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FALL 1986/WINTER

1987

IN SANTA FE

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IN OUR EXCITING

CLASSES ... OCTOBER

THRU JANUARY

1986

1987

FRESADAS DEL RIO GRANDE

Juanita Jaramillo Lavadie

TAILORING FOR WEAVERS

AND SEWERS

Lynne Horpedahl (Santa Fe Opera)

WEAVING OF

CONTEMPORARY CLOTHING

Marcia Kolk

SPINING

Marjorie Johnson

ALTERNATE METHODS OF

WARPING AND DRESSING

THE LOOM

Annelle Chaudet

ADVANCED PATTERN MAKING

AND DRAPING

Lynne Horpedahl

PLAYING WITH BLOCKS -

RUG WEAVING TECHNIQUES

Nancy Neeley

SPEED WEAVING TECHNIQUES

Annelle Chaudet

KNITTING MACHINES

FOR BEGINNERS

Kathleen Walke

DESIGNING FOR You WEAVING

Albertje Koopman

(

)

THE THEO MOORMAN INLAY

TECHNIQUE OF WEAVING

Katherine Sylvan

COLOR, TEXTURE AND PATTERN

IN CLOTHING DESIGN

Marcia Kolk

1201

CERRILLOS ROAD, SUITE

SANTA FE, NEW MEXICO

87501

(505) 983·1168

Write for complete class schedllle

OctoberlNovember 1986

Number

Letters:

Tips:

Angorct; spinning wheels; darning l"nits; quilts and art; dye chemicals

Men's patterns; stockinette stitch; washfastness

Questions:

Mcw

hine quilting; wisp knitting; waistband closures; thread eyes; striped knits

Notes:

Books:

Index:

Surtex

'86;

textile school closes; Venetian lace; kimonos; sewing declines

Calendar

A sewer's bookshelf

Fall

Supplies:

Th/r

eads

1986

1-6

yarns

C0l11l11cnt:

Nose to the grindstone

del'Y Cost es Klllri

ind"ThedetailtotlionofatHoya/et

In page

Met.ia"Seeexhim: 64. til

n'}',nnn'll'··''':l.Ich

embt·o·

from

EditOJ'

John Kelsey

Art Director

Glee BaY1"e

How

A Perfect Pair of Pants

How

Quilt Notebook

Surface Attractiol1

by Joanne Mattera

American print designs materialize

by Sally Cowan

to adjust the fit before you cut the fabric

McMorris and M, Kile, S, Millett, and L, Lo

an Barnett

Associate Editors

DeboTCth CannareUa

Betsy Levine

Knitters, Make a Trip to the Fabric Store

Tapestry Gunner

by Patti Henry

by Susan Guagliumi

What you find may inspire your garmentmaking

Electric punch needle shoots the wool quickly and precisely

Assistant Editor

Mary Galpin

Techniques for Better Weaving

Letting your warp work for you

by Peggy Osterkamp

Copy/Production Editol'

GeT'aldi'Yle

Von

Mal:uski

Knitting a Seamless Sweater

It's easy with circular neeclles

by Elizabeth Z

imm

ermann

Beading on Leather

'l'he Tuxedo

by Wendy Ellsworth

Assistant Art Director

Paola Lazzaro

The magical effect of stitching multicolored bits of glass

Do clothes still make the man?

100

Years Later

by Cathy Shufro

Editorial

Secl'etal'y

Nancy

G(t1"brecht

A Little Blue Dress

by David Dobsevage

The meaning of timeless design

Contl'ibu ling Editors

Uinda

Dye/

Susan

Gttagliumi

Robbie F

Vermont's Green Mountain Spinnery

Commercial spinning on a small scale

by Nan Levinson

Costumes of Royal India

Point of View

by Betsy Levine

The last hundred years of an extraordinary textile tradition

Joanne

Matte1"a

Books:

(

p Caroia, publisher;

Scott Landis, Christine

TiIlIIlIOIlS. associate

('Clilol's; Naney Stabile, ('opy/production

LOI'; MarlY lIigham, sl'('retal)'.

nt:

Carole E.

