The Hat Queen

words & photos by Jane Daniels

Hats are often a first knitting project because they can be finished quickly and involve only knitting if done on circular needles with a rolled edge.

In 2013, I embarked on an adventure to knit 500 hats, as in the Dr. Seuss book The 500 Hats of Bartholomew Cubbins, and decided every hat needed to be unique. Since I had pictures of hats I had made, I figured I had already knit 100 of them, and I understood basic hat construction of several styles.

Since I’ve been knitting since 1963, my stash had many small balls. It could have been considered the Fort Knox of tiny wool treasures, and I wanted to eliminate them. So I took seven different yarns (dark, light, textured, multicolored, and 3 coordinated colors) and created stripes as I knit the hat. The ribbing was a neutral color and it separated 3 different yarns. By changing one or two of the yarns, I could create hats that were different yet similar. I learned how colors would interact with each other. When someone wanted a particular color for their hat, by using several shades of that color, I didn’t have to worry about the hat matching a particular outfit.

Undulation

Some balls didn’t have quite enough yarn for a hat. So as I knit, I added some stripes or intarsia. But those projects didn’t completely solve the problem of too many small balls and sometimes contributed additional ones.

My stash also had yarn that came to my house with a message: “My mother [aunt or neighbor] passed away, and she was a knitter. So here is some yarn.” Another message was “I bought too much yarn for a project, so here are some leftover balls for your hat project.” With multiple balls of the same yarn, I knit different style hats or knit the same style hat but changed the ribbing, size, or how I finished the top or added a rosette to the side.

While I religiously swatch for any knitted garments that follow a pattern, I don’t swatch for hats, scarves, or mittens. Because those items are frequently for charity, I know they will keep someone warm.

As my project progressed, I began knitting series, which were typically done within a short period of time. For the most part, the results were for charity. I gave my series names such White Out, which had different types of stripes on white hats. Another type of series was knitting the same base hat, but adding stripes, using two yarns to make stripes, and then using one of them with another yarn.

To add some variety to my knitting, I took pictures of hats or designs I saw that I liked and asked if I could recreate that design.

Or I created something that coordinated with a snow suit. When I visited Iceland, the landscapes and the wool inspired me.

Honestly, some attempts produced better results than others. One can learn from duds, and that hat will keep someone warm, everyone has different tastes.

I addressed color pooling on hats several ways. Knitting one row of a color that was in the ombre yarn and then two rows of ombre either tricks the eye and decreases the impact or creates a design spiraling up the hat.

Kaleidoscope

Another way was to randomly purl 1–3 stitches in the body of the hat and on the following round, purl another stitch or two offset from the first stitches purled. Again, it tricks the eye. A third way is to knit first one row and then use another ball or the other end of the same ball on alternate rows. But sometimes, I just let the pooling happen and added embroidery to make a picture.

While I am primarily a knitter, I also spin, but I don’t produce consistent results. So my stash of handspun textured yarns had either limited yardage or were not good enough for a project. Often, limited yardage means stripes.

But those textured yarns were ideal for a “picture.” Having knit a landscape on a vest, I decided to try knitting a hat with a landscape. Guessing at a gauge, I cast on and then use intarsia to create the landscape, designing as I knit, adding purl stitches for texture. My landscape hats feature mountains, streams, or even the seashore with vegetation in the foreground and a blue sky with white fluffy clouds. There are lots of ends to sew in, which I do.

What did I do with all the hats? As soon as I had a stack, I primarily gave them as gifts to thank people or to charity. My family and friends benefited as well. My daughters and grandkids always checked the pile of hats when they came to visit to see if they might find one they really liked.

My 500 hats project taught me design, construction, and new techniques, and my knitting friends gave me the moniker “Hat Queen.” Making a hat allows you to experiment with color, use some handspun, try different beginnings and endings, see if you like a new technique, or knit with an expensive yarn. Playing with yarn satisfied my urge to be creative and was like an artist’s sketchbook. I could experiment knowing someone would be able to wear that hat and keep warm.

