Be the Boss of your Yarn*

*In 2011 I attended a 3-day spinning workshop “Spinning with a Purpose” with Abby Franquemont at the Taos Wool Festival in Taos, New Mexico. Written on the whiteboard as a welcome was the workshop title along with the message, aka “Being the Boss of your Yarn”. I give full credit to Abby for this variation of her title. This is not an imitation or repetition of the workshop she offered. Hers was much more in-depth and moved along with our learning needs. Mine is more directed – is all about learning a set of skills and strategies that put you in charge of the yarn you want to make, rather than making the same default yarn over and over and over again.

Be the Boss of your Yarn is the final full-day class I’ll be teaching at Olds College this coming June. Here’s what I have in store:

This workshop is all about busting through “default-yarn” – that yarn you make over and over again despite attempts to do it differently. In this workshop you will learn techniques that will expand your yarn repertoire. You will experiment with and learn about the effect of twist on your singles and your plied yarns. You will also learn about yarn structure by making samples of soft singles, 2-ply, chained (Navajo ply), and cabled yarns. You will learn strategies for making the yarn you want. At the end of the day, YOU will be the boss of your yarn.

I’ve taught this class a few times already and it is a blast. What is the most fun is seeing the excitement and sometimes awe as people realize some fundamental elements they can change to alter the look (and function) of the yarn they are making. Some of us, when we learn to spin, develop a fear of too much twist, like it is a bad thing. Too much twist will make your yarn hard and other silly things. Well, that is true, however the margin of what is too much twist is much wider than you can imagine. And in the first part of this class, we set out to explore this.

We make a series of two-ply yarn samples, first putting a lot of twist into the singles and then alternatively, plying with a lot of twist and then in another sample, plying with as little twist as we can get away with. In the next series of two-ply yarn we make singles using as little twist as possible and then plying with a lot of twist and another sample plying with very little twist. Then we look at the yarn, and feel the yarn. We measure the angle of twist. The idea is to push the element of twist to both extremes so we can see what too much and too little twist looks and feels like.

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Then we do a bunch of other things in the afternoon, building on this knowledge and new found comfort with varying amounts of twist.

This photo is what was left over after everyone left the class at Fibres West 2016. Scraps of yarn that didn’t make it to the sample cards and other bits from various experiments. I’m looking forward to doing this again.

I hope to see you there.

 

Twist and Draft: worsted to woolen and everything in between

The third class I’ll be doing at Olds College during Fibre Week 2016 is Twist and Draft. The subtitle is “worsted to woolen and everything in between.”

Here’s an excerpt from the description:

Explore and experiment with a variety of drafting techniques from worsted to woolen. Learn when and why, and most importantly, how to use these different drafting and spinning techniques, from short forward draw (worsted) through to the long draw (woolen). You will also get some tips on fibre preparation to help you get the yarn you want for your project.

Expand your spinning repertoire so you have more choices in making the yarn you want, from strong, fine yarn for socks through to lofty, soft yarn for hats and sweaters. You’ll come away from this class knowing how to answer the worsted vs woolen question with confidence.

I have the teaching plan all sorted out and now I’m working on assembling the right materials to support the exercises. I have carded rovings of local Clun Forest and Suffolk to use as we start playing with the drafting techniques that are used when making woolen type yarn.

For the worsted portion I have combed top in BFL and Merino. I also have some Romney lamb locks, and Merino locks that we will comb as part of learning the fibre prep for worsted yarn. I wanted another wool to sample with and decided to use some California Variegated Mutuant (CVM) that I purchased at the Fleece sale back in October. It’s a beautiful colour and I have a lot of it.

To check it out, I combed up 16 grams of the fibre. What you see below are the results. Nine grams of combed top, simply beautiful and soft. What’s in the scale is the waste, or the stuff that is left over after combing. I usually make felted balls with it. But what if this was the only fleece you had to make all the knitted items for your family? If that was the case, you’d think differently about calling this waste.

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I decided to make yarn with it. I carded it into rovings on my Ashford carders. It was pretty messy stuff. Lots of short bits, some VM, and fibres of all lengths. No less, I soldiered on and got it done. After spinning the combed top, using a short forward draw. I changed bobbins and spun these rolags with a supported long-draw letting the twist get into the fibre and pulling back. I plied it the next morning using a centre pull ball. As I plied I pinched the bumpy parts so smooth them out a bit and try to make the yarn more even.

