Time goes so fast – today is my one year blog anniversary. My first post was about how I started spinning. And so much has happened since then. At this moment there have been over 16600 views of the blog, which is truly mind-blowing. People from over 80 countries in all continents have visited my site and I have somehow managed to write over 90 posts.
The power of words
I started the blog to be able to write more. I have always loved shaping language with my hands and my mind. But it turned out to be so much more.
When I write, I mold new ideas, follow new paths and get the opportunity to follow my curiosity. Right now I have 15 drafts of ideas I would like to develop and blog about. Just thinking about something might get me somewhere, but writing forces me to finish a thought and develop it. When you read my posts and ask questions, comment or share your ideas it gives me the chance to investigate, develop and play with an idea even further. You help me shape new ideas and spark my curiosity. Many times your questions or comments have resulted in a whole new post or spinning study.
Since I have lots of readers I feel a responsibility to make thorough research before I write something. This teaches me so much and I am constantly trying to dig deeper and analyze more in a topic. I also get more and more comfortable to try new concepts without having a given answer. I feel that I can safely investigate a topic without knowing the outcome and still know that you are with me.
The beginning of a journey
Every time I write a blog post I am amazed at all the possibilities that lie in front of me, like a big bowl of candy in bright and shiny colours. I think of new ways I can explore, investigate, play and – above all – learn from all these little seeds of wooly wonders.
I feel that my blogging journey has just begun. So far it has been a wonderful ride and I look forward to what’s next.
After a discussion in a Facebook spinning group about solidified grease in the tips of a fleece, I decided to do a mini study of different ways to prepare a fleece for spinning. I have a fleece of my own that is wonderfully clean but has tips with solidified grease.
On the last wool journey with my wool traveling club, I bought a beautiful NKS fleece. NKS stands for Norsk kvit sau: Norwegian white sheep. This is basically what crossbreds are called in Norway. The fleece I chose had a full year’s growth.
In Sweden most sheep are shorn twice a year, which naturally makes the fleece shorter. This means that the fleece shorn in the early spring is of worse quality (since all the nutrients go straight to the lamb) and usually has more vegetable matter (because the sheep have spent much of the winter indoors). The fleece shorn in the autumn has better quality (since the sheep has no lamb to nourish) and less vegetable matter (since the sheep are out grazing). So: Twice a year gives a better but shorter autumn fleece. Once a year gives a longer fleece but can be more mixed in quality.
The fleece was wonderfully clean and shiny with staples of around 12 cm. The tips, though, were greasy. I think that the Norwegian rain had pushed all the lanolin out into the tips. I washed the fleece straight away by soaking it in rain water. It wasn’t until recently (one year after I bought the fleece) that I started processing, and by then the greasy tips had solidified.
Experiment: Flicked vs unflicked tips
I wanted to make an experiment and compare different preparation methods. First, I prepared the way I usually do with a fleece I want to comb: Loading the combs with the cut ends on the tines and combing three passes, then pulling the wool off the comb in one long top.
Combing this way was a struggle. It took a lot of muscle power to get the combs through the wool. And after three passes it was not nearly in a condition I could approve (I always do an uneven number of passes so that I pull the wool off the combs from the cut ends). So, I did five passes. Pulling the wool off the comb was also difficult, the wool was still uneven with bits of solidified gunk left. I picked as much of it out, but there was still stuff left when I spun the top, which of course interrupted my spinning flow.
When you play the videos, a captions symbol appears to the left of the settings symbol. Click or unclick the captions, depending on your preferences.
This was not a pleasant combing experience. So, I tried a different way. I flicked the solidified grease ends before combing. Combing the staples with the tip ends flick carded was a whole different experience.
A lot of gunk was left in the flicker and the floor was sprayed with gunk powder.
The combing was easy and pleasant after flick carding the tips and I was perfectly happy after my usual three passes. Pulling the wool off the combs was also nice and smooth and the spinning was uninterrupted and yummy.
I spun the skein above with both of the preparation techniques. Mostly the flicked version, though, since I only combed a couple of bird’s nests with the tips unflicked. I also knitted a swatch with the finished yarn.