Basic hat

To knit a medium size hat using either worsted or DK, I cast on 88 stitches with either US size 7 or 8 needles if I wanted k2 p2 ribbing or 90 stitches if I was doing k1 p1 ribbing. The weight of the wool and needle size would determine the size of the hat. I worked the ribbing for about 2 inches and knit until the hat was about 5½ to 6 inches. I chose between 2 styles of decreases: I decreased once every 8 or 9 stiches every other row. Or, when I had used k1 p1 ribbing, I decreased every 10 stitches. At some point, I changed to double pointed needles and decreased stitches until I had 8, 9, or 10 stitches left. I then added one of the finishing touches (see below).

A good beginning

The samples in my photos show a variety of ways to begin a hat.

Ribbing –You never go wrong with k1 p1 or k2 p2 ribbing.

Garter – When knitting in the round, remember to alternate knit and purl rounds.

Rolled edge – The easiest beginning, just keep knitting.

Cables – Cast on a multiple of 6 stitches, k4 p2 for two rounds. On round 3, cable the 4 knit stitches and purl the purls for one round. On rounds 4–6 knit the knit stitches and purl the purls; round 7 repeats round 3; rounds 8 and 9, knit the knits and purl the purls. On round 10, continue to knit the hat.

Lace – Use 8 stitches and an 8-row repeat with 88 stitches in the body.

Finishing touches

My photos show various ways I finished the top of the hat.

Easy Peasy– Cut yarn, leaving 10 inches; thread yarn needle and draw through stitches remaining on needle.

I-cord point –Continue k2tog until 3 stitches remain. Make a short length of I-cord so it is just a little point (about  inches). Cut yarn, leaving 8 inches. Draw through remaining 3 stitches and weave in the end.

I-cord button – Continue k2tog until 3 sts remain. Make enough I-cord so you can form a button or a knot. Cut yarn, leaving about 15 inches and draw through the remaining stitches. Make a knot and sew down with the remaining yarn.

Crocheted Loops – Cut yarn, leaving 24 inches. Crochet a chain, making loops which you fasten down.

Braids – Cut yarn, leaving 8–10 inches. Thread yarn needle and draw through stitches remaining on needle; bring any excess yarn up through gap in the circle of stitches or supplement as needed. Make small braids using the excess yarn. Make a knot at the end, leaving a small tassel.

Pompom – Cut yarn, leaving 8–10 inches. Follow instructions on a pompom maker. Once you have formed the pompom and secured it, thread the end of the yarn mentioned above through the yarn which had drawn in the pompom back through the top of the hat. Repeat and then secure the end.


When Jane Daniels was 10, her mother’s 2 attempts to teach her how to knit failed. But as a college freshman, she tried again and found she loved it. Since then, Jane has designed and knit more sweaters than she can count, including 7 original designed fisherman sweaters. Find her as JDHiker on Ravelry.

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.

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January Vlog with Jacey and Jillian

In this quarter’s vlog, Jillian and Jacey discuss the Winter 2021 Head and Hands issue, starting with the things they love most from this issue. Jacey does some modeling of the gloves and mittens she especially enjoyed. Jillian shares the businesses that contributed to this issue: fiber, tools, and wheels. Which wheel does Jillian really want—and was actually Jacey’s first wheel? Jillian also shows off two new features that started in this issue: Take 5 and PLY Tutes. Jacey—with the caveat that she is not Stephenie Gaustad—demonstrates double drafting using several types of fiber. She also discusses some of the different types of long draw (especially point of contact), and Maggie Casey jumps into the conversation as well. And Jillian shows off the Clemes & Clemes Lock Pop, which she says replaces her flick card and is a really simple and extremely helpful tool.

