Modern weaving projects like you've never seen—within easy reach of anyone. Weaving is a satisfying hobby for making home or clothing accessories that look plucked from your favorite stores. Here are Pinterest-worthy projects for creating earrings, clutches, pillows, wall hangings, and more, all organized by skill level. From complete beginner to intermediate, Weaving Within Reach allows you to craft at your comfort level, even if you don’t yet know the difference between the warp and the weft. Lacking a loom? Most of the materials can be woven on found objects—such as an embroidery hoop or cardboard box—or achieved with a simple over-under pattern using no loom at all. As you progress, there are plenty of exciting designs for a frame loom to keep you inspired. With a detailed introduction, stunning lifestyle and step-by-step photographs, and a helpful resource section, Weaving Within Reach unravels the possibilities of the beautiful things you can make with your hands.
With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls’ Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.
Pre-Columbian double cloth is one of the world's great textile traditions. This book takes a comprehensive look at the varieties of double cloth preserved in museums and private collections including fabric analysis, and provides detailed weaving instructions. A must for collectors and weavers alike.
This research report examines the material evidence for the historical development, architectural characteristics and diverse uses of vernacular workshops. Up to the mid-19th century a large proportion of industrial output was not produced in the large, impressive buildings associated with the famous industrialists - but in small buildings built in local architectural styles that blended into the environment. The chapters of this volume look at the vernacular workshop as both a building type and as a workplace. They also analyse the significance of workshops for the industrial economy and processes of the 18th and 19th centuries, and present the findings of recording programmes carried out to document and evaluate the physical remains. The distinctive styles of particular industries and regions are highlighted by the case studies.
Through the story of a portrait of a woman in a silk dress, historian Zara Anishanslin embarks on a fascinating journey, exploring and refining debates about the cultural history of the eighteenth-century British Atlantic world. While most scholarship on commodities focuses either on labor and production or on consumption and use, Anishanslin unifies both, examining the worlds of four identifiable people who produced, wore, and represented this object: a London weaver, one of early modern Britain's few women silk designers, a Philadelphia merchant's wife, and a New England painter. Blending macro and micro history with nuanced gender analysis, Anishanslin shows how making, buying, and using goods in the British Atlantic created an object-based community that tied its inhabitants together, while also allowing for different views of the Empire. Investigating a range of subjects including self-fashioning, identity, natural history, politics, and trade, Anishanslin makes major contributions both to the study of material culture and to our ongoing conversation about how to write history.
§ I. The art of weaving, as it exists among the Navajo Indians of New Mexico and Arizona, possesses points of great interest to the student of ethnography. It is of aboriginal origin; and while European art has undoubtedly modified it, the extent and nature of the foreign influence is easily traced. It is by no means certain, still there are many reasons for supposing, that the Navajos learned their craft from the Pueblo Indians, and that, too, since the advent of the Spaniards; yet the pupils, if such they be, far excel their masters to-day in the beauty and quality of their work. It may be safely stated that with no native tribe in America, north of the Mexican boundary, has the art of weaving been carried to greater perfection than among the Navajos, while with none in the entire continent is it less Europeanized. As in language, habits, and opinions, so in arts, the Navajos have been less influenced than their sedentary neighbors of the pueblos by the civilization of the Old World.