Highland Guild of Weavers Spinners & Dyers

Category: weaving reports

  • Braiding Workshop Oct 2024

    Saturday 12th October saw the Guild meeting at Strathpeffer Community Centre during which an intrepid group of seven braved the mind-swirling, eye-boggling, number-crunching world of braid weaving under the masterful guiding hand and brain of Alison Roddam. Alison began by demonstrating on a number of pre-warped looms with works in progress, to take us steadily through the pattern pick-up aspects of the process, and gave us all chance to try various braid patterns and ‘get our hands in’ with practice before embarking on our own projects.

    Following this, we selected our own warp and weft yarns from the great selection Alison had brought along, and spent the remaining time before lunch warping our own looms – inkle, inklets and rigid heddles.  Warping is usually a bit of a drag, but the size of the braid samples meant it was relatively swift and straightforward, and most of us didn’t need much more than a few minutes to touch base with others, pay our membership fees (!), and grab a quick bite and breath of fresh air before we were back and keen to begin our own patterns.

    Having been given copies of a selection of Baltic braids by Alison, we were able to choose and copy out our own versions onto the squared paper.  Getting our heads around dots and colours was the key to success! 

    After this we all got into our strides, though not always without hiccoughs along the way.  Alison was on hand to guide and advise us throughout and while we varied in speed of working we all left with something established on our looms, a better understanding of the process and an enthusiasm to continue.

    Report by Bex Lockyer

  • WIG Weaving Project

    Weavers Interest Group Project

    Any guild interest group weavers are invited to make a small woven piece of a chosen weave structure. This is also open to all Guild members who may be interested in contributing, as not all have chosen to join in the Weaving Interest Group.

    The pieces will be used as a loan collection for Highland Guild events and displays, but eventually returned to each maker. This is an ongoing project over time to ensure a changing collection of pieces for displays which highlight different types of weaving.

    The idea is that we each decide on a weave structure or type of loom we would like to try out. It does not matter if two or more weavers decide to try out the same weave structure or type of weaving, as each weaver will  inevitably choose different colours or yarn types. This project is open ended with no time deadline!  All contributions will be welcomed, whatever the level of weaving experience .

    Woven items can be roughly the following sizes to take account of different types of weaving. The idea is that small samples are more achievable.

    1 by 10 inches 

    2 by 6 inches 

    4 by 6 inches 

    6 by 8 inches

    8 by 10 inches 

    10 by 12 inches 

    12 by 14 inches

    Different sizing allows for the use of a range of  types of loom or weaving eg tapestry, rigid heddle, 4/8 shaft looms, peg looms, inkle looms, band looms etc.

    If anyone wants to try out circular weaving, small pin frames, 3D or basket weaving etc., that is also a possibility.

    SOME SUGGESTED WSEAVE STRUCTURES INCLUDE :-

    Inkle weave {with or without pick up}

    Band weave {with or without pick up}

    Tapestry  {many different techniques to try}

    Tabby on rigid heddle 

    Dog tooth on rigid heddle

    Log cabin on rigid heddle 

    Peg loom weave

    Twill { 1/4}] 1/3}]2/2} many varieties here on 4 or 8 shaft looms

    Summer and winter {4/8 shaft looms}

    Huck {4/8 shaft}

    Monks belt [4/8 shaft }

    Overshot {4/8 shaft}

    Crackle {4/8}

    Leno {4/8 or on rigid heddle}

    Double weave {4\8 or on rigid heddle if have second heddle or tie ups}

    Point twill {4/8 shaft}

    Krokbragd{3shaft}

    Rya {4/8 shaft loom or rigid heddle}

    ** Any colours  and any choice of yarns , eg wool, cotton, linen, nettle, bamboo can be used .

    A written label to attach to each piece of weaving is being designed and can either be downloaded from the guild website or collected at guild meetings . This will ensure that anyone looking at the woven sample pieces can immediately see:

    • the name of the weave structure 
    • the yarns used 
    • the weaver’s name
    • the type of loom it was woven on
    • any other relevant information 

    This helps to inform others and encourages discussion. It also means that items can be easily returned to the original maker!

