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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Loops, Plies, and Binding? Oh, my!

We’re delighted to have Rachel Anne MacGillivray back at the blog today! If you’ve been intimidated to try to spin a Bouclé yarn, you are not alone! In today’s post Rachel takes us through her beginner’s attempt at spinning this type of yarn.


My first, finished skein of boucle, after a go in the dye pot

My first, finished skein of boucle, after a go in the dye pot

I’d like to share with you all my deep, dark, spinning secret.  *deep breath* Ok. Here goes… I’ve never spun bouclé.  I’ve never even ATTEMPTED bouclé before and it’s not because I’m not into texture. I LOVE texture! I love playing with different thicknesses and tensions when plying; I LOVE using different fibers together, wild batts, and throwing in add-ins.  I love spirals and coils and knopps and bibs and bobs and springs and things… but bouclés? Teeny tiny sweet little loops? I dunno, they were always overlooked by my pinch and draft. 

Maybe I’m being deliberately misleading here… I implied I don’t know why I’ve never spun bouclé but I can tell you exactly why: It’s intimidating. It always seemed very technical, challenging, and time consuming. Then, the bouclé issue of PLY came out and, feeling inspired, I decided now is the time. I would attempt the most mythical (to me) of yarn structures: The Bouclé.

 First thing I did was gather my resources (I’m a book hound and having new reasons to go leafing through books fills me with glee). 

After some research, I started to understand how bouclé works:

Two plies: one high twist, one low twist and spun in opposite directions, then plied together in the same direction as the low twist yarn.  Some fancy handwork to make loops from the high twist yarn, then ply it all again in the direction opposite the first plying to bind it up with a fine yarn.  Uh… simple…. Right?

 On to materials: Wensleydale top for the loops because it’s long stapled, lustrous, and gorgeous; a wild carded batt for the core; and a fine, commercial spun silk noil for the binder because, well, it was purple.  Instead of the batt, I should have used something easier to draft consistently so I eventually switched to BFL top.

 Books & research? Check.  Materials? Check.

 *inhales and holds breath for a minute*

 OK. Go.

My first loop!

My first loop!

I spun my first bouclé ply VERY high twist and fine, and did the core ply exaggeratedly slowly to add little twist to that ply.  After awhile I started to doubt my definition of low twist and gave the second half of my core yarn a more medium twist.  I didn’t dive in and fill bobbins with these because I wasn’t sure how they’d work out.

On to plying.

The first note I made? “Whoa. This is tough.” But you know, lots of things are tough, especially when you first start, so I gave my hands some time to settle into a groove and start to understand the new motions.  I found I had to go rogue from what the books told me in terms of how to move my hands and got into this funny trick of passing the bouclé ply from one hand to the other and pinching it with the core.  It worked for my hands and I just trusted my body and went with it.  Refining technique can always come later. 

Well, I tell you, I was starting to feel like bouclé was overrated when then, like a tiny, bright, shining star, my first bouclé appeared! My hands must have made the right motion and timing worked out and there it was: a perfect little circle sitting on top of my yarn.  I was delighted!  Also hooked. Definitely hooked.  That tiny loop stole my heart.

After my first round of plying, sitting on my bobbin. I admit, at this point I was petty skeptical.

After my first round of plying, sitting on my bobbin. I admit, at this point I was petty skeptical.

Let me clear – it was not all sunshine, rainbows, and perfect little loops from there on in. My medium twist core really wasn’t loose enough, but the barely spun core worked quite a bit better.  My bouclé ply was too fine and highly twisted so I tried thicker and looser. It worked better, but still not quite right.

As I practiced I got more loops and they are totally darling!  I let out a little squeal with each one that appeared, but I wasn’t loving the yarn as a whole.

I set it down for awhile, busy with life and not convinced I’d done a good job. Finally, I decided to come back to it and plied it with the binder. Well, if I have any advice here, it’s don’t wait to add your third ply! All of a sudden I was totally in love with my yarn! Yes, it needs some work and I’ll learn more and make it better, BUT something completely magical happens when you do the final ply. Everything seemed to bloom and standout, and say “hey, here I am! I’m a bouclé!”

(Technical tip: I did a slight spiral ply here and loved the effect.)

So, I can finally say I’ve spun bouclé.  Was it perfect? No way! Was my yarn even all that good? Probably not. But, that’s what learning is! Trying things, making mistakes, trying new things, and having thrilling moments that get you closer to what you want. It was fun, and challenging, and I’ll keep at it – letting those little loops shine their light into my life.


bio-pic

In love with all things Textiley, Rachel Ann MacGillivray teaches spinning & other things at the New Brunswick College of Craft & Design in Fredericton, Canada.  A farm kid, spinning and wool are in her bones (well, not literally in her bones, that would be just a bit too wobbly).  Oh yeah, and she loves drinking tea.  Like, a lot.

Public Demonstrations and Living Archaeology Weekend

Today we are so lucky because regular PLY contributor Christina Pappas is visiting us on the blog! Read on as she takes us on a virtual tour of Living Archaeology Weekend in Kentucky.


A notice board for rock climbers at the Red River Gorge.

A notice board for rock climbers at the Red River Gorge.

The Red River Gorge in Kentucky is best known as a destination for world-class rock climbing, but during the third weekend of every September it’s better known for something else. For nearly 30 years, Living Archaeology Weekend (LAW) has been held in the Red River Gorge. For two days, demonstrations teach about American Indian and pioneer technologies and lifeways, archaeology, and protecting cultural resources. Friday is reserved for school children, and this past year nearly 1,200 4th and 5th graders participated in LAW. On Saturday, the general public is invited to join in on the fun. Demonstrations range from atl-atl (spear) throwing to long rifle hunting and it’s hard not to learn something new. Most people don’t know how important textiles were in ancient and early historic lifeways, but a group of us at LAW are changing that.

