Olive Green and Mid-Blue Scarf, by Anne Udy

This scarf is woven in merino in a 2/2 twill. The gathered effect is achieved by bands of cotton Lycra in the weft. The scarf was hand-dyed after weaving and is soft to wear. I have had a lot of favourable comments about this item.

By Anne Udy

Cushion, by Betsy Frizzell

Betsy Frizzell doubled the 16/2 mercerised cotton held in the group's stash for these plain weave cushions. Several of the colours were out being used by other members so she had a reduced palette to choose from but managed to come up with this very pleasing subtle combination.

by Rose Pelvin

Felted Merino and Silk Scarf, by Win Currie

Two years ago the Marlborough Guild put together a small exhibition where all the items were mounted on small, black boards. This was second of my two entries.

This small scarf is woven in a double weave. Merino and fine silk are slightly felted together and then hand-painted. The small scarf ring and tassel were handmade and painted too.

by Win Currie

Rugs by Chris Beech

Weavers meeting on Monday focused on rugs, with two looms set up with different rug weaves for members to try. One of the looms was be threaded for weft faced summer and winter weave, the technique used for my top rug. My second rug used Peter Collingwood's 3-end block draft, which we also discussed.

by Chris Beech

March Meeting was about Rugs

At the March meeting, group leaders Joan and Chris brought along many examples of handwoven floor rugs, some of which have been in use for decades and, like their owners, are still going strong, showing the enduring quality of good materials and craftsmanship. Early pieces had handspun wefts in natural colours, others had multiple strands of carpet wool on linen or cotton warps. There were flat weaves in stripes, blocks and patterns, pile weaves in double corduroy and rya knots.


Two table looms were set up for people to try 3 end block weave or summer and winter weft faced weaves.

by Rose Pelvin

White Cotton Towels, by Judy Bool

Draft: M's & O's
Yarn: fine cotton
EPI & PPI: 24
from Handwoven Nov. 1982, by Sharon Alderman

by Judy Bool

Alpaca and Tussah Silk Scarf, by Win Currie

Two years ago the Marlborough Guild put together a small exhibition where all the items were mounted on small, black boards. This is one of my two entries.

A small scarf in Alpaca and Tussah silk. The silk shrinks a little giving a slightly ‘bubbled effect’.

by Win Currie

Cushion, by Judy Bool

Draft: Gebrochene Twill
Yarn: 2 ply wool
EPI & PPI: 20
from Best of Weavers - Twill Thrills

by Judy Bool

Coffee and Cream Scarf, by Win Currie

For some years I have been weaving wraps in Alpaca and silk, usually fine black Alpaca. This time I used a cream Alpaca. I like the Coffee and Cream effect.

by Win Currie

Quirky Cashmere Scarf, by Meg Nakagawa

I am interested in creating and bringing to life weave structures and once I settle on a structure, I stick with it for years. I see colors as a weakness of mine. My mother, who started to weave when she was 60, is a far more adventurous, eclectic, and a faster weaver, trying her hands on anything from tapestry to heavy floor rugs to tiny scarves, in all kinds of natural fibers, in all colors on the color wheel.

I was home in Japan this January. In her studio, we showed-and-told of our latest pieces, and discussed our goals of the year. We realized, then, in all these years of being obsessed by weaving, sharing knowledge, and sending each other photos and books and yarns, we never collaborated.

So we put on a warp for two small scarves with "early spring" in mind. While gossiping about my siblings, we wound the warp together, changing colors randomly. In this, my, scarf, we added and subtracted extra colors of warp as accents as we progressed. It is in plain weave with a gray weft. My mother is currently weaving hers with a thicker, hand-dyed moss green weft in 2/2 twill. All yarns are 100% cashmere.

I had so much fun working with her that after I took the scarf off the loom I wanted to be more playful than I usually allow myself, so instead of hiding the ends of the supplementary warp smartly, I made them into design features.


by Meg Nakagawa