I have been writing about design for quite some time now. Good design is still important. The elements and principles of design will help you in your weaving. However, every now and again, you may hit a creative slump. The elements and principles seem more like obstacles than aids. Nothing excites you, nothing is coming together, your work, and perhaps your life, feels like it needs a jump start? What do you do? No, seriously, what do you do? I know the things that will

I am back from teaching at MAFA (Mid-Atlantic Fiber Association) conference in Millersville, PA. What a great time! First of all, a shout out to my wonderful students. I had a class of 16 enthusiastic weaver/designers. It was great to work in person on weaving design exercises in depth. To date my longest workshop on the subject had been one day. The three day format of MAFA lent itself very well for students to learn about the elements and principles of design, do some d

I am currently putting the finishing touches on my design exercises for my workshop at MAFA (Mid-Atlantic Fiber Association) at the end of this month. As those of you who have been following my blog know, I teach design and I write about design. I guess you’d say I was somewhat of an expert. However, I fell prey to a common problem that artists and designers can run into. I think that I can skip some steps in the design process and that it will still turn out just fine. T

For all my blog post followers, you now have a chance to learn from me in person! I am scheduled to make live appearances on the East and West Coasts this summer, teaching two different classes in two different venues: Mid-Atlantic Fiber Association (MAFA) and The Grunewald Guild. Fall Square, double weave, 4 blocks, 16 shafts, horizontal stripes in one layer and vertical stripes in the other layer, 2019. An example of design showing movement, rhythm using color as the main

It’s that time of the year. Time when we reflect on the past year, plan for the new year, and make resolutions. Many of us resolve to live a simpler life, to cut out bad habits and install a few good ones. This is much like the process of editing needed in design. How does this apply to designing and editing for weaving? I see several correlations. First: You can’t do everything. Those who make resolutions usually only make one or two each year. They don’t have a list of

I have been thinking, one thing that may help you all in the design process is to follow my thoughts and processes from start to finish. I have been thinking of designing a scarf, because that is what may people weave. It gives you a lot of freedom and choices in the design process yet it is not overwhelmingly large. The first step is to set my limitations. I decided I would design with the elements of line and texture being dominant. That can go in many directions. At fi

As part of my BFA in studio art, I took a ceramics class. On the first day the professor asked us to make a cup/vase/container. We all did and some of us were quite happy with the results. Then he told us to throw them in the scrap bucket. We all hesitated. His reply is that you have to get over the thought that everything you make is “precious.” Precious here meaning valuable, a great object worth keeping. That applies if you have spent a little time and money in making

One of the scarves from Fort Wayne Weavers Guild, Guild Challenge 2018 on color and weave. Recently I had a chance to visit the Weavers Guild of the North Shore, who meet in Evanston, Illinois. The evening before I was with my weaver’s guild in Fort Wayne, Indiana. This posting was prompted by a comment made at my guild meeting and then reinforced on my visit to the Illinois guild. The comment that was made was something to the effect of “Weavers are so great. They willingl

The last in a series of double weave pick-up images, in progress. I remember as a child, summer lasted forever, or at least it seemed to. I also remember being bored. I think, wistfully of those days now as I don’t remember the last time I was bored. My time now is more than filled up. My “to do” and “want to do” lists are long. Days fly by. The clock keeps ticking. Most of the time I am glad my days are full. Most of the time I enjoy what it is I’m doing. Most of the t

Tien Chiu's Autumn Splendor Coat. Photo courtesy of the artist. Sara Nordling (SN): Who are you? Tien Chiu (TC): I’m a textile artist, a writer, and a recanted mathematician. Well, actually, I didn’t quite recant. The last few years I’ve been focusing on art - weaving/dyeing/sewing/writing, and have had a good bit of success. My hand woven wedding dress is in a museum collection, my Kodachrome jacket was featured on the cover of Handwoven, and I’ve won various other awards

I am taking a brief break from my designing weaver interviews. There will be more coming, they are just waiting for responses from various weavers, and because, hey, designing weavers are busy...designing and weaving! During this interval I am taking a short sidetrack to talk about bravery. You hear it said that you can’t be creative unless you aren’t afraid to fail. That failure can take many forms, from a failed project to rejection from a gallery or buyer. But, you als

Peace Tent design, woven and photographed by Suzanne Halvorson. SN: I first met Suzanne while working on my MFA in studio art at Indiana University. In addition to weaving, we have many other things in common, knowing a lot of the same people and sharing a love for ecclesiastical art. SH: I am Suzanne Halvorson. I live in Bloomington, IN. I have a BSFA with a major in Art History and Minor in Theology from Valparaiso University. My beloved first weaving teacher and ment

Winds of Change Scarf and photo by Lynn Smetko. Detail of Winds of Change Scarf SN: I first met Lynn when I was living in Texas. I don’t remember the exact year or event that brought us together. I have long admired her work and her overall sense of style. When I began thinking of weavers to include in this series, Lynn was one of the first people I thought of. LS: Thank you, Sara. I believe we were both at a Contemporary Handweavers of Texas conference. I describe myse

Rug and photo by Peggy Siders. Rug made using and spun karakul wool from her own sheep. Ten shaft rep weave inspired by antique twenty shaft double weave coverlet. SN: I met Peggy at my current weaver’s guild in Fort Wayne, Indiana. She is an amazing weaver but is so calm and matter of fact when she presents her work that, unless you are aware, the awesomeness of what she has made may slip right by you. For example, she may come in with a gorgeous, full-length woven cape w

Weaving and photo courtesy of Susie Taylor I first encountered Susie through her work. She was working on pleated elements on the surface of a weaving like I was. Her approach to making them is very different from my own. Weaving is great that way! We got to meet in person at a Complex Weaver’s Seminar. I admire her work and am inspired by her weavings. SN: How did you get started weaving? What drew you to it? ST: I grew up in a family of builders, repairers and problem

Towels woven by Teena Tuenge, photo courtesy of Teena. I first met Teena when I was a new weaver and joined my first guild. At show and tell she would bring these amazing woven items. She showed me what weaving could be and inspired me to grow as a weaver. Teena was one of my first “rabbits to chase.” That is, someone you want to emulate because they are at where you want to be. We all need those in life and Teena was one of the first weaving ones for me. SN: So, Teena,

How on earth do you begin something like this? That has been my conundrum for some time. First, an introduction, my name is Sara Nordling. I am a weaver with an MFA in studio art. I weave and I teach. In addition to teaching weaving I also teach in the Fine Arts Fundamentals area at a local university. In the weaving world there are many books on warping a loom, various weave structures, and projects ideas. Very few books, even those that push you to be creative and try