Överjärva farm

A red farm building.

The farm

One of my favourite sheep hang-outs is Överjärva farm just outside Stockholm. There has been a farm at Överjärva for centuries. In the beginning of the 20th century it was the biggest farm in the parish. Today it’s a city farm with sheep, horses, chickens and organic farming.

A red wooden house with black doors. A sign post in the front.
Businesses around Överjärva farm

Kulturlandskaparna is the organization that looks after the sheep and works to maintain the farm and the biodiversity in the area. This is where I first learned how to spin, where I bought my first fleece (and a few more after that) and I took a course in small-scale sheep farming.

The shepherdess

The Patron and head sheeprdess of Överjärva is Ulla. She knows all the sheep by name. If you present a fleece to her she can name the sheep just by smelling it. She is passionate about the sheep and the landscape management. She passes on the knowledge about the importance of sheep by teaching young and old as much as she can about sheep and why we need them.

Ewes and lambs
Ewes and new lambs hanging out at the farm. Photo by Anna Herting.

At the farm, Ulla teaches kids to be helper shepherds and shepherdesses. For the moment there are only helper shepherdesses, and around 10–15 years old. They learn how to take care of the sheep and are a big help at the farm. It is also evident that the helper shepherdesses grow when they learn about how to take responsibility for the sheep.

With the sheep in the pasture

People come to the farm all year round to see the sheep. They are very used to humans and most of them love to be cuddled. During the lambing period in the spring they get privacy, though, but in the end of April it was the first day visitors were allowed to go in to the pasture and cuddle with ewes and lambs. Of course I was there.

Lambs and sheep
The lambs are curious about the two-legged sheep with funny-looking fleeces.

The big sheep walk

Moving the sheep

When the lambs are big enough and the grass has grown a bit after the winter, it is time to move the sheep and their lambs to their summer pastures. This is done on the great sheep walk in late May. Visitors are invited to take part in the move and walk all the sheep families through the neighbourhood to the fresh grass in the new pasture. Of course I was there to take part in the big sheep move.

Organizing the walk

The sheep walk is a whole machinery. The sheep families are moved from the farm pasture one at a time and assigned to a human family, and they all stay around the farm until every sheep is out. Anna, her family and I were in charge of the Swedish finewool sheep Anemone (you have seen her before, in this video) and her lambs Tim, Linus and Vilda.

Josefin Waltin walking with a black and white sheep in a leash.
Walking with Anemone and her lambs. Anemone is a Swedish finewool sheep and very friendly. Photo by Anna Herting

The sheep are a bit wild and difficult to handle at the beginning of the walk, but after a while they settle down. Since the walk goes through traffic, the sheep need to be led in in leashes. One human family family taking the responsibility for one sheep family. The sheep family must be held together with the ewe just in front of her lambs and you are not allowed to pass another sheep family. There can’t be a gap in the long row of sheep families. The herd strives to be together, and if there is a gap they will start to run to cover the gap. This can have chaotic consequences in a traffic environment.

One of the most difficult tasks on the sheep walk is to keep the sheep in the middle of the lane. If they go too far to either side, they will get close to the grass and all the work with keeping the sheep orderly is wasted.

Ulla, the head shepherdess, doesn’t walk with the sheep. She goes ahead in the car and organizes things at the pasture. Instead, the helper shepherdesses are in charge of the walk. And the y do it with great skill and pride. They watch all the families along the lines and make sure everything is in order, that the ewes is just in front of her lambs, that there is no gap in the lane and are always ready to give a hand when needed. The smaller children are in charge of stopping the traffic. When a car comes on the same road or when the caravan crosses a street, the kids stand broad-legged with their arms out to the sides to stop the cars and protect the caravan. They take their task very seriously.

Dancing in the streets

It is almost like a choreographed dance to keep all the sheep in the right place in relation to their families, other families and the road. But it is a dance I am happy to entertain the audience with. And there is an audience – all along the walk are happy citizens watching with their cameras ready. For some people watching the event is something they are looking forward to all spring. It certainly is for me as a participant.

Snack time

Half-way through the walk the whole caravan stops at a big castle park for a mid-walk snack. This is vital if the sheep are going to arrive to the new pasture without sheep chaos. The walk is about 5 km, mostly on asphalt and straining for them. With a grazing break they will get enough energy to walk the last bit without trying to escape to the grass every chance they get.

Summer pastures

After about 5 km and perhaps an hour’s walk, we are finally at the summer pastures. From this moment, everything goes very fast. When all the sheep are in the pasture, they go wild. At the same time, they have to be freed from their leash collars. When that is done, the whole event is over. But for the sheep, a whole summer of grazing awaits.

