Fleece to finished object is one of the most exciting ways I know to work with wool. Not only do you gain the longest and most varied enjoyment from the process, but you have total control over the yarn you produce!
While the steps are numerous, the process is actually quite simple. Your Learn to Process kit contains well near everything you need to create fiber ready for spinning: raw fiber, a mesh bag to scour it in, two types of scour for experimentation, these instructions, and a flick card – one of the most versatile processing tools in the arsenal.
Your first step will be removing the raw wool from its baggie. Choose whichever wool inspires you most. Shake it out and pop it into the mesh bag. Make sure the fiber isn’t clumped up but is spread out a bit inside the bag. You’ll want the hot scour water to be able to penetrate the wool. I use the mesh bags to make it easier to handle the wet wool – but you can use a colander, cat litter sifting tray or anything else with small enough holes to prevent wool from being lost down the drain, while allowing water to penetrate the wool.
Your next step is to take a container large enough to float your packet(s) of wool in. There should be enough room underneath the soggy packet for about 3-4” of water. I like to use a clear plastic shoe box for small batches, or one of those sifting kitty litter trays for medium sized batches, or a big tub trug and colander for the really big batches. Once you have your container, fill it to about an inch from the top with the absolute hottest tap water possible – so hot you can’t immerse your hand for more than a second, the temp should be at least 120F and not above about 135F – and put a couple drops of either scour in the water. You have enough scour in the sampler to wash all 5 samples separately (you really do). Now pop the fiber packet into the water and push it down gently with your fingers so it gets totally saturated – it’ll float, but you want it wet. Now, walk away for about 15 minutes.
Gently lift the packet out of the water, which will be quite grimy, and dump it on your plants. If you live in the city, turn on your tap water – on hot (you’ll need it anyway) and slowly dump it down the drain.
Then do this step one more time.
The third and fourth times you do this but skip the scour and just use clear hot water. These are the rinses.
After the final rinse, gently remove the wool from the mesh bags and lay it on a towel to dry. It’s ok to gently blot the damp wool, and it’s also ok to spin the wool in the bag in your shower (behind the curtain, or you’ll have wool water all over your bathroom) as if you’re the spin cycle of your washing machine before you remove it. If you put it in a sunny spot, it should take a few hours to dry. If you don’t have one, it takes a little longer. A cat or a dog finding its way to snuggle on it (don’t panic – it happens) may speed up the process even further.
Once the fiber is dry you may card. A word of warning – I have more than once stabbed my fingers with a flick card while flicking. I highly recommend you use caution – and make sure your tetanus shot is up to date. I also recommend a thick cloth like leather, canvas or the leg of an old pair of jeans you can cut off to protect your thigh.
A flick card is used to open up both ends of the fiber locks; unless it’s a long wool or a multicoated wool, this is normally sufficient. Taking a lock between your fingers and giving it a good twist in the middle to hold everything together, you can either tap the flick against each end in turn as if you were drumming a rhythm on a desk, or brush each end as if you were getting snarls out of the ends of your hair. The tapping method also works very well by just grabbing a clump of wool and tapping it all over to create a cloud.
Longwools may not respond as well to the tapping method, and may require more of a brush starting at one end and working gently up to the butt end. Multicoated wools may separate the inner and outer coats. This is completely normal but if you wish to use the two coats combined, as in a lopi style yarn, you’ll want to make sure your grip is solidly in control of the shorter undercoat and may need to shift your grip toward the butt end where the under coat is more prevalent. The cloud method works particularly well to open up down/type breeds.
Once you’ve flicked your fiber is ready to spin! You may take it to your spindle or wheel and begin the next stage of enjoyment!
These are the breeds that have marino crossed with something else. Often times that something else also originates in its own merino cross, like Corriedale which is an English Leicester or Lincoln and Merino cross. These breeds include CVM, Corriedale, Polwarth, Debouillet, Targhee, etc. You can see where this is going.
Generally speaking, these breeds retain all the wonderful Merino traits we know and love: amazing crimp, really dense locks with a LOT of fibers per square inch, nice hand, good drape, excellent memory, pleasant texture (by which I mean next to skin softness).
I love spinning these breeds because I find that they feel more lively in my hand when I work with them compared to merino. Don’t get me wrong – when it comes to endless enjoyment and spinning my default frog hair to get 1600 yards of 2-ply laceweight, merino is hard to beat. But when I have the opportunity to spin Polwarth or Targhee, I simply find that I enjoy it even more. Their crosses bring something to the table that makes them… more, different, interesting. I tend to like the Merino derivatives more than Merino for this added character. And some of those breeds, like Polwarth, Bond, CVM, and Targhee, I really like a lot!
Sometimes, when I encounter spinners who struggle with Merino – maybe it’s slick, too fine, so soft, super special, any number of things – I hand them some derivatives and they discover the joys. Other times I encounter spinners who have only spun Merino and want to branch out – but are nervous about a wider array of textures and characteristics – I hand them a derivative and gently introduce more variety.
As you know some time ago we mentioned developing a Peri-baa-tic Table of the Breeds. WELL. WELL. It’s nearly done and it’s pretty darn exciting if I do say so myself.
January is all about a breed which, I must say, I think is perfectly suited to take its place as the Hydrogen of Sheep Breeds: Merino. Just as hydrogen holds its position with an atomic number of 1, launching it all, so merino is the foundation of oh so very many breeds (not to mention the blood count system of measuring fiber!) and takes its place as number 1 in the hearts of so many spinners. You’ll find our Sheep-o-pedia entry on Merino helpful.
