Archive for category: We couldn’t fit it in the print issue!

reviewed by Sukrita Mahon

Perhaps because of the rise of the internet and social media, spinning is enjoying a revival – possibly its second one in the post-industrial era, the first having taken place in the 1960s–70s or so. In a lot of ways, though, it remains a niche interest, with quirks that even those within the community struggle to explain. One such quirk is demonstrated in the highly unusual format of this “book”: it’s a USB drive shipped manually, containing an interactive PDF and videos. I’m just as baffled as you probably are. Why not make the files available for download?

This “book” was published in 2012, and I wonder if this was an attempt on the author’s part to bypass both conventional publishing routes as well as the personal expense of self-publishing. I do wish they had an alternative method of distribution and still hold out hope of an upgrade one day.

The buy-the-USB format means the book is highly inconvenient and expensive to purchase outside the U.S. or Americas. I had purchased my copy in Australia through the spindle maker Malcolm Fielding, as part of a “learn to spin on supported spindles” set. This offering is no longer available since the maker has retired and passed on the business to their successor. If I had to purchase it from the U.S. today, the price combined with shipping would be a serious deterrent.

That said, if you can get over the feeling of confusion of buying a “USB book,” the material it contains is excellent. Trying to learn support spindle spinning can be a very frustrating experience. There seems to be almost no literature on the subject (barring a few magazine issues), videos online feel incomplete and lacking enough description, and local guilds may or may not have the required knowledge. Fleegle, aka Susan, provides all the technical information for the beginner to start spinning supported.

There are many reasons to learn support spindle spinning: it’s the only way I find it possible to spin cotton, for instance. It can be a much more accessible way of learning to spin long draw, as it feels a lot more intuitive than on a wheel. I often hear that support spinning may be more comfortable for long stretches of time compared to using a drop spindle, but I’m awkward enough that either can result in pinched nerves. For those who prefer spinning seated, or who have mobility issues, it may be worth looking into as an option.

The book contains an interactive PDF and a printable PDF, along with 25-odd videos. It is photo-heavy and humorously written, briefly referencing the Ravelry forums, where the idea for the book originated – Fleegle is the author’s Ravelry name. This may or may not be appealing to readers, depending on how they relate to the “forum era” of the internet. I have to admit that there’s a portion about a hairy frog that I’m still puzzled about but don’t care enough to try to understand.

The section on fiber is very extensive: it covers dog and cat hair, possum, cow and horse hair, deer hair, pig fur… the list is endless and fascinating. I learned a lot from it, despite the fact that almost every spinning book has a fiber chapter. The author takes full advantage of the fact that we have unprecedented access to novel fibers today, and the idea that we are only limited by our imaginations is very freeing. The experimental portions, such as spinning straw, are interspersed with practical information, such as how to handle various preparations of silk.

For those looking to use plant-based fibers, there is a section on flax, ramie, nettle, milkweed, fireweed, pineapple, and even kozo or mulberry paper. The author correctly calls out the polluting processing methods of increasingly popular fibers, such as bamboo, soy, banana, and milk, that are promoted as plant-based despite being unsustainable. There is even a section on spinning with feathers.

Fleegle goes on to explore color and working with different fiber preparations for support spindles: from processing and working with raw fleece to using dyed tops and blended batts. It is quite in-depth but still interesting for intermediate-level spinners. The ever-relevant question of how to avoid colors blending into “mud” as they are spun is addressed. There are tutorials on making fauxlags and pseudo-rolags, which are very useful for long draw.

There’s a chapter called Support Spindles Around the World, which explores the various spindle styles and traditions that exist worldwide. The diversity in form and spinning style in each tradition is very intriguing. This chapter ends with a portion on bead style spindles, which I have yet to use. However, there is an instructional chapter on how to make your own bead spindle, with photographs. The book mentions another spindle I have yet to see in the wild – a lap spindle with built-in support. These are available online from makers such as Spindolyn.

