Four Baby Dragon Eggs

Last week you read about how I fell in love with a yarn sample I made, combining a Polwarth top from Pigeonroof Studios with a crazy art batt from Tempting Ewe Yarns, but how it was super-annoying to combo draft them. I went on the hunt for a way to get those same wonderful results, but without the pain in the neck of having to combo draft. I combo plied, but felt kinda meh about it.

My next thought was, maybe I should try prepping the fibers with handcards. Not necessarily fully carding them, just using the cards to make the fibers play a little nicer together, by stretching out some of those blobs of silk noil, and making sure I had an equal amount of Polwarth in the mix.

I floated this suggestion on the Wool N Spinning ravelry group, and Rachel pointed out that this plan could work well, as long as I was okay with the colors blending a lot. I cheerfully contradicted her, saying I suspected the pops from the silk noil would stick around. She, very politely, said nothing, and let experience by my teacher.

While I waited for the cards to come, I had been doing my research, and I had a couple different techniques to draw from. These are the main tutorials I looked at, if you’re interested:

  • This blog post by Karen Kahle talks about just using hand cards to blend, not card, almost like a mini blending board.
  • This knitty article by Lorraine Smith talks specifically about using hand cards to card blended, heathered colors
  • I also read the portion on handcarding in The Spinners Book of Fleece by Beth Smith, which arrived in the mail the day before the handcards.

I had a couple of variables to work out:

(a) rolags, or just an attentuated mini-batt?
(b) two blending passes on the cards, one pass, or just put the fibres on the cards then take them off (no blending)?

So I tried them all.

Above: attenuated mini-batts, taken right off the cards then stretched out diagonally. From right to left: No blending, one blending pass, two passes.

Below: Rolags. From right to left: no blending, one blending pass, two passes.

In the prep stage, I found the actual carding really fun. Putting the fiber on was quick, and I could easily keep track of how much I had left to make sure I was putting on similar amounts of each fiber. Rolags were easier to make than the attenuated mini-batts, and made more sense of what I was doing.

To spin, I arranged them mirror-wise based on how much I was blending: no blending first and last, most blended in the middle – so that, when I plied from a center-pull ball, the most-blended and least-blended portions would match up. I’d have to knit the yarn up to see if there was a difference, of course.

The difference in preparations would really only be evident in the spinning itself. The rolags were more natural to spin, but not necessarily easier. (I’m just spinning everything short-forward-draw right now; I didn’t want to add a less-familiar drafting technique into the mix, even though short-forward is not really what rolags are for.)

I tried to spin the singles evenly, but did not try to control the silk noil very much. I let them pop out and do their thing. The blending on handcards definitely made dealing with them a little easier – a big plus.

I bracelet plied the singles, which is sorta my new favorite thing…

So much so, that I bracelet plied with waaaaay too much singles.

Yes, my middle finger is turning blue.

Here is the new little dragon-egg that resulted.

In the picture above, the third sample is in the middle. In the two pictures below, it’s on the right.

I stared and stared and stared at this trio of samples. I enjoyed carding and spinning the third sample a LOT, but I couldn’t help feeling something was lost in the blending. The noil stood out, but all the other pops of color were gone. I especially missed the pops of blue. This is what Rachel was trying to give me a heads up about.

Frustrated, I went back to the wheel with one more sample idea. Something about the combo ply was bothering me, but maybe I could give it just a little more nuance by doing a combo draft with two strips of the polwarth in one ply and just the art batt in the other.

This time I just spun all the combo-drafted polwarth and immediately followed it with the art batt, as you can see on the bobbin below. Then when I bracelet plied, they plied together. I can only credit luck with the fact that I had maybe four inches of just polwarth plied on itself at the end.

I tried it and, surprise surprise, I really liked the results (far right, below). Not, I think, because of the combo drafted polwarth, but because in the interim – by spinning the punis, mostly – I’d gotten generally better at short forward draft.



