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Archive for the ‘workshop’ Category

Last weekend I spent two wonderful days with Deb Robson at her Wool Types workshop at Fibre East. Deb wrote the Fleece & Fiber Source Book together with Carol Eskarius, which is a compendium of many sheep breeds and other animals, and the fibre they grow. It explains for each of the fibres their characteristics, strengths and weaknesses, and is illustrated with pictures of the locks, spun yarn, and a knitted or woven sample. She has also contributed to Wovember more than once.

Deb Robson Wool Types Workshop

Deb Robson distributing wool amongst her students

Needless to say, Deb knows a thing or two about wool, and she shared her knowledge freely and liberally during her two-day workshop on wool types. Although I have had a chance to play with wool from a number of different breeds, it was very enlightening to be able to compare and contrast sixteen different wools, ranging from the softest and most luxurious Saxon Merino to a very springy Southdown X Beulah cross, to the coarse hairs from a double-coated Hebridean fleece.

Wool Types Workshop 16 Sheep Breeds

Sixteen breeds: Saxon Merino, Rouge, Lleyn, Lonk, Hampshire Down, Polwarth, Southdown X Beulah, Soft Fell, Corriedale, Romney, Hebridean, Badger Face, North Country Cheviot, Texel, and Ouessant

The students in the workshop ranged from absolute beginner (amazingly, Heather learnt to spin especially to attend this workshop!) to the very experienced. They came from all over the world (from the USA to Finland), and there was also a good mix of wheel and spindle users. I think we all learnt from each other as well as from Deb.

Wool Types workshop with Deb Robson

This one’s for Donna Druchunas, who wanted to see a picture of Deb in England

Apart from learning about wool, I also learnt about spinning, and about spinning wheels. Until Fibre East I haven’t had a chance to try out many different wheels, but as I couldn’t arrange for my own wheel to be there, I got to try a number of loan wheels. It made me appreciate my Timbertops wheel, although it would be nice to have a travel wheel one day. On the other hand, for this class I could’ve just used my spindles.

I now have some new techniques under my belt, too. One is Andean plying, which is a way of managing your singles yarn in order to ply it up. The other one is a quick and easy way to make a textured yarn. Deb called it ‘spinning from a cloud,’ (please note that the linked video is a slightly different method that what I learnt) for which you first pick open some locks until you have light mass of randomly arranged fibres in your lap. When you spin this, you feed in the fibre unevenly, giving you a very textured singles yarn.

So, what did I play with?

wool types class with Deb Robson samples 1

Lonk, Southdown X Beulah, Ouessant, Lleyn, Badger Face, and Romney

The picture above clearly shows how different breeds produce different wool. Although they are all “white” you can see that there are many variations in hue; some look creamy, whilst others are a much cooler shade of white. You can also the difference in lustre, or shine. Some breeds produce a very shiny, lustrous fibre, and others a very dull and chalky fibre. This can be emphasised with the spinning technique chosen. To emphasise lustre, you can prepare the wool by combing it, so that the fibres lie all parallel to each other, and then use a worsted spinning technique, to keep the fibres parallel in the yarn. Carding on the other hand will hide the lustre.

wool types class with Deb Robson samples 2

Ryeland, possibly Ouessant, Texel, Rouge, and Hampshire Down two ways

Deb is also fond of trying out spinning techniques that you wouldn’t immediately think of. For instance, the Ryeland at the top has a very short staple (fibre) length, and is traditionally carded, like my sample. This jumbles up the fibres and plays up a fibre’s crimp (waves in the individual fibres) and elasticity; this is enhanced by spinning it long-draw, where you keep the fibres jumbled up in the resulting yarn. This leads to very warm and lofty yarns. But not Deb, she decided to comb the Ryeland fibres on mini combs and spin it worsted style. The resulting yarn is also very nice, but not something people would immediately think of doing.

wool types class with Deb Robson samples 3

Soft Fell, Lincoln, Corriedate, North Country Cheviot, Hebridean – hair only, Hebridean – wool only, and Finnsheep

Sheep can produce three types of fibre: wool, kemp, and hair. In some sheep breeds the wool and hair are hard to distinguish. Wool is a fibre that naturally has a lot of little waves in it, which is called crimp. The crimp can be organised or unorganised (in other words, show as a regular pattern of waves, or jumbled up). Hair is just what you imagine it might be like: it behaves like human hair, so it’s stiffer and when spun up, it will feel more wiry and be more like twine than yarn. Kemp, on the other hand, are short and brittle fibres. It’s most usually white, but some breeds produce red or black kemp. Kemp doesn’t show dye well, or not at all. Traditional tweed fabrics and yarns use this as a feature as it will give a heathered effect when dyeing the fibres.

