Summer School Workshops Jan 2018

Workshop 1  A design line and 3 echoes

After Marian’s workshop, I spent many hours working on design lines and finding ways of designing the weaves using Fiberworks rather than on paper.

I still feel it is valuable to design first on paper and then for further design and checking of design, to move to Fiberworks and this is the method I used with 7 students, many of whom had completed 3 years of weaving study with me.

samples of a design line and 3 echo workshop…7 students work

All the students had good knowledge of network drafting, advancing twills, double weave and use of Fiberworks weaving software. These are the results of 3 1/2 days of workshop.

The following are close-ups of 3 students samples.

Students worked in a variety of yarn and colours and were fascinated by the difference a change of weft could make and amazed at the results with a change of lift… all remarked on the variety of design  on the one threading.


20/2 silk at 35 epi, .

Candlewicking cotton 235yds / 25g  at 24 epi,   2 pd in a 12 dent reed

8/2 cotton, 2 per dent in a  50/10 reed or 25.7 epi

10/2 cotton , 30 epi or 3pd in a 40/10 reed

8/2 tencel  dented 3334 in a 10 dent reed or  33epi

Mercerized cotton  size16, 385m/50g… 3 per dent in a 40/10 reed..or 30 epi


Workshop 2  Explore Shadow Weave

Shadow weave sample on the loom

This workshop encourages participants to develop their own designs During the workshop, students worked on their own loom, developing  threadings first on graph paper, and then practising on Fiberworks software.

The above image was under tension on the loom, so it looks a little open.

Work developed by students after the workshop….  two scarves

New scarves from Denise

On the loom….

Alisons work on her loom after the workshop

and became some glasses cases….

Seeing te result of a workshop, and the student pieces afterwards is a great reward.  these are two reviews of the workshop from the Handweavers and Spinners Guild of NSW website…


 16 January 2018 • SS7 Explore Shadow Weave

I thoroughly enjoyed the Shadow Weave workshop. I learned a great deal – a lot of incidentals about weaving generally as well as about shadow weave. My knowledge about weaving is a bit “hit and miss”; being from the country, I can only come to the occasional course. I do not have access to any continuous weaving education so these workshops are invaluable to me. Liz is a great tutor who is always encouraging and prepared to move at a tangent to fill in a “hole” in my learning if necessary.


 13 January 2018 • SS7 Explore Shadow Weave

This was an excellent workshop and I’m so glad I didn’t miss out. What a thorough delivery of this most interesting (and variable) weave. The theory was very helpful, as was the step-by-step progression, the walking through of designing on the computer (Fiberworks), before getting us going on our own designs. Now I feel so confident to choose my yarn, design my own Shadow weave (8 shaft and up) pattern and weave my cloth with the full understanding of the construction of this technique and where I can go with it . So worth the money!! Thank you.

Workshop 3 Kasuri- Patterns in the Weft

This was fun sociable workshop, lots of time to talk when skeins were being wrapped.

Here everyone is busy dyeing  with Procion dyes and winding and wrapping the resist area in their next skeins…

Kasuri from 3 differently dyed skeins

Some of the work during the workshop…

Kasuri pattern with two resist dyed areas

Our selvedges were a bit untidy,  but once one does some test skeins, and determines the amount of shrinkage during the dye process, selvedges can be even and neat.

Kasuri in 2 ply classic Bendigo wool, with 2 undyed areas forming the pattern

Two pieces of mine…

Kasuri with 2 unequal sized dyed areas, a large red, and a smaller cerise, with the rest of the skein black… loop mohair weft on a 2 ply classic Bendigo wool warp

Workshop with Marian in July- design line and 3 echoes

Echo weave scarves, with a design line and 3 echoes in 20/2 silk on 8 shafts

I was privileged to attend a 4 day workshop with Marian Stubenitsky at her home in Randwijk in the Netherlands. It was a wonderful opportunity to study her methods of echo weave with a design line and 3 echoes at regular intervals, and explore her book “Echo and Iris”.  When I came home I needed to start straight away…. with 8 shafts for the first ones, and started with a scarf warp.

