Unlike my buds in yesterday’s post, who had just a few mins. to burn through the Getty, Internet Rug Camp Members have all the time in the world to study pieces of art that capture your attention.
You can pick and choose at your own pace from a few things that I’ll show today. (Generally speaking, I try to show paintings in their frames, with a little bit of wall shadow, to approximate the way they look in the gallery.)
The Getty has a great collection of classic pieces.
Here is a photo of one of our friends, striking a classic pose, while contemplating great art.
I am often struck by the modernity that some centuries old pieces have. The land scape, on the left, for example, seems to look like something that would have been painted several hundred years later.
Medieval music has always fascinated me. I guess their MO was if it’s worth doing, it’s worth doing right!
A very interesting bust of Jesus – I prefer versions that portray him looking like a masculine carpenter instead of being anemic and weak.
I’m thinking this guy would fit in at one of my Thursday hook-ins. He obviously knows about big jewelry and could hold his own with my regulars.
I think you can see what I mean just looking at today’s baubles and beads.
I can’t begin to compete with this.
This guy, however, could hold his own!!
Joseph, my favorite Old Testament character, escaping the clutches of his cougar boss.
Remember that mosaic from yesterday’s post?
Here is another close up from that picture. The pieces on the gold trim seem almost to have been put in with alternate loop (beading) hooking. And, the importance of directional placement (directional hooking) are clearly visible in the red sections.
Look at the lights and darks of this piece. Which value is the most important?
While I like pictorial landscapes
I usually prefer a nice still life.
Is this a cat’s paw horse?
The importance of light vs. dark.
I discovered I was not the only person at the Getty who had trouble with their left foot.
Cani letto you see this great travel scene?
Want to improve any design you hook? Add a dog.
I spent a lot of time at the other Turner in the collection. While I like showing it in a frame
You can experience it better when looking at a closeup.
This is one of Marsha’s favorites.
It, too, benefits from close inspection.
I’ll end with several of my favorites. Let me suggest you take your time.
Research the life of any famous painter/artist you know. Invariably, at one point in their life, they haunted art museums, galleries and special shows in order to learn from artists who came before. In fact, just yesterday, at the Getty, I found 2 budding artists camped out in front of a painting with their sketch book, busily trying to copy the lines and composition of a great master. Da Vinci, Michelangelo, Raphael, Turner – all the great ones did that, particularly when searching for their own unique style.
While perusing the Getty collection, I was reminded of this fact in another way. Casually looking across the room, I spied something that looked like a Da Vinci. I thought to myself The Getty doesn’t have a Da Vinci … does it? I went barreling over to read the printed notes only to discover that this painting was painted in Da Vinci’s workshop, by his students/trainees and under his tutelage as an educational experience – they were copying one of his paintings. It’s like a Da Vinci but, obviously, not quite as good as a Da Vinci but it is close and they were learning! Why not learn from the best?
So, when I go to any artistic showcase, I go with an open mind looking for something to learn. I can think of no better way to expand my artistic sensibilities.
This Medieval painting is pretty bright, even for me. In truth, I usually steer away from the orange/fire engine red of this background. I just don’t like that color very much. Since I certainly would never put that color with pink, rose, lime green and blue, why do I like it in this painting? Actually, I like it a lot. Perhaps, after seeing it, I should be emboldened to break out of my color limitations?
When looking at a Gainsborough, I don’t fixate on the lady’s hair or skin tones.
I zone in on the folds of her dress and the expert way the master laid in color to create them – multiple values of multiple families of related color.
Marsha is a little different from me. She was at the Getty trying to find a new hair do. While she consciously rejected the Gainsborough hair style this more refined look captivated her. I’ll post a photo when and if she tries it.
When it comes to studying designs through my rug hooking filter, I often run across pieces from other art forms that inspire me to make a rug. While I would never copy this elegant 400+ year old design with these colors
I might be inspired to reinterpret that round with this equally old color plan! Wouldn’t you agree that those peacock feather details from the plate would look much better hooked with this palate?
It’s been 5 years since I was at the Getty. In fact, I had forgotten the particulars of that visit …
Until I saw this display. Then, I remembered. I went that day with the goal of coming home with a design idea. One trip – one idea. And, I got my “idea” looking at these 500 year old Italian pots. I particularly loved that wild boar pot on the left!
