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NEWSLETTER No 106 OCTOBER 2016
Chairman : Shelagh Duffill Battle Wool Shop, 2 Mount Street, Battle, TN33 OEG 01424 775073 [email protected]
Secretary: Mrs Lorraine Greenham 44 Church Road, Pembury, Kent TN2 4BT 01892 823722 [email protected]
Treasurer: Miss Fiona Tooth 25 School Road, Hastings, TN39 5AZ 07932 161829 [email protected]
Alternating Editors: Mrs Gaynor Lamb * 4 Queens Road, Lewes, BN7 2JF 01273 473886 Email: [email protected]
Mrs Joan Rippengal ** 3 Greenfields, Hailsham BN27 3UL 01323 847241 Email: [email protected]
* this issue; ** next issue.
Dear
Firstly, I would like to thank Joan and Val, who kindly stepped in and edited the June issue of the Newsletter during my illness and also I would like to thank Members for all their kind wishes and cards.
The new format for meetings whereby the meeting begins with a skills share in the morning followed by the talk at 2 pm seems to be going well and I understand the talk will be at 1.30 pm from this month to allow for the darker evenings. Between the skills share and talk there is now the opportunity for short ‘shouts’ and more time for ‘show and tell’. It has been good to see that member’s views have been voiced and acted upon. Keep up the good work. The committee members are always happy to hear your views and ideas.
Best wishes to you all.
FEBRUARY ISSUE: Deadline for copy 21 Jan 2017
Anglo-Saxon stone weights for holding the warp or weft taut during weaving, Worthing Museum See p.15.
News and Notices
ibrary news from Phyllis Funnell: New books received into the library:
1. Easy Weaving with Little Looms. This is a special issue from Handwoven in a magazine format, with articles on the rigid-heddle, pin and tapestry looms, It also incorporates some unusual projects to make on looms. 2. Margaret Radcliffe - The Essential Guide to Color Knitting Techniques. A reissue from 2008 in paperback form. A book packed full of techniques using colour. There are a few patterns for small items included and a chapter on the basics of colour. A review can be found in Autumn 2016 edition of The Journal 3. Beth Smith - How to spin - From choosing a spinning wheel to making yarn. A small pocket size book, very basic, but worth looking at if you haven't time to read through some of the standard spinning books. At a very low cost it may be worth members buying for personal use! A review can be found in The Journal - Autumn 2016.
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The East Sussex Guild of Weavers, Spinners and Dyers www.esgwsd.org.uk secretary @esgwsd.org.uk
CONTENTS: News & notices 1-2 AGWSD conf. & AGM 8- 9 Exhibitions, courses 2-3 Scrumbling 9 Coming Soon 3-5 Navajo weavings 9-10 Reports of meetings: 5-8 Beaming on 10-12 Halcyon Days 5 Pressed material 12-14 Fiona Morris Knitting talk 6 AGWSD news 14-15 Weaving skills day 7 Thrums 15 Spinning what’s the point 7 Data protection 16 Core spinning workshop 7-8 Spinning what’s the point 8 AGSWD Conf. and AGM Navajo weavings ................ 10 Beaming on .................. 10-12
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ews from the Guild
The committee have agreed that we would have some concentrated skills sharing on our core skills but still have the ‘mini’ skill shares as well. This is something that the London Guild and other Guilds do and Elizabeth Jackson has kindly volunteered to organise this for us.
Membership Lists After considering the guidance given by the Association concerning Data Protection within Guilds, the Committee has decided that a policy document will be distributed to members at the time of renewing their subscription to the Guild. In this document, the Committee has tried to set out clearly how your personal information will be stored and used by the Guild and there is a significant change from previous practice in this matter.
Only the Membership Secretary will hold, on one computer, the entire details of members. For emergency contact, the Chairman and Treasurer of the Guild will have paper copies. Also, paper copies of the entire Membership List will be available to those members such as the Newsletter Editors, the Librarian and the Outside Events Organiser to enable them to contact members, if necessary, in the course of their work.
In future the printed Membership List available to members will contain only those details, which members have given permission to be circulated according to the information sanctioned on each Enrolment/Renewal Form. This process must be repeated each year when membership is renewed, though members may, at any time, modify their entries by contacting me.
Please read the Policy document when you receive it and tick the boxes, as you feel appropriate to you when you fill in your Subscription Renewal Form. You may renew your subscription any time from the October meeting and, as agreed at the AGM last March, the annual fee for Standard Membership is £20. For 2 Family Members, living at the same address, the cost is £32 and the cost for a Student remains unchanged at £6.
As an optional extra when you renew your membership, you may order your 4 copies of The Journal via the Guild for the special price of £16 collected at meetings or, if posted, the cost will be £21.50. NOTE SUBSCRIPTION FORM ATTACHED. Val Conway, Membership Secretary [email protected] Tel: 01444 457639
A Warm Welcome to the following new members: Mrs Michelle Holman from Hove, Ms Martine Davidson from Burgess Hill, Mrs Carol Nevard from Hassocks, Mrs Lisa Hayling from Crowborough, Mrs Ruby Graves from Eastbourne, Ms Mandy Murray from Brighton and Mrs Ann Markwick from Brighton has also rejoined us.
Days Out and Courses.
