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.

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PLY has an index!

We’ve just released our 48th issue, which is really exciting as there’s lots of great new content to share with you. Sometimes, though, you might want to return to previous issues to look up something you remember reading or a new interest you’ve developed. But that can be challenging with so many back issues and articles to look through. So we’ve put together an index to make searching those back issues much easier.

You’ll find the index on the PLY website. If you’re using a tablet or mobile device, there’s a link on that page for a mobile-friendly version of the index.

You can search for articles in several ways: by author, by title (or words in the title), by words from the description, by issue topic, and from a list of keywords (article topics). We’ve put together a video showing how to use the various search options to find articles.

Once you’ve found the article you want to learn more about, click the link on the article title to open up the entry for that article. There you’ll find the article description and a link to the issue in our shop.

Guess what? Not only does this index include all articles from the issues of PLY, it also includes all the episodes in the PLY Spinners Guild! And if you’re a guild member, there’s a link directly to that episode so you can jump right in and watch the segment. (If you’re not a guild member, you can sign up for a 3-day free trial.)

We are still working on adding in the descriptions and list of article topics for some of the issues (although all the articles and authors are already there) and should have that finished by the end of April, if not sooner!

New Guild Spin-In Today! Join us!

Hooray! Hooray! Today’s the day! 

Today is our first ever third Thursday PLY Spinners Guild (PSG) spin-in! 

We encourage you to check out our new spin-in at 5 pm pacific today, March 20th. These third Thursday spin-ins are dedicated to helping you develop the foundational spinning skills and fiber confidence you want. So, if you’re looking for something a little more foundational in addition to, or instead of, Sunday spin-ins, we’d love to see you.   

All of the spin-ins are put on by the PSG. Third Thursday spin-ins will be hosted by one or two of our PSG hosts – Lori Paterson, Donita Westman, Terri Guerette, and Heavenly Besser – while Sunday spin-ins will still be hosted by Laura Linneman and Jacey. 

 If you aren’t already a member of the guild, make sure you are signed up so you can participate!   You’ll have full access to all our incredible video tutorials as well as the spin-ins, where you can ask questions and get real feedback from other spinners. 

We can’t wait to see you there! Please remember that the PLY Spinners Guild is a space for spinners at all levels of spinning. We are an inclusive and diverse community that embraces all spinners and welcomes everyone to create a brave space to question, challenge, and support one another. We strongly believe that the more diverse our community is, the stronger our community is. Our core beliefs of kindness, diversity, and inclusivity inform everything we do. Racism, sexism, and other forms of oppression will not be tolerated. We reserve the right to remove anyone who meaningfully and purposefully disrupts the community or makes other members feel unsafe.

Dyed and Went to Pennsylvania

Words and photos by Jenn Lander

For those of us who are spinners, fiber is joy. And when we create something beyond our expectations, it’s even better. During the summer of 2023 I did just that with the help of others who knew exactly how to make my work come to life. 

As a visual artist I often seek out opportunities to travel and attend artist residencies. These are vibrant places where artists tend to gather as a group and make art alongside one another. Artist residencies usually conjure inspiration, and creatives come from a variety of backgrounds to rest and create. Throughout the month of June 2023, I attended one of these residencies facilitated by the Ora Lerman foundation in Laceyville, Pennsylvania. 

At the beginning of June, I packed my small Nissan Versa full of materials and tools that I wished to use over the course of the coming month. The most important item in my car was the giant bag of Shetland wool which originated from my parents’ family farm. On this farm, my father cares for between eighty to one hundred angus cattle each year. My contribution to this operation is my six Shetland sheep: Mary Brown, Lily, Danny, Francis, Ramses, and Sirius. These sweet animals, because they are a smaller breed, remind me of dogs. They love being greeted with pets and treats and amazingly enough also wag their little tails when they are happy. Each time I use their wool I am reminded of my fiber pets in Zanesville and how they give me a great deal of joy. 

With my precious wool and sheepy thoughts, I arrived in Laceyville, where I worked alongside six other creatives; these people were writers, painters, and actors who were pursuing their own passions. At this residency we shared the original house of Ora Lerman, a successful artist in her own right. When she passed away, she left her estate in the form of a trust where others can take full advantage of the resources she collected throughout her life. Her home became a shared space for creatives to work and react to one another’s process. There we found inspiration from the energy and work ethic each of us brought to the space. Residents even had communal meals where we could speak openly about our ideas. 

Throughout my stay I had unlimited time to work, rest, and connect with others. My most memorable moments were spent in the studio discussing a fellow artist’s landscape paintings and the beautiful weather we were having. Or meeting with a former fiber artist who found a love for metal sculpture years ago. I met a fellow spinner who was the estate’s longtime volunteer gardener. We enjoyed talking all things spinning and fiber. Excitingly enough, we had the opportunity to do a fiber trade before I left. 

