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 Contacta con nosotros | Collapse weave book by Ann Richards reviewed by Anna Champeney
 Cover photo Weaving Textiles That Shape Themselves ISBN 978 1 84797 319 1 by The Crowood Press 25 pounds sterling
This collapse weave manual is a comprehensive companion to Lotte Dalgaard´s new Magical Materials To Weave (Trafalgar), also a new publication for 2012. Both authors are experienced, experimental professional weavers with a passion for using active (elastic, overtwisted) yarns. It is a real pleasure to read a book based on serious research, with a wealth of authoritative information, and quality photographs of inspiring woven textiles. A suppliers list, bibliography and cross-referenced index are especially valuable, enabling readers to get the most out of the subject and learn more. Both books understandably focus on the properties of yarn, an understanding of which is fundamental for designing and weaving collapse textiles. Richards´ book is particularly good on explaining about type of spin and the phenomenon of tracking and is comprehensive in its coverage of sett and structure including double weave. Another strength of Richards´ book is her inclusion of stunning work by other prominent weavers worldwide, including Deirdre Wood, Junichi Arai, Reiko Sudo (Nuno). The reversable bag by Junichi Arai (woven in four layers which is completely self-forming) is a good example of the way this Japanese designer relishes technical challenges in weaving. Weaving Textiles That Shape Themselves starts and finishes with the theme of woven textile design. Too often weave books are based on formulas or drafts and cloth swatches which inevitably encourage one to copy rather than innovate. This goes hand-in-hand with another problem in the weaving world which is the lack of opportunitites to learn design skills (I see this in non-English speaking countries like Spain and Latin America, for example). Personally, I was lucky in learning about the importance of sampling from Francisca Pellisca, the Catalan weave artist, who gave me my first introduction to cloth drafting, and so right from the beginning I just assumed that whenever I started a new weave project I would incorporate a section of warp for experimenting, the results of which would lead onto a final, more worked, design. Twelves years on from then and the baskets of samples have become an important reference collection for my own work – it is never enough to have comprehensive written records to refer back to. As Richards comments, this approach of sampling is by no means standard amongst weavers but if the world of constructed textiles is to move on it needs to nurture and promote the idea of weave design as a core skill that all weavers learn – whether as professionals or home weavers. Otherwise standards will drop, the collective body of knowledge will shrink, the sector will lose prestige and visibility and weave be consigned to the status of formula-based hobbycraft rather than as a serious, constantly evolving profession. The chapter “Designing as a Conversation” contains useful pointers for all weavers interested in designing themselves, with straight-forward and practical information, alongside images of Richards´ own work, including her signature pieces – highly sculptural neckpieces. In view of the philosophy behind the book it comes as no surprise that Richards´ book does not contain projects or fabric recipes, but it is clearly aiming at creating a readership that is more interested in acquiring the fundamental knowledge behind collapse weave to empower themselves to develop their own designs. It almost goes without saying that this is not a book for beginners but it is essential reading for those weavers of intermediate to advanced level who are fascinated by the properties of yarn and the incredibly complex interaction with woven structure. This is a book which will inspire and raise standards and should be standard reading on constructed textile courses. Exhibition of collapse textiles in Handweavers´ Studio, London 18 May – 13 June 2012“Minstrel II” Scarf
 Angora collapse scarf "Minstrel II" by featured artist in exhibition at Handweavers´ Studio 18 May - 13 June 2012
 This exhibition features work by Ann Richards and Lotte Dalgaard as well as other artists featured in Weaving Textiles That Shape Themselves. The show isorganised to coincide with the double book launch.
Here you can see one of the exhibits, new work by Anna Champeney Estudio Textil, together with interesting background information about how the piece was designed and woven. This piece is available for sale. Price.
- 200cm x 16cm
- Cord weave with reversed weave structure
- Natural dyed angora, alpaca, wool (indigo, copper, cochineal), corneta transparent yarn and high twist wool
Weave Tuition / Weave retreats at Anna Champeney Estudio Textil, SpainAnna Champeney Estudio Textil offers residential weave tuition at the studio itself, set in a picturesque village amidst stunning mountain scenery in northwest Spain (nearest airports: Santiago de Compostela, A Coruña). 8-shaft table looms and yarns (linen, angora, wool) are also available for hire for those wishing to combine a holiday with a weave retreat. Self-catering accommodation is available in Casa dos Artesans, the simple but comfy cottage adjacent to the weave studio (2 – 5 people). The area offers good walking, thermal spas and historic monasteries and castles, plus local bars serving simple, home-cooked fresh food and local wine. To contact the studio directly click here.
