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A record of my experimentation, process and discovery in textile design and production.


Nyssa McCullough

Much of a weaver's time is spent in preparation. You have to meticulously plan your warp; the fibre, the number of ends, the epi and the threading pattern as once it's on the loom it is extremely difficult, if not impossible to make changes.  With this in mind I have spent the last week and a half making sure I have everything just right to begin.

I have prepared all my warps for my final project in the past week, winding three warps including one epic 7 hour, 1420 end warp. The most exciting thing this week was today when I screen printed a length of my silk/stainless steel warp. I had previously only done this in a small scale for my sample weave, and it was a tricky process

My original sample with printed silk/stainless warp

My original sample with printed silk/stainless warp

The process involved stretching the two halves of my 5.5 metre warp along the length of the printing table and spreading the threads out to approximate the weaving order. The look I am going for is quite textural and abstract, so the order of threads wasn't super important. My main focus was in getting the print on the warp without getting it hopelessly tangled. I screen-printed my design in repeat over top of the warp using acid dyes. Huge thanks to Lucy Adam and Simone Deckers for their invaluable assistance with this process, I wouldn't recommend attempting it alone!

It was a lot of work but I really think the effect will be worth all of the effort!