Archive for the ‘weaving’ Tag

Hello 2014

yeah, I’m really bad about updating my blog.

Let’s see how quickly I can cover the past 8 months: the dog, Zoe, sweet Zoe, turned out to be a very fearful dog with fear-aggression issues. She barked and barked at anyone who came into the house. She barked and barked and barked at the kids when they came home for a visit. She barked and barked and barked and barked at the sounds of plumbers and painters at the houses across the street. The UPS driver doesn’t want to stop at our house any more.

Doesn't she look sweet.

Doesn’t she look sweet.

The upshot is that we spent lots of money on training, and now Zoe wears a citronella anti-bark collar all the time. She has learned to not bark all the time, which keeps her calmer. I can allow her in my studio rooms (the former kids’ bedrooms on the front of the house, facing the street), and she doesn’t bark, bark, bark at the windows. She can keep quite when visitors are in the house, she can even be in the same room. But she’s still very fearful, and won’t allow anyone to touch her. She won’t make friends with anyone. She went to the kennel when hubby and I went on a cruise over New Years, and she didn’t come out of her enclosure the entire time. She wouldn’t eat breakfast, only at dinnertime. Otherwise, she’s really sweet.

i finished the window shade fabric, and if I may say so myself, it looks great.IMG_2061

The shades aren’t completed yet, as we want them to be motorized, and finding the mechanisms has proven to be a complicated process. it was late in the year when i finished weaving the fabric, then I went on my Nicaragua trip (another story i will have to come back and tell someday soon), then it was the holidays, and now suddenly it is the second week of january.

Over the summer I became more involved with Yarn Bombing Los Angeles, the perpetrators of CAFAM Grannies Squared.

Next post, a new project for the new year: FunaDay Reseda



Romans & Grannies & Dogs – Oh My!

Whoa, it’s been almost two months since I checked in here. From where I left off last time:

I got the 45″ wide warp for the window shade fabric on the loom – not without some glitches (of which I’m just going to stop reporting all the details; since I’m afraid I’m beginning to sound incompetent). I wove a  62″ sample and cut it off the loom to show the clients. Why 62,” you might ask? Why not weave a 12″ sample and not risk wasting that much of my materials? 62″ is long enough to be a shade if it wants to be, and it gives the clients a fuller picture of what the fabric will look like. It can be difficult for non-weavers & non-fiber-people to visualize something that doesn’t exist. I threaded the loom with a 3 yard leader warp. My warp is 8 yards, of which there will be very little waste at the back end. The project requires about 4 yards, finished, for the two 42″ wide shades. If I don’t use the first 62″ sample, I’ll still have plenty of warp; and the finished fabric should have plenty of extra for wiggle room. 

first sample

Anyway, the clients put the sample up in their living room and they love it. Now all I need to do is to dye another two pounds of the cotton flake weft yarn, and 2000 more yards of fabric strips.

Oh, and weave the remaining 6+ yards of 45″ wide fabric, then tie on the 36″ wide warp and weave 16 yards of fabric.

Piece of cake.

At the same time, I have been participating in Yarn Bombing Los Angeles’ Grannies Squared project to cover the Craft and Folk Art Museum with granny squares.

Definitely check it out on YBLA’s Facebook page.

At some point a couple of months ago, I was at one of the Stitch & Bitch session at the museum. Someone mentioned that they were looking for some kind of crochet-related pin to give to their 100 Club, the people who had crocheted 100 or more squares. The solution was obvious to me instantly, and the wire grannies were born. They only needed 50 of them.


Wire grannies for the 100 Club.

I have made pins, necklaces, and I’m in the process of making earrings for the CAFAM gift shop.  My wire granny jewelry will be there late next week, along with other granny square themed merchandise, in time for the opening on Saturday, May 25th, at 7 pm. YBLA will be having a Photo Op across the street in the park at 5 pm. I will be there with the wire grannies for the 100+ granny contributors. 

AND. . . somewhere in between my last post and this one, I did something really stupid. I must have had a stroke or other mental defect, because we got a

IMG_1827 IMG_1849

stinky dog.

I’ve got to go crochet wire granny squares. Hopefully I’ll see you on Wilshire Boulevard, next Saturday.

More of Everything

I guess I never really did a project where I wove this much fabric, and I know I never did a project where I dyed this much of anything.