These budding friendships provided a nice contract to the solitude I felt while working. As most spinners know, our process typically allows time for a great deal of silent reflection. While I listened to a book at times, other moments were filled with quiet thoughts and peaceful admiration for the nature which surrounded me. The studio I spent much of my time inhabiting had large windows which overlooked a beautiful garden. When I would sit on the second story porch, I was also graced by a small hummingbird who came to see me at random moments throughout my day. During times of peace, my sheep flooded my thoughts. I thought about where this fiber came from and the historical significance of what I was doing. My hope and belief are that handspinning will never die because of all of us who are keeping it alive within our own communities. In doing so, we are educating others and sharing our passion for something that is ancient and important. 

So, with my beautiful bag of wool, I took full advantage of my residency experience by spinning on my Electric EEL Wheel 6.0. Throughout that time, I spun five skeins of DK weight yarn that I had intended to make art with in the future. My fiber, being very important to me, begged to be twisted and made into something special. I had looked forward to dyeing the yarn using a natural dye process when I arrived back home. However, while researching natural dyes, I stumbled upon an organization which was offering classes close to Lancaster, Pennsylvania. A “dye day” just happened to be not only on the way home but the day following my residency. 

I jumped at the opportunity to sign up. On the last day of my residency, I hopped in my car and drove off toward Lancaster. There I found lovely quilt and yarn shops within miles of where I was to take my class. Lancaster is known for its deeply rooted Amish community. It has largely become a tourist destination with hidden gems. 

At Green Matter Dye Co I had the pleasure of meeting Winona, the instructor of the class. She was kind, and I quickly learned that she is also very knowledgeable in the field of fashion and fiber. Like myself, she has a degree in Fashion Design, but uniquely she focuses on sustainability. Winona’s company originated as a dye house that provided services for garment companies to send products to be dyed in a sustainable manner. 

I am thankful that she also focuses on helping artists and fashion enthusiasts learn the process of natural dying. Green Matter Dye Co opens their doors to novice and new dyers who wish to learn and explore the process. Not only do they have an indigo vat always at the ready, but Winona’s staff makes dye baths out of other plants such as madder root, avocado pits, and marigolds. 

The beginning of the course focused on the technical aspects of natural dye, like the pH of the water and how to test this water for batches of dye. The learning curve involved in this type of process is steep; however, we learned through hands-on experimentation in the coming hours. Over the course of the morning our small group listened to and discussed this topic, trying to understand the process we were about to explore. Even better, each student came from a different background, thus enhancing our already rich discussion. 

We finally ended our conversation and moved forward with the hands-on portion of the day. Students had prepared a variety of items they wished to dye. These ranged from upcycled garments purchased in thrift stores to the handspun yarn I had brought along. 

Over the coming hours we took our chosen materials and dipped them in the dye. Though I must say, the best part of my day was bonding with a group of women who had struggled through similar life experiences. We were all ages and from all walks of life. Throughout the afternoon, our small group shared about our lives, our joys and challenges: divorces, dating, and raising children, all the while creating beautiful things in our free time. 

The hours ahead involved immersing our fiber into the dye baths that Winona had prepared for us. This was the first time I had ever dipped anything in an indigo vat. The experience was magical. Indigo has a deep and long history around the world but is best known in the western world as the color used to dye our blue jeans and denim. 

The most eco-friendly method of indigo dyeing involves a fermentation process using the leaves of the indigo plant. During this process, the plant matter is broken down, creating bacteria and lactic acid. The pH level must be monitored. 

I was instructed to dip the fiber into an indigo dye vat. Once submerged, I removed my skein, exposing it to oxygen. The yarn was hung and allowed to turn blue over time. Initially it is an acidic green color; however, after a few minutes it turns a beautiful blue hue. Afterward, my yarn was rinsed using cold water, which removed any dye matter that may have lingered. To achieve a deep blue, my handspun yarn was dipped twice. Finally, the yarn was washed gently in Dawn soap to rinse it and take away the dye that had not been bonded. In the end, I took home some beautiful blue yarn that could be used for a future project. 

Over the course of a month, I traveled from my home of Columbus, Ohio to Pennsylvania. I left with a bag of Shetland wool and returned with beautiful yarn. I also departed with great memories and a new knowledge of how to dye my yarn. This time away with others inspired me to continue making yarn and to use natural materials to add color to my work. My lesson over the past couple of years is to find your people and your passion. Surround yourself with those who love the same things you do, and you will find expertise and love. What a grand combination and a beautiful gift! 


Jenn Lander is an educator residing in Columbus, Ohio. Jenn’s expertise shines through in their efforts to educate others about the traditions of spinning and knitting. They possess a background in the subject, including two BFAs and a Masters degree from Maryland Institute College of Art in Studio Art.