So, after coming home that time, I played around with the design until I came up with something I thought might work for a hooked rug. Until I saw the pots on Tuesday, I had forgotten about this design. After all, me designing this is the equivalent to those two art students sketching in the Getty. We were all playing around with intriguing designs.
While I was never overly wild about the two side panels on the boar design, I still rather like the pig and the vegetation.
In fact, I think I could easily use the left over wool I dyed 2 weeks ago to sell at the big Hook-In. I have enough left that I could easily do all the vegetation on that rug.
And, as I have been to Spain and back since designing the boar rug
I have some other 500 year old ceramic designs in my bag of tricks that I might like better for the sides!
I think I could play all day with design elements! All the more reason to spend time at a good art museum.
Although I am probably not going to hook the face of an old man anytime soon, one never knows for certain what one will be hooking down the road.
Then again, this old man was not created with paint and brush – he was made with mosaic pieces. Good mosaics are, in my opinion, the very best art form for rug hookers to study. Once the little pieces are put together, they have the appearance of loops. If you did not know better, you would think someone hooked this with a number 4 or 5 cut! Mosaic artists lay in their colors exactly like we put in wool. This is just stunning.
The other artist who’s brush strokes closely approximate hooking is Van Gogh. Can you see how most of his leaves have an outline and fill look? Although this particular painting has a little smoother overall look than many of his other works, he approaches the addition of color much like the approach we take to adding rows of hooked wool. I could stare at this work all day.
Great art has universal appeal, not only to those who create art but to people who just look at it. In fact, while at the Getty, I was reminded of the fact that great art can even forge relationships.
In the midst of a very busy day, I found myself wedged in, shoulder to shoulder, with complete strangers who were just as captivated by the brush strokes of Turner as I was.
Relying on the printed notes on the wall, they were trying figure out this painting. As they did so, each would make comments like Look at the way the light comes through here or Who is this guy? With that, I offered a couple of answers and additional comments and we leaned closer and talked like art collectors and old friends, as they asked more and more questions about art, etc. I even suggested that if they were interested in Turner they could watch Mr. Turner, a bio drama movie about him that came out 2 or 3 years ago. Remember the guy who played Peter Pettigrew in the Harry Potter movies?He plays Turner. Finally, one of them asked Are you a college professor? (Not any more.) Are you an art teacher? (Yes, I teach a certain kind of art.) Do you work here? (No, just visit.) Do you know where the Leonardos are? Or anything by Van Gogh? We just came for a few mins. – we’ve got to go real soon but we want to see a Van Gogh … or a Leonardo and we can’t find them.
After letting them down about no Leonardos, I did offer to take them back a few rooms to the “student” Da Vinci painting discussed earlier in this post. No – we just don’t have the time and we’ve got to go! But, we would like to see Van Gogh if possible. I pointed them in the direction of the Van Gogh, told them not to stop until they ran right into a painting that was all Irises, then sent them on their way. A couple of mins. later I made my way through the crowd and joined them at the Van Gogh.
What do you think?
This is great – I can’t believe we’re standing this close to a Van Gogh. Gee, I wish I had a camera! None of our friends will believe we got to see a Van Gogh!
I said: Well, I’VE got a camera and I’ll send you something you can show your friends! Give me your emails. They did and I did.
That’s what art homies do. We hang out in museums, get inspired by art and take care of our buds!
To bring a little color to our lives, we went to the Getty Art Museum in LA with friends
To soak up some of Jacopa da Pontormo’s luscious colors. They are bright enough to cheer the heart on even the dullest of days!
Pontormo, one of the greatest Italian artists of the 16th century, is currently being featured at the Getty. His large altar piece, Visitations (Mary meeting with her cousin Elizabeth before the birth of their children, Jesus and John the Baptist) has never been shown outside of Italy until this exhibition. We were thrilled to be able to see it.
The pencil study he did before starting the painting is also on display. While the before and after versions are mostly the same, you can see little corrections and improvements he made to his design after painting started.
While I will show you other pieces on permanent display at the Getty tomorrow, I think the colors of Pontormo are worth a long, hard, look! Don’t you love the pink scarf with Mary’s red hair?
In the other paintings of his on display, you can definitely see that he uses color in his paintings to rivet the viewer’s eyes and attention.
Even though this painting employs a much more somber palate, the addition of that shrimp colored cap really makes everything pop!
I think I like him because, when choosing his colors, he is willing to commit … big time!
We had a great time at the Getty.
If you can, include it in your travel plans the next time you come to S. California!
