The Knit Knack's Blog

Better living through fibre


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Getting more patient: up-noting my weaving, and cotton

The Elin towels from my last post were fully finished by the start of June.  This was the last daylight they have seen!

Handwoven cottolin kitchen towels Elin kit from the loom of irieknit

Four handwoven Elin towels – cottolin; 8-shaft broken twill

The gaps in attending to weaving, writing, and the old craft approaches have been wearing on me.  This cliché assumption all spinners hear now has hit a new chord:

You must be very patient!

My stock response of no and pivoting to the true family trait of stubbornness no longer sounds even technically correct.  There is a new need to cultivate patience.  Life is catching me behind my natural pace for new skills and challenge projects.

Sewing hem for cottolin Elin kitchen towels from the loom of irieknit

Hemmed 2 months after weaving

In between cutting this warp from the loom, and finishing steps, I learned that a good acquaintance who lives near to us was seriously ill.  We were high school friends, and she had moved to Canada before we did.  Even with overlaps in circles at home, I only realized at the end of April that she had been in hospital for most of winter.  This arc of being able to rise to the occasion has been fulfilling in many ways.  It has also shown the upper-limit of my time and energy is not that far from resting state.

With the new awareness of how slim my margins truly are (as opposed to wishful thinking), I will focus on sustaining my home practice.  This meant answering with a no thank you for a teaching opportunity.  It’s a new and frankly unexpected patience.

Andean low-whorl drop spindle with Corriedale wool

Teaching T to spin with an Andean Pushka!

It has meant that I could participate in the Tour de Fleece even as it crossed both of our mothers visiting this summer.  The guest bed does close my loom… Patience is a virtue, right?  That too passed, and the Mighty Wolf breathes again.  This dug into my brain a little – spring sampling and all – and is a set of 2 rosepath combination twill baby blankets from a 5 yard warp.

Weaving cotton rosepath 2-colour blankets by irieknit

Colour and weave (and treadling mistake) rosepath plus in 8/4 cotton

This is the first with the entered colours reversed as weft.  It is a 14-thread repeat, and was a joy to weave.  I used a new Leclerc temple, and have Beam me Up Scotties finally on the cloth beam.  Black lacing is banished forever!

As patience has its limits, I also bought an electric bobbin winder that I used in weaving the 2nd blanket on this warp.

Time for this post is slipping away, and I best get to the cotton spins.  They are the very soul of a patience I never had.  Good thing that I am both stubborn and thrilled to have something meditative for these nights after navigating the unseen special needs of our home life.

Handspinning cotton three ways Atoni rosewood spindle with brown cotton; Takhli with Egyptian cotton slyver; African bead whorl with Egyptian cotton puni

Atoni rosewood spindle with brown cotton; Takhli with Egyptian cotton slyver; African bead whorl with Egyptian cotton puni

The state of these 3 cotton spins has moved since this June 21st picture albeit slowly.  The Rosewood spindle of the Atoni people, East Timor has not changed much & should be wound-off.  The takhli has a 2-year spin of Egyptian cotton top that sits as singles today:

Handspun singles balls by irieknit Egyptian cotton

Hard won 50g of Egyptian cotton top in singles balls

The loose goal is to perhaps use these as weft singles.

Handspun cottons Pima seed, brown cotton seed on Atoni Rosewood spindle from East Timor and African bead whorl spun by irieknit

Pima seeds and singles ball, brown cotton on Atoni spindle, Egyptian cotton puni on African bead whorl

The goals are even more loose with these.  It starts as ideas to spin with new tools, and I let it lead me.  These are closer to my new pace but also to hearing our friend’s advice to parent for the long haul.  None is overblown – we are going to do well if we can.  This summer it meant 1 short day-camp, 2 house guests, no break from the home, and hitting our prime family outings.  Much like blog posting was left undone.  I am trying to embrace both WIPs and the progress that lives in them.

As tiring as this phase has been on different levels it is helping so much.  We can see new things are possible, and add them as we can.  It’s not just short, silly projects as I feared.  It’s also not going at my own way and pace.

Hibiscus flowering by irieknit

End of summer blooms!

 

 


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Stepping up to 8-shaft patterns

Very quickly because I am in prime weaving time… this is happening!

Weaving two block broken twill Elin kitchen towels by irieknit

All 8 shafts are in use!

