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Typically, for Ravenstail pieces, it is created in modern times using black and white (and sometimes yellow) colored merino sheep-wool [5] (sometimes with the traditional slender strands of animal sinew or, a more modern substitute, small amounts of silk) [6] or, when legally available and affordable to the weaver, the original traditional ...
Weaving pattern cards used by Skye Weavers, Isle of Skye, Scotland. The rapier-type weaving machines do not have shuttles, they propel cut lengths of weft by means of small grippers or rapiers that pick up the filling thread and carry it halfway across the loom where another rapier picks it up and pulls it the rest of the way. [6]
The objective of weaving a blanket was not only to create something functional but also meaningful and symbolic. An example is the zigzag design found in many of the Salish blankets. The pattern is more than aesthetic and could represent such things as a trail, lightning or a snake. [2]
The teaching of patterned sweater knitting is generally attributed to a settler from the Shetland Islands, Jerimina Colvin. [4] Mrs. Colvin settled in Cowichan Station in 1885, raised sheep, and hand-spun and dyed her own wool. She probably began to teach knitting by the 1890s, and added patterns as she learned them from other Scottish settlers ...
From the beginning, "most aspects of Churchill Weavers … set them apart from the rest of the mountain weaving ventures…." [4]: 134, 10 Unlike other mountain weaving enterprises Churchill Weavers employed both women and men and by the late 1940s provided jobs to as many as 150 people. Women tended to dominate other handweaving operations.
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Chilkat weaving is a traditional form of weaving practiced by Tlingit, Haida, Tsimshian, and other Northwest Coast peoples of Alaska and British Columbia. Chilkat robes are worn by high-ranking tribal members on civic or ceremonial occasions, including dances. The blankets are almost always black, white, yellow and blue.
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