In June we asked our community to submit ideas of what they would weave on their Mirrix Loom if they were given some hand-painted silk. We then choose three people to get free silk with which they could try out their ideas. Here is the final project from one of the winners, Kaleigh Everding.
Here was her idea: “I have been contemplating what to start for my next project and I am very interested in working with geometric designs. Everything I have worked on for the past 4 years has been very fluid and curved, so I want to give a try at something new! I have come across some aerial maps of the eastern Iowa countryside where I call home right now. I would use the maps as a guide to create a geometric design and use the silk to blend and define different areas of the final cartoon. In two months, my husband and I will be moving to Utah, so it would be great to weave something that can remind us of where we grew up and met.”
When I read Kaleigh’s description I had a picture in my head of what the mid-west looks like from an airplane; blocks of brown and green and fields and houses and barns and swimming pools. The final project is truly a wonderful representation of that image. Her use of color and technique (has there ever been a better use for pick and pick?) is spot-on. I could stare at this for ages (actually, I have been…)
Her pieces was 21″ x 13.5″ and the silk was used to mark homesteads on the “map”.
Here is the final project.
In June we asked our community to submit ideas of what they would weave on their Mirrix Loom if they were given some hand-painted silk. We then choose three people to get free silk with which they could try out their ideas. Here is the final project from one of the winners, Pinar Miski!
Here was her idea: “I had the pleasure of hosting Sara Lamb for our weaver’s guild back in October. She taught me how to weave knotted pile. If I had the silk, I’d like to use my 12″ little guy Mirrix to weave a small knotted pile panel to incorporate into a woven purse or perhaps a wall hanging. It will either be a spiral galaxy / astronomy design or a traditional Turkish kilim motif (since that’s where I was born).”
We also asked our winners to suggest what colors of silk they wanted. We did our best to accommodate their wishes. Because Pinar was weaving a galaxy we also threw in some gold thread, which she sprinkled throughout the black background like random stars.
Picking out silk for Pinar’s project was a lot of fun. I have always been inspired in my weaving by pictures of galaxies. The colors are so profound. I dug through my stash and came up what I hoped with inspire Pinar as well. I also threw in some gold thread which you can see in the black background.
Pinar had initially asked that we include some black silk but as the universe makes its own rules, we were completely out of black. This was a stroke of luck actually because the background was woven in wool with, as I mentioned, specs of gold thread. The contrast between the duller wool and the very bright, shinny silk was the perfect complement for this piece. Had she used black silk for the background it would have competed with the silk in the galazy.
What also struck me about Pinar’s use of our silk for this particular project is that the mulbury silk we use was originally intended to make knotted pile rugs so in fact Pinar was using it exactly how it should be used. That makes sense. It works perfectly in her piece.
It’s so satisfying to know that those sweet little bobbins of hand-painted silk and gold thread inspired such a breath-taking piece of art.
Here is her final project:
In June we asked our community to submit ideas of what they would weave on their Mirrix Loom if they were given some hand-painted silk. We then choose three people to get free silk with which they could try out their ideas. Here is the final project from one of the winners, Felicitas Sloves!
Here was her idea: “With the hand painted silk yarn, I would weave a tapestry using found materials. With the silk yarn being the primary yarn in the project, it will be interwoven with objects such as small pieces of mica, agate slices, bits of fused glass and whimsical items such as pieces of vinyl records and their labels, thin strips of cardboard packaging from beer cartons and cereal boxes, t-shirt strips and dried stalks/leaves from my garden. I know this sounds like one hot mess, but my goal would be a finished tapestry that would be a textural landscape woven with hand dyed silk and incorporated with found materials.”
While we weren’t sure what the final piece would look like, we looked forward to what Felicita would pull out of her bag of sundry tricks. She did NOT disappoint! The final weaving was a seamless combination of materials. From concept to execution, Felicita went on a fascinating journey which really spoke to her theme of “A Garden of Elvis.” We would love to see more of her fantastical creations! So slow down and really carefully examine every detail in her tapestry. She breaks a lot those strict tapestry rules and yet she does it with such skill and thoughtfulness that it completely works. I guess that’s what we loved best about this piece: it was imagined, it was very much off the beaten path and it totally worked!
When/how did you first get into bead weaving? What inspired you to begin weaving?
A few years ago, my youngest daughter learned how to inkle weave at a summer arts camp, and it intrigued me to expand my bead work in that direction. She seemed to enjoy it so much, how could I resist?
My name is Terry Hanson and I am an avowed lover of all bead things.
I live in central New York right now, but was raised in “The North country,” Brasher Falls, NY to be precise, and not far from the Canadian border, a land of forests and rivers and long winters. My sisters and I were taught various crafting skills by our mother and grandmother, whose energy and enthusiasm made embracing the craft world a lot of fun.
(left: “Expressions of Blue and Green“)
Well into married life and motherhood (I have three grown boys) I can remember creating some of my first beaded barrettes at the age of 25 when introduced to a bead loom by my sister. It delighted me how quickly I could make a small work of art, and then find a strong sense of accomplishment. I used one of the “bead loom kits” that you can still find at most craft stores for many years.
Years later I asked my husband to fabricate a larger bead loom for me. I needed to create beaded membership badges for a writer’s club known as The Fictioneers. I had to make quite a few of them and my hubby’s loom, while not the prettiest device on the planet, worked great, and so I was able to bead up to 4 of the club badges on this device at one time. (right: “Poppies”)
It was not too long after this that in 2009 I received a surprise Christmas gift,the 16-inch Big Sister Loom from Mirrix!
And boy did that change things. I was very impressed by the sturdy construction and design of this loom. Unlike previous looms the Big Sister sits upright and has great tension control. Also, I found I could now string up to 14 of the club badges on the loom in one shot. As of right now I have made 174 of the badges.
(left: “Morning Glory”)
With lots encouragement from a family member, I then decided to attempt a larger beaded work of art.
Surfing the web I found a few different programs, which I used as a tool to assist me in creating bead patterns from photos. Creating the patterns and choosing the right bead colors can take longer than the weaving of them.
After receiving official permission from the artists who created the original paintings of “Eclipsed” (Nik Helbig) and “Morning Glory” (Hessam Abrishami) I went through the time-consuming process of creating a bead-friendly pattern.
By combining the use of the computer bead program with size 11 Delica bead sample card, I was able to create beaded tapestries on The Big Sister Loom that I’m quite proud of. In fact, “Eclipsed” and “Morning Glory” received, respectively, First and Third Place Ribbons at The Great New York State Fair in 2014.
Last year I received the 22-inch Zach Loom as another surprise gift for Christmas (I’m serious, I had no idea I was going to be so blessed!), and recently created my largest work to date, my beaded interpretation of artist Martina Shapiro’s lovely expressionist painting “Expressions in Blue and Green,” a work that contains 51,072 beads.
I’ve have been working on a Mandala pattern that a close relative has hinted would make a great excuse to crack the 100,000-bead barrier for a single work of art. When I do it, will my Mirrix “Zach” loom be big enough? Or would this need a larger loom like the 28-Inch “McKinley?”
So, how much longer is it until Christmas?
Dear Santa, I swear I’ve been a really good girl this year!