For a while now, I’ve been working on some new trim techniques.  One evening last year, while searching for a particular reference with the word knot in the title, I made a typographical error and typed knit instead.  This produced results that included a title for a reference  . . . A primer for adding knitted and crocheted trim to handwoven cloth.  My first thought was COOL!.  After all, stumbling on to a reference for anything having to do with handwoven fabric is surprising.  What was even more surprising was that the reference was available for download from Handwoven‘s website Weaving Today . . . AND . . . it was free!   Which lead to my second thought REALLY COOL!  (Please bear with me . . . I become less articulate as I become more excited.)

I was extremely curious and logged into Weaving Today so I could download this reference . . . and what a gem it is!  After a brief glance at it I wondered how I was unaware of this wonderful resource.  When I came across it, it had been quietly available for nearly a year-and-a-half.  Since there is a possibility that I’m not the only one unfamiliar with this reference, I thought I should point it out to others as one of my favorite things.

A primer for adding knitted and crocheted trim to handwoven cloth was authored by Heather Winslow . . . a marvelous weaver and teacher.  It’s nine pages long and covers 23 different knitted and crocheted trims.

It also briefly covers steps before attaching knitted or crocheted trims.

At first, I thought this might exceed either my skill or patience in knitting.  I’m fairly proficient with the basics of knitting, but I find my patience tried if I attempt a knitted project.  First, I’m a hard core weaver.  Second, I’m a rather pokey knitter . . . especially when I think I can weave an entire row in the same amount of time that I can knit a few stitches.  But, this primer has provided me with some options for creating trim and utilize those day-to-day moments that maybe too limited to accomplish much (e.g., standing in line).

To get started, I recently tackled one of the 23 trims . . . a simple 9-stitch stockinette stitch.  Nine stitches???!!!  I can keep track of that!  If I get interrupted or distracted, I can easily put it down and pick up where I left off.   Plus, the stockinette stitch creates a curl to the edges, which is perfect for binding the edge of a garment.

I’ve had fun keeping my hands busy while watching the  second season of Downton Abbey . . . and even though I’m not a very fast knitter, I’ve already knit up over four feet of black merino wool trim that I plan use as edging in a garment.  At the rate I’m going, I should have quite a bit done when the current season of Downton Abbey wraps up.  Then I’ll try another trim when PBS broadcasts the third season.

If you know a little about knitting and/or crochet and have ever been interested in trim, I highly recommend you check this out by clicking on the following link http://www.weavingtoday.com/media/p/64.aspx.  

Tartan fabrics have a long history and many have fascinating stories.  Information about tartans can be found at http://www.scotshistoryonline.co.uk/tartan-history.html.  Plus, in my opinion, a kilt can be one of the sexiest garments a man can where.    If your family has a tartan, it can make you feel a connection to generations long ago.  But, even if you don’t have a family tartan, designing one can provide the following:

• A fun way to pass some time when you are in need of a diversion
• Easy experimentation with the interlacement of different color combinations . . . such as a color palette from Colourlovers.com (the first of my favorite things on this blog)
• A great way to observe how proportion of colors influence the overall appearance of a fabric
• A method to understand Johann Wolfgang von Goethe’s 200 year-old theory of color intensity and how a little addition of an intense color goes a long way.  (You can learn more about von Goethe’s theory at http://www.framedreality.com/color-in-photography-color-theory . . . you just need to scroll down about 2/3rds of the way down the page ).

At first designing a tartan may seem rather ominous . . . from choosing the colors . . . deciding the order of the colors . . . whether certain colors will be repeated . . . how much of each color to include . . . and whether the tartan pattern will be symmetrical or asymmetrical.  Fortunately, there are on-line tartan design tools that are just a click away and below are three to choose from.

House of Tartan – http://houseoftartan.co.uk/interactive/weaver/index.html

The on-line tartan design tool at House of Tartan takes you through several screens . . . starting with selecting your colors and then moving on to placing them in order and finishing with the number of ends for each color.

Tartan Maker – http://www.tartanmaker.com/

Tartan Maker makes it easy to design a tartan on a single screen.  It may not be the most robust tartan-design tool, but it’s simple to use.

Tartan Designer at Tartan Generator – http://www.tartangenerator.com/tartan/

Tartan Designer provides a digital shelf of yarns above the tool.  Select what you like, adjust the number of threads, and see what you come up.

