Carly, As a business owner and published author, I can only say that when I publish material, teach, or sell merchandise, I feel a personal responsibility to present weaving as correctly as possible

As a newer weaver, I hope I can offer a bit of perspective. I have learned, trying to find the 'right' definition of things in weaving, that it really depends on who you ask, who they learned from,

In the research and reconstruction of canvas in Old Master paintings, I am weaving the so-called hin und wieder patterns. The term is from Mark Zieglers book 1677. The 'oldest' canvas I have

Here it is: "The selection of the terms we use today must be such that as many people as possible can understand each other." -Peter Collingwood

Nomenclature helps the reader to understand the writer's intended meaning. I would love to have a simplified dictionary of terms in weaving, using Irene Emery's work as the source. Will anyone

Does it bother me? Yes. It's one of my weaving "pet peeves," and I will declaim against it to anyone who will listen. I find it incredibly irritating because slapping an incorrect name on a weave, or

Inga, Just looked at the ad you mention - I once left a mild reaction to their recommendation about putting linen in the dryer and was "scorched" in a very unpleasant way as "just a disgruntled

I have no issue with language changing or being different in different places. I follow a lot of weaving groups on FB and cringe at ’treddles’ or ‘rolling the warp on’ etc. I don’t feel the

The discussion is an excellent adult example of ‘artists’ at work. There is no way a car or a domestic appliance could be constructed (let alone the James Webb telescope) without a common

And why should we expect the language of weaving to be any less fluid than the language of English, for instance? Words come and go, meanings can be the opposite within decades if not

After 5 decades as a handweaver, textile industry designer working in both industrial and handloom sectors, and teaching college students at several different schools….I’ve given up on specific

So this post from Gist bothers you? There’s also the use of “multi-shaft” to mean shaft loom (as opposed to rigid heddle). I’m seeing that more and more. But in the past it’s meant more

I communicate with a lot of newer weavers and they find the playing around with nomenclature along with incorrect usage confusing and frustrating. For example:, threadings, tieups, and treadlings,

I know we have some weavers here who like nomenclature to be used correctly. Some of these are not Overshot, Halvdräll for instance, does this bother you? There is also a book making the rounds in

Thanks for posting the article, Helena. I hope you will keep us posted on your work over time. —janell

Looking at an oil painting done in the 1950s, I see no sign of the weave of the underlying canvas. I don't think this is unusual; I think many techniques obliterate the canvas. The painting I am

Why? As Doreen McLaughlin noted, it's sometimes difficult to find "unplowed ground" in which to conduct historical research, and the type(s) of textile(s) used in the move from panel to stretched

..I am new here ! If you would like to read the full text of the article in The Economist, please find it here https://labo.pt/news Looking forward to many interesting topics! Helena

I would think because the warp and weft provide the texture upon which the painting is built. Janene

Twill Thrills (editor van DER Hoogt) has an article and drafts for M&W twill used as canvas for a portrait that had once been a tablecloth. So it would seem that a study of "canvas" would be a study