Jan Hayman showed two pieces woven from warps prepared in Judy Preckshot’s “serendipitous” warp-painting class. They painted fiber-reactive dyes on the warps. In class they laid out their wound and wet warps. Nancy had premixed about 6 fiber reactive dye colors. Jan used used a magenta, orange and burgundy. They brushed on the colors and let them bleed into each other, and when they were satisfied they applied soda ash to fix the dye.
With those pieces, Jan demonstrated a highly effective, low-tech mangling technique, using a wine bottle and a piece of glass for a smooth surface. Other people mentioned that granite countertops work great, and pounding a linen piece on a stainless steel countertop resulted in a beautifully smooth textile, too. Here’s the process, in unscientific terms:
Get the piece wet, and allow the excess water to drip off before mangling. You want to puff up the fibers to the maximum extent by making them wet. Then, when the fibers are pressed with the roller, they squish down flat. And because the linen fibers are not elastic, they stay where you put them, all flattened. Linen doesn’t have a memory. Items woven with singles mangle better than those with plied yarns.
Sue Mansfield showed us samples of a weave structure currently being studied by the Complex Weavers group: Bateman Boulevard. She wove a piece with cotton warp and linen weft on her 8-shaft AVL dobby loom. This led to a conversation about beautiful selvages. Sue wasn’t concentrating on her edges, as the pieces would be cut apart to share as samples. Barb told about a vest she created that capitalized on her less-than-tight, ruffly edges. She highlighted the edge, and gave the vest a name to exemplify her bold statement about perfection—or the rebelling against it—“Up Yours.”