The keen observer may have noticed there are no sample skeins of the Polwarth and Saxon Merino fibre samples shown in the second picture. I tried to prepare a little bit of Polwarth, but as it was so hot and clammy that day, the combed top just collapsed into a clumpy mass in my hands before I even had a chance to draft it. I’ll wait for the cooler weather to return before trying thatand the Saxon Merino out again. Both fibres are very fine and quite slippery, and once mastered, will produce luxurious results.

The Sheer Sheep Experience with Michael Churchouse

The Sheer Sheep Experience, with Michael Churchouse, who has around forty different breeds in his flocks!

I met many inspiring people at Fibre East. The tutors were all top-class, and Fibre East have put a lot of effort in to get some tutors over from the USA, for which they deserve a huge thank you. Not only Deb Robson, but also Abby Franquemont (spindle spinning,) Sarah Anderson (fancy art yarns,) and Sara Lamb (spinning and weaving.) Michael Churchouse with his Sheer Sheep Experience was also there, and he puts on a very entertaining and informative show. And there were many others, too.

I already liked spinning, but Fibre East made me realise I like it a lot; and I feel inspired to spin all the wool to make myself a whole outfit – it will take me a long time, but I’m looking forward to the journey, and all the amazing people I will meet, and all the things I will learn along the way.

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Having just returned from a three-week holiday, I had plenty of time to look back to 2013, and look forward to 2014. Last year has been amazing, and I’m sure this will continue in the new year!

Looking back

Darning

Darning at Wool House, Somerset House

I was invited to darn at Wool House, Somerset House, as part of the very successful Campaign for Wool event. I had a great time, and Wool House put my darning sessions in the “best bits” list! It was super-busy, and I think I have enthused quite a few people about darning, and also explain why I like using 100% wool products.

Hope and Elvis Darning Workshop

2013 also saw the first of my day-long darning workshops. I went to Hope & Elvis, lovely Louise’s great studio. It’s stuffed to the gills with vintage fabrics, blankets, threads, scraps, books and any tool you would possibly need, so it was a lot of fun to explore various darning techniques. You’ll be pleased to hear I’m returning there in April.

ShetlandWoolWeek Darning at Jamieson & Smith

Last but not least, my darning skills took me to Shetland! Here’s a picture of my darning class at Jamieson & Smith. I had a great time, I met so many amazing people, with amazing skills. I left a few loose ends on purpose, so I have a good reason to return.

Knitting

Curiosity Cabinet of Knitting Stitches Lace

Early last year I exhibited at Prick Your Finger. My Curiosity Cabinet of Knitting Stitches explored many different knitting stitches and techniques, some old and rare, others common and much-used. It was a good way to learn about different techniques, and investigate them in detail.

Altered Kasha Cardigan for Wedding Outift

Rosemary had seen my Curiosity Cabinet, and thought I’d be the ideal person to take on a commission for her wedding outfit. I gladly took this on, and I knitted a Kasha Cardigan for her, with some alterations: a different collar, and three-quarter length sleeves. It was a great project to work on, and Rosemary has been wearing her cardigan many times since.

Aleatoric Fair Isle Swatch

Last year I also explored stranded colourwork, and in particular the Fair Isle tradition. Together with my comrade in wool, Felicity Ford, we devised a method to learn more about Fair Isle patterns, which took away some of the hurdles we often face when trying to knit Fair Isle. Using rules we made up and some dice, we left pattern and colour selection to chance, based on John Cage’s compositional concepts. We called this Aleatoric Fair Isle.

