Afternoon workshops are provided to Vermont Weavers Guild members to enhance the understanding
of weaving and related topics. Multi-day workshops give members the opportunity to spend
extended time developing a more in-depth knowledge of a particular weaving structure. Please
register early for any workshop. If we do not have enough registrations in advance, a workshop may be cancelled.
Policy for afternoon workshops
You must be a member of the Vermont Weavers Guild in order to register for an afternoon workshop.
Please sign up at least one month before the workshop. Afternoon workshop registration
fee is $25.00 per session. Materials fees are in addition to the workshop fee and are to be
paid directly to the instructor.
Registrations on the day of the workshop will be accepted at the discretion of the committee
and the instructor. There will be an additional $5.00 fee for registrations on that day. A
workshop may be cancelled if not enough participants are signed up one month in advance. If
you find you cannot attend, please email the Program Committee to cancel. If your place can
be filled from a waiting list, you will receive a refund.
If the workshop is cancelled due to weather or presenter illness, it will be posted on the website
and the registration fee will be refunded at the next meeting.
Policy for Multi-day workshops
The fees for multi-day workshops will be posted in the description.
If we do not have the minimum participants signed up from our guild, the program committee
may open registration to other guilds. If the workshop is cancelled due to insufficient
registrations, weather or presenter illness, it will be posted on the website and money
will be refunded at the next meeting.
Please complete the
to avoid any confusion about your workshop choices. The form includes contact information so that you can be contacted with any changes
to the workshop requirements. Please mail the registration form and your check to the address on the form.
Questions about programs and workshops can be sent to the
Program Committee Chair.
October 10–12, 2018
Multi-day Workshop—Catharine Ellis—Woven Shibori
Catharine will conduct a three-day workshop on woven shibori. Weaving will be done with cotton or other cellulose fibers incorporating resist warp and weft threads at the loom. All dyeing will be done with indigo. The class will build organic indigo vats, using fructose, henna, or iron as reduction agents. Students will also learn how to use these vats and maintain them. Participants will prepare their looms for woven shibori according to instructions provided by Catharine. Emphasis will be placed on experimenting with patterns and understanding structural possibilities on 4 or 8 shafts. Students will be encouraged to sample but it will be possible to complete a small product such as a scarf or woven runner. The workshop will be held at Bethany UCC Church in Randolph, VT (walking distance to the Craft Center.) Workshop Fee:$200 plus a materials fee of $15 to be paid to the instructor.
Catharine Ellis has been a weaver and a dyer for over 40 years. After three decades of teaching the Fiber Program at Haywood Community College in NC she is now dedicated to studio work, focusing on natural dye processes. She also does specialized, selected teaching, in the U.S. and internationally. Recent projects include teaching natural dyeing in Guatemalan through Mayan Hands.
Catharine is the originator of the woven shibori process and author of the instructional book, Woven Shibori (Interweave Press, 2005). In 2016, a new edition was published, which focuses on natural dyes. Her textile work is shown extensively in exhibitions and shows. She is currently working collaboratively with the Oriole Mill in NC to produce specialty Jacquard fabrics.
Catharine is actively involved in the Surface Design Association, the World Shibori Network, and is a founding member of the Southeastern Fiber Educators Association. She is currently on the Board of the Textile Society of America, and has served on the boards of Penland School of Crafts and the Center for Craft, Creativity, and
Design. She established the Western North Carolina Textile Study Group in 2012. Catharine is currently writing a book with co-author, Joy Boutrup, on natural dye practices that will be published in 2018.
November 10, 2018
Deborah Kaplan—Unusual Materials: from the almost familiar to the odd
Unusual materials are both ancient and modern. Some will seem similar to yarns you have used before, others will be quite different. Horsehair, paper, straw, stems, unusual silks and plant and animal fiber yarns, and overtwisted yarns have been used for centuries. Elastics, plastics and stainless steel, copper, brass and synthetic metallic yarns are all newer. We’ll look at them all. Why use some of the more unusual materials available? How do you go about evaluating them? We will look at the properties of some more common and not so common materials and compare and contrast. There will be an opportunity to try out use of some of these materials.
Instructor bio: Debbie Kaplan branched into weaving 20 years ago from a background in handspinning and knitting. Her knowledge of materials informs her work. For a number of years she has been working with collapse weave and unusual materials such as copper, steel, undegummed silk, and horsehair to obtain open, gauzy, surprising effects. She has also used more standard materials in novel ways. Thinking outside the box is a passion. Debbie’s work has been featured in SpinOff, Handwoven and the CW Journal. She has won awards at NEWS and Complex Weavers and been part of Convergence displays.
February 9, 2019
Susan Rockwell—8-Shaft Double Weave
This class will explore the aspects of double weave that can be created on more than four
shafts. More shafts mean more possible combinations of double weave and other
structures and a greater use of color. We will also cover drafting for multiple shaft
double weaving. Students should be familiar with the basics of double weave, however
it isn’t necessary to have taken the first session in Sept. 2017.
Instructor Bio: Susan Rockwell is active in the Vermont Weavers Guild and Past President of the
New England Weavers Seminar (a conference for all NE Guilds). Susan has been teaching weaving classes since 1987
at weaving guilds, regional weaving conferences and craft schools. She has exhibited and won awards for her weaving
at local, regional and international exhibits. Susan has juried numerous weaving shows and organized and
completed a 250 hour course for weaving instructors.
March 9, 2019
Janney Simpson—Finishing Techniques
This workshop will provide an overview (slide show and samples) of finishing and embellishment for
handwovens followed by Janney's favorite techniques and hands-on practice with some of those techniques.