Antlo. slIhsl'!'iplioll Illflllagf'r; T('rI'Y Thomas, assistant

l': l":IUI'a 1. sando, custolller-s(,l'vil'('

('oordiIJator;

Gloria

Tit... Taunton Prt'ss:

l el'i

H '

art

lme

C !'

Unda Ba

Ld�½l;lIl1', J)t'lIiSI'

Paul

110man,

publisher; Janice

Schoch; lien Warner, mail-services clerk. Hobert Bmschi,

distribution slIpclvisor;

David

lllasko, Mary Ann

Costagliola, Unnea Ingram, Lisa Nacinovich. Aaron

Nathenson.

Marchellc

Sperling.

Manufacturing:

Kathleen Davis, dircclOr; Gary Mancini, manager; Barbara

Dahl', David DeFeo, coordinators; Deborah Cooper,

HOlllan,

;lssociale publisher; Tom

Luxcdpl',

busincss

1'Ilreads

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lli

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ting: In'ne

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l i

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Elailw

Yamin.

Arl:

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Promotion:

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1\10lly Tunnellc. assistant manager; Claudia Allen,

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Video:

Rick Mastelli,

producer/director; Don Goff, Jr., production assistant.

Advertising and Sales:

Andrea Ondak, national

accounts manager; Carole Weckesser, scnior ad-sales

coordinator. Tel.

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Hichard

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il'('

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Threads Magazine, The Taunton Press, 63 South Main St., P.O. Box 355, Newtown, CT

06470.

More about angora

The articlc on Angora rabbits

(Threads,

No. 5, page 1 8) is so full of exaggerations

that I can't let it go by without saying

my two-ccn ts' worth.

have bccn raising Angoras for five

years-both English and French. All

rabbits scratch, but the more you

handle them, the less they'll scratch you

and try to get away.

The amount of time bctween

pluckings varies from rabbit to

rabbit. Six wecks is very fast, not

impossible, but probably not average, the

avcrage bcing closer to every 9 to 1 2

wceks. The length of fibcr varies too.

pluck when the fiber is 3 in. to 4 in.

long, occasionally 5 in . . ..

One rabbit will not yield 1f2 lb. of wool

at a time, especially when plucked every

six weeks. At the ratc Betty Wallace

C'laims, her rabbits produce 4 lb. of wool

per ycar. Angoras would be raised on a

commercial scale if that were the case. My

best rabbit averages 21f4 oz. of wool per

plucki ng-about 1 4 oz. of wool per year,

plus one or two litters of babies . . . .

For more information, please write:

Connie Cummings, Secrctary,

National Angora Rabbit Breeders Club,

Black River Rd. , Watertown, NY 13601.

-Lucy DeFranco, Ashland, OR

nubby textured yarn to buy one of the

good modern wheels.

Second, in my experience, replacing

or repairing old hooks on antique flax

wheels is usually more complex than

indicated by the author. In fact, if the

flyer assembly is not in fairly good

shape, I personally would not buy the

wheel. Trying to replace old hooks that

have rusted or broken off flush with the

surface on a narrow flyer arm

frequently cracks it or breaks it

outright. It is better to have a good

restorer make you a new flyer especially

for spinning.

Third, don't remove anything that

looks like an original finish, including

paint. . .. If this finish is removed, much

of the wheel's antique value and beauty

are destroyed. I do not touch anything

that looks like an original finish, except to

clean it up . ...

It mi ht be of interest to note that

prices of antique wheels (at least in my

area) , whether in good shape or not,

have soared so high that most of us

spinners have been priced right out of

the market.

-Margaret Hanson, Montclair, N

Chemical safety in dyeing

. .. The table of contents (No. 6) lists

page 4, "Letters: Dye caution. " When we

turn to page 4, the headline reads,

"Carcinogens in dyes. " There is a definite

feeling of yellow journalism.

