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.
A Spinner’s Toolbox . . . Literally
Words and photos by Kai Solon
Every spinner’s most prized possession is most likely their wheel. Our wheels are what enable us spinners to do the thing we love. However, like all pieces of machinery, they have to be cared for and maintained. Now, this is not necessarily a “how to fix a broken wheel” tutorial because every wheel is different and every scenario is different. Today, I would just like to share with you a few essential tools every spinner should have handy to keep a wheel in working condition and fix solutions to tiny problems.
Why should you keep tools around?
First off, I am not telling you to start carrying around a woodshop’s worth of tools everywhere your wheel goes. That would be unreasonable. However, our wheels can be unpredictable, and a number of things could happen. A drive band could snap, a screw could come out, a spring could become uncoiled, or something simple like your wheel sounding super creaky and annoying. Having the basic tools around is helpful when your wheel decides to stop working out of the blue.
For example, at the Junior Spinning Competition MDSW 2024, a contestant’s drive band’s knot suddenly came loose and we needed a quick fix to make it tight again. We were able to fix it in time for the competition, but events like these remind me how important it is to keep spare parts around!
Of course, not everyone is going to be in a competition every time they spin. However, if you frequently demo, travel with your wheel, or are simply an avid spinner, keeping spare parts to your wheel can be a miracle when your wheel breaks or doesn’t work quite right.
What exactly should you have?
Each spinner will have different needs according to their wheel type. Some of these tools might even depend on individual preference. Not every one of these are extremely important. In fact, some of these only need to be used once in a blue moon. This might seem like a long list, but trust me, everything here has a purpose depending on the situation.
1. Oil
Oil is the one thing all spinners should keep handy (unless your wheel doesn’t require it). A good spinner should oil their wheel at least once every few times they spin if not every time. Oiling your wheel is quick and easy. You simply squirt a drop on the different moving (metal) parts and bearings (check your manufacturer for recommended oil placement). This will keep the bearings spinning smoothly against each other and will reduce friction that will most likely cause a really annoying squeak when you spin. If you spin frequently, oiling your wheel is key to having a smooth spin every time.
2. Extra drive bands
Drive bands can easily and quickly wear out/stretch out if you use your wheel often enough. Synthetic polyurethane can last for a long time, but you never know when the day might come that it will decide it’s served enough time. As for string or cotton bands, knots may easily come loose, and it can be hard to tie them a second time or sometimes they just have to be cut off. Frequent use and friction may also cause abrasion on the string and may cause weak spots, eventually leading to breakage. Your drive band is one of the most important components of your wheel, so ensure that you have a spare lying around your craft room.
A quick note on drive bands: I suggest that you keep both a polyurethane and a string drive band around, especially if you like collecting antique wheels or you own a vintage brand wheel. In some situations, the drive band may or may not affect the speed and rate at which the yarn winds onto the bobbin. A heavier drive band may cause your bobbin/flyer to wind more yarn than you can spin. You may find yourself fighting the wheel to keep the yarn in your hands.
This P.S. may not apply to you if you’ve had a wheel for ages with the same drive band. You already know what works and what doesn’t. However, if you’re trying a new-to-you wheel, and you find yourself struggling to spin at the rate your bobbin intakes yarn, try different drive bands to see if that helps you out.
3. Beeswax
For those of you with antique wheels, or who have string drive bands in general, beeswax is a must. Beeswax can make your drive band stronger and longer lasting. It also serves the purpose of adding a stronger grip to your drive band so it spins and moves the parts it needs to move with ease. You can easily keep a tiny chunk of beeswax with you and run it on the drive band at least once or twice every time you sit down to spin. The wax wears off, so constant application may be your best bet.
4. Screwdrivers
Depending on your wheel, screws might play a key role in certain parts of the wheel. For example, on my wheel, two screws help to keep plastic strips that connect the treadles to the wheel itself. These screws may come loose quickly or need to be removed to access and repair certain parts. For my electric spinners, most of the motors are held in place with screws attaching it to the spinner. Motors can, without a doubt, need replacing as they can be a delicate piece of machinery that can blow out or need to be switched out for a stronger, better one. Screwdrivers are most definitely one of, if not the most, valuable tool to keep on hand.
