The Journal
Dye days, kiln openings, warp math, and other notes from the studio floor.
Notes from the Dye Garden: The June Weld Harvest
Weld comes in fast in June, and we have about a week to cut it before it goes to seed. Here's what a harvest day at the dye garden actually looks like.
Introducing the Maker Series No. 4
Our fourth Maker Series run pairs a new twill weave structure with a wood-ash glaze from the Asheville kiln, in a run of forty pieces each. Once they're gone, they're gone.
Caring for Handwoven Textiles Through Winter
Wood heat, dry air, and heavy use put more strain on handwoven wool than any other season. A few habits from the studio to keep your throws and linens through the cold months.
A Day at the Indigo Vat
Our indigo vat has been alive, in the fermentation sense, for going on three years. Here's what it takes to keep a natural vat running through a dyeing day.
Why We Glaze in Small Batches
No two glaze batches come out quite the same, and after nine years we've stopped trying to make them. A note on dye-lot and glaze variation, and why we sell the difference rather than hide it.
Visiting the Asheville Kiln: A Wood-Firing Weekend
Twice a year, our partner kiln in Asheville fires the anagama for a full weekend. A look at what a wood-firing actually involves, from stoking through the week-long cooldown.
The Oaxaca Cooperative: How Our Partnership Began
Our seagrass baskets have come from the same women's weaving cooperative in Oaxaca for nine years. Here's how that partnership started, and how it still works today.
How We Wind a Warp for the Winter Throws
Every throw starts long before the loom, with a warp wound by hand on a wall-mounted warping board. A walk through how we set up for a winter run.