Above and below, you can see the four samples clockwise:

  • Top left, sample 1, combo drafted
  • Top right, sample 2, combo plied
  • Bottom right, sample 3, carded
  • Bottom left, sample 4, combo plied, with two strips of polwarth combo drafted in the polwarth single.


Here they are blocked. (They are actually a good bit brighter than this, but got a little washed out by natural light and phone camera.) Again, I stared and stared at them until I didn’t even know what I was looking at anymore. But having gained a little distance on it, here are my conclusions:

  1. The first sample, while attractively uneven in the skein, made a fatty, messy fabric that threatened to pill immediately. Some yarns are just gorgeous to look at and are not really meant to be knit with. There is a place for yarns like this, but not in my life right now. This skein inspired me to look for what I wanted, but ultimately, it did not give me what I wanted when it was knit up.
  2. The second sample was crisp, even, and kept all the idiosyncrasies of color intact. There was a little striping as is inevitable with a combo ply, but that doesn’t bother me. The two ply was tightly plied enough to not be too jagged. This was an important lesson: barber poling looks really stark in the skein, but in the fabric, it turns into wonderful little dots. In this case, those dots stood out just as much as I wanted them to.
  3. The third sample, while gorgeous, looks relatively lifeless next to the others. I enjoyed blending on the hand cards very much, but I can’t live with the loss of all the character the art batt brings to this blend. It’d be perfect for a sweater yarn, which I would want on the calmer side, but not for what I have in mind – a large chunk of stand-out stockinette, either on a large, plain accessory or a large block of a colorblock sweater.
  4. The fourth sample does have more nuance than #2, but more nuance really ends up meaning more grey. I’m going to have more grey anyway because I’m better now at drafting the many parts of the art batt together than I was when I made #2; I don’t really need to add more grey by combo drafting the polwarth.

I learned a lot more from knitting these little samples. Like, for example: this 9 WPI yarn knit up at 4 stitches to the inch (blocked) on US 8s. That’s a bigger gauge than I thought. I will err on the finger side to make it match the gauge of an average commercial worsted weight yarn.

More importantly, I noticed this: the yarns I fought with a little bit were the ones I loved the most. The carded sample was easiest to spin, but the ones where I was struggling against even drafting? Those had the pops of color that I loved. I realized, to get the yarn I love, I need to surrender to the unevenness and unpredictability of this spinning process. I don’t want an art yarn, but I do want a yarn with a little texture. So I should relax, and spin to a sample, but also let the yarn be what it wants to be. The imperfections are what will make me love it. There will be a time for a perfectly even yarn, but that time is not now.

Well, that was quite a drive-by of a post! If you’ve made it this far, thanks so much for spending your time with me. I find this sampling process incredibly informative and motivating. I even had my fifteen minutes of fame when Rachel used my questions about this spin in her latest Wool N’ Spinning radio podcast. That podcast is exclusive to her supporters on Patreon, but if you support her at even 1$/month, you can hear the episodes. Check out her Patreon page; you can hear her reading my goofy post on episode 3.

If you can’t tell, I ended up choosing to spin the combo ply (sample 2 above). And, in the interim between these posts, I’ve spun about three quarters of it. I’m very much hoping it’s finished by next week (though the Big Work Thing has its biggest push this week, so no promises). I can’t wait to ply it up and see how this story ends!

I hope your Lent is off to a good start. By which I mean you’ve already failed miserably and thrown yourself on the mercy of Christ. I know that’s where we’re at in this house. Blessings!

Two Baby Dragon Eggs

Now that my precious punis are DONE DONE DONE! I’m ready to move onto the next project, one that I’ve been meditating on for nearly a month now. I have Lenten meditations, But they’re as yet too personal and informed to really write about well. Can I share these wooly meditations with you instead?