Let me run down the whole project for you. Here is my original crude sketch of the windows.


The window shades are for a bank of windows and doors that run from the living room into the dining room. There are two windows 42″ wide, one large window 92″ wide, and a set of patio doors 32″ wide each. These are the measurements to the outside of the mouldings, the desired finished width of the roman shades.

I decided to weave the fabric in two different widths, 45″ and 36″. I know that will give me fabric that finishes 42″ and 32″ wide. img013

My original calculations for warp length told me I wanted the 45″ warp to be 4.5 yards and the 32″ fabric to be 13 yards. I don’t know if anyone can interpret my notes there, but I neglected to add loom waste. This was only the first of the many ways I underestimated what I would need for this project.

After we changed from a white-on-white to a six color palette, I decided to do the next samples at the full width of the fabric. That prompted me to review my warp calculations, and upon reflection, I decided to add three extra yards to the length of both warps. The 45″ warp will be 8 yards and the 36″ warp will be 16 yards.

Back in October when I abandoned the multi-yarn warp, I decided to go with all 5/2 Perle Cotton, and quickly realized I didn’t have near enough. I bought two cones from Village Spinning and Weaving at Weff in November. Two weeks ago I ordered another cone. 

Now here’s where I have ??? dancing around my head. Whatever was I thinking?

It came time to start dying the white fabric strips, so I went to dig in the box where I remembered having all these rolls of selvedges cut from the ends of rolls of white cotton broadcloth. There were five. I hauled out my McMorran yarn balance: about 100 yards per roll. I went to my woven samples, did more calculations – total needed for both warps, 8 yards & 16 yards= 2500 yards of fabric strips. I checked my math a couple more times. I needed 20 more rolls of fabric strips. 

The company I had gotten the selvedges from is in Pennsylvania, and it took weeks before I remembered to call before 2:00 in the afternoon. Then, they didn’t have any more of the end cuts. But they had some partial rolls of cotton broadcloth, and they were willing to cut them into 1″ strips for me.

This lead me two days ago recheck my calculations for the other weft yarns. . . and WTF??

Going back to my woven samples, I found that my initial estimate of the number of picks per inch was way low. By this time I have dye-painted three skeins of yarn and five rolls of the fabric strips. This involves a process of winding the yarn off the cones into large 1 1/4 lb skeins, dye-painting it, cold batching for two days, letting it dry, then winding it back into balls. I had one of the skeins of 5/2 perle cotton get hopelessly tangled on the squirrel cage swift. After hours of working on it, I abandoned about 200 yards of warp yarn. 

I figured out that I needed another two pounds of this cotton flake I had bought back when the fabric was still going to be white; and that I can’t use any of the yarns I bought last summer at Convergence. In my white samples, I was doing my free form zig-zag non pattern using several yarns and shuttles at the same time. As the fabric has gotten more complex, I have decided to simplify the weaving. Everything is going to be space-dyed. Any zigzagging design will come from the serendipity in the way the colors land in the cloth.  I decided to combine the yarns to make them fatter, and only use two yarns for a total of three shuttles. 

But this now means that each yarn must cover half the picks for both warps. I have less than 1800 yards of each of the yarns I got last year at Convergence, and more of them is not available – that’s the reason I switched to Perle cotton for the warp. I no longer want to use a little of this and a little of that; I want to use the same yarns all the way through. My new math tells me that I need almost 5000 yards of each yarn. That meant I needed two additional pounds of the cotton flake, needed to skein, dye, then wind it back into balls. Plus I would need yarn to combine with the flake.IMG_1768

This was two days ago, as I said. This was after I struggled for hours with the tangled yarn. I dyed three large skeins of yarn today, I have one more in the garage that I have already soda-soaked. I’ll have to dye-paint two more pounds of cotton flake to plus 20 rolls of fabric strips. I couldn’t face any more dying. I ordered some 3/2 Perle cotton in beige, it matches the Chamois in my palette; and some carpet warp that matches the Terracotta.

A couple of weeks ago I ordered more urea. I got two pounds and as soon as it arrived I knew I needed to get another 5 lbs.

At the same time I started moving stuff out of Michael’s room so I can get all my stuff out of Samantha’s room, and turn that into a guest room in time Michael to use it when he comes home on Monday. 

And today I ran out of Terracotta dye. . .