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Here are the two finished skeins before they were washed. On the left is the worsted: combed top, long staple length, spun with short forward draw. On the right is the woolen: hand carded, short fibres, supported long-draw. On the side is the true waste, doesn’t even weigh half a gram.

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I washed the skeins in hot soapy water and rinsed them in hot water. For the woolen skein I did two rinses, one in hot water for a few minutes, and then into ice cold water for a few minutes. While in this water I roughed it up and then back into the hot water. I finished it in the cold water. I squeezed water out of both and gave both some good thwacks on the side of the tub. Then I rolled them in an old towel and took them outside for their photo shoot.

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One of the things people don’t like about combing as a fibre preparation is the amount of waste. But if you decide to use the waste to make a different kind of yarn, you may just feel differently about it. I love the look of both of they yarns can’t wait to knit them up into wristlets.

Spindling 1.0 at Olds College Fibre Week 2016

The second full-day workshop that I’ll be teaching is Spindling 1.0.

Here’s the description:

In this workshop, you will learn basic spinning techniques for suspended spinning. These techniques will allow you to further explore making a variety of yarns with these noble tools. This class is for absolute beginning spinners, or for those who know how to spin with a wheel, but don’t know how to do it with a spindle.

In this introduction to the spindle as a tool for making yarn, you will also earn about the properties of wool as a protein fibre for making yarn. You will learn how to draft fibre, put twist into it, ply and set the yarn– everything you need to get you started on your yarn making journey.

I’ve taught this class several times. Sometimes it is a 3-hour class, sometimes 4-hours. Having a full 6-hour class is a true luxury and I feel blessed as an instructor and happy for the students. It gives us the chance to explore things just that wee bit deeper. To ask more questions, to play a bit more.

For a long time I’ve had a wonderful spindle maker create amazing spindles for my classes. These are top whorl spindles made by Dave Smith of Houndesign. Dave is now following another passion: music and leaving wood turning behind. Here’s a glimpse of these lovely tools.

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As a spindle instructor, one of the biggest frustrations is the tools people bring to the class. People who don’t yet know how to spin, especially spindle spin, often don’t know how to select the right kind of spindle. They often come to my class with really heavy, bottom whorl spindles, and then are frustrated that they can’t spin on it. Having good spindles on hand was key and was a big reason for spindling success.

So now I have to do this differently. I don’t have a spindle maker and frankly getting out of the spindle purchase and re-sale thing is fine with me. It is one level of detail I don’t need at this time. What I’ve decided to do is to have a class set of spindles that are good quality spindles. If someone shows up to my class with a strangely balanced or heavy one, I can offer one of mine on loan.

The spindles that I’ve played around with and have fallen in love with are TurtleMade spindles from Jen Kemery. They are gorgeous. Available in 26 colours it is difficult to choose just one. They are affordable ($20 Canadian plus shipping) and they work beautifully. I now own a class fleet. Everyone can try it out. They can learn spindling and can also learn how to work with a Turkish spindle at the same time. If they love these and want their own, they can order one from Jen. Win-win-win. Here’s a shot of the fleet. Aren’t they lovely?

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And a couple of close-ups so you can really see them. They are made on a 3-D printer and weigh between 34 – 36 grams. I think this is a perfect weight for an all-purpose spindle. You can spin fine singles on these and you can spin thicker singles too. If you drop them, and who doesn’t at any given time in the spindling process, you don’t have to worry about them chipping or cracking.2016-03-22 18.42.39

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On the weekend we had three of these spindles being featured at the Surrey Museum Sheep-to-Shawl, for our demos. Kids gathered around these spindles and wanted to try them out. They were drawn to the colours and the fibres. The process of teaching the kids a bit about spindling was doable because we weren’t worried about breaking a $20 polymer spindle. Happy to report that not a single one was broken or damaged in any way, despite being dropped several times.

Looking forward to featuring these at Olds College. Hope to see you there.

Wild about Colour: finally there!

I am going to be teaching 4 full-day workshops at Olds College in Olds, Alberta this year during Fibre Week 2016. As you can imagine, I am over the moon to have been asked, to have my proposals accepted and then to have the classes get sufficient enrollment that they are a go!

The first one up is called Wild About Colour. Here is the short description for it:

This workshop is all about making sense of those wonderful hand painted braids we are seeing everywhere. Learn how to make a series of decisions that will help you get the yarn and effect you want from the colours in your painted braids. In this full-day workshop you will learn some basic and advanced techniques for working with hand painted top. Colour theory will be discussed and practically applied throughout the day.

