from bright, clear lemon yellows to rich, deep golds and even orangey hues depending on how it’s used and what’s added either as a mordant or as a modifier.
• The Magic Ingredient: The primary colouring compound in old fustic is a flavonoid called morin.
• How it’s Used: The heartwood of the fustic tree, often in the form of chips or a powder extract, is simmered in water to release the dye. The textile fibres (like wool or silk), which have usually been mordanted and then added to the dyebath. Alum is a common mordant used for protein fibres with fustic to achieve yellow shades.
• Colour Combinations: Dyers have historically combined it with other natural dyes to create a wider spectrum of colors:
  • With woad or indigo, it creates beautiful greens, like Saxon green (shown above) or forest green.
  • With copper sulfate, it can create olive greens.
  • With ferrous sulfate (iron), it can produce dark greens.
• Historical Significance: Old fustic was a hugely important yellow dye, especially from around the 17th to the 19th centuries, because it was relatively inexpensive and produced strong, vibrant colours.
• Modern Use: While synthetic dyes eventually became more dominant, fustic is still used today by natural dyers who appreciate its beautiful colours and relatively good light and wash fastness. Some even say that exposure to sunlight can deepen the colours!

So, the next time you hear about fustic, remember it’s likely about the wonderful yellow dye from the Maclura tinctoria tree, a historical workhorse that continues to bring sunny hues to the world of textiles!

When it comes to knitting or crochet, “ease” is a crucial concept for achieving a good fit.

• Ease is the difference between your body measurements and the finished measurements of the garment. It determines how the garment will fit on your body.

• Ease can be positive or negative

  • Positive Ease:
    • This means the garment is larger than body measurements.
    • It results in a looser, more relaxed fit.
    • Most sweaters are designed with positive ease for comfort and movement.
  • Negative Ease:
    • This means the garment is smaller than body measurements.
    • It results in a tighter, more form-fitting garment.
    • Negative ease is common in items like socks, leggings, and some fitted tops.
  • Zero Ease:
    • This is when the garment measurements are the same as body measurements. This results in a garment that is fitted.

• Factors Affecting Ease:

  • Garment Style: Different styles require different amounts of ease. For example:
    • Oversized sweaters need a lot of positive ease.
    • Fitted sweaters need less positive ease or even negative ease.
    • Drop shoulder sweaters typically need more ease than set in sleeve sweaters.
  • Yarn and Fabric: The type of yarn and the fabric it creates will affect how the garment drapes and fits.
  • Personal Preference: Ultimately, the amount of ease you choose is a matter of personal preference.

• Ease Matters!:

  • Ease ensures a comfortable and flattering fit.
  • It allows for movement and layering.
  • It helps the garment drape correctly.
  • A tension square will help you check that the garment will turn out the right size, with the right ease.

Embroidery is a beautiful and versatile art form with a rich history.

What is Embroidery?

• At its core, embroidery is the art of decorating fabric or other materials with needle and thread or yarn.
• It’s a way to add designs, patterns, and embellishments to textiles.
• Beyond threads, embroidery can incorporate materials like beads, sequins, pearls, and even quills.

Types of Embroidery:

Embroidery encompasses a wide range of techniques, including:

• Free or Surface Embroidery:
  • This style allows for free-flowing designs without strict adherence to the fabric’s weave.
  • Examples include crewel embroidery and traditional Chinese and Japanese embroidery.
• Counted-Thread Embroidery:
  • This involves stitching over a specific number of threads in the fabric, creating precise patterns.
  • Cross-stitch and blackwork are popular examples.
• Needlepoint or Canvas Work:
  • This technique involves stitching through a stiff fabric mesh to create dense, patterned designs.
  • Bargello and Berlin wool work fall into this category.

Materials and Tools:

• Fabric:
  • Various fabrics can be used, including cotton, linen, silk, and wool.
• Threads:
  • Embroidery threads come in a wide array of colours and materials, such as cotton, silk, rayon, and metallic threads.
• Needles:
  • Embroidery needles have larger eyes to accommodate thicker threads.
• Hoops and Frames:
  • These tools hold the fabric taut, making stitching easier and preventing distortion.
• Scissors:
  • Small sharp scissors are essential for precise thread cutting.
• Marking tools:
  • These are used to transfer designs to the fabric.