Last Post of 2012

Wrapping up 2012. It was a good year. I had my work in some wonderful exhibitions; I was invited to apply to California Fibers, and joined that group; I curated an exhibition at Los Angeles International Airport; and I was selected to produce a coiled piece for the Wells Fargo Green Team Trophy.

Since my last blog post, I finished the second token for the Green Team Trophy. It will be going to the Los Angeles Virtual Team.













I have woven some samples for the window shade fabric. I will soon be meeting with C & A to look at them.














Just yesterday I shared a triangle loom weaving adventure with some friends from my local guild, the Southern  California Handweavers Guild. A little group of weavers came together at Michelle Gannes’ house to learn how to weave on triangle looms. I had been curious about triangle weaving, so I borrowed a loom and joined in. I came home with my triangle about half woven and finished it in the evening. And the result was, well . . .

triangle 2. . . slightly appalling.

I figure I’ll probably add some embellishment to cover that mess in the center, then crochet an edge which will help compensate for the failure at the bottom point. As I’m thinking about it, If I use a nice bright complimentary color for the edging, it will pull attention away from the technical difficulties. Then I’ll wear it in my studio when I need a little something to keep my shoulders warm, and never take it out of the house. It will be fine.

Looking forward to 2013: along with the window shade fabric, and never weaving on a triangle loom ever again, I’ll be doing at least two more tokens for the Green Team Trophy. I’m going to attend Stitches West in February in Santa Clara, CA.  I’ll need to step up work on my Designing Weavers annual project in order to get it done by March, April, or May. I also have workshops and classes scheduled on my teaching roster thru May.  Then there is the SDA conference in San Antonio in June.

What else? I’m sure I’ll find some other things to get into – I’ll let you know.

Out in the Valley

A couple weeks ago I mentioned three things I had underway: my Designing Weavers piece addressing opposites, preparations for my Exploring Twills workshop, and the samples for the window shades.
November 17 & 18 was the twill workshop out in the Central Valley of California, and it was a great time. First, I had good weather for the drive out to Exeter, CA. Second, the Handweavers of the Valley are a lively and fun group of weavers.

I stayed with Judy Trimble at her beautiful home in Porterville. Her children are grown and she lives alone. Judy’s house has a room with two looms in it, just as every house should have, don’t you think?

There were 15 in the workshop, all at different levels of experience, and I had a great time spending two days with them.

I haven’t been able to work on the window shade samples. The week after the workshop was Thanksgiving week, which included Irv’s and my 25th wedding anniversary.

I have made a little progress on my DW piece, but not much.  The truth is I have more than three projects going at any one time. The Wells Fargo Green Team Trophy is an ongoing project that I needed to get a coiled piece completed for. This project came about during my long hiatus from blogging. Here is my Green Team Trophy,

Stash of Trash

and here is the second token, which I’ll be shipping soon.












It seems there are always side projects. This is one of the eight harness twills from my workshop. It will be a scarf, and it will be a gift for our Chanukah party on December 8th. 

This loom is sitting on a folding table in my dining room, and there’s another one on the dining table. So I not only need to finish the scarf as a gift for the party, but I’ll also need to get the looms out of the dining room so people can sit down to eat. And there’s a Baby Wolf in the living room I’ll be wheeling into my daughter’s bedroom. One of these years I should just leave all of the looms out and have everyone take turns weaving on them during the party. Wouldn’t that be fun?

Without a Paddle

So, progress. I have gotten the warp for my window shade fabric samples on the loom, and have started weaving. The warp is made up of about 10 different white yarns in different combinations. The fabric will be white with accents of neutral tans, grey, and a touch of blue.

But before I got this far, I had an adventure winding the warp – well, not quite. I averted an adventure. I saw that I was headed down a dark and mysterious path, and I retreated to the safety of What-I’ve-Always-Done. Here’s what happened:

You see, years ago – many years ago I acquired a warping paddle. . .

There it is. it’s just lovely. I think it’s maple, it has a nice finish, beautifully beveled holes, it feels good in my hand. There is just one teeny, tiny thing wrong with this warping paddle.

I don’t know how to use it.

I thought I knew: put the different yarns through the holes, run the paddle back and forth around the pegs of the warping board, wind 12 ends at a time instead of one end at a time. Alrighty then. I wound small balls of my combined yarns. I found 12 different bowls, cans, and boxes for my different yarns (or multiple balls of the same yarn I was using more than once over the 12 end “repeat”). I stuck the 12 yarns through the 12 holes, I knotted them together, I looped them over the top peg.