We will start with basic 2-ply techniques and move into the wondrous world of fractal spinning. After making several fractal samples, we will work on combination drafting and also learn how to make ombre yarn. Skills such as hand carding and Navajo plying will be learned along the way. At the end of this workshop you will be wild about colour and never again hesitant about working with hand painted top.

This is a newly developed class, and though I’ve been thinking about it for years, I haven’t actually had the chance to make it a reality, until now.

For the last while I’ve been puzzling over how to get the most learning out of a 6-hour class. How many exercises can people complete in that time? What number of exercises and which ones will help people understand the fundamental principles of working with hand painted braids and then be able to apply them in other situations?

What’s the best way to teach colour theory, so we don’t get bogged down in it or confused by it, but inspired? These and several other questions have kept me up at night. In the last couple of months, I’ve been experimenting with the workshop plan. I’ve put myself through this class three times already, as each time I tinker with the exercises, the fibre and the flow of the day.

There’s no spoiler alert necessary here, because I have decided that I am not going to tell you my plan, until after the workshop. I want the 12 participants to be the first to see what’s up and how things are going to roll out. All I will say is that there will be seven different lovely coloured superwash BFL colourways from Sweet Georgia Yarns, and 14 different colours of Corriedale top from Fibres Plus that folks will be playing with.

The photos below are some of the shots of my planning and organizing for the class. More about the other classes in future posts.

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Meet the wristlet: a practical way to swatch

While not a huge fan of the swatching process, I do swatch. In my own way. See below for proof of my swatching for Glenfiddich Cardigan. The idea behind swatching is to see how the yarn behaves; what it looks and feels like knitted up and to check for gauge. Frankly, when I want to jump into a new project, the last thing I want to do make a swatch. But in some instances, like when you want to make a sweater that will fit you, it is a good idea.

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Another aspect of making a swatch is to see what the yarn in the swatch fabric will do when washed and put through the paces. Some recommend carrying it around in your back pocket. But what kind of abrasion do you get from something comfortably enveloped in two layers of denim?

A couple of weeks ago I was out of town and I had my spindle with me. I have a collection wristlets that I knit up using scrap yarn to use as distaffs, or bracelets to hold the fibre. I didn’t have one with me, so I quickly knit one up using some of the leftover yarn from the second turtle I wound on the plane. That’s the multi-coloured one at the bottom.

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It’s a pretty thing and I enjoyed wearing it and using it to hold my fibre while I spindled. It was so lovely I kept wearing it long after I finished spinning. After having it on for the entire day, I noticed that this wee wristlet was getting some wear and tear. And then it occurred to me that this may be a better way to see how a yarn/fabric behaves. It certainly was put through the paces of being stretched as I pushed it up my arm to avoid getting wet, or if I forgot, it got wet, it was rubbed against things, and generally treated as any cuff would.

2016-04-22 07.03.24So with the next fibre I sampled, Clun Forest from my neighbour up the road, I made a skein, washed it, and knit it into a wristlet. I wore it around for the day to get a sense of what that wool/fibre/fabric would feel like knit up into a sweater.

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The wristlet is on top, the unwashed swatch is on the bottom. The wristlet gave me much more information about the yarn than this swatch does. So, new discovery for me. It’s a beautiful and functional. My good friend Rachel confirmed this belief in her latest blog post.

A wristlet is a practical way to swatch. It gives information about the yarn, about the size of needle to use, and most importantly, gives me a chance to really check for wear and tear.

Honey, why do you have so many spindles?

. . . My darling husband asked the other day, when four large Capar spindles from Natural Knot Wood Designs arrived in the mail. (Four had arrived the week before from TurtleMade, and four medium Capar spindles two weeks before. And there were even more that he didn’t even know about. . . but this isn’t an AA meeting.)

I have to admit, it is an honest question. A dangerous question, but an honest one.

There are three reasons why I have so many a wide assortment of spindles.

1. For teaching

I need an assortment of styles and sizes for my spindling instruction. I teach people how to make yarn with a spindle: I work with absolute beginners to more advanced spindlers. People learning how to spin on a well-balanced medium-weight spindle (30 – 40 grams) have a greater chance of success and limited frustration in the learning process when they are working with a good piece of equipment. So I have several top-whorl spindles (enough to cover the entire class of eight) that participants can use during the workshop if their spindle is giving them grief.