    Happy Weaving !

  • Strathnairn Community Woodland Gala 1 Sept 2024

    A most enjoyable day.  The sun shone, though it was bit chilly in the woods, and there was a nice friendly atmosphere with families out to enjoy the woodland and the activities that had been laid on.  We were first asked to participate in this event last year when it was held at the end of May, and I had agreed to do it, then couldn’t as the date was changed.  Because it was a woodland event I had suggested weaving with natural materials, so thought I’d better offer that this year as well.  I spent a good bit of the previous day setting up fish shapes and circles in willow for people to weave into and take away – several people looked at these and thought it was a good idea, but no-one actually had a go!  However, several people tried weaving on my sampleit loom, and several children made bracelets using my weaving sticks – at one point I had three in a row, and one boy came back to make another.  The other activities included music, story telling and wood working, and tea and cakes were provided.  I’ll do it again if asked, but next time I’ll just take the loom and the weaving sticks!

    Stephanie Hoyle

  • Tapestry Weaving Workshop 22 September

    Our tutor was tapestry weaver Alastair Duncan (https://alastair-duncan.com/tapestry-weaving), and our theme, reflecting the date, was the autumn equinox.  Alastair started off with a power point and talk about his journey as a tapestry weaver, and his approach to design.  In tapestry weaving light, texture and yarns all work together, so choice of materials is crucial and may be influenced by where the finished work is to be hung.  Alastair doesn’t usually work with a cartoon, preferring to design as he weaves.  Recently he has been working on interactive pieces where the viewer is encouraged to touch elements in the weaving to hear sounds.  He used to draw his designs, now he is sometimes making 3D models.  He brought a range of samples of his work for us to look at, and a wide selection of yarns for us to use on the day.

    Before we started work Alastair checked our looms and warps, advising individuals on suitable warp yarn and on how to achieve a good warp tension.  He then spent time with each individual, looking at their design ideas and making suggestions for tackling them.  When things came up which were relevant to the whole group, such as how to get an even weft tension, he gathered us together and demonstrated.  I liked his gentle approach and the way he gave help when and where needed.  I don’t think any of us wove very much, but I didn’t expect to, and I do feel inspired to keep working on what I started!  A very enjoyable and worthwhile day.

    Stephanie Hoyle

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  • Anna Champeney Talk

    Anna’s talk to guild members on Saturday told the story of her weaving life from the year 2000, when aged 30, she and her partner moved to rural Ribiera Sacra in NW Spain, until the present day. “Madness” is how she described this decision, and bold it certainly was… without any weaving skills she set out to revive what was becoming a dying tradition in this sparsely populated, mountainous area in Galicia.


    Over the next hour, we saw how Anna developed her weaving practice into a successful business; initially as a weaver dyeing her own yarns, then as a teacher in her rural studio, and on to developing her business as she worked with the big fashion labels. Today she heads up a postgraduate course in Applied Arts at the Massana Art School in Barcelona. 


    It was Anna’s approach to solving problems by learning new skills as they were required (weaving, dyeing, design, branding and marketing) that was inspirational. She applied herself to fund-raising, seizing opportunities as they arose seeking out local expertise to help her on her journey.  After Anna left the call, we continued to discuss design and sources of inspiration for our work, and noted how Anna had used other arts and crafts, such as jewellery makers, along her creative journey. “Food for thought” as one attendee commented to me afterwards. 

    Visit Anna’s website here.

  • Open Day and Warping Demo October 2023

    After an unexpected change of venue, the day got off to a start with Stephanie demonstrating how to wind a warp using a warping mill. The principal is the same as using a warping frame. She explained “the cross” – you wind so that in one direction the thread goes over the second last post, and on the return it goes under it – this keeps the threads in order. You need to put ties round the cross before removing it from the warping mill, and it is sensible to put tight ties round the warp in several places so that it doesn’t slip and get messed up. Once the warp was wound Stephanie and Sheila showed how to dress a loom; Stephanie working on the new Guild loom (Louet Erica), and Sheila on her own Louet Jane. Several people had a go at threading, and, when Sheila’s loom was threaded, at weaving.