Now, what if you design a unique and distinctive tartan?  Did you know you can register it?  To learn more about registering a tartan, check out The Scottish Register of Tartans at http://www.tartanregister.gov.uk/.  Someday I would love to design a tartan for my husband and register it.  His mother’s family were Scottish descendants, but I’ve never located a tartan for them.  Until then, I can still entertain myself with designing tartans to see the limitless possibilities.

First, a few words about Ralph Griswold  - Dr. Griswold was a computer scientist known for his research into high-level programming languages and symbolic computation.  His language credits include the string processing language SNOBOL and ICON.  After working for Bell Labs in the 60′s, he was hired by the University of Arizona as its first professor of computer science.

After his retirement in 1995, Dr. Griswold turned his interests to the mathematical aspects of weaving and ended up establishing the On-Line Digital Archive of Documents on Weaving and Related Topics . . . a glorious treasure trove of resources available to those with an Internet connection . . . where some of my favorite things are available.  The resources available have been made accessible because the copyright has expired or permission was obtained to reproduce documents.  It’s my understanding that Dr. Griswold did not weave, but his interest has left us with so many things just a click away.  Unfortunately, he passed away in 2006 . . . but, his legacy lives on and weavers around the world can benefit from his work.

Which brings me to The Weaver’s Journal . . . one of my favorite things.  The Weaver’s Journal was first published in July 1976 and was edited and published by Clotilde Barrett .  In its pages are articles on weaving, spinning, dyeing, and more!  I love Ms. Barrett’s opening line for the first issue . . .

There is no substitute for a good weaving teacher . . .

I whole heartily agree with this statement . . . but, sometimes a good weaving teacher is not available.  That’s why I embrace weaving-related publications.  

A few high points for me have been . . .

• In the first issue, there’s an article about spinning dog hair and basic sewing techniques for handwoven fabric
• A four-part series on Shadow Weave presented in the first four issues
• Bound woven rugs in Vol II, Issue 1
• Hints on Weaving and Finishing Rugs in Vol II, No 2
• Space dented warps by Laura Fry in Vol IV, No 3
• Vol III, No 3 is dedicated to silk (Which makes me think Woohoo!)

There are articles on block weaves, lace weaves, weaver-manipulated techniques, and much much more.  Enough to keep a weaver occupied for a very long time.  I will admit these first 16 issues reflect what publishing journals (and handwoven fashions) looked like over 30 years ago, but look beyond the black-and-white images and bog jackets and study the content and you will be surprised what you will find . . . Plus, you may develop a new appreciation for the publications, like Handwoven, currently in print.  Color is a pretty sexy thing!

You can find the first 16 issues of The Weaver’s Journal at http://www.cs.arizona.edu/patterns/weaving/wj.html . . . If your connection to the Internet is modest, you may be able to download these issues at your local library and put them on CD for your reading pleasure and convenience.

Enjoy!  Even if you get a small percentage of the value I’ve received out of these issues, you will have learned a lot!

(Correction . . . all 46 issues are available at the above link . . . for some reason my computer has only seen the first 16, until day!  Cool! More to read)

The cover of the very first issue of The Weaver's Journal

Learn more about weaving with two-ties - Vol III, No.4

A not-to-miss issue if you have an interest in weft-faced weaves!

One of my favorite resources is the website Colourlovers.com http://www.colourlovers.com/.  I love searching color palettes for new inspiration of color combinations or play with making my own color palette when handed a challenging color . . . such as Tangerine Tango, Pantone’s 2012 Color of the Year.  http://www.pantone.com/

What the color palettes on Colourlovers.com really demonstrate is the importance of proportion.   As bold and powerful as Tangergine Tango is, I find using it as a primary color could be too intense (at least for me) . . . but, using it as an accent could really liven up a the colors I may use in a future weaving project.  I can also find incredible color palettes developed by others that use colors that remind me of some of the cones of yarns on my shelves that just seem to sit there looking sad and flat and show me how to breathe new life into them.   As of this morning, there were over 1.9 million different color palettes . . . and yes, you read that correctly . . . 1.9 MILLION!

You can see the comments left by others while you look through the color palettes (by the way . . . there are also patterns, colors, shapes, etc. . . . It’s not just color palettes) . . . plus, by creating an account (which is free), you can create your own color palettes and get feedback on them.

Some of the most intriguing color palettes I have found are below.  Why am I intrigued by them?  The individual colors don’t do anything for me . . . but, when put together in different proportions . . . I find a new appreciation.  It’s amazing what a little pink can do to punch things up (and I’m not a pink person).