It’s easy to get overwhelmed when trying to decide on a spindle to buy, although it gets easier with practice. The section on the anatomy of a support spindle and what to look for is extremely useful. Many of their favorite makers are listed here, which is helpful despite the fact that such a list could never be conclusive. The author has gone above and beyond in giving us readers all the information we may need: even to the extent of showing step-by-step photos of how support spindles are made.

The spinning how-tos are meticulously presented, with every technique both written out and demonstrated on video. Special care is taken to show both left- and right-handed technique. Among the tutorials are park and draft, long draw, and semi-continuous spinning. Fleegle spins with an ease that is so graceful and enviable; it makes you want to be that good, too. They go on to explain how to make a cop, whether to choose to make a temporary cop or a permanent one, and what the difference is. Despite the detail, the reader is encouraged to try everything and break the rules.

Plying on a support spindle is examined in some depth, even though it’s a little impractical. We are walked through troubleshooting steps while winding off onto plying balls, which is much appreciated. In case you were looking for a real challenge, there is a how-to on chain plying on a support spindle. Personally, I don’t think I’m going to try that anytime soon, but it’s good to know it’s possible.

The book ends with a section on spinning bowls, which is amusing since the novice support spinner may not yet know that bowl collecting is about to be a significant part of their new interest.

All in all, Fleegle Spins Supported is a fantastic resource for the beginning support spindler, particularly one who feels disheartened with most available tutorials. It’s just a shame about the USB format.

Rating: 3.5/5

PLY Magazine believes that Black lives matter, as well as LBGTQI+ lives. Those most vulnerable and persecuted in our communities deserve our love and support. Please be good to each other.

words and photos by Amelia Garripoli

Great! You got your hands on a starter spindle and have been impressing friends with your new-found skills. But you know there’s more. You see lots of other spindles online and among your spindle-spinning friends. How do you choose what to get next?

Upgrade

For me, the answer was easy – my son, a toddler at the time, sat on my first spindle, a homemade CD spindle. So I went to the only local fiber store at the time and bought the only spindle they offered, a top-whorl Mongold spindle. I got lucky as the Mongold was one of the best spindles available at the time. I didn’t mind the price as I was adoring this new skill and knew I would be doing it a lot. And it was worth it!

So, one approach to take is to choose an “upgrade” from your starter spindle, toddler-damaged or not. Given you have put in time on that spindle already, the most straightforward upgrade is a well-made spindle of the same type so you can continue applying the skills you are developing.

Try a different type

But perhaps you are more adventurous than that; if so, you might want to choose a different type of spindle as your second spindle. If you started with a top-whorl, perhaps try a Turkish spindle. If you started with a tahkli, perhaps try a Navajo spindle. If you started with a bottom-whorl, perhaps try a Tibetan spindle. You will find you have a lot more to learn, as each type of spindle has its own techniques to master. But having 2 different types of spindles also means you can put one down when you get overwhelmed by it and try the other.

My third spindle helped me – after the Mongold, I got a Navajo spindle. Having the chance to put one down and try the other, I could apply skills common to all spindles such as drafting, while moving between suspended and supported spindle skill development. This let me persevere. When the Navajo spindle frustrated me, I would return to the Mongold spindle.

Match your skills

Your current skills may also be pointing you to a second spindle. If you are spinning super-fine and fighting your spindle to do so, try a featherweight – Bosworth makes excellent ones, or look for an Ahka spindle, which are typically also light. Or if you are loving chunky yarn, you may want to try a Navajo spindle or a Portuguese spindle. These supported spindles are good for spinning thicker yarns, as are heavier suspended spindles. Focus your choice to focus your spinning, choosing the spindle appropriate for the yarn you want to spin.

Choose lightweight spindles for finer yarns, heavier spindles for thicker yarns. Or look to the historical spindle used for the yarn you want to produce – spinning is such an ancient skill that historically appropriate spindles often are the best tool for the job.

Watch a friend

A fourth way to make the choice is to see what your spindle-spinning friends spin. Find out what spindle type they like, and get one of those. Your friend may happily help you learn its techniques and provide you with ample demonstrations of how to spin on it. In fact, learning by mimicking those who already have the skills is a time-tested way of developing spinning skills.