Next up: Jacey shares some sneak peeks at the next issue—Goats! At the photo shoot with the goats, what did a goat run away with? You’ll also see fiber examples that contributors for this issue sent in for their articles, including the different types of Pygora in lock and roving form. Jillian shares the vendors who will be coming to PLYAway.

And finally, Jacey makes an exciting announcement, which we’re not going to spoil here…

Links to Things Mentioned in the Vlog:

Spinners Phone Stand by Twin Mommy Creations
Shave ‘Em to Save ‘Em Sweater Spin with Deb Robson

Thanks to the following companies for providing wonderful fiber and tools for our magazine!
Camaj Fiber Arts
Mielke’s Fiber Arts
Jessie Driscoll
Knitter’s Pride
Ashford
Bricolage Studios
Frabjous Fibers
Rhapsody Fiber Arts
WebspunWares
Yarn Geek Fibers
Peaceful Prairie Ranch
Abstract Fiber & Yarn
Gritty Knits

Wheels used in this issue:
Kromski Sonata
Hansen miniSpinner Pro
Daedalus Starling
Majacraft Aura
Louet S-10

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.

Did you know we also have a monthly PLY newsletter? Sign up here!

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Spinning for a Durable Pair of Mitts

words and photos by Rebecca Roy

Whenever spinners discuss making yarn that can stand up to a great deal of wear, it is usually in the context of socks. I often feel like making a confession … I have never finished knitting a pair of socks. It’s never interested me. Phew, I feel better now that I’ve got that off my chest. However, this does not mean I haven’t spun yarns with durability as my goal.

I love to wear fingerless mitts, and my mitts get a lot of wear. They are the perfect accessory for me in the damp and chill of Scottish winters (and autumns and springs for that matter). The frequent dampness combined with the friction of active use has meant that many of my mitts begin to full and pill quite badly. The biggest problem spots are where the thumb rubs against the palm and also the cuff where my tough rain jacket is constantly moving against the fabric. My mitts don’t get holes like socks do but most have ended up looking pretty rough after only one winter.

When I purchased some dyed Southdown from Hilltop Cloud back in 2018, I decided to put to the test the durability and resistance to fulling that the Down breeds are known for. I also figured the springy nature of the Southdown fibre could give me some good elasticity so the mitts would keep their shape after months of being yanked on and off. I hate when fingerless mitts get baggy around my fingers, don’t you?

The Southdown top was dyed as a set of 3 complimentary semisolids: navy, sage green, and grey. I decided to spin each colour on its own and use the 3 separate yarns in some kind of colourwork. I wanted a smooth, firm yarn with good elasticity, so I decided on a basic 3-ply with quite firm ply twist.

I spun all the singles and plied the yarn on my spindles during Tour de Fleece in 2018.

When spinning on my spindles, I monitor my twist by checking the plyback frequently as I wind on. My singles were about 28 WPI, and the plyback had a twist angle of about 30 degrees. When it came time to ply, I added extra twist and went past a “balanced” yarn. I could feel the extra energy pushing back against the spindle just a bit during the plying. The finished 3-ply has a twist angle of about 45 degrees, but the extra ply twist settled down in the finishing and the skeins hung open and relaxed. After a warm soak, the finished yarn puffed a bit and ended up as a very round springy yarn at 16 WPI. The yarn was a bit denser than my usual 3-ply as well; I got only 960 YPP, and I can feel the solid nature of the yarn.

This yarn is not soft nor does it drape. The skeins wouldn’t make you want to nuzzle them against your face. But it is perfect for its purpose. It is very springy and has a firm sponginess to it that resists compression. Its very firm roundness caused me to change my initial plans. I swatched a couple of stranded colourwork motifs, but the extra layer of floats at the back of the fabric was a bit uncomfortable. Each strand was so distinct and round that I could feel the floats against my skin, standing proud of the inner surface. I decided to mix the 3 colours with stripes instead. The finished mitts were very smooth, and the stitches looked crisp. They hugged my hands nicely, with no prickly feeling on the inside of my wrists.

