This month we shine the Weavers Spotlight on Sharon Broadley! Sharon has taken the ideas from last episode, Season 3 Episode 8 (Simple Supplementary) and overlaid them on all she learned in Season 2’s Colour and Design. Her exploration netted her 7 amazing scarves woven on 2 warps.
It is truly amazing to see where our members have taken the online lessons and created their own designs.
I am so happy to share her beautiful work with you.
Enjoy reading Sharon’s blog!
I got my first loom along with some ‘how to weave’ books 25 years ago and completed Level 1 of the Canadian Guild of Weavers Master Weave Certificate. I was largely self-taught until moving back to Victoria in 2008. Since then I have taken many workshops through my local Guild, at Maiwa (Vancouver) and with Jane Stafford. Recently, I’ve even had the pleasure of graduating to Jane’s assistant in a couple of her workshops.
I love everything about weaving. If I have to pick just one thing, it is colour interaction. I am fascinated with the way seemingly clashing colours often make the best palettes. Currently I spend most of my weaving time working in plain weave and playing with colour. I like the rhythm of weaving this simple weave structure but I also like that it can be made to look more complicated with a few warp and weft ends added in strategic places or by mixing a number of different fibres together.
Kitchen towels are my go-to project: they provide an excellent canvas for experimentation and in the end they still dry the dishes even if they don’t turn out quite as expected.
You can find me on Instagram @colour.woven
Using the colours from the Muted Colour Gamp on Natural Ground from Season 2 – Episode 8, I used 16/2 cotton with 7 gauge Bambu for the supplementary warps sett at 20 epi, I experimented with supplementary ups and downs as per Jane’s lesson.
At the same time I wove square in places and wove with various striping sequences in other spots.
Sometimes my design ‘decisions’ are based upon the fact that my bobbin ran out and I was too lazy to wind another, so just grabbed a bobbin with a different colour from nearby. Having said that, I most often use the Fibonacci numbers. I hemstitched on loom and twisted fringes before washing.
For my second set of scarves, I had just made some towels that reminded me of licorice all-sorts and I really liked the hot pink and orange combo with the tiny black and white stripes; I added apricot for the third main colour.
I made this set of scarves a little wider in the reed and spaced the supplementary warps further apart using watermelon and cerise 7 gauge Bambu.
After I wove 2 scarves in varying striping sequences, I changed out the supps for some fancy ribbon yarn I’d bought on a trip to Linton Tweeds in Carlisle, UK.
This is a mill that weaves fabric for many couture designers, including Chanel, so it is entirely possible that this ribbon once appeared in one of Chanel’s creations.
I used the ribbon warp in a few spots as weft and I love the way the ribbon-y bits got caught in between the wefts and formed teeny tiny loops.
After I’d woven for 20 inches or so, I was worried that the ribbon yarn might be getting too loose and I was also concerned that the ribbon warp might run out before I got the length woven. So several times I got off my bench, went to the back of the loom and gently pulled on the groups of ribbon supps to stretch them out just a bit. Afterwards I noticed that there was one spot where I might have pulled a little too hard as it seems tighter than the rest of the scarf…but ultimately I don’t think it detracts from the weaving.
I usually weave the first scarf on the warp using the same colours as the warp, but after that anything goes. Many times, as I’ve been weaving, I think oh-oh I’ve gone too far this time but by the time the scarf has been washed and pressed, what looked potentially ugly or just plain wrong on the loom, ends up being my favourite.
