Monday, February 3, 2014

questions and answers about textiles

Question: Why are textiles included in Missouri art curriculum in the first place?
Answer: Textiles are included for four distinct reasons. The first reason being that our market places are brimming over with all kinds of materials that artists may use to express themselves with. The state art educators want to be the first to promote the free use of any new mediums. Secondly, if teachers are going to teach art history of a particular study like textiles, they also then need to be able to instruct students in the use of historical materials. New mediums help art teachers keep up with the times, and old mediums help art teacher reinforce art history lessons to students. The third reason that textiles are now taught is to promote to the children of Missouri a broader definition of "art." Art does not have to be a painting or a sculpture only, it can also include a hand-woven rug or a meticulously sewn quilt. Traditionally, modern artists believed that fine crafters and fine artists must be kept apart in the world of art. But the state now wishes to teach a greater variety of view points both on and in the art related fields. This is because the state now recognizes that children come in all shapes, colors and sizes. Children also come from many different cultural backgrounds, countries and religions. So in an effort to appeal to a greater variety of people, the state is teaching a greater variety of topics under their fine arts curriculum. And fourth, the state public schools are funded by the tax money of many different people. The inclusion of textiles is one of several new mandates for art teachers that will appeal to a larger audience who supplement our public schools with their tax dollars.

Question: Is paper mache considered a textile?
Answer: Yes, because it is a fiberous pulp medium that can be manipulated in a wide variety of ways.  Paper mache may also be used during a sculpture course in general. This is because both sculpting and painting courses have broader stipulations than textile courses when the state is defining the materials used under particular art requirements. 

Question: What mediums are used in textile education?
Answer: The mediums in an art textile class include fabrics, weaving, and paper that is manipulated as a flat woven surface and/or sculpture. The paper can not simple be drawn on or painted on in order for it to be included in an authentic textile course. There are many teachers who include paste painting techniques in projects that they label "textiles." This is not a textile subject technically. In textiles, the paper must be further manipulated with techniques such as folding, shredding, or weaving in order for the lesson to be thought of as something other than a painting or drawing requirement. (Dyeing fabrics is, however, considered a textile technique traditionally.) Simply painting onto the canvas is a painting technique. These methods cross over in art courses but in order to label them properly, teachers must adhere to particular standards. In mixed media project both textile and painting techniques are often included. In this case, the teacher would file her art project under "mixed media" for that particular state standard instead of textile. If she has no other textile project, she could used the mixed media for a textile requirement but it would be better for her to choose the former and incorporate a weaving project for a textile standard requirement.

Question: What is the difference between teaching textiles and teaching sewing?
Answer: In textile art courses, teachers instruct their students to manipulate fabric, weaving materials or even paper pulp mediums to create art. Included in this instruction, are all the standards used by art educators when teaching painting, sculpting etc.. In other words, if an art teacher is designing a quilt unit, he or she will also include in that unit the study of design theory, color theory, and the art history of the chosen subject. If a sewing teacher is teaching a unit in quilts, she will most likely teach basic machine sewing methods plus economic principles. Home economics instructors and fine art teachers sometimes share similar interests, but these two schools of practice are very different from each other because of the information that is included in the curriculum of each interest. This is also true of the differences between craft teachers and fine art teachers. A craft instructor will most frequently limit her teaching to the manipulation of materials. A fine arts teacher covers more material and also teaches subjects in the arts from the perspective of fine arts. All three of these teaching professions are beneficial to the development of eye-hand coordination in students. But the type of additional information taught with material lessons designed to enhance small motor skills is determined by the instructor's knowledge base.

