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.
Book Review: In Search of Wild Silk by Karen Selk
In Search of Wild Silk: Exploring a Village Industry in the Jungles of India
by Karen Selk
Schiffer Craft
$39.99, hardcover 8.5 x 11 with 270 pages, and 360 photographs.
Published: March 28, 2023
Buy now at Bookshop.org
Review by Jacqueline Harp (Instagram: @foreverfiberarts)
Just as the title implies, Karen Selk’s book focuses on the struggles of small wild silk producers making a place for themselves in the vast Indian textile industry. The author briefly touches on India’s wild silk history while also tying in the industry’s position in modern times, expertly guiding us through the process of making silk from the moth to the finished fabric. She addresses the industry’s ecological impacts, the importance of slow fashion, and women supporting women. The book has something for everyone: handspinners, weavers, designers, and the curious. Selk does a wonderful job describing the life cycle of three silk moths that produce wild silk: tasar, muga, and eri. Her writing style is a delightful mix of journal entries, interviews, insights, and facts about wild silk.
The author has over forty years of textile arts experience. She has devoted her life to educating, traveling, researching, and writing about the importance of silk in the complex ecosystem of farming, fashion, and art. From the very first pages of this book, you can’t help but feel inspired by her labor of love. There is no better way to illustrate her passion for silk and the fiber arts than by sharing the dedication from page three:
“…to all those who appreciate and support the making of natural fiber cloth. From the soil that grows natural dyes, fibers like cotton and linen, or leaves and grass that feeds animals that give us their fiber to the finished rug, garment, or home furnishing dedicated farmers and artisans gift us with their love and creativity. I am grateful for your integrity and caring to champion those devoted to providing us with sustainable, ethical, ecological, and beautiful textiles.”
Lastly, the full-color photographs and tastefully drawn illustrations are a treat for the eyes. Each one tells a story, inspires, or helps us visualize a complicated aspect of the life cycle of wild silk as it makes its way from villages to big cities to places the world over. What are you waiting for? This substantial tome is waiting for you to begin the expedition from the comfort of your coffee table. Make yourself smarter about wild silk, fiber of legends and rich history.
Spin Together 2025! A Resounding Success!
To all our friends who partook in Spin Together and to all our friends who cheered us on from the bleachers, PLY had an incredible first year participating in this virtual spinning competition. We had so many people interested in joining us that we had to host not one but two teams! Forty-seven spinners came together to form The PLY Z-Twist team (led by Jacey & Meagan) and the PLY S-Twist team (led by Karen & Jillian).
With a dose of healthy and friendly competition (we’re looking at you, Jacey) both teams spun some incredible yarns during the last week of February. Below are just a few of the photos of the hard work our teams put in!
This week, our teams will be submitting their photos on their respective Facebook groups for their teammates to vote on. Winners will receive a one-year PLY subscription (or extension if they already have a current subscription)! We’ll be looking forward to announcing winners on our Facebook page on March 10!
From the bottom of our hearts, thank you and we’ll be looking forward to next year’s virtual competition!
Jacey, Karen, Jillian, and Meagan
Meet the New Editor in Chief: Karen Robinson
With the publication of the Spring 2025 issue, the news is now official. PLY Magazine has a new editor in chief.
Jacey has served in that role since PLY began. Don’t worry! Jacey isn’t going anywhere! But the addition of the PLY Spinners Guild and WEFT Magazine mean that Jacey has been making adjustments to her role. Officially, she’s the Publisher and Director of all things in the PLY/WEFT universe. And she very much has a large day-to-day role in the running of each of those entities. But she’s also supported by the rest of the team for PLY, the PSG, and WEFT.
Enter Karen Robinson. That’s me! I’m not new to PLY. Back in 2014 (I got the news on Thanksgiving Day), I started working for PLY as the magazine’s copy editor. The first issue I worked on was the Leicester issue (rather appropriate since BFL is one of my favorite fibers to spin). In 2018, Jacey asked if I wanted to take on more tasks, mostly involving coordinating with the authors. We briefly thought about calling this role Author Wrangler but decided on the more typical (although less exciting) title of Managing Editor.
Since that time, I’ve taken on more and more responsibilities at PLY. The one that has been most exciting is meeting with Jacey and Jillian Moreno (our developmental editor) to decide on the articles for each issue. We’ve updated and revised some of our processes – and updated and revised some more. We’ve added new ideas for article series to the pages of PLY and retired others. Holding the print version of each issue in my hands is always such a delight in thinking about everything that went into putting it together.
