The Sunday Zoom Seminars will have a limited number of participants.
Cost per participant is $15 (plus GST) Regular price or $10 (plus GST) for Prince George Fibre Arts Guild members.
Cost for a Guild to view as a group (only one participant signing in) is $50 (plus GST).
Please note registration deadline is the Friday before each seminar starts, after which all those who have registered will be emailed the Zoom link information. Seminars begin at 10:00 am Pacific Time (Canada and US).
The first 3 seminars are now available for purchase. As each seminar finishes another seminar will become available to purchase.
Abby Franquemont ~ January 17th ~ Preserving Textiles Traditions in the Andes
Abby Franquemont is known for her book Respect the Spindle and working with the spinners and weavers of Peru. In this seminar she will talk about the textiles of the indigenous people of the highlands from her home in Ollantaytambo, Peru.
Abby will take questions when the presentation is done.
Bio ~ Abby Franquemont, author of bestselling spinning book Respect The Spindle, is steeped in the fiber arts since birth. The daughter of field anthropologists studying textile production, she was raised largely in the rural Andes of Peru, where she learned to spin, weave and more starting at the age of five. In 2006, she left a successful career in information technology in order to write and teach full-time about the fiber arts, particularly spinning. Why spinning? Abby says it's the most fundamental of the fiber arts – the one upon which the most others depend – as well as the most at risk of being lost a nd the hardest to pass down in any way other than hand to hand.
Abby is technical, passionate, inquisitive, and informed; she has taught individuals and groups of all ages, skill levels, and combinations thereof. Her classes are among the first to sell out wherever she goes; her book, instructional DVDs, magazine articles, and blog are widely recommended; and her down-to-earth approach is empowering for students of all levels. Abby has taught and lectured at large events including The National Needlearts Association (TNNA), Golden Gate Fiber Institute, the Spin-Off Autumn Retreat (SOAR), Sock Summit, the Taos Wool Festival, and New York State Sheep & Wool (Rhinebeck), Southeastern Animal Fiber Fair (SAFF), Fibre East in Bedfordshire, UK; not to mention many of the finest fiber, knitting, and crafting shops in the USA, along with weaving, spinning and knitting guilds nationwide and a select group of private retreats, seminars and workshops. Her writing has appeared in Spin-Off, Spindlicity, Interweave Knits, Twist Collective, Entangled, SpinKnit, Knitty, and more.
Carol James ~ February 7th ~ Sprang
Carol James has studied a number of textile arts including the finger woven sashes so well known in Canada, and sprang, which lends itself to more complexity than one might think. In this seminar she will share her explorations in sprang and discuss ways in which it has been used throughout history.
Mostly my presentations are in 3 parts. 1- I begin with an introduction to sprang, a definition, and on a small frame using thick cord. I then give a few examples illustrating some basic ways this could be made into a garment. 2- sprang in history. The story is told using photos I’ve taken in various museums, replicas I’ve made, and artwork (pottery, paintings, woodcarvings) that are evidence of sprang in history from the Bronze Age to the present. 3- sprang leggings, the step-by-step process, how I made them.
Bio ~ Carol James has been exploring sprang for more than 20 years, examining items in collections across North American and Europe, and making replicas. She has worked for clients such as George Washington’s Mount Vernon, the
German Archaeological Institute, and Norwegian Army Museum.
She has developed a pattern-writing system to accommodate the variety of designs encountered in her sprang
explorations. An excellent instructor, she is the author of numerous
articles two DVDs and three books: Fingerweaving Untangled and Sprang Unsprung and a new book of Sprang Lace Patterns.
Deborah Chandler ~ March 7th ~ Weavers of Guatemala and Weave A Real Peace (WARP)
Deborah Chandler is known for her book Learning to Weave which has been used by so many as a basic introduction to the craft of weaving. Deborah has also worked with weavers in Central America and will be speaking from her home in Guatemala. She will also talk about Weave A Real Peace (WARP) a non-profit organization she has been involved with since its inception.
