PLY article index

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 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 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 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.

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 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.

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 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 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.

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 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.

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

Creating a spinning space can be wonderful for spinners.PLY readers give you tips and tricks on how to create this space in your own home.

This article describes the author’s month-long experience in Menetue, Chile as part of the Colby Global Fellowship, where she was apprenticed to master Mapuche weaver and natural dyer Patricia “Paty” Ayelef.

This article introduces readers to Yumiko Alexander designer of yarn and patterns for DanDoh, a company that creates chain-plied linen yarns from Japan.

This article explains the process of creating a notebook to keep track of your spinning projects and notes, with step-by-step instructions.

This article explains what a plyback is, why you might want to use it, and where you should take your plyback from and why it makes a difference.

This article describes how to develop a spinning project using inspiration from travel photos and works through the process using a specific photo as an example.

This article describes the timber used at Majacraft to build their wheels, the Dacrydium cupressinum, commonly known as Rimu, which is found only in New Zealand.

Knitting pattern for a cowl and cuffs set using Fair Isle colorwork and a star pattern.

This article discusses how to plan the yarn for a fair isle project (a pattern included in this issue). It describes prepping the fleece, from blending to dyeing, and spinning the yarn (2-ply sport weight woolen yarn).

This article describes the history of stranded knitting from the island of Fair Isle (part of Shetland), including how the patterns spread in the UK in the early 20th century.

This article describes ways to make your long draw yarn more consistent, especially when spinning a finer yarn.

The author describes her time as artist-in-residence at the Icelandic Textile Center, especially using Icelandic wool for tapestry weaving.