My Textile and Sewing Pinboards:
  • Prickly Pins - I'm keeping a web scrapbook of those textile/sewing ideas that I may develop future art assignments with. 
  • Kaleidoscope Quilts - Examples on the web
  • Crazy Quilts - Crazy quilting as a textile art is extremely creative and free-flowing by nature, and crazy quilters will often learn as much about specific embellishments as they will about crazy quilting itself.
  • Baltimore Beauties - Baltimore Album Quilts originated in Baltimore, Maryland in the 1840s. They have become one of the most popular styles of quilts and are still made today. These quilts are made up of a number of squares called blocks. Each block has been appliquéd with a different design. The designs are often floral, but many other motifs are also used, such as eagles and landmarks. They have a background of white and incorporate many primary colors such as reds, greens and blues. 
  • Amish Quilts - Amish quilts are appreciated for their bold graphic designs, distinctive color combinations, and exceptional stitching. Quilting became a favored activity of the Anabaptist sect after emigrating to the United States and Canada from Germany and Switzerland over 250 years ago.
  • Hawaiian Quilts - Hawaiian quilting reflects distinctive design qualities found in the Hawaiian floral and fauna. The patterns are usually large and radially symmetric. Most Hawaiian applique quilts are cut from a single piece of folded fabric. 
  • Needlecases, Needle Books and Pincushions 
Question: Where might I find lesson plans for teaching sewing to young students?
Answer: I suggest that you either purchase or check your local library for a title called, "Kids Can Quilt" by Dorothy Stapelton. In this book, you will find pattern templates, excellent directions and projects that develop basic skills and creative thinking processes that are simple enough for 4th, 5th, and 6th graders to accomplish.
Looms made from cardboard boxes provide young children with easy spaces to
 manipulate yarn through. The teacher will need to string the loom in advance.
Eliminating this step from the weaving process is helpful.

Question: I want to teach my second graders how to weave but their finger skills are not yet "advanced" enough to weave with cardboard looms. They have already practiced with paper weaving. Do you have any suggestions?
Answer: Yes, teach them how to weave with a cardboard box loom. I have pictured my teacher sample below. This kind of weaving is just slightly more advanced than paper weaving and very age appropriate for second graders. Ask parents to donate shoe box lids only for this art endeavor. You will need to string the looms in advance though. 

 

Friday, January 31, 2014

add texture to your textiles

Above is one of many teacher “samples” I have created to instruct students in the textile arts.

Textile pieces don’t need to be assembled like traditional quilts. Students can add
 pockets, pleats, layers, beads and blanket stitching wherever they prefer
 in order to create unusual designs.

I have sewn a clipped and ruffled center to this fabric flower from felt. In the flower above,
I have used several embroidery stitches to accentuate the design in a alternative way.
A variety of applications and methods may be used to incorporate texture
 into textile artworks.

Some of my fabrics are purchased from a store and others are hand-dyed or painted
 during my classes. I teach students a wide variety of methods so that they may
choose those techniques that appeal to their own creative interests.

In this photo, you can see that I am starting to add even more visual and tactile information
to my small banner with the introduction of bright yarns and threads. It is important to
teach students that they do not need to rely on machines to produce elaborate work.
Very few young people have the income or materials to produce artworks apart
from what they can manipulate by hand on their laps. They must be taught independence
and ingenuity apart from their financial means in order to survive as artists.

I chose to back my textile piece with this lavender leaf patterned fabric. Finishing artworks
 on both sides is professional. Art teachers instruct students to be professional in order
for them to achieve excellent results.
More Related Articles:

upcycling pre-teen trash

Every spring my daughters and I collect from their closets clothing and other items that they have either
outgrown or no longer need

These items are then donated to charity.

However, given the fact that I am very sentimental about my children, it often makes me sad to see them
throw away those things that I have associated fond childhood memories with. Of course, you can
not keep everything.

This sample banner, I think, helps me to demonstrate just how my students may use some of the old
garments and novelty toys they might label as “toss offs.”

This image of a young teen is from a marvelous book. I will find it in my bookcase
sometime today and link to the author/artist here.

Students may even include text in their samplers; here I have used a permanent ink
marker to write a story directly onto the fabric.