In reading the letter we find that

there is no reference to carcinogenicity in

dyes, but the article refers to a product

called Ludigol, or Resist Salt L. Too late,

the damage has been done. Left in the

minds of most of the readers is an

apparent correlation between dyes and

carCinogens. This was not the writer's

apparent intention.

The letter states that "several

authorities," unnamed, claim this product

tested out as a positive mutagen and

may thus be a carCinogen. This is jumping

to a dangerous conclusion. One of the

ways in which a chemical or a substance is

determined to be a mutagen is by a test

known as the Ames Test. Simply put, a

bacterium is treated with a chemical,

and any mutation of the gene structure is

noted. Most natural SUbstances have a

level that will result in a mutation of the

gene structure, but not all mutagens are

carcinogenic. How many readers will

actually read the words "and

may

thus

be"? True, it is not saying these products

are carcinogenic, but only may be. This

suggestive reasoning really has no place in

this otherwise excellent publication

devoted to artists and craftspeople.

The products referred to are trade

names, one of which has been

discontinued for many years, for a mild

oxidizing agent whose chemical name is

the sodium salt of m-nitrobenzene

sulfonic acid. The very worst that can be

said about this product, and we quote

from the Material Safety Data Sheet

distributed by Ciba-Geigy (manufacturer

of this product): " .. . may cause eye

irritation . May be irritating to the nose

and throat if dust or vapor is inhaled. " We

must exphasize that this information is

not to be taken out of context . . . .

I ndustry is using hundreds of pounds

daily, and the artist is working with

ounces per week. This is not meant to

negate the importance of using great care

and caution when dealing with chemicals,

and it is important that the artist be aware

of the materials being employed . . ..

Incidentally, this m-nitrobenzene

sulfonate is essential when the hot-dyeing

reactive dyes are being used. These dyes

are sensitive to reduction, and you may

have results of lower color yield. For

optimum results and good repeatability of

a given recipe, it is advisable to include

the product in the dye bath or dye paint. . . .

-Don Wiener,

PRO Chemical

Dye Inc., Somerset, MA

On darning knits

You printed misinformation on darning

knits (No. 5, page 38) . .. . It is true as your

article stated that the yarn used to darn

with must be one that will not shrink, but

it must also be compatible with the

yarn in the body of the knit to be repaired.

If hard and soft fibers are mixed, the

soft ones will suffer undue wear. The darn

must have the same flexibility as the

body of the knit. To darn a knit, which is

flexible, with an inflexible woven mesh

will bring undue wear upon the areas that

join them. It is far easier to darn with a

knit mesh, thus allowing both the body of

the knit and the darn to be flexible.

One readily available reference to this is

Mary Thomas's Knitting Book

(available

from Kolaminim, Box 2896, Petaluma, CA

94953 for $3.95 plus $ .50 shipping) . .. .

-Mrs. Donyu Catino, Petaluma, CA

Although Betty Wallace may spin

onto a binder thread, I know no one else

who does. If spun properly with enough

twist, pure angora of prime length can be

spun strong enough for socks or

mittens. Mine takes a really hard snap to

brcak. Although I am not a weaver, the

womcn who sell through Hair of the Hare

co-op in California often use pure

angora for warp yarn. I do not find any

problem with angora holcling its shape.

IIowevcr, one must recognize the

properties of the fiber-it is silky and

drapes likc alpaca rather than sheep's

wool. If it is spun too loosely or too

heavy (too much fiber in the twist), it will

tend to drag itself down, but it can work

well for tightly knit outerwear . . . .

-Annabel Servat, Prairieville,

Old spinning wheels

. . . I-laving spun on antique wheels for

over 1 5 years, I'd like to add a few points

(to your article in issue 6, page 6 1 ) . ...