As I was nearing the tail end of the Blendlings, I started to wonder, what should I spin next? I knew I wanted to stay on the two-ply worsted thing, and I’m limited to the fibre stash I brought with me when I first moved up here. A couple of those things I set aside as things I wanted to spin when I got a little more practice, or wanted to blend with something I don’t have with me. That left these two:

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That’s a 100% polwarth braid from Pigeonroof Studios, and an art batt from Tempting Ewe yarns. (both purchased at Maryland Sheep and Wool festival in 2013.) As I stared at them, I realized, you know, they kind of go together. Kind of a lot.

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I pulled them out of their bags and stared at them some more.

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I opened them up and stared at them still more.

You can't see it in this picture, but the underside of the batt is a thick middle layer of kinda mermaid-colored faux cashmere and a bottom layer of a lot of hairy grey wool.

You can’t see it in this picture, but the underside of the batt is a thick middle layer of kinda mermaid-colored faux cashmere and a bottom layer of a lot of hairy grey wool.

I posted pictures of them on the Wool N Spinning group – and then it was all over. All it took was some friendly strangers saying “Those would look totally amazing together!” and I had to do it.

The obvious thing to do was to start sampling.

I’d been doing combo drafting for the Blendlings, so I figured that was the place to start. I pulled off a small piece of batt and pre-drafted it, and I stripped down some top, and I tried drafting them together into one singles, then plying the singles together.

This was an enormous pain. I felt like I was fighting with the fiber the whole time. Spinning an art batt worsted is a ticklish business at the best of times, but doing so while trying to make sure the Polwarth was getting in there felt impossible. “Welp,” I thought to myself, “I’m not doing that.”

I only had one problem. I loved the sample.

Like, I loved it. Doesn’t it look like a fantastical little dragon egg? The unevenness, the pops of color, the round poofiness, the way everything nutty about the art batt is calmed down by the polwarth being drafted into the same ply but not hidden by it… I had to have this yarn. But I knew if I tried to spin it that way, all eight ounces of it, I was just going to hate it. I did not want to do that to myself. I want to stick with spinning this time, and that’s only going to happen if I am having fun.

So the next question was, could I get similar results while spinning in a way that doesn’t make me want to light the fiber on fire? This is a job for… more sampling!

This time I did one ply of Polwarth, and one of art batt, and plied them together. This is called combo plying.

Combo draft (original) on left, combo plied (new) on the right.

You can definitely see the difference. The one on the right preserves all those wonderful colors, but looks much more barber-poley. I have no problem with barber poling, really, but I loved what that little bit of marling the combo ply was doing to the colors.

Ugh! This would not do. What other options do I have?

That’s when I called my mom and asked her to send up my handcards. They got here quite fast, but the two-week wait seemed like forever. Tune in next week to find out what I did when they arrived.

Puni Progress

Spinning, sadly, is not that portable. At least, wheel spinning is not that portable, and I just can’t get into my spindle these days. It seems too much like exercise. My wheel isn’t a monster, but with all the paraphernalia I need to oil it and take notes and make samples, it’s much easier to leave it ensconced in the study/spinning closet where it’s also protected from curious toddlers and their penchant for mindless destruction in the name of adorable precociousness.

Fiber prep, however, is decidedly portable.

On one of the rare nights that I got to spend with my husband, cuddled up on the couch watching early and questionable episodes of Star Trek: The Next Generation, I turned my remaining 34 punis into two boxes of nests.

As I pulled them apart, they revealed their true nature. You can see that some of the dark ones have a lot of white, and some of the white ones have a smattering of dark. I arranged them accordingly, to no particular end except cuteness.

Fiber prep is so soothing. I might like it even better than spinning. Kind of like my favourite part of sewing is cutting out the pieces. Hm.

The really fantastic thing about these punis is that you can spin one in about 10 or 15  minutes. So even in those short snatches of time I get to myself, I feel like I’ve Gotten Somewhere. I even make sure to change guide hooks with every puni so I can look with mine eyes and see progress.