Forthcoming exhibitions:
Fashion Cities Africa, Brighton Textile Exhibition running from now until January 2017 Brighton Museum, Royal Pavilion Gardens, BN1 1EE Exhibition includes wide range of apparel from couture to street style, alongside images, film and sound evoking the drama and creativity of four distinctive cities. Kendal Wool Gathering, Cumbria Stands and stalls representing all aspects of wool products. K Village, The Lakes Outlet, Kendal 29-30 October 2016 www.kendalwoolgathering.co.uk Theo Wright – Wavelength – London Exhibition of handwoven textiles inspired by mathematics. Craft Central Gallery, 33-35 St Johns Square, Clerkenwell, London, EC1M 4DS 9-13 November 2016. Free. www.craftcental.org.uk/calendar Waltham Abbey Wool Show, The Crochet Chain and AboutMyArea EN9 website have joined forces again to organise a fourth wool show at Waltham Abbey Marriott Hotel, Old Shire Lane, Waltham Abbey, EN9 3LX 15 January 2017, from 10am to 4pm. Exhibitors’ stands with hand dyed and hand spun yarns, beautiful handmade wool and felt items, unique knit and crochet kits, a wide selection of accessories from buttons to crochet hooks, demonstrations of spinning and weaving plus craft workshops for visitors to have a go at crochet, knitting, felting and spinning. This year there will be a “Funky neckware” competition and the organisers are asking people to bring along neckware creations www.walthamabbeywoolshow.co.uk Tel Diana 01992 679261 Embroidered Tales & Woven Dreams , London Textile traditions from the Silk Road to Arabia The Brunei Gallery, SOAS, Thornhaugh Street, London, WC1H OXG January to March 2017 www.soas.ac.uk/gallery
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Knittting and Stitching Show, London Olympia, W14 8UX 2-5 March 2017. www.theknittingandstitchingshow.com Wonderwool Wales, Bluith Wells Royal Welsh Showground 22-23 April 2017 www.wonderwoolwales.co.uk Black Sheep: The Darker side of Felt, Cumbria Beacon Museum, Whitehaven 8 May to 2 July 2017 www.blacksheepfelt.wordpress.com East Sussex Guild Exhibition, Lewes Town Hall 26-28 October, 2017 The theme for the next exhibition will be 75 Years of Desert Island Discs. Any item for the exhibition should include at least one of our weaving, dyeing and spinning skills and should be accompanied by an A5 written piece about your inspiration for the item. There will be a raffle run by Eve Alexander and her team and they will be doing scarves in honour of Jean Hitchcox. If you are able to help please email Tudie Jacobs [email protected]
Forthcoming courses:
Scrumbling Workshop Powdermill Hotel, Battle – there will be two Workshops on Tuesday 25th and Thursday 27th October. Workshops will take place from 1am to 4 pm. The tutor is Sheila Duffill, the chair of the East Sussex Guild of Weavers, Spinners and Dyers and the owner of the Battle Wool Shop and these workshops form part of the PURE Arts Group Exhibition. The aim is to create a Community Piece called Battle Meadows in Free Form Crochet and Knitting (lots of pieces make a big piece!) which is to help celebrate the 950th Anniversary of the Battle of Hastings. We can take a good number of people for either a half or whole day and more information about booking etc. will be emailed and put on Julia Desch’ Facebook page or telephone Julia on 01323 832781. This will be great fun and a great opportunity to learn new skills. From Fleece to Fibre: Two Day Course in Hand Spinning (residential option) February 4 2017 Course Provider: Cartmel Handspun Spinning School Contact: Elaine Ware Telephone: 01539 533443 Beckside,Lindale-in-Cartmel,Grange-over-Sands Cumbria,LA11 6NA Price: £150.00 Fun packed week-end in the Lake District National Park learning hand spinning. Start out in their fleece store to learn about fleece selection, purchase and
preparation. Move on to carding on a drum carder and then start to spin on a drop spindle. Having mastered drafting on the drop spindle progress to a wheel. Look at setting up a wheel and the principles of tension. Turn your prepared batts into spun singles. Learn the principles behind plying. Create and finish your own skein of hand spun fibre. Small group to ensure high level of one-to-one tuition. All materials and use of equipment included. During the course you will be invited to join the family for a simple lunch. If you would prefer to bring your own lunches please feel free to do so. Two-day course from 10am to 4pm on Saturday and 10am to 2.00pm on Sunday. Self-catering residential option available for a maximum of four singles at a nominal charge of £25.00 per person per night at their luxury holiday home. The Vibrant World of Natural Dyes 24 April 2017 A natural dye ‘taster’ day to introduce natural dyes. Students will learn a little about using weld, madder, cochineal and indigo and discover fascinating history from a colourful past. Students can dye silk samples and/or purchase a pre-mordanted silk scarf to dye during the day. Contact: Isabella Whitworth Ardington School of Crafts www.isabellawhitworth.com/teaching Shibori with natural indigo Nr Wantage, Oxford 25 April 2017 Students will learn about making an indigo vat, and some techniques for producing Shibori (tied, folded and clamped) designs on silk and / or cotton. This course will be a follow-on to the one-day Vibrant World of Natural Dyes but can also be studied separately. Ardington School of Crafts, Nr Wantage, Oxford www.isabellawhitworth.com/teaching
Coming Soon by Gina Price Notes on 2017 Programme Please note that the APRIL 2017 meeting is to be held on the FOURTH Saturday i.e. the 22nd. This is due to our meeting clashing with Easter. We have included a Spinning Skills day as well as Weaving Skills. Workshops include a mini-workshop with Lyn Scott - sorting alpaca: Design for the Terrified with Alison Daykin: Inkle Weaving with Anne Dixon and basket weaving using recycled materials with Christine Brewster. 19th November 2016 at 1.30 pm Talk ‘Surviving as a Rug Weaver’ with Jason Collingwood It is a pleasure to welcome Jason back to Lewes. He learnt to weave at 18 but his first love was music. He pursued a largely unsuccessful career in this field before returning to weaving some 6 years later and set up his own workshop in 1986 in Nayland, Suffolk. Over the last 27 years he has woven to commission somewhere in the region of 2000 rugs, mostly to private individuals and for a small number of corporate
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clients and also worked with many architects and interior designers. Amongst his large commissions were 24 rugs for the Sheraton Hotel in Dar-es-Salaam in Tanzania and a series of rugs for a castle in Switzerland. His rugs can be woven to any size and colour way, are strong and durable for use on the floor but equally can be used as wall-hangings. In addition to his commissions and designing, he spends 3-4 months each year teaching at various art schools in North America, Australia and Europe. This has led Jason to introduce his own brand of rug wool available in the USA as well as producing instructional DVDs and publications. Some photos below of recently completed commissions. www.rugweaver.co.uk
Sunday, 20th - Wednesday, 23rd November, 9 am - 5 pm Rug Weaving the Jason way £230 VENUE: Hillcrest Community Centre in Newhaven Jason will be teaching us his "3-end block weave" course which covers shaft switching. This course is
now fully booked but if you would like to add your name to the waiting list, please let Gina P know. You must have a four-harness loom (table or floor loom). Details about warping up has already been sent out. Deposits have been received to secure places and are non-refundable unless another participant can be found. Cheques payable to Gina Price. [email protected] 01323 896851 17th December: Christmas Lunch with Show & Tell Our last meeting of the year and an opportunity to showcase some of our craft projects undertaken in 2016. Please bring along anything you have made, anything that you’re proud of, or something you’ve had a go at which may not have turned out quite right but its inspired you and may inspire others to have a go as well. The lunch is usually a ‘bring & share’ arrangement’. A list will be circulated at the November meeting so that we have a good spread of fare for the day. Don’t worry if you can’t bring anything as there is usually plenty to go around. 21st January 2017: Talk at 1.30 pm Alison Ellen: Stitch Led Design Again we welcome Alison back to Lewes. Her latest book is ‘Stitch-led Design’ “I approach designing and making hand knitted garments by using the flexible structure of knitting and the way different stitch combinations shape the fabric. I play with variations in scale, stitches and the direction of knitting, designing for different body-shapes, allowing the structure of the fabric itself and the three-dimensional form of the garment to emerge seamlessly together. I dye my yarns for added patterning and richness, often looking to plants and landscape as a source of ideas. Having run a small business making knitwear for 35 years, my ideas are shared internationally through teaching courses, and through four books on designing in knitting. This year’s exhibitions include ‘soft engineering: textiles taking shape’, which is touring to NCCD Lincoln in November, and reviewed in the latest ‘Journal’, and another exhibition with a group of artists inspired by gardens, also this November.”
