A Weaver's Guide to Yarn - selection, size, substance, and style of the stuff we love - Yarnworker
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A Weaver’s
Guide to Yarn
selection, size, substance,
and style of the stuff we love
by Liz Gipson
A Weaver’s
Guide to Yarn
selection, size, substance,
and style of the stuff we love
by Liz Gipson
Copyright ©2019 Yarnworker – All Rights Reserved
Text and Photography, Liz Gipson
Copy Editing, Debbie Held
Design and Layout, Liz Mrofka
Technical Editing, Janet Dawson
Proofing, Cindy Rook
Published by Yarnworker
P.O. Box 1161
Socorro, New Mexico 87801
yarnworker.com
ISBN 978-0-578-43059-1
This book is dedicated to the Lemonade Crew and Yarnworker
Patrons, who make the seemingly impossible, possible.
This guide is written specifically
with the rigid-heddle weaver in
mind, although any weaver can
gain a deeper understanding about
yarn within its pages. For more
information about the warped
side of yarn, visit yarnworker.com.
Preface To me, yarn is akin to the elixir of life. Within it, we can see the history of the world and glimpse into our future. Infinitely variable and wondrous stuff, is yarn. We love it, but sometimes it just doesn’t seem to love us back. Traditionally, weaving yarns were drawn from a relatively narrow spectrum. In the past decade, the number of yarns available to the yarn-buying public has greatly increased, with the vast majority being made for the knitter. This doesn’t mean weavers can’t use them, it just means these yarns were designed with loops in mind. In 2016, I sent out a survey and received nearly 500 responses. I asked a simple question: “If time and money were off the table, what, specifically, would you say keeps you from weaving more?” By a wide margin the most common reply was, “I don’t know how to choose yarns for weaving.” I gave myself a task: Spend a year writing about yarn. Building upon what I’d written in my first book, Weaving Made Easy, and in my latest book, Handwoven Home, I wrote about yarn on my blog and in my Knitty column. I included yarn discussions in weave- alongs and the Yarnworker School’s online classes, and I shared interesting articles on social media. The questions started pouring in, and I began to see themes emerging around the kinds of knowledge gaps shared among rigid-heddle weavers. I pulled together all of these writings—and then some—and I put them in this, my second guide. I offer you this deep dive into the subject of yarn as it pertains to a very specific thing: rigid-heddle weaving. Although much of this information can be applied to many types of weaving, the rigid- heddle loom is what I know best. Heddles up! Liz
Table of Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 The Weaver’s Gauge: Sett. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Determining Sett, 11 Beyond a Balanced Plain Weave, 13 Choosing Yarns for Warp and Weft. . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Pinch-and-Pull Test, 15 Abrasion Resistance, 15 Yarn Content and Construction, 16 Fringe Treatment, 16 Choosing Yarns for Weft, 17 Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Color Vocabulary, 18 Using Color Theory, 20 Build Your Color Muscle, 21 Color in Practice, 21 Predicting Color Interactions, 24 Fiber Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Decoding Yarn Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Yardage: yd/lb or m/kg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Common Conversions and Measurements. . . . . . . . . . . . . . . . . . . . 32 Standard Weights and Measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Wraps Per Inch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Count System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using a Sett Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Using a Yarn Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Substance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Cotton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Wool Fundamentals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Sheep’s Wool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Beyond Sheep. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Down Fibers, 46
Angora, 47
Mohair, 47
Camelids, 48
Linen and Hemp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Silk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Synthetics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Preparation and Spinning Technique . . . . . . . . . . . . . . . . . . . . . . . . . 59
Woolen and Worsted, 59
Ply and Twist, 61
Singles, 62
Bounce Factor, 64
Novelty, 65
Superwash. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Weaving vs. Knitting Yarns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Shopping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Locally. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Big-Box Store. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Put-Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
How Much Should I Buy?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Introduction The most common question I’m asked is, “What yarn should I use for this, that, or the other project?” The next most common ques- tion is, “Will this yarn substitute for that yarn?” This entire book is, in essence, a very long answer to both of these questions. This guide assumes that you are comfortable with basic weaving terminology and that you have warped a project or two and have already asked yourself these questions. Most craft books start with base materials and work their way up to using them. What I’ve observed is that this is not how most folks actually use craft books. They jump to the section they need, and then (maybe) work their way to the front. This book is organized with the base materials in the middle of the book, with all other aspects of yarn radiating out from that point— yarn selection, size, style, and tips for purchasing yarn. This puts the most common stumbling block, yarn selection, first. Perhaps once you know how tied-up this section is with substance, style, and size, it will give you more context for digging into all of this yarn geekery. That said, this book is laid out in such a way that you can still hunt and peck, diving in and out of the chapters and sections to get the answer(s) you may need right away. Given time, experience, and a bit of know-how, you will be able to look at any yarn and its label, if available, with a practiced eye and glean the information you need, to make the cloth you want. Let’s dive in! 8
A balanced plain weave sett,
is the base for most yarn decisions.
9
Selection Choosing your yarn is the first step to weaving any cloth. When you first started weaving, you may have either chosen the exact yarn recommended by your pattern, or grabbed what you thought to be a similar yarn and started weaving. After a few projects, you probably wanted to start using yarn you already had in your stash or that was more appropriate for your climate, or perhaps the yarn in the pattern was no longer available. Maybe you simply had a delicious yarn on hand and you wanted to know how to pair it with a pattern. This book begins right at this place, where you need to pick a yarn for a project, but you aren’t sure how to do so. 10
The Weaver’s Gauge: Sett
In the United States, rigid heddles come in a number of standard
sizes: 5, 8, 10, and 12. These numbers correspond to the number of
slots and holes within every inch of the rigid heddle. Sizes 7.5 and
12.5 are also common in looms manufactured in countries that use
the metric system.