Here a little, there a little, the caramel punis got finished. Despite the Big Work Thing being in progress now, rather than just anticipated, those snatches of time add up.

Unfortunately, this last week has been hampered by illness as well as work, so my progress on the white is much less inspiring. plus, my handcards got here a few days ago, and I had to play with them a little bit right away. 

However, even horrible February head colds have to subside eventually. One day at a time, here a little, there a little, I’ll get these done too. Maybe they’ll even be done by the time you read this, and I’ll keep these daily posts going a little longer. You’ll know, of course, if you follow me on Instagram.

#winkyface

Sampling Punis

 I got these little pretties at the Yarn Party thing at Savage Mill, Maryland, back in… what was that… 2014? Which makes this possibly the youngest stash I own.

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After yesterday’s post, some of you on Facebook were wondering, what on earth is a puni! Basically it’s a little sushi roll of river, generally a very fine fiber, carded on fine handcards, then rolled up tightly around something like a pencil or knitting needle. Traditionally this was used for cotton, but it is also a fancy way to prepare luxury fibers for a small amount of fancy spinning. Gourmet Stash, from whom I bought these punis, has this handy page of explanation, but if you’re not a spinner that might be a bit much. Its easier to watch than read, and this short video shows a cotton puni being made. (Though I don’t think Gourmet Stash compacts her punis post rolling that way; I don’t know. )

Back at the Yarn Party, I bought a mystery package of punis from GS. The idea is, since you’re buying blind, you can save a few buckzoids and have a nice surprise. This last week I’ve needed something short to tide me over while I waited for my handcards to arrrive in the mail, so I pulled out these pretties and started pulling them apart.

Above you can see an attenuated puni next to intact punis, for length comparison. They just sort of explode into puffy loveliness when you stretch them out, though there were some points where the fibers knotted into a tiny chokehold. I blame that on my stash habits; they were perfectly packaged in tissue paper and plastic, but compacting is a little inevitable over that length of time.

I wound them into little nests the size of a Kinder Egg and started spinning. Short forward draw, 1″ draft, 15:1 ratio. (How happy I am that my fastest ratio works now! Turns out all it took was a better drive band. Hemp twine rather than dishcloth cotton. Sheesh.)

With such a small amount (just over 1 oz total) sampling seemed a little silly. But I had 17 caramel punis and 22 white ones, so I did the five extra whites first to make sure I knew what I was doing.

Oh, what a delight! I spun thin and tight, knowing the superfine merino was probably the dominant fiber and could take the twist.

I watched this nifty video on chain plying for a refresher, though next time I definitely will let those singles rest because they were a handful.

The other advantage of sampling is that I now have a pretty good idea of how much I’ll get in the end. I will have just under a hundred yards of light fingering at a 3 ply, so I can think ahead.

A 3 ply might seem an odd choice for such a small quantity of super soft yarn. Shouldn’t I 2 ply it and make something lacy with a good shake more yardage? That would be the expected thing, yes. By I’ve had an idea for these fuzzies ever since I bought them in 201?, and 3 ply roundness and durability is called for. My idea is only confirmed by our family’s recent obsession with My Neighbor Totoro. I’ll leave you to puzzle out what that means.

The Nineteenth Blendling: The Kitchen Sink

The Blendlings are a series of small skeins of handspun I am making, in order to study color, learn combination drafting, and improve my spinning by studying and adjusting my practices in small amounts. For a fuller project description, click here.

It was inevitable: the last Blendling would be a hodge-podge mixture of whatever I had left. And I had some weird colors left. My interest was piqued, however, by the fact that I had two strips each of almost all these leftovers. 

What I really wanted to do was blend them really thoroughly, to see if they made brown, or something properly muddy. I have no equipment for this, though: my handcards are in the mail from three thousand miles away, and I certainly don’t have a drum carder or blending board. 

