The Knitting Thingamabob – Episode Two

Replacing the tension dial on the carriage of a Knitmaster 700, some tricks and tips to make this easier. Knitting socks and hand spinning yarn for machine knitting socks.

Half way through knitting a hat with hand spun yarns

Having a few smallish quantities of hand spun yarn I decided to dye them.

The first was about 30g of blended tussah silk/wool singles that I’d then plied with itself. This is a slightly textured yarn with an interesting matte surface owing to the silk content. It took the deep purple dye beautifully, although the different fibres had varying take up of colour, so it isn’t quite even.

The second was a black and cream space spun yarn, plied with a solid cream. The solid is made from 50g of cream Suffolk fibre, woollen spun into singles. The second singles, with which this is plied, was prepared on a drum carder in alternating stripes of the same cream yarn and stripes of black Belwin fibre. This 25g batt was then woollen spun into singles, after which the two yarns were plied together into a 50g hank. This combination created a pretty spaced marl effect along a yarn which is reasonably even in thickness throughout.

The completed yarn was dip dyed in the same dye pot as the silk/wool yarn, plus another pink dye I had on the go. It was dipped a little into some yellow as well. Over-dyeing this black and cream marl yarn gives the impression of many more colours than there really are.

I’ve used the silk/wool as a band for a hat and the over dyed marl as the crown.

The band is knitted around the head, and has a cable along its length. The stitches for the crown are picked up along the edge and knitted in the round. The ball of yarn is on the right in the photo.

Colour-changing yarn spun from a distaff

I’ve had a number of different colour hand dyed carded batts sitting waiting for me to find inspiration. They are all from fleece I have scored and carder myself, so are a mix of Shetland, Suffolk and Texel, with maybe a little Alpaca blended into some of them. Some are in 200g amounts, some less. I’d got a bit stuck about how to use them until I saw a useful tip by Anna from my spinning group that she has put on YouTube.

Before you start, select a group of colours that work together. After a designing session during which I wrapped different colours together, I chose five: orange, pale green, mid blue, pale blue and lilac.

Anna used a combination of hand dyed and commercial roving, but the principle is the same with your own carded batts.

1. First of all split the roving/batt into the required lengths, (I just used the whole length of the batt of my drum carder).

2. Then split each length lengthwise into 4, (or more, depending on the thickness of the roving/batt).

3. Next, lay out the colours lengthwise, next to each other in the order you want to spin them into yarn. Test this beforehand to see how they mix throughout one repeat of a yarn, and if this works for your chosen outcome, such as knitting.

4. Repeat the colour sequence three more times so you have a table full of ‘stripes’ of fibre. If you have more than four lengths let colour, carry on until all are used up.

5. Now this is the clever part. I have hand spun colour changing yarns before and got the sequence wrong because I put it all away in a box between spinning sessions. To keep the sequence do the following.

6. Take a metre + long length off ribbon and tie a pencil or empty pen across one end. This is your fibre-stopper. Tie a hand-sized loop on the other end. This is your distaff.

7. Starting at one end of the ‘stripes’, wind each length off fibre into a loose roll and slip the looped end of the ribbon through the centre hole. Carry on doing this, working methodically through the fibre lengths, keeping the colour order as mapped out in your ‘stripes’.

8. You will end up with a ‘necklace’ of colour ordered fibre rolls on the ribbon. Tie the ends together to stop the fibre sliding off.

The dyed fibre arranged on the ribbon distaff before spinning

Now to can put them in a box and they won’t get muddled. To start spinning, simply lift the necklace out, untie the ends, and slip the loop over your hand. It acts as a distaff and will hold your fibre nicely as you spin each colour.

Spinning the lengths into singles

What a great tip!

I plied the colour changing yarn with a single spun made from navy blue Corriedale. This made a lovely marl yarn that to me resembles stained glass windows. I can’t wait to see what it looks like knitted.

The plied yarn

Here is the link to Anna’s video

Acid dyeing handspun remainders

A recent stock-take of the various bits of hand-spun yarn sitting on bobbins I now want to use for other projects inspired me to ply them all up and dye them into interesting yarns. Only small quantites of most, but great for small items.

