I’m back…

Man, you guys came up with some absolutely fabulous stories. I have been laughing my butt off reading them all, and I love every one! But Lauren was the closest to right. A dear friend of mine had an absolutely appalling February (I keep telling her March is bound to be better) that was riddled with illness, death and the emergency room, usually on someone’s birthday to boot. It got to the point that her stories were getting hard to believe, so I had to go up there to check and see if, in fact, Justin Timberlake had showed up to take her dancing, and that was why she was telling me these outlandish stories cancelling our plans to get together.

Sadly, Mr. Timberlake was not there when I arrived, and all of my friend’s stories were totally true. I had actually suspected as much, and this was why I jumped in the car to go make sure she wasn’t working herself to death teaching spinning classes just after leaving the hospital. I figured the odds were decent that she’d let me push her out of the way and take over her classes, and that ultimately, she might even forgive me for doing so, and so might her students.

I did, as is traditional, totally trash her shop. Perhaps someday she’ll forgive me for that too. After all, she is a kind and forgiving friend.

While I’m racking up the things for which I’ll need my pal’s forgiveness, I’ll add one more. See, here’s the thing. What a lot of folks don’t realize is that fiber businesses — all of them — are teeny, tiny microbusinesses. They’re usually a business owner, who wears all of the hats, and an assortment of part-time employees, many of whom are family and friends. Although there are a handful of larger operations in the fiber world, a really big operation might have a total of 20 employees. Dudes, I have waited tables at tiny restaurants with more employees (and bigger earnings and shorter hours for the owners).

Tiny businesses can be fragile things. They depend on one or two people whose lives are entirely consumed by the operation. You don’t get sick days; if you’re sick and can’t work, your business is shut down. Since you’re working round the clock to keep things going and make things grow, you’re usually doing lots of different things. A fiber shop owner has to handle all the standard stuff like customer service and sales, plus inventory, shipping, receiving, order management, product development, marketing, making decisions about what to carry or not carry, scheduling classes, teaching classes, planning and running events, advertising, human resources, taking care of the physical plant, being a janitor and maintenance person, keeping the books, if you can think of it (and probably if you can’t), it has to happen. It’s a helluva workload, and you have to manage all of it while making sure you’ve got an inviting place for folks to come and spend their time. It’s not for the faint of heart.

When you’re the one person constantly in charge of making all of that happen, and you have a bad day, or a day when you can’t work, it could spell disaster. Death in the family? Your only choice may well be to close the shop unexpectedly for a while, and leave, worrying the whole time not only about your bereavement but about what would happen if someone came to the shop for the first time, found it closed, got upset, and then made the rounds of the usual online scenes saying “Man, I went to that shop and it was closed even though the hours on the web site said it should have been open. What a ripoff. Nobody should go there.” As unlikely as that may sound, I have seen that happen. Or what if you have to cancel or reschedule classes? You know you have students who are counting on you being there and making things happen for them. You don’t have the choice to close, cancel, or reschedule.

So the one thing I could think of to do for my friend was to try to take a day or so worth of such worries off her shoulders — something that only a spinning teacher could do. And something she’d be happy to do for a friend who, if the tables were turned, would be the first person here to give me a bit of her time.

Here’s to March. February’s fired. For such a short month, it sure does seem to drag sometimes.

Packing again…

…unexpectedly this time, because there is a GENUINE SPINNING TEACHER EMERGENCY. And I’m totally the spinning teacher on call, so, you know. Gotta go.

But not before quickly taking a moment to blog that it just slays me that I get to say “There is an emergency that requires a spinning teacher.” I have images of, you know, carrying the spinning teacher pager or something. Having a red phone people call over spinning emergencies. Sitting in a spinning teacher command center that dispatches spinning teachers to handle emergencies.

Or the less glamorous vision: being a spinning substitute teacher. Then it’s like being called to sub for high school chemistry class or something. Nah, I much prefer the sort of Cuban Missile Crisis “Spindles of October” image with a spinning NORAD on the watch while people anxiously worry about whether or not this spinning emergency will come to a head or not. It makes what I do sound much more exciting.

So I figure I’ll leave you guys with this, and when I reach my destination tonight, check back and see who’s got the best story about what sort of emergency could require a spinning teacher to hit the road on the spot. Be inventive. Come up with good ones!

Colorado!

I’m back from an absolutely amazing trip to Colorado! While the purpose of the trip was to handle all the step-by-step photography for my upcoming book Respect the Spindle: Spin Infinite Yarns With One Amazing Tool, there’s a long list of “I’ll do that without fail if I’m in the area” things I also managed to do. Which I have to do again, of course, so they’re all still on the list.

First things first: photography!

My photo shoot was handled by my editor, Anne Merrow (on the right), and illustrator/photographer Ann Sabin Swanson (on the left). These photo shoots for step by step photography are sometimes referred to as “being locked in the Interweave basement with the Ann(e)s.” Technically, this description is inaccurate, as the door was never actually locked.

But from time to time, other folks stopped by to say hello and see how the shoot was going. Anne Merrow is not fond of being photographed — an irony which did not escape me. Thankfully, Spin-Off editor Amy Clarke Moore, on the right, is not so shy.

And neither are spindles and related accessories.

We used lots of spindles. Dozens. Scores, even. I used a different spindle for every sequence we shot: big ones, little ones, medium ones, funky ones, old ones, new ones, fancy ones, rustic ones, pretty much every kind of spindle that we could lay hands on given months of lead time and the resources of spindle addicts and the Interweave folks. That’s a lot of spindles.

We also used lots of fiber. Fancy fiber, problem fiber, weird fiber, luxury fiber, pretty fiber, fiber that was the right colour for the job, fiber from my stash, fiber from other people’s stashes, fiber I’d set aside just for this purpose, fiber I thought of at the last minute that got flown in from elsewhere… fiber, fiber, fiber.

It was total spindle and fiber carnage. By the time we were done three days later, spindles and fiber were everywhere, in every state imaginable.

The whole process was amazing. Leading up to the photo shoot, I tried to mentally address — but not panic about — the fact that the photos are make or break for this book, and that I know from lots of personal experiene how hard it is to get good photos of a lot of spindle techniques. But the Ann(e)s have this down to a science and were just amazing. I hope Anne Merrow will ultimately forgive me for the sass and backtalk (“What? No, I can’t stop it right there! If I try, the spindle will backspin and then it will fall. Dude! There’s the laws of physics to consider!”) and that poor Ann Swanson has not been dreaming ever since about jabbing my eyes out with a pointy stick (good for spinning with) in retribution for all the contortions, climbing up on something, and insistence that we needed both extreme close up and super wide angle views of whichever technique of earth-shattering importance we were shooting at the time.

This is Ann, holding the first two Forrester Dervish spindles, reunited for the first time since SOAR 2007, where Tom Forrester sent them to participate in a contest to choose their name. I was the lucky winner, and so I got to keep one of those spindles. The other lives at Interweave.

Ann also very kindly drove me to Fort Collins Tuesday night, where the inimitable Deb Robson and her daughter Becca took me for dinner and delightful conversation. Deb is one of the giants of the world of fiber publishing. It’s hard to know where to begin, talking about what she means to the world of people who care about the lore of textiles. I stand completely in awe of her work as a fiber artist, writer, editor, and publisher. Her devotion to what we do, and to getting the word out about what it means and how to do it, is well-known to anybody who’s been in the fiber scene for any meaningful length of time. I am such a huge Deb Robson fan… and I also really like her. It was also great to meet Becca, a totally remarkable young woman with equally fascinating interests.

It was also my good fortune to sneak out of the basement for lunch with Marilyn Murphy, Interweave’s fiberarts president and publisher, among other things. Marilyn is simply inspirational. Her large-picture view of the fiber and craft world is amazing, and she’s a vibrant and exciting person who it’s obvious can just accomplish anything she decides to. You can’t spend time with Marilyn, and not walk away feeling charged up and excited about all the work there is to do, and confident that it’s all possible. Marilyn, a past president of TNNA as well, will shortly be stepping back from some of her Interweave workload, to focus on the editorial director parts and I can’t wait to see what she does with that opportunity.

And then there was a delightful lunch with Interweave founder Linda Ligon. Folks, being a textile educator and writer getting to hang out with Linda Ligon is sort of like if you were, I dunno, a rocket scientist getting to hang out with Werner von Braun while he’s at the top of his game with carte blanche to work on the stuff he really feels is important to work on. I don’t know, that doesn’t even quite do it. The thing is, before Linda set out on her personal textile publishing journey in 1975, the whole world of textile lore was different. The resources that we have today, the communities that exist, the folks who’ve ended up pillars of the fiber community over the past 30+ years… you can trace practically all of that back to Linda at some point or another. And then, you want to be overawed by her, but you sit down and start talking to her, and she just doesn’t give you the chance; she’s so down-to-earth and grounded, while still envisioning great new things and ideas that for anybody else would be pie-in-the-sky, but just seem to actually come together and happen when Linda decides they should.

Returning from lunch, I looked at the Interweave building from across the street for a moment. “I absolutely love that it’s an old bank,” I told Linda. “I mean, it’s like… First National Bank of Textile Lore, or something.” Linda chuckled — I’m sure she’s heard that 8 billion times before. But it’s true; walking through the Interweave offices, the shelves are filled with books I remember from my childhood. And okay, granted, the bookshelves of my childhood were perhaps disproportionately full of textile lore, but there they all are, this astounding legacy of pivotal works, ranging from the most basic of pamphlet-type publications up to full-colour, glossy books… and, really, I get to be part of that? Me? Wow.

“We have a few minutes,” Linda said, “Come with me, I want to show you something, if I can find it.” I followed her through the part of the basement where the photo studio isn’t, back through stacks and storerooms and archives, to a dusty corner where Linda pushed aside some boxes and a folded-up loom and handed me a chair to put aside, and then emerged with a spinning wheel.