These numbers determine the weaver’s gauge, called sett. The
larger the number, the finer the sett, or the number of ends per inch
in the warp. Just like with knitting and crochet, if you use the wrong
needle or hook and don’t get gauge, your project will be off-kilter.
Determining Sett
Most sett decisions are based on a balanced plain weave (b.p.w.)
sett. A balanced plain weave fabric has the same number of warp
and weft ends per inch, see photo on page 9.
Conventional wisdom has the weaver determine a b.p.w. sett like
so: wrap the yarn around a ruler under very light tension and so the
strands are touching, but not inhibiting the yarn’s ability to relax.
You want to mimic what the yarn will act like when relaxed and
not under the tension of the loom. Count the number of wraps,
then divide this number by two. If in doubt, wrap two inches then
take an average of the two. By taking half the strands away, you
allow room for the weft to interlace with the warp.
11Using w.p.i. to estimate sett tells you very little about the
character of the yarn itself. Two yarns can have the same
sett and be radically different. One may be a tightly spun
smooth yarn and the other an airy, textured yarn, but they
will technically have the same b.p.w. sett. You have to use
your judgment about the nature of the yarn, how you think
they’ll behave, and how you will use them.
Since rigid-heddle weavers have a finite sett selection, you often
have to make choices—either going up or down a size. For instance,
if you have a yarn that wraps around the ruler 14 times in an inch,
your b.p.w. sett is 7. Choosing a size 8 rigid-heddle is probably a
good place to start, as jumping all the way down to 5 is a pretty big
leap. Keep in mind that you can double fine yarns in the slots and
holes to achieve the fabric density you are looking for.
12This judgment takes time to develop and it is why I always encour-
age swatching, the subject of my first Guide, to learn about the yarn
and how it operates in your best sett guesstimate. It is much better
to learn on a small scale and get not quite the results you were
looking for than to go big and be disappointed.
Beyond a Balanced Plain Weave
Weaving is all about densities, and sett determines how close or
how open your warp density will be. Some weaves, such as color-
and-weave, require a balanced plain weave sett (opposite page, at
left). Others may require a more open sett—pick-and-pick comes
to mind (opposite page, bottom right). Still others need a closer
sett, such as rep-like weaves (opposite page, top right) or twill.
Shown below, is a handy little tool called the Sett Checker made
by Purl & Loop (see, Resources). Wrapped around the gauge, is a
sport-weight wool yarn. It shows a visual representation of these
three primary densities available to rigid-heddle weavers. The yarn
all the way to the left shows the yarn in its utterly relaxed state.
(European manufacturers use the metric system and you may see
setts in 12.5 and 7.5.)
When determining sett, you want to take into consideration your
weave structure and how close or open the sett needs to be, how
much the yarn will rebound and bloom once washed, and then
leave enough room for the yarn to do its thing. Some of this
rebound and bloom is mechanical (for instance, how much twist
is in the yarn), and some is based on fiber type. (See Style and
Substance chapters for more information on individual fiber char-
acteristics and yarn construction.)
13Choosing Yarns for Warp and Weft Many of the yarns you may already have can be used on the rigid- heddle loom. You can use virtually anything for weft—yarn, twigs, ribbon, wire, raffia, tulle—whatever tickles your fancy. The yarn used to set up the loom, the warp, is subject to more stress and therefore takes a little more consideration. In weaving, tension is put on the yarns collectively and not on each individual strand of yarn; so, while we do need to evaluate the yarn itself, we also have to understand how pressure is exerted on it within the framework of the loom. The plastic heddles that make up the actual rigid heddle, are gentler on yarn as compared to other heddle types. The relatively short length of warp, held taut between the beams, allows you to use less tension than would be needed on a larger loom, where you have to exert much more ten- sion on the warp so as to prevent sagging in the middle. With this in mind, your yarn doesn’t need to hold up to industrial standards, it just has to pass the simple pinch-and-pull test. The yarns held taut on the loom support one another, so while we will test individual yarns, the tension is put on the warp as a whole, not each individual yarn. This allows weavers to use a broad range of yarns. 14
Pinch-and-Pull Test
A simple way to test your yarn for strength is the pinch-and-pull
test: take a generous length of yarn, about 40-50 inches, wrap one
end of it around the index and middle fingers of one hand, and
pinch firmly. Leaving about a 12–16 inch section of yarn between
your hands, secure the other end to your other hand, same as you
did the first. Apply steady, firm pressure, as if to pull the yarn
apart. If the yarn drifts apart or breaks easily, it isn’t a good choice
as a warp yarn.
To see a video of this, check out the “Evaluating Yarns for Weaving”
video on the Yarnworker YouTube channel, where I demonstrate
this test using a variety of yarns you probably have on hand.
Abrasion Resistance
Some yarns strong enough for warp may still shed. This shedding
may cause the yarn to break in sporadic patches along the length
of the yarn, as the volume of the fibers gets smaller. To test for
abrasion resistance, take a length of yarn about 12 inches and rub
it back and forth on the corner of a table. If the yarn sheds, then it
is likely to do this while you are weaving.