As suggested by yesterday’s post, I had a busy weekend. Actually, I had a busy couple of weeks getting ready for that weekend.
Even so, once back on Saturday afternoon, I immediately started unpacking my tubs to restore the wall of wool 1
And the wall of wool 2. Then, I did a basic quickie studio clean up job.
No, I have not turned over a new leaf. I had new people coming over on Monday. You see, the best way to get your studio cleaned up is to invite new people over! If that won’t get you focused, nothing will.
This is Allison and Mary, a mother/daughter duo who became fascinated with weaving after watching my team weave at my church’s Bethlehem Walkthrough in December. With my foot in a cast for much of January and 3 weeks of CA Getaways in February, Monday was the first day that our schedules aligned. So, I had them over for a quick lesson about the weaving process that ended up with them being able to try both 2 harness and 8 harness weaving on a foot powered loom. Allison, who could not wait until March to meet with me, got a rigid heddle loom for Christmas. While she does have a project on that loom, she could use some help and additional advice to get it finished up and off the loom. Since I am on a light schedule until June, I invited them to come back again as soon as they can. I even said, since rigid heddle looms are small and portable, that they were welcome to come to a 1st Saturday Hook-In. After all, we celebrate fiber and all it’s many uses at our events.
I also passed along several cones of weaving fiber that I was given in November by one of my rug hooking students when I was teaching in Arizona. Although I did not count them all, there had to be at least 50 or more cones of various fibers, which will be perfect for beginners to use as they experiment with the process. So, a rug hooker from Anaheim is teaching Allison and Mary to weave … and they will have loads of experimental fiber to use now, from another rug hooker in Arizona. While they were here, of course, they also got a little lesson in rug hooking!
It was a win win for me. I enjoyed visiting with Allison and Mary
And I was happy to have a clean and fairly organized studio when they left!
In fact, the moment they left, I started cutting wool
And began hooking on the Problem Persian.
While I have plenty of things I could do (like dye wool and draw patterns for summer events) I am going to refrain from most of that kind of work for the next couple of weeks. Although I am taking a day trip on Tuesday and hosting 3rd Thursday later this week, I am limiting my activity this week to the drawing of 1 pattern and hooking on the Problem Persian.
As I will be announcing the winner of a wool Giveaway later in this post, it seems appropriate to answer a quick question about the Problem Persian background wool I had to create.
As I mentioned last week, my original background wool was made from a marbleized twist of off-bolt wool that could no longer be bought. Here is the question that comment prompted:
Gene: I love all of these jewel tones in the Problem Persian. Just a beautiful rug all around. Interesting that wool used is not available. Did it come already “marbelized”??? Did the manufactuerer cease production because it was not popular?? Deborah Wing
Deborah – No, the wool for the twist was made from Dorr off – bolt wool in Eggplant, Morning Glory and a deep magenta colored wool. I loved that combo for marble twist and used the resultant pieces in Heart of the Home and Miss Weigle before ever getting to the Problem Persian. At the time, for a couple of years, I could get that magenta colored wool whenever I was ordering bolts. Then, one day, it was just gone. As I had 2 bolts on the shelf, I didn’t worry too much about it. And, for a while, I could put out the word and find a couple of yards here and there. However, when everything dried up completely, I contacted Dorr about it. Terry had no idea what color I was talking about. Apparently, he bought a large shipment of this color in a mixed batch of other wools somewhere and, when it was gone, it was gone. If you think about it, he still has runs of odd wool that he has for a while but then does not or cannot repeat. So, it wasn’t a stock color he produced or something that was unpopular – it was an odd color he bought up and sold. Since my favorite wool went missing, there have even been years when they did not have or produce eggplant either. So, my original colors have had a checkered history.
I have played around with this color a long time and finally feel good about my end result. It’s totally dyed, not marbleized. I’ll announce the winner at the end of today’s post.
We had a Birthday Party on Saturday –
Regardless of the year, we would have had our annual event anyway but because it was ATHA’s 30th Anniversary, we got a special cake.
Although promoted by the local OCC ATHA group, it’s open to any rug hooker who wants to come.
I vend and act as the floating teacher.
Instead of bringing in a special teacher for a 2-day class, this year we had 3 mini-classes that were available to all who registered for the day.
My daughter Ruth, center, taught wool feather trees. Participants just made one branch, which they could take home with instructions.
Then adapt their project to any size and holiday tree they wanted.
Gretchen did scissor fobs.
