Mixing Things up for a Sweater
words and photos by: Johanna Carter
I always admire those who are able to spin mountains of yarn for a big project, ready to knit a wonderful sweater or cardigan. It is a satisfying feeling when you finish all that work, especially if you started with washing and combing the wool or even raising your own sheep.
Mixing spinning and knitting
The typical way to work through a larger project is to spin all the singles first and ply them in a particular order so you get the yarn even throughout the whole project. I don’t have so many bobbins, but my bigger problem is that I am quite impatient and want to get on with knitting once I have an idea. And normally, my brain is full of ideas for fibre work and the limit is the time, as I am a musician and teacher. I can’t sit at the spinning wheel for a long time if I’m not on holiday, so during the school year I mostly knit, and during the holidays I can dye, spin, use my drum carder, and do lots of fibre work. The only time I was able to produce bigger quantities of yarn before I knitted them up was during the Tour de Fleece in the two years during the pandemic, when we did not go on holiday at the beginning of July.
I like to finish knitting one big project like a sweater or cardigan before I start the next one, or at least until I can’t carry it in my bag easily anymore, so I have an excuse to begin the next one. Sometimes it is good to have a second project on the go – I call it mindless knitting, where I don’t have to look very much – which I can keep my hands busy during Zoom or other meetings, which helps me listen.
Mixing colours and fibres
Usually I dye my yarn with plants which I collect in the woods or get from garden flowers. I also use cochineal and indigo, which I buy, to get lots of different colours. I really love the greens and blues I get from dyeing with indigo. I have lots of dyed wool, and all those colours give me inspiration for further projects.
Blending the wool on the drum carder I can get even more shades. I like to blend with fibres like silk, alpaca, or plant fibres, and I love sari silk, to get those little bits of colour in my yarn.
When I have an idea for the next sweater, I start carding, and then I can begin to spin. Once I have spun enough yarn – say, for one day – I cast on and start knitting, usually top down, so I don’t have to decide too much in advance about length and width.
When I spin on my wheel, I have to sit at home, but while spinning I can read a book or talk to others during online meetings. I also like to spin on my spindles, and that works on a walk, or a museum visit. I take them on holiday as they don’t need much space, and when I spin for a lace shawl, I don’t even need much wool either. At home there are spindles all over the place; I can spin when I am waiting for the kettle to boil, when the computer is slow, when I am cooking. Like that I can make good use of a short time and the yarn still grows.
I can take my knitting almost everywhere, which is why I don’t want to wait to get started until I have spun all the yarn for a whole sweater. I knit at home, on the bus or train. The only thing I have to make sure of is to be one step ahead with the yarn.
I love to knit Fair Isle sweaters. My favourite method is to use only one bobbin, which I don’t even fill, because I need smaller quantities of lots of colours. Then I wind a ply ball and ply it on itself. For that I put my thumb through the ball, so I can tension the two singles with my fingers and they don’t get tangled, as long as my thumb (or a cardboard roll or a pencil) stays in the middle. I don’t have any leftovers from plying, and it is quick when I suddenly need more yarn.
I have never had problems with the yarn not being consistent enough throughout a project. I just know what yarn I want and my fingers seem to remember what to do. I am sure it is good advice to have a little card tied to the spinning wheel with a bit of the singles you are aiming for, so you can check and make sure you are spinning a consistent yarn.
Mixing breeds
There are so many different breeds, but some of my favourites are Shetland, BFL, and Jämtland – a Swedish breed. After dyeing them, I often forget what I have used, so when I do a new project it often turns out that I have used different breeds and fibres just to get the right colour. For the Fair Isle knitting I want to juggle lots of colours, which is more important to me than making a sweater out of only one breed.
Recently I made a pullover for my husband using about 12 different breeds and colours, even mixing short and long draw. For me it was a breed experiment and a way to use up lots of smaller quantities of wool I had in my stash. For that sweater I used combed top without blending.

Mixing in knitting during the spinning process is a wonderful way for a spinner to avoid being overwhelmed during a sweater project.
My feeling is that some people don’t dare to start spinning for a bigger project because they get overwhelmed by the quantity they have to spin and then all the knitting there is to do, especially when you want to spin the yarn entirely on spindles. Mixing the spinning and knitting for the same project is more interesting; you get more variety and more freedom to choose what you want to do next as long as you don’t run out of yarn. It breaks the project down into smaller, less daunting parts. The only thing you might want to plan is to have enough fibre at the start, but even that is not necessary, there is always a sheep growing more wool.
PLY Away Winners and Registration
It’s coming! Registration for the first annual PLY Away is only a few short days away (Wednesday, Nov 11th at 10 am, CST). We’ve made a few guides to help you choose and to get you ready for the registration process, they’re here ! I think they’re really helpful so take a look if your plans on Wednesday include constantly reloading to see if it’s live yet.