It’s in the back, on the right, and I didn’t take any close-up photos, and I won’t say too much about it because Linda says she’s going to blog about it. But it’s her first wheel — one she came by almost by accident, the wheel on which she learned to spin, in an era when there weren’t any books and there was no Internet and it was staggeringly hard to find anybody who was even interested in the idea, let alone anybody who knew how it was done. It was such a different world then… and so much of how it’s changed into what it is now is because of Linda. But she’s not a person who’d tell you that, or expect you to be impressed with her about any of it. All she’ll say is something like “You think people might get a kick out of reading about what it was like back then?”

Yes. Yes, I do.

But that’s not all! I also got to enjoy a delightful lunch with the Spin-Off staff, in the middle of what has to have been one of their most hectic weeks ever what with the launch of the new Spin-Off web site. I love the Spin-Off folks. I just love them all: Amy Clarke Moore, Stefanie Berganini, Karen Brock… wonderful, delightful people with whom I feel privileged to have gotten to work on a number of occasions over the past couple of years. And hopefully that’ll continue — even if our waitress did express that she was entirely grossed out by small bags of fiber on the table. Apparently, my batts look just like some sort of intestines or kidneys and are totally ewwwwwwww. Now we all know. Thank goodness.

Thursday night, Anne Merrow made me work more. What a slave driver. She brutally, cruelly, cracking a whip, forced me to start my technical editor pass through the page proofs for Amy King‘s upcoming book Spin Control. Sheer torture, I tell you. TORTURE.

Let me just say, Amy’s worked her butt off on this book, and the yarns in it are amazing. There they are, in that gigantic tub that’s more than knee high and at least 3 feet long. The book is good. I scribbled all over my copy, and texted Amy to let her know I was doing so. She and I have been friends and colleagues for a while, and she’d totally kill me if I didn’t do my dead level best to nitpick every little nitpickable thing in there. I did so conscientiously, and did not even once write “This yarn makes your butt look big,” like a real friend would.

(Her butt does not look big. Just sayin’.)

So yeah, you’d think that by now I was getting punchy or something. And you wouldn’t be too far off; I mean, just look what an action-packed week it had been! But it wasn’t over. On Friday, my long-suffering editor (who still hasn’t killed me, nor I her, so this is probably going to work out fine) dropped me off at Schacht Spindle Company, a serious fiber institution and another industry icon densely populated by giants of our field like Barry Schacht, Jane Patrick, Cindy Lair, sheesh, everybody there is a superstar. And they totally invited me over to hang out and have a tour!

No, seriously, a TOUR. And Cindy even let me take pictures.

Looms! Just look!

CNC machining! Look! Treadles! See? This is where they come from!

Bobbin ends in progress! Whoah. This was really wild for me, because it was sort of like someone who has been spinning a while but never seen a sheep, and then visits a farm, must feel. “Omigod! This is what it looks like on the animal!” except… about the equipment.

Look at the Schacht-Reeves wheels going together. Look at the flyers all in a row. Look at the insanely orderly workshop space. And did you know, every single wheel, flyer, everything, is all tested and signed off on before it’s allowed out the door? Cindy forced me to test a brand-spanking-new Ladybug. Never touched before. Someone out there’ll get one I approved. I promise I took this seriously.

See, if you know what Schacht wheels look like, just look what all you can identify in this picture. Look at the neat, orderly row of Matchless bodies, just waiting… wow.

The attention to detail in the manufacturing workflow is amazing. I could have followed Cindy around asking questions for days, being amazed by how they do stuff and by her prototypes… oh yes, her prototypes. Man, do they do some neat stuff.

I was so entirely captivated by the whole thing that I completely missed my cell phone going off, so Stephanie calling to ask me if I had ever heard that fiber could go in a drum carder sideways totally went to voice mail. And we’ll be coming back to that on this blog another time, by the way.

It was my privilege to try out Schacht’s prototype bulky/jumbo flyer setup, which works very nicely and features a few snazzy elements I think will be enticing. Let’s just say I’m definitely going to be ordering some new flyers for my Schacht collection. I’m also going to pick up their new, very light weight collapsible niddy noddy. And the morning there ended all too soon, but when I got into Jane’s Prius with her and looked in the back to see a Wolf, well, I may just have been heard to say “I could totally fit that in the back of a Trans Am.” So, you know. There just may be more shopping in my future.

And speaking of shops… Jane took me over to Shuttles Spindles and Skeins, where we met up with Stephanie Flynn-Sokolov and Maggie Casey, and went to lunch at the conveniently located brewpub next door.

Okay, seriously? That shop, with a brewpub next door? Somebody saw me coming. And there’s lots more to say about that, but that’s going to have to wait a bit. For now, let’s just say… go to Shuttles. Go. Omigod. Wow. I was late getting out of there.

Late? Late where? Why, up to Estes Park to see Chris Switzer and her paco-vicuñas. And again, there’s a whole post there that I’m saving up, because there’s no way I can cram that in here, and besides, I have the formerly-unbloggable-seekrit-project partly written up and stuff, and… you’ll just have to wait. And there’s so much more to say about my wonderful visit with the folks at Schacht, and I’m trying to see if I can’t swing making it to Jane’s upcoming class at The Spinning Loft.

Which, sadly, is what I’ll also have to do in order to spend more time with all the great folks in Colorado. I am so going back.

Dear Ed

Happy Birthday, pop. You would have been 64 today, and I gotta tell you — I would still need you, I would still feed you. I would still be sending you a valentine, Birthday greetings, bottle of wine. I miss you all the time, and double on your birthday.

I had big plans for a poignant post, which I even started writing; it’s all about old geezers and what a great old geezer you woulda been, and how much it sucks that you barely even got to be a middle-aged geezer. But as luck would have it — and perhaps there is an afterlife and in some subtle way you can affect this — it’s been a crazy busy day and I haven’t had a free minute to spend on maudlin thoughts of how it was your last birthday, when you turned 59, that was the last time you were out of the hospital, and you got to have an ice cream sundae. I guess being so busy is fitting — you would have told me there wasn’t much use in sitting around all sad even if I do still miss you. Of course I still miss you. We all do. But yeah, I guess it’s fitting to be busy, and especially busy with the sometimes peculiar work of textile evangelism.

But your birthday doesn’t get to go by unmentioned and unmarked. Let the record show that I still miss you. And man, what a year it’s been — so many things I wish you could have been here to see, like Nilda, Paulino, and Aquilina at SOAR (not to mention 3 generations of Franquemonts), or me writing a spindle book, or your grandson’s first band concert or him getting an electric guitar for his birthday, or me giving in and knitting a sock because Chad asked. And we saw that NOVA that you were on; first time I’d heard your voice since you died. I cried. I’m lucky to have that. Lucky to have all of it, and lucky to have had you for a dad.

I miss you, Ed. Don’t take any wooden nickels.

Packing…

I’m finishing up one of the stranger packing-for-a-trip jobs I’ve ever done.

My suitcase is literally more than half full of spindles and fiber. Usually, I’d only take a few, but this trip is different. I’m heading to Colorado for a week working on step-by-step photography for my book, forthcoming from Interweave Press this fall.

I’ve already sent a slew of spindles off for photography, but clearly, not enough. Big spindles, little spindles, fancy spindles, rustic spindles, antique spindles, new spindles, materials for spindles… it’s sheer madness, I tell you. Looking at the whole thing, I don’t know what I was thinking.

I realized immediately I was going to need the big suitcase, the hard-sided one. This is not my favourite suitcase to travel with. I mean, it’s fine. But really, I’d rather be taking the lightweight small one that I could carry on or gate check. Except of course, I can’t go that route because I always take small sharp tools. So it’s just as well, because I really did need the space to cram full of spindles and fiber and hope I’m not forgetting anything.

I’m simultaneously nervous and excited about this trip. Nervous, because it’s an intensive photo shoot where I’m going to perform perhaps every single spindle trick I know, in a studio, on command, being photographed — and because it’s, you know, for a BOOK. Writing a book has been a totally fascinating process so far, and it’s definitely not over. It’s almost nothing like I expected, except for where it’s exactly like I thought it would be. It’s definitely consumed the vast majority of my coherent writing deal-o-trons for the past… when did I start this? Last summer. So since last summer. So I’m eager to be done and have the gumption to blog regularly again. But yeah, so I’m partly nervous — because this is another whole big step in the book-writing process, and this one, I just have no clue at all what it’ll be like. What I do have is lots of faith in the great team of folks at Interweave Press who are working on this project with me.

And yes, I’m excited — because it’s also a great trip to a major hotbed of fiber activity in Colorado. I’ll get to spend a little time with a few of my favourite folks in the fiber world, and visit some fabulous fiber places, like Shuttles, Spindles and Skeins, and Schacht. (Note to self: don’t forget good camera.)

And then too, I’m also nervous — because hey, this is a step closer to being done with this book, a step closer to it becoming a reality, and that’s both exciting and intimidating. Plus exciting! It’s going to be great to have this book, a truly spindle-focused book, out there. And I’m loving the fact that it’ll be my hands — just like in all of Interweave’s present lineups, the author’s hands are the ones doing the demonstrating. I find that so tremendously valuable as a book reader. And that’s another thing — I’m simultaneously a little hard on my hands because I use them so much, and totally overprotective of them. I’ve been being a major weenie around the house for the past few weeks actually saying things like “No, my hands have to LOOK GOOD for my photo shoot!” and cursing every ragged cuticle that crops up in winter weather. So what did I just do, packing? Bent back my index fingernail on my left hand latching my suitcase full of carefully-packed spindles and fiber and oh yeah, a few pieces of clothes (some of those are even “wardrobe”). It better not leave a bruise.

My editor has said to me several times, “Hey, you’re the one who’s always telling me how much you like seeing real, working hands!” And she’s right, I do. So I’m just going to go triplecheck my lists, make sure I’ve got everything, and get this show on the road. Wish me luck!

Getting Started!