You can even take a color palette and choose Create Pattern (below and to the right of the color palette) and it defaults to a tartan-like interlacement.  There are also pattern categories that you can browse through and see the color palette used in different ways, which may be inspirational . . . especially if you have a loom with lots of shafts.

Another inspiring thing you can do at Colourlovers.com is load a photograph and have it extract the color palette using their Photocopa tool.  http://www.colourlovers.com/photocopa.  Below is a photograph of my husband’s parrot, Pepper, that I loaded.  The colors to the right of the image are the colors the Photocopa extracted and underneath are the five colors (the limit for a palette) I chose that I thought best captured the photograph.  I haven’t played with proportion yet . . . but, that’s the next step.

I’m still learning about the multitude of things I can do at Colourlovers,com . . . I find so many things that inspire me at I have to be careful to limit my time.  The first time I ventured into the website, I ended up experiencing a time distortion . . . it only took 15 minutes for three hours to pass me by!

I hope you enjoy Colourlovers!

In a matter of hours, 2012 will be here . . . which means I can see the knots of 2011.  Seeing the knots on my loom means the project is nearing completion.  We all understand each other when we ask How’s your project going?  and the person responds with I can see my knots . . . because we know the project is coming to an end and all of the hard work in planning the project, acquiring the materials, warping the loom, and weaving the fabric is about to pay off.

2011 was a great year for me.  I got to spend much of my time teaching and sharing my enthusiasm for weaving with other weavers.  For me, it’s one of the best things in the world and I feel so privileged to be able to do it.  Looking ahead to 2012 is pretty exciting.  I will be teaching and sharing . . . plus, I also have some new opportunities and challenges that I eagerly look forward to taking on.

One thing that will make 2012 a little more comfortable is the new bench top for the bench of my AVL.  My wonderful husband is a talented woodworker and over the years has made and repaired many of my weaving tools and apparatus.  One of his crowning achievements is the bench for my counterbalance loom, which was made from walnut and 100+ year-old myrtle word that his late father had carted around for decades.  One thing I love about that bench is the depth of the bench top . . . it really supports my ample backside!  This is very important when weaving for long periods of time.

Well, since I purchased my AVL over 11 years ago, I’ve grappled with a bench top that was wide enough, but too shallow and I always felt like I was balancing on a wide beam while I wove.  In November, I asked my husband if he would make me a new bench top that was  deeper to make it more comfortable to weave.  Voila!  On Christmas morning, I opened the new bench top.  It was the same width, but it had been made significantly deeper.  Plus, he carved out an area so a closed-cell foam insert can set inside to make it even more comfortable . . . and to top it off, he carved some small Celtic knots in the ends.  Perfect!  It’s better than what I had asked for!

I hope your look back at 2011 is as breathtaking as mine . . . and that 2012 looks at promising and exciting as ever!

Happy New Year!

Anyway, my latest (and last trip for 2011) textile adventure found me back in Colorado.  This summer, I had the honor to teach at the Intermountain Weavers Conference (IWC) in Durango, CO . . . recently, I had the honor to do a program and workshop for the Rocky Mountain Weavers Guild in Denver, CO where there is a majestic quality that makes me (again) want to break out my John Denver CDs and sing along.

The program and the workshop were held at the Textile Arts Center (TACtile)  http://www.tactilearts.org/index.html.

TACtile is an art center and gallery inspiring growth, visibility, and creative excellence in textile arts and has been in their current location for about a year.  They have modeled themselves after The Textile Center in Minneapolis, MN.  This is a really exciting place place to be for a short time . . . but, I was fortunate to spend four days there.  Not only is TACtile there, but so are the headquarters for JHB buttons and their button museum.  It was a lot of fun to look at the multitude of buttons . . . and thimbles too!

The program for the Rocky Mountain Weavers Guild was The Fab Four . . . a program that shares some really great weaves that can be done on only four shafts.  I think it helped show what was possible on a modest four-shaft loom and I hope I surprised some folks.  I know I was surprised after the program to turn and find myself face-to-face with Jean Scorgie, former editor of Handwoven magazine and current editor of Weaver’s Craft  http://www.weaverscraft.com/.  Jean has done so many wonderful things on four shafts and I often share images of her work from her articles and publications.  I’ve communicated with her via email a couple of times, but have never had the pleasure to meet her in person.  My first thought as soon as I saw her was Oh, no!  I hope I haven’t said anything wrong!  She was nothing but goodness personified and I was thrilled to tell her how much I have enjoyed her articles and publications and how much I have learned.  It’s always fun to meet someone with an enthusiasm for things that get you excited.