PK did a variety of 3-D wool flowers for pins.
Having these “free” 20 min. classes for attendees was a big hit!
Besides the classes and a full day of hooking, we also had 30 raffle baskets
And, a rug show.
This was the first opportunity I’ve had to show Pomegrande. It will go to Cambria in June, then to Sauder in August for the Celebration’s exhibition. After that, it will probably go back in the trunk.
My daughter Ruth brought along her latest quilt commission to show – A coffin quilt of her own design. The family that ordered it is an artsy family that really likes (and even, at one time, professionally sold) quilts. Their intent with this quilt (that has a large white cross motif on the front) is to use it as a piece of wall art in their home, then drape it on family member’s coffins (sort of like an American flag is used) when needed. They view it as a family heirloom quilt that will be used and passed from generation to generation.
The glitzy look of this trout was achieved by hooking it with clear plastic bags!
It was a great day!
And the winner of the wool Giveaway is:
Susan B. McCormack
Once she sends me confirmation of her mailing address, I will pop it in the mail.
As I was running out of background wool for the Problem Persian, I decided to try my hand at dyeing a little more. If it seems odd to you that I would say try my hand at dyeing a little more since I am a professional dyer, there is a good reason. I can’t perfectly replicate the wool I dyed initially for the Problem Persian since the things I used to do it aren’t available anymore. That original background was made with marbleized twists of off-bolt wool colors that don’t exist now. Even so, I’m going to need more wool. Therefore, I got out my dye pots on Thursday.
I am pretty happy with how today’s session turned out and will probably make another batch or two like this, plus some more that is even darker. Another reason why I will have to dye more is because I’m going to give some away on Monday. That’s right, today’s post is a Giveaway. To be eligible, all you have to do is make some sort of comment on today’s post.
Maybe something about how the Problem Persian has changed your life … or dreams you’ve had about the Problem Persian … or humorous encounters you’ve had because of the Problem Persian … your desire to live long enough to see the Problem Persian finished, etc. No limits. The site will pick the winner on Sunday night in time for me to make Monday’s post.
Besides hooking, I made a couple of decisions about this project.
Even though I did divide all the uncut background pieces into 4 equal groups (so I can spread that wool fairly evenly among the remaining sections) I decided (#1) that I would distribute and hook the cut background strips I already have before cutting anything new. That will move me around on the unhooked sections instead of finishing a complete section and then moving on to a new spot.
I also decided (#2) that I better try and dye a little extra background for that project … just in case. Since I had to do a bit of dyeing for other things anyway, I dedicated one pot to PP background.
Earlier in the day, I had a couple of phone consults.
The first one concerns the final fabric choices for an “Ode To A Grecian Zoo” project that I am kitting. While I have shown options a couple of times
It takes a conversation with the artist who has ordered the wool
Before everything can be, officially, decided and shipped out! Happily, we have that done.
I also had a lengthy face to face phone conversation with my good friend, Jo Franco, from Australia. We were discussing some projects that each of us has, on the front burner and the back burner, and ways we can work together on them. I am sure those discussions will end up in an IRgC report before they are taking off either burner.
I always like to get a report on a finished project. Here is one from Sue-Anne from PEI, via Florida.
Hello Gene. I thought I would share with you a photo of my first braided rug. It’s certainly not perfect! I started it quite a few years ago and finally took another community school class this year as a refresher to be able to finish it.
I enjoyed doing it so much that I took a whack of wool with me in our camper (to FL) in case I get tired of golfing and going to the beach etc. I’ve signed up for another short braiding course in June, through my local hooking group. This finished one will go to my mother for Mother’s Day.
Dear Sue-Anne, Your braided rug looks great. I like the colors you picked and I am sure you mother will be very proud of it. I am not surprised that it looks good because everything you make turns out nearly perfect. I am little surprised, however, at how long it took you to make it! While my braided rug (made for my Mother in Law) wasn’t quite as pretty as yours, I did get it done in about 4 weeks. I have never taught my method but it really worked well. I would braid about 8 or 10 inches, then take it to an event with either Jane Olson or her sister, Norma Flodman. They would look at my braiding work and then say: Let me re-do this section so it looks better. Two or three hours later, I would take it home … and do about 8 or 10 more inches before taking it to another event the next week with those women. After about 4 weeks, they had it all braided!
