[00:00:00.170] – Tien
All right. Shall we get started?
[00:00:01.680] – Janet
Yes. Okie dokie. I will do our little opening spiel, and then Tien can start with the first questions. This is our live Q&A. Focus is on any classes that have been released since the last Q&A. So that’s going to be Value and Design, Drafts, Threading, and Cotton is not out yet, is it? So those three, I think. Do you have have another one, Tien, that I have forgotten about?
[00:00:28.490] – Tien
No, I’ve just got Value and Design.
[00:00:30.250] – Janet
Which was a monster.
[00:00:31.250] – Tien
Not Value and Design. The one that’s coming up. No, Value and Design is the one that was just released. The one that’s coming up is Design Process.
[00:00:40.180] – Janet
Right. But they’re not asking questions about that one.
[00:00:42.850] – Tien
Right. It’s not available yet.
[00:00:45.470] – Janet
Vaporware as yet. Anyhow. So we’ll give priority to questions about those classes for the first 30 minutes or so of the Q&A. If there are any class-related questions, that’s what we will deal with first. But if there are not class-related questions or after that 30 minutes mark, it’ll just kind of be free-for-all, class-related, anything else you want to ask about that’s in our wheelhouse.
[00:01:13.910] – Janet
Dawn is with us. And there she is. Eventually, she might disappear into moderator space.
[00:01:21.590]
[crosstalk 00:01:21]
[00:01:28.810] – Janet
The other thing I wanted to be sure to tell you–right. Okay. Q&A, you can ask your questions at any point. If they’re not about class stuff and there are class things, we’ll just skip over them for a while. But it’s fine to put them in the queue, queue for the Q&A. Oh, look, I still go blurry on the West Coast, too. To do that, you will use the Q&A interface, wherever it is, use that to ask questions that you want Tien and me to absolutely not miss. Because the Chat window is more for socializing, and we won’t necessarily see questions that are over there.
[00:02:02.070] – Janet
Also, if you need closed captioning, you can turn that on in your own interface somewhere. If you’re on a desktop, it’s down–on my desktop, it’s down under the little more meatball menu because it doesn’t fit in the width of the screen available. Okay. I think that’s the spiel.
[00:02:23.560] – Tien
Okay. There are two questions that are in the slide deck right now, and both of them are yours. I got one from Cass at the last moment. Do you want me to go through that one?
[00:02:39.410] – Janet
Are they class related? Do we have class-related questions in the–
[00:02:44.210] – Tien
I believe that none of them are specifically about class now.
[00:02:48.870] – Janet
Well, there is one in the Q&A that is classy.
[00:02:51.440] – Dawn
Just got there.
[00:02:54.070] – Tien
Where do you look for inspiration, [inaudible 00:02:55] asks. I am actually just writing about that in Design Process, since you mentioned it. There’s a couple of different things you can do. You can just go cruising around the Internet looking for photos. If you do download a photo, I always download it with the name of the artist, because that way, A, I can go back and find it later, and, B, I can properly credit the artist if I’m showing it to somebody or something like that, or if I do something that’s sort of strongly inspired by it.
[00:03:29.410] – Tien
Another thing you can do is what I do, which is to keep an idea notebook. What I’ve done in the past is when I go to–I’m sorry, I’m looking for that particular file. But when I go to museums and stuff like that, I take photos. And then I go through the photos later, and I either dump them into a folder, and I have like 10,000 photos of various fashion things since did artwear for a very long time.
[00:04:06.430] – Tien
Or I actually do what I call an idea notebook or a sketchbook. And let me just show you one of the things from that one. Let’s see here. Okay, so–thank you. This is a page out of my notebook, which I keep in Photoshop. And so I just took photos of a lot of details. This is the Oscar de la Renta exhibit at the de Young Museum near me. And I just put down everything in here. And then what I liked about each item, the semi-random gold leaf here, the mix of the hard and the soft lines in the skirt and the purple dress. And I just loved the idea of those ostrich feathers pointing up.
[00:04:51.200] – Tien
And so if you start collecting things like that, then when you are looking for inspiration, then it’s easy to go out and find it. And then what I do is I take those ideas and those images, and then I start to interpret them in my own–
[00:05:07.010] – Janet
Tien, I’m sorry to interrupt.
[00:05:08.250] – Tien
I’m not sharing my screen, am I?
[00:05:10.360] – Janet
Un-unh.
[00:05:12.530] – Tien
Thank you. Right. Okay. So let’s go back through this. The classic error. Okay. Let’s see. We have–first is the page of an example of getting inspiration. So these are some other photos I took at the Oscar de la Renta exhibit at the de Young. And what I’ve done here is basically noted the things that I like. So I like that little asymmetric bump here at the waist line that balances the floral ruffle on the shoulder. And so I’m looking at this and saying, this points to here, and this reflects it back. And that is a really interesting idea that I could then take into my own.
[00:06:02.130] – Tien
Then in this gold bodice, I think about–I liked how it transitions gradually, almost like an Escher print, from these very hard rectangles at the top down to more organic shapes and then into feathers at the bottom. And so what I do is I go around looking and I collect those ideas. And obviously, I’m not going to be making a de la Renta dress anytime soon.
[00:06:25.640] – Tien
But for example, if I were weaving something, I might start with something very strongly geometric up top and then gradually dissolve it into more organic shapes down near the bottom. Or I might decide that I wanted to use a ruffle of white or a whole bunch of white just to accent black. So those are quick ways to get ideas and inspiration.
[00:06:53.990] – Tien
If you’re looking for inspiration from other things, you can always just type handwoven fabric into Google, and you’ll get a whole lot of things that aren’t handwoven fabric. But if you click on images, you’ll get a lot of pieces. And some of them are very recognizable. That’s Daryl Lancaster’s work, and so is that one up here. But some of it is going to be interesting, as well.
[00:07:25.120] – Tien
Another place I go is Ravelry, because Ravelry has projects. So if I’m looking specifically for handwovens–I don’t know if any of you belong to Ravelry. But what you can do is–well, you can log in first. And then what you can do is go to–where is it, Janet? I have it bookmarked, but not on this computer.
[00:07:52.900] – Janet
Sorry. What are you looking for?
[00:07:55.220] – Tien
Project.
[00:08:00.580] – Janet
I see Projects.
[00:08:06.340]
[crosstalk 00:08:06]
[00:08:06.422] – Janet
Yeah. You’re on Projects.
[00:08:07.160] – Tien
Yes. But you can store your own projects there. And I believe it’s also possible to search–ah, here we go. It’s possible to go to the Projects section and just filter it for crafts. And then you can see all the things that people have woven, bead woven or actually woven on a loom. And that will give you a lot of other inspirations, as well. So that’s another place to go.