Bio ~ Deborah Chandler In 1984, under the name Debbie Redding, Deborah wrote Learning to Weave, a beginning weaving text that has been in print for more than 30 years now. In 1989 she went to Honduras with the Peace Corps, then spent four years in Houston being inducted into Fair Trade. Since 1999 she has been a resident of Guatemala, a country with one of the richest textile traditions in the world. She was the Guatemalan Director of Mayan Hands for nine years, a fair trade organization that has worked with hundreds of Mayan women weavers for more than 25 years. During that time she and Ray Senuk co-authored Guatemalan Woven Wealth - Preserving a Rich Textile Tradition, a volunteer effort by a team of "book people" in support of Friendship Bridge, a micro-credit ngo that works in Guatemala. Retiring from Mayan Hands opened up the time to work with Teresa Cordón researching and writing Traditional Weavers of Guatemala - Their Stories, Their Lives, a wonderful and rewarding project. Teresa Cordón, born in Zacapa in the eastern part of Guatemala, has worked with Mayan artisans for much of her adult life, providing them with both work and educational opportunities. Since 1990 her "day job" has been working with K'iche' men who create traditional palm leaf hats that are eventually sold through SunBody Hats in Houston. Teresa has always been an exceptional writer, but this is her first foray into writing a book. It's about time.
Deborah Robson ~ April 11th ~ Shetland Textiles
Spinners know Deborah for her extensive involvement in spinning and fibre research, as an editor and author. She will discuss Shetland textiles from her home in Colorado. She will take questions after the presentation.
Bio ~ When I began spinning in the 1970s, prepared fiber wasn’t available, so I learned by using raw wool and immediately became interested in the different breeds of sheep and the types of fleeces they grew. Not too long after that, I noticed that the breeds of sheep that most handspinners valued above others were listed as "at risk of extinction" by the livestock conservation groups. I became alarmed.
Bio ~ Deborah Robson I worked as an editor of textile books and magazines, which fed not only my family but my
curiosity. My questions about all types of wools intersected with my interest in the rare breeds, and I discovered that the answers I wanted weren’t available. So I started researching. And then researching even more. Lincoln led to Navajo-Churro, which in turn led to Norfolk Horn, which resulted in the Save the Sheep project sponsored by Interweave Press. Then I had questions about mohair and cashmere and yaks and paco-vicuñas and pygoras. In a fit of brilliance or insanity, I spent four years spinning every fiber-grown-by-an-animal that I could get my hands on, and working with Carol Ekarius to write The Fleece and Fiber Sourcebook: More than 200 Fibers from Animal to Spun Yarn. Interweave asked me to record a set of instructional DVDs called Handspinning Rare Wools. People started asking me to teach workshops. I went to Scotland and got to spend time with super-wonderful people and meet sheep I’d only seen in photos. The whole thing has taken off, and I’m going with it because I get to share all the cool stuff I’ve learned, and I get to discover even more questions and some of their answers.
Winnie Nelon ~ May 16th ~ Iban Textiles from Borneo
The Iban have a long heritage of using intricate, complex and powerful designs on their plaiting and weaving. Their textiles traditionally were integral in ceremonies providing the protection, support and harmony needed for the dangerous and challenging world of tribal rivalry. Only very experienced weavers could produce the most powerful patterns without risk to themselves and consequently were ranked as equals to men who had succeeded in headhunting. This talk will explore the history and techniques behind the creation of these textiles which were made on simple backstrap looms.
Bio ~ Winnie Nelon spent almost a third of her banking career in Asia where she developed a passion for traditional S.E. Asian textiles. She was co-chair of the Textile Society of Hong Kong, coordinated the TSHK newsletter for many years and also coordinated the publication of two editions of The Guide to Asian Textile collections.
Since retiring she has learned to weave and is active with the Manasota Weavers Guild in Florida. She has spoken about textiles in her collection to weaving guilds, college seminars, conferences and Asian art organizations. She currently lives in Longboat Key, Florida and Woolwich, Maine.
