Apúntate a nuestro boletín informativo sobre cursos, ofertas y productos

Nos encantará incluirte en nuestra comunidad textil y informarte mejor sobre nuestro trabajo. Suscribir

Apúntate aqui ahora

No pasamos información sobre ti a terceros, y cada vez que recibes información de nosotros puedes darte de baja.

Todas nuestras lanzaderas son fabricadas con madera certificada y procesos sostenibles

... y ahora añadimos la lanzadera doble a los modelos que encuentras en nuestra tienda online. Lanzaderas nuevas

Comprar ahora / Buy now

Lanzadera doble

Learning to Weave – my personal experience by Anna Champeney of AC Estudio Textil in Galicia, Spain)

First Attempts - DIY loom weaving

British weaver Anna Champeney set up her weave studio as a in 2005 in a mountain village of north Spain.  Here´s how learned to weave as a second career.  

My background – I originally studied Ancient History and Archaeology at Bristol university in the UK and became a museum curator specialising in contemporary craft exhibitions.  So I came to woven texiles when in my late twenties, as part of a lifestyle and career change.  

So.  My pathway into weave has not been through the conventional route of doing a 3 year BA course at art school.  

There are pros and cons with both methods.  I learned more slowly but achieved a comparable level of technical and creative skills to a BA student in the end.  But I had to find suitably qualified teachers for different aspects of learning and sometimes had to go quite far afield and pay for one-to-one tuition.  

It was, also, the only option open to me in my life at the time.  I am  now quite happy with that option as I think it´s given me the chance to develop a more individual style.  Studying at a high-prestige Art School would have given me more instant credibility and inspired confidence that I have had to work far harder to develop, however, which is a disadvantage initially.

It must be said that before starting to re-train as a weaver I already had a fairly good understanding of how the world of professional craft worked in the UK at the time through my previous career as contemporary craft exhibitions curator in museums and galleries and specialist organisations in the UK.   

How I started

I had my first taste of loom weaving when about 10 years old at school.  I was very lucky to have excellent art teachers.  My first loom was very simple, made at home by my dad.  I loved the experience but never imagined I´d end up being a professional weaver!

When in my late twenties I embarked on the journey of changing my life and career, determined to learn to weave and reach professional level.  I was too impatient to wait for a weave course of course, so I cobbled together a very basic frame loom using bits of wood and nails, household string and other bits and bobs of yarns.  The actual result you can see in the photo. 

Had I been aged 9 I might have been really pleased, but at 30 I could only think “that’s really horrible, I’m not going to make my living with this”.  But I just had the urge to do something with my hands.  Having said that, I was really pleased to have been able to weave anything at all – and at least I had made a start!

2000 – Introductory weave course.  A couple of months on, in late summer 2000, I did a short introductory weave course with rug weaver Luke Atkinson in Cumbria.  I will always be grateful to Luke for teaching me the basics.  I couldn’t believe it when she presented me with a basket of natural-dyed yarns to use in my sample piece, they seemed just too precious.  I’m sure that, in part, it was the chance to use some of her gorgeous natural-dyed yarns which influenced me in my choice to dye my own yarns naturally in my own work.

Sample made on first weave course

I was so pleased with the sample I wove under Luke’s guidance – which you can see here / although it was full of classic beginner’s “errors” such as uneven edges or “selvedges”.  It´s the kind of textile any beginner will make on a first course.   

Felpa towel sample made on my 1st weave course in Spain

I remember being disappointed that, however much I tried to design the fantastic textiles I had in my head- the results were not quite as I intended.  No, that’s wrong, they were nothing like what I intended!   I didn’t realise – and how could I – that woven textile design is complex and depends on many different factors which I, as a complete beginner, just wasn’t even aware of.  The interaction of different kinds of fibres, the spacing of the yarns on the loom, the way you beat the fabric, the interaction of the colours, the individual intersections of warp and weft to create pattern … and even how you wash the textile after cutting it from the loom – all these were working together in ways I was quite oblivious of – creating fabrics with quite different characteristics to those I was intending.   As such, stripey tea towels turned out to be as stiff as sacking, and scarves were so rigid that they were more like neck carpets.   On the other hand, other unexpected results were interesting and intreaguing.   But I didn’t have the educational tools to really be able to understand or interpret these either. 2001 – Introduction to textile analysis and drafting It was only when I did a week’s textile drafting course with Barcelona-based weaver and textile artist Francisca Pellisca, that I began to find out about how woven textiles really work.   In her course, which was something like a revelation to me, I learned how to analyse woven cloth by looking at it up close and representing its structure on squared paper and to start to relate cloth to the mechanics of the loom.  Francisca was adamant that every weaving project should involve sampling, draw-downs, and a meticulous recording of how you weave each different sample.  Her course gave me the tools I had been lacking to then go away and really start to progress – and begin to find out how to learn and improve on my own.  Francisca’s approach to cloth design works for me and it is one I now teach in weave courses at my studio in Spain.  Woollen scarves with natural dyes 2003 - 2006

