Pages

Showing posts with label newblog. Show all posts
Showing posts with label newblog. Show all posts

Wednesday, 2 March 2011

Sock Experiments: Blue variegated #1

I really want to learn how to knit socks. Not just from a pattern. I want to be able to knit socks from the top of my head – like my Grandmother used to do it. This is where Pricsilla Gibson-Robson’s wonderful book “Simply Socks Plain and Fancy” comes in handy. We reviewed it here on Historic Crafts (reviewed lovingly by Dee last year) and since then I have been wanting to have a go myself. I have chosen to use her toe-to-top crew sock recipe. Even though it is not an actual pattern it is still on Ravelry and quite a few people have tried it out already.
drawing-footThe first step towards a pair of socks using this book is to measure the foot that the socks are going to fit. I did that and found that my foot has a max circumference of 23cm (C) and a length of 19cm (L) (see diagram).
Length wise I am a woman’s large and width wise I am a woman’s XL. Yes, I have my mother’s, wide feet. For this tester I am going to try the woman’s size large. Then when I get more confident I might do a little mix and match.
sampleThe next step is to knit a little tester (12 stitches wide) of my chosen yarn to get a gauge.
The yarn I chose is a variated blue 3 ply sock yarn. My gauge is 7 stitches to the inch and with this I can consult Priscilla’s chart on pages 23-24 and find that:

  • Cast on stitches = 60 = C

  • Ankle rows = 12

  • Heel/toe stitches = 30

  • Stitches between yarn-overs = 12

So, now the next step is to cast on using the provisional cast-on technique. I did a purl row into the invisible cast-on – otherwise I know I can’t control it.
I then did short rows using the yarn-over technique until I had 12 stitches left in the middle. I must admit that I didn’t find myself able to understand Priscilla’s instructions for yarn-over short rows so I asked my resident knit-guru, Cecile, for advice. She pointed me to NoNa knits who had experimented with different short row techniques. With NoNa’s help I finally figured it out!
I like to do my short rows 1 sock at a time, but when it gets to the knitting in the round bit I use magic-loop to knit 2 socks at the same time. For me, there is nothing worse than finishing a sock and then being only half way. So I did the other toe and put them both on my circular needles and knit and knit till I got to the heels. Once at the heel I used the same yarn over short row technique as for the toes to knit the heels one at a time.

And that's it for this time. I am planning something special for the ankle/leg of the socks.

Useful knitting references:

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Monday, 7 February 2011

Making a Watch Strap

A couple of weeks ago my watch strap snapped on me and I decided to try to make a new one for my Ingersoll watch. I've seen a few classic styles of strap around and about but the style I really like comes from the straps used in and around WWI. It was around this time that people started to wear watches on their wrists but with only the richer people being able to afford it, they weren't exactly common.

I started off by taking measurements around my wrist and using my old watch strap as a guide. I designed my new strap; taking inspiration from WWI styles, and drafted a template on paper. My Ingersoll has a glass back where you can see the mechanisms moving, and I wanted to make sure that they were still visible, hence the circular hole. After checking that it would fit I started to cut out the leather pieces using the templates, and I was soon left with several specific cuts of leather. I wanted my strap to be durable so I decided to double up my leather. This would mean a lot of stitching, but I thought it would be worth it in the long run.

After a time consuming process (it took me all week to stitch the pieces together in the evenings) I was ready to start wearing it. I checked that it all still fit, but I found that the leather I had used was very thin and incredibly floppy. After a bit of research I found that you can harden leather and get it to take a shape by using hot water. So I decided to give water hardening a go.

After reading about it I knew that it would shrink my leather, but at the same time it would give the strap more rigidity and shape. I hoped that even with the shrinking my strap would still fit but I was pretty sure it wouldn't be exactly as I originally wanted. Water hardening is quite straight forward in theory, you soak your leather in cold water for 10 mins, and then put it into water that has been heated to around 80℃. I left a test piece of leather in there for roughly 2 mins and it came out pretty perfect, so I did the same with my strap pieces. They shrank a little bit more than I wanted which could have been due to the temp or the timing. I'm not sure.

After wrapping my leather pieces around a bottle to take a rough shape of my wrist I left it all to dry and hoped that I hadn't just ruined a weeks worth of patience. As I'm writing this the leather is almost dry. Yes it has shrunk a little more than I'd ideally like, and the stitching isn't perfect, but for a first attempt at making a strap, and using leather - I'm quite happy with the result. If nothing else, I can wear my watch again.


Resources

The images in this post are copyright of John Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit John and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Friday, 4 February 2011

Valentines craftyness

I think that Valentines is as good an excuse for being crafty as any. I'm already getting on with the heart production for the 'A World in Love' project.

The end of January also marks our first blog-anniversary here on Historic Crafts. Yes it is really only a year ago. I still can't really believe it. Since we were just getting started last year around this time our Valentines posts didn't really get read to the same extent as they probably would now. So this is me making you all aware of them. Whether you want to get raunchy with the Romans or learn about the Victorian 'Vinegar Valentines' card.

Eddie

Monday, 31 January 2011

Looking for Nailbinding – the Roman way

I am so happy to introduce this guest post written by Evelyn Arnott who is a volunteer and occasional member of the Education Team at the Roman Palace, Fishbourne, West Sussex where she demonstrates Spinning & Weaving to Children and visitors of all ages. I met Evelyn when she came to the Hampshire Guild of Weavers, Spinners and Dyers to talk about Roman nalbinding and I managed to convince her to write up her story for Historic Crafts. I hope you will enjoy it as much as I have.

Guest post by Evelyn Arnott

Who mentioned, did the Romans knit ? I ask -well actually I did.
One day as I was drop spindling and walking around, the thought occurred to me that surely people as clever as the Romans would make the most use of any yarn produced, and wondered if they did knitting along with spinning & weaving. Bearing this thought in mind, I asked the then Director David Rudkin “Did the Romans knit ?” to which he replied – “I don’t know, research it !!” I thought oh help! I hadn’t carried out any research since my student days but undaunted I started at the beginning.