Here I have demonstrated that students don’t need to follow stricter rules used by quilters when they are thinking
 about their designs. I’ve used both the reverse and the front of this fabric within the same design.

The batting here is used as though it were fabric and some of the edges of fabric are
left raw and frayed. Small plastic toys from my children’s old toy bins are also
 sandwiched between layers of material.

Even a silk flower from one of my younger child’s old costumes finds it’s way into the mix!

Finally, I have backed my textile sample with fabric from a skirt once worn by my youngest.
More Related Content:

textured, blue textile banner

My first textured, textile banner completed for a college credit course. Missouri art teachers are now expected to take some textile credits for a k-12 art education certification. I dyed the blue fabrics in a class for an assignment. We were then asked to integrate our fabrics into some sort of a banner.

I added pulled threads and one other machine knotted, metallic fabric to this project.

The butterfly was made by hand as well; I used embroidery threads, copper wire and beads to create this blue butterfly. The banner is backed with a wool felt that was once used as packing material for one of my family’s many cross country moves.

About half way through the project, I decided the banner needed a few additional colors; I chose yellow and pale pink.

I finished many of the edges off with a decorative blanket stitch.
More Related Links:

Thursday, January 30, 2014

more links to the arts in missouri

Arts Organizations In The State of Missouri:
Allied Arts Council of St. Joseph www.stjoearts.org 
African Musical Arts, Inc. www.africarts.org
Art St. Louis www.artstlouis.org
Arts Council of Metropolitan Kansas City www.ArtsLinks.org
The Ashby-Hodge Gallery of American Art www.centralmethodist.edu/cmashbyhodge
Bach Society www.bachsociety.org  
Bootheel Youth Museum www.bootheelyouthmuseum.org
Boulevard Magazine www.boulevardmagazine.org
Boys and Girls Club of Greater KC www.bgc-gkc.org
Branson Arts Council www.bransonartscouncil.org
Chesterfield Arts www.chesterfieldarts.org 
Circus Harmony www.circusharmony.org
City of Columbia Office of Cultural Affairs www.GoColumbiaMo.com/Arts/
Craft Alliance www.craftalliance.org 
Harriman Arts Program of William Jewell College www.harrimanarts.org
Juanita K. Hammons Hall for the Performing Arts www.hammonshall.com 
Kansas City Artists Coalition www.kansascityartistscoalition.org
Kansas City Art Institute www.kcai.edu
Kansas City Art Institute Northland Campus for Special Programs www.kcai.edu/northland
Kansas City Symphony www.kcsymphony.org
Lyric Opera of Kansas City www.kc-opera.org 
Mid-America Arts Alliance www.maaa.org
Missouri Association of Community Arts Agencies www.MACAA.net
Missouri Association of Community Theatres - New website coming soon  Missouri Citizens for the Arts http://www.mo4arts.org/  
New Letters www.newletters.org
NewEar Music www.newear.org 
Osage Arts Community www.osageac.org
Paul Mesner Puppets Inc. www.paulmesnerpuppets.org
Performing Arts Association of St. Joseph www.paastjo.org
Pro Musica www.promusicajoplin.org
Rockhurst University Center for Arts & Letters www.rockhurst.edu/artsandletters 
St. Louis Artists' Guild www.stlouisartistsguild.org
St. Louis Chamber Chorus www.chamberchorus.org
St. Louis Children's Choirs www.slccsing.org  
St. Louis International Film Festival www.sliff.org
St. Louis Volunteer Lawyers and Accountants for the Arts www.vlaa.org 
St. Louis Wind Symphony www.stlwindsym.org
George A. Spiva Center for the Arts www.spivaarts.org   
Springfield Regional Arts Council www.SpringfieldArts.org
Stages St. Louis www.stagesstlouis.com
State Fair Community College Goddard Gallery www.daummuseum.org 
VSA Arts of MO www.vsarts.org/x317.xml 
Washington University Gallery of Art www.wustl.edu/galleryofart
We Always Swing Jazz Series http://www.wealwaysswing.org/season/2010-2011/  