Then I brought the 12 yarns, neatly separated in two rows of six, past the first peg of the cross – and I stopped. How to make the cross? How do I get the bottom yarns to go over the second cross peg, and the top ones to go under it, With only two hands?

I was using one hand to hold the knotted ends on the beginning peg, and the other one holding the paddle. The 12 yarns were hanging slackly, feeding from 12 boxes, bowls and cans on the floor at my feet. I seemed to be missing a hand I would need to also hold the yarns with the minimal tension needed to keep them from falling off of the warping board. And then where was I to put the paddle when I needed my hands to untangle the yarns when they tried to wrap around each other on the floor?

It was ridunculous (a more extreme form of ridiculous). Clearly I am missing some crucial piece of information.

My sample warp is only 96 ends. I just ran it one end at a time, the old-fashioned way, and got it on the loom.

It has been a while since I’ve woven on my floor loom, and I felt I needed a warm up, so I started weaving with only the white yarns and fabric strips.

This piece is based on the window shade fabric I wove for mine and my hubby’s bedroom, but it is stiffer and tighter.

Our fabric has some fuzzy yarn with mohair, and some thick and lofty wools.

But Candy and Adam don’t want the same design as our window shades.

They don’t want the heavier wool yarns that zig-zag across my shades. Good thing, because I don’t have any more of those. The fuzzy mohair yarn doesn’t exist any more either – which is also alright because it’s not right for Candy & Adam’s living room.

I thought the sett at 8 EPI was too tight, so I resleyed it at 6 EPI. I want this fabric to be a little weft faced. I also decided I’ll just use one yarn in the warp. All the different yarns I used don’t show up. So the hassle of running a bunch of different yarns in the warp has no pay-off in the design. I have a lovely thin perle cotton that I got from Newton’s Yarn Country at Convergence this summer, and I’ll need more of it. Fortunately, Newton’s Yarn Country will be at WeFF on Sunday.

This, my weaving friends, is why we make samples.

beginnings for the first sample on the loom.

What’s Next?

Again, it’s been a while since my last post. I did clean my studio. It took much less time than I imagined it was going to. Then I launched right into my next set of projects; and those are:

Woven fabric for window shades – for cousins Candyce and Adam; 18 yards, two warps, two different widths.

A new workshopExploring Twills

Designing Weavers 2013 annual project on the theme of Opposites.

I will be leading the Exploring Twills workshop for the Handweavers of the Valley in Exeter, California on November 17 & 18; and for the Southern California Handweavers in (the San Fernando Valley) Los Angeles, on March 9 & 10, 2013. I have compiled a notebook of twill drafts that range from beginner/easy: 4H Straight Draw to intermediate/more complex: 8H Elaborate Twill.

I will be demonstrating one of the twill patterns at the SCHG Weaving and Fiber Festival (WeFF) at the Torrance Cultural Arts Center, 3350 Civic Center Drive, Torrance CA. The hours are 10:00 am – 4:00 pm. This is a fantastic Fiber-centered event. If you’ve been there, you know what I’m talking about. If you’ve never been, and you’re interested in anything that can be done with fiber, you need to check it out.

There will be a wonderful variety of demonstrations throughout the day. My demonstration times are 10-11 am; 12-1 pm; and 2-3 pm.

The window shade fabric is in the very beginning stages of design. The warp is going to be a variety of white yarns with white fabric strips, and white, tan, & light blue yarn in the weft. I’m going to make some samples first with some different treatments for the weft.

I have about 10 different white yarns. I’m currently working out the arrangement of yarns for the warp.






I also have a coiling project underway. This is the 2nd token to go with the Wells Fargo Green Team trophy.








I have a piece started for the Designing Weavers Annual Project. Here’s a sneak peek, but I’m not going to show too much of it.

The After Pictures


The Before Picture

 It’s past due time I posted the after pictures of the Studio Move. First, let me review the before picture.
 The walls were a light, dirty yellow. The lighting was a really ugly ceiling fan with a four-blub fixture.
The 4′ x 8′ work table was in a corner, so the back half was essentially unreachable and I used it for storage. It was also covered with manilla pattern paper.
How did I ever design in there? I would put a piece of white paper on the table to lay out colors. I would take things to other parts of the house to see them in daylight.  

