THSG 2019 Event Book

FIBER
ARTS
TUCSON

WEAVING • SPINNING
DYEING • TAPESTRY

KNITTING • BASKETRY
BRAIDING • BEADING
FELTING • STITCHING
• SURFACE DESIGN •

• RUG WEAVING •
• RUG HOOKING •

Tucson Handweavers & SHOP THE BOUTIQUE
Spinners Guild Handcrafted

A Fiber Arts Community wearables
table linens
invites you to accessories
jewelry
FIBER
ARTS SHOP THE GALLERY
2019 wall and table art
tapestries
SHOW & SALE sculpture
rugs
FABULOUS HOLIDAY GIFTS
ENJOY AN EXHIBIT
SATURDAY, OCTOBER 26, 2019 OF ART FROM AFRICA
And see our work that
NOON — 6 PM was inspired by it.

DUNBAR CENTER AUDITORIUM

325 W. 2nd Street, Tucson

Enter through parking lot on N. Main

FREE and OPEN TO THE PUBLIC WATCH FIBER ARTISTS
AT WORK
WIN GIFT CERTIFICATES weaving
from your favorite businesses spinning
Purchase door prize tickets. knitting
Drawings happening all afternoon! felting

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BID ON THESE FABULOUS ITEMS IN THE SILENT AUCTION
Bidding from Noon – 5pm

1 2345

6 78 9
11
14 Birdwatching Tour
10

12 13

17

15 16

18

19 20 21 22

FOR DETAILS, PLEASE GO TO WWW.THSG.ORG AND CLICK ON SILENT AUCTION

LETTER FROM THE PRESIDENT LAURA WITTMAN
Welcome to the Tucson Handweavers and Spinners Guild. From our
origins in 1973 as a guild primarily focused on handweaving, we have Like many Guild members, I was introduced to the
become a Fiber Arts community that embraces not only spinners and textile arts by the women in my family. My mother
weavers, but also a multitude of other textile artists. Our ranks now and grandmothers were excellent seamstresses and
include felters, dyers, basket makers, sewists, beaders, braiders, knitters, adept at various fiber arts. My paternal
and rug hookers. The fiber interests of our members are diverse and grandmother lived in a house built in 1835 that she
ever-growing. THSG is a place for learning and sharing about the fiber and my grandfather had restored and filled with
arts through study groups, workshops, and programs. It is an excellent antiques, including old woven coverlets, and she
group for beginners, as well as for those more advanced in their craft, also made braided and hooked rugs that fit in with
to develop and share their skills with each other. If you are a fiber person, the antique decor. She enjoyed taking us to living
there is a place for you at THSG. history villages where we saw many crafts
demonstrated, including weaving. I was always
In addition to supporting and encouraging our members, another fascinated by the looms, the process of weaving,
important part of THSG is community outreach to promote fiber arts in and the resulting textiles, and I was determined that
Tucson and the surrounding area. You may have encountered our I would learn to weave. I got my chance in my mid-
members knitting, spinning, or weaving at the Pima County Fair or at the twenties when I moved to the Twin Cities. I found the
Loft as part of the showing of the movie “Yarn”. You may have gone to Minnesota Weavers Guild and took the
a talk given by a couple of members on textile history. Your child may beginning weaving class. I loved every bit of it,
have had a chance to try weaving when our members visited their school. especially learning to draft patterns. I also took
We love to talk about fibers and demonstrate our various crafts! classes in rag rug weaving, weaving with linen, and
dyeing with lichens. In addition to enjoying the
Of course, many Tucson residents are familiar with our Sales events. Our process of weaving, I’ve become interested in how
booth at the Tucson Museum of Art Holiday Artisan’s Market is textile production has influenced human society,
particularly well-known with many repeat customers year after year. Our inventions, trade, and language.
members create beautiful and unique wearables, jewelry, textiles for the
home, as well as sculptural pieces and wall art. I joined the Guild in 2013 and belong to the Porrey
Cross Study Group. I have been the Outreach Chair
Fiber Arts 2019 encompasses all these aspects of THSG. Our members and Co-president. I am now the President.
will be showing and selling their textiles and art. There will also be
a Special Exhibit of African art pieces and our work that was inspired
by them. Our Study Groups will display their latest projects, and our
members will demonstrate various fiber arts. Whether you are looking
for beautiful fiber creations, want to see how spinning works, or are a
fiber artist looking for a home, there will be something for you at Fiber
Arts 2019. Please join us!

VISIT US
www.thsg.org

PHOTOGRAPHY ADVERTISING SALES Color Scratchboard Blanket for Reed (2018), black
Ted Fleming Susan Andersen merino/tencel with hand-dyed, variegated yarn. 2/2 twill
Marcia Fleming Judith Austen woven on AVL Compu-Dobby for my son.
Judith Shangold Diana Manning
Judith Shangold Galaxy Red Table Runner (2018), 12" x 32". Woven with
LAYOUT/DESIGN Jody Williams 8/2 orlon to match Platzgraff Galaxy Red dinnerware.
Judith Shangold
PUBLICITY
EDITORIAL Lindy Brigham
Judith Shangold Caryn Stedman
Judith Austen
Katharine Martinez
Steve Dyer

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TUCSON HANDWEAVERS & SPINNERS GUILD

Sampling of Work from 40 Members

Laura Wittman 4

Linda Fernandez 6

Rebecca Fabos 6

Sarah Boyle 7

Wendy Webster 7

Cathy Thompson 8

Mary Weinzirl 8

Jere Moskovitz 9

Maddie Tsurusaki 9

Susan Andersen 10

Lindy Brigham 11

Marcia Fleming 12

Donna Andersen 13

Jill Holbrook 14

Lura Moore 15

Judith Austen 16

Fran Krackow 16

Enid Paulk 17

Marcia Molter 17

Susan Oates 17

Mickey Pennington 18

Karen Lukacs 19

Judith Shangold 20

GALLERY Mary Alice Wagner 21
Helen Kennedy 21
Suzy Swann 22
Lita Doesken 23

Susan Thompson 24

`` Roxane DeLorme 24

Karen Herhold 25

Linda Dewey 25

Myra Rees 26

Carol Nelson 27

Laura Lundy 28

Jane Gilbreath 28

Bobbie Gibel 29

Pauline Doyle 29

Vivian Paric 30

Shelley Chase Olsen 30

Adrienne Prince 30

Ted Fleming 31

LINDA FERNANDEZ

My interest in weaving began in the early 1970s in California. I didn’t learn until I moved to Tucson in 2004 and took classes from
a Guild member, Lynn Silberschlag. I was hooked and bought my first two looms, a Leclerc Dorothy table loom and a Leclerc Artisat
4-harness floor loom. I haven't stopped weaving since. I'm fascinated by the simplicity, yet also the complexity of tapestry weaving.
I take an intuitive, spontaneous approach, starting with only an idea of color or technique. The needle cases are my whimsical
thoughts, designed, embroidered and embellished on felt.
I’ve been a Guild member since 2004 and was the Guild’s Hospitality Coordinator for 3 years. I am a member of the
Tapestry Study Group. I show and sell my work at Guild events.