First, it is often difficult to spin wool

on many old flax wheels, unless the yarn

spun is fine and even. The small

apcrture and the hook size effectively

limit the size of the yarn you can spin.

The long-fibered, coarser wool currently

popular with spinners is especially

troublcsome. I usually advise my students

who are interested in producing much

Quilts and art

I found Linda Dyett's article about

E lizabeth Busch (No. 5, page 70) offensive .

It seems to me that it would have been

possible to show the beautiful pieces and

describe her interesting way of working

without taking potshots at quiltmaking as

a medium. It seems to be Dyett's axe;

yet the article is about Busch, so I found

her grinding of it inappropriate.

According to the latest brochure for

Quilt National '87, Busch's pieces would

qualify easily. So what's all the fuss?

-Rebekah S. Clark, Cazenovia,

Thre

ads

Magazine

I agree with the point made in Susan C.

Drud ing's letter ("Carcinogens in dyes,"

No. 6) that those who use potentially

dangerous materials should take

reasonable, common-sense precautions

to avoid possible harm to themselves,

others, or their environment. Like

Druding, I am often surprised and

sometimes shoel<ed by the nonchalance

with which many people handle textile

dyes and chemicals, both natural and

synthetic. On the other hand, I have never

heard of a single incident of serious

trouble resulting from such handling

practices during my more than 25 years

of con tact with textile artists using

reactive dyes . .

Ludigol is the registered trademark of

Corp. for their brand of sodium

m-nitrobenzene sui [onate. Other brand

names for this chemical are Resist Sal t L

(ICl) , Revatol S Powder (Sandoz), and

Reserve Salt Flake (Ciba-Oeigy).

Sodium m-nitrobenzene sulfonate is a

mild oxidizing agent, and it has been used

in the textile wet-processing industry

[or many, many years in situations where

its presence would protect against color

loss in processing. Used with reactive dyes

under industrial conditions, this

chemical prevents color change or loss

where severe processing conditions are

used and stringent shade control

requirements must be met. Small-scale

processing of reactive dyes does not

require the use of Ludigol-type

chemicals. The conditions encountered

are not severe enough to need

protection, so just leave it out of reactive

dye recipes. Based on the long history of

its uneventful use, I do not think that a

serious risk results from the occasional

use of the chemical, but why bother if it's

not needed? .

-G.

Robert Stetson, West C01'nwaU, C'l'

OAF

Errata

... In my recent article, "Fro m Baskets

to Blankets" (No. 5, page 30), I was

distressed to see words printed that I

did not write. The word

populctrizing,

reference to my work on Chilkat

weaving, is not a term I would ever use,

both in respect for native feelings about

their art form and from a personal

abhorrence for the underlying

connotations the word implies. I have

studied the weaving techniques, yes; I

have spent time and energy increasing our

awareness and appreciation for this

extraordinary art form; I would never

claim to be "popularizing" it.

Pictures are as important as words in

communication. I sent

'l'hrectds

illustrations

of twining techniques and the selvage

treatment, knowing they would be redrawn

by a staff artist. I do not mind the spirit

of the drawings, but I strongly object to

inaccuracy. The knot on the right side

of the weaving is always an overhand

knot, and not a granny, as illustrated.

Furthermore, the warp and weft yarns in

the old robes were always Z-plied; in

your illustration they are mostly drawn S,

with a few drawn Z. An illustrator must

be aware of every detail in a drawing and

not relate anything inaccurately . ...

As a final correction, I would like

your readers to note that i n the

photograph of the three of us weaving

together, Delores Churchill is on the left,

followed by Cheryl Samuel and

Ernestine Glessing . .

-Cheryl Samuel, Victoria, B.C., Canada

In "Techniques of Haute Couture" (No. 6),

the last sentence on page 56 should reac\:

" I f the hem has bias folds because of

nare, loosely

stitch

them and allow them

to fall into place."

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Octobel'/November

1986

/JAPANESEI

THINGS

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