So in many ways, this move to editor in chief feels natural in how my role has evolved over my past decade with PLY. And in many ways not much has changed/will change.
Issue development
Jacey, Jillian, and I are still meeting each quarter to put together the contents of each issue. Actually, we have made some adjustments here. Now we meet three times for each issue: once to come up with our dream issue, everything we’d love to see in the issue if we could fit it all in. And now after that meeting, I write up the mood board for that issue. Then we meet closer to the submission deadline to start structuring the issue and turning that dream issue into something closer to reality. And we meet a final time after the submission deadline and make final decisions and assign articles to authors.
Usually after that meeting, Jacey would email authors/potential authors to either clarify an article’s content or to ask if someone would like to write a specific article that we wanted to include but did not yet have a writer for. Contacting authors/potential authors is now my task, and I got to do it already for the upcoming Long Draw issue (Winter 2025), which means I got to make the final decisions on which authors to assign to which articles. None of those were decisions Jacey was against, but it’s possible she would have made slightly different decisions.
Jacey has always been the one to set up the order the articles will appear in each issue, plotting out how a reader might work their way through the articles in a way that makes sense and adds to the experience. I got to do that for the first time with the upcoming Tension issue (Summer 2025). I did get feedback from Jacey afterwards and made a few changes, but for the most part I’ll be making those decisions for future issues as well.
One of the other decisions I have more input on is the selection of the cover for each issue. Although she’s gotten feedback from the rest of us at PLY, Jacey has made the final decisions on the photo/illustration for the cover. For the Hue issue (Spring 2025), I made that decision – and it wasn’t a cover that Jacey hated but it also wasn’t what she would have chosen (as she finds it “too cute”). She wanted to use an image that was similar to the cover way back on the Color issue (we originally used that image on the back cover of Hue but made a change to the back cover to honor Stephenie Gaustad).
Behind the scenes
I’m learning a lot more about the back end of putting together a magazine. Previously, I didn’t deal with the subscription software or the printer at all. Now I’ve gotten really comfortable with that software (good thing my original major in college was computer science!), and I’m much more in the loop with the communications with the printer. I’ve been learning how Jacey decides how many copies of each issue to print and she’s been asking for my thoughts on a lot of the rest of those types of decisions.
For a few months, I answered the emails that came into our customer service email address. Our previous customer service person left the magazine toward the end of last year, and instead of hiring someone else right away, I took on that role. It really helped me see the interactions that happen with you, our readers, and the types of problems that come up (as well as compliments!). Although I’m glad now to turn that job over to our new customer service person, Sarah, it was really good to have that experience so I could learn even more about running all parts of the magazine.
I’m much more involved with the other members of the PLY team, coordinating with everyone to make sure they have what they need to fulfill their work. I’ve been meeting one on one with them, and it’s been so wonderful to get to know each one a little better and have more interaction with them. And I took the lead on the search for our new editorial assistant, reading through the applications, making interview decisions and doing the interviews, and then making the final hiring decision.
Ultimately, although there are some decisions that might be different from what Jacey would have picked, such as the cover art, since Jacey and I have worked so closely (and so well) together for so many years, and will continue doing so, I don’t know that you’ll really notice very many changes to PLY. It will very much remain the magazine you’ve known and loved over the years.
Quick facts about Karen
- Karen has been knitting since 2004, spinning since 2010, and dabbling in crochet here and there
- She and her husband will be celebrating their silver anniversary this year (has it really been that long?)
- They have a teenage son who loves video games (especially Minecraft and Roblox) and history (especially World War II); his career goal is to be a video game designer and create historically accurate games
- They have three Boston Terriers (Luna, Nugget, and Oliver) and two cats (Wall-E and Eva)
- They live in Texas (Karen was born there and left the state for graduate school but returned)
- Karen has a PhD in English, with a focus on medieval literature especially the legends of King Arthur
- She ran a yarn dyeing business, Round Table Yarns, for 6 years (yup, it was Arthurian themed!)
- She designed knitting patterns as well, under KarenDawn Designs, and self-published two knitting pattern books (Gawain’s Shield and Parliament of Cowls)
- She hosted a knitting podcast called T-Shirts and Shawls for a couple of years
- She teaches copyediting classes through the UCSD Extended Studies program
- She copy edits fantasy books, usually by indie authors, although she’s currently not taking on new clients
- She loves to read, especially fantasy and science fiction, and is always happy to help recommend a book in those genres to you
- She really wonders how she finds time for all of the above!
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