15Yarn Content and Construction Tightly plied and smooth yarns are traditionally thought of as good warp yarns. Tender, loosely plied or softly spun yarns tend to shred as you weave. Toothy wools and fuzzy yarns, such as mohair and some novelties, may stick to each other. If you want to use these yarns and they are strong enough for warp, mix them with smoother yarns within the warp, or allow enough space between the warp yarns to keep them from interfering with each other. (See Style chapter for more information on yarn construction. See Substance chapter for more information on fiber types and their properties.) Fringe Treatment Another consideration of warp yarn selection is how the yarn will act in the fringe. Singles, also known as unplied yarns, puff out in the wash. Fine wools, cottons, and novelty yarns tend to fray. To test, take a length of yarn you tested for warp and wash it vig- orously in warm water with a little soap. Pay attention to how the ends behave, and this will give you a good idea of what will hap- pen in the fringe. Then plan accordingly. At left, a fine Merino yarn ready for trimming. At right, singles yarn tied in overhand knots and trimmed short to form bobbles. 16
Choosing Yarns for Weft
Practically any yarn can be used for weft. However, this is a good
time to revisit the subject of densities. Warp density is just one part
of your yarn equation. Weft, and how it is beaten, plays an equally
important role in how your fabric will turn out.
Beat plays a role in the appearance of the fabric. Pay attention to
the recommended picks in a pattern, and do your best to keep close
to that number throughout the weaving process. For supple fabrics,
you want to gently place the yarns; for firm, sturdy fabrics, you want
to give your weft a good whack.
Below is that same sport-weight yarn used on the Sett Checker
on page 13. The middle fabric is sett at 10 e.p.i. and woven with
a same-sized yarn in a slightly different shade of pink, to create
a balanced plain weave. To the right, is the same warp yarn in an
open sett of 8 and woven with a thicker yarn with fewer picks per
inch. To the left, is the same warp yarn shown in an additional
color sett close at 12 e.p.i., woven with a fine, lace-weight yarn that
allows the warp colors to pop. The look of each of the three fabrics
is different despite all being woven with the same warp yarn.
From left to right: Same warp sett at 12, 10, and 8 e.p.i. Each one is woven with
a different yarn and beat to create three unique fabrics.
17Color You don’t have to be overly skilled in color theory to make color selections, although it helps to learn the lingo. Following is a basic outline of the key terms and color relationships I find most helpful to think about when choosing colors for weaving. Color Theory is based on a spectrum of color, represented by the color wheel. The “pure” color is on the outer ring. White (tint), black (shade), or gray (tone) can be added to these colors to create new colors shown on the inner rings. Color Vocabulary This color wheel is made of yarn wraps illustrating basic color vocabulary. The yarn was kindly supplied by my colleague, Felicia Lo of Sweet Georgia Yarn, a master of color theory as it relates to yarn. (See Resources for more information.) Please note that color is difficult to photograph and print true. Still, even if the colors aren’t perfectly represented on these pages, this wheel will give you an idea of the following color relationships: Primary: Red, yellow, and blue are the primary colors from which all other colors are made. Secondary: Three new colors result from various combinations of the primary colors. red + yellow = orange, yellow + blue = green, and blue + red = purple. Tertiary: There are six combinations of primary and secondary colors. These blends create the gradients between primary colors: red–orange, yellow–orange, yellow–green, blue–green, blue-purple, and red–purple. Complementary: These are colors that sit opposite each other on the color wheel. Blue and orange is a classic example. Analogous: Groups of three colors next to each other on the color wheel. 18
Cool vs. Warm: If you divide the color wheel in half, with red, yellow,
and orange on one side (warm), and blue, green, and purple on
the other (cool), you create temperature zones. Warm colors tend
to recede, and cool colors tend to advance. Temperature, though,
can cross the temperature divide. You can have a warm blue and
a cool red.
Hue: A hue is a color’s pure form.
Tints, Tones, and Shades: When a color is mixed with white, it
creates a tint; when it is mixed with gray, it creates a tone; when
it is mixed with black, it creates a shade.
Saturation: This is the relative lightness or darkness of a yarn, or
where it falls on the tint, tone, and shade continuum.
Value: This is a tricky one. Value is the relative brightness of a yarn
from light to dark of a color, compared to a grayscale. Some people
talk about value in terms of the weight—the darker it is, the heavier
it is. The brighter it is, the lighter it is.
PRIMA
TIARY RY
T ER
RY TE
RT
DA
N
IA
CO
RY
SE
HUE
SEC
RY
TINT
OND
TERTIA
TONE
SHADE
ARY
TERTIA
Y
M AR
PR I
RY
Y
AR
PR
IM
T I
R AR
TE Y
Y T ER
CON DAR TIARY
SE
19Using Color Theory When it comes to using this information in weaving, I think it comes down to this central question: Is contrast important or not? In some weaves, color-and-weave for example, contrast is extremely important. In other weave structures, it may not matter as much. A lot of weavers create contrast by using complementary colors, but that doesn’t always work. Contrast is created when two color values are different. For instance, a tinted yellow with a tonal purple. A quick way to determine if yarns have value contrast is to take a photo of the two yarns, using your smartphone. Use the edit fea- ture on your camera to change the photo to grayscale. To do this on most smartphones, pull up the photo and select “edit.” Find the color setting and change the saturation to -100, by moving the slider all the way to the left. If you have the option, do the same for hue. You can also use one of the black and white filters, which will give you similar, but not always completely accurate, results. If you can still see the two colors as distinct shades of gray, then you have decent value contrast. If you can’t see a distinction, then the yarns have low contrast. Three yarn wraps shown in color and black and white. The black and white image shows how much value contrast each yarn has from the others. 20
Build Your Color Muscle
It takes practice to identify where a color falls in this dizzying
array of options. The more you use color theory, the more it will
reveal its mysteries. You may find it helpful to play around with an
online tool such as Adobe Color, a free online color tool.