Front of Vindolanda Tablet 346 (© Centre for the Study of Ancient Documents and The British Museum)

I found out that ancient Egyptian socks had been excavated from tombs and their construction was of Nailbinding linen. An excavated child's sock from the Roman period had been made by Nailbinding. My research continued and I ploughed my way through numerous books, I read translations of Plinny – not a lot regarding knitting to be found there.
Then I read about the letters to the Roman Soldiers at Hadrians Wall mentioning 'pairs of socks from Sattua' (Vindolanda Tablet 346).
I also studied the method of making Sprang (from Peter Collingwoods Book: [amazon ASIN="0823052206"]The Techniques of Sprang[/amazon]) but as this word was Scandinavian in origin, I dismissed it as it was from a later period in time. During the following two years, I read numerous books mainly regarding the bog burials in Scandinavia and looked at various photographs of nailbinding hats. Archaeology tells us that textiles do not survive well in chalk soil and the pieces which have been excavated were found in peat/bog/marshy soil.
During my research I also contacted Museums in Italy and the Victoria & Albert Museum in London. It was their textile department which finally confirmed my research that at 45AD in Romano-British life Nailbinding would have been the form of knitting used.


I could have stopped there but my curiosity as to how Roman Nailbinding would have been crafted still nagged at me. I asked my Swedish friend Christina if she could show me how she worked Nailbinding, which she did and I was able to ascertain that the stitch that the Romans would have used would have been the basic stitch and that is what I now demonstrate.

Through the ages Nailbinding has had many names including “Needle Looping, Needle Binding and Knotless Netting/Knitting”. I too have added a few names of my own (which I will keep to myself!) as I struggled to learn the the intricacies of the stitches. There are as far as I can tell over 80 known Nailbinding stitches to learn.

The images in this post are listed with their copyright holder. If you wish to use the images please request permission from them.

Wednesday, 26 January 2011

Why bobbin lace fascinates me?

Bobbin lace is a craft that can be said to have gone out of fashion. This seems to have happened at the same time as the industrial revolution in the Edwardian period; a subject that has been covered recently both in the TV series, Edwardian Farm (BBC2) and the TV drama “Larkrise to Candleford” (BBC1). In the latter, Queenie goes off to Banbury Fair to sell her year's work of lace, but returns home very downhearted because the fashion has turned towards machine woven lace instead.

Making lace, as I learned while reviewing the Edwardian farm book, was already a time-consuming and not very well paid job to begin with. Queenie on the other hand reminisces on the social aspect of lace making where all the village's women and girls would be working side by side every day to produce lace to sell.


Ruth Goodman explains how hard a job it was. Lace was usually sold through a dealer and the woman who produced the lace received a pittance in comparison to the price that a shop would receive when selling the lace to the customer.

Nevertheless, it was a source of income and could be quite an important one to a poor family in the countryside. To see this source of income taken away and to be replaced by machines must have been devastating. It must have been equally as hard to see a craft so widespread nearly disappear altogether.

Other crafts seem to have had a revival over the last 20 years; knitting and sewing probably being some of the most popular and well known. But not lace, yet!

Is it more difficult to do? I don’t think so. Do you need more equipment and space? No more so than sewing. So why did the craft of making bobbin lace never really come into fashion again when others like knitting and sewing did?

I think that to answer this question we must look at the relationship between craftsperson and consumer. With knitting and sewing the craftsperson and the consumer can be the same person. After the industrial revolution there would still be people who knitted socks and sewed dresses for themselves mostly because they couldn’t afford the machine-made items. Knitting and sewing produce necessities that, if you can’t afford to buy, you then have to learn to make yourself. Whereas lace was always very much a luxury product. The craftsperson and the consumer of lace would not usually be the same person. So when handmade lace went out of fashion and there was less chance of selling it, there might not have been much point in producing it. A piece of lace is a luxury item and to spend your working hours producing it for your own pleasure is a luxury that few could afford.

Having said all this let's not think lace is all doomed. Let's rejoice instead that there were people for whom handmade lace was still valuable and who could afford to buy it. Ruth mentions that the Royal family especially, made a point of buying Honiton lace.

There are still quite a few lace makers around today. Some of them prefer traditional styles and some push the boundaries and produce very modern and exciting pieces. Since more and more of us today are able to spend time crafting for our own pleasure I want to encourage everyone to consider lace again. It may look complicated but it really isn’t, I promise!



What do you feel about lace? Does it look complicated? Are you unsure about what you would use it for?

Furthermore, I am looking for lace-makers to portray. If you know anyone or if you have pictures of a relative who made lace – please do get in touch. I’m very interested.

I have myself dabbled a bit with bobbin lace and found it very satisfying. Please feel free to comment on some of my work on Grey Duckling. It might not be to your taste but it was fun to make.

So to answer the question I posed in the title; Why Bobbin Lace fascinates me? I think it is a combination of being able to create such beautiful delicate items and the fact that it isn't that popular a craft anymore. It makes me want to shout from the rooftops 'come and try!'

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Help for the echo flower shawl

In the beginning of January we started the Echo Flower shawl knit-along (KAL) on Ravelry. It's been really fun but along the way we noticed that some notice shawl knitters (Eddie included) were having trouble understanding the construction of a triangular shawl.

Shawl construction
We have tried making a drawing of the construction of the Echo Flower shawl to help you visualise how the shawl is worked.

Historic Crafts Echo Flower construction
Echo flower shawl construction (copyright Historic Crafts)


  • You basically begin the shawl in the middle of the long side (upper border) of the triangle (pink on the drawing) by making a garter stitch rectangle. For more on starting a triangular shawl have a look at Damp City Knits post on the Garter Tab Cast on. This leaves you with 11 stitches (3 on each side and 5 on the long edge).

