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.
6 Reasons Why We Should Mix it Up
Words and Photos by Joanne Seiff
There’s really something exquisite about a habit. That morning dog walk, cup of coffee, or the cookie we eat after lunch – life is full of delicious, everyday activities. For many spinners, spinning the same vanilla kind of yarn becomes so automatic that one day you may long to break out and try something new. Or you can’t see the point, because this is the only kind of yarn you’ll ever use. Worse, now that you’ve spun the same kind of yarn for so long, you fear this is it – you can’t make anything different. So why mix it up?
- It’s good for you intellectually. Research shows that learning new things, including hands-on, flow activities like spinning, can help develop new neural pathways in our brains. There’s some indication this can prevent dementia, depression, and all sorts of other health concerns. So if you’re a long-time laceweight Merino spinner, spinning that bulky crunchy longwool might be like eating more fibre or a daily constitutional. It’s worth pushing yourself. Keep those neurons firing and stay healthy and active.
- It might get your body moving! If you’ve long been a single treadle, Saxony spinning wheel spinner, you’re likely not using one foot as much as the other. A double treadle wheel might be worth exploring. If you’re always spinning sitting down, a hand spindle might help you move your shoulders and arms in ways they need to stretch. A walking wheel can help you put extra steps into every day without going outdoors in bad weather. There are lots of ways to stretch and move while also continuing to spin. Spinning may not be a high-intensity workout, but keeping moving, in all directions, can be good for us at any age.
- It improves your mental health in small ways. Really! No kidding. A change is as good as a rest, and all those other clichés. Sometimes, grabbing a hand-dyed braid in bright colours can be just the stimulating pick me up you need to feel more joy in the dead of winter. Colour has that power, when used carefully. Other times, a seemingly endless run of cream-colored crisp Texel hand-carded rolags might provide just the soothing texture you need to calm down during trying times.
- It meets specific goals. There can be little more satisfying than creating something, by hand, from start to finish. Sometimes I meet spinners in a rut who successfully spin small batches of yarn but cannot graduate to sweater-sized quantities. Or they churn out factory-sized quantities of uniform yarn but at the wrong weight or using the wrong fibre for the job at hand. Figuring out what you really need and then changing your spinning to meet that goal can be a game changer. For instance, what if you really need a warm, brown, hardwearing pill-free sweater for hiking and working outdoors, but you only spin 4-ounce braids of Merino pink hand-dyes? It’s time to help yourself meet those goals! Change your usual activities and start to spin a naturally brown medium or long wool instead.
- It gifts us with novelty. If you’re struggling with the same-old, same-old in other parts of your life (hello, pandemic blues), it’s okay to change it up for no reason at all. Not to learn something new or for a specific project or even because you’re actually feeling unwell in body or mind. What if you just want to play? Enjoying a new exploration – in processing fibre, dyeing, colour blending, technique, spinning tool, whatever – can help address that need for “new new new” that our society often thrusts upon us. Your values may not align with that of fast fashion, but sometimes we still yearn for a treat. Surely a little packet of exotic fibre – yak or qiviut, anyone? – or a stint of spinning cotton, flax, or hemp might change up a habitual wool spinner’s routine.
- It meets others’ needs. Often, we break out of habits not because it’s good for us but because it’s good for others. In other words, they need us. For instance, your local school needs woollies to hand out for children who come to school without warm clothes. This calls for some warm mitts and hats in a hurry – perhaps in superwash wools or down breeds that won’t felt on the playground. Since you’re a spinner, you can work to meet that need, whether it’s a laceweight christening shawl, a chemo cap, or those mittens spun and knit in a hurry for those cold elementary school kids.
There are lots of reasons to mix it up as a spinner! There’s no need to pick just one reason. In fact, you don’t have to try something different because it’s healthy for your mind, body, or mood or to meet personal goals or to try something new or meet anyone else’s needs. Instead, why not try it because it’s fun?
