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Archive for the ‘yarn’ Category

One of the reasons I bought a spinning wheel, was to learn more about British rare sheep breeds and their wool and eventually to be able to spin yarns that will emphasise a particular breed’s wool qualities. Always on the look-out for learning opportunities, I jumped at the chance to sign up for Deborah Robson’s Wooltypes workshop at Fibre East this year. Together with Carol Ekarius, Deb Robson wrote the Fleece and Fiber Sourcebook; a terrific compendium on a huge amount of different rare sheep breeds, their wool, and how to work with them.

So far, I have only really used a worsted spinning technique. This is suitable for wool that has a longer staple (fibre length), but I expect that at the workshop we will also be working with shorter staple fibres. And for these fibres woollen spinning techniques are more suitable. For worsted spinning you prepare the fibres by combing them in order to get them all lying parallel; worsted spinning techniques aim to keep the fibres aligned – this results in a shiny, drapey yarn. For woollen spinning, however, you prepare the fibres by carding, and using a woollen spinning technique, the fibres end up all higgledy-piggledy in the resulting yarn. This makes the yarn lofty and very warm as it traps more air.

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A pair of handcarders, finished yarns, rolags, and unprocessed fleece

So, what better fibre to use for practising making a woollen yarn, than the Shetland fleeces I brought back from Shetland Wool Week last year? As I only have one grey fleece (this particular shade of grey fleece is called Shaela in the Shetland dialect) and half a black fleece I think I have just about enough for a jumper. So how to combine the two colours in one garment? Perhaps the most obvious choise would be some stranded colourwork, however, this will take up more yarn than something knitted with a single yarn in each row. I didn’t fancy stripes either, but then inspiration struck, and I came up with a cunning blending plan. I’ll be making a few skeins each in pure shaela and in pure black, but for the remainder I’ll blend the shaela with the black on the handcarders; you can see the resulting rolags (the fibre tubes) in the picture above, and I’ll spin these up into some more skeins. But that’s not all! To blur the transition from shaela to black even more, I will ply a blended single (the single strand that makes up a, in this case, 2-ply knitting yarn) with a shaela single, and also a blended single with a black single to make some marled yarns. In the picture above you can see a skein of pure shaela on the left, and on the right a marled yarn made from a shaela single and a blended single.

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James Norbury. Will I end up looking like this when I get older?

James Norbury Knitting Books

A few of my Norbury books: Traditional Knitting Patterns, Odham’s Encyclopaedia of Knitting, and Knit with Norbury

So what does James Norbury have to do with all this? Norbury (1904-1972) was, according to Richard Rutt, the “strongest single influence on British knitting during the 25 years after the Second World War.” I have a few of his knitting books, and reading through the patterns, it’s always the superb shaping that strikes me and that is exactly what I’m after. Handspun woollen spun yarn is a bit lumpy-bumpy by nature, but seeing that this is my first attempt at making enough yarn for a big project, and because I don’t have a lot of experience in spinning woollen, my yarn will be even more lumpy-bumpy and probably look very homespun, in every meaning of the word. So to make up for that I want to make a jumper using meticulous shaping and really push myself with that challenge. I’ll be employing the very best knitting techniques I know, knit all the pieces flat, and use good shaping. An example of this is the sleeve caps that Norbury uses in his patterns. There are three progressive rates of decreases, so that the sleeve caps are very rounded, just like they would be for a sewing pattern. I did once knit a jumper like this, which I don’t often wear for other reasons, but the shoulder on it fits me like no other.

James Norbury Polo Neck jumper

A polo-neck jumper designed by James Norbury; look at the shoulder shaping!

I will be documenting progress here on my blog, but as I do like to switch between projects, I think it will take some time before this jumper will actually be on my shoulder, but that’s okay. I like making things that take forever, and now that I’ve added spinning in the mix, you can make that forever and a day.

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Today sees the launch of my Tom of da Peathill pattern, a fitted men’s Fair Isle cardigan inspired by the seven natural shades of Foula wool it was designed for.

