February 2018: Linen and Lace, Woven Shibori and other stuff.

March 5, 2018

In the studio this month I held the second Linen and Lace class. The class was nearly full with 4 students. That is why this follows on from #1 in January. There were great results again. Here are some images of work by Karen, Jen and Jan. It is worthwhile to note that two of these are fairly new weavers.

They wove. Karen is missing from this photo.

And they finished off. Here a Swedish Lace series is being mangled using a marble rolling pin.

And went home with a great collection.

Jen’s collection


Karen’s collection


Jan’s collection.

Rochelle after attending #1 decided that she’d like to weave a double width alpaca blanket, so she had the opportunity to also refresh on the theory… and to check out what the others did.


One of the additional challenges of this week was to experiment with pick up on lace weaves if time permitted. In this way all could come to an understanding that more complex design could be achieved with minimal shafts. There are some projects in both Jen and Jan’s collection. Having the loom threaded that way also allowed me to play with a couple of combinations both while the class was underway and afterwards.

On the Bronson Lace warp students could accomplish pick up of a design for an overall pattern or combine it with inlay. I got to weave these two examples.


For those interested in drafts, here it is.

The other pick up warp was on Spot Bronson. Jen got to weave a complex spot Bronson design while I got to play with combinations afterwards. This is my playtime, all off the one warp.

I threaded that one so that both lace and Summer and Winter could be woven at the same time. Jen got to weave a complex spot Bronson design while I got to play with combinations afterwards. I also wanted to revisit the experimentation I’d done with doupe leno from the previous workshop. So it was a 3 way challenge and a bit of forward planning was required.

Here’s the basic draft.

Spot Bronson and Summer and Winter combined. Note as well as being woven full width, there’s an isolated motif in the middle of the lace weave.

To weave the leno, I required a group of 4 threads per dent if I was going to explore more doupe leno stored on an additional stick. My aim was to compare the method that I’d used in the previous month on a countermarche loom with this on the jack loom. However the loom had been threaded 2 per dent. As I knew that I’d be taking advantage of this warp I used a reed where I could remove the uprights allowing me to maintain the sett while achieving 4 per dent. Part way through increasing dent size.

An overhead view of this reed. Once I’m finished, I slide the brass strip back into place securing the reed.

This image shows the leno being picked up. Note the wider spacing has also grouped four threads across in the plain weave.

Preparing one group of 4 to be placed on a doupe. More about this process can be seen on January’s post. I found this process much easier to weave on the Jack loom. The important thing to remember is to put light tension on the pick up leno shaft as each row is woven. It prevents doupes being caught as the shafts change.


The finished leno.

On modifying my reed spacing: One might ask why I just didn’t use a reed with wider spaces to start with. So for the last experiment, I also wove a piece with leno (pick up alternating) and Spot Bronson as an all over pattern. While weaving the threads were very much isolated in groups of 4. After finishing, the warp threads are more evenly spaced. However while weaving, because of the denting, it was impossible to beat the fabric to square as a result the lace floats are elongated.

Here’s the finished collection from that experimental warp.


At the end of this month I was invited to teach at a weaving retreat for 5 weavers at Sewjourn, just north of Melbourne. They had chosen woven shibori as the focus for their study with a bit of additional dyeing tossed in.

Sewjourn is a perfect location for a small group. It has well set up and basic accommodation where you self- cater and a great studio space, set in a rural location. Those weavers sure can cook!

It was an amazing 5 days. Congratulations to Trudi, Di, Jillian, Elizabeth and Kaye. Here are some images.

The studio. Weavers hard at play (aka work).

Some fibre reactive dyeing both as painted warps and pulled up woven shibori.

Different shades of blue from the indigo bath.

Completed dyeing of warps (painted and ikat) and small skeins for weft ikat.

A weft ikat being woven. While the focus was on woven shibori, it was too good an opportunity to see how this would weave up.

The result of a fabulous five days of play.

Next month: In the studio there will be a 5 day class focusing on all manner of twills. There are still 2 places available.



November 2017: A woven shibori studio class and textile exhibitions in Canberra, Bendigo and Tamworth.

December 4, 2017


Philip and Annette spent 5 days in the studio working with various woven shibori techniques. Looms were pre-threaded with both warp and weft shibori and different fibre/yarns combinations to explore as wide a range of techniques as possible.

