Staple length—the average length of individual fibers in a fiber preparation—is one of the most important characteristics to consider when preparing and spinning fiber by hand with a worsted technique. Whether you’re spinning Merino or a longwool like Wensleydale, understanding staple length helps you to control your drafting technique and create the yarn you intend.
I consider this the Goldilocks problem of worsted spinning. The goal is to position your hands to allow you to draft “just right.”
Whether you use a forward or backward draw when you spin, your hands draft the fibers out into a narrower strand before or while twist is being added. The distance between your hands creates a drafting zone: if your hands are too close together for the staple length of the fiber, the fibers won’t slide past each other easily. You are essentially holding both ends of the same fiber and I promise the fiber is stronger than you in this tug-of-war match.
If your hands are too far apart, you may lose control of the draft, especially with short fibers. You might find that as you draft, the fiber suddenly comes loose and drifts apart, leaving you holding two separate sections of fiber and a whole lot of frustration.
The ultimate goal is to set your hands at just about the average staple length, so the fibers can move and draft smoothly without pulling apart. Not too wide, not too narrow, but just right.
For short-stapled fibers, like cotton or yak, your hands need to be close together—sometimes only an inch or two apart—to control the drafting and prevent the fibers from slipping apart. One of the reasons we often choose a long draw for these fibers is because of how difficult it can be to maintain such a short draft zone.
Medium-staple fibers, such as Corriedale or Romney, are more forgiving. You can draft them with your hands 4–6 inches apart. Many spinners find their comfort zone in this range.
Long-stapled fibers, like Lincoln or silk, require your hands to be farther apart—sometimes MUCH further apart. If you hold your hands too close, these long fibers won’t draft well; instead, they’ll resist movement or break under the stress.
Matching your hand placement to staple length is essential for an efficient, consistent, and ergonomically sound draft and to avoid unnecessary frustration. If you are ever fighting your fiber while spinning, stop and ask yourself if your hands are too far apart, too close together, or just right!
Rose gray is one of the most mysterious colors present in the alpaca fleece color range. It is a color comprising three shades – light, medium, and dark – which can be imagined as coffee with varying amounts of cream added. The hint of rose is most noticeable in medium rose gray but is a magical characteristic of all three shades. Let’s unravel a bit of this alpaca color mystery with a fiber study!
A light rose gray alpaca named Bo, photo credit: Karen Campbell, Hilltop Splendor Alpacas, Moody, TX. A medium rose gray alpaca named Ruger, photo credit: Camelid Corner, LLCA dark rose gray alpaca named Bandit, photo credit: Camelid Corner, LLC
Light rose gray Gray predominates in light rose gray. It reminds you of fog or of a ghost, with an otherworldly pink hue. On the animal, it looks like a rusty gray cloud until you open the fleece. When spun into yarn it looks slightly darker, but not in a heavy or unpleasant way.
Medium rose gray Jaw-droppingly beautiful, medium rose gray is the pinkest shade of rose gray. The pink blush only becomes more pronounced when spun. Alpacas with medium rose gray fiber often have adorable faces with brown eye patches and gray-white bodies frosted with brown. As a yarn, medium rose gray fiber stands out with an ethereal look.
Dark rose gray Dark rose gray is the moodiest and darkest of the rose grays. It has lots of black fibers with sun-kissed tips. On the alpaca, it reminds you of a chocolate truffle, lightly dusted with powdered chocolate on the outside but a midnight black on the inside. Because of its depth, this fiber likes to be the star of its own show as a yarn.
Raw locks, L-R: Light rose gray, medium rose gray, and dark rose gray. Photo credit: Jacqueline Harp.
Prep tips If you get a whole alpaca fleece, the color is usually not uniform throughout the fleece, and this is especially true of rose gray. Do not be afraid to lay out the entire fleece and break it apart according to like colors. You then have more options on blending those portions for your desired outcome. Furthermore, it should be noted that any of the rose grays are easily confused with dark silver gray, but a true rose gray will have brown, white, and black fibers. Dark silver gray will have gray, black, and white, but no brown fibers.
Can you determine softness by color? Unfortunately, color does not determine softness. Softness comes from age, genetics, feed, and environmental factors. You cannot trust your eyes when evaluating a fleece for softness. When in doubt, spin a small sample. Test that sample against tender areas of skin, such as wrists or neck. Keep in mind that what may be soft and comfortable for you as yarn may strike someone else differently.
Handspun yarn samples, L-R: Dark rose gray, medium rose gray, and light rose gray. Photo credit: Jacqueline Harp.
Blending tips Not only can you blend any or all of the three shades of rose gray together, you can also blend in any other alpaca fiber color to lighten or darken the shade. Because rose grays are so rare, think twice before shifting colors by blending. To brighten your rose gray, add white or brown. To achieve the opposite effect, add gray or black. I always recommend blending in small increments before committing to making a large batch.
Dyeing tips Of the three shades of rose gray, light and medium are the most suitable for dyeing. The higher percentage of black fibers in dark rose gray causes colors to be absorbed rather than highlighted. The results are dull, muddy shades. In contrast, light and medium rose gray pop with color and richness when dyed due to the presence of white and brown fibers. Imagine jewel tones, and you will understand how dyeing medium rose gray will look.