Sam's new room

 The New Studio
The old room was 11′ x 11′ 6″. The new one is 12′ 6′ x 13′ 2″.
The walls are painted white, we put up two flourescent light fixtures, and I now have access to three sides of the table. You see the computer at the end of the tabel? That’s where I’m sitting right now, typing.
By putting the table away from a corner, it’s like getting a second 24″ x 8′ table. However, it also meant I had to find other places to put all the stuff that was stored on the top of the table.
This was solved in part by getting a new small bakers rack for the corner between the table and closet. And as you can see, the wire cube book shelf is still on the table top.
You can kind-of see I have a white flannel covered bulletin board on the closet door. This was in the old studio, on the closet door. I made it  and it was hinged so it could swing open the full width of the closet. It was covered with flannel on the inside and outside. The idea was that I could lay out designs on the flannel, and fold the board closed when I wasn’t working on it. But I never fully utilized it.
You see, I was going to make art quilts when I went into the fiber art classes at CSUN.  My background, long before I learned to weave, was sewing. I was a patternmaker in the garment industry here in Los Angeles before I went back to school to get my BA in Art. That’s why I have two industrial sewing machines. The rulers hanging next to the closet door in the top picture are left over from patternmaking.
It’s also why I still have two dress forms. There they are, crammed into the closet behind the small baker’s rack, in a place that will be very hard to get them out of if I ever want to use them.
Which is all very curious since, as I have been known to say, “I don’t do garments.” They caused me quite a conundrum as I was moving in.
Professional organisers have a rule of thumb: if you haven’t used something in over two years, you should get rid of it because you aren’t likely to ever use it again. Those forms were in the same place in the closet in my old studio. Not only had I not used them in over two years, I would forget I even owned them!
I stood there for a long time one day arguing with myself. I hadn’t filled up all the drawers with yarn yet. I had the dress forms in the closet. I put the bakers rack together, but hadn’t put anything on the shelves yet. And I knew that those forms are going to be damned hard to get out of there (I’ll have to lift them up over the baker’s rack while swinging them over my head to clear the work table) if I ever decide to use them.
But IF, the argument goes, I ever want to make a garment, I can’t do it without having a dress form to drape it on.  
-But I haven’t made a garment in over TEN YEARS- 
But WHAT IF  I want to? If I get rid of them, then I won’t have one to use.
-So, get rid of one of them-
But which one? The one that’s in better shape is a size 5 petite, and the one that’s a more realistic size is falling apart.
-Maybe get a used size 12 or 14 downtown, in the garment district-
They still cost money, even used, and I may never use it.
-Get rid of both of them, free up the space in the closet, and get one of those El Cheapo one’s from Joanne’s IF I ever make garments again-
Oh no, not that! –No, just put them in the closet. Keep the door closed-
It took me two weeks to unpack and move in.

The Warping Board is still behind the door.


new storage area


The cabinets from the old studio are hung higher, so I can walk under them. I got myself a new step stool so I can reach the high shelves.


There are two large windows facing east and south. I found some wonderful fabric shades at Lowe's that let in bright white light.


Touching Sample

I’m finally officially done with the headpiece. I decided to make a sample for touching, and I decided to do it before I put away all the yarns.

Now I can clean my studio and move on to new work.
The first thing I plan to do tomorrow is to apply the things I learned in Daryl Lancaster’s Photographing Your Own Work seminar at the ASCH conference last weekend. I’ll photograph the headpiece.
The next thing for this coming week (after sending in my submission for Focus on Fiber II at Studio Channel Islands Art Center) is to start a plan for re-landscaping our front yard. I’ll post some ‘before’ pictures this week. It’s pretty ratty looking, and we want to put in draught tolerant and native plants. I want to put in California native grass, which doesn’t need mowing and requires very little water.
Here is my work table in my studio that I need to clean this week. The whole rest of the room looks pretty much like this.
I was going to post a picture of more of it, but I decided to forget it, its too embarrassing.
Well, more later. . .

Wow, it’s been a while since I’ve posted an update! It’s Monday, the day after Color Connects, the Association of Southern California Handweavers (ASCH) conference in Riverside, CA. It’s the first day in a very long time that I haven’t had a major deadline, or two or three, hanging over me.