Known for its softness, and recognizable to even non fiber people for its presence in catalogs and textile labels everywhere, Merino is a very versatile fiber. It comes in an array of colors from snow white to black and has a micron count of 11.6-25, a wide spectrum when you consider that cashmere is about a 16 and Cheviot is about a 26! It’s crimpy, has very dense locks, and lots of grease – so count on at least 50% loss in weight from a raw fleece. It’s also a fiber many mills were designed around so that 3” staple rule is pretty solid here: most Merino staple lengths will be in the 3” range. Also, because most Merino clips go to mills, expect dirty tips which trap dirt and grime away from the rest of the lock; take advantage of those cold soaks! These fleeces are DENSE and thus they are also frequently quite large, averaging 9-14 pounds. A single 14# Merino fleece will keep you busy for a long long time – especially if you like to spin fine yarns.
For the historical nerds among us, the Merino is the source of the Spanish Empire’s wealth – prior to colonial conquest in Latin America. The Spanish court got their flocks from the Beni-Merines, members of a Berber tribe in Morocco and one of the sources of the name Merino – the other source is a Leonese government official known as a merino who may have inspected sheep pastures – from whom they acquired excellent rams to breed with their finest native ewes in the twelfth century! By the Middle Ages, Spain had bred these sheep to such quality that they cornered the European wool market and by the end of the Renaissance, they were gifting sheep to their relatives in other European courts.
Merino itself comes in about fourteen different strains. Debullet, Cormo and Rambouillet are also strains of Merino, but they are considered their own breeds now. A recent genome study on global sheep breeds found 74 breeds from 6 continents with the Merino genotype! A small sample of includes, but is not limited to: Corriedale, Targhee, Polwarth, Oussant, Ile de France, Finn, Boreray, Cheviot. A huge number of feral sheep also have Merino bloodlines, such as Soay, Gulf Coast, Santa Cruz, and Arapawa Island. Merino really gets around!
A word of caution when scouring Merino: if you don’t get the grease out the first time, it’s REALLY hard to get out later. To help you be more successful, I recommend a few extra things when working with Merino (and the Merino family):
Make sure you have a VERY reliable scouring agent, such as Power Scour or Kookaburra. This is important because things like Dawn require so many more rinses, and every time you change water with a persnickety grease removal fleece, you risk temperature drops and felting.
Do a cold soak first to loosen up stuck tips and get some of the dirt out before you begin to scour. This will also loosen up the grease and start its removal process.
Make your water extra hot. I don’t normally need to, but if I find I have a particularly grimy fleece, or a Merino family fleece, I increase my water temperature and NEVER let it drop. My normal 18 minute soaks become 12-15 minute soaks just to make sure. If that temperature drops, the grease can redeposit.
Be EXTRA careful not to agitate it. All those super fine scales beng open, in all those very dense and crimpy locks lend themselves to easy felting. This is another reason why a very good wool scour is so important; they’re designed to work in tap water at lower temperatures and require fewer scours and rinses to do their job.
Consider a 3rd scour cycle – but do it cautiously.
It’s fitting that Merino starts our Per-baa-tic table.
I’ve been struggling lately with how to express some feelings I have about the fiber world of late. Frankly, I’m saddened to see the tired old tropes still clinging: Men who knit, weave, and crochet harassed and belittled. People of color rejected or made unwelcome. Members of the dominant socio-economic group complaining when fiber arts are used for something other than “relaxation.” Condemning a major fiber arts platform for reinforcing their community standards and reminding people hate will not be tolerated.
I know many people who somehow manage to create little boxes that hold all sorts of things nicely and neatly separate from other parts of their lives. Knitting is a hobby and nothing more. Social media is for trading photos of family BBQs and nothing more. Schools are a place where all we do is learn from books and nothing more.
I don’t know how that works.
I am a woman. As a woman I have been continuously paid less, born the brunt of the mental and emotional burden of relationships, subjected to terrifying misogyny and sexual assault on a daily basis. I am no more capable of separating these experiences of my life into neat little boxes than a person of color can remove the pigmentation from their skin.
By definition politics is “the activities, actions, and policies that are used to gain and hold power in a government or to influence a government” AND “a person’s opinions about the management of government” (emphasis added). Every single person feels the effects of politics in every fiber of their beings in every moment of their days.
The fiber arts are no different; they may very well be functional, but they are also art. Art by its very nature is a political expression – a visual and tactile story told in a manner everyone can understand immediately to influence, provoke reaction, create thought. Textiles have, since their inception, included politics; indeed they were frequently created for that express purpose. Here’s a small sampling.
In South America, quipu (“talking knots”) were a textile in the form of knotted strings woven into belts. The Inca used them to collect data and keep records, monitor tax obligations, to properly collect census records, record calendrical information, and for military organization. These textiles date most often from the 3rd century BCE to the 17th century – and are used in some areas today.
The Bayeux Tapestry is a textile we think of as historical record – created in the 11th century CE and documenting the events leading up to the Battle of Hastings and the Norman Conquest of England in 1066. Take a closer look at the images and manner of their depiction, and one realizes that the tapestry is also sensationalized and exaggerated: it’s a propaganda piece and it has been used as a propaganda piece for a millennium.
Colonists to the Americas deliberately handed out small pox infected textilesto Native peoples knowing the infection would spread to them and wipe out entire tribes. Prior to the American Revolution, colonists in the Americas resisted British taxes by making their own textiles and refusing to buy cloth from Britain and held spinning bees to challenge each other to spin the most yarn. In 1777 a Philadelphia tavern owner, Molly Rinker, would pretend to knit, instead inserting messages about British troop movements into her yarn balls and dropping them into George Washington’s camp.