The workshop Extreme Warp Makeover was a rather large group and lot of fun . . . the more the merrier!  A great way to finish up my teaching for 2011.  There’s something very exciting and energizing about seeing so many looms and weavers in one room!

Every time I teach, I meet new people and make new friends . . . but, this workshop was a little more special than usual because I met Ayla, a 14 year-old weaving dynamo with a smile that would warm the heart on the coldest day.  She didn’t wait to initiate her corduroy sample and jumped right in and started weaving and cutting . . . in Hogwart’s Gryffindor colors, no less.  Harry Potter would be very proud . . . I know I was completely and totally impressed with her skill and courage.

Not only does Ayla weave, but she is involved in just about every possible textile technique I’m familiar with . . . plus, she showed many of us a great way to do a blended weft by using multiple sewing machine bobbins on a single shuttle.  I’ve done this with larger sewing thread spools, but I love how manageable this approached is.  A possible future editor of Handwoven???  I think so!  Ayla’s blog can be found at http://ayla-art.blogspot.com/

Last week, I headed to The Lone Star state to do a workshop for the Fort Worth Weavers Guild.  I arrived a day early in order to visit Ellen Holt’s showroom and studio in Dallas.  I first became acquainted with Ellen in the 80’s when she was featured by AVL in their advertisements.  I clearly remember seeing a woman, an AVL loom, and a beautiful tassel.  Ever since then, I’ve been captivated by her and her work . . . . but, I had never met her . . . and that was about to change.

Ellen graciously allowed me (and “the Margaret’s”) to visit her on a beautiful fall morning.  Getting a glimpse of her showroom is a treat for anyone with an interest in passementerie (Passementerie is a French term that encompasses forms of adornment for interiors and garments and includes tassels, cording, trim, buttons, and more).

As many people know, I have a huge interest and long history with passementerie, which led me to publish a monograph, Handwoven Decorative Trim – An introduction to weaving passementerie trims, in October 2009.  I’m currently working on the next publication.  Part of my work involves profiling the passementerie-related companies.  Earlier this year, I visited The Tassel Depot in Florida.

The opportunity to meet one of the most talented passementerie fiber artists in the United States was a thrill.  In addition to the amazing commercial trims in Ellen Holt’s showroom, she also does custom trim and tassels.  Within minutes of our arrival I was blown away!  I am so impressed with the beauty and quality of the work I saw.  One really has to see it in person to appreciate it . . . but, if you’re not in the Dallas Design District, the next best thing may be a visit to her website.  http://www.ellensholt.com/

The workshop I taught for the Fort Worth Weavers Guild, There’s Two Sides to Every Cloth, is an introduction to 15 different methods for weaving double-faced fabrics.    I was so captivated with the group of 18 weavers that I forgot to take pictures until after we had cut the warps off the loom . . . but here are a couple of pictures of the results.  It was a great group and I really hated to see the workshop come to an end.  It reminds me of why I love what I do . . . Weavers are my favorite people!

After the workshop wrapped up, I got to go on an excursion around Fort Worth with the Purple Snake Lady.  First stop was at the Fort Worth Water Gardens which has multiple focal points of water; the quiet meditation pool, the aerating pool which feature multiple fountains and the active pool which has water cascading 38 feet down terraces and steps into a small pool at the bottom.  We hiked down to the bottom of the active pool . . . and here are a couple of images to share the beauty.

One of the things I was totally fascinated by were the tree roots by the meditation fountain.  The roots of the trees are drawn by the water, but confined by the cement that keeps them constrained and forces them back up at the base of the trunk.  They look like they belong in a science fiction movie and it only goes to prove that nature finds a way.

After the Water Gardens, we headed to the Fort Worth Stockyards, an historic district that has the original bricks and mortar, the wood corrals, and more to celebrate the livestock history that was so important to Fort Worth.  While walking along the sidewalk, something made me look down and I realized I nearly stepped on Wyatt Earp . . . a large star embedded in the sidewalk that is part of the Texas Trail of Fame.  That was the first of countless stars I saw that help me fell a connection with the history of the area.

