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Guest Blogger

A Spinner’s Toolbox . . . Literally 

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Words and photos by Kai Solon 

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. 

Guest Blogger

Farm to Wheel: Supporting local shepherds 

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Words and photos by Donna Kay 

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. 

Karen

Book Review: Marking Time with Fabric and Thread by Tommye McClure Scanlin

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Marking Time with Fabric and Thread: Calendars, Diaries, and Journals within Your Fiber Craft 

by: Tommye McClure Scanlin 
Schiffer Craft 
$34.99, Hardback, 198 pages with 100 color images 
Published: October 28, 2024 
Buy now at Bookshop.org
Reviewed by: Karen Robinson 

PLY had the pleasure of sharing an article by Sarah Swett in the Cloth (Autumn 2019) issue. I remember being fascinated while reading about her practices of creation. She writes the foreword in this book, and her words about marking time using crafting made me want to dive right into the book. 

The author, Tommye McClure Scanlin, is a tapestry weaver and finds tapestry weaving to be a slow process, which allows for a lot of time to think about that process. She decided to try making a project a daily practice and thus was born her “tapestry diaries.” She shared her craft with others, in person and online, and those weavers and fiber artists began their own version of tapestry diaries. 

This book is an exploration of various ways that Scanlin and other fiber artists have used their crafts to “mark time.” She asked many individuals to share their work and asked them the same three questions: what is their daily practice, why did they start and why do they continue it, and what medium they use for it. The practices of those fiber artists are included in this book, in their own words, along with many color photos. 

The chapters cover various types of daily practices from data visualization (think temperature blankets) and diaries to adding codes within fiber arts projects. One of the last chapters gives some specific ideas for how you might start your own daily fiber practice and blank templates are included in the back of the book. 

Because of the author’s background with tapestry weaving, many of the fiber artists and projects in this book involve that medium. I would have liked to see a bit more variety in the types of mediums being used in this book, though we do get some examples from quilting, embroidery and other stitching, mixed media, knitting and crochet, and even one using plastic packaging. 

This is a gorgeous book, full of inspiring projects. Whether you want simply to read about and see the work of others or get an idea of the types of projects you could do for your own daily practice, even if you’re not a tapestry weaver, this book would be a fabulous addition to your fiber arts library. 

Meagan Condon

Tip for Spinning Sustainably: an Excerpt from the Care Issue

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Excerpt from “Spinning Sustainably” by Diana Hawthorne, PLY Issue 47, Winter 2024

Prioritize natural fibers 

As a spinner you are likely already spinning wool, silk, cotton, or linen. Natural fiber is a more climate-friendly choice than synthetic fibers like acrylic and polyester, which are made from petroleum. Washing and working with fibers causes microscopic pieces to break off and end up in our waterways. With synthetic fibers, these microplastics create problems that natural microfibers do not. If you are spinning yarn with synthetic fibers (like Angelina), consider using that yarn for a finished object that requires minimal washing, such as a shawl as opposed to a sweater. This can help prevent some microplastics from entering our waterways. 

Bio-nylon, which is made in a closed loop system (minimizing chemical waste and pollution), is becoming more available to spinners now. It is biodegradable like natural fibers. Numerous labmade naturally derived fibers are available to spinners as well. In general, fibers called lyocell, modal, and the brand Tencel are made in a closed loop system and are less harmful to the environment than fibers like rayon and viscose. All of these regenerated fibers are processed in a way that uses more energy to get to the same starting point as the natural fibers. 

Not all natural fibers are created equal: flax and hemp production requires much less water and chemicals than cotton. Organic cotton has a significantly different impact than conventionally grown cotton for the same reason. The process of raising fiber animals contributes to greenhouse gas emissions. Some practices can minimize or offset the emissions, and sheep often thrive on land that is otherwise not ideal for farming plants, so wool can still be a good choice! 

Would you like to learn more about sustainable spinning?

Buy the Care Issue Here!
Subscribe Here!

Meagan Condon

Spin Together 2025

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We are excited to announce that PLY will be joining in on the Spin Together festivities this year!

What is Spin Together?