African print textiles have a complex history, with those wonderful and colorful prints we know so well being manufactured by Dutch Colonial powers as a tool of subjugation. Now they have been transformed into an expression of vibrant culture and pride.
The red knitted caps of the French Revolution, known as Phrygian caps, were inspired by the caps freed slaves wore in ancient Rome and are widely considered a symbol of Republican government over that of monarchies and dictatorships in art, literature, and theater.
The history of cotton is itself an expression of global politics and racism – covering subjects as wide ranging as slavery, industrialization, far wages, unionization, global trade wars, the politics of the British colonization of India, pesticides, GMO crops, water use, and child labor.
In 1992 I had the express honor to experience the AIDS Quilt spread across the National Mall in Washington DC. At that time it consisted of panels from every state and 28 countries. I had the pleasure of visiting it again in 1996, the very last time the Quilt was able to be spread in one place, it grown by thousands of panels. Known as the largest community art project in the world, the Quilt was nominated for the Nobel Peace Prize in 1989. This expression of love and remembrance was created precisely to show the impact of the disease and how many people, from all walks of life and age, it affected. It inspired people and incited awareness. It was the first time I truly understood the power of fiber arts and it was the beginning of a new insight into the influences of textiles. To this day I am humbled and inspired by the Quilt.
Today in Tibet, the Pangong Cashmere Centeris promoting community development and empowering women through textiles. The Center was founded with the express mission of creating economic opportunity while retaining traditional cultural connections and values.
And that is the tiniest selection of millions of examples throughout history and across the globe. Textiles have always been included in sumptuary laws. When particular dyes, fabrics, or materials are restricted to specific classes – or ranks within a class – textiles are explicitly political. To suggest that politics has no place in the fiber arts is to express a profound ignorance of history, dismiss the experiences of billions of people, and elevate one’s own privilege to the detriment of one’s self and our entire community. To suggest that fiber arts are merely a “relaxing hobby” is to dismiss tens of thousands of years of rich and diverse history and technological development, artistic expression, and the voices of all the men and women to whom I am connected through my spindle, my loom, and my needles. To suggest that textiles are nothing more than utilitarian belies the depth and breadth of their presence in our lives and the means by which they express identity. Whether it is a hat, a quilt, or a knotted rope, textiles are an expression of the diversity of our world, of its struggles and triumphs.
At The Spinning Loft we promote breed study, we focus on having fleeces that represent the unique features of each sheep breed and promote their wonder, utility, beauty, and joy. We specialize in stocking as many heritage breed sheep as possible – both foreign and domestic. We stock as many colors of natural wools that we can find for each breed. We work with our shepherds and pay a fair price which contributes to a living wage for their farms regardless of scale. I would like to think we’ve made it clear that diversity in wool is our top priority, and through that diversity we believe in the success of our shepherds.
Spin All The Woolz is not just a jingle – it’s how we view the world.
I am always asked “which breeds do I like the most” – and I can rarely answer with fewer than 10. Truthfully, I love them all. Yes. Even Merino, which you have all heard me say I dislike. I do dislike it – but it is also a valuable fiber with much to give. When someone tells me they “hate Navajo Churro,” I can’t let that go. I ask what characteristics they dislike. I ask about what preparation they experienced. I asked how they worked with the wool. I ask them what purpose they had in mind when they spun it.
So often a hated fiber is one that either a person has never met before and hasn’t figured out yet, or one that a person tried to force into their preferred little box. Fiber, like people, does not take well to being forced to live a life that isn’t reflective of their unique characteristics. Sometimes what we hear or spin makes us uncomfortable; the problem is not the message or the messenger, but our own feelings. Diversity is critical to our survival and inherent bias is real and systemic.
I do not allow hate – I encourage and promote transformation and growth and sometimes that growth is challenging. Those perspectives are important, they have something to teach us. Monoculture, be it tomatoes, sheep, or people will eventually be wiped out because monoculture cannot adapt and grow. But diversity – diversity adapts, meets the challenges of environment, overcomes adversity; diversity thrives.
I think it’s remarkable that this month, diversity is so prevalent in my life. It is the subject of recent writing for my work. It is the subject of my blog this month. Diversity is unavoidable – trying to keep it in a little box is destined to fail. I encourage you to embrace it and ask yourself why it is we are so defensive when our community members express who they are and their experiences. We need to listen to grow and thrive.
I know that for some of my community, these words come late. To you I apologize; I can only hope that you know me well enough to know I have stood with you. I needed to find a way to express myself in a way that clearly stated my values and the values of The Spinning Loft. I wanted these words to indicate that we are listening to you, and we shall continue to do our own labor as a result of what we hear. We shall continue to act consistently with promoting the values of diversity and inclusion.
I know for others in my community, these words will drive you away. I am saddened by your insistence on sacrificing your fellow fiber artists, to turning away wonderful experiences, in favor of your own comfort and to the defense of your personal authoritarianism.
With so many fiber festivals happening in April, May and June, I thought it would be appropriate to go over some things you might come across while being tempted by warm wooly goodness.
By far the most common place at a fiber festival to buy a whole fleece is in a fleece sale. Festivals, particularly those geared to handspinners, have rules about what conditions fleeces entered into the sale must meet. At Maryland Sheep & Wool, for example, rule #5 states “Each fleece must be skirted to ensure it is clean, dry, as free as possible of contaminants (e.g., vegetative matter (VM), chaff, burrs, manure tags & second cuts, etc.).” A fleece sale is a safe and reasonable place to acquire a fleece.