 Preliminary design work by Anna Champeney Estudio Textil for Minstrel II includes cloth drafting on Weavepoint, yarn wraps and colour-design tables. The design was based on earlier experiments in cord weave with fairly thick angora, alpaca and wool warp which was hand-dyed with indigo, copper and cochineal. Various samples were woven to test out different effects with different active and stable yarns.
 View from the village of Cristosende, where Anna Champeney Estudio Textil is situated in Galicia, northwest Spain
  Sampling is an important part of the design process. Different combinations of weft yarns and densities were trialled. In the end the piece used corneta transparent (Danish Yarn Purchasing Association, www.yarn.dk) and a high twist wool in the weft. The second photo shows what the textile design looks like prior to wet finishing, when just cut from the loom.
Just off the loom – Natural dyed silk scarves in waffle weave – available to buy now Photo of silk waffle weave scarf by Anna Champeney (ref. 50/50 Laura-F.A.). This special version features numerous colour changes which give it a shimmering effect. This is a non-repeatable, one-of-a-kind piece. SOLD Limited series with unique colourways on each scarf, hand-woven from 50% sillk, 50% wool, with other similar versions with angora, cashmere. Prices range between 95€ – 185€. Information on request.
Eco-friendly fabrics from Spain
 Barberry bark, one source of local and natural colour at Anna Champeney Estudio Textil (April 2012)
Barberry bark, madder root, dried cochineal and walnut husks are all sources of natural colour used to create the textiles at the weave studio of textile designer Anna Champeney in north Spain. The studio´s collections include limited edition double-weave linens, double-sided scarves in richly-coloured silk and wool, and a range of linen and wool textiles for interiors, including cushions, storage bags and decorative wall-dividers. The designs vary with each collection but what unites all these textiles is the rich and harmonious use of natural colour. The reality is that the colours produced by natural dyes are different to most synthetic dyes today because the complex formulas of natural plant dyes – a single plant may contain several dyes which combine to produce a particularly rich or subtle colour – are usually too expensive to produce in the context of industrial textile production.
 Anna Champeney textile collection 2011-12 - waffle weave scarves in silk and wool with natural dyes
This makes natural dyes the ideal choice for certain designers and specialist artisans who seek to produce a high-end product and who also care about the way that textiles are made today and the impact on the natural world. “I started working with natural dyes as it seemed the obvious choice given the location of the textile studio in rural north Spain where there was an abundance of natural dyestuffs. Of course, I was also interested in making a more organic or natural product. For me this meant sourcing dyestuffs as locally as possible, using processes which were efficient, with little waste, and avoiding chrome as a fixative ” commented Champeney.
 Drying yarns dyed with lichen, gorse, indigo and madder at Anna Champeney Estudio Textil in north Spain
The quality of the colours produced was also a factor. “As a textile designer and craft weaver you often find yourself limited by the commercial colour ranges. By dyeing my own colours I can achieve incredibly varied and subtle colour blends which lend a special quality to the finished textiles. This gives me a certain freedom which industrial designers simply do not have”. Marta Bahillo – Spanish knit designer – opts for natural dyes
 Marta Bahillo, Spansh knit designer, discovers the subtle colours of natural dyes
Marta Bahillo, a young Spanish knit designer is also moving in this direction which was why she decided to spend time at AC Estudio Texil for some intensive colour tuition. Working with natural dyes for the first time was nothing short of a revelation for this designer, whose working practice up until now always involved off-the-peg synthetically-coloured yarns. “I really feel the course has changed me because I see colour in a different way now”, commented Bahillo, “I can see subtle changes in tone which I didn´t notice before”. Moreover, Bahillo was particularly struck by the sheer variety and richness of the colours obtained using natural dyes. In the context of her work as a knit designer Bahillo sees definite advantages in being able to have a greater control over the final result. Working directly with the dyes gives her a far greater creative involvement in the process, leading her to comment “As a textile designer I feel more confident than before”. Natural Dyes and Fashion But what about the dictates of fashion which result in certain colours dominating the market every year. Is it important for these new designers to look at colour forecasts for fashion? Champeney thinks not. “My clients tend to have a confidence in their own sense of style and colour and choose colourways which suit them rather than to follow the dictates of the fashion industry. They may combine my textiles with clothing from branded fashion but their style is definitely an individual style which is unique to them. The challenge for independent designers or makers not to follow fashion but to make textiles which are so distinctive and beautiful that each piece becomes a personal classic in its own right”. More information:
- Inquiries about Anna Champeney Estudio Textil´s limited edition textile collections – please contact the studio.