[00:08:40.660] – Tien
I also often go to places like Unsplash if I’m looking for photos. Whoops. Hold on a minute. So this is the biggest source of photos on particular topics that are completely free. It’s not licensed under Creative Commons. You can do whatever you want with it.
[00:09:05.440] – Tien
And so if you type something like butterfly in, you get a whole bunch of photos of butterflies. And so that’s a good place to find photos when you’re looking for color inspiration. There are a couple of places that do color palettes, as well. So I hope that gives you some ideas. And I could go on about this all day, but I think I’ll stop and let Janet get a word in edgewise.
[00:09:35.460] – Janet
Okay. Let’s see. Do we have anything that is class related specifically? The one from Mary Wood is related to the project from–
[00:09:51.100] – Tien
Value and Design.
[00:09:52.240] – Janet
Value and Design. Yeah. So Mary asked–let’s see. I’ll share the slide so you can see.
[00:10:04.060] – Janet
Here we go. She would like some information about draw-in, how to factor it into your design, what causes it, what is it related to? Just what’s the skinny on draw-in? And of your list, is it related to the width of the fabric, the fiber, the draft, the sett, the shuttle? The answer to all of that is yes, and probably other things besides, which is, I know, very unsatisfying. That’s one reason why the only way to be entirely sure what’s going to happen is to sample.
[00:10:48.540] – Janet
However, whether you’re entirely–does it matter if you have a half inch of draw-in versus three-quarters of an inch of draw-in? If it doesn’t matter, then you don’t need to sample to figure out your draw-in. If it does matter, well, then you might want to put some time and expense and energy into sampling to find out exactly what your combination of width and fiber and draft and sett and shuttle use and other factors produce.
[00:11:20.990] – Janet
So regarding those specific things, draw-in isn’t so much a fiber-y thing. It does have to do to some extent with the width of the fabric in that it happens mostly at the selvedge, so that if you have a wide fabric, the overall loss, like the percentage of the width of your fabric that gets lost due to draw-in, is a much smaller percentage because the whole center of the fabric isn’t being affected. But if you have a half an inch of draw-in on either side of a 60-inch fabric, that’s a very small percentage. If you have a half inch of draw-in on either side of a 6-inch wide fabric, that is a whole different kettle of fish.
[00:12:08.520] – Janet
As sett, yes, an open sett will definitely have more draw-in because there’s just more space for those side threads to pack together close up to their neighbors. So if your warp is sett more closely, you will have less draw-in. And in fact, in some warp-faced weaves you can have no draw in or even your fabric can pooch out and get wider than it is in the reed, so like reverse draw-in. Draw-out? I don’t know what you’d call that. Scoosh out. So sett is absolutely an important factor. And that has an impact on dimensional loss across the whole width of the fabric, not just at the edges.
[00:12:58.280] – Janet
Shuttle use does affect draw-in or shuttle handling, your weft handling, how the weft turns around at the selvedge edge, how much slack you give it, whether it’s just barely curving around the edge and not pulling the selvedge in at all really, or whether it’s pulling it in a little bit. There is not a right or a wrong way to do things. There’s a more frustrating way to do things if it pulls in enough that the threads start rubbing in the reed and then breaking. That’s frustrating.
[00:13:31.080] – Janet
But it’s not bad to have a bit of draw-in if you can keep it consistent. And it’s better to have that, in my opinion, better to have that than to have the weft kind of looping out at the selvedges sometimes. But again, that’s my opinion. What matters is whether you are happy with your cloth. So whatever floats your boat and makes your boat a happy place to float.
[00:13:59.770] – Tien
A temple can also change the draw-in.
[00:14:02.780] – Janet
Yep. Yeah, you can use tools. Well, it’s not really draw-in related, but to me, I think of it in the same vein as draw-in. If you let the fell of your cloth–that’s the edge of the woven cloth–get too close to the beater so that the angle where the shed opens is too steep, it can cause the weft that’s curling around from one layer to the other to pull out and make little loops. And that’s not really draw-in, but you get the same kind of loops if you’re not seating your weft up at the edge completely.
[00:14:46.600] – Janet
To avoid that situation, which you may think is related to draw-in, and it is because it’s happening in the same area, but it’s a different cause, be sure to advance your cloth often and keep the fell of the cloth forward.
[00:15:03.340] – Janet
So the last part of Mary’s question, if I use 16/2 rather than 8/2 cotton, would I double the draw-in threads? I’m not sure what you mean by the draw-in threads.
[00:15:13.780] – Tien
I think I know, actually. In the design for the napkins, there were a couple of extra threads [crosstalk 00:15:22] the draw-in so that it would weave square.
[00:15:30.200] – Janet
No, I don’t think you necessarily need to add anything. I guess it depends whether you care if that last square on the edges of the napkin is exactly the same size as the squares in the interior. If so, then you got a sample. But I promise not to look too closely and point it out if they’re not square.
[00:15:59.280] – Janet
When I did the Master Weavers level, I don’t remember what level it was, we had to do color gamps, and every square had to be exactly two inches square with the number of threads. So we had to figure that out and sample and sample and sample to see how much we lost on the edges so that we could put a few more, actually. But I only did that because I was getting marked on it. For cloth living in the real world, I, personally, wouldn’t put that level of energy into making sure my selvedge squares were exactly, perfectly the same. I might be inclined instead to put like an accent border on the side so all the draw-in would happen in that. And my squares, the obvious squares, would behave like the rest of the interior cloth.
[00:16:55.900] – Janet
Anyway, that was kind of rambling, but I hope it answered some of your questions.
[00:17:04.180] – Dawn
That sounded like a good answer.
[00:17:11.520] – Tien
Okay.
[00:17:12.190] – Dawn
I have a class-related one here.
[00:17:14.420] – Tien
Okay.
[00:17:15.780] – Dawn
Dayamitra asks, would you recommend getting loads of samples from a paint shop and putting them into a folder or something?
[00:17:22.700] – Tien
I will be right back.
[00:17:24.430] – Dawn
Your eye for gradients. People should ask.
[00:17:29.960] – Janet
Spoiler. Our admin Chat line has been full of paint samples lately.
[00:17:37.260] – Dawn
Indeed, indeed.
[00:17:43.020] – Janet
While she is off doing that, I see there’s just a real quick question here from Joy Hogg that I can answer in 30 seconds, I think. Joy asks, if it matters if fishing line floating selvedge has more tension due to its weight than the rest of the warp.
[00:17:57.200] – Janet
You need to put a little extra tension on it because it is, like, a tougher thing. So, no, I mean, it’s not a bad thing to put more weight on the fishing line than the rest of your warp has. And I usually, whether it’s fishing line or not, I often have more tension on my floating selvedges than I do on the rest of the warp because I want them–if I’m using them, it’s often because I want them to be a kind of a brake stop on the weft pulling into the shed. So I want there to be some extra resistance, and that happens with tension. Okay.