There are also people wanting to learn how to stretch their skills like learning how to spin cotton or short stapled fibres like cashmere. They want to move beyond the suspended (drop) spindle and move to supported spindles. They may simply want to try it out before they decide to jump in and buy one. For this, I have two Tahkli spindles, three Houndesign Little Twisters, three Russian Spindles, two antique supported spindles – stick and clay whorl – from Guatemala, and a Navajo spindle made by Houndesign. From left to right are the Little Twister from Houndesign; Tahkli; and the two antique spindles from Guatemala.

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They may also want to learn how to work with a Turkish spindle. As a suspended spindle, it is similar to the others in the drafting and spinning process. Where it differs and people may want tips or practice, is in the starting and winding on process. So I have a fleet of Turkish spindles for them to use during the workshop. Below is one of them from TurtleMade. It is made on a 3-D printer.

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2. For making different kinds of yarn

The spinning wheels that give us the greatest variety of yarns with ease are the ones with multiple whorls and drive options. Why not so with spindles?

I have some spindles that are really light (16 grams) and have a smooth shaft, which allows me to spin off my thigh and put a LOT of twist into my yarn FAST. I also have a spindle that is heavy (50 grams) and as a Turkish spindle, it requires a flick of the fingers to get it in motion – much slower than rolling it off my thigh. Because of the weight of the spindle and the slower speed of the spin, the twist goes into the stretched out fibre slower than it does on the fast light one. I can take the exact same fibre, with the exact same fibre prep and spin on each spindle the light one and the heavy one – and I get very different yarn. In fact, I’ll do that experiment over the weekend and will prove it.

So depending on the yarn I want to make and/or the fibre I am working with, I will select my spindle accordingly. The same way that if I want to make soft singles using my Ashford Joy, I’ll set it on the largest whorl – so there are fewer revolutions per treadle and set my tension for a slightly stronger uptake. If I want to spin for socks and I’m making a three-ply sock yarn, I’ll change to my smallest whorl so I get more revolutions per treadle, and slow the uptake down so a lot of twist can get into the finely drafted singles yarn.

It’s easier to change your whorl and uptake than it is to change what your body does. Because of body or motion memory, we easily and quickly go back into the rhythm we generally use to spin – hence the phenomenon of default yarn. So using the same principle, I change my spindle to get a different result for a different kind of yarn.

The Steampunk spindle, shown below, is a terrific spindle for making singles and especially for plying. Since it is large and can fit 4 ounces (and probably more) plied yarn onto it, it has become my go-to plying spindle. No messing around with the smaller ones. This one is the King!

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3. For the simple and undeniable fact that they are beautiful tools

They are beautifully crafted, often made from exotic woods, and are delightful to look at and hold. For the most part, the ones I own are made by artisans I have had conversations with and are people I want to support in their craft. Here’s a small sampling of some of the spindles. There are a few more tucked away here and there in my studio.

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So the long and short of it is this: there are three good reasons why I collect spindles and since all fall within the parameters of my hero William Morris’ famous quote: “Have nothing in your house that you do not know to be useful, or believe to be beautiful.”

I’m good. Really good.

PS –  I reached a point last week after ordering more spindles, that I had to stage an intervention on myself. That consisted of deleting the Etsy app from my smartphone!

Spinning, plying, flying oh my!

This week I flew to Castlegar, BC for a conference presentation in Nelson. While waiting for my flight, I finished spinning the last bit of my Wistmas fibre on my Jenkins Turkish spindle and was contemplating plying while on the plane. I had another similar sized turtle spun up and waiting for its mate.

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It’s a one-hour flight from Vancouver to Castlegar so I knew it was a perfect escape to wind the double-stranded ball from the turtle spun a week or so ago and the newly spun one. What’s the “key word” that could have/should have set off alarm bells for me?

Newly spun.

It was just the last 2 grams or so I swear, but man-oh-man, it made my winding experience hell.

Fortunately I was sitting all by myself so I didn’t get the chance to enjoy the experience with anyone else. I had a small felted ball at the ready, took the beginning strand (the one that we push into the arms with the shaft) from each turtle and started casually and happily winding a two-stranded ball. It went well for a good while. I listened to music. I looked out the window at the snow covered mountain ranges. I thought about what I wanted to do with this lovely yarn once it was made. I wound and wound. The ball got larger and larger. During that time I thought I may even have time to ply the yarn during the flight. It was at this high point of optimism and over confidence that things started to go wrong. Seriously wrong.

