I’ve just put the beans to dial in cool water in a large jar. I’ve used 100g beans so will see what weight of yarn I can dye with these. Now I have to wait for 24 hours, shaking it gently now and then.
It’s 24 hours later, and time to get the due working. Of course I’d overlooked the problem of getting the liquid or without disturbing the beans. Instructions said to stop shaking the beans at least an hour before adding the fibre, so I did that. Then to remove the liquid carefully as any bean debris will turn the dye brown. However, it’s not easy to get the liquid out without the beans when you’ve stupidly put it in a narrow-ish mouthed jar!
Luckily I found a small ladle in the kitchen that just fitted, so managed to get some out. Not sure if it’s enough. I’ve added plenty of salt and enough water to cover the yarn and am now waiting…
It did not work sadly. But I may try again with more means this time.
I have a large sack of Texel fleece that had been making me feel guilty for a while. It’s not the most soft of fleece so I decided to blend it with some Alpaca that has also been lurking in the cupboard. Unfortunately the Alpaca (from an animal called Kiki), has quite a bit of VM in it, but it is deliciously soft.
Picking and hand picking got a lot of the VM out, but sadly not everything. I carded both the Texel and Alpaca separately and then split the batts and layered them up in alternate layers; one wool, one Alpaca etc, and put them back in smaller batches through the drum carder.
As my carder is quite coarse I do a second run through for most fibres. So I did it for these batts. I think I probably should have done a third run, but I was afraid of over-carding the fibres and decided they had blended well enough. The result is a little uneven!
I’ve spun two small samples, one thick singles sort of semi-woollen and the other long draw woollen spun.
I’m now perfecting, (ha ha) my long draw technique with several hundred grams of comb waste that I have carded up. Hopefully by the time I get through that I will be proficient enough to tackle long draw spinning that large amount of Texel/Alpaca fibre!
I’ve hand knitted small samples of the both yarns The thicker spun on 6mm needles and the long-draw spun on 5mm needles
If you have seen some of my earlier posts about machine knitting and spinning you might realise that I am keen to put the two together. I was given a fleece that is long-staple, not-very crimped and quite lustrous, but I don’t know what breed it is from. Its also quite coarse with well defined locks. The first batch I stove-top rainbow dyed, and spun from flicked locks. It worked OK, and I got a reasonably fine yarn. I also have a lovely soft, long staple Alpaca fleece, so I worked with the two as separate singles to ply together. This yarn worked at tension 8 on a standard gauge knitting machine.
However, I was determined to get it thinner. I started with the Alpaca, and after hand carding the fibres, spun it worsted using a double drive wheel with the lace flyer and was so pleased with the results. I got a 28wpi singles from the Alpaca which was quite dense, not light an airy, but I wanted it to match the coarser fibre’s density. To prepare the long-staple wool I decided to comb the locks on wool combs. At first I was slow, because although I have done this before I’ve not practised a lot. It was exciting to find I got faster quite quickly and began to get some lovely long slivers coming off the comb. After spinning in the same set up as the Alpaca, I have also managed to get the rather coarser wool to produce a 28wpi singles, so I am pretty pleased as this will give around 14wpi 2ply.
I have plied all of the yarn, and am waiting for the second skein to dry. Meanwhile I have knitted a tension swatch on the Knitmaste SK840 and can get it to knit at either tension 5 or 6. Tension 5 is a nice looking stitch, but the handle is stiff, so I opted for tension 6 instead. I probably should have tried between the two, but when each metre of yarn takes so long to prepare and spin I was reluctant to use too much on sampling at this stage. I will add photos of the fabric once I have given it a wash and steam.
Having been eating loads of avocados last summer I dried the skins and stones for dye material later on in the year. I want sure if the colour outcome would be effected by drying so decided to try some out recently.
I took 60g dried avocado skins and two skeins of yarn; one 14g hand spun 50/50 cream wool and alpaca and 12g commercially spun 2/9nm will and nylon (sock yarn). I reckoned half yarn to dye material, but being dried may have made a difference.
I cold mordanted the yarns overnight and soaked and cooked up the skins. Stained the liquid and made up the due bath. Then gently simmered the yarn for about 60 minutes, with the skins in a muslin bag in the bath as well. After that I left the whole pot to cool overnight.
I was surprised that the hand spun did not take much colour whereas the wool and nylon took loads. Both had had same pretreatment.
I will be using the will nylon in machine knit socks, so pleased with the colour. It’s not as warm as the undried skins I’ve used in the past, more like onion skin colour.
UPDATE On reflection I think the Alpaca may have influenced the way the dye was taken up by the hand spun yarn
Although an older model, the Knitmaster 700 is a lovely machine. It is a punchcard machine and ball bearings so it slides very smoothly on the bed. One really nice feature is that it will knit intarsia without using a special carriage. Two white levers on the left and right of the carriage activate the intarsia setting.