Joanne Seiff has written three fiber-related books: Three Ply, Fiber Gathering, and Knit Green. She writes, edits, spins, knits, designs, and teaches in Winnipeg. See her designs on Payhip, Ravelry, and Lovecrafts.com—her designs might sing in your handspun. Read joanneseiff.blogspot.com or @yrnspinner on Instagram to learn more!
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Making Journey Yarns
words and photos by Joanne Nakonechny
To sharpen my memory of any longish trip I make, I begin making a travel journal as soon as I start travelling. I gather any small items I can – sketches, photos, stamps, postcards – and write about each day. When I get home, I physically make a book and fill it with all that I have gathered. The ideas, impressions, and other items found while travelling (Japanese beer labels are fascinating!) vividly remind me of the smells, textures, and lived experience of each journey.
As a spinner, I’ve often thought about spinning a trip yarn to add to my journal but couldn’t quite work out the type of representation I wanted. However, as I sat on a train in southern Honshu (Japan), my imagination began to work, and I thought about constructing a yarn that would represent several major themes of my Japanese trips around the main idea of textiles. I jotted down the indigo dyeing and silk weaving workshops I took and the numerous textile museums and workshops I visited and let this idea “compost” during the rest of the trip. After returning home, I continued working on the idea and selected three significant Japanese textile elements: indigo, cotton, and silk as the strands for my 3-ply yarn. These themes are linked by their textile emphasis, and two of them (cotton and silk) demonstrate how foreign products can be transferred into another culture and then transformed into general cultural use and representation.
Indigo
I chose indigo because it is/was traditionally used throughout Japan. Mention indigo to anyone and images of the Silk Road often emerge in their minds. Indigo has a long history around the world and in China, documentation on its use originates as far back as 2,697 BCE. Its societal impact ranges from symbols to myths, stories, planting, harvesting, and dyeing traditions. The predominant natural indigo currently in use/used in Japan, persicaria tinctoria (formerly classified as polygonum tinctoria), was introduced from China around the 4th century CE. The composting method used to prepare the indigo leaves for dyeing was probably adapted from the Ainu of northern Hokkaido who used it for woad. As elsewhere, the current status of using natural indigo in Japan is precarious but hopeful as greater interest in its subtle colour shadings, ecological benefits and various uses becomes more known to artists, artisans, chefs, and industry.
Cotton
I chose cotton as it became a commonly used textile in Japan. Indigo and cotton are great friends in the dye pot as indigo is a substantive dye that does not require any mordants for fibres such as cotton, linen, hemp, ramie, etc. Cotton, however, was not introduced to Japan until Portuguese or Chinese traders brought it in the mid 15th century. It then became a preferred textile by the beginning of the Edo period (1615-1868 CE). At first cotton was reserved for the ruling class and only later during the Edo period did it become a commonly found textile throughout Japan.
Silk
I chose silk as it is a luxury textile in contrast to cotton and has a strong historical and current presence in Japan. Silk came to Japan via China through Korea around 200–400 CE and became a strong economic and cultural component of the society. At first, as usual, it was only worn by the upper classes, but as it gained more use as a luxury fabric, rural families were permitted to start their own sericulture to help with the silk production. Japanese silk production continues today, and the workshops in Nishijin, Kyoto certainly attest to it.
My project yarn construction
This project took place over a year as I did it when I had time and when it was warm enough to dye outside (I live in Vancouver, Canada).
I spun the white/ecru cotton roving using a variety of spinning implements, ranging from portable (a takhli and Russian support spindles) to less so (an Indian book charkha) and, finally, an Ashford Joy spinning wheel. I spun the cotton Z, plied it S, and maintained a pretty consistent 18 WPI. I finished the cotton yarn by simmering it in a pot of water for about half an hour. I then let it cool, rinsed it, and air dried it.
During the summer, I set up an indigo dye bath using Indian indigo or common indigo (indigo tinctoria) from Maiwa as I couldn’t access the Japanese pesicaria tinctoria (formerly polygonum tinctoria). I made a vat reduction using thiourea dioxide and lye for the dye. I had no problems with the vat and, as usual, the magic of cotton turning from tan to green-grey-blue to true blue was exciting.
