TUTORS FOR BRAIDS 2016

 

Jacqui Carey is a maker, teacher, author and researcher of braids, having specialized in the subject since graduating from a degree in woven textiles in 1985. Author of many books about Kumihimo and Chinese Braiding.

www.careycompany.com

 

     

 

Lynn Caldwell has discovered over the years that color and texture are her strengths and that is why her pieces have a rich color palette.  For each warp she puts on the loom, the colors are hand selected and shades blended to achieve a complexity of color that is her trademark.  Only by mixing various shades of color does the depth of color come out in the weaving creating a garment that will enhance the wearer.  She prefers using high quality natural fibers in her work for their interest and comfort.  The same holds true for designing kumihimo braids.  She strives for an interesting color play and has developed a unique color block technique to showcase this.

She is currently the executive director of the Fine Line Creative Arts Center in St. Charles, IL

 www.lcweave.com 

 

 

Lyn Christiansen is an artist and retired professor of innovation in Boston, Massachusetts. Her kumihimo-based artwork combines braids using a wide range of materials in wall hangings and 3D compositions.  The Fuller Craft Museum has exhibited her work and she most recently curated “The New Kumihimo” for the Wedeman Gallery, Newton, MA

www.dellaluxa.com             

 

Ingrid Crickmore loves doing, teaching, and learning about loop braiding.  Her website Loop Braiding is a a well-known online resource for loop braiding tutorials, information, and inspiration.  She teaches both traditional and original techniques and designs 

 loopbraider.com

 

 

Kim Davis has been studying traditional and contemporary bobbin lace for 18 years with American and European teachers.  She specializes in Early Bobbin Lace, a form of passementerie.  Kim has done extensive research and published numerous articles on the topic.

 

  

 

Karen DeSousa is the author of four kumihimo books and the creation of “Kumihimo To Go” — a kumihimo grading product line that is now sold throughout the US, Europe and Australia.  Karen has attended the International Kumihimo Conferences in Kyoto, Japan and Manchester, UK.  In 2013 she returned to Japan to learn more about kumihimo. 

www.accentbead.com

  

 

Susan Foulkes is a weaver who loves natural yarns.  She became fascinated by the lovely patterned woven bands from Scandinavia since 2008.  She has travelled around the Baltic researching their colorful history.  She has published four books about band weaving. 

http://durhamweaver64.blogspot.co.uk/

 

 

 Adrienne Gaskell loves living in the tropical climate of Miami, Florida. After twenty years as a marketing sales executive, she has crafted a second career in jewelry fabrication and instruction. In a field that has become fairly predictable, her unique combination of braiding, beading and metal techniques place her extraordinary pieces in a class of their own.

Growing up with engineers and an interest in process first attracted her to kumihimo braiding, now one of the predominate techniques used in her work.

www.adriennegaskell.com

     

  

Michael Hattori was fortunate to start learning kumihimo in 1979 at the Domyo school in Tokyo while on a year’s study abroad.  In 2000 he stumbled upon Richard Sutherland’s workshop featuring three master braiders from Japan, including Makiko Tada with whom he later studied takadai and karakumi braiding.  Later that year he attended a kumihimo workshop with Rodrick Owen in Ft Bragg, California where he learned ayagaki pickup braiding.  Michael has continued to study regularly with Rodrick and has also studied kakudai braiding with Ethel Kawamura

Currently, he is involved in braid reconstruction, including a series of complex braids dating back as far as the 9th century as well as working with contemporary braids.   Michael is actively researching the history of kumihimo and plans to write a book on the subject.

        

 

 

Julie Hedges has been researching and teaching the technique of Ply-Split braiding for over 25 years and developing it to make wearable and sculptural pieces.  She has exhibited and taught in the UK and abroad and has written 3 books on the subject.  Julie worked in the Textiles Department at the Surrey Institute, Farnham, UK until 2000.  

www.juliehedges.co.uk

       

    

 

 

Linda Hendrickson  has been teaching since 1992 and is the author of several instruction books, including How to Make Ply-Split Braids and Bands and Please Weave a Message.  She has taught workshops for guilds in the US, Canada and the UK.  She has had a fiber art studio in Portland, Oregon.  She also enjoys practicing Taoist Tai Chi.  

www.lindahendrickson.com

 

 

               

 

Alison Irwin was introduced to weaving at a night school class in the 1970s; the subject was Salish weaving.  She continues to explore slower techniques, teaching pick-up on inkle and 4-shaft looms as well as kumihimo and weaving with paper.  For more than 20 years, she has taught a variety of weaving classes to individuals, guilds, retreats, community centers and Elder College, ranging from courses for beginners to ones on specific weave structures.  

