PLY article index

This article explores the art of spinning a woolen yarn with varying percentages of textural add-ins and tips and tricks to approach this type of preparation. It starts with considerations for the add-ins and the base fiber(s) and continues with the drafting styles to use for this type of yarn as well as tips for plying.

This article describes how to spin the yarn for the Poplar Sweater project also found in this issue. The yarn is a woolen-spun yarn using Romney and describes how to spin it to create a balance between functionality (durable and pill-resistant) and form (woolen for warmth).

Knitting pattern for a classic crew neck sweater with an allover textured stitch detail, constructed from the bottom up in the round, split for the back and front, and seamed together at the shoulders. The collar is picked up and worked after shoulder seaming, and the sleeves are knit bottom up and seamed.

This article discusses the prep for the fiber used for the Eyja Yoke Sweater (pattern included in this issue). It uses Icelandic fleece and discusses how to use both the tog and thel for warmth and durability.

This article describes how to spin the yarn for the Eyja Yoke Sweater (pattern included in this issue). The yarn is a low twist singles yarn and two yarns are spun: one directly from the Icelandic fleece and the other from a prepared roving.

Pattern for a sweater, designed to give you many options to do your own designing along the way: you can mix and match your main color, you can have cuffs in a different color, or you can have a solid main color with the yoke as a playground for colors and textures. The yoke uses a mosaic technique to create interesting detail and texture.

This article discusses how the author uses reclaimed textiles blended with raw wool to create new yarn by unraveling, cutting pieces, or shredding textile goods destined for the landfill and repurposing them. The author has been able to take old sweaters and blankets, yarn scraps, mill waste, and unwanted raw wool and spin them into a variety of usable yarns to knit sweaters and vests.

Sweater spinning can be daunting, PLY readers give you tips and tricks on how to get get started and keep going.

Dense and drape-y yarns sought after, PLY readers give you tips and tricks on how to get yarns that drape the best.

This article describes how to spin the yarn used for the cowl project (pattern included in this issue). It uses Targhee wool and is a 2-ply yarn.

This article describes how to take woven cloth a create a garment from it based upon your favorite clothing item. It discusses planning the fiber content and weave structure best suited for the garment, gathering your tools, making a pattern, and bringing it all to life.

Weaving pattern for the cloth used to make the dress (dress creation also included in this issue). It is a 2×2 twill design woven on 4 shafts.

This article describes how to spin the yarn used for the weaving project included in this issue. The yarn is 3000 yards of a laceweight singles yarn spun from a blend of Polwarth and silk. The article also offers some tips for spinning a fine but lowish-twist yarn.

This article looks at options in the weaving process, particularly the setts, and how those choices impact the drape of your final fabric. The author experiments with various setts and compares the results of both finished and unfinished fabrics.

This article looks at how different methods of finishing yarn contribute to the drape of the yarn: cold bath, hot bath, steamed, thwacked, wuzzed, weighted, alternating hot and cold baths, and a combination of wuzzed, thwacked, and weighted. It includes a table of the results.

This article starts from the end–the cloth you plan to make–to help make decisions about the yarn you should spin for that cloth. It compares knitted, woven, and crocheted swatches using a blend of Merino and silk spun into a 2-ply yarn.

Often spinners think that underspinning or underplying are the way to add drape to their yarn, but this article warns that those options won’t work. Instead, you can use other ways to add drape to your yarn. This article examines ply twist in Merino and alpaca and compares each option by knitting swatches and simulating wear using a mortar and pestle to abrade the samples.

This article explores whether a yarn will reap the draping benefits of silk if the blending is accomplished via plying (singles of different fibers blended together) or if the fiber itself needs to be blended before spinning and plying. Fibers used are red Eri silk and 23-micron Merino. Various options are tested and knit swatches are compared.

This article examines how to showcase bulky and textured yarns in weaving projects without creating stuff and heavy fabric. It offers suggestions for the warp spacing, beating, combining multiple weights of yarn, using specific weaving techniques, and what kinds of fibers work best.

This article discusses how to choose appropriate locks for tailspinning, specifically looking at the lock structure. It then compares spinning the locks of different fibers and the resulting drape. Fibers include Suri alpaca, Gotland, mohair, English Leicester, and Lincoln Longwool.

This article describes Suri alpaca, which has lots of drape. It starts with recommendations for how to choose a fleece and then describes how to separate the locks and wash them. The author describes how to card the fiber using a drum carder or hand cards and how to spin it, using a flick and spin from the fold method.

This article explores spinning Huacaya alpaca and blending it on a blending board with Polwarth, silk, and Merino. It describes the author’s experience with spinning these fibers and how she gained a new appreciation for alpaca.

Lotus fiber, also known as lotus silk, is known for its drape. Lotus fiber is a cellulose fiber sourced from the lotus plant. This article describes the fiber and the experience of dyeing, prepping (including blending it with silk), spinning , and knitting this fiber.

Crochet pattern for a lace capelet reminiscent of vintage bed jackets with a touch of elegance. The open lace pattern over the shoulders and a heavier brick pattern at the bottom half of the capelet helped increase the overall drape.