[00:18:34.060] – Tien
Okay. So repeat Dayamitra’s question again.
[00:18:41.040] – Dawn
Would you recommend getting loads of samples from a paint shop and putting them into a folder or something in order to train your eye for gradients?
[00:18:49.920] – Tien
So what you want is one of these. Let me see if I can get them to show. So this has all the colors that Kelly-Moore paints has. You can buy it from them for $20. And lo and behold, you have a whole bunch of colors. Each color is in more or less a perfect value–this one’s black. I would pick that one. Each color is in pretty much a perfect value gradient of one particular hue. And it goes from section to section, and it goes across the entire color wheel, as you can see here.
[00:19:27.260] – Tien
And these are great for all sorts of things. For one thing, if you want to design with an arbitrary number of colors, this has, like, several thousand colors in it. And also if you get two of them and cut one up and then shuffle it, you can play around with gradients and develop your eye for value and stuff like that just by referring back to your sort of intact one if you get lost.
[00:20:01.650] – Tien
The other thing you can do is something like this, which is to come up–so I just finished winding color cards for all 90 Brassard colors. Don’t ask why I happen to have cones of all 90 Brassard colors. But when I was done, I did this. Pardon the remnants of my breakfast. But I arranged them all in–these are roughly in hue order, not in value order. But by sorting them in different ways, you can get practice in looking for hue and looking for value.
[00:20:42.900] – Tien
And, of course, you don’t have to do this just with one particular yarn. You can do it with a bunch of yarns in your stash, as well. Or you can do the easy thing and just do cones of yarn. These take me about three or four minutes to wind apiece, but it’s very handy.
[00:20:58.770] – Tien
The reason why I did it was because this way, when I want to do a palette of things involving Brassard yarns, I don’t have to fuss around on the computer trying to figure out which particular colors are which. I can just pull out those physical cards and say, I want this pink here, and I want this green here, and I want this purplish color over here, and pull them out and then put the color chips in front of me and see whether I like the way that they’re interacting. So that’s another good way to train your eye.
[00:21:34.820] – Dawn
Joy Pate says, do you ever do anything in moderation, Tien?
[00:21:40.040] – Tien
I think that’s unhealthy.
[00:21:41.694]
[laughter]
[00:21:42.360] – Tien
Anything worth doing is worth overdoing.
[00:21:44.480] – Dawn
And Dayamitra wonders–
[00:21:45.670] – Tien
Am I sharing my screen?
[00:21:47.340] – Dawn
Yes.
[00:21:48.300] – Tien
Good.
[00:21:49.090] – Dawn
So pretty. Dayamitra says, can I get those paint samples direct from Bunnings, or do I have to ask the company direct?
[00:21:58.300] – Tien
I don’t know. I went there and said, I want to buy some paint. And they said, right. Why don’t you take a look through this book? And I said, can I buy this book?
[00:22:09.080]
[laughter]
[00:22:10.820] – Tien
And they said, okay, sure. $20. Actually, what they said was, I’ll give you a really–what are you using it for? And I said, well, I teach color in weaving. And he said, you know what? I’m going to give it to you for a big discount, because I get all these contractors coming in there and they just don’t know, well, anything, and so I’m going to give you a discount. And we give it to them for free, so I’m not going to charge you much for it. Which I thought was hilarious and also very nice of him.
[00:22:42.890] – Tien
If you want to go even further down the rabbit hole, since Joy was asking if I ever do anything halfway, I actually did color samples, about 1,500 of these, which are all the different combinations of three particular Procion MX dyes. And then I did another six books worth of Procion MX and another 1,000 of the wool samples. And now if I want color chips, I have all the color chips in the world. I don’t recommend doing this however. Yeah, I think the paint chips is actually your best bet. And just ask for a paint book.
[00:23:29.460] – Dawn
Courtney thinks that’s so much better than using a color card of single threads.
[00:23:33.960] – Tien
Yes. The only problem is that to get that color card, you have to have a cone of that yarn to wind it from. Although you could probably wind a mini-color card just from the tiny little thing that they send you for–maybe not. You could do it around a pencil or something maybe. But anyway. Next?
[00:24:06.400] – Dawn
How about–Janet, do you have one more?
[00:24:10.080] – Janet
I have one in the slide deck that is not really class related.
[00:24:16.800] – Dawn
Website-related question.
[00:24:23.420] – Janet
I don’t think we have any more class-related things.
[00:24:25.464] – Dawn
We don’t.
[00:24:25.500] – Janet
So we can just go on for the free-for-all. So I will do the one that was sent in advance then. Let’s see. Joan Funk asks about basket weave borders. Can you put a basket weave border on any weave structure? I think this is coming out of a conversation we were having in the forums about–there was a question about putting plain weave selvedges on things–or maybe it was in Office Hours. Anyway. And we talked about how on a twill, you can usually add a basket weave border more easily than a plain weave border because the basket weave is just built out of the parts twill is built out of, as opposed to different parts for plain weave.
[00:25:14.670] – Tien
It has the same make-up.
[00:25:16.940] – Janet
Well, yes. So they perform better, but you also don’t need additional shafts a lot of the time, whereas you do need additional shafts for plain weave on a twill.
[00:25:28.080] – Janet
And, Joan, the answer is no. You can’t always just put a basket weave border on something without adding extra shafts. If you have extra shafts, you can add a basket weave border, at least one that’s threaded for basket weave. But basket weave, the structure comes from both the threading and the treadling. So if the treadling of what you’re weaving doesn’t lend itself to basket weave, then you might get something that’s basket weave like, so to speak. So it might not be over two, under two, over two, under two. It might be over two, under three, over two, under three, over three, under two. Whatever goes with the ratios of your structure.
[00:26:13.680] – Janet
I am not confident in saying, yes, you could slap a basket weave border on anything.
[00:26:21.430] – Tien
Can’t do it on satin.
[00:26:24.560] – Janet
Yeah.
[00:26:25.760] – Tien
The make-up is different.
[00:26:27.030] – Janet
There just isn’t–well, there’s two separate questions. Can it be done at all? And is it a good idea? Like, you can put a plain weave border on a twill fabric if you have the shafts for it, but it’s not a great idea to do it because the take-up is different.
[00:26:46.430] – Tien
Right.
[00:26:50.410] – Janet
I don’t think there is a one-size-fits-all way to add a border to a thing. There just isn’t. It’s always going to be dependent on the structure that you’re adding the border to.
[00:27:00.540] – Tien
That’s right. Okay. Cass had a question that she sent in advance, which is that, when you’re commissioned to weave, let’s say a scarf–I’m pulling this from the email. But she said, when you’re commissioned to weave, let’s say a scarf, how do you use the concept of color, lighting, design, or pattern for someone else? Do you weave on commission, Janet?