 I knew I wasn’t interested in beginners’  “how-to” books, with recipes for projects.  I was interested in developing my own weave style and preferences and coming up with my own original designs.  A tall order for a beginner, but even at the start, when I was using pattern books and magazines with recipes for weaving projects, I resolved that I would, out of principle, always adapt a design in some way, in order to avoid simply copying designs or formulas – learn something new.  By then I was beginning to make work like these twill scarves.  And I was beginning to sell my work which was very exciting.   Every year I add a few new designs and push the boundaries of what I know a little further back.  Every now and again I come across a really good weaving book which opens my eyes to new possibilities and teaches me more.    The challenges of weaving in rural Spain – Living in rural north Spain, where I am the only weaver for miles around, and where there is a complete absence of any weaving guild, association or club, learning on my own – with the occasional course – has really the only option.  I felt this was a distinct disadvantage for me, although I now realise that this isolation is also true for professional weavers in the UK, where only 1.9% of all professional craftspeople are weavers. Being a native English speaker I had one huge advantage over my Spanish counterparts, though, and this was the access I had to a whole range of excellent weaving books in published in English.  Ann Sutton’s The Structure of Weaving and Ideas in Weaving were – and are – my bibles.  It’s a slow process but incredibly rewarding.  I know there is so much more to explore out there and I am just scratching the surface.   Having to struggle – to learn from books – also taught me to persevere and resolve problems on my own.  This was a tough – but very valuable experience.   Being a member of the UK Online Guild of Weavers, Spinners and Dyers in my first years of learning was also comforting when I was starting out as a weaver although it wasn´t the useful networking tool I neeed once I became a professional.  In the absence of experienced weavers locally in Spain there was always someone in the guild who could answer a query or help me out with a problem, or just give words of encouragement.  It was a very friendly environment. 2004/5 – Going professional – By this time I was setting up my own professional weave studio, Anna Champeney Estudio Textil, in Galicia, north Spain, with a setting-up grant from the Dept. of Industry.   From then on I started organising courses and selling work direct from the studio.   9 years on – These are some of my designs from 2009…  all made with linen, wool, silk and natural dyes.  linen, wool & silk scarf

"Spots and Squares" cushions from wool and natural linen

 

tubular double weave scarf

Double weave collapse scarf

 

 

 

 

 

13 years on – 2013

Water Loves Rock 450water loves rock proceso de diseño 450

I now weave on 2 8-12 shaft looms and create my original designs using specialist computer software.  I specialise in double weave and collapse weave textile design but still use natural fibres and dyes for the quality of fibre and colour.

Over the past few years I have worked hard to acquire new skills, particularly design and business skills.  As such I have learned design skills at the Massana Art School in Barcelona, and from international tutors in Denmark and the UK.

It has been fundamental to learn more business skills and learn about online commerce and promotion using the social networks – none of which really existed when I started in 2000.

b 300 pix vert with text copiaI continue to teach intensive courses from my studio and attract more international students.  I sometimes take on textile students on work placements.  I also teach textile techniques to first year fashion students at the ESEDEMA School of Fashion and Textiles in Vigo University.

As for selling my work, I still produce small-scale limited edition textiles but now commercialise my designs at international design fairs and selected shops as well as online, instead of selling direct from the studio to the tourist market.

Another initiative has been to set up an online shop and resource web-site (currently aimed more at the Spanish-speaking market than the English market), where I sell Louet loom products as well as my textiles and my partner´s  baskets.  This is a useful complement to the teaching work.

tejidosAC 450 x 450 pix

I´m still as committed and enthusiastic as when I first started in 2000 but my perspectives have changed as my knowledge and sense of context have deepened and widened through experience.

