Re: gathering info about studios

Robin Burk <studio@...>

I'm not sure a novice hobby weaver like me has a 'studio' ;-) but ...

When we moved to this older house last Fall I took the small front parlor
for weaving, 11' x 15', carpeted. Two windows with northern exposure and
two with western (and good blinds). Bookcases along the inside 15' wall,
some of which I use for yarn etc. in plastic tubs, some of which hold parts
of our regular library. The 45" 8s CM Leclerc Nilus II sits towards the
western end of the room and nearby is an adjustable table for sewing,
spreading warps in the raddle, etc. Also a small rolling table which
sits next to the bench when I'm working. The room also holds an armchair
and floor lamp for reading, a carved chest which holds fabrics and my sewing
box, an overhead light fixture supplemented with wall-mounted fluorescents
containing full-spectrum tubes and an Ott floor lamp for close-up work.

I've been considering upgrading to a 12s Scandinavian loom w/ drawloom
attachment but haven't worked out the space issues yet. Other things on my
wish list include sectional warping equipment. I currently use a 20 yd
vertical warping mill. I've found that one of the folding tables I use for
grooming my show dogs holds the mill at a good height for warping and the
non-skid top is helpful too, so I just bring that up from the grooming room
when needed. I'd also like a good stand for holding my reeds, warping
sticks, raddles and rolled corrugated paper etc. I wish someone would offer
these on order in North America.

For what it's worth! ;-)


Collingwood Appreciation & FiberArt

Jyoti Coyle

To Peter and All,

Glad you're back, too! Besides your weaving mastery for our minds, the
incredible British wit and humor to your email missives tickle my heart,
even the former M.D. in you comes through. (Hope this is an ok thing to
say.) I missed your teaching in Vermont years ago, but it lives on in some
masterful weavers here.

Yesterday I climbed up in the newly hayed meadows beyond our home
overlooking the Green Mountains, thinking about New England and England.
Stowe is to the west and the Groton Mountains to the east, we're up on a
plateau close to the later. And I marvel that there is a system (the
Internet) connecting all of our "studios" and the thoughts and work that we
pursue in them, whatever their size and location of electricity (which is a
pertinent topic for me as we are building on here).

Survived the dynamite (Fire in the Hole! and a vrooming sound, about eight
blasts, the tire-tread mats woven in the Montreal area worked to protect our
house) and dug up some really fine rocks, one the size of a monolith! This
morning I am watching six guys pour our concrete foundation flooring, like
kids playing in the mud. After jumping up and down in it (in big yellow
galoshes) to test the consistency, they use these long boards to smooth it
out, there is a hand-craft to it.

Because I'm working with a lot of color, I've hauled in my secondary
sectional back beam trailer attachment for my older 60" Norwood to act as a
horizontal warping drum (we'll see) to warp my air-powered loom, to keep the
warp organized in the cramped space. Thanks to weavetech, Ruth & Amy, all
of these conversations are a learning experience for me.


Jyoti Coyle, artist-weaver of Patternland
Email: Website:

p.s. The fiber as art dialog is poking through -- the issues I ponder are:
Realizing the incredible time and mental energy it takes to architect a
woven statement as fine art (as in the work of Lia Cook, Emily Dubois, Lois
Bryant, Cynthia Schira, Janice Lessman-Moss, etc.) is fiberart now
considered part of the current art movement? Are fiber artists accepted as
the painters and sculptors they are? Is the art world becoming a more
enlightened community? Where does Fiber Decorative become Fiber Art? How I
experience receiving American Craft and The Surface Design Journal vs. Art
in America, for example. Beauty vs. shock value. What is the experiencer
of fine art or fine craft being asked to do by the artist, which gets
philosophical. Fine art and fine craft seem to be operating on the same
level esoterically to me. I've been viewing fine craft glass exhibits and
pondering the intersecting of various craft media, such as the use of woven
threads, real weaving being embedded in glass, possibly woven of
fire-resistant fiber-glass filaments, I believe in Lino Tagliapietra's work.
Is anyone knowledgeable about this?


Barbara Nathans <bnathans@...>

We are in the delightful situation of remodeling a 2 bedroom apartment as our full time abode in San Diego. I have said from the beginning that my (new) Megado loom would be in the LR. No disloyalty to AVL but the low profile of the megado will not intrude on the wonderful panoramic view we have on 2 sides of this medium-large sized LR- DR. My husbands desk, built into one of the 2 walls of bookshelves, a long dining table,and a small sitting area are the only other furniture we plan here. The second bedroom is being fitted out with utilitarian cabinets and drawers on 3 sides for the messier part of my activities. Visitors? We'll put them up nearby.

I shall have to check where we are putting outlets... some I know are waist high. Good suggestion.