So how have these mitts lasted through wear over the past 3 years? From time to time, a few small pills would show up on the edges, but these were easily picked away. I have worn these regularly in rain and shine, working in the garden, driving, playing in our paltry snow. There has been no fulling and no blurring of the stitches. The mitts still hug my wrists and they haven’t become floppy around the edges either. They look pretty much the same as when they came off the needles, and I expect they will for some years to come.

I would give most of the credit for these elastic and unflappable mitts to the Southdown fibre itself. Like all the classic Down breeds, the fibre really does stand up beautifully to friction and dampness without fulling. With a bit of extra twist, the yarn did exactly what I wanted it to do. Even though the knitting was a little uncomfortable due to the firmness of the yarn and the ribbing doesn’t look as neat as I would like, the fabric is just perfect for mittens: springy, hard-wearing, and ready for any weather year after year.


Becca Roy learned to spin on a spindle back in 2010 and was immediately entranced. A spindle is still her favourite fibre tool. She has been a member of the West of Scotland Guild for nearly as long. She lives near Glasgow, Scotland with her family. At the moment, her favourite yarn is anything tweedy but that will probably change any day.

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.

Did you know we also have a monthly PLY newsletter? Sign up here!

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Recent Textile Discoveries in Archaeology

Archaeologists have made some textile discoveries in the past year that are of interest to spinners and clothmakers.

In Turkey, at a rather large Stone Age settlement known as Çatalhöyük, cloth was found in 1962. It took decades of discussion and new data and discoveries to determine if the cloth was made from wool or linen. Ultimately, researchers determined the cloth was made from bast fiber from oak trees. (from Norwegian SciTechNews)

In Spain, in a cave near Cordoba, archaeologists found a piece of fabric that is “the oldest evident of textiles in the Iberian Penninsula.” This loom-woven fragment is about 5400 years old. (from The Olive Press)

In Wales, in an Iron Age hillfort, one of the artifacts founds was a “stone spindle whorl.” (from The Past)

Two burial mounds in Poland, from the Wielbark culture about 2000 years ago, contained a number of items related to weaving such as spindles and spools. (from Heritage Daily)

In Norway, a number of discoveries have been found along Viking trade routes. One well-preserved piece of clothing has been called the “Lendbreen Tunic” and was made of wool. Also find was a distaff made from birch. (from Artnet News)

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.

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Comfort Fiber

words by Sylvia Smith

I write this while enjoying a cornucopia of natural offerings brought on by changing seasons. These seasonal changes have caused me to shift my focus from outdoor activities back to my fiber arts pursuits. My link to emotional quietude has been through fiber. Specifically, I am working through the home study (PLAR) option of Master Spinner Level 2 offered through Olds College. I completed Level 1 in September 2020 and elected to immediately dive into Level 2 as a positive focus for my energy during a pandemic-altered winter. The homework for both Level 1 and Level 2 of the Olds College Master Spinner program requires the student to spin specific fibers, as well as to spin fibers using specific methods and to recommended specifications.

I received a beautiful Athena Capricorn wheel for Christmas and an Electric Eel Nano for my birthday in January. I also recently bought a Dundas wheel from an old friend. Each of these spinning wheels operates differently from my Lendrum double-treadle wheel, on which I have treadled hundreds of hours to produce many miles of yarn. Upon receipt of each of these new spinning machines, I wanted to explore their unique traits without worrying about the quality of yarn that I would initially produce. I dove into my fiber stash and emerged with a bump of my good ole’ comfort fiber.

My comfort fiber is the result of purchasing a fleece produced by a dark colored mixed-breed sheep that I saw in a field about 25 years ago when I was still an inexperienced and solitary spinner living in central Idaho. After the owners sheared the sheep and sold me its huge dark-colored (possibly) Rambouillet cross fleece, I attempted to scour it and then sent it to a mill in north Idaho that processed it into thick pencil roving. This comfort fiber represents the very first raw fleece I ever purchased, and I have used this wool in countless public spinning demonstrations. I include inspirational amounts of this roving when I send aspiring new spinners out into the world with their own spindles featuring whorls made of either CDs or popsicle sticks.