So I hatched a truly goofy plan. I decided to fake having handcards.

What I did was strip each strip down into tiny strips, fluff them up by hand, and lay them close together. I did this with one color at a time.

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Dark green, pink, dark teal, light teal, and beige made the first half of my leftovers. When they were piled up like this, I rolled them up over a chopstick to make a giant fake rolag! A “faux-lag”, if you will. (Ok so a fauxlag is really a thing according to ravelry, and it’s not quite this. But I’m not sure what else to call this thing.)

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Cheerios and play-doh, respectively, kept my little observers pretty content during this labor-intensive process.

Faux-lag #2, from outside to inside, had beige, light teal, red, pink, dark green. I reversed the colors, basically, and the dark teal was swapped for red, as I only had one of each.

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Aren’t they hilarious? They’re more like sandworms than anything else.

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We protect the spiccccceeee

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I could have done something more sensible than this. I could have waited for my handcards to get here. I could have just combo drafted five colors together, in keeping with what I’ve been trying to learn this whole time. But you know what? This is the last time for a while that I’m going to be able to try something that’s just silly that doesn’t threaten to mess up a larger project. I know I’m going to get all intense and intentional about my next projects. This is my last chance to cut loose.

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I stretched my faux-lags into long, messy fiber snakes. Unsurprisingly, despite all my fluffing, the strips just tended to slant and elongate rather than widen as I stretched it out.

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The spinning experience was a little weird, but it wasn’t as much of a pain as I feared. It was just a strange way to combo draft – good for randomness, bad for consistency. I was usually drafting some two colors together – the dark green tended to take over for a bit at a time sometimes, whether it was on the inside or outside of the faux-lag – but there were some pretty sweet moments where I was drafting five colors at once for a while. I did a sort of variation of short forward draw, but I was a little preoccupied by managing this silly snake.

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The end bobbins were… pretty weird. And there was a lot more of the second one, the one with the red – clearly I should have weighed my halves rather than counting strips.

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Still, the final result was not at all un-pleasing. It’s almost Christmas-y. It’s very similar to #9, though more variegated. That’s how I think it’ll knit up – like a variegated yarn. A variegated yarn with marling and heathering thrown in! It would probably be really fun to knit up something large in stockinette with this much variation. Overall it probably would look greyish, and up close all the craziness would look interesting. I’ll never know what it would have looked like properly blended by carding, but it would have been very different.

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The Nerd Numbers (Blendling #19):

Spun from “faux-lags,” see above for construction. Total color strips: 2 dark green, 2 pink, 2 light teal, 2 beige, 1 red, 1 dark teal.
Spun short forward draw, spinning off a pre-drafted “faux-lag”.
Spinning Ratio: 6:1
1 treadle per draft, on average. Maybe 1-1.5″ draft.
Plied from 2 bobbins
Plying Ratio: 6:1
6-7 treadles : 12″
S twist, Z plied
Yardage: 36.7 yd after finishing
Weight: .8 oz
Appx. Grist: 734 YPP
TPI: 3.5 before finishing, 4 after finishing
WPI: 10 before and after finishing (9 with thicker bits in the picture)
Angle of twist: 30 degrees before finishing, 35 degrees after finishing

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The final four, all .8 oz or more.

And that’s it for the Blendlings! I’m sure you’re sick to death of them, but I’ll give them one more post tomorrow to talk about what I’ve learned and where we go from here. Cheers!

The Eighteenth Blendling: Goethe Test

The Blendlings are a series of small skeins of handspun I am making, in order to study color, learn combination drafting, and improve my spinning by studying and adjusting my practices in small amounts. For a fuller project description, click here.

In her book Color in Spinning, Deb Menz talks about balancing different colors in a blend. She talks about an artist named Goethe who came up with a scale of how much of each color is needed to make a “balanced result” (p. 39). You can also use this scale to throw a little more weight to one color, contrasting the proportions.