REBECCA FABOS

In my working life, I needed to be analytical, but when we moved to Tucson, I began taking art classes at Pima Community College
where I was introduced to weaving. After years of pattern weaving, I yearned to try tapestry. It's the perfect meld of drawing and
weaving. I enjoy the pleasure of seeing the piece become whole as I work it, one pick at a time. For the Everyday Faces tapestries,
I did a quick sketch of a person and then did the weaving on a small, upright, pipe frame loom. They are each 4" wide.
I joined the guild in 1998. I have served as Secretary, Co-president, President, and Membership Chair.
6

SARAH BOYLE

I started weaving on a 4-harness loom at 14. In 1999, while attending the University of Indianapolis, I took a textiles class that was
only offered every other year and learned to coil baskets. That summer, I taught myself inkle weaving from books, and in 2005, I
learned to spin from Joan Ruane and Jill Holbrook. I use fine hemp twine for the core of the baskets and wrap with either hand-dyed
commercial yarn or my own handspun, hand-dyed yarn in a Figure-8 stitch, otherwise known as the Navajo stitch. I split the 3-ply
commercial yarn into singles so it is finer. My baskets are tiny; the largest one in this photograph is only about 3" in diameter.
I joined the Guild in 2004 and have been in the Spinning and Inkle Weaving Study Groups. My designs are original. I show and
sell my work at guild events.

WENDY WEBSTER

I've been involved in fiber arts all of my life. I learned to embroider and wove my first basket at age 8. At age 10, I learned to sew
and made my own clothes. I learned to knit when I was 12, and later picked up needlepoint and cross stitch. Weaving always
fascinated me, particularly tapestry, and when I lived in Lansing, Michigan, I took classes from the city’s Parks and Recreation
Department. When I moved to Tucson in 1997, I joined the Guild and took a basketry class from Joyce Jaden at the Parks and
Recreation Department. It reignited my love of basketry. I’ve served the Guild as 2nd Vice President, Outreach, Evening Meeting,
and Standards Chairs, and Arizona Federation Representative. I belong to the Basketry and Tapestry Study Groups.

7

CATHY THOMPSON photo by TJ Marsh

In the late 1970s, I took a class in which I wove a camera strap.
I was immediately hooked! My husband gave me a Leclerc
Nilus 4-shaft floor loom and a subscription to Handwoven. I
have been pretty much self-taught since then, now and then
taking classes and workshops.

When I was working full-time, it was often hard to find time to
weave. Around 2010, however, I began weaving regularly, and
since retiring in 2013, I work on weaving-related projects 4–5
days a week.

I have an 8-shaft floor loom and mostly weave with finer
threads. I have done a lot of textiles for the home, blankets,
scarves, and shawls, and other miscellaneous items.

While living in Colorado, I joined the Handweavers’ Guild of
Boulder and still maintain my membership in that guild. When
we moved to Tucson in 2016, I immediately joined the Guild so
I could have a new circle of weaving friends. I show and sell
my work at Guild events in Tucson, and am the current
Workshop Co-ordinator.

Shoulder Bags (2018), 15" x 18", 8-shaft shadow weave and plaited
twill, cotton/linen blend yarn, cotton lining. Original design.

MARY WEINZIRL

My fiber journey began many years ago, mainly in
embroidery and knitting. My best friend, Barbara Spelman,
introduced me to spinning in 1996. In 1999, at a spinning
retreat in Missouri called SOAR, I started weaving on a
triangle loom, and I brought one home. Though I didn’t have
room for a traditional loom, I could put the triangle loom under
the bed. In 2003, I had the opportunity to move to Tucson and
share a home with Barbara. We joined forces and created
Crone Craft Studios, where we dye, spin, knit, felt, crochet, and
quilt. I have learned to weave on a traditional harness loom,
but the triangle and rectangle looms are my forte. I love to use
many different kinds of yarn and colors. Weaving keeps me in
a happy place.

I joined the Guild in 2001. I chaired the Fashion Show in 2005
and 2007 and the Boutique in 2011 and 2016. I’m in the
Spinning Study Group and sell my work at Guild events.

www.cronecraftstudios.com

Golden Night (2018). Bias-woven on a triangle loom, continuous warp
and weft, synthetic black and metallic yarns. Original design.

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MADDIE TSURUSAKI JERE MOSKOVITZ

I have been weaving for 45 years. Tucson I received a BFA in Apparel Design from the
weaver, Su Egen taught me to weave in the Rhode Island School of Design and worked in the
early 1980s. Since then I’ve learned through fashion industry for 20 years. I launched my
workshops, books and experimentation. business Studiojere in 2012, first making women’s
Although my fascination with the interaction of yarmulkes, followed by jewelry. I work with wire,
design and technique has led me to explore using four different knitting methods as well
felting, dyeing, and beading, the core of my as crochet in my work. I like to incorporate fiber
artistic life is as a weaver. and beads, and am always on the lookout for
something new.
I joined the Guild in 2012 and have served as I joined the Guild in 2016 and belong to the
the Workshop Co-ordinator. I am a member of Business Building and Braids, Beads & Beyond
the Tapestry Study Group. Study Groups.
www.studiojere.com
Clockwise from top left
Beaded Bangle (2018), glass beads woven with Top to bottom
Dangle Necklace (2016), knitted copper wire, ribbon,
peyote stitch. Original design. resin, glass beads. Original design.
Slider Bead Necklace (2017), knitted copper wire,
Blooming Aloe (2014), 18" x 21", tapestry using hematite and glass seed beads. Peyote stitch slider.
Dukagong technique. Original design. Original design.
Triple Wrap Bracelet (2012), crocheted copper wire,
Diary detail (2016 — present), 16" x 48" when leather, metal button, glass beads. Original design.
finished, tapestry using traditional techniques Photography by Jere Moskovitz
with surface embroidery.
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Photography by Maddie Tsurusaki

SUSAN ANDERSEN

I started beading 25 years ago while living in Dallas with my
husband and young children. I am mostly self-taught from books
and magazines. A charter subscriber to Bead & Button and
Beadwork, I’ve had some of my work published in the "Reader's
Work" sections of both. I was born and raised in the Far East
and went to high school in Malaysia, where I painted murals on
peoples’ walls to earn money. Many of the designs were
inspired by the country’s intricate batik design.
I enjoy the portability of braiding and beading and share the
Japanese affinity for minute detail. I find relaxation, creativity,
and satisfaction in a job completed.
I have been a member of the Guild since 2017, and am in the
Clothing Study Group. I’m a founder of the Braids, Beads &
Beyond Group, and am the co-chair of the Fiber Arts 2019 event.

Susan and Lindy are sisters. In recent years, they have
enjoyed collaborating in joint modality projects: woven and
knitted, beaded and crocheted, woven, dyed, sewn, and
whatever else they come up with as joint ventures. Susan grows
the cotton in her backyard that Lindy spins.
Their mother was Lucile (Lucie) Andersen, a weaver, dyer,
and sewer, and a member of the Guild for 10 years.

Top to bottom
Dragon’s Skin with Stars (2018), 16" long, peyote-with-a-twist.

Design by Janet Junkert. Size 15/0 Japanese seed beads,
upholstery cording, sterling silver chain, magnetic clasp.

Bead-loomed Purse (2016), 8" x 6" with shoulder strap. Superlon
nylon warp, size 8/0 Japanese seed-beads. Original design.

Green Goddess Necklace (2014), 18" long, from Rachel Nelson-
Smith’s book “Seed Bead Fusion.” Tubular netting and peyote stitches.

Japanese size 11/0 seed beads, 4 mm crystal bicone, 3 mm crystal
drop, sterling silver s-hook clasp, braided nylon beading thread.