 

 

 

Carol James was born and raised in the United States and has always been interested in fiber arts.  She was introduced to fingerweaving by her future husband and together, they wove their very first sash, which he wore on their wedding day.  She moved to St. Boniface, Manitoba in 1990 and discovered that fingerwoven sashes, known as the ceinture fléchée, figured prominently in the local French-Canadian heritage. Getting involved with Winnipeg’s historic re-enactment community was an opportunity to extend her fingerweaving skills and resulted in the publication of the book, ‘Fingerweaving Untangled’.

Carol then became interested in the technique of Sprang.   From Peter Collingwood’s ‘Techniques of Sprang’, she found several plates, images of sprang. One particularly stunning example is a sash that belonged to George Washington.  She researched this sash and made a replica for George Washington’s Mount Vernon which is on public display.  She has written a book on the technique of Sprang, ‘Sprang Unsprung’ and teaches groups on this very old technique.  

www.sashweaver.com

    

 

Katia Johansen is a trained textile conservator and has worked at the Royal Danish Collections for 35 years where she has documented special braids on objects in the royal collections — which contain a number of unusual and well documented garments from the kings’ wardrobes from 1600 onwards.  There are all kinds of braids and bands, mostly in gold, silver and silk.  There are also many ways of using them.  It was while studying a particular braid on a robe from the early 1600’s that Katia realized that loop manipulation was also practiced in Denmark around that time. 

www.clothestellstories.com/

 

 

 

Kris Leet has been tablet weaving since the early 1970s.  She combines her passion for tablet weaving with an abiding interest in prehistoric textiles, research and experimental archeology.  Since 2003 she has focused on Iron Age and early medieval tablet weaving techniques and methods.  She is the co-author (with Linda Malan) of The Willful Pursuit of Complexity on the Icelandic missed-hole technique

 

 

      

 

Linda Malan has long shared her fascination with tablet weaving as a workshop and seminar instructor, a study group leader, and a founding member of the Tablet Weavers International Studies and Techniques newsletter.  She has written many articles for a variety of publications on the topic and is the co-author of the book, The Willful Pursuit of Complexity

  

 

  Leigh Morris 20 years of experience with hand spinning and knitting was put on hold when he discovered braiding in 1999. He started with the Maru dai and progressed onto the Taka dai.  The fascination for him with both looms was the use of color and pattern development.  He was beginning to create braided jewelry when he had the opportunity to attend the first International Braiding Conference in Japan.  Leigh extended this trip with two weeks study with Makiko Tada in Tokyo and returned home with a greater determination to create braided jewelry, particularly a new appreciation of the potential of the zig zag braid which is created on the foam plate.  He has worked for a few years on the zig zag braid, using a Maru dai rather than the foam plate and is now excited about the uniqueness of the jewelry he is able to create. 

   

John Mullarkey has been tablet weaving and spinning for almost a decade.  He has had works displayed in the Missouri History Museum, and won awards from Interweave for garments submitted to Handwoven magazine.  He is the primary author of A Tabletweavers’ Pattern Book and has two new DVDs available on the tablet weaving.

www.malarkycrafts.com

 

     

 

 

Rosalie Neilson is the author of three books on kumihimo design, the latest being Kongoh Gumi - A Cacophony of Spots, Coils, Zags, Lines.  In 1980, she traveled to Japan where she learned braiding on the Maru Dai and Kaku Dai  She has been studying and teaching kumihimo since 1982 in the US, Canada, and England.  Her mathematical interests lead her to develop the 1024 four block symmetric motifs in addition to the 1157 unique 2-color patterns for Kongoh Gumi.    She is Adjunct Faculty at the Oregon College of Art and Craft.  

www.rosalieneilson.com

 

 

 

Rodrick Owen lives in Oxford, England.  He grew up in London and Sydney Australia and worked in industry before pursuing a career in textile arts. He has been making braids for 42 years. Rodrick trained as a mature student at the London College of Furniture, completing the Creative Textiles Programme, qualifying with distinction in 1981. In 1984 he was awarded a Winston Churchill Fellowship to study braiding in Japan where he worked with Makiko Tada. In 1987 he was invited to send work for the opening exhibition at the American Crafts Museum, New York, and at the Textile Museum in Washington DC.  The exhibition celebrated the 1986 publication of Jack Lenor Larsen's book, Interlacing, in which two pieces appear.  Rodrick has taught and exhibited his work in the United Kingdom, the United States, and Japan. He has also taught in Denmark, Holland, France, Belgium, and Australia. 