Remember that some festivals require a fleece that is entered for judging to be eligible for purchase – even if the shepherd doesn’t want to sell it. So they are often priced exceptionally highly in hopes that buyers will keep walking. So if you find a gorgeous fleece, and it’s $80/pound, keep that in mind; even the most pristine of fleeces is rarely priced this high.
The breed barns and sheep barns are another option for acquiring fleeces at a festival. They are often a treasure trove of fleeces grown by shepherds who aren’t there for the fleeces, but for the sheep themselves. They often the fleeces from their sheep aren’t worth the effort, frequently the case with the so called “meat sheep”. I found my favorite Lincoln shepherd this way – she raises beautiful, handspinner friendly fleeces, but she rarely enters a fleece in a fleece sale. Because the breed barns are not the fleece sale, there is a wider range of possibilities for flaws and cleanliness issues in those fleeces.
So what is a handspinner to do? Go forth – and go armed with knowledge and an open mind.
The Cult of the (Im)Perfect Fleece
While everyone loves super clean fleeces with not a spec of straw to be found, and coated perfectly so the tips barely touch fabric for a full season, these fleeces are neither common nor cost effective for the majority of handspinners. Fleeces almost never meet this standard. And when they do – be prepared to pay a boatload for them. The shepherds earned that with the exceptional care they took for those fleeces.
I’ll tell you a secret though – most of the time, those “perfect” fleeces, are not my favorite treasures. In fact, my most favorite spins have come from fleeces that are anything but perfect. And frankly, spinning can be expensive enough in our world, I want to empower handspinners of all ranges of experience and all ranges of income to spin the fleeces they acquire into the textiles they love.
See, something like 90% of fleeces have more moderate levels of vegetable matter and dirt, they normally have dirty tips that need opening up or extra attention, and they are rarely coated. By ignoring the less than perfect, a handspinner may lose out on some amazing fleeces. Sure they may take a bit more effort, but the variety is so very much greater. Truthfully, I have rarely met a fleece that wasn’t fantastic after a couple scours and rinses. Those that need more, are fine after a cold soak. These are normal.
Truthfully, unless you plan on buying one perfect fleece and making it your life’s mission to create a textile from it, you’ll have a great experience working with a “normal” fleece. If you do have an opportunity and the resources to experience a Truly Perfect Fleece, by all means I encourage you to experience one. I have to confess that of the fleeces I consider “perfect” that I’ve experienced, neither was coated, but they were lovely experiences.
Multiple Coated Fleeces
Lots of handspinners tell me that they are hesitant to try multiple coated fleeces because they don’t know how to work with them or what to do. Naturally, I encourage it anyway with a few tips because at least one breed of multicoated fleece, Shetland, is one of “I can’t live without” breeds. And talk about versatility! Undercoats that are usually next to baby skin soft and insulating; outer coats that shed rain like Goretex(™); combinations that ignore all weather entirely; and textiles that conquered territory across the northern hemisphere.
Quite simply you have 2 options for working with a multi coated fleece: 1.) you can separate the outer coat from the inner coat (the longer coarser outer coat, from the downy short under coat), or 2.) you don’t separate them. Within these two options is a range of goodness and amazing experiences.
Not all “multicoated breeds” have multiple coats, although perhaps more accurately, they have outer coats that are similar in length and texture to their inner coats so they are single coated instead.
The Mystery of Skirting
There’s a significant range of thoughts I hear about skirting, but regardless of how severe a skirting is all the fleeces in a fleece show – or which you may be offered for purchase – have been skirted at least once. So let’s talk a little about the apprehensions you might have with regard to various levels of skirting.
It really comes down to dirt, debris and, ok, I‘m saying it: poop. Right? Not everyone likes to work in their gardens, not everyone copes well with diaper changes, or even scooping our floofy overlords’ sidewalk/litter box offerings. Facing something like that in our wool is just an icky surprise.
Shearers do the initial skirting when they shear a fleece and remove the worst areas. When a fleece is skirted, the edges are removed – the parts that are around the groin, lower legs, tail, and belly. In this photo I took of a shearer working on a favorite shepherd’s flock, you can see those edges that the shearer removes as he rolls the fleece for the shepherd for further inspection. Everything on the floor to the left – all that very dirty wool is skirting and it’s where most of the tags and poopy locks are found. That pile is swept aside and put in a trash pile with hoof trimmings and whatever other muck gets cleaned out of the barn into the compost pile that day. Everything in his left hand, where the white wool is, is a skirted, and rolled, fleece. Shepherds then have the option of taking another pass and further skirting a fleece. It’s not required, the shearers do a great job, as this one did, but we knew the fleece would benefit from another pass on the skirting table and handspinners prefer the extra attention to their fleeces.
The second pass removes more of the edges (skirt) of the fleece, any tags, shakes out second cuts should any have snuck in, and picks out some of the larger bits of VM.
You are left with a fleece that remains in the shape of a sheep, but which still has legs, and neck wool present. Some spinners prefer only the parts within the white line, which they would claim as “properly skirted”, but that is the prime blanket (if there’s a tender spot on the back ridge line, this should be removed in a second pass, however); the other sections are still wonderful parts of the fleece.
The key point to remember, is that any fleece you acquire at a festival has been skirted. To what extent a second – or even third – pass depends on the shepherd and sale expectations.
Truly Challenging Fleeces
Some fleeces are just generally challenging. They are frequently filthy, loaded with VM, have short staples; sometimes they have flaws. They are also rewarding. Some of these fleeces have been my favorite spins.