The one on the left was set at 30epi for 20/2 silk with a brown weft and on the right I redented to 35 epi, (and I prefer this set) and wove with a blue weft…

The warp colours were a soft orange, an orange red, a bright cerise and dark purple.

The next two scarves were woven in double weave on the same echo threading.

Top one shows horizontal layers of interchanging warp, and the lower one is Marian’s multi colour double weave technique, resulting in true doubleweave over each small block.

Double weave scarves on an Echo threading

graded colours of 20/2 silk

.  Then I couldnt wait to get the wrap warp on!!

And looked first at the quantity of purple 20/2 silk yarn I had dyed ready to weave. I quickly realized that I didnt have enough of any colour and would have to blend the colours from one side of the loom to the other.

warp bundles ready to be placed in the raddle


threading from the raddle groups

The first echoes turned out well, and a challenge… it is the design challenge that I enjoy!!

First part of the echo wrap, almost a full repeat woven

and finished

Design 1

Design 2, echo woven as an As drawn in design

Second echo design on this threading… now sold.


Double Weave Workshop

Because I really like working with Double Weave structures, I take every opportunity to encourage others to try this weave. So I had a workshop for “lazy” weavers where the loom was all threaded for everyone to begin….

I used Louet Jane looms on stands, so that everyone could sit and weave.  My participants were pleased with their 2 days of weaving, and went home with lovely samples.

Louet Jane on stand

Double weave on loom

Experimenting with adding different coloured wefts

Using different lifts to create different patterns

The warps were in  8/2 cotton and 22/2 cotolin, with sets of 35 epi..

there is a little warp left, so I have woven off a few small pieces too.. not quite finished yet!!


Working for the next exhibition!

January- February

This is the result of working at an unreal rate for the end of Jan and then separated into each week in February!!

Now a little bit about them

These two have a green cotton slub as warp, at 15epi.  Both have a thick end of mercerized cotton as an accent at irregular intervals.  The weft is two strands of fine cotton.  The Spanish Lace was added with three threads of the thick mercerized cotton.  These were examples for the Finger Manipulated class for the Guild Summer School in January.  Woven on the Louet David, and the warp tied onto a previous warp.

3 Double Weave Scarves.

These were a follow on from this idea….

which became a hanging and another piece for a wrap.

3 scarves in double weave

I altered the square in the middle by dividing it into small sections and adding more interest.  These are in hand dyed silk and have lots of additional colours added in as weft as well.  Warp is 40epi 20/2 silk, weft 20/2 silk.  Love the vibrant colours, enjoyed playing around with design variations.

These are pieces to illustrate Double weave at the Grampian Textures workshop in March 2017.  Woven on the Louet Octado.

A White warp for four scarves on the Megado 32.

Original designs on 32 shafts

…Warp Mulbery 20/2 silk at  25epi.  from left to right

  • Mulberry silk weft in an original M and O’s design on 24 shafts with a plain weave border.
  • Hand dyed grey weft in an original gum leaf design
  • silk noil weft woven in broken twill, original design
  • silk noil weft in original gum leaf design

The last two were to convince the Morriset group  at their workshop on silk, that silk noil was a good weft to use, and lovely when contrasted with shiny Mulberry silk!!

These 2 in  hand-dyed 20/2 silk, also came off this loom.


Weaving Shadow Weave.

Always like this weave and enjoy exploring what is possible.  This is 8-14 from Marion Powell’s book on Shadow weave.

Shadow weave

The  3 scarves on the right are Marion’s designs and the one on the left is my design which is a combination of many elements.  They are woven in 22/3 wool, very soft and machine washable.  I originally dented at 15epi and wove the first one, bottom right, and then re dented to 17 epi, to obtain a squarer weave…felt the circles were a bit flat in the first one.  The change of colour in the weft, using purple and taupe, rather than the green and cream,  ( top right) added  interest to the group.