I have a friend whose favorite spindle is the tahkli. The tahkli is not a common beginner spindle, but she gravitated toward it due to her love of cotton. Her demonstrations, calm technique, and results convinced me I could master this spindle’s needs and kept me going when I struggled to become a supported spindle spinner.

Make one spindle work for you

I have run across people who have only one spindle and do not desire to own more. I applaud their minimalism, and with persistence you can make one basic spindle spin a wide variety of yarn, despite everything written to encourage you to own more than one spindle, including this article! That one spindle could be a simple homemade spindle; it could be a suspended spindle or a supported spindle. My go-to “solitary” spindle would be a Turkish spindle just under an ounce with a long enough stem below the arms that I could use it supported or suspended. This would let me spin fine spindles, and it would also spin thicker yarns and ply, albeit a little slowly at first until the weight of the yarn on it helped speed it up. 

Now, these 4 sensible options – upgrade, adventure, focus, or friend – may all fly out the window if you get the opportunity to go to a wool festival vendor hall, in person or virtually. If you see a spindle that appeals to you, it may become your second spindle. Like choosing fiber that appeals to you, having a tool you like will help you persist as you learn.

Happy spindling!

Amelia Read Garripoli spins, weaves, and dyes near her parents in Colorado, having recently relocated her stash, spindles, and lots more from Washington. She’s spinning and weaving her way through the pandemic at home but can’t wait to attend and teach at Colorado guilds and festivals!

The tahklis and a leather strip to spin them on. With the strip on my leg, I can spin in a small space.

I was interested to try out some of the beads I have; the conic ones are African and the round one is South American – or so I was told at the point of purchase. The one on the double-pointed knitting needle spun the best, nicely balanced. A little fimo bowl travels with these in a pencil case for use while spinning. I still like my tahklis better but was pleased with the bead that spun well.

Ahkas! These are my favorite support spindle, though you wouldn’t know that from their nakedness.

Spindles can be special just because someone cared; the red ladybug style was made by my BFF Debbie, and the black polka-dotted one was made by my daughter Natalie when Debbie gifted her the paints and parts. They are sweet spinners, at just about an ounce in weight, and the dots on the shaft give them a nice grippability for flicking. Even toy wheel spindles rock!

Bosworths!

A flight of spindles! Lovely Turkish/cross-arm spindles, along with a metal bowl and dimpled wooden saucer to try out support spindling. As you can tell, I got mesmerized winding the mandala on the Snyder weighted-arm spindle.

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.

A few months ago in a spinning group on Ravelry, a spinner posted about how the image of the coronavirus might make a good spindle whorl, with the weight on the outside. She made one out of a wooden bead and wood screws. Inspired by this post, Jame A. (distaff on Ravelry), decided to make her own version out of polymer clay, wood toothpicks, and dowels. (“I chose to make the spindles with old polymer clay I had on hand as a reflection of the need to isolate and stay close to home. For me, spinning has been a comforting constant during the disruption of this pandemic.”) She says the spindles are a bit fragile and need more glue or something, but they are effective spindles. Here’s what Jame wrote on the forum post about creating her own version of a coronavirus spindle:

“For me, making a model of a virus and using it for a spindle serves a couple of purposes. One: the creative act helps provide a distraction from current events, and two: the fact that we know what the virus looks like represents all the scientific knowledge that is available about viruses and provides some comfort that the medical community will be able to come up with appropriate measures to alleviate the illness.

“There is also some bleak humor in watching a whole lot of people realize that the term ‘viral’ does not just apply to a cute meme becoming very popular. Going viral has real and serious consequences. ([The original poster] had expressed the thought that if others picked up on and spread the idea of making a coronavirus spindle, it would ‘go viral.’)”