Barbara Nathans, who is mentally transfering things from plastic bins on Long Island to real drawers and cabinets in California......

Re: gathering info about studios

Daryl Lancaster

350 square feet, it is an enlarged 4th bedroom in my house.


----- Original Message -----
From: <>
To: <>
Sent: Thursday, August 16, 2001 8:33 PM
Subject: [WeaveTech] gathering info about studios

What is the size of your studio
Is it part of the house structure
If it is not part of the house structure -- what type of structure is
used for the studio?

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Warp stick ribbons

Karen Kelley Schultz <kksmaddogdesigns@...>

Were these purchased commercially, and if so, where? or were they handmade?
Great idea. I often use masking tape to hold the sticks in place.


Re: Looms with a Low Profile

Bill Koepp <bgkoe@...>

In my opinion, the big problem with the low-profile loom design is that you
are pretty much forced to use a rising-shed jack mechanism. And one problem
with this mechanism is the difficulty of lifting many shafts.
So true. It's interesting that Louet says the Megado is a CM loom : I can't call it a CM unless when open,
the center of the shed is at the center of the reed, both planes of the shed
are under the same tension and no shaft can float under very high tension.
Since the shafts appear to be held down by gravity alone......( I've not
been able to try one out so I can't come to a solid conclusion on that ).
To me the biggest problem with a low profile loom is the lack of an overhead
beater and the lack of possible improvisation. I hang stuff from the castle,
pulleys, cords, weights or springs to counterbalance things and so on.
On the other hand, they do allow views over the loom and sort of meld into
the usual home furnishings like an electric organ or small piano. They may
be moved easily ( no chance with ours ! ) and mostly cost less; an important
item for a lot of people.

Happy Shuttling ! - Bill Koepp in Central California

Re: Looms with Low Profile

Bill Koepp <bgkoe@...>

(Come to think of it, are there low profile CM or CB looms????)
I've only heard of one low profile CM loom and but can't remember the brand.
It used pulleys to raise & sink shafts.

Happy Shuttling ! - Bill Koepp in Central California

Re: gathering info about studios

Nancy Muller <muller@...>

Hi, Nancy in New Zealand here,
I usually lurk, but am interested in this thread.
I have all my electrical outlets at chest height, it was one of the best things I did in my studio. No searching behind equipment, or bending to plug things in, I also put plenty in, I have double outlets on every wall, and use most of them. My studio is about 6m x 6m, not big enough of course !!
Just thought my 2c worth would help your cause ;0).
Nancy in New Zealand.
spinner, weaver & singer of country music.

----- Original Message -----
From: Brucie
Sent: Saturday, August 18, 2001 1:25 AM
Subject: Re: [WeaveTech] gathering info about studios

I wish I'd put all the electrical
>outlets at chest level instead of ankle level.

I am so glad to hear you say this as this is what I want to do and DH
thinks it is a little crazy. Now I can tell him 'tain't so.

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Re: quick return!

Johnetta Heil <luv2weave@...>

welcome back Peter!


Lamplight Creations
Leasburg, North Carolina

web page

Re: quick return!

Lynne E. Chick <lchick@...>

Glad to know you're still on, Peter.

Lynne in Maine

Re: gathering info about studios


What a timely discussion.

Currently, my looms, wheels, yarns and goodies are housed all over our home.
The floor loom sits in the middle of the living room and the table looms are
in other various rooms, including one on the dining table. We've been
talking about building a studio and all the information from this list will
help greatly.

We raised three kids in a 900 sq. ft home and when they moved on, we moved
here to the mountains into a "spacious" 1400 sq ft home. We were thrilled
and excited about all the extra space. That didn't last long once I got into
the weaving.

We aren't sure exactly what we will build, but your comments will be of great
help. Thanks,

Chris, via cell phone in the mountains



Since my cell phone/internet connection often keeps me from anything except
the emails, I haven't tried all the extras everyone has been talking about
yet. I'll keep your comments, though, for future reference.

It takes a lot of work to coordinate this kind of move and it takes time to
iron out the bugs. Glad to see everyone hanging in there.

Chris, via cell phone in the mountains

quick return!

peter collingwood <peter@...>

I apologise for hasty announcement of departure from this group due to
exasperation with Yahoo's labyrinthine site. (NO, not another password
and ID to remember.. why not ask for passport number too and maiden name
of mother?!)

However Ruth Blau and Amy Norris with great kindness immediately
installed me again as a Digest receiver. So all is as before... and I
hope I may continue to contribute my occasional drops of knowledge into
the ocean of the world's weavers.