- Textilesnaturales hopes to feature Marta Bahillo again in a future feature.
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 - New work in progress. Patchings series by Anna Champeney, hand-woven linen patching inspired by traditional Galician textiles and photographs of the last elderly weavers. January 2012
“It´s taken us a while to get back into the swing due to being away in the UK, in Suffolk and London. We met members of the London Guild of Weavers, Spinners and Dyers, before and after giving a talk on Galician felpa weaaving on 14 January and visited various galleries in the capital to see contemporary textiles and painting. But being back in the craft studios again is great. With commissions, new art textile projects and new courses to work on there is no time to get bored. We don´t suffer from SAD syndrome either here. The frosty mornings are very inviting for invigorating walks though, and they give often way to sunny afternoons” – Diary, Anna Champeney, weaver in Galicia (north Spain) Creative winter retreat in north Spain at Casa dos Artesans
 Village of San Lorenzo, photographed early morning from Cristosende village
The picturesque village of Cristosende where Casa dos Artesans holiday cottage is especially beautiful against the background of the morning frosts. If you fancy spending a month or two in the beautiful, peaceful village of Cristosende, then contact us about a long-term let for winter 2012/2013. The cottage has central heating and double glazing and with truly inspiring scenery it is the ideal place for a creative retreat.  The London Guild of Weavers, Spinners and Dyers welcomes Galician felpa weaving shortly before a proposal for valuable folk textile research fails to secure funding in recession Spain
Recession means less funding for vital Spanish folk textile research projects, and it was with a sense of disappointment that Anna Champeney and Eva Casado received news that the Juana de Vega Foundation, one of the few in Galicia, were not able to fund their proposed Galician felpa research project. The project, ambitious in scope, would have included fieldwork, an exhibition of original Galician felpa bedcovers alongside work of new creation, and an accompanying publication. Time is really running out to conduct field research with the last generation of Galician folk weavers. Whilst the Juana de Vega Foundation valued the project and found it exciting, it lacked the funds to support it. This kind of research is simply impossible without financial support and it is unlikely that Eva and Anna will be able to continue their research without finding alternative ways to support the project. It was therefore very heartening to recall the welcome from the London Guild of Weavers, and the interest members showed in the technique of Galician felpa when Anna gave a lecture on the subject on the 14th January 2012. It is hoped that a group visit to Galicia can be organised later in the autumn, where it will be possible to see and handle original hand-woven Galician felpa bed coverlets. More space for weaving courses at Anna Champeney Estudio TextilFollowing suggestions from pupils for more space, we are increasing the area we devote to our weave courses at the studio to include a space on the first floor in addition to the ground floor course room. So if you come to us for weaving tuition this year you´ll be able to choose which space to work in! We will be making the changes to the space throughout February, however, so regret that we are not able to open the workshop to the public during this time. Contemporary woven textiles in London – Nao Fukumoto, Margot Selby, Wallace & Sewell - Foto de la página web de Nao Fukumoto
It´s not easy to find hand-woven textiles in London and in fact the only ones we found were in Handweavers´ Studio (tube: Finsbury Park), where we saw wonderful pieces by a number of hand-weavers, and in CAA (Contemporary Applied Arts) on Percy Street (Tottenham Court Road tube) where we saw very delicate hand-woven scarves by Japanese weaver Nao Fukumoto. Prices vary between 300 – 600 pounds for collapse weave linen scarves of very high quality, with natural dyes. For contemporary woven textiles designed by hand-weavers, we took a look at the shop of Margot Selby, (Galen Place, a short walk from the British Museum), and found the shop full of her signature fabric, applied to scarves, jackets and even shoes. Contemporary Weaving Patterns: Weaving with Colour and Texture by Margot Selby. Book review by Anna Champeney. I´ve never met Margot Selby but I think she must be a woman of tremendous energy. This is not just because of the lively use of colour and texture in her designs, but because as well as developing her own textile business, managing a shop in central London and appearing on tv, she has also recently published a book, Contemporary Weaving Patterns, which she describes as ” a unique guide to over 150 exceptional patterns”. The book is one of the few which could inspire young design-conscious potential weavers in what can sometimes seem like a rather worthy-but-dull area of weaving literature.