A first Elin Towel in the two block broken twill was yesterday’s weaving.  After much care for warping and tying-up to the kit’s instructions, I chose to weave 6 repeats of the first block, and 2 repeats of the second.

The shine on my cloth beam was a happy surprise, and you can see why in this next threading image.

Threading for Elin Towels on Schacht Mighty Wolf loom by irieknit

Deep breathing for the threading part

The kit yarn is Bockens Nialin 22/2, which is 60% cotton, 40% flax.  At this point, I saw neither the shine nor the flipping of threads in this section of the warp coming.

Apart from needing to take extra care with threading back to symmetry, I enjoyed having all 8 shafts with these two straight threading blocks.  Having more room to see the pattern take shape on the shafts was very interesting.

Beaming on cottolin Elin Towels on Schacht Mighty Wolf loom by irieknit

Laced-on! Twist kept all behind the heddles.

The adjustments after this point were fairly minor.  No part of this has been speedy but the eight treadle weave has made sense quickly enough.

This kit by Joanne Hall was from my friend Margaret’s stash a couple of years ago.  Finding things like a 3-thread cross, and different warp ties perked me up.  After three months with my loom folded behind a big guest bed, I was itching to weave.  Following the kit let me do that, and then I decided why not go for this new step to using the back shafts of the loom.

In the past a lot of my weaving has gone to others; these may stay in a tighter circle.  The colours are so crisp, and I want at least a matching pair for our home.  Nesting does new things, and it’s good self-worth!

Snow day in March break Oh Canada

An Oh Canada March break helped this weaving happen

It’s cold out but I can hear birds singing & a rabbit crossed our path on the way to T’s school this morning.  For now, I’ll be at the loom!

 


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Season’s greetings!

Best wishes for a happy & safe season to all!

Our Peace and Quiet plans got thrown last Friday when N woke-up with a bad rash.  It’s shingles, and this quickly became a painful week for him.  The treatment is working but his skin continues to be very tender.

Christmas arrangement on handspun woven runner by irieknit

While making do without a tree for Christmas time, the new woven runner & a special delivery are both giving much needed cheer at our place.

A beautiful potted Poinsettia has also been doing a very good job in the living room.  We have traditional ham, etc. looking forward to as well.

Handspun woven Christmas overshot table runner by irieknit

Festive colour splash, thanks to handspun

The winding of my handspun for weft created a regular break for showing the yarn’s colour gradient.  The repeat is enough to bring the break together, and I love seeing the bands as I walk through the hall.

In planning, I allowed 15% extra Harrisville Shetland warp each for shrinkage and take-up after weaving.  This weaving of 55″ with 3″ hems on the ends has washed as a 46″ long runner for our vintage Singer sewing machine.  The width is 13″ (i.e. down 2″ from the reed width after washing).

When not posing for pictures, the table sees good use holding keys, spare change & so much paper.

Reverse woven fabric overshot handspun table runner by irieknit

Reverse – festive bubbles!

The fulling process did wonders for the reverse of the fabric as well.  I love the handspun pops.  The plain weave hems are hand-sewn with some of my late Grandmother’s thread.

The hems’ weft is also handspun that I dyed this spring – the rejected ‘soft’ sand weft in my Colour of Water guild show scarves.  It is 50% silk/25% buffalo/ 25% white cashmere from Sericin Silkworks.  With under 200 yards, I am having fun with it.

Knitting stranded gloves Little Lithuania by irieknit in fingering weight wool

Little Lithuania gloves

Knitting for the sick one is going to be today’s big task.  The incredibly mild weather – hello, 16°C in our town on Christmas Eve – takes some of the pressure off but I would like to finish 3 fingers, and 2 thumbs.

detail of knitting in progress for stranded gloves Little Lithuania by irieknit

Stranded, and his choice of pattern

The design is Little Lithuania, and N chose the Rhichard Devrieze fingering weight yarns in Prato & Cold Pressed.  I have added rounds to the top of the pattern’s chart to get the length it calls for.

Needing to size for N, and correcting an unforced knitting error in the second glove (thumb placement matters!) have made this a race to the deadline but that’s okay.  It is not like he is headed outside or like outside is very cold.

Wishing joy, and kindness

Please be kind to yourself, and to others.  This season can be so full of expectations, loss, strife.  Via Irwin Elman on Twitter, If the holidays are hard for you, doing these 4 things really could help.

