​There are 11 days left to opt in to support Caitlin's book, Gathering Colour and they are so close to meeting the goal which will get this book made. This Kickstarter is an all-or-nothing fundraiser, so if Gathering Colour is to be made they must reach their goal.  Supporting Gathering Colour in this way is essentially pre-ordering the book. I ordered two! And there are many other reward options for supporting.  Check them out!

Above is a clip of Caitlin meeting with current supports of the fundraiser. I am excited to see that she is weaving on my Everlea Mini Loom, which might even make an appearance in the book itself as one of the projects offered in it.

​Vanessa T Cunningham has been spinning yarn and weaving shawls as a small business for over 15 years. In fact, my very first blog post here on VancouverYarn.com in 2008 featured Vanessa's shawl, and my experience taking spinning lessons from her at Birkeland Bros when it was located on Main Street.

Sadly, her beloved Ashford Kiwi spinning wheel has been stolen. She is seeking funds to replace her wheel. Donations can be made at the link above.

As a new knitter in 2002 I wasn't aware of the many different approaches to knitting knit stitches and purl stitches. But when I did eventually learn about continental knitting and saw how much faster it is than throwing I tried to switch several times over many years, to no avail. The learning curve was too steep for my already well established muscle memory.

But in 2011 Melissa at Miso Crafty Knits mentioned she was using Portuguese Knitting and I gave it a shot. A quick Andrea Wong Youtube video later and I was purling Portuguese style flawlessly. My purling hasn't changed since, and it's even faster than my throwing knit stitch. So, I'll knit stockinette stitch items which are knit in the round inside out so I can purl all stitches.

I've just published a demonstration of my two colourwork purling methods. The first method uses a combination of throwing and Portuguese-style purling to knit two colours, and the second method abandons throwing and introduces a paper clip pin to purl two colours in Portuguese-style.

When I knit the right side of colourwork I usually don't employ Portuguese knitting techniques, I throw as per this video: https://youtu.be/Lt_Fcx2KOGk

Would you try this method of purling?

Find the Everlea Fingering yarns which appear in this video here: www.everleayarn.ca/collections/everlea-yarn

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Janna Maria

Canada's online textile magazine Digits & Threads has launched their first mini-course today! This mini-course written by yours truly, How to Weave a Tiny Tapestry, is a thorough photo tutorial powered by online course software.

How to Weave a Tiny Tapestry is a part of a series of articles and tutorials that I am offering at Digits and Threads which began with my article, An Introduction to Tapestry: Vocabulary and Best Practices. In the coming weeks you will see two more additions to this series including Tapestry Weaving: Magic Techniques for Smooth Lines and Finishing Techniques for Tapestry.

Sign up as a Studio Member at Digits & Threads to access all of their articles and tutorials. Use the coupon code EVERLEA for 10% off.

Digits & Threads is an independent, member-supported online magazine about Canadian fibre and textile arts, crafts and industry, published by Nine Ten Publications.

Tapestry weaving is the slow, methodical and intimate art of weaving pictures. The weaver’s woven pictures can be representational or abstract, with varying degrees of detail depending on their setup.

My foray into tapestry weaving began in 2008 when I first entered Capilano University’s Textile Art diploma program (sadly, no longer offered). It was the first kind of weaving that was introduced to students, most likely because it is the perfect hands-on way to conceptualize the idea of, and the relationship between, warp and weft.

​I'm very excited to share that my series of tapestry weaving articles has begun to roll out online at Digits & Threads, beginning with An Intro to Tapestry Weaving: Vocabulary and Best Practices

Digits & Threads is an independent, member-supported online magazine about Canadian fibre and textile arts, crafts and industry, published by Nine Ten Publications, and I'm very proud and excited to be a contributor there

On Instagram stories local author and knit designer Andrea Rangel shares outfits that she has made by hand. She recently shared this beauty and since she did it in collaboration with local artists I wanted to share it here. Andrea self drafted the dress in fabric which was handwoven at Wovenwares, a weaving studio in Victoria, and then had it eco printed by local artist Caitlin ffrench. She knit the Docklight pullover in Brooklyn Tweed Shelter. Isn't this the perfect early spring outfit?

Join Andrea's newsletter HERE

Janna

PS. Want to knit this sweater? Use our search engine to find out which local yarn shops carry Brooklyn Tweed yarn.
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​The ACT Art Gallery is delighted to welcome back the Whonnock Weavers and Spinners Guild for their first exhibition in the gallery in nearly 10 years. The intriguing title of the exhibition, Out of the Woods, draws on the larger theme of the September conference in Vancouver of the Textile Society of America. Both events demonstrate the deep and enduring connections between traditional textiles, and their reinvention for today’s needs and markets.