At this time of year, we seem to always have a huge crop of new spinners and would-be spinners looking for information about getting started. So I thought I’d take a morning and pull together an overall post linking to things I’ve written on the subject and various other resources too. What’s more, I’ve been spending part of my holiday fixing and updating old posts with current information, so you may find a few new things.

Bear in mind this is a list of information and resources for those who are brand new to spinning; I’ve tried to keep from going too far into the more intermediate or potentially esoteric stuff that could be confusing for a beginner. We’ve got plenty of space for that under a heading other than “Getting Started.”

1. What do I need to get started spinning?

I wrote a whole post about that entitled
What do I need to get started spinning?
— start there! You can do it with as little as $5-10.

2. What kind of fiber should I get?

Here are a few suggestions. If you’re wondering what some of the terms mean, here’s an explanation, complete with handy pictures. You’ll need to register for a free account with Spin-Off and download the PDF, but it’s worth it — there are all kinds of great resources there.

3. Are there any books or magazines you recommend?

Interweave Press’ Spin-Off Magazine is a must. Start here and click every link there. I’m totally serious. Click them all. Under “Projects and Articles,” you can get to a wealth of online content — every issue has a few articles that are published online as well as in print. Those are here.There are also forums there where you can interact with other readers and the publishers.

Some excellent books:

Start Spinning by Maggie Casey. Maggie is the owner of Shuttles, Spindles and Skeins in Boulder, and a spinning teacher par excellence.

Spin Control by Amy King picks up where Maggie’s book leaves off, and teaches you how to take control of your yarn.

Respect The Spindle is my own humble offering in the field, dealing with spindle spinning topics from beginner to advanced.

Teach Yourself Visually: Handspinning by Judith MacKenzie McCuin. Judith is a major rock star of the spinning world, and deservedly so.

Spinning in the Old Way by Priscilla Gibson-Roberts is the canonical book about spinning with a high whorl spindle, and an excellent resource.

Spin It by Lee Raven. An excellent book for the new spinner.

Hands On Spinning by Lee Raven.

Spin to Knit by Shannon Okey. A great easy introduction to spinning for straightforward knitting projects.

Twisted Sister’s Sock Workbook by Lynne Vogel. Aimed at avid sock knitters, there’s plenty of spinning and dyeing info in here too.

Spinner’s Companion by Bobbie Irwin. A great all-around book.

The Intentional Spinner by Judith MacKenzie McCuin is not a total novice’s book, but is a wealth of information.

The All New Homespun, Handknit features projects to spin and knit for every level of spinner and knitter.

Productive Spindling by Amelia Garripoli is another great spindle reference.

Some DVDs:

Start Spinning, The DVD from Maggie Casey is the perfect 2-disc companion to her book. This is also available for download.

Drafting: The Long and Short Of It, my first instructional DVD, is a more intermediate DVD that goes into lots of detail about various fiber options, multiple ways to spin your yarn, and how to fine-tune what you’re doing to get exactly the results you want. You can download this from Interweave as well.

Respect The Spindle is more or less one of my spindle classes condensed to an hour in DVD form. It shows many of the techniques from the book, but also works fine as a standalone video. Like the others, it can be downloaded.

4. What about web sites and mailing lists?

There are tons! For a really long list, make sure you check out Interweave’s list of spinning links, which should be enough to keep you distracted and websurfing for days or weeks. Or even longer. I’m going to pick out a handful of online resources I recommend highly for new spinners, though.

One thing to bear in mind as you delve into the world wide web of spinny stuff is that as with anything online, there are good sources of information, and less good sources. It can be hard to know which is which. And whereas formal publication usually ends up being something done by people with a ton of experience in a given subject, casual publication like having a web site is something anybody can do. That doesn’t mean casual publications are bad — far from it! But it does mean, as a reader, that it pays off to spend a little time figuring out who’s giving you information, and what that person’s perspective is.

For example, my perspective is that of a spinning teacher and writer about spinning, who’s been at it for over 30 years in a variety of contexts. I will obviously see things differently from someone who started spinning a couple of months ago. Does that mean you should only read one of us? Absolutely not; but it’s worth thinking about the differences in perspective or experience, as you read things. Consider: my experience trying a brand-new prototype spinning wheel is probably not going to be the same as a brand-new spinner’s. Which perspective you’re after is up to you. You may be looking for instruction (in which case I’d recommend seeing what an experienced teacher has to say), or you may be looking for a peer group as you start out on your spinning journey (in which case, you’ll probably be most interested in meeting fellow new spinners). One of the fabulous things about the online spinning world is that you can have all of those things.

WEB PUBLICATIONS

  • Spindlicity is an online magazine for spinners, with lots of terrific how-to information, and more.
  • KnittySpin is the spinning focused section of web pioneer Knitty.

MAILING LISTS

Yahoo! features a number of great lists dealing with spinning.

WEB COMMUNITIES

FAVOURITE INSTRUCTIONAL BLOGS:

  • Spinning Spider Jenny Jenny Bakriges is a fabulous spinning teacher with a terrific instructional blog. Go, check her out, take her classes, await her forthcoming book just like the rest of us.
  • Ask The BellwetherAmelia is a wonder, and her blog is structured in a fabulous Q&A format and she’s an incredible wellspring of information.

I recommend reading ALL the blogs I read, but if you’re a new spinner looking for information, don’t miss Jenny and Amelia. I read hundreds of blogs and they are all fabulous, and they’re all linked at right.

Just for kicks, if you’re looking for some top picks from my own archives, read this 100th post..

5. Can you recommend any good videos on the web?

Well, I’ve got a few aimed at the complete spinning novice, even starting on a budget:

Although they aren’t used much, YouTube has groups! We have one for handspinning:

There’s a broad range of videos there already, and more being added all the time. These are added and vetted by experienced spinners and spinning teachers, and videos that aren’t solid information don’t make the cut for this group.

As with web sites, videos on YouTube vary wildly in terms of the quality of information they contain. There are some reasonably well-produced videos that contain horrible misinformation. Wherever possible, try to take a minute and figure out where the video came from — someone who spends a lot of time spinning, or someone who started a week or two ago? The more folks sharing what they do, the better — but be wary of authoritative pronouncements from people who haven’t been spinning any longer than you have! In fact, I’d almost go so far as to say that most people making really authoritative, “This is how you do it” pronouncements, instead of saying “Here’s one way to do this,” are relative novices.

Why do I think this matters with videos? Because ideally, I think you should be looking at good spinning practice, or good form, if you’re looking for something to emulate and practice. If this was dancing or gymnastics, I would be saying you’re better off watching someone who’s been dancing for years than someone who just started and has never been to a class or performed or anything.

In addition to YouTube, I recommend ispindle.com, courtesy of the folks behind the Spindlers yahoo group.

6. What are some great places to shop for spinning equipment and supplies?

Well, here are a few of my longstanding favourites. These are people who I can call up and say “Hey, do you have… or can you get… and is there anything like…” and who I trust with every fiber of my being (har har). These are the kinds of folks who you can go to with a dilemma and they’ll solve it. They’re the ones you can trust if you can’t make up your mind. These people are pillars of the larger fiber community. These are the people my family calls up to figure out what I should get for Christmas.

  • Carolina Homespun was my local shop when I lived in the SF Bay Area. If you are in that area, run, don’t walk, and then camp out and wait for Morgaine and Lann to let you in, if that’s what it takes. Make sure you visit them at every fiber show where you see them.
  • The Fold, better known as “Toni.” Not only does Toni Neil have an incredible full-service fiber shop — at least, I assume she does although I’ve never actually been to her shop, only her booth at various events, and dealt with her lots on the phone and in email — but she’s someone who Makes Stuff Happen. Like, she talked Jonathan Bosworth into making spindles. That kind of thing. I can’t say enough to praise Toni. I just can’t. She’s too fabulous.
  • The Spinning Loft is now my local fiber shop. Okay, it’s the entire length of my state and part of another away, in Howell, Michigan (near Ann Arbor), but Beth Smith is my go-to gal. She is one of the very few people — heck, she might be the ONLY person — who I trust to the point that if she says I don’t want to buy something I am positive I want, I just say “Okay, what do I want instead then?” and then go that route. Know why? Because she is always right, and down the road, the times I haven’t gone with her advice, I’ve wished I had.
  • The Bellwether is my friend Amelia, who very very often has that thing I’m looking for that nobody else has. I don’t know how she does it. She has stuff that nobody else does. And if I think something might be a good idea to do, she’s usually already done it and has advice about it, and she’ll share it honestly and courteously and caringly.
  • The Spunky Eclectic is run by my longtime friend Amy King, author of Spin Control. I’ll put it this way: I call Amy up when I need a treat for myself, and can’t figure out what it should be. I place standing orders with her, and when there’s a new product on the market, she’ll know about it, have tried it, and have the scoop. And she can Get Things Done. When I have a task I know I can’t get to in time, I can count on Amy to do it to my standards and beyond.
  • Village Spinning & Weaving is a fabulous shop in California, and another absolute don’t miss at any fiber event where they’ve got a booth.

If you’ve talked to that list of people, and they can’t find what you’re looking for? Then you can’t have it; it either doesn’t exist, is a treasure of rarity beyond compare and you have to hope someone’s leaving it for you in their will, or is backordered for however long they said. Seriously, if that list of people can’t make it happen for you fiberwise, nobody can. These are the folks you can call up in total chaos, confusion, despair, whatever — and they solve it, and give you a good deal besides.

7. Any other thoughts for a new spinner?

Just that, if there is any way at all for you to swing it, go meet other spinners. Take classes if you can, but even if you can’t or don’t want to, just meet other spinners. There are things about this that can’t be learned from books, videos, and so on. There are things that must be passed from one hand to another. You will get things out of a few minutes spent with other spinners that you can’t get out of years of spinning alone, even with the greatest references in the world.

Oh, and one more thing: this. Consider it a yarn manifesto, and enjoy.

That’s it! Please feel free to share your thoughts about being a new spinner, and any questions you might have, in the comments.