Spinning

Diamond Fibre Mill spinning

Other highlights include my visit to Diamond Fibre Mill, where I met Roger, who runs this small independent mill, specialising in worsted spinning, and who owns his own flock of Romney sheep.

timbertops chair spinning wheel

I also became the proud owner of an original Timbertops spinning wheel. A chair wheel no less. I haven’t had a chance to write about this yet, so keep your eyes peeled for a blog post in the near future.

Special mention

And if all that wasn’t quite enough, Kate Davies, Felicity and myself curated Wovember 2013 to celebrate wool in all its myriad forms. We posted features about growing, harvesting, processing, working, and wearing wool. I did many more things last year, so these were just some of my highlights.

Looking forward

Plans for 2014 are forming in my head, and amongst others, I’m looking forward to releasing my first cardigan pattern, using Foula wool. A bit later than expected, but it’s important to me to get everything right. I will continue working on the Aleatoric Fair Isle swatches. I’ve also taken on a very special visible mending commission to repair an upcycling attempt gone wrong. As previously mentioned, not only will I return to Hope & Elvis for a darning workshop, I will also run a Darning Master Class at Unravel at Farnham Maltings. More classes and workshops are in the pipe-line, so keep an eye out for them.

Scotch darn on sock

2014 will also be the year of exploring. I did some free-style knitting before Christmas, and I found it very liberating. I found some good books on the subject, and I have also been inspired by Rachael Matthews’s approach to making, and in particular what became her Explosion Jumper.

On the spinning front I want explore more lace-weight spinning, using wool from both classic breeds (Shetland), and unexpected breeds (Rough Fell.)

Last but not least I would like to explore more mending techniques, and in particular learn more about darning and repairing woven textiles. And I still have one or two jumpers to complete…

darned jumper

 

I don’t know about you, but I think I have plenty of things lined up, and it will be my pleasure to share them with you and write about them here.

Happy New Year!

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A couple of weeks ago I returned from Shetland Wool Week. I was invited to run two darning workshops, and to present the works-in-progress of the Aleatoric Fair Isle project I’m working on with Dr Felicity Ford. I have met so many amazing people, seen impossible feats of spinning and knitting, and enjoyed the landscape.

Hanging out with Felicity, who’s a sound artist, it may come as no surprise that apart from all the woolly wonders, I will now forever associate two songs with Shetland. The first one was recorded in 1960 for an oral history project for the School of Scottish Studies. The interviewer asks Rosabel Blance to talk about her own composition Da Spinning Sang (the spinning song.) He is clearly fishing for an answer with deeper meaning, but Blance is very matter-of-fact about it. But then she sings it and really, no explanation was ever necessary:

Taese da Shetlan oo till it’s clear an fine / Lyin laek a clood wi a silver shine

(tease the Shetland wool till it’s clear and fine / lying like a cloud with a silver shine)

But that’s enough poetry for now. Here are some pictures I took during Shetland Wool Week, in no particular order:

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The view from our log cabin – we stayed at Nortower Lodges, and we couldn’t have wished for a better cabin.

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The view from Fort Charlotte, in the centre of Lerwick. Luckily most days the weather was much nicer than these two pictures would have you believe.

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Felicity helping out participants of our Aleatoric Fair Isle workshop. Rolling the dice and following rules to create Fair Isle swatches proved controversial in some quarters, but I think we all had a good time in the end.

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A fine Shetland Ram at the Flock Book Ram Auction. In order to prevent an ever dimishing gene pool within their flocks, sheep farmers sell off their rams, and buy new ones frequently.

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A visit to Jamieson’s of Shetland‘s mill in Sandness. One of many banks of spinners; in many ways a very different affair from Diamond Fibres Mill, which I visited recently. Jamieson’s spin their fibres with the woollen method, resulting in a lofty, warm, yet light yarn, very suitable for Shetland wool. Diamond Fibres on the other hand, specialise in the worsted spinning method, which is much better suited for longwool (like their own flock of Romney sheep) and this makes for a smooth and lustrous yarn.

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The Textile Museum has a working loom, as found in the traditional crofts. Until my visit, I never knew that Shetland once was also famous for their tweed fabrics.

ShetlandWoolWeek_264

As part of the Flock Book Ram Auction, there was also judging of the best rams. Here are the Shetland hot shot rams, all together in a special judging area. The atmosphere was palpable and tense, as a price-winning ram means a lot to the owner.