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.

words and photos by Sue Meissner

You may be considering entering a skein in the handspun competition of a fair, but you may not know how to enter. Or you may have entered but did not have a pleasing outcome. Let’s talk about how to put your best skein forward – not in terms of technical spinning but the very basics of getting your handspun skein pleasantly noticed by the judge. These top 5 tips will improve your chances even before the judge looks at your twists per inch.

Read all the entry rules for the handspun category

Each fair publishes its own entry or program book. These list the entry classes or categories for fair submissions, and in the thick, small font books, it can be easy to get overwhelmed by unfamiliar terms. For county and state fairs in the U.S., the 2 broad entrant divisions are 4-H and Open Class, though actual nomenclature could be different from state to state. Unless you are entering under the county youth agriculture club, you will be considered Open Class, a catch-all for anyone not in 4-H. If you are a youth but not in 4-H, you too can enter under the Open Class division.

Handspinning may take a bit of searching to find in the program book as it may be a subcategory under Needle Arts or Fiber Arts. Getting the correct category or class number is important. You must know the specific competition number in order to enter. You could lose valuable points or even be disqualified if you do not enter the correct competition class number. Double check or have the entry fair official verify you are submitting the correct item in the correct class number. Fair officials and judges are not allowed to correct tag entries once submitted.

Next, carefully read the rules for handspun skein entries. Rules may be revised with updated requirements. Competitions may have very specific rules on weight, yardage, ply, fiber content, tie up, number of skeins per class, accompanying material, and label requirements. Be sure you read every word, and check the next page as rules may carry over. It is up to the entrant to have read and complied with the published rules.

Submit your best yardage

Each competition should have printed rules on yardage or weight required. Read these carefully. A search of 5 state fair competitions listed ranges of 1-oz to 2-oz skeins depending on the actual entry requirements for that particular class. Why fixed lengths or weights? Judges need to see a certain length of yarn to properly evaluate. And if the skeins of a particular class are set side by side, it makes judging easier as the skeins are approximately the same size.

Some spinners are so thrilled with their bobbin full of yarn that they feel they should submit every inch. That is not required. Choose the best continuous length of yardage that meets the minimum requirement. It is common for the first yards and final yards to differ from the center section. Chop off those uneven, lumpy beginning and ending yards and keep the best continuous center section. Always put your best yardage forward.

Present skeins well

One of the most important things you can do is to present a beautiful skein. That means well tied and labeled according to the rules. Some fair books are explicit about the length, weight, or tie up of the skeins. Even if entry books are vague, skein presentation follows some basic conventions.

Some fair entry rules require 1- or 2-yard wound skeins. To achieve this, be sure your niddy noddy measures a standard length. Use a tape measure and wind around as if you were winding your yarn. My first niddy noddy measured 54 inches. I decided to invest in 1-yard and 2-yard niddy noddys. If you are required to submit in metric, use a metric niddy noddy.

How do you know which length to use? If the competition rules specify, apply those. A general rule of thumb is to use a niddy noddy of sufficient length for the type of yarn and yardage or weight required. So, for a 1-oz laceweight, I would probably use the 1-yard niddy noddy. For thicker worsted yarn, I would reach for a 2-yard winder. Basically, what I want is to make sure it will not look too thin nor too thick as a skein.

Some competitions may emphasize weight minimums. Be sure to pre-weigh your entry skein at home. Yes, some judges do weigh if they suspect the minimum weight was not submitted. Yet overly heavy skeins with excessive weight will not win any bonus points.

Once the yarn is wound on the niddy noddy, be sure the ends and the yarn threads are secure. When you get to the end of winding on your best continuous length of yarn, be sure you secure the beginning to the end of the yarn with a little knot. That will make a continuous hank with no loose, dangling ends.

The figure 8 tie in 3–4 places is a standard tie up. This tie up is often specified in the entry book rules. Beginner spinners may have been encouraged to use a half hitch method whereby you take the final length of yarn and make a half hitch with the same yarn, but do not use this method for competitions. Your skein may be untwisted and examined closely and needs to hold up under that potential handling.

Finally, after you have measured out the required length and used an appropriate tie up, twist the skein until the ends meet. This helps with presentation and handling during competition.

