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Jacey Faulkner

I Want to Tell You About My Friend

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I don’t want to tell you that Stephenie Gaustad was a great spinner. Everyone knows that. 

I don’t want to say she was a talented and generous fiber artist. If you have ever taken a class with her or read one of her books or articles, you already know that too.   

I want to tell you about how warm her hugs were and how she never let go first. I want you to know how funny she was, how her eyes twinkled when she smiled, how she followed her heart in all things, and how she loved getting in good trouble. I want to tell you about the Stephenie I knew and how much I loved her. 

The first time I fell into the arms of Stephenie Gaustad was at SOAR in 2010. Her flax to linen workshop was next to my textured yarns workshop. When I got to the part of the class where I have everyone spin a thick and thin singles yarn from cotton, a spinner in my class (who had recently taken a class with Steph) hopped up and ran out the door.  

The retting sounds from next door halted, and Stephenie Gaustad walked through the adjoining classroom door.  

“What’s this about spinning cotton thick and thin? Handspun cotton needs to be spun fine, with lots of twist, and very even.” 

I was not a cotton spinner. My spinning skill was not nearly at the cotton “spun fine, with lots of twist, and very even” level. I only used cotton as an (extreme) example of how you can spin any combed fiber into a thick and thin yarn if you pay attention to the staple length.  

I haltingly and nervously explained that even the shortest cotton can create a stable thick and thin singles yarn as long as you make your thick section shorter than the staple length so that the ends of the fibers are caught in the high-twist thin section on either end of the thick bit. I demonstrated as Stephenie (along with all my students and hers) stood around my wheel watching. 

When I finished, she whooped! 

She whooped and hugged me, and we never saw each other again when we didn’t hug and huddle up.  

Because we both made a living travelling to teach, we saw each other often. One evening, after several days of teaching, we sat next to each other, exhausted, in a Chinese restaurant. I leaned in and whispered to her all my plans for starting a magazine. She smiled and her eyes twinkled. You have never seen such a twinkle. 

When the first issue of PLY came out, she sent me a short length of handspun thick and thin cotton and a letter: 

Dearest Jacey, Ply is fantastic! I love that you have multiple voices on a single topic, and really hear the person as he/she takes time with answers. This is what strikes me first. I get the chance to focus on something, spend time with it and not rush off in another direction 2 pages later. I treasure this copy and will refer back to it time and again. 

Your enthusiasm for the craft and project is palpable too. It is so exciting. I feel transported back in time, actually to a decade when new magazines were popping up right and left, in different formats; it all was new and fresh. Ply is a breath of fresh air!

-Stephenie

Now it is time for Alden to add his 2 cents.  

Well, I am flabbergasted. The scope of the work is mindboggling. The possibilities are limited only by your imagination and energy. The mag is a visual knockout, the advertising is arranged with taste and finesse and considering the stated purpose “the magazine for handspinners” what can I say but bravo! Huzzah! You are a phoenix rising in a world of turkeys. 

-AA

From that first issue on, Stephenie was in almost every single issue of PLY and she and I were firm friends. I don’t even know if that’s true. I feel like I wasn’t friends with Stephenie –  we were family. She was the closest thing I had to a grandmother, and when my mom died, she was there for me. Stephenie’s hugs were the warmest and she’d hold on as long as I needed.  

Of course there were other things, business things, that happened – she became PLY’s technical editor, she taught at PLYAway every year, she wrote a wonderful book with us. But it’s the actual time I spent with Stephenie, the moments, that I remember and that mean the most. She went to a May Day festival at my kids’ school with me once. She beamed as we watched dozens of kids in handmade dresses, dancing and wrapping the May pole. She leaned over and whispered in my ear, “I’m pagan,” and held my hand the whole time.  

Last year she visited us in Oregon. I offered to fly her out, but she insisted on driving. She pulled up in a giant SUV filled floorboards to roof with spinning wheels and tools (almost all built for her by Alden). My kids unloaded the tools as Steph and I sat on the porch and talked about the future of fiber arts.  