We recently featured Santa Cruz and it is probably one of the more challenging fleeces I’ve worked with myself. Because it’s so rewarding, I use it as my challenging fleece case study pretty frequently. Santa Cruz is challenging because it’s short stapled, filthy, loaded with VM, and defies physics.
So how do I deal with it? It’s fairly simple: I shake it out, do a cold soak, do my standard 2 scours and 2 rinses, let it dry, shake it out, and proceed to flick, card or comb. I treat it just like I would any other fleece. There is one caveat – despite how short these staples are, my experience with this fleece tells me I prefer to comb it with mini combs.
Dealing with dirty short stapled fleeces is not complicated, as I said, I follows the same process I would with any other fleece. The real issue is how, especially when I first encountered these fleeces, I got in my own way. It’s short – surely there’s a special process? Nope. It’s dirty – surely I have to do something special? Nope. There’s a lot of VM – surely I have to do a bunch of fancy things to address it? Nope. There’s a stain – surely it will eat my yarn forever and be useless? Nope. I learned, as you will, to trust the process and sample the fiber. It will tell you all sorts of things.
It’s all just wool. There’s nothing fancy or extreme to be done. People have been using less than perfect fleeces to make textiles for tens of thousands of years and for tens of thousands of years they did not have the myriad of specialized tools we think are a must. They used fingers, teasels, hair comb looking things, bead whorls on a stick, warp weighted or backstrap looms, cold water or water heated over a fire.
Once More into the Breach
Ultimately, as handspinners we have many choices when we go to a fiber festival or buy raw fleece online. We now have tools to make our lives easier and continue a long tradition of making textiles. We have access to traditions all over the world to inspire us. Go with a trusted source, educate yourself, and don’t be afraid of challenges. Hopefully, all this information helps you feel less apprehensive about the various fleece challenges you might find.
Last month we talked about sampling in general. My favorite reason to sample – and it includes gauge swatches – is for a large project. We spin to make fabric after all, and we should use our handspun for big projects! In this case, I wanted a chemise to wear under garb that would breathe well, have amazing color, be a bit lacy, and just be fun and unique.
Sampling for a garment means sampling a yarn AND sampling for gauge. The key is keeping a “fresh” singles of the final yarn wrapped around a card nearby while you spin, as well as a ply back sample of the same yarn matching the number of plies with which you intend to knit.
Taking careful notes and keeping a sample card from start to finish is the best way for me to make sure I use the right yarns throughout the process, so I tend to take a sample from wheel to blocked swatch before moving on to my next attempt.
I like to make sure I have 4-6 oz available just for sampling if I am familiar with how a certain breed and put up behaves; if I’m not, I’ll go with a solid pound so I can play with prep, singles weights, number of plies, finishing methods, and swatching on different needle gauges.
I had a pattern in mind already (The Hush Chemise (from the book Needles and Artifice), which you can purchase on Ravelry), but I had to get gauge and I did not want to buy yarn when I could spin my perfect yarn for my perfect chemise. I’ve been sampling breeds for a long time so I have a decent understanding of what breeds I wanted to consider and ultimately decided that a Southern Cross Fiber club offering in the Cavern colorway in a 50/25/25 Falkland/Mulberry Silk/Royal Alpaca blend that I had gone crazy over and ordered tons of extras of, was the best choice for drape, as well as the thinner lace to fingering weight needed for the chemise. It needed to be a fiber that I could spin finely enough to be a light 2-ply.
Then I just had to work out the best singles weight for the best ply back sample, that finished to the best finished yarn weight, and the best gauge swatch! Easy!
I know, you’re all laughing, “right, sounds easy; she’s crazy!” But I’m not really. See, all that breed sampling pays off. I already knew my default yarn was nearly perfect because I have spun and knit with it so much. I knew I had to aim just a bit thicker, but not by much, because of the Falklands and the alpaca getting fluffier in finishing. A few ply back samples and singles wrapped around cards later and I knew I had candidate. I plied up a few dozen yards, finished it, and knitted a gauge swatch on the called for needle size, one up and one down, then washed and blocked the swatches. And there it was! As I suspected. I tend to need to go down a needle size and that tendency held true.
I took that sample card, the whorl notes – which in this case was an RPM note because I spun the yarn on my Device of Questionable Origin, and the gauge swatch with needles noted, and set forth on spinning up my four pounds. I saved a half pound or so back in the event I run low and need to spin some more. Once spun, plied, and finished, I cast on my sweater and started knitting!
The fabric drapes just as I wanted it to, and my sampling paid off – my piece measurements are right on track. The color is perfect and it’s fabulous under my garb!
What to do with all those samples? Also – why do I sample?
There are many reasons to sample – the most important of them is so we get gauge. This is also important in lace knitting. We want to make sure that once that item we took so much care to make is finished, it does what we intended it to without surprises. It’s important to knit enough of a swatch – I like a 4”x4” size – to get several full repeats of any pattern both horizontally and vertically if you are knitting lace or cables. If you are not, you want to make sure you have enough fabric for your tension to have leveled out. If you don’t get gauge, go up, or down (or both!) a needle size and check again. Make sure you wash and block before you measure. Swatching and sampling will also help you determine if you got the right drape.
It matters for spinning too – is my yarn thin or thick enough? Do I prefer a two or 3 ply for that stitch pattern? Keep a control card with an in process singles wrapped around it, and a ply back sample, so you can spot check as you go.
But sometimes we have multiple samples for an item. Or, maybe we sample different colorways or breeds of sheep. What do I do with all those samples and leftover yarns?