The diversity of the Guild, and the range in ages, amply qualifies them to take on the broad scope of this theme. As is often the case with the more successful guilds, the constant introduction of new members and ideas ensures a healthy exchange and awareness of new trends while the older, more experienced members ensure that high standards are upheld.

Unusually, for this exhibition, manmade textiles will be accepted (generally, only natural fibres are considered exhibition worthy). The exception is justified on this occasion because of the group’s challenge to demonstrate how synthetic materials can be transformed into both functional and purely artistic objects to great effect. It is this kind of outside-the-box thinking that has spawned materials such as tyvak, kevlar and goretex, synthetics that have been adapted with remarkable success in the building, safety, medical, sporting and transportation industries.

This exhibition is dedicated to the memory of Ellen Hamilton, a long-time member of the Whonnock Guild, and one who contributed at many levels, including the envisioning of the upcoming exhibition.

The Whonnock Weavers and Spinners Guild was formed in 1974, and welcomes the participation of felters, knitters, basket makers, dyers, rug hookers and anyone interested in these art forms. Members benefit from exciting programs including demonstrations, visual presentations, slideshows, workshops, sales and community activities. For more information, visit the Guild’s website at www.wwsg.ca 

The ACT Arts Council operates the ACT Art Gallery, located inside The ACT Art Centre. In fulfilling its mission to broaden and enrich the public’s appreciation and understanding of visual culture, it presents stimulating and diverse displays of artwork by local, regional and national artists and artisans.

Visitors are welcome to visit the gallery at no charge from Tuesdays through Saturdays, from 11am to 4pm, as well as on selected evenings to coincide with theatre performances.

Please visit us at www.theactmapleridge.org/gallery

Location: The ACT Art Gallery (at The ACT Arts Centre) 11944 Haney Place, Maple Ridge, BC, V2X 6G1
Exhibition Dates: Saturday, September 8 – Saturday, October 27, 2018
Opening Reception: Saturday, September 8 from 2-4pm (free)
Hand spinning demos: 12:30-3pm on Fri, Sept. 14; Sat, Sept. 22; Fri, Oct 12 and Sat, Oct. 13
Regular Gallery hours: Tuesday – Saturday, 11am-4pm and selected evenings

JANNA: Is this the first year you're having a textile village? What will that look like?

EMILY: Nope! I've been organizing the textile village for about the past 3 years or so. So far, there will be some looms, knitting machines, spinning, and more! There are about 26 or so people signed up to craft together. We're still accepting more applications!

JANNA: Oh, cool! Yeah, I'm signed up for a 4-hour block on the Saturday. I'm bringing my 16" Mirrix tapestry loom. It'll be my first time at the Vancouver Maker Faire. I've actually only ever been to the Mini Maker Faire briefly last year in Gibsons on the Sunshine Coast, so I'm stoked to finally attend and participate in Vancouver.

I love this idea of people in the community coming together to share their skills. In my own art practice, I've done a lot of crafting and sharing textile skills in public. I'm not very familiar with your personal practice, but from what I've seen online it seems like Maker Faire has influenced your art practice... or perhaps vice versa. Can you tell me a bit about what you do and which came first?

EMILY: Yes, absolutely! I learned to knit when I was a kid, and it wasn't until a few years before Maker Faire (around 2008) that I picked it up again. Reading Make magazine really inspired me! And showed me that knitting and handicrafts are relevant and can even be critical.

Once I started knitting again - with an adult brain - I became curious about the fibres that made up the yarn. I guess it all really came as a reaction against fast fashion and the negative impacts of fashion overall. That curiosity motivated me learn more about the various fibres, their impacts, and study more closely how those fibres were manufactured. I was spending time with hackers at the time, whose ethos was, "If you can't open it you don't own it" - and in many ways, I was looking at textiles in the same way. What would it mean to 'hack' your clothes?

I find knitting to be a very social activity - and I found that I definitely wasn't alone in my curiosity about how to work with cloth. Immediately I started hosting craft nights everywhere. My house, the park, the hackspace, etc. I really fell in love with the idea of connecting with others over making. 

In terms of what influenced what, I would say that Maker Faire and my own art process emerged concurrently. As soon as I was making for the love of it and sharing it with others, it became clear that my art practice was about empowering communities to take part and discover and share with one another. I share what I learned; they share what they know. In many ways, I'm more interested in the culture, conversation and performative aspect of making, than of having a specific art piece. I've made lots of different pieces that I'm proud of, but I choose to highlight the patterns of connection and discovery with others. 