Spinning tips It is worth diving into all three of the rose gray shades. As with any handspinning colorway, be sure to buy enough for your project. Even if the rose gray comes from the same farm, the shade will vary from animal to animal and year to year.
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 former certified Master Sorter of Wool Fibers through the SUNY Cobleskill Sorter-Grader-Classer program. Her Instagram is @foreverfiberarts.
Sending a special thank you to the folks at Camelid Corner, LLC (https://camelidcorner.etsy.com) for providing fiber samples and beautiful rose gray alpaca pictures for this article. Their dedication and care for alpacas is incredible.
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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.
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Every spinner’s most prized possession is most likely their wheel. Our wheels are what enable us spinners to do the thing we love. However, like all pieces of machinery, they have to be cared for and maintained. Now, this is not necessarily a “how to fix a broken wheel” tutorial because every wheel is different and every scenario is different. Today, I would just like to share with you a few essential tools every spinner should have handy to keep a wheel in working condition and fix solutions to tiny problems.
Why should you keep tools around?
First off, I am not telling you to start carrying around a woodshop’s worth of tools everywhere your wheel goes. That would be unreasonable. However, our wheels can be unpredictable, and a number of things could happen. A drive band could snap, a screw could come out, a spring could become uncoiled, or something simple like your wheel sounding super creaky and annoying. Having the basic tools around is helpful when your wheel decides to stop working out of the blue.
For example, at the Junior Spinning Competition MDSW 2024, a contestant’s drive band’s knot suddenly came loose and we needed a quick fix to make it tight again. We were able to fix it in time for the competition, but events like these remind me how important it is to keep spare parts around!
Of course, not everyone is going to be in a competition every time they spin. However, if you frequently demo, travel with your wheel, or are simply an avid spinner, keeping spare parts to your wheel can be a miracle when your wheel breaks or doesn’t work quite right.
What exactly should you have?
Each spinner will have different needs according to their wheel type. Some of these tools might even depend on individual preference. Not every one of these are extremely important. In fact, some of these only need to be used once in a blue moon. This might seem like a long list, but trust me, everything here has a purpose depending on the situation.
1. Oil
Oil is the one thing all spinners should keep handy (unless your wheel doesn’t require it). A good spinner should oil their wheel at least once every few times they spin if not every time. Oiling your wheel is quick and easy. You simply squirt a drop on the different moving (metal) parts and bearings (check your manufacturer for recommended oil placement). This will keep the bearings spinning smoothly against each other and will reduce friction that will most likely cause a really annoying squeak when you spin. If you spin frequently, oiling your wheel is key to having a smooth spin every time.
2. Extra drive bands
Drive bands can easily and quickly wear out/stretch out if you use your wheel often enough. Synthetic polyurethane can last for a long time, but you never know when the day might come that it will decide it’s served enough time. As for string or cotton bands, knots may easily come loose, and it can be hard to tie them a second time or sometimes they just have to be cut off. Frequent use and friction may also cause abrasion on the string and may cause weak spots, eventually leading to breakage. Your drive band is one of the most important components of your wheel, so ensure that you have a spare lying around your craft room.
A quick note on drive bands:I suggest that you keep both a polyurethane and a string drive band around, especially if you like collecting antique wheels or you own a vintage brand wheel. In some situations, the drive band may or may not affect the speed and rate at which the yarn winds onto the bobbin. A heavier drive band may cause your bobbin/flyer to wind more yarn than you can spin. You may find yourself fighting the wheel to keep the yarn in your hands.
This P.S. may not apply to you if you’ve had a wheel for ages with the same drive band. You already know what works and what doesn’t. However, if you’re trying a new-to-you wheel, and you find yourself struggling to spin at the rate your bobbin intakes yarn, try different drive bands to see if that helps you out.
3. Beeswax
For those of you with antique wheels, or who have string drive bands in general, beeswax is a must. Beeswax can make your drive band stronger and longer lasting. It also serves the purpose of adding a stronger grip to your drive band so it spins and moves the parts it needs to move with ease. You can easily keep a tiny chunk of beeswax with you and run it on the drive band at least once or twice every time you sit down to spin. The wax wears off, so constant application may be your best bet.
4. Screwdrivers
Depending on your wheel, screws might play a key role in certain parts of the wheel. For example, on my wheel, two screws help to keep plastic strips that connect the treadles to the wheel itself. These screws may come loose quickly or need to be removed to access and repair certain parts. For my electric spinners, most of the motors are held in place with screws attaching it to the spinner. Motors can, without a doubt, need replacing as they can be a delicate piece of machinery that can blow out or need to be switched out for a stronger, better one. Screwdrivers are most definitely one of, if not the most, valuable tool to keep on hand.
5. Extra bits and bobs
Everyone has different wheel types and styles. Wheels from different companies and wheelmakers may differ in shape, material, size, and parts. This means some parts for your wheel may be hard to come by because they are made specifically for your wheel. Therefore, if and when possible, buy these spare parts so you can replace them when something breaks.
You never know when a part breaks down or has just served its purpose for long enough. This is why I personally like to keep spare bearings, plastic bits, and screws around for my wheel when possible. Because I often take my wheel out and about for demos, I don’t want to risk not being able to spin any longer because the screw fell out of my right treadle!
Recommendations from other spinners
I asked 57 spinners what they think is the most useful thing they keep around and why. Not entirely surprising, spinning wheel oil and spare drive bands tied, with both items each making up 35 percent of the responses – 70 percent of the responses total.
For James P., oil is most important because “A wheel is a machine which has various bushings and bearings. If the bearings are sealed then that’s easy, no maintenance needed, but invariably most bobbins or flyers sit in either bronze, leather, or plastic bearings. To keep those spinning smoothly, quietly and so as they don’t alter my takeup, they really benefit from very regular oiling. Regular oiling (I oil every 30–45 mins) also cleanses the bearings as well as lubricating them to ensure particulates don’t prematurely wear them down. For me it’s the single most important thing I do to maintain my wheel as I spin.”
Here’s what Karen B. said about her drive bands: “My Majacraft Rose has a plastic drive band. I am not sure how easy it would be to make a temporary one out of cotton. That being said, if my drive band is broken, I can’t spin. To be prepared, I have a little case with all these items that I keep in my spinning travel box. It goes with me to all guild meetings, demos, or just a spinning day in the park.”
Screwdrivers also seemed to be a popular choice among the spinners, and Callie W. provided an excellent explanation as to why: “A screwdriver is the only tool that I have used on my wheel. Sometimes the fasteners holding the wheel together get slightly loose, or the screws on the treadles loosen.”
Conclusion
Wheel maintenance is key to good spinning. Maintenance will keep your wheel running smoothly and will leave you to worry about your yarn and not what your wheel’s issues are. Again, this is just a general list of tools, but everyone has their own unique preferences and wheels. Like so many other aspects of our craft, find what works for you. When you have a wheel and method that works for you, you’ll be on your path to success. Happy spinning!
Kai Solon is a young fiber artist who enjoys spending his free time spinning, weaving, and natural dyeing and has also recently dabbled in kilt making. Kai shares his fiber journey on Instagram and YouTube as @FiberByNature. Outside fiber, you’ll find Kai playing his heart out in his high school drumline.
I have become increasingly aware of the importance of buying local when I can: the food I eat, the clothes I wear, the wool I use for my spinning. Is it possible for us as spinners to buy local wool to fulfill our spinning needs and support local shepherds at the same time? When we purchase locally, we play a part, however small, in contributing to sustainable agriculture in our part of the world. Additional benefits include providing support to the rural economy and helping to ensure that local agriculture stays alive and thriving.
Benefits of supporting local farms
It is my experience as a shepherd and spinner that many flocks exist because of the love for the sheep not the profit hoped to be made. The harsh reality is that the price obtained for a fleece does not even come close to covering the expense of producing it. From the cost of feeding, veterinary care, and shearing to the labor involved in caring for that flock, it is often a losing proposition financially.
I feel strongly about directly supporting those who raise our woolly friends; we are truly fortunate to have such dedicated shepherds. I highly recommend seeking out your local shepherds and seeing what they have to offer. Start a conversation with your fellow spinners and find out who they know. Some sheep farms welcome inquiries from spinners interested in learning about their flock and the possibility of purchasing a fleece. You may be able to meet the sheep providing your wool! Check out the fleeces available at your local sheep and wool festival if you are fortunate to have one in your area.
A full fleece too much to consider? My spinning friends often enable each other by sharing a fleece. Not interested in working with a raw fleece? Many small wool mills will process a single fleece for you into lovely clean roving.
A local-to-me Shetland flock
Often small producers attempt to fill a niche by raising unique sheep breeds that may not be a viable choice to raise on a commercial scale. One such farm in my area is Lonach Farm, nestled in the foothills of the White Mountains of New Hampshire. This bucolic setting is complete with an 1870s farmhouse, barn, and a pasture. Maureen Fleming began her shepherding journey in 2005 with two Shetland wethers. Her breed choice was partially influenced by her Scottish ancestry but also by the versatility and adaptability of the breed. A knitter at that time, she now is a spinner and a proponent of handprocessing these unique Shetland fleeces.
Her flock now numbers twenty-five, and they exhibit the wide array of color variations and fleece types that the breed is known for. Her Shetlands have been selected from farms in New England and beyond. Early on, the decision was made to raise sheep with a focus on producing premier fleeces rather than breeding or showing. This choice has allowed her to produce a prime product for the fortunate spinners who are able to add one to their stash.
While growing their wool, the flock grazes at home for part of the year but spends the summer at “camp,” grazing at a nearby conservation farm. This is a mutually beneficial arrangement – the sheep have luscious grass to feed on and the farm’s pasture is maintained and the soil aerated and fertilized by the sheep. In the early fall they return home where they spend the winter eating locally harvested hay. The sheep are coated from then until shearing time, which helps keep the fleeces as free of VM as possible.
Late winter is shearing time! The farm hosts a highly anticipated shearing day party where you will find the shearer, woolly sheep, friends, food, and a warm fire (outside!). This lively group of like-minded people gather in the barn, anticipating the choosing of their fleece, hopefully from a favorite sheep! Old and new friends chat, observe, and occasionally help maneuver the sheep for the shearer. The shorn sheep are recoated for warmth and the cycle of growing the new fleece begins. At the end of the day, spinners leave with their well skirted treasures – some to process themselves, others to be sent to a local mill.
Wherever you may live, please consider directly supporting your local shepherds in any way you can to help ensure continued access to local fiber. Even in an urban area you might just be surprised at what resources might be found a short distance away. Spinners certainly love to share their experiences – don’t be afraid to ask where you might be able to make a connection with a local shepherd! Your search may be rewarded with the delightful experience of taking a fleece from the farm to the wheel.
Donna Kay is a knitting instructor and designer as well as an accomplished handspinner. Playing with wool is one of her favorite activities. You can find her on Ravelry as treeoflife and on Instagram as treeoflifeknitter.
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I’ve spent the past two years taking risks with my spinning. While some of my new yarns are lovely, many did not turn out as I’d hoped. I processed and spun new-to-me Teeswater and Wensleydale fleeces (culminating in one amazing tunic and several duds), tried new spinning techniques (bouclé, cloud, and lockspinning, which all worked), attempted dyeing (I definitely did not get what I expected), persevered during a challenge project from my guild (this made me bananas for at least a month during all the spinning and knitting “fails” before the project ultimately turned out well), knit alternating strips of sari silk fabric with handspun (yuck for the first go, that’s for sure), and subbed last-minute as a three-day spinning workshop teacher (the flurry and fiber explosion in my studio were impressive, and I certainly had fun).
I’ve discovered that I need to celebrate my attempts at the new and different. I sell items at a gallery, and a few types of items sell fairly well. When I explore and challenge myself, I’m taking time away from production of the “known,” so that’s a bit of a risk (even though the income isn’t high, the gallery needs stock). On the other hand, sticking with the known risks boredom. Spinning what is easy and known is relaxing, but then I don’t learn a new skill.
Challenging myself sometimes results in discouragement to such an extent that I don’t even want to look at my wheels or fiber stockpile. I’m not confident with combining color. When the guild passed out random bundles to spin for a gift exchange, I couldn’t imagine how to put together dark purple, pale pink, and baby blue in any way that would make something I’d want to give to anyone, let alone another artist. I avoided my wheels for five full days after that. When I realize that I’m intentionally not spinning due to discouragement, I need to take care of myself rather than avoid my fiber stash in favor of the chocolate stash. In this case, my emotional self needed some encouragement, but the project turned out well in the end.
Other artists also notice this connection of emotional reactions to one’s creations. I overheard a painter suggest to another artist that she focus on what she does like in a problematic piece rather than making a broad blanket statement about not liking it. I figure that this is great advice for taking care of myself as a spinner. If I identify the positive attributes of my art, I then have changed my outlook. Perhaps I can think of the challenging colors differently, such as reminding myself that maroon and light blue sometimes show up in the morning and evening skies. This then might inspire me to add an additional color to tie them together.
Naming the positive attributes of my ineffective experiments resembles changing a mindset. I tend to think of Merino/silk top as meant exclusively for fine-spun worsted yarns. When I followed my maxim and made a 2-ply yarn intended for a lace scarf, the gorgeous top of pecan-toffee-caramel* became a “ho-hum” light brown without the lovely subtle shades. The remaining singles sat abandoned and ignored in my studio, and I went off to a workshop with Judith MacKenzie.
Judith had us spin both eri and muga silk (singles). These were so exquisite to spin that I left these bobbins alone even after Judith encouraged us to use them. When I finally needed these bobbins, I remembered her suggestion to try the singles in plying. The silk singles were close to the same weight and in complementary tones to the toffee singles. I decided to ply the silk and toffee together. The addition of the extra silky shimmer and two tones brought out the best in the singles. The finished yarn shows the different response the two singles fibers had to the rinse, but I was after a good color effect rather than a completely smooth yarn. Those pecan-toffee-caramel tones glow in the yarn. Not only did I have to recognize the positive attributes of the singles (even, fine, great color, nice hand), but I had to do something different. I don’t think I would have experimented with silk singles without the encouragement of another spinner. It wouldn’t have occurred to me.
Other spinners contribute to my self care, not only in suggesting new approaches but also just in sharing our creations. Celebrating the triumphs and sharing the funny mistakes is such an encouragement. One day recently I made a 3-ply skein of dark BFL, the first part of a fleece I hoped to have all spun before the next festival. I was pretty pleased with it until I finished it and discovered I had overplied it. Judith MacKenzie says that yarn judges can tell from looking at a yarn if a spinner was stressed while spinning. I had been watching Pirates of the Caribbean while plying. It showed in the yarn that I must have been anxious for Orlando Bloom’s life during all that swashing and buckling, even though last time I watched the movie, he was safe.
My favorite mistake yarn, however, is “Going the Wrong Way” – a very elastic energized yarn I unintentionally plyed the wrong way a few years ago. The skein stretches from about 10 inches to 28 inches, nearly three times its relaxed length!
When I share these yarns with others, both “Pirates” and “Wrong Way” always give us a good laugh, which helps me enjoy my mistakes. I was happy to read Jillian Moreno’s comment (Yarnitecture, 2016) that an overplied yarn like “Pirates” probably wouldn’t affect the project I had planned for it – a watch cap for my husband. I may keep “Wrong Way” for posterity.
Celebrating my mistakes and triumphs makes me realize how much I’ve learned about spinning since I started taking more risks. I can understand the technical descriptions in spinning publications, explain them to someone else, and apply them to my own spinning. I now give myself permission to give away fibers and fleeces I thought I’d enjoy but which are not yet “my thing.” I’ve learned that I can make complex-looking yarns, even though I see the flaws which identify them as a learner’s handspun.
I know my emotional self is connected to my physical well-being. When my attitude toward spinning is not positive, maybe I need to get out for a walk. Perhaps I need to change my position at the wheel, check the angle of my legs, notice where my hands and shoulders are, or put a pillow under my seat. It might be that my hands are too close or too far apart. Am I tense? With new fleeces, new ways of spinning, or when I’m trying to spin perfectly, I might be on edge. The first place I notice tension while playing piano is in my right ankle. When I intentionally relax that tension, I usually play better. In spinning, that tension is usually in my hands, and that tension affects my spinning.
My physical self, my emotional self, my intellectual self, and my social self – all of these affect my spinning. Thank goodness for my fiber friends and husband. I share my fails and successes with these people. They sometimes suggest changes and always grin along with me when I share what actually worked. Mostly, when I ask the question “Do you think this will work?” they say, “Just give it a try!”
According to some motivation researchers, we all are likely to stick for a long time with tasks we choose, over which we have some control, which engage our imagination, and whose challenge level is appropriate although the outcome is not guaranteed. If there are social elements to the task, that’s often motivating, but to a lesser degree and not for everyone (the same with achievement recognition and competition). The next time you approach that interesting project, note that you’re taking care of your creative self and motivating yourself just by what you’re choosing to do and how you do it. Celebrate your explorations and share them with others and let us celebrate with you.
*This fiber is known as “Lynx,” a 70 percent Merino, 30 percent Tussah silk blend.
Wendy Emo, PhD, takes risks playing keyboard in open mics, music jams, and a surf band when she’s not finding ways to use up (or add to) her fiber stash.
The beginning of the year is the perfect time for planning your crafting year – all the things you want to accomplish in your creative life before the next calendar year arrives. The first thing I want you to consider is your Why.
Why do you want to plan your crafting year? We all have different reasons. Perhaps you want to prepare handcrafted gifts for a family event or holiday. Maybe you’re ready to replace parts of your wardrobe with unique, handspun pieces. Or perhaps you want to improve certain skills to become a more proficient spinner. Understanding your Why will help you plan and adjust your year. Plan your year so your crafting reflects your Why and maintain flexibility for any life changes.
Spinning is a unique hobby because the end product, yarn, is just the raw material for another textile craft. As a multicraftual maker, I include using beautiful handspun yarn in my crafting year. As a spinner who enjoys working from raw fleece, my crafting includes picking and scouring fleece, fiber preparation, and sometimes dyeing.
Make a wish list
I use two tools for planning my projects: a wish list and make nine. Grab a notebook, pencil, and your favorite beverage. If you already follow a bullet journal practice, as described by Katherine Mead in the “Journaling to Grow” article, reserve a place in your journal for your crafting/creative wish list. This allows you to add items as they come to you and review them when planning your year.
Some examples of a wish list:
Create a winter wardrobe for me
Create a summer wardrobe for a significant other
Spin a collection of 2-ply handspun yarns in the same weight (sport, DK, worsted) for use in various projects
Create warp and weft yarn for two stoles
Spin the box of summer dyeing fiber
Spin full commercial hand-dyed braids (fractal, gradient, rill, raindrop, and marled)
Spin complementary colors for a colorwork sweater to be knit with commercial yarn
Spin two braids of fiber for an accessory
Become proficient with the dizzing-off-the-hand-carder technique using five different commercial braids or wool breeds
Prep fiber and spin the pound/half a kilo of scoured fleece from last summer
Spin with my spindles at least 15 minutes every day
Practice fiber preparation with the Lock Pop and drum carder
Scour one or two pails of raw fleece from the last fleece auction
Spin through the Fiber Club braids received every three months
Adding items to your wish list doesn’t mean you’ll tackle them all this year. This is just the first step.
Choose a theme
Along with your Why, choose a theme for your crafting year, such as His Wardrobe, My Summer Wardrobe, or Intentional Learning from Stash – whatever resonates with you.
Draw a grid with nine spaces and title it with your chosen theme. Fill your make nine grid using your Why and wish list to guide your decisions. Here’s an example of my planning for the next 12 months:
I want to spin beautiful yarns compatible with colorwork projects, improve my proficiency with fiber tools like the drum carder and the Lock Pop, and keep practicing my fiber prep skills with hand cards and blending boards. My make nine projects align with these interests and the crafting I enjoy. Note that I’ve included three works-in-progress. As spinners know, our craft is slow, and projects often carry over from the previous year. I also left one square open for any inspiring project or make-along I encounter during the year.
Find your tasks
Filling the make nine grid with attractive projects is satisfying, but it won’t become a reality if you keep it tucked away. New projects will fill your time if you let them.
List all the tasks needed to make your crafting list a reality. Identify the roadblocks for each project. For example, scouring fleece or fiber dyeing may be seasonal tasks best done in warmer months. Account for fiber prep time before spinning the singles or sampling time if that’s a roadblock for you. Add each task to a checklist you can mark off as you complete them.
Once I have my grid and checklist, I print the page and add it to my bullet journal. You might choose to stick it in your crafting area. Place it somewhere visible where you can check off tasks as you tackle them.
Craft your year!
For critical roadblock tasks, I schedule them on my calendar as I would a work meeting, ensuring I reserve time for them. I also add monthly tasks to my journal to stay on track with project progress. I enjoy photographing the process and sharing moments on social media. Reviewing these photos later inspires me and helps me remember successful processes.
Two or three months before the end of the year, I reassess my crafting progress and celebrate my successes. I also reflect on any projects left unfinished and consider whether I was too ambitious, failed to account for roadblocks, or got distracted by new patterns or spin-alongs. I include this reflection in planning the upcoming year to better align with how I like to spend my crafting time.
Planning my crafting year helps me be intentional with my projects, crafting garments that complement my daily life and ensuring I incorporate learning into my making. I hope what I’ve shared helps you start planning your crafting year too!
Greta lives in the Greater Vancouver area, Canada. She enjoys sampling and planning her crafting time. She loves being the Education Program Coordinator for the School of SweetGeorgia, where she is lucky to make a career of her passion. She shares life with her husband, five kids and a house full of wool, good food, coffee and tea. She may be found at the SOS forums, knitting, spinning, or walking with her family.
Words and photos by Greta Cornejo
https://plymagazine.com/wp-content/uploads/2024/12/Planning-your-Crafting-Year-vertical-scaled.jpg19202560Guest Bloggerhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngGuest Blogger2024-12-10 09:00:002024-12-09 19:47:37Planning Your Crafting Year
On a dusty road, halfway between Denver and Fort Collins, sits the thirty-five acre farm of Davis Family Livestock, with stunning views of Long’s Peak to the west and the piercing blue sky overhead. My focus, however, is much closer to the ground: on the new lambs chewing on my shoelaces. Affectionately called “the world’s cutest sheep,” the Valais Blacknose are the showstoppers of the Davis farm. The breed originated in the Valais region of Switzerland, and though endangered, it has grown in popularity though Europe, Australia, and the United States in recent years. While many breeds of sheep tend to be wary of people other than their shepherds, the Valais eagerly demand attention from everyone.
The Davis family began breeding Valais Blacknose sheep in a roundabout way. A friend of Anne’s had told her about a British show with the cutest sheep, and it piqued Anne’s interest. After much research and discussion, Rob and Anne decided that the Valais Blacknose sheep would be the perfect animal to start their farm because the Valais have to be marketed differently than other breeds. Due to their rarity, newness, and novelty, one doesn’t need to run thousands of heads on massive acreage to make money. Plus, at the time, no one else in Colorado was raising the breed.
“There’s no mystery on how to raise sheep,” Anne told me. “We’ve been doing it for thousands of years.” But breeding Valais Blacknose does come with some unique challenges. The USDA does not allow the live import of sheep or goats. The only way to introduce new breeds of sheep to the U.S. is through imported semen and embryos, which go through rigorous genetic testing. Additionally, breeders want semen from rams that meet the Swiss standards for size, quality of fiber, and coloring. It takes a long time to meet all these requirements. In 2016, New Zealand was the first country to export Valais Blacknose semen to the U.S., with embryos following later. A couple years ago, the UK began exporting semen, and in 2024 began exporting embryos as well.
Then it’s a matter of time and careful breeding. By the fifth generation of lambs, both ewes and rams are U.S. purebred Valais Blacknose sheep. The Davis family began their breed-up program with several Scottish Blackface sheep, and some first- and second-generation Valais sheep. They were purchased from a woman in Idaho who had started the program on her farm but had to stop due to some personal health challenges. The Davis family bought her sheep and continued the work she started. Anne told me that the two of them are friends to this day.
Rob and Anne Davis purchased their 35-acre farm in 2020, the same year they began breeding Valais Blacknose sheep. Both come from agriculture backgrounds, Rob from a ranch in Colorado, and Anne from a fruit and vegetable farm in Oregon, and when Rob retired in 2017, the family began considering their next steps. Rob has a PhD in Agriculture Economics and Anne holds a master’s degree in Plant Pathology, but both wanted something more tangible to leave as a legacy for their two children. Their daughter Maddie has a passion for livestock and plans to take over the farm in the future.
Higher education has been a significant part of the life of the Davis family, and they highly value the role that education plays in communities and relationships. Tours of the Davis farm are always free because Rob and Anne want their farm to be as accessible as possible. During the 2024 lambing season, they gave several tours a week, with lambs being delivered during a couple of the tours! Their tours typically begin with a walk around the farm to meet all the animals. In addition to the Valais Blacknose sheep, the Davis farm currently has Scottish Blackface sheep, Rambouillet sheep, a guard llama and alpaca, and several horses. The tour wraps up in the barn where Anne has put together an in-depth display of the fleece-to-product process. The display includes raw fleeces, a skirting table, handspinning tools, a dye pot, looms, and felting tools. I’ve led several handspinning demonstrations for tours, which allows visitors to watch and learn to spin yarn from Valais wool. In 2024, the Davises also bought an authentic sheep herder wagon from the early 1900s to add to the tour!
Anne and Rob want their farm to be a resource for people of all backgrounds. They also mentor other breed-up programs. Anyone who buys sheep from the Davis family and has questions about breeding is welcome to give Anne a call, and she will help in any way she can. They are transparent with everything they do. “This is a small enough breed where we need to be supporting and working together,” Anne told me. “We need to be cooperating instead of competing.” The Davis family was the first to bring the Valais Blacknose breed to Colorado and produced the first purebred Valais ram in the state. They are proud to have led the way and now get to celebrate the success of other breed-up programs in Colorado.
The farm invites CSU vet students to gain experience by watching procedures, and in the summer of 2024, the Davis family welcomed their first intern: a local high schooler interested in studying large animal veterinary science in college. Her work on the farm will also gain her school credit, so the program benefits both the Davis family and students interested in exploring agricultural vocations. There is always plenty of work to be done on the farm, and while Rob and Anne’s children, Roy and Maddie, help out when they are available, both currently have other jobs away from the farm.
The last time Anne and I met for coffee, I asked her about the biggest challenges in running their farm. She didn’t hesitate. “The physical demands. Especially the heat.” The summer heat on the high plains isn’t just difficult for farmers, it can also be hard on the sheep. Colorado is so dusty that the dust irritates the sheep’s lungs and can lead to dust pneumonia. The Davises monitor their sheep closely to prevent pneumonia. To breed and raise healthy sheep, the farmer needs to be familiar with the environmental and climate factors that affect their livestock. But Anne isn’t discouraged by these challenges. To the Davis family, being close to the land and having a purpose is incredibly rewarding for them. The family gets to see new life and watch their animals grow and thrive. They get to see the joy on the faces of young children visiting a farm for the first time and the memories that are brought back for older visitors who haven’t been on a farm in years. Anne told me she especially loves when people come back for return visits. “If you think we are cool enough that you want to take your time to come back, that’s pretty special.”
Rowena Zuercher is a freelance editor and researcher who dedicates most of her free time to fiber and textiles. She lives in Aurora, Colorado with her husband Ryan and their turtle, ball python, and aquarium of fish. You can learn about her many heritage craft explorations on Instagram @homesaponified.
Words and photos by Rowena Zuercher (except Davis family photo, which is from Anne Davis)
https://plymagazine.com/wp-content/uploads/2024/11/author-with-valais-lamb-scaled.jpg25601920Guest Bloggerhttps://plymagazine.com/wp-content/uploads/2014/06/plylogo-condensed-pnk-300x164.pngGuest Blogger2024-12-05 09:00:002024-11-24 08:22:24The “World’s Cutest Sheep” in Colorado
While spinning need not be heavily mathematical, in some situations math can be helpful. If you are math-averse, having these calculations in a reference spreadsheet can be a big help.
Disclosure: I have minimal skills at Excel. While my final spreadsheet is not the most elegant, it works. Also, Excel is very sensitive. When it wants “ (straight quotes), it does not want “ (smart quotes). If you are accustomed to word processing software that autocorrects and anticipates your needs, be forewarned that is not Excel. Excel is specific, accurate, and detailed, and expects the same from its users. Human beware!
Convert between yards and meters
Let’s start with a very simple calculation – converting between yards and meters. The conversion numbers are as follows:
1 yard = 0.9144 meters
1 meter = 1.0936133 yards
I start by writing “Length Converter” in cell A1. I use “Merge and Center” to give me a nice title. Then I write “yards” and “meters” in cells A2 and B2.
Since I want to convert from yards to meters, in cell B3 I type
=A3*0.9144
then tap the <return> key. I’ve told Excel to multiply the number in cell A3 by 0.9144, the conversion factor from yards to meters.
Type a number in cell A3 and tap <return>. Success! We can convert yards to meters.
For a double-check, I type “1” in cell A3. I should get “0.9144” in cell B3.
Upon further investigation, I discovered Excel has a convert function already in it! Sweet! The formula is:
=CONVERT(number,”yd”,”m”)
As an alternative, into cell B3 I can type the formula:
=CONVERT(A3,”yd”,”m”)
Then hit <return>. I don’t even need to know or understand the conversion factor.
If you are accustomed to translation software, you might expect to type a number into cell B3 and have Excel translate meters to yards in cell A3. Sadly, Excel does not work this way, unless you know how to program it in VBA. Since we would rather spin than write spreadsheets, let’s not go there. This is why we have friends who are professional engineers. (Thank you to my friend Larry Acuff for confirming that yes, you can upgrade this spreadsheet with VBA code.)
Since I’d like to convert in either direction, I’ll add a few more cells to my spreadsheet. Into cell A5 I write
=CONVERT(B5,”m”,”yd”)
Now I can put a measurement in meters into cell B5 and get the yard equivalent in cell A5.