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18th February 2017 Talk at 1.30 pm
Eliza McClelland ‘To Bead or Not to Bead’
Eliza gives a lively talk about beading and has asked me not to reveal too much about her as it will spoil the talk!!! Just ‘google’ her and see what comes up. .
Reports of Meetings.
18 June ‘Halcyon Days’ by Marion Boniface Barley Roscoe’s name was familiar to many of us, mainly because she had helped to found, and for many years had been responsible for, the Craft Study Centre, where an archive of work by 20th Century artists/craftspeople is kept. Her subject was Halcyon Days and she was referring to the amazing flowering of talented artists and craftspeople in the years between the wars. Although many worked in textiles she also included many other crafts as they often set up retail outlets together. Phyllis Barron, who block printed fabric, found some old French wood blocks and started a thriving business with her friend Dorothy Larcher. After she died it was her textiles that would form the nucleus of the Craft Collection. As she worked for many years locally in Ditchling we were interested in Ethel Mairet’s story. Not only did she run a busy workshop with helpers, apprentices and friends at Gospels but was taking on commissions and teaching. So many important weavers were influenced by her – Peter Collingwood, Marianne Straub, Alastair Morton, Hilary Bourne and Mary Barker to name a few. I am old enough to have a slight link with her. Ethel died in 1952 and my old weaving teacher Mary Barker said that she used to call on Ethel and at her last visit helped by adjusting the pedals on a loom. Ethel died a few days later and had woven a yard or two more. My interest in Ethel Mairet was revived 20 years later when I found a red painted spinning wheel in a junk shop in |Brighton. I loved it but friends thought it was spoiled by the paint. When older friends verified it as the wheel Ethel brought back from Finland in the 1930’s and was one she used mainly for teaching, I knew I had to buy it. After I had bought it we could clearly see that there was a railway sticker with the work Hassocks on the treadle. Forty-five years later I don’t think you can see the word now. Imagine taking it on the train to teach or demonstrate. I enjoyed the talk very much especially realising how important these craftspeople were. They lifted a peasant craft to an artistic one, taught it to others, created thriving retail outlets in very difficult times and took on commissions. To our eyes some of their work may look rather dull and uninteresting but they did work almost exclusively in natural fibres and with vegetable dyes. Just the occasional strand of
cellophane to brighten things up! My link with people in Barley’s talk was that in 1967 I joined a course at Dartington Hall, Devon led by another teacher/etcher Robin Tanner. He had persuaded Phyllis Barron to come and speak to us. She brought piles of her beautiful samples of her block printed fabric. It was these that were to form the start of The Craft Collection, as she died a year later and left them to Robin. As she said “you will know what to do with them”/ He didn’t at first, but the problem was solved and they were originally housed at the Holbourne Museum of Arts, Bath and are now at the West Surrey College of Art and Design. Hence the archive collection was created and is now housed in a new building for all to see and use. The following sketches show Phyllis Barron and Robin Tanner
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16th July Fiona Morris’ Knitting Talk by Sue Thomson As the projector was not working Fiona Morris could not use her pictures to illustrate and remind her of what she was planning to tell us. As it was she recalled her years of designing knitwear and this really took off about ten years ago. She was born and brought up in Zimbabwe, returning to boarding school in England where they were encouraged to knit for charity during Lent, making blankets and baby clothes. As she liked knitting she taught herself to knit and read at the same time, and being dyslexic this came in very handy. In due course she acquired a knitting machine, this had a charting device which made it easier to create her own designs, and she began making children’s garments. She did various courses, City and Guilds etc. and made some garments for John Allen, going back to hand knitting. Then she met Jackie Bennett of the Mohair Centre and did some designs for her. She learned to dye and started designing multi coloured patchwork knits, made as one piece. She then ran a designer group for John Allen at Farnham and did some designs for the Knitting Magazine. The top down designs began and were featured in Let’s Knit and she found that using different sized needles to shape a garment, if it was in a lacy design, to be much easier than having to alter the lacy pattern. She began giving workshops using various types of knitting, jewellery, hats, bead knitting with wire etc. and she showed the meeting many of her garments, to illustrate the various points she was making which certainly helped us to understand her techniques, although some did look a bit complicated! She finished her talk by saying that she always makes her own sample garments and never farms them out which was very reassuring! She was going to be teaching in a workshop here on the following day, to demonstrate how she works from the top down, and had suggested that each of the members involved should follow some instructions which should be knitted to work out our individual tensions, depending on the wool being used, and the feel we liked, and of course what garment we intended to make. Fiona Morris Knitting Course –Top down Raglan Workshop using Handspun Yarn by Liz Bacon This was a day course held on Sunday 17th July 10am to 4pm at the Village Hall in East Hoathly attended by 15 members of the Guild. I had attempted to knit a top down garment previously and didn’t get on very well so I was hoping for some enlightenment!