Choosing Your First Spinning Wheel

Updated as of 8 December 2014, to reflect the latest wheels on the market and latest pricing.

Choosing your first spinning wheel is somewhat like choosing your first car. There’s a level on which it doesn’t really matter exactly what it is, because it’s going to do the trick to get you started, and odds are it’s going to be a little while before you’ve refined your spinning and your ideals for your spinning to a point where you really know what your exact needs are.

HOW TO FIND A WHEEL

In some respects, the best spinning wheel to start out with is one that someone will let you borrow or rent; this is especially true if the person doing the lending is going to be able to spend some time with you in person showing you how it works and getting the ball rolling for you. If you have such an option, it’s an unbeatable first choice. You might be surprised at how readily you can find such an option, too: handweaver’s guilds and sometimes knitting guilds may have loaner wheels, and so may spinning teachers. Shops may do rentals and layaways. Experienced spinners may have extra wheels to lend out as well. At any time, I usually have at least one wheel out on loan to a new spinner — and often more than one.

The second best thing you can do is find a fiber shop or fiber show that you can get to in person, where there is a selection of wheels that you can try out, again with expertise handy to help you figure out how things work. This is what experienced spinners will generally tell a new spinner to do if at all possible — there are so many individual variables that it’s impossible for someone to be sure that what really works for one person will work as well for another person.

It’s not an absolute requirement that you find in-person assistance, but if you have never spun before, never seen anyone do it, and have no idea how wheels operate mechanically, it will make a huge difference to be able to get a little orientation. A few minutes with an experienced spinner can save you a world of frustration and possibly even prevent unnecessary damage to your equipment. If you absolutely can’t meet a real live spinner or do any in-person testing, don’t let that stop you from learning to spin — but if you have the option of going to a real full-service spin shop, or meeting with experienced spinners, don’t miss out. It’s an incredible leg up on getting started.

WHAT DO I NEED TO KNOW WHEN I GO SHOPPING?

Those things said, there are a few things to consider when you start wheel shopping, which a little advance thought about can really prepare you to get the most out of a trip to try out wheels. The first is your lifestyle: where, and when, do you expect to spin? Do you have a good-sized dedicated space that’s where you expect you will always be spinning, or are you uncertain? Do you want to be able to spin sitting on the sofa watching TV or visiting with other people? Do you think you’ll want to take your wheel with you from place to place, or travel with it? If nothing else, this can help you rule out choices because they simply won’t fit your lifestyle or your space.

The second thing to consider is if you have a sense of what kind of yarn you feel you’re most interested in spinning. Although a skilled handspinner can spin pretty much any kind of yarn on pretty much any type of equipment, the fact remains that different setups are not always best suited to the same things. Although the majority of modern “mass-produced” wheels are aimed at being multitaskers that can easily handle a wide range of things, if you know for certain that you have a specific interest that’s on one side of the spectrum or another, you might do well to choose a wheel that’s less aimed at versatility across the middle ground, and more tuneable for what you think you want to focus on specifically. If that’s the case, a good idea might be to contact people who you know regularly spin yarn like what you want to spin, and ask them what kind of wheel they use. Chances are spinners will be delighted to expound upon their wheel choices and give you all sorts of useful information that you can add to the pile of things to think about while you shop.

Most newer spinners shopping for a first wheel, however, are not likely to have complete confidence that they know exactly what they want to spin most of the time. In this case, it makes very good sense to choose one of the aforementioned multitasking wheels that currently dominate the spinning wheel market. In addition, many new spinners these days do not have ready access to a real live spinner who can help troubleshoot or answer questions or show things in person, and must rely on literature and the Internet for help. This can mean it’s a good idea to choose a wheel that many other people use, so help is just an email away, or even already present in searchable, archived mailing lists and forums on the web. Don’t discount how instantly you can find the answers to your questions by searching through past discussion! Chances are good that if you have a question, someone else had it first and it’s been answered. The Internet is a great resource.

NEW OR USED?

Used wheels can offer a great value, and with proper maintenance will retain essentially the same price value that you paid for it; if you decide you don’t like it after all and want to sell it, you’ll get almost all your money back. You can often get a much higher-end wheel used than you’d be able to afford brand-new; and sometimes, someone who is selling a used wheel will be selling it with a range of add-ons, accessories, and extras which they won’t be using anymore without that wheel.

However, as a new wheel spinner, it can be hard to know whether or not a used wheel is in good working condition and operating as it should. In some cases, people are selling wheels that have sat unused for a long period of time, often deteriorating or having pieces run off without anyone even realizing it. And sadly there are a handful of disreputable folks selling wheels that they know have problems, and such problems may not be apparent right at the outset. Consider, too, that you may not get much (or anything) in the way of documentation or manuals with a used wheel. You may be able to find such information online, but it’s not a guarantee, and even if you do, accuracy might not be 100% either.

WHERE TO LOOK FOR USED WHEELS

Don’t rule out a used wheel, but if you don’t have an experienced wheel spinner handy to help you evaluate it, or you can’t check it out in person, or you don’t really know the seller, be aware there are risks and potential frustrations that you might encounter with your purchase. Excellent sources for used wheels can be a local spinning and weaving guild (where you also might find rental or loaner wheels), local fiber or yarn shop (perhaps they’ve got a for sale bulletin board), and several online sources, such as the Spinners, Weavers & Knitters Housecleaning Pages, Facebook groups like All Fiber Equipment For Sale, and various for-sale and marketplace groups on Ravelry. Although there are often used spinning wheels on eBay, condition is a much more hit-or-miss proposition with those wheels than these two sources; and the same goes for the classified ads in your local paper, or your local Craigslist, where you might get very lucky, but you also might not. If you are able to make contact with other spinners via the Internet, ask them to take a look at online listings for you and give you an honest opinion before you buy. You could save yourself quite a bit of time, money, and disappointment.

A used wheel that isn’t in good working order can end up costing you more than buying new. This doesn’t mean there aren’t great deals out there, but don’t assume that $200 used wheel is actually a better deal than a $450 new one — it could easily cost you $250 to get it working again. Or more. If you aren’t sure, and you can’t spin on it, you may not want to take the chance.

ANTIQUE OR MODERN?

Antique wheels, while often beautiful, will be subject to all of the potential down sides of any used wheel, in some cases multiplied over a longer span of time. They also may be incomplete and really being sold as decorative items rather than working wheels, and can be expensively priced because of that as well. Even when an antique is in good working order, another thing to consider is that such wheels were generally made to spin specific kinds of yarn, and aren’t likely to be strong multitaskers. They’ll also often make use of more complicated systems to operate, and finding replacement parts or someone who can do repairs can be a bigger challenge. Unless you have someone handy who knows a lot about old wooden machines (or you are such a person), as well as about spinning, an antique wheel could pose a significant challenge for a new wheel spinner.

Most modern wheels, by contrast, are designed with versatility in mind rather than being aimed at production spinning of specific types of yarn; they often use modern materials and design elements like sealed ball bearings which make for less maintenance, simpler systems, and more readily replaceable parts.

While antique wheels are often quite fabulous, they can also be a labour of love to get working and to care for, and that doesn’t always make for an ideal first wheel experience. Does this mean you shouldn’t let your grandmother give you her old spinning wheel? Absolutely not — see the first paragraph of this article, that says a gift wheel is almost never worth turning away, and this is particularly true if it’s a wheel with which you have a personal connection. However, bear in mind it might not be the easiest first wheel in the world, and you might not be spinning the yarn of your dreams on it immediately.

Here’s how I boil this down: unless you are a spinner, don’t buy a used wheel from someone who isn’t a spinner. It’s like buying a used car from someone who’s never ridden in a car. They may not even know if it’s a spinning wheel. In fact, experienced spinners sit around all the time talking about the unbelievable thing they saw on craigslist (or wherever) that someone thought was a spinning wheel, but actually, it was a lamp or a plant stand or an antique grinder for wheat. There’s many a would-be spinner out there who has been taken in by a SWSO, or Spinning Wheel Shaped Object.

SINGLE VS. DOUBLE TREADLE

The cold hard truth of the matter here is that it pretty much doesn’t matter. Both systems work well, both are implemented in a variety of different ways, and there are good ones and bad ones of either variety. If you happen to know (say, from having used a treadle sewing machine) that you really like, or really hate, one kind of treadle mechanism or another, you can take that into consideration — but barring a known physical problem that pushes you to one side or another of the debate, the bottom line is, this is a question of personal preference. Don’t rule out a wheel because it’s one or the other, unless you’ve tried it or you have firm and absolute reason that you must have one or the other (like you only have one leg you can use to treadle, or you have knee problems that rule out getting one leg very tired). As it happens, I have the latter issue, so most of my wheels are double treadle — but I do have at least one single treadle wheel which causes me no trouble at all because I can switch legs easily, so long as I remember to do so. I also have multiple double treadle wheels which can be operated with only one foot.

You can spend a lot of time thinking about whether you want single or double treadle, and the truth of the matter is, it’s not worth worrying about extensively in most cases, not for a first wheel. Let your gut decide.

SCOTCH TENSION, DOUBLE DRIVE, WHAT?

The short answer here, too, is that it sort of doesn’t matter, because as a new wheel spinner you don’t have preferences yet, and whatever you learn with is going to be part of what shapes those preferences, at least for a while.

The longer answer is that there are basically two kinds of systems for driving spinning wheels, and these are single drive and double drive. In single drive, the drive wheel is connected via a drive band to only one thing, a whorl connected to either the bobbin or the flyer. In double drive, your drive wheel (the big wheel) is connected via a drive band to both of those things. A single drive wheel has a drive band that is one single loop, and only drives one thing; a double drive wheel has a longer drive band that is in two loops and it drives two things — the bobbin and the flyer.