Video

I made a video of the visitors in the pasture and the great sheep walk. In the photo above you can see how I have attached my phone camera with a gorilla pod wrung around my bag strap.

I published the video and blog post yesterday, but I had to unpost it due to copyright violations. I had chosen an old folk tune for the video, Hårgalåten, performed by a well known Swedish key harpist Åsa Jinder. Due to the copyright violation the video wouldn’t be able to be viewed in some countries, one of them being the U.S. So I removed the video and replaced the tune with a song by Josh Woodward, from the free music archive.

Enjoy!

The diversity of a fleece

In a previous post I wrote about fleece sorting and my fascination of the diversity within a breed and within a single fleece. I chose a few staples from my recent purchase to show you.

Staples from one single Shetland fleece, washed in warm water with a little organic shampoo and three rinses. Bought at Jamieson & Smith Shetland woolbrokers

The first fleece is a Shetland fleece in the colour Mooskit. As you can see, there is a variation in colour, staple length, crimp, fiber fineness and staple definition. The shortest fibers on the left are from the neck area, very short, crimpy and fine, they remind me more of Swedish finewool than Shetland wool. I would card this and spin with long draw on either a Navajo spindle or a supported spindle. I would probably treat the short fibers on the far right the same way. The two staples closest to the ruler are longer, darker and a bit coarser, perhaps from the rump area. I could either comb and spin these separately for a more sturdy yarn, or together with finer parts of the fleece to give the yarn strength and colour. The long light staples on the mid left (from the sides) look like they are dying to be combed and spun with short draw on a spinning wheel. On these staples you can also see the break in the fibers about 1 cm from the cut end, where the old fibers are thinned and new have started to grow out. This fleece had such breaks on some parts and they were easy enough to pull off. Combing would also remove these bits.

Another Shetland fleece, washed in warm water and three rinses. Bought at Jamieson & Smith Shetland woolbrokers

The second fleece is a white Shetland fleece. The variation is not as big as in the Mooskit fleece, but there are still differences. From very fine, crimpy and clean back and side wool to coarser and more wavy belly and rump wool. I could choose to comb it all together for several skeins of consistent yarn. I could also divide the fleece into different qualities for different purposes. I would love to use some of the finest parts to practice spinning extremely thin yarn.

Both of these fleeces are Shetland fleeces and graded as super fine, but they look quite different. I have another six Shetland fleeces and they have all varied quite a lot. Shetland sheep is a primitive breed, which I have written about in an earlier post. Among other things, they shed their wool as I showed in the Mooskit fleece above. All my other coloured Shetland fleeces have had breaks in the staples where new and old fibers meet. But much less the white fleeces. My theory is that there has been more pressure on the breeding of the white sheep than on the coloured ones and thus this feature has disappeared in some of the white sheep.

The advantage I have as a hand spinner is that I can dive into a fleece like this and plan how I want to use it. I can sort it in an endless amount of ways to fit my purposes or I could combine different parts of the fleece to get the most out of the different qualities of different parts of the fleece. I can play, experiment and above all, learn from what I see in one single fleece if I just look close enough.

Slow fashion 2 – from sheep to shawl

Here it is, finally. My second bigger video project Slow fashion 2 – from sheep to shawl.

Slow fashion and the value of a craft

I wanted to make another video on the slow fashion theme. Also, I wanted to show some other aspects of crafting. I have seen people sell handmade items for basically the cost of the material, which is such a shame. There is so much talent, time, effort and experience behind a handmade item. People don’t give it a second thought in a society where we expect to have stuff and we are in turn expected to buy more stuff (that has preferably been shipped three times around the globe). Giant store buildings are popping up like mushrooms because we don’t have any space left for all our stuff. This video is about the value of good craftmanship and all the time, tradition, skill and effort that lie behind it.

Josefin Waltin sitting outside by the spinning wheel. There are garden chairs around her with smartphones attached to them for filming.
In the studio, with garden chairs as camera stands. Photo by Dan Waltin

For the love of spinning

The video is also about the love of spinning. I try to capture the way spinning gives me that meditative feeling, how the motions and the touch of the fibers gives me serenity and a sense of weightlessness.

The leading fleeces

The fiber in the shawl is from two natural colour Shetland fleeces. The warp was spun worsted on a spinning wheel from hand-combed tops and 2-plied. The weft was spun woolen on a Navajo spindle from hand-carded rolags into a singles yarn. The shawl was woven on a 60 cm rigid heddle loom on double width.