Firstly fabrics were woven that incorporated either a supplementary weft or warp thread.


These threads were then pulled up very tightly. Hopefully the area that is not exposed will not be accessible to dye. Annette is pulling up one of her samples.


After dyeing these threads are pulled out exposing a dye pattern. Philip is in the process of removing his resist. The fabric is opening up to reveal the pattern.


Once undone, the work was washed. Here’s a collection on the line.


and closer details of work.



Some of Philip’s collection, hemmed and totally finished. Annette had to leave early so I don’t have an image of hers.


This month I was also fortunate to see some significant textile exhibitions.

There were two exhibitions in Canberra celebrating 50 years of the Canberra Spinners and Weavers. Crossing Threads can be found at the Canberra Museum and Gallery. This is a retrospective exhibition and it was wonderful to see the depth of weaving practice over past years. This exhibition, curated by Meredith Hinchliffe is on till 18 March 2018. www.cmag.com.au



At the same time, The Canberra Spinners and Weavers hosted an exhibition, 50 Years Looking Forward. This exhibition is of current member’s work and also curated by Meredith Hinchliffe. The work was beautifully presented and included a great diversity of well-crafted items. Congratulations to all involved. This exhibition closed on 25 November www.camberraspinnersandweavers.org.au

I was delighted to be able to be in Bendigo and see The Costume Designer: Edith Head and Hollywood. I had head an interview on ABC radio and went with great expectations. This exhibition did not disappoint. It is an extensive and includes images and movies of costumes, drawings, quotes, background information on her design process and of course many costumes. It’s on till 21 January 2018 and I’d highly recommend you get to see it if you can. www.bendigoartgallery.com.au






The last exhibition was the 3rd Tamworth Triennial. Tamworth has had a long tradition of hosting high quality and often cutting edge textile exhibitions with often work by world acclaimed textile makers. At first a biennial since 1975, it is now a triennial. It has had a remarkable reputation so I went with great expectations. I was so disappointed! There were a few pieces that provided interest but in my opinion the overall standard certainly wasn’t of a standard of past exhibitions. It’s on till 10 December at the Tamworth Art Gallery. www.tamworthregionalgallery.com.au

And a closer look at work by Jeanette Stock, Meredith Woolnough and Sally Blake.


I have released the start of next year’s studio classes. Check out www.kayfaulkner.com.au or this blog for more details. There’s more to be posted.

8-12 January (4 places left) and 19-23 February (1 place left) Linen and Lace

26-30 March (provisional) From a Twill Threading.

30 April- 4 May Beyond the Basics

11-16 June Special

6-10 August Two ties or Summer and Winter




July 2017: Ballarat and the USA

August 4, 2017

This has been a very busy month teaching away from the studio firstly in Ballarat and then for MAFA in the USA.

At the Ballarat Fibre Arts Australia event, the title of the workshop was Play +1. Each of the students chose a different topic to explore – in other words, play. They could choose an aspect of double weave or mixed warps or a technique of their own choice. There was as a result total diversity. After exploring their topic for 3 ½ days they added an extra component in an extra shaft to achieve a more complex cloth.

But before we started the workshop, there was the matter of a decoration for the top table. I took the opportunity to produce this in the “meet the tutor” afternoon slot. This was a fun activity: a bit of stitching and needle weaving into gutter guard. Everyone got to do whatever they wanted and using whatever yarn they wanted. It was also a great opportunity to meet new and catch up with past students in a very relaxed manner.




Elizabeth started with an unfinished scarf as her project. It was colour and weave on a 4 shaft twill. After finishing her scarf she explored colour and structure variations, including removing and replacing a few warp colours before adding in an extra shaft for a supplementary warp.



Jeanette explored combining lace and summer and winter. This provided the opportunity to explore both structures and some creative approaches to a block of warp threads that didn’t weave. Her extra shaft was used to fix a threading mistake.

Jeanette 1


Trudi explored double weave with Summer and Winter as one layer. There were lots of variables here.


Jillian explored double weave and rotational blocks. (Colonial overshot) and then introduced an extra warp thread on her extra shaft- one that she moved around changing it from one position in the reed across the weft and to a second position.


Di came with a sample of double weave that we then interpreted into a 12 shaft draft. The draft combines blocks of twill and plain weave.