Double Drive

In order for a bobbin and flyer mechanism to allow yarn to wind on to the bobbin, both things need to be able to turn together at the same speed, and turn at different rates; when they’re turning in unison yarn isn’t winding on, and when they’re turning at different rates, yarn will wind on to the bobbin. Depending on the setup, and how you have things configured, the amount of pull you’ll feel on the yarn as you’re spinning is going to vary. So, all types of flyer wheels do offer some mechanism by which you can adjust this. On a double drive wheel, it’s generally adjusted by managing how tight the drive band is, which can be done in various ways. Examples of double drive spinning wheels include the Schacht Matchless, most antique Saxony-style wheels, and double drive Ashfords and Kromskis. Most modern double drive wheels can also be easily rigged as single drive wheels, operating in either Irish tension or Scotch tension mode (see below).

With single drive, braking action is applied to whatever item is not being driven by the drive band. If your drive band goes around a whorl attached to the bobbin, the bobbin is the thing that will start moving first, and this is called a bobbin lead system. In this case, braking action will be applied to the flyer, often with a leather strap that goes across the front of the flyer near the orifice. How tight this strap is controls how hard the pull is on your yarn as you are spinning. Single drive and bobbin lead with a flyer brake is sometimes called Irish tension. Examples of Irish tension wheels are most Babes, most older Louet wheels, and the Roberta electric spinner.


Single Drive (in this case, flyer lead or Scotch tension)

If, on the other hand, your drive band goes around a whorl connected to the flyer, then the flyer will move first, and the bobbin will follow after, and braking action must be applied to the bobbin in order to allow for wind-on to happen. This type of setup is commonly called Scotch tension. You can identify a scotch tension wheel by the presence of a separate brake band that goes around only the bobbin, often with one or more springs attached to it, and a knob to turn that tightens that brake band. Examples of Scotch tension wheels are the Lendrum upright, Majacraft wheels, the Louet Victoria and Julia.

There are good, and bad, implementations of all of these systems. For the purpose of talking about a first spinning wheel, though, I’m going to generalize a bit about wheels in more entry-level price ranges (which means these generalizations may not apply to someone’s $2500+ custom wheel). Double drive wheels have the most consistent pull-in, but are the finickiest to adjust. Bobbin lead single drive wheels have the easiest treadling action, but the strongest pull-in and it’s hard to get the takeup really really light. Flyer lead single drive wheels using scotch tension offer the easiest-to-change takeup settings that span the widest range, but can be fiddly and require a lot of minute adjustments as you go, particularly in low-cost implementations.

So what does this mean? In my opinion, if you know you want to spin a lot of fine yarn, go with double drive or scotch tension. If you want to spin more bulky yarn than anything else, go with bobbin lead single drive (irish tension) or flyer lead single drive (scotch tension). Yes, you can spin anything with anything if you’re a good spinner, but that doesn’t mean you have to, or that it must be your first choice. Spinning a thick, low-twist yarn on double drive can be frustrating and require more fiddling, and the same thing is true of spinning extremely fine with bobbin lead single drive wheels.

Just as an added consideration, any double drive wheel could, with relative ease, also be manufactured to include a scotch tension setup option, and there are a number of wheels on the market today which offer exactly that combination. These are extremely versatile wheels that offer a lot of room to grow.

WHAT ABOUT DRIVE RATIOS?

Drive ratios, too, affect the type of yarn you can easily and comfortably spin on a given wheel. For a lot more detail on this subject, take a look at my recent articles about drive wheel size and drive ratios, here. The short version is that bigger numbers in the drive ratios mean the twist gets in your yarn faster, which is great for fine yarns; smaller numbers mean the twist goes in slower, which is great for fat yarns. I generally recommend that new wheel spinners look for a wheel which can use a fairly wide range of ratios, as this is a key element in versatility, and one of the things about spinning with a wheel that really uses mechanical advantage in ways that broadens a spinner’s capabilities. Drive ratios are like gears on a bicycle or in a car; you want several, for different purposes, in order to get the most out of your equipment.

WHAT ABOUT BOBBINS AND ACCESSORIES?

Ah yes, bobbins and accessories! If you expect to spin a lot of 2-ply yarn, odds are you’ll want a minimum of 3 bobbins. If you are looking to spin 3-ply yarn, go with 4. When you’re looking at wheel prices, also look at what they come with in terms of bobbins, flyers, and any accessories — and price those out individually. You may very well find that some new wheel packages are significantly better buys than they appear simply by looking at the numbers on the total packages — they’re not all the same.

If you’re looking for a setup you won’t outgrow quickly, and that won’t send you back shopping for a few more things in very short order, I recommend either choosing a new wheel package that comes with 4 bobbins and a lazy kate that can hold 3 bobbins, or else buying an additional bobbin and a 3-bobbin lazy kate. Another accessory you’ll likely find very useful is a skeiner or a niddy-noddy, for making skeins from your yarn, which you’ll want to do in order to wash it and finish it and so forth.

Many (probably most) antique wheels will feature only one bobbin. This was common in the era where interchangeable parts were not necessarily easy to manufacture, and where each flyer and bobbin array is a meticulously crafted and matched set that should never be broken up. If you fall in love with a one-bobbin wheel, that doesn’t mean it’s a deal breaker; it just means you may want to invest in something additional, like a bobbin winder and some storage bobbins, in order to get the spinning setup you’re after, because you’ll have to wind off your spun yarn and empty your bobbin any time you fill it up.

By the way: Because there are such things as bobbin winders and cheap bobbins you can usually feel confident that you don’t have to have more than 4 bobbins. So this means you don’t necessarily need to worry if the wheel you love uses expensive bobbins.

WHAT ABOUT ELECTRIC SPINNERS?

In the past five years or so, there has been a surge in the popularity of electric, or motorized, spinning equipment. These consist of a flyer and bobbin array driven by a motor. Because there is no need for a large drive wheel or treadles, they can be made very small, and some can be driven by portable batteries in addition to being plugged into the wall.

Let’s address two common myths: first, that e-spinners are “cheating.” Seriously? Not any more than spindles are cheating because, unlike just using your hands, they give you a place to store yarn you’re making, and they let you set it in motion quickly to generate twist rapidly. An e-spinner won’t actually make it easier to make yarn; you still have to learn all the hand stuff. And that brings me to the next myth: that an e-spinner will make you faster. This is most likely not the case. Most e-spinners function in the same general range of possible twists generated per minute as most wheels do, and most contemporary spinners — certainly new ones — don’t spin that fast anyway.

One possible down side is that a lot of instructional content focuses on procedures like counting treadles, or adjusting ratios. Those aren’t relevant to spinning with an e-spinner, so you’ll have to find other sources of information or your own ways to deal with those questions. I don’t think this is a big deal; you also can’t count treadles with a spindle, but you can make a lot of yarn with one. A more likely down side is that most spinners subconsciously adjust a lot of things to sync their treadling speed with their hands, speeding up and slowing down without realizing it. E-spinners don’t have that capability unless equipped with a rheostat foot pedal, which still feels different, and so one of the things that can feel strange is the relentless, ceaseless steadiness with which they deliver twist. Some people simply do not like that feeling.

The really big down side to a lot of e-spinners? They’re not very quiet. This is a hard thing to work through, because in a lot of the settings where you might go try out an e-spinner, it’s going to be noisy and you’ll have a hard time telling if the machine is noisy enough to bother you or people sitting with you while you spin. One of the things that makes the pricier e-spinners pricier is that they are quieter; the top-of-the-line ones are very quiet indeed.

All of those things being said, e-spinners are the penultimate (which is to say, just shy of being the ultimate — What’s the ultimate in portability? A spindle, of course!) in portable spinning solutions, with many being the size of a shoebox, and that small size is enough to make them appealing to a lot of people. What’s more, because you don’t have to treadle to power the device, if you’re someone who has foot, ankle, or knee issues, an e-spinner can make it possible for you to enjoy spinning with a flyer setup. If you can’t sit and treadle for a long time, an e-spinner might be the answer you’re after.

This is a lot of information. Just tell me what I want.

Okay, okay. For a “you can’t go wrong” versatile, general-purpose first spinning wheel, I think you want one that offers the following:

  • a good range of ratios, or add-on kits that can extend the ratios you spin at
  • a scotch tension wheel, or double drive wheel that can be rigged for scotch tension
  • a wheel that either comes with multiple flyers and different sizes of bobbins, or for which that’s available
  • a modern spinning wheel, not an antique
  • at least 4 bobbins total, and a lazy kate or similar device to hold 3 of them
  • a wheel that you can try out in person and make sure you actually like how it feels!

So how much can you expect to pay for all these things? Used, it very much depends; $150-500 for a lot of entry-priced, very solid wheels with all accessories, in good working order, though there are custom and high-end wheels on the used market as well, which can be priced much higher.

WHERE SHOULD I SHOP?

Please note that the following prices on new wheels factor in costs such as tax and shipping; and on sale, it may be possible to find them a little cheaper. When shopping for a new wheel, I definitely recommend a new spinner try to purchase one from a full-service spin shop, ideally one close enough to go visit for service and support if necessary. Obviously, not everyone will have a local (or even local-ish) fiber shop, so if you don’t, I’d recommend mail-ordering from a great and reputable dealer who’s been in the business for a while and carries a wide range of products for spinning. Your dealer is your first line of support, and can make a huge difference for you. Even though I am a very experienced spinner and am regularly in direct contact with wheel builders, I still usually get my wheels, parts and service through a handful of dealers I’ve known for a long time. Those dealers with whom I have longstanding relationships know me, know what’s coming out on the market, and can always give me the fastest service and support that’s most tailored to my needs. What’s more, they’re available on a retail schedule, which wheel builders may not be.

WHAT CAN I GET FOR MY BUDGET?

Following are my picks for strong multi-tasking wheels in each price range.

New, for around $300, you can get something from Babe’s Fiber Garden. These are consistent and reliable performers made from PVC, you can get similar accessories and in some cases make your own, and they’re all but indestructible. They’re a great value, and Nels Wiberg, their maker, is a great guy who stands by his products. There is a strong and vibrant community of Babe aficionados who can provide you with a lot of advice about these wheels. Babe’s is transitioning to its new owners as of the start of 2014, and extending its lineup as well.