After eating barbeque at the Stockyards, we headed for Billy Bob’s, the world’s largest honky tonk.  http://www.billybobstexas.com/  It didn’t take long to be impressed with the magnitude of the place . . . it was huge!  Plus, this is where (out of shear curiosity) we pooled our quarters together and purchased a Texas Love Kit out of the vending machine in the women’s restroom.  I had expected it to be a condom, but it wasn’t . . . it was more risqué than that and in order to fully understand, one would have to go to Billy Bob’s and buy one . . . it was $0.75 and worth every penny!  I’m just not sure what to do with it now.

Below are a few pictures from the workshop, including a picture of one of the cutest looms I’ve ever seen (possibly a very early Gilmore loom).  But, keep reading for more . . .

In addition to the workshop, I got to see a few things that were really fun and I have to share images of the house belonging to:
A)  The ultimate Halloween enthusiast
B)  Someone who definitely does not suffer from arachnophobia
C)  An obsessive fiber artist
D)  All of the above

Periodically, I forgot I was in Reno . . . well, not Reno . . . but, I definitely forgot I was in a state was gambling is something that one frequently comes across.  The only place I saw any kind of gambling was at the airport.  The slot machines certainly are colorful and I thought they might be a good source of inspiration . . . and one can’t go more than five minutes without hearing the words “Wheel of Fortune” sing out from a slot machine . . . but, I don’t gamble.  The one time I gambled, I watched the black jack dealer take my chips when her hand beat mine and I realized I had just paid $5 for 90 seconds of entertainment . . . however, I might be persuaded if slot machines dispensed skeins of yarn and the gamble was what kind of fiber you got.

In the months leading up to the workshop, I was asked if “new” weavers would be able to follow along.  Of course! I said.  I have had many “new” weavers in my workshops over the years.  Now, mind you . . . “new” usually meant they had been weaving less than two years.  After the initial presentation and discussion to get the workshop started, I found out some of the “new” weavers were in fact new to weaving and had not woven before.  Wow!  I was so impressed with their courage to tackle a weaving workshop where we would be discussing why lace weaves create lace effects, the fundamentals of twills, the difference between overshot woven ‘star fashion’ versus ‘rose fashion’, what weaving ‘on opposites’ means, and so much more.  They were incredible!  In fact, one workshop participant (who had never even seen a loom in action prior to the workshop) wove a twill sample that was so stunning that I think Ralph Lauren himself would have been ordering yardage for his next fall collection!  The only downside to the workshop is that I was so captivated by what was going on that I completely forgot to take pictures . . . but, just imagine being in rustic grange hall with a group of really terrific weavers amid trees that were beginning their fall color transformation and you will get a general idea.

After the workshop I headed off to Berkeley, CA . . . If I’m in northern California, I frequently head there to see my friend Penny, go to Lacis (http://www.lacis.com/), eat cheese, and drink wine.  This diversion did not disappoint, as usual.  Lacis has a marvelous exhibit of Estonian knitted lace that I was fortunate to see.  Plus, I came away with a great addition for my studio.  Nancy Roberts, the owner of Machine Knitting to Dye For, had a ball winder I just had to have after I saw it in action.  At first I thought Yeah, I got a ball winder . . . but, I didn’t have one like this one.  The ball winder I’ve owned for years is a basic ball winder that makes the average center pull ball.  It’s handy if I want to wind a small ball from a skein or cone to throw in my bag when I head off to the ferry for a trip to Seattle and will be working on something while I float across Puget Sound . . . but, the traditional ball winder I own (like many fiber artists) has serious limitations when it came to winding yarns with texture, fine yarns, or both (I have dreadful memories of winding silk boucle balls with my ball winder and make a big mess).

What’s so special about this ball winder?  Well, it winds the ball onto a plastic cone.  This allows the yarn to wind off the outside of the ball AND the plastic cone gives a bit of weight to keep it in place.  This is just what I needed for winding skeins off that I plan to use for warp.  I own a Silver Needles cone winder (a very cool thing too!) . . . but, I’m not able to wind from a skein to a cone using it.  It’s my go-to item when I’m winding multiple cones from a large cone . . . but, if I’m starting with a skein, I would have to wind the skein using my ball winder into a center pull ball and then wind it onto a cone or spool.  This is not a good thing for a number of reasons.  When I first saw this particular ball winder in action, I knew I had have to have one  . . . and it was only $50!  (The plastic cones are available for a few dollars each).  To see a picture of the ball-onto-a-cone winder, you can see it at http://www.machineknittingtodyefor.com/index.php?option=com_content&view=category&layout=blog&id=25&Itemid=35.