Michael arrived mid workshop and luckily there was a loom set up. It was destined to be rag mug rugs. However, this was used to explore variations of plain weave and then by adding in an extra shaft, it was possible to achieve a 3 end twill.


At the end of the week, the class puts on a display of their work. This is what was achieved. Unfortunately I had to leave early but I was delighted and privileged to spend this time with them. I must also acknowledge the great team that organises the event: Noni, Glenys and the Golden Team. Check out Fibre Arts Australia for details of the next Ballarat event and others run by this organisation. http://www.fibrearts.jigsy.com/ event.

Jeanette table

Later in the month saw me at Millersville in the USA for the MAFA conference. The class was East Meets West where various back strap structures and techniques are interpreted for a western shaft loom. It was a great class of 11 students and everyone accomplished much in 2 ½ days. Here’s an overview of what was woven with each student choosing their favourite section.













Apart from the workshop, there was such a lot to do: catching up with friends and the market place and various structured activities including a fashion parade. Those who were involved in the organisation put on a great conference.

After the conference I had the opportunity to visit with my friend Judith Krone in Atlanta. On one day we got to see these two exhibitions at Lyndon House Art Centre in Athens.

The first one was Time Warp….and Weft, an exhibition by 6 artists.


This is the artist statement followed by an overview of the gallery and work by Geri Forkner that could be walked through.



The second exhibition was Fold Unfold.


About 50 weavers/ university faculties created coverlets. Each of these were folded and placed in a pile. They will be opened at an “unfolding” event. It would have been great to have seen at least one of them unfolded and displayed. Accompanying the exhibition is a movie of each individual work unfolded with a detailed view. This of course can’t replace seeing the actual work.



The other very important activity at Judith’s was our dyeing day. Judith and I have established a tradition of weaving a joint project over a two year period. The first year we each wind our warps of 2 scarves each warp, dye and swap. The second year we weave two scarves with the grand unveiling of the project occurring where we exchange scarves. Each of us ends up with two scarves (one of each other’s dyeing and the other of each other’s weaving). You may have seen previous results of our collaboration. Anyway this is the start of our 5th project (10 years). This time we dyed the two warps together and have swapped. What colour? Well you will just have to wait and see when all will be revealed next year.



Coming up- a 2 day workshop at Go Create (www.gocreatenewengland.com) on the 9-10 September and workshops in the studio.

21-25th August                 Special (2 places left)

18-22nd September         Doubleweave and Friends (2 places left)

16-20th October               Two extremes: Choose between weft faced rugs and warp faced textiles                                                    including rep or textiles inspired by SE Asia. (2 places for rep/warp faced                                         textiles only)

13-17th November          Woven shibori (2 places left)

4-8th December               Special


June 2017

July 17, 2017

This has been the month for exhibitions. I know this blog is very late but much has been happening as you’ll see in next month’s blog. In the meantime….

I have delivered my touring exhibition, Pattern – A Universal Phenomenon to Childers Art Space. It will be opened on the 11th July and will run till 3rd September. This will be the last opportunity to view this exhibition. Its tour of 4 years is finally coming to an end. CHARTS is an interesting space with a glass wall commemorating the fire in the Backpacker’s several years ago where many lost their lives. That in itself is an interesting memorial to see. I will look forward to seeing how it sits in the space at the opening. Check out CHARTS at http://www.bundabergregionalgalleries.com.au

Also on right now is Stitched Up, an exhibition on at The Lock Up in Newcastle. It’s a group show which includes 24 National and international fibre artists as well as some local input. I was honoured to be asked to participate.


A section of the gallery space with my work on the left.

It has been a fascinating project and, for this blog, I thought that I would share my thought processes on producing this work.

The exhibition is a collaboration with The Lock Up (www.thelockup.org.au) and Timeless Textiles (www.timelesstextiles.com.au). It marks the 150th anniversary of the Industrial School in Newcastle being established. (1867-1871)

In the four years the institution operated, 193 girls from two and a half to 18 years of age were admitted. They were taken from their families, if they had families, and incarcerated as a consequence of the Act for the Relief of Destitute Children, which targeted youngsters who had committed crimes, were destitute, neglected, delinquent, uncontrollable or living in the care of thieves and prostitutes. The Industrial School sought to educate them in literacy while also teaching them sewing and needlework, skills that would increase their chances of employment as domestic servants.(Timeless Textiles)

The conditions in the school were needless to say pretty severe and very much a reflection of that sort of institution of that era. The school became notorious because of the conditions and rioting.

