Tragically forgot my knitting on my week of holiday. Thoughts and prayers.
This just means you have an excuse to buy more yarn!
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@stitchnknit
Tragically forgot my knitting on my week of holiday. Thoughts and prayers.
This just means you have an excuse to buy more yarn!

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Movement nudge, hand mobility! 🙌
X
1) do this even if you're under 40. seriously. I definitely should have been doing something like this for years and I only turned 40 a month and a half ago
2) if you're like me just now trying this going "oh god i've only done 15 and i think my hands are cramping" start lower than 30 and increase by 5 once whatever number you're doing no longer makes your hand cramp up. I can manage about 15 per exercise at the moment.
If you're hypermobile, be especially gentle.
😳
Add in wrist exercises and 6+ hours of crochet time are back on the table.
new spin time!! my first time spinning blue faced leicester, in spinspul's colourway 'lake district'. first thoughts are that its so pretty!! I haven't used my electic eel wheel in ages so i always forget how much finer i can spin on that lol
hoping to ply this with white yarn to make a sweater eventually
also i just got back from 2 weeks of china and dont want to work on the lakes pullover anymore LMAO?! i want to cast on a different sweater but I haven't decided what
My first attempt :) by doggyeared on reddit.
I started processing the fleece, I have 2 batches scoured (abt 300g total before scouring) and abt 17g totally processed. It’s going slowly as I figure it out and since i’m having to flick open every lock it might just be quicker to spin directly from that flicked lock instead of combing it. Not sure i’ll have to experiment a little.
I’m trying to separate out the colors a bit to maybe do some color work? We’ll see!
Also a bird stole some of the fleece to make a nest!

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I came across this post by @boigameista again and was overcome by the uncontrollable urge to make Frog (diminutive)
This pattern is meant to be at least twice as big and is intended for stretchy fabric like fleece, not felt, but you know how it is, inscrutable exhortations of my soul, etc.
Its so cute
Out here straight up “dropping it” and by “it” let’s just say, well… aha… my spindle
Finished my second weaving project! It's the one on the left, my first weaving project is the one on the right. Turned out much better this time!
It's another plaid scarf, this time using worsted #4 weight yarn instead of #2 weight yarn.
I wouldn't be completely embarrassed to wear this new one out in public like I would be with my first attempt. The first one makes you think "Oh, you tried to make a scarf, that's nice!" while the second one actually looks like a somewhat decent scarf IMO!
I experimented with a different way of approaching selvedges, where I wrap the "carried" color underneath the weave of the "active" color, rather than letting it run loose up to the next stripe like I did in my first attempt. I think I achieved a much cleaner looking result with the new method. (New method on left, old method on right)
One big lesson-learned was that I need to leave myself enough unwoven warp on both ends to form proper-length tassels/tie-offs. I didn't give myself enough warp on the beginning-end of the weave, so the tie-offs were way too short. (Beginning-end on the right, finish-end on the left)
The weave is still pretty loose, and I think it's because my beater has 2mm thick plastic reeds. I'm pretty sure the reed thickness is preventing me from getting a tight weave.
I just whipped up a new beater design in Fusion 360, and I'm printing a prototype now. This one doesn't have any plastic reeds at all, and instead has notches that I can wind string around. Hopefully I'll be able to wind it tightly enough with thin nylon thread to make a beater with very thin reeds, similar to a metal reed beater, without having to go and buy one. If the basic idea ends up working, I'll do a second design pass at the new beater. (Left is the new reedless threaded beater, right is the original beater)
Evening Dress
c. 1931
by Peggy Hoyt, New York
Kent State University Museum
Just a short video of my card weaving in progress
What kind of sorcery is this?! I can never turn more than 10 cards in sequence because they just refuse to cooperate and you have like, what, 35? 40?! HOW?!?!
40 in the tree strap above! The most I ever tried was 44 for this ramshorn strap below - that was tough, but also ok because the groups turned separately? I think my hands would murder me if I tried to go any higher on my backstrap setup though ;) I think the trick is maintaining appropriate tension!
Yeah, that one looks real nice. What did you use it for?