  • This rectangular garter stitch tab is also the beginning of the garter stitch top border (green on the drawing) which you work by knitting the 3 stitches at the start and end of each row. These are not on any of the charts but remember to work them for the whole shawl.

  • The remaining 5 stitches from the long edge of the rectangle are used for the setup chart (blue). The setup chart is only worked once and includes the center stitch. Putting in a stitch marker before it help you keep track of it.

  • The flower chart (purple) makes the body of the shawl. This chart needs to be worked once on each side of the center stitch. So you work border stitches - flower chart - center stitch - flower chart - border stitches. You repeat the flower chart 8 times for the shoulderette and 13 times for the shawl.

  • The border charts (1-3) (yellow) are worked in the order they are numbered. The center stitch is erased and becomes part of chart 2.

  • Finally the edge chart (teal) is worked once continually across the whole body of the shawl.

2 into 9 stitch
There has also been a bit of confusion about how to work the 2 into 9 and 3 into 9 stitches. We have made a little video showing how to do this. The important thing here is to keep the stitches loose.



The image and video in this post are copyright of Historic Crafts. You are hereby granted permission to use them for non-commercial purposes as long as you credit Historic Crafts and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Tuesday, 18 January 2011

Spinning Fibres: Silk hankies, two drafting possibilities

I am thrilled to introduce another one of Cecile from The ways of the whorl's guest posts on her adventures in spinning. This time she is going to tell us about her own experience in spinning silk. You can also join Cecile for our Echo Flower Shawl knit along on Ravelry or help her and I share the love this Valentines by joining in the 'A World in Love' project on Flickr. - Eddie

My very first fiber order contained a batch of silk hankies, also called mawatas, together with the merino I was planning to learn on. Having read in Knitty that silk hankies are amongst the easiest of fibers to spin on a drop spindle I decided I should include some in my first batch of fibers. The rationale behind it was simple, if spinning proved too difficult, or if I managed to spin the merino but not the silk hankies, I could just knit with them unspun, as I’d seen the Yarn Harlot do it.

Silk hankies are made by stretching cooked silk cocoons onto a square form. Wormspit.com shows a detailed explanation, with photos clearly illustrating each step, of how the mawatas are made.


Stack of dyed silk hankies (courtesy of Cecile)

I bought mine ready-made from Wingham Wool, they are sold in stacks, as each of them is incredibly thin. I then dyed them with acid dyes and because I hadn’t pre-soaked them for long (I was way too impatient), the colour is slightly deeper on one side of the stack than on the other. I’m planning to use this little error as a design feature at some point.

[Sorry about the greyish tones of most of those pictures, the sun hasn't made an appearance in days around these parts. For a more accurate colour of the silk, have a look at the skein at the bottom of the page, the photo was taken on a sunnier day.]

I first set out to spin my mawatas using the drafting method described in Knitty. Separate one mawata from your stack by grabing a corner and gently pulling, putting your second hand flat underneath to keep the stack stable. Poke a hole in the middle of your mawata with your fingers, and start stretching the hanky by pulling on it with both hands to enlarge the hole. You can rotate the position of your hands along the hanky to obtain a more even thickness.


Predrafted Mawata (courtesy of Cecile)

Once you’re happy with the thickness, just break the loop to obtain a length of ‘roving’. Unlike silk tops, the fibres in the pre-drafted hankies do not slide against, but instead grab each other, which is also why you can even knit with the unspun fibre prepped that way.

For a beginner spinner, it truly is a very easy fiber since it can be predrafted to the thickness you have decided on, and you then only need to focus on spinning the spindle without needing to think about drafting the fibers as you are spinning. It helps deconstructing the movements involved in spinning in more manageable steps. And because the fibers in the mawatas are so ‘grabby’ there are no issues of the predrafted roving falling apart when handling it, or if the twist is introduced too slowly. This makes for a very forgiving predrafted roving.

However, one thing I didn’t like so much about that method was that once the mawata had been stretched, drafting it further whilst spinning (if I suddenly realised that the thickness was uneven for instance) became significantly more difficult, and required much more physical strength in pulling on the roving to make it thinner. It might just be that I am quite lazy at heart, but I like my spinning to be fairly effortless. I therefore looked for alternative drafting method for the hankies.


courtesy of Cecile

In one of my knitting groups, a friend suggested I just tried to draft from the centre, rather than breaking the hanky. Gently but firmly pulling on the fibers at the centre of the hanky, I hold the rest of it lightly folded in my hand, as shown on the picture on the right, drafting from the mawata as I spin. It is now my preferred method of drafting silk hankies, because I am not a great fan of pre-drafting fibres. The edge of the mawata is always slightly harder in texture, so when reaching this part, I usually draft a bit further to keep the same consistency.

And just because I love the finished product, this was just a sample skein: 5.4 grams of mawatas gave me 120 meters of a thin 2-ply… I’ve been pondering what to knit with it…


5.4g skein, approx. 120m of 2-plied mawatas (courtesy of Cecile)

A few mistakes I made with silk hankies, which you could easily avoid:

  • Make your hands as smooth as possible before handling the hankies (exfoliation and moisture are your friends), the hankies will catch on the smallest amount of rough skin.

  • Do not spin very thin silk singles on a Turkish spindle, you might not be able to remove your cop from the arms once done. Because the arms of a Turkish slide into each other, the centre part, which the shaft traverses, is generally thicker than the tip of the arms. When the time comes to remove the arms, the centre needs to slide through openings smaller than itself. With wool, the give in the fabric compensate for the difference in diameter. Silk, I learned the hard way, doesn’t always have enough give for the centre to work its way through.


Tangled singles... (courtesy of Cecile)

  • Beware of plying using an Andean bracelet. Because the fibre is so ‘grabby’, silk singles can get tangled more easily. Making an Andean bracelet is not impossible, but a tangle with silk singles will be much more difficult to sort out… Here is a bracelet of singles I have more or less given up on… well, officially it has simply been waiting to be untangled for the past six months… no sign of the untangling fairy yet…

How about you? Have you tried silk hankies yet? Any tips to share?

