I have a new spinning video for you today. It took me a necessary while to finish it.
I wanted to make a video where the seasonal change plays a major part. So I chose to make as few changes as possible, to let the seasons shine in all their glory. I chose to film everything on the same location, a tree trunk in a grove outside our house. While the spot and the spinning are the same, all that changes is the nature around me. I filmed whenever I thought the nature had changed enough to make a difference compared to the last filming. I focused on new flowers, seed capsules and changing colours of leaves. I love the first wood anemone/vitsippa in april and Marathon lily/Krollilja with its delicate flower in July and the seed capsule in August.
The tree was cut down quite recently, and when I chose the spot in early spring I didn’t really know how the ground would look like in high summer. It turned out to be a favourite spot for a nasty and invasive weed (ground elder/kirskål). It grew so high I couldn’t even find the trunk in July, so I had to cheat a little and use the weed wacker. I can highly recommend ground elder soup, though!
People sometimes have favourite seasons. I hope you find yours. Enjoy!
The other day I had a spinning date with my friend Anna and her cousin Helena. We had a great time spinning and chatting away. Anna also brought her microscope. I had brought staples from all my current fleeces and I went bananas with the microscope. Here are some examples.
First up is the Swedish finewool, one of my favourite breeds. I think the staple is from the neck, it is very short and fine. You can see the crimp in the microscope and how fine the fiber is. There is a lot of air trapped between the winding fibers. I want to keep this air when I spin it, to make a warm and soft yarn. Therefore I spin it with long draw from hand-carded rolags.
Next up is white superfine Shetland wool, long staples of fine and crimpy fibers. In this comparison, though, the finewool looks finer than the Shetland wool, and slightly crimpier. And I can see some peat between the Shetland fibers! It is appealing to spin it with long draw to keep the air in. However, these fibers are very long and they work better with the combs to make a strong and shiny yarn with short draw. Any shorter fibers or comb leftovers will be carded and spun with long draw, though.
For comparison, here is a Leicester staple, with completely different characteristics. The fibers are long and shiny and with waves more than crimp. In the microscope you can see only straight fibers and they seem a bit coarser than the Shetland and finewool samples. It is easy to imagine these fibers organized parallel in a strong yarn. I have spun this yarn with short forward draw from hand- combed tops into a strong and shiny warp yarn.
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.
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.
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.
I love wool sorting. Standing outside feeling through each staple of a beautiful fleece. The sensation in my hands when I touch the fiber – warm, rich and airy. The smell of the sheep. A few clues to where the sheep has been – lots of peat in Shetland fleeces and leaves, pines or moss in Swedish fleeces, or a bit of nylon string from fences or silage.
When I sort wool, I try to read the fleece. My mind goes to where the sheep might have been and done. It also goes to how the fleece is different on different parts of the body and how I can prepare and spin these sections differently to make the most out of the versatility of the wool. In some places long and sleek staples that part easily, in some places short, crimpy and fluffy. In yet other places a bit coarser but still promising. I am quite fascinated by the difference between fleeces of the same breed and within one individual.
Every time I sort a fleece I learn something new, about the breed, about how I can try new methods or combinations to make a yarn the way the fiber wants to be handled. I can make more subtle observations each time I stick my hands into a new fleece. At that moment I feel empowered by the wool and all that it gives me.
I just had a moment, a realisation. A moment to cherish and save in my treasure bank like a piece of beautifully wrapped candy.
You know when you make something and it doesn’t feel right, and then you make a subtle change and suddenly everything falls into place. In spinning it can be about the length of the draft, the rhythm of the treadling or the amount of fiber drafted.
This just happened. I’m spinning a Shetland fleece I bought this summer. It is very soft and crimpy and has a very long staple. I have realized that there is a bit too much lanolin left in it, it doesn’t flow right. I have made adaptations so that the combing flows easier, but the spinning wasn’t the way I wanted it to be and it bothered me. The flow wasn’t really there and the fiber told me so: “It isn’t wrong, but it definitely isn’t right either”. Until I made that liberating change that made such a difference. It wasn’t much, just a lighter hold with my spinning hand. And suddenly there was flow. It was as though the fiber said to me “yeah, you’ve got it now!”. I had found the key to how the fiber wanted to be spun.
The beauty of this is, that the process of spinning itself allows you to really contemplate and reflect over this while you are spinning, which makes the experience even more powerful. I feel like I have had a shot of vitamin Spin.
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.
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.
A while ago I finished my first pillowcase, Blanka. It was a real struggle with felting warp and broken threads. I managed to finish it though, and now it has its place in our couch. When I dyed the yarn, I also dyed some Shetland that I had spun in basically the same way – 2-ply worsted spun from hand-combed tops and singles woolen spun on a Navajo spindle from carded rolags.
I was curious to see if this weave would be less of a struggle than the first one. The difference was remarkable. It was a joy to weave. First of all, I had a couple of projects with double weaving in my experience bank and second of all, it was a much more cooperative yarn.
Every project has its own story, so has this one. In July, my family and I were preparing for a trip to Austria. I had packed all my necessary knitting and spinning projects. On the morning of our departure, I got a text saying that the flight had been cancelled due to a tornado at Vienna airport. We managed to book a flight 36 hours later. So, suddenly we had lots of time to kill. I chose to spend that time warping my loom for the non-Blanka pillowcase! I started, but towards the end I realized that there wasn’t enough green warp yarn. Well, there was some more, but in another project, that was packed in my suitcase. So I decided to use a light warp thread for the last 5 cm. It looked nice and it was also a reminder of the extra day we had at home before we left for Austria.
When we got home from Austria I had finished the project that had the missing green warp yarn and I decided to use it in the pillowcase as a weft yarn to match the first odd stripe. And I like the result!
Three pillows left in the couch to transform. I’m thinking twill!