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.

A highly photogenic collection of naturally dyed fibres.

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.

Beautiful greens and blues dyed by the author using indigo and other natural dyes.

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.

Fibres of different types and colours are blended on a drum carder for elegant results.

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.

An idea for the author’s next sweater in the gathering stages.

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.

Knitting as soon as the yarn is spun helps the author complete sweater projects in a timely manner.

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.

Several charming sweaters dyed, spun, and knit by the author.

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.

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Cover of the Fine issue of PLY

Put Some Fiber On It

Hi friends! We recently finished shooting the Autumn 2015 – Texture issue of PLY. Jacey and I often joke about how each new issue is our favorite, but this one is going to BLOW YOU AWAY.

Before I divulge any information about the Autumn issue, let’s chat about Summer, shall we? I think it’s going to be your favorite. Some of you have already found it in your mailbox this week. Hopefully the postal system will be kind to the rest of you.

I’m sure we’ve mentioned this before, but shooting each issue seasonally can be tricky, because we take photos about 4-5 months before the issue is printed and shipped to you. We don’t strive for perfection but we also don’t want snow in the summer issue, you know? (Sorry, folks in the southern hemisphere, nothing is ever on time for you. I apologize for the hemisphere discrimination you face on a frequent basis.)

When the time came for our scheduled shoot, it was bitterly cold, the ground covered in snow. Clearly we couldn’t shoot outside, for reasons both aesthetic and practical. Fortunately Powell Gardens, only 30 miles away, had an exhibit in their natural light conservatory called Desert in Bloom. Because of the weather we even had the whole space to ourselves.

When evaluating a space for shooting, obviously we have some specific needs. Natural light is a must. While we have studio lighting, it adds a lot of time to the process and it simply doesn’t compare to the real thing. We also look at the colors in the environment, the availability of textured, interesting surfaces for backgrounds, and the variety of settings. Every set of photos has different requirements. Spinning shots take up more space and the background has to be interesting but not TOO interesting. Shots with models in garments need great light and good background, and they often set the scene for the magazine – they give the photography in the issue a unifying sense of place. Swatch shots need a flat surface that has texture but doesn’t compete with the texture of the fiber. The conservatory was perfect for our needs, and additionally provided the material for my FAVORITE cover shot so far.

When I spotted the beautiful Queen Victoria agave specimen in a pot beside the conservatory’s central pool, I knew it had to be in the issue. After taking a few shots of it, I employed the PLY equivalent of “put a bird on it,” which is to stick some fiber on the thing I find pretty and hope I get away with it. I think it worked this time.

Cover of the Fine issue of PLY

After the shoot I had to get a Queen Victoria Agave of my own. I ordered some seeds and within a week they were planted in a pot in my kitchen window. It has been 14 weeks and I have three plants. I had read that they are slow-growing…yeah, they’re not kidding. I’ll get back to you in 15-20 years with an update. In the meantime, enjoy the Fine issue! ~ Bernadette

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Rejected!

A little Sheepspot

A little Sheepspot

I get rejected a lot. I propose a lot of classes and articles all over the place and most of the time the answer is no. Even when I get asked to propose, frequently I get a no.

I used to wallow in the gross feeling of not getting picked, but now I don’t.

It’s not instantly sunshine and lollypops, I take my moment to relive not getting picked for dodgeball in 5th grade, then move on. It’s part of the process.

 

Then I’m back at the work of ideas and proposals.  Here’s a not so secret, secret, the stuff that gets rejected will get accepted. It may become a small part of something else, it might get combined with two or three other things, it might get accepted, as is, somewhere else. Any thinking or planning is good work.

 

A little Fiberstory

A little Fiberstory

This week I got rejected by PLY. I sent in an article proposal awhile back and this week I got a nice form email from Jacey saying basically, thanks, but no thanks.

Guess what? I’m happy about it.

Now don’t get me wrong, I had a minute or two of that cruddy rejection feeling, but quickly thought differently. It’s not about my idea’s worth or even my personal worth, it’s about the magazine, and that made me happy.

 

What quickly pushed any gloomy thoughts out of my brain was the thought of getting that finished magazine in my inbox and seeing how it was built into a great issue. How the articles and projects balance each other and the idea of the theme. I know I’ll see instantly that my idea would have been OK, but wasn’t quite right.

Jacey has proved herself again and again that she knows how to make an excellent issue of our excellent magazine. When I get to be part of the inside I am overjoyed. When I get to participate as a reader I am completely content to roll around in other people’s ideas and learn a bunch about spinning.

 

And that rejected idea? I’m already using it somewhere else!

Studio Time

Sometimes I call my work room at home my studio. But that’s not what I’m talking about here. I was in an actual recording studio with cameras and stuff!

I recorded two vidoes. One called Spin Thin all abut how to spin fine yarns and the other is Getting Even, all about spinning more consistently. It was scary and fun all at the same time.

Plus I had professional makeup with EYELASHES!

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I took a lot of stuff.

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There were plenty of samples.

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I was really nervous but I pushed through it.

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The camera guys were awesome. And funny.

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And then it was all over.

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The videos are being produced by Interweave and will be out in July and August of this year if all goes according to plan. Don’t worry, I’ll remind you when they are ready.