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And here is your good self. Elizabeth Johnston, spinner and dyer extraordinaire, showed me how the Shetland lace spinners managed to get such exceedingly fine yarn. After three hours of blood, sweat, tears, and some rather flowery language, I managed to get some extremely fine yarn. Elizabeth told me that I had started to understand the technique, but that my thread wasn’t near fine enough… The aim is to make a single ply the thickness of six individual fibres. This will then be used to make a two-ply yarn. I will keep on practising!

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This delapidated croft was not far from our lodgings, so we passed it every day.

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I also ran two darning classes. A drop-in session took place at the Shetland Museum and Archives, who helped organise Shetland Wool Week, and who invited me to come over in the first place: so a massive thanks to them for making this visit possible. Secondly, I ran a darning master class at Jamieson & Smith, pictured above. More thanks due here, as they kindly provided Felicity and me the yarns for our workshops.

ShetlandWoolWeek_205

Susan Freeman found a new application for the Scotch darning technique. As you can clearly see in this picture, you can make pockets! I think I will have to add a fountain pen pocket to one of my cardigans.

ShetlandWoolWeek_3

And here is a beautiful gift from Diane Houdek, who came all the way from America for Shetland Wool Week especially. A small box with teeny tiny wooden reels of darning silk. What a magnificent addition to my collection of mending ephemera!

ShetlandWoolWeek_297

The fleece in this picture was chosen as the Champion fleece during a fleece-judging competition. The fleeces are judged on, amongst others, resilience, crimp, uniformity, and presentation. Readers of Jane Cooper’s excellent blog Mrs Woolsack’s Blog, may recognise this fleece. Incidentally, Jane also maintains the Woolsack website. Woolsack was started as a Cultural Olympiad Inspire project to make British wool cushions as personal welcome gifts from the people of Britain to the London 2012 Olympic and Paralympic athletes. The Woolsack website now lists and links to information and sources of British wool products from spinning fibre to dyed knitting yarn and woven fabric.

Oliver Henry, Jamieson & Smith

Here you can see me with the fleece judge himself: Oliver Henry, who is the Master Woolsorter at Jamieson & Smith.

The keen observer will be wondering where that second song comes in, that for me is so inextricably linked to Shetland? Well, as part of Felicity’s lecture Listening to Shetland Wool, she composed a song, which she performed at the end.

ShetlandWoolWeek_199

Here she is, performing it in the Jamieson & Smith shop. Sandra Manson and Adam Curtis are listening intently. As Felicity was fine-tuning the song during any spare moments we had at the lodge, I can sing it from start to finish. It has proved to be a great success, and indeed, it has found its way to the internet. One word suffices, as Oliver Henry said: BRILLIANT.

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Last Friday I made my way up to Retford, Nottinghamshire, to stay with Louise Presley, owner of Hope & Elvis. Louise and her husband Nigel were very welcoming and made me feel right at home, making sure I was fed and watered and had a good night’s sleep in preparation for the darning and mending workshop I ran at her beautiful studio on Saturday.

HE_display

Hope & Elvis studio, darning examples and reference books on display

By 10am everybody had turned up, and after an introduction to my Visible Mending Programme, I used some of my darned garments to discuss a variety of techniques. I explained why I had chosen them, and what the advantages and disadvantages of each technique was. Then, whilst having a cuppa and a biccie, each student showed what they had brought to repair and we discussed ideas together.

HE_group

Repair in progress at Hope & Elvis

Throughout the day I demonstrated stocking darning, Swiss darning, Scotch darning* and giving hints and tips on what materials to use, make people think about whether their darns would be practical or an embellishment. Needless to say, I also showed my Speedweve, and I was so pleased to see that Louise not only had one herself, but that she also had a Star darning machine!