Government Sites
Missouri General Assembly www.moga.mo.gov
Missouri Humanities Council www.mohumanities.org 
Missouri House of Representatives www.house.state.mo.us/
Missouri State Senate www.senate.state.mo.us/
State of Missouri www.state.mo.us
National Endowment for the Arts www.endow.org
National Endowment for the Humanities www.neh.gov
Congress www.congress.org
Contacting the Congress www.visi.com/juan/congress/ziptoit.html
US Senate www.senate.gov
US House of Representatives www.house.gov
US Senate Appropriations Committee www.senate.gov/~appropriations
The White House www.whitehouse.gov

Other Arts Funding Web Sites
Council on Foundations www.cof.org
The Donors Forum www.donorsforum.org
Foundation Center www.fdncenter.org
NonProfit Gateway www.nonprofit.gov
Grantsmanship Center www.tgci.com 

Arts Education Sites Arts Edge www.artsedge.kennedy-center.org  
Missouri Fine Arts Academy www.smsu.edu/coal/mfaa/mfaa.html
US Department of Education www.ed.gov
Open Studio www.openstudio.org
Missouri Alliance for Arts Education http://www.moaae.org/

kilroy the cop in the attic!

There is no telling just “who” you may find hidden away in your attic!
The Inside of the Box top reads: An Invitation to Hours and Years of Enchantment! In this one little package is a whole new life-like world of fun.
      A TalenToy Puppet is a marionette that really seems to come to life, because of the careful assembly of parts manufactured from materials selected for their quality. The head, body, and limbs are made of hardwoods, with joints solidly pinned, stapled, or joined with eyelets. The clothing is made well, of sturdy, bright materials. The strings which support the puppet to life are strong and abrasion-resistant.
      A TalenToon phonograph record, with two sides of original TalenToon stories and tunes written specially for TalenToy Puppets.
      A complete and simple booklet of instructions for handling working TalenToy Puppets, with stories and lyrics of the shows on the TalenToon record made for each puppet.
EFFANBEE DOLL CO.
42 WOOSTER ST.
N.Y.C.
This puppet belonged to my husband when he was a small boy.
The outside of the box top reads:
Hours of Enchantment. We little people bring to children from 6 to 60 a hobby with limitless possibilities for home entertainment and WE DEVELOP TALENT
We stimulate imagination. We create interest in rhythm in music and self expression. We develop finger dexterity and powers of coordination. Our phonograph record and a script that goes with it, make it easy to put on your first puppet show. After that, imagination and ingenuity take over! Any child over 6 can easily work us.
We puppets are wonderful little people.
Signed: Pim-Bo the Clown, Toonga from the Congo, Mac Awful the Scot, Kilroy the Cop and Jambo the Jiver.
An Effanbee Play Product – Talentoon – Talentoy
“In 2002 Tonner Doll purchased the Effanbee Doll Company,
Inc. to obtain the rights to several classic characters from the company’s
century-old history. They gained exclusive rights to Bernard Lipfert’s
1928 Patsy doll, Patsyette. Effanbee also had the rights to reproduce fashion
dolls licensed by Tribune Media like the Brenda Starr, Girl
Reporter series, and the comic strip, Little Orphan Annie.” Wikipedia
“For the first few years after the buyout the Effanbee remained an independent
subsidiary of Tonner Doll, however today the two have become a conglomerate
run under a singular management. The Effanbee doll lines, while are designed,
produced, marketed, and distributed by Tonner Doll, retain the Effanbee name.” Wikipedia
 