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Tom of da Peathill cardigan – alas, there are no peathills in Brighton to serve as a backdrop

When Magnus Holbourn approached me last year to ask what I thought of his Foula wool, I didn’t expect to end up working with him on a pattern. The minute the samples of yarn arrived, I was excited by the natural colours of the wool, and its very own character. Foula is the most isolated inhabited island in Britain, so it will come as no surprise that the strain of Shetland sheep on Foula is very old and has plenty of character.

balls of Foula wool in 7 natural shades

Seven shades of wonderful Foula wool: clockwise from top mioget, grey, black, moorit, light grey, fawn, and white in the centre

I tried out various patterns before settling on the combination shown in the cardigan. Having played around with many colours as part of my Aleatoric Fair Isle experiment last year, it was an interesting exercise to use only seven colours. This did make me more confident in putting the colours together in pleasing ways, and in fact, one of the Aleatoric Fair Isle swatches guided me in the choice of some of the patterns in the cardigan.

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Aleatoric Fair Isle Swatch No. 03

Tom of da Peathill Cardigan Back

The back of the cardigan. Can you spot the patterns from the Aleatoric Fair Isle swatch?

The cardigan is knitted in the round, with steek stitches for the front opening and the armholes. As the yarn is a sturdy DK weight, I didn’t want to use a method that would leave very bulky seams after cutting the steeks open. Therefore I employed the knotted steek method: before you cut, you need to drop down the steek stitches, so you get a massive ladder. The strands are then cut and knotted in pairs. To finish these after knitting front edges and sleeves, the strands are darned in. Once you’re in the rhythm, it goes quite quickly; you can find a knotted steek tutorial here.

knotted steek on Tom of da Peathill cardigan

The ends of the knotted steek have been darned in, dramatically reducing bulk, thus giving a very flat finish to the edges

And if you’re wondering about the name of the cardigan: I originally wanted to call it the Foula Cardigan, but Magnus was reminded of the peathills on Foula, and the way that the cut peat is stacked up to dry when he saw the cardigan. And who could resist a name that is so reminiscent of the very place where the wool comes from?

You can download the pattern from my Ravelry store here. And Magnus has put together a yarn kit for the cardigan here.

Last but not least, I also would like to take this opportunity to thank a few people who helped me along the way with my first garment knitting pattern: my comrades in wool, Felix and Kate, who have both been very encouraging. Anna Maltz for her cheery chats. And of course Magnus of Foula Wool, who started it all of. But most of all my partner Anthony, who is always supportive of my crafty pursuits, even if I occasionally struggle to keep my wool stash under control.

 

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Wovember 2013 is here!

Dear readers, Wovember 2013 has arrived! Another round of Woolly Wonders to be shared with the world. Like last year, I will be working hard, together with Kate Davies and Felicity Ford, to celebrate wool in all its myriad aspects. This means I will be a bit quiet on my own blog. You can join in with the fun over at WOVEMBER!

That said, I’m planning to track my WAL progress here. What is WAL? A WAL is a Wool-Along, where we invite Wovember blog readers to join in on a woolly project of your own choice, for the month of Wovember. More details on the Wovember blog.

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I’m going to work on a new pair of woollen trousers, using a herringbone tweed I bought at the Jamieson’s of Shetland mill in Sandness, my first ever machine-knit cardigan, also in Shetland wool, and last but not least, I’m already working on a Fair Isle cardigan in Foula Wool. Come join us in a woolly project. What will you be working on?

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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.

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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.

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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.

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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!

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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.

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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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Wool Week UK 2013 is in full swing, and so far I have been enjoying the effort and enthusiasm put in by most participants. As a member of Team Wovember, I wholeheartedly support their cause and it’s great that the Campaign for Wool are trying in general to get more wool into the existent and problematic fast-fashion industry. The point of the Campaign for Wool and Wool Week UK is to educate consumers about wool and its unique properties. As they explain on their website, wool is natural, renewable, biodegradable, breathable, resilient, elastic, easy-case, odour resistant, a natural insulator, and more.

Therefore I was surprised to find out that Topshop created a 80/20 wool/polyamide blend jumper to celebrate Wool Week. Having a garment promoting wool week that is actually a wool-blend dillutes this educative opportunity to teach the consumers about wool and its benefits. Worse, it actually feeds common stereotypes about wool being ‘scratchy’ and ‘unwashable,’ whereas there are 100% woollen fabrics available which are both soft and machine-washable. I started asking questions on Twitter why this was. Soon the Campaign for Wool got in touch, explaining that

“At CfW we don’t ask that the garments are 100% wool. We stipulate a 80% min which Topshop have stuck to.

This still makes the garment wool-rich but allows the retailer to hit certain price points which make it an attractive item for their customers or add embellishments and details not always possible in 100% wool.

The aim of CFW is to get as many consumers aware of wool and its benefits but we find it important to take a balanced approach that makes it easy for our valued retail supporters to join and celebrate wool week.”