@diamondot speaking for myself, i just decided to learn it one day a few years ago (i had a viking phase ok) and simply started with it. It's surprisingly easy since all the info is available on the net. Honestly, i don't remember where i started since it has been so long ago and now i just browse pinterest for patterns alone. Google tablet weaving or card weaving (same thing, different names) patterns and some basic explanations and yt vids for how to turn and weave the stuff. Things like
S and Z threading are there for a reason, so mind your card orientation. Start with some easy pattern like simple wave or diamonds above, 6 - 10 cards are good for your first project. Don't lose hope in initial stage. Streching and threading all that yarn can take anything between 20 minutes and 3 hours depending on how big is the pattern and how skilled you are. Since you need some lenghts to secure ends and to turn cards, use about 40 cm more than wished lenght of your final product. Secure lose ends after threading through cards so you won't end with a bundled mess. Streching/knotting them to something is one way. Taping each card threads together or using weights (check pictures below) is another way (good only for shorter stuff though). Cards could be made out of anything as long as they have smooth edges and rounded corners. Cardboard, thicker plastic sheet, literal cards cut into squares with holes punched through them, whatever. These are mine 2 decks, minus cards i am using atm.
When you start weaving and pattern looks like a total mess, try turning cards in opposite directions. It usualy solves the problem (all that forward/backward can be a bit tricky and mirroring motions/patterns/card orientation can be confusing at first seemingly messing all your work even though you are doing everything right technicaly, just in opposite order/direction). Don't lose your hope. I still manage to mess up like first 5cm of every other work i start. It's not an issue as that start usualy gets cut off anyway (the tension is not right for at least first 4 rows, aka 1 full card rotation, until all threads go up and down at least once no matter what you do. Don't sweat it). You don't need any fancy startup either. Historicaly, people used to weave like this and this and this:
I just strech the thing between 2 chairs myself. Door knobs work as well and so does staircase railing. Wherever you have some space. Long hair clips are your friend, especialy when you are done with weaving for the day and you don't want stuff to tangle
And that's about it. Have fun 😊
Some of my favorite tablet weaving resources are :
This website is where I learned, twenty years ago while u was intending on Sturtevant Wi.
These books are both great, Collingwood is more comprehensive, but harder to just pick up and weave from.
Buy Card Weaving 2Rev Ed by Candace Crockett (ISBN: 9780934026611) from Amazon's Book Store. Everyday low prices and free delivery on eligib
Buy The Techniques of Tablet Weaving by Collingwood, Peter (ISBN: 9781626542143) from Amazon's Book Store. Everyday low prices and free deli
I love when people post things like this, then say, “ah ha ha, it’s not that complicated! 🤗”
It is complicated. You’re just really good at it!
Hi. I may be late to reply but i'm in a weaving mood so here we are.
The thing is that the technique looks complicated due to the fact that there is 100 something and that number alone is scary. But. Actually several buts.
But number 1 - the technique is OLD. Meaning - while being somewhat tedious just like any other textile craft, it has been used and learned for a long long time and there's plenty of resources (check out links above or any youtube video explaining the process) of varying difficulty from complicated af to easy peasy lemon squeezy with closed eyes
But number 2 - there is only one core principle/step you need to understand and that is when some threads go from up to down or from down to up (aka when they cross), you need another thread going in between so they won't simply snap back again. That's it. That's the basic principle behind every weaving ever. What card weaving does compared to standard weave is that instead of a single thread going up and down in the single row, you get 2 or 3 or 4 or 6 or whatever number of threads your pattern calls for in the same row
But number 3 - the number of rows = number of cards. Simple as that. Cards turn around to make a cord like when you are twisting 2 or 4 or whatever numbers of threads to make a rope. If some of those threads have different colours, you get a repeating pattern.
But number 4 - card orientation or S/Z orientation or whatever other fancy name for the twisting direction simply means that if you turn all your card in the same way at the same time, which one of them will make the twisted rope in this / angle and which one will do that in this \ angle. That's it. That's the whole mystery between S/Z threading.