Prior to the course we had been asked to knit a tension swatch in the yarn we intended to use for the garment and to take various body measurements. Although it was proposed that we could use our own handspun yarn we could of course use shop bought yarn. We were given detailed written instructions a few weeks prior to the course on the tension swatch which once knitted was to be washed and blocked prior to the course. The tension swatch together with our own measurements would allow us to work out the number of stitches needed and increases required for our own variation on Fiona’s basic top down pattern. Fiona’s basic pattern was for a raglan sleeve cardigan which could be adapted for a round or “V” neck and for varying sleeve lengths. The pattern could also be used to knit a sweater with an open neck. Fiona started the course by giving and overview of the basic pattern we were going to use and how this could be adapted to produce different garments. She showed us a number of garments, some plain and some patterned, with long, short or three quarter length sleeves. These could all be adapted from the basic pattern we were going to use. The aim was to give us ideas for the style of garment we wanted to make, for example short or long sleeves, a round or “V” neck, the length of the garment and whether we wanted to incorporate a stitch pattern. Fiona also discussed the various types of increases that could be used and how these looked on finished garments and how for example a yarn over could add a lace effect to the raglan arm increase. Fiona passed around samples she had knitted showing the different increase stitches which gave you an idea of how this would look in your own finished garment. We then moved on to the “maths” part which was adapting the basic pattern to your fit and yarn. This was where the tension swatch came in and using this and your own measurements we needed to work out the number of increases we needed. The garment was cast on from the neck edge and increased either side of the raglan sleeve and at the front edge. There were knitters of varying experience on the course and I think the majority of us found the “maths” part challenging. We had a worksheet to complete with notes to help us and Fiona came around to each knitter individually to go through our calculations but I personally found this quite difficult and felt I was in the middle of a maths exam. I could understand why we need to do the calculations but the actual process was quite complex and I struggled with the concept. It was quite a while before I got my head around it and even then I found the process of working out the number of stitches and increase required for your own individual garment pattern very difficult.
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I think a number of us were frustrated at how long it was taking to do the “maths” bit and were keen to start knitting. It was early afternoon before I cast on although the actual knitting process itself made me understand how the calculations worked and I realised quickly I had gone wrong and needed to start again. Fiona continued to go around the group giving individual attention. Some of us were on our way, if a little shaky may I say, and hoping they were doing the right thing. 4 o’clock came very quickly and we agreed that we would all continue knitting at home and have a catch up at the next Guild Meeting. I found that later at home, over the next few days, when I was able to go over the pattern at my own pace, that I understood the concepts more and realised how, once you had mastered the basic pattern you could use it to produce various different garments. Overall I found it an interesting, although challenging course. I learnt a lot and hopefully something that I can now build on. August 16 Weaving skills day by Gina Price Ironically, even though I have been part of the Programme Secretary Team for nearly two years I have not been able to attend a Weaving Skills Day since 2014 and Gina C very ably organised last years event. Now my weaving skills are novice to say the least but I have now got a rigid heddle knitters loom and a 30 inch rigid heddle and frame bought at the last Exhibition. I brought along with me the larger rigid heddle so that I could assemble it and warp it up to make something. I also bought warp at the exhibition too, lovely organic cotton which is super soft. My intention originally was to warp up to make a rug but somehow my enthusiasm went off and warped up too finely to achieve this but there is enough warp and I have enough fine yarn in the stash to make a yard or so of fine cloth. The day went quickly with lots of interaction amongst members and guests. There were other looms to see (inkle, rigid heddle, strap) as well as a variety of weaving techniques. A great time was had by all and thank you everyone who brought their looms and expertise. September 17 Spinning, what’s the point?
by Ann Dishman
An interesting talk by Amanda Hannaford started out early when she and her husband laid out an exciting range of dyed tops and other natural coloured fibres including some wonderful cashmere. Amanda and her husband dye all the wool themselves. Then we were shown a Walking Wheel, a Pakistani Charkha and a Book Charkha all of course being spindle wheels. The first Walking Wheel was based
around the wheel. The Huguenots brought the first solid ring wheels to Britain. The first settlers in America took their spinning wheels with them. The first wheel in India was the Charkha, a similar style was used for silk reeling in China. The fibre used on these wheels is generally cotton and Amanda explained how Gandhi was a great influence on the spinning of cotton in India. A map was shown on screen to show the discovery of cotton throughout history. The first spinning wheel was believed to be used 1,120AD. There was also a selection of spindle whorls and during the talk there was a video of some very old spindle whorls dating many hundreds of years, the basis of drop spindles today. Amanda explained the difference between the bobbin driven pull on the spinning wheel and the twist and wind of the spindle. She also gave us a demonstration of spinning on a support spindle. The ratios of wheels were mentioned meaning the number of turns of the wheel to turns of the flyer, for example a traditional Ashford might be used at 6 to 1 while the Charkha can be as high as 36 to 1. In 5000 BC cotton seeds were found in Mexico. The first cotton was grown in Greece. In India they believed cotton was sheep’s wool growing on trees so it was referred to as “The vegetable lamb of Tartary”. Cotton was used for Candlewick embroidery in England. A video picture of the Venus de Milo at the end of this very interesting talk showed what it would have been like if she had arms, she would surely have been holding a spindle.
September 18 Core spinning workshop Don’t tackle your teeth with your Doffer! By Pat Oakley After hearing Amanda Hannaford give a fascinating talk about Spinning on Saturday 17th September (who knew that development of the Spinning Wheel was partly responsible for initiating the Industrial Revolution?!), I was curiously waiting what the Sunday workshop would bring for myself and 12 other intrepid spinners (not that we wanted to start any kind of revolution). Sunday began with a demonstration from Amanda of the spinning we would be learning to do during the workshop followed by a review of how to use drum carders – a number of us had never used one before and I think it would be fair to say we are now ‘hooked’...and on the lookout for 2nd hand Barnett’s. When using a drum carder, main points to remember are: less is more when it comes to feeding fibre in; length of fibre should be no longer than 4-5 inches to avoid tangling, and place some wool over any silk or ‘slippery’ fibre to ensure all fibre ends up on the big drum. Remove the carded fibre using your Doffer.
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Core Spinning was our aim for today and involves ‘wrapping’ your (thicker) carded fibre around a (thin) core fibre (in our case cotton but you can use anything as long as it’s strong enough) on our spinning wheels. Maintaining tension on the cotton holding it straight out from the wheel with one hand, feed the carded fibre onto the core holding it at an angle. Keep tension on your bobbin low to avoid the spun fibre being ‘pulled’ in too fast. Avoid twisting of your carded fibre (before it has been spun onto the core) by holding it at right angles to the cotton as you tease it out. Then reduce the angle and allow the carded fibre to wrap around the cotton. Once you have completed your core spinning, finish your yarn by doing a ‘spiral ply’ which is exactly the same technique as core spinning. Whereas your core during the spinning phase will be hidden from view, when you come to plying, this core will be seen. Amanda suggested using cotton if trying this technique for the first time. Everybody had a successful day due to Amanda’s expert tuition and we all enjoyed seeing the colourful results at the end of the day. Many thanks to Amanda (and ‘Ginj’) for coming to visit the Guild and core spinning and spiral plying will no doubt make their way onto the skills share timetable in the future. Illustration p.10. Association of Guilds of Weavers, Spinners and Dyers - Conference and AGM by Stella Wiles Bishop Grossetesse University Norwich 2016 Both Jean Weddell and I had chosen to attend the Conference because of the scheduled speakers, and then found ourselves with jobs to do – I as our delegate for the AGM and Jean who volunteered as our observer. I am not reporting on the AGM as that was sent to the Guild separately. Headed by Vice President Peter Penneck, the Guilds organising the event had made excellent plans for the weekend with wonderful speakers, and all went with a flow. The 56 members attending the event were accommodated on the campus so everything was close to hand and it was good to get to know names and faces of people who work voluntarily for the Association.