[00:27:29.680] – Janet
Not anymore, because it’s very stressful. Well, I don’t weave anything for sale anymore because that was also stressful. It just did not work with my neuro-atypical brain. But I did for a long time. And there was a lot of anxiety around making something on a commission. Would they like the color combinations? Would they not? I would work in consultation with them a lot to make sure they were happy with the color choices. And sometimes they picked colors that were just ugly, in my opinion. But then I had to weave them, right? And that’s hard for me to do, too. If I don’t like the thing that I’m weaving. It’s a thing. [inaudible 00:28:24].
[00:28:25.690] – Tien
I have done a few pieces, and I’m pulling up photos now, which is why I’m staring off screen. So I am working on a class about the design process, of course. And it might be helpful–here are some things that I think about when I think about visual style. So I’m going to share my screen.
[00:28:51.010] – Tien
So these are the six questions I ask myself when I’m doing a project. And you’ll see them next month, too. The first is, what’s the reason for the project? In this case, you’re doing that as a commission. But is this person doing it because they want a scarf for a wedding? Do they want kitchen towels? And if they want kitchen towels, what does their kitchen look like? What other colors are there in the kitchen?
[00:29:13.370] – Tien
What kind of thing is it? Is it going to be a scarf or table runner or a tea towel? Or are you just putting on 11 yards for samples? Not that anyone we know would ever have done that. Hint–not Janet.
[00:29:29.230] – Tien
What is its function? So what does it need to fill its function? So for example, if it’s a scarf and you live in Canada, it should probably be warm. If you have a scarf and you live in California, it should probably not be super warm because you’ll just fry. But if you’re doing, like, a tea towel, for example, you need something that is going to be durable, that can be washed in the machine, that’s not going to stain, that kind of thing. So once you know what it is and what it’s supposed to do, then you can figure out what other characteristics it needs in the design.
[00:30:09.050] – Tien
In terms of visual style, what mood and what patterning, I have found in my very limited experience that people who are not artists or who haven’t been through this class don’t have the slightest idea of what you’re talking about if you start talking about that. So what I ask for instead is some pictures of things that they like and that they would — and that are in their mind somewhat similar to it in– I asked for a collection of photos or a collection of ideas and colors and things like that.
[00:30:54.250] – Tien
So when I made this piece–let me–I made a series of three pieces, actually, for a woman named Kathy. These were done on the Jacquard loom. Come on. So these were all identical, but they were all done on a painted warp. And they were done with three different colors because I happened to have three warps on the loom at the time. And so it’s a phoenix and a dragon. I don’t know what the E was for, but she asked for it.
[00:31:24.390] – Tien
And so when I was designing it, I said, well, what colors do you want? And she said, well, I want one–I want blue and maybe magenta. And I think I did an orange, as well. And I said, well, what would you like on it? And she said, well, I don’t know. A phoenix or a dragon or something like that. So I came up with a couple of different pictures of phoenixes and dragons and said, like this?
[00:31:48.810] – Tien
So it’s kind of a back and forth with the person, where they give you a vague answer. You come up with a more detailed answer or some design sketches. And you go back and forth until you arrive at something that the customer wants and that you want. So it’s kind of an organic process, and it’s also a fairly time consuming one. I stopped doing commissions because it just wasn’t worth the amount of time that went into them.
[00:32:18.070] – Tien
Having said that, I did do one other commission, which was for two friends of mine who had their third partner pass away, and so I did one for them. But it was the same process, where I said, well, tell me some things you’d like me to work into this piece. Tell me what colors you’d like, and I’ll put it together. So it’s really a negotiation between you and your customer. Okay. Next.
[00:32:51.120] – Dawn
That’s all the pre-asked questions we got.
[00:32:54.560] – Tien
Okay. Hey, people, start sending in your questions, so Janet and I won’t have to sing.
[00:32:59.570] – Dawn
I have a couple in the Q&A for you, but no singing yet.
[00:33:04.420] – Janet
No singing.
[00:33:05.120] – Dawn
No singing.
[00:33:06.500] – Tien
Believe me, you don’t want me to sing.
[00:33:08.210] – Dawn
Not me either. Sheila Roberts says she recently saw a scarf that had beads in the fringe. Do you ever use beads when you twist fringe? Any ideas where I could look to get more information about using beads in my fringe?
[00:33:25.340] – Janet
I have put beads in my twisted fringe. Not the little, fine seed beads on fine yarns. It was a fairly chunky yarn. It was a white, kind of crinkly, fuzzy wool. And what I wound up doing was threading–I twisted the fringe in the two halves. And then one half I fed through the hole of the bead because it wasn’t big enough for both halves. And then I let the fringe twist around it. So the bead just had, like, one ply of the fringe, so to speak, through it. But then the weight of the bead was–it was a chunky kind of clay bead. So I also added a knot right below the bead so that it couldn’t slide down the fringe.
[00:34:20.120] – Janet
And it was quite effective. I liked that. It looked nice. And then I didn’t put beads on every fringe, and I put them at different heights. And then I added knots to additional fringes that didn’t have the beads, so that it all looked like it was intentional and planned.
[00:34:36.740] – Janet
I know that people do put fine, little seed beads along the edges of their fabric at the top of their fringe or down at the bottom of the fringe. I think Susan Harvey is–oh, ha, Mom’s studio is also a garage. And the garage door is opening. Sorry for the noise. But if you look for Susan Harvey’s blog, she’s got posts about putting beads on her twisted fringe. And then, Tien, do you have–
[00:35:11.200] – Tien
I was going to show my work with beaded fringe.
[00:35:14.570] – Janet
I’m going to mute then.
[00:35:19.390] – Tien
So I generally don’t like to put beads on twisted fringe, or at least I’ve never done it yet. Now that Janet has talked about it, maybe I will have to try it. But I will show you my approach, which is to hem the scarf. This is the backside. And then do a netted fringe. It’s hard to see the netted fridge on this one because what I did–let’s see if I can get it–oh, wait. What am I doing? I actually have pictures of it, which are much more effective.
[00:35:49.510] – Tien
But let me just show you this one live for a moment. This one is another one that I did with beaded fringe. And you can see how I used different color seed beads on it to create a gradation from orangish to yellowish in the piece, which goes with the phoenix theme. This is upside down, but you can see the phoenixes. And I do that by doing a simple netted fringe. If you search for netted fringe, then it should be pretty easy to find. Let me pull up some photos of this, so you can see it a little bit more clearly.
