Sarah Haskell is an award-winning artist and educator who has been weaving and teaching for over fifty years. She has a BFA in Textiles from Rhode Island School of Design and an MA in Arts/Healing from Wisdom University. Sarah has exhibited at museums and galleries and has been published in FiberArt Now magazine. She is a member of the American Craft Council and the Surface Design Association. Sarah teaches textile workshops that build community and raise self-esteem, for all ages and abilities of learners, in schools and communities from California to Maine.

Professor Laura Strand, head of Textile Arts at Southern Illinois University Edwardsville, has a comprehensive back-ground and formal training in weaving, surface design, papermaking, bookbinding and basketry through a BFA from Georgia State University and an MFA from the University of Kansas, Lawrence. She has exhibited widely and lectured throughout the country. As a working artist her interests include the interface between feminism and visual culture, exploring the connection between the textile field and our Western cultural understanding of "women's work." As an artist and a person she engages in an effort to link the rich heritage of the textile arts with contemporary theoretical discourse.

Murray Gibson has been weaving tapestries for more than 30 years. He graduated from the Alberta College of Art and Design, Calgary, AB. He also received his MA in Textiles from Goldsmiths College, University of London, UK. He always designs his tapestries so that they reference textiles if not specifically tapestries. In some works he has made direct reference to medieval tapestries in both imagery and technique, but there are also more subtle illusions to cloth through the use of patterning and even the use of a woven border. It is very important to Murray that his concepts and imagery are always best realized in a woven form. In 2015, Murray was named a Master Artisan by Craft Nova Scotia (formerly The Nova Scotia Designer Crafts Council). He was inducted into the Royal Canadian Academy of Arts in 2019.

Susan Martin Maffei is an internationally known tapestry artist whose background includes art studies at The Art Students League in New York City, tapestry training at Les Gobelins in Paris, apprenticeship and studio work at the Scheuer Tapestry Studio, New York City and conservation of antique textiles at Artweave Gallery, New York City. She has been weaving her work professionally since 1985. She has taught, lectured and exhibited in the U.S. and abroad and has work in both public and private collections.

David van Buskirk has been told that he has a gift for weave. He has never lost his fascination for taking hundreds of separate threads and weaving them into an organic creation. He is drawn to the act of making with his hands. As a weaver, he is always in collaboration with a loom. It is as important to him as the materials his hands work with. Whether complex or simple, weaving requires a mechanism to create warp and weft, the structure on which his art is made.

Driven by a love for the materials she employs, Carol Irving weaves bright and stimulating images into her rugs. In her work she seeks to convey her passion for fiber, color, and design brought together in excellent craftsmanship. She weaves her richly colored yarns on a loom much the way people have been weaving for centuries. Each rug is a totally unique piece of American Craft. Her designs range from very contemporary and geometric to organic shapes and images. “I am committed to excellent craftsmanship so that my rugs are not only functional but pleasing to look at.” Her work is striking when hung on the wall, visually bold from a distance and tactile in its intricate detail.

Angie Parker established her business creating distinctive and intricate rugs and textile art in 2014,  and she specializes in hand-weaving using long established techniques, such as Krokbragd. After being taught rug weaving by the late Susan Foster at art college in the 1990’s, she pursued a career in costume for a number of years whilst continuing to weave on small scale collections.  She combines her weaving with an instinctive and daring approach to color and it’s the creative process of importing a contemporary element to the time honored techniques of weaving and the responses from the viewer which most excite her. A year spent living in India and more recently, the dynamic graffiti and houses in her Bristol neighborhood, have influenced the fabulously joyful palette which is intrinsic to her weaving.

A self-taught weaver for the past 40 years, Alice Schlein weaves in her South Carolina studio. She has taught at numerous schools and conferences, including The Penland School and at Convergence^® and Complex Weavers Seminars. Her work has been exhibited widely. She is a former contributing editor of Weaver's Magazine, The author of Network Drafting—An Introduction and Co-Author (with Bhakti Ziek) of The Woven Pixel: Designing For Jacquard And Dobby Looms Using Photoshop^®.