The images in this post are copyright of Cecile from Ways of the Whorl. If you wish to use the images please request permission from Cecile.

Friday, 14 January 2011

A world in love

In exactly a months time we have the 14th February also known as Valentines day. A great time to show the people in your life how much you love and appreciate them. But how about sharing that love a bit further? How about sharing that love with the whole world? And how about using the creativeness that we all carry inside us to do just that? That is what this project; 'A world in love' is all about.

The main part of 'A world in love' is this flickr group.


I wanted to share with you all my first heart in Winchester on a Sunday morning after the farmers market. The same place I bought the yarn a year ago. 

The concept is simple:
1. Handcraft a heart (ideas below)
2. Take a picture of this heart in front of a place that means a lot to you
3. Let us know where the place is
4. Tell us about your handcrafted heart and why you took the photo where you did (optional)

If you share an image with this group you are also allowing us to make a collage with your photo in it. We will also use the spot where you took the photo for a Google map.

On the flickr group I have started a couple of discussions with ideas for crafting hearts. We already have ideas for knitted hearts and ideas for crochet hearts. But if you have any other ideas feel free to start a relevant discussion (e.g. paper heart ideas or felted heart ideas or basketwoven heart ideas).

If you upload the image to flickr yourself you can also geo-tag it yourself (remember to change the geo-privacy to public). If you are not a member of flickr (it's free and easy to get an account) and you don't wish to be either you are welcome to send the photo to me with the town and country where it was taken (you don't have to be detailed if you don't want to) and I can upload it for you.

I have also made a group on Ravelry and an group on Facebook. You can also post your image on any of these groups and I will move them to the flickr group. Again remember to mention the place where the photo was taken.

If you want to share this idea with your friends and followers I have made these two badges which you are free to use to link back to the flickr group: http://www.flickr.com/groups/1600626@N21/

I really hope you want to be a part of this and to encourage you friend to take part too.

Take care,
Eddie



The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Wednesday, 5 January 2011

Russian spindles

The Russian spindle is a supported spindle, so can be used for short stapled fibers where a drop spindle would be much more difficult to use. Like all supported spindles it’s ideal for very thin singles because the yarn doesn’t have to resist the weight of the spindle.

The Russian spindle doesn’t have a whorl per say, the spindle is shaped of one piece, the bottom of the shaft being the heaviest part, pointed so as to spin more efficiently. To minimise friction when spinning, Russian spindles are often used in a bowl or a saucer, although apparently, traditionally, bowls were only used in the Orenburg region. The upper part of the shaft, on which the yarn is stored, tapers to a very pointy top, off which the yarn is made, and which gently rests on the fingers or the palm whilst spinning. Gently resting on a curved open hand being the key to not stabbing yourself with the spindle.


Annia, with a cop of honey coloured tussah silk, copyright Cecile

I bought my Russian spindle out of sheer lust. Ian from IST Crafts had come to my Spinners, Weavers and Dyers Guild to give a talk about his spindles. After the talk, I saw the beautiful Purpleheart wood, the flowing lines, and I had to have it. It was purple! The fact that I had no idea how to work it was a bit of hurdle, though. But this being a guild meeting I was given a bit of fluff and told to go play with it for a bit. After a while I got the hang of spinning the spindle to build up twist, wait for it to stop and draft using long draw, give it one last flick to put in a bit more twist before winding on. I bought the spindle and was spinning before I even got home. The cafe where I went after the meeting had saucers which worked great to set the spindle on.

Before the end of the weekend I had a nice enough cop, and the long draw wasn’t so much of a problem anymore. I really enjoyed the whole process but I have to say the spinning was going much more slowly than on my drop spindles. The one major advantage was that I could spin sitting comfortably on the sofa with the little bowl on my lap or by my hip. I guess what I was doing was the supported spindle equivalent to park and draft.

Then, thanks to Ravelry, I stumbled upon this video.

It blew my mind. No-one had shown or told me you could draft while the spindle was still spinning. In retrospect it seemed so obvious, but when I was trying it out it never crossed my mind. With this technique, I started to spin as fast as I do on my top whorl drop spindles. I’m still practicing, but I’m definitely getting faster and faster. Not as graceful as the video but there’s hope… and there’s something to be said about being able to spin whilst reclining in the sofa.

Have you tried supported spindles? What about the Russian? How did you find it?

The images in this post are copyright of Cecile from Ways of the Whorl. If you wish to use the images please request permission from Cecile.

Monday, 27 December 2010

Happy Crafty New Year

The new year is approaching fast and I for one am looking forward to it. Not that 2010 didn't live up to expectations, it was a great year. The Historic Crafts blog was started in January and the Grey Duckling blog soon followed in May. But I have so many more ideas that I want to try out in 2011 and I can't wait to get started.


One of them is hosting a couple of giveaways and spreading the crafty fun all around. I have already made a start with the New Years giveaway over on Grey duckling where you can receive this bobbin lace brooch that I made if you comment on the post. In the new year there will be more giveaways both on Grey Duckling and here on Historic Crafts. So keep posted!


Knitted star - copyright Cecile

I have another little festive gift that I want to share with you all this holiday season. Cecile, who writes for us here on Historic Crafts once in a while, has been knitting quite a few Christmas decorations. But she couldn't find a pattern to make a star so she made one up herself. The stars are truely beautiful and I would encourage everyone to have a go at making them. I know Christmas is over now but in my book stars are also good decorations for New Year. Or you can always put the pattern in your Ravelry queue and make it next year.

The pattern itself
Pattern on Ravelry

All there is left to say now is; Have a Happy Crafty New Year and see you all in 2011.
Eddie

Tuesday, 14 December 2010

Christmas Traditions: table decoration

For me Christmas just isn't the same with out candles. The light from candles is ultimately cozy or in Danish 'hyggelig'. As a girl I remember helping my Grandmother making table decorations with candles in them using evergreens, fruits, nuts, ribbon and other fun things. Here's the decoration I made for this years Christmas table.