After the usual signing in and settling in, we were welcomed by the committee, then as hoped, Stuart Groom arrived. From his wheelchair he spoke informally, but emotionally, of his pleasure at being back with us all. He thanked us for all the get-well messages he had received.
Jenny Balfour-Paul then spoke at length, giving, not just the welcome we expected, but, a long talk about her recent visit to launch her new book ‘Deeper Than Indigo’ in Burma. (there is a report by Jenny, ‘Snapshots from the Land of the Lotus Weavers’ in the summer edition of the Journal). It was a real treat.
(The programmed speaker for that evening, Daniel Harris was unable to attend and was replaced by Alison Brown). Doddington Hall Tapestries This was the first talk on conservation, and not restoration, I have heard, with the difference of using modern yarns and fabric which revealed where the repairs had been made. Alison Brown of Doddington Hall Tapestry Conservation team told us of the six year work on the tapestries. None had been moved since their installation in 1760. It has been an important project to conserve the tapestries as the inclusion of figures of common tradesmen and the gentry in tapestries is rare. 1600 plus tacks were removed and the tapestries taken down which revealed the brick and lime plaster walls for the first time since the 1760s. The tapestries were carefully vacuumed before wet cleaning in Belgium. The water was thick with soot and dust. The broken warps and missing weft were repaired with modern yarns and then the tapestries were lined with linen, using conservation (visible) stitching. With the additional weight another mechanism for hanging the tapestries had to be found. Three inch Velcro was attached on all sides and fixed into corners, around doors and over the fireplaces on frames. The tapestries now look as they did before they were removed from the walls in 2010 – but clean. Fiona Gardner Our second speaker Fiona Gardner, moved to
Australia at age 23, and has a large flock of Merino
sheep on Taramin Farm on South Island. Australian
sheep farmers strive to keep their flocks white, but
Fiona was interested in the coloured merino. She
advertised for black lambs and got no replies except
ones of contempt! Gradually, over many years as well
as white sheep, she had reasonable sized flocks of
different colours, but also bred them to achieve a fine
count as low as 18nm. She then aimed to get her
beloved coloured sheep fleece to the top of the fashion
industry. In 2007 she gained the interest of Loro Piana
of ultra-luxury fashion. He would buy the coloured
fleece, but not the black. Fiona insisted that he took
all the colours, for without the black there would never
be the colours. (In biblical times, all sheep were
black). He agreed! Fiona calls him ‘God’ and recalls
the day when three red and white helicopters landed
on her farm and she entertained Loro Piana to lunch in
her kitchen. Just immediately before coming to
Conference, some of the wool had been blended with
silk and we were the first to see this new fibre and take
a little.
Because of her determination, she has a niche market which all other Australian farmers shunned – clever woman. A fascinating talk by a dynamic lady.
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Bobbie Kociejowski Bobbie loves to talk about Designing with Colour and colour interaction. This talk explains how sometimes we lay out colours for a project to knit or weave on the table and the end result is disappointing. The colour wheel was used to explain primary, secondary colours and what is meant by tone and hue. We learnt how colours have different visual weights and how much of one colour is needed to balance with another before it dominates. We learnt of colour compliments and contracts. However many times I have listened to Bobbie talk about colour, I am forever learning more. Sadly for those who have not heard this lecture, this was the last time Bobbie was to give her talk ‘Designing with Colour’, but happily Bobbie will still continue teaching and with her weaving. Adam Jordan Adam is a young, enthusiastic, disabled weaver – and certainly a one off. His lame right arm seemed not to be a disability! He told an amusing tale of how his grandma allowed him to have a loom upstairs in her house - which was adjacent to his family home, and how, when she died, the wall between the houses was knocked down to move the loom back home! He works in an unconventional way and admits he does not understand colour and declares he is not a weaver. His work is wacky and he produces articles which include maribou feathers and beads. Although he makes some wall panels he also creates the most beautiful evening bags. These are no more than nine inches in width and each is deliberately unique. Pink is his favourite colour and frequently uses it with black and white. He also makes lampshades and this is a theme he is expanding at present. He is a most likable, easy talking young man and was fun to have at the end of the Conference weekend. I can wholeheartedly recommend the Conference weekend. All the organising Guilds put together commendable enjoyment for us all. I was aware that our big Guild was so lightly represented and moreover you all missed a treat. The next one is nearer to home at Milton Keynes in 2018 – keep it in mind.
Scrumbling! Unleash your creative side!
Freeform crochet and knitting is the seemingly random combination of crochet, knitting and possibly other fibre arts to make a piece not constrained by colours, stitches, patterns or other limitations. The scrumbles you make can then be used as individual pieces or joined together to create a larger fabric. They can be fixed to a base material – for example felt – to make a hat or bag. There are no constraints with stiches occurring in a random manner, changing direction as
the knitting or crochet takes you and you can alter the stitch type and needle size to suit. You can use whatever wool, yarn or thread you have to hand and the technique is particularly useful for using up those special balls of wool in your stash which may not be quite enough for a larger piece. The idea is to adapt, customise, modify, turn and change colour sometimes using weird or unusual thread combinations. Generally, scrumbles do not have instructions or a pattern to follow as they are intended to be unique and have a ‘free form’ style. See also page 3 for Shelagh Duffill’s scrumbling workshop.
