Kati loves the discipline of weaving, coupled with its creative problem solving. She claims to be an engineer who struggles with the artistic aspect of making cloth. Kati relishes a good challenge and the thrill of success. She likes helping others find the thrill. MLH has helped keep her motivated well beyond what any initially self-taught weaver could dream. She calls friend some of the best - and kindest - weavers around the world. It was a weave student who told her that her Lithuanian research should be published (Reflections from a Flaxen Past: For Love of Lithuanian Weaving, 2001), and another weaver pulled her past ‘dead center' on her second book, Warp with a Trapeze and Dance with your Loom, 2005, a book requested by dozens of her linen and tartan students. Her favorite loom is an antique 4-shaft counterbalance with long-eyed heddles. She appreciates the design freedom of the drawloom and loves the great memory help of the computer assist. Kati also spins flax, wool, cotton, and cat hair for the fun of it. Though she no longer travels to teach, Kati welcomes individuals to her studio to ‘play’.
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Teal Spun Play scarf
64” x 4.5” includes fringe
Handspun singles, 26 wraps per inch, shimmer-dyed with Pro Chem acid dye, then plied to 14 wraps per inch, to obtain areas of teal, natural and barber-pole plied for warp. Plain weave set at 7 epi, direct-tensioned. Weft used as singles, natural.
Merino roving, from a 5-pound(!) gift from daughter
Sterling Frost Shawl
72” x23” includes fringe
20-shaft fancy 40-thread repeat twill weave modified from Handweaving.net, threaded on Toika computer assisted loom, sleyed 2-2 in 15 dent reed
8/2, 10/2, 22/2 doubled cotton, in 10 Autumn-ish colors from my stash, threaded in a warping paddle. I made sure the colors would appear in different places of the draft across the warp. The 16 yard warp was to be a series of towels, but on a whim, I tried some silver thread that had tested quite ‘soft’ in the finish, and then just had to weave a shawl. The fringe needed to be enhanced with some wooden beads – also stash.
the second of five family pieces to get ‘new clothes’ after full restoration and refinishing
Finished chair measures 41 x 26 x 26 inches.
The cloth to upholster it (and 4 other family pieces) measured 35.5” x 13.2 yards. The rep gimp woven for 7 total period pieces measured 3/8” x 27 yards
Skeined and dyed medium blue for warp and weft, plus three shades of rust for stripes and edging with dark blue. After much sampling and testing, the warp was wound May 2015, threaded straight draw and sleyed 45 epi, 5,5 in 9-dent reed. (weaving completed March 2017). Learned from a weaver on WeaveTech list to apply Cowboy Magic ™ Detangler & Shine with sponges to each 15-inches that came over the back beam. (Mohair is notoriously grabby.) The rep-weave gimp was of the same dyed yarns, threaded in 4- shafts on a small floor loom, direct-tensioned and woven without a reed, as an inkle band. A couple of good books on tape helped the progress.
The reconstruction of the chair was aided by woodworker Tom Harmon (retired school superintendent) who assembled and glued the pieces that had been held together mostly by the old fabric. Then, by studying traditional upholstery techniques via U-tube videos with Kim Buckminster at www.buckminsterupholstery.com, I proceeded (with fear and trepidation) using all natural materials to pad, stuff and upholster this family chair. In addition to utilizing some of the original (cleaned) materials, I learned to stuff over the springs with retted flax straw (something I happened to have on hand). I did not (though I could have), weave my own webbing .
2/20 worsted-spun, 75% wool 25% mohair from Jagger Brothers, Inc. I was allowed to piggy-back on a custom order for Eaton Hill Textiles: eatonhilltextiles.com , skeined it into 11, 2,000-yd skeins, scoured with Synthrapol and dyed with Pro Chemical acid dyes in multiple dyebaths using the self-timing induction cooker, 3 skeins at a time.