Category Archives: Processing

Notes or how-to’s on processing: weaving, spinning, shearing, dyeing, papermaking, bookmaking, or just story-making.

Photos from Triangles Past…

Blue-gray Tri-Weaving in process.
Tri-Weaving in process.

Triangle weaving is fun! Period. It offers  such variety that can’t be done on a harness loom. With my love of texture, I migrated to this when I first learned and have never stopped.  It started with the state Tropical Weavers convention  years ago, where a class of weavers put together their frames, weaved for 2 days, then wondered how we were going to get these large frames home. I remember passing cars on I-10 with frames strapped to the roofs and knew they were fellow weavers on their way back.

Tri-Weaving workshop, Panama City, FL
Tri-Weaving workshop, Panama City, FL (’08)

Over the past 20 years I’ve traveled with this workshop throughout Florida plus a few other places North and had some fantastic groups.  Back in those days we made our own frames and weaved full-sized shawls on 7 ft. frames.  Over the years, I’ve whittled down the time for creating frames, because after all, weavers were impatient to get to the weaving.  The workshops started offering  two sizes: large shawls and smaller scarves, and later I offered to pre-build them.  But I miss those days when we’d haul out the power tools, prop long 1×2’s across chairs, steps, or tables, and spent some time  drilling, hammering, planning, and yaking about our planning.

Image may contain: one or more people
Making frames, Atlanta, GA. (’08)

Some of the more interesting settings or helpers  (you know who you are 🙂  )included a historical courtyard in St. Augustine, a wide front porch in a Victorian era house fronting the bay in Pensacola,  a cabin above Atlanta on a woodsy mountain,  the state park at White Springs Folk Arts Center, the gallery in Milton where we set up “shop” out of the back of a van,  and various yarn shops, galleries or art centers in Destin, Charleston, Baltimore,  New Smyrna Beach, and Tallahassee.

Making Tri-Weaving frames
Making frames – Destin, FL (’10)

The currently scheduled one for February 23-24th  is at Millstone Plantation,  another historical landmark sitting above Lake McBride. Millstone still raises sheep and llamas and is restoring the house and weaving studio.  Ask me any questions, but  for registration, contact:, or (850) 294-3918.

See more photos from the workshops on my class pages.

February 23 & 24, 2019
Saturday: 10am – 4pm  ~  Sunday: 1pm – 4pm
$ 150 includes frame kit (yours to keep) and lunch.
6500 Old Millstone Plantation Rd, Tallahassee, FL 32312
(from Hwy. 319/Thomasville Rd.)


Triangle Weaving at Millstone Plantation


Heads Up…  Millstone Institute for Folk Arts is hosting my next Workshop – a wonderful, historical location for this fun technique. More below.

     A little history:  Millstone is where I got started, waaay back with my 1st two lambs, Bambi and Filene. Bambi was a real “character”, butting heads, trees, and finally, me. He didn’t last too long after that. Filene became “Head Ewe” of the flock she great-great-grand-mothered through several generations.

I joined the guild, meeting every Spring Farm Days at  the “Jr. Museum” for the annual sheering and “Sheep To Shawl”  demos. Jesse Conrad brought Millstone’s ambience, knowledge, and skills to show me how it was all done. The shearer “Otis” sheared not only the Museum’s sheep, but truckloads of local farmers’ sheep that were shipped in for the event. We, the spinners and weavers, would roll out the fleeces on a long table, “skirt” the dirty tags off, and roll them up from neck to end, exposing the inner side out with rich, textured crimp of the fiber, moist with lanolin. Each spinner spun yarns, which were transferred to the loom and woven into a full length shawl. We’d all take turns, completing the process in 2 days. The 100% handspun/handwoven shawl was auctioned off at the end of the day. A great way to learn the process– I continued with other festivals’ sheep-to-shawl activities, often as contests, awarding the spinner or weaver who did the most. It was fun!

Back to Millstone. Jesse’s studio has been preserved and the original old house is being restored. Not just any old plantation on a hill, there’s a special aura with its heritage oaks, flock of sheep and alpacas, bees, garden, all overlooking beautiful Lake McBride. Millstone is developing a series of folkart workshops in wood, clay, metal, and fiber. I’m looking forward to seeing you there.

February 23 & 24, 2019
Saturday: 10am – 4pm  ~  Sunday: 1pm – 4pm
$ 150 includes frame kit (yours to keep) and lunch.
6500 Old Millstone Plantation Rd, Tallahassee, FL 32312
(from Hwy. 319/Thomasville Rd.)