Other ways to use a flick card
This was one example where flick carding the tips made a big difference for the preparation and spinning experience. I also use my flick card for several other purposes:
To remove brittle tips. If I have a fleece with fine fibers and brittle tips I can use the flick card on the tip ends. The brittle tips will end up in the card instead of the yarn (as nepps).
To flick both ends of a staple. Sometimes I want to spin from the lock. A flick card is a good tool to separate the fibers in individual staples and spin staple by staple.
To tease staples before carding. This might take time, but will give a good result. Fibers that are too short, brittle or dirty will stay in the flick card and the good stuff will go to carding.
Do you use your flick card for other purposes?
In these videos I have played with both narration and captions. As you may know, I want to shoot my videos outside if possible. But the area around our house is quite noisy. In the background on the other side of the lake you can see the most intense motorway in Sweden, and it makes a lot of noise. Also, we live close to a city airport and the planes fly just above our house, it’s almost like we can tickle the planes on the bellies if we stretch enough. This is why I wanted to try to narrate the clips. And I think it worked out.
In a previous video where I tested my makeshift studio, I added equally makeshift captions. Since then, my editing software has upgraded with a function for closed captioning. Yay! I think they work too.
Please let me know if there is anything of the technical stuff I can improve.
Since I started spinning with in-hand spindles and distaff in the beginning of the year, I have wanted to make a medieval style spinning video. I did actually make a short video in the cold winter, but it was a great challenge to work with cold lanolin and stiff hands. I realized that I had to wait for spring to make a proper video.
While waiting for spring to happen, I talked to my friend Maria. She is a medieval enthusiast and reenactor of epic proportions. She is also one half of Historical textiles and a mean plant dyer and weaver. I asked her if she was willing to help me with the videography and contemporary costume and she was happy to do it.
We synced our calendars and decided on a date to shoot the medieval video. Lucky for us, the agreed occasion turned out to be a beautiful spring day. It was also quite windy, which made our dresses and wimples ripple flatteringly in the wind.
Maria came with a huge backpack filled with medieval clothing, all hand sewn by her. Everything else was also hand made – wool combs, belt, hair pins, wimple pins and shoes. It was such an honour to wear all these hand made treasures. I got a sturdy hand woven linen robe (which doesn’t show) and on top of that an indigo dyed woolen dress. An intricately arranged linen headdress, a hand woven belt and hand made shoes. I added the string with spindle whorls. Despite the warm weather, the clothing felt quite airy and comfortable and I never got too hot (or a sun burn). That’s natural materials for ya! Maria says the costume dates to the high fashion of the 1360’s in today’s Northern Germany or Scandinavia.
We shot the whole video in a nearby forest. The thinly leather soled shoes were very smooth and it was a challenge to get around in the slopes of the forest without slipping. It was not that kind of video I was looking for. I also got a severe thigh rash. Medieval women must have had very thick inner thigh skin. Or perhaps they didn’t have hearty biker thighs.
As we walked to and from the set, we met lots of Saturday strollers. In the typical Stockholm way (never, never, ever stare at or comment on anything out of the ordinary, just roll your eyes when you are sure no one can see you), many people passed us without any comment, but a few people did stop to ask us about what we were up to. They were curious about our costumes, how they were made, when they were from etc. Some people asked if we were nuns. Maria explained that we were regular people from the time around 1360. Nuns dressed in the latest fashion, so this is how they dressed back then. They have just stuck with that fashion ever since, at least the Bridgettines.
In the video, I spin on spindles from Hershey fiber arts and NiddyNoddyUK. They both have spiral notched tips. The whorls on the spindles are from Pallia. On the leather string in my belt you can see additional whorls from Pallia, John Rizzi and Hershey fiber arts. Both distaffs are my own hand carved. On the belt distaff I have arranged hand carded wool from a prize winning Värmland fleece (just like in this video) and on the hand distaff there is hand carded comb leftovers from Shetland sheep.
Spinning and drafting
When I spin on a medieval style in-hand spindle, I tend to start by using a proper in-hand style and not let go of the spindle. When I feel I have enough twist, I let go of the spindle and use a very short suspension and let the tip of the spindle rest against my thumb. This way I can grab the spindle quickly whenever I need to.