That night, after dinner, Stephenie, the kids, and I played Telestrations – a cross between the old telephone game and Pictionary. I had never seen Steph laugh so hard as I did that night. Stephenie was a part of my life. She was a part of my family’s life. We were family. I will miss her forever. 

While she was here that time, we filmed the first Teacher Tea for the PLY Spinners Guild. It’s a segment where I sit down with spinning teachers, drink tea, and talk. It was so early in the PSG that we didn’t have good lighting yet, hadn’t figured out how to get a decent sound track, didn’t even have the PSG studio set up nicely, but none of that matters because Steph is such a joy. We’ve made the teacher tea with Steph public, viewable to everyone, guild member or not. Please sit down with some tea of your own and spend some time with this dear, darling woman. 

https://www.plyspinnersguild.com/videos/9-teacher-tea-steph

Stephenie Gaustad was a wonder, and the world is better for having her in it. I’m better for having known her. Since I heard the news, I’ve been rereading all the emails she’d ever sent me, and it is helping replace some of the tears with smiles. Her closing lines especially help. I’m including a few of them here. I hope they make you smile too. 

Hope that your spring days are full of beautiful green growth and smiles, 

-SG 

This morning’s rainbow reminded me of you. You are all the colors and you always bring a smile, 

-SG 

Well, the snow has turned to rain. It really is kind of late in the year for it. It is o.k. I have plenty of fiber to spin here, and a few wheels to do this. 

-SG 

You see, dear friend, I didn’t want to scare the hell out of you with dire futures. It ain’t like that one bit. I want to give you, dear friend, good news. And this is it.  

-SG 

The rain will pass, my dear Jacey. The rain will pass and you and I will keep growing, 

-SG 

So don’t fret over me. (In my best “Arnie voice”, “I’ll be back!”) 

-SG 

So I am laying here this evening basking in the glow of a completed job and oh boy, Jacey, my dear, are we going to have run raising some dust! Whoopee!  

-SG 

Stephenie Gaustad

August 1947–February 12, 2025 

Jacey Boggs Faulker and Stephenie Gaustad
Judith MacKenzie and Stephenie Gaustad
Steph and Jacey
Stephenie Gaustad and Hansen
Levi Faulker and Stephenie Gaustad
Maggie Casey, Jillian Moreno, Judith MacKenzie, Deborah Robson, Stephenie Gaustad
Stephenie and Jacey

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

Placemaking

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Mni Sota Makoce rests on unseated Dakota and Anishinaabe people’s land and recognizes eleven federal tribes within its borders. I am currently residing near Wakpá Tháŋka (the Mississippi River), just a few miles upriver from Bdoté, the place where the Mississippi and Minnesota Rivers join. I am joyful to be living in this land with three natural watersheds, where farming and shepherding are a piece of our robust state economy.

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Guest Blogger

Southern California Fibershed: An Unexpected Place

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Southern California might seem like an unexpected place to produce spinning and weaving fiber, but people have been processing plant and animal materials here for thousands of years. San Diego is in the territory of the Kumeyaay people, who have lived here since time immemorial. The Kumeyaay processed milkweed, dogbane, agave, yucca, bark, and rabbit skins into garments, cordage, netting, and other items.

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Guest Blogger

A Wool Lover’s Visit to the North of England

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The trip I went on in May with Rowan Tree Travel to southwestern England was so wonderful that I had to go again on a similar trip in northern England at the end of September.

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Guest Blogger

How to make a 2,000 year old slipper (part 1)

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Today Christina Pappas returns to the blog to walk us through the process of replicating a 2000-year-old slipper!

 

Today we are going to focus on getting to know the slippers for this project. (Have a look at my post from last week to learn more about my replication project.)

Footwear from 2,000 years ago is really different from what most of us wear today. Going barefoot was probably not uncommon, but there were times when you wanted something on your feet. For example, imagine exploring a cave barefoot. How far could you walk barefoot? Probably not very far. Mammoth Cave in Kentucky is the longest cave system in the world (over 400 miles and counting!) and ancient peoples had explored much of it thousands of years ago. We know they wore slippers because we have found slipper fragments inside the cave.