First I decided on the bowl to use. Make sure it is watertight. I start out with a block of florist foam or Oasis, which I place in the middle. You can place your long candles directly into the foam. I just happen to have these wonderful tea light holders. They are safer as they keep the candle wick far away from anything that can burn.



The next thing I do is to add a good layer of greenery. I would have used fir in Denmark but since I have no fir trees around I have used other evergreens.



The final bit is to add some extra decorations. For this decoration I have added some stars. Have a go yourself and enjoy a bit of 'hygge' at home.



Just a little safety notice. Don't turn your decoration on and leave it. I like to only use it if I will be sitting at the table for a while. Otherwise, I know I will forget it and probably come home to a bit of a disaster.

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Bottom whorl, the Turkish spindle

Another installment from Cecile on her adventure with spindles. This week she is taking a closer look at bottom whorl spindles and especially the Turkish spindle on her blog the ways of the whorl.


IST Crafts Turkish spindle, courtesy of Cecile

Bottom whorl drop spindles, as their name suggests, differ from the high or top whorl spindles by the fact that the whorl is situated in the lower part of the shaft, giving it a low centre of gravity. The yarn is then secured at the top of the shaft, either through a hook or with a half hitch.

The Turkish spindle is a variant on the bottom whorl spindle. On a Turkish, the whorl is not made of one piece, but of arms. The cop is not wound above the whorl but around it. Unlike other types of spindles, the Turkish spindle is made from independent parts and can be easily disassembled. The whorl consists of two pieces, which slide into each other to form four arms, and the shaft runs through both pieces, stabilising the whole. Mine, shown here, is a tiny beauty weighing just 10 grams, its shaft is ash and its whorl zebrano wood. It’s an IST Crafts creation and spins like a dream. I absolutely love it, and I’ve spun a lot of cobweb singles on it. Like all spindles, the Turkish spindles come in a variety of weights and shapes, so a heavier one will be more suited to thicker yarns.


Turkish spindle with the cop almost at full capacity, courtesy of Cecile

On a Turkish, the cop is built by wrapping the yarn around the arms. Once the spindle is full, which is when the cop almost reaches the ends of the arms, or once you have enough yarn, the cop can be removed by sliding the whorl and cop up and off the shaft, then pushing the arms out, thinnest one first. This presents one major advantage: as the arms are removed, the cop stands as a stable ball of yarn, meaning that it can be used straight away without having to wind it off the spindle, either to ply or to knit. By securing the start of the yarn onto the shaft before starting the cop it is apparently possible to use the ball from both ends. This is not something I’ve done yet, so please let me know if you have.

If you are a Ravelry user, there is a very interesting thread on building a cop on a Turkish spindle, with some beautiful images of cops being built with amazing regularity. I do realise that marveling at this makes me the ultimate spinning geek, but I can live with that. I also have to admit that I am far from being as systematic in my cop building as the Ravelers in question and rather tend to wind my cops any old way, following only the ‘under one arm and over two’ system, which helps keeping the base of the spindle relatively flat, and builds the cop mainly upward and outward. What I love most is the little star shape the yarn makes on the arms at the very start.



Isn't the star shaped cop at the base of the spindle cute?, courtesy of Cecile

Overall I find I spin on the Turkish spindle slightly slower than on some other of my spindles because I’m not as fast winding the cop on the Turkish as I am on my top whorls. And yet, I still use it a lot, because it’s such a joy to spin with. I thoroughly enjoy my teeny tiny Turkish: it’s my lightest and smallest spindle, so a favorite to carry around, and I just love being able to take the cop out, instantly freeing the spindle.

The images in this post are copyright of Cecile from Ways of the Whorl. If you wish to use the images please request permission from Cecile.

Saturday, 11 December 2010

Christmas Traditions: Orange Pomander



For me the clove studded orange is a very traditional reminder of Christmas. Sticking the cloves into the oranges was something I remember my Grandfather doing as he didn't have the patience for making other Christmas decorations. It is also a tough job, well suited to his hardened fingers. The cloves can be sharp and the orange skin a bit tough. Nevertheless, I always make myself a couple each year as a reminder of my Grandfather.

The making of orange pomanders is a Christmas/New Years custom, which could be given as a gift wishing prosperity on the  receiver. The idea of having a pomander was used in Medieval times probably as a way of bringing a more pleasing scent to it's surroundings. On School of the Seasons there is a longer explanation about the history and use of pomanders around Christmas time. If you wish to make your own it really is as simple as taking an orange, sticking some cloves in it and tying a ribbon around it. But if you wish to learn how to preserve it for the years to come have a look at the tutorials bellow.

Tutorials:

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Tuesday, 7 December 2010

Top Whorl Spindles

This post was first published on Cecile's new blog Ways of the Whorl, where you can follow her work on creating the perfect spindle.


Top whorl drop spindle (Jarod), courtesy and copyright of Cecile

This type of spindle belongs to the drop spindle category. The whorl is basically a weight, used to stabilise the spindle and give it more momentum. Top whorl spindles, sometimes also called high whorl, are given that name because the weight is on the upper part of the shaft, and the cop is wound underneath the whorl.

The placement of the whorl affects weight distribution on the spindle, and therefore results in different spinning properties. On a top whorl spindle, the centre of gravity is placed near the top, making it slightly more prone to wobble than a spindle in which the centre of gravity is lower on the shaft. However, the weight of the spindle is going to be further affected by the cop as it grows and gains in weight, changing the centre of gravity on the spindle.