"hand shadow puppets" by henry bursill

The Book by Henry Bursill at Project Gutenberg
      I need not explain how these Shadows were suggested, to any one who has seen WILKIE’S picture, “The Rabbit on the Wall.” But by what pains they were invented can never be revealed; for it is known to my tortured digits alone, and they, luckily for me, are dumb. I calculate that I put my ten fingers through hundreds of various exercises before my “Bird” took wing; my left little finger thrills at the memory of “Grandpapa”; and my thumbs gave in no less than twenty times before “Boy” was accomplished. Yet now how easy it is to make the “Duck” to quack, the “Donkey” to bray, “Toby” to wag his tail, and the “Rabbit” to munch his unsubstantial meal.
      Of course the Shadows are not to be reproduced perfectly, on “one trial only”; but I believe that in each case I have drawn the due position of the fingers with such care, that the most difficult subject may be accomplished after a few minutes; nor need ingenious youth or parental fondness confine their endeavors to the sketches contained in this book. With a little ingenuity and some patience, new shadows may be produced; and not unfrequently figures appear that one never dreamed of attempting.
      Other Books of Shadows have been published; but it will be seen at a glance that mine bears affinity to none. Some of my sketches were made years ago, others when a student at the Academy. Indeed, the Shadows have often been displayed on the walls of my studio, much to the amusement of fellow-students, who would, I am sure, at any time bear witness to their originality. HENRY BURSILL, December, 1858.

72 Illustrated Shadowgraphs and Manual 
Alphabet unloaded by Beverly here.
 “This 5 1/2 by 7 inch pamphlet was published c. 1900. I posted a scan of one page of hand shadows in 2008 and it has proved very popular. I have been asked to post additional pages. I recently found it and have scanned all the pages including the manual alphabet.”

Wednesday, January 29, 2014

types of puppets defined


       Types of Puppets – Puppetry by its nature is a flexible and inventive medium, and many puppet companies work with combinations of puppet forms, and incorporate real objects into their performances. They might, for example, incorporate “performing objects” such as torn paper for snow, or a sign board with words as narrative devices within a production. The following are, alphabetically, the basic and conventional forms of puppet:

Black light puppet – A form of puppetry where the puppets are operated on a stage lit only with ultraviolet lighting, which both hides the puppeteer and accentuates the colours of the puppet. The puppeteers perform dressed in black against a black background, with the background and costume normally made of black velvet. The puppeteers manipulate the puppets under the light, while they position themselves unseen against the black unlit background. Controlling what the audience sees is a major responsibility of any puppeteer, and blacklight lighting provides a new way of accomplishing this. Puppets of all sizes and types are able to be used, and glow in a powerful and magical way. The original concept of this form of puppetry can be traced to Bunraku puppetry.
Bunraku puppet – Bunraku puppets are a tyrepe of wood-carved puppet originally made to stand out through torch illumination. Developed in Japan over a thousand years ago and formalised and combined with shamisen music at the end of the 16th century, the puppeteers dress to remain neutral against a black background, although their presence as kind of ‘shadow’ figures adds a mysterious power to the puppet. Bunraku traditionally uses three puppeteers to operate a puppet that is 2/3 life size.
Carnival or body puppet – usually designed to be part of a large spectacle. These are often used in parades (such as the May day parade in Minneapolis, USA) and demonstrations, and are at least the size of a human and often much larger. One or more performers are required to move the body and limbs. In parades, the appearance and personality of the person inside is not relevant to the spectator. These puppets are particularly associated with large scale entertainment, such as the nightly parades at various Disney complexes around the world. Similar puppets were designed by Julie Taymor for The Lion King.
Finger puppet - An extremely simple puppet variant which fits onto a single finger. Finger puppets normally have no moving parts, and consist primarily of a hollow cylinder shape to cover the finger. This form of puppet has limited application, and is used mainly in pre-schools or kindergartens for storytelling with young children.
Sock Puppet – A puppet formed from a sock and operated by inserting ones hand inside the sock. One then moves his hand up and down to give the impression of speaking. Sometimes eyes and other factors are added to the sock in order to make the puppet more realistic. Sock Puppets are also popular in many puppet performances, as they are simple to make and easy to use. They are mostly used in satirical or childish works, as they are not very professional.
Hand or glove puppet – These are puppets controlled by one hand which occupies the interior of the puppet. Punch and Judy puppets are familiar examples of hand puppets. Larger varieties of hand puppets place the puppeteer’s hand in just the puppet’s head, controlling the mouth and head, and the puppet’s body then hangs over the entire arm. Other parts of the puppet (mainly arms, but special variants exist with eyelids which can be manipulated; the mouth may also open and close) are usually not much larger than the hand itself. A sock puppet is a particularly simple type of hand puppet made from a sock.
Human-arm puppet – Also called a “two-man puppet” or a “Live-hand puppet”; it is similar to a hand puppet but is larger and requires two puppeteers. One puppeteer places a hand inside the puppet’s head and operates its head and mouth, while the other puppeteer wears gloves and special sleeves attached to the puppet in order to become the puppet’s arms, so that the puppet can perform arbitrary hand gestures. This is a form of glove or hand puppetry and rod puppetry.
Mechanical Extensions for Body Puppet Anatomy:
Light Curtain puppet presentations use specifically focused light to highlight small areas of a performance, allowing the puppet to be seen while the manipulators remain invisible. The puppets stand on a stage divided into an unlit background and a well-lit foreground, meeting to form a “curtain” of light. The puppeteer dresses in black and remains hidden in the unlit background of the stage while the puppet is held across the light curtain in the lit foreground of the stage. “Light curtain puppet” is an umbrella term, and any puppet which is extended into a well-lit area where its handler remains separated from the puppet by a division of light may be called a light curtain puppet.
Marionette or “string puppet” – These puppets are suspended and controlled by a number of strings, plus sometimes a central rod attached to a control bar held from above by the puppeteer. The control bar can be either a horizontal or vertical one. Basic strings for operation are usually attached to the head, back, hands (to control the arms) and just above the knee (to control the legs). This form of puppetry is complex and sophisticated to operate, requiring greater manipulative control than a finger, glove or rod puppet. The puppet play performed by the Von Trapp children with Maria in The Sound of Music is a marionette show.
Marotte - A simplified rod puppet that is just a head and/or body on a stick. In a marotte à main prenante, the puppeteer’s other arm emerges from the body (which is just a cloth drape) to act as the puppet’s arm. Some marottes have a small string running through the stick attached to a handle at the bottom. When the handle is squeezed, the mouth opens.

Pull String Puppet – a puppet consisting of a cloth body where in the puppeteer puts his/her arm into a slot in the back and pulls rings on strings that do certain tasks such as waving or moving the mouth.
Push puppet – A push puppet consists of a segmented character on a base which is kept under tension until the button on the bottom is pressed. The puppet wiggles, slumps and then collapses, and is usually used as a novelty toy.
Push-in or Paper puppet, or Toy Theatre – A puppet cut out of paper and stuck onto card. It is fixed at its base to a stick and operated by pushing it in from the side of the puppet theatre. Sheets were produced for puppets and scenery from the 19th century for children’s use.

Rod Puppet – A puppet constructed around a central rod secured to the head. A large glove covers the rod and is attached to the neck of the puppet. A rod puppet is controlled by the puppeteer moving the metal rods attached to the hands of the puppet and by turning the central rod secured to the head.
Shadow puppet – A cut-out figure held between a source of light and a translucent screen. Shadow puppets can form solid silhouettes or be decorated with various amounts of cut-out details. Colour can be introduced into the cut-out shapes to provide a different dimension and different effects can be achieved by moving the puppet (or light source) out of focus. Javanese shadow puppets (Wayang Kulit) are the classic example of this.
Supermarionation – A method invented by Gerry Anderson which assisted in his television series Thunderbirds in electronically moving the mouths of marionettes to allow for lip-synchronised speech. The marionettes were still controlled by human manipulators with strings.

