Weavers: how many times have you said, or merely thought,
"I'll have a closer look and work that out when I have more
time"? Now I have that time. No domestic pressures, no exhibition
deadlines to meet. I'm marooned on a desert island, allowed only
six books.
How did I decide which six books to bring?
Marguerite Davidson's "Handweavers Pattern Book"
is for me a weaver's bible. No matter which pattern or weave
structure I wish to use, it is there. For each group of weaves
there are explanations, with almost every known threading, and
many threading variations.
In one book, it is almost all that one needs. The absence
of colour plates allow one to experiment with colours and arrive
at original results. There are a few errors in pattern and in
treadling but there will be plenty of time for checking on my
desert island.
In case another person should be marooned on the same island
I would take Mary Black's "New Key to Weaving".
This book has stood the test of time and has much information
on many weaves. Each chapter has an exercise at the end, to ensure
that the work has been understood. Cheating will not occur because
answers are not provided (not that Guild members would need them).
For extra comfort I would not neglect "Rug Weaving"
by Peter Collingwood. This is a large and heavy book, full of
detail about rug weaving techniques. He takes the reader into
areas rarely visited by most weavers. With this book at hand
rug weaving could keep me busy for a very long time.
Of course a strong loom and a strong arm would be necessary.
If the end result is to be a rug and not a wall hanging, the
beat must be very firm. Again there will be plenty of time for
testing to see whether a prodding finger can part the threads.
My favourite double corduroy is illustrated in colour, as
are several weaves that add a new dimension to rug making.
"The Art Of Weaving", by Else Regenstein,
offers variety with an interesting and detailed book about all
aspects of weaving. Sections on history of the craft introduce
the reader to several types of off-loom weaving.
Easily understood graphs and many clear diagrams show how
to read and construct what is the weaver's shorthand, the threading
draft.
Having plenty of time, I would expect to be spinning much
of my own yarn. Here the choice is very difficult, but I have
settled on Leigh Morris' "The Handspinners Companion".
This volume gives all of the information any spinner could require,
no matter what fibre was to hand. Since my copy is autographed,
I would feel that Leigh, Joelene and the rabbits were with me.
For a book that is beautiful to look at, I must have Helena
Bress' "The Weavers Book". Another large and
heavy book. But I won't have to carry it far. About 3000 variations
on the standard weaves. (plain, overshot, twill, monk's belt
and huck) are illustrated, Helena has a different approach in
using a basic threading, which, by changing treadling, is made
to very many pattern variations. Many weavers made contributions
to the production of this book. Anyone using it cannot fail to
appreciate the effort made by those involved.
Having considered the idea of being marooned, I am almost
tempted to put theory into practice. In that situation, plenty
of time, no interruptions, how much one could do. If it does
happen, my choices are made. What would you choose?