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.

0 replies

Leave a Reply

Want to join the discussion?
Feel free to contribute!

Leave a Reply

Your email address will not be published. Required fields are marked *

Growing and Spinning Florida Native Cotton

Today we’ll hear from guest blogger Caroline Tacker, who tells us about how she got started in the fiber world with a spur-of-the moment purchase of some inexpensive cotton plants!


I grow and spin Florida Native Cotton, which at its best has a ¾-inch staple. I currently use an Ashford Kiwi and Traditional for my spinning, but I can also use a Tahkli spindle. This cotton was grown in my front yard.

The Cotton that Almost Wasn’t

The bloom from a Florida Native cotton plant

The bloom from a Florida Native cotton plant

Florida Native Cotton is part of the Hibiscus family, as are all cottons. It is an endangered plant in Florida. In the early 1940s a new bug was found on the cotton that resembled the boll weevil. Fearing another boll weevil-like attack, they decided to systematically destroy the plants. It just so happened that World War II broke out and those men left this project to join the armed forces. Hence some of this cotton survived… and NO new boll weevil was ever verified. There is an original strand of this cotton behind a synagogue at mile marker 31 on the way down to Key West. I can verify it’s there as I have seen it!

Florida Native Cotton grows much like our hibiscus: if left unattended it gets gangly and out of control. I do prune my plant back, to try and make it ascetically pleasing, and also to make it look like it belongs in the yard/garden. It is not cold tolerant; it prefers to grow below the subtropic line of Florida. I did lose all my plants to a freeze 5 years ago. Since then, a “volunteer” showed up.

The use of Florida Native Cotton in History

Caroline's cotton plant

Caroline’s cotton plant

There is limited information about Florida Native Cotton; the one thing I haven’t seen about it is whether or not it was ever really used for anything. I’m sure people used it because that would be in our nature as pioneers: use what you have. As to what they used it for or on, I have not found any information. As to spinning it, my thoughts are it would be too labor intensive and not a good use of time for people who made everything from scratch, but I cannot find anything confirming they did or did not.

My Fiber Journey

My start down the fiber path started over 11 years ago in the spring when I attended a Florida native plant sale in St Petersburg, Florida (where I live). There I found Florida Native Cotton seedlings which they were selling at 3 pots for $1. I thought… if they live great, if they don’t I’m only out $1.

I was told that cotton liked full sun and carbon monoxide, so I planted my seedlings in the easement of my front yard, next to the road. As they grew over the next several months, they bloomed and then I had this white beautiful fuzzy cotton! Now that I had this lovely fiber… I had to figure out how to process it.

harvested Florida Native cotton

harvested Florida Native cotton

I did several web searches – how to clean, gin, etc. – and after a year of not finding much about how to process cotton, other than commercially. I’d kind of given up. Then someone suggested I go to Heritage Village (our local living museum). I contacted them and asked if they could teach me how to process my cotton and in exchange I would become a volunteer. In March of 2006, I met Wendy who taught me how to “gin” my cotton by hand and spin it on a tahkli spindle. I had the process down in about 45 minutes.

While volunteering at Heritage Village during their County Jubilee Festival, I met Judy of the Pinellas Weavers Guild. She was spinning on a lovely spinning wheel. We talked for awhile and she invited me to come to a guild meeting. I did and joined the Guild in December of 2006. Have loved being around other “fiber” minded people, I am currently still a member… and I am their curre

Caroline's cotton ready to spin

Caroline’s cotton ready to spin

nt president. I have also been the past Secretary and Vice-President.

So to sum it up… almost 12 years ago I purchased three Florida Native Cotton plants for $1. I have since learned to spin on a tahkli spindle, purchased 2 spinning wheels, a drum carder, a loom and other associated small equipment. I “play” with lots of different fibers, and I do sell some of the things I make, but I ALWAYS come back to cotton. I just love it.

 

 

Samples of Caroline's cotton spinning projects

Samples of Caroline’s cotton spinning projects

 

 

 

 

Have you ever tried to grow or spin cotton straight from the plant? Tell us about your experiences & ask your questions in the comments!

 

 

 

 

 

 

crt bio pic for PLY 2016

 

 

Caroline Tacker is a Florida native born in Orlando, living in St. Petersburg for the past 25 years. She volunteers with Heritage Village as a living history docent (spinning cotton by hand) and is a member of the Pinellas Weavers Guild, Bay Area Knitting Guild, and Florida Tropical Weavers Guild. Find her on Facebook for more information.

 

 

Adventuring with Sheep

sheep books

I’ve recently read two wonderful books about sheep, one written by a shepherd and one written by a spinner and knitter. Do you need a book to inspire you as spring is springing? To get you ready for the first fleece fairs? Both of these books are great company.

Debbie Zawinski had an idea to walk the highways and byways of Scotland collecting fleece from native breeds of sheep to spin into yarn and then knit into socks. Now anyone that isn’t a spinner, knitter or avid walker might think this is crazy, but those who are will think this sounds like bliss.