Top whorl drop spindles are often the entry point into spindle spinning, partly because they make it easier to use the ‘park and draft’ method. In ‘park and draft’ the spindle is flicked into motion, twist is stored into the leader, the spindle is then ‘parked’ between the knees or under the arm, while more fibers are drafted. The twist is then released into that new section. Because the top whorl spindles have the long part of the shaft under the whorl, they are very easy to tuck between your knees or under your arm. They are also very easy to make as show the examples of the CD spindle, or that of the toy wheel spindle.



I love my top whorl spindles, especially since they make it so easy to navajo ply-on-the-fly, as Rosemary so brilliantly demonstrates in her video.  Her previous version of the video showed how to get started on this technique. If you’ve not tried it before, give it a go it’s such a great way to navajo ply on a spindle.

How about you? Where does your preference lie? High or Low whorl? Or maybe a middle whorl? That’s one I haven’t tried yet.

The images in this post are copyright of Cecile from Ways of the Whorl. If you wish to use the images please request permission from Cecile.

Saturday, 27 November 2010

Felting

The translation of this great introduction into felt-making by Ane from Anes Form is long overdue. But it's here now and you can use it to make other things not related to Easter. How about a hat to keep you warm this winter or come December you could make some Christmas baubles.

In order to felt wool three criteria need to be fulfilled: heat, water and movement. This is the reason you will find your favorite shirt come out of the washing machine in a size that would fit a nine-year-old, while it has become thick and hard. In this situation felting might not appear as something you would like to experience again, but don't let this put you off. This process can be used to create the most amazing things. In fact only your imagination limits you, since the thickness of the material can be varied infinitely and thus create an infinite number of beautiful items.

The actual felting process is simple - the problem is to make the wool felt in the shape you need! This requires some practice, but if you note down what happens to the wool during the felting process you will soon get a hang of it. However, I recommend attending a crash course, so as not to lose heart completely. Many aspects are difficult to explain and it is something one learns best by trial and error or watching someone else do it.

There are three different methods depending on what you want to achieve. You can felt a solid, hollow or flat piece, and the flat method is really just a simplification of the hollow felting method. As Easter is approaching, I plan to incorporate these three methods in an Easter hen and it's eggs. The solid method is used for the eggs and the hollow is used for the chicken. I recommend that you begin by making a flat piece of felt first to get a hang of it and then felt the solid eggs in the end, when you have mastered the other two methods. The hollow filter method is often used when making hats, shoes, mittens, etc.

During the the felting process your subject will shrink. Think about it when you prepare the dry wool, which therefore must be larger than the finished article. For shoes and similar items you need to make a felted sample to get the right size. I have written a bit more about this at the end of the tutorial.


You need:

  • Wool (wool tops)

  • Green or brown soap

  • Warm water (not warmer than you can still keep your hands comfortably in it)

  • Dishcloths and possibley a towel

  • Felting needle (a special needle with barbs, are sold in hobby-shops and by most carded wool traders)

  • A table top that can withstand water, with an edge or the second drain option

Solid felting / the eggs

Take a suitable piece of wool top, and tie a firm knot in the middle of it. Let the wool top run around the knot, while keeping the oval shape of the egg. Remember not to twist the wool, as it will just become harder to felt. When you get to the last little bit of wool, you can pull the fibers out and let them lie around the egg so that you do not see the transition and the wool then sticks to itself. Now you should have an oval shape which is relatively firm.

Now you make the soapy water. The warm water mixed with an appropriate amount of soap. The water must feel slightly greasy when you rub your hands in it. If you have overdosed, wool can take longer to felt. If you underdosed the wool will create a halo on the object you are felting. Experiment!







Put the egg into the water and take it in your hand, making small movements on the ball which gently affect the wool. Throughout the process the ball stays under water. After a time you will notice that the ball will have a firmer shape and the more firm the egg appears, the harder you can work on it. And finally: Voila! Your first felted egg is ready to be embroidered.

Flat felting / hollow felting / hen

Before you begin your hen project I recommend trying to make a flat piece of felt. This gives you a feeling of flat felted objects before you begin with the larger project. Put your wool into a relatively thick layer so you can not feel the table through the layer. It should be equally thick all over and needs no trimmed edges.

Make some more soapy water as above and this time pour the water over your layer of wool. Pour the water out over your hand and then onto the wool, thus avoiding making a hard beam of water making holes in your woolen layer. The wool must be drenched, push a little cautiously to make sure that there are no air bubbles in the wool. During the process you can reheat the water if it gets too cold.

Now put your hands onto the wool and start moving them gently in small circles until the wool begins to felt. When you feel that the surface begins to close together, you may be more rough and when it emerges as a sturdy piece of fabric you can throw the felt down onto the table to make the process to go faster. You should now have created a coherent piece of fabric, and when you have it is time to move on to the chicken.

Draw a bird on your plastic piece (bubble wrap is excellent), and cut it out.

Now make two identical layers of wool tops of a suitable thickness, make sure that the pieces are five to seven centimeters larger than your plastic hen shape. Put one in a dry place, the other on your felt table with the plastic hen shape on top.





Put your finger on the edge of the plastic and pour a bit of water over the plastic. This will run off the plastic and give you a silhouette of the drawn hen. Now take the plastic away and make the hen wet in the same way that you did with your flat felt piece above. The result should be a very wet hen with a dry aura.

Put the plastic hen back on top again and bend the dry wool aura in over the plastic.




Pick up the second dry wool layer and place it on top of the wet plastic hen. Bend the dry layers aura in under the wet hen and wrap it tightly but make sure to maintain the hen shape.


Time to felt! Make the whole hen wet with soapy water. Be careful in the beginning, but as before, the more firm the surface is, the harder you can work on it. Remember to get around the whole object, also at the edges.

Once the felt on one side is firm enough and you can lift your hen easily without wool slipping, you can turn it over and repeat the process on the opposite side of the hen.

Now cut open the hen. This is done simply by letting it lie on the table when you cut. The wool inside the hen has not felted yet, so be a little careful. Take the plastic hen out and let your hand slip into the cavity, while the hen stays flat on the table.

