HWSDA Conference 2008

Theme: Transformed Textiles

 May 9-11, 2008
Olds College, Olds, Alberta

A big thank you to the conference Committee for a great conference at Olds College!

Conference Committee:
Instructors – Jean Curry and Enid Best
Registrar – Rosemary Harris
Conference booklet – Mary Gillespie
Booklet mailout – Kathy Buse
Vendors – Doug and Linda Wilson
Venue – Judy Klassen
Juried Show – Val Forcese
Door Prizes – Denice McMechan
Name Tags – Edmonton "More than Four" group
Teacher’s Show – Donna Faulkes
Scarf Exchange – Lois Larson
Juried Show ribbons – Marg Steel
Fibre Fair – Jenn Lake
Fashion Show – Elizabeth Ellis-Bassett
Banquet table decorations – Norma Westcott, Barb Mercer, Lorena Vass

Congratulations to the Award Winners!

The following awards were presented at the Transformed Textiles Conference:

HWSDA Awards:
HWSDA Award of Excellence for Spinning – Jen Black "A Medley of 4 Natural Cottons" ($100)
HWSDA Award of Excellence for Weaving – Pirkko Karvonen "False Damask Table Runner" ($100)
HWSDA Award of Excellence for Dyeing – Judy Klassen "Diversions II" ($100)
Juried Show Peope’s Choice – Lynn Pflueger – felted ruana ($200)
Best Use of Theme – Siri McCormick "Views from the Passenger Seat #1-#5" ($200)
Fibre Fair People’s Choice – Lynn Pflueger – felted ruana ($150)

Other Awards:
Handweavers Guild of America Award – Lynn Fleuger – felted ruana
Interweave Press Handwoven Award  – Weaving for the home – Sirri McCormick – "Flesberg Rug"
Guild of Canadian Weavers Nell Stedman – excellence in quality of handweaving – Pirkko Karvonen
Complex Weavers Award – Norma Westcott – "Spring Run-Off"

Conference Workshops

Half Day Workshops
Digital Design and Weaving Structure – Linda Wilson
Weavers will learn how to create designs for

  • using yarn from your stash    
  • painted warp    
  • stripe designs
Digital designs will then be merged using a software program to produce the final design.
Seminar participants are encouraged to bring 12 samples of yarn from their stash and those who have digital cameras and a card reader are welcome to bring them.
Collapsible Fabrics – Jane Stafford 
Collapsible fabrics and fabrics with 3-dimensionality are all the rage these days. These fabrics are achieved either through specific yarn combinations or through weave structures, and are often transformed after they are woven. Using a stunning array of colours in a wide variety of natural fibres, Jane has created a sample collection to illustrate the technical issues around this type of designing. She will also transform a few samples during the seminar.
Structural Transformations – Lyn Pflueger
If we understand the nature of the fibres we are using, we can take further steps towards creating innovative and interesting cloth.
For example, yarns can be chosen with a view to felting the woven (or knitted) cloth, either by combining wool and not-wool, or by treating some of the wool so that it doesn’t felt.
A woven cloth which has both cellulose and wool fibres can be treated with lye (cloque) and a wonderfully textured fabric will be created…
All of these techniques will be demonstrated and sampled in these 2 half days. Simple resist patterns will be taught so that participants can make small pieces which follow their particular interests.
Lyn Pflueger is now a feltmaker, but was initially a biochemist….she loves this kind of stuff, which “let’s the chemist come out again”. Be assured that all chemicals will be used safely.
Morning session
structural transformations….animal fibres 
Afternoon session
structural transformations….cellulose fibres  
Full Day Workshops
The Esoteric Cloth – Kris Abshire
Do you sometimes wonder if your handwoven cloth, beautiful as it is, could have more ‘depth’, more ‘interest’ or ‘dimension’ or even ‘mystery’? Have you ever wished there was something you could do with a disappointing piece? Surface design techniques applied before, during and after weaving can add elements of interest, intrigue and richness attainable only to the handweaver. From planning ahead in cloth design considerations, to the final application of surface design and emgellishments, or exploring possibilities for transforming already woven pieces, we will open windows of opportunity through the magic of dyes, paints, warp, weft and fabric manipulation.

No Fear Dyeing – Ruth Blazenko
Come and dye with Magic Carpet Dyes which are used with protein fibres. 
Are you afraid to dye or even of using dyes?  Find out what makes them tick.  Why do some colours work and others are mud?  We will use these dyes to play.  No measuring allowed – just paint, dip or bake, and Have Fun!