  • Jaine Mahon, Skye Silks

    On 11th February twenty plus Guild members met by zoom to hear Jaine Mahon’s inspirational talk about her journey as a spinner, weaver and dyer. Like many of us she learned to knit and sew as a child – so young she can’t remember learning to knit! After school she did a computing course at university, visited a craft centre on a day off, and was so fascinated she immediately booked a day’s spinning course. This involved a 20 mile cycle ride there and back! Her teacher put her in touch with the Association of Guilds of WSD, and in the early 1980s when she started work she joined two local Guilds (Wiltshire and Worcestershire). Guild meetings were attended by 80-100 members. Many of the members were very skilled older ladies, who had learned from their grandmothers, and who spun, wove and made their own clothes and home textiles. Technically very competent, but all in natural colours, so rather dull. However, there were also hippies, who went wild with colour and texture. With influence from both sides Jaine learned all the rules and how to break them.

    From spinning, Jaine moved on to explore natural and chemical dyes, then weaving, and loved it. She attended workshops and courses – retreats arranged by the Guilds and Convergence in Vancouver. The latter she described as Disneyland plus Christmas plus Alice in Wonderland! Her tutors have included Mabel Ross, Sue Hiley Harris, Peter Collingwood, Eileen Chadwick, Jenny Balfour Paul, Peter Teal, Jaqui Carey.

    In 1991 she enrolled on the Bradford Diploma in Handloom Weaving, which at that time also included the basics of spinning and dyeing. She showed us some of her samples woven on the course: colour and weave; inkle; kumihimo; oiled wool – 8 samples the same, fulled differently; double weave using linen; rugs with a pure wool weft; collapse fabrics; deflected double weave. She also showed us her dye sample book.

    And so to silk – natural fibre, takes dye naturally, feels nice, drapes well. Having worked with a variety of fibres, spinning techniques, dyes and weave structures, Jaine found when she was setting up her business in Skye that she needed to specialise. She investigated and found that there were not many people weaving in the area, and that it was mostly wool, so she decided to focus on silk. She has done bespoke designs for wedding dresses, and did initially include garments in her studio, but finds that scarves sell best. Each of her scarves in unique. She does her own dyeing, and though several scarves are woven on one warp, the wefts are different. Warps and or wefts may be hand painted; weave structures vary; supplementary warps may be used. The thread she uses is either 30/2s (sett at 30 epi) or 60/2s (sett at 60-80 epi). A 30 metre warp with 1008 threads takes around 18 hours to set up, and will make 12 scarves. Weaving takes about 8 hours per scarf. She has recently bought a huge 4 metre warping mill, which will enable her to wind a 100 metre warp, enough for 40 scarves.

    Hand woven scarves and stoles are expensive, so Jaine also buys undyed silk scarves and dyes them to increase her range with less expensive items. She also uses the thrums to make kumihimo cords for earrings, necklaces and glasses cords, makes earrings from cocoons, and roses from carrier rods. We were all full of admiration for the colour and range of items in Jaine’s studio, and the amount of sheer hard work which goes into producing it.

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  • November 2022 Rigid Heddle Weaving Workshop

    It was a pleasure to run this workshop for 13 people, even though everyone was at a different skill level. Beginners progressed from plain weave to simple pick-up, while the
    more experienced produced a range of patterns, guided by examples on a worksheet.

    I was able to instruct and help, as needed, aided by Bryony. However, skill-sharing among the group was evident and was key to making the day a success. The progress made was
    impressive with notable achievements in a relatively short time. There’s still more to learn – paving the way for another workshop?