Ticklebug – A ticklebug is a type of hand puppet created from a human hand to have four legs, where the puppet features are drawn on the hand itself. The middle finger is lifted as a head, and the thumb and forefinger serve as a first set of two legs on one side, while the ring finger and little finger serve as a second set of two legs on the opposite side.
Table Top Puppets – A puppet usually operated by rod or direct contact from behind, on a surface similar to a table top (hence the name). Shares many characteristics with Bunraku.
Ventriloquist dummy – A puppet operated by a ventriloquist performer to focus the audience’s attention from the performer’s activities and heighten the illusions. They are called dummies because they do not speak on their own. The ventriloquist dummy is controlled by the one hand of the ventriloquist. Such acts aren’t always performed with a traditional dummy, occasionally using other forms of puppetry.
Water Puppet – a Vietnamese puppet form, the “Múa rối nước”. Múa rối nước literally means “puppets that dance on water”, an ancient tradition that dates back to the tenth century. The puppets are built out of wood and the shows are performed in a waist-deep pool. A large rod supports the puppet under the water and is used by the puppeteers to control them. The appearance is of the puppets moving over the water. When the rice fields would flood, the villagers would entertain each other using this puppet form.

resources for weaving

From a carpet-weaving in Hamadan. Tabriz and Isfahan,
as well as in many villages, even in the dark nomad tents
and mud huts, are headed by women and girls, the cheapest
 labor, the famous Persian rugs made. For desert dwellers,
 and nomads are the ornaments of their colorful carpet a
 symbol of paradise, and a replacement for the garden
with real flowers.
      Weaving is a textile craft in which two distinct sets of yarns or threads are interlaced to form a fabric or cloth. The threads which run lengthways are called the warp and the threads which run across from side to side are the weft or filling.
      Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. Weft is an old English word meaning "that which is woven". A fabric band which meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back-strap, or other techniques without looms.
      The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill. Woven cloth can be plain (in one color or a simple pattern), or can be woven in decorative or artistic designs, including tapestries. Fabric in which the warp and/or weft is tie-dyed before weaving is called ikat.
      Though traditional handweaving and spinning remain popular crafts, nowadays the majority of commercial fabrics in the West are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on dobby looms, while the Jacquard harness adaptation was reserved for more complex patterns. Some believe the efficiency of the Jacquard loom, with its Jacquard weaving process, makes it more economical for mills to use them to weave all of their fabrics, regardless of the complexity of the design.
      In general, weaving involves the interlacing of two sets of threads at right angles to each other: the warp and the weft (older woof). The warp threads are held taut and in parallel order, typically by means of a loom, though some forms of weaving may use other methods. The loom is warped (or dressed) with the warp threads passing through heddles on two or more harnesses. The warp threads are moved up or down by the harnesses creating a space called the shed. The weft thread is wound onto spools called bobbins. The bobbins are placed in a shuttle that carries the weft thread through the shed.
      The raising and lowering sequence of warp threads in various sequences gives rise to many possible weave structures:
  • plain weave,
  • twill weave,
  • satin weave, and
  • complex computer-generated interlacings
      Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the weft that binds it, giving a warp faced textile such as rep weave. Conversely, if the warp is spread out, the weft can slide down and completely cover the warp, giving a weft faced textile, such as a tapestry or a Kilim rug. There are a variety of loom styles for hand weaving and tapestry. In tapestry, the image is created by placing various colors of weft only in certain warp areas, rather than across the entire warp width. (Wikipedia)
Weaving Lesson Plans:
  1. Paper Weaving Lesson Plan  
  2. Weaving With Foil Tooled Accents
  3. Magazine Weaving
  4. Weaving in Circles
  5. Weave Drawing
  6. Paper Plate Weaving