Modern Embroidery:

• While traditional hand embroidery remains popular, machine embroidery has also become widespread.
• Computerized embroidery machines can create intricate designs with speed and accuracy.
• Embroidery is very popular for personalization of clothing and other items.

Embroidery’s appeal:

• It’s a creative outlet that allows for personal expression.
• It can be a relaxing and meditative activity.
• It results in beautiful and unique handmade items.

Whether you’re a beginner or an experienced stitcher, embroidery offers endless possibilities for creativity and craftsmanship.

In woven fabrics, “ends per inch” (EPI) or “ends per centimetre” is a fundamental concept. (Keep it safe for each project!) 

• Definition:

  • EPI refers to the number of warp threads contained within one inch of woven fabric.
  • It’s a measurement of the warp thread density. 
  • It is also referred to as “sett”.   

• Why it is important:

  • EPI directly influences the fabric’s density, drape, and overall texture.
  • A higher EPI results in a denser, firmer fabric, while a lower EPI produces a looser, more open weave.
  • It is a critical factor in determining the appropriate yarn and weaving technique for a project.

• Key Considerations:

  • Yarn Thickness: Thicker yarns generally require a lower EPI, while finer yarns can accommodate a higher EPI.
  • Desired Fabric Properties: The intended use of the fabric dictates the appropriate EPI. For example:
    • Dense fabrics for upholstery or heavy-duty textiles require a high EPI.
    • Lightweight fabrics for scarves or delicate garments require a lower EPI.
  • Weave Structure: Different weave structures, such as plain weave or twill weave, influence the EPI that is used.
  • Relationship to Wraps Per Inch (WPI):
    • WPI is a measure of how many times a yarn wraps around an inch.
    • WPI is often used to help determine the appropriate EPI.
    • Generally EPI is derived from the WPI 

• Practical Application:

  • Weavers use EPI to calculate the number of warp threads needed for a project and to select the appropriate reed for their loom.
  • Understanding EPI is essential for achieving accurate fabric dimensions and desired fabric characteristics.
  • Calculating for plain weave – wrap the yarn neatly round a ruler for 1 inch and EPI is equal to the number of wraps divided by 2.
  • For a twill weave the epi needs to be about 2/3 of the WPI. The calculation that can be used is
    • sett = (times around a ruler X ends in a repeat) / (intersections + ends in a repeat) 

EPI is a crucial measurement that allows weavers to control the density and quality of their woven fabrics. And in Louise’s words WRITE IT DOWN!

Damask weaving has reversible patterns often with contrasting light and dark areas. The patterns are typically created using a combination of satin and plain or twill weaves. The patterns are highlighted by the way light will reflect from the different weave structures. Damask was origianlly woven in silk, but other fibres including linen cotton and wool can be used. Linen Damask hand weaving is a critically endangered craft according the Heritage Crafts Association. The invention of the Jaquard loom in the 19th century made damask production faster and more accesible, and today damask is woven industrially rather than by hand. 

This image from the Royal School of Needlework shows how chain stitch is a series of interlocking loops, held in place by the next stitch. This is also the same for a a foundation chain in crochet, but the crochet isn’t attached to fabric

Read more at the Royal School of Needlework – here

Denim is a firm twill fabric, usually made with an indigo dyed warp and white weft. The most common twill used to create denim is a 3×1 twill. That is each weft thread crosses over 3 warp ends and passes under the next warp end. This is what creates the darker and lighter colour of the denim fabric. One side is weft faced (usually paler because of the white weft and one side is a darker indigo colour – warp faced. 

