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.
Spring 2021 ads on sale
Ads are officially on sale for the next issue on Double coated and primitive (Spring 2021).
We are dedicated to keeping this magazine content heavy and ad light (ads are only 12–15% of our content). Hopefully you’ve noticed this, and hopefully you’ve noticed the ads. We love our advertisers – without them, we couldn’t bring you this magazine. So if you’ve got a spinning-related business, consider advertising! We’ve got a limited number of spaces available at a variety of sizes/aspects and affordable prices.
Art due December 1, with the issue shipped March 10, 2021.
Check out all the details about ads here.
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Book Review: Fleegle Spins Supported by Susan Glinert Stevens
reviewed by Sukrita Mahon

Perhaps because of the rise of the internet and social media, spinning is enjoying a revival – possibly its second one in the post-industrial era, the first having taken place in the 1960s–70s or so. In a lot of ways, though, it remains a niche interest, with quirks that even those within the community struggle to explain. One such quirk is demonstrated in the highly unusual format of this “book”: it’s a USB drive shipped manually, containing an interactive PDF and videos. I’m just as baffled as you probably are. Why not make the files available for download?
This “book” was published in 2012, and I wonder if this was an attempt on the author’s part to bypass both conventional publishing routes as well as the personal expense of self-publishing. I do wish they had an alternative method of distribution and still hold out hope of an upgrade one day.
The buy-the-USB format means the book is highly inconvenient and expensive to purchase outside the U.S. or Americas. I had purchased my copy in Australia through the spindle maker Malcolm Fielding, as part of a “learn to spin on supported spindles” set. This offering is no longer available since the maker has retired and passed on the business to their successor. If I had to purchase it from the U.S. today, the price combined with shipping would be a serious deterrent.
That said, if you can get over the feeling of confusion of buying a “USB book,” the material it contains is excellent. Trying to learn support spindle spinning can be a very frustrating experience. There seems to be almost no literature on the subject (barring a few magazine issues), videos online feel incomplete and lacking enough description, and local guilds may or may not have the required knowledge. Fleegle, aka Susan, provides all the technical information for the beginner to start spinning supported.
There are many reasons to learn support spindle spinning: it’s the only way I find it possible to spin cotton, for instance. It can be a much more accessible way of learning to spin long draw, as it feels a lot more intuitive than on a wheel. I often hear that support spinning may be more comfortable for long stretches of time compared to using a drop spindle, but I’m awkward enough that either can result in pinched nerves. For those who prefer spinning seated, or who have mobility issues, it may be worth looking into as an option.
The book contains an interactive PDF and a printable PDF, along with 25-odd videos. It is photo-heavy and humorously written, briefly referencing the Ravelry forums, where the idea for the book originated – Fleegle is the author’s Ravelry name. This may or may not be appealing to readers, depending on how they relate to the “forum era” of the internet. I have to admit that there’s a portion about a hairy frog that I’m still puzzled about but don’t care enough to try to understand.
The section on fiber is very extensive: it covers dog and cat hair, possum, cow and horse hair, deer hair, pig fur… the list is endless and fascinating. I learned a lot from it, despite the fact that almost every spinning book has a fiber chapter. The author takes full advantage of the fact that we have unprecedented access to novel fibers today, and the idea that we are only limited by our imaginations is very freeing. The experimental portions, such as spinning straw, are interspersed with practical information, such as how to handle various preparations of silk.
For those looking to use plant-based fibers, there is a section on flax, ramie, nettle, milkweed, fireweed, pineapple, and even kozo or mulberry paper. The author correctly calls out the polluting processing methods of increasingly popular fibers, such as bamboo, soy, banana, and milk, that are promoted as plant-based despite being unsustainable. There is even a section on spinning with feathers.
Fleegle goes on to explore color and working with different fiber preparations for support spindles: from processing and working with raw fleece to using dyed tops and blended batts. It is quite in-depth but still interesting for intermediate-level spinners. The ever-relevant question of how to avoid colors blending into “mud” as they are spun is addressed. There are tutorials on making fauxlags and pseudo-rolags, which are very useful for long draw.
There’s a chapter called Support Spindles Around the World, which explores the various spindle styles and traditions that exist worldwide. The diversity in form and spinning style in each tradition is very intriguing. This chapter ends with a portion on bead style spindles, which I have yet to use. However, there is an instructional chapter on how to make your own bead spindle, with photographs. The book mentions another spindle I have yet to see in the wild – a lap spindle with built-in support. These are available online from makers such as Spindolyn.
It’s easy to get overwhelmed when trying to decide on a spindle to buy, although it gets easier with practice. The section on the anatomy of a support spindle and what to look for is extremely useful. Many of their favorite makers are listed here, which is helpful despite the fact that such a list could never be conclusive. The author has gone above and beyond in giving us readers all the information we may need: even to the extent of showing step-by-step photos of how support spindles are made.
The spinning how-tos are meticulously presented, with every technique both written out and demonstrated on video. Special care is taken to show both left- and right-handed technique. Among the tutorials are park and draft, long draw, and semi-continuous spinning. Fleegle spins with an ease that is so graceful and enviable; it makes you want to be that good, too. They go on to explain how to make a cop, whether to choose to make a temporary cop or a permanent one, and what the difference is. Despite the detail, the reader is encouraged to try everything and break the rules.
Plying on a support spindle is examined in some depth, even though it’s a little impractical. We are walked through troubleshooting steps while winding off onto plying balls, which is much appreciated. In case you were looking for a real challenge, there is a how-to on chain plying on a support spindle. Personally, I don’t think I’m going to try that anytime soon, but it’s good to know it’s possible.
The book ends with a section on spinning bowls, which is amusing since the novice support spinner may not yet know that bowl collecting is about to be a significant part of their new interest.
All in all, Fleegle Spins Supported is a fantastic resource for the beginning support spindler, particularly one who feels disheartened with most available tutorials. It’s just a shame about the USB format.
Rating: 3.5/5
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.
Call for Proposals: Winter 2021 issue on Head and Hands
The end of the year in the Northern hemisphere means winter and lots of accessories to keep warm. Projects that keep your head and hands warm are some of the most satisfying projects to spin. They are reasonably sized, and the sky is the limit as far as the yarn you spin.
What are your favorite yarns for hats, mittens, and gloves to keep you cozy from the first snap of cool through seriously cold and why? How do you spin a durable yarn for mittens or gloves that will last a season or more of dog walking in the cold mornings? Do you ski or sled? What fibers, yarns, and garments deal best with cold and wet?
Head, hands, and heart, what do you keep in mind when spinning and knitting to keep your family warm? Show us how you recreate historic mittens or gloves. Do you have any traditional knitting in your family tree? Tell us the story.
Small projects are a great way to sample brand-new-to-you yarns; tell us how you do it. Or maybe you use a small project like a hat as the sample and swatch for a bigger project? Share your process! Small accessories are wonderful for special yarns, yarns that might be too fragile (or expensive) for a whole sweater. What is the most luxurious yarn you would make a hat out of?
Not all hats, mitts, and gloves are about keeping warm; there are plenty of times you wear them for style – they are great for showing off yarns. What yarns are great to show off color, color, color? Have you even knit gloves in a wild color combo that you’d never use anywhere else? What is the best yarn structure for different types of colorwork? Fair Isle, intarsia, multi-color brioche, or slip stitch?
Quick but never boring, what’s your favorite yarn for heads and hands? Accessories beg to be embellished; how do you spin to embroider on your handspun projects?
Proposals of articles and projects are due by December 1, 2020. We’ll get back to you in January, and final pieces are due June 1, 2021.

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