“Weavers, like most other creative people, may dream of peace and total isolation, but few are capable of generating ideas in such conditions. When at college, art and design students are constantly generating new ideas, encouraged by the proximity and competition of other students and by the expectations of the faculty. On leaving this environment, most are unable to maintain this level of creativity, unless they work in a design studio where such an atmosphere is consciously maintained. Weavers who are working in other circumstances look to different sources for creative stimulation, often in the form of regular or occasional attendance at teaching
workshops, or the short, sharp blast of a conference. It is sometimes not realized that, at these meetings, the interchange of ideas is as important as the officially scheduled ‘learning’. ..... Specialist workshops in weaving are often attended by weavers who have fixed ideas of what
they wish to achieve. A more relaxed approach to learning will always achieve more, even if in unexpected directions, than a rigid blinkered attitude. Like the game of ‘Chinese Whispers’, misunderstanding the lecturer can often lead to more creativity than full comprehension.”

I hope that the quote will give you reason to look at this book and all that it offers. This isn’t a recipe book (you probably already realized this). It is a book of ideas and possibilities. It also is not a new book, so some of the references to weaving technology aren’t current.
Some of the highlights in this book that captured my attention are examples of double weaves, collapse fabrics, ancient and ethnic textile techniques, use of paper wefts, ondulé reeds and much more. Throughout, there is emphasis on using a variety of techniques, materials and color
combinations to think about “what happens if I .....”. ( )

Ann Sutton's The Structure of Weaving is widely regarded as essential in any weaver's library, and it has been adopted as the first and second year textbooks in colleges throughout Britain, the USA, Canada, Australia, Japan and Scandinavia. Now, with Diane Sheehan, she goes beyond the knowledge and manipulation of structure to help weavers produce cloth that is exciting as well as technically correct. By examining some of the great textile ideas of the past and relating them to the stages of making a woven cloth, the authors aim to give confidence to all weavers, at whatever level of attainment, to have the ideas that will make the cloth of today as exciting and glorious as the fabrics of the past.

I picked this up at Cotswld Woolen Weavers, and only noticed afterwards that it is from 1989. I am delighted with this find. I probably won't really 'use' it, but it has added to my understanding of how cloth works. ( )