Afternoon workshops are provided to enhance the understanding of weaving and related topics. Multi-day workshops give 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
Afternoon workshop registration fee is $25.00 per session for members and $50 per session for non-members, unless otherwise noted. Materials fees are in addition to the workshop fee and are to be paid directly to the instructor.
Please sign up at least one month before the workshop. 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. 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 below in the description.
Please sign up at least one month before the workshop. 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 Registration Form to register for workshops and 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, Dena Hirchak at firstname.lastname@example.org.
September 14, 2019
This typical Norwegian bound weave is used for rugs and wall
hangings. Although it is a simple weave structure, usually on three
shafts, it looks complicated because of the use of color and varied
motifs to produce the traditional Scandinavian designs.
Warping directions, a list of cotton or linen warp yarn, wool weft
yarns in several colors, and other supplies required will be sent
two months in advance, so you can prepare your loom prior to the workshop. This is a three shaft weave; four shaft
table and floor looms are perfect. This is not a round
robin workshop—you will stay on your own loom.
This is a 3 hour afternoon workshop. There will be a brief discussion of this weave, with examples shown, and then hands-on weaving at your own loom following treadling and color directions. You will bring your finished samplers to a future guild meeting for a wonderful show and tell.
**Special registration fee: Members: $50, Non-members: $75**
Maximum number of participants: 15
Instructor Bio: Norma Smayda, a weaver, teacher, exhibitor and juror, learned to weave in Norway and occasionally returned to teach. In 1974 she established and continues to run the Saunderstown Weaving School.
She has an MFA in Visual Design from UMass-Dartmouth, and has
received the HGA Award of Excellence, the NEWS Weaver of
Distinction, and the WGB Distinguished Achievement Award. In
2017 WGRI established the Norma Smayda Guild Leadership Award.
Norma has written articles for various weaving journals and has had
work featured in several books. Norma's special interests include
Scandinavian weaving, the works of William Henry Harrison Rose
and Bertha Gray Hayes, and ondulé weaving with the fan reed. She
coauthored Weaving Designs by Bertha Gray Hayes in 2009, and
published Ondulé Textiles in 2017. She especially likes weaving
functional pieces and reducing complicated designs to as few shafts
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 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 images and woven samples from Cameron’s 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. Review and graph out examples of supplemental thread weaves and multilayer weaves and their characteristics, referring back to the images and samples. Make your own color and weave samples that use a variety of weave structures for specific visual effects, including iridescence.
The primary goal of Color in Cloth is for you to gain the knowledge needed to use weave as an effective tool for color mixing. A secondary goal is to train your eyes to better “see” and use the basic elements of warp and weft color – hue, value and intensity - and to “see” how color and weave interact.
Upon completion of the workshop, you will know how to look at a fabric to identify the weave family and know how that family is likely to mix color, anticipate how a particular weave is likely to mix color, and how to select a weave to mix warp and weft colors for specific visual effects.
Workshop fee: Members: $200, Non-members: $225. Materials fee: $25.
Maximum number of participants: 15
WORKSHOP IS FULL - Register to be put on a wait list (no deposit required for wait list).
Instructor Bio: Cameron Taylor-Brown has immersed herself in fibers since the 1970s. She was introduced to textiles by artist Ed Rossbach at UC Berkeley, studied design at the Philadelphia College of Textiles and Science (PCT&S) and worked as a fabric stylist in New York. She later taught textile design and worked as an exhibition curator at PCT&S. Since 1985, Taylor-Brown has lived in Los Angeles, where she recently founded ARTSgarage, a textile resource center. Her work is widely exhibited and is featured in publications including American Craft Magazine, Fiber Art Now, Handwoven and Shuttle, Spindle and Dyepot. She teaches fiber workshops at schools, guilds, museums and conferences throughout the United States and Canada.
November 9, 2019
Chris Pratt—Playing Detective
This will be an afternoon workshop led by guild member Chris Pratt. Learn how to take an existing fabric that you would like to replicate and analyze the weave structure. You will learn how to figure out the weave structure using a pick glass and draft the weave on graph paper. You will then determine the minimum number of harnesses needed to make it and then draft the threading and the harness lift plan. From this you will be able to determine whether you can weave it on looms available to you. The instructor will provide pick glasses, graph paper and swatches to practice on. You will take these materials home with you. Participants should bring a portable desk lamp of some type, pencil and eraser, fine tip black marker, and scissors to trim swatches. Bring your own fabrics with you that you want to analyze, the more complicated the better.
Instructor Bio: A class with Betty Atwood at UVM in 1968 started Christine weaving. After getting her B.S. in Clothing and Textiles she worked in retail in NYC, and then ran a wholesale hand weaving business for 8 years. Christine moved on to teaching textiles at the Fashion Institute of Technology for 30 years. Courses she taught included Fundamentals of Textiles, Woven Fabric Structures, Woven Fabric Analysis, Costing and Converting, Fabric Styling, Yarn Analysis, and Home Textiles. After retiring Christine taught weaving at the Handicraft Club in Providence RI for 5 years. She now teaches weaving in her studio in Bradford VT and enjoys weaving scarves, shawls, bags, and tea towels to sell. Her favorite yarns to work with are rayon chenille and cottolin.
