Our local Textile Arts Group (TAG), finally managed to meet today. Eight of us met up with Covid secure arrangements and as the weather was sunny we were in fact able to sit outside the hall to spin, knit and talk.
It was lovely, and everyone has been busy learning new things and perfecting their skills during lockdown.
I took my Louet Victoria folding wheel and spun up a bag of Suffolk fibre that will be used as the core for a fancy yarn.
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Although I promised myself not to get any more fleece until I had emptied my cupboard, I’ve cheated . Well only a bit. Over the winter I have used a lot up, but not all of it!
Having been to Herefordshire and seen the Ryeland sheep sculpture in Leominster I read up about the Ryeland breed and wanted to try a fleece. From what I understand the Ryeland was one of the breeds that can from the Romans crossing their imported Merino sheep with local British breeds. This is probably why they look like Teddy Bears with dense fleece. This breed was instrumental in the success of the British wool trade in the Middle Ages and after, which laid the foundations for wealth in Britain, especially in Herefordshire. Fascinating stuff!
The long and the short of it is that I now have a Ryeland fleece to play with. I sorted out today and have started to wash it with promising results. Not to much VM, but a bit yellowed – the name for this escapes me right now, is it ‘yoked’? I’m guessing its last years crop.
You can see a staple in the photo, and i’ll post once I start spinning. I plan to spin Long Draw, ply and then to dye it.
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
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.
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 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)?
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.
I’ve also tried stove-top rainbow dyeing. More about that can be found here.
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.
After washing and drying the twist the colours hardly muted and it’s come out as lovely yarn.
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.
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.
I have been toying with the idea of buying a Singer slant shank machine for a while, and during lockdown I took a punt and bought one reasonably local on eBay. Not the smartest move you might say, sight unseen and all that. I spent quite a time scrutinising the photos very carefully, read up about the machine, and asked lots of questions of the seller. Call it a treat to myself.
Updated with some photos just now, 16:00 4th July
Above, as it arrived, a bit grubb
And below, after a good clean up
Finally I went to collect it – social distanced collecting methods in use and no stopping en route. Its outside is a bit grubby, but its working and has all its accessories down to the lint brush and set of screwdrivers. Its obviously well used, it was owned by a dressmaker before, but I would guess not used for several years. However, its got service labels and having all its accessories indicates to me that it was well cared for and valued. It came in a drop down table, which was perfect as wanted one in a table, but not a massive cabinet.So far I’ve opened it up and cleaned its insides, removed as much old gummy oil – or as I can reach – and given it a thorough oil with light sewing machine oil. The double direction pattern dial was gummed up, and this gentle cleaning and oiling helped to loosen it up so that I could (very carefully) encourage it to move, and now it works freely. Its fascinating to see how the selection mechanism works, not that I am an expert at mechanics, but I can see the little paddle moving and the rise and fall of the selector post (probably the wrong name). I am itching to try out all those amazing built in patterns. I can’t right now as you will see in the next paragraph.The original clam-shell foot pedal is with it, and it did work – sporadically. After a while there was a nasty smell (reminded me of when my Bernina 1030 went into melt down, and when my Brother 950i knitting machine and very, very vintage Kenwood Chef did the same) and the machine would not stop running. Luckily the plug was close to me, so I whipped it out to the socket before any damage was done.My clever son opened the pedal and told me I should have cleaned that out (didn’t even think of it, sorry), and then he replaced a blown capacitor – he is pretty nifty at this and has a stock of electrical bits. The pedal now works – but the connection from the pedal lead to that ‘banana’ plug is dodgy. In addition some of the old plastic has broken away inside the pedal and the plug has a chunk missing which worries me. I’m not confident around electricity having had a few experiences that unnerved me, (see above). He offered to repair the lead and plug (he thought Sugru) and will in time, but I decided to order a replacement so that I could use the machine until then. I will compare them to find which gives the best speed control as some reports say new ones are not as sensitive.The motor seems OK, and my son will clean it at some point. So far the machine has displayed a lovely straight stitch – equal if not better than my Bernina 1030, and far better than the Jones 125.I did hanker after a Singer 411g or 431g but I think the 401g will satisfy me. It was only the chain stitch of these I wanted, but reading about it it sounds to require lot of fiddling to get it right and so that do you leave the machine set up just for that? Seems a waste to me, so I’ve let that wish go for the moment. I also think I remember that my Janome Coverstitch machine will do chain stitch, so maybe that is something to explore. I’m not even sure why I want chain stitch – I’m just a machine nerd (maybe?).Want this space for more chats about the Singer 401g that has joined my machine stable. Its going to be sewing frontline masks once the new pedal arrives.