10

LINDY BRIGHAM

I have been weaving on and off for 45 years. Growing up
in the Far East gave me an appreciation for beautiful fabrics.
I started on a simple 2-harness loom; over the years I added
more looms and investigated 8-harness patterns. I also began
spinning, mostly cotton.

I recently took a major dive back in both time and technology
to play with pin loom weaving. It’s like knitting needles for
weavers—they go anywhere. The tunic below is a combina-
tion of three techniques that I enjoy very much: Rigid-heddle
and pin loom weaving and spinning. My sister grew the
green cotton that I spun to weave the tunic.

I’ve been a member of the Guild since 1977, and belong to
the Spinning, Business Building, and Clothing Study Groups.
I’m 2nd Vice President and in charge of Publicity.

Clockwise from top
Peruvian Belts (1993), 1" x 60", backstrap loom with pick-up
technique, silk embroidery thread.

Red Christmas Cowl (2017), 7" x 50" around, cotton, metallic,
chenille yarns. Woven on a rigid-heddle loom.

Spinzilla (2016), hand-grown and processed brown and white
cotton, drop spindle.

Two-Loom Tunic (2017), white cotton singles spun on Book
Charkha spinning wheel; green cotton spun on a Tahkli spindle,
plied on a drop spindle. Main body woven on a rigid-heddle
loom with white cotton singles. Side panels woven on pin loom
with plied green cotton. Shown with Susan Andersen’s
Peyote Rope Necklace.

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MARCIA FLEMING

In 1975 while living in St. Louis, Missouri, I took a
beginning weaving class offered by the Parks &
Recreation Department. We built our own rigid-heddle
looms and learned the basics of weaving with carpet
warp and heavy yarn. Realizing that my obsession would
be with fine yarns and complex weave structures, I
purchased a multi-harness loom. The next year, we
adopted our daughter, moved to England for a year-long
sabbatical, and then moved to Miami. Weaving was put
on hold for the next 15 years.
During two sabbaticals to Tucson in the 1990s,
I discovered the Guild, and weaving became my passion.
I’ve taken several workshops, but mostly I learned
by trying all the structural patterns shown in Handwoven
over the years. Since retirement to Tucson in 2008, I have
been active in the Guild, participating in several study
groups and special events.

Counterclockwise from top
Dresser Scarf (2010), doubleweave with 20/2 mercerized
cotton, Porrey Cross Study Group project.
Black and White Scarf (1999), deflected doubleweave
woven in fine silk. Inspired by an article published in
Weavers magazine by Madelyn van der Hoogt .
Clothing Fabric (2010), woven in an 8-harness twill variation
with 10/2 mercerized cotton plus novelty ribbon. This yardage
is waiting for the perfect inspiration to become a garment.
Sonata Sweater (2018), knit from a pattern by Laura M.
Bryant with 8 different variegated yarns, ranging from
light to dark.

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DONNA ANDERSEN

Fiber arts have always been a part of my life. I began
sewing at age 8, taught myself to knit and crochet,
experimented with basket weaving, dyeing, ikat, and
shibori. In 1983, I took weaving classes in Seattle. I
always knew I wanted to weave, and it really clicked for
me. I have been a member of several fiber arts guilds and
study groups, have taken many workshops, and have
studied with some amazing fiber artists. Several college
courses in 2- and 3-dimensional design, and working in
other media such as clay, watercolor, glass, and
silversmithing have contributed to my design process and
provided me with inspiration.

I am mostly interested in creating functional pieces for the
home — rugs, wallhangings, and table linens. I am
fascinated with color as well as the limitless textures
available using different weaving structures. There are so
many possible options with weaving—the challenging part
is choosing what to do next!

I joined the Guild in 2012; I have created graphics and
publicity for the Guild and its events and am on the
Standards committee. I belong to the Tapestry Study
Group and sell my work at guild events.

Clockwise from top
Table Runner (2012), 14" x 31", 8-shaft loom, doubleweave.

Cottolin yarn. Original design.
Patty’s Paradise Inspiration Wedge Weave (2018), 9" x 12,

tapestry woven on Rio Grande walking loom.
Single ply, natural dyed Oaxacan wool. Original design.

Table Runner (2013), 13" x 40", 8-shaft loom,
rep weave, cotton. Original design.

Prickly Pear Fruit (2018), 3.25" x 3.5", four-selvage tapestry
(no fringe), woven on a tapestry loom with
use of warp jig. Paternayan wool weft.
Original design.

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JILL HOLBROOK

I started sewing when I was 6. My mother taught me; I
am pretty sure she did that so I could sew on all the
family’s buttons. However, it happened that I loved to
sew, and have since learned embroidery, knitting,
crochet, spinning, and weaving. I am most consistent with
knitting, and have designed patterns that have been
published in magazines. I completed the Master Spinner’s
six-year program at Olds College, and received a
Certificate of Completion with Distinction. I teach spinning
workshops locally and nationally. At some point, I
eventually had to start selling my creations or my house
would be overwhelmed, and so I sell at Guild events. I
could wish for more time and maybe a bigger house.
I joined the Guild in the early 1990s. I wrote the
Newsletter for 10 years, was the President from 2012 to
2014, and am the current Chair of the Standards
Committee. I am a member of the Knitting and Spinning
Study Groups.
My partner Lura and I own a business called Brookmoore
Creations. We wholesale cotton fiber for spinning to yarn
shops across the country and retail handspinning tools.

www.brookmoorecreations.com

Clockwise from top
Diospyros Wrap, design by Andrea Jurgrau,

Madeline Tosh yarn.
Peacock Shawl, Zephyr lace weight yarn, original design.
Basket of Yarn, cotton and wool, handspun from dyed fiber.
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LURA MOORE

In 1986, I took a weaving class at the Many Hands Studio
with Joan Ruane. I soon learned to do doubleweave so I
could make baby blankets that were twice the width of
my 24" wide loom for my pregnant nurse co-workers. The
blankets, woven of very soft cotton yarn, were a big hit.
After retiring from being a Nurse Manager, I joined the
Guild in 2000. I had acquired a 46"-wide loom, perfect
for my blankets. However, after participating in a Tucson
Museum of Art’s Holiday Market and not selling any
blankets, I started focusing on handwoven garments, as
they were more popular with customers. I weave them
with rayon chenille. I love the bright colors and textures
achieved by blending chenille with novelty yarns, and I
am able to create a soft, sensuous garment with just the
right amount of drape. I still sell at least a dozen baby
blankets each year to repeat customers—my blankets have
become a “family thing”— and I sell my chenille
garments at Guild events.
I was President of the Guild for 3 terms, Fashion Show
Chair for 2 years; have been Sales and Events
Coordinator for 17 years, and Loaner Loom Program
Coordinator for 8 years. I am a member of the Business
Building Study Group.

Photo by Lura Moore

www.brookmoorecreations.com

Clockwise from top
Classic Shawl (2017), 22" x 76", rayon chenille.
Baby Blanket Collection, 100% cotton.
Classic Abrazzo Southwestern Wrap (2018), based on a
Mayan design, rayon chenille.

15

JUDITH AUSTEN

I am a painter who knits. I taught art at
the Shady School in Cambridge,
Massachusetts for 28 years before
retiring in 2009. I moved to Arizona in
2016 and joined the Guild. I am in the
Knitting Study Group.