I am also impressed with your camper’s sofa. While I know RVs make the most of every inch of space, I did not know about the kind that came with built in wool storage space. Every rug hooker who reads this post is going to want a love seat like that! You may need to hook a second pillow to go on top of that seat that says: Home Is Where The Wool Is!
I hope you are enjoying your Getaway. You deserve it. GRS
Mentally, I am on a kind of Getaway myself since I am not scheduled out until Cambria in June. However, it’s mostly a mental hiatus as I do have plenty of things on my to do list. I stay plenty busy drawing patterns and shipping out wool, etc. Still, I am slowing down a bit this week and fitting in some decluttering work since I can take the decluttered stuff to the OCC Spring Hook-In on Saturday, where my daughter and granddaughter will sell it at their table. Truth be told, that is easier said than done because getting ready for them to“sell” is harder than me getting ready to vend. I packed my stuff up last week! It’s all done. I’ll be burning the midnight oil to get them ready since I am having to find, prep and price their stuff. A lot of my prep time for them concerns ugly wool that was piled in tubs in the Room of Requirement.
It’s not ready to use and too good to throw away.
By ugly, I mean (mostly) uninspiring “as is” wool. Some of this wool was found wool – good thrift store wool that I had acquired some where. Some of it, however was bolt leftover wool that I could not use in my store. i.e. Non-standard sized wool. If I have a leftover piece from the end of a bolt that measures 4.5 inches on the selvedge and bolt wide, I can find ways to use that 1/8 yard of wool. If it measures 4, 3 or 2 inches, it just messes up my store system. Whether found wool or non-standard bolt wool, everything upstairs was in goofy sizes. Frequently, if I am dyeing for myself, I use these odd ball pieces as it does not matter to me. I love them just as they are … after I dye them. However, between the Problem Persian, Victorian Scroll and my nylon Cat’s Paw Runner UFOs, I am good for project fiber for some time. However, I went ahead and dyed all the odd ball wool upstairs so that I could package it for my girls to sell. Since I don’t know where a lot of that wool came from (or if it was properly dyed in the first place) dyeing it not only improves the color but garuntees the color is set.
After dyeing, the problem is getting the wool in a uniform distribution entity. To that end I made collections of colors that I thought went together.
As a quarter yard of wool weighs about 3.5 oz, I grouped my color collections on a scale so that each one tipped out to about 4.1 – 4.3 oz. This way, regardless of the number of pieces in a collection, people will know that they are getting a good plus sized quarter yard.
Here is a shot that shows parts of 3 or 4 collections. The girls will sell each at a discounted price because it is a mixture of such odd wool. However, it’s precisely the kind of odd wool that I would like and use. And, if it doesn’t sell, it may end up going back into my stash!
Here is something I am not going to de-clutter.
I am keeping a few of my old cutters.
When I started hooking in 1998, this was the kind of cutter that Jane Olson would bring to classes for students to use. Years later, after I got her on to Townsend, she gave me this one. (She actually gave me two.) I use this one as a “bookend” on a studio shelf. The handle also makes a good spot to hang my apron.
In some ways, it could be a deadly weapon, since the cogs are open. Fortunately, I rarely wear a neck tie when I am cutting wool.
On the other side of that same shelf, I have a lovely little pale yellow Multishear Cutter. It’s not going either. I spent years tracking this baby down and will keep it right where it is so I can enjoy looking at it.
While I have had this cutter several years
And this similar pink Ridgeway cutter even longer, it was only when shooting this post that I realized the pink cutter seemed set up for a right handed person and the yellow one for a left handed one. Now, I suppose you could just clamp the yellow one to the other end of the shelf and call it a righty. However the label is only on the one side. And the back side of the yellow one has an odd ridge which, I assume, is there to direct the cut strips forward.
Even though both pink and yellow work, I would never use them to cut because there is no base plate for the wool piece to rest on as it is going into the pressure rings for cutting. I cut some right before I wrote this post and it was a pain!
As cutters, these two colorful babies are more about style than substance. Still, I think they are quite lovely and quite collectible. FYI: I am selling the pink one shown and keeping the second pink one, not shown, as I may need more book ends down the road. However, this pink one will be priced at $75 on Saturday. If you want it and can’t swing by the Methodist Church for pick up, I’ll ship it to you for an extra $15. Just write me and let me know ASAP if you want it.
FYI: One of the things I am eliminating via my decluttering efforts over the next few weeks is my original Bliss A cutter. That I would even offer to sell this proves that I am not playing around when it comes to decluttering.