Spin Together is about the joy of spinning and the opportunity to share that joy with other spinners. It’s also a fun competition that will take place beginning at noon on February 22, 2025, and ending at noon on March 1, 2025 (noon in your time zone). It all takes place online in Facebook groups, and you can participate from anywhere in the world.

Does PLY have a team?

Ply has TWO teams! Each team maxes out at 25 people and we said, well, one team just isn’t enough! Our teams are called PLY Magazine Z-Twist and PLY Magazine S-Twist. While both of these teams will be full of cool people who read and contribute to the magazine, only one twist direction can reign supreme. Or, you know, each will serve its purpose in its own time or something like that.

How do I join one of the PLY teams?

Between January 28 and February 15, 2025, you will be able to go to this page and sign up to be on a team. The fee is $15 per person, paid directly to Spin Together when you sign up. They also encourage a donation to Habitat for Humanity. Remember, there is a limited number of spaces on each team, so signing up early gives you the best chance of getting on the team you want.

Where will all this happen?

We will host two groups on Facebook for participants to chat and see each others’ progress. We will also host a Zoom spin-in for both teams together at some point during the week! Spin Together also has a Facebook group for everyone participating in the event.

Are the prizes?

Of course there are prizes. On top of the generous contests and prizes offered by the Spin Together organizers, our PLY teams will also have our own challenges! A few lucky winners will win a year-long subscription to PLY magazine! (Either a new subscription or extending your current subscription).

For general information about Spin Together:

Spin Together!

More information coming soon via social media!

Jillian Moreno

Ask Jillian January 2025 

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How do you get yourself to practice other styles and structures of yarn? I learn to do something new and then just go back to my default yarn. I want to make new yarns!
Eleanor, Ithaca, New York 

Hi Eleanor, 

It’s sometimes hard to get yourself to practice new things. For me, I find it comes down to comfort – I love spinning my default yarn! It’s also some combination of not being sure what to do, wanting my new yarn to be perfect on the first go, and being overwhelmed by all of the possibilities. 

Here’s how I encourage myself to practice and experiment with new things. 

Make it enjoyable 

Use your favorite fiber and color and use your favorite wheel. These things will make the spinning more pleasurable, but you also know exactly how these things behave, so you don’t have the added layer of figuring out a new or finicky fiber or using a wheel that you may not be able to adjust on the fly. 

I also pick something that I’m excited about to watch or listen to while I’m practicing. A TV show, podcast, or book that I only watch or listen to while practicing will get me to my wheel and my new yarn. A bonus to this is it also naturally sets a time limit; working on a new yarn regularly for smaller bites of time, happily spinning, is better for learning than sitting at the wheel for hours and hours exhausting yourself. 

Make a plan 

Have an idea of what you’d like to spin, and be sure to make it smallish. I find it’s better to make a plan that has several yarns that are building blocks to a bigger goal. Even better if it’s tied to something else you are already excited about or are expanding on.  

For example, I want to get better at spinning a worsted yarn consistently at a variety of sizes. That’s a giant and kind of amorphous goal. It’s not a goal that will get me running to my wheel. But if I shift it into a series of yarns tied to other things I want to do or am already interested in, I get excited to spin.  

Two yarns are at the top of my worsted spinning list this winter: 1) a fingering weight yarn (smaller than my default) out of a soft short-stapled fiber (a challenge to keep consistent) to make a Sophie Scarf (not a huge amount of yarn and a cozy project for winter), and 2) a low-twist worsted yarn to experiment with grist (a long-time obsession) – I’m looking for the lightest worsted yarn I can make. 

If you tie your plan to a very specific yarn or pattern it will motivate you even more. 

Make notes 

I talk about this a lot (it helps me to remember to do it too): figure out a way to keep notes on your spinning and keep track of your goals and experiments. You will learn so much about your spinning! 

Keep notes on fiber, prep, draft, wheel setup, ply, and finish for each of your yarns. Then make your yarn into a swatch in whatever craft you are working in, and evaluate your outcome. Make more notes on what worked and didn’t, suggest adjustments, and dive in for another sample. Keep repeating the process until you have the yarn you want. 

Is it weird that when I’m learning and experimenting, I’m excited for my yarns to be not quite right? I learn so much more from a yarn that went off the rails when I go through the evaluate–adjust process. 