Instructor Bio: Janney Simpson began weaving in the early 1980’s. She teaches weaving at Wesleyan
Potters in Middletown, CT and at The Barn in Gaylord, MI and relishes the "ah-ha" moment when
new weavers throw a shuttle for the first time. Janney is a past President, Apprentice, and
Weaver of Distinction of the Handweavers’ Guild of CT. Also a member of Complex Weavers and
Japanese Textile Study Group, she enjoys sharing her interest in Sakiori weaving using vintage silk kimono.
She has presented many workshops and lectures on Finishing and Embellishing Handwovens, Knitted Beaded Bags,
Sakiori, Deflected Double Weave, and Weaving with Fibers of Micronesia. Privileged to be a student for four
years in Laurie Autio’s class, Explorations in Advanced Weaving, Janney strives to create one-of-a-kind pieces
using a variety of fibers and weave structures on many types of looms.
April 13, 2019
Beth Cederberg Guertin—Mélange Warps
We all have partial cones of yarn, left over from previous projects, taking up valuable space in our yarn
closets. Bring those yarns and let’s plan a project to use up the yarns (goal is that you use them up without
buying any more yarn to weave the project). We’ll weigh the yarn, determine how many yards there are available,
and then discuss options through stripes, plaids, 4 and 8 shaft drafts, combining textures, colors, and yarns.
Samples will be shown. Students will leave with a project designed, ready to go home to wind the warp.
Participants will need to bring:
- colored pencils
- paper for designing (plain or graph) and/or laptop with weaving software
- an inventory of yarns (on index cards or paper) you own that are not specified for a project. Attach a sample of yarn; list color(s) (if known); fiber content (if known).
- partial cones/skeins, yarn leftover on bobbins, yarns you want to use up
If you bring in a detailed inventory then you don't need to bring the actual yarns.
We need to know how many yards per pound and how much of that yarn you have., as well as the
fiber content to determine sett.
If you own a McMorran Yarn Balance, please bring it to the workshop.
Instructor Bio: Beth Cederberg Guertin has been a weaver for over thirty-five years,
and has a strong local and regional reputation for her knowledge and support of
weaving and the fiber arts. She has been teaching both rigid heddle and multi-shaft weaving
to children and adults first through her store in Arlington, MA (The Batik and Weaving Supplier),
and now through her studio in Waltham, MA (A Place to Weave aka A Yarn Express.
She enjoys designing projects to use up small amounts of yarns.
October 12–14, 2019
Multi-Day Workshop—Cameron Taylor-Brown—Color in Cloth: The Weaves You Want and Why
Weave structures mix color in very different ways. How do we determine what weaves are "right" for what we have in mind? View images from the inspirational textile collections of the Los Angeles County Museum of Art, the Textile Museum in Washington, D.C., and the Cooper-Hewitt in New York, supplemented by lots of woven samples from my own collection. Explore a wide range of weaving across different cultures and time periods, and examine how weave choices can dramatically affect our perception of color in cloth. Short format features examples and discussion, longer format includes the design and weaving of fabrics that mix color for specific visual effects.
Instructor Bio: Cameron Taylor-Brown has immersed herself in the worlds of fiber, education and commerce since the 1970s. She studied fiber art at the University of California, Berkeley with artist Ed Rossbach and textile design at the Philadelphia College of Textiles and Science. She worked in New York City as a stylist of upholstery and home furnishing fabrics, taught textile design at the Philadelphia College of Textiles and Science and worked as an exhibition curator. Since 1985, Taylor-Brown has lived in Los Angeles where she maintains a studio and is active in several arts organizations. She was a founding board member of the Textile Group of Los Angeles, a past President of California Fibers and Designing Weavers, is a current board member of the Fowler Textile Council and serves on the advisory board of Textile Arts Los Angeles. She recently founded ARTSgarage, a textile resource center in Los Angeles.
Her artwork is widely exhibited and has been published in American Craft, Fiberarts, Handwoven, Shuttle, Spindle and Dyepot, Fiber Art Now and the Fiberarts Design Books Four, Five, Six and Seven . For many years, she traveled Southern California and Arizona as the regional representative for several top yarn companies, including Rowan, Manos del Uruguay, Alchemy and SweetGeorgia. An experienced teacher and facilitator, she conducts workshops throughout the country exploring design, color, creativity and the collaborative process.
She was a founder of ACCESS Community Arts & Education, a consulting partnership that worked with classroom teachers and artists to make direct connections between the arts, curriculum, educational content standards and community arts experiences. Two accessARTS models, Start with Art and Arts in the City , were developed with the support of California State Charter School Grants. These classroom-tested models were disseminated throughout the state of California in 2004-5. accessARTS strategies remain central in Cameron's approach to teaching and learning.
Recent Selected Exhibitions:
Points of View, Rose Gallery, San Diego, CA, 2017
Fiber Trails (solo exhibit),Branch Gallery, Inglewood, CA, 2017
Time>, Studio Channel Islands Art Center, Camarillo, CA, 2017
Eclectic Threads, Oceanside Museum of Art, Oceanside, CA, 2016
Art Looms, Branch Gallery, Inglewood, CA, 2016
Directions to Kimball House
From I-89 take exit 4 onto Rte-66, head down hill to
Randolph. At the stop sign, keep going straight (south
on rte 12). Bear left (west) onto Rte-12 (N. Main St.), Go
past Chandler Arts Center. Before the gazebo, bear left onto
South Pleasant Street. Take the next road on the left, which
is Randolph Ave. Kimball House is at the end of the street,
sitting at the top of the hill. The drive to the right leads
to a parking area. See