As artists we were provided with the background information of the school and the case studies of some of the inmates. This research was done by Jane Ison. (nis.wikidot.com)

We were asked to select a girl and respond to the information to celebrate her life.

When I was reading through the girls’ histories I was struck by many similarities. Fate or Destiny celebrate the lives of Margaret Poole and Rachel Willis. The following is the information that I worked with based on the research by Jane Ison. Both are very much a reflection of life at the time of the Gold Rush and for a certain demographic of society. I found their backgrounds fascinating. Maybe you will too.

Rachel Willis

Father- Thomas aka William Willis (b 1810). Mother – Eliza aka Elizabeth, alias Mary Kennedy (b 1828). They married in 1844 and had 10 children: 5 boys and 5 girls. Rachel aka Margaret was the youngest, born 1860.

Thomas either died or had abandoned the family sometime prior to 1868. Her mother resorted to keeping a brothel. It is thought many of the siblings were fostered out.

Rachel came before the bench on 24 February 1868 after being taken from a brothel and was released back into the care of her mother as “the bench was not satisfied that the evidence as to the character of the mother” justified removing her. On 2nd July Rachel again came before the bench. By this time her mother and eldest sister were in jail for “keeping a disorderly house”. She was being cared for by a person named Dunn who had reported that they were unable to keep her but as she was taken from the house, the bench was unable to act. Two days later she was found entirely destitute on the streets. She was aged 8.

She was a resident of Newcastle between 1868 and 1871 when she was apprenticed to an older married sister. In 1878, aged 18, she married Mackie Wilson (1854-1942). They had two daughters and two sons with 1 son dying in infancy. She died in 1893 aged 33. Cause of death is unknown.

Margaret Louisa Poole /Pool

Father, Robert Poole (1812- 1872) and Mother, Mary Leonard (b. 1815) were married, probably bigamously, in 1852 in England. Robert had been married once before with 3 children. He abandoned his first family. Mary was a convict and had been married twice before and was widowed both times. She returned to England with her second husband after being pardoned leaving 2 of 3 surviving children behind and fostered.

Robert and Mary arrived in Melbourne as unassisted migrants in 1852. Three girls were born in Australia. Margaret was the middle child, born in 1855.

Her mother died in 1860. She was aged 5. The sisters were separated one apprenticed and one fostered to a step sister. Margaret was living with an associate of her father. Betsy Harvey is listed as a step mother.

Margaret was 12 when she came before the court in rags on 31st August 1867. She was” much neglected and half starved”. Her parents were described as “very dissipated characters” and Margaret was charged under the Act with living with two common prostitutes.

She was a resident of Newcastle between 1867 and 1870 when she was apprenticed to magistrate at Scone. In 1872, the family’s circumstances changed and she was re apprenticed.

On 26 January 1875, aged 20, Margaret married William Ison (1852-1936). They had 10 children with 7 surviving infancy- 5 of 6 sons and 2 of 4 daughters. Margaret died on 2 January 1887 in childbirth aged 32.

So how was I going to take this information and use it?

I decided that whatever I did, it needed to tell their story. The cloth that I would weave was to be a story cloth with words embedded into the actual story. It needed to be able to be read. The cloth also needed to represent age as this story did happen 150 years or so ago. It needed to include stitch as that was the skill they were taught; let alone the title of the exhibition. Ideally it should also reflect on all the girls who passed though that institution.

We were also sent a swatch of fabrics similar to what research had showed that they might use. Of course I wasn’t about to use a commercial fabric when I could make my own. But I did have some natural cotton that would weave fabric similar to calico. I had a starting point. I needed a second yarn that would not dye as I wanted to have some definition to imagery post dyeing.

I knew the finished dimensions as we were given those and that there would be two pieces. So I knew the size of each piece. I knew the yarn and therefore the number of warp and weft threads that I would be using. That’s simple maths. So then I knew that the “words” that I would use needed to fit into this. I needed something of around 210 letters and spaces that would use about 2200 weft rows. So I need to achieve a somewhat shorter version of their lives that would be used to create a weave draft.