I like to tell my students, if you want to be a better spinner you have to make a lot of crappy yarn. 

Make it public 

Tell your spinning friends about your plans and goals; they will cheer you on the whole way. Chances are someone in your spinning group will be really good at what you want to do and give you tips.  

Watching other spinners spin the type of yarn you want to make helps too: friends, students in class, YouTube videos, and if you are a member of the PLY Spinners Guild, you can watch a variety of teachers do their thing.  

Everyone spins a little differently; a room full of spinners making a 3-ply, worsted, fingering weight yarn will be a room full of different techniques – no one will have twist between their hands, but they will hold the fiber and draft in their own unique way, and seeing that always helps me tweak my own spinning style for the better. 

Jillian 

Let us know your question for Jillian or Jacey! Submit your question here!

Submit your questions here!

Meagan Condon

We want your tips!

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The Tip Jar has been emptied, and it’s time to fill it with your best advice & insights about spinning!

This time we’re collecting information for our Summer 2025 issue, the Tension issue.

Here’s the question: How do you decide how much take-up tension a particular spin/fiber needs? And then, how do you keep track of that tension for a specific project?

Click here to leave us a tip! Your response may be featured in the Tension issue, AND our favorite tip gets a one-year subscription to PLY.

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

Meagan Condon

Book Review: Japanese Paper Yarn by Andra F. Stanton

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Japanese Paper Yarn: Using Washi and Kami-ito to Knit, Crochet, Weave, and More
by Andra F. Stanton
Schiffer Craft
$26.99, Hardcover, 96 pages
Published: November 28, 2024
Buy now at Bookshop.org
Reviewed by Meagan Condon

If there is one truth I’ve learned through the years, it is that the people who love yarn and the people who love stationary/pens … are actually the same people. There is something about these two mediums that speak to the same primal, creative impulses in us. But what happens when we consider where these mediums overlap one another?

Released in November 2024, just before the holiday season, Japanese Paper Yarn: Using Washi and Kami-ito to Knit, Crochet, Weave, and More by Andra F. Stanton is a engaging read for papermakers and handspinners alike.

Kami-ito is the Japanese art of turning washi paper into thread or yarn. If you think, as I did coming into this read, that paper is a weak material, think again! Japanese washi paper is made from the inner bark of kozo mulberry, which contains long, strong fibers that are preserved through the papermaking process. The finished paper is turned into strips and is then twisted to form a fine thread.

Stanton first introduces the reader to the history of Japanese paper and paper yarn, including how paper yarn was used to create clothing. She explains in suitable detail the process of making washi paper from kozo and how to prepare that washi for spinning. Because many of the materials used in the projects can be difficult to find in Western countries, Stanton clearly names these materials and includes several sources where materials can be purchased, including already spun kami-ito.

The book continues with 12 projects that range from novice to intermediate difficulty. Not only do the projects range in skill, they also incorporate a variety of inspirations and partner crafts, like knitting, weaving, crochet, bead-making, and knotwork. Stanton does a great job showing the range of what can be done with paper yarn!

By far, the best part of this book may be the beautiful, full-color photographs of original paper yarn creations by dozens of contemporary artists. The art featured in the book coordinates with the projects and showcases the skills taught in each project. It had me flipping back and forth comparing the art to the projects and “ooh”ing over how this or that art piece used this or that skill.

This may be the technical spinner and process crafter in me, but if there is one piece I craved more of in this book, it is details on the process of spinning paper yarn. Chapter 4 covers making both washi and kami-ito. It gives a beautiful description of how to prepare the washi for spinning but expects the reader to come to the text with a basic understanding of how to spin. I would have loved to get some trouble-shooting tips on the spinning process!

While there are more detailed texts available that speak to the history and practice of making paper yarn (such as Kigami and Kami-ito by Hiroko Karuno), Stanton’s book may be one of the most accessible for Western audiences. It gives the reader enough information to whet their appetite and stretches the imagination on what can be done with paper. If you crave texture in spinning, kami-ito may be the next big stepping stone in your spinning journey.

Guest Blogger

Celebrating Risks

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Words and photos by Wendy Emo 

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.