Navajo Weavings June 2016 by Virginia Blackburn
(abridged)
Property investor Peter Herfurth is a collector of Navajo weaving. He started buying in 1981 and now has 40 pieces. Navajo weavings are now considered some of the most desirable of all Native American textiles with the best pieces reaching $650,000 to $750,000. These woollen textiles began to develop in the southwest with the arrival of the Spanish who brought sheep with them. The oldest weavings are from the 1700’s. It is the simplicity of design and vibrant colour that draws you in although early examples used undyed wool in brown and white. The weavers began to us plant-dyed yarns in the mid.19th Century, switching to synthetic dyes around 1870-80. Natural dyed works are the most desirable with spectrographic analysis being used to determine if indigo or aniline dye has been used. The patterns evolved with three distinct design phases. The first was stripes, the second stripes and an odd number of little squares, typically nine, and the third included diamond shapes instead of squares, inspired by Mexican Saltillo weaving. Shiprock Santa FE gallery currently has a number of chief’s blankets for sale including a c1890 Navajo Germantown example at $18,000 in black, white, red and purple. The term ‘chiefs blanket’, however, is a misnomer as the Navajo don’t have chiefs. They were so called as only the chiefs of other tribes could afford them. The blankets were primarily produced for the Navajo themselves and tend to have simple banded designs whereas the rugs were intended for a wider commercial market and are more complex. The latter
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were produced from 1890 to 1915 and sell for between $35,000 and $60,000. Rugs dating from 1900 to 1925 start at around £5,000 and are known as ‘dazzlers’ as” there is a lot of movement and colour in the geometric shapes”, said Jan Finch, a specialist in ethnographic art. But not all collectors want to be dazzled. Fred Klein, a collector who now has 35, including several chief’s blankets, looks for the natural desert colours.
Illustrated: Examples of Navajo weavings Top picture 1870 flannel chief’s blanket $75,000 Bottom picture C1950 Trading Post rug $ 6,618
Beaming On – The art of the warp spreader I thought readers might be interested in this rather more industrial aspect of weaving – Gaynor Lamb (Ed.) For those of you involved in weaving cloth, purchasing your preferred warp yarn is just the start of the yarn manipulation process, as the quest begins for a perfect back beam. For small warps of up to approximately 3.2 yards, with the help of a friend pulling manually on the warp ends, you can manage to roll the threads in a fashion that at best, may be adequate and at worst result in broken ends and a bird’s nest! The solution to the problem of even warp tension is to control the threads using the ancient craft of the warp spreader. This skill allowed the warp to be removed from the mill in a chain or on a warp stick and then with the aid of the beamer drum, get the threads onto the beam all at the same tension. Read Warping the Threads of Time to learn about the warping process which takes place prior to Beaming on. The warp is made up of many sections, or “portees”, as the warp threads are accumulated on the mill. The “portee” could be any number of ends, preferably even numbers, consisting of up to 96 bobbins on a creel. A narrow width silk warp of 53.5 cm (21 inches) could require 4992 ends in the width, by running a creel of 96 bobbins back and forth 52 times to get the number required. The portees must be tied up individually whilst on the mill to keep the risk of slippage off the mill to a minimum. Traditionally warps were “chained off” by pulling off the entire core of assembled threads from the mill and looping the warp over the hand continuously to form a loose chain which shortened the length for the ease of handling. The method worked well for lengths of warp up to around 40 yards but holding the warp under tension manually as the core of threads were plaited off became more difficult for longer lengths. The answer to this was to wind the warp onto a holding arrangement known as a “warp stick”. This was a flanged broad bobbin enabling the warper to wind off continually, direct from the mill in a folding method to lay the warp core as neatly in a slight traverse from one side of the flange to the other. This would enable a two piece (120 yards) length to be warped and wound off in a safer way than chaining off. Illustrated: Members skeins from core spinning workshop
p.7
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A warp stick hanging outside a warp spreaders house in Spitalfields When the warp is safely wound onto the warp stick it is ready to wind back onto the beaming drum. This mechanism is a horizontal timber drum constructed on a centre spindle so it freely rotates. To tension the drum whilst spreading the warp, weighted leather straps are suspended around the diameter. A warp spreader was a specialist trade, the art of putting the correct number of threads onto a back beam in the loom all at an even tension was a craft occupation. The success of the beaming depended not only on these hand skills but on the amount of length you could spread between the drum and back beam. The length needed was important to keep all threads evenly tensioned and the success of this process was to have a great impact on the weaver’s challenge to weave perfect cloth. On extra wide cloths of 63 inches, such as those made by Daniel Walters in the early 19th Century, the beamer would have double drums to allow for the wider spread required.
Long warps on vertical chain mills in the jute industry The warp can now be wound onto the beaming drum in reverse by attaching the warp ends to a rope wound around the drum. The rope will allow the entire length of the warp to be wound on the beam by allowing the cross end of the warp to reach the raddle face. The warp must be neatly rolled onto the beamer drum with the threads in their gathered state so that they do not pull over one another. In order to spread out the threads the “portees” (sections) need to be put in order and divided equally across the width planned. This requires the use of a raddle which resembles a large comb to keep the threads aligned whilst winding onto the beam. The threads are retained by a cap on the raddle, which keeps the threads in the slots used. When the threads are spread in the raddle and the cap is in place over the pins, the portee ends which are spread on a “dweet” are attached to the back beam. A “dweet” is a steel rod used to accommodate the required width. The beam may now be slowly wound around to pull the warp forward and onto the back beam. The beam is held in position on the beamer stand which enables the back beam spindles to revolve in bearings. The beam is wound by a hand driven gear attached to the beam which pulls the warp
Richard spreads out the “portees” in the raddle on. As the warp winding proceeds the raddle is placed back to allow progress and wind on. Side way traverse on the beam is achieved by moving the raddle from left to right. This traverse levels out the uneven build-up on the beam. Regular papers should be inserted which are at least a revolution of the beam in length. The purpose of the paper is to even out any different warp yarn tensions that may have built up during the process. Also paper collars are used on the edges of the warp to keep the edges level on the beam. Over tensioning the warp edges in beaming can spoil the weaving process as the threads will unravel slacker than the central ones making for a bow in the
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fell of the cloth at the reed’s edge. The attention to this process cannot be over stated. Difficulties in this beaming-on process occur when threads in the raddle divisions snag with one another if they have any slackness. Therefore, each forward movement of the raddle must be carried out with caution as a broken thread could be lost out of the warp sequence.
This process was superseded in the 19th Century in most weaving operations, by the invention of the sectional warper and beamer. This new equipment allowed for much longer lengths to be warped and beamed off in one process. Threads wound onto bobbins would be run in sections laid side by side onto the horizontal drum. When the width was complete the section ends would be attached to the back beam from the loom and wound off from the mill.