5. Extra bits and bobs
Everyone has different wheel types and styles. Wheels from different companies and wheelmakers may differ in shape, material, size, and parts. This means some parts for your wheel may be hard to come by because they are made specifically for your wheel. Therefore, if and when possible, buy these spare parts so you can replace them when something breaks.
You never know when a part breaks down or has just served its purpose for long enough. This is why I personally like to keep spare bearings, plastic bits, and screws around for my wheel when possible. Because I often take my wheel out and about for demos, I don’t want to risk not being able to spin any longer because the screw fell out of my right treadle!
Recommendations from other spinners
I asked 57 spinners what they think is the most useful thing they keep around and why. Not entirely surprising, spinning wheel oil and spare drive bands tied, with both items each making up 35 percent of the responses – 70 percent of the responses total.
For James P., oil is most important because “A wheel is a machine which has various bushings and bearings. If the bearings are sealed then that’s easy, no maintenance needed, but invariably most bobbins or flyers sit in either bronze, leather, or plastic bearings. To keep those spinning smoothly, quietly and so as they don’t alter my takeup, they really benefit from very regular oiling. Regular oiling (I oil every 30–45 mins) also cleanses the bearings as well as lubricating them to ensure particulates don’t prematurely wear them down. For me it’s the single most important thing I do to maintain my wheel as I spin.”
Here’s what Karen B. said about her drive bands: “My Majacraft Rose has a plastic drive band. I am not sure how easy it would be to make a temporary one out of cotton. That being said, if my drive band is broken, I can’t spin. To be prepared, I have a little case with all these items that I keep in my spinning travel box. It goes with me to all guild meetings, demos, or just a spinning day in the park.”
Screwdrivers also seemed to be a popular choice among the spinners, and Callie W. provided an excellent explanation as to why: “A screwdriver is the only tool that I have used on my wheel. Sometimes the fasteners holding the wheel together get slightly loose, or the screws on the treadles loosen.”
Conclusion
Wheel maintenance is key to good spinning. Maintenance will keep your wheel running smoothly and will leave you to worry about your yarn and not what your wheel’s issues are. Again, this is just a general list of tools, but everyone has their own unique preferences and wheels. Like so many other aspects of our craft, find what works for you. When you have a wheel and method that works for you, you’ll be on your path to success. Happy spinning!
Kai Solon is a young fiber artist who enjoys spending his free time spinning, weaving, and natural dyeing and has also recently dabbled in kilt making. Kai shares his fiber journey on Instagram and YouTube as @FiberByNature. Outside fiber, you’ll find Kai playing his heart out in his high school drumline.
Farm to Wheel: Supporting local shepherds
Words and photos by Donna Kay
I have become increasingly aware of the importance of buying local when I can: the food I eat, the clothes I wear, the wool I use for my spinning. Is it possible for us as spinners to buy local wool to fulfill our spinning needs and support local shepherds at the same time? When we purchase locally, we play a part, however small, in contributing to sustainable agriculture in our part of the world. Additional benefits include providing support to the rural economy and helping to ensure that local agriculture stays alive and thriving.
Benefits of supporting local farms
It is my experience as a shepherd and spinner that many flocks exist because of the love for the sheep not the profit hoped to be made. The harsh reality is that the price obtained for a fleece does not even come close to covering the expense of producing it. From the cost of feeding, veterinary care, and shearing to the labor involved in caring for that flock, it is often a losing proposition financially.
I feel strongly about directly supporting those who raise our woolly friends; we are truly fortunate to have such dedicated shepherds. I highly recommend seeking out your local shepherds and seeing what they have to offer. Start a conversation with your fellow spinners and find out who they know. Some sheep farms welcome inquiries from spinners interested in learning about their flock and the possibility of purchasing a fleece. You may be able to meet the sheep providing your wool! Check out the fleeces available at your local sheep and wool festival if you are fortunate to have one in your area.
A full fleece too much to consider? My spinning friends often enable each other by sharing a fleece. Not interested in working with a raw fleece? Many small wool mills will process a single fleece for you into lovely clean roving.