Another good exercise is to get your hands on a good color wheel,
with lots of tints, tones, and shades, then dig through your stash,
building color combinations based on color theory.
Color in Practice
In weaving, your yarns are interlaced, causing the eye to see the
cloth as a blending of both colors. You can know your basic color
theory, and yet it all seems to fall apart when it comes to weaving.
This isn’t because you picked the wrong colors—you may just have
them in the wrong proportions. These three factors determine how
your color will show up in your woven cloth:
Sett
Sett has a profound effect on color.
At right, the same variegated sport-
weight warp yarn and solid green
weft is used in both these samples.
In the bottom sample, the warp
yarns are doubled in an 8-dent
rigid-heddle to create an effective
sett of 16, a close sett for this yarn.
It is woven with the same solid
green weft as the upper sample in
a sett of 10, a balanced sett for this
yarn.
In the balanced sett, you see an
equal amount of each color creating
an optical mix of the two colors,
whereas in the close sett, you can
barely see the weft.
21Structure Structure also affects how color is seen. These samples are warped in the same yarn. Each swatch is woven in a different weave struc- ture, using the same weft yarn. From left to right are: spot weave, twill, plain weave, and 3/1 floats. The color dominance and appearance shifts depending on the proportion of warp to weft. Color This may seem a bit obvious, but color also affects color. My friend Gil modified the stripe pattern and colors of the “Dealer’s Choice Towels” (from the revised edition of Weaving Made Easy) to match his Fiestaware. Each towel has the same colors in the warp. By changing the weft color in each towel, he was able to shift the appearance of the warp stripe, some- times pretty dramatically. 22
How I Choose Color
While we can dream up many agreeable color combinations, we
are often faced with limited color choices based on available yarns.
Given that we can’t have any color we want unless we dye it our-
selves, what is a weaver to do?
Nature is a master color combiner, and all you need to do is follow
her lead. When I start thinking about designing a new project, I’ll
get out my camera and take a walk, or I’ll scroll though my camera
looking at photos I’ve taken on previous excursions. You can do this
with any photo or image; it doesn’t have to be one from nature, but
that is what works best for me.
When I see a color combination I like, I will either take the photo
with me while shopping for yarn or match it to my stash yarns.
The match doesn’t have to be exact, nor do you have to use every
color in the photo.
In the example below, the blue-green is not in the photo, but it
worked well with the other colors. By using this method, I discover
combinations I may not have thought of otherwise.
I also pay attention to
the proportion of one
color to another in my
photo. Is there one col-
or that dominates and
another that acts as an
accent? I’ll use this in-
formation to plan out
plaids, stripes, and other
combinations.
Sometimes, I work this
system in reverse. When
you buy yarn online, you
can’t always tell its true
color. I shop for bases I
23like—the yarn size, content, and style—and then take my best shot at selecting colors. Once I have the yarn in hand, if the color is really different from what I thought it would be, I’ll scroll through my photos to find something similar and work from there. Predicting Color Interactions You can get an idea of how colors will interact with each other on the loom by twisting them together. Twist them together in the same proportion that you will be using them. Shown here is a lace- weight yarn twisted in a 1:1 ratio, a 2:2 ratio, and a 2:1 ratio. You will get a sense of how the yarns will interact with one another and if the color interactions are to your liking. Then, you guessed it, I sample. Sampling can be as simple as com- mitting to your warp colors, but allowing in a few extra inches for testing out your weft colors. If you are venturing into a big project such as a set of towels or a throw, it pays to take the time to be sure you like your colors before proceeding. What looks good on the loom can change once the fabric is off the loom and washed. In my first guide, A Weaver’s Guide to Swatching, I delve into this topic in depth. The book outlines how to use a frame loom to test out yarns and colors before warping up a larger piece. 24
Swatching for color using a Swatch Maker Loom from Purl & Loop. Check out
the Yarnworker Collection at www.purlandloop.com/yarnworker-store for
tools to unleash your inner designer including Swatch Maker Looms, Swatch
Maker 3-in-1, the Sett Checker, and specially designed tools sized for swatching.
25Fiber Checklist
When thinking about selecting yarn for any given project, take
a moment to run these questions through your mind. There are
alpaca/ hemp/
Question acrylic angora cotton down mohair
llama linen
Does the fabric
need to be machine ✓ ✓ ✓
washed and dried?
Occasional machine
washing (gentle
✓ ✓ ✓
cycle) preferable,
laid flat to dry?
Handwash only? ✓ ✓ ✓
Will it be worn next
✓
to skin by someone
(depends
who is particularly ✓ ✓ ✓ ✓
on
sensitive to prickle or
fineness)
has allergies?
Will it be sat upon
✓ ✓ ✓
or walked on?
Will it be around
food preparation and ✓ ✓
consumption?