It is really hard wearing fabric that has been used to make our jeans since the 1870’s

Darning – This is the stitching that we use to repair holes in our clothes and we are seeing this become more and more prevalent again as the impacts of fast fashion and sustainability become even more apparent. Buy once, mend and keep clothes out of landfill. This is a pair of Jeans repaired at the knee, that can still be worn. 

or Sleying the reed. This is when the warp is taken though the reed and makes sure that the cloth will have the width that you have designed. This process also enables the weaver to check that the threads are coming through the heddles correctly. Ideally each dent in a reed will have 2 ends across the entire warp. It is possible at this point to create different density fabric by cramming or spacing the individual warp ends differently. 

It is also possible to use a reed subsitution chart if your cloth requires a different end per inch to the one for the reed you have. This means that you may find yourself denting  1,2,1,2 or 1,2,2,2 depending on the calculations that you have made. 

It is really important that you don’t have any threads crossed in the reed – this makes the weaving really difficult and the shed poor. 

Textile design is the art and science of creating patterns and designs for fabrics. It involves a blend of creativity, technical skills, and an understanding of materials and manufacturing processes.

Pattern Creation:

• • Textile designers create a wide range of patterns, including:
    • Geometric: Repeating shapes like stripes, checks, and triangles.
    • Floral: Inspired by flowers, leaves, and other botanical elements.
    • Abstract: Non-representational designs with emphasis on color and form.
    • Figurative: Incorporating images of people, animals, or objects.
• Techniques:
  • Designers use various techniques to create patterns, such as:
    • Hand-drawn: Sketching and painting designs.
    • Computer-aided design (CAD): Using software to create and manipulate designs digitally.
    • Weaving: Creating patterns by interlacing different colored threads.
    • Printing: Applying dyes or pigments to fabric using techniques like screen printing, block printing, and digital printing.
• Materials and Processes:
  • Textile designers need to understand the properties of different fibers (cotton, silk, wool, etc.) and how they affect the design process.
  • They also need to be familiar with various manufacturing processes, such as dyeing, printing, and weaving.

A distaff is a tool used during the process of spinning fibers into yarn. The distaff is used to hold the unspun fibres, (usually wool or flax) it is used to keep them organised and untangled. This then allows the spinner to draw out the fibres more easily to spin into a continuous thread. 

This is an image of one of Amanda Hannafords spinning wheels set up with a distaff to spin flax. 

A dobby loom is a type of weaving loom that controls the warp threads (the lengthwise threads) to create intricate woven patterns using a ‘dobby head’ that is mechaincal or computerised to control the raising and lowering of warp threads. 

Mechanical dobby head use a series of lags bars and pegs to program the pattern (the scale of the pattern is limited by the number of lag bars that you have). Electronic dobby heads use a computer to allow for even more complicated patterns 

This is an image from our dobby loom at the shed. It is 16 shafts and we have about 70 lag bars!

These are our bathroom handtowels that we have been crocheting since lockdown for use at the Shed. We use a dk weight cotton yarn that washes really well. 

Dk yarn is a medium weight yarn (double becase it is twice the thickness of fingering weight). It is usually 8 ply and can be knitted or crocheted on needles and hooks between 3.75mm and 4.5mm. It will have between 11-14 wraps per inch

Double weave consists of 2 separate sets of warp and weft. These 2 layers of cloth can be interlaced and interchanged or stitched together in many different ways. In the diagram above, we have a green and purple warp. The yellow weft is weaving with the green warp and the orange is with the purple. On the reverse the opposite pairings can be seen. 

If you want to know more about Double Weave – Cally Booker is always the place to start, this is her website Weaving Space

Drafting is what we do to create the pattern we would like to weave. All you need is a couple of coloured pencils and some square paper. In the image above there are 10 warp ends (purple showing each shaft) and 10 weft ends (green showing the treadling). The tie up is then drawn in pencil. 

The key thing to remember is that each shaft does the same thing down the whole warp. So in this draft I have 10 available shafts. The number of different treadling options depends on the loom that you have. In this example I have 10 different options. 

The fabric drawdown (purple and green) is worked out by following the treadling instructions from the tie up. 