And so I can blog.


Since my last post, I had a solo exhibition in Florida in November.










This is the auditorium & exibition space at Brooker Creek Preserve Environmental Education Center, with some of the new work I did in 2008 for this show.
After coming back from Florida and a bout of kidney stones, we were into the holidays. Sammy came home for her semester break and we had our usual two holiday parties.
I turned 50 in January. But I had projects I needed to get done early in the new year.
One of them was my submission for the Surface Design Association Members show for the upcoming conference in Kansas City at the end of May.
Another was my annual project for Designing Weavers, a headpiece I was making to go with a chief’s mantle blanket that my friend, Regina Vorgang was making. By the end of January, Regina had already finished. 
In the meantime, I was still the chair of an EcoArt group, there was an RFQ for artwork for a library project I wanted to submit for, I was leading a workshop on February 14 & 15, and Regina, Trish Lange, and I were the organizing committee for Celebrate Color, the fashion show at Color Connects.


So I was working on the headpiece, but I put it aside to prepare for my workshop. I worked on it some more, then I put it aside to get the library art submission done; then I needed to get the SDA piece in the mail by March 1st. By last Monday, I was almost done. I was going to Riverside on Thursday.


On Tuesday I finished the construction of the headpiece, and began adding beads and crystals. I continued beading on Wednesday, and I lost my thimble.


Thursday I packed my car and left home at 3:15, I had wanted to leave at 2:00. I pulled into the driveway of the Riverside Marriott at 6:00 pm to find the Designing Weavers heading out for the Dream Weavers exhibition at Riverside Communittee College. After I checked in and changed, I found Brecia Kralovic-Logan walking up the driveway. We headed down to the college, and it is a great show. We were glad we made the trip. Then we came back to downtown Riverside, parked at the convention center, and walked over to the Riverside Art Museum to see the Designing Weavers exhibition. We began running into people we know, and people started congratulating me.

Brecia and I walked back to the convention center to see the Spectrum exhibition, and more people made comments about how happy I must be. And as it turns out, I was. I won first place in the basketry, non-traditional material category for my Footed Cottonelle Jar. I won first place and the Juror’s Award for my Desigining Weavers annual project from last year, Behind the Cotton Candy.


This is very thrilling. For a long time I thought of myself as the person who never won the awards. Now I guess I have to think something new. I feel very honored to be recognized this way, especially when you realize how excellent all the work in these shows is.

Brecia and I had caught up with the rest of the Designing Weavers at the convention center, and we all vacated to the bar at the Marriott. Friday was set up day for the Fashion Show. We unpacked our cars and hauled garment racks, dress forms, and mirrors into the meeting room that was to be our back stage dressing area.
I got set up for garment check-in, and everybody who said they were going to help began showing up. I parked myself at a table and took up the beading of the headpiece again, without a thimble. Trish had made fabulous corsages for all the Fashion Show entrants, and they each picked one after checking in their garments. I kept working on the headpiece until it was time to go change for the evening and the keynote speech. After the speech, they gave out doorprizes, and I recieved a $25 gift certificate from one of the vendors. Several people said I should buy a lottery ticket.
On Saturday I attended Daryl Lancaster’s workshop on photographing your own work, or as I called it, the finishing the headpiece workshop. I finally finished adding the last bead sometime after 3:00, and started sewing the crown to the hat frame. At 4:00 everyone assembled in the Raincross Ballroom for Fashion Show rehersal. It was exciting, everyone was really into their jobs, and was having fun. I took my place in the dressing room and continued sewing. I finally finished the headpiece, with some very sore fingers, sometime after 5:00. Trish let everyone go to dinner at 5:45, and we reassembled at 7:30 for makeup.
And the show was great. Two years of planning, meetings, lots and lots of work all paid off. Everyone loved it. Trish and Regina, as the co-chairs did the lion’s share of the work. I did the smaller share of the job.
I had Jackie Abrams’s basket making workshop on Sunday, leaving early for garment check-out. We broke down, repacked the cars, and got out by 5:00. It was a great conference. I look forward to 2011 when we aren’t doing the planning.
This was a great weekend. I so love hanging out with this group of people. Being part of Designing Weavers, Southern California Handweavers Guild, and this whole network of fiber artists is one of the greatest joys of my life.


%d bloggers like this: