Bhakti Ziek and "Stardust"

This gigantic project consists of 6 woven panels, each 16' tall (~5,25  meters). This adds up to 96'  or more than 30 meters of weaving!  The work is a commission for Princeton University. 

See Bhakti's Facebook page for more pictures and  further details! 

The TC-1 that Bhakti owns, is now 19 years old - and still going strong!  How many of you have cars of this age? Or anything else, for that sake?
I am so proud that the TC-1 loom was Bhakti's choice for this commission!
Vibeke

Video of Cathryn Amidei in action on the TC2

The piece in the loom is now in the show Digital Technology - Traditional Techniques
at the The Wellington B. Gray Gallery at East Carolina University, NC

Newsletter January 2014

For those who have not received our Newsletter, please read it here! Also, let us know if you want to be added to the mailing list!

http://www.digitalweaving.no/assets/files/Newsletter_January.pdf

DIGITAL WEAVING NORWAY IN DENMARK

I took a 5 day trip to Denmark to visit 2 schools that own TC1 and TC2 looms. The first part of my trip was to participate in a workshop offered by Lise Frolund and Grethe Sorensen at the School of Design in Kolding Denmark. The second part was to visit the Textile studio at the Danish School of Design in Copenhagen. They have the first TC2 sold in Denmark.

KOLDING

The Design School in Kolding has 1 TC1 loom and another 4 modules that are installed in the frame of a traditional wooden loom. The TC1 was purchased jointly and shared with an artists group. The terms of the arrangement are that the loom is available to students in the school for some part of the year and can be rented out via the artists’ group for the other part. The fee is nominal and the minimal amount of time is 3 weeks.

The workshop was offered for free. There were 12 participants. The reason Lise and Grethe offered this workshop was to promote the use of the TC1.

It is difficult to get access to a tool such as this and it can be very expensive. The rental terms for this loom is arranged to protect and support the creative and investigative process.

As Lise said, “You have time to explore and to make mistakes and learn from them and then to fix them.”

The loom is situated in the school’s weaving studio - and it was noted that it was also a benefit for students to see artists working on it.

Because I had already visited both Lise and Grethe’s studios, I was prepared to see modules from the TC1 installed in a wooden framed loom. I nearly clapped in delight when Lise showed a modification for using a variety of different reeds. 

The important message from Lise and Grethe is that the TC1 is a tool that pushes the boundaries away from the weaver. They haven’t allowed the configuration of the modules or the width of their looms to restrict their curiosity or vision. Where they have required it, they have taken advantage of the flexibility of this tool- to a degree that is a lesson to us all not to be ruled by our tools, but to use them fearlessly! They have borrowed and swapped modules for years, placing them in a variety of loom frames to suit their needs.

Just think about that for a moment....

Grethe Sorensen

Lise Frolund

All of the participants had weaving backgrounds, some had Photoshop experience, and less still had woven on a TC1.

There was very little “teaching” of how to design a woven sample or how to use software.

The focus was getting something ready so that the participant could walk up to the loom, turn it on, interpret the behavior of the loom/computer interface, weave and see results. The point is that one could self-teach the software; Photoshop for example, by taking advantage of the many excellent resources available. There was also a table of books and catalogs of work available to browse. During file preparation Lise, Grethe myself and the participants provided support and advice.

When the fabric was cut off, it was very satisfying to see the range and trajectories of everyone’s experiments. Each student had woven 2 samples, a couple had woven more. A couple of the samples did not even use weave structures....I am still thinking about this.

It was fairly clear to me that more than one participants’ perspective had been permanently altered. It was also clear that each participant had moved in her own direction feeling out her own new pathway...one of the most precious gifts a teacher or mentor can provide.....exhilarating.

I am excited to see what comes next!

THE DANISH DESIGN SCHOOL

Berthe Forchhammer and Marie Lund of Danish Design School

The Textile Studio in Copenhagen has the first TC2 sold in Denmark. It is the wide model and is fitted with 12 modules. The studio itself is a light filled space with an amazing view of the harbor and Royal Castle across. Courses and the studio are managed by 3 incredible instructors. They also have access to a wide range of yarns, and tools. My visit was far too short, but I was fortunate enough to interact with a small group of students who had worked on the TC2.

We talked about their projects and their interests and also a bit about their academic experiences. One of the recurring themes of our discussion is the merging of ideas and practices of different disciplines to create new work.

