Archive for October 21st, 2018


This is basically an update from my Components and Sampling post a few weeks ago (1-Oct-2018). Little bits of this and that, hopefully not signifying nothing. I’ve decided to go with what’s exciting me most first, rather than chronological.

The Anni Albers book (20-Oct-2018) has me buzzing. I had to put the book down and get something into my hands. How’s this for a potential component?

This was done off-loom, held in my hands for ultimate flexibility. That worked quite well for the twined sections, but the leno got a bit wild.

The detail shot below is on a 1 cm grid, to give an idea of scale. Most of the wire is 28 gauge, with a heavier wire used in the header and the actual cross of the leno.

Yesterday for the first time in a long time, I dressed a loom. Well… I’m using the 4 shaft Robinson loom as a frame, not involving a reed or shafts, not putting great tension on the 28 gauge wire. So far the wire is looped on (a variant of a technique I saw long ago on quick dressing a rigid heddle loom), and held in order with a couple of rows of twining at each end. I carried two wires together, bare copper and silver-coated, with ideas of some colour and weave experimenting. The plan is to do everything using pick-up techniques.

Can I get the structure, the variation and interest I want, with tension sufficient to help me working and keep from tangles while loose enough to keep it dynamic and flowing?

It’s on a brief pause at the moment while I make space on my work table, to move the loom from the side bench which doesn’t have great light (there used to be enough there, but something’s changed over the years 🙂 ).

Looping experiments
Different gauges of wire.
The red is 12 gauge aluminium from Apack. The heavier brass colour 20 gauge (anonymous, from the stash). The finer one is actually brass, 0.5 mm (about 24 gauge), A&E metals. The fine “silver” is 28 gauge coated copper wire from Over the Rainbow (

All of these were very easy to use, with no complaints from the joints (although keeping in mind these are small samples, each using one wingspan of wire).

The resulting “fabric” is quite easy to form and manipulate, and holds shape well in most directions.

Going dimensional.
Beautiful, bouncy, like unintelligible handwriting. In fact this is looping, with each loop upwards pulled through a little, twisted and bent 90 degrees to make it thoroughly three dimensional. The wire is 24 gauge “black reel wire” from Apack. I think it’s annealed steel (from the person who told me about the supplier), but can’t be sure. No signs of rust. Soft and easy to use. The fabric created holds shape very well, and all those projecting loops look full of potential for building further or embellishing.

This is more of the 0.5 mm brass, using crochet. It’s a denser fabric. There’s a sort of dimensional corrugation with the rows worked back and forward, but overall it looks a little heavy and stable – not dynamic and lively. The killer is that I got some thumb joint pain even in this small piece. Not something I’m likely return to – certainly not with this gauge wire.

In wire.
The beginning of some twining, working in 28 gauge wire.

In structure and in technique (the thumb flip) just what Mary Hettmansperger taught using waxed linen (17-Sep-2018). This is much more open, and of course holds shape well without reinforcement with mod podge.

It’s meant to be semi-mindless work to cope with TV-watching (I’m no good with tension – if the music changes to a buildup, I dutifully get scared). However I’m finding it a little fine for that – I need good light (hmm… a connection with earlier comments???).

For painting.
The first of these little pots was seen 1-Oct-2018. My technique has definitely improved with the second, larger pot. The lid is domed because I made it a bit big 🙂 . It’s been languishing a few weeks now. I’m hoping the alteration of proportions will let me do more of a slice down the height of the inspiration painting.

Pretty much on a whim, I recently bought The Art of the Fold: How to make innovative books and paper structures by Hedi Kyle and Ulla Warchol. I have lots of paper around, sketches and prints and experiments that have piled up. Perhaps I could fold them, transform them into something more satisfactory. Lovely book – good instructions and diagrams, techniques and structures that get reused, elaborated, extended, as the projects progress. Lots of great inspiration photographs.

My first attempt (apart from familiarisation bits on plain paper): a pocket accordion with separate cover.

So small and pretty! About 10 cm high, 5.5 or so wide. Very satisfying. While not apparent to others, I particularly like the refreshing and encapsulating of memories. The cover is leftovers from a class with Adele Outteridge (25-Jul-2014). The inside pages are from a large sheet of cartridge paper. I went back through months of photos to identify it – from a printmaking session back in 2016 (24-Jul-2016). That detective side excursion on a side excursion was a pleasure and revelation in itself – so many exhibitions, and travels, and classes, and so, so much making! Even the little inserts capture memory. I don’t know if you can see in the photo the inserts are paint cards, and one colour has been selected for the bathroom wall – but not my bathroom. In a class with Keith Lo Bue last year (23-Apr-2017), there was an exercise where we each put three things we’d brought onto a table, and we each selected three things from other people to use as raw material. My final choice, with not much left on the table – the rather uninspiring paint cards. A fairly random moment resurfaced, memorialised, made special.

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October 2018

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