[00:36:27.270] – Tien
Let’s see. Let’s look at the sea turtles. Here we go. So let’s share my screen. Share screen. Okay. So here’s one of them. This is the sea turtle scarf. And you can see it’s different on both sides. You can also see that there’s a hem on the darker blue side, and you can’t avoid that if you’re doing beads on a hemmed scarf. I have another photo here of a close-up of the turtle. And you can see that there’s actually–it’s hard to see the dark blue beads, but this is basically just a plain netted fringe. It’s, like, five beads, and then you cross it with the other one. I think they share a bead. And then it’s another two or three beads, and you just net it–you just go up and down to create the netted fringe gradually as you go across.
[00:37:33.500] – Tien
And in this particular case, I put in some darker beads to make it look like it was wiggling. And in the case of the other one–let me see if I can find it. The other one was a phoenix scarf. And was it this one? Scarf. Here we go. No. Bear with me for a moment. Ah, here we go. Better photos.
[00:38:02.120] – Tien
So this is a close-up of the phoenix scarf, and now you can really see how the netting works. And with this one, I was going all over town trying to find a match for the beads that I didn’t have quite enough of. And after a trip to a couple of stores, I realized, wait a minute, I’ve got a nice gradient in these seed beads. Why don’t I use five different colors of seed beads to make the edging for the scarf? And so I did.
[00:38:32.480] – Tien
And then there’s one other thing I want to show, which is how not to do it. So let me pull up another. Let’s see. Finished projects. What did I need in that one? Oh, Tiger Eye Shawl. Here we go. This one.
[00:38:48.340] – Tien
So this one looks beautiful, but the problem is that the beads are too heavy. Let me see if I can zoom in a little. Okay. The beads here are really heavy. And so what happens is that they cut through the string, and they fall off. So I’ve lost two of the big tiger beads off this one. I know I have them somewhere, but that’s not very helpful for me right now. Anyway. So that’s my approach to beaded fringe.
[00:39:26.880] – Janet
Kathy says in the Chat that she has, let’s see, put beads on after twisting with a knot on either side of the bead. And Joy Pate says that she’s added small beads to fine tencel fringes using the method that I had talked about.
[00:39:47.480] – Tien
Interesting.
[00:39:48.430] – Janet
Yup.
[00:39:52.040] – Dawn
All righty.
[00:39:55.320] – Janet
And Dayamitra would like a class just on fabulous fringes. I think that’s a great idea.
[00:39:58.540] – Tien
We could totally do that.
[00:40:02.140] – Dawn
I’m going to call that answered live.
[00:40:05.920] – Janet
I think I already did. Oh, wait. If I didn’t–what did I just mark?
[00:40:11.300] – Dawn
Let’s see.
[00:40:12.430] – Janet
Sorry.
[00:40:14.640] – Tien
What did you–
[00:40:16.990]
[crosstalk 00:40:16]
[00:40:21.560] – Janet
Celia is saying they were fabulous pieces.
[00:40:24.970] – Dawn
So let’s see. Let’s answer Joy’s question, Joy Pate. When we upload photos for our classes, is it possible to upload two or three photos at the same time with one comment about the group of them? I just tried it while I was here. And, no.
[00:40:46.590] – Janet
So that is a thing that is disabled right now, but we are going to be re-enabling it in a little while. It is on the to-do list and will be coming back before long.
[00:41:00.790] – Dawn
Excellent. All righty, then. So Carol Patton has just dressed her small Nilus. I don’t know how to say that. I always say things wrong in my head. Nilus Leclerc, 2-shaft table loom front to back for a set of warp rep weave coasters. 30 ends per inch of 3/2 pearl cotton in a 15-dent reed, so two ends per dent. The shed will not open without coaxing. Any hints? Should I redress the loom back to front?
[00:41:38.190] – Janet
I don’t think your issue is the front to back versus back to front. I think it’s 3/2 in a 15-dent reed. 3/2 is pretty thick, and a 15-dent reed has pretty small, little holes. I would switch to, like, a 10-dent read and pull three through each one. Or if you’re willing to fudge the EPI a little bit, you could go to an 8-dent reed and pull three through each one of those, or an 8-dent reed and pull four through each one. Then you’d have 32 EPI. Yeah. The issue is going to be the size of the space in the reed versus the yarn that you’re pulling through it. So I would choose a reed that has bigger dents.
[00:42:27.800] – Dawn
So the yarn is getting stuck, like, holding back the reed.
[00:42:31.890] – Janet
Yeah. It’s just everything’s squeezed in there.
[00:42:34.210] – Dawn
Everything’s moving.
[00:42:35.250] – Tien
Yeah. In that kind of case–I was doing triple weave once and had terrible trouble with the fuzzies. The reed was abrading the yarn, as well.
[00:42:44.249] – Janet
Yeah.
[00:42:44.870] – Tien
And so I got these little handcuffs back behind the reed.
[00:42:48.810] – Janet
Yeah. I always try to give my yarn a little bit of extra space and use a bigger–not a giant reed, but I like a reed that lets me sley two at a time. And you are doing that, but–
[00:43:09.940] – Tien
You’re doing it at a high density.
[00:43:11.030] – Janet
At a really high density. Yeah. And the little table loom just doesn’t have the weight, the mass to–
[00:43:21.240] – Tien
Force the shed open.
[00:43:25.730] – Janet
Yeah. That would help open things up and move things around against the friction. Because you’ve got to overcome that friction and you don’t have the mass in your tool to do it. So, yeah, a reed with bigger dents will help. You don’t need to undress the loom or anything, just un-sley the reed and sley the threads through a new reed.
[00:43:54.030] – Dawn
Oh, that’s for you, too, Janet.
[00:43:56.020] – Janet
Yep.
[00:43:56.670] – Dawn
Did you hear back from Brassard about 8/4 cotton?
[00:43:59.930] – Janet
I did. I just did. So Carly, in fact, who asked the question, let me know a few days ago that apparently Maurice Brassard is changing the production on their 8/4 cotton, and it’s no longer going to be four strands of 16/2 plied together, but actually four strands of 8/1 plied together, so a true 8/4, which was a shock and surprise and a little bit–I’m a little dismayed, but it remains to be seen. The thing that I think sets their yarn apart from others is that it’s rings spun. And so if it’s still ring spun in this new construction, then hopefully it will still be good.
[00:44:47.470] – Janet
But yes, anyway, Carly, they did answer, and it sounds like they are, in fact, changing and have changed their manufacturing of the 8/4 unmercerized. But I don’t think that they are changing the 8/4 mercerized, the 8/8, or the 16/8. Those are all still plied out of plied yarns. So they are cabled yarns with twists that go the other direction.
[00:45:12.930] – Janet
And I grabbed some off the shelf here at Mom’s, and it’s still four strands of 2/16, but this is not a new spool. I don’t know where she’s got the stash of the brand new stuff. She’s not here to ask. So I went scooting over to the shelves to see if I could find something. But I will go peruse the shelves. I’m very anxious to inspect it and to see if it’s still going to behave like the Brassard yarn I know and love, or if it’s going to be [inaudible 00:45:44].