And here’s another use for those samples: What if you develop a hole that you need to darn? AND YOU ARE OUT OF YARN? Or maybe you misjudged your order and need just enough to finish the row and bind off? We’ve all been there. IF you have your swatches you are stress free, unlike your friend who has to match a dye lot and order another ball. You just pop over to your swatches and unravel that perfectly matching yarn and continue on your way.!
My friends, so many reasons to swatch and so many options!!!!
I touched on sampling briefly in my Breed Study blog post back in April 2016. I’m still working on that stole by the way. I think it’s a lap blanket now. But I promised you a blog post about what to do with the samples and it’s time.
Summer is a great time to sample. It’s hot, we’re distracted by summer activities at the beach, ball field or vacation rides. Small items are more manageable. And remember, like it or not, fall is not far off and we need to start planning our fall and winter knitting projects. We even run into significant temperature fluctuations for air conditioning vs outdoors. Brrr, I can hear my coworkers’ teeth chattering away.
Here are a few ways to use your samples:
A breed sampler stole, lap blanket, or picnic blanket. Hey – wool is actually easily cleaned, bacteria resistant and insulating against dewy earth at summertime band concerts. What’s not to love? Here are a few patterns which are easy to add on various samples to get you in the mood:
This Sampler pattern from Leisure arts uses larger scale samples to create a lovely throw.
You didn’t think I’d forget those adorable little hexipuffs did you? The Beekeeper’s Quilt let’s you make all sorts of little puffs to assemble any way you want – stuff them for extra warmth – and using up some less than spinning desirable wool you may have acquired on a whim, or from a wonderful non-spinning friend who loves you, found it for free, and had no idea that you just aren’t ready for that right now.
The pattern I use for my sampler stole is Feather & Fan, which I picked up out of a stitch dictionary, but is also available online. Pick a number of repeats to get your preferred width, stick a simple garter stitch border on it to keep it from curling, and go!
Want something a bit more color oriented? Or maybe something more garment like? Oh yeah, we got that too.
Less is More by Spunky Eclectic’s Amy King is an awesome use for different weight yarns in different colorways. Choose your own adventure!
Rams and Yowes comes in hats, scarves, blankets, and even sweaters. And don’t be afraid of color in those sheep!
Anything Fair Isle! Watch your tension and keep those carries shorter, but Fair Isle is great. Tams, mitts, cowls. Small projects are great!
But wait, I weave – or want to. Oh my friends, we love you too! Aside from just throwing everything on the loom in a rave of color and yarn use (no really, go to town, it’s your cloth) you can do something more color coordinated like these:
Pin Loom weaving let’s you make woven ‘granny squares’ and assemble them anyway you want! Some inspiration can be found in Pin Loom Weaving and we do carry Zoom Looms.
Just put on a warp and go to town with whatever color coordinated yarns, as I did, or non coordinated ones you wish!
Don’t stop here – use these as launch points to do your own inspiring combinations! Sampling is awesome – and educational!
Not on Ravelry? Links to the Ravely patterns also available on public sites are listed below, in order of appearance in the article:
I make a point to overhaul my spinning wheel(s) once a year. To keep track and make sure I do it each year, I do all my overhauls around the time of Maryland Sheep & Wool. Of course, I clean up the moving parts throughout the year after I spin a pound or two of fiber and replace drive bands as they go, but this is a different thing – my annual overhaul involves disassembling the main parts, cleaning them, oiling all the wood, checking drive bands for fraying and replacing them, checking all my spokes, etc.
It’s important to maintain them so they last another hundred years or more and to keep them in spinning condition. No Spinning Wheel Shaped Objects here! And it’s not complicated. The first time I did it I was nervous – what if I messed something up? But of course, I made it harder in my head than it was in reality. It’s really a very simple process.
I keep several rags, my favorite wood oil, a trusted and gentle all purpose cleaner, cotton swabs, toothpicks, drive band and footmen connector materials (appropriate to the wheel), and wheel oil handy as I do this. For these photos, I overhauled my Watson Marie, which remains in fine trim and did not require the toothpicks.
My first step is to disassemble the wheel – take the flyer off, pull the maidens, mother of all, and the drive wheel, inspecting each part as I go. Then I flip the table, inspect the treadles, table, footmen, and legs, removing them if applicable. Most treadles are attached to the wheel – I don’t remove those, but I will disconnect footmen to inspect and replace the connectors.
I will clean and oil the table, legs, footmen, and connectors. This is an ideal time to replace the connectors and make sure that all the screws for the treadles are secure.
Next up I inspect, clean and oil the drive wheel and return it to its customary position, setting the drive band – which I replaced if needed – in place.
Now we process the mother of all. Clean and oil the mother and maidens, inspecting them carefully looking for any questionable wear on the leathers, felts, etc. While you are unlikely to find a need to replace these, now is the time to replace them if they are failing.
Next up – the flyer assembly. You got it: clean it, oil it and reassemble, inspecting the hooks and the flyer arms as you go.
Finally, reseat the drive band and make sure the wheel is properly aligned. This is normally an issue in antique wheels, but some modern wheels can be easily knocked. Stand behind the drive wheel and watch the drive band as you move the treadle with your hands, if it bobbles, adjust the position of the drive wheel (this may require some toothpicks on the uprights or legs for antique wheels).
That’s all there is to it! Go forth and spin all the woolz for another year!
I’m often asked why we don’t do more shows. My wooly ones, we want to! We plan to! We are applying to! But it often comes down to time. As you all know, both the shipping Wombat and I work full time (and then some…) jobs and then we come home to work on things in the store. We work around conferences and work travel.
That means we choose our shows very carefully. We choose them to maximize our contact with you all as best we can. And we are slowly but surely building the number of shows that we do.