Will it regularly be
exposed to rubbing ✓ ✓ ✓ ✓
or friction?
Is it a gift for
someone who knows
✓ ✓ ✓
nothing about taking
care of yarn?
Does it need to be
✓ ✓ ✓ ✓
warm?
26exceptions to every rule, so when in doubt, swatch it out! (See Sub-
stance chapter for more information about each fiber type.)
wool wool wool wool
nylon rayon silk
(fine) (medium) (hearty) (superwash)
✓
✓
(some,
(many, check
check
label)
label)
✓ ✓ ✓
(some, (some, (some,
✓ ✓
check swatch swatch
label) first) first)
✓ ✓
✓ ✓ ✓ ✓ ✓
✓
(some,
✓
swatch
first)
✓ ✓ ✓ ✓ ✓
✓ ✓
✓ ✓ ✓ ✓ ✓
27Decoding Yarn Information Weaving patterns can contain a mind-bending array of informa- tion in the “yarn” section. For example, this is the yarn information from the Linen & Lace curtain in Handwoven Home. It is a fairly typical description of the warp yarn in a weaving pattern and it has since been discontinued, so you need to use all this information to find a suitable substitute. Warp: 4-ply DK-weight, viscose-linen blend (1,409 yd [1,288 m]/lb: 882 yd [807 m]; indigo blue. Shown in Classic Elite Firefly (75% viscose/25% linen; 155 yd [142 m]/3 oz [50g] skein): #7793 Denim. That is a whole lot of information! Once you learn how to decipher all of it, you will have a goldmine of details. If we break down this information into its components, it is telling you: • Style (4-ply) • Craft Yarn Council Standard weight (DK) • Substance (viscose-linen blend) • Size (1,409 yd [1,288 m]/lb) • Amount needed for project warp (882 yd [807m]) • Generic color (indigo blue) • Actual yarn used in pattern (Classic Elite Firefly) • Actual yarn’s substance (75% viscose/25% linen) • Actual yarn’s put-up (155 yd [142 m]/3 oz [50g] skein) • Actual yarn’s color (#7793 Denim) You need to carefully read the pattern to be sure you are looking at the right numbers. Sometimes, the yardage required to make the project is listed separately from the yarn description. I’ve often seen weavers confuse the yd/lb information of the yarn itself with the amount of yardage needed to weave the pattern. If some of these distinctions don’t make a lot of sense to you yet, they will after you get through the next three chapters. 28
Substitutions
When looking to substitute one yarn for another, I look at three
factors: size, content, and style. We are going to dig way deeper
into each one of these subjects in subsequent chapters, but here
is an overview.
Size
Grist, or the size of a yarn, can be highly deceptive. Weavers typically
use yards per pound as the common metric of yarn selection and
project planning. However, this is not how most yarns are sold;
and therein lies the rub. Comparing the yd/lb of the yarn in the
pattern to the yd/lb of the yarn you would like to use will give you
an idea of their relative comparative size. This comparison also only
works if the content and style of both are the same. (For more infor-
mation, see Size chapter.)
Substance
You can match a same-sized wool and cotton yarn, but they will
act differently in the finished cloth. You want to get as close to
the original content as possible for the best results. If the original
yarn is wool, try to find either a similar wool yarn or a blend that
has a high wool content. (For more information on individual fiber
properties, see Substance chapter.)
Style
By “style,” I’m referring to how a yarn is made, including factors
such as how it is spun, the number of plies, and how the yarn is
plied. There are a few websites that cater to knitters and crocheters
that can help with yarn substitutions. YarnSub is one of the most
popular (www.yarnsub.com). You can type in the name of a discon-
tinued yarn and the site pops up a list of suggested substitutions.
Weavers have to be a little cautious, as this tells you substitutes
from a knitter’s perspective. During a Yarnworker weave-along, we
used this site to find substitutes for a discontinued yarn. The first
one on the site was a near-perfect match, but the second, while
very similar, was fuzzier than the original and caused sticky sheds.
(See Fuzzy vs. Smooth on page 61.)
29SIZE There is a dizzing array of methods used to measure yarn—wraps per inch, Craft Yarn Council’s Standards, sett charts, a yarn balance, and the maddening expression of the count system or those met- rics expressed as ratios such as 8/2. Much of this is baffling to new weavers. Each one of these systems is there to give you information to help you design your cloth, to determine if one yarn is comparable with another, given that the content and construction of the yarn are similar, and to purchase the right amount of yarn. Following are the many ways to measure yarn and how this information is help- ful to the weaver. 30
Yardage
Top among these measuring systems is the predilection for weavers
to focus on the yards per pound or meters per kilogram. Yarn man-
ufacturers have the maddening habit of mixing systems. To figure
out yards per pound from yards per gram, first translate the grams
into ounces by dividing the number of grams by 28, as one ounce
equals 28 grams. (Technically, the conversion is 28.3495, but you
don’t have to get down to that level of detail.)
Then divide the number of ounces into the yardage on the label.
This gives you the number of yards per ounce. Multiply this number
by 16, and you get the yards per pound.