On my way home, I was passing through Oregon and decided to stop at the Eugene Textile Center ( http://www.eugenetextilecenter.com/) for a little sales tax-free shopping . . . and I didn’t leave empty handed.  I purchased Dormay Keasbey’s book Designing with Blocks for Handweavers.  I own the original version, but this is the re-released version and it was great to see it available . . . For as long as I can remember, I’ve encouraged weavers to learn about blocks and profile drafts since it helps to better understand different weave structures and opens up a whole new world for designing.  I also purchased Warp and Weft – Lessons in Drafting for Handweaving.  This book has just recently been made available in English.  It only took me a moment after flipping through it to know I had to buy it . . . after all, it was sales tax-free and no shipping charge.  Another book i purchased was Extreme Textiles – Designing for High Performance.  Very cool stuff!  I knew I would have to be creative with my already crowded Miata to make room for these books (and a few other purchases) to get everything home . . . but, there’s nothing like the will of a weaver to make room for new stuff.

Before arriving in Durango, CO I had a little excitement.  First, while on my way on the first day, my car (1997 Ford Explorer) turned 200,000 miles . . . a major milestone for any car.  My car has been a great car and this trip was no different than any other trip.  Trouble-free and comfortable.  I even kept an eye as the miles rolled along and stopped to take a picture at 199,999.  It’s a goofy thing to do . . . but, then I like doing goofy things.

The day I was to arrive in Durango, CO began in Grand Junction, CO.  After a good night’s rest, I headed off excited to know my next stop was IWC.  What I wasn’t aware of was how exciting and slightly unnerving my trip was going to be.  While working my way south, I monitored the GPS.  It looked odd for quite a while because the numbers were showing it was going to take me longer than I would have expected considering the number of miles left until I reached my destination.  And then I found out why . . . I was getting read to drive through the Red Mountain Pass!  There are steep grades, tight turns, and very few guard rails . . . and they seem to go on and on.  I can’t remember the last time I had such an exhilarating drive  . . . It’s an ominous drive, but the magnificent views are stunning and well worth the effort.

After my mountain adventure (which cried out for me to play John Denver’s Rocky Mountain High which is loaded on my iPod) , I arrived at Fort Lewis College in Durango, CO at an elevation over 6,500 feet where IWC was being held.  Hauling luggage, teaching supplies, and the floor loom I took at that elevation is a little concerning since I live near sea level and I’m too young (or delusional) to want to huff-and-puff my way around campus.

IWC was exceptionally well-organized and the scenery was unbelievable . . . as though the entire conference had been plopped down in the middle of a movie set.  I was there to teach my workshop Pictures, Piles, Potpourri, & Perplexing Curiosities.  It’s a weaving workshop that is a smörgåsbord of weave structures . . . a weaving tasting menu of sorts.  The workshop is designed for intermediate-to-advanced weavers . . . but, it’s also for  ’adventuring-seeking beginners’.  The workshop participants were more than ready for the challenge and wove some truly spectacular samples.  Below are just few examples of what they accomplished.

Corduroy samples before getting cut apart

Velvet (with a little uncut velvet pile to create contrast)

Images of thistles woven in swivel

It seemed IWC was over almost as quickly as it began . . . but, what an experience!  Not only did I get to teach a workshop for a great group of weavers . . . but, I was fortunate to spend time with other fiber artists.  The keynote address was delivered by Yoshiko Wada . . . and I’m more inspired than ever to do some new things.  You can learn about her at the following link  http://yoshikowada.wordpress.com/.  I’m rarely in completely and total awe of someone, but she had me captivated and wanting more after she concluded her presentation.  The fashion show was just want it should have been . . . fun and full of life!  The fashion show’s commentator was the extraordinary Anita Mayer.  Between her delivery style and the liveliness of the models the garments were brought to life.

After IWC came to a conclusion, I headed home with fond memories and completely impressed with how well IWC went.  The nice thing about teaching at a conference is that I often leave with less than I took . . . with my load a little lighter I hit the road to witness the beauty of this wonderful country.  The drive was easy . . . roads dry and the skies clear . . . the only blemish on the entire trip was the speeding ticket I received in Burley, ID while searching for a cup of coffee . . . but, then a gal can always use another memento as a way to remember an outstanding adventure.