When the Woman’s March of 2017
was announced, like many fellow
knitters I raided the yarn shops for pink
yarn and knitted up some very pink
Pussy Hats. I was moved by the impact
of so many women marching and
wearing these hats, and wondered how
I might bring it up a notch. I began by
knitting a leopard skin hat and keeping
the pink as the background color. To
extend it further, I bought a female
styrofoam head, got out my acrylics,
and using the human face as the
structure, painted a leopard’s face. It
meowed for human hair to make the
cat face more ambiguously human. I
found a wig store specializing in
costume wigs, and like magic the
project came together. The results were
(counterclockwise from top left), the
leopard, a tiger, a black panther, a
gray house cat, and a ginger cat (not
shown).

www.austenarts.com
Photos by Wilson Graham

FRAN KRACKOW

My Lady Liberty is the fourth in a series. One is in the collection
of the Statue of Liberty Museum. Another I knitted as a sweater
and gave to Hillary Clinton when she lost the primary to
Obama. One is a sweater I often wear. This one is a banner
that I have marched with many times, including the Women’s
March on Washington in January 2019.

I joined the guild years ago when I needed help learning to
weave on a loom donated to my classroom. My knitting is
therapeutic, and it can also express my feelings as an activist.
Combining my craft and my activism is pure synergy!

Lady Liberty Banner, knit following a graph from a 1995 sweater
pattern by Pat Trexler. I added the pink Pussy Hat.

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ENID PAULK

I was taught to knit by my aunt 55 years ago, and it is my primary
passion. I joined the Guild in 2008 and have been inspired to
explore the other fiber arts. I am a member of the Spinning, Knitting,
Rug Weaving, and Traditional Rug Hooking Study Groups. I serve
on the Standards Committee and sell my knitting at Guild events.

Scheherazade Shawl (2006), lace weight merino wool,
pattern by Melonie Gibbons. This was a “Mystery Shawl” knit-along

on the Ravelry website. Each week for six weeks a portion of the
pattern was e-mailed to participants.

MARCIA MOLTER

I am a retired software engineer from the Northwest. I learned to
knit at age 4, sewed clothing in high school, and did hand-stitched
quilts in the 1980s. I learned to spin in 1977 and now knit with my
handspun yarn. I spin using custom-blended colors and fibers from
independent dyers' rovings. The handspun yarn is accumulating,
and I am learning to weave with it. I find spinning and knitting to
be great and necessary stress reducers. I joined the Guild in 2014.
I have been the Knitting Study Group coordinator since 2015, and
am a member of the Standards Committee.

"Iara” Scarf (2018), 17" x 78". Handknit shawl with my handspun 2-ply
cotton from Acala cotton sliver, hand-dyed with indigo.
The design is by Renee Callahan.

SUSAN OATES

I started working with fiber in the mid 1970s. I learned to spin on
a drop spindle, and later bought a spinning wheel. I like spinning
textured yarn that I can knit and crochet with. I’ve also woven on a
frame loom and have recently been using kumihimo (Japanese
braiding) to create jewelry. I sell my socks and other items at Guild
events. I joined the Guild in 2005, was on the Scholarship
Committee, and am now in charge of the Weekly Update.

Pink sock being knit with my handspun silk and wool yarn.
Photo by Susan Oates

17

MICKEY PENNINGTON

I started knitting as a child. My mother would take me to a
favorite knitting store in Nashville, and the ladies took me under
their wings, teaching me while my mother ran her errands.
I took up weaving in Taos when I lived there in the early 1980s.
I apprenticed myself to a tapestry weaver and helped out
around her studio. I eventually bought a used loom and wove
fabric of various types. When we moved to Tucson, the loom
ended up in the utility closet until my husband threatened to
throw it out if I didn’t get back to using it. I went to Joan Ruane
at the Many Hands Courtyard and signed up for a class with
Barbara Eychaner. Later I would take classes through the Lew
Sorenson Center with Lynn Silberschlag, who encouraged me
to join the Guild, which I did in 2004. I am a member of the
Clothing, Knitting, and Surface Design Study Groups, and am
the editor of the Guild’s newsletter, The Woolgatherer.
I was a clinical psychologist and had a long and fulfilling
career. I’m a recreational weaver and knitter who has been
blessed with good teachers and encouragement from a loving
husband, the result being creations accepted for Guild fashion
shows and displays.

Top to bottom
Undulating Twill Vest (2010), silk/wool, cotton lining,

8-shaft Bonnie Inouye undulating twill. Vest pattern
from Daryl Lancaster 2-day workshop.

Dreambird Shawl (2016), handknit with Souk
Rainbow yarn from Cascade, design by Nadita.

Joe’s Shorts of Many Colors Vest (2006),
discarded silk boxer shorts cut into strips for the weft,

tencel warp, black bias tape binding around
neck, armholes and front panel edges.

Sewing by professional seamstress, Susan Crane.
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KAREN LUKACS

I am a Designer/Maker, working with upcycled garments
and textile salvage since before the labels "Sustainable" and
"Eco Fashion" were part of today's lexicon. It was a lack of
available textile resources that drove me to the thrift stores.
Shocked by the massive volume of available inventory, I also
saw endless possibilities therein, and set about making
design challenges for myself. Each challenge, each
"what–if" query sprouted a series, a limited-edition collection
of bags, fashion, or home decor.

A love of traditional handcraft techniques is apparent in my
work, as well as a thoughtful and classic design aesthetic. I
take pride in my quality craftsmanship, which comes from
years of practice. This recycling of thrift–find resource
materials is the truest form of Sustainable Eco Fashion.

This is what I do in my studio: One at a time. One of a kind.
I’ve been a member of the Guild since 1998, and am a
member of the Business Building Study Group. I sell my work
at Guild events and through my website.

www.KarenLukacs.com

Photo by Amy Haskell

Counterclockwise from top
Denim Collection Kimono #003 (2018), constructed from

reclaimed, thrift store denim jeans. Original design.

Denim Bag (2018), 15.5" x 18", denim jeans, designer
upholstery samples, deconstructed garments for lining textile,

leather straps and bottoms. Original design.

Felted Blossom Jacket (2006). Original garment was felted to
eliminate moth holes, albeit unsuccessfully. Thrift store
sweaters were felted, cut into petal shapes, and

machine-appliqued onto the garment to cover the holes.

19

JUDITH SHANGOLD

I learned to weave in 1968 after seeing a fiber-art show at
the Museum of Modern Art in New York. I quit my job in
advertising 4 years later to become a weaver. After realizing
I couldn’t make a living that way, I opened a yarn shop called
The Weaver’s Studio in the Park Slope section of Brooklyn,
N.Y. I started knitting more and designed patterns for yarn
companies and magazines. When I moved to Boston in 1985,
I became the New England sales representative for several
yarn companies and created patterns under the names A Bear
in Sheep’s Clothing and Designs by Judith. In 1999, I became
the importer and distributor for Manos del Uruguay yarns.
Since retiring, I have returned to weaving, first on a rigid
heddle loom and more recently on an 8-shaft Baby Wolf. I’ve
written articles for Handwoven magazine, and my book
Weave•Knit•Wear, on weaving garments that require little
cutting and sewing, was published in 2014.