The book is divided into 10 breeds of sheep and each chapter tells the story of Debbie traveling to the part of Scotland where the sheep can be found, finding the sheep with the help of people she encounters, gathering a bit of fleece and spinning it. Sounds straight forward, but as anyone that travels knows, it never is.

The stories and photographs of her travels are mesmerizing. I’ve gone back and looked at the photos many times since I’ve finished reading the book. I’ve never been to Scotland and now want to go more than ever. She doesn’t gloss over her frustrations or the crappy weather in her stories, but that makes the whole book more enjoyable.

My favorite bits are the connections she forges with the people who help her find her sheep, ferrying her to islands, directing her down lanes or across fields and applying the much appreciated tea and cake while talking sheep.

It’s interesting that Debbie spins her yarn on a stick. There are no discussion of wheels or types of spindles. She uses a spinning stick and makes wonderful yarn as she walks.

The 10 sheep she visits and spins are: Shetland, Scottish Blackface, Hebridean, Boreray, Soay, North Country Cheviots, North Ronaldsay, Castlemilk Moorits, Bowmont and Cheviots. She closes each chapter with a sock pattern designed and knit out of each breed and inspired by her trek. There is an eleventh pair of socks knit with a bit of each breed.

She writes as someone who knows the joy of solitude, picking out and relishing the details of weather and landscape. This book is exactly the sheepy type of adventure I’d like to experience.

 

The Shepherd’s Life: Modern Dispatches From an Ancient Landscape By James Rebanks

James Rebanks is a Lake District shepherd. It’s not exactly the pastoral Lake District of painting and poem, the beauty is there, but this Lake District is also the one that has housed shepherding families for hundreds of years. It’s not an easy or lucrative life, but a life rooted in family, place and hard work.

Like his father and grandfather before him, James raises Herdwick sheep. He writes thoroughly, dissecting the seasonal work of raising sheep, the good, the bad and the bloody.

He writes in a style that is more liked linked essays than chapters, glimpses of landscape and seasons of life on the farm. He also tells his own history, that of his family and his corner of the world.

He knew from a young age that he wanted to follow his father and his grandfather and stay to work the family land. He did go on later to get a degree from Oxford while continuing to work on the farm between semesters. He writes about his life with awe and humor, about how his work and countryside are connected to a bigger world and to shepherds all over.

The book is filled with joy and love and a strength and wisdom pulled from land, sheep and family.

 

Both of these books have a lot in common with the spinners and fiber artists I know. They have sheep at their center.  They are infused with passion, dedication and a connection to all of the people who work with fiber going back and forward in time. They are both excellent reads.

 

 

 

 

 

A Spinning Wheel in Good Working Order

I’m leaving today to teach some classes in Iowa this weekend for a guild. I’ve never been to Iowa. But it’s not that far away so I’ll pack the car and drive there. By driving I can stop for as many Starbucks hot chocolates as I want. But that’s not what I wanted to talk about today.

The classes I’m teaching are a breeds studay and a class about woolen and worsted. The breeds study requires either a spinning wheel or a spindle and the woolen/worsted class is wheel specific. In the notes for both classes when I list the equipment needed I specify a “spinning wheel in good working order”. Many of my teacher friends use the same language. I wanted to just talk for a short time today about what exactly that means.

Most of the time the wheels people bring to class are fine but there have been several times where the a student’s wheel wasn’t fine and then things get hard for me, the student and the entire class. If a wheel shows up in class that isn;t in good working order I often will spend a bit of time trying to get it to go. Since I am often traveling a far distance to teach I don’t have an extra wheel with me to lend just in case. So the best case scenario is where I get the wheel going with just some minor tweeks. Worst case is that the wheel has bigger issues than I can fix in class and the student doesn’t have a wheel to use. If I have brought a wheel along with me I often lend mine.

I have found that most of the time when the worst happens it’s because the wheel in question was borrowed for the class and the student didn’t try it out before bringing it.

 

Anyway, There are things I check on my wheel before I bring it to class and there are things that should b checked out before trying to use a wheel that you may not be familiar with. So here goes. long draw

  1. The bobbins should all spin freely on the bobbin shaft. Dont just try one bobbin. If the class calls for more than one, try them all out. Spinning freely means that you give it a push and it spins several complete revolutions before you touch it again.
  2. When treadling with no yarn or tension, the wheel spins freely and treadling is almost effortless.
  3. The treadles are actually attached to the footmen and those attachments don’t look like they will fall apart at any moment.
  4. All bolts and screws are tightened and will remain tight oveer the length of the class.
  5. All front feet are present and accounted for. (This pertains to especially Schacht Wheels that have adjustable feet.) I check this before I leave for a class and then again before I put my wheel in the car after a class.
  6. If the drive band hasn’t been changed in the last 6 months and it’s cotton, change it.
  7. If it’s scotch tension, make sure there is a scotch tension brake band attached along with a spring or other bouncy option.

I thnk that’s it. It looks like a lot but it really only will take about 5 to 10 minutes to get it all in order and make sure you’re all set.

Let me know if you have any questions!

While I have your attention, I still have a couple of spots left in one or two of my Plyaway classes so if you can get to Kansas City in April, sign up!