The Nishijin area in Kyoto is a place where I can spend days happily getting lost as I try and find my way from one amazing textile museum/store/workshop to another. Just a few of the ones I sampled: Fureaikan – Kyoto Museum of Traditional Crafts, Nishijin Textile Center, Orinasu-kan Museum, Kodai uzen-en and Gallery. I took a workshop at the Tsuzure-ori weaving studio. After this varied viewing, participating and some reflection, I decided to include in my yarn some spun silk thread bought at the Nishijin Textile Center to acknowledge the role of industrialization in silk weaving.
My Japanese travel yarn is now complete and I have a spun physical memory to remind me of these different textile themes. In the future, I will make other travel yarns depicting other Japanese travel elements, but I’m happy to have my first one based on textile themes. With some of this yarn, I’m going to make a small woven coaster and place it in my travel journal along with a picture of a cup of tea! What travel yarns could rise from your journeys?
Joanne Nakonechny likes spinning – 10 years of it – and travelling. New ideas of yarn intrigue her: What if I thought about music as colours? What about ideas as different types of spinning material? What if. . . These are the questions that keep Joanne spinning; oh yes, and her stash!
PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.
Did you know we also have a monthly PLY newsletter? Sign up here!
Did you know we also have a monthly PLY newsletter? Sign up here!
The Beauty of Farm Blend Roving
words by Jacqueline Harp | photos by Susan and Patricia Harp
If you want to reach another level in spinning fibers, check out a farm blend roving! Farm blend roving is a woolen preparation made with two or more types of fiber. Typically available in small batches, it can be either hand processed or professionally milled. What makes it special, however, is that it comes from small fiber farms, making it a truly artisanal spinning fiber. It provides a fiber adventure that varies from year to year and place to place. Let’s look at farm blend roving from four different farms, and experience the smorgasbord of fun and delight for the adventurous handspinner.
Let’s Meet Our Farmers
This article would not be possible without the generosity of the four shepherdesses who produced the rovings we are enjoying here today. It is important to recognize that each braid of roving represents the hard work and creativity of four women who are dedicated to the care of their fiber-producing animals.
Arlene Vasquez of Wild Wool Farm LLC, Tacoma, WA. Because Arlene has a passion for heritage breeds, she raises many sheep breeds: Navajo Churro, Icelandic, Jacob, Border Leicester, Lincoln, Wensleydale, and Black Welsh Mountain. Her farm blend roving is a splendid combination of color, sparkle, and softness. Incredibly, her roving contains seven different fibers: Navajo-Churro, BFL, Merino, milk fiber, Angelina, and sari silk. The soft, downy undercoat from Arlene’s Navajo-Churro sheep – a dual-coated, rare heritage breed – lends a hint of resilience and elasticity to the blend.
Heidi Dennistoun of Dennistoun Farms, Arlington, WA. Heidi raises a flock of Border Leicester sheep. She hand processes much of her own raw fleeces whenever time allows. Her farm blend roving is a cheerful mix of natural chocolate brown Border Leicester and bright red Firestar. These fibers are highly lustrous, making a very glossy and glitzy blend.
Jami Beintema of Cooke Creek Sheep Company, Ellensburg, WA. Jami raises a flock of Texel, Border Leicester, and Coopworth sheep. Jami is a resourceful shepherdess, fiber artist, and certified wool classer who can find a use for almost every part of her sheep’s fleeces. Her farm blend roving is elegantly indie dyed with multiple shades of purple. The wool from two different sheep breeds are blended in this roving: Border Leicester and Coopworth. These sheep have many fleece traits in common, allowing this blend have a generous staple length (over 4 inches) and a soft yet strong handle.
Sheri Powers of Wind Dance Ranch, Ellensburg, WA. Sheri raises a flock of Border Leicesters, Bluefaced Leicesters, and Gotland sheep. Her farm blend roving is beautiful, plush, and naturally cream colored. All four sheep breeds found in Sheri’s flock are featured in this wool blend. The roving has a subtle, satin-like glow, and it feels luxuriously thick when squished.