But number 5 - you can start with as little as 4 cards to make a custom set of shoe laces or a key strap or whatever and call yourself a weaver. Because you did that. And it was nice. And it was easy. You just turn and thread and turn and thread and then you keep repeating this while watching a movie or something. There's no need for the math finals level of concentration here.
But number 5 - no one, literally NO ONE starts with a pattern like this
No. Everybody starts with something like this
Keep it simple, keep it easy, make 10cm and be done if you want to. It's perfectly fine.
But number 6 - you don't need any fancy items for starting. No hooks, no needles, no loom, no anything. If you have 2 balls of yarn in different color or some remains of your old cross stitch project or whatever and some card-like stuff you won't be sad for making holes in it, you are all set. Back side of the sketch pad is good. Poker cards cut to squares are good. A sturdy enough sheet of plastic is also good. You remember that old pexeso pairs stack you didn't touch since you were 9? Guess what!
My point is that if this looks like something you may be interested in, then you can absolutely try doing it for literally zero cost other than your time.

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If someone ever tells you they’ve “reached a good place to stop” in lace they either mean “the thread is running out and I don’t want to do a changeover” or “I’ve done something I shouldn’t and have decided to make it my future self’s problem”
See, *this* is how you know that lacemakers have more patience than the rest of us. Knitters just announce that their project is going into timeout.
Sleazenation Magazine (July, 2001)
Image 1: ROUGH FELL This breed is found almost exclusively on the fells of Cumbria and the Northern Penines [spelling in image?]. It is a large hill sheep, with strong curly horns in both the male and female. The Rough Fell produces a fleece of long, coarse wool which is used in carpet manufacturing where its characteristics of bulk, resilience and warmth are prized for hard-wearing carpet which will maintain its appearance.
[image of large sheep with horns on a hill]
SHEEP TODAY 2001 has not been a good year for the British sheep. Flocks across the nation have been eliminated en masse to halt the spread of foot and mouth disease. Once a symbol of purity and innocence, the sheep has now come to signify the horrors of pestilence and the amorality of intensive modern farming. However, the sight of carcasses piling up in fields awaiting incineration and burial is only the latest ignominy to hit the beleaguered British bleater. For in recent times the sheep has never been seen as a noble, let alone beautiful, beast. Text Stephen Escritt
It speaks volumes that prior to foot and mouth the two words most likely to prefix 'the' and 'sheep' were Dolly and Shaun. The former a prophetic glimpse of the Huxleyesque genetic manipulation of a nightmare future world, the latter a hapless yet cute victim saved from his own stupidity by Wallace and Gromit in order to be granted most favoured rucksack status by the Bridget Jones generation. Surely there is more to sheep than this? We city dwellers must overcome our ignorance, confront our 21st Century ruralist prejudices and rescue the sheep from these desperate doldrums. We would do well to begin remembering that the sheep has not always been [text continues in next image] 064 SLEAZENATION.COM
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Image 2: WELSH MOUNTAIN Welsh mountain sheep are extrememely[spelling in image?] hardy and active. They thrive in areas of heavy rainfall and at levels where the grazing is sparse and their wool is softer than that produced by other mountain breeds. At one time it would supply much of the Welsh woolen industry making rough flannels and tweeds, giving an individual appearance through its tendency to coloured grey, red or black fibres. Today it is used world wide, mostly for carpets.
[image of enormously pompom-like sheep]
[text continued from previous image]regarded as a stupid beast, synonymous with the herd instinct -- lambs were not always to the slaughter. The lamb is the symbol of Christian piety -- of Christ in his sacrificial role -- while the image of the noble horned ram had pride of place at the heart of elegant neoclassical architecture and design. By the 19th Century, the hardy ewe on the windswept hillside was synonymous with the romantic idyll of the English countryside, while its fleece, paradoxically, provided the impetus for the inexorable rise of the great industrial towns of northern England.