 

Several of the slippers were excavated from rockshelters in the 1920s and 1930s as a part of the Works Progress Administration (WPA). These images are from a rockshelter in Lee County in Kentucky that produced three of the slippers. Images courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

We also find fragments of slippers in dry rockshelters. Rockshelters are places along rock walls where you can find shelter from the elements – the kind of place you would rest while hiking to get out of the rain. Kentucky has many rockshelters that are dry, and archaeologists have been able to recover perishable artifacts, including slippers, from these kinds of sites.

A twined slipper from a rockshelter in Kentucky.

For the slippers we’re going to make, we have to look at several examples to piece together all the necessary traits. All the slippers we’ll be looking at are in the collection of the William S. Webb Museum of Anthropology at the University of Kentucky. They are all from archaeological sites in Kentucky, and most from rockshelters. Only a couple of have been radiocarbon dated directly, but all are approximately 2,000 years old (give or take a few hundred years).

All the slippers are made from plant materials. I can see that the fibers are long, and there is a bit of the outer stem left on some fibers. That tells me that these fibers were not subjected to a lot of processing and appear to be bast fibers. Unfortunately, I can’t completely determine what plant fiber was used; I would need to cut samples and examine them with a microscope to be certain. I do know that these are not from milkweed or nettle fiber, since those fibers are finer than what was used in these slippers. The ancient craftspeople who made these slippers used something woody and hard-wearing, quite possibly fiber from the pawpaw.

A (slightly different) twined slipper from a rockshelter in Kentucky. Image courtesy the William S. Webb Museum of Anthropology, University of Kentucky.

These slippers are all chevron or countered twined. Twining is one of the oldest textile structures with examples dating to over 40,000 years ago in the Old World. In twining, two yarns twist around a third stationary yarn. You can twist every row in the same direction, or you can alternate the direction of each row to create a pattern as was done in our slippers. Twined slippers are made both ways; chevron twining just happens to be my favorite.

The paired yarns that twist are our wefts, and the stationary yarns are our warps. The weft yarns on all our slippers are singles, with a slight Z-twist of 20-30 degrees. The average diameter is about 0.5 cm (about 0.2 inches). The warps are a bit tricky to see and learn about.

A close-up of the heel of a slipper where you can see the plant fibers and the twining structure.

Slippers had to be durable and hard-wearing, so they were twined very tightly and the wefts covered the warps. In the places where the weft has rubbed away, the warp was also damaged and the original yarn structure is not always clear. What I’ve been able to see is that both plied and unplied yarns were used in the warp. A plied yarn was used for the warps near the edge of the slippers, and unplied yarns were used for the warps in the middle. A plied yarn was also used at the toe of the slipper. It functioned like a drawstring to snug the slipper up around your foot.

Using plied yarns makes sense at the edges and as a drawstring – those are the areas where the slipper would take a good amount of abuse and a plied yarn would stand-up better over time. The plied warp yarns are two Z-spun singles S-twisted together, and the unplied warps are Z-spun singles. The warps average about 0.8 cm (about 0.31 inches) in diameter. The plied yarns average about 1.5 twists/cm and the unplied warp yarns average 0.5 twists/cm. I wasn’t able to get a measurement for the twists/cm for the weft yarns. The dense twining made it difficult to get consistent measurements.

A slipper toe where you can see the drawstring. You can find a drawing of a completed slipper here.

So, what have we learned so far?

I know that my slippers will need to be made out of a ‘harder’ bast fiber. Pawpaw was used prehistorically for slippers, and I know a few farmers who still grow them. My fiber will need minimal processing. I will use chevron twining to weave my slippers. My yarn goals are:

  1. Z-spun single, approximately 0.5 cm thick, 0.5 twists/cm
  2. Z-spun single, approximately 1.0 cm thick, 0.5 twists/cm
  3. 2 Z-spun singles S-plied together, approximately 1.0 cm thick, 1.5 twists/cm

I’m going to have to figure out how to process my fiber, how to spin my yarn, and how to weave my slipper. These are all steps that will be based on what I’ve learned from other fiber artists and early historic descriptions of spinning in the Southeast, not on anything we know for sure from the archaeological record. This is where the real trial-and-error begins!

