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

Spinning outdoors

Is it risque? It’s certainly liberating. Given the restrictions on meeting up indoors, going to the park seemed the the perfect way to meet up when we can’t go to our normal groups.

This is the second one I’ve organised and it was lovely way to spend a Friday afternoon. I took my portable Louet wheel and others brought wheels, drop spindles, knitting and crochet. And a picnic lunch!

Shade was mandatory as it was so hot, and we found a generous tree that have us a shady space big enough for plenty of social distancing.

I’m taking the photo…
So someone kindly took one of me

I took along a sack of stove-top rainbow dyed fleece as described on my Dyeing Wool page. It’s a little coarse, but in nicely formed locks, so I am flick carding it and spinning it quite thick for use in a rug, (maybe)?

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.

Presser foot pressure

I’ve been having problems with adjusting the foot pressure on my Jones 125 machine. I’ve not seen one like it before and couldn’t work out how to use it. Today I’ve had 3 broken needles and I traced this to the really strong pressure on the foot. My Bernina 1030 doesn’t have this adjustment so it’s not something I work with much.

The pop darner for pressure adjuster on the Jones 125.

Then I lucked upon this webpage https://aspenleitervacuum.com/under-pressure-the-adjustment-you-didnt-know-you-had/

Before reading this I’d been twiddling it, popping it up, trying to unscrew it and seeing no difference. After reading this helpful page, it seems the Jones has a ‘pop darner’ style pressure adjuster. The central core pops up when you push down the outer ring, and then you depress the central core in increments to achieve the pressure you want. I imagine the name comes from popping it up to take pressure off when darning (or free embroidering) on the machine. Suddenly it all makes sense. The 3/4 position is so much better for what I am sewing today than all the way down, where it was because I couldn’t work out how to adjust it.

Probably common sense to others, but not to me!

Thank you to the kind person who took the time to write about the different methods of adjusting foot pressure, and for such a clear explanation.

Rub-a-dub-a-fleece

Washing (or scouring) raw fleece is not a quick job, I think that’s something all can agree on. It’s also surprisingly contentious. Everyone wants to tell to their method, and you gradually learn that different fleece require different scouring methods, so everyone is probably right!

So I’m going to write about my experience today.

I have been given a rather nice Shetland fleece. Rather nice that is, but filthy. The fleece is very greasy and every single lock is gummed together and dirty at the tip. Underneath however, you can see the gorgeous fibre hidden under the grease-trapped dust and poo.

It doesn’t look too bad here, but thankfully this is not smelly-vision
See what I mean about those yucky tips?

I gave some of it a good hot soak  yesterday with plenty of washing up liquid. The water was like oxtail soup (sorry if you like oxtail soup), but after a few rinses it seemed OK.

However, this morning’s inspection showed it to be still greasy and those dratted dirty and sticky tips were still gummed up.

Rather than transfer that gunk to my carder I reluctantly decided to re-wash the fleece. So more really hot water baths followed. The first was so hot I couldn’t put my hand in it, with loads of washing up liquid and a dose of washing soda to break the grease. I  always wash the fleece separated into small mesh lingerie washing bags. With this second wash, I opened each bag, one at a time under the water and teased the locks apart, concentrating on those dirty tips to loosen the greasy dirt.

Yes it was time consuming, bit surprisingly gratifying as the dirty came out quite easily with this method. I think because the fleece has just been sheared the dirt hasn’t had to much time to harden-off.

Now it’s drying out looks amazing and is so soft.

I’m itching to get spinning

Knitting and Wellness

Today met James McIntosh and Dr Thomas Ernst, inventors of the term ‘knititation’ and authors of Knit and Nibble. They had been invited to speak at the University of Brighton School of Art’s Centre for Arts and Wellbeing event, Knitting and Wellness.

When we first met, James told me that he had found The Knitting Book really helpful when he was teaching himself to knit – which was truly gratifying feedback. It’s nice to find out how people use and value my contribution to sharing knowledge.

James was first to speak, and he described his personal journey through depression and how knitting mindfully enabled his recovery and brought colour back into his life. Thomas discussed the science behind mindfulness and it’s aptness to knitting.

Nina Dodds, author of Invisible Jumpers, and I provided yarn and needles so that everyone who wanted to could knit during the event. We were gratified that everyone took up the opportunity!

This was my piece of knitting.

It was a great talk, entertaining and interesting. James and Thomas kindly gave me a copy of their book which I am reading this weekend.

At the end Thomas led a short mindfulness session, which was a new expressive for some of the audience. Hopefully we all left feeling refreshed.

Like James, and so many others, I find hand knitting keeps me calm; it’s repetitive movements bringing my attention back in a rythmic cycle. So now I’ve written this it’s time to take up my needles for a soothing session.

Moths drive me mad!

Just before Christmas I opened my wardrobe and took out a long merino wool cardigan to wear when going out for the evening. It went well with the dress I was going to wear and I felt good in it! Sadly it wasn’t until the next morning that I realised there were several quite large moth holes in the front, back and sides. Rather embarrassing!

Good intentions to mend it were shelved over the holiday, but today I got down to the task. Fortunately I had a pack of darning yarn that is quite a good colour match, so I dug out my antique ‘Sellars Rapid Darner’ darning loom and a long darning needle and got cracking. It always takes me a while to get back into the swing of this task and remember the little tricks. I remembered that I find it makes a neater darn to thread the cross-thread yarn through the ‘warp’ threads from side to side

with the blunt, eyed end of the needle so that it doesn’t split the wool. Then I use the needle to pack the cross-threads down into the warp threads before lifting the opposite set of warp threads.

I was quite pleased with the results, but can obviously improve and finesse my technique!

Machine Knitting workshop, Brighton TAG

Today I ran a workshop that introduced members of Brighton Textile Art Group to machine knitting. To give a wider experience both a Knitmaster and a Brother machine were used, one standard and one chunky gauge. The chunky was particularly popular once it was found that it can knit handspun yarns.

Techniques explored included shaping, fair isle, single motif fair isle, knitwear (again great for hand spun), holding and short rows and simple, manual lace transfer.

I took along a little circular machine to demonstrate the difference between the two machine types, but the real interest was in the flat bed Japanese machines.

After the workshop response were really positive; people who had thought they would hate it had great fun, and those with machines were enthused to go home and get them out. Unfortunately the workshop clashed with the East Sussex Guild of Spinners, Weavers and Dyers meeting, so another workshop had been requested in the Spring or Summer of 2020.