Perhaps a coding system for the different projects would also have been useful so less experienced weavers would be able to easily select which of the projects could be tackled by them. Fine singles yarns, warp setts of 60 e.p.i and projects requiring either 8 shafts or two back beams are not for complete novices, despite text which suggests that the book is for everyone, from beginners upwards. Really, in order to get the most out of this book I think you need to be confident in using and setting up a loom, know how to calculate yarn quantities for projects (especially as most of the projects require quite a few different yarns and it could work out really expensive if you buy more than you need just in order to cover yourself for the project) plus a familiarity with cloth drafting and adapting threadings. Beginners with limited experience in warping or using fine yarns may well find some of the fine yarns and high warp densities quite difficult to tackle. On the other hand it is good to challenge your limitations and I have had pupils come to my workshops who have been weaving for a number of years in the UK and maintain that it is “difficult to work with linen”. Sometimes it is actually better to go for something you like, even if it ends up being a lot more challenging than initially thought and hand-weavers do need to be encouraged to be less cautious and resistent to new or difficult things! I should also add that to get the most out of this book it is preferable to have an 8-shaft loom as many of the designs require this, and a second back beam is also necessary for one of the warps. This can be seen as a rather long list of requisites – particularly for beginner weavers, but perhaps a book like this will inspire people to go a little further than they would otherwise aspire to do. The fact that I don´t really consider this book for complete beginners isn´t a criticism of the actual content of the book, however, only a comment about recommended experience levels required by users, and I think weavers at every level will feel visually inspired by the book. The use of colour in the designs is really pleasing – a nice change from the rather dull or harsh colours in some weave books – and the section on stripes is useful as is the section on developing a colour palette is a nice addition (again, I note that Margot also supposes that readers know something about colour theory by mentioning the colour wheel without explaining what it actually is). I think it´s great to include a chapter about the properties of the differernt yarns used in the book and their qualities and it´s a shame there isn´t a suppliers´ list to go with it. Handweavers´ Studio in London supply many of the yarns by post, for example, even though it could cost a small fortune to acquire all 32 different yarns required by the different designs in order to weave all the samples (actually more, once you take the different colours into consideration). Weavers in Spain would also find it almost impossible to acquire many of the yarns required – or adequate substitutes – for the different projectsl. I´m not sure to what extent the value of the book is more for visual inspiration – particularly in terms of the colours and textures used – or as a practical teaching or learning aid. Whatever, I would recommend the book for weavers´ bookshelves, especially in teaching rooms. Inspirational and visually attractive weaving books are in short supply and this is a useful addition.
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Pago seguro
 NUEVO Octubre 2023 Curso presencial setmanal de teixits de baix lliç (Girona)!Un curso nou, setmanal (3h) a Sant Gregori, Girona, amb l'Anna Champeney. Trimensual, plaças limitadas).
Octobre 2023. Ven a aprender a diseñar y realizar tejidos en telar de bajo lizo a mano. Docente: Anna Champeney, profesional desde 2004, con marca textil propia, experta en tejido de bajo lizo, docente en la Escola Massana, Barcelona.
 Haga clic aquí para informarte |
Weaving Textiles That Shape Themselves by Ann Richards – Exhibition and book launch in London May 2012
Collapse weave book by Ann Richards reviewed by Anna Champeney
Cover photo Weaving Textiles That Shape Themselves ISBN 978 1 84797 319 1 by The Crowood Press 25 pounds sterling
This collapse weave manual is a comprehensive companion to Lotte Dalgaard´s new Magical Materials To Weave (Trafalgar), also a new publication for 2012. Both authors are experienced, experimental professional weavers with a passion for using active (elastic, overtwisted) yarns. It is a real pleasure to read a book based on serious research, with a wealth of authoritative information, and quality photographs of inspiring woven textiles. A suppliers list, bibliography and cross-referenced index are especially valuable, enabling readers to get the most out of the subject and learn more. Both books understandably focus on the properties of yarn, an understanding of which is fundamental for designing and weaving collapse textiles. Richards´ book is particularly good on explaining about type of spin and the phenomenon of tracking and is comprehensive in its coverage of sett and structure including double weave. Another strength of Richards´ book is her inclusion of stunning work by other prominent weavers worldwide, including Deirdre Wood, Junichi Arai, Reiko Sudo (Nuno). The reversable bag by Junichi Arai (woven in four layers which is completely self-forming) is a good example of the way this Japanese designer relishes technical challenges in weaving.