If I use a hand distaff I usually keep the yarn straight by moving my distaff hand away from the spindle. If I use a belt distaff I tend to wrap the yarn onto my distaff hand to keep the yarn from slacking and still hold the spindle in a comfortable position. You can see both these techniques in the video.
In my latest in-hand spinning video, someone asked me if I’m drafting with my left (fiber) hand or if I’m just pulling with my right (spinning) hand. When I spin with a hand distaff, there isn’t much room for the fingers to draft. But even with a belt distaff, I’m not drafting very much. I just let the fibers settle themselves in the twist with the draft of my spindle hand. That usually works just fine when I have prepared the fleece myself (which I usually do) and left just the right amount of lanolin in it to assist my drafting. Perhaps I would use my fiber hand for drafting if I were to use a short draw. I haven’t tried that yet, though.
I hope you enjoy the video. I (we) certainly enjoyed making it.
I have a new spindle! I didn’t mean for it to happen so fast, though. Today I present to you my French spindle.
Spindle of the month
I have allowed myself to buy one spindle or spinning tool and one book per month. This month it was the Portuguese spindle. I started planning to buy next month’s spindle. I wanted to buy a French spindle and realized that there weren’t any in Europe. So I contacted Neil at NiddyNoddyUK in Wales and asked him if he could make me one, I had noticed in his Etsy store that he had sold some in the past. He was happy to do it. I also asked for a matching ring distaff, because why not? I figured that it would take him a while and I would get it in time for next month. But he had them ready for me the next day, and now I suddenly have them here in my hand. And since I do, I allow myself to use them, even though I’m not supposed to have them yet.
I love opening spindle parcels. There is so much anticipation – how will the spindle be protected, has the sender thought of reducing plastic in their shipping, will there be a card etc. I love it when the sender combines an environmentally smart package material with the receiver’s eagerness to start spinning straight away. This was a good package. The spindles were protected with sweet Lleyn wool and packed in tissue paper with fancy tape. No plastic as far as the eye could see. Now, that’s a beautiful spindle unwrapping experience.
French vs Portuguese spindles
The French spindle has lots of similarities with the Portuguese spindle. They are both made out of one piece of wood and they have no whorl. As far as I know the Portuguese spindles always have spiral notches while the French usually do, but they can also have a hook. They can both be made completely out of wood or with a metal tip. While the Portuguese spindle has its belly quite low, the French spindle has a belly just below the middle of the spindle length. The French spindles can be slightly more ornamented than the usually plain, pear-shaped Portuguese.
French spindles can have an interchangeable metal cap with a spiral notch. This way a spinner needs only one cap for several spindles. Lots of models of French spindles can be seen at the spindle typology index at the university of Innsbruck. I’m not sure I totally agree with their use of the terms drop spindle and support spindle, though. But the pictures are very valuable and they give us a unique insight in the spinning history of France.
Spinning on a French spindle
There is very little information on how the French spindles were used. Sylvie Dame has been a collector of antique French spindles and documentation for many years and she has quite a large collection. She says that collecting these spindles helps her understand how they were used. She argues that the reason why there is so little information about the usage of these spindles is that spinning used to be such a common daily activity for women and girls and therefore there was no need to write anything down.
From the few clips that I have seen, it seems reasonable to spin the French spindle similarly as the Portuguese or other in-hand spindles. That also makes sense when you look at images of French spindle spinning.
Of course I needed to make a video about it. It was the first warm day of spring. Turn on the volume and listen to the sound of nature. Listen closer, and hear the quiet patter of the yarn against the tip of the spindle.
In the video I’m using the ring distaff I ordered with the spindle. As far as I know, these two are not historically or regionally connected, I just wanted/needed a ring distaff and it’s just what I used for this video. My using the ring distaff together with the French spindle is thus totally unorthodox. I can live with that, though.
Do you have a French spindle, antique or modern? Do you know anything about French spindles or spinning on French spindles? Is there a historical connection between the French and Portuguese spindles?Please let me know in the comments!
I’m taking part in Ply magazine‘s 51 yarns spinalong on Instagram. It is called 51 yarns after the book 51 yarns to spin before you cast off by Jacey Boggs Faulkner. The book is described as a list of spinning adventures that every spinner should embark on. The weekly spinalong has its foundation in one of the chapters in the book. I have participated in week 1 (your default yarn), 2 (while at a retreat or event) and 3 (from fiber you have processed) bookless, but today the book found its way across the pond and landed in my letterbox. Are you joining me? Check out my Instagram and spin along! Are you not joining me? Check out my Instagram and spin anyway!