Central to modern urban ignorance is the myth of the homogeneous sheep. the fluffy cotton wool ball with black stick legs of the junior school classroom wall masks the incredible diversity of breeds. of the 200 or so breeds throughout the world, The National Sheep Association lists 77 pure breeds in Britain today, and a further nine recognised half-breeds. Flicking through the pages of the ninth edition of the NSA's British Sheep reveals the wealth of variety to be found. From the wild-eyed Hebridean with its black fleece and menacing horns, native to the Western Isles and thought to be descended from Viking animals, to the tightly fleeced Beltex, a Belgian breed first imported into Britain as recently as 1989, the procession of breeds display complex differences in character, fleece and also use.[text continues in next image] SLEAZENATION.COM 065
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Image 3: CLUN FOREST Originally Clun Forest sheep grazed on the border hills of Shropshire, Montgomeryshire and Radnorshire, and took their name from the market town of Clun. Today they are found in many lowland areas of the UK and further afield. The Clun Ewe is also crossed with a border Leicester ram to produce and English halfbreed. Their wool is dense, fine and of uniform quality throughout. It is a short, downland wool and general y[spelling in image?] used in knitting yarns, woolen cloth and felt.
[image of prim rectangular sheep]
[text continued from previous image] Even more surprising than the variety of sheep in Britain today is the rarity of some of these breeds. Although the December 2000 census of British farm animals (but how did they hold the pens?) revealed there to be 21,406,000 breeding sheep in Britain, there are a number of breeds which are considered endangered by the Rare Breeds Survival Trust. The Leicester Longwool, with it[spelling in image?] distinctive dreadlock-like coat, dwindled drastically in the 1960s and 70s before undergoing a revival recently due to the commercial viability of its fleece, while the Norfolk Horn, one of the oldest breeds in Britain remains beleaguered despire small increases in number recently.
The wonderfully named Castlemilk Moorit is the most endangered British breed and is currently classified by the RBST as 'critical'. This long-legged, light-tan sheep was specially developed in the early 1900s by Sir Jock Buchanan-Jardine on his estate at Castlemilk in Dumfriesshire. A committed aesthete Sir Jock wanted brown sheep to adorn his park and provide wool clothing for his workers. He crossed Shetland ewes with Manx Loghtan and Mouflon rams and the result was, according to British Sheep, "a prolific, graceful and agile parkland sheep having a distinct presence while retaining the desirable primitive qualities of the constituent breeds." Tragedy struck for the breed when the original flock was dispersed in 1970,[text continues in next image] 066 SLEAZENATION.COM
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Image 4: A white-faced hill sheep, with a distinctive 'ruff; behind the ears, has been run in the Scottish Borders for many years and exported round the world. Its crisp, white, lustrous wool which will hold and reflect dye colouring well and give 'handle' and body to cloth, has been long recognised by Scottish cloth manufacturers who use it most for rugged country clothing and, when blended with finer wools, for elegant jacketing fabrics.
[image of sheep in front of a stone wall]
[text continued from previous image]but nine ewes and a ram were accidentally saved from slaughter and the entire breed today is descended from those ten animals.
Our view of farming may have become increasingly cynical during the 1990s, but no-one should deny the skills of the sheep farmer. For most of us, direct experience of the art of sheepfarming stops with One Man and His Dog, still surviving in the rump of the BBC's sports coverage left behind by the digital age.
But while we almost certainly do not know our bields from our buchts (shelters and gathering pens) and would be quite rightly baffled by talk of twinters and thrunters (two and three year-old ewes), we should salute the sheep as one of the cornerstones of human civilisation. Sheep and man go back a long way. Remains discovered at sites of early human habitation in the Middle East, Europe and Central Asia reveal that sheep were first domesticated from the wild around 5000BC. A constant throughout the history of farming, the rearing of sheep has deviated less from traditional methods than other sectors of modern agriculture.