For more info on joining the class, contact Millstone. ~ (850) 294-3918
For questions on weaving/yarns, contact Alice.  ~ (850) 997-5505 ~  my classes page

Showtime! …the craft of an art show

Display - Weaves By Cappa
Display – Weaves By Cappa

Preparing for a show seems to take more time than actually being there. Most of what I carry with me are props. My fiber inventory can fit into two armsized bundles, but the rest is everything needed to hold them up. When I started, waaay back in the late ’70s, my first show was in St. Augustine. This was during the “craft explosion” when artists began exhibiting in the streets, not having to wait to get curated into a gallery. It was a colorful, lively, free-for-all and the movement spread across the country. At that first show, I had no booth. I spread out a tarp and laid everything on the ground. One of the judges came by and said, “well, you have some nice work, but you gotta get a booth.”  Thinking back, it was nice of him to comment. Many judges today are here and gone without notice, signifying their visit only by a tiny colored dot on your sign.  But that li’l exchange started me on my way.

art show booth of Cappa weavings
Booth, wood, circa 1980

In 1980, two of my “mainstays” gave me a base to build my craft, my display, and learn the business of taking my art on the road. The Florida Folklife Festival (White Springs) and the Great Gulf Coast Arts Festival (Pensacola) are good examples of how the nature of the show grew with the wide variety of artisans that populated them. Throughout the ’80’s,  this “colorful, lively free-for-all”  that was an art show reflected alot of styles, handmade booths with colorful tops, and paintings and craftwork spilling out into the aisles. There was no uniformity, and many shows reflected a particular theme.

One was the large Renaissance Festival held at the Ringling Museum grounds in Sarasota. At that show booths were expected to be of either “rustic” or maybe “rococo” design. The rustic ones, like mine, were often built from wood, bamboo poles, or maybe haybales.  And at that show were outrageous costumes, sumptuous  foods, energetic games, colorful banners on every post, and lots of animals. I took my dog, who parked himself in the aisle in front of my booth, stopping all the ladies who ooh’d and ahh’d over him, then came in to see my weavings. My paper-mache manikin, “Minerva”, was dressed in flowing wraps and scarves. I remember a parade of costumed “gentry”, walking their hounds, knights on horseback throwing spears or playing chess, and maybe a few geese  and sheep for some of the demos. I included my spinning wheel and could spin up lots of yarn during that show. My handmade booth was a wooden one I shaped like a hexagon with an arched top. The arch was made of two crossing arcs cut from plywood, which attached to 6 sidewalls & held the whole thing up. It was a chore to set up (let alone carry on top of the car), and when the wind blew, with all my weavings fluttering from the sides- BoHo style, the whole thing creaked like an  old boat.  I liked that; it added sound to all the visuals. This show had much to attract festival goers and they formed long lines at the front gates, then paraded by, or through,  the gigantic banyan trees,  or pulled up in their boats at the back docks. All the museum/theater/circus/ and mansion buildings were open.  Open for grand times, and grand art!

Art Show booth (2) with Cappa weavings
Booth, pvc. circa mid-’80s

Back in the day, back before state parks dis-allowed open fires, my first heritage demos at the folk festival involved making dyes. I’d start a fire, string a clothesline between trees, gather lots of pots, natural dye plants, and buckets of water and spend the entire weekend dyeing skeins of yarns. They made a colorful display hanging from the trees and below the branches, I rested in my hammock. People were full of curiosity, questions, and some wanted to help. I’d also set up the spinning wheel, and with non-stop music from the nearby stage, I spun my wool, using my “instrument” to jam with the musicians.  Visitors not only signed my guest book, but drew pictures across the pages, wrote me notes, or said “hi” to previous names they recognized. To add to this lively space, costumed story-tellers, wandering minstrels and jugglers, and hawkers of watermelon or ice cream would come share their own anecdotes. Those were fun shows!

booth - Weaves By CappaNowadays, shows are much more regulated and more focused, from large events with national producers to local shows by a small town art club. Northern shows may involve a different preparation than southern shows. But booths began to reflect more uniformity and eventually, the “norm” of a white tent changed to an obligation. The “booth shot” for a jury must reflect a compatible look for their event. Street shows and parks offer varied settings and may entail an interesting ground surface (bricks or moss?), or backdrop (fencing? pillars?), or a nice tree to frame the shot.

tree in booth site

I once had a sprawly crepe myrtle tree within my booth space, which served as a good prop for some shawls. But generally, there’s no more spilling into the aisles, no more spreading from your 10 ft. space into your neighbor’s space, and definitely no fires. But before I got my tent, I built another booth. This one was white pvc. When I leaned on it, it still creaked like an old boat.