 

Next time we chat, we’ll get to know the other textiles for this project.

 

Chris Pappas is an archaeologist by day and a fiber fanatic by night who is happiest when she can be both at the same time. She lives in Kentucky with her husband, adorable baby girl, and two crazy beagles.

Guest Blogger

Following in the steps of a 2,000 year old spinner

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We’re so happy to have Christina Pappas back on the blog today, to take us on a journey back in time as she tries to walk in the footsteps of some ancient textile producers.

In my last post, I talked a little about how archaeologists use objects to learn about the distant past:

“You look at a handmade textile and you see not just a pretty object, but the hours at the loom or knitting needles, the fiber drafting at the wheel, the alchemy at the dye pot, even the shepherds with their flocks. You can see all the steps and decisions that went into creating that object, all the places where one path or another was chosen. Archaeologists are constantly trying to trace back those paths, to see those moments when a decision had to be made and why. The whys are how we learn about culture in the distant past. We can look to the past and see when and why spinning one kind of fiber over another was chosen, what changes were happening that led to that decision, and what were the ramifications of that decision….”

All the steps and decisions that go into making something are known as a production sequence. One of the ways we can learn about a production sequence from the past is to actually make the object ourselves; to try to recreate the steps that went into crafting something to understand how that process fits into everyday life.

Harvesting Joe Pye Weed this past September. This was a plant used for fiber in prehistoric Kentucky. These plants are destined to become yarn for my project.

For example, let’s think about a woven wool shirt. What are all the steps to make it? Cutting the fabric and sewing the garment are steps, but we need to look all the way back to the very beginning if we are going to understand the entire production sequence. So we have to think about the sheep, processing the fleece, spinning the yarn, weaving, and then finally cutting and sewing the garment. That’s a lot!

Now, imagine the same process over 1,000 years ago in a Viking settlement. What technology was available to you? What other kinds of chores and activities were going on every day? How would the need to make a wool shirt fit into daily life? By trying to make a wool shirt exactly the way a Viking would have, we can estimate the time and effort needed and get a glimpse into the value placed on this work in their society. Similar experiments and studies into Viking sailcloth have shown how labor-intensive its manufacture was and how valued that process would have been. (This, this, and this are just a few examples of these projects.)

 

A slipper form a cave in Kentucky. This will be the slipper we will try to replicate.

At the University of Kentucky, we have a collection of prehistoric textiles from dry caves and rock shelters that are around 2,000 years old. These include fragments of shawls, bags, mats, and slippers. They are in various states of preservation but all are made from plant fibers. I know the structure of the yarns and the types of weaves used to make each object, but I’m not sure how they were made. How were the plants processed into yarn? How was the yarn spun? How easy was it to dye the yarns? How long did it take to weave a bag or make a pair of slippers? We know only a little about the process of making these textiles, but I think I can change that.

 

A fragment of a bag from a Kentucky rockshelter. Complete objects, like bags, are very rare from archaeological sites. We will look at this fragment, as well as a few others, as we make our bag.

Over the next several months, I’m going to try to replicate two different kinds of textiles, a slipper and a small bag. I’m going to start at the very beginning with gathering the plants and how to process them for fiber. I’ll be experimenting with different ways of spinning the fiber and how the yarn I make matches up with the archaeological examples. There will be the weaving of each object and a ‘field test’ to make sure they can function as they are supposed to. In the end, we’ll compare my replicas with the originals and see what we’ve learned. I’m definitely not the first person to try this sort of project with archaeological textiles, and we’ll talk about the projects that have come before me. I’ll be checking in on the PLY blog periodically to document my progress, and I’ll report on both my successes and my failures. This is science folks; I expect there to be some failure along the way.

 

A few examples of yarn and textiles I’ve made to learn about how prehistoric fabrics were constructed.

Next time, we’ll get to know the two objects I’m going to be replicating. We’ll take a look at their yarn and weave structure and make some guesses about what was done to produce each object. That will serve as our roadmap for the whole process. Stay tuned!

 

 

 

 

 

 

Chris Pappas is an archaeologist by day and a fiber fanatic by night who is happiest when she can be both at the same time. She lives in Kentucky with her husband, adorable baby girl, and two crazy beagles.