For around $400, you can get a Fricke S-160. These are durable, rugged, very versatile, quiet, and low maintenance. By default, they come with a delta orifice, but a standard tube orifice is also available. If you don’t know what that means, don’t worry — you probably don’t care yet, and won’t until after you have some spinning miles on your odometer.

For around $500, you can choose from offerings from Ashford (the Honda Civic of the textile world — everyone has one, or has had one, so everyone knows how they work, you can always find a used one and you know you can sell yours used too), and Kromski. In addition to its line of traditionally-styled wheels, Kromski offers the Sonata ($600-700), a folding wheel with sealed bearings for lower maintenance (priced higher, see below) and Fantasia (in the $500 range, less unfinished), a very competitive entry-priced wheel with sealed bearings and a modern sliding hook flyer, allowing you to fine tune how you fill your bobbins. Similar flyers are available now for Ashford and Fricke, most Louet wheels, and have been standard on Majacraft and Lendrum for decades.

The Kromski wheels are the most affordable “traditional-looking” and decorative wheels around, so if a historical look is important to you, these are in my opinion your best options. In this same price range, if super-mega-extreme fine yarn (and I mean as in the kind of laceweight yarn you use for a wedding ring shawl) is not an immediate interest for you, consider bobbin lead offerings from Louet, which are modern in design, durable, and much loved by their owners for their extremely strong performance and ease of maintenance. These wheels, such as the S17, S10, and S75 are icons of the spinning world — especially the S10, which is quite possibly the most indestructible wheel ever built, even without factoring in Louet’s superb lifetime warranty.

Perhaps the strongest offering to come on the scene in this price range in the past decade is the Majacraft Pioneer — fully compatible with all Majacraft accessories except the accelerator head, the Pioneer is an exceptional value in a wheel you won’t outgrow soon. I’d rate this wheel as the most versatile all-around option around $600, although it faces very stiff competition from Schacht’s Ladybug wheel — in fact, the only thing that makes me pick the Pioneer over the Ladybug is that Majacraft has a more varied line of accessories. However, Schacht’s accessories are incredibly well-designed and tested by a wide range of spinners, and they work beautifully for an extremely broad range of wants.

For around $700, an extremely popular choice is the Lendrum folding wheel, or a Fricke that’s been equipped with level-wind flyer and bobbins. New in the past couple of years from Schacht, the Ladybug is a terrific lower-priced sibling to Schacht’s venerable flagship wheel, the Matchless. Capable of double drive and scotch tension, and with all bobbins, flyers, and accessories entirely compatible with the Matchless, the Ladybug is a winner for any spinner at any level. Also in this price range you can get Louet’s Julia, a wheel with all the benefits of Louet’s experience and warranty and everything, in scotch tension.

So what’s my number one recommendation, supposing you just have to order something right this minute, and you can’t go try anything out, and you want to get the best bang for the buck? Well, it still depends somewhat on you. All around, The Fricke S-160, which of all the teaching wheels and student wheels I’ve owned over the years, is the only one I’ve kept, and the one I find most of my students get the most mileage out of the fastest, and keep the longest. The number 2 spot goes to the Lendrum, followed closely by a tie between the Majacraft Pioneer or the Schacht Ladybug, with Louet’s Julia rounding out the top 5.

Supposing the same thing, but adding in a desire for historical appearance combined with modern conveniences like interchangeable bobbins and add-on flyers, I recommend the Kromski Minstrel or one of their larger Saxony-style wheels.

Supposing you’ve no idea if you’ll like having a wheel and you don’t know how long you’ll keep it and you want to be sure you can destash it quickly, get the ubiquitous Ashford Kiwi, Traveller, or Joy, or look for one of these used. For my money, Ashford’s best value is in its workhorse Traditional wheel — many spinners have had a Traddy and nothing else for decades and they’re easy to keep running and get fixed.

WHO MAKES SPINNING WHEELS?

Almost nobody, in real life. Seriously — I’d be willing to bet there are more people who have recorded albums of classical music played on the kazoo than there are people who make spinning wheels in the 21st century. Even the largest makers of spinning wheels have fewer employees than a typical small town fast food franchise, and mostly, they’re family operations. In other words, there really is a Barry Schacht, a Richard Ashford, a Jan Louet, a Gord Lendrum, and so forth. So no matter what brand you buy, you can feel confident that you’re buying from a small, independent business. It just might be one that has been small and independent for 40+ years. But even the “big names” are mom and pop operations.

Longer-standing spinning wheel makers will have dealer networks who can supply you with service and support, and generally produce in sufficient quantity to meet ongoing demand meaning there will be wheels in stock at those dealers. Since they’re production items, that also means buying things like more bobbins, add-ons, or replacement parts will tend to be easier. What’s more, since there will tend to be large numbers of wheels out there from longer-standing makers, you’re more likely to be able to find support online from the extended community of spinners who will know how your equipment is supposed to work just from you saying “It’s an Ashford Kiwi” or what have you. They’ll also have had the opportunity to work out the kinks in their designs, which can be a really big deal for a new spinner who doesn’t know yet if problems are encountered with the wheel, the fiber, or the technique.

This doesn’t mean you shouldn’t take a chance on a new maker if the deal is right (or right in front of you). It just means that, if you’re hoping to buy a wheel and ask the internet how it should work, you might be happiest being able to say “I can’t figure out why my Schacht Ladybug feels stiff to treadle,” and hearing immediately from a bunch of people who also have Ladybugs in front of them.

WHY AREN’T SPINNING WHEELS CHEAPER?

There’s a lot of stuff on a spinning wheel that takes attention to detail in order to make it work well. Yes, these are very simple machines, but they’re machines that have to work seamlessly in concert with a human being, and that’s not easy. There are many moving parts and wheels need to be quiet enough that you can stand to sit at them, or that other people don’t hate sitting in the same room as you. These moving parts also need to handle wear and tear and sometimes be replaceable or interchangeable with others. At first blush, many people think “How on earth can these things start at $400 new?” and I really get that it’s a lot of money to put out for a new hobby, which is the big reason why it’s common for people to suggest learning to spin with a spindle first — they’ll almost always be cheaper than wheels. It’s also why I recommend looking for spinners near you as a first move.

WHAT ABOUT BUILDING MY OWN WHEEL?

Spinners on a budget often ask if I’d recommend building a spinning wheel, potentially using some of the low-cost plans out there, as a way to save money getting a working wheel. My answer is always no — not if your goal is to save money. There are lots of other great reasons to build a spinning wheel, which could be a tremendously enjoyable and rewarding project. However, it’s a tricky one to tackle without some knowledge of spinning, wheel types and wheel mechanics, and some mechanical aptitude as well as general building / carpentry / woodworking skill. Even master woodworkers and mechanics have made spinning wheels that don’t perform well. A lot goes into building a good wheel. So, I wouldn’t generally recommend building a wheel from scratch in order to learn to spin, any more than I would recommend building a bicycle from scratch to learn to ride a bicycle. It’s just very hard to know if you’re on the mark, and once learning, hard to know if a problem you’re having is you or the equipment. This doesn’t mean it’s not a great project to do — just that it may not be the ideal way to get your first spinning wheel, and most likely won’t save you anything in the way of money if you’re looking at a flyer wheel.

What if the wheel plan you’re looking at is for a driven spindle? In that case, you may be able to do it very cheaply indeed — but you’re also going to get something entirely different from a flyer wheel. That’s not bad, but what draws a lot of new spinners to look for their first flyer wheels is the search for a shallower learning curve to achieve productivity than the handspindle typically offers. I love spindle wheels, and would never say one doesn’t make a good first wheel (actually, my first wheel was an antique great wheel) — but you should know it’s a different experience than you may be thinking of when you’re a new spinner considering a first spinning wheel.

A FINAL NOTE

The specific wheels I’ve discussed are all generalist wheels, multi-taskers, and I’ve left out serious travel wheels, specialty wheels, driven spindles, and wheels priced over about $1000. Price ranges given figure for paying tax or shipping and possibly an extra bobbin or something of that nature. I’ll cover wheels upwards of $1000 at another time, but generally set that as a likely ceiling for a first wheel purchase. Links provided are to wheel manufacturers or reviewers, and not to vendors; I strongly recommend finding a local fiber shop if at all possible, and giving them your support as well as making use of them as a resource.

If you have questions or comments about any of these wheels, I’d love to hear them — please don’t hesitate to leave a comment and share your experiences, or ask about wheels not mentioned here.

Singles, Two-Ply, Three-Ply, and Wraps Per Inch

A common stumper for many spinners working on producing yarn to a specific thickness involves the question of plying structures. How many plies do you want? How do you know how thick or thin to spin your singles if you know how many plies you want to use?

When you get right down to it, the best answer to this series of questions is to do a series of samples. A couple of years ago, I did just that while designing a yarn for a friend (read more here). Sampling is the only way to be sure. There are lots of variables between fiber and preparations, and even more things that vary from spinner to spinner. There is no single formula that will answer these questions for all possible cases. However, there are some generalities it can be useful to know.

singles yarn
Singles yarn

First, let’s talk about structure and define our terms. A singles is, well, a single strand if you’re a handspinner. At its most technical, some define it as being a yarn which is twisted in only a single direction, so you can technically have yarn composed of multiple strands, but if there’s only one direction of twist it’s still a singles. There are contemporary yarns spun at the mill which are like this — roller-drafted down to being very fine, assembled with multiple strands, then introduced to twist. I can’t really think of a good and functional way to replicate that as a handspinner though, or of a good reason to do so, but it’s relevant to the question of what a singles yarn is.