In addition I wanted to weave in “stitching”. Some of this would be left in while some would also be used for woven shibori. This could then reference the fact that what happened in their lives created their life “pattern” in much the same way as aged lines on a face and body.

The following shows the fabric being woven. The story can be read on the diagonal in either direction. Note also the heavy cotton supplementary weft that will be used for woven shibori and that will create the dye pattern. (It’s easier to read the words on the fabric underneath.)

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The fabric was then dyed. I have used natural dyes of various forms and my choice was influenced by “age”. The resulting shades of brown are similar to the notion of grubby aged cloth: the cloth from the streets before they went to the home as well as stained cloth found from times past.

The stitching threads were removed from the “figures” and some left in to define their edge. It also makes the fabric look more “aged”.


Close up of fabric showing dye pattern, stitching and woven words.


Artist Statement: Fate or Destiny

These shadowy humanoid silhouettes represent two girls who were inmates.

Was it predetermined by fate and their backgrounds that these girls would end up in The School. How much of what the choices they made with their lives resulted in what they became?

When I read the inmates’ stories I was struck by how many had similar stories. I have chosen two girls and have woven story cloths. Their stories are impregnated into the actual cloth. It can be read. The process of uncovering their stories equates with your search to read them.

Here’s the synopsis of their lives which can be read diagonally in the cloths.

Rachel Willis. Father- Thomas. Mother- Eliza. Father left or died. Mother jailed as prostitute. Rachel age 8 homeless. The school. Apprenticed 12. Married 4 children. Died 33.

Margaret Poole. Father – Robert. Mother – Mary. Middle child of 3. Mother dies. At 12 charged- Living with prostitutes- associates of father. The school. Apprenticed at 15. Married-10 children. Died 32.

The full research into their lives provides a more in-depth insight into their life stories.

These aged cloth represents life of a different era with different social pressures. Both of these girls were charged because of their contact with prostitutes. It was only by being charged that they then escaped their living conditions and were sent to the school.

Stitch is a skill that they were taught. In much the same way that these stitches have created pattern and texture on these cloths, did these skills have any effect on the direction their lives took? One hopes that The School, in spite of its history, gave the girls a chance of a better life.

The following show some additional close up images.






It has come to my attention that I have made the Top 100 Weaving Blogs. To check out who is in the 100 go to: http://blog.feedspot.com/weaving blogs/. I am delighted to be listed.


May 2017: Textiles of Siem Reap, Cambodia

June 9, 2017

This is the final post on my textile tour to Laos and Cambodia in January/February 2017.

Siem Reap is the place to stay when you go to see Angkor Wat. Angkor Wat is both a significant tourist destination, an engineering marvel from the Khmer Empire and an extremely significant Buddhist temple complex.

For those who go to Angkor Wat (and there are busloads!) keep your eye out for pattern.


However the reason I was there was of course to check out some textiles. I had heard of some places where textiles could be found and that there was lotus fibre produced in the area. I also discovered others while I was there. For those places off the known tourist trail, I would recommend that you take with you the address and the phone number of your destination to give to a tuk tuk driver. Our driver was very obliging and willing to find out where these places were, often with a group discussion with a group of drivers. However we did also end up in interesting places.

A new and little known gem of a museum is the MGC Asian Traditional Textiles Museum. I was fortunate to meet with Prof (Mrs) Charu Smita Gupta who is the director of this museum and has been involved in its development since the beginning. This is an extremely well set out museum with 4 exhibition spaces. The museum represents textiles from countries on the two major river systems: the Mekong: Cambodia, Laos, Thailand, Vietnam and Myanmar as well as India on the Ganges. Exhibited are historical pieces as well as contemporary ones. www.mgcattmuseum.com

2 (600 x 450)

Prof Charu Smita Gupta with Libby, Truda and I in the entrance at MGC. Photography is not allowed in the galleries.

Artisans of Angkor is on the tourist map. It is also a destination for school groups and that was very pleasing to see. On site in Siem Reap are some working studios as well as the gallery. The work in the gallery is exquisite and well presented. The working studios included carving on wood and stone, metal working including silver plating, lacquer work, jewellery, gold leaf and painting. There was a very sad static display of a loom to represent weaving. The threads were broken and the loom looked as if it couldn’t even work- not a very good advertisement for weaving or for weaving as representative of this place.