Guest Blogger

HansenCrafts introduces a whimsical history of spinning – REVOLUTION!

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We are so happy to have the owners of HansenCrafts visit us today, along with Andrea Love who created a prety amazing project for them recently. We’ll let them tell you the story!

We, (Kevin and Beth – HansenCrafts owners) were talking about the history of spinning, and how tiny the present epoch is in the realm of a history some 30,000 years long. We were trying to think of a way to present the evolution of the craft leading to the introduction of the miniSpinner, when we saw a video short by Andrea Love, and BLAM, we decided to produce this story in conjunction with her wonderful use of stop-motion animation.  We thought that it would be great fun to share Revolution with the world… well, at the very least with the world of fiber enthusiasts!

The result is a whimsical view of the timeline of spinning using fiber to create the actors and sets!  It shows (in an entertaining way) where we came from, where we are, and maybe gets us thinking about where we will go to keep the craft of spinning vital and moving ahead.

 Here’s Andrea to tell and show you how she did it…

My trunk of wool. I included sheep, goat, llama, camel, silk, cotton and grass.

My trunk of wool. I included sheep, goat, llama, camel, silk, cotton and grass.

When Kevin and Beth contacted me about a video, I saw the potential to try something I had been dreaming about for a while- a fully felted animation. I thought of it like claymation, but with wool. Wool-motion? I have been incorporating fiber into my work for the past six years, but I decided it was time to take it to the next level. The Olympic Peninsula is incredibly rich with fiber producers, which gave me a huge array of colors and textures to work with, from unprocessed goat fleeces to dyed and carded blends.

egypt

Egyptians drop spindling by the Nile River.

Having no prior knowledge of handspinning, I conducted a fair amount of research. I scrolled through Pinterest pages, watched videos on YouTube, and consulted books and online articles. I was blown away by all the painted portraits, pictures and videos of women spinning from all over the world. It emboldened me to include not just the spinning implement, but the women, landscapes and cultures as well.

Setting up a panning shot.

Setting up a panning shot.

Once sufficiently inspired by the rich history and tradition of handspinning, I started making scenes. This involved needle felting sets onto sheets of rigid blue foam sometimes upwards of two feet wide. The wire armature puppets were secured to the set using felting needles. The spinning wheels were felted over all sorts of things- wire, toothpicks, cardstock, scotchbrite, foam- anything to give it a stable structure. Kevin and Beth lent me a miniSpinner, so I was able to work in some handspun yarn as well. I enjoyed experimenting with short strands of different diameters and color combinations.

Using the HansenCrafts miniSpinner to wind some thread onto my felted spinning wheel

Using the HansenCrafts miniSpinner to wind some thread onto my felted spinning wheel

I filmed these scenes more or less in sequential order, so you can watch my technique evolve alongside the spinning implement. For the most part, these scenes originated in my imagination, but I did include one direct reference. The introduction of the spinning wheel in China is a felted homage to “The Spinning Wheel” by Wang Juzheng, one of the earliest illustrations of a spinning wheel, dating back to 960-1125 AD.

My felted homage to Wang Juzheng’s scroll “The Spinning Wheel”

My felted homage to Wang Juzheng’s scroll “The Spinning Wheel”

There are 10 unique frames per second, all manually arranged frame by frame. If this seems tedious, it’s because it is! It took me three and a half months to make this. I used the music (an original song by my friend Eric Kuhn) as a guide, determining the rhythm and timing of the piece. It’s fun to imagine this as a music video, with the spinners masterfully playing their instruments. Revolution is very dear to my heart, and I feel like I’ve only just begun on this journey into fiber animation. 2017 is shaping up to be a fiber-full year, and I will be sharing more behind-the-scenes pictures and clips of my current projects through Instagram, as @andreaanimates.

Be sure to check out the full video to see it for yourself: Revolution!

headshotresized

Andrea Love is a stop-motion animator and fiber artist, living and working out of her home in Port Townsend, WA. Her work can be found at www.andreaanimates.com. Here she is pictured between Kevin and Beth Hansen.