I had come to “check in” with the new loom -to see if all was well and possibly to answer questions. I was maybe a little disappointed as it turned out, the loom was operating excellently and there were very few questions! 

This must be a testament to the excellence of Marie and Berthe and to the loom itself. Based upon my interactions with their students.....I am also eager to see what comes next!

-- Cathryn Amidei, Associate Professor

Apparel, Textiles and Merchandising
Eastern Michigan University

Artist-in-Residence at Tronrud Engineering 2013 - 2014

Our 2nd Artist in Residence - Cathryn Amidei

We have a 2nd Artist in Residence!

Say hi to Cathryn Amidei

Quick introduction on Cathryn's residence stay:

The project proposal for Cathryn’s sabbatical is to complete a series of jacquard woven work that she has been working on for several years. She has been working on a technique that incorporates brocading work into complex woven structures. Her other proposal was to develop 2 exhibitions of work woven on the TC2. One exhibition to showcase artists working here in Europe - which would travel to the U.S. and another that would travel from the U.S. to Europe.

In the next four months while Cathryn is here, there will be collaboration with Vibeke on a number of other projects related to the TC2. They will be developing materials for demonstration, pedagogical material for workshops and marketing materials to promote the loom and its possibilities.

One outcome of working intensively on the loom for an extended period is that she can offer feedback, and develop concepts and educational a well as marketing tools for the collaboration with Vibeke.

Cathryn had proposed that during the course of this year she would weave 10- 12 new pieces. In order to accomplish this goal, it is necessary for her to draft new weave structures, finesse the process of creating the digital files, test the colors and textures used and learn to manage the loom and the software.  

Before she left for Norway, Cathryn had woven a blanket for the projects. 

Woven on her TC1 back in the US - the blanket of new colours!

We have the pleasure of Cathryn’s permission to give you a sneak peek on what she is working and testing on since she's arrived:

Look at all the vibrant colours

Close up of the details and textures

And if you are wondering how she had accomplished all those colours and intensity, she was using 10 shuttles!

That's a lot of work and impressive patience and skills!

  

About Cathryn Amidei:

“I have an MFA in textiles from Eastern Michigan University. I have participated in a number of local, national and international exhibitions. I currently teach in the Apparel, Textiles and Merchandising program in the College of Technology at Eastern Michigan University.

This project was designed to help revive my art practice as well as to develop pedagogical material for teaching. The ultimate goal is to develop an exhibition of work woven on the TC2.”

Keep a look out for our progressive updates!

Janice Lessman Moss - 1st Artist in Residence at DWN!

INTRODUCTION
I am privileged to have access to two TC-1 looms in the Textile Art Studio at Kent State University. But I was anxious to weave on the TC-2 away from the distractions of my school responsibilities. My desire led to an inquiry in early 2013 when I was on a Faculty Professional Development Leave at the university and took the opportunity to write to Vibeke Vestby about the possibility of visiting Digital Weaving Norway. Her response to my request was an invitation to be the first Artist in Residence at DWN! The challenge for me then was to define a project that would allow me to continue my current line of artistic investigation during the brief concentrated time that I would be in residence in Norway. 

BACKGROUND

In my woven art, I continue to explore relationships of abstract systems as created with traditional and innovative textile coloring/dyeing techniques and material contrasts in combination with the generative processing of the computer and the digital loom. Some of these systems or patterns are mathematically precise – hard-edged and geometric - formed through the mechanical operation of the loom with its underlying matrix of perpendicular threads. Other motifs evolve through the application of color selectively applied to the threads – through painting or dye resists – prior to weaving. The groundwork for developing the relationships of these multiple networks is done on the computer where I make color decisions, design weave structures and develop compositional strategies. But it is the final topography of pattern that emerges through the physical interlacement of warp and weft threads that establish the visual and textural complexity residing at the core of my interests.

Although I sometimes produce work on digital dobby looms, my ideas are best satisfied using the fluidity of lines and range of scale and shape relationships that are achievable with jacquard or single thread control technology. To that end, I often have weavings produced on the power jacquards at the Pure County textile mill in North Carolina. While I like the visual details that can be obtained with the high thread count I am consistently drawn to making work that involves the intersection of technology with the touch of the hand. Subtle unpredictable visual shifts that occur through color and material interaction made possible through direct dyeing or thread/yarn manipulation techniques provide a unique vocabulary for beauty and meaning that form the foundation of my practice.

I also respond to the focused engagement of the weaving process, an activity that marks time as the linear elements are transformed into a continuous field of pattern. Remaining present to the activity of making allows me to develop a stronger relationship with the work under construction, enhancing my sensibility for this distinctive language in a concrete and poetic way.

PROJECT
I am a walker. I enjoy the activity of walking with or without the purpose of destination. The repetitive movement of my body in space has parallels to the physical aspects of the process of weaving, and I have long been fascinated by the existence of the traditional Random Walk weaving structure. I like the suggestion of continuous movement and its underlying systematic logic. Learning that the concept of randomness and the random walk form the foundation for a mathematical theory have provided additional intrigue and correspondence. I respond to the idea of connections, of dualities, of binaries - left and right, up and down, the singular (element) and the continuous (network), the linear and circular. An extension of my current work evolved from these thoughts and provided a focus for this residency project. 

After considering what I might realistically be able to achieve with 10 concentrated days in the studio at DWN, I painted a linen warp in sections using an atmospheric relationship of colors and values – reflecting a sense of shadow and light with a palette of hues of different temperatures. I determined that I would weave two sets of small weavings first before concentrating on two large scaled pieces. I resist dyed a thick linen yarn that I could work with as a shifting weft ikat along the length of each piece. With each insertion of the weft I remained mindful of the repetition of the process. The rhythm of the resisted shapes, united to create a dynamic linear movement contrasted with the fluid almost gestural patterns formed by the veil of warp threads which created a quality of transparent layering. 

It was invigorating to work in the atmosphere at DWN housed in Tronrud Engineering, sharing the environment with others engaged in a myriad of creative endeavors. I was able to successfully complete a series of weavings.

OUTCOME
The weavings produced during my residency have laid the groundwork for future explorations. As I continue to evaluate the relationships of elements that resulted from the connection of the traditional shifting weft ikat process with the precise digital patterning and tactile woven construction I am excited to move forward.

I am grateful to Vibeke Vestby and her innovative TC-1/TC-2, a tool that has enhanced the potential of my art practice. I would also like to thank Eli Skogsrud for her assistance with threading the loom that made my weaving possible!

- Janice Lessman Moss, soon-to-be proud owner of a TC-2 loom

My first weaves

One month into joining DWN, I wanted to start weaving and get to know TC-2 better.

After discussion with Vibeke, I decided to weave a drawing done by my 6 year old best friend.

Say hi to Pikachu/Pokemon. The below is the scanned version of the drawing.

See below of how the file looks like in black and white (after colour manipulation in Photoshop) which we uploaded into our loom software to start weaving. 

During the process:

The weaving took me roughly between 2 to 3 hours. The entire experience is very engaging and the throwing of the shuttles back and forth is actually very therapeutic!

As you can see from the picture below, the warp yarn is black and I only needed a white thread for the shuttle to get the below effects.

I am simply proud and amazed by how our TC-2 is so easy to use.

The final product:

Not too bad for a first timer! I am quite proud of myself!

After two weeks, Vibeke decided that I can work on weaving with more colours.

Using the same scanned picture, it was toned to 6 colours in Photoshop so it turned out as below, which was 99% identical to the actual drawing!

During the process:

We were still on the black warp yarn, but because of the colours involved, I had to use 3 shuttles – White, Yellow and Red.

It took me 6 hours to weave this. I didn’t even make any mistakes or missed a shuttle/thread because using our TC-2 is so straightforward.

With our software monitoring the progress, chances of making any mistakes is low.

Close up of the weaving. See how our TC-2 is able to create such details and mixture of colours using the Red and Yellow threads!

For a beginner with zero experience in weaving, I think I did a pretty good job! I account that to the ease of use of TC-2, along with our smart loom software.

All you need is a scanner, computer, any design software (Photoshop for example) and a TC-2.

Anything and everything is possible to weave with our TC-2. 

For those with kids and want to retain your kids’ masterpieces in fabric, you seriously need our TC-2!

Now, I am going to decide what to do with the pieces.

- Evie Khoo

London Design Museum: "The Future is Here"

The exhibition opened on Tuesday 23rd July, and I was there because the TC2 is part of the exhibition! www.designmuseum.org The exhibition was focusing on new production tools and processes, new products, new materials and environmental issues such as recycling. 