Whatever your observance or none, wishing you joy!


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Weaving with the Navarro Gomez sisters, and beyond

The ROM’s first exhibition celebrating its Mexican collection is open through May 2016: ¡Viva Mexico! Clothing & Culture.  The exhibition includes around 150 pieces spanning 300 years.  This May the Museum hosted master backstrap weavers, Crispina &  Margarita Navarro Gómez as a complement to the exhibit.

ROM Artist-in-residence Margarita Navarro Gomez demonstrating backstrap weaving with irieknit

Weaving with Margarita Navarro Gomez at her demonstration backstrap loom

I visited on May 19th, and was able to meet the artists-in-residence as they demonstrated outside of the gallery.

Curator, Chloë Sayer, spoke with me & also helped with translation since I do not speak Spanish.  With her help, I asked the sisters questions about their work, and home in Santo Tomás Jalieza, Oaxaca state.  I learned that the sisters do not typically spin but use mill-spun threads, and are of the Zapotec culture.  It was also fun for my part to show a little spinning of East Friesian wool roving on my vintage Andean low-whorl spindle.

Luckily, it was still quiet when I got back after lunch with N.  A very nice docent was helpful for other visitors, and Margarita helped me into weaving on the demonstration loom.  The machete was so smooth, and effective with its handle but I kept wanting to use it blade-down (wrong way!).  Margarita also helped me get used to the loom’s rigid heddle, and then also wove a flower motif with me strapped-in.

Irieknit and backstrap weavers Crispina and Margarita Navarro Gomez

Crispina had just finished weaving her band with fine threads.  As soon as she threw the last pick, she set about braiding the first ends.  It was a truly beautiful band, and she just continued straight into the next step while Margarita worked with me.

Mexican serape classic-period Saltillo style ROM exhibition

Man’s serape, mid-19th century Saltillo-style

There are so many beautiful backstrap-woven pieces on display, and many are natural dyed as well.

Eagle motif handspun cotton huipil Mazatec culture

Mazatec culture handspun cotton huipil

The main design motif of this huipil (1875 – 1899) is embroidered on the tabby & gauze handspun cotton fabric.  The exhibit says this strong eagle resting on nopal (Opuntia cacti) motif represents the founding of Aztec culture in post-revolution Mexico.

Mexican handwoven silk warp ikat rebozo

Silk warp ikat rebozo (shawl), Mexico

The exhibit is in the Patricia Harris Gallery of Textiles & Costume on level 4 of the new wing.  I’d love to go for another visit, and gain more understanding.

Viva Mexico Royal Ontario Museum exhibition backstrap woven belts

Backstrap woven belts, Mexico

A few more pictures are up in my Flickr album, and I recommend it for anyone who is interested in Mexico’s material culture, and innovative textile production, generally.

Mexican embroidered silk cotton rebozo 18th century Royal Ontario Museum exhibit

Embroidered rebozo (shawl) with 6-point fringe, 1775 – 1800

At last, the loom was warped

Sometimes the best obligations are those we set for ourselves.  The ice-breaker into weaving again was a table runner for our front hall.

Blue Faced Leicester wool handspun yarn by irieknit

BFL loom fodder from dyed top

This was approximately 502 yards (1,004 yards per pound) of BFL from top that Waterloo Wools dyed as ‘Holly and Ivy’.  It was a quick spin in mid-September on the antique Nova Scotia McDonald wheel, and plied on my Watson Martha also in double-drive.

Weaving wool overshot table runner with handspun pattern weft on Schacht Mighty Wolf loom

Elizabeth-Jane’s design; my handspun yarn

The warp & tabby weft are Harrisville’s #9 evergreen in Shetland.  It is 1,800 yards per pound, and I used a 15 epi sett estimating for plain weave.  The pattern is in Marguerite Davison’s “A Handweaver’s Pattern Book,” p. 120 I.  We had a flip-through, and when N strongly preferred this Elizabeth-Jane’s design, I got to figure things out.

Finished handwoven wool table runner by irieknit in overshot design

Washed! Circles on the flip-side

You’ll have to take my word for it due to poor lighting at the moment – the hemmed, and pressed runner is now rocking our hall’s vintage Singer sewing machine.  Holiday cheer is unlocked!

It was 15″ in the reed, and with my wet finishing is fulled to 13″ width and 46″ length.  The hem’s weft was a flourish of handspun that was already on a bobbin.