I have a new spindle! I am smitten with distaff spinning bug, as you may have noticed on my recent posts on medieval style spinning and distaff carving. The spindle I bought is a Portuguese spindle. I ordered it from Saber Fazer in Portugal and it arrived just a couple of days ago.
There is something about the experience of opening something and revealing its content. It becomes so obvious if the sender has put their heart and soul in the package. When I opened the postal bag, I found two smaller paper bags, stamped with the brand and a sheep. Both bags were taped with fancy tape.
Inside were, except for the spindle and wool, a thank you card and a postcard with botanical style flax anatomy on it. So simple, yet so heartwarming and effective. Organic too, there was no plastic at all, except for the bubble wrap on the inside of the postal bag.
The Portuguese spindle is quite simple in its appearance, just a pear shaped spindle with a spiraled notch.
The spiral starts in the center of the tip of the shaft so that the yarn stays securely in place. The spindle is made from unfinished maple. The spindle weighs 32 g and is about 30 cm.
The fiber I got together with the spindle is from a local Portuguese sheep breed called Campaniça. I haven’t found any information about them. The wool is quite bouncy and has a nice resist. It is machine carded and without lanolin. I also got a smaller piece of brown combed fiber, which I think may be Portuguese merino.
Dressing the distaff
I dressed one of my hand distaffs with the Campaniça wool. I just rolled it around the distaff so that the direction of the fibers were perpendicular to the drafting. That way I would get a lofty yarn in a woolen-ish sort of drafting technique. I did try to spin the combed brown fiber with the fibers parallel to the drafting, but it was quite difficult and I got lots of lumps.
I haven’t found much information on either the Portuguese spindle or the technique, just a few short video clips. The clips show spinning with and without a distaff. I chose to use a distaff because I think it organizes the fiber better. In retrospect, maybe I should have used a belt distaff, since it would make it easier to draft than from the hand distaff.
At first I was quite frustrated, since there wasn’t much action in the spinning. But when I got a bit of yarn onto the spindle, it spun easier. I spun in-hand to draft out the fiber and with short suspension to add twist. I haven’t seen any short suspension in the videos of Portuguese spindle spinning, though. In one description of the technique it said that the spindle never leaves the spinner’s hand, so maybe I spin in an unorthodox way when I spin with a short suspension.
Spring is here!
As I wrote earlier, I’m eagerly awaiting spring so that I can spin outdoors again and make videos. Well, spring is here and so is my first spinning video!
A couple of weeks ago I had a distaff carving day!
The lime avenue
We have a beautiful old lime-tree avenue just outside our house. Ever since someone told me that lime is a perfect carving wood I have longed to get out and make distaffs for in-hand spinning. It has been a cold un-spring so far and far too cold to carve outdoors. According to the weather report, it was supposed to be a little less cold a couple of weeks ago. I prepared to get out and saw the branches down on Saturday morning.
Saturday came, and when I peeked out from behind the curtains, it was a sunny day. I was out the door at nine and got some low hanging branches. I had big plans to sit in the March sun and carve, but the sun got shy and hid behind the clouds, resulting in quite a cold carving session.
I made three distaffs for different purposes – one 30 cm hand distaff, one 100 cm belt distaff and one 120 cm floor distaff. The lengths are just as I want them. The floor distaff may be a bit too short, though. Or perhaps I just have to get used to the floor distaff spinning technique.
The carving was wonderful – the bark just peeled off like butter and it was a very nice feeling to carve in fresh wood from such a soft and carving friendly material. I managed to carve all three distaffs without any personal injuries (I did ruin the first hand distaff, though), just a cut in my thumb nail, you can see it in the featured image. Boy, they are practical. Nails, I mean.
I did nothing fancy, I just followed the shape of the sticks and made a few notches at the top to hold the fiber better. There was a small branch at the bottom end of the hand distaff, which I took advantage of to make a more ergonomic handle.
I carved and carved, made little embellishments and improved imperfections. I didn’t want to stop carving. Why would you want to let a raw, natural material out of your hand?