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I am much more experienced and discerning about raw fleeces than I was when I purchased that first fleece. I now know I did not do an excellent job scouring the fleece and the fleece likely had second cuts and possibly a break in the fiber. The mill did a fine job processing what I now recognize was a mediocre fiber product

This comfort wool was the perfect fiber for me to use to acquaint myself with my new spinning wheels. Since I have spun a lot of this roving in different circumstances and for various purposes over the years, I have become quite familiar with its woolen and somewhat slubby characteristics. I understand that I will never produce a completely smooth and uniform worsted yarn with it. By using my comfort fiber that will never produce a perfect worsted yarn, I felt free to just play with my new wheels and become familiar with their unique personalities. I relaxed into the spinning process while drafting my imperfect comfort fiber and gained confidence in my techniques with each wheel without judging the yarn as it formed on the bobbin.

I compare my bond with my comfort fiber to our society’s gusto for such foods as baked macaroni and cheese, ice cream, or burgers and fries. We know that a steady diet of these foods will not contribute to a state of optimal health, just as spinning my comfort fiber will not produce perfect yarn. However, the aromas, textures and flavors of our comfort foods remind us of pleasant memories and link us to experiential traditions. It is a good thing to occasionally give our spirits and bellies a moderate dose of such treats, though we may choose to partake more regularly in other foods in order to promote well-being. Similarly, I have learned over many years to be quite discerning about the types of fiber and method of preparation if I spin a yarn for a specific use. When I sat down to a brand new spinning wheel in a world that has been so changed by the pandemic, it felt so very reassuring to smell, touch, and spin my good ole’ comfort fiber because it elicited great memories and validated the knowledge I have gained since I first acquired that fleece. As I drafted my comfort fiber into yarn on my new wheel, I felt like I was spinning threads of possibility for more fun fiber adventures and learning opportunities.


Sylvia Smith learned to spin in 1994 while living in Challis, ID, and was a solitary spinner in that small and remote community. She and her husband now live in Kalispell, MT, where Sylvia has many friends in the fiber arts world and is active in the Alpine Weavers and Spinners Guild.

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.

Did you know we also have a monthly PLY newsletter? Sign up here!

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How to Navigate a Rut in Your Creative Life

words by Jess Cook

As I type this, my spinning wheel sits in a corner of my home office, gathering dust. I can’t tell you the last time I spun anything at all, let alone a whole skein – and I work for PLY! I’m surrounded by inspiration from all of you, and our amazing contributors, every single week. Yet for some reason, my own enthusiasm for the craft has waned, and I’m really not sure why.

(The proof in all its ugly truth: this is my actual spinning wheel, covered in dust and some random toys that my kids threw into that corner.)

If you find yourself in a similar situation, now or in the future, here are some tips I’ve been gathering for how to handle a rut in your creative life.

Follow your enthusiasm

Enthusiasm is a fickle muse, and sometimes it leads us to unexpected places. If you’ve found yourself not making time for spinning, but you want to make that time, maybe you need to mix things up a little bit. Is there a new fiber type, prep, or dyer you’ve been dying to try? A new technique you want to experiment with at the wheel? Maybe you even hear a new tool calling your name. Whatever sparks that enthusiasm inside of you, follow it. You may just find a path right out of your rut.

On the other side, it may be time for you to fall back into what feels natural and comfortable. A familiar fiber, a favorite color combination, or a go-to technique might get you back into the groove again, like reuniting with an old friend. Whatever your enthusiasm is telling you, it’s best to listen to that inner voice.