When the hen begins to feel firm and the surface is properly sealed, you can begin to throw it onto the table so that it felts faster. Remember however to smooth it out often and throw it at different angles, otherwise you lose your nice hen form. When you think it is felted through and through, lay it out flat and fill it out with wool to make it round and hen-shaped. Trim the bottom edge so that it is neat. You can either sew the bottom up or sew a small piece of fabric in as an inner pocket for the Easter eggs. Let it dry. Once this is done, it is time to finalize it, by making a comb, eyes, and a beak. This is best done with needle felting.



Help and additional tips:

  • Wet felt can be stored for up to a week in the fridge if you are not ready to use it right away. Put it in a plastic bag with a knot in and the water which naturally comes with your project when it is lifted into the bag.

  • Felt-test: if you need to do something which must have a specific size you are best off doing a filter sample first. Place a suitable layer of lets say 10 x 10 centimeters, which you then felt. When it is done and dry, you measure your end result size, which helps you to figure out how big your plastic template needs to be to get a specific finished size. Different wools have different shrinking percentages, therefore you should always make a new sample for each new type of wool you are using.

  • Holes in the felt can be addressed by adding a thicker layer of wool top. If a hole occurs, stop the process, put dry wool on top of the hole and let the fibers spread over a larger area. You can try to use a felting needle to get the new wool to stick as it is difficult to felt wet and dry wool together.

  • If your wool begins to wrinkle or small waves appear on your yet to be felted wool, you have probably been too hard or working too much in one direction. If this occurs, work along them and not across them, as this will just make the waves larger.

  • It is never too late! Wool is a great medium and failed projects can always be used for something other than what was intended.

The images in this post are copyright of Ane from Anes Form . If you wish to use the images please request permission from Ane.

Friday, 26 November 2010

Fibres: Jacob Sheep



It is thought that Jacob sheep arrived in Britain from the Middle East (via Spain) in the 16th Century. They are very attractive animals and were often kept in English parks as ornamental animals.
Their fleece is black and white patched and fades to brown and white the older they get. They usually have 2-4 horns but can have up to 6 horns and are found in the United Kingdom, Canada and the United States.

Working with Jacob fibres
The fibres are open and lofty and can have a moderately developed crimp. The dual tones of the fleece allows endless possibilities of playing around with black and white tones when spinning.

I bought a fleece not long ago and am spinning it into yarn for a nice sweater for John, who is in charge of the carding. It has a lovely fluffy texture and is easy to draft for spinning.

Have you ever worked with Jacobs sheep? Comment and let me know!

Organisations:
Jacob Sheep Society - UK
Jacob SHeep Conservancy - US
Jacob Sheep Breeders Association - US

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Monday, 8 November 2010

Fibres: Alpaca

[caption id="attachment_2755" align="alignright" width="280" caption="Alpaca fibres, spun and knitted"][/caption]

Alpacas are a part of the camelid family and were first domesticated about 6000 years ago in the central Andes. Alpaca fibres have been found by archaeologists in graves and religious sites predating the Inca Empire in South America. The fibre itself can be found in 22 distinct colours, ranging from blacks through browns and whites, and including subtle shades of maroon, peach and greys. It is a very fine fibre that contains no oil or lanolin. At the moment South America is still where most Alpaca herds can be found although herds are spread across the world in North America, Australia, Europe and China.

Working with Alpaca fibre
Alpaca fibre is very fine but strong and with thermal qualities. It can be blended/carded with other fibres and is known to dye well without loosing it's sheen. Alpaca is becoming more and more popular for use amongst crafts people and because of it's qualities the demand is expected to increase.

Have you tried spinning, knitting or in other ways using Alpaca fibre? Share your experience with us in the comments below.

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Monday, 1 November 2010

Berry dyeing: a dying craft or a fun activity

Let's talk about dyeing with berries and whether this is a craft about to die out or whether it deserves a comeback as a fun activity to do with friends and family that will bring you all closer to nature. Throughout, I will add some tips and tricks on how to get started with this fascinating craft.

How it all began

If you have ever eaten any type of berry you will know that most of them contain substantial dye powers. A run-away strawberry on your new blouse or a bit of blackberry crumble on your favorite trousers. Not a good combination. Nevertheless, it will probably give you an idea of how dyeing with berries could have been discovered.
Dyeing is known to date back to before 2600 BCE where we have the first known written record of dyeing in a Chinese manuscript. Up until 1856 dyeing was all done with natural products like roots and berries. This all changed when William Henry Perkin discovered the first synthetic dye. Out went natural dyes and in came synthetic ones instead. Having said that, the knowledge of dyeing with natural dyes was not lost entirely. Natural dyes will have kept a place among people who either couldn't afford synthetic dyes or who wanted to continue using natural dyes for aesthetic reasons. There is a different quality to the colours gained through natural dyes - no two batches are ever the same and even the same item may have varied colours. If this is the effect you are looking for, natural dyes is just your thing. In these days of eco-consciousness and neo-craftism dyeing with natural dyes has also found a new niche. Say your white organic cotton blouse has gone dull grey - what better way to spice it up than to pop it in a bath of blackberry or onion skin dye.

All natural colours
Dyeing with berries often gives a variety of purple colours, though reds, greens and browns often occur too. I have personally tried dyeing with Blackberries and Elderberries, both resulting in lovely shades of purple. As do Raspberries, Mulberries, Blueberries, Pokeweed berries and Huckleberries while Strawberries and Lingonberries give a more pink shade. Elderberries are also known to dye a blue/green colour when using the mordant Alum. Ivy berries are known to give a grey/green colour and Privet berries give green/scarlet colours. Scottish berries Bearberry and Blaeberry result in varying colours depending on the mordant used. Juniper berries give a shade of brown.