Pressed Material. (From the media.) The Observer Magazine, 19 June 2016. Well Dressed – Knitting with a clean conscience Clean knitting is a close relative of clean eating where you prepare only recognisable ingredients at home. Knitting clean involves the same ethical scrutiny of the provenance of materials. So it’s out with chemicals and water intensive yarns. Wool and the Gangs latest econ yarn called Billie Jean, is made from denim factory waste decreasing the amount that ends up in landfill. It is 100% upcycled, sustainable and free of chemicals and dye. Knitting a sleeveless top in the yarn will save 6,000 litres of water, the equivalent of 100 showers. The yarn is affordable at £4.99 per 100g ball. For more information: www.woolandthegang.com
Escape to the Country, Scottish Borders BBC1 June22 Visited Lovat Mill in Hawick. There are 190 different tweeds with each one having a unique pattern and each mill having its own colour mixture. Individual bright yarns are carded to become the blend with yarns still sourced from Scotland. Imperfections are removed by hand by taking the weave back to a point by unthreading and hand weaving to repair the fault.
The word Tweed comes from a time when Tweels of local cloth were send to London and the copper plate writing was misread for Tweed.
Daily August 16 2016 History: 1978 Wool Spinning in Donegal documentary The 1978 documentary ‘Hands’ is about wool spinning in Donegal. It was filmed in Kilcar and Carrick. The documentary shows farmers haggling over sheep, how the wool is twisted into yarn, children collecting lichen to dye the clothes, and the quality of hand knitted goods such as geansaís (gan-zees). ‘Hands’ not only takes you through the history of wool spinning, but also the local history, “many a match was made at the factory!” “It’s best to spin when the sheep are asleep” was a common phrase said by spinners, however night-spinning, and all the ceoil and craic that went with it, is now a thing of the past. Mrs. Carr was able to raise thirteen children “in frugal comfort”, as they were self-supporting. The children collected lichen from the rocks in order to dye the wool. Mrs. Coyne made three different shades. This charming video is free to view by clicking on the image on http://www.donegaldaily.com/2016/08/14/dd-history-1978-wool-spinning-in-donegal-documentary/
Countryfile BBC1 South East Herefordshire
2nd August 2016
The program featured Ouessant Sheep, known as the
smallest sheep in the World, and having the most wool
per weight of any breed. The sheep featured were in
Lucton and there are 3 registered breeders of these
sheep in Herefordshire. These small brown sheep
have a solid soft thick fleece with a dense undercoat
and long wool. Their small size makes them excellent
for smallholders with 10 sheep per acre being
possible. They are hardy but need outside shelter to
guard them from the rays of the sun and during very
rainy weather. Sheep are 45 cm high and rams 48 cm.
They came from the island of Ouessant in Brittany
originally, where they were saved from extinction by a
group of aristocrats.
Escape to the Country, September 3rd 2016
Launceston has become the centre of the wool
processing industry since Sue Blacker gave up her city
job to concentrate on her wool production and spinning
business. She supports 10 endangered breeds of
sheep and processes fleece for 1000 smallholders.
She hand sorts the fleeces for colour and quality of
fibre before spinning and dyeing in a wonderful range
of colours.
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PTI News India, July 5 2016 World's largest spinning wheel inaugurated at the Indira Gandhi International Airport
The World’s largest spinning wheel in New Delhi.
• The World's largest charkha (spinning wheel) was unveiled at Terminal 3 of IGI Airport in New Delhi.At the unveiling ceremony, Union MSME Minister Kalraj Mishra said charkha is a symbol of Gandhian values and shows the government's priority towards khadi and village industries. He added charkha represents swadeshi, self-sufficiency and at the same time, interdependence, because the wheel is at the centre of a network of cotton growers, carders, weavers, distributors and users. The four-tonne charkha, made from high-quality Burma teakwood, which is estimated to last over 50 years, is 9 ft wide, 17 ft tall and 30 ft long. It was built in 55 days by a team of 42 skilled carpenters hailing from Ahmedabad .
This interesting article was given to me by Sue Petrie. The Telegraph, Ultratravel Magazine, Summer 2016 Stitching communities. How a former Miss World contestant bagged an idea that has transformed the lives of Guatemalan women. By Lisa Grainger When she came to London in 2009, Alida Boer – who
Illustrated: Alida Boer with one of her Maria’s bags.
represented Guatemala in 2007’s Miss World contest – had no idea that the blouse she wore to an event would change her life, and those of hundreds of other Guatemalan women. The blouse was a simple shift called a “huipil”, worn traditionally by Mayans, and intricately embroidered with bright patterns and flowers. When just about everyone she met, she says, wanted to know about it, “the embroidery, the traditions behind it, the makers – and where they could get something similar”, she had an idea for a business. Today, Maria’s Bag employs more than 500 women from all over Guatemale, who weave fabric on their looms, embroider it, and send it to her little factory to be available for the first time in the UK. Prices range from £200 to £1400. Each comes with a label with details about the maker, the area in which it was made and the local tribe’s traditions. “These are not just bags” she says, picking up a duffel whose surface swirls with flocks of birds in electric shades of blue. They are woven with women’s dreams, their pleasures, their heartbreaks and they have given formerly discriminated tribes a real pride and means to make a living while looking after their families at home”. For more information: www.mariasbag.co.uk. You Magazine, September 11 2016
Catarina Riccabona used a loom in her Cockpit Arts Studio in Central London to work on her bespoke hand-woven throws, blankets, bedspreads and cushions for this year’s London Design Festival which took place in September. Every item she produces is executed from start to finish on this loom. ‘I don’t work in the classic sense – with sketchbooks and imagery - I work spontaneously, organically and – most importantly – with my hands,’ she says. Her product range consists of eco-friendly and sustainable textiles
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made from linen, hemp, wool and alpaca fleece. She obtains most of her dye from a little lady in Finland who forages for the plant dye herself and only takes wood from local rare-breed herds which, in turn gives work to the farmers who raise them. No two pieces in Catarina’s range are ever the same. ‘The plant dyeresults in slight colour variations, which make them unique and special’, she says. For more information: www.catarinariccabona.com
Illustrated: wool and linen blanket by Catarina
Private Eye 16 September, reported on the National Trust overbidding on a small Lake District Farm with concerns about re-wilding. This is a sensitive issue for hill farmers as one farm cannot be re-wilded without catastrophic effect upon another. Herdwick sheep are ‘hefted’ (whereby they can be taught to stay on the farm where they were bred or raised with no need of walls or fences), but if an adjoining farm is abandoned the sheep will wander onto un-grazed or under-grazed land. Worse still, under-grazed or abandoned land starts to grow invasive plants such as brambles that trap wandering sheep as the thorns snag their fleeces.