Determining Yards per Pound from Grams per Ounce
_____ grams ÷ 28 = ____ ounces
_____ ball or skein yards ÷ _____ ounces = yd/oz
_____ yd/oz × 16 = yds/lb
If the yarn label lists the number of ounces, then you can skip the
first conversion. If you need to convert the meters to yards, use this
formula:
_____ meters × .914 = ____ yards
If you are working in the metric system, most balls have the infor-
mation you need to convert to meters per kilogram as follows:
Determining Meters per Kilogram from Meters per Gram
_____ball or skein meters ÷ _____ ball or skein gram = m/gram
_____m/g × 1,000 = m/kg
Again, keep in mind that for yarn substitution purposes, this metric
only works as a comparison if the yarn’s fiber and construction are
roughly the same.
31Common Conversions and Measurements Length Weight 1 yd = .914 meters 1 pound = .453 kilograms 1 inch = 2.54 centimeters 1 ounce = 28.35 grams 36 in = 1 yd 16 oz = 1 lb Calculations grams ∕ 28.35 = number of ounces yardage ∕ number of ounces = yards per ounce yards per ounce × 16 = yards per pound meters × .914 = number of yards Craft Yarn Council Standard Weights and Measures You may be familiar with terms such as fingering, worsted, DK, bulky, etc. These are terms normalized by the Craft Yarn Council to create standards for yarn labels marketed to the knitter and crocheter. You can find their Standard Weight Yarn System on their website at www. craftyarncouncil.com/standards/yarn-weight-system. Using a broad brush, rigid-heddle yarn sizes line up with the Craft Yarn Council’s like so: Lace = 15 dent Sock/fingering = 12–12.5 dent Sport = 10 dent DK/light worsted = 8–7.5 dent Worsted/Aran = 6 dent Bulky = 5 dent You do, however, need to apply all the know-how from Chapter 1 to determine if this sett will work for your project. 32
Wraps Per Inch
I’ve seen many folks confuse wraps per inch (w.p.i.) with sett. You
use w.p.i. to calculate sett, but they are not one and the same. (See
page 11 for more information.) Wraps per inch (w.p.i.) is also used
to get a rough idea of where your yarn lies in the grist spectrum—
say, if you lost the yarn label or spin your own yarn.
Below are the generally agreed yard/lb and w.p.i. equivalents of the
Craft Yarn Council’s standards. Spin•Off magazine did the leg work
to create this chart, although it has slipped into common usage
throughout the fiber world. The range is quite broad to accommo-
date the style or fiber content.
Yarn Weight Yards/Pound W.P.I.
Lace 2,600 (2,377 meters)+ 18+
Fingering 1,900–2,400 (1,737–2,195 meters) 16
Sport 1,200–1,800 (1,097–1,646 meters) 14
Worsted 900–1,200 (823–1,097 meters) 12
Bulky 600–800 (549–732 meters) 10
Very Bulky 400–800 (366–549 meters) 8 or fewer
This measure is one way to guesstimate a yarn’s size, but there
are so many ifs, ands, and buts stemming from how you do the
wrapping. W.P.I. tells you nothing about the character of the yarn.
Two yarns can have the same w.p.i. and be stylistically different.
A yarn is wrapped so the strands are semi-relaxed and close to one another,
but not crowding. By this measure, the yarn is 18 w.p.i., making it lace weight
by the w.p.i. method, however the yarn is labeled fingering weight.
33Count System I’m often asked, “What is the deal with coned yarns and those funny numbers, such as 8/2 or 5/2?” These numbers express the size, number of plies, and yards per pound of any given yarn. If you know the secret codes, then you, too, can determine the yds/lb, using these numbers. The count system dates back to a time when each natural fiber type (there were no synthetics pre-Industrial Revolution) was gov- erned by a separate trade guild. Each guild determined the count number for its fiber. This number was based on how many yards of a given size of yarn equaled a pound. The largest base size was given the number 1. This was the thickest size of yarn that could be reasonably spun from the base fiber and still have integrity for commercial purposes. Count System Explained The first number, in front of the slash, refers to the relative weight of the yarn. The higher that number, the finer the yarn. A 5/2 yarn is thinner than a 3/2 yarn. The second number identifies the num- ber of plies. A 5/2 yarn, for instance, has 2 plies. The cotton guild determined that its system would be based on a skein of yarn made up of 840 yards per skein. This would be classi- fied as a size 1/1 yarn—a single strand of yarn, measuring 840 yd/ lb. The number was determined by multiplying the first number by the count number, in this case, 840, and then dividing that by the second number, or the number of plies. The formula looks like this: First number × count yardage / number of plies A size 2 would therefore take two skeins of thinner yarn to equal the same one pound. This would be a 2/1 yarn—a single strand of yarn measuring 1,680 yd/lb (840 × 2 /1). By using this logic, a 5/2 yarn is a 2-ply yarn (the second number) measuring 2,100 yards per pound (840 × 5 /2). 34
Here are the count numbers from the guilds which existed prior
to the Industrial Revolution and the emergence of synthetic yarns:
Woolen (wool) 256
Worsted (wool) 560
Silk 840
Cotton 840
Linen 360
Cottolin was measured on the linen count system. (See Style chapter
for the difference between woolen and worsted wools.)
Most yarn sellers of these kinds of coned yarns will also list the
recommended sett for the given yarn. Or, you can refer to a good
sett chart for those same details. (See following page.)
Cottolin, worsted wools, and cotton
are all measured on a different count
number as established prior to the
Industrial Revolution when each
natural fiber had its own trade guild.