    Occasional visits from members using the smaller room were welcomed and their interest was much appreciated. Likewise, the weavers were able to use the calmer space in the smaller room for well-earned breaks from their looms. I’d like to thank all the participants for their enthusiasm on the day.

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  • September Open Day 2022

    This meeting had a focus on spindles. Sheila had brought along a collection of different types, and started by demonstrating a kick spindle. The spindle is supported in a framework and operated by spinning the ball at the lower end with the foot, giving the spinner a really good workout!! She also demonstrated a Navaho spindle, as well as smaller supported spindles. Other people were using a variety of spindles – top whorl, bottom whorl, Turkish, dealgan. Sue ended the day by giving a quick demonstration of fancy yarns as a taster for the October workshop. She made them look very do-able!.

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    Sadie had brought along her completed Tapestry Certificate of Achievement presentation, for which she had been awarded a well earned Distinction. Some photos:

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  • Double Weave Workshop May 2022

    Our first face to face workshop for over two years was tutored by Christina Chisholm, a very experienced weaver, who is also very good at explaining things. She also used samples from her Certificate of Achievement to show what we we’re aiming at.

    In double weave half of the warp threads are used for the top layer, half for the bottom layer. Though it is possible to use a two shaft loom and a lot of pick-up, ideally you need 4 shafts or more. For this introductory workshop we were all working on 4 shafts, using shafts 1 and 3 for one layer and 2 and 4 for the other, with a different colour for each layer. We started off weaving two separate layers – lift shaft 1 to weave the first pick, then lift 1 and 3 to get the top layer out of the way, and 2 to weave the first pick of the lower layer with the other colour; lower all shafts, lift 3 to weave the second pick of the top, then 1, 3 to get the top layer out of the way again, and 4 to weave the second pick of the bottom layer. Once we got the hang of this we changed to bring the lower layer to the top. Concentration was needed to remember the new sequence: 2; 1, 2 and 4; 4; 2, 3 and 4.

    The next steps were weaving double width cloth and tubes. Where the weave was continuous round the edges Christina used a string, weighted at both ends, passed through the reed a space beyond the last warp, and hung across the loom from front to back. This helped to keep the edges even, so that when the cloth was opened out the weave was neither to slack or too tight where the fold had been.

    Finally Christina demonstrated the use of pick-up to exchange groups of threads from top and bottom to make surface patterns (some of us had a go at this), and showed samples of deflected double weave. A most enjoyable and very successful workshop

  • Weaving Challenge Jan 2023

    Following the example of the spinning group we are setting a weaving related challenge for
    January. This is not restricted to those who join in the monthly zoom. It’s open to
    everyone to join in and have fun! You won’t need to get any fancy equipment, in fact (and
    I’ve just thought of this!) part of the challenge could be not to spend anything. As with the
    spinning and dyeing challenges, bring anything you make to the March meeting for show
    and tell, and if you are willing, loan an item to the Guild for display at the summer shows. If
    you find it easier to have a theme, we suggest: trees
    Things you might like to try to challenge yourself:
    • Off-loom weaving – make a weaving round a tile, card, box, or go multi-dimensional
    on a piece of twisted hazel
    • Incorporate found materials – grass, sticks, shells, plastic bags etc
    • Use a fibre or yarn you haven’t used before
    • Use a kind of loom you haven’t used before
    • Try a new pattern or technique