ASGWD NEWS
Summer School 2017 is to be held at Sparsholt
College, Hampshire, Sunday 13th – Sunday 20th
August.
This summer school is called ‘Simply Special’ as the
event is being kept simple, all courses are running for
the full week.
An exciting and innovative choice of courses, eighteen
in all, are planned, from, weaving, spinning and
dyeing, to felt, paper making, knitting, and basketry,
Sparsholt, is close to Winchester, with its many historic
places to visit on the Wednesday afternoon. A small
exhibition, ‘A Touch of Silk’, of work from the south
east Guilds is planned at Whitchurch Silk Mill.
Summer School week will include all the usual
favourites, a trade fair, silent auction, fashion show,
raffle, COA exhibition, with a final celebration of a Gala
Dinner. Places and information will be available, online
from [email protected] or on the AGWDS
website www.wsd.org.uk. Allocation of courses will
begin on January 1st 2017, with a ‘names in the hat’
system for over - subscribed courses.
AGWSD Foundation Certificate in Spinning. The
Foundation Certificate in spinning has been created by
the Association to enable those who are new to
spinning and others who wish to get a better
understanding of this craft. Those wishing to register
to gain the Certificate should contact the organiser
(see details below) The registration fee for this
certificate is £55.00
To gain the Certificate you are required to complete
each of four modules given in the syllabus in the order
they are given.
The Modules are:
− Module 1 Spinning Technology
− Module 2 The Nature of Fibres
− Module 3 Spinning in Practice – Longdraw
− Module 4 Spinning in Practice – Worsted
• The Certificate will be taken by
applicants drawn into a Study Group of six
to ten applicants. Where possible a Study
Group may consist of those from one or
more Guilds closely located.
• Those wishing to take the
Certificate should notify the Organiser who
will list the applicants’ contact details from
which Groups will be drawn.
• Any Guild who wishes to create a
Study Group from among its members
should register with the Organiser.
• The Organiser will inform
individuals of their start date together with a
request for payment.
• Fees must have been paid before a
student may start to work on the Foundation
Certificate.
• Study Groups will start quarterly in
January, April, July, and October. For further information contact: Steve Kennett [email protected] Tel. 01798 831010
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Thrums
Stop press! The Lewes soroptimists have received a £298 grant from Lewes Town Council towards the cost of teaching girls knitting. The money will be spent on needles, wool, patterns and postage costs. For more information: www.lewessoroptimists.org.uk Lewes Craft Market takes place on the first Saturday of every month in Market Street, Lewes. Shetland Wool Week took place between 24th September and 2nd October and is an internationally acclaimed exhibition which includes spinning and weaving. The web site has a number of things of interest to members including a charming free knitting pattern for a traditional ‘crafthoose’ Shetland hat. www.shetlandwoolweek.com Pinterest. Did you know that there are currently over 2000 exciting images and videos of dyeing, spinning and weaving on the Pinterest web site. You can register for things you are interested in and emails will be sent to you as they are posted. You can then visit the sites and if you like them ‘pin’ the posts for future record on a virtual noticeboard. www.ukpinterest.com Visit to Worthing Museum, Chapel Road, Worthing by Gaynor Lamb I visited this free entry museum and was most interested in the archaeological weaving items shown. Many Anglo-Saxons were very skilled spinners and weavers and exported fabric to the Continent. All the threads were spun using a drop spindle. They produced a range of different thicknesses and types of cloth, mostly of wool or linen which they dyed bright colours with vegetable dyes. The cloth was used to make tunics and trousers or stockings for men and long flowing robes for women. Both men and women wore cloaks and simple leather shoes. Remains of a weaving hut have been found at Old Erringham, near Shoreham. It contained over seventy loom weights from two looms. See picture on page 1.
Anglo-Saxon spindle whorls made of chalk and shale. A whorl was used to weight a wooden spindle and give it the momentum needed to spin a thread. Southdown Spinners. John Bender gave details of a new spinning group which meet the first Sunday of every month between 10 and 4, South Downs Heritage Centre, Hassocks.
This illustration is of a braid loom that Guild members saw when we visited the Priests House Museum, West Hoathly in 2015. This loom was used to make narrow strips of decorative cloth for belts and edging clothes. The museum is well worth a visit!
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East Sussex Guild of Weavers, Spinners Spinners and Dyers
Data Protection Act Policy Statement
Key Terms
Data Controller – Anybody (person or organisation) who decides what personal data to collect and how to process it. Data Subject – Any living person about whom you collect, hold or use personal information. Data Protection Officer – The person in your organisation who makes sure you comply with the Data Protection Act 1998 Data Processing – From the moment someone’s details are taken to the moment their file is finally shredded or deleted, data about them is being ‘processed’ Personal Data - Any information about a living person could be personal data, from name and phone number to family history or financial details.
The Membership Secretary takes responsibility as ‘The Data Protection Officer’
Each member will supply, upon renewing membership, up-to-date details as follows: Name, Postal Address, telephone number, email address. This information will be available to the Chairman, Membership Secretary and the Treasurer only, and will be used for purposes of emergency contact only.
The information supplied by each member will be re-checked at the renewal of Membership, by means of a Renewal Slip, to be signed and returned to the Membership Secretary.
All data will be kept as a single data file; one software copy held by the Membership Secretary, two paper copies held by the Chairman and Treasurer each stored securely.
A circulated list of members will contain
details of only those members who have clearly expressed the wish to be included in such a list but it will list all members’ names
The members of the Guild will comply with the following requirements: Only paid–up members are allowed to use the circulated list data, and only for Guild purposes.
Ex-members must destroy all Guild data lists; current members must destroy out-dated lists. No data may be quoted to anyone not a member of the Guild.
Data lists may not be shown to, lent to nor accessed by a non-member.
This Policy Statement will form part of the notes given to new members and, so as to be re-checked, will appear at the top of the Renewal/Application form given out at the time of Membership Renewal/application to join the Guild. The Guild Secretary must be informed of any changes or corrections to a member’s details. This policy will be re-addressed at each AGM for any necessary revisions, legislation changes and changes of responsibility within the Guild. Val Conway, Membership Secretary September 2016