Cones of wool weaving yarn

Future weavy plans

These cones of mill-end yarn arrived, yesterday.  With lots of holiday & new baby knitting ahead, I also get to look forward to keeping my Mighty Wolf open for business!

 


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The absorbing Colour of Water, part 2: from the drawing board

In my last post, I told you about the technical slip & fall of my first attempt in weaving for the Art Gallery of Burlington All Guilds Show.  The show is on through May 24, 2015.

Handwoven original design scarf with handspun yarns by irieknit in crackle weave

The first iteration representing the waters’ confluence at Frenchman’s Cove, Jamaica

It was a fully-formed piece, and I would like to share how the ideas developed.  They are what really motivated me to tie-on for a renewed attempt.

Some are clear rookie mistakes.  I will never forget how it felt to realize where my 3″ of width on the loom had disappeared.  A bolt of understanding, and I checked the reed chart.  Yes!  Right sley (2-2-2-3); wrong reed!  At 15 and not 12 to the inch, I was in maximum twill sett territory.  With heavier wefts it makes for a slightly harsh fabric.

First River by the Sea Scarf crackle weave with handspun yarn

From sandy bank to deeper waters

This first section cued the do-over as soon as I cut the scarf from the loom.  It brought Susan Wilson’s words to life.  In “Weave Classic Crackle & More” she says:

Ground weft color order can make a big difference in the appearance of your design…

The “soft sand” ground weft leaps forward against the other yarns that are darker in colour.  It moves differently in the crackle structure, and the softly spun character also makes it stand out.  It is 50% silk, and the remaining down fibres have a soft halo – 25% buffalo; 25% white cashmere.

River by the Sea Scarf crackle weave with handspun yarnsWith one shore popping from the water, and the other subsumed, I wanted another shot at this representation.  The dye step already gave me the matching sand.  With a better understanding of my colours in the structure, I also set out to shift the grounds to blend the transition areas better.

The up-sides were that my treadle, shuttle & new temple dance was also finally down pat after the 72″ of weaving!

Handspun yarns by irieknit used in the River by the Sea Scarf crackle weave design

Handspun yarns to tell a colour story

The “soft sand” yarn on the right was out, replaced by the skein yarn in front for the 2nd and last attempt.  This now means that all handspun threads were made using spindles.

Even with later challenges, I am happy that I persevered to modify for the design that I wanted.

Our Guild’s Colour of Water Section

In his statement for this show, Chief Curator, Denis Longchamps, says in part:

… the members of the Burlington Handweavers and Spinners explore the multi-faceted aspect of water colour – at first what seems to be transparent and translucent – becomes the turquoise of the Caribbean seas, the muddy brown of some rivers, dark with golden and red reflections at the sunset… while blue seems to be a natural choice for artists…

2015 BHS Colour of Water Juried show crackle weave scarf submission by irieknit

In the exhibit! River by the Sea Scarf – Colours at Frenchman’s Cove

TKK apologies – published prematurely, and have reverted to draft status!

Handwoven and felted pieces in Burlington Handweavers & Spinners Guild 2015 Juried Show The Colour of Water

(l-r) Susan Stasiuk: “Frozen Shores” & “Lagoon”; “Diane Woods: “Harbour Lights;” Saira Jan: “Reflections into the Deep”

Sue’s beaded jacket, “Frozen Shores” is breath-taking.  This was the first grouping that I saw at the show’s opening event, and I am still amazed by the beauty of her piece.  Her two awards by the Juror were well-deserved!

Handwoven scarf installation by Jennifer Earle and woven scarf by Victoria Lynch 2015 All Guilds Show Art Gallery of Burlington

Jennifer Earle: “Mother Ganges”; Victoria Lynch: “Caribbean Sea”

This ceiling-to-floor installation by Jennifer Earle won the Best in Show award.  It represents the river’s flow from source to sea.

Needle felted installation by Jim Thomas in 2015 Art Gallery of Burlington All Guilds Show

Jim Thomas: “Falling Water”, needle felting

The installation of a new “Falling Water” is at the entrance to our guild’s section of the show.  Jim’s placement of colour and sheer exuberance for his work made me smile on the spot.

Still Water handwoven scarf by Marsha Stewart-Walters in 2015 Art Gallery of Burlington All Guilds Show

Show neighbours – Marsha Stewart-Walters: “Still Water.”