I joined the Guild in 2012 while I was a snowbird from
Massachusetts. Now a permanent resident of Tucson, I am the
Co-chair of the Fiber Arts 2019 Show & Sale. I show and sell
my work at guild events.

www.judithshangold.com

Clockwise from top Photo by Judith Shangold
Easy Street Shirt (2014), cotton, bamboo, silk.
Four panels woven on a rigid-heddle loom. Original design.

Sunspots (2018), 14" x 23", cotton, linen, silk, foil, textile paint,
pine needles. I stenciled the large circle at the top onto the warp

and then wove. The foil pieces are glued on. Original design.

Table Runner (2018), 15" x 26", Cottolin yarn. Doubleweave on
8-shaft loom. The reverse side looks different from the front.
Original design.

20

MARY ALICE WAGNER

I began my involvement with fiber in 2002 as a
member of of the Columbia River Fiber Guild in
Oregon. I was in the spinning and knitting
groups, which met in each other’s homes or
outdoors, usually near a lovely creek. I also
belonged to the Weaving Studio where twenty-
four of us rented a studio to house our looms.

I moved to Tucson in 2014, and joined the
Guild. I’ve served as Secretary, Arizona
Federation Chair, and as 1st Vice President. I
belong to the Rug Weavers, Porrey Cross, and
Basketry Study Groups.

I do production work, with a focus on practical,
useable items. I weave scarves, placemats, table
runners, and kitchen towels, usually made from
cotton. I knit socks, sweaters, shawls, scarves,
mittens, hats, and tote bags made from
commercial and handspun wool. I am learning
to make baskets, and for the last few years I
have been working with gourds. I show and sell
my work at guild events.

Top to bottom
Heart-shaped Basket (2018).
Tea Towel, summer-winter pattern, perle cotton.

Table Runner, perle cotton.

Hand towels, perle cotton.

Tote Bag, handknit and felted, handspun,
hand-dyed and commercial yarns, beads.

HELEN KENNEDY

I’ve been knitting and sewing most of my life,
learning from my talented mom. I have been
interested and involved with botanical dyeing
off and on for over 40 years, intensively with
indigo for the last five, growing my own
in the Pacific Northwest. I am interested in
preserving traditional art/craft forms and in the
eco-friendly use of materials.

I joined the Guild In 2015 and am in the
Knitting, Dyeing, and Felting Study Groups. I
am the leader of the Dye Group and am the
administrator of the Guild’s Instagram and
Ravelry groups.

Project/Tool bag (2018), cotton dyed with
organic indigo.

21

SUZY SWANN

In 1971, after taking a beginning weaving class on Cape Cod,
Massachusetts, I bought a Macomber floor loom. I moved to Great Falls,
Montana, and, still a new weaver, made a saddle blanket with Navajo
Churro yarn that won 3rd prize in the Montana State Fair; I think there
were only three entries. My loom followed me to California, the
Philippines (where I made reed/plant fiber blinds for our porch),
Alabama, Tucson, and Phoenix. It was in storage while I was living in
Italy, Germany, and Spain, and it finally resides here in Tucson. I weave
mainly dish towels. My favorite ones were made with linen following
directions written in Swedish that my mother helped me translate.
While living in Phoenix, I took spinning lessons, but because I moved so
often, I never progressed beyond a beginner’s expertise. In 2011, I
began the six-year Olds College Master Spinner Program in Alberta,
Canada, and have recently completed the requirements to become a
Master Spinner.
I joined the Guild in 2004. I belong to the Spinning Study Group and
currently am the Guild’s Historian.

Counterclockwise from top
Swedish Lace Shawl (1977), woven during a Swedish Lace workshop taught

by Inga Krook at Mary Pendleton's weaving shop in Sedona, Arizona.
Worry Rag Triangular Shawl (1987), woven on a 6 x 6 ft frame loom with
nails top and bottom to hold the warp yarns, made with my father’s help.

The project gave me something to occupy my mind during a divorce
when all of my other weaving equipment was in storage.

Blue Dish Towel Vest (1993), cotton. Striped fabric woven for a set of dish
towels. I sewed a vest for my college-age son with some of the fabric.
I wear it now and still use the dish towels every day.

22

LITA DOESKEN

I liked to draw as a child, but then I didn’t make art for many years
until I strung my own snowshoes, which reminded me of the macrame
I had done in college. Realizing I loved working with my hands, I
turned to knitting and then learned to spin and quilt. I am now into
weaving and have started doing a Japanese style of hand stitching
called Boro. It’s free-form stitching, which is very organic—nothing is
considered wrong.

I joined the Guild in 2013 and am the Electronic Media Chair.

Top to bottom Three Pieces To Make You Smile (2018),
Handkerchief Vest (2017), 10/2 cotton, woven on a Boro stitchery, cotton fabric scraps,
rigid-heddle loom. Based on a design by Judith Shangold. cotton thread, quilters batting.

Zigzag, detail (2018), 5.5" x 6". Wedge weave tapestry. Top to bottom
Original design. Blue & Red, 5" x 5"
White, Black & Red, 10.5" x 10"
Blue, White & Red, 5.5" x 5.5"

23

SUSAN THOMPSON

I have found joy in the act of creating since I was
a small child and have explored many mediums
such as drawing, painting, clay, glass fusion,
wood sculpture, and welding. Having had both
a successful business and teaching career, I now
practice the ancient and eco-friendly techniques
of wet-felting to create wearable garments such
as wraps, scarves, fiber jewelry, and jackets, as
well as sculptural pieces, hanging fiber murals,
and rugs. I have participated in shows and
studied and taught workshops in wet-felting and
nature printing/dyeing techniques throughout
the U.S. and Australia. Through my business,
Spirited Hands Studio, I offer workshops
designed to meet a variety of needs within the
community — working with all ages from young
children to the elderly—in an effort to share my
learning and joy in the fiber arts.

www.feltingmagic.com

Clockwise from top
Shoulder Bag (2018), 11x9x2, wet-felted using
merino wool, hand-dyed silk. Upcycled leather belt.

Hand stitched surface embellishments.

Goddess Rising—Forged (2018), 18" tall, wet-felted
using merino wool, Navajo Churro wool, hand-
dyed silk, hand stitched surface embellishments.

Micro-Glimpses System—-Sol Planet--Earth Desert—
Sonoran Lat—32.26 Long—110.94 (2016),
Wet-felted.

ROXANE DELORME

I started hand-sewing in second grade and have a
degree in Home Economics with an emphasis on
fiber. I’m a long-time member of the Guild and was
Workshop Chair for 3 years.

This piece, Up From the Earth (2018), 16" high, was
made with a technique called "silk fusion." I layed
down unspun silk fibers, and then painted over them
with a “glueing” medium which melded the fibers into
a sheet. I then formed it into a vessel. I knit the wire
and sewed on beads. I teach silk fusion at Grandma’s
Spinning Wheel, Tucson, and sell my work at Guild
events.

24

KAREN HERHOLD

Growing up on a farm, I began working with
fabrics and yarn at an early age. The colors and
textures in nature have always been my
inspiration. My vessels are created using wet-
felting, and I like to incorporate what the desert
provides. My silk scarves are dyed with plant
extracts and printed with leaves using a
technique called “botanical printing”, a process,
developed in the 18th century that extracts
pigments from foliage to magically reveal its life
prints on natural fabrics. Fabrics and leaves are
either steamed or boiled to produce a
permanent print.