Unlike intensive chemically fueled agri-business, most sheep farming today is relatively environmentally benign. Grazing involves little or no input of pesticides and artificial chemicals, while sheep are widely regarded as the best natural 'lawn mowers' when it comes to preserving and enhancing the[text continues in next image] SLEAZENATION.COM 067
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IMAGE 5: EXMOOR HORN The Exmoor Horn has a strong constitution. it grows a gold fleece of medium-length wool with a softer handle than is usually found in hill breeds. Exmoor Horn wool felts particularly well and gives an excellent finish to fabrics, such as regimental and billiard cloths for which the West Country was once famed. Indeed, this one of the local British breeds whose wool helped to estab ish[spelling in image?] the reputation of that industry when it relied solely on home grown wools
[image of smug looking sheep with enormous horns and yellowy tinge]
[text continued from previous image]growth of indigenous plant species in areas such as dry heaths or heather moors. While there is often a conflict between the economic and ecological demands placed on modern agriculture, certain types of sheep farming provide the most effective balance between the two.
Yet sheep farmers were experiencing troubled waters prior to foot and mouth. Over recent years the consumption of lamb in Britain has fallen, particularly in relation to pork and chicken. It is the most expensive meat and recent demographic research has revealed that lamb-eating, like regular church-going, is more popular among the over-45s. A significant proportion of British lamb was exported, primarily to France where the meat is less unfashionable, however foot and mouth will inevitably have a significant ongoing impact on this trade. Although the Meat and Livestock Commission's Sheep Strategy Council has identified younger consumers as a target group, through their 'Quick Lamb' campaign, there is no doubt lamb does still have an image problem. Sheep's milk is a further form of income for sheep farmers and one which is set to increase. Although more expensive and higher in fat than cow's milk, ewe's milk is responsible for some of the world's greatest cheeses (Roquefort, Pecorino and Feta), and the production of English ewe's milk cheeses is on the increase.[text continues in next image] 068 SLEAZENATION.COM
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Image 6: WENSLEYDALE The 'rastafarian' of the sheep breeds, the Wensleydale is characterized by its long, lustrous and curly fleece. It is used, normally blended with other shorter fibred wools, for its silky handle and appearance. The breed was developed in North Yorkshire in the 19th Century to provide rams for crossing onto hill breeds. A large sheep, recognised for its longevity, it is not numerous in Britain, but British stocks have provided the basis of small flocks in other parts of Europe and the USA.
[Two curly-fleeced sheep]
[text continued from previous image]Truth be told, the reason that young fashionable urban types should learn to love the sheep is simple: wool. Often imitated, but never bettered, wool consistently survives the vagaries of fashion and has proved as hardy as the Boreray, Britain's only feral sheep which thrives in the wild on the remote island of Boreray, 40 miles west of the Outer Hebrides. As with England midfield players (David Batty, Dennis Wise et al), wools produced in Britain are generally coarser and more resilient than those of southern Europe, and although accounting for only 3% of world population, British wools are valued worldwide. The smooth texture and appearance of the wools of the Bluefaced Leicester, Teeswater and Masham breeds make them some of the most prestigious in the British wool. Shorter fleeced downland breeds, such as Suffolk, Clun and Dorset are predominantly used in knitwear yarns of for the Japanese futon market.
So just as the British sheep reaches it[spelling in image?] nadir, the moment has arrived for us to rediscover and celebrate the animal which is so much a part of the landscape of our nation. Finally cured of our ignorance we will soon forget foot and mouth and 2002 will see the beginning of the sheep's long awaited Renaissance. Bring on the Swaledale ★
Big thanks to the British Wool Marketing Board: www.britishwool.org.uk SLEAZENATION.COM 069
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a note: 'jock' is i think a nickname for john buchanan-jardine
TdF Day 10 to 12
I finished Yarns!! Behold!
Finished the Polarfuchs (left) on Monday and the Rambouillet (right) yesterday. Only part of the Rambouielet was spun during the Tour so I count only that for the stats. (And I will not do the math for the weight of the part of the Rambouillet that I spun, thank you (although I could figure out how to do it)
TdF Stats until now:
Singles spun: 1712,5m/1873yd
Finished yarns: 860,5m/941yd
And on to new projects.
Also on Monday I started the Blue Project. I am 3 batts in now (2 on monday, one yesterday) and I don't really enjoy the process. It probably is bc of the so different fibres... But I love the colour!