One was a test of blending Tussah silk with Lleyn fleece, and I plied this with some nice soft spun Dorset singles. The silk added a pleasant dry handle to the plied yarn, and the noils added texture. There was more Dorset singles left, so I plied these together as a separate yarns. Next I plied two ends of Suffolk together, they were somewhat different thicknesses and twists, so made a slightly uneven, spiralled yarn. Finally I worked with a lovely colour changing singles, spun from a blend of Alpaca and Texel (cream) and Black Alpaca and Dark Grey (almost black) Suffolk fleece. The Alpaca blends had been carded in stripes on the drum carder so that when it was spun off the batt it alternated in dark and then light lengths. I plied this with a pale grey Suffolk single that I had acquired from a farm in Hereford last summer.

All these came out as interesting yarns in their own right, but I wanted to add some COLOUR. So I got out the dye kettle and the acid dyes. After some thought I decided to aim for a Deep Red and a Blue-Violet. I’ve been trying to be more technical about my dye mixing, and so with the aid of an Excel spreadsheet I have devised, I carefully mixed the solutions, but the Blue-Violet still emerged as Violet.

There was 66g of the Dorset and Suffolk/Dorset, and they went into the Red dyebath, whilst the 45g of Lleyn/Tussah/Dorset went into the Blue-Violet bath and they gently cooked away for an hour or so.

Part of my improved technique is to use a jam thermometer to keep the bath below 90C, preferably just above 89C to prevent felting. I also walk away so I am not tempted to STIR IT! The only stir I am allowed is after teh bath gets to temperature, when I gently remove the yarns, add the vinegar and stir it in. I read that doing this allows the different colours in the mix to be absorbed into the yarn (or fibre), before the acid does its work to set the dye to the fibres. Both these techniques seem to work well for me as I am getting less felting and more even, accurate colours (apart from the Blue Violet of course).

The dye baths were not exhausted – I had worked with a 2% colour to fibre weight ratio for medium depth of colour – so the lovely tweed ply was dip dyed into both pots, leaving mid-sections of the natural tweed plies undyed. I felt this needed a third colour to lift the others, so a very small section between each of the main colours was dipped into a weak yellow dye.

Dark red in front, dip dyed tweed in the middle, blue-violet at the back. You can just see the texural Tusssah silk blended purple yarn.

I’m really pleased with the products of the session – carried out whilst I watched the new TV programme ‘Roadkill’. Unfortunately I was a bit stupid, or maybe it was the effect of the programme I was watching, and whilst mixing a new batch of yellow stock solution I mindlessly poured boiling water onto the dye powder in a plastic jar. Of course the jar melted, buckled sideways and then toppled to the floor before I could catch it. Waves of strong yellow dye flooded the kitchen floor (I am exaggerating, it was only 150ml or so, it just felt like waves). It took five washes to clean the floor so that no-one would walk yellow onto the beige carpets, and my socks will never be the same again! Plus I had to start again with the stock solution. I did debate mopping the floor with some yarn, but decided that might be too hit-and-miss even for me…

In fact this morning, whilst hiding from the dog, (don’t ask why) I noticed a snail-trail of yellow dye snaking down the side of the kitchen cabinet – how did I miss that one?

What am I going to use the yarns for? I think a warm hat to cheer me up with its bright colours during this depressing winter-to-come is on the cards. I might knit it by hand or I maybe use my Brother KH260 chunky machine, and hope to report back on here when its finished.

Footnote:

Leaving the dye overnight in the pots – I was tired after all that floor-mpopping – the next morning I decided to finally extract the last from each one. So 50g of Dorset fleece went into each, and I got a rich coral pink, and surprisingly bright lilac for my troubles. It was so rewarding to empty clear water out of the dye baths afterwards.

Waste-not-want-not is a good motto.

Carding raw fleece – another post!

I have been doing quite a bit of drum carding of raw fleece I have gathered over the summer, and whilst doing this I recorded a couple of videos of the process.

This is the first one; picking and running the fibre through the carder the first time

I always put the batt back through the drum carder. I find this second carding makes a much nicer fibre for spinning. The second video covers doffing the fibre, splitting it and putting it back through. After this you can either take the batt off, as shown in the video below, or use a diz to take it off in a continuous roving. To do this, only separate one end of the batt (to the width of the diz), and pull the fibre off in a spiral as the drum reverses around.

The wool is from a Dorset sheep, and I have hand-dyed it in acid dye to this rather pretty duck-egg blue.

The second video shows doffing the fibre and putting it back through the carder after splitting and drafting to thin it out.

I haven’t spun this fibre into any meaningful amount of yarn as yet. That is a pleasure I am saving for later.

In the video below you can see the fibre being picked prior to the carding.