I have the satisfaction of looking back and seeing how I have been able to create my own pathway into weave, become proficient and more professional.  I feel enormous sense of satisfaction that I have been able to do this – and earn my living – especially from from the tiny mountain hamlet in northwest Spain where I live and work!

 

 

 

Warm Winter Scarf Project Part II: Loom Preparation & Weaving


Casa Rústica "Casa dos Artesans" con nieve en Diciembre16 December 2009.  It´s snowing!  Yes, as you can see from the photo I´ve just taken of the view from my textile studio, the Ribeira Sacra looks stunning.  It´s pretty cold though so it´s very appropriate I´m weaving warm wool scarves!  I´m continuing the project I wrote about in earlier – see www.textilesnaturales.com/archives/1092 for the natural dyeing part.  Now I´m onto weaving the woollen scarves.  Below I´ve uploaded some photos so you can see the different stages of loom preparation.  I´m using a Louet table loom for this project.

HOW TO PREPARE A LOOM FOR WEAVING

1.  The yarns to be positioned on the loom are measured and wound on a warping mill

Winding the warp (yarn which goes on the loom)

Winding the warp (yarn which goes on the loom)


 


 


 


 

 

 2.  Setting the loom up with the warp wound onto a beam at the back.  Louet table looms have raddles built-in to the design which help you to space out the warp properly – and avoid problems later on.
 
WindingWinding the warp onto the Louet loom using the raddle the warp onto the Louet loom using the raddle

3.  Weaving a small sample piece.  I always do this when using new yarns or trying out a new design.  Sampling is fun and enables me to try out different colour combinations and yarns.

weaving the sample piece

weaving the sample piece


 


 


 

 HOW TO WEAVE

4.  Weaving – The design requires using two colours so you can see I´m using two shuttles, changing from one to another at regular intervals throughout the design.  This makes weaving slower but the design is far nicer as I can use more colours.

how to weave with 2 shuttles

how to weave with 2 shuttles

5.  The finished scarf. 

woollen winter scarf

woollen winter scarf

6.  … and finally the scarf being worn by its new owner.  This is Galician blogger, Martin Goetz, at the German-style Christmas Fair organised by him and his wife Barbara in Mer (Sober), Galicia.  If you didn´t know about Martin´s blog or the christmas fair visit …. www.lifeingalicia.com

martin wearing the scarf

martin wearing the scarf


 


 


 




DANISH TAPESTRY WEAVING AND TV

It´s only been a few hours since a programme called Babel went out on Spanish TV, in which the presenter Dolors Elias interviewed me in my rural weaving studio in north Spain.  Being as scatterbrained as I am (sometimes) I had thought the programme went out at 9.30 in the evening on Spanish TV instead of the morning, but no, it went out in the morning so I missed it.   Never mind!  I don´t even watch television  normally and I´m sure that watching myself on it would make me cringe anyway.   The results of the programme are amazing though – I´ve already enjoyed a phone call from Tomas, a professional weaver in the Canary Islands, who called me spontaneously after seeing the programme.

 

 

 

Danish Tapestry exhibition catalogue

Danish Tapestry exhibition catalogue

I also received an email from Alvaro Perez in Valencia, who wanted information about tapestry weaving for his wife.  I´m not a tapestry weaver, nor do I know much about it – as I weave with floor looms or table looms with 4 – 8 shafts, not tapestry looms.  But for Alvaro and his wife, and anyone else interested in tapestry weaving,  here is a little information on a tremendous exhibition which was held in Denmark this year and which features large-scale work by some of the best tapestry weavers in the country.  I only saw the exhibition via the exhibition catalogue but I thought the work was breathtaking.  Lluis, my basketmaking partner, who DID get to see the exhibition (he was teaching a Catalan basketry course in Denmark at the time, at the workshop of Jette Melgren), said that the work was ten times better than the catalogue.  For anyone who is interested, here is the email address to write to in order to ask about acquiring a copy.  I don´t think it was very expensive but it has an excellent English translation and pretty good photos of a piece of work by each of the 25 textile artists reprsented.  Email for contacting the exhibition organisers: 

mail@danskgobelinkunst.dk.  The catalogue title is  – Dansk Gobelinkunst 2009, published by the Johannes Larsen Museet.

 

 


 

Well, bye for now,

P.S.  Is anyone actually reading this blog?  I know it´s early days and I´m a novice blogger but I haven´t seen any comments yet and I´d love to know if anyone has found it yet so please do say hello…