Weaving Textiles That Shape Themselves starts and finishes with the theme of woven textile design. Too often weave books are based on formulas or drafts and cloth swatches which inevitably encourage one to copy rather than innovate. This goes hand-in-hand with another problem in the weaving world which is the lack of opportunitites to learn design skills (I see this in non-English speaking countries like Spain and Latin America, for example).
Personally, I was lucky in learning about the importance of sampling from Francisca Pellisca, the Catalan weave artist, who gave me my first introduction to cloth drafting, and so right from the beginning I just assumed that whenever I started a new weave project I would incorporate a section of warp for experimenting, the results of which would lead onto a final, more worked, design. Twelves years on from then and the baskets of samples have become an important reference collection for my own work – it is never enough to have comprehensive written records to refer back to.
As Richards comments, this approach of sampling is by no means standard amongst weavers but if the world of constructed textiles is to move on it needs to nurture and promote the idea of weave design as a core skill that all weavers learn – whether as professionals or home weavers. Otherwise standards will drop, the collective body of knowledge will shrink, the sector will lose prestige and visibility and weave be consigned to the status of formula-based hobbycraft rather than as a serious, constantly evolving profession. The chapter “Designing as a Conversation” contains useful pointers for all weavers interested in designing themselves, with straight-forward and practical information, alongside images of Richards´ own work, including her signature pieces – highly sculptural neckpieces. In view of the philosophy behind the book it comes as no surprise that Richards´ book does not contain projects or fabric recipes, but it is clearly aiming at creating a readership that is more interested in acquiring the fundamental knowledge behind collapse weave to empower themselves to develop their own designs.
It almost goes without saying that this is not a book for beginners but it is essential reading for those weavers of intermediate to advanced level who are fascinated by the properties of yarn and the incredibly complex interaction with woven structure. This is a book which will inspire and raise standards and should be standard reading on constructed textile courses.
Exhibition of collapse textiles in Handweavers´ Studio, London 18 May – 13 June 2012
“Minstrel II” Scarf
Angora collapse scarf "Minstrel II" by featured artist in exhibition at Handweavers´ Studio 18 May - 13 June 2012
Here you can see one of the exhibits, new work by Anna Champeney Estudio Textil, together with interesting background information about how the piece was designed and woven. This piece is available for sale. Price.
Weave Tuition / Weave retreats at Anna Champeney Estudio Textil, Spain
Anna Champeney Estudio Textil offers residential weave tuition at the studio itself, set in a picturesque village amidst stunning mountain scenery in northwest Spain (nearest airports: Santiago de Compostela, A Coruña). 8-shaft table looms and yarns (linen, angora, wool) are also available for hire for those wishing to combine a holiday with a weave retreat. Self-catering accommodation is available in Casa dos Artesans, the simple but comfy cottage adjacent to the weave studio (2 – 5 people). The area offers good walking, thermal spas and historic monasteries and castles, plus local bars serving simple, home-cooked fresh food and local wine. To contact the studio directly click here.
Preliminary design work by Anna Champeney Estudio Textil for Minstrel II includes cloth drafting on Weavepoint, yarn wraps and colour-design tables. The design was based on earlier experiments in cord weave with fairly thick angora, alpaca and wool warp which was hand-dyed with indigo, copper and cochineal. Various samples were woven to test out different effects with different active and stable yarns.
View from the village of Cristosende, where Anna Champeney Estudio Textil is situated in Galicia, northwest Spain
Sampling is an important part of the design process. Different combinations of weft yarns and densities were trialled. In the end the piece used corneta transparent (Danish Yarn Purchasing Association, www.yarn.dk) and a high twist wool in the weft. The second photo shows what the textile design looks like prior to wet finishing, when just cut from the loom.
Just off the loom – Natural dyed silk scarves in waffle weave – available to buy now
Photo of silk waffle weave scarf by Anna Champeney (ref. 50/50 Laura-F.A.). This special version features numerous colour changes which give it a shimmering effect. This is a non-repeatable, one-of-a-kind piece. SOLD
Limited series with unique colourways on each scarf, hand-woven from 50% sillk, 50% wool, with other similar versions with angora, cashmere. Prices range between 95€ – 185€. Information on request.