I have been a member of the Guild since 2010
and co-chaired the 2011 and 2013 Fashion
Shows. I've been on the Standards and Sunshine
committees, and am in the Felting, Surface
Design, and Dyeing Study Groups. I show and
sell my work at Guild events and at the Desert
Artisans Gallery, Tucson. I teach workshops in
felting and dyeing through the Guild and in my
home studio.

From top to bottom:
Desert Bloom (2018), wet-felting, wool and
bamboo fibers, silk fabric, beads;
Whimsical (2018), wet-felting, wool, silk, ramie
fibers, wire in stems. 8" x 8" on stand.

Desert Bowl (2018) 5.25" high, and Desert Gifts
(2018) 9.75” high, wet-felting, wool, Devil’s Claw
pod, feathers, leather.

Botanical printed silk scarves (2018), natural plant
dyes, desert foliage.

LINDA DEWEY

Combining wool, silk, and complementary fibers in a multitude of colors, I
use traditional wet-felting and nuno-felting — a method that encourages
migration of wool fibers through silk to bind them together—as well as needle
felting techniques to make scarves, bowls, wall art, and more. I show my
work at the Southern Arizona Artist Guild (SAAG) gallery as well as at craft
shows in the Tucson area, including Guild events. I have been a member of
the Guild since 2014. I started and lead the Business Building Study Group.

facebook.com/LindasFiberCreations

Wisps of Silk & Wool Scarf with Bubble Purse (2018), wool roving, silk gauze,
silk tussah, glass beads. Seamless, wet-felted purse. Nuno-felted scarf,
embellished with silk tussah to add sparkle to the pieces.

25

MYRA REES

I took my first off-loom weaving class in 1976 at
the University of Arizona. In 1984, I started to
weave on a floor loom. I make clothing from my
own fabrics, both woven and hand-dyed, using
surface design techniques. I also like making
jewelry with beads and wire, do papermaking
and collage, and weave with fused glass.
I have studied weaving and surface design with
world renowned teachers, and have myself been
a guest speaker and workshop teacher at guilds
and conferences here and abroad.
My clothing designs have been in many shows,
including Convergence, Intermountain Weavers’
Conference, and Pueblo Grande Museum,
earning me awards and national recognition.
I’ve been a guild member since 1984 and served
as President from 1991 to 1992.

Clockwise from top
Arizona (2014), knitted wire with copper and
turquoise beads.
Tapestry Necklace (2015), pin-loom woven
with hand-dyed silk yarn and bone fish beads.
Long Vest (2016), constructed with handwoven
and hand-dyed fabrics.
Jacket (2016, constructed with handwoven,
hand-dyed and surface designed fabrics.
Large circles are soup bone images embossed
with foil
Fused Glass Plate (2017), 12" x 12", with
woven strips of glass.
26

CAROL NELSON

I quilted for twenty plus years, then discovered
weaving in the late 1990s. I joined the Tacoma,
WA weavers’ guild, and participated in their
study groups and my first guild sale. I love the
idea of functional beauty. I enjoy not just the
weaving aspect of creating the fabric, but also
constructing it into a garment—the idea that the
fabric alone is not the end product, but one
more step in a process. Once the fabric is sewn
into a garment, it is no longer a flat piece of
fabric; it becomes a 3- dimensional piece that
moves. I used to weave with wool, but now
since living in a warm climate, I use cotton,
bamboo and tencel for my garments.
I joined the Guild in 2001. I’ve served as 2nd
Vice President, Treasurer, Publicity Chair for the
2004 Fashion Show, and on the Standards
committee. I sell my work at guild events.

Counterclockwise from top
Short Semi-fitted Jacket (2018), woven in an 8-shaft twill with tencel and mercerized cotton, rayon lining. Butterick pattern B6120.
Jacket with Patch Pockets and Scarf (2016), woven in an 8-shaft twill with tencel and mercerized cotton, lined. McCalls pattern M5162.
Twill Block scarf woven with 8-shaft loom and 8/2 tencel.
Detail of Twill Block Scarf, woven with 8/2 tencel.
Red Hot #12 Jacket (2011), woven in an 8-shaft twill with 8/2 tencel and 10/2 mercerized cotton. Handmade cotton piping, lined.
Kwik Sew pattern 3796.

27

LAURA LUNDY

I’ve been a weaver and spinner for over 40 years.
I studied fiber arts for one year at San Francisco
State University and took spinning and weaving
workshops as I moved back and forth across the
country, ending up in Tucson. After first seeing
SAORI weaving online, I knew it was for me.
SAORI is Japanese freestyle weaving that
celebrates the individual and is sometimes called
“no mistakes” weaving. I did an intensive study
with mentor Chiaki O’Brien in Minnesota, and
have been an authorized SAORI teacher and
dealer for over 6 years. I joined the guild in 2016.

From top
Blue Spruce Vest (2015), commercial and handspun
wool, silk and mohair. Plain weave on a Saori loom.

Green Piece with Purple (2017), cotton yarn woven
on Saori and rigid-heddle loom. Woven on three
different warps.

www.saorispirit.com

JANE GILBREATH

I’ve been creating unique jewelry and fiber arts for
over 40 years in the Tucson area. My first
weavings were potholders done at age 8 when I
also began knitting and sewing. I started
weaving in earnest in 1978 when I acquired my first
loom—there are now three. I’ve been a member of
the Guild since 1978, and show, and sell my work
at guild events and Open Studio Tours.

Blue Scarf, cotton and rayon, twill weave, using
three shuttles to create a multi-color inlay meandering
down the scarf.
Whitefish Scarf, cotton and rayon, twill weave with
multi-strand red cord that unravels into a delta pattern.

28

Fabrics were created using a technique BOBBIE GIBEL
called Raw Edge Applique. Fabric motifs
I have always been creative, but not very
are cut from fabric and sewn onto the disciplined. Since I never want to do the
foundation. Decorative stitching is added same thing twice, all of my creations are
to each motif, leaving a margin around the one-of-a-kind. I like making clothing, but find
edges unstitched. After adding the lining, the commercial fabrics not very exciting. I tried
weaving, but it was not my cup of tea, so I
jacket is washed several times to sold the looms and started marbling silk
encourage the raw edges to fluff up. fabric, and then tried other surface design
techniques, stumbling on Zentangle to
decorate clothing. My most recent love is
working with silver and copper. I create
pendants and earrings using several
different techniques, such as fold-forming,
metal fusion and cold connections.

I joined the Guild in the 1970s and am in
the Clothing Study Group. I show and sell
my work at Guild events.

Clockwise from top
Curtains Jacket (2014), made from bedroom
curtains and other commercial fabric.

Pendant and Earrings (2018). Copper is fold-
formed, sterling silver is fused to copper base,

Jungle Jacket (2016), from Safe-T-Pockets
pattern, Journey Jacket #2. Commercial fabric.

PAULINE DOYLE

I started sewing in high school and
continued in college, majoring in home
economics and education. This was all
very structured work, following the rules.
I learned to weave through the Whidbey
Island Guild, where I learned the basics
but also how to break away from
tradition; I had the best mentor — Anita
Luvera Mayer. In a class with Randy
Darwall, I was introduced to Barley Corn
weave structure using mixed warp. This
became my signature warp to create
color movement and texture.