Singles from the newly spun turtle started coming out in small tangles. Clumps of them at a time. I was able to manage them at first by creating a tensioning sytem by wrapping the singles around my leg.  It worked for a short while. I can’t even begin to describe how I got most of it done.  It wasn’t a pretty sight. I had a two-stranded evenly wound ball in my right hand, and in my left hand and wrapped around my leg to hold it in place I was trying to untangle a twisted mess of singles.  And because I was fully ensconced  (well maybe not securely or snugly – I was in deep) with both hands full of the yarn, I couldn’t take photos.

When the flight attendant came along to offer snacks and beverage, at one point of this horribly frustrating activity adventure, I hid my mess for fear she would consider it a safety issue and confiscate it.  I told her I didn’t need anything. Please note: I gave up the Air Canada pretzels and free Ginger Ale for art!

I was born in the Year of the Ox. I am persistent and determined (my good qualities). Or some family members will say stubborn. No matter, I got through it. For the sake of sanity I abandoned the last several yards of one of the singles. I just couldn’t do it.

Lessons learned:

  1. If I can I will let my singles sit.
  2. If my singles yarn is particularly fuzzy (because I didn’t smooth out the yarn as I spun it), I will be prepared for it to stick. In that case, it especially needs to have the twist settled before plying – or doing any of the prep for plying like making a double-stranded ball.
  3. If you are trying to make yarn in a place that doesn’t understand yarn making, like on a plane, don’t expect to have special compensation. [“We are starting our descent, you will need to put that away and get yourself more . . . . .organized.” — poor, sweet woman, she couldn’t quite describe what needed happen to make it right.] Rest assured, I complied.

So the long and short of it is: air travel gives us a great amount of time for spinning and knitting. However, we need to carefully consider the scope of our projects so we can make the best use of this time, escape from the boredom of waiting and maximize the potential for relaxation.

That last phrase makes me laugh!

It wasn’t a total disaster. But I did lose several yards of yarn that I may very well may need for this special skein.

I have a large double-stranded ball that will be plied this weekend. NOT ON A PLANE . But at the Bradner Flower Show.

Hope to see you there.

A tale of two turtles

So this is a continuation of the last post, where I spun 40 grams of fibre onto my Jenkins Swan. I wound the turtle in that neat and tidy way that I saw most spindlers on Instagram doing. They are lovely. 2016-03-24 15.28.03However, I discovered that when I removed the shaft and arms, the edges started to peel away. I had noticed this on several earlier occasions, but just figured that I was somehow doing something wrong in my wrapping. Not this time. I paid close attention.

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The quality of this photo is awful and I apologize for that. However, You can see the layers clearly coming apart.

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So when I spun the second 40 grams, I continued to wind “over two, under one” but didn’t try to line the fibre up in a neat way. The turtles ended up being the same size, so there goes that theory that winding it neatly allows you to get more yarn onto your spindle. (This was my theory.)

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So here they are side by side. The random wind-on is on the left. The carefully wound one is on the right.2016-03-27 08.10.21

For plying I made a two-stranded ball and to assist me in this I put the turtles into our French Onion Soup bowls. They are the perfect size and heavy. Things went well for the first half, but as the centre hole got larger, the yarn from the carefully wound turtle started coming out in clumps. I think the fibres stick to each other when they are carefully wound like that.

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Here’s an 80 gram double stranded ball that I plied using my Snyder Steampunk spindle. It’s my go-to spindle for plying. It’s heavy, fast and I can get a lot of yarn onto it.

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There’s 80 grams on this baby. Measured out at 192 yards or 177 metres.

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The moral of the story?  Carefully wound turtles, while beautiful, take longer to wind and are not solid stable balls. In the singles stage when the twist is really active, you want as much stability as you can get.

That’s my story.

A decent obsession: my Jenkins Turkish spindles

In the last year or so I’ve fallen in love with Turkish spindles. I consider myself to be a hard-core spindler and work mostly on Houndesign Henry Dervish spindles. They are beautiful tools and at 35 – 40 grams, are of a good weight to make most kinds of yarn. And, they have a slender shaft that allows me to run it up (or down) my thigh and get into really high speed spindling fast.

The Turkish spindles, while of a similar weight, are not fast. You can’t run them up or down your thigh, you have to flick them to put them into motion. So they are slower. This slowness has proven to be a good thing. The slowness coupled with the weight makes a different kind of yarn than what I was making on my Houndesign. The weight of the Jenkins stretches the fibre. The twist enters slower than it normally does, while the fibre is stretched. Once plied and washed, the fibres bounce back and the yarn is soft, lofty, and light.