As some of you may know, I was invited to participate in another Campaign for Wool Event earlier this year. Wool House at Somerset House was a resounding success, and I’m sure that the message that wool is amazing has come across to the general public. Part of this was surely due to the high standard set by the Campaign for Wool: when I accepted my invitation to run darning workshops during this event, I was asked by one of the Campaign for Wool coordinators to remember that

” [a]lso, this is all about real wool – so all activity has to be with real wool.  Sorry to point out the obvious but you would be amazed how often it does not register!!”

Why did the Campaign for Wool not insist on setting the same high standard for their valued retail supporters? I would like to have seen that Wool Week in particular should be a more risk-taking, daring, ambitious and inspiring cultural event, which raises the bar on what is possible and seeks to educate on the value and provenance of real woollen textiles? The 20% polyamide sweater is a half-hearted attempt at educating consumers on the value of wool; it’s a conservative and unimaginative manoeuvre which allows more wool to be utilised by the fashion industry while simultaneously perpetuating all of the myths which compromise the very position of wool within that industry.

A number of High Street retailers such as Cos and Sea Salt do offer 100% woollen outfits at a similar price point. And, indeed, Topshop also managed to do so, for example with this machine-washable 100% wool jumper currently on offer. I hope that for next year the Campaign for Wool can challenge any participating retailers and their design teams to excel themselves and to help stop misconceptions such as “an attractive item for their customers or add[ing] embellishments and details [are] not always possible in 100% wool.” Topshop have already shown that it is.

Meanwhile, if you want to celebrate Wool Week UK in true style, then why not buy one of the 100% woollen jumpers that Topshop (and other participants) have on offer?

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People often ask me: Tom, how do you manage to do so many projects? The answer is very simple: I love stitching on the train. My daily thirty-minute commute means I have at least one hour a day of crafting time, and I’ll have something to work on during lunch hour, too.

However, there is a limit to what is manageable on the train. My Foula Cardigan is making good progress, which is great news, but it does mean it is now becoming somewhat unwieldy.

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Foula Cardigan in progress

So I have been looking for a smaller project to take on the train. When I met Sandra Manson and Martin Curtis during Wool House back in March, they asked me to work on some cushion covers, using Jamieson & Smith’s Heritage yarn. The Heritage yarn is a bit different from their regular jumper weight yarns: first of all, the colours are based on jumpers from the Shetland Museum and Archives collection. This means they are all flat colours, as opposed to the current trend of heathered shades. Secondly, the Heritage yarns are worsted spun. Therefore the yarn is smooth, and stronger than the woollen spun jumper weight yarns: perfect to indulge in a spot of embroidery.

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Shetland wool cushion, embroidered with Jamieson & Smith Heritage yarns

An easy project to take on the train, and it’s something I can do free-style. No need for patterns or charts to refer back to once in a while. No need to count stitches. I couldn’t help but use a stitch which I have been using a lot in darning lately: Scotch darning, although there are some other names going round for this stitch, too.

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Meta-embroidery: the lot numbers of the ball bands found their way into the design

At work I have a scrap paper doodle pad, as I find that doodling helps me think through things, and often I end up incorporating words I hear, or numbers I see on my computer screen, and this habit is hard to supress. Indeed, I ended up stitching the lot numbers of the ball bands.

Erica Wilson’s Embroidery Book is endlessly inspiring, and I was intrigued by the square fillings used in crewel work:

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Patches of square filling stitches

Once you understand the principle, it is very easy to create your own variations. As the cushion cover fabric is very forgiving due to its thick, felted surface, it’s easy to try something and, if you don’t like it, to undo it again. No holes or other marks remain! I have made every patch free-handed. No measuring out or marking the fabric beforehand. This feels very natural, as my doodles are also often made up of grid-like structures that I fill in one way or another, and I relish the slight wonkiness this creates. To me it makes the rigid grids more alive.

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Couching, back stitches, French knots, weaving, and satin stitches

As you can see, the needles have not been put back in their needle case. I don’t think this cushion cover is quite finished yet. So keep an eye out on the train, you might see me stitching away, adding a last flourish to this cushion.

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Last week I wrote about my visit to Diamond Fibres. As we hadn’t finished our job, we went back last Friday. On our first visit Roger had given me a lot of information, so I took this chance to clarify a couple of things. Unfortunately I didn’t take any new pictures, so I’ll keep it brief.