Students watching stone carvers at work.


The loom at Artisans of Anchor- not a very attractive example of weaving.

However if one has time I would recommend a visit to their offsite complex where the process from spinning through to weaving is very well represented. It certainly wasn’t clear at the facility in Siem Reap that this would be the case. There is very beautiful work produced here.


Silk being reeled from the cocoons.


Ikat being tied.


An example of weft ikat being woven.


The space housing many looms. It was extremely noisy.

The Institute for Khmer Traditional Textiles (IKTT) has a retail space and an area under the shop where the women gather and produce the woven textile. In the main, they are using natural dyes and producing traditional textiles. www.iktt.org


A section of the gallery


Documentation of the natural dyes that are used.


Fabrics being woven with natural dyed yarn.


Complex weft ikats were also being tied and woven.


Here the ikat is being rebound after the first dye bath.


An example of ikat after several dyebaths.


Ikat on the loom.

I had heard about Lotus textiles before I had come to Cambodia and had spoken to Carol Cassidy about the yarn so some serious research came into play. There are many lotus farms. We even stopped and walked on boardwalks through the lotus.

We did eventually find the Lotus Farm by Samatoa, the organisation the spins and weaves textiles from the fibre. www.lotusfarm.org


All stages of the process is well documented.


We saw how the fibre is actually produced. After harvesting the lotus stems are cleaned.


The fibre is extracted by breaking the stem and pulling out the fibre. Several fibres are then twisted together to make the yarn. Many hands are required to extract a small amount of yarn.

As each length is twisted it is collected in a basket. This yarn is then taken and skeined.

There were looms here but we didn’t see any weaving being done.

Closer to Siem Reap was the headquarters of Samatoa.


Here it was obvious that negotiations were undertaken for commissions in lotus cloth. We saw some examples of it being used in combinations with other yarns and test samples of woven fabrics.

The lotus yarn is extremely expensive so combining it with other yarns makes sense. I must admit that the yarn itself is not necessarily inspiring (it has no lustre) however it is extremely valuable because of the limited quantities produced. It is marketed as a sacred fibre. Originally it was used to weave Buddhist monks’ robes. Samatoa also produces handwoven silk cloth.

The following are some additional observations that I found interesting.

I found the contrast between the speed used in weaving plain weave cloth and the slower approach to weaving ikats of interest. This was extremely evident at Artisans of Angkor.

What is also of interest is the variation of the treadles to what we would normally use.It appeared that these treadles were standard in this area. You can see them in the movie. Here’s another examples at Samatoa and IKTT.

Note the use of two hanging devices either side of the loom that hold the shafts up while they are needed for weaving. Complex twills can be woven using this system. It require two shafts that are treadled in combination with extra pattern shafts. The two treadled shafts are behind the ones that will be picked up. The operation of this system can also be seen in the movie.

This is the final instalment of the textile tour to Laos and Cambodia. Meanwhile in the studio much has been happening. The next blog will attempt to catch up on that.




June 2016

July 3, 2016

This month there’s activity in the studio with two new weavers and a wonderful week with some old friends. I’ve also got some weaving to share

Rosemary continued with her next project. She brought her finished hand towels,


and is getting one step closer to weaving a proper project using her hand spun mohair. Here she has put on a quick test warp to evaluate both how her spun mohair performs and to calculate shrinkage. She also wished to try out a table loom as she thinks that will fit her space requirements when she gets her own loom.


Sally is also a beginner weaver. She is obviously having a great time learning to weave. Here she has finished her first warp: a collection of handtowels.



Then very quickly there was a series of tea towels: to explore both how to weave her MacPhee tartan (colour sequence) and to explore various twills.



Then even before she had finished off those she was planning her next project: a tartan scarf. As she says who would believe just a short time ago that she’d now be weaving and dyeing.



In the meantime, I worked on a couple of scarves in double weave with supplementary warps. But then I decided to turn one of these sections into another narrow band of double weave. But how was I going to do that? Well it’s simple really: just add in a couple of temporary shafts, Laos style. What I did discover was that they were so easy to use.



Then at the end of the month three friends from my time at Sturt arrived for a 5 day intensive. Each had their own project.