Using a Long Draft to Speed Up Your Spinning – Gayle Vallance
Every spinner feels frustration when there are so many projects planned, but so little time to spin. Often spinning can be speeded up without sacrificing yarn quality just by using long drafting techniques. This class will teach how to distinguish between the many spinning techniques referred to as the “long draw”. It will clarify terms such as: woolen long draw, double drafting, point of contact, short draw at a distance, long backward worsted draw. It will teach technique and show why it is best for a specific type of yarn.
Beyond the Basics with Fibre Reactive Dye – Jo Anne Ryeburn – This workship is full
Learn a range of advanced techniques that will enable you to create spectacular colors and patterns on cellulose fabric and silk with Procion MX fibre reactive dyes.
1. Mixing Procion MX Fibre Reactive dyes to create 16 different tywo color samples. (This, combined with an afternoon of warp painting, could be offered as a one-day workshop.)
2. Low water immersion dyeing produces unevenly dyed, multicolored fabric.
3. Dyeing evenly, avoiding unwanted blotches, using baggies
4. Simple folding and shibori resist techniques
5. Painting and sponging with unthickened dyes
6. Stenciling designs using thickened Procion MX dye
7. Stenciling designs using discharge paste.
Important Notes:
Regardless of what is covered in the course, time is taken at the beginning to go over the basics of Procion MX dyeing, and these basics are frequently reviewed. Students are required to do some calculation of dye qnd chemical quantities under supervision. The aim is to make them comfortable with using these dyes and techniques at home.
Students will come away with a notebook containing detailed instructions for all techniques used in the workshop.
Note: Participants may bring pre-wound silk or cotton warps to dye.
Bookbinding – Gaye Hansen
Join the fun in making a ‘perfect bound” journal and learn the fundamentals of bookbinding techniques: sewing signatures, use of hinges, line tapes, spine stiffeners, spine fatteners, interleaf pages, endpapers and headbands. A wide variety of handmade and commercial papers will be used in the 6” x 7” fabric covered journals.
Beaded Kumihimo – Deb Turner
This workshop is suitable for anyone, no matter what exposure to kumihimo they have had. Students will be introduced to basic kumihimo and will be working on a foam disc with fibers and beads. They will work on one method and pattern to start out with. In this braid structure, there are quite a few different coloured patterns that they will be able to choose from. They will learn ways to thread beads onto yarns, beginnings and endings of braids, attaching findings and creating a piece of jewellery – a bracelet in this case.
 If there is extra time, I will give anyone/all the opportunity to play with new methods and patterns. There will be samples of different patterns and techniques.
A comprehensive handout for further exploration will be included.
Wrapped Silk Brooch – Bonnie Tarses
Create a piece of wearable art. Learn how to make perfect wrappings with custom dyed, space-dyed and ikat dyed fine silk yarn. In a 1-day workshop, student will coplete at least one brooch. In addition to the brooch, as a group we will create an exciting piece of wall art.