JANNA: There are more and more artists highlighting meaningful connections with others in their work these days. It's great! ​The craft and the do-it-yourself world are so prevalent online, but that space can be very alienating as each person independently navigates how to actually connect with people there. I'm still figuring out how to make the internet work for me in that way. I love that Maker Faire merges technology and actual socializing. It looks like an interactive science faire for the whole family. I was going to get a babysitter for the day but after looking through all your photos I think I would spend the day wishing my four-year-old could be there, too. I think I'll bring him and see what happens (maybe I'll bring a g-ma for back up)

Sasha and I met in the textile art program that was unfortunately cut from Capilano University and have since enjoyed a lot of memorable adventures together including one where, pre-kids, I crashed at her pad in Inuvik NWT for a week to decompress before going back to BC after teaching textiles for Aurora College's Ulukhaktok Handicraft Program. She and Patrick threw a Janna-themed party (whatever that is, lol), fed me amazing food and filled me with the best coffee ever. At the time Sasha was executive director of the Great Northern Arts Festival, an annual art festival featuring all northern artists. She and her family have since moved back down south to Victoria, BC where she is running the Metchosin Summer School of the Arts, a summer camp for adults (!!)
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​Sasha's art practice has long inspired me; her aesthetic choices are always spot on, and she is always challenging herself.  She was a resident at the Sointula Art Shed Artist Residency where she naturally dyed something like 90 yards of silk, and was also one of the luckies who got into the Gees Bend Quilting workshop in the Maiwa Symposium this past fall. Sasha is a master embroider and quilter. Her gorgeous quilts are made with natural fabrics like silk and organic cotton, and some vintage and vintage repos, too. Most of her work is made with fibre she hand-dyes with natural dyes and she is an incredible hand-stitcher. Just look these perfect stitches!
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​Lucky for us Sasha sells her work on Etsy and there happens to be a sale right now for 25% off everything until her birthday on winter solstice. Visit her shop here and use the discount code WINTERSOLSTICE

NOTES: I found it super hard to edit the amount of pics in this post since Sasha's Instagram feed is FULL of goodies, and I HAD to include at least one embroidery piece. Her quilt backs are too good not to show, so note that all of the quilt fronts are followed by a photo of the back of that quilt, with the exception of the wonderful hand-quilted, natural dyed silk one directly below, which I highly recommend as a baby gift. Sam has one and he is such Lionel with it.

Enjoy the interview!

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​JANNA VALLEE (VY) Hi Sasha, thank you so much for chatting with me here. I love what you're doing with Hope Chest Quilts! 

We've known each other for over seven years now (!!) and I know you as being quite multifaceted, so I've been meaning to share about your many talents here for a while now. When we met at Capilano U in the Textile Art program your introduction on the first day of class was long winded because you were basically listing all the various schools you've attended and jobs you've held, ranging from political science student to yoga teacher and fashion designer. Are you naturally just a very curious person?

SASHA GALE (SG): Oh Janna, has it been seven years? Seven years of heaven knowing you! Thank you for your compliments regarding Hope Chest Quilts!

I remember feeling funny introducing myself on that first day at Cap: it was surprising to me how many different jobs I'd been through. I was poli sci/wmst major, turned yogini turned many things, but my heart was always in textiles. I am a curious person for sure, but my "career" choices were based on economics, my talents and circumstance. Whilst in Uni I did a million crazy jobs for cash, mostly due to my natural skills and over all state of student poverty. Through my 20's, living in Vancouver (exclusively save for seasonal work tree planting all over BC/AB and living in France on student exchange) the only way to make ends meet was to work several jobs at a time...so I did every job I could get my hands on.  

VY: Oh, I hear you there. The Vancouver rental scene blows my mind. I was thrilled when I got a living-wage job in Vancouver in 2007. Starbucks was just not cutting it. Baristas in Vancouver must have perpetual credit card debt.

It seems like the professions you maintain today really make sense together; mother, yogi, doula, quilter. From the outside it looks like they really compliment each other, and quilts can be very intimate objects, are they ever informed by those more personal vocations of yours?

SG:  My love of all things textile and especially quilting has to do with my love of the "gentle arts" (whatever that means in our modern context) and my love of women's lives and work.  I was a women's studies major and super political in Uni, which I later realized was my real longing for a connection to the earth and the divine mother. Quilts are a part of marking the milestones of life: relationships, marriage and children etc.

VY: It's obvious from your beautifully detailed and labour intensive work that handwork is a true passion of yours. If I remember correctly your quilting endeavors started at a vacation in Hawaii in the early 2000s where you took a quilting workshop. To this day you are making Hawaiian inspired quilts. What is unique about Hawaiian quilting traditions that inspired you so much?