Next up is the Maryland Alpaca and Fleece Festival on November 11-12 at the Howard County Fairgrounds, and we thought we’d give you a sneak peak into what it takes to prepare for a show
First, of course we select all the goodies we bring. I normally build a spreadsheet so we can check everything off as it goes into the truck, selecting just the right fleeces and variety of things to bring with us. I pick tools, books, and fibers; we decide on what special feature we will have for the show. Sometimes we assemble a special sampler – available only for that show; other times we feature a specific sale. We make sure any special goodies have arrived whether its wheel oil pens or sheepy measuring tapes. This normally takes place a month or two in advance, especially if we need to order anything.
Next we stage everything. Did we bring enough? (Answer: almost never.) What are we missing? Luckily for Maryland Alpaca we’re close enough that we can bring more on Day Two – or even Day 1 if set up proves that we may be short on something exciting. Did I forget the shetland? What did I do with the power cord? We even have a bin dedicated solely to admin with power cords, and zip ties, and energy bars! I always stage the weekend prior to make sure I have time to look at everything and make changes.
Then we pack the truck. My friends, I think I could pack a flock of sheep into my truck with all its nooks and crannies, and yet we are always over stuffed and in need of more packing space. Luckily, for Maryland Alpaca we can use two cars – but for PLY away and the farther shows we only get one and we must pack wisely. Vacuum bags and laundry bags are a space saver I appreciate dearly. We can get over 100 fleeces in the car in addition to tables and cubes, and books and tools that way! Packing happens the day before we leave for the show. It allows us to get an early start and not feel rushed.
Driving to the show for set up is always fun – I once spent 16 hours holding a bag of wool with my head so it didn’t slide into the driver’s lap! But once we arrive we set up. We’re pretty good at getting ourselves set up. Every vendor I know has their own special way of setting up – some pile everything in the middle, some put away their walls whole! As you know, we are known for our Wall of Fleece. And shows always feature our Traveling Wall of Fleece! It’s just like walking into the store – only smaller and tailored to the show we are at. Sometimes, we feature only American Heritage breeds when we are at a Colonial Farm. Other times we bring one (or more) of everything!
The Shipping Wombat assembles all the cubes and tables while I ready the fibers and stuff cubes. Then we attack everything so you all see what you love – do we have combs? Why yes! Cards? Yup! Spindles? Of course – care to try one? Scour? We do! Some sources say we hold the booth set up record, I don’t know about that but I know the fastest we’ve done it is 2 hours. We are a well oiled machine. Mostly we like to keep our set up/break down time efficient – we want to get to you all arriving for the show!
After that the fun begins: Several days of very early mornings, and late nights as we welcome our wooly friends to huff our fabulous fumes. (I swear, shetland smells like crayons!) Answering questions and inviting you to fondle fibers. Packing your baggies of goodness. Exploring combs and cards. Comparing the merits of different washes and scours. This is the best part. Seeing all of you!
When the show is over, we do it all in reverse. Depending on the show, break down can happen in as little as 45 minutes but it usually takes about 3 hours – re-stuffing fleece in vacuum bags is a wee bit tricker if we have no room for the vacuum. Then we head home, empty the truck. Pick up some BBQ. (It’s true – our post show guilty pleasure is BBQ! Meats, slaw, corn bread, beans, collards and a tall cold beer. Oh yeah…..) Catch up on the paperwork. And at some point, put everything back where it normally goes!
So there it is. A little snapshot of our show prep. I’m sure we missed many things. But don’t let us miss you at Maryland Alpaca!
This spring prior to PLY AWAY 2017 I got what I thought was a normal message from Abby Franquemont, who was in need of some fiber for her upcoming PLY Away class, a 3 day intensive on Andean Backstrap Weaving from raw fleece to woven object. She wanted normal, run of the mill fleeces of a medium type; not too long, not too soft, not too coarse, nothing really specific. Basically, she wanted “sheep’s wool” of the type any random farmer in any random place might have in their flock. I hmmmm’d a bit and came up with a few good options. But then the zinger: “Oh, and I want the flaw-iest, crappiest fleece you have.”
Teachers often ask me if I have flawed fleeces for class demonstrations, so I figured I knew where this was going. But it was oh so much better. Abby’s intention was to show her students that a flawed fleece could not simply be composted as waste – people have to be able to USE these fleeces no matter what. Handspinners do not all have the luxury of pristine gorgeous fleece with which to work.
So I gave her a southdown fleece I had. Actually, I gave her the choice between two I had. Meat sheep already have a terrible reputation – however unfair that is, and this one was utterly hated by the shepherd who sent them to me, so much so I had to talk him into sending it. He should be happy I did, because I need these fleeces sometimes too! They had every single flaw in the book, but one of them was way worse than the other: it was utterly filthy – I think the sheep liked to mud bathe; it had canary stain; it had yolk; it had cotted tips; it had staple breaks mid way down it’s desperately short 1.5” staple; it had VM enough to make a barn. On top of all this it was very greasy and had tarry tips! Honestly, it was one of those fleeces that make a person cringe in agony, sigh, and toss it in the compost heap (or around the hydrangeas). Abby squealed with glee at the sight of the really nasty one and snatched it up in a hot second. Bystanders were confused by her excitement over its utter horrificness.
The Chosen Fleece is ideal as a teaching moment. With all those flaws a teacher gets to go over all the reasons why someone would say “don’t buy that and tell the shepherd/seller why it’s garbage and why they are horrible people for putting it out there because you can never spin it because of all the reasons.” Here I am back, and my opening post will be loaded with controversy!