HE_Cardi1

A darn in contrasting thread

Louise’s studio is crammed from floor to ceiling with vintage haberdashery, blankets, fabrics, needlework gadgets, threads, yarns, old and new books, and it was fantastic to have all of this to our disposal. Although we had a break for lunch, most people were keen to continue stitching, and I think that when you see the following pictures you’ll agree that everybody made something amazing on Saturday. With apologies in advance: I haven’t remembered everybody’s name – I must be getting on a bit…

HE_BlanketMarks

Marks made on a blanket

HE_BlanketSampler

Pattern darning sampler

HE_buttonholefilling

Buttonhole filling stitch by Mister Finch

HE_sock_sampler

Sock stitch sampler

HE_DamaskSock

Sturdy sock embellished with damask darning

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Delicate darning by Dawn

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Patched up ripped underarm seam by Sarah

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Meta-darning of a tear in a paisley scarf

It feels good to know that there are a few cardigans, tops and scarves back in the wardrobe, rather than lurking in the mending basket!

I hope my next darning class will be just as successful. It’s coming Friday, 10 May, and there are still a few places left if you’d like to sign up.

*) On Scotch darning: for months now I have been trying to find a copy of a particular edition of Weldon’s Encyclopaedia of Needlework, which explains the Scotch darning technique. I have discussed variations on it in this post, but Saturday was my lucky day. Louise had two copies of said edition, so she gifted one to me! Here is The Page:

HE_ScotchDarning

Scotch darning explained

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Late last autumn I bought a jumper from a charity shop. It was a nice enough woollen jumper. But after wearing it a few times, I wasn’t feeling the love anymore. As I was keen to explore a technique I tried out on a cardigan last year, I indulged in ten skeins of Appleton’s crewel wool:

HAJ_Appletons

Ten shades of Appleton’s crewel wool, and a boring jumper

It was time to say Bye Bye Boring Jumper, and Hello Amazing Jumper:

HAJ_front

Bye Bye Boring Jumper, Hello Amazing Jumper!

In a way this is a darning sampler gone slightly out of hand. The bottom half consists of blocks of crewel wool woven in and out of the stitches of the knit fabric:

HAJ_DamaskAll

Damask darning on knitted fabric

As you can see, there’s plenty of different patterns to make, and yet I think I’ll run out of jumper before running out of ideas! In some patterns I pick up a single “leg” of a knit stitch, in others I pick up a whole stitch, or even more. Some of these patterns are based on existing patterns from other sources. There are quite a number of herringbone variations, a Prince of Wales Sanquhar tweed pattern, and a simple houndstooth, too.

HAJ_DamaskCU

The pattern in the middle is based on the Prince of Wales Sanquhar pattern

Unsurprisingly, weaving in and out of the fabric mutes the colours of the crewel wool when seen from a distance. And these colours do deserve to be seen in all their glory:

HAJ_AppletonsCU

Appleton Bros. Ltd. London, 100% Wool, made in England Crewel Wool

So I have just started adding a row of what I have called “Finnish” darning in the past, by want of a better word. This really shows off the colours:

HAJ_SingleCordedBrusslesStitch

As an aside, when I was browsing through a stumpwork book, it turns out that in this needle lace tradition it is called Corded Single Brussels Stitch, but, as a few people have pointed out, it also appears to be a variation of nålbinding. Whichever name you use for this stitch, I just love the way it looks.

It might take a little while yet to finish the Hello Amazing Jumper, but I will be taking it to my one-day darning workshop to share these techniques at Hope & Elvis on Saturday, 4 May (please note, this is now fully booked.) I will also run the same workshop in Glasgow, on Saturday, 18 May at The Stitchery Studio – for which there are still a few places available.

Last but not least, I’ll be running my usual darning class at Super+Super HQ on Friday evening, 10 May.

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Wool House, a showcase of the use of wool in many different guises at Somerset House, has now come to an end. Wool House was organised by the Campaign for Wool and I got to play a part in it, too. What’s more, my drop-in darning sessions were a great success and the Campaign for Wool added them to their highlights of the exhibition!

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Drop-in darning at Wool House. Photograph © Campaign for Wool and used with their kind permission

As you can see, it was really rather busy – and it was like that all weekend long. In the background you can see two felted wallhangings by Claudy Jongstra. I’d love to see some of her large site-specific installations. Some people knew I was going to be at Wool House, so they brought along holey jumpers and socks, but I also provided swatches to practise on.

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Concentration at Wool House. Photograph © Howard Sullivan, Your Studio and used with his kind permission

I also ran a darning master class. As this was more in-depth, I had to restrict this to six people only, but many people watched over our shoulders. For many, darning seems to be connected to memories of grandmothers or mothers regularly taking up darning mushroom and needle. These stories got shared with other visitors and me – somehow this simple act of repairing, either by doing or by observing, is very emotive.

