[M.K.] Which patterns work best with the “perebory” weaving method? [I.I.] There’s a rule—or maybe more of a guideline—when it comes to “perebory” patterns. If a pattern has very little weft visible on the surface, it’s best to weave it “in reverse”. This reduces the risk of making mistakes. Every pattern, regardless of its complexity, requires precise calculations and careful drafting. That’s why it’s worth dedicating time to preparation — even half a day, if needed. It’s better to work out everything at the start than to face problems during weaving. I love “kapowe” patterns, which create rounded motifs. For me, the art lies in perfectly matching the width and length of the design so that the final project has ideal proportions. I draft patterns on graph paper, and if I run out, I’ll use regular squared paper. I don’t modify patterns during the process. I always rely on what I’ve carefully planned and drafted beforehand. [M.K.] Have you ever used so-called spiski — notebooks with recorded patterns? [I.I.] I haven’t. Spiski record patterns in a linear form, for example, “two white, four black”, but it’s hard to verify their accuracy in that format. Even now, after many years of experience, I wouldn’t dare weave without first transferring the pattern onto graph paper. [M.K.] What about mistakes in weaving? [I.I.] Mistakes are a natural part of the process, especially when working with more complex patterns. For example, if the pattern has a very symmetrical and geometric border, even a small error becomes immedi- ately noticeable —anyone, even someone unfamiliar with weaving, will spot it. However, in less regular patterns, mistakes often aren’t visible at first glance. People who haven’t woven before probably won’t notice them at all. And those with experience in weaving understand that such things happen. [M.K.] What are the biggest challenges you face when weaving using the “perebory” technique, and how do you handle them? [I.I.] The biggest challenge is always the initial planning of the pattern and accurately calculating everything. This stage requires a lot of time and focus. Another challenge is the uncertainty of whether you’ll have enough yarn for the weft to complete the project. I remember working on my first blue rug as part of an artistic scholarship. I had over two kilograms of yarn and thought it would be plenty. However, during the process, I realized I was running out. I had to search for a similar yarn at a carpet factory — they gave me seven different shades, but none matched. Fortunately, I managed to finish the project with just a few meters of yarn to spare. [M.K.] Do you weave “perebory” exclusively on wide looms? [I.I.] Yes, I only use wide looms. I don’t want to stress about whether I’ll be able to perfectly join two halves of the fabric later if I weave them on narrow looms. [M.K.] What advice would you give to beginners who want to learn “perebory” weaving? [I.I.] “Perebory”, contrary to appearances, is one of the most enjoyable weaving techniques. My first piece of advice is: don’t be afraid to try! This method offers tremendous creative potential—you can incorporate any pattern, text, or even a simple motif, like a petal or leaf, into the fabric. What’s more, if something doesn’t turn out the way you want, you can easily change or fix it. “Perebory” is a technique that allows for great freedom and creativity!
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Woven Heritage Interviews
Tkane Dziedzictwo Wywiady
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