Remove unnecessary restrictions

A wise woman once told me that I was inventing timelines in my head for things that didn’t need to be restricted that way, and she was absolutely right. What restrictions have you placed on your life as a spinner or creative that simply don’t need to be there? If you’ve been telling yourself that you have to finish Project A before starting Project B, or that you can only make time for spinning once your hallway closet has been reorganized, or that you can’t start a project if you won’t be able to finish it by next week – stop doing that! You’re giving yourself limits that don’t need to exist.

For me, this tends to be a problem when I agree to complete a project for someone else. I love to use my creative skills to make things for people I care about, but as soon as someone asks me to make something for them and I agree to it – I immediately don’t want to do that project. (As an example, I’ve been crocheting a bed-sized blanket for my best friend for over a year, because I can barely pull together the enthusiasm to make a single row most weeks.) If you’ve put yourself into a situation like that, it may help to give yourself deadlines, but also build in time to work on other projects that are more exciting so you don’t lose the creative spark altogether. For everything else, the timeline you’ve invented for yourself should only be allowed to persist if it motivates and helps you, not if it makes you feel boxed in and resentful.

Stash with intention

Stashing is another hobby altogether, and for me it comes in seasons. Sometimes I like having a large, varied stash so I know there will always be something to inspire me when I open the closet where it’s stored. Other times, having a large stash feels like a To Do list that’s hanging over my head, with an imaginary project for every braid and skein, weighing down on me and making me feel like I’ve buried myself under the weight of unfinished projects.

If your stash inspires you, put it somewhere you can see it, and visit it often. If it makes you feel overwhelmed or obligated, give it away or sell it! The sheep are growing new wool every day, so you can always get more. I have done this several times with all of my creative hobbies, and I always manage to get more supplies when I need them. Sometimes clearing out my stash to make room for something new is all the enthusiasm boost I need to get back into my hobbies again.

Go easy on yourself

The most important tip is to give yourself grace and peace in all things. If spinning isn’t calling to you right now, maybe it’s because your inner voice is trying to tell you to make room for something new, and that’s going to be just the thing you need in this season of your life. Time is a finite resource, and we’re under no obligation to parcel it out to every creative hobby at all times. If this needs to be a season of rest for you, let it be that. If you want to be creative but spinning isn’t calling to you, listen for the call of something else. Taking a break, for however long it lasts, doesn’t mean your life as a spinner is over. Give yourself time to do what you want and need most, and trust that you’ll come back to your wheel or spindle when the season for spinning returns in your life.

Harness the power of community

If you aren’t feeling inspired to spin alone at your house, find a local spinning group or make one yourself if there isn’t one nearby. You can also find a lot of inspiration in an online community – join us for one of PLY’s vlog sessions or use the hashtag #InspiredbyPLY on social media to find folks who are trying new techniques and projects they found in one of our issues. Use Ravelry or another site to find spinners who want to join a challenge together, or just share ideas and photos with other creative spinners around the world. There are so many ways that spinning can bring us together with others, and sometimes seeing the things other people are making is all the inspiration you’ll need to get back to your own projects.

Here’s to a New Year that brings us all creative inspiration, time to rest, and the peace that comes from balancing both.


Jess Cook is a middle school teacher and freelance content marketer, who also works for Team PLY as the head of our wholesale & advertising departments. She lives in the Nashville area with her 3 kids, a menagerie of pets, and a closet full of craft supplies. Find her online at tinyurl.com/jesscookonline.

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.

Did you know we also have a monthly PLY newsletter? Sign up here!

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Write for our Spring 2023 Issue!

The Mood Board for our Spring 2023 issue is here: The Science issue!

Do lab-made or lab-perfected fibers, such as Tencel, rayon, bamboo, faux cashmere, or Angelina get your brain and fingers excited?

Can you tell us how they are made and exactly what they are? How to spin them to best effect? Do they work as blends? What about dyeing? How do these fibers affect the environment?

What about 3-D printed tools? Love or hate? Can you tell us how they are made, the pros and cons of using them?

