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.

Long Buckby machine knitting club talk

Today I had a lovely day with Long Buckby Machine Knitting Club. They had asked me to come and talk about my book Translating Between Hand and Machine Knitting and gave me a wonderfully friendly welcome. This meant talking about my experiences as a machine knitter was like sharing with friends.

I met so many interesting people who have interests in common and was pleased to see some younger faces on the audience.

Janet Collins, Chair of the Knitting and Crochet Guild was there and spoke to the meeting about the recent amalgamation of the Knitting and Crochet Guild and the Guild of Machine Knitters. She also gave an impassioned plea for members to encourage younger people to become members. She told me that if the Guild is not offering what young knitters want, the way forward is to find out what they do want and make this an aim, otherwise the Guild will dwindle. As there are 1,500 members this would be a real shame.

I’m now on my way home feeling a warm glow from the kind words and the opportunity to meet genie machine knitters with so many skills.

Visit to Diamond Fibres – wool processors

Today I accompanied a group of students on a visit to Diamond Fibres in Horam, Sussex. The company processes wool for worsted spinning, rather than woollen spinning, so concentrates more on longer staple fleece.

Starting in the sorting shed, we were shown round by Roger, the owner, and given a really thorough introduction to the processes involved in changing raw fleece into yarn.

There was a Wensleydale fleece on the picker, which Roger explained had already been washed once at 60 degrees to remove the first lot of dirt and oil and then dried. After picking, which would open up the compressed curls that the first wash had not reached, it would be re-washed and dried before further processing. He reckoned that it may in fact require a third pick and wash.

The students were looking tired just at the thought of this!

Following picking, the next process is carding the fibres to start aligning them in parallel into a continuous ”sliver’ of fibre. Unlike my meek little hand carder, they have a carding machine with 16 drums of metal, not wire, teeth. At this stage, any short fibres will still be in the sliver, it isn’t until combing that these will be removed.

The sliver begins to look more like something that is spinnable, but there are still thin and thick sections along its length. To eliminate these and even out the sliver it goes through ‘gilling’. Diamond have two of these machines. The first one has wider spaced teeth, and is used at this point, whilst the second is much finer and bulks up and evens out the sliver later on after combing.

When the sliver goes into the gilling machine, two are fed in at once, producing one thicker sliver of uniform thickness.

The fibre will in all likelihood go through a second gilling, during which the output sliver gradually bulks up, according to the machine settings, to achieve the required grams per metre.

If the requirement is for carded roving for hand spinning, this will be the last process. It may even be stopped earlier on, depending on what condition fibre is required.

If however, the desired outcome is combed sliver, then it has to go through the combing machine. This takes up to sixteen slivers side-by-side through the combs, crimping the final sliver to compress the fibres together and prevent breakage. It looks like doll’s hair emerging from the machine. Any remaining short fibres, nepps, noils or debris fall out into a waste bin beneath the combs.

This combed sliver has become slightly uneven during the combing process, and this is when it goes through the finer gilling machine to produce a consolidated, even sliver ready to have a small amount of twist introduced, (about four turns per inch) to make a softly twisted roving.

This roving is then drafted out into a thinner roving, and finally drafted and spun into singles weighing approximately 0.2g per metre. Amount of twist can be controlled to produce softer or firmer yarns at both singles and plying stages.

The singles can be plied into 2, 3, 4 etc ply yarns according to need. 2 ply tends to be flat, 3 ply rounded, and 4 ply has a square profile. To make a cable yarn, 2 x 2ply can be twisted together.

2ply yarn made from two of the 0.2g/metre singles would weigh approximately 0.4g per metre. This would yield something like 250 metres per 100g, which is within the DK category of yarn, and will be between 12-14 WPI.

Of course, as Roger pointed out, natural fibres do not conform as precisely as synthetics do, so there are highly likely to be variations in weight to length of a hank of yarn depending on humidity and other physical conditions when it is weighed. Oh the joy of natural fibres, thats why we love them!

I think the students now really appreciate how much work goes into making the yarns they pick off the yarn-store shelf. One even went so far as to say that they would never again complain about yarn being so expensive!

“This book ought to be mandatory reading for every new machine knitter!”

I came across this review of my book, ‘Translating Between Hand and Machine Knitting’, and would like to share some of it with you.

“This book needs to be on every machine knitter’s manuals shelf, in pride of place, no matter if you use Silver Reed or Brother!”
“Where was this book when I was desperately trying to learn how to design lace/translate lace cards between Brother and Silver Reed?!?!”

This book is absolutely essential equipment as far as I am concerned!
The pictures will blow you away and they only get better.
The details are absolutely in depth and extremely easy to understand with stupendously clear focused pin-pointed and highlighted photography and exemplary diagrams that compare every aspect of stitches, fabric, mechanics, of hand and machine knitting. 
It isn’t a how-to… it compares them and shows some GREAT visuals of them on and off the needles. Refer to your manual for specifics on how-to cast-on and cast-off. Basically, this book compiled most of the answers to questions I have asked in the past, questions I have hunted down answers to, and questions that I hadn’t even thought to ask. It is utterly fantastic.
Buy it! Buy it NOW!
I can not say enough how much you need this book! How much I needed this book… now if I can just convince her to write one on Passap…
No! I have no affiliation with the author… I wish I could say I know her.’
Thank you to B. Newson on Amazon.com

 

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.

Talk in March 2020

I will be talking to Long Buckby Machine Group next March about my career in knitted textile and knitwear design, and the inspiration behind ‘Translating Between Hand and Machine Knitting’.

I’m looking forward to meeting members of this well-established machine knitting group.

Don’t waste the demo yarn!

Whilst demonstrating as a member of a local textile group, Woolly Umbrella, at the Wild Chalk festival, I kept a drop-spindle of my own going with singles that I Andean plied at the end as part of the demo.

I don’t think repeatedly putting it down and restarting helped me get an even twist, or it may have been the plying, or a mixture of both, but the yarn isn’t balanced. I knitted a lace pattern with it, and the bias isn’t so pronounced as in stocking stitch, but I can see it.
For fun I added the knitted sample to a purple dye bath I had prepared to dye some other yarn, and here is the result.

Hand spun yarn dyed with purple acid dye.


Recent reviews of ‘Translating Between Hand and Machine Knitting’

cropped-img_9164About ‘Translating Between Hand and Machine Knitting’.

‘An outstanding read’

‘Here’s a new hardback book that’s packed with all the information a machine or hand knitter would wish to find.’

‘You’ll have no regrets, as this will be your best ever buy as a machine or hand knitter.’(Guild of Machine Knitters newsletter February 2019)

 


‘Vikki Haffenden outlines the necessary knowledge, especially of stitch construction – the basic necessity for knitting by all methods’.

‘Throughout the book the author uses very clear diagrams and photographs to explain stitch patterns, techniques and equipment’.
(Annec Cartwright in Slipknot, newsletter of the Knitting and Crochet Guild, June 2019)


 

I cannot tell you how much I adore this book’

‘Thanks to your work my eyes are open to the possibiliites of working on fresh and modern projects without having a background in fashion or textiles’
(Turtlemelon crafts, via Instagram)


 

 

About Translating between Hand and MachineKnitting…

Hi, I’m Barbara from Italy and want to thank you for writing “Translating between hand and machine knitting”. It’s just great, I can now understand the differences between silver reed and brother. I have one of both but got frustrated trying to use the silver reed, so just stopped working with both… now I have the chance

Thank you Barbara, its great to hear your feedback.