35Using a Sett Chart A sett chart is a list of yarns described in generic terms. It includes the yarn’s yardage and a range of suggested setts. For decades, Handwoven magazine has maintained a Master Yarn Chart. If you give them your email, you can download this chart for free (see Resources). Handwoven’s chart lists most of the yarns used in the magazine throughout its long history. You will also see other, shorter, versions of this chart pop up in the back of your weaving books, or as a resource on yarn retailers’ websites. Most sett charts are organized by fiber, and within each fiber type the yarns will be listed by size. For example, at right is the entry for 8/2 unmercerized cotton from Handwoven’s chart, a common yarn used by rigid-heddle weavers to make towels. It lists the generic name of the yarn, its yd/lb and m/ kg, and then there are three numbers that follow. The first number is its “open” or wide sett, appropriate for lace weaves. The middle is the balanced plain weave (b.p.w.) sett, often referred to as its plain weave or tabby sett. The third number is its “close” sett, often called a twill sett. These expressions assume that you are warping and weaving with the same yarn. (See page 13 for more information on sett ranges.) The Handwoven chart has the added bonus of offering you a yarn scanned at its actual size, so you can place a yarn on top of the scan and make a physical comparison. If you are looking at the chart online, you’ll want to be sure that you are looking at it with the zoom set at 100% so as to get an accurate reading. The scan shown here is slightly enlarged and not an accurate portrayal of the yarn’s size. 36
Using a Yarn Balance
Another way to measure a mystery yarn is to use a yarn balance.
This ingenious tool allows you to take a length of yarn and use a
specifically designed scale to determine its measurement. There
are scales calibrated for either yd/lb or m/kg.
This balance is cal-
ibrated for yards.
To use the balance,
cut a piece of yarn
about the length
of your forearm.
This is probably
overly generous,
but a good place
to start. Lay the
balance near the
edge of a flat sur-
face and place its
balancing arm on
the base, according
to the manufactur-
er’s instructions.
(You want the
notch to be facing
you and jutting out
over the edge of
the flat surface on
which the equip-
ment is sitting.)
Fold the yarn in half and lay it over the notch. The balancing arm
should tilt toward the floor. Using a sharp pair of scissors, trim the
ends of the yarn until the balancing arm is level with the table.
Now remove the length of yarn and measure it. Take this measure-
ment, multiply it by 100, and this will give you your yd/lb. Nifty!
37SUBSTANCE
What makes up our yarns can determine so much about how we
use them. The base substance of any yarn is fiber. A fiber’s charac-
teristics are determined by many different factors, including, but
not limited to: micron count (fineness of individual fibers), staple
or fiber length (average length of fibers), crimp (amount and depth
of bends in each staple), luster (the amount or lack of shine that
a fiber has) of each individual fiber. The combination of all these
factors gives each fiber its unique characteristics. Outlined in this
chapter are the most common base materials used to make yarn
for weaving.
Cotton
Cotton is the cellulose fiber growing around the seed of the cotton
plant to protect it. It is an extremely short-stapled fiber and it likes
to be spun fine with a tight twist. (See Yarn Content and Construc-
tion for more details about how yarn is made.) Cotton is machine
washable and dryable and keeps its shape even after multiple trips
through the machine. Highly absorbent and cool to the touch, it
makes a popular choice for warm-weather garments and all sorts
of home projects. Virtually anything can be woven in cotton.
A naturally colored
cotton boll and
processed Pima
cotton.
38I’ve noticed that if a pattern calls for cotton yarn, most weavers
tend to dig into their stashes and pull out whatever cotton they
may have on hand. All cotton yarns are not the same! Depending
on how the fiber is prepared, it can behave differently in its finished
cloth. Here is a brief rundown of the kinds of cottons you are most
likely to come across when shopping for weaving yarn:
Mercerized Cotton, also called pearl or perle cotton, is soaked in a
sodium hydroxide bath. This increases the surface area of the yarn
and gives it a shiny appearance. Mercerization increases the fiber’s
ability to take dye and increases its strength. It also slightly decreases
its ability to absorb water, as compared to unmercerized cotton.
Mercerized cotton is the go-to for household linens, such as table
runners, placemats, pillows, and curtains. It can work for towels, but
I prefer unmercerized cotton for mine, because of the slightly in-
creased drying time of mercerized cotton. Although it is absorbent,
I also find mercerized cotton tends to push liquids before it laps
them up. How much so depends on how the yarn is made.
Unmercerized Cotton is just that: cotton that hasn’t been mercer-
ized. It is more absorbent than mercerized cotton, making it the
go-to choice for a weaver’s favorite project—towels.
Cotton Carpet Warp is a tightly twisted 4-ply unmercerized cotton,
used by rug weavers. It is externally strong and comes in a variety
of colors. It is not known for its ability to impart drape. I’ve seen
weavers use this yarn in a wide variety of projects for which it was
not necessarily designed. These include placemats, towels, and
even scarves. Just keep in mind that softness is not its best-known
characteristic.
Organic Cotton is grown in such a way as to retain much of the
yarn’s natural wax in addition to avoiding the use of petrochem-
icals for its production. This gives the yarn a lovely buttery feel.
You may notice that in its unmercerized form, it is shinier than you
might expect an unmercerized cotton to be.