[00:45:51.470] – Tien
Janet raving–or ranting about the change.
[00:45:59.750] – Janet
Yep. Yes.
[00:46:01.270] – Tien
Anyway.
[00:46:02.710] – Dawn
We’re going to need some more questions, folks.
[00:46:06.870] – Janet
There’s one.
[00:46:07.760] – Tien
Carly Jean says Brassard is also backlogged on many colors for six weeks.
[00:46:11.020] – Dawn
Lovely.
[00:46:11.780] – Tien
Good thing I stockpiled it.
[00:46:13.770] – Janet
See, I’m out of the loop because I haven’t had to order yarn since my store closed because of the hurricane.
[00:46:19.950] – Dawn
She’s smiling still about that. There’s lots of you here. I know you’ve got questions. Come on now. Look who you’ve got to talk to.
[00:46:41.730] – Janet
If you don’t come up with something, I’m going to start rambling on about all the looms that are dressed for the projects mom and I are going to start weaving this week.
[00:46:56.730] – Dawn
Design question, but would need to send a WIF file. Is that okay?
[00:47:01.450] – Janet
Yes.
[00:47:04.970] – Tien
Email the WIF, and we’ll take a crack.
[00:47:08.150] – Janet
For sure.
[00:47:10.830] – Tien
Academy at–
[00:47:13.630] – Janet
Yeah. Wherever. Just tell us where it goes, and we can find it.
[00:47:18.800] – Tien
Send it to Academy@handwritingacademy.com.
[00:47:22.050] – Dawn
I believe I’m there right now. Look at that.
[00:47:27.090] – Tien
All right. Refresh.
[00:47:30.610] – Janet
I’m sorry. Go ahead.
[00:47:32.160] – Tien
Cass had a question in the Chat.
[00:47:33.630] – Janet
Yeah. 3/2 mercerized cotton in a 10-dent rigid heddle. Carly, are you still out there? Would you recommend 10 dent for 3/2? That doesn’t seem like a terrible idea to me. That or a 12, says Carly.
[00:47:56.190] – Tien
Lissa wants to know–let us know so we can make our purchases for the napkins. I’m not sure what that was about.
[00:48:01.190] – Janet
She’s been asking what materials are going to be used for the napkins at the end of the Learning Path.
[00:48:08.370] – Tien
Oh, end of Learning Path Two?
[00:48:12.150] – Janet
Yes, I guess. Unless it’s Value in Design. But that’s already written up, so it must be.
[00:48:19.220] – Tien
Value in Design is already written up, and that’s 8/2. It would be helpful to know whether you were asking about that or about–Learning Path Two, we haven’t really decided, I don’t think. Although if it’s going to be cotton, the odds are it’s going to be either 8/2 or 10/2. More likely 8/2.
[00:48:37.790] – Dawn
I am not kidding.
[00:48:38.760] – Tien
But by then you should also be able to change the size of your yarns and do the calculations yourself with impunity, because we have classes for that.
[00:48:51.650] – Janet
Carly is also following up, saying the 10 might be a more even weave for plain weave in the rigid heddle. And Joy is wondering about what to use 3/2 mercerized cotton for. I like it as a pattern weft on small–like overshot miniatures on an 8/2 warp sett at 16. And I’m saying miniatures because then they have short floats, because 3/2 and a long float isn’t going to be a great thing. But in short floats, it’s really nice. And it would also make a good pattern weft for crackle or for summer and winter or other similar compound weaves on an 8/2 ground sett at about 16, assuming that the ground was plain weave.
[00:49:42.680] – Janet
And there was–let’s see. Jean is asking about the 11-dent reeds for particular structures. I just love the way that Brassard’s 8/2 cotton weaves up at 22 EPI in twill enough that it was worth getting 11-dent reeds to not have to try to sley 22 EPI in a 10 or a 12, because that messes with my number brain. I want the numbers to be even and regular.
[00:50:18.300]
[crosstalk 00:50:18]
[00:50:19.200] – Tien
That’s why I weave with fine threads. You get so much more smoosh in the setts you can use, like whether you use 45 or 48 doesn’t matter that much.
[00:50:33.640] – Janet
Loads of people weave 8/2 at 24 EPI. There’s nothing wrong with it. It’s easier to get things square at 22. You don’t have to pound it quite so hard, but it’s got more stability than it does at 20. And I haven’t tried 21. I’d have to get an 11–no, a 10 and 1/2. I do have some weird–well, they’re metric. But anyway, 22 is–it was Mom, I think, who first started setting things at 22. And we both liked it so much that we have just been acquiring 11-dent reeds. I had to pack mine. I had to bring, like, a big full-size suitcase so that I could put 24-inch or 26-inch or whatever it is 11-dent reed in it and bring it for class.
[00:51:25.230] – Tien
Courtney wants to know where you got that 11-dent reed.
[00:51:28.170] – Janet
I special order them. And I in my store, I don’t carry reeds on spec. I order those for people, except for 11-dent reeds because they’re unusual. So I’m like the only one who has them. So I have a stash of 11-dent reeds of different lengths. But they’re all in storage with everything else from the store. So I order them different–places that make reads can probably do it. Just ask and see if they’re willing, if they’re able. So I’ve gotten some in North America. I’ve gotten some from overseas.
[00:52:07.480] – Tien
Okay. Let’s see here.
[00:52:11.720] – Janet
Okay. Can you get to the Academy?
[00:52:17.400] – Tien
Yeah, I can. I’ve got it here.
[00:52:19.400] – Dawn
Sorry, folks, having a little trouble. Technical difficulties.
[00:52:24.620] – Tien
I am just looking at the images that Sheila sent. Okay, so which one did I just upload?
[00:52:42.080] – Janet
If you were still looking, I was going to answer some–
[00:52:44.675]
[crosstalk 00:52:44]
[00:52:44.690] – Tien
Go ahead and answer some other questions.
[00:52:46.610] – Janet
Well, I see Carly is talking about how Florida weavers get fun toys and how she’s looking for heddles for her rigid heddle at different dents per inch. I’m sure that there have got to be patterns for those things on thingyverse and the other 3D print repositories that you can adjust. So you could print your own heddles at any–I would think. I mean if you had access and you had the materials and all that stuff. But I don’t think it would be that hard to make a heddle or have somebody make a heddle for you at whatever dent you wanted.
[00:53:27.680] – Tien
Okay, I think I’ve got it. So let me share my screen. This is the first draft that Sheila sent, and then this is the second draft that Sheila sent. And they’re not all that stunningly different in terms of the glow. I think it’s just the number of–I think it’s just the number of an arrangement of stripes. So I’m just going to work with this one.