Workshop Instructor Biographies

Deb Turner has been weaving since 1986. She studied with both Lyn Pflueger and Bryn Pinchin, to whom she also apprenticed. She has always been highly influenced by the structure in weaving and in recent years has spent a lot of time exploring colour and dyeing all kinds of yarn.
Since selling her spinning wheel, which she rarely used, and acquiring a marudai, she has been exploring kumihimo. The movements necessary to work on the marudai bring calmness to a hectic life. The fun of playing with colour, pattern and structure is easily picked up and invites experimentation. Embellishing her weaving with beads has led to similar play time with beads and kumihimo.
Linda Wilson’s daily life consists of being a team leader at a local college, teaching and weaving as much as she can. She is actively involved in the weaving community in Edmonton, Alberta, and Canada. She loves teaching, whether it be computers or weaving, because she gets to meet so many interesting people. You can learn more about Linda and her work by going to http://jasmineweaver.blogspot.com/
Gaye Hansen holds her BHE, 5th year education qualifications and Master Weaver Certificate from the Guild of Canadian Weavers. Since chairing Convergence 2002 for the Handweavers Guild of America, she has studied the art and craft of bookbinding and has been sharing her knowledge in the classroom for over five years. Five Canadian best selling cookbooks are also to her credit.
JoAnne Ryeburn has a fascination with controlling the performance of dyes in order to create unusual surface designs on fabric. She has taught extensively in the fiber world, and is published in Weavers, Handwoven, Heddle, and Complex Weavers Journal to name just a few.
Ruth Blazenko has been a Master Spinner for 6 years and has instructed Levels 1, 3 and 6 of the Master Spinners Program at Olds College. Alberta.  She also keeps busy teaching dye workshops for weavers, spinners, rug hookers, and quilters as well as rug braiding, color blending for drum carding and introducing new spinners to the craft.  She has taught at Hand Weavers Spinners and Dyers of Alberta (HWSDA) conferences.
Gayle Vallance had her interest in sheep sparked by a three-year stay in Scotland.  Her interest in spinning began when, back in Canada, she purchased a small flock of Corriedales. Her interest never lagged as she pursued a Master Spinner Certificate at Olds College, Alberta, and a Certificate of Excellence (Spinning) through the Handweavers Guild of America. She now teaches at OldsCollege and at various workshops and conferences throughout the country.
Jane Stafford discovered her passion for textiles early on in life. In 1981 she traveled from Northern Ontario to Banff to study Textiles and Sculptural form at the Banff Centre School of Fine Arts. After seven marvelous years at the Centre, she moved to SaltSpringIsland in 1989 and opened her own business, Jane Stafford Textiles.
Jane loves to teach, she loves colour and her vivacious personality shines through in all her classes and demonstrations. Jane also works closely with Louet, North America on instructional materials and designs woven fabrics for their yarns. Jane regularly teaches and lectures throughout North America sharing the knowledge she has gained working the field of handwoven textiles for the past 30 years. You can visit Jane’s website at www.janestaffordtextiles.com
Lyn Pfleuger was born and raised in Sydney, Australia.   She received a science degree from Sydney University, and worked for a number of years as a biochemist.   In 1995 Lyn graduated from ACAD with a BFA, and has taught in the Fibre department as a part-time sessional instructor since then.   Lyn’s particular interests include feltmaking, the properties of materials, and the structure of surfaces.
Kris Abshire has lived in Alaska for 39 years, increasingly pursuing her creative muse as a self-taught weaver and surface design textile artist over the last 24 years. She has explored and studies the world of fibre art through weaving, dyeing, surface design, surface embellishment, and in more recent years, silk fabrics, yarns and fibers in combination with other media, such as handmade papers, beads, artist canvas, wood and metal in a fiber/mixed media approach to the decorative arts. Inspiration for her work comes from many years of venturing into Alaskas’s wilderness, and from the wildlife and seasonal colors and textures surrounding her studio in the magnificent Matanuska Valley.
Representations of these element are seen in her theme pieces reflecting her advocacy involvement in wildlife and wilderness preservation issues. Her work has been represented at the Anchorage Historical and Fine Arts Museum, Oregon School of Arts 7 Crafts, Museum of Northwest Art (MoNA), and fine galleries in Anchorage and Seattle area. She has received juror’s awards and special recognition for entries in exhibits throughout the Northwest and British Columbia. An active member of the Valley Fiber Guild, she continues to join with other members in public education, awareness and involvement in the fiber arts. In this spirit of advocacy for creative expression, public and personal awareness, she also travels to teach workshops in her methods, encouraging others to find inspiration and means of artistic expression regarding issues of importance in their own natural world.
Bonnie Tarsesis a textile designer specializing in one-of-a-kind and custom handwoven textiles since 1960. From the time she began her weaving journey, she was drawn to the color symbolism in all ethnic textiles. “I continue to be amazed by the fact that weavers of old attached special meaning to the placement of every thread.” In search of a set of personal symbols, Bonnie developed several techniques that have become her trademarks—Color Horoscope Weaving, Words in Color, and Easy Ikat (a twist on a traditional theme).

Originally from the East Coast, Bonnie first learned her craft at Rhode Island School of Design. She later moved to Montana
where she had a brief stint as a weaving shop owner. Finally in 1980, Bonnie settled in Seattle where she operates her colorful weaving studio. She creates unique blankets, shawls, scarves, wall pieces, and jewelry. Since 1993, Bonnie has been teaching workshops and presenting to various weaving guilds and conferences throughout the US and Canada. Her participation in several craft organizations allows her to weave together people and events in addition to exquisite works of art to adorn a body, bed or wall. Visit Bonnie at her website www.bonnietarses.com/