In the one I designed, I made a rough calculation of where the centre would be and made a design for that number of picks… but by the time I wove that length I needed another few picks to get to the real centre and altered the design to get the extra length.  Pleased overall, and nice to have a border on each end.

Playing with Collapse.

Collapse weave

Warp is Passive /  Active  yarns in 24 end stripes  with the passive yarn, a fine yarn 30/2 from Nundle Mill…. machine wash and soft, as the stripe at each selvedge.  The active yarn was one from an Anne Field workshop 56/2 high twist wool, from a long time ago… hidden in the stash!!.   Both sett at 25 epi.

Lower scarf woven in Nundle as plain weave and twill in the high twist in bands of 48 picks… Upper scarf had 96 picks of each in combinations of plain weave and twill. The nundle passive yarn forms the curved selvedge.

Then i wove the same warp with the Nundle only as weft, which gave lovely bubbles in a linear structure.

And then one with the high twist.

collapse weave


I had to work a lot harder in fulling the scarves than I had previously… probably because I sett it at 25epi rather than the 20 I had used before… the high twist yarn areas feel a lot softer though.

These are a fine linen 35/2 and a feltable wool and angora mix in stripes and check. Happy with the 4 white threads at the selvedge to emphasise the  curve.


Wrap in 20/2 hand-dyed silk.

Broken twill wrap

hand-dyed silk for wrap


Lots of use of 2 shuttles, weaving 2 and 1, 3 and 1 and 1 and 1 to carefully graduate colours.

Nothing yet woven in March!!

Open studio

new weaving and samples

Display of new weaving and samples 

Come and try looms and spinning wheels….new Louet looms and wheels, and older looms in a great variety are warped, ready and waiting for you to sit down and weave. Weave on a jack, counterbalanced, or countermarch.

Compare weaving with a mechanical or electronic dobby.  See how easy it is to use an electronic dobby!

Contact Liz on 0403026927 for studio viewing by appointment or come on an Open Studio day.  Next Open Studio days are

May 6-7 2017

Sept 2-3 2017


At the Bargain Craft Expo Whitlam Centre Liverpool

This is a new Craft show type event….first time offered.  Organisers are hoping to make it an annual event. It’s small, about 25-30 stalls, but only $5 for visitors to get in as well!  On today and tomorrow-plenty of patchwork, sewing and scrap booking things.  Each stall has been given extra space… have never had so much!at the Bargain Craft expo IMG_1081 s50

Still working of course!!  So  far, much discussion and teaching about fibre things,  felting  and spinning…. a loom is an unknown object really.workingatshow

Exhibition in the Palm House 2016

The days fly by…. getting shorter as they pass, as I try and fit more in!!

HandWoven Textiles & Enamel invite- PalmHouse 2016

HandWoven Textiles & Enamel invite- PalmHouse 2016



Heather’s piece  Hideaway (200 x 200 mm) is a lovely composition, using Limogue technique. This involves many firings, each adding layers of colours

.Double weave hanging detailthis is a detail of a double weave hanging in 20/2 hand-dyed silk, which is still on the  Louet Octado loom yet… about half way there!!!


Reflections on Fabric Exhibition August 13-25, 2015


Reflections on Fabric opens at  the Palm House in the Royal Botanic Garden Sydney,  at 10 am on August 13 and continues daily 10 am- 4pm till August 24, and our last morning 10 am-12 noon on August 25  (for last minute purchases!!)

Hand woven, hand knitted and hand felted scarves, wraps, garments and accessories, wall hangings, tapestries, rugs, throws, beadwork, costume jewellery, basketry and enamels will be on display.

The work has been made  by well established artists, with styles of their own, often having worked in their chosen fields for 30 years.   Their work is a joy to behold,  shows excellence in design, craftmanship and professional finish.

Each day some of the artists will be at the exhibition to explain the techniques, while others work in their Sydney studios. Come and meet the artists!    Be inspired!