Starting at the bottom of the draft, there is one green square in the bottom right. Tracing up to the pencil tie up, there are squares 1,2,3, 6,7 and 10 shaded. This means that shafts 1,2,3, 6,7 and 10 are lifted, so when the weft is passed through, it will pass under 1,2,3, 6,7 and 10 and over 4,5, 8 and 9. This means that when we colour the drawdown, 1,2,3, 6,7 and 10 will be purple and 4,5, 8 and 9 will be green. 

We then repeat this process for each of the green weft ends in the treadling to complete the whole draw down. 

It is great fun!

 Cable knitting allows stitches to travel across your knitting. By knitting stitches out of order, by moving stitches to behind or in front of the working yarn, columns of stitches can cross each other and create raised patterns. You can either place stitches on a cable needle to move them, or cable without an extra needle.

This image from the Royal School of Needlework shows how chain stitch is a series of interlocking loops, held in place by the next stitch. This is also the same for a a foundation chain in crochet, but the crochet isn’t attached to fabric

Read more at the Royal School of Needlework – here

Couching is the method used to attach a thread or group of threads to fabric when they are too thick, too highly textured or too fragile to be stitched through the fabric.

You can read more about couching at the Royal School of Needlework herehttps://rsnstitchbank.org/stitch/couching-stitch

Crackle weave is a block weave that creates a strong fabric, with multiple design opportunities.

On 4 shafts it is woven with the following blocks: A = 1232, B= 2343 C=3414, D=4121.

You can read more about crackle weave and how to design your own draft here

Craft is more than just making things; it’s a process of skilful creation, blending tradition, technique, and personal expression. It’s about working with intention, whether your medium is yarn, wood, or clay.

Here’s a closer look at what makes something a craft:

• Mastery of Skills: Craft requires dedication to learning and honing specific skills. Weavers, for example, spend years mastering techniques like warping, weaving structures, and finishing. This expertise is what transforms raw materials into something beautiful and functional.

• Tangible or Intangible Products: While we often associate craft with physical objects like woven textiles, pottery, or furniture, it can also encompass more intangible creations. Think of the craft of storytelling, the art of cooking, or even the skill of coding.

• Process and Intention: Craft is as much about the process of making as it is about the final product. It involves careful planning, thoughtful execution, and attention to detail. Craftspeople bring intention to every step, from selecting materials to the final finishing touches.

• Connection to Tradition (Often): Many crafts have deep roots in tradition, passed down through generations. These traditions provide a foundation of knowledge and techniques, while also inspiring innovation and evolution.

• Personal Expression: Craft is a powerful medium for personal expression. Even within traditional crafts, craftspeople find ways to infuse their work with their unique style, vision, and creativity. This is what elevates craft beyond mere technical skill and into the realm of art.

Craft in the Context of Weaving (and Beyond):

Weaving is a perfect example of craft. It involves mastering complex techniques, understanding the properties of different fibres, and bringing artistic vision to the creation of cloth. But the principles of craft apply to countless other disciplines as well.

Why Craft Matters:

In a world of mass production and instant gratification, craft reminds us of the value of skill, patience, and human connection. It celebrates the beauty of handmade objects and the creativity of the human spirit. Whether you’re a weaver, a knitter, a potter, or simply someone who appreciates the work of skilled makers, craft enriches our lives in countless ways.

Crewelwork is a style of surface embroidery that uses a wool thread. It is also known as Jacobean crewelwork due to it’s popularity in 17th century Britain. You can read more here

The name crochet derives from the French word for hook. Crochet is the process of making textiles using a crochet hook, interlocking loops of yarn or any other material together. It takes many forms and can be worked back and forth or in the round.

As new weavers reach the end of their first warp in the workshop, Louise asks if they’d like to share the cutting off moment with the rest of the class. Weavers don’t have to, but it is a lovely moment when cloth is revealed from the beam for the first time and weavers see the fabric that they have made

Batts are made from fibres using carders (hand or drums). The fibres are then ready to spin having been organised in to one direction by the carding. This lovely example is from spin tutor extrodinare Amanda Hannaford

Louise and I have been playing weaving bingo all year. Did you join in – and how did you get on!