I thought I’d give it a try with some of the colors I had. I had a lot of bright purple, dark green, and blue. Here are the proportions Goethe assigns to those colors:

Goethe: blue 9, purp 8, green 6

I was able to muster up .5 oz of blue, and I put it with .4 oz of bright purple, and .35 green of green. From Goethe’s scale, that makes a slightly lesser proportion of bright purple and dark green. That was intentional on my part: I knew that my blue was the dullest of the three, and I wanted it to hold up in hand-to-hand combat with the very saturated purple and the dark-value green. 

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I didn’t have an exactly equal number of strips, so I divided them up as closely as I could, pre-drafted them into mega-nests, and when they plied together it didn’t make much difference.

In between starting this spin and finishing the previous Blendling, I came across two important pieces of information.

First, in Episode 55 of Wool N’ Spinning, as a total aside to what she was really talking about, Rachel discussed the problem of having stash fiber that’s too old. She was working with a braid that had been in her stash for three years, noting how it was very compressed in places, so much that she wanted to put it through her drum carder to open it up and make it easy to spin. Without an intervention like that, fibers compressed for a long time are harder to spin consistently, and tend to spin denser yarns.

Tend to spin denser yarns.

Um. I literally have no fiber in my stash that is less than three years old. Most of it is like six or seven years old, and this stuff I’m working with now could be way older! I have no way of knowing, as it was destashed to me from another spinner. 

This made me feel a lot better about all the grist issues I’ve been having. I was frustrated with how dense my yarns were coming out, unsure what else I could do about it. Now I know that it’s not necessarily because there’s something wrong with my spinning technique; it’s the fiber itself, and there’s not much I can do about it. (I also asked my mom to mail me my hand cards at the earliest opportunity.)

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Check out how intensely packed this little center-pull ball is compared to the previous one, spun semi-woolen! The grist went back to being quite intense, under 600 YPP, but this time it didn’t bother me so much.

With that in mind, I gave up trying to make a lofty yarn, and set to just learn a drafting technique, not too attached to how dense it made the final yarn. I went back to trying to do a basic worsted technique, and that’s where I came across the second useful piece of information: a while ago, Rachel did a video on short forward draft that I happened across when I was exactly halfway through spinning these singles. I realized I was moving both my hands quite often. For the rest of the spin, I disciplined my right hand to sit still, and just drafted pulling forward with my left. I just tried to keep the length of my draft and drafts:treadles consistent, changing the thickness with the uptake, not worrying too much about exactly how much fiber was in the drafting triangle, unlike what I was doing at the beginning of this series.

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For plying, I didn’t overply as much as I’ve been trying to do, but tried putting in just enough twist for it to twist on itself a few times, enough that it would come out balanced in the wash. I pretty much succeeded, though the finished skein tends to twist slightly in the underplied direction rather than overplied! Meaning I could have added even more twist and it would not have been overplied at all. It’s not as tight and beaded as some of the others have been, but it doesn’t look leggy, and it doesn’t look as tense as some of the overplied ones have been. I’d love to get more control of these different nuances of plying; for now it’s enough to know they exist and experience them in my hands. 

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To return to color: I think the balance of colors came out quite nicely. It definitely landed in the realm of blue, which makes sense, since there’s blue in both green and purple. A stronger test of the theory would have been to mix non-analogous colors with the Goethe numbers. Still, I think I understand a little more about what he and Menz were getting at – I could shift this more in one way or the other by contrasting the proportions more. And I understand that the balance is affected by the balance of proportion, not by the absolute amount of one color. (For example, by his numbers I could have added just .15 oz of yellow or .2 oz of red to compete with all these cool colors!)