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Master class in darning. Photograph © Sue Craig and used with her kind permission

We learnt how to do Swiss darning, or duplicate stitching: a good way to reinforce threadbare fabric which hasn’t developed into a hole yet.

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Swiss darning in action. Photograph © Sue Craig and used with her kind permission

And of course, we also wielded darning mushroom and needle. The darning mushroom in particular opened up conversations about mending, as many people have their nan’s or mum’s one, or remember somebody in their family using one frequently. Whilst darning, people start to reflect on repairing garments, what certain items of clothing mean to them, their motivation for repair, and how they get completely absorbed in the act and find it meditative and relaxing. I think this is probably in great contrast to the times when people had the necessity to darn and repair their clothes and it was viewed as a chore.

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Stocking darning, the finer points. Photograph © Sue Craig and used with her kind permission

Of course, I was very happy that darning was so popular, although it did mean I didn’t get a chance to look around as much as I would’ve liked to, or chat to other people showing their skills. Luckily some of my friends took pictures that they have let me use with their kind permission. As the beautifully curated rooms have been discussed at length in other places, I have picked here a very small selection of all the things I would’ve wanted to have learnt more about:

Savile Row tailoring: as I have tried to do some more sewing lately, I’m utterly in awe of all the work that goes into making a suit or a couture gown.

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Pattern blocks. Photograph © Howard Sullivan, Your Studio and used with his kind permission

I may have mentioned before that I have taken up spinning as well. One of the things I want to do soon, is use my handspun yarn for weaving. After all, darning is weaving on a really teeny-tiny scale! I’ll start with a simple home-made frame loom; it’ll be a while yet before I will be able to make something as beautiful as Jason Collingwood can, using a huge loom.

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Jason Collingwood weaving. Photograph © Howard Sullivan, Your Studio and used with his kind permission.

As somebody who really likes hand-stitching buttonholes – yes, really! – I could not finish this post with a perfect example of the art.

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A buttonhole, perfectly stitched by hand. Photograph © Howard Sullivan, Your Studio and used with his kind permission.

With many thanks to Campaign for Wool,  Howard Sullivan of Your Studio and Sue Craig, who runs Knitting the Map, for letting me use their pictures.

One final post-script: you can still sign up for my sock-knitting three-week course; taking place 14, 21 and 28 April. More details here.

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“I wish I knew how to knit socks,” “I’d love to be able to knit my own socks,” “wow, did you really knit those socks yourself?” “do you teach sock knitting?” are comments and questions I frequently hear whenever I run one of my darning classes or workshops.

KnitSocks

I’m happy to announce that in April, I will start my first sock-knitting short course!

This sock knitting course is aimed at the intermediate knitter, who already knows how to cast on, knit, purl, increase, decrease, and cast off. You may have knitted a sweater, but haven’t tried knitting in the round yet. I will teach you how to knit basic, well-fitting socks on double-pointed needles from the cuff down.

During the first session (Sunday, 14 April, 11am-1pm), you will learn how to knit in the round on double-pointed needles (also known as DPNs); a suitable cast-on technique for socks; and taking the right measurements. Then, when you get home, you can be confident to cast on the right number of stitches to knit the cuff and the leg.

During the second session (Sunday, 21 April, 11am-1pm), you will learn how to turn the heel. Although I’ve knitted many socks, I still find turning the heel a small miracle. I will also show you how to decrease for the toe. Again, I’d expect you to do some home work, and knit all the way to the toe.

During the third session (Sunday, 28 April, 11am-1pm), you will learn how to graft the toe closed. This technique is sometimes known as Kitchener stitch. We’ll discuss some common sock knitting pitfalls and you’ll leave with the confidence and knowledge to knit sock number two, three, four, and more!

Sock wool and a set of double-pointed needles are included in the price, as is a handy cheat sheet to refer back to techniques and to help record all the necessary numbers to continue your sock knitting adventures. All this for a mere £65! the classes are held at Super+Super HQ, Brighton.

You can sign up by following this link.

Sanquhar Socks

Socks with a Sanquhar-inspired design.

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