Peter Collingwood

Re: Studio Discussion


--- In WeaveTech@y..., mdavis@q... wrote:
--- In WeaveTech@y..., etritthart@w... wrote:

I have recently been considering the idea of building a multiple
dwelling for artists that includes studios and was tring to figure
out how much space to allot. How many units and what sort of
would be needed? Does any one out there think this would be a
worthwile adventure -- are all weavers "family" people with houses
and studios or are some looking to establish themselves?

I think the most exciting part of this move is the decision to
weaving full time. Now I have to figure out the best place to do

I think that would be a grand Idea! I have wanted to do similar for
many years but how? It would take lots of money. I have a small
wooded area in the mountains between NC and VA and have thought it
would be nice to build several cabins and a large studio/conference
center/school/retreat for the arts. When I looked into the cost it
was unbelievable. Even though we're way out in the country and building
codes are rather slack, each cabin will cost at least $20,000 and
that's before any furniture or equipment forget paying for people to

It would be nice and I hope you can do it but, I will have to wait.
Maybe when I retire?

Mike Davis
Mike...This was done many years ago, quite succesfully by Valborg "Mama" Gravander here in the SF area over in the Mill Valley area of Marin County. She had a rather large country property on a hillside and her husband..a retired ship's carpenter..built little cabins here and there on the site, each with a traditional Swedish loom. In the main house she had an enormous weaving room, which he had designed without interior pillars..huge free space to work.

The Gravanders, during the Depression of the 30s, had a large house in the Pacific Heights part of SF where they ran a boarding house and weaving school. Lots of young Swedes and others lived there and worked and learned. Once a week..or was it once a month...they opened the house to the public and they and the young people cooked and served a festive and authentic Swedish dinner..for money.

Mama knew the value of a dollar, and was thrifty all her life. In the years when I knew her she would travel to Sweden once a year and come back with lots of small Swedish antiques..spinning wheels, candle holders, copper pots. She'd have a Lucia Fest and send out invitations and have all the traditional thing to eat and music, the whole works. Then there were all these lovely things around...for sale.

I dearly loved her. We sat on her deck in the sun, me with coffee and a small plate of cookies, she at the spinning wheel. She looked up with a smile after bit and said.."spinning is such damn fun!"

She also put old tennies on the feet of her looms so they would not walk across her wood floors.

I hope some of the other Northern California listers will come up with more anecdotal stuff about this great lady. glen black

Interesting website...I think


Hi a postcard in the snailmail today about the website below

Probably some of you have known this for months, but it delighted me.
Great yarns, high prices, beautiful handwoven cloth. glen b.

Re: gathering info about studios - electrical

Katherine Gunn <kglist@...>

I wish I'd put all the electrical
outlets at chest level instead of ankle level.
I am so glad to hear you say this as this is what I want to do and DH
thinks it is a little crazy. Now I can tell him 'tain't so.
My contractor & electrician just rolled their eyes but I insisted on this -
mine are at waist level I guess you'd say - throughout the *whole house*,
with only a few exeptions - and I just love it !!! I never have to crawl
under furniture to plug things in. I have not found dangling cords to be a

I have included the light-switches in the same locations in quite a few
places (in the same face-plates as the base-plugs) - often just under or at
the ends of windowsills - This height also provides for future wheel-chair
accessibility of both plugs and switches should anyone need it - something
that should be included in any new construction these days.

In workshop and basement, I made them put the base-plugs in the ceiling,
which drove them even crazier! They work really well too!!

Katherine Gunn Ottawa, Canada <>

warp flanges


Now that we can post pics -- could someone post one of the warp
flanges that were discussed recently? Thanks.


photo of warp stick ribbons


Have not seen this in the digest, thought I
would repost it.

Subj: photo of warp stick ribbons
Date: 8/17/01

Hi, I uploaded a photo of my warp stick ribbons that I use on my
Cranbrook to the photo gallery under the equipment/tool segment.
Only thing you can't see is that I used velcro to secure the warp
stick ladder to my warp rod. Works well, prevents the dreaded and
cursed collapsing warp stick syndrome.

Re: gathering info about studios

teresaruch <teresaruch@...>

I wish I'd put all the electrical
outlets at chest level instead of ankle level.
I am so glad to hear you say this as this is what I want to do and DH
thinks it is a little crazy. Now I can tell him 'tain't so.

I rewired my basement studio and routed all the electrical boxes through a
light switch (most of the outlets are used for lights) now when I leave the
studio I just have to throw a switch and the lights and all the equipment
are turned off. no need to worry about something being left on. I do have a
few outlets that are not attached through the switch for permanently on
equipment. bad news the lights have to be on to use the plugs (use one for
outdoor use). Teresa

upcoming UK trip help needed


hi all, could i have some help please? i am will be in the UK,s.e. of
London, sept. 10 to 24th. i would like to visit weaving, textile,
wooly places.
Any ideas, advice?
much thanks in advance
susan keating

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