We have had our first batch of early registration winners through already and except for a couple of small things (that we’ve since fixed) everything went swimmingly! There’s another batch of 10 registering the day before it opens for real and I think it’ll go off without a hitch.
When it does go live on Wednesday, I’ll also post the registration button on this blog and on facebook, just in case the PLY Away site goes cabloohey (which totally shouldn’t happen) you’ll still be able to get to the actual registration page on EventBrite.
Now on to the fun news! You know we had the scholarship raffle, right? Donate to the raffle and get a chance to register early or to win a free trip to PLY Away etc. Well, we have our winners!
Our actual scholarship is going to Devin Helmen and our big raffle winner is Ruth Blau! Congratulation to both, I can’t wait to what happens!
A Little More About Consistency
Last month I talked about consistency and gave you a couple of my favorite tips but I left out the one thing I do at the start of every project. I make a sample card.
I know that lots of people love those spinner’s control cards with the diffeerent line thicknesses to compare your yarn to. I have a couple of those laying around but I find I am more consistent over the whole project if I make my own and it only takes a minute.
I find it easier to compare the singles this way. My eye can see it easier and I spend less time trying to figure out if I am remembering the correct line or if the yarn was slightly inside the line or not. Check out my card. This is the card I used for the columbia yarn I am using for the skirt I made on my floor loom and the one that is currently being woven on my rigid heddle loom. So that’s about 10,000 yards of 2 ply that I needed to spin. Obviously, consistency of yarn was pretty important. And it all was spun using this lowly card as a reference.
This particular card is done on a blank index card. I also use those large shipping tags which are easy to attach to my wheel if I have a long term project happening.
It’s pretty simple. I take the singles and wrap them around the card several times. I just tie the ends together on the back. You can tape them but tape doesn’t necessarily staty stuck forever. This is my reference during the spinning of the singles.
I punch 2 holes in the card and make a ply back sample that is 2 ply and 3 ply. These are my references for a balanced ply. I don’t always match this exactly but it is my starting point. If I want a more drapey yarn I may put less twist and if I want a sturdier yarn or a more elastic yarn I might add more twist than the balanced angle. But I always have this reference of fresh twist as my refernce.
I make both a two ply and a 3 ply sample regardless of what my plan is for the yarn because I save some of these cards for future reference so I can avoid all of the sampling that happened before the start of the project. I have a lot of these cards.
On the card I write the kind of fiber and the preparation – this card should say roving but I neglected to write that. I write the spinning method and often I will add the rhythm I’m using like 12 inch draft to 5 treadles. Again, I didn’t write that here but let me give you a photo of a card I did the right way. This Corriedale project card has all of the information I need to reproduce this yarn. Often I attach it to the swatch or sample I made with the yarn to make sure the yarn would work. All of these samples go into a bag with that breed so I can find them later.
I hope this extra little tip has helped. It’s so easy and has made a huge difference in my spinning projects that require more than 4 ounces of yarn.
Castles and Graffiti
By now most of you have received the Autumn 2015 Texture issue of PLY Magazine. This is my favorite issue so far! It is full of unique and inspiring techniques and projects, but I’m here to tell you more about the fantastic location for the shoot and one of the photos in the issue.
The issue was shot in Kansas City’s historic Workhouse Castle. The castle was built in 1897, and was originally designed as a city jail where petty offenders could work off their debt. The women repaid their debts by sewing prison uniforms, and the men labored for the city’s public works department. The prisoners mined limestone onsite and with it constructed the castle walls. The castle also housed the city’s poor and homeless during the cold winter months. Two decades later the castle became a city office building, and in the 1970s it was closed and abandoned. Without maintenance it fell into disrepair, and was subjected to such damage and vandalism over time that it became filled with tons of rubble and trash and was dangerous to enter.
In 2014 an amazing couple chose to put their wedding fund back into the community. Many volunteers cleaned up the castle (62 tons of trash!) and the couple (Daniel & Ebony) used the space as their wedding venue. You can read more about the transformation and continuing efforts here. We knew nothing about the restoration project when we chose the castle as our location, so we were thrilled to see the improvements. Meeting Daniel and hearing the story made it even MORE awesome.
Jacey’s favorite photo in this issue is the image on the back cover. I wish I knew the graffiti artist so we could give credit. The photo was captured through a tiny hole in an interior castle wall, through which the graffiti was perfectly framed. You can see the little hole in the wall in the following photo.
I’m so glad my curiosity led me to drag my stepstool to the wall so I could peek through the hole. When we saw the final shot, we knew it was a perfect fit for the texture issue. We have had a few requests for prints of the photo; we’re working on that and we’ll let you know when they’re available.
Bernadette
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