Josefin Waltin standing in field with plaid shawl over her arm, sheep in the background.
The finished shawl. Photo by Dan Waltin

For tools and designers, see this post. For a connection to Outlander, look here.

Shetland wool

I got wool today! Three bags full, actually. Two beautiful Shetland fleeces, one Moorit (brown) and one Eskit (dark grey).

Close-up of a brown Shetland fleece
Shetland Moorit.

Previous Shetland fleeces

I have bought a few Shetland fleeces and I love all of them dearly. I bought the first ones when my wool traveling club attended Shetland wool week 2015. I got to enter the wonderful treasure room for hand spinners at Jamieson & Smith Shetland woolbrokers. A room in the basement filled with dreamy fleeces, handpicked for handspinners. I ended up buying one white and one Flecket (patches of black, grey and white). This Christmas I bought another two – one Shaela (light grey) and one Yuglet (dark grey). More about them in a later post.

About the Shetland sheep

The Shetland sheep is an old sheep breed and they are traditionally rooing their wool. The sheep sheds its wool at a certain time of year when the fibers thin and the new wool starts to grow underneath. This has advantages and disadvantages. An advantage is that the fiber closes at the weak spot, which makes a garment more resistant to cold and wet weather. Another advantage is that the yarn is smoother, since the ends are thinned out instead of cut off.

A disadvantage is that there is a lot of waste, and sometimes a risk of nepps and noils in the finished yarn. If the fibers don’t break or isn’t pulled off and if the sheep isn’t sheared at the rooing moment, there will be a weak spot where the rooing occurs while the new fiber starts to grow. So, on the fleeces I bought at Christmas (about six months after the rooing) the part between cut end and rooing spot was quite long, about 4–6 cm. These parts were either wasted or used for carding.

When to get the best fleece

I wanted to get my next fleeces with as little outgrowth as possible. The rooing usually occurs in June as far as I know. I read in a post in the Shetland woolbrokers’ blog that Jan is busy with incoming wool from July, so I gathered that the shearing starts about then. So I e-mailed them in July and asked them to get me the best fleeces they could find. I wanted two solid-colour fleeces and the colour really didn’t matter (not black and not white, though), the important thing was the quality. And today I picked them up from the post office. The woman at the post office looked rather suspiciously at my three bursting bags, smelling faintly of sheep. I must have looked rather funny on my bike with one bag in my bike bag, one strapped on to the bike rack and one dangling from the handlebar.

Just yum

The fleeces are really wonderful. Soft like butter, superfine fibers, strong and resilient. They are also amazingly clean. I’m used to Swedish fleeces, where even the cleanest ones have some vegetable matter in them, either from silage, weeds or needles. Once I actually found a whole chestnut in a fleece!

The Moorit fleece (picture above) is super soft (lamb, I think) with staples about 12 cm. The ends are bleached, which is common on brown fleeces. This means that the finished  yarn also might be bleached, which I will put under consideration when choosing projects for it.

Close-up of a dark grey Shetland fleece
Shetland Eskit.

The Eskit fleece (lamb) is just as soft and clean. The staples are longer, up to 15 cm. There might be an outgrowth though, you can see the change of quality in the bottom 3 cm of the staple. Hopefully the fibers break at the rooing point when I comb it and the cut end parts stay in the combs.

I have divided both the fleeces in two parts, one part with the finest, softest fibers from the neck and the sides and one with the still very soft but not softest fibers. This way I can adapt my yarns to different projects.

My spinning plans

I will comb the fleeces and spin with short forward draw. My go-to yarn is 2-ply fingering weight, But I think I will also stash up on some 3-ply sport with these fleeces, I have lots of queueing knitting projects requiring sport weight yarn. The shorter lengths left in the combs will be carded and spun with long draw. I do love to spin these carded rolags into singles on my Navajo spindle and use as weft. More on how I prepare fleeces in an earlier post on combing and carding.

Gotta go now. I have fleeces to cuddle.

Please correct me if I’m wrong about the properties or terminology of Shetland wool.

Back in town

I just came home from vacations out of town. First we had a wonderful week in Austria, hiking and seeing my relatives. We flew to Vienna and then took the train to Salzburg. So, when it came to craft planning I didn’t want anything in my hand luggage that any security staff could take away from me. My standard in-flight craft is nalbinding. A blunt wooden needle (or, in this case, bone) and yarn. It doesn’t take much space either. And my loved ones are always in need of warm and wind-proof mittens. These particular mittens will be for my brother-in-law. They were also a perfect companion for hiking.