SG: l crave demanding handwork, and hand turned applique demands your attention in every moment. I love the textile traditions from our hideous colonial past: such beauty created from destruction.  Hawaiians took their traditional bark cloth patterns and created a venue for them in woven cloth. I love Hawaiian applique because it is portable and difficult. My heart lies with large scale quilts, but reality of being a working mom who is often on the road requires that I have a lot of small  hand work on the go to keep me sane and productive.

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VY: I love that attitude, and I completely share that love for slow textiles which, as you know from our days in textile art school, wasn't always the case. You however were on that track back then with printing with natural dyes, quilting and that crazy curlytooth woven yardage you did that had something like 800 warp ends. 

I have to say I am flabbergasted by your productivity since having your wee one two years ago. By my count you've made around 20 baby/lap quilts and 8 large quilts since she was born, and that's not counting the Hawaiian applique you work on, too! How the heck do you get so much done?

SG: Wow!  Thanks for counting! That is awesome!

I get up early and stay up late! And keep my hands busy at all times.  Most of my making is done while Gemma is sleeping, or in May 2015 when I had three afternoons a week of childcare after I finished working a big contract.  I am very strict when it comes to her bedtime: she sleeps from 6.30pm until sometime between 7:30-9 each day.  I have a whole second day after she's down. It is so important to my sanity that I have uninterrupted studio time! Makes me a better mother and wife. 

Before I had Gemma I was working full time at a super demanding job that I loved: but didn't leave me a lot of room energy for creativity at the end of the day. Since having Gemma I have worked part time and have a little more left at the end of the day for my own projects.  Starting a quilting business has always been my dream, and I was lucky to have some time in the spring to really get the ball rolling. It's still in the early stages though, but each sale or quilting connection I make online/in person is a thrill.  

I am about to start work again, part time for another awesome arts organization. I will have two days of childcare that will be taken up with work for them, and then a few more hours during the rest of the week.  I am hoping to schedule in one afternoon where my mother in law comes to watch Gemz and I can workout/get some studio time. As all mom's know you have to schedule your life completely if you want any alone time!  I am thankful for my supportive husband, champion sleeper and helpful family members.

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VY: Yeah, I'm really learning how important it is as a primary caregiver to take care of yourself, whatever that looks like, or you will go insane. I am relishing in the idea of having family around starting next summer when we move back to BC. We've been away since before Sam was born, so part of me doesn't even know what I'm going to do with that kind of support, or how it will feel to live in a small city or town again. You're having a similar experience but different in that you moved back to BC in the spring from a small town in the Northwest Territories. How has that transition been? Also what kinds mukluks, mitts and quiviut goods do you have the great honor of wearing now? 

SG: The transition has been rough!  We knew it would be, but it's harder than I thought.  Life in Inuvik was beautiful and simple: the town is so tiny that you can run six errands in 20 mins and see a few friends in the process.  I became a mother up there with some fantastic women, and I miss them (and their babies) everyday.  Victoria is a new community for me entirely and I've only been here for 2 month: 1.5 of which I was on the road working and travelling. We've had many come to visit (thankfully we have a great guestroom), but most of my southern soul sisters are on the  mainland. The salaries are tiny, jobs are hard to come by...but our main reason for moving was to be closer to family and closer to good food and water.  The wild game up north was fabulous, but the water and produce were not ideal. We knew it wouldn't be easy, and it will take time to make friends here. 

My new job as the ED for Metchosin International Summer School for the Arts (missa.ca) should help me make some friends and contacts down here.  But at the moment, I feel like my heart is still up north. Inuvik had a wonderful creative community, the quilting guild of my dreams, a great economy and so many rad babes.

And the outfits!!! I miss northern winter wear so much.  My mukluks are "retired" for the moment, hanging on a wall so I can witness their beauty on the daily.  My qiviut is perfect for coastal weather, thank goodness, and incognito! No one knows what it is, which is fun.  I found extreme northern style much more straightforward to achieve: coastal rain makes for distinctly unglamourous outfits. And it's cold down here! And grey! I got way more sun up north than I ever have on the coast. 

But hitting up the beach on the regular, enjoying our 3 hens, picking chard from our garden in the dead of winter is pretty sweet. And Gemmi and I can take dance classes. My life is charmed from all angles. Time to join the quilting guild! ​​

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I said it before, The Window is my new fave Vancity gift shop.   But I haven't shared photos yet.  So here they are.  They have everything: soaps, snacks, candy, textiles, ceramics, jewelry, art, and the list goes on.  AND it's all locally made.  I bought a few things during my last visit including a couple of their in-house made aprons as wedding gifts, one cotton and one linen (The linen ones are so gorgeous I wouldn't be surprised if my friend wore it as a dress - lol). 

Janna

www.thewindowartshop.com