INTERWOVEN INTERFACES

(Per)mutating woven structures between the virtual and the material

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Rosepath Variations. Handwoven wool and cotton. 2020.

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Rosepath Variations. Handwoven wool and cotton. 2020.

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Rosepath Variations. Handwoven wool and cotton. 2020.

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Rosepath Variations. Handwoven wool and cotton. 2020.

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Screenshot of rosepath drafting experiments using the Fiberworks weaving software.

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Screenshot of rosepath drafting experiments using the PixeLoom weaving software.

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Rose leaves after rain. 🌿 (at Saskatoon, Saskatchewan) https://www.instagram.com/p/CD7M_I0M-pk/?igshid=1tsu8wzh5u9gm

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Rosepath-inspired pattern layered over pixelated rose GIF.

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Rosepath-inspired pattern, made using Adobe Photoshop and Illustrator (drawn in Photoshop, repeated and image traced in Illustrator to make a scalable vector).

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Rosepath draft from Step-By-Step Weaving by Nell Znamierowski. This demonstrates the importance of both the written and visual information working together, and the cryptic nature of either one in isolation. The repeat is shorter than most (every 6 threads rather than the more common 8).

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Rosepath weaving illustration from The Joy of Handweaving by Osma Gallinger Tod (1964). 

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The cover of A Handweaver’s Pattern Book by Marguerite P. Davison (1977 edition).

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Introduction to Chapter II: Bird’s Eye & Rose Path, from A Handweaver’s Pattern Book by Marguerite P. Davison (1977 edition).

“Many more weaves may be developed which will surprise the weaver who thinks invention is for the experts. Trial, error, misunderstandings have formed more than one of the old patterns which have come to use through the ages”

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Rose petal pattern, based on the rosepath weaving structure.

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Weaving drafts from A Handweaver's Pattern Book by Marguerite P. Davison (1977 edition).

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The background pattern for this page was made using Patternify. The design is based on the Rosepath weaving structure. You can copy the CSS code or download the PNG file for the pattern here.

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INTRO

Welcome to the Interwoven Interfaces Tumblr page!

This is part of Heidi Friesen’s final project for the MAED 6250 course (Virtual Interfaces for Creation and Curation) at NSCAD. 

This project aims to explore the communication of weaving techniques, the challenges involved in recording and sharing textile information, and the potential roles of digital technology and virtual platforms in their dissemination.

I will begin by focusing on a weave structure called Rosepath (also spelled Rose Path, or Rosengång in Swedish).