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two gilling machines on the far left, the top of the combing machine at the right. Click on the image to see a larger version

After the wool gets carded, the carded fibres land from the back of the carder into a belt, with a funnel at the end and a number of rollers. These compress the continuous carded batt into untwisted sliver, which ends up in a big coil in a “can;” a large open-topped casket, so that you can move the delicate sliver to the gilling machine.

You can see two gilling machines at the far left in the picture above, one of which shows its feeding belt. The can goes underneath this belt and the sliver is fed into the gilling machine. The gilling machine will add some twist, but more importantly, it has rows of combs hanging down. These will align the fibres so that they lie parallel to each other. This first machine has the tines of the combs quite far apart (seven to the inch.) The sliver comes out at the other end and ends up in another can. This get’s moved to the second gilling machine, shown at the far left of the picture. This one has finer combs, with the tines spaced closer together (ten to twelve to the inch.) To align of the fibres even further. Again, the sliver is caught in a can. Once sixteen cans have been filled up, they go the combing machine.

The combing machine will only comb out noils (small clumps of short fibre), in order to end up with a very smooth yarn. It also adds a bit more twist to, what is now called, combed top and it gets wound onto the biggest bobbins. These then go onto the big machine in the middle of the picture above, and from there on, the process continues as described in last week’s post.

Any readers who enjoy preparing their own fibres for spinning will have noticed that the process of aligning the fibres and combing out the noils is reversed when you process fibres by hand. When preparing your own fleece at home for worsted spinning, you usually skip the carding altogether. The locks go straight onto the hand-combs, and you comb the fibres first to remove the noils. Once this is completed, you pull off the fibres with a diz (a small flat object with a small hole in it) to produce your combed top. Some people add some twist to this, by carefully winding it onto a make-shift distaff – this could just be a large knitting needle. Others leave the combed top as is.

Another thing I learnt is that Roger’s spinning machine is a flyer spinner (as I noted in the previous post, just like a spinning wheel at home), as this is more suited for longwools, the type of wool Diamond Fibres specialises in. As the pencil roving is drafted out to be twisted into yarn it is guided around the flyer a couple of times before it winds onto the bobbin. This will make for a smoother worsted yarn as it will help “tuck in” any loose fibres.

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The yarn is twisted around the flyer before it goes onto the bobbin.

When spinning woollen yarns, where the fibres are more jumbled up, the spinning machine has a ring, rather than a flyer. You can see the woollen spinning preparation beautifully explained in the following Wovember blog post with the ring spinner here.

If you’re curious about hand combing at home, then I can highly recommend the following set of videos found here (link to the first of four videos.)

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Due to my Dutch heritage I’m an avid coffee drinker, but living with an Irish man has shown me the joy of tea. Recently we switched from tea bags to loose tea leaves and we moved on from brewing in a cup to brewing in a new, shiny Brown Betty:

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The latest addition to our ever-expanding collection of crockery

But it looks like there’s something missing in this knitter’s household. One, where are the biscuits? And two, what about a Tea Cosy?

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Tea pot with the obligatory tea cosy and biscuit tins

The stitch pattern is a classic honeycomb stitch, which, despite appearances, is a very easy slip stitch pattern. In other words, you only knit one colour at a time. However, I did use a genius technique to avoid the jog in the stripes on crown of the cozy. TECHknitter explains all on her blog – I used her so-called travelling jogless stripes variation. Can you see where I changed colour?

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Invisible change of colour on the crown of the cozy.

When I had finished the cosy, it looked a bit bare. In my mind a tea cosy needs a whimsical flourish on top. Enter i-cord. I made a long cord using all available colours, and added it to the crown of the cosy.

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I-cord crown in all its glory

I knitted this tea cosy using left-overs from a number of Fair Isle swatches, using Foula wool. Magnus and Justyna from Foula Wool have asked me to write a knitting pattern for a men’s cardigan, so I’ve been swatching like crazy. Those of you who follow me on Twitter and Instragram will have seen some swatches already.

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Foula Swatch Number 1

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Foula Swatch Number 2

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Foula Swatch Number 3

Knitting the swatches and the tea cozy has allowed me to get to know the yarn. It has a great handle and is full of character. And of course, I love the seven natural colours it comes in. As it’s a DK weight, it knits up quickly. As somebody asked me this on twitter: the swatches are knitted in the round, with additional steek stitches. These are knitted with both colours together. I only casted off the fabric, not the steek stitches, as these were all dropped down all the way. Then I cut all the loose strands and knotted them in pairs using a reef knot. For swatch two I made a calculation error, so I ended up with only three steek stitches, so I used a crochet reinforcement instead.