To get to this exciting free event, walk from St James station along Art Gallery Rd or catch the Art Gallery Bus from York St, near Town Hall.  Enter the Gardens via Wooloomooloo Gate  (There is wheel chair access as well)


Anne Eagar

Anne has been book binding for several years

This year her work features prints, and previously, marbled papers

Hand Stitched Book

Hand Stitched Book








Handmade book by Anne Eagar, leather and marbled paper

Handstitched paper bound in leather and marbled paper

Denise Stevens

Denise specializes in tapestry weaving, but also weaves cloth and baskets.

Jacararanda Basket by Denise Stevens

Hand stitched basket, Linen and Jacaranda.

Handwoven scarf in advancing twill

Handwoven scarf in advancing twill

















Trudy Billingsley 

Hand stitched Fabric Sculpture

Hand stitched Fabric Sculpture








Handstitched  fabric and decorative necklace

Handstitched fabric and decorative necklace

T Billingsley 3

Helen McGavin Smith

Magic in knitting… Reshaped, resized by felting and making great hats.

Hand knitted hat

Hand knitted hat

Wendy Cartwright

specializes in woven fabric, garments and some knitted scarves and  beadwork

Garment from hand woven fabric

Garment from hand woven fabric woven in wool, using the Theo Moorman technique.

Knitted scarf featuring thick and thin yarns

Knitted scarf featuring thick and thin yarns









Liz Gemmell

Liz Gemmell's Silk Jacket

Liz Gemmell’s Silk Jacket

The jacket is made from pure silk fabrics, some of which have been dyed in Shibori texhniques.  The jacket has been pieced together using the Pojagi patchwork technique and the colour placement is inspired by Mondrian.  The garment is Liz’s own design and can be worn upside down to give two different looks


Sylvia French

spins great Art Yarn, and knits/crochets it into textured collars and neckpieces.

Beehive Art Yarn

Beehive Art Yarn

She also does some eco dyeing for  fabric wall pieces and cushions

Marie Clews

specializes in tapestry weaving, especially wedge weaving

Wedge weave tapestry, giving fluted selvedges and lots of colour interaction.

Wedge weave tapestry, giving fluted selvedges and lots of colour interaction.

She also weaves fabric, and table linens.

Heather Calnan

Liz Calnan




Special Award by Complex Weavers

My Series of Three Scarves went on a a USA excursion
I first sent photos,: There were 5 jurors and 3 marked each article for jurying. This allowed the jurors to enter the exhibition. I received the jurors  extensive comments with notice of acceptance of the series of 3 scarves

This was the first time Complex Weavers have held a juried exhibition as part of their Seminar program..All the pieces were exhibited  in Hellada Gallery in Long Beach during Convergence, and again in Rockville, Washington DC during Complex Weavers Seminars

two  turned taquete  scarves nd a multiselvedge double weave scarf

Winning Series of Three Scarves- photo by Marie Clews

Two of these were woven in turned taquete.  Taquete is traditionally a weft faced weave, with a few ends in the warp and a high number of picks in the weft, using 2 or more shuttles and the weave was used for sturdy table runners and rugs.  By turning the weave, the many shuttles in the weft become the warp, and the one colour of the warp becomes the weft.
 In turned taquete, most of the work is in designing and threading the warp, and weaving with a single shuttle is easy. These were woven on a 32 shaft pointed threading in Australian Superfine 2/20 wool, at 48 epi with a 60/2 silk weft, at 30ppi.  The colours gradually changed across the warp. Turned taquete works well as scarves and wraps as the floats are now in the warp and the fabric drapes well.
 The same warp was used to weave the third scarf in a thread by thread designed double weave.  Much time is spent in front of the computer, working in the weaving software before weaving begins. The warp was 48epi, and  weft 48ppi of Australian superfine wool. It is a 4 selvedge double weave scarf where one section is wider than the other-this means that you are weaving by feel to control the width of the selvedge that is underneath that you cannot see!
 Just getting accepted was great, getting a prize of registration for the 2014 Complex Weavers Seminars was momentous!!.