Spinning the roving
I spun Heidi’s, Jami’s, and Sheri’s rovings in the same manner from start to final yarn. I pre-drafted each roving to give me more control over the fibers. I spun the rovings woolen, using a long, backwards draw. I used the slowest ratio (5.5:1) on my spinning wheel to spin the singles to avoid overtwisting the yarn. I then plied each batch of singles from center-pull balls to make balanced 2-ply yarns, using a medium speed ratio of (7.5:1). I washed my freshly spun yarns in a warm, soapy water bath and rinsed them in water of the same temperature. Once the yarns were rinsed, I gave them the “whack” treatment against the edge of my sink to set the twist and hung the yarns to dry. The resulting yarns were fluffy and had the slight halo that makes woolen style spinning so wonderful!
Arlene’s roving had a large amount of texture, and I felt the best way to harness that texture was to make an art yarn. Thus, I spun Arlene’s roving into woolen thick-and-thin singles, with a short forward draw. To avoid overtwisting the yarn, I used the slowest ratio (5.5:1) of my wheel for spinning the singles and plying. I then plied those singles using a commercial silver-nylon thread with sequins. I bathed the yarn in cold water to set the twist, squeezed out the excess water, and hung the yarn to dry. The result of the spin was a fantastic flame-style art yarn. I was struck at how the color combination was reminiscent of the look of the clouds in the Pacific Northwest at the beginning of a storm, with the silver thread flashing like hints of lightning and the sequins falling like delicate raindrops throughout the yarn. It really showcased the potential of using a farm blend roving to spin art yarn.
Where do you get it?
You can start your fiber quest for farm blend roving by exploring local yarn shops, fiber arts festivals, or handspinning guilds, whether in person or virtually. You can also look at breed associations or search your favorite social media platform, such as Instagram, to find farms which raise fiber animals and contact them directly.
Farm blend roving guidelines
1. It should contain fibers from animals raised by the producer of the roving.
2. It is a woolen fiber preparation.
3. It can be hand processed or professionally milled.
4. It can be a unique mix of protein fibers, plant fibers, and/or synthetic fibers.
Tips for choosing farm blend roving
Choosing farm blend roving is subjective and depends on the needs of the handspinner.
It may be helpful to ask yourself the following questions: Is there a particular color I am drawn to? Does the texture or feel of the fibers speak to me? Have I already spun most of the fibers individually and want to try them spun together? Am I looking to try fibers that are new to me?
Be aware of the possible presence of some vegetable matter in farm blend roving, but don’t panic. It should fall out as you spin it. Also, make sure you have enough for your desired project. A farm blend roving is like a yarn dye lot – unique and irreplaceable. In terms of fiber volume, I find that 8 ounces of farm blend roving is enough for most small to medium spin projects (e.g., mittens, hat, or shawl).
Using it
There are many ways to use yarn spun from farm blend roving; however, to help me find the right project, I like to use the softness of a yarn after finishing as a guide. For example, a soft yarn can be used for next-to-the skin projects like cowls. A medium-soft yarn can be used for hats or mittens. A coarse yarn can be used for outerwear like a vest or socks.
Note: If a yarn spun from a farm blend roving does not work for your intended project, chances are high that the yarn you spun will be so gorgeous that it could be used “as is” to decorate your studio!
In conclusion
Take a step off the beaten path and partake in an exciting spinning experience that also helps fiber farmers continue to care for their fiber animals. Go forth – imagine and create handspun yarns from farm blend roving that you will treasure. Don’t forget to use the tag #inspiredbyPLY on your social media channels so others in the spinning community can admire your projects and be inspired!
Jacqueline Harp is a freelance writer and multimedia fiber artist who spins, felts, weaves, crochets, and knits in every spare moment possible. She is also a certified Master Sorter of Wool Fibers through the State Univ. of N.Y. (Cobleskill) Sorter-Grader-Classer (SGC) Program. Her Instagram handle is @foreverfiberarts
PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.
Did you know we also have a monthly PLY newsletter? Sign up here!
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