    With yarn spun from a piece of fleece, Norah wove around this seedhead

    Weaving Interest Group 28 January 2023

    This month was a show and tell of things made, started or planned as a result of the January challenge. Several people had tried or planned off-loom weaving: Sarah had an old PE hoop and was planning to weave a hanging; Linda was experimenting with weaving on twisted hazel, and had made a frame of spindle wood, with the intention of weaving a tapestry; Isobel had woven round a couple of stones, but hadn’t enjoyed the process, though the results were attractive; Susan was considering this too, but we all felt she might be better using her stone as inspiration as it seemed a pity to cover it! Ruth had been to a weekend course in passementerie, and showed us a fringe woven using some of the techniques she had learned. Angela had woven a piece with supplementary warps which she then used to gather it up for shibori dyeing. She had also woven a 4-shaft pattern and colour and weave sampler, and was planning a black and white scarf using some of the patterns. Isobel had also been weaving with multiple threads of thin cotton – this gives lots of opportunity for colour blending, but the threads tended to be a little unruly! Henriette had incorporated beads into a weaving, using a thin supplementary weft to carry the beads. She had also tried tablet weaving, producing an impressive band which included lettering. Hilma was trying a simple weaving on card, and had also completed a weaving experimenting with stripes based on the Fibonacci sequence, and a weaving recreating the structure of a piece she had been given. Beside all of this my own scant inch of monks belt on the inkle loom looks a bit pathetic!

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  • January 2022 – Janet Phillips, Weaver

    Janet describes herself as textile designer rather than a hand weaver: she starts with a design brief, constructs the weave, then works out a threading and lifting plan, rather than the other way round. This is the way she learned to work in her first weeks at Galashiels. She uses a table loom to sample and works multiple section sample blankets, using different threading and lifting sequences. She studies the patterns produced, taking time to do this thoroughly, then selects the patterns she wants to explore further and samples again. She recommends using a light warp and dark weft for the initial sampling so that the patterns stand out clearly. (During her first year at college the students worked only in black and white, with the occasional red thread to define pattern areas.) For her second or third samples she may experiment with different colour combinations. Once she has decided on her design, she works on a 24-shaft dobby loom, but is tending to create designs which require no more than 8 shafts. She likes the cloth she designs to be functional.

    To start a completely new design Janet draws a picture on a grid (e.g. a diamond) in two colours. The colours represent warp and weft, so only two are needed as either a warp or a weft thread will be on the surface of the weaving. She then looks to see how long the floats are likely to be and adjusts her drawing so that they are no more than three threads long. Next, she adds a range of notation marks to indicate different weave structures. Finally, she creates a lifting plan by looking at how the ends of the threads interlace.

    As part of the sampling two or more patterns from the sample blanket may be combined as either stripes or blocks. Warp colours may be changed by cutting and joining in as if a thread had broken; threads such as ribbon yarns can be added as supplementary warps. Janet may cut all of the warp and rethread the reed to see the effect of a different sett, starting with 24 ends per inch, then 28, then 32.

    Weaving a colour gamp will show how colours mix – opposites on the colour wheel tend to mix to brownish shades, closer colours enrich each other. Changing the background colour makes colours appear different. Weavers often do colour wraps, but a plait will give a better idea of how colours will combine in weaving. For stripes, Janet recommended using Fibonacci numbers, but not necessarily in sequence (this surprised me as I’d always imagined that it was done in sequence!). Janet likes to dye her own yarns. Using cold water dyes she can dye her prepared warp – a long length of guttering is useful for this!

    Different types and qualities of yarn can add design elements: e.g. alternating bands of wool with bands of silk on a silk warp – when washed the wool pulls in, leaving the silk softly pleated. Use of energised or elasticated yarns give a naturally pleated fabric.

    Janet summed up her approach to design:
    – Work a multi section sample blanket on a table loom
    – Study results, select and sample again
    – Try different setts
    – Use Fibonacci for stripes
    – Use an idea source for colour and form – e.g. cut a strip from a photograph and use this to decide on colour proportions
    – Join together samples you like
    – Try colour changes in the warp
    – Try mixing yarns of different fibre and weight
    – Try using supplementary warps.

  • August 2021 All About Cotton

    I wasn’t able to attend this meeting, so the write up is thanks to Liz. I clearly missed a very interesting meeting which looked at spinning, weaving and dyeing cotton, with contributions from several of our members. It’s attached here as a document:
    Cotton spinning

  • July 2021 Cally Booker – Weaver

    Cally gave an inspiring talk on her life as a weaver from how she got started to the work she is doing now. She described her journey as a series of accidents! Cally lives and works in Dundee and her walk from home to her studio in an old jute mill takes her through a park, which is a source of inspiration to her. She makes scarves and wraps for retail, but not in huge quantities – each one is unique. She runs courses at her workshop, and now on line, and has been involved in a variety of collaborative creative projects.