Dressed for success
I have dressed the two longer distaffs with Värmland wool and given them a test run. They work very well. I will make another skein of the yarn I made in a winter video of in-hand spinning in medieval style. Blog post about the video here.
I like that the distaffs are organically shaped and the fact that I have to adapt myself to the natural shape of the distaffs. They feel more alive that way.
As I have mentioned before, I am planning to make online spinning courses for those who are too far from me or otherwise can’t make it to my local spinning courses. Online course making is totally new to me and I am reading up a lot, trying, failing and learning from my mistakes. My current experiment in this project is to design a makeshift studio.
Studio for control
To be able to shoot online courses I need a studio. My YouTube videos are all shot outside and without sound. I will not change that, but for online courses I need a place where I can control the audio. And I don’t want to put my home on display.
I have made a portable makeshift studio that consists of a simple backdrop, a tripod and a lavalier microphone. These will be teamed up with fill lights and noise reduction textiles depending on where I set up the studio.
Two possible studio locations
I tried the studio setup in two rooms – the “craft” room (e.g. the rubbish room) and the living room. These have different advantages and disadvantages. The craft room is very small and can be difficult to arrange for different spinning setups. It has only one window and can be a bit dark depending on time of the day and season. I can close the door and record without having to bother my family too much, and they won’t bother me. The sound is quite good in this room. The living room, on the other hand, is big and bright with windows in different directions. The sound is not as good as in the craft room. The living room is also a room where the whole family spends a lot of time and I can basically only shoot there when the family is out of the house.
I made a video with my two locations to see how they work in action. I also wanted to try some editing features. Please give me your feedback! What works and what doesn’t work? What do you want to see more of and what can be improved?
New and the same
Online courses are a new element in what I’m offering my viewers. I invest a lot of time and research in these so I will charge for them, but it will be money well spent.
I’m not comfortable with sharing the content of my upcoming courses on an open blog. However, I will reveal some of my ideas for my patrons on my Patreon page and patrons will get the chance to influence the content.
I will continue with the blog and the YouTube videos just as I have so far and they will always be free. However, these are also products of my time and they don’t produce themselves. Do become a patron if you like what I do.
I have finally finished my twined knitting mittens!
This is the fifth and final post in my wip series of spinning for and knitting a pair of twined knitting mittens. The previous posts are about preparing, spinning, plying and knitting.
A lot of joy
I am very happy with the result. They were a true joy to knit. But, as always, there is a melancholy and a sense of loss when finishing a project. There are so many thoughts in a project. Practical thoughts like the next step in the project, how to avoid mistakes, but also all the thoughts that float around in my mind in the making. Things I hear, think or experience while I make are things that are captured in the thread and, literally, woven in to the fabric. In this sense, the finished item is so much more than a pair of mittens. It is a sparkling weave of skill, experience, memories, thought processes, love and emotions. And I treasure them all in my wooly, twined knitted treasure box.
Even if I miss the process of making, I do get to relive all the emotions and sensations that are a part of the mittens. Every time I wear them.
A lot of time
Twined knitting does take a lot of time to make, but the reward is such a sturdy and strong fabric. And once I was over the initial novelty of the technique (which isn’t all new to me, but the last time I did twined knitting was in 2010), I found a nice rhythm of knitting, twining and untwisting.
A lot of yarn
I used 2 mm needles, which was perfect for this yarn. As you can see, the fabric is very dense on the surface. When you turn the mitten inside out you can see the beautiful ridges, caused by the twining. These also add to the density of the mittens.
When I first read the pattern I was a bit sceptical to the yarn requirements – 60 g per mitten seemed a lot to me. After a while I started worrying about having spun too little yarn! But when I had woven in the last yarn end I did have some yarn left, just enough to make a handful of pin loom squares.
I used a basic mitten pattern from Berit Westman’s booklet Tvåändsstickning. She has a lot of examples of charted chain path patterns. For the cuffs I made a simple xo pattern from the book. This doesn’t show very well even after blocking. For the back of the hands I wanted something special, so I made my own pattern. I wanted the mittens to represent all the strong and talented textile workers through history. When I had finished the chart, I realized that it was International women’s day, which was very suitable.
