Sarah H. Jackson, Textile Artist: tencel

Friday, May 24, 2013

Recipes for Success

Tooting my own horn a bit this morning by sharing the lovely comments Anita Osterhaug made preceding a post I wrote for Weaving Today, the online resource for Handwoven magazine. Anita is the editor of Handwoven. Her continued enthusiasm and support are hugely appreciated!

May 24, 2013

Recipes for Success

Sarah Jackson is one of the most talented weavers and designers I know. I am perpetually in awe of her ability to marry structure, yarn, and color and produce just the right fabric for her purpose. Sarah blazes new territory in her weaving, but she also appreciates the value of having a path to follow. ––Anita

When I decided to resume weaving several years ago after a long hiatus, I wasn't sure I could remember how to dress my loom, much less figure out the specifics of a new project.

So for my first foray back into the world of weaving, I opted for a project from a book I found in the library, Handwoven's Design Collection 20, Weekend Weaving Projects. Wanting to focus strictly on the mechanics of weaving, I chose to use the exact yarn and colors specified and followed the instructions to the letter. The venture took decidedly more time than one weekend, but the result was two lovely tea towels . . . and renewed confidence in my weaving ability.

A year or so later, after joining my local weaving guild, I heard a member scoff, "Real weavers only need more technical information, not recipes for weaving," Well, I have to say, I'm all for recipes (and I'm a real weaver). Following "a recipe" for a weaving project allows one to learn a new technique or experience an unfamiliar fiber, color combination, or weave structure without the concerns of designing from scratch.

Case in point: a new weaver in my guild approached me recently to excitedly tell me she had just finished weaving cloth for a project of mine in the November/December 2012 Handwoven. "Squares within Squares Top" is an 8-shaft turned Atwater-Bronson lace project with a complex treadling sequence.

Quite an ambitious project for a beginning weaver, or so I thought! She had tackled it with confidence knowing all the details and information were at hand. Along the way she became familiar with a new weave structure, learned to treadle with both feet simultaneously, wove with Tencel for the first time, and discovered a new wet-finishing technique.

As a designer, I'm thrilled when others are inspired by my work. If their confidence and competence as weavers increases as a result of recreating one of my projects, then the joy of doing what I do is magnified as well. I'm going to write more recipes!

—Sarah H. Jackson

Sarah Jackson's Squares WithinSquares Top. The "recipe" can be found in the November/December2012 issue of Handwoven

Thursday, February 7, 2013

Atwater-Bronson Beaded Top

Looking over my most recent posts I noticed I hadn't shared the results of fabric I was working on ...last May! I was surprised to remember that I started it that long ago, and it makes me realize how long the designing, weaving, and finishing process often is. I finished the weaving in June and put the top together then. I took it with me when I attended Convergence in July, but found little time to work on the embroidery and beading then. It was finished and mailed to Handwoven magazine in mid-August for publication in the November/December issue. The description, "Sarah Jackson's snowy, showy Atwater-Bronson top..." really does describe the look of the fabric, although the beads and silky embroidery floss catch the light and shimmer more noticeably than the photo shows.

In the close-up below you can see more clearly the two threads I used--8/2 cotton which has a matte finish and tencel which is shiny--in both the warp and weft. The embroidery and bead placement was mapped out with pieces of freezer paper ironed onto the fabric.

It was fun wearing the top around the holidays for a bit of sparkle and shine!

Welcome!

Artist Statement:
Handweaving, simple or elaborate; it all begins with one thread. To sit at  my loom and throw the shuttle while witnessing the interplay of color,  pattern, and texture as it develops into cloth is endlessly fascinating.
My design process often centers on color as I work within the limitations  of the loom to stretch and explore the possibilities of color interaction.
At other times I focus on the combination of structure and fiber, using  only one or two colors, to create the desired cloth.
Whether designing for the home or one-of-a-kind garments, my weaving  reflects a passion for marrying structure, fiber, and color to produce  cloth that is unique, practical, beautiful, and just right for my intended  purpose.

About Me

An early interest in art and textiles led me to the University of Kansas where I earned a Bachelor of Fine Arts with emphasis in textile design. I started weaving again in 2005 after an almost twenty year hiatus. Some of the things I did during that time include working for a publishing company designing and writing pattern instruction for knitwear, quilting, home schooling my son, and volunteering as a Stephen minister in my church. I am passionate about weaving (everyday, if possible!), color, and texture. When not weaving, I enjoy reading, gardening, and bike riding.

I have had numerous designs published in Handwoven magazine. In January, 2012, I joined their editorial team as a technical editor, and in January, 2015, I was offered the job of weaving editor.