Representing the struggle for water sustainability, and her experiences in Africa, Marsha’s scarf has a beautiful mix of fibres, including linen.  She’s my next-door neighbour on this gallery wall with handwoven scarves!

Handwoven pieces in 2015 Burlington Art Gallery All Guilds Show

Handweaving’s range on display (l-r) – Eleanor Roberts: “Childhood Memories – Lake Couchiching; Sparrow Lake”; Margaret Burns: “Duck”; “Fish”; Margaret-Jane Wallace: “Grassy Reef”

That our space in the gallery includes diverse works ranging from functional objects, fibre art to those that use repetition of familiar forms all with reference to the colour of water is fitting with other guilds’ participation.  Although I missed the meeting with its show tour, I’m sure that the feedback has been positive!

The show runs until next Sunday the 24th.  Local friends, I hope that some of you can get out to the AGB for a visit!


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The absorbing Colour of Water – a show opens

An all-guild show curated by the Art Gallery of Burlington is currently on in the Lee-Chin Gallery until May 24, 2015.  The theme is, “The Colour of Water,” and our guild has a juried section in the show.

River by the Sea Scarf by irieknit in classic crackle on the loom

Weaving water over sand at Frenchman’s Cove, Jamaica

The piece that I have submitted is a handwoven scarf inspired by the confluence of the river as it meets Frenchman’s Cove in Portland, Jamaica.  It is a 4-shaft Crackle or Jämtlandsväv structure woven as drawn in with 4 pattern blocks.

First weaving for the Colour of Water curated guild show irieknit handspun in classic crackle weave

The first attempt was a prototype

Planning for this scarf took more thought, materials and calculations than anything I have woven up to now.  The colour-blending ability of this classic crackle structure was new to me.  In presenting a draw-down for our curator, Denis Longchamps, I was also learning structure myself.  It took a full first scarf.  To speak cricket, there was a long run up to the crease!

The impetus was a copy of Susan Wilson’s book, “Weave Classic Crackle and More” that a weaving friend de-stashed this winter.  Her clear explanations & beautiful projects met the blank slate that is my novice brain.

Water’s fluidity carried me forward.  Nothing was more fun this wretched winter than getting lost in the memory of this place where we swam as children.  The warm Caribbean sea mixes, ebbs and flows with the cool river.  It is also a place where I have partied as an adult.

Nearly finished River by the Sea Scarf by irieknit in handspun yarns

Getting to submission state!

 

After the trial run (totally wearable), I sleyed, and tied-on for a 13″ wide scarf in the reed.  The mystery main warp balanced at 4,075 YPP.  In the final piece it is sleyed at 27 ends per inch.  Calculations were all for this yarn as 0.8 of the maximum twill sett.

Detail of handspun blending in classic crackle irieknit River by the Sea woven scarf

From the beach to waters’ confluence

 

The first run helped me learn the sequence for weaving three shuttles at a time, and to get comfortable with my new Glimakra temple.  Getting the river’s colour shift from sand to bank was very important.  This also improved with my comfort at changing for pattern yarns as well as grounds.

Each of the 6 handspun elements in the scarf is from batts made by favourite fibre artists, and spun on spindles by me.  The batts are from Enting Fibercraft, Abby Franquemont & Sericin Silkworks.  I over-dyed with tea and black walnut to better represent the sand, and river bank.  The alternations were planned, and the shifts are not symmetrical although each is woven in the same classic crackle format for 4 blocks.

What humbled me the most was how the warp behaved in its second sett.  There was far more length shrinkage, and this drove me far closer to the tied ends than anticipated.  This has been a wonderful stretch into working with colour, and meeting the technical weaving criteria of our guild.

No rejection news is good news?  The take-in was this past Monday.  This “River by the Sea Scarf – colours at Frenchman’s Cove” measures 11.75″ x 59″ with fringe lightly beaded with Toho 8/10 Japanese seed beads.


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New year, inspired!

Happy new year!  Our holidays were spent back home in Jamaica.  It was the mix of what we call Christmas breeze, friends and family that made this trip extra-special.

coconut tree in Jamaica's north coast

Christmas breeze in Jamaica, defined

Inspiration came by more than sheer natural beauty.  The island is still dealing with the Chikungunya virus outbreak.  It is transmitted by mosquitoes, and last October the government declared ChikV a national emergency.  We are not infected but close family members are still coping with serious joint pain, and other symptoms.