[00:53:59.160] – Tien
Sheila is saying that she wants more glow in this one. So you can see how you have that white section there, but it doesn’t quite look like it’s glowing. And the reason why is that to get something that looks like it’s glowing, you don’t really want a gradual gradient. Instead, you want something very light in the center and have it drop off really fast.
[00:54:21.040] – Tien
So if you think about what something that’s glowing looks like–and let me find–let me just go looking on Google. If you just type in glow, let’s see what you get. You get Glow Beauty Bar is what you get. That was not what I meant. Let’s try this again.
[00:54:44.250] – Tien
So if you look at something that’s glowing, you’ll see that it’s basically indistinct. And it’s bright in the center, and then the edges fall off to darkness very quickly. And so what you want to do–and why is this doing this to me? Okay, here we go. Is instead of having that white, just that little bit of white in the center and then an even gradient going out to the side, what you want is a little more white in the center. And then you want to go very quickly off to darkness in the side.
[00:55:32.540] – Tien
So if you look here and really zoom in, you can see that there’s–and I’ll zoom in even a little closer. Let’s see here. So if you look at the anatomy of this one, this is one of the original stripes. You can see that there’s five threads of white in the center, and then they go two by two by two down.
[00:55:56.550] – Tien
So if you want a better glow, what you’d want to do is go–I’m actually going to stick with the white. You don’t want too wide a stripe in the center, but I’ll just show what it looks like. And then what you want to do is go very quickly from white down to the darker colors. And so you would really only want to use one of each of the darker colors and then go back down to the dark color and the same on the other side. So you have the super light. There we go. And then we go down to the super dark.
[00:56:49.460] – Tien
Okay, now let’s zoom out. So you can see–this is the original one in the center here. In the middle, I fiddled around with it a little bit. But in this one over here on the left, you see how it looks a little more like it’s glowing? Because you have that very bright and then it fades off quickly to darkness.
[00:57:19.820] – Tien
In the center here, what you’ve got is something that looks like it’s a little bit light. There’s a little bit of light to it, and it does look like it’s glowing a little bit. But the glow looks like it lacks an unnatural length, an unnatural distance from the light source, given how bright the light source is. So it looks like less of a glow than if you were to–the one in the center has a little too much white. So I’m going to take down just a little bit. Now I’ll zoom out again. Okay. Now you can really see it.
[00:58:07.570] – Tien
So here you have something that looks like it’s glowing. Here you have something that looks like it’s got more it looks like it’s got a little more of a glow in the center.
[00:58:20.380] – Tien
Here you have, in effect, like an florescent light bulb. And then over here you have something that tapers off and is brighter in the center and tapers off a little more at the edges. So it’s kind of a question of where you want to put the glow. I wouldn’t say, Sheila, that you don’t have a glow here. I think you actually have a pretty good glow going here.
[00:58:40.030] – Tien
But if you want it to look more like an actual glowing object, I would even add a third purple in here. So what I would do is add a purple that is–I’m just going to try to get about the right hue. I would throw in a purple that is actually between your dark purple and your light purple. Because one of the problems with this glow is that–a glow is a gradual gradient. And so if you add one thread–zoom in–here and another here, you’ll probably get a more gradual–a slightly more gradual fade. So there you go. Now it looks actually glowier because you have enough space to develop that sense of glowingness, and you have a little bit more of a gradual transition.
[00:59:45.340] – Tien
You can see how there’s a sharp difference between the dark purple and the light purple, the slightly darker purple, I should say. And that’s exactly what you don’t want to have. You want to have it fade out like this, but to have it fade out gradually over a short distance, but with no sharp edges. So what’s happening here is that you do have those sharp edges. So the glow is inside, and it looks like it’s dimly glowing on the outside. But over here you have more of a glow. So there you go. No questions?
[01:00:29.540] – Dawn
No questions. I thought those stripes look kind of like cylinders. I kind of like them. I like the glow, too.
[01:00:36.440] – Tien
Oh, yeah. No, I like both of them. Neither of them is wrong.
[01:00:39.850] – Dawn
No.
[01:00:40.660] – Tien
I always say there are no wrong designs. There are just designs that give you the effect you want and designs that give you the effect that you don’t want, because what is inappropriate for one use might be appropriate for another use.
[01:00:52.920] – Dawn
Absolutely.
[01:00:54.810] – Janet
They look really glowy on my screen, even to begin with, and even more glowy after Tien got at them.
[01:01:02.360] – Tien
Sheila asked if you get a better glow with finer threads. I think you probably do. And the reason why is that you have–let’s just take a look at this actually. Hold on. Let me share my screen again. Zoom. Zoom. Where are you, zoom? Share screen, screen one. Okay. So if you look at this at the smallest possible size, you’re imitating fine threads.
[01:01:29.580] – Dawn
We are just a little behind.
[01:01:32.150] – Tien
Okay. And then if you zoom in–
[01:01:36.410] – Dawn
Still behind. I don’t know what’s happening.
[01:01:39.130] – Tien
You’re not seeing it?
[01:01:40.280] – Dawn
No.
[01:01:41.370] – Janet
I am.
[01:01:42.250] – Dawn
You are?
[01:01:43.370] – Tien
Okay. You can see that as your thread size gets bigger, the illusion of the glow is not quite so obvious.
[01:01:51.410] – Dawn
There it is.
[01:01:54.190] – Tien
Whereas if you were to zoom out, you can see that because the colors are blending together more, the effect of the glow works a little better. Whereas if you zoom way in, you can see each separate thread as a different stripe. And so the glow isn’t quite so glow-y. I should try this, actually, since I like fine threads.
[01:02:22.570] – Dawn
Carly Jane wonders if thread sheen would impact the glow, too.
[01:02:28.950] – Tien
I think thread sheen and translucence would also affect the glow. Hang on a minute. Let me grab a piece.
[01:02:37.930] – Dawn
It’s the hang-on-a-minute show.
[01:02:48.040] – Tien
Here it is. This piece does not quite exactly glow, but you can see that there is a sense of glowing in the center. And that’s because it drops off to dark purple fairly quickly. And this is done in silk. And so the fact that the silk is very lustrous adds to that illusion. This is turning into Tien’s work show and tell.
[01:03:20.160] – Dawn
I like it. Questions?
[01:03:30.500] – Tien
If there’s no questions, Janet, do you want to talk about Towelpalooza, or should I show off my latest work?
[01:03:51.360] – Janet
Sure. Sure. Let’s see. [crosstalk 01:03:51] I could pick up my [inaudible 01:03:53].
[01:03:53.680] – Tien
While you are gathering your stuff, I’ll just show off what I’m working on, what I just finished, which is scarf. I haven’t yet photographed it. It’s new enough that I haven’t yet taken a photo. Let me step backwards, and hopefully you can see it, because I can’t see anything.
