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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The making of a prehistoric IKEA bag, Part 1

Ever wonder how people survived before the invention of those giant bags from IKEA? Apparently the answer is, they made their own! Christina Pappas shows us how it was done in this two-part post, starting today!


One of the bags we’re studying for replication. This was a large tote-style bag, much like the kind you can find at Ikea! Image courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

When we last met, we took a long look at the slippers I’ll be replicating for this project. This week, we’ll be getting to know the bags. Have a look at my last couple of posts to learn about this project and the slippers I’m making:

 

Pop culture likes to show archaeology with artifacts that are intact and spectacular. Man, I wish that was how it really worked. I don’t think the Indiana Jones franchise would have been as successful if they showed Indy and his students during their summer field school carefully mapping individual pieces of stone tool debris. No, golden statues and gigantic rolling boulders are far more fun.

Braided warps give us both strength and flexibility for carrying bags. Image courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

That’s sometimes how it feels when you’re a textile archaeologist. People imagine ancient Egyptian tombs or Chinese silks, but that’s rarely the case. The southeastern US, where I work, is not suited to preserving organic materials like fabric. When we find the fragments of ancient culture we must work to carefully piece them together to tell the story of our distant ancestors. It’s hard work, and finding a complete object is rare.

For the bag we’re going to try to replicate, we have to look at multiple different bags to figure out how to make one. That’s because we don’t have a complete bag and we need to piece together the different parts. All the objects we’ll be looking at today are in the collection of the William S. Webb Museum of Anthropology at the University of Kentucky.

The Webb Museum has several prehistoric bags from Kentucky. They are in varying degrees of completeness, but combined can help show us how a bag was constructed. We’re going to look specifically at two bags from one rockshelter, Newt Kash Hollow. We think they’re close in age to one another, and were made in a similar way to one another.

Rattlesnake Master plant – once the plant starts to die back for the winter, it’s time to harvest the leaves for fiber. Image from Wikimedia.org.

The first thing I notice when looking at these bags is that their warps aren’t spun – they’re braided! These bags appear to be made from a native grass called Rattlesnake Master (Eryngium yuccifolium). This grass makes for a hard-wearing yarn, but when processed into a 3-ply braid, it seems to be more flexible yet able to retain its strength. Perhaps that’s why the ancient Native peoples choose to braid their warp rather than spin it? They could make a strong yet flexible warp for a bag that could bend and support a heavy load. These warps are pretty thick, averaging about 1 ½ warps per centimeter and each about 0.6 cm (0.23 in) in diameter. The grass was well shredded before it was braided.

 

This knot is where the weaving ended. The twining was begun at the outter edge of the bag and twined around till you reached the bottom. Image courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

The wefts are made from a plied yarn, two Z-spun singles S-plied together. It’s much thinner than the braided warps, averaging about 0.3 cm (0.11 in) in diameter. I’m not sure if the wefts are also made of Rattlesnake Master. They are much thinner and more finely shredded than our braided warps. I will probably need to experiment with the Rattlesnake Master to see if I can make a yarn that fine. The weft rows are pretty far apart so measuring wefts/centimeter won’t help us much here. Each weft row is made up of two yarns twining around the warps. The wefts twine around individual warps near the edges and bottom of the bag but around pairs of warps in the body. This is probably to give additional strength and stability to the edge and bottom of the bag while keeping the sides flexible.

 

The tops of the bags are a bit different from one another. The edge of one bag was made by folding and twisting pairs of braided warps around a cord which then became a drawstring for closing the bag. The other bag had individual warps folding and twisting around a cord, but the cord was a part of a finished edge, almost like knitted i-cord, that went around the entire edge. Thickly twisted 2-ply yarns were tied along the edge to act as handles. The handles on this bag would have allowed it act much like the large tote bags you can get at Ikea. It was probably just a big – the warps each measured over a meter in length.

The top of our drawstring bag and a close-up showing how the cord was looped through the top of the bag. Images courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

 

The top edge of the our tote bag. See how the finished edge acts like i-cord for knitting? Image courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

So what do we know so far?

I’ll need to find some Rattlesnake Master and process it so I can make 3-ply braids for the warps. My bag will be much smaller than either of these bags to keep this project manageable and to make sure I can find enough Rattlesnake Master. I will also need to make the 2-ply yarn for the weft and for the edging. I’m not sure those were made from Rattlesnake Master so I’ll have to do some additional research and experimentation.

Practicing my thigh spinning. It has been a long time since I tried to make yarn this way and I’ll need the practice for this project. Rafia grass, readily available at most craft stores, is the prefect material for practice.

Our next step in this journey is to collect and process our plants for fiber and then the real fun begins: spinning and weaving! I’ve been experimenting with two different ways to spin my fiber – thigh spinning and finger twisting. It seems like there’s always something new and different to learn.

Till next time!

 

 

 

 

 

 


 

 

Chris Pappas 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.

Our apologies

Hello, fabulous spinners! As you probably know, we work really hard to bring you what we feel is the best the world of spinning has to offer, from our articles to our fiber choices to the products & services we recommend in the pages of PLY. Since we are human, though, we are susceptible to errors, and it looks like we’ve made one in the winter issue.

In the SCENE section, we recommended the iSpin Toolkit app. Jacey herself has and uses this app regularly and has never had a problem, but a few of you have written to us to say that you purchased it and now it’s not working. If you find yourself in this situation, we recommend you contact the designer, mgolden@mac.com. If you don’t get a response that satisfies you, we’d recommend disputing the charge with your credit card company.

We’re sorry if we’ve caused any of you a hassle because of this recommendation. Unfortunately we couldn’t have foreseen this, but we regret any trouble it may have caused!

Desert Island Spinning: 3 Small Tools

If you were stranded and limited to only three small spinning tools, what would you choose?

What are the tools you can’t live without, at least this week?

I have never grown out of playing ‘what if’ games. It’s just fun and I always want to know what other people would choose.

I will add the caveat that you already have your favorite spinning wheel and all of the fiber you could want. And don’t choose books, we’ll do that one on a different day.

 

 

Here are mine:

  • oil – to keep my wheel happy and humming along.
  • a solar powered scale –  for measuring weight and grist. I can measure inches and yards with parts of my body, so I don’t need a wpi measure or yardage counter.
  • tags – to remember all the yarn and fiber details for me. I have to write everything down.

Your turn, if you were limited to just three small spinning tools what would you choose?