   

 

Marilyn Romatka has the best job in the world: she travels to interesting countries, learns folk art techniques, then returns to the USA to share the skills with enthusiastic students

www.taprootfolkarts.com

  

 

Junko Samejima has been teaching lace making for over thirty years.   She was taught Bobbin Lace by Sue Thompson from 1977 to 1979 at Manchester.  She was later learned to make needle lace from  Dorothy Swinson (Preston), Irma Osterman (New York) and Elizabeth Ligty (Denver).
She held an exhibition in New York(1996) and Sakura(1999) and has exhibited at several group exhibitions in Tokyo and Sakura.   Junko is a member of IOLI (The International organization of Lace, U.S.A.) and the Lace Guild (UK)
 

 

Robyn Spady learned to weave over 40 years ago and is the author of Handwoven Decorative Trim. In addition to narrow warp weaves, she also explores double-faced fabrics, four-shaft weaves, and uncommon weave structures.

www.spadystudios.com

 

Anna Sparr is from Sweden, living and working in Denmark.  She is a textile conservator at the Museum of National History.  Besides her work she is also a hair worker and a student of textile history at Uppsala University.  She has been making braided hair work since 1995.  She has recently published an essay on patterns for braided hairwork.  One purpose of the study was to discover possible differences in the description of patterns depending on writer and target audience.  All the patterns described in five pattern books dated from 1832-1990 were sorted to identify and define different types of patterns.  The main purpose was then to identify and define a braid-typology.

http://www.sparr.dk/Hararbete/Start.html 

   

 

 

Makiko Tada has been making Japanese braids, “Kumihimo” for over 40 years. She is a researcher and designer of Kumihimo. She teaches at the Kyoto Institue of Technology and JWU. She has published many books about Kumihimo.

www.texte.co.jp/makiko/works

www.makikokumihimo.posterous.com

   

 

 

Tamaki Takagi Embroider, band weaver and researcher

 

 

 

 

    

Dominic Taylor Dominic’s fascination with cylindrical braids is the coming together of two disciplines important in his life - working on boats as a young man; and a professional life involving much geometry. He currently lives in Greece

www.dominictaylordesign.com  

 

Tadashi Uozumi has been developing braiding machines and Kumihimo Composite Materials for over 25 years.  Kumihimo Composite Materials are made of carbon fibers, glass fibers and plastics.  They are used for parts of automobiles, sports goods and etc. 

He isn’t only an engineer but also a researcher.  He had been working for developing braiding machines and these materials at Murata Machinery, Ltd. as an engineer since 1992.  From 2013, he has been developing and researching them at Gifu University.  He was the Chairman of the Kumihimo Society in 2014.

 

 

Laverne Waddington has been learning to weave on simple looms with indigenous teachers in South America since 1996.  In her home in Santa Cruz, Bolivia, she draws on ethnic design influences from around the world to create pieces on a backstrap loom using the various techniques and structures she has studied in South America.  In 2010 she published her first book on one of her favorite warp faced patterning techniques, Andean Pebble Weave which was followed by More Adventures in Warp -faced Pick-up Patterns in 2012.  She has shared her skills and experiences with many visitors to Bolivia over the years and now reaches a global audience with her weaving tutorials and travel tales on her blog.  She provides online advice and support to weavers through forums such as Ravelry and teaches and speaks at guilds and textile conferences around the world.

 www.backstrapweaving.wordpress.com

       

 

 

Barbara J Walker is passionate about ply-splitting and developing ways to combine the technique with other media.  She is an HGA Master Weaver and member of Northwest Designer Craftsmen.  She has taught ply-splitting and weaving in the US, Cananda, England, and New Zealand.  Her ply-split pieces and scarves have been exhibited internationally, and two of the pieces are the only examples of ply-splitting in Lark Books’ 500 Baskets.  She has written books and articles on the subject.

www.barbarajwalker.com

   

 

 Carol Wang is a multimedia consultant/programmer who beads, braids and knits but mostly she knots.  She is has been studying and writing about decorative knotting for many years.  She also has an online shop for Asian craft supplies — but mostly Chinese knotting.

Info & instructions:  http://www.chineseknotting.org/

Blog:                                      http://www.knottynotions.com/

           

 

Yuko Yoshida is a braid lover.  She has been fascinated with braiding from the beginning.  While mainly making obigime for kimono, she has been exploring new techniques and possibilities of braiding.

 

  

 
 

 

 

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