Aplologies for the portrait aspect filming of this video!
This was the fleece just after dyeing

Rose petal dye anyone?

Update:

The weather has turned so I have taken both sample skeins out of the dye. The results are shown below.

Over ripe strawberries on hand spun Dorset fibre on the left and dark red rose petals on handspun Shetland fibre the right.

Original post

My lovely husband gave me roses a week ago, but sadly they have drooped and begun to drop petals. I’ve decided to use the petals for dyeing; they were a lovely dark red and I hope I’ll get at least a pale pinky-brown from them.

The main thing I have learned is not to overheat petals – or any red natural dyes for that matter – as that seems to make them brown.

I tore up the petals and covered them in cold water, then added a little salt and white vinegar to the pot before gently heating it to below a simmer. I left the petals overnight to steep and strained the liquid off this morning. After that I put the drained petals into a muslin bag, returned this to the pan and added a skein of wet mordanted yarn to the cold liquid before reheating to a mid range temperature.

Hand spun Shetland yarn in the pan – hand spun never seems to take the dye as well as commercially spun yarn, but its more fun to try with my own yarn.

After heating the dye I poured the contents of the pan into a large lidded jar and have left it to steep for as long as it needs…

The dye looks jewel-like in the glass jar, but I bet I get a brown yarn!

I’ve also put some over-ripe strawberries into a solar-dyeing jar next to the rose petals.

The dye smells wonderful!

Going for brighter colours

I’ve been dyeing a whole fleece into 100g lots mixing my own colours from primaries from Colourcraft acid dyes bought from George Weil.

I’ve gone into detail about this here, but the colours are zinging.

Pink, greens, dark red, yellow and orange. I’ve just completed a blue, but it’s still wet so will have to wait to be added later on. I added another batch of fleece to the finished due bath to exhaust it totally, which gave me a pretty pale blue.

Watch this space for the blues…

I’ve also tried stove-top rainbow dyeing. More about that can be found here.

Spinning outdoors

Last week a few of us got together (safely distanced and masked), to take our textiles into the park. I enjoyed myself so much I forgot to take a photo!

The thought of spinning outside in the sunshine encouraged me to use bright colours. So I took along some Shetland fleece I dyed a while ago using acid dyes, (I have written more about dyeing fleece with acid dye here).

I’d spun up a bobbin of Suffolk fleece that is not very exciting, so I planned to use that as the core for a bright, irregular spun, core-spun yarn to which I would add a charcoal wrapping yarn. All 100%wool. I took my folding Louet Victoria S95 wheel which is a joy to use.

The core yarn was Z twisted quite tight. The wrapping colours were also put on Z twist, and the final charcoal, commercial yarn was S spun over the others.

Photo taken at might, so the colours are not accurate.

After washing and drying the twist the colours hardly muted and it’s come out as lovely yarn.

Taken outdoors, but the colours are a bit light.

Felted singles

Having read about this spinning technique I though I’d have a go. It doesn’t save much time as you still have to run the yarn back through the wheel, which takes as long as simple plying. It was prompted by my practise at making a ”Z’ twist fat singles’ and so I decided to over-twist this singles yarn as I practised the night before a dyeing session. So I treated it cruelly when washed it, and also in the hot dye bath as well.

As there were several colour dye baths it was too tempting not to dip-dye the hank. Firstly it went into red-cabbage allover, and then the ends were dipped into madder and turmeric.

This is what it looked like before hot washing and dyeing.
And after re-spinning it’s open up nicely and is quite soft.

I’ll be trying this out soon to see what it looks and feels like as a knit.

Another natural dye workshop…

In preparation I have been experimenting with common plants to see what colours can be achieved. In the local park there are plenty of plants to try out. Cow parsley and dock (sorrel) were the ones on test recently.

I hope it was cow parsley anyway, Google lens wasn’t sure if it was hemlock or a type of chervil (cow parsely). Hoping that I wasn’t going to go the same route as Socrates I brewed up the innocent cow parsley (yes I had found out by now that it was safe).  The liquid didn’t look promising, unlike the sorrel liquid that was already a rich golden colour. Steeping the ripped leaves overnight didn’t improve it much either.

However, once the wool fabric had been immersed and heated the colour did come through. I tried an alkaline modifier on the sorrel to try to warm the brown up, and an acid on the sorrel to enhance the green. Im not sure either made much difference!

IMG_20200221_201216
From left, cow parsley, cow parsley with acid modifier, sorrel, and sorrel with alkaline modifier. All on 100% wool knit.