What’s coming on the horizon of this new and exciting field? Who are some of your favorite makers?

How has science and technology changed spinning? Can you walk us through the evolution of spinning tools, from a twisty stick to a turbo fast e-spinner? What’s superwash? How is it made and what is its impact on the environment? Is there any impact on the spinner and the yarn? Any special considerations for how to spin this fiber?

What about our wonderful fiber animals? How has science helped us to develop better fleeces to spin? Is wool testing the way to get better fleeces? How are shepherds protecting the environment while bringing us exquisite wool? What’s up with shearing? Why is it good for a sheep’s health, and what’s the best process?

Can you tell us the science behind dyeing the perfect color (acid and/or natural) or creating the best fiber blend? How do mordants work in natural dyeing? Dyeing fiber is often overwhelming for some folks, so what is the minimum amount of science and math you need to dye fiber?

What is the science behind making a balanced and long-spinning spindle? Wheel? Bobbin? What tools have the best balance, and who are the most precise makers?

We know that to make yarn all you need is fiber and twist, but there’s science there. Can you enlighten us on the science of twist? Of balance? Of finishing? Of plying?

Calling all science and math lovers, please teach us the science behind a handspun yarn. How do you measure it, what do the measurements mean, what is the science behind the math, and how can a spinner use it all to make their perfect yarn?

Are there any big spinning personalities that focused on science? Who are they and what did they teach us?

How do you use science in your spinning? We want a big science-y issue for Spring 2023 and we want you in it! Go Science!

Submit your ideas here: https://plymagazine.com/contribute/write-for-ply/

Proposals of articles and projects are due by March 1, 2022. We’ll get back to you in April, and final pieces are due September 1, 2022.

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.

Did you know we also have a monthly PLY newsletter? Sign up here!

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Wild Hair Fiber Farm: Spinning to save sheep one smidgen at a time

interview by Jacqueline Harp | photos by Amanda Roberts

Creativity can come in small packages. Indeed, this is quite evident when you look at the whimsical, artisanal mini-batt called the Smidgen from Wild Hair Fiber Farm and Studio.

Handspinners from all walks of life and levels of handspinning proficiency enjoy spinning small projects that make just enough yarn for lovely fabrics that envelope our heads or hands with warm and fashionable accessories. The Smidgen helps inspire these small but meaningful spin projects, while contributing to the preservation of an endangered heritage breed sheep – the Romeldale/CVM.

Let’s take a look into the working sheep farm from which gorgeous fiber products are generated. Not only can you add Smidgens to your fiber toolbox, but by purchasing these mini-batts directly from the farm, you can also help maintain critical diversity of sheep breeds.

Meet the shepherdess

Amanda Roberts is the shepherdess and fiber artist behind Wild Hair Farm and Fiber Studio, located in the scenic countryside of Crossville, Tennessee. She maintains a small flock of two sheep breeds, Romeldale/CVM and Gotland. The Romeldale/CVM is a heritage sheep breed listed by the Livestock Conservancy as “Threatened,” which means a breed with fewer than 1,000 annual registrations in the United States and an estimated global population of less than 5,000.

Amanda: My granddaddy got me my first sheep in 1991 as a 4-H project. I was hooked. I fell in love with the sheep and we have had sheep on the farm ever since. I have always been very hands on and a part of the farm, but after my dad passed away in 2017, I took over as the main farm operator.

The Gotland sheep have been a recent addition to her flock due to her love of their fiber and their sweet dispositions. She notes that the two breeds complement each other by providing two very different fleece types.

Amanda: The Romeldale/CVM sheep fleeces come in every imaginable shade of grey and brown. This provides a fiber artist with a natural color palette. The wool also dyes well and provides rich tones. If I had to choose one thing about the Gotland fleeces, it is the luster. I am always impressed by the luster it adds to a fiber blend.

Care of the sheep

Amanda takes measures to keep her flock’s fleeces as clean as possible, but she does not coat any of her sheep.