Here’s my first Jenkins – 50 grams. The turtle (that’s what the cop on a Turkish spindle is called) is blended Corriedale. As I was newly into Turkish spindle spinning, I was following what the spindlers on Instagram were doing to wind their turtles. “Over two, under one” around and around lining the strands up in a neat sequence. It makes for a very pretty turtle, especially when you use multi-coloured fibre like in the second photo – but it is time consuming.

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And this is my newest Jenkins – a Swan 34 grams. After moving away from winding on in a methodical way, I decided to revisit it to see if it makes a difference. Here it is with 43 grams of fibre on it, all carefully wound.

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But look what happened when I removed the arms and shaft. The last layer of wound fibre is peeling off. Not impressed at all. What I noticed in other instances of winding on this way was that the yarn came off in layers and I didn’t like that either.

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I am going to fill this spindle with another 43 grams of fibre and wind it – still “over two, under one” but not worry about lining up the strands of yarn. More like what you see in these photos:2015-11-11 19.37.412015-11-29 08.45.09

I am thinking that the turtle will be much larger because the yarn is not neatly wound. But at least it will stay in place. We shall see.

Stay tuned.

Teaching at Olds College Fibre Week 2016

I am so happy to announce that registrations classes at Olds College Fibre Week are open. Equally excited to say that I am on the roster! There are four full-day spinning classes I’m on track for.

Here are the workshop descriptions for each one:

Wild about Colour

2014-10-19 12.41.08Do you have braids of hand painted top in your stash that you are afraid to spin? Or have you spun up a hand painted braid but then were disappointed with the yarn because the colours blended in a way you didn’t want and it ended up muddy and muted?

Learn how to make a series of decisions that will help you get the yarn and effect you want from the colours in your painted braids. In this full-day workshop you will learn some basic and advanced techniques for working with hand painted top. Colour theory will be discussed and practically applied throughout the day.

We will start with basic 2-ply techniques and move into the wondrous world of fractal spinning. After making several fractal samples, we will work on combination drafting and also learn how to make ombre yarn. Skills such as hand carding and Navajo plying will be learned along the way. At the end of this workshop you will be wild about colour and never again hesitant about working with hand painted top.

Spindling 1.0 — We’re Making Yarn!

DianaDrop1-e1421434010552In this workshop, you will learn basic spinning techniques for suspended spinning. These techniques will allow you to further explore making a variety of yarns with these noble tools. This class is for absolute beginning spinners, or for those who know how to spin with a wheel, but don’t know how to do it with a spindle.

In this introduction to the spindle as a tool for making yarn, you will also earn about the properties of wool as a protein fibre for making yarn. You will learn how to draft fibre, put twist into it, ply and set the yarn– everything you need to get you started on your yarn making journey.

Be the Boss of Your Yarn — a default-yarn busting workshop

2016-02-13 07.49.17Are you tired of making the same yarn – that no matter what you do, you are always spinning the same stuff? Do you want to be able to make yarn for a variety of purposes – so you direct the project instead of the yarn telling you what it will be? Well, you are not alone. This full-day workshop is all about busting through “default-yarn” – that yarn you make over and over again despite attempts to do it differently.

In this workshop you will learn techniques that will expand your yarn repertoire. You will experiment with and learn about the effect of twist on your singles and your plied yarns. You will also learn about yarn structure by making samples of soft singles, 2-ply, chained (Navajo ply), and cabled yarns. You will learn strategies for making the yarn you want. At the end of the day, YOU will be the boss of your yarn.

Twist and Draft: Worsted to Woolen and everything in between

2015-10-09 15.13.49Worsted and semi-worsted, woolen and semi-woolen – you may have heard these words used to describe yarn and spinning techniques and you also may have heard conflicting answers. What does it all mean?

Explore and experiment with a variety of drafting techniques from worsted to woolen. Learn when and why, and most importantly, how to use these different drafting and spinning techniques, from short forward draw (worsted) through to the long draw (woolen). You will also get some tips on fibre preparation to help you get the yarn you want for your project.

Expand your spinning repertoire so you have more choices in making the yarn you want, from strong, fine yarn for socks through to lofty, soft yarn for hats and sweaters. You’ll come away from this class knowing how to answer the worsted vs woolen question with confidence.

Check it out here and sign up for a bucket load of fun and learning.