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Laura Sarmiento, traditional Venezuelan weaver, travels to Spain in search of innovation

 

La Voz de Galicia Ag 2013 Laura Sarmiento Venezuela 1000pixAugust 2013.  What made Laura Sarmiento, traditional Venezuelan weaver, travel to Europe, to the tiny rural textile studio of Anna Champeney in north Spain?

She came in search of a weaver able to show her weaver theory and innovative techniques which will enable her to innovate and update traditional textiles and make them more competitive and attractive in future.

As the interview in the local Voz de Galicia (left) indicates, Laura comes from a weaving family, with her grandfather a well-known pioneer in weaving.

The looms local weavers of the village of Tintorero use are based on simple two-shaft European looms from the 1700s – a reflection of European influence centuries´ ago.  But the products made are typically Venezuelan – such as hammocks.

But traditional Venezuelan weaving is under threat so tenacious Laura is forging a new way ahead by looking to weave design studios in Europe and look at ways that innovations can be introduced in a realistic, step-by-step way.

We hope to publish a more in-depth interview with Laura very soon so watch this space……

Beginner weavers model their hand-woven scarves at Anna Champeney Estudio – New scarves are born!

maqui 500 pixCongratulations to textilesnaturales´ newest weavers who you can see here modelling their hand-made scarves beautifully!

The wonderful August heat here in Galicia, north Spain has clearly inspired the hot spicey colours used by pupils on their 4-day scarf making course for beginners.

The course was taught by our professional weaver, textile designer and course leader, Anna Champeney.

Each student was able to choose a different kind of design and yarn – selecting either a warm-weight 4-ply lambswool yarn for winter scarves or a lighter, deliciously soft 2-ply lambswool to set up the 4 and 8-shaft Louet table looms they used for the course.

They then sampled using lots of different yarns and colours before finalising their personalised design and weaving it up in the last, intensive day of the course.

OLYMPUS DIGITAL CAMERAAll the colours used were previously dyed with the wonderful natural dyes extracted by hand at the Anna Champeney Textile Studio which is what gives them them their complexity in hue which cheaper, lower quality synthetically-dyed yarns simply don´t have.

For one-to-one weaving, dyeing and basketry tuition and group courses given in Spanish, with English language support if necessary, into 2014 contact us for details!

See more photos below.

 

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Maqui weaves 500 pix

Eucalyptus dyes, plus logwood and European cochineal from Lanzarote

OLYMPUS DIGITAL CAMERAEucalptus cordata leaves have produced rich orange and egg-yolk yellows in an experimental dye session with Anna Champeney Estudio Textil yesterday.

The experiment was based on information contained in the only specialist book in existence on the subject of eucalptus dyeing, by Jean K. Carmen (Dyemaking with Eucalpts, ISBN 0 7270 0648 7, Rigby in association with the Crafts Council of Australia), 1978).

The 4 year old Eucalptus cordata plant, sown from seed 4 years ago in Anna Champeney Estudio Textil (northwest Spain), and over-wintered under plastic, from seeds purchased from Chiltern seeds, were dried, broken up into pieces, soaked in cold water for about 4 hours and simmered for approximately 2 hours.

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Dye student, Sofia, a topographer by profession, joined Anna Champeney Estudio Textil for private tuition, and assisted in the extraction and dyeing processes.

The following day Alum-mordanted skeins were entered in the cold dyebath and heated, once again, for approximately 2-3 hours to obtain the darkest shade.  Leaving the skein overnight made little difference after this point.  The maximum quantity of leaves was used, according to advice by Jean Carman.  In this way 470g of dried eucalptus leaves were used with just 35g of wool.  Lower ratios of dyeplant to yarn can be tried in future, but the experiment was designed to show the darkest shade that was possible using this species of eucalyptus.

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L-r Logwood with Alum, logwood with copper, Eucalyptus cordata with alum, cochineal from Lanzarote with alum, lighter shades achieved from exhaust baths and with iron modifier. (Natural dyeing tuition and courses in north Spain with textilesnaturales)