Auld Lang Syne and New Beginnings

For almost everyone, January 1st is an important date. In December, we send friends and family our news from the year that is ending; December is a time of reflection.  But New Year’s Day turns our thoughts to the future. We make resolutions (Go to the gym, Use up our stash, Cook organic, Bike to work).  For me, this year’s turning point, from December 31st, 2011, to January 1st, 2012, is more significant than usual. I’m looking back at twelve years of editing Handwoven, remembering the indescribable joys of the job. And I’m looking forward.

The three editors  

The three editors (after Linda
Ligon): Jean Scorgie, Jane Patrick
and Madelyn 


Anita Osterhaug, incoming
editor, at Convergence, 2010


Weavers often comment that being a weaver connects us with wonderful people. Almost all of us can cite the month and year we first said: I am a weaver. From that point on, moving to a new state is not as frightening as it was before we were weavers: find the nearest guild and we’ll have ready-made friends. Traveling has a new focus: look for weavers and textiles. 

The joy of becoming a weaver has been multiplied for me many times by becoming part of Handwoven. Editing each issue brings me into close contact with the weavers who contribute the projects and the yarn and loom makers whose tools they use. An even closer relationship develops among the small group of us who make the magazine itself: editors, photostylist, photographer, proofers, page designer, production coordinator. Hundreds of emails fly back and forth during magazine production. Although the magazine is produced in Loveland, Colorado, and I’m in Coupeville, Washington, it feels as if we are all in the same room. We all rejoice when readers like an issue and suffer when they don’t (need I mention the Pet Issue?).

Amy and Liz  

Amy Clarke-Moore, editor 

Spin-Off and Liz Gipson,

modeling bathing cap entry 

for What’s Hot contest


In the twelve years I’ve been at Interweave, we have gone from cutting and pasting galleys onto page layouts, developing photos from film, beginning to use and then abandoning the fax machine to doing everything digitally and transferring information over the internet. Going digital has meant many changes, most of which have increased what we can do and how fast we can do it. Even though all of us still love having a printed magazine or book in our hands, just  think of the advantages we gain from digital publications: instead of a being limited to a certain number of copies, digital publications are unlimited in potential number.  With printed material, space is limited, which in turn limits the number of process photos and important explanations; digital publications can be any length. You can print multiple copies of a digital article or eBook; you can enlarge drafts or photos. Going digital has meant that we can make back issues of Handwoven available to anyone, anytime. If only we could look into a crystal ball that would show the changes that will come in the next twelve years!


This January, my New Year’s Resolutions are different from previous years, which all had something about Handwoven in them. This year, goals for Handwoven are probably on Anita Osterhaug’s list. Mine are: weave more, write more, teach more (in addition to go to the the gym and cook organic). In the same way that weavers who no longer weave are still part of the family of weavers, I’ll still feel part of Handwoven as Anita takes over as editor, and I look forward to being with all of you at Weaving Today. Happy New Year and happy weaving!


Madelyn van der Hoogt

Spacer 30x30 pixels  Pattie Spacer 15x15 pixels Group of three
 Pattie Graver (left) at the 
Redfish Dyeworks booth, 
at Convergence, 2010 
   Ann Swanson, photo stylist;
Liz Gipson, Managing Editor;
and Liz Mrofka, Designer 

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