I have now selected the stitch patterns I want to use. If you want to know how the cardigan will turn out, you will have to be patient, as I will reveal the cardigan and knitting pattern during Wovember 2013. But don’t be surprised if I post some teaser pictures in the meantime.

The Tea Cosy is Ravelled here.

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Aleatoric Fair Isle is A KNITSONIK/tomofholland art project to be realised by Felicity Ford and Tom van Deijnen between Spring 2013 and Shetland Wool Week using gorgeous Jamieson and Smith yarn in a huge variety of shades!

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Followers of thedomesticsoundscape and tomofholland will know that we like mixing our knitting with sounds, literature, wool-appreciation and archival or collecting practices! We first met at a launch in Prick Your Finger where I was exhibiting “The Reading Gloves”, a collection of hand-knitted gloves portraying literary figures like Lady Chatterley and Dorian Gray. In our second meeting, (also at Prick Your Finger) Felicity was making “KNITSONIK 01″ – a podcast about the sonic world of knitters. Considering our mutual interest in the auditory, the literary, all things woollen, and making our own archives and libraries, it should come as little surprise that we have invented a new project for Shetland Wool Week that combines all these elements!

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This project is “Aleatoric Fair Isle” and anyone who follows us on instagram will already have seen some tasty glimpses of the outcomes.

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But wait a second: what is this “Aleatoric” when it’s at home? In musical terms, aleatoric music is “music in which some element of the composition is left to chance”.

There are several examples of knitters appropriating aleatoric processes in order that some knitted compositions leave an element to chance – an aleatoric pattern generator; a child’s sweater in which the cables are all determined by die rolls; and I bet some of you have found similar projects!

However what we have become specifically interested in for “Aleatoric Fair Isle” is finding ways of using dice to liberate us in our explorations of Fair Isle knitting and remove some of our anxiety over colour choices, pattern placement etc. which we have found can impede the pleasure of experimenting. Although this may not be true in Shetland, in the prim South of England where we are based, many knitters – including us – seem mildly afraid of designing stranded colourwork! Informal chats with knitbuddies reveal fears of choosing colours that don’t work well together, of making something ugly or un-wearable, and ultimately, of wasting time or yarn on making things that are unpleasing. In our own experiments, we have found we veer towards using the same safe and familiar palettes and patterns, rather than venturing forth with boldness! This seems a shame when the Jamieson & Smith shade card offers such an infinite variety of daring possibilities to the adventurous knitter, and when examples from the Shetland Textile Museum convey such a wealth of incredible possibilities.

To combat our fear of failure, to challenge our own ingrained tendencies, and to find a way of approaching the inspiring world of Fair Isle knitting, we have devised a system for remixing Fair Isle patterns based on both observing some principles of colour theory, and leaving many of our decisions to the roll of a dice.

Our experiment is loosely based on one aleatoric musical composition by John Cage – “Apartment House 1776″ – Apartment House 1776 was composed to coincide with the bicentennial celebrations of American Independence, and is meant to evoke the sense of sticking your head out of the window of an apartment in 1776, and hearing drifts of music from the instruments and composers of that time appearing in snatches and snippets on the wind. Charlton Lee comments in a review,” one can still recognize that the music comes from the language of the 18th century, but often the harmonic function is destroyed, morphing the result into a bright and fresh new gesture. When a cadence has been lost, two separate phrases seem to blend into one longer thread”.

As in Cage’s composition, we like the idea that you could stick your hand into our eventual pile of samples and have a similar sense to Cage’s audiences; that of finding something recognisably “Fair Isle” but also reworked into something new, and fresh. We are using Mary McGregor’s amazing book “Fair Isle Knitting Patterns: Reproducing the Known Work of Robert Williamson” as our source text. This book details the knitting patterns noted by Robert Williamson, 1885 – 1954, spotted in Shetland, which we are reworking in 21 shades of Jamieson & Smith yarn.

Our creative experiment, “Aleatoric Fair Isle”, will result in the creation of a great number of Fair Isle swatches derived from dice rolls to determine patterns used, and yarn-shades chosen at random.