Close-up of a nalbinding project. Mountains in the background.
Nalbinding at Postalm, Austria. Bone needle from Birka. Yarn is my handspun 3-ply from finewool/rya crossed sheep from Åsebol sheep farm.

We had to stay overnight in Vienna, so I could rearrange my luggage and have access to both spindles and knitting projects for the train ride. And I do love spinning on the train.

Hands spinning on a support spindle on the train.
Spinning on the train between Vienna and Salzburg. Spindle from Neal Brand, spinning disk from John Rizzi. Fluff is merino/tussah silk from Vinterverkstan.

Lots of knitting was done also at the B&B we stayed at. I couldn’t not knit the 2017 Shetland wool week pattern, even though I’m not coming this year either.

Close-up of stranded knitting. Mountains in the background.
Knitting the Bousta beanie by Gudrun Johnston, the 2017 Shetland wool week pattern. Yarn is my handspun from Shetland fleece from Jamieson & Smith Shetland woolbrokers (greens) and Jämtland sheep (grey).

And, oh, I also found the house spinning wheel at the B&B! A little beauty that had been used for both flax and wool spinning by the owner’s mother in the early 1900’s.

An old spinning wheel.
A pretty spinning wheel, next to a flax distaff.

The second vacation was in a log cabin in Tiveden in Sweden at the Åsebol sheep farm. They have finewool, Texel and Rya sheep.

Two Rya sheep, one dark grey and one white.
Beautiful Rya sheep.

We came by car and I brought a lot more crafting stuff on this trip. The car was quite full. I had a basket of carders and combs between my feet on the floor. But it was worth it, this farm is one of my favourite places on earth.

A person nalbinding by a creek.
Nalbinding away by the creek.

We did some hiking there as well, and I brought the nalbinding.

Close-up of a nalbinding project by a lake.
Nalbinding again.

We spent a lot of time at the farm, just enjoying the silence and the occasional Baah. And i did a lot of spinning. I brought five spindles plus carders and wool combs and enjoyed them all.

A Turkish spindle with a country road in the background.
Spinning Finewool on a Jenkins Finch.

At the end of the week, I had spun quite a lot.

Several skeins and full spindles.
Wool production at Åsebol sheep farm: Dark grey singles (on Roosterick Navajo spindle and leftmost toilet roll), five skeins of thick singles finewool yarn spun on Navajo spindle (and all of the fluff for it combed and carded on the log cabin  porch), Shetland singles on drop spindle from Bosworth (I am planning to Navajo-ply it), Finewool on Jenkins Turkish spindle, merino/tussah silk on supported spindle from Malcolm Fielding, nalbinding mittens and some secret stuff on the rest of the toilet rolls. Photo by Dan Waltin

Two more weeks of vacation at home. And there will be spinning!

Woven blanket

 

A woven wool blanket draped over a park bench.
A finished blanket

Another project is finally finished. I started spinning this yarn over a year ago, but spinning for a blanket takes time!

The fleece is from a Swedish finull/Rya crossbred from Åsebol sheep farm (white, light blue and blue stripes). The yarn was spun on a spinning wheel from hand-carded rolags with long draw and then 3-plied. The dark stripe is from a Shetland flecket fleece from Jamieson & Smith Shetland woolbrokers, spun woolen from the fold and 3-plied.

Handspun yarn in backlight

Since I only have a 60 cm rigid heddle loom, I can’t weave one-piece blanket, but my friend Kristin came up with the brilliant idea to weave strips and sew together and then tumble-dry. She has made several blankets this way on her 40 cm rigid heddle loom. So I wanted to make one too. Wrapping myself in a cozy blanket from sheep I meet every summer will bring up sweet summer memories in the cold winter.

The strips have been stowed away for several months now, but today I unwrapped them and started sewing on the living room floor.

Four strips make a blanket.

Tumble-drying was a real bore.

Round and round it goes

And finally I decided it was done and I took out a warm and fuzzy blanket!

A blanket is born!

Combing and carding

I usually buy fleece and do my own preparation. For that I use my mini combs and my carders. I try to use as much of the fiber as possible and make as little waste as possible.

I do love combing. The way the wool transforms from separated staples to a fluffy bundle is like magic. And drawing the fiber off the comb in a long, continuous piece is very satisfying.

A basket full of combed wool. Lake in the background.
Shetland wool combed into bird’s’ nests

The longer fibers align themselves into that long combed piece. But usually there is an amount of shorter fibers left in the combs. I pull these out, one pinch at  time, and card. The nepps and noils stay in the combs and I use this waste in the garden.