I need a new spindle project for on the go. The new mandala spindle and my soup ladle aren't the greatest of friends (Or rather I don't enjoy the sounds of metal on metal from the spindle in the ladle. The wooden bowl is much more pleasant to the ear but not as great for taking along) so I looked at my stash and rearranged my plans:
This 50g of tussah silk is a nice small project and leads to another empty glass jar. Another step closer to my ultimate TdF goal of all fibres in jars!!
And since I don't enjoy spinning the Blue so much, i need a second wheel project. Another unknown sheep from the northern part of Lower Saxony, Germany. It's more on the robust side. Thank you @littlebirdinagarden for the help with how to prep the batts. Since they are a bit compacted I will try steaming the second one to losen up the fibres. I don't want stain injury from pulling.
I will spin more of everything until I go to bed. Might post update picss then or at the next TdF post
TDF Days 6-9
At least I think that's where we technically are!
I plied the blue yarn and skeined it up, along with the white yarn. This is another one that I'm hoping will fluff up a bit with a wash, but I'm going to wait to do that once TDF is done.
I'm really happy with how both of these turned out!
I had a tiny bit of two bobbins left over so I chain plied them. Why does it seem like the coolest colors always end up left out of the main skein? I really love the blue-green in this little guy. I keep thinking of new colors I want to play with and teal is really up there.
I'm pretty sure the most recent roving I finished was only dyed with yellow and blue, but the colors have blended really nicely into green in a lot of places. I'm sooo happy with how these look so far. I've played with blue and green roving before and it always looks so lovely.
Last but not least, what I currently have on the wheel. I didn't want to split the rolags into 3, so I'm just going to chain ply.
I may take a break from my Sea Glass spin to make some lace. I have a bit of black silk on a bobbin, but I want something a bit more colorful right now.
Between (still) recovering from surgery and generally being tired, I haven't posted a single tour de fleece update, oops
But! Behold my new (and only) supported spindle:
It is a +-20grams walnut spindle, an applewood ringdistaff and a spinning bowl on a little cushion (don't remember the wood type, oak maybe?) from Regenbogenwolle.
It spins better and better the more fiber you put on it! This is +-20 grams of Texel, and it could definitely take more. Gonna take this off, ply it with itself and then start some merino/silk on this spindle (the rainbow one I'm also spinning on my turkish spindle).
Bonus, the size of the cob in perspective:
Other than spinning away at this I have been spinning some more advent mini's from last year (3× 20grams on my electric wheel), carded some Texel fleece to start a sweather spin (did a second test spin today, still have to ply, about 700grams total of white and dark Texel), and made a little progress on my Zwartbles vest spin (about 400gr to handcard and spin left) and a random merino/alpaca blend I found in the box my carder was in (300grams to go).
Enough projects, not enough wrists!

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Tour de Fleece!
I'm getting a late start because I had to finish the Fluffy Yarn first (not yet skeined or washed so no pics, but it is Done). Which, I suppose, technically still counts towards the "spinning every day" goal, so I only started one day late.
My goal this year is to spin one kg of wool, so about one and a half sweater quantities. Will I be able to accomplish this? Who knows! I feel it's ambitious but not crazy. Contrary to the Tour de France, which is insane.
First batch is these two braids from my dyeing spell in spring:
About 400g Cheviot which I did not split into even amounts because I'm an idiot, so the blue braid is much larger than the green. 400g isn't enough for a sweater, so I'll need to combine it with something else. I have these two to chose from:
Beige didn't-write-down-the-breed wool (carded) from local sheep that I got at the shepherd's day a year or two back (top) and grey Corrie (bottom).
I was gonna do a poll, but I mean. Obviously it's gotta be the Corrie.
That brings me to about 650g total which should be just enough for a sweater.
The dyed braids came as "multicolor" wool, meaning white and grey fibre carded together. The colour difference was kind of subtle in the undyed fibre already, and now it is almost invisible but still there when you look closely.
This is probably the best blue I have ever done it's so nice. I want to peacefully drown in this colour.
First bobbin done!
my first double weave pickup project :DDD
I was really struggling with this technique at first but i finally got it and am now working on these inverted roosters!
unfortunately im obsessed with the technique now + planning one million billion new projects.. much to think about