You may notice rows 3 and 5 are not equivalent numbers. They are two completely separate equations. It would be nice to type either yards or meters into row 3 and have row 5 give me both answers. Can I do that?
This is where we go a wee bit past Excel basics. Time to use the IF function.
I delete all the data in cells A3, B3, A5, and B5. Bye, bye, formulas!
Here’s my thought process. If I enter yards in cell A3, then I want cell A5 to copy that information. But if I left cell A3 blank and instead entered meters in cell B3, then I want Excel to convert those meters to yards. Similarly, I want cell B5 to have meters, whether copied directly from cell B3 or calculated from yards entered in cell A3.
The magic formula for cell A5 is
=IF(TRUE=ISBLANK(A3),CONVERT(B3,”m”,”yd”),A3)
In human-speak that sentence means the following: If it is true that cell A3 is blank, then convert the number in cell B3 from meters to yards; otherwise, copy the number from cell A3.
A rewrite of that formula goes into cell B5
=IF(TRUE=ISBLANK(B3),CONVERT(A3,”yd”,”m”),B3)
Give it a try. I know 6 yards is a little less than 6 meters. What happens when I put 6 in cell A3 and tap <return>?
Cell B3 stays empty. But cell B5 now says 5.4864. That would be a little less than 6. The yard and meter equivalents are both on row 5. More success!
Try clearing A3 and putting a number in B3 instead. I still get yards and meters, but this time the yards were converted and the meters were copied.
Convert between ounces and grams
Wouldn’t it be nice to convert ounces and grams the same way?
I’ll repeat what I just did. I copy cells A1 through B5 and paste them over cells C1 through D5. I change the text to “Mass Converter,” “Ounces,” and “Grams.” Then I change the formulas. All I have to do is put “g” and “ozm” in place of “m” and “yd”. The formulas for C5 and D5 are as follows:
=IF(TRUE=ISBLANK(C3),CONVERT(D3,”g”,”ozm”),C3)
=IF(TRUE=ISBLANK(D3),CONVERT(C3,”ozm”,”g”),D3)
Try playing with it. In my example, I know it is typical for me to spin 100 grams but measure length in yards.
Grist
Since I now have both length and weight on row 5, I could do another calculation – grist.
Grist is a length of yarn per mass of yarn. It is usually expressed as yards per pound, but you could use meters per kilogram, or even bastard units such as yards per gram or meters per ounce. You could even try furlongs per stone or parsecs per solar mass. 😉
For my spreadsheet, I’ll make a grist calculator that gives me yards per pound, yards per kilogram, meters per pound, and meters per kilogram.
I write “Grist Calculator” in cell A6, then I merge and center cells A6 through D6. I write “yards” in cells A8 and B8, “meters” in cells C8 and D8, “pounds” in cells A10 and C10, and “kilograms” in cells B10 and D10.
I want to copy the appropriate measurements into my grist calculator. My yards measurement is in cell A5. I enter
=A5
into cells A7 and B7. For meters I enter
=B5
into cells C7 and D7.
I’ll need to do some conversions for pounds and kilograms. The pound cells are A9 and C9. I’m back to using the convert function:
=CONVERT(C5,”ozm”,”lbm”)
Finally, cells B9 and D9 convert grams to kilograms:
=CONVERT(D5,”g”,”kg”)
I have all the numbers where I need them. I just need to do some division.
Cell A11 is going to be yards per pound. I enter
=A7/A9
That gives me a number representing yards per pound. If I copy and paste cell A11 into cells B11, C11, and D11, Excel thoughtfully realizes the division I want. I now have grist expressed four different ways in row 11.
I could use row 12 to write “yds/lb,” “yds/kg,” “m/lb,” and “m/kg.” But if I want to be fancy, there are a couple things I can do. First, grist is rarely expressed in decimals. It is nearly always rounded to a whole number. Second, it would be nice to have the units in the box right next to the answer. I highlight A11. In the Format menu I choose “Cells…” or hit ⌘1. From “Number” I go to the bottom and choose “Custom”. In the box I type
0 “yds/lb”
and click <OK>.
Now A11 gives me a whole number in yds/lb!
Repeat this approach for cells B12, C12, and D12, giving each the correct units.
Other notes
At the end, I draw thick box borders around each section of the spreadsheet. I haven’t added background color to any cells, but I could do that if I wanted to clarify where to input data or to highlight the answers.
To use this spreadsheet, I merely empty all the cells in row 3.
There are some error messages. Excel does not like to divide by 0. And this spreadsheet is not idiot-proof. I should enter only one number in either A3 or B3, not both. Similarly, I enter only one number in C3 or D3, not both.
There are ways to refine this spreadsheet using more advanced skills in Excel. For example, there are ways to hide the zeros or prevent Excel from attempting to divide by zero. But for most of us, saving this as a spinner’s spreadsheet or a grist calculator will work just fine.
Jolie Elder has explored a wide range of needle arts after learning to cross stitch at age four. Her cleverest unvention is a method for working stockinette-based laces reversibly. You can view her experiments at jolieaelder.blogspot.com and the YouTube channel Jolie knits.
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