Stefan Moberg ~ June 13th ~ Swedish wool and Hattersley looms
The types of wool found in Scandinavia have a long history and connections to the types of wool used by the Vikings. There are some unique types of wool which are hard or even impossible to find in other places of the world. Stefan Moberg has worked with these unique sheep breeds to develop a Swedish tweed, utilizing their specific characteristics and traits. The Hattersley domestic loom was introduced on the market around the turn of the century 1800/1900. It is a semi-automatic loom made from cast iron and powered by foot pedals. It has a strong connection to Harris Tweed and is still used in the Outer Hebrides to weave this world famous fabric. Come and hear the story of how to develop a yarn from scratch and how one of the Hattersley looms of the Outer Hebrides moved to Sweden, and is now living in the suburbs of Stockholm.
Bio ~ Stefan Moberg is a hand weaver and spinner, with deep roots in the Swedish textile industry and traditions. As a weaver Stefan’s primary focus is working with wool, which has led to developing a tweed yarn and fabric made from the unique types of wool you only find in Scandinavia. As a teacher Stefan is in demand in both Sweden and internationally and is also published in both VÄV magazine, Handwoven and The Wheel. Stefan also owns and operates the only privately owned Hattersley domestic loom in Sweden.
Janet Dawson ~ July ~ Textile Travels in Turkey
Bio ~ Janet Dawson learned to weave at the Cape Breton Centre for Craft and Design in 1994 and taught the weaving program there from 2000 to 2009. She teaches across the US and Canada and has almost 6000 students in her Floor Loom Weaving class at Craftsy.com. In addition to her own weaving business, The Weaver’s Palette, Janet owns The Bobbin Tree, a store catering to weavers, spinners, knitters and felters.
Janet’s focus has swung from complex weaves to simple cloth and back again over the years. Her current passion is for teaching the mechanics of cloth: understanding and communicating the actual structure of weaving structures. She has a rare knack for communicating complex ideas in ways that are easy to comprehend, and her favourite thing is witnessing that moment of understanding when things click for students for the first time.
Robyn Spady ~ August ~ Passementerie - Textiles That Trim
Bio ~ Robyn Spady learned to weave in 1969. She completed the Handweavers’ Guild of America’s Certificate of Excellence (COE) in 2004 with the specialized study Loom-controlled Stitched Double Cloth. Robyn is fascinated by the infinite possibilities of crossing threads and loves coming up with new ideas to create fabric and transform it into something new and exciting. She is committed to turning the weaving world on to double-faced fabrics, four-shaft weaves, uncommon and advanced weave structures, and passementerie techniques. Robyn is also the founder and editor of Heddlecraft magazine.
Diana Twiss ~ September ~ The Urban Farmer, Growing and Processing Linen
Bio ~ Diana Twiss is an experienced fibre arts instructor with a background in adult education and fine art. Passionate about fibre, colour, and texture, she has introduced many beginners to the wonders of making yarn and has helped experienced spinners experiment with technique, colour, and fibre to take their spinning to a new level. In addition to spinning for the last 16 years, she is a self-described “fearless knitter” and is currently working on a variety of projects.
Diana has a deep curiosity about how fibres, colours and techniques all work together to make unique yarn, and translates this into accessible, interesting and fun classes. She lives in the countryside outside of Vancouver, BC; grows flax for linen, flowers for her dye pot, and basil and garlic for the best pesto in the valley.
Christina Petty ~ October ~ The Earliest European Looms: The History, the Stories, the Techniques
Weaving is one of our earliest technologies. The craft informs our language, our stories, and our oldest myths. From the Fates and the Norns, Penelope, Beowulf, Joseph’s Coat of Many Colors, and a coat made without seams, looms are integral to our stories. Find out why things loom over us and how warped we really are. Join Christina Petty weave a tapestry of stories as we examine how textiles, early technologies, and tales relate together.
Bio ~ Christina Petty has a Master's of Philosophy from the University of Manchester, UK
I have been consulted on the weaving of the Shroud of Turin and written a museum exhibit for the British Museum and York Archaeological Trust. My thesis has several thousand downloads and has been read by people in several countries. I lecture for clubs and educational groups frequently.
Further research questions involve investigating a set of archaeological finds that are not textile tools (as currently identified) to discover what they might be used for; why modern warp-weighted weavers only set up the loom one way, when archaeology suggests multiple options; and how Victorian Era scholars still influence modern scholarship. I also want to organize studies for all textile tool finds for early medieval Britain, as no such study yet exists for even a single county.