    Cally’s weaving career began in 2003, when her mother was unable to go to a weaving workshop she’d booked, and persuaded Cally to go in her place. She was hooked, and came home with a second-hand loom. Two years later she signed up for the Bradford Textile Course 2005-2007. In 2010 she acquired a Louet Megado 16-shaft mechanical dobby loom, and in 2012 was able to rent studio space in the newly refurbished Meadow Mill. The space was bigger than anticipated and enabled her to start running workshops. In 2019 a different space became available at the mill – lots of windows, so unattractive to artists who needed wall space, but ideal for weaving. In 2020 a Toika computer operated loom, ordered to replace the Louet Delta Cally used at home, arrived just as lockdown was starting, giving her the ideal opportunity to explore its possibilities.
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    Cally went on to talk about her weaving and how she produces some of the effects. First she showed us two pictures entitled Faces and Lines – a twill on the right with colour shading in the warp, and on the left a piece showing colour effects from changing from weft emphasis to balance to warp emphasis. Using double weave threading and a range of colour and treadling sequences she produces pieces with subtle curving lines; Mystery Beyond the Mountains is woven mostly in cotton, but the red thread between the black and white squares is wool, giving a 3D effect when washed. The pattern on the Graffiti scarves was not planned out beforehand, Cally improvised while weaving; however Yardage was carefully planned to get the tessellated leaf shape. The patterns headed Data reflect environmental statistics. Lost Ice for example represents the extent of the Polar ice sheet in 2016 (one pick represents one day) compared to the 30-year average.
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    Sound of the Sea resulted from a collaborative project with 5 other textile artists, and represents the spectrogram of the sound of the sea at Pittenweem. In 2019, Cally and brass worker Jen Stewart, using the sound waves from hand washing to Happy Birthday, created protective armour (Ceremonies of Safety). In October 2019 Cally was one of four Scots on an Applied Arts Scotland residency in Halifax Nova Scotia. They were paired with four locals – Cally with Andrea Tsang Jackson, a quilt maker. They used offcuts of material from a firm which makes children’s rainwear from recycled plastic; the end point of their work a video animation which Cally showed us. The residency was one week, so most of the communication was by phone, zoom etc. Cally’s current project is Sound + Weave + Video.
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  • Rigid Heddle Weaving 14 March 2020

    Jane Kitchener tutored this beginners workshop, which was held the day before the Krogbragd workshop. Apologies for not posting this sooner. I wasn’t there, but it seems to have been a very successful day, and Inga has provided photos which show what went on. The resulting weaving looks lovely. Here is Jane’s report of the day:

    As someone who regularly uses a rigid heddle loom, I was keen to share my skills with complete beginners. The day’s plan included a way of warping the loom, followed by the opportunity to weave a length of cloth, at a pace to suit all participants.
    The workshop began with an introduction to looms, associated equipment, woven samples and reference books. A worksheet was provided, with space for notes and as an ‘aide-memoire’. Working in pairs to put a warp on the looms made it quicker and less intimidating for all. I was on hand to give further advice, where necessary, and with a small number in the group there was a relaxed atmosphere throughout the day.
    By lunchtime, the looms were prepared and weaving could start. After a short lunch everyone enthusiastically set to work, with encouraging results: varying lengths of fabric were woven and admired. Progress was rapid and all-too-soon it was time to discuss how to finish the weaving, plus the benefit of record-keeping.
    A satisfied group went home with their woven cloth and expressed an interest in furthering their skills on a rigid heddle loom. There are more techniques and design opportunities available, so I hope the prospect of such a workshop is not too far away.
    Jane Kitchener

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