Sunrise at the gorge the morning of LAW.

Sunrise at the gorge the morning of LAW.

This was my third year demonstrating ancient spinning and weaving at LAW. I’m still new to this method of  demonstrating and teaching; every year feels completely different. The weekend is a whirlwind of activity. My first year at LAW, I assumed this would be like any other event where I demonstrated ancient textile techniques. There would be some polite interest and a few questions, maybe a handful of folks who would want to dig a little deeper into the technique. LAW is anything but. On Friday, the school kids are an explosion of energy and excitement. I always start by asking them what ancient people would have worn thousands of years ago. Animal skins are always a standard answer and I love to see their astonished faces when I show them the soft fabric made from local plants used for clothing. I show them how to twist plant fiber into yarn and then they get to try prehistoric weaving. The boys usually become shy and let the girls take the lead. This year was different. My husband demonstrated the weaving and once the boys realized this wasn’t just ‘woman’s work’, they had as much fun, and success, weaving

as the girls.
My demonstration table at LAW. I have examples of different types of textiles, some plants used for fiber, and a rainbow of color from natural dyes. The colors possible from natural dyestuffs always impresses my visitors. Also note the adorable baby playing in the back.

My demonstration table at LAW. I have examples of different types of textiles, some plants used for fiber, and a rainbow of color from natural dyes. The colors possible from natural dyestuffs always impresses my visitors. Also note the adorable baby playing in the back.

What makes LAW really challenging is that you only have a few minutes with each group of kids. I have to summarize 40,000 years of textile technology and teach how to make yarn and how to weave in 10-15 minutes. It’s a bit exhausting but in the end it’s worth it. My demonstration breaks so many misconceptions for these kids. Ancient peoples wore clothing as vibrant and interesting as we do that told as much about them as our clothes tell about us. LAW helps these kids learn that the stereotypes about ancient peoples they have grown up with are often wrong. It

helps them to realize that people in the past were not much different fro m them, and I hope they begin to realize how much they have in common with different people today.
My husband Chris demonstrates a type of prehistoric weaving, twining, to school children. The boys always seem reluctant to try the weaving because ‘that’s what girls do’ but seeing a man take the lead on the actual weaving inspired them to give it a go.

My husband Chris demonstrates a type of prehistoric weaving, twining, to school children. The boys always seem reluctant to try the weaving because ‘that’s what girls do’ but seeing a man take the lead on the actual weaving inspired them to give it a go.

I’m not alone in my textile-themed demonstrations. Robin McBride Scott demonstrates basketry techniques that have been used since ancient times. A self-taught basketmaker, Robin has been demonstrating at LAW for 13 years. Like me, Robin has found that the kids at LAW arrive with a lot of misconceptions about the ancient past. She tries to get them to see baskets as tools and not just a decorative art piece on the shelf, how changes in the basket weave can change the strength and use of the finished object, and the role baskets played in our technological evolution.

JoAnn Oborski provides the historic textile perspective and has been a LAW demonstrator for 8 years. Since her retirement from nursing, JoAnn has immersed herself in learning about historic spinning and weaving. Accuracy is important, so she makes sure the tools and techniques she demonstrates are close to those used by early pioneers. The kids try their hand at carding wool and spinning with drop spindles. Small table-top looms demonstrate in miniature the basic mechanics of weaving but what always excites the kids is the great wheel. JoAnn brings a working great wheel with her to the Red River Gorge to demonstrate how it spins. The wheel is so many times larger than any of the kids and they truly delight in seeing how it works. I’m not sure how many spinners are born in her demonstration, but there is immense pride in every child when they proudly show off the yarn they spun with JoAnn.
A great wheel is the show-stopper for kids at the historic spinning demonstration at LAW. Most of the kids have never seen a spinning wheel in person, let alone a great wheel.

A great wheel is the show-stopper for kids at the historic spinning demonstration at LAW. Most of the kids have never seen a spinning wheel in person, let alone a great wheel.

LAW has become one of my favorite fiber-related activities all year. It is exhausting, but it’s always so much fun. Demonstrating at LAW has made me really think about what is most important for people to learn about spinning and weaving. When you only have a few minutes of a child’s attention, you have to make sure what they take away from you matters. Knowing that ancient people spun and wove and that the stereotypes are wrong is what matters to me.

Next year I’ll be back at the Red River Gorge with LAW. If you find yourself in Kentucky during the third weekend in September, you should join us. Who knows what lesson you’ll learn about the past!

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Chris is an archaeologist by day and a fiber fanatic by night who is happiest when she can be both at the same time. She lives in Kentucky with her husband, adorable baby girl, and two crazy beagles.

Winning!

Wow. If the last post was any indication, y’all like us and that feels great! I’m proud of this magazine, of the people that work on it, write and design for it, and support it in any way. I feel passionately about what we’re doing and the way we do. And that could be enough. It really could. But the fact that y’all like it too, that it means so much to so many spinners, well, that just fills my heart.

I made a page of the reviews so feel free to take a look. We’re hoping it’ll help influence those that haven’t made the jump yet, to give PLY a try.

As for the random drawing winners, here they are!

Number 1, for the fiber from Wild Hare Fiber, the winner is Becca H. Roy!

Number 2, for the mystery prize from my studio, the winner is Jennifer Hewett-Apperson.

But really, I feel like I’m the winner and whenever I get overwhelmed and stressed, I’m going to push play on the recording I made of Levi reading all those reviews aloud in his sexiest voice.