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.
Let’s Talk About Sparkle Fluff
words by Jacqueline Harp | photos by Susan Schroeder
Have you ever heard of Sparkle Fluff? Oh, my! Envision a handful of fiber goodness that features a colorful mixture of mohair locks and glitz, and it is known to make handspinners smile when they get their hands on it. Sparkle Fluff is a fiber preparation composed of a color-coordinated mix of mohair locks, sheep wool locks, and loose Angelina fibers. It is ready-to-spin and full of texture and sparkle. You can spin it into a wide variety of chunky, fantastical art yarns or sprinkle it into carded preparations to add some extra pizzazz.
Let’s meet the innovative mind behind Sparkle Fluff, Susan Schroeder of Rusty Spur Ranch and Creations, located in Rathdrum, Idaho. Be prepared to be inspired to use mohair in ways that bring the most joy to your spin projects.
Meet the fiber creative
I came across Susan a few years ago, at a fiber arts festival in the Pacific Northwest, and was impressed with her creativity, hard work, and effervescent personality. Susan is an expert indie dyer, fiber artist, and Angora goat shepherdess to a well-cared for flock that provides high quality mohair for her fiber projects.
Susan’s fiber arts journey started with knitting as a way to pass the time during family road trips. She bought a handspun skein from Symeon North, author of the book, Get Spun (2010), and this beautiful yarn inspired Susan to learn handspinning. She started with a drop spindle and eventually learned to use a wheel. She then taught herself the art of dyeing fiber to bring unique colors to her own spinning fibers. A few years later, four Angora goats made their way into Susan’s life to provide mohair fleeces and natural weed control for her farm. Inspired by the growing flock of Angora goats on her farm, she started a fiber arts studio and named it the Rusty Spur Ranch and Creations.
Susan strives to use the whole mohair fleece in a productive manner. The prime locks are used for Sparkle Fluff, while clean belly fleece goes into cat toys. Remaining parts of the fleece go into the garden as mulch or into the bottom of plant pots to improve water retention.
Gathering the elements
Raw fleece selection is step one. Within a batch of Sparkle Fluff, there may be two or three different textures of mohair depending on what Susan has available. She knows the fleece of each goat in her flock, as it varies from goat to goat. Some fleeces are Navajo-style, with long, straight locks, while others have tiny curls.
Along with the mohair locks, each batch of Sparkle Fluff may have wool locks from up to five different breeds of sheep. While the mohair comes from her own flock, the sheep wool is sourced from different farms. For both fiber types, Susan looks for well-separated, open locks that are not felted and that contain the least amount of hay.
Secondly, she uses gentle washing methods so the locks don’t stick together. Once the locks from all fleeces are clean, she will dye bulk batches of locks in different colors.
Susan: I don’t have a Sparkle Fluff color idea in mind when I start dyeing fleeces. I will dye up to five fleeces at once. Each fleece is dyed a different color. After the fleeces are dyed, I start playing with the colors I created. The key is to take a few handfuls of various proportions and start mixing them together. If I like what I have, I will pull large amounts of dyed fleece and weigh it into about 10 ounce batches before I start mixing.
Mixing it up!
Once she has selected the color and fiber mix, she makes a pile and starts handpicking the locks and placing them into a large bin. She uses her hands to carefully pick and separate the locks because a fiber picker would rip the locks apart. After filling the bin, she gently tosses the fibers like a salad to ensure the Angelina is well distributed and the locks are evenly mixed to her satisfaction. She wants the locks and Angelina mix to be loose and flowing, not clumpy.
When mohair is mixed with wool and Angelina, the mohair pops! All fibers in Sparkle Fluff support the pop and shine of mohair.
If Susan had to select three words to describe her Sparkle Fluff, she would choose:
Sparkle – because the Angelina throughout the fluff looks dazzling in the sunlight.
Shine – since mohair has a mirror-like shine.
Texture – the feel of so many different locks, wools, and fibers to be enjoyed however one wishes.
Spinning Sparkle Fluff
Chunky. Fine. Direct to wheel. Carding and blending.
Sparkle Fluff has no limits to its creative use. Susan’s favorite way to spin Sparkle Fluff is to take handfuls and let it flow through her wheel for a highly textured, bulky art yarn. She notes that Sparkle Fluff can also be lightly blended on a blending board for those who want more control over the texture and weight of their handspun.
Susan: I have seen other handspinners run a batch through a drum carder and spin it fine, with amazing results. As a person with curly hair, I appreciate the different textures of wool and mohair, and I like that my Sparkle Fluff preserves and highlights the texture of the locks.
Other surprising ways to use Sparkle Fluff: Fill little glass bottles with it and place those bottles around your studio to liven things up. Felt it into a gnome’s beard for some spice and color. Weave it into a wall hanging with some driftwood you picked up from the beach. The possibilities are endless!
As a parting thought to handspinners looking to start their next mohair spinning projects:
Susan: Don’t be afraid to try something new. A lot of spinners stick with wool because it’s a fiber they know. It takes courage to branch out and try something new. Especially when spinning with locks – you have to let go and let the locks flow. It is not precise. You are not looking for a specific twist direction or the perfect spinning ratio. Sometimes it takes a new spinner a long time to feel comfortable enough to be able to flow. But give it a try. Maybe you will get it right away, maybe you won’t, but just keep playing with it and practicing. I promise the Angora goats will keep growing fiber, so we won’t run out!
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 @foreverfiber
Wool at the Met Gala
The 2022 Met Gala was, as ever, a parade of fashion. And for the third year in a row, there was a hand knit gown in the mix!
The dress, worn by Sandra Weiss, was designed and knit from naturally dyed wool and lurex from A Wing and a Prayer Farm. You can see more images and a description on their Facebook page.
PLYAway 2022: Together Again!
After a couple of long years, PLYAway returned April 19-23, and it was wonderful to see faces both familiar and new.
Classes were taught by Maggie Casey, Clemes and Clemes, Meagan Condon, Peggy Doney, Jacey Boggs Faulker, Michael Kelson, Judith MacKenzie, Amy Manko, Jillian Moreno, James Perry, Joan Ruane, Amy Tyler, Emily Wohlscheid.
On Friday evening, James Perry gave a talk and presentation on his journey with wool. Jacey (wearing a snazzy red jumpsuit) gave out some fabulous door prizes.
Karen Robinson and Christie Brown were once again at the registration desk checking spinners in, answering questions, and selling t-shirts and back issues.
And the Pen Place was very happy to have us back! (We’re one of their top shopping weeks of the year.)
The marketplace (vendor hall) opened on Thursday at noon. Spinners lined up early to get into the hall. (The first person in line had been waiting for an hour and was able to get the Daedalus Sparrow she was hoping for.)
Shoppers in the marketplace had a card and got a stamp for each vendor they purchased from. Stamps from 10 different vendors allowed them to enter into the giveaway for $500 to spend in the marketplace. There were 72 entries in the drawing. On Saturday afternoon, by random drawing, a surprised and happy Courtney Rivers won the giveaway. Although she considered getting a drum carder from Clemes & Clemes, she ultimately decided to get a Lendrum wheel from Yarn Barn.
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