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In homage to Cage (who was a great appreciator of everyday sounds) the sounds we hear whilst knitting each of the swatches will be carefully documented. Our respective discoveries and process will be shared on our different blogs (Felicity’s blog can be found here), twitter (@knitsonik, @tomofholland), facebook, and instagram (@felixbadanimal, @tomofholland), and where all relevant photos will be hash-tagged #AleatoricFairIsle, but the full experiment and its workings will only be completely unleashed in its full glory at Shetland Wool Week! So far we have knit a couple of swatches and it has been extremely fun to put our ideas into practice. We have ended up using colours which we would never have thought to combine, in patterns which we may not otherwise have chosen, which is exactly the point of our experiment!

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All the images used in this post first appeared in the instagram feeds of @tomofholland or @felixbadanimal!

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It slowly dawned upon me that I shall be knitting heaps of stranded colourwork this year.

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Sanquhar vs Fair Isle mash-up swatch in Foula wool

Let me start off by saying that I’m very excited that I have been invited by Shetland Wool Week this year to work on a project together with my friend and purveyor of finest quotidian sound artefacts, Dr Felicity Ford. We will be joined by talented knitwear designed Di Gilpin., who was awarded The Balvenie Master of Craft award for the Textiles Category for 2012. I, for one, cannot wait to go to the Isles that have such rich knitting traditions and see them firsthand.

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Shetland Wool Week, image © Dave Wheeler and used with kind permission

Secondly, those of you who are familiar with Susan Crawford’s work probably know she is working on a Vintage Shetland book. I’m pleased to say she has asked me again to knit a sample garment for her. It will be a very special Fair Isle jumper, and that’s all I’m allowed to say for now.

Lastly, my obsession with Sanquhar gloves knows no bounds, and I will be doing some research on them over the summer. A good excuse to 1) knit some more Sanquhar gloves; and 2) plan a visit to the Knitting Reference Library.

In preparation for all these stranded colourwork projects, I thought I’d investigate something that’s intrigued me for a while now. It’s colour dominance in stranded colourwork.

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The top and bottom bands shows the Midge and Fly pattern from Sanquhar. The middle bands show typical Fair Isle patterns: a classic OXO border pattern and a peerie pattern to separate the two.

Although Sanquhar knitting typically only uses two colours, and Fair Isle usually a greater number of colours, for both you will only ever knit with two colours in one given row of knitting. This can be achieved in a number of ways. In all cases, you will strand the colour not in use along the back of the fabric, hence the name “stranded colourwork.”

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The back of my swatch, showing the strands of the yarn not in use

For a long time, I used to knit with one colour in each hand: the one in my left hand to be knitted continental style, and the one in my right hand to be knitted English style. But I was never quite happy with my tension as the stitches made continental style were much looser than the one made English style. This was exacerbated by the nature of stranded colourwork: one yarn will always appear more dominant than the other. If you peer over the needles whilst you’re doing stranded colourwork, you will see that one yarn will always come from underneath the other. Usually, this is the dominant yarn.

In order to even out my tension problems between left and right hand, I first tried holding both yarns in my right hand. That didn’t work for me at all and not soon after I started knitting with both yarns in my left hand. My tension between dominant and non-dominant yarn is much more even now. I was curious to find out how big the difference is, in order to make an informed decision for my next stranded colourwork project. I decided to use both Sanquhar and Fair Isle patterns, as the effect might be different. The bottom half was knitted such that for each row, the light colour was on the right of my index finger, and the dark colour on the left. The peerie pattern (the small band separating the two bands of OXO patterns,) is where I switched over and the top half was knitted with the light colour always on the left and the dark on the right.

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Bottom half: lighter yarn always on the right on my index finger, and darker yarn always on the left

Looking at the Sanquhar Midge and Fly pattern in the bottom half,the white stitches appear to be larger than the black ones, and the flies appear almost more like vertical stripes rather than small crosses, especially in close-up. As you can see from the picture of the back of the swatch, the floats of white yarn almost hide the black yarn floats.

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Top half: lighter yarn always on the left of my index finger, darker yarn always on the right

Now for the top half: again, looking at the Midge and Fly pattern, I think that the black and white stitches are much more even in size, yet somehow the flies seem to be a bit less pronounced in the top half. In addition, I find the results of switching dominant yarns less obvious in the OXO border patterns.

Before knitting this swatch, I was convinced I would be able to clearly show which way looks better, and make up my mind about which side (left or right,) I ought to use as the dominant yarn. However, now I’m not so sure. For each of the Sanqhuhar and the Fair Isle, which one do you think looks better, top or bottom half of the swatch?

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