[01:04:11.720] – Tien
This is a gradient shawl, as you can see. And I decided to give it some stripes to give it some kind of a focal point. And this is all done in Lunatic Fringe yarns, by the way, which is 20/2 cotton. And if you take a closer look at it, you can see that it’s got a diamond design. It looks a little like Chinese brocade. It works–and I did this one because I wanted to experiment with gradients. And then what happened was I got this thing–I started doing the gradient, and decided it was boring, and so I threw in the contracting stripes. I could explain all the theory of it, but I think Janet would like to talk about Towelpalooza.
[01:05:00.760] – Dawn
But first, Sheila says she’s going to end up buying a bunch of fine silk with lots of shades of purple, and she doesn’t know if she should thank you or not.
[01:05:08.090] – Tien
Oh, absolutely.
[01:05:09.420] – Dawn
You’re welcome.
[01:05:10.450] – Tien
Enabling.
[01:05:12.140] – Dawn
Yeah.
[01:05:16.620] – Janet
I’m not sure–I don’t know that I have a camera–well, here. Okay, I’m going to try this. Take my webcam and point it around the room. This is Mom’s studio/teaching [inaudible 01:05:29]. And those are all the looms ready to go.
[01:05:34.680] – Dawn
Goodness gracious.
[01:05:35.940] – Janet
That one is–oh, that one is–oh, that is turned Bronson. That one is a plaited twill. That one, very pretty rainbow, is a–I think it’s a Worst twill. A twill out of Edward Worst’s book. It’s a point twill of some description. That stripe-y one over there is undulating twill. And the ones just far away, we’ve got jin.
[01:06:13.450] – Janet
We’ve got–one thing we have that’s brand–well, not brand new. They’re all brand new, but that we haven’t done anything like it before, is just a super simple plain weave in 20/2 cotton, so a fine, fine thread. But then it’s got crammed dents every inch and a half, I think it is, and some accent stripes, so for a kind of a window pane grid in slightly heavier, but still color on color fine, fine threads. Single shuttle.
[01:06:52.060] – Janet
And we’ve got crackle on loom number three. And we have–honestly, I should know what they are because I spent the last 36 hours madly putting together 70 pages worth of handouts for the classes. But it’s the kind of thing where you’re just doing it without reading. Let’s see, there’s a turn–oh, turned twill. There’s a turned twill out of Strickler. That’s one of the ones that I didn’t mention. And what’s over there on loom number six? I’m not sure.
[01:07:30.840] – Dawn
Is there a bed in the studio?
[01:07:33.480] – Janet
There is not a bed in the studio.
[01:07:37.820] – Tien
Sleep under the looms. A friend of mine did that for awhile.
[01:07:39.640] – Dawn
Who warped all those looms? [inaudible 01:07:41]
[01:07:43.100] – Janet
Mom with some help, yeah. She wound the warps and dressed the looms. She’s been working on it since December. And she’s anxious to start winding the warps because we have 20 people, I think, coming through for Towelpalooza. And then we have a full class of beginners in fundamentals, and then we have an over-subscribed class for crackle in February. So we’ve got 20 yards on each of these looms, I think, 15 to 20 yards on each of these looms. And then they all have to be empty in a week for new warps to go on. We have to dress ten more for that class, but those are just short little warps.
[01:08:27.810] – Dawn
My heart is pounding looking at all of that gorgeousness. And, golly, could I get on a plane?
[01:08:37.100] – Janet
I am not flying, so you might actually be able to.
[01:08:40.320] – Dawn
If only I had time off. Oh, my God.
[01:08:46.080] – Janet
Wow. Fashionary. It’s always the fashionary.
[01:08:50.560] – Janet
Dayamitra, it doesn’t have a bed, but, yes, you can sleep on the floor, and the beds are just right over there. And we always leave, like, the key where–I probably shouldn’t say this on the public intrawebnet. This isn’t very public. But when people come, they know where they can find the key. So people can stay as long as they want to weave and come as early as they want to weave. We often have people out here in the wee hours if they’re real keeners.
[01:09:26.050] – Dawn
Celia, I think, asked, how does one take this class? It’s called Fashion–
[01:09:33.070] – Janet
No. This that all the looms are warped for right now is Towelpalooza. We started doing it–well, we started doing it before COVID. And we call it just a three-day play date, a weaving play date. We dress the loom for towels, and everybody comes and weaves like mad weavers for three days and gets as many towels done as they can get to looms. But it’s an in-person class. It’s not anything online. So you find the website and you contact Mom and you register and then you come to Seattle, well, Seattle area.
[01:10:12.490] – Tien
Or if Janet is flying–is that why you fly in a week before your students, Janet, so that they can actually get there?
[01:10:18.500]
[laughter]
[01:10:20.350] – Janet
Partly. It’s that and so that I can, at least in theory, help Mom get the looms ready. Or, like, I have a reed. She couldn’t finish one of the looms until she got my 11-dent reed. And I have to do paperwork and stuff. But, yes, in theory. I mean, this is also my opportunity to see my family. It’s the first time I’ve seen my family in three years. I usually get to see them at this time of year, but it’s mostly just “hi” in passing as I go run off to do some work.
[01:11:01.070] – Janet
I don’t think you will find it from Towelpalooza, but I will give you the website in the Chat. There you go, Celia. Taupalooza, what the auto captioning called it. Funny.
[01:11:25.570] – Tien
More questions, anyone?
[01:11:29.170] – Dawn
No. Quiet group.
[01:11:31.080] – Janet
Yeah. Okay, shall we–
[01:11:39.340] – Tien
Go get the cat?
[01:11:40.870] – Tien
Oh, yes. Please. I need a cat fix. There are no cats here.
[01:11:45.870] – Dawn
Oh, man.
[01:11:48.010] – Janet
I am in withdrawal.
[01:11:49.550] – Dawn
It’s hard. I have ferals.
[01:11:55.210] – Janet
The last time I was here, the neighbor’s cat was spending much of her time here, and so I got plenty of cat action.
[01:12:06.430] – Tien
Fritz is being a very good sport, both because he was half asleep and because he knows he’s getting cat treats afterwards.
[01:12:11.710] – Dawn
Hi, gorgeous.
[01:12:15.170] – Tien
And because he likes getting his head scritched. All right.
[01:12:22.210] – Janet
Okey dokey. Well, thanks for coming, everybody. What is our next premium webinar?
[01:12:35.850] – Tien
Probably the live lecture. You did your Office Hours.
[01:12:37.450] – Janet
Live lecture. So, yeah, it’ll be the live lecture for February.
[01:12:41.450] – Tien
All right. Yeah.
[01:12:43.660] – Janet
Okay.
[01:12:44.400] – Tien
Thank you, everyone.
[01:12:45.560] – Janet
Have a great night.
[01:12:46.810] – Dawn
Talk to you soon. Night.
[01:12:47.720] – Janet
Bye.