[caption id="attachment_2715" align="aligncenter" width="500" caption="Eddie's berry dyeing experiments. Elderberry (left) and Blackberry (right)"][/caption]

The mordant effect

A mordant is a substance that can be used to fix the dye to the fibre, yarn or fabric being dyed. While most berries are what is called a direct dye, meaning that they don't necessarily need a mordant to dye, they are also not light or wash fast on their own. A mordant or fixer helps make the dye keep better on the item you are dying. The most used mordant among natural dyers these days seems to be Alum (aluminium potassium sulphate). It is seen as the safest mordant and will give the dye a brighter colour. But it is not as light fast as other mordants which include: Chrome, Copper, Iron, and Tin. Some mordants are poisonous so I would check up on this and take precautions before using them.

There is also another option but I am not sure if they can actually be called mordants. It is also possible to use salt (for berries) or vinegar (for plants) as a fixative. Pioneer Thinking gives further instructions on how to use these. For my own attempts at dyeing with berries I used salt as a fixative and it worked really well. The only issue being that the result is not as light fast as using some of the stronger mordants.

Experiment

[caption id="attachment_2529" align="alignleft" width="300" caption="Elderberry dye soup"]Elderberry dye soup[/caption]

If you are the type who likes experimenting and making up your unique items natural dyeing is really something for you. You can mix and match and make up your own new colours. The advantage of using berries is great too as they are often easy to access. Go forth and raid a hedgerow. Although, here I feel I should also add a couple of words of warning. If you use wild berries you should be conscious of leaving some for wildlife and not ruining the plant with your raid. Also I would like to add that whatever berry you decide to use do check the safety precautions. Some berries are poisonous to eat and I don't know the effect when you cook them for dyeing. For health and safety reasons I will also just add that when you dye you should really use dedicated utensils that will not be used for cooking afterwards.

Having said that, there are great opportunities to try this out in a safe way with children around. Use raspberries or strawberries and salt as a fixer and you should be pretty safe. I think dyeing with berries is a fascinating activity that everyone should give a go at least once.

References

Druding, Susan. 1982, List of the History of Dyeing.

Fraser, Jean. 1983, Traditional Scottish Dyes. Canongate.

Hardman, Judy and Sally Pinhey. 2009, [amazon ASIN="1847971008"]Natural Dyes[/amazon]. The Crowood Press




The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Friday, 29 October 2010

A recipe for knitted flowers

[caption id="attachment_2628" align="aligncenter" width="459" caption="Flower brooch, copyright Ingrid Murnane"][/caption]

In order to make your own knitted flower, you'll need to knit a long strip of fabric, which is wider on one of the long sides than the other. From this you can form either a single rose-type flower, or a double flower. Even within these parameters there is scope for putting them together in differing ways to make tightly-furled or more blowsy blooms.

Of course, you might need a leaf too, which is a little more complicated so I'll give you a few links at the end for making different types.

Recipe for a flower brooch

The basic recipe for making a flower is as follows, but you can jig it about as you like for different effects, much like a cooking recipe:

  1. Cast on 80 to 100 stitches

  2. Knit three rows of garter stitch.

  3. Next row: P2tog all the way accross

  4. Next row: Knit and decrease (by k2tog every 5 or 6 stitches)

  5. Work in stocking stitch from here on, and on every second row (which will be a knit row) decrease by k2tog at appropriate intervals to pull in the work until your flower is almost tall enough for a brooch (I aim for about 5-6cm usually).

  6. Next row - k2tog right along the row, in order to halve the amount of stitches.

  7. Cast off.


Tip: It is up to you how you'd like to decrease. You can do it in a uniform fashion by decreasing first every 7 stitches, then every 6 and so on, or you could decrease by k2tog every 4 in the first decrease row, then by every 2 in the next, but every 5 in the third decrease row.  Of course, your decrease rows don't have to be every second row either. By playing with the decreasing and how often you space it, you will create differently shaped flowers.

[caption id="attachment_2629" align="aligncenter" width="457" caption="Rose brooch, copyright Ingrid Murnane"][/caption]

Putting it all together

Wrap the knitting around on itself to find how it sits best and for the appropriate flower look for you. Sew it into place using the tails of yarn from the knitting.

Of course, you might like to make a leaf to go with your flower. There are some great patterns available online for this. Here is a good pattern from Crafty Galore. This second one from TikkunArts is a pdf.

You can make them into brooches by adding a safety pin to the back, add them to cardigans or bags, or maybe make a garland!

The knitted flower recipe above is copyrighted to Ingrid Murnane. You are welcome to make it, talk about it and link to it, but when you do please attribute Ingrid Murnane. We ask however that you do not reproduce the recipe itself or use the recipe or the finished flowers for commercial purposes. The images are also copyright of Ingrid Murnane. Please contact Ingrid if you wish to use them for any purpose.

Monday, 25 October 2010

Fibre: Soybean

[caption id="attachment_2750" align="alignright" width="262" caption="Soya fibre, spun and knitted"][/caption]

Soybean fibre is a fairly new fibre that can be classed as an environmentally friendly fibre. When manufacturing soyabeans into soymilk, tofu, or soybean oil, dregs are left over as a waste product. In 1937 Henry Ford, founder of Ford Motor Company invented soya fibre by using a new method that could make use of this by-product. Protein liquids from these dregs are extracted and through the process of wet-spinning, these are solidified to form the fibers.
Soya has anti-bacterial properties, is wrinkle free and very colour fast when dyed. Un-dyed it has a beautiful golden colour. Soya fibre is often blended with other fibres such as cotton or wool.

Working with soya fibre
Soybean fibre is smooth and light and has a cashmere feel to it. It has a silky lustre and drapes really nice. Having spun undyed soya for plying with recycled cashmere and merino I find that it is generally easy to work with but requires a bit of practice to draft.

"Soya is very soft and easy to spin and ply. Do note that it only needs a tiny amount of twist to spin and the fibres are very short. The yarn retains a slight halo which I really like. However, it does not have much elasticity and therefore it is important not to knit it too tight." (Cecile)

The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.