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The Nerd Numbers (Blendling #18):

1 single, combo drafted by weight: .5 oz blue, .4 oz bright purple, .35 oz green.
Spun short forward draft – first half with both hands moving; second half with only left hand moving after watching video.
Spinning Ratio: 6:1
1 treadle per draft (~1-1.5″)
Plied from a center pull ball
Plying Ratio: 6:1
plied just enough to seem balanced, ~5 treadles per 12″
S twist, Z plied
Yardage: 42.4 yd after finishing
Weight: 1.2 oz
Appx. Grist: 562 YPP
TPI: 3.25 before and after finishing
WPI: 10 before finishing, 8.5 after finishing
Angle of twist: 30 degrees before and after finishing

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Stop! Ply Break

We interrupt your daily dose of Blendlings to give you a little plying.

This poor little single has been sitting on a bobbin for over three years, maybe more than four. It’s from the fabulous Cormo X that mom and I split One Hundred Years ago (i.e. May of 2012; Mom introduced it here). Mom actually bought me combs to process it, because she was enjoying combing so much. I tried to get into it, but I just couldn’t. I didn’t do a great job washing the fleece, anyway. We had a baby. Then another one. If spinning went on the back burner, fleece processing went on the back porch: the place hobbies go to die. I’m still not sure I’ll ever go back to it, and being half in-the-grease for all that time, it might be damaged by now. Can you tell I’m sad about it? I have a deep and abiding hatred of abandoning projects, even when I hate them!

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For all that time, my first little bobbin of Cormo X sat on the bobbin. I didn’t love combing, but I loved spinning the rolags, so I had positive feelings toward it.

During the last couple weeks of rather intense spinning, I decided it was time to let it go.

The girlies helped me wind it into a center pull ball, when they weren’t trying to treadle. (N almost got it. She wants to spin and knit so badly. She is already a fierce crafter with her paint and coloring and glue and scissors and whatever else I let her make a mess with.)

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You can see how incredibly rigid the singles are, after being stretched and greasy for all that time. It was almost like plying sticky strands of twine.

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But, I had faith, and I was armed with new knowledge. I knew I could still scour the yarn; I knew I could put a lot of twist into it for strength and not worry too much about balance; I knew from sitting on the bobbin forever that it wasn’t going to look balanced until I washed the heck out of it anyway. And, I knew how woolen-spun yarn can bloom when you snap and thwack the heck out of it. And yes, most of this information came from the Wool N’ Spinning blog, which I rambled about at a previous break.

This is what a skein looks like that has *all* of its expressed energy in the ply twist.

Pre-wash: this is what a skein looks like that has *all* of its expressed energy in the ply twist.

I executed these moves, and ended up with a downright tolerable little skein.

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The Nerd Numbers:
Cormo Cross, spun half-in-the-grease (poorly washed – not that there’s anything wrong with that, just, again, not what I thought I was doing!)
2 ply from center pull ball
Z spun, S plied
Plied 12:1 ratio, 4 treadles: 12″
WPI: 11 before finishing, 9 after finishing (worsted weight)
1.8 oz
134 yards (pre-finishing), ~1,100 YPP

I scoured the living daylights out of it (about 20 plunges between HOT soapy water and cold rinse water), and it is a different yarn. Being woolen-spun, it’s not going to be strong – I even wonder if the fibers are damaged from all that time on the bobbin in the grease. It’s not soft either – I enjoy a toothy wool, but I’m not even sure I would want it on my head or hands.

SONY DSC

SONY DSC

I’m not sure what one can do with yarn that is neither tough nor soft nor enough for something large and utilitarian. I’m thinking about doing what I did with N’s Aviatrix and holding it together with some more leftover Kidsilk Haze, to make it a little more tolerable as a hat or mitts, for myself. Or maybe I’ll just add it to whatever I use the Blendlings for. I don’t know! Why do I always want to cast on my handspun right away???

UPDATE: Since I drafted this post, I have found this post on Diana Twiss’s blog on a Cormo fleece in the exact same condition! What a relief that the bag of Cormo X in Mom’s basement might not be a total loss… and that it might not matter if I wait another year or two to deal with it…