While I got it out to dust off and spruce up for the sale table at the OCC Spring Hook-In this Saturday, I thought I would show it here just in case you knew someone who was in the market for a cutter. It comes with blades #3,4,5,6,8, 9 and 10, plus a heavy fabric tote bag. Although it was made in 1998, I haven’t really used it much at all for at least 10 or 12 years. After I got my first Townsend, I took it to my mother’s home in Illinois so I would have a cutter when I visited there. I’m offering all of it for $270, with shipping to any spot in the 48 states included in that price. It’s not listed on my Special’s page – just announced here. Email me if you want it.
It’s actually my very first rug hooking purchase – bought from Jane Olson on my birthday in 1998, just a few months after I started hooking. Unfortunately, I wrote my name on the bottom. I guess whoever gets it can just mark through it before they write their own!
While Monday is always a challenge, this Monday was made a little easier as Gretchen came over to cut and sew pattern blanks. At the same time, Barb and I multi-tasked as we worked on prepping wool for me and finalizing plans for the big Spring ATHA Hook-In on Saturday. As I am the President of the OCC ATHA group this year and Bard is the Vice President, we’ve been focusing a lot about this yearly event! We are both looking forward to it AND looking forward to it being over! With this sort of work load, you can probably tell we weren’t playing around.
Although I don’t have much to show for our Hook-In discussions
I can report that we cut 2 bolts of natural wool into quarter yard sections. Two bolts is so much that you can’t stack it all in one place.
It’s what you might call wool overload. Fortunately, I have plenty of table space for that sort of overload.
After they left, I did a little more work on some kit color planning.
Yes – you could hook blue horses on a pale yellow background.
But, don’t you think that blue might look a little better with some extra blueish transitional wool as accent pieces?
Again, you could hook gold lions and deer on a green background
But, I think the lions and deer might look a little more dramatic with some more of those transitional pieces.
Kitting wool is serious business to me and it always takes me longer to do it than I think it should.
The only problem with hooking in a public space is that I can’t clip off the tails and brush them onto the floor! Well, I guess I could have done that while in the hospital waiting room but, I might loose my rug hooking privileges!
When going public with my rug hooking, I learned a long time ago that I could hook and keep a tidy space IF I took along one of those sticky tape lint rollers. It’s perfect. You just snip and the roll, then snip and roll, etc. However, you do have to take the roller with you … and I forgot it last week. Once home, I quickly remedied the situation and got everything down to loop level.
As I have a limited amount of background wool (and don’t want to dye more) I’ve decided to get all of those colors out on the table
Tear them up and divide them into about four equal piles. Each pile will be earmarked for one of the unhooked sections. That way, I can be sure of getting a fairly even distribution of the colors spread around the rug. Part of the issue with getting this background done rests on my satisfaction with my plan. FYI: I like my plan. It is doing things for me that a simple unified plan would not be doing.
I would have gotten more done over the weekend were it not for the fact that I have some time sensitive things that had to be done. One such thing concerns my decluttering project which must be finished before Saturday’s OCC Hook-In.
Consequently, I sorted through my hook collection and bagged up a few (only 81) that I am willing to sell. Or, as I should say, let my daughter and granddaughter sell for their UK trip. I keep adding more and more hooking items to this pile of things that can go. I hope I don’t change my mind!
I also continued dyeing for kits and the hook-in. (That sentence is so simple, not illustrating at all the effort it’s taken to dye up the piles of wool I had soaking for these tasks!)
Another big thing did get checked off my “to do” list –
The warp (it’s been wound on for about 8 months) got threaded through the harnesses and beater of the little downstairs loom. It’s fully functional now. I only wove this much to make sure that everything about it was AOK.
Should this pattern look familiar, it’s because I have used it for other napkins I’ve woven in the last couple of years. Actually, it’s one of 12 patterns that I usually do for one set. However, I’ll probably just stick with this pattern for the whole warp because it’s ALWAYS everyone’s favorite pattern of the 12. Yes, I am weaving these to sell – maybe by Cambria if they all (about 40) get done by then. My long term plan is to always have some napkin warp on this loom, composed of seasonal colors. This, obviously, is a fall set. Next go around, I may do something for spring or summer, etc.
I also finished winding the warp on Allen over the weekend.
I am glad to have all this warp on the loom, even though it isn’t threaded yet. With the warp on, all the tubs of cotton spools can now go some place other than the downstairs studio.
I actually see a glimmer of light at the end of this tunnel.