A beautifully tied and presented skein demonstrates the spinner understands the basics of skein tie up and presentation. And you want your skein to look as tidy and neat as possible to catch the judge’s eye. Yarn that fails to meet required length, weight, tie-up or presentation may easily be set aside by busy judges.

Note: Novelty yarns may only require a tied hank and not twisted upon itself. The rules may mention how specialty yarns should be presented.

Label skeins properly

A review of state fair guidelines shows most require not only the standard tag with class number but also information such as end use, which is what this yarn would be best used for. So a laceweight could be labeled “for a lace shawl.” It would not be labeled for a tote bag. Although this may seem obvious it shows that you the entrant understand an appropriate use for this particular yarn.

Moreover, you may be required to include other information such as ply, yardage, weight, fiber content and percentages, spinning method (e.g., worsted, woolen), or kind of spinning for novelty yarns (e.g., core spun, bouclé). Some of these may not be required but are good practice in my opinion.

Where should you put that information? My review of a few fair books says it may be written on the back of the entry tag. Other competitions specify a separate 3×5-inch information card attached to the entry tag or skein.

Supplemental submissions may also be required. For example, one fair required a 4-inch square knitted or crochet swatch along with the yarn. In such competitions, do not be surprised if your entry gets disqualified for not submitting the additional swatch requirement. Why would a swatch be required? Seeing how the yarn looks in a piece gives extra attention to balance, ply, and consistency as that yarn is used. It may also help judges scrutinize whether the yarn is truly handspun and not a commercially spun and relabeled submission.

States may promote “Made in X state” competitions that require other supporting documentation such as sales receipt from a state producer and/or submission of a staple of raw fleece. These additions help verify the fiber meets the class competition requirements. Special prize money has been set aside to promote state producers, and integrity of the stipulations needs to be upheld.

Other considerations

You have spun, tied, and labeled your skein beautifully, but it can still get disqualified. How? It was submitted under the wrong class number.

Why would this happen? Most competitions limit one skein per entrant per class. So, the entrant who really wishes to submit 2 skeins may submit the second into any other category. But a 2-ply 100% wool worsted spun skein does not belong in the alpaca/llama class, so choose the category appropriately.

In an effort to keep abreast with current spinning trends, fairs have revised and even expanded categories to encourage more submissions. There are unique categories for exotic fibers, plant fibers, camelids, and silks. There are entry categories for beginners, youth, or seniors. State-sourced fleeces and fibers are not unusual. Therefore, consider all the listed categories your skeins could be entered under. And if you have 2 skeins in mind, choose the category that best fits the skein, fiber, and your experience. Often the more specialty fiber or yarn categories have fewer entries, thus increasing your chance of winning.

Entering handspun yarn competitions can seem intimidating, but the above tips will make sure your skein is accurately and beautifully presented. Judges are human. They are under a lot of pressure to do a lot of work in a limited amount of time. One way to reduce that workload is to assign fewer points or even disqualify skeins that do not meet the printed requirements so their most valuable time can be used for actually judging the spinning.

It may seem weird to emphasize rules over the finished yarn. Isn’t a competition about judging spinning? Of course, but once the minimum requirements are met, that is when a judge brings out measuring tape, WPI tools, and linen counters for actual yarn scrutiny.

Much of a yarn competition is actually up to you. Simple attention to detail in terms of skein presentation and entry accuracy will put your best skein forward. Who knows, you could very well end up with Best in Show.

Sue Meissner’s fiber journey has led her to work through the Old’s College Master Spinner Program with her current thesis project spinning linen and metallic thread for 17th-century English bobbin lace. She has been a fair judge for several years and is in the process of opening a fiber arts shop called Nauvoo Fiber Arts in the 1840s tourist town of Nauvoo, Illinois. Her historical spinning chat and fiber arts tutorials are on her YouTube channel, Spinning the Past as well as on Facebook. And she is pleased to announce the imminent launch of a new historical handspinning/fiber arts podcast, The Spinner’s Craft.

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.