Two baskets of prepared wool
Combed wool in the back basket shorter comb leftovers pulled off the comb in the front basket. In the front carded rolags and mini combs with leftover shorter fibers. All from the same Shetland fleece.

I follow the same routine when I card, but without making the combed bird’s nests. I lightly comb the fleece I want to card, pull it off the combs one pinch at a time and then card. This way, I use the combs for teasing the wool. It is much faster and nicer than teasing each staple with a flicker, which I used to do. And now I love carding too!

Spinning on a Navajo spindle – drafting

In a previous post I talked about drafting on a Navajo spindle. I made a new video on Navajo spinning today, focusing on drafting.

So, as I described in the earlier post, I roll the shaft, keeping my fiber hand still until the fiber catches the twist. Then I draw in sections, hopefully ending up with a semi-thread of even thickness. Then I draw some more until I reach my target thickness, roll on to the shaft and repeat for the next section. I added a slow motion closeup to show the details.

Filming Navajo spindling is not easy, there are details I want to focus on, but the spinning has lots of parts at quite long distances from each other. I hope the video still makes sense. It was quite cold out when I filmed and the wool was fussy. I could literally hear the wool fat stiffen as I drafted and I had to be very careful not to snap the yarn. Also, the colour of the fiber makes it a little hard to see, but I hope you can see enough. The next fiber I Navajo spin will be white, I promise.

Spindle is from Roosterick. The fiber is hand-carded from a Shetland sheep fleece, purchased at Jameson & Smith Shetland Woolbrokers. Shawl pattern is  the Daisy crescent by Kieran Foley. MC yarn is my handspun and the daisies are various scraps, both storebought and handspun.

Happy spinning!

The Navajo spindle

In september I bought an Interweave video showing different kinds of supported spindles. Among these was a Navajo spindle. I hadn’t paid Navajo spindles much attention before, but after seeing the video I suddenly felt I needed one. And in late november I finally received a beautiful Navajo spindle from Roosterick.

A full Navajo spindle leaning against a rock
My sweet Navajo spindle

The beauty of the Navajo spindle

Spinning on a Navajo spindle is really lovely. The long draw can get amazingly long and is very satisfying. As any other spinning, it’s very soothing. The sound of the point spinning against the bowl, the rhythmic motion of the hands and the feeling of warm wool. Also, it is a spindle technique that involves the whole body. I do like the small movements when flicking a supported spindle, but it is a nice contrast with the long rolling movements and the extension of the other arm away from the body. I decided to learn with the right hand as my spinning hand, the opposite of my preferences regarding other spindles and the wheel. That way I will hopefully avoid muscular strain and give my brain an extra challenge.

How to spin on a Navajo spindle

When spinning on an Navajo spindle you use a long draw. The spinning hand rolls the shaft and the fiber hand controls the fiber, but none of the hands is on the thread (unless for evening out a bump). I roll the shaft several times without moving the fiber hand. When I see that the fiber (still fluffy and unspun) is beginning to catch the twist, I move the fiber hand outwards, letting the fiber catch the twist as my hand moves further out from the body. That gives me a semi-thread (or proto-yarn using Fleegle’s terms in her book about supported spinning) of even thickness. From this stage I can decide what thickness I want. If I want a thick thread I put in some more twist (double drafting) without moving my fiber hand. If I want a thinner thread I move my fiber hand outwards and roll some more. When my arm doesn’t get any longer, I butterfly the thread onto my fiber hand and double draft it in sections. I’ll try to make a video that shows this part more clearly, however, you can see it a bit in the video, starting at 38 seconds.

So, while you can play with any thickness you like,  the Navajo spindle is a perfect tool for practicing spinning thick yarns. Especially thick singles, since you can get quite a low twist yarn with the Navajo spindle. This is a challenge for me, since my go-to thickness is quite thin, but suddenly I really enjoy making fat singles!

The importance of fiber preparation

The fact that you  use a long draw also makes fiber preparation very important. The fiber needs to be carded, preferably by hand. Any nepps or noils will impair the result. Hence, I have practiced – and improved – hand carding in the last few months and the difference between good and not-so-good carding is really evident in the spinning and the finished yarn.

While making my first video on Navajo spindle spinning in December, it became very clear to me that wool grease, just like any other fat, stiffens in the cold. Hence, the yarn broke time and time again. And the beautiful process of learning goes on and on.

Spindle from Roosterick. Fiber is hand combed from Shetland sheep. Hat is Ella Gordon‘s Crofthoose hat, shawl is Kate DaviesNorthmavine hap.

Happy spinning!