2-ply yarn

3-ply yarn
3-ply yarn

A plied yarn is one where multiple strands of yarn — already spun yarn — are put together and twisted in the opposite direction from that in which they were first twisted. A 2-ply yarn has two strands; a 3-ply yarn has three. A cabled yarn is a plied yarn which is plied again in turn, going back the other way from that in which it was first plied (so, the same direction as the singles were spun). There are lots and lots of other plying structures, but those are the only ones we’re going to talk about right now, and we’re only going to be seeing pictures of singles, 2-ply, and 3-ply. We’re keeping it simple!

Any time you ply your yarn, you’re making it stronger. This is because twist adds strength; multiple directions of twist add even more strength. You’re also tucking some of the surface of the yarn inside, away from the elements and wear and tear. Plied yarns will always be stronger and sturdier than singles yarns. For some applications, they also bring the benefit of counteracting twist energy in the singles yarn, such that plying can eliminate the risk of bias or skew in certain types of yarn uses — like some knitting. The nitty gritty of that subject, too, we will be leaving for another day. For now, suffice it to say that more strands make a yarn stronger, and more kinds of twist make a yarn stronger.

But this is only one reason to ply your yarns. Plying can also even out unevenness in your singles — whether we’re talking about varying amounts of twist throughout your yarn, or getting a little thick and thin, or pretty much anything. Plying regularizes your yarn, and also changes how the yarn behaves, how it feels, and how finished fabrics made from it behave and feel. In general, a 2-ply yarn will have a somewhat nubbly texture — the two strands twist around each other and there are little bumps. Judith MacKenzie McCuin likes to say that a 2-ply yarn, properly plied, looks like a string of pearls.

2-ply yarn
2-ply yarn

By contrast, a 3-ply yarn has a smooth, even surface. Instead of twisting around each other, the three strands in a 3-ply spiral around a hollow core.


3-ply yarn

Yarns with more than 3 plies essentially behave the same as 3-plies; we could say “3-or-more-plies” as handspinners, but we don’t usually bother. You aren’t going to get the same kind of structural changes from going from 3 to 4 plies, or 3 to 8 plies, as you would get going from a single to 2 to 3.

Now then, if you take your plied yarn — whether it’s 2-ply or 3-ply — and then ply it against itself again, like we were saying, you get a cabled yarn. These tend to be very nubbly in texture, but extremely even in thickness.


Cabled yarn

In general, 2-ply yarns will tend to grab hold of each other, and it’s said this is a reason for their popularity in weaving. They make very stable woven fabrics. By contrast, 3-plies are a little slipperier and slinkier, so they tend to make drapy woven fabrics. Cables tend to create textural effects in weaving.

In knitting and crochet, 2-plies spread outward in the stitch, meaning they block out huge for things like lace. 3-plies tend to come together in the stitch, making a fuller fabric that is still stretchy, so they’re popular for socks, sweaters, hats, mittens, and so forth. Cabled yarns have some texture, but make a really cohesive fabric that’s stable and a little neutral, so they’re popular for textural stitch patterns or cable patterns.

So let’s look at that all again, in knit swatches that are backlit so you can really see how the fabric looks. Singles yarn:

2-ply yarn:

3-ply yarn:

Cabled yarn:

Allright. This should be plenty for you to ponder what sort of plying structure you’re aiming for, so on to the next question: how much difference is there in thickness depending on how you ply? I took an opportunity during my BFL binge recently to document some of this for you.

First, I spun these singles:

Because I’m sometimes too lazy to change my double drive bobbin, I spun all three sets of singles onto the same bobbin, separating them with a little bit of white wool of a different type — a yarn delimiter, if you will (I know — the geek is showing). Once everything was spun up, I rewound onto three separate storage bbbbins…

…stopping and changing when I got to the delimiter.

This got me three similarly-full (but not exactly so) bobbins. The leftovers would come in handy documenting things for this post.

I put ‘em on my Will Taylor Kate, and plied ‘em up. I ended up with a nice big skein of 3-ply yarn, a little waste skein of 2-ply, and a bit of leftover singles. I measured these all at this stage of the game.


Singles, unfinished: 42 wraps per inch


2-ply, unfinished: 27 wraps per inch


3-py, unfinished: 17 wraps per inch

So, interesting! A lot of people think the 2-ply would be double the thickness of the single, but it isn’t so. It’s thinner than that. So what about the 3-ply? Is it 3 times the thickness of the single? Nope; it’s a bit more than twice as thick as the single.

The story isn’t over, though. Washing the yarn is going to change it again. I took my plied samples upstairs — ignoring the little bit of singles for now, because what we’re really talking about here is how we want that single to look while we’re spinning it, relative to the yarn we’re shooting for in the end.

I ran a sink full of water as hot as I could get the tap to produce. I poured in a little bit of Eucalan. I threw the 2-ply and 3-ply yarns in there, and left. I went back some 20 minutes later, and gave those skeins a good swishing around in the hot water, which by now was still hot, it’s true, but not so hot I wouldn’t stick my hands in it. I pulled the skeins out, wrung them out (seriously, I did), and drained the sink, replacing it with a sink full of cold water. I rinsed the skeins in the cold water, pulled them out, wrung them out, put my hands inside the loop of the skein, and snapped it open a few times. Then I just hung it up to dry on a clothes hanger on the towel rack, and ignored it till the next morning.

That left me with this skein of 3-ply yarn, and a little 2-ply sample. I measured these for wraps per inch, to compare to our earlier numbers.

And now the 2-ply, with moderate twist, measures in at 19 wraps per inch — thickened up from the 27 it was before washing. And that is pretty close to twice as thick as the unfinished singles.

And the 3-ply came in at 13 wraps per inch — or about 3.3 times as thick as the unfinished singles we were spinning.

In general, I find a 2-ply is usually a little less than twice as thick as the single I’m spinning, and a 3-ply is usually a little more than three times as thick — but remember, there are lots of variables, and to be sure, you will need to do a sample.

Whew.

There are those teachers out there who are vastly more experienced and graceful than I am, and were able to blog from SOAR. I think Sara’s secret is that she does not sleep, and that this in fact is part of what gives her the opportunity to make all the rest of us look like total disorganized slackers — as I’ll note that she’s the only SOAR mentor who blogged at all during the week.

I arrived Sunday afternoon, confident that my shipped materials had already arrived. I had shipped my Louet S45 and Louet Julia, along with 110 spindles and a huge pile of fiber, much of it in packets ready to go for my workshop. I had packed an Ashford Joy in my hard-sided suitcase, and was carrying on my Victoria and my laptop bag. I was pretty sure all my prep time would pay off with the hectic week to come.

Just as I was getting out of the airport limo at the hotel, I spotted a familiar face unloading from a van in front of me: Paulino Huarhua, husband of Nilda Callañaupa, my lifelong friend and mentor who I knew was coming to teach at SOAR as well. Just inside the door, there was Nilda, along with a lady named Aquilina Castro, and there too were a whole slew of folks I hadn’t seen since last year’s SOAR: folks with whom I’d spent one week, and undeniably forged incredible bonds.

We went to the introduction session, where I realized I had totally forgotten to prepare an answer to the mentor question: what one piece of advice would you give someone who is just starting out spinning? I seriously considered simply saying “Take a class!” and sitting back down, but that seemed wrong. So then I thought about saying “Take a class, and here’s why!” and explaining it, but then that seemed… I don’t know. Sort of like I was preaching to the choir, to say that at SOAR. Plus, you know: “Hi, I’m a teacher. Take a class!” I wracked my brains while the list of folks whose last names started with letters before F gave their advice. Then it was my turn. I know I said I couldn’t pick just one, and that I had three things… but now, after it’s all over, I can only remember one: that spinning is really a pretty low risk proposition. You’re not likely to poke your eye out or be seriously injured and you’re not likely to cause major damage to person or property other than yourself either. Worst case, you’ll get a result you don’t like, and even if that happens, you’re going to learn something.

Then I said more words. I’m usually pretty decent at finding words to say. Or so I’ve been told. Then we were off to dinner, which seemed to last forever, and as fatigue started to settle in, Denny and I went to go set up my classroom, which I’d looked at only briefly. It had been neatly arrayed with a table at front and several rows of chairs… you know, classroom style. That order had to be destroyed.

Ah, there’s a start… you really need a circle in my opinion, with everyone facing in. You could do it other ways I suppose, but the circle is best. Denny helped me arrange chairs and get things set up.

I like to stake out my spot in advance if I can — I want a power position of course! I want to be able to see the whole classroom, but get in and out with relative ease if I need to; I need an area close at hand to stash things; I want to be able to see the door so that if something unforeseen comes in, I can be prepared. I don’t want the coffee service guys coming in and me not knowing! I don’t want the class distracted by something and I don’t know what it is! No, teaching a class is a little bit of a control freak thing where you have to set up the room to your best advantage. I want people to walk in the door and feel like they’re in a welcoming, yet controlled, environment, with me as benevolent dictator. Totally.

Denny is very helpful. She talks a lot of trash and isn’t the meek type, but she’s a get-things-done kinda gal. A trained professional, really. I’m very fortunate with my permanently-assigned SOAR roommate. We were thrown together last year as newbie scholarship recipients, and it really worked out.

It was her suggestion, in fact, that photos needed to be taken before and after the workshop. “You know you trash the place at all your gigs,” she pointed out. So yeah. Observe above the neatly ordered fiber packets with the little booklet about what we’ll cover. Observe… well you can’t, but there are 2 extra spots set up just in case. Anything could happen, and it usually does, so I like to be ready just in case. JUST IN CASE!

Denny also clearly snuck in with my camera at some point because I found these when I pulled off the photos — I thought I had nothing but the before and after shots, on account of how hard it was to take my camera with me and take pictures. Bad, bad blogger. I should be fired. Anyway, she snuck in and took some great pictures to show how I really need to be hitting the gym.

I suspect that here, I’m attempting to convince people that sampling really can be a low-risk, low-investment proposition — the sort of thing you can do the basics of using nothing more than the little teeny bit of fiber someone’ll give you while you’re shopping. Yeah, you heard me: we talked about how to shop for a purpose too. Because shopping, er I mean fiber selection, is totally part of the whole equation.