Sue wanted to explore lace weaves but more than that wanted to understand the relationship between design, profile and drafting. She wove and initial sample.



Then after working on theory and developing a design wove a second warp.


Helen came knowing that she wanted to weave lampshade fabric to compliment an oriental lamp base. She’s requiring both fabric and accent braid. As the braid was the more complex she decided to start with that.



Gillian came knowing that she wanted to weave curves and explore network drafting. We worked on several design approaches. One was selected to weave into a scarf with additional sampling as time allowed. What was an interesting experience for her was going from her usual table loom to weaving on a computer assist loom.





It was great having such a diverse range of requirements as each learnt from each other. In addition there was time to spend together.


Eventually the weather turned and those Southerners got to experience glorious Queensland winter. We even took time out to have lunch and play at Wellington Point.


 While they were here, I got to start threading my draw loom. Eventually I’ll get to weave on it though it will be some time till I can. In the meantime I’ll get it set up.


What I do like about drawloom weaving is the flexibility in deciding what to do with pattern shafts. They can be rearranged so easily. I’ll just get the loom ready to weave and  decide later what I’m going to do. I do have 126 pattern blocks to play with.




December 2015

December 31, 2015


My studio is nearly finished. What a very nice way to end the year. I am so looking forward to working in this space. To do is some tiling and then to move looms. It should be finished for the first class in the New Year. Here’s progress this month.

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The painting gets done. I say goodbye to the purple wall. I need light in here to work.

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The painting is finished.

DSC02144 (600 x 400)

And the very next day, we had heavy rain. The gutters overflowed but there I was dry inside.

Kathryn, Barb, Ann and Maggie were in the studio at the start of the month. They worked on independent projects with great results.

Kathryn experimented with 4 layers of weaving, swapping the layers around to achieve different effects.




Ann explored different 4 shaft twills.


Barb explored twills on 8 shafts.


Maggie explored woven shibori  with shirts that had been cut up.


Here she is pulling out the resist threads to reveal the dyed pattern.


Fabrics washed and hung out to dry.


A very important part of any workshop is time out.


In this Festive Season, I’ve had a lovely few days weaving in the new space. I’ve got that warp to finish off.

For this next experiment, I had rethreaded the original warp on 4 shafts as I wanted to see how it would perform. The loom action for those of a technical bent is counterbalance (when two shafts go up the opposite two go down linked by a pulley system) I’d also increased the spacing of the warp. I also wanted to explore was the effectiveness of using normal treadles on this loom. Two sticks of wood as treadles were very floating and of course have a tendency to move. Maybe fixed treadles would make for more effective weaving. I have taken bits from a couple of looms to rig up these treadles. The original ones were very heavy. I knew I would have issues working the vertical storage component if it were too heavy. Of course it was much easier to weave. By the way the extra horizontal bars will be necessary if I’m to do any sort of patterned four shaft weaving.

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I got to weave about 30 cm of plain weave before I came to the pattern area. OOPS! These treadles even though they are as light as possible make moving the picked up pattern to behind the shafts just way too difficult. There’s just too much weight. So back to the drawing board and I have put back on the bits of wood. Four shafts tied directly to the treadles. It works!

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A comment would be though that it is much easier to transfer the picked up pattern when there are only 2 shafts. Having 4 shafts would have meant that I could do some extra patterning similar to what I had done on the draw loom. What I’ve tried here with the treadles and their inherent weight problems will mean that I’ll need to find an alternative to make that possible. Some features of a western style loom are not as efficient in this case as the original Laos loom.

Here’s my 46 stick pattern. This is a much more complex pattern than I have previously used. The piece of paper attached to the beater makes seeing the threads much easier. The purple against the dark wood is really hard to see.

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Note the series of pattern sticks storing the design.

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Here’s a quick preview of some of the classes starting in the New Year. Full details of these and others will be posted under “My School” soon.

18-22 January. Linen and Lace.

22-26 February (5 days) or the weekends of 20/22 and 27/28 (4 days)    From profile to structure

25-29 April         East Meets West and more

23-27 May          Networked Twills.

27 June – 1 July               Special

19 – 23 September         From Parallel Threadings

This time last year I was in Canada experiencing snow. I have my own snowflakes. They seem appropriate for here.

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