In meeting ChikV, the economy, and not to mention personal challenges, I am inspired by the strength & creativity of people back home.  Things are difficult for so many that we know & love.

Blue Mountains view in Newcastle, Jamaica from Eits Cafe

View at Eits Cafe, Newcastle, Jamaica

Any view of the Blue Mountains is beautiful.  This was on the patio after lunch at Eits Cafe in Newcastle.  I grew up with a similar tree-line view from the bedroom that I shared with my brother.  The land is green.

Whole fish dinners in St. Mary, Jamaica

Speaking of eating

Our waitress at dinner in St. Mary on the north coast came back to make sure we understood how the snapper would be plated.  “That’s what we want!  Whole fish!”  She smiled, approvingly.

Cut stone staircase and Georgian fretwork at Harmony Hall, St. Mary, Jamaica

Harmony Hall, St. Mary, Jamaica

Returning to visit the first art gallery I ever loved.  The old great house, Harmony Hall is just as lovely as ever.  We enjoyed our visit & the freshly-squeezed limeades immensely.

Sea Grape tree shade St. Mary, Jamaica coast

Happy old sea grape tree in St. Mary

Every good beach no matter how small needs good shade.  The best seashells came home with me to Canada (hints:  look under the seaweed; use a stick; avoid sand-flies).  These two saw immediate love with the cotton spinning!

Spinning cotton supported spindle with seashell whorl

Seashell vacation cotton spindle

Just looking down at the beach, sometimes you might find fossilized coral.  This one survived the area’s blasting.

Fossilized sea coral, St. Mary, Jamaica coastline

Coral fossil on Jamaica’s north coast

We spent less than 48 hours on the north coast this trip.  Even so, I have happy thoughts about the Art Gallery of Burlington’s curated show this year.  It is “Colour of Water.”

Morning sun St. Mary, Jamaica private beach

My shadow casts colour too

This is 1 of 6 handwoven towels that I finished in time for Christmas.  Taking the other 5 home for hand-hemming was how I got them all done!

Handwoven Keep it Simple KISS cotton kitchen towel

Keep it Simple kitchen towel gift

I rushed to weave more towels in this 2/8 cotton using the denim colour for warp.  The progress story & were surprisingly popular with friends & family, so I had to make 2 extras!

Weaving cotton Keep it Simple kitchen towels on Schacht Mighty Wolf loom

Christmas gift towels on the loom!

The towels were all loved.  A little too loved since I found myself saying over & over, “No!  You totally should use them!”

These are the Keep it Simple towels by Mary Ann Geers.  Diane helped me fix a sleying error after the first towel, and she flagged what I soon discovered was a silly tie-up error.

Another friend, Margaret, has enabled me into some excellent weaving pattern books just this week.  Lots to learn this year about structure!

Bougainvillea in bloom, St. Andrew, Jamaica

Christmas morning Bougainvillea

 

Luckily, there is still more inspiration in baby form.  My brother & sister-in-law are expecting!  We are so thrilled, and this is the launch of All The Plans!

Craft books for future irieknit projects

Laying good 2015 plans

The top book here is very important:  “Knitting Counterpanes” by Mary Walker Phillips.  I think my handspun Romney yarn may be perfect for a small-sized knit counterpane.

See the two folders above the backstrap loom book?  They are pick-up patterns recorded by Catherine A. Stirrup from designs of Peru & Mexico.  A weaver kindly sent them to me with the backstrap weaving books in her destash.

Top whorl drop spindles by Jonathan Bosworth and Edward Tabachek

Welcome to the herd, Tabachek spindles!

To much fan-fare, I opened a superbly packed box with the 2 Tabachek spindles (right, above) & a surprise.  This was late last year.  When my friend, Devin, offered the spindles to me, I was so thrilled!  They are a favourite make, and holly was a quiet dream as well.

Devin, they are loved, and see regular use both at home, and at spin-ins!  The grey fibre is yak/merino/silk top.

Jennie the Potter thrown stoneware jar with drop spindles by Tabachek, Bosworth, Jim Child, CTTC

Spindles! Progress!

Cheers for 2015, everyone!  Looking forward to lots of projects, new friends, and especially becoming an Auntie!