I struggled with the thought of felting the mittens for extra strength and durability. I had felted my first two pairs of twined knitting mittens. But already at the spinning stage I got a strong feeling of the wool being really prone to felting. It was quite sticky in all the parts of the process and I handled the yarn very carefully. I feared that if I felted the mittens, there was a strong risk of over felting. Also, since I had worked with the structure and colour of the yarn from the very beginning, I wanted the yarn to be the star of the show.
I do love the variegated colour of the yarn and it looks beautiful in the mittens. Especially in the pattern parts. The mixture of greys and the light golden brown gives the fabric a lovely depth. I am a sucker for greys!
As you can see in the pictures of the finished yarn, It was quite loosely spun and plied. This goes hand in hand with the wool, that was almost straight. I did over ply the yarn after it was balanced, to compensate for the unplying made by the twining. I don’t think it would have hurt to over ply a little more than I did.
I think this is the most even I have ever knit. I think it is easier to make a more even and tight fabric with twined knitting than with regular knitting, since it is easier to pull the thread after each stitch. Also, I love the mixture of plain twined knitting and the blocks of pattern knitting. The squiggly horizontals are well matched with the straight verticals.
When I was preparing the wool and saw the black guard hairs I was afraid that the mittens would be itchy. But they are not. It is just that silky feeling of the under coat. The guard hairs just add a strength bonus. That’s a well behaved yarn! When I wear the mittens I pet the silky ridged insides with my hands. I feel rich.
All in all, I think these mittens are in the top five of myfavourite hand spun projects and I smile every time I wear them. I feel proud and humbled to have the knowledge and skills to create something like this, like thousands of women (and a few men) have done before me.
Spring is taking its sweet time in Sweden this year. We’re almost at spring equinox and it was -8°C when I got up this morning. It does get warmer in the sun and the birds are singing very spring-like, but there is still snow and degrees below zero during a big part of the day. My whole being is waiting for spring to happen. I long to get out and craft. I have videos to shoot, outdoor knitting to be enjoyed, distaffs to carve and a whole allotment to cultivate. But it’s still too cold for the lanolin and my hands and I can’t put seeds in a frozen ground.
So I do what I can.
I’m knitting away on my twined knitting mittens. It is a slow and mindful knitting and I love how the whole range of greys are displayed in the fabric. I had my outdoor knitting premiere the other day (featured image), listening to the birds chirping and the dripping of melting snow from the roofs. It was quite lovely.
I finished spinning a fleece that had been waiting for over 18 months to be spun. It was a soft and beautiful Värmland fleece. But it had quite a lot of second cuts and vegetable matter. It was also very dark and difficult to see when preparing and spinning. All these things made me reluctant to spin the fleece. At the same time I felt guilty about not spinning it. But I finally gathered my energy to do it. It turned out to be quite a nice (wheel) spin, despite the dark colour, and I turned into four skeins of strong and lustrous warp yarn.
I also finished an in-hand spinning yarn, the one I started in this video. It is the same fleece as in the twined knitting mittens, but I used the shorter staples and spun them woolen from hand-carded rolags. It came out quite differently compared to the twined knitting yarn.
I found my way back to a rigid heddle weave I started before Christmas. It it yet another pillowcase (such a good practice project). This time in 3-shaft. The warp is 2-ply Leicester, worsted spun (wheel) from hand-combed tops and then dyed. The weft is Shetland singles, spun from hand-carded rolags on a Navajo spindle. It was lovely to weave in the spring sun in the kitchen, but I really wanted to be able to weave outdoors.
I am planning this season’s videos. There are lots of ideas in my head – more in-hand spinning of different kinds and in different environments, perhaps some flax spinning. I have promised a video on how I spin English long draw on a spinning wheel. I am also thinking something towards mindfulness and meditation.
I’m also planning to make online spinning courses. This is a bigger project and it has to take its time to get a good result. A lot of you are far away from me and my local courses and this is a way to solve the distance issue. If you are interested in taking an upcoming online course, please let me know what you would like and how.
There is still time for you to make requests for upcoming videos. What would you like to see learn, explore?
Do you like what I do? Then head over to my Patreon page and become a patron. If you become a patron I have lots of exclusive material in store for you. If you don’t I will still continue with the blog and make videos, just as I have before.