When we moved to Tucson in 2003, I Sample Vest: Vines of Inspiration. Each leaf is a different technique used in surface design.
joined the Guild. I am a member of the The fabric is painted, dyed, or discharged.
Surface Design, Clothing, and Knitting
Study Groups. I’ve served as Guild Ugly Yarn Jacket, woven with cotton yarn, embellished with crocheted vines and flowers.
Secretary and on the Standards
Committee.

29

VIVIAN PARIC Photo by Vivian Paric

While vacationing in Vancouver in 2015, I followed Photo by Shelley Chase Olsen
my daughter-in-law into a yarn shop. While there,
I purchased a small felting kit. After that, I put away my Photo by Adrienne Prince
paints and brushes and started painting in wool. I am
self-taught as far as needle felting goes, but I learned
how to wet-felt when I joined the Guild. Instead of
mixing different colors to blend, I like to layer my colors
to achieve more variation and depth. It is very
satisfying to see the piece develop, and felting has
completely taken over all that I do. I joined the Guild
in 2015 and belong to the Felting Study Group. I sell
my work at Guild events and through the Southern
Arizona Artist Guild (SAAG) gallery.

A Desert Oasis (2018), 19" x 23", wool roving, wet and
needle-felted. Original design.

SHELLEY CHASE OLSEN

I’ve been crafting and making things as long as I can
remember. I inherited my mother’s Newcomb rug loom
in 2004 and took up rug weaving. On a Swedish
loom, I learned to weave with finer threads to make
household items such as kitchen towels, napkins, and
placemats. In 2012, I sold the rug loom and bought a
Ladybug spinning wheel, and have become a
dedicated handspinner. I also knit and quilt. I joined
the Guild in 2016. I belong to the Porrey Cross, Rug
Weavers, Spinning, and Dyeing Study Groups.

Rag Rug (2016), 30" x 55", cotton fabric strips, goose-eye
twill. Adaptation from Swedish Rag Rugs: 35 New Designs.

ADRIENNE PRINCE

In the 1970s, I learned 4-harness weaving at the
Fashion Institute of Technology in N.Y.C. and then
purchased my first loom. When I retired to Tucson, I
became fascinated with Navajo rug weaving and took
several workshops sponsored by the Tucson and
Bisbee Guilds. I developed a deep appreciation for
the Navajos’ skills and gifts, but they were not mine to
have. I found traditional Rug Hooking a less restrictive
means to express my love of color, storytelling, and
design. I joined the guild in 2002 and have been the
Librarian for 7 years. I belong to the Tapestry Study
Group and started the Traditional Rug Hooking group.

Jaguar (2012), 29" x 33". Custom-dyed wool yardage,
cut into strips. Design is my version of a black and white

drawing in a copyright free book published by Dover.

30

All Souls Montage #2 TED FLEMING

Our photographer

I’m an ecologist by training and a long-time amateur
photographer. I spent most of my career as a Professor
of Biology at the University of Miami. My research
specialty is tropical plant–animal interactions, particularly
pollination and seed dispersal mutualisms.

In retirement, I have become a serious photo artist who
uses digital tools to create my works of art. As an artist, I
am often drawn to images that are visually complex —
reflecting my lifelong interest in biological diversity—and
colorful. I am inspired by artists such as Monet, Renoir,
Van Gogh, Edward Hopper, and Georgia O’Keefe. I
have rather eclectic tastes in my subjects. Given my
background as a biologist, I particularly enjoy
photographing wildlife, but I also like to photograph
people doing interesting things. One of my current
techniques involves creating photo montages as a way
of emphasizing the place of wildlife and people in their
natural environments.

www.tedflemingphotography.com

Dancers #2 Photography of members’ work was undertaken by
Judith Shangold, Marcia Fleming, and Ted Fleming.
Judith collected work from each of the represented
artists, choosing pieces she thought would work well
together on a page. She would appear, arms full, at
Ted and Marcia’s house, and she and Marcia would
re-create the dining room into a photo studio. Judith
set up the shots, and Marcia was responsible for
lighting. Ted took the photographs, several of each.
Ted would choose the best and then send the
digital photos to Judith. She worked with them in
Photoshop, adjusting color, cleaning up backgrounds,
and cropping. She then did the page layouts. It was
a great collaboration!

Ecuadorian Hummingbird

31

Need Kumihimo
supplies?

We have them all!

• Kumihimo Fibers
• Toho and Miyuki Beads
• Downloadable Patterns
• endcaps & Findings
• Stone & Glass Beads
•• Tools & Books

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and seen h Jewelry TV...
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Sh line: DesignAndAdorn.com
Call us: 520.209.1900

Continuous Warp and Weft

Triangle Shawls, Shrugs
and Scarves

Mostly one-of-a-kind
Commissions accepted
www.cronecraftstudios.com

[email protected]

www.KarenLukacs.com | 520 250 4260
studio open by appointment

SPIRIT STUDIO Now available as a

Laura Lundy, owner and instructor Stitchip — plug it into

Only registered dealer for Saori looms in Arizona your USB drive and have
a rich-text pdf of the book,
Come experience the joy of free-style weaving! which is now out-of-print. It

No experience necessary comes directly from me
and I will sign it.
Start weaving immediately on pre-warped looms
Weave * Knit * Wear
Individual and small-group instruction
catering to your individual needs by Judith Shangold

East Tucson • 770.313.0218 • [email protected] I show you how to weave simply fabulous garments and
accessories using a basic loom — the 20" wide rigid-
heddle loom — making it affordable and portable. I use
simple shapes and knitted elements to create garments
that are both fashionable and easy-to-wear.

See pictures of projects at
www.judithshangold.com
To order, write: [email protected], or
go to my Etsy Shop: etsy.com/shop/JudithShangold

33

34



325 West 2nd Street, Box 5
Tucson, AZ 85705

WWW.THSG.ORG

JOIN US!

Monthly meetings are held the 3rd Wednesday of the month
Dunbar Center • Room 206

325 West 2nd Street • Corner of N. Main • Tucson

GUESTS ARE WELCOME !

Business meeting 9:30 am. Program 11:00 am.
Go to www.thsg.org for program details.

Membership dues: $40 per year

• MAKE NEW FRIENDS WITH SIMILAR INTERESTS •
• UTILIZE AN EXTENSIVE FIBER ARTS LIBRARY •
• JOIN STUDY GROUPS •
• TAKE WORKSHOPS •
• FIND A MENTOR •
• USE A LOANER LOOM •

36 • SHOW AND SELL YOUR WORK •

GUILD PROGRAMS

The guild meets the third Wednesday of the month, January through May and
September through December. Meetings start at 9:30 am, and after a business meeting and Show and
Share, we break for refreshments. The program follows at 11:00 am, featuring a speaker whose expertise

is in one of the fiber arts. Meetings take place at the Dunbar Center, 325 W. 2nd St, Room 206.
Guests are always welcome. Ample parking is available, and there is a lift to the second floor.

PROGRAMS
2019 – 2020

SEPTEMBER 18, 2019
Show & Share

OCTOBER 16, 2019
Guild Study Groups Presentations

OCTOBER 26, 2019
FIBER ARTS 2019 SHOW & SALE
Dunbar Center — Lander Auditorium
Noon–6pm Free and Open to the Public

NOVEMBER 20, 2019
Fiber Arts 2019: Retold

DECEMBER 18, 2019
Holiday Potluck & Stash Sale

JANUARY 15, 2020
Toni Best: Pine Needle Coiling — Listening
to the Music

FEBRUARY 19, 2020
Deborah Silver: Split-shed Weaving Process

MARCH 18, 2020
Sarah Saulson: Painting Warps on Two
Continents

APRIL 15, 2020
Rosalie Neilson: Kumihimo in Japan’s
History

MAY 20, 2020
Annual Meeting

37

GUILD STUDY GROUPS

Study groups meet once a month either at the Dunbar Center, Room 206 or at a specified location.
Guild membership is required to participate.