 

 

The highlights of the exhibition were tools in operation such as a laser cutter (cutting thin sheets of balsa-wood) and a 3-D printer (working with plastic). There were also two assembly robots piecing together a wooden construction, and then de-constructing and re-constructing it. There was a smart scanner that analyzed the materials contained in any given object, and calculated  what would be extracted when recycling.  In addition, the TC2 loom was on static display with various 3-D samples in the making. All samples were designed by Professor Philippa Brock, Central Saint Martins' School in London. She came to Norway and wove the samples before we sent the loom to the London Design Museum! Both on the wall next to the loom and on a pedestal near it were additional textiles by Philippa Brock.

 

 

3-D printed samples were both in titanium and plastic:

 

 

 

 

 

Carbon fibers for strong, light constructions were on disply, including a video showing multiaxial braiding.

Adidas had contributed with quite a lot of components for sports shoes: Soles, toe caps, laces, warp knitted one-piece shoes.  

 

 

 The baby portrait below is created through laser cutting in wood.

 

 

An interesting use of laser cutting is that it offers new building techniques: Similar to logs in a log cabin, you can lock big constructions by fitting the parts into each other!  Instead of nails and bolts, this offers a smart solution!

 

 

For me, the peak of the exhibition - of course - was the 3-D weavings by Philippa Brock!  Below is a closeup of a large piece exhibited on the wall. Samples of this and related 3-D weavings were in the TC2 loom!

 

 

 



 

 Philippa Broch's textiles apply engineered fibers such as reflective and elastic materials. The weave constructions make the textiles form 3-D textures when off the loom!

 

 

This exhibition actually highlights many of the core qualifications of Tronrud Engineering:  We have expertise in  3-D printing, both with titanium and plastic, as well as laser- and water cutting! We develop machines using robots and advanced electronics.  The TC2 is an example of a product that could not have been created without these tools and these quualifications! 

Do you need more good reasons to go and see this exhibition?

Or, more good reasons to get yourself a TC2 ????

 

It is open until 29th October 2013

www.tronrud.no

www.facebook.com/ThreadControllerDWN

 

 

Pushing the limits of the TC2...

Since just before Christmas I have worked on a project which involved making a very long warp:
I got excellent followup from the yarn vender, including bringing the yarn personally - on a Saturday!  Eventually Anne Størseth made the warp on her beautiful wooden warping mill from the early 1950-ies. Some years ago, when she still produced large quantities of the beautiful handwoven Elise Jakhelln upholstry fabrics, she used to make 170 meter long warps on this machine!
The only modification we had to make, was to make bigger (taller) side flanges for the TC2 beam.
In the end we had 12 kilos of yarn wound on the beam. The moment of the arm was then far bigger than originally calculated, so it was exciting to see if the warp advaning worked as planned!   

Then Katja Huhmarkangas came from Finland to test the loom and the actual dsigns. 

On the 28th of February I will be able to share with you what this project is!
Until then, please enjoy watching Katja weaving along!
I hope you notice that what makes the most noise is the shuttles :-)

Christy Matson: Weavings, Drawings, Collages

Weavings, Drawings, Collages: <p>I am a specialist ... a Jacquard-weaving specialist.</p><p>For the last decade, I&rsquo;ve used the Jacquard loom as the primary tool to make my work. <em></em></p><p>In May 2012, I left a tenured teaching position at the School of the Art Institute of Chicago (SAIC) to relocate my life and practice to Los Angeles.&nbsp; During my 7 years at SAIC I had the pleasure of teaching hundreds of students how to incorporate this very old, and somewhat obsolete, technology into their art practices. And I am one of only a handful of artists worldwide who has chosen to focus their art practice around this loom &ndash; my work has been shown over the years at venues such as the Smithsonian Museum of American Art&rsquo;s Renwick Gallery, The Milwaukee Art Museum and the Contemporary Arts Museum Houston.</p><p>Unfortunately, the nearest hand-operated Jacquard loom is over 350 miles away from Los Angeles. A sense of displacement from the tool I know and love is becoming very real as I realize how difficult it will be for me to continue working in the way I am accustomed as a full-time studio-based artist in Los Angeles.</p><p>Through this campaign I hope