A local-to-me Shetland flock
Often small producers attempt to fill a niche by raising unique sheep breeds that may not be a viable choice to raise on a commercial scale. One such farm in my area is Lonach Farm, nestled in the foothills of the White Mountains of New Hampshire. This bucolic setting is complete with an 1870s farmhouse, barn, and a pasture. Maureen Fleming began her shepherding journey in 2005 with two Shetland wethers. Her breed choice was partially influenced by her Scottish ancestry but also by the versatility and adaptability of the breed. A knitter at that time, she now is a spinner and a proponent of handprocessing these unique Shetland fleeces.
Her flock now numbers twenty-five, and they exhibit the wide array of color variations and fleece types that the breed is known for. Her Shetlands have been selected from farms in New England and beyond. Early on, the decision was made to raise sheep with a focus on producing premier fleeces rather than breeding or showing. This choice has allowed her to produce a prime product for the fortunate spinners who are able to add one to their stash.
While growing their wool, the flock grazes at home for part of the year but spends the summer at “camp,” grazing at a nearby conservation farm. This is a mutually beneficial arrangement – the sheep have luscious grass to feed on and the farm’s pasture is maintained and the soil aerated and fertilized by the sheep. In the early fall they return home where they spend the winter eating locally harvested hay. The sheep are coated from then until shearing time, which helps keep the fleeces as free of VM as possible.
Late winter is shearing time! The farm hosts a highly anticipated shearing day party where you will find the shearer, woolly sheep, friends, food, and a warm fire (outside!). This lively group of like-minded people gather in the barn, anticipating the choosing of their fleece, hopefully from a favorite sheep! Old and new friends chat, observe, and occasionally help maneuver the sheep for the shearer. The shorn sheep are recoated for warmth and the cycle of growing the new fleece begins. At the end of the day, spinners leave with their well skirted treasures – some to process themselves, others to be sent to a local mill.
Wherever you may live, please consider directly supporting your local shepherds in any way you can to help ensure continued access to local fiber. Even in an urban area you might just be surprised at what resources might be found a short distance away. Spinners certainly love to share their experiences – don’t be afraid to ask where you might be able to make a connection with a local shepherd! Your search may be rewarded with the delightful experience of taking a fleece from the farm to the wheel.
Donna Kay is a knitting instructor and designer as well as an accomplished handspinner. Playing with wool is one of her favorite activities. You can find her on Ravelry as treeoflife and on Instagram as treeoflifeknitter.
Book Review: Marking Time with Fabric and Thread by Tommye McClure Scanlin
Marking Time with Fabric and Thread: Calendars, Diaries, and Journals within Your Fiber Craft
by: Tommye McClure Scanlin
Schiffer Craft
$34.99, Hardback, 198 pages with 100 color images
Published: October 28, 2024
Buy now at Bookshop.org
Reviewed by: Karen Robinson
PLY had the pleasure of sharing an article by Sarah Swett in the Cloth (Autumn 2019) issue. I remember being fascinated while reading about her practices of creation. She writes the foreword in this book, and her words about marking time using crafting made me want to dive right into the book.
The author, Tommye McClure Scanlin, is a tapestry weaver and finds tapestry weaving to be a slow process, which allows for a lot of time to think about that process. She decided to try making a project a daily practice and thus was born her “tapestry diaries.” She shared her craft with others, in person and online, and those weavers and fiber artists began their own version of tapestry diaries.
This book is an exploration of various ways that Scanlin and other fiber artists have used their crafts to “mark time.” She asked many individuals to share their work and asked them the same three questions: what is their daily practice, why did they start and why do they continue it, and what medium they use for it. The practices of those fiber artists are included in this book, in their own words, along with many color photos.
The chapters cover various types of daily practices from data visualization (think temperature blankets) and diaries to adding codes within fiber arts projects. One of the last chapters gives some specific ideas for how you might start your own daily fiber practice and blank templates are included in the back of the book.
Because of the author’s background with tapestry weaving, many of the fiber artists and projects in this book involve that medium. I would have liked to see a bit more variety in the types of mediums being used in this book, though we do get some examples from quilting, embroidery and other stitching, mixed media, knitting and crochet, and even one using plastic packaging.
This is a gorgeous book, full of inspiring projects. Whether you want simply to read about and see the work of others or get an idea of the types of projects you could do for your own daily practice, even if you’re not a tapestry weaver, this book would be a fabulous addition to your fiber arts library.
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