BASKETRY RUG WEAVING

BRAIDS, BEADS & BEYOND SPINNING
BUSINESS BUILDING SURFACE DESIGN
WEARABLE ART TAPESTRY

DYEING TRADITIONAL RUG
FELTING HOOKING
KNITTING
WEAVING/
PORREY CROSS

Basketry: Wendy Webster • Braiding: Susan Andersen • Dyeing: Helen Kennedy • Felting: Susan Thompson • Knitting: Judith Shangold
Rug Weaving: Shelley Olsen • Spinning: Lita Doesken • Surface Design: Myra Rees • Tapestry: Rebecca Fabos
Traditional Rug Hooking: Adrienne Prince • Weaving: Liesbeth Gren

38

GUILD WORKSHOPS

Tucson Handweavers & Spinners Guild continues to embrace new and emerging textile arts
and the diversified fiber interests of its members, while honoring the traditions of weaving and spinning.

Workshops are held at the Dunbar Center
325 W. 2nd Street, Tucson • Room 206
For more information and to register, go to www.thsg.org.
If space allows, non-members are welcome to register for classes.

WORKSHOPS
2019 – 2020

NOVEMBER 7–9, 2019
Claire Campbell Park: Fearless Creative
Color Blending on the Loom

JANUARY 16–17, 2020
Toni Best: Gourd Baskets with
Pine Needle Coiling

FEBRUARY 20–22, 2020
Deborah Silver: Split-shed Weaving

MARCH 19–21, 2020
Sarah Saulson: Freedom of Expression —
Painted Warps on the Loom

APRIL 18, 2020
Rosalie Neilson: Kumihimo 8-Element
Braid

APRIL 19, 2020
Rosalie Neilson: Kumihimo16-Element
Braid

39

Jill Holbrook and Lura Moore – Owner/Artists

Easy-to-Spin, earth-friendly COTTON SLIVERS
Handcrafted SPINNING TOOLS

* Handspun Yarn
* Handwoven Garments
* Handwoven Cotton Baby Blankets

Brookmoorecreations.com

See us on Facebook
[email protected] * wholesale and retail pricing

40

41

COMMUNITY OUTREACH

The Outreach Committee is an essential part of Tucson Handweavers and Spinners Guild. The Guild regularly participates at the
Tucson Museum of Art’s Artisan Fair in November and the Pima County Fair in April. Guild members conduct teach-ins at elementary
and secondary schools and Pima Community College. Other outreach venues have included Spinning in Public Day, displays at
local libraries, working with children at schools, and demonstrating at local parks. The Outreach Committee also holds meet-ups in
public areas as a way to increase our visibility to the Tucson community and for members to socialize outside of business meetings
and study groups while working on fiber projects.

MAKING
DOLLS
AT THE
IDEA
SCHOOL

MEET-UPS AT BOOKMANS

WOVEN FLOWERS FROM CDS SPINNING IN BISBEE WITH JOAN RUANE
EARTH DAY, TUCSON SCHOOL DISTRICT

42

GUILD EVENTS

GALLERY SHOW •ST PHILIPS IN THE HILLS EPISCOPAL CHURCH, MURPHEY GALLERY • APRIL, 2018

BOOTH & YARN STORMING • ARTS IN THE PLAZA • ST PHILIPS PLAZA • SEPTEMBER, 2018

VISUAL & TEXTILE ARTS OF TUCSON • OPEN STUDIOS • DUNBAR CENTER • OCTOBER, 2018

TUCSON MUSEUM OF ART
HOLIDAY and SPRING
ARTISAN MARKETS
2018/2019

43

oil on canvas, 20” diameter

www.austenarts.com
[email protected]

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GUILD PHILANTHROPY

A THSG member in good standing may submit a request for a donation on behalf of a nonprofit organization whose mission is fiber
arts-related. Awards are announced at the Annual Meeting in May.

ADOPT-A-NATIVE ELDER PROGRAM

The Tucson Handweavers & Spinners Guild contributes yearly to this
program which supports more than 500 traditional Navajo elders who
live on the reservation in northern Arizona and southern Utah, helping
them to age in place on the land they hold sacred.
This year, the Guild donated $400 to purchase ten yarn bundles for
weavers to make small rugs to sell. These rugs can be purchased from
www.anelder.org and all of the proceeds go directly to the weaver.
Visit their website to see other ways in which you can help.

WEAVING FOR JUSTICE

Weaving for Justice is the main project of Sophia’s Circle, a 501(c)3
Women’s Art and Cultural Heritage organization. Their main mission is to
assist Tsotsil-Maya women weavers in highland Chiapas, Mexico to sell
their textiles through fair trade. They also strive to create more humane,
egalitarian, and sustainable societies in the borderlands region of
southern New Mexico, southwest Texas, and Chihuahua, Mexico.
Weaving for Justice seeks support in the U.S. for the needs of the
weavers’ families and communities, including scholarships for children to
attend school past sixth grade.
This year, the Guild donated $300
Visit their website www.weaving-for-justice.org for more information.

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downtown | central | east

Photo of Samantha Brittany by Jade Beall Photography stretch away

stress

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DUNBAR CENTER

The Dunbar Center, the venue for our Fiber Arts 2019 event, is a community center with a mission. A segregated school from
1914 to 1951, it was desegregated in 1951, and then closed for good in 1978. The buildings stood largely unoccupied for decades
until the Tucson Unified School District sold them to the Dunbar Coalition, a group comprised of school alumni, the Tucson Urban
League, the Juneteenth Festival committee, and the Dunbar Spring Neighborhood Association, for $25. Volunteers worked to keep
the center alive, but came to realize it needed a paid employee to bring it into the future. In 2018, Debi Chess Mabie was appointed
by the University of Arizona’s College of Social and Behavioral Sciences as its first Community Impact Fellow in order to make this
transition happen.

The mission of the Dunbar Center is twofold: The first is to be an on-going center for the African-American presence in Tucson. The
second is to attract Arts and Cultural organizations to use the space, making Dunbar a vital part of the city. In
addition to the Dunbar Barber Academy, a thriving business since 2007, and the Barbea Williams Dance Academy, Mabie has
brought in The Idea School, an independent progressive elementary school, now occupying a fully renovated wing of the second
floor, and Kore Press, a women’s publishing house.

The Tucson Handweavers and Spinners Guild (THSG) rents space on the second floor to house its library, and to hold its
meetings, study groups and workshops.

www.ExploreBuildLearn.org www.thsg.org

Kore Press Institute

Women / Art & Justice

www.korepress.org

www.dunbarbarberacademy.com

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25Celebrating years

of

Stitching Together
Friendships

The Needle Dancer

AMERICAN NEEDLEPOINT GUILD
Tucson Chapter

Hosting the ANG National Seminar, August 2020

Discover the new directions and dimensions
needlepoint takes us.

See website for meeting dates and times.
All levels of expertise are welcome!

www.tucsonang.org

For more information about the
American Needlepoint Guild

visit www.needlepoint.org

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