Whilst knitting the sock, I found the tension dial was unreliable and replaced this with a secondhand assembly and this records doing this.
‘The Answerlady and Jack’ on YouTube are life-savers for machine repairs.
A trick for reassembling the carriage when it is difficult to get the tension assembly back into the carriage so that it will turn all the way round.
Never use metal things to poke inside your carriage unless you know what you are doing!
Mend the plastic carriage cover or any other plastic cracks, chips etc with epoxy resin glue. If you leave the cracks, particularly if they are around a metal screw head, they will quickly deteriorate and bits will break off.
Don’t use spirit on the plastic parts of the machine, use a slightly damp cloth to wipe these parts. Metal areas can be cleaned with surgical spirit (rubbing acohol) with a drop two of oil in it. This leaves a film of oil after cleaning. Make up a small jar and keep it with your maintenance tools so that it is always to hand. Use soft cloths and cotton buds to clean your machine.
Keep your machine oiled for the best performance, oil the bed every 100 or so rows. Invest in proper sewing machine oil or knitting machine oil.
Sock knitting on the knitting machine. Not being a keen hand knitter of socks, I revisit machine knitted socks made from wool yarn. Short row heels, short row or decreased toes?
I’ve got various tools that I have been using as a dizz, but there have always been shortcomings. I’ve found it difficult to get the holes smooth enough in wooden ones I have, even after quite a lot of use. I also use a big coat wooden button, (same problem with the holes), and the plastic button I used snapped in half.
The wooden coat button is nicely concave, and I like that feature. When I saw the curved brass ones made by Majacraft I became covetous. So imagine my joy on receiving one from my son as a present at Christmas!
Apparently the two smaller holes (1.5mm and 3mm) are for fine and coarser wools and the largest one is for colour blending fibres as you ‘dizz’.
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.
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.
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.
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.
After years in the doldrums of the spare room, I have finally got this machine somewhere I can get to work on it properly.
I am fortunate to have instruction manual, pattern book and several knowledgeable authors books on the subject, which have helped a lot. But still it took me a while to remember what I had forgotten and learn a few new things – or maybe I had totally forgotten these?
It’s an early model so at the moment won’t take downloads – (or is it uploads) from Designaknit, but I hope to rectify that soon. Meanwhile I need to get up to speed. Luckily it’s just the programming as I am confident on Duomatics and all their dials, buttons and foibles, and do love the knit quality from a Passap.
I am slightly ashamed to be sharing such a basic sample, but will do so nevertheless.
Not being able to switch patterns mid swatch is really annoying compared to the Japanese electronics which are more flexible. It seems all the patterns and knit techs have to be input before to start. Or am I missing something?
I remembered that I can skip through a cast on that is already knitted and on the machine to a pre-programmed pattern using GX and empty rows. But am stumped by having to have input all my patterns before I start. I feel sure I worked out how to do this before…
Whilst digging in our loft today to make space for the plumber to run new pipes, I found a fleece!
I couldn’t believe what I saw, because I was sure I remembered throwing it away years ago, and I mean years…probably the best part of twenty years! I can say that with quite a lot of certainty because it was given to my Mother when she wanted to learn to spin on her Westbury wheel. She had bought it in the 1970s I think, in Glastonbury, as a kit. My Father made it up for her and she stained it a dark walnut colour. But she didn’t have any fleece – or to be honest the faintest idea how to spin. A friend of a friend found her two Jacob fleeces from a local shepherd in Somerset, but I don’t believe she ever got any yarn off the wheel.
I ‘inherited’ the wheel (and the fleece) when I bought a flat and had space to house it. Once again it sat unused, and the fleece sat lonely and unloved as well. When I had children, the wheel became the object of their attention. They delighted in treadling it and bits fell off.
After my Mother died I took the drastic decision to sell it to save it, if you see what I mean. I so regret that now, I wish I’d put it in the loft, which is somehow where this fleece ended up – I must have chucked the other one, or maybe gave it with the wheel.
Since then, I have acquired an Ashford Traveller and a Traditional, but I would love to have another Westbury for sentimental reasons. So if anyone is looking to sell a Westbury wheel do get in touch with me first.
So today the fleece saw the light of day after many years. I thought it would be absolutely ruined, if not full of moth, but no, it is fine. I don’t think it was very greasy to start with, and there isn’t much VM. I’m in the middle of a test wash of a part of it to see what happens. I can’t believe it has survived, but I’ve given parts a good tug and there isn’t any breakage, and very little discolouration. It is a beautiful chocolate brown and cream, so I plan to separate the colours and spin it as a tweed-effect, providing all goes well.
It will lovely if I can spin it; a sort of homage to my Mum who never quite got it together to spin it herself, much as she would have loved to. If I could spin it on a Westbury, my homage would be complete!