February 8, 2020
Linda Whiting—Tapestry Techniques
This tapestry workshop will deal with little tricks that can simplify and enhance your weaving practice: handling slits efficiently, making color dots for texture and interest, emphasizing shapes by adding soumak and creating smoother transitions between shapes. Students should bring a small tapestry loom (Hokett, frame, Mirrix, Cactus Flower or other) already warped so we can get started right off. Bring the tools you usually weave with and anything else you think might come in handy. I will bring balls of dyed yarn from my own weaving practice to share with you but if you bring some of your own yarns to use and share that would be great, too. We can use fine and slightly heavier yarns together to blend colors and use some other yarns laid in for another color effect. I will be bringing samples of the techniques we will be using. Maybe we will even discover some new techniques while we weave. Trying something new can really be an exciting way to spark your tapestry.
Instructor Bio: Linda Whiting grew up in a maker’s home. She has been a silversmith, pottery painter, maker of leather garments, a soft sculpture toy maker, and a draftsperson. She built her own sailboat and then started ‘smallboat shop’ doing restoration of wood/canvas canoes and boats. Fiber called, however, and a visit to a museum in the early 70s showing the tapestries of the Ramses Wissa Wassef workshop in Harania, Egypt total blew her away. She had to do this type of weaving! There were no classes in her area and very few books gave much space to tapestry so she is primarily self-taught, never having a class experience until 2013. Her work is primarily smaller in size and her subject matter is often animal portraits although she has done more design pieces in the last ten years and taken workshops through TWiNE (Tapestry Weavers in New England) whenever she can. She has exhibited at the last three Convergences in the small format shows and in 2015 was the feature fiber artist at the Fryeburg Fair Fiber Center. The Sunflower is actually 7' tall.
March 14, 2020
Mary Ann Sanborn—Tablet Weaving
An overview of tabletweaving, this class will explore the basic characteristics and tenets of tabletweaving, look briefly at its history and uses, discuss the process of setting up a warp, and review some of the variations possible in tabletwoven bands. We will look at several tabletweaving variations: threaded-in designs, diagonals simple and complex, double-faced tabletweaving, and warp manipulations. There will be several looms available for experimenting.
Instructor Bio: Mary Ann is a member of the New Hampshire Weavers Guild (NHWG), Boston Weavers Guild, and Handweavers Guild of America (HGA). She has served on NHWG and New England Weaving Seminar (NEWS) boards; worked as Master Weaver at Canterbury Shaker Village, taught classes on weaving and tablet weaving, and presented programs on weaving history and weaving literature. Mary Ann enjoys all things weaving: reading textile fiction and non-fiction, drafting via hand and computer, experimenting on paper and on the loom, exploring weave structures, and tablet weaving. A former member of the HGA Board of Directors, she is currently the HGA Program Co-Chair for the Certificate of Excellence program.
April 11, 2020
Suzi Ballenger—Transforming Tools and Weaving Wonders
Understanding the equipment we use, as weavers, is the first step to changing the way we use it. We will identify ways for disrupting the fluid order of warp and weft through closely observing loom anatomy. Then you will learn how to use the knowledge of weaving equipment to achieve fantastic and unexpected effects in your cloth. Contemporary tools such as Open Reed®, Supplementary Beater®, and RailReed will be explored and demonstrated as simple alternatives we can use to transform the traditional grid into a woven wonder. Don’t be put off by the anatomy of your loom — learn it and use it!
Instructor Bio: Suzi Ballenger was born and raised in Indiana. She completed her BA at Keene State College in New Hampshire and her MFA in Artisanry-Fibers from UMass-Dartmouth. She has worked in New England as a weaver and teaching artist since 1996; published for Handwoven Magazine and The Textile Society of America; and invented and trademarked specialized tools for weaving. Suzi's love of fiber stimulates her curiosity and quest for the fullest expression of a textile. She also loves gardening, swimming, and playing outdoors in winter.
May 7-8, 2020
Multi-Day Workshop—Susan Rockwell—Double-Weave
Double Weave is a magic structure that offers endless possibilities. In this two day workshop students will come with a 4 or 8 shaft loom warped and ready to weave. A draft will be sent to students one month in advance of the workshop. Students will weave only on their loom.
Students being introduced to double weave on 4 shafts will weave a sampler of many of the aspects of double weave such as two layers, tubes, double width, pick-up, experimenting with color and more.
Students wishing to learn more advanced double weave on 8 shafts will be given a specific draft including a variety of different woven possibilities with colors and/or double-weave structures not limited to plain weave.
The class will cover many of the aspects unique to double weave such as but not limited to measuring the warp, sleying, threading, drafting, yarn ratios, use of color and helpful aids.
Workshop fee: Members: $200, Non-members: $225. Materials Fee: TBD
Maximum number of participants: 15
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.
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