Even with a more refined and defined display, there’s much more to setting up than “ready, set, go”. Some artists may have their work laid out in pre-set displays with backdrops of only a poster and some curtains. Others – the ones with heavy art works or large paintings, must set up strong metal frames and high canopies. Some, like me, have a myriad of small parts that seem to fall into a different place at every show- adding confusion, time, and thoughts of “how-did-THAT-get-HERE!” The demos involve more equipment and supplies and the van is packed to the roof. Sometimes, parking near the booth site is not possible and every piece must be dollied, possibly over rough ground or even mud (once – through ankle-deep water). Setting up the whole thing usually takes me three hours. I stayed with those first two shows, the GGAF and the Folklife festival for 33 years, since both allowed me to continue to demonstrate.  I’m still with the GGAF, (at this writing, 38 years) and still hauling all the props, equipment, fleeces, mannequin or stands, banners, easels, signs, baskets, floor mats, canopy braces, tent and booth weights … it’s been an interesting ride.








“Dyed ‘N Wool” Visitors Make Art

spinning wool on a wheel
spinning wool

When kids come to visit we can do a variety of things. Small weavings on cardboard? Large weavings on wooden frames? Maybe some paper-making, or vegie-dyeing on the fire. The sheep always demand their fair share of the day – another opportunity to eat! Mimosa or grain, they’ll take it all. Kids get to personally interact with them, something they might never have done. Soft wool feels good, soft mouths tickle their hands.

kids pulling mimosa for sheep

pullling mimosa for the sheep

Last Sunday, visitors arrived ready to play. We visited the pasture, then settled on the deck to see the weaving/spinning demos. Afterwards, everyone grabbed for their yarns and cardboard looms and jumped into the world of fiberarts. They were working on scout badges and so got to explore various fibers, textures, colors, and whatever they intended their final project to be. These projects are meant to be finished at home, so I hope that I will get to see them later. Meanwhile, check out the photos on FB.

girl at loom

For more info, contact me or see –
“Dyed ‘N Wool” fiber activities for kids.

Blueberry Yarns

It’s blueberry season! A great time for dyeing yarns.
How does this work? In my case, a bit randomly.
It’s a little misleading, tho, to think that blueberries
equate to blue dye, unless it’s on your tongue. More like
violet or a mauvey lavender.
I did a few skeins and ended up with varied results. I’m
definitely not an expert and would rather experiment
freely than follow a formula. But I think I used too much
vinegar because the shades I got were darker, rather than
bluish. Wool is a protein fiber and requires an acid dye
bath. (In contrast, cotton needs an alkaline dye bath.)
Since mine were not so clear, I overdyed a couple with a
fiber-reactive blue. In the photo, those are the darker

Basket of hand-spun, natural-dyed blueberry yarns.
Hand-spun, natural-dyed blueberry yarns.

You can try this easily yourself, but natural dyes also
require a “mordant” – a chemical to make it stick. These
are various minerals (chrome, copper, tin) and are usually
toxic and used in minute doses. But the simplest is alum,
available at the supermarket.
My yarns pick up some “debris” from the berries, but
after drying and brushing, they retain the natural softness
of the Shetland sheep. Mixing varied shades and textures
gives a more interesting weave. Or knit or crochet item. Try
it; it’s fun.


The shearing this year went smoothly, at least for me. However,  the girls had to be moved to another farm a day early, since I couldn’t be with them during shearing, I heard later they were not so easy to deal with. Having had the pleasure of a large grassy yard overnight, they did not want to be herded in for their haircuts the next day. Apparently they scattered every which way and drew out the procedure much longer than it should have been. Sheep do not like being sheared, but they do like having been sheared. Dropping several pounds of wool on a hot day makes them zip and gambol around like lambs. When I got them back, they were clean and cool, and much happier. Below are some of my favorite pics from years past.
Wool like cotton candy
Swee’Pea, as “cotton candy”.
The sheep are Shetland crosses, which means they have the long fine texture of Shetlands, but I think are not as fuzzy. Because of the crosses through the years, their wool is much softer.


Shearing Missy

MissyMoon has a mix of black and white wool. Most is white, long and luscious fibers.


Several years ago the shearer arrived late and in the dark, he spooked a new lamb that was only a few weeks old. During the shearing of his mom, the totally freaked-out lamb ran in circles, baa’ing loudly for his mom, wondering what in the world was going on. The photo below is totally different. Ivy is very independent, curious, and got right in their under the shearer to watch her mom’s shearing. I think she liked it.

Ivy watches the shearingIvy watches the shearing


In the end, lustrous fibers are gathered into bundles for processing. Wool needs washed, combed or carded, spun, dyed, and used as many textured yarns in so many things. This pic shows length of the raw wool staples, color, and softness of the finished yarn.wool - raw and spun