Amanda: Keeping the fleeces clean is not perfect. I do skirt fleeces heavily. I have found that the weather plays a role in how much dirt and debris they pick up. Some individuals are just magnets for debris. That is one consideration I use in retaining breeding stock. A good example of this is Mattie. She is one of my older ewes but she consistently gives me a large fleece that is relatively free of vegetable matter and dirt. Her daughters have a tendency to do the same. I can’t explain exactly what fleece trait(s) equal a cleaner fleece, but some bloodlines seem to have ‘it’ and I do consider that when looking at replacement ewes.

Her flock is excellently cared for, and this care is what makes Amanda’s fleece and fiber such a treat to work with.

Amanda: I try to let my sheep be as natural as possible. That doesn’t mean they are out in the field and never see a human. They are seen a minimum of twice per day. I know my girls (and boys) by name and most will let me walk out in the field and walk right up to them. This calm nature or whatever you want to call it makes everything easier for me and less stressful on them. If I need to catch one, it is not a rodeo – although there is always the occasional exception.

The studio

Amanda is not only the gracious shepherdess of her flock, but she is the handspinner and fiber artist who brings life and creativity to her studio. The studio allows Amanda to make rovings, batts, and Smidgens that feature the fiber from her flock. She is also a talented indie dyer of rovings and yarns.

Amanda: I put a lot of time and heart into my fiber preparation, whether on the hoof, on the skirting table, in the dye pot, or on the drum carder. I want to offer fiber that is exceptional and a joy to work with regardless of the project. I view spinning and felting as a tactile art, so how the fiber feels and works is important. My goal has always been to offer fiber that is versatile for spinning on different tools (wheel, drop spindle, or support spindle), lends itself to different spinning techniques or yarn gauges, and produces a finished yarn or item that is striking.

The Smidgens

A Smidgen is Amanda’s special version of a mini-batt. It can be described as a little bundle of fluff in a tasteful blend of fibers and hues. It is a woolen prep full of energy and color ready to spin into beautiful yarns.

The birth of a Smidgen begins when Amanda finds inspiration from fantasy themes, books she has read, or a movie or show she has watched. She thinks about the colors and textures that will determine which fibers she uses. Her favorite fiber ingredient for Smidgens is Romeldale/CVM wool from her own flock. She also uses other wools and other types of fiber, such as bamboo or rose fiber. She weighs out her fibers, adjusting the ratios as needed, and cards them on her drum carder. Once Amanda feels that her Smidgens have been carded to just the right consistency, each batch is carefully taken off the drum carder and packaged to be sent to a new home.

I asked Amanda to choose three words to describe her Smidgens, and she happily obliged with the following:

Fun – Smidgens are fun to make and fun to spin or felt.

Versatile – So many things can be done with Smidgens: spinning, felting, or decorating the studio; the list goes on and is limited only by your imagination.

Irresistible – Smidgens hold so much potential, and once you get one, you have to get a second, and a third, and so on!

Conservation mission

To help bring awareness to her Romeldale/CVMs, Amanda and her flock participate in the annual Shave ’em to Save ’em (SE2SE) challenge hosted by the Livestock Conservancy (LC). The LC is a non-profit organization located in North Carolina, dedicated to the protection of livestock and poultry breeds vulnerable to extinction. The SE2SE program educates shepherds of rare sheep breeds on preparing fibers for sale and then connects those shepherds with fiber artists who have been encouraged to use those fibers.

Amanda: I feel that the SE2SE challenge is a great way to get fiber artists to try heritage breed wools. When we had in-person events it was surprising and somewhat discouraging to realize how many people have not heard of Romeldale/CVM sheep in my area.

Amanda provided a parting thought to handspinners looking to start their next head-and-hand spin project: Be willing to try new fibers. I love trying new fibers. I don’t always love them or even want to use them again, but I feel like it broadens my knowledge to try new things.


Bio

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 @foreverfiberarts.

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