I did ultimately have to explain to victims students that I am, in fact, such a professional smartass that Interweave had made me a nametag that said so. Seriously. Then they borrowed it for setting up the workshop review session, in which they nobly demonstrated the many valuable things we learned in class.

Here, Kelly is demonstrating the proper technique for practicing one-handed long draw. If you have one hand totally tied up doing something important like managing your beer, you’ll have a harder time getting it into the mix with your spinning. It works, I swear! You could also use a cup of coffee or tea or something I suppose. But beer is traditional. No, seriously. It’s way important.

Speaking of beer, the Poconos are a great source of an old favourite of mine.

Mmmmm. And it was only $3 at hotel bar prices even. But there was also cheap swill of course. Never let it be thought that Phreadde and Dan would fail in that department!

Nobody could escape the cheap swill. It is best served very cold, in a disposable vessel.

Aquilina, who is from Pitumarca, Peru, is an astounding master weaver (and thus by extension, spinner and more). This was her first trip outside of Peru and she handled it all with enormous grace and aplomb — far more than most people would if plopped in the middle of a bunch of crazy yarn people in a creaky old hotel with weird food where you don’t speak the language or even have any way of knowing how much ricotta would usually be in the ravioli (which is not a common dish in Peru).

In addition to being well-known as a weaver and spinner, Aquilina is in high demand in her region for her talents as an entertainer — a singer of songs for all occasions, definitely someone who knows how to be the life of the party.

I was truly thrilled by the two-way exchanges everyone shared with folks from Peru: trying out wheels and fibers, sharing projects, so much of the lore of hands that was exchanged in both directions, which is something that isn’t always the case when folks come from somewhere else to share their expertise. This is part of what makes SOAR so different from many other events where fiber knowledge is shared: everyone there, the entire community, is a mentor and a teacher and someone with something to share, and everyone does — even those who are incredibly new to spinning have things to share, and it’s all treasured.

It was also wonderful to see Andean textiles for sale to an audience who understood them to a far greater degree than is typical. Helping out a little in Nilda’s booth at the market, I heard people say “Wait, this is cochineal? And so is this? Is it different mordants? Tell me more about the process!” and “Wow, the way the decreases and shaping are worked seamlessly with intricate colourwork in this hat… wow… from the purl side, you say? Huh…” and “Omigod, the spinning alone in this piece must be a year’s work!” If you’re a spinner, and you’ve talked with folks who don’t spin or knit or anything… you know how hard it is to convey the work that goes into an individual textile. Now imagine trying to do that across cultural and language barriers. Imagine spending a lifetime getting good at doing so… then going somewhere where you don’t have to. Seriously. Imagine. The shared love of all things fiber, the common willingness to really get your hands in there — it makes a foreign world less foreign, whether it’s a gringo going to Peru or a Peruvian in the Poconos.

I totally failed to take a picture of my mother, who came up for a visit, and brought my niece. I didn’t get a picture of Nilda and her husband Paulino. I didn’t get a picture of young Maggie Smith, 7-year-old scholarship recipient, who taught my almost-12 niece to spin with a spindle, then dragged her to the Schacht booth to get her started with a wheel. And speaking of Maggie, she did fabulously at her first SOAR. I’m so proud to know her… and even prouder and more awed by the incredibly precious gift she gave me: her very first finished object.

Seriously. Her very first FO. No lie. A knitted scarf from her own handspun — her first knitting, her first finished object. I didn’t want to take it off. A gift like that is precious. It is a once-in-a-lifetime treasure.

I didn’t get any pictures of my retreat sessions. Folks brought wonderful and fascinating spindles, and my only disappointment was not getting to spend more time talking about some of them, and not getting to sit with Triste, textile scholar extraordinaire, to discuss the subject in more detail.

I swear I tried to do what Sara Lamb and Deb Menz told me to, and make a checklist of everything to be sure I said, because by the time I was going through 4 classes of the same topic in a row I’d totally forget what I had and hadn’t said. That helped; but it wasn’t enough. But even so, every class is different. Every group of people is different; every single time, a teacher must be prepared to rise to the occasion and teach differently. I hope I pulled it off. I hope it was fun. I know I had fun, sharing spindle obsession with about 80 people over 2 days of retreats.

That’s the real privilege of being a mentor at SOAR: you get to share your pursuits with around 100 people in a classroom setting, and another several hundred informally in the hall, waiting for dinner, standing by the bar, walking through the gallery.

The only down side is that you don’t get to take the other mentors’ classes. I would have loved to take Sarah Anderson’s innovative “Wrap and Roll” class. Spending lunch with Deb Menz talking about carding was delightful to be sure but oh, it could have been in a class with carders and fiber and everything! I never got to sit with Nancy Bush and look at her amazing Estonian lace collection. I forgot to ask Judith about 800 things. I barely saw Robin Russo and Rudy Amann. I barely traded a few wisecracks with Maggie Casey. I neatly avoided having Sara Lamb ask me if I’ve yet finished… certain projects about which she knows quite a bit, though, so maybe that’s a win. I would have love to have felted a fish with Sharon Costello, who last year showed me that felting is way cool and way harder than I thought. I wanted to get to really meet the famous Patsy Zawistoski after having learned so much from her videos and writing over the years. I almost cried with envy at the things Vivian Hoxbro was getting folks to do with colour — she was magically, masterfully making people like colours they hated, I kid you not! And as for Nilda, well, she’s one of my oldest teachers, role models, and friends. She’s like my big sister. And I still envy everyone who got to have three whole days of her time — a rare treasure indeed considering all the work that she does and how huge its scope is.

And that’s just the mentors. The list goes on and on for attendees I didn’t get to spend enough time with. That’s the thing about SOAR — it’s a crazy, hectic, breakneck-speed event, where you’re ON the whole time, where you don’t stop because you can’t. You steal time to sit with true masters of the field, obsessing over details of yarn design, minute qualities of fiber that others can’t even necessarily see, swooping out to the broader picture and thinking really really big about what could be made to happen if the right people all come together to work on something, and omigod, they’re all RIGHT HERE RIGHT NOW, let’s have a meeting, and… then it’s over. And you pulled off a lot of it, but not everything you wished you could have. There just wasn’t enough time. Every instant that you could squeeze out was still somehow not enough.

So there’s nothing for it but to go back next year. Anything else is inconceivable. One way or another, you know you have to go back and do it all again, because however fatiguing and crazy it was, however strange the food may have been, however tired you are and even if you caught the SOAR cold, you know you have to go. My father told me so, years ago, and I didn’t listen, and he was RIGHT, and I’m sorry.

So now I’m on to the next part of the SOAR equation: working on my proposals for classes for next year. As part of the SOAR’s self-aware, dastardly humour… I have to get those done in under 2 weeks. So my mind is roiling with thoughts of what classes to propose. There are so many possibilities and I want to teach them all! I want that, even as I don’t know yet whether or not this last round of victims students found what they wanted, found something else, or would come back for more. So now’s your chance, folks — if there’s something you’ve always wished I would teach… let me know, because I’m in a proposal-writing frenzy, and whatever doesn’t go into SOAR applications will likely go somewhere else.

And as to the rest of you SOAR veterans out there, the ones who told me last year, in 2007, that I’d be back, and that I’d keep coming back, and that I should try to teach there… yeah, you guys were right too. The nerve of you lot, with your “being right” and everything! I swear. But I’ll see you next year, and by then, I’ll have thought of a good smartass retort, I promise.

Countdown…

I just sent this out to the folks confirmed for my workshop at SOAR. A week from today, there we’ll be… and I figured I’d pass it along because some of the advice in it is probably decent advice for anybody that’s traveling to a class.

Hi folks,

The Spin-Off Autumn Retreat is right around the corner! Are you ready?

I’ve had a great time getting everyone’s materials packs ready and making sure everything is ready to go. I thought I’d take a few minutes to catch up with all of you as we enter the final week before SOAR.

If you’re receiving this, then I have you down as confirmed for my 3-day workshop session, “Spinning For A Purpose.” We’ve got a great group of folks! I know several of you already and am very much looking forward to meeting the rest of you. We’re going to have a great time!

In Spinning For A Purpose, we will be trying a variety of spinning techniques and handling a broad range of fibers. The majority of these fibers will be things you should be able to easily find for yourself as well (and that will be sold at the market), but there are a few specialty items and real treats. Most of the blends and commercial preparations are from Louet North America and can be found at most Louet dealers, but we will also have some fabulous locks from The Spinning Loft and hand-dyed top from Spunky Eclectic. We’re going to go through all of it, learning how to decide what fibers are suited for and how to plan projects of many sizes and scopes.

You don’t need to bring anything but a wheel in good working order and a means to swatch your yarns as desired, but you should feel free to bring any small tools you like: niddy-noddy, small combs, hand cards, flicker, whatever you like to travel with. You are also welcome to bring fibers that have been stumping you, if you like! Those can be a great way to work through expectation mismatches between a spinner and the fiber.

What’s a wheel in good working order? It’s one with no known mechanical problems and with which you are familiar and comfortable. You should also bring some extra bobbins, and make sure that even if you normally prefer to use an aftermarket flyer and bobbin combo such as the WooLee Winder, you have a standard flyer and bobbins available; for some techniques, you will need the widest range of adjustability possible and when working on new things in a large class setting, it is often easier to do so with the simplest setup possible.

With respect to fiber content: I have avoided the most common allergenic fibers (mohair, angora) but we do have a range of fibers! If you know you have specialty needs or any sensitivities, please let me know ASAP so I can try to accommodate those. All fibers will be washed; we will not be handling any raw fibers in this course.

If you have any questions about what you should pack, or aren’t likely to need, or anything last-minute that leaps to mind, please don’t hesitate to email me back and let me know! I’d rather you ask and be sure, than get there and think “Oh man, I could have brought that.”

That’s it! Are you excited yet? This time a week from now, we’ll be getting started — I can’t wait!

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