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.
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.
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.
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.
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.
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.
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.
Blending for Texture & Spinning Textured Batts
Words & Photos by Emily Wohlscheid
I have been relegated to offering workshops primarily through virtual means over the past two years and have missed having a classroom full of equipment and students. I’m really looking forward to this year’s PLYAway Retreat where I will get to share my love of the drum carder and spinning with students in Blending for Texture and Spinning Textured Batts, respectively.
What has always drawn me to textiles is all of the different colors and textures. The introduction of batt making in my work has always been an extension of that. I love creating batts and sharing what types of cloth on the drum carder are best suited to individual results. Blending for Texture focuses on using your drum carder in a way that achieves the textural results you are seeking while also keeping your equipment in tip top shape. Students will leave with at least three completed batts from finely textured tweeds to loosely carded and lock-filled variegated batts.



Many people love the look of textured batts but are uncertain how they should approach spinning them. Batts tend to be smaller quantities, and because they are made more slowly and by hand, they tend to feel more precious. My default with them was often to create a chunky single, typically corespun, that showed off the textures and stretched my material for more yardage. As I began to sell my batts, spinners would often share their yarns and finished objects. Surprisingly, I found many of them were spinning very fine, sometimes plying, but always embracing the texture so that all the curls, crimps, and flecking created subtle effects. It made me realize my favorite prep for spinning was far more versatile than I had originally thought.


You can learn a lot about the variations in drafting that a textured batt requires by familiarizing yourself through sampling. Spinning various gauges with a plyback test is a great exercise to help you decide your preference visually and where the most ease in spinning lies for you. The simple challenge to spin a batt in at least three distinctly different gauges is one I present to my students but is also an accessible experiment to try next time you are having difficulty determining how you might like to spin a batt.

This workshop may sound familiar to previous attendees at the retreat as I offered it back in 2019 as a half day. Overwhelming feedback and more opportunities to teach these techniques have expanded it to a full day workshop with more techniques offered including plying, corespinning, autowrapping, and suggestions for using the yarns. You can choose either Wednesday or Saturday to take this relaxed workshop and sample away. I can’t wait to see all the attendees in just a few short weeks!

Emily has loved fiber, jewelry, and sparkly things as long as she can remember. After receiving her BFA from Adrian College where she studied metalsmithing and textile techniques, she learned to spin as a way to get back in the classroom. Now she creates handcrafted jewelry and hand dyed fiber goods for her business, Bricolage Studios, and teaches classes and workshops throughout the United States on spinning, fiber preparation, and jewelry/metalsmithing. Emily works from a cooperative fiber studio in Kalamazoo, MI.
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Jacey’s Online Teaching Collection
Jacey’s new online classes are a success! So much that she’s created a Patreon to continue the fun!
From Jacey:
This Patreon is my project, my creative outlet, a way to continue to sustain my learning and sharing, and a way to connect with you more directly. The dream is that this patreon allows me to take a bit of a paycut at PLY, or rather it allows me to take some of my current pay and use it to hire a few new people. I’ll hand off a few of my more administrative jobs at PLY (like accounting and webwork, both of which aren’t my forte) but still be able to support the family and (big benefit here) get to spend a bit more time doing the things I miss – spinning, teaching, and connecting.
Don’t worry, I’ll still post PLY tutorials and videos, that’s a separate thing and is free to all, but if you choose to join me here on Patreon, you’ll get more of me and my time, and I’ll get more of you and your time!
The classes are available to the Patreon memberships of Corespinning ($12/month) and Boucle ($16/month). There are also other membership levels available that come with other goodies, but not classes.
The spinning classes (Corespinning and Boucle levels) will premier on alternating dates: the last Saturday of every month (2pm Pacific, 3pm Mountain, 4pm Central, 5pm Eastern, 9pm in London, 10am on Sunday for New Zealand), and the last Sunday of every month (11 am Pacific, 12pm Mountain, 1pm Central, 2pm Eastern, 6pm in London, 7am on Monday for New Zealand).
Click here for the Patreon page!
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!
We Want Your Tips!
The Tip Jar has been emptied, and it’s time to fill it with your best advice & insights about spinning!

This time we’re collecting information for our Autumn 2023 issue, the Loft issue.
Here’s the question: What is your best recipe for a lofty yarn? It can include fiber, prep, draft, finishing etc. What’s the loftiest yarn you’ve spun?
Click here to leave us a tip! Your response may be featured in the Loft issue, AND our favorite tip always gets a pretty awesome prize from PLY HQ.
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!
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