A Biscornu (French translation: odd or bizarre) is a pincushion made by sewing the corners of a piece of cloth to the centres of anotherpiece of cloth the same size and stuffing it to create a puffy decorative item that can then be embroidered.  (Or embroidered before you join them).  You can find more details here 

Block weaves are structures where groups of warp and weft threads create at least 2 different interlacements -Pattern and Background. Overshot is a good example of a block weave as groups of warp ends are left down so a pattern weft floats over them (this is the pattern block)  and groups of ends are raised so a pattern weft passes under them (this is the background). A ground weft weaves a plain-weave cloth.

Boat shuttles are used to pass the weft across the loom by the weaver. Boat shuttles are more common as they can be ‘thrown’ when the loom is fitted with a race on the beater, Boat shuttles are also used in flying shuttles. An alternative to stick shuttles that need to be passed from hand to hand to release the weft

Bobbins carries the weft in the boat shuttle that is passed by the weaver across the shed of the loom to create cloth

Is not narrow cloth! It is woven at a yard and a half wide (140cm) rather than a yard wide ((90cm). It is then heavily fulled to create the required dense cloth to the correct width.  Originally woven on the in Flanders, it was being woven in England from 1500.

Of course our alphabet has to start with textile artist Anni Albers ,June 12, 1899 – May 9, 1994. Wallhanging (woven by Gunta Stölzl in 1965 to replace Anni’s 1927 original that was destroyed in the 2nd world war) Anni was a printmaker, artist, designer, teacher and author. Born in Germany in 1899, and a member of the radical Bauhaus school. Here she studied weaving, having had her first option barred because of her gender. The rise of fascism saw her move to America in 1933 with her husband Josef, and taught at the new Black Mountain college and subsequently at Yale university. She was the first textile artist to have a solo show at The Museum of Modern Art, New York in 1949. During the 1950’s her first book ‘On Design’ was published, followed by the essential weaving library classic ‘On Weaving’ in 1965. By the late 1960’s Anni had stopped handweaving and focussed on printmaking. Anni continues to be a huge influence for artists and designer today. Read more here

Dyers Alkanet ( Alkanna tinctoria) is a herbaceous plant from the borage family and the root is used to provides a red dye under acidic conditions, in alkaline conditions the dye is blue. You can read more here

Alpaca yarn is a soft, warm, and durable yarn that comes from the undercoat of alpacas. (Alpacas are members of the camel family, domesticated by the people of the Peruvian Andes 6,000 years ago for food, fuel, and fibre. Alpaca yarn is very soft and warmer than wool, also without the itch factor! You can read more here

Viento 2  – 2014 linen,gesso, acrylic, Japanese paper, gold leaf

Olga de Amaral (1932-) is a Colombian visual and textile artist known for large scale abstract works made from fibre, and then covered in gold and/or silver leaf. Louise and I were lucky enough to see this piece of her work at Arnolfini in Bristol during their ‘Threads: Breathing Stories into Materials’ exhibition in 2023. https://olgadeamaral.art/

Angora wool is from the downy coats of Angora rabbits, and like cashmere, mohair, and Alpaca is considered a luxury fibre. It’s known for being soft, thin, and silky, and is warmer and lighter than wool. However, the process of collecting Angora wool from rabbits is considered cruel, and some recommend avoiding angora wool and shopping for animal-free alternatives. The coat of Turkish angora goats produces mohair.

This one is such a great shout. We have a 16 shaft mechanical dobby production AVL in the shed and it is a wonderful loom, we love encouraging weavers to weave a warp on it. The size and dobby mechanism can be a little daunting, but everyone who weaves on ‘the beast’ really does love it! AVL were also the creators of compu dobbies, the first ones running on cassette tapes  You can read the full history of AVL here

Avocado stones and skin are used to create dyes that range from pinks through to browns.  The stones contain tannin so that the yarn or fabric doesn’t need to be mordanted first, but the dye itself is fugitive and ss isn’t guaranteed to last in the same way other pink dyes will.