Robyn Spady was introduced to handweaving as a baby with her handwoven baby blanket woven by her great-grandmother. Inspired by her blankie, she learned to weave at a young age and has been weaving for over 50 years. She completed HGA's Certificate of Excellence in Handweaving (COE-W) in 2004 with the specialized study Loom-controlled Stitched Double Cloth. Robyn is fascinated by the infinite possibilities of crossing threads and loves coming up with new ideas to create fabric and transform it into something new and exciting. She is committed to turning the weaving world on to double-faced fabrics, four-shaft weaves, uncommon and advanced weave structures, and passementerie techniques. Robyn is also the founder and editor of Heddlecraft^® magazine.

Tommye Scanlin is Professor Emerita at the University of North Georgia, Dahlonega, where she began the weaving program in the early 1970s. She explored different ways to create imagery with weaving until at last embracing handwoven tapestry as her medium of choice three decades ago. She is the author of The Nature of Things: Essays of a Tapestry Weaver and Tapestry Design Basics and Beyond: Planning and Weaving with Confidence.

Dianne Totten has been a weaver and workshop junkie for 40 years and a teacher for twenty-five.  She is well known for her garments using “crimp cloth,” a technique she developed and teaches nationally/internationally for guilds and conferences.  Her expertise in sewing complements her passion for weaving. She teaches at John C. Campbell Folk School in NC and for guilds and regional conferences in the US and Canada, and at Convergence®. She has two crimp cloth DVD’s available and has been published in SS&D, Handwoven, Weavers, Complex Weavers Journal, and Vävmagasinet, as well as Catherine Ellis’ book, Woven Shibori, Revised and Updated, IP, 2016.

Micala Sidore first studied weaving in 1973, completed her first tapestry in 1979 and, between 1984 and 1987, spent all together 25 months as an intern at La Manufacture National des Gobelins, the French state tapestry studio. Her first solo exhibit of tapestries was in 1984, and in 1987 she established the Hawley Street Tapestry Studio. In 1989 she published her first article for the German quarterly Textilforum and since then has written over 45 articles. Micala has given talks on tapestry and fiber art in 11 countries. In 1991 she began the series called "Black + White + Red All Over", and in 1998 showed them first in Poland (when there were 19). There are now 68. In 2014 she curated a traveling exhibition called "The Art is the Cloth", and in 2020 Schiffer Books published her book of the same name.

Rabbit Goody knew how to weave from the very beginning, as if from some past life, or like someone who can pick up a musical instrument and play without thinking about it. She started weaving when she was in her late teens, without any real instruction, but it came very naturally to her. Her curiosity and interest in hand and early power technology was something that she developed throughout high school and college. The understanding of process – how things come into being – is the guiding question in all her work. After working for many years at the Farmers’ Museum in Cooperstown, NY as the head of Domestic Arts and as Assistant Curator for Textiles, she established the mill which has been producing fabrics for over 26 years. She has spent a great deal of time studying historic textiles in museum collections because being a curator has given her access to many, many collections. She has studied weavers’ draft books and has learned to read the weavers’ recipes and receipts from the past so that she can recreate textiles that have not been seen for hundreds of years. In addition to historic patterns, she designs very modern textiles that look as if they were hand woven but are in fact woven on our power looms.

Mary Berry is the Owner and Resident Teacher at the Fancy Fibers Fiber Arts Center in northeast Texas. Formerly a middle school teacher, she now teaches weaving, spinning, dyeing, rug hooking, and rug punch in her own shop and at fiber festivals nationwide. Her Fiber Arts Center sells supplies and equipment for the crafts she teaches, as well as spinning fiber from the Shetland sheep, Angora goats and Suri alpacas that she raised for 12 years. For Mary, every day is an opportunity to create something beautiful.