I’ve heard them all:
There’s a break so it cannot be spun; it can and to great result.
There’s staining so you can’t spin it; you can and it will be yellow – or you will overdye it.
There’s stain so it will dissolve in your hands; not necessarily, see 1 and 2.
It’s filthy so it’s not worth spinning; cold water and a few hours works wonders – even on mating dye – spin away!
It’s got cotted tips, you can’t spin that; they mostly card off in processing, see 1.
there’s so much VM; it shakes out most of the way once it’s clean and the rest spins out. Plus, I hope you clean your floors sometimes, this will clean up nicely when you do that.
Knowing that flaws do not doom a fleece to the compost heap of woolens, and eager to see how her students felt, naturally, I asked Abby if she’d mind letting me know how the students fared and their impressions. As with so many things, Abby outdid herself. She didn’t tell me, instead, she sent one of her students to my booth.
Cat Ellen was filled with excitement, spinning a spindle full of buttery singles. She said to me. “Abby said I had to come show you this. It’s yarn I made from that horrible fleece! And you know what? All we did was cold soak it!” She handed me this amazing ball of buttery yellow yarn – and showed me the weaving she was working on with it. “I didn’t realize Abby was doing natural dyeing in class too?” “She didn’t! It just blended that way!” So I decided to meet up with her after PLY Away and talk with her about her experience. Note: Cat’s photos are used in this blog with permission. You can and should read her blog story on the bigger project here.
Alison: If you had ever seen such a fleece – what did you think about fleeces like that before Abby’s class? I believe Abby shared that this fleece had absolutely every flaw in the book: canary stain, yolking, staple breaks, really short staples, cotted tips – you name it, it was in there. Have you ever worked with a fleece with any of these flaws, let alone all of them? If you had, what was your experience? (I hope there’s a picture of the fleece out of the bag in all it’s “glory” – if not, the “not as horrible” fleece above will have to suffice.)
Cat: I have never seen anything like this. I’d never really even wondered what you would do with a fleece that had every undesirable quality possible. Up until this class, I didn’t ever work with wool in the grease or enjoy processing wool. I preferred “spin ready” materials.
Alison: I understand that you had to sort the fleece, soak it in cold water (no scour!), and process it like any other fleece for spinning. What were your impressions when you worked with the fleece in class?
Cat: Since I thought the assignment was to cold-water process the wool before class the third day, I set the wool to soak in our hotel sink while we went to dinner. Afterwards, it probably took about 20+ minutes to finish running the rinse water until it ran clear. The first soak water was a deep brown at the beginning.
I set out a hotel hand-towel on the desk, held the hotel hair dryer in my teeth (holding the rubberized loop that hangs the dryer on a hook), and used the lowest setting help blow the dirt particles out of the wool while I opened the locks and pulled out the vegetable matter. The photos of the effort really show how dirty the wool was, even after the water ran clear.
Alison: Once it was carded and spun, and you wove with it, – a process markedly more demanding than knitting or crocheting on a yarn – could you tell it was from a such a flawed source?
First note: It wasn’t carded or combed. I spun it directly from the clean locks, with almost no pre-drafting. And so far I’ve only completed spinning the singles and dyeing the wool. I still need to ply the yarn (high-twist) to prepare to measure out a warp for an Andean Backstrap.
I don’t think that anyone would ever notice that this wool was not originally a great fleece. The yarns from the “problem fleece” compared to the white locks (in the grease) look remarkably similar when spun up. And I had a gut feeling this wool would take dye beautifully.
I started spinning the “problem fleece” first, just in case it took longer to work with. I had to watch carefully for the second cuts and breaks. I spun directly from the wool without combing or carding. I started to really get into a rhythm with the wool. After a while, I could see how you would never want to throw out any fleece, because all it might need is some extra loving care.
Alison: Was it any more/less work to process this fleece than a pristine one?
Cat: While it was weird at first to try to use a stained, dirty, plant-filled fleece, I began to really adore this wool. I kept imagining what the sheep might be like, what it might have suffered to have vitamin deficiencies and dirty hair. Once you discount the dust and dirt, the biggest difference between the “problem fleece” and the other two samples was that this one had very little lanolin. Since I have never been enamored of wool-in-the-grease, part of me liked this wool better for being less greasy. Yes, the white and brown/grey locks seems long and luxurious in comparison, and they slid neatly past each other in the grease. But this wool just didn’t want to give up.
At first it was a little hard to deal with the locks, I think because I didn’t comb or card it and just spun it from the lock. But, once I got used to them, it got easier to spin confidently. The finished yarn seems *very* solid and dependable and I trust it as a 2 ply high twist warp yarn.
Alison: Now that you’ve worked with a fleece that we spinners might consider “garbage” – what are your thoughts? Did it change your mind?
Cat: You would never know that the deep pink yarn was ever a “problem” fleece originally. And I’m truly looking forward to plying up the high-twist yarn used in Andean Backstrap Weaving. I can see know why the elders in the village were concerned that the children learn to spin early. Because once you’ve started making yarn for your weaving, it is really hard to stop spinning everywhere, all the time. And with the right love, any fleece could possibly be awesome.
Alison: Thanks, Cat! I’m glad you had fun with it – and discovered that “any fleece could be awesome”!
It’s so true: Any fleece could be awesome. Even the apparently sketchy ones have so very much to give in terms of pleasure and reward. Flaws are not an automatic death sentence for a fleece and they should not be considered so. They do need to be understood and loved. But never just dismiss them as unspinnable or trash and demand recompense, trashing the reputation of seller or shepherd in the process.