39Naturally Colored Cotton used to grow in a range of these natural colors, from rich browns to lovely greens and reds. The industrial revolution and its need for uniformity almost drove these plants to extinction. Sally Fox rescued it and created a strain appropriate for mill spinning. You can’t always judge its finished color by what you see on the cone, spool, or skein. Depending on how you finish this cotton, the colors may deepen when washed, producing richer, more intense hues. Crochet Cotton is easy to find in big-box craft stores. It is designed for crocheters and is also often used by tatters, due to its unique construction. Crochet cotton is mercerized and constructed with a tight singles and ply twist. It is spun opposite of most conven- tional yarns—spun S (left) and plied Z (right). This keeps the yarn from unraveling when used for crochet and tatting, while the tight twist and ply allow small, delicate crochet stitches to pop out of the cloth. Note that some inexpensive “crochet” cotton skips this step and is spun conventionally. Either way, the twist and ply direction doesn’t really make a difference to weavers. Due to the tight twist, this yarn doesn’t bloom as much as other cottons. Craft Cotton is my catch-all for a 4-ply, worsted weight, unmer- cerized yarn, with moderate twist. Depending on the quality of the cotton, it can be an excellent choice for absorbent and soft towels, other household items, and garments. It isn’t going to create heir- loom quality fabrics, but it will hold up quite well to daily use. Sometimes the colors fade over time, depending on the quality of the yarn and dye. Recycled Cotton is made from the remnants of the garment man- ufacturing industry. The waste is sorted in color lots, shredded, and remade into a lovely, tweedy yarn with a lot of character. These yarns tend to come and go. If you find one you like, buy a lot of it, as it may disappear! Novelty Cottons fall into a pretty broad category. Here, I’m think- ing of softly spun, textured yarns, with a larger-than-expected grist for cotton. They can be used to create lively, textured fabric— perfect for light-weight, supplemental wefts, breathable garments, accessories, and decorative household items. 40
They aren’t a great choice for towels, or fab-
rics that may be rubbed and wetted contin-
uously. Since cotton is a short-stapled fiber
and likes to be spun fine with tight twist,
these yarns can pill and shred with vigorous
use. (Shaft loom weavers should avoid nov-
elty cottons, as the metal or nylon heddles
and reeds on their looms will rip the yarn to
shreds; rigid-heddle weavers, have at it!)
There are also finer and more tightly spun
novelty cottons. With these yarns, you
should examine what kind of cotton they
are made from, the construction, and the
degree of twist, to determine if the yarn at
hand is suitable for your weaving needs.
(See Style chapter for more information on
yarn construction.)
Wool Fundamentals
Of all the natural fibers, wool is perhaps
the most variable. While cotton is available
in a few varieties and is typically prepared
and spun in similar ways, wool comes from
a wide variety of sources, and it can be pre-
pared and spun in more ways than can be
listed here.
When I talk about “wool” in this section,
I’m using it in generic terms, as the coat of
sheep and certain other mammals, such as
goats and camelids, consisting of relatively
fine, elastic, roughly cylindrical strands of
proteins, predominantly keratin, covered by
minute overlapping scales. It is wondrous Cotton from top to
stuff that provides the weaver with lots of bottom: mercerized,
unmercerized, carpet
creative opportunities. warp, organic, crochet,
craft, recycled, novelty.
41Although there are many factors determining the characteristics of any given wool type, two factors play a particularly strong role in determining the wool’s character, how it is shaped into yarn, and how that affects the weaver’s experience. Micron Count There is more than one way to measure the fineness of wool. The micron count seems to be the most popular consumer method. A micron is one millionth of a meter, or 1/25,400th of an inch. This count measures the average diameter of an individual fiber, or group of fibers. The lower the micron count, the finer the fiber. A fine wool is generally recognized to be equal or less than 22 mi- crons, a medium wool between 23–32 microns, and a hearty wool has a count of 33+. You aren’t likely to find this information on a yarn label, but it is handy to know. This, however, is not the end-all, be-all in the wearability debate. Micron count is just one factor in determining whether or not a fiber is suited for its use. From fiber to yarn, left to right: cashmere, Merino, and Lincoln Longwool in their raw and finished states. 42
Staple Length
Staple length refers to the average length of wool and other animal
fibers, in their natural clusters and in a relaxed state, before pro-
cessing. You will also hear the term, fiber length. This is the average
length of the fiber after processing. Staple length is important
because it dictates a lot about how a fiber is processed. Generally
speaking, wools with short staple lengths, such as cotton and
cashmere, are spun fine using lots of twist, whereas longwools are
generally spun in larger sizes with less twist.
Other factors contribute to the character of wool, including crimp,
which is the natural amount and depth of bends in an individual
fiber, and play a role in its elasticity. Luster is also a term you will
hear bandied about. This refers to the shine in the fiber. Highly
lustrous wools that reflect more light have larger surface scales
than low-luster wools, which reflect less light.
Pilling and Prickle
Pilling is caused when individual fibers work their way loose from
the yarn and form little balls. One way to test for pilling is to use
the abrasion test, as described on page 15. Take a length of yarn
and rub it back and forth on the edge of a table. Then look to see
whether the yarn has begun to pill. This will give you an idea of
how the yarn will hold up in your finished weaving project.
Depending on how they are spun, superfine or ultra-fine yarns,
particularly singles, are especially prone to pilling with use. This is
particularly true for garments worn around the neck. This doesn’t
mean you shouldn’t use them, just be aware you may need to groom
your wearables from time to time. I tend to use these yarns as weft
and use a more resilient yarn in the warp.
The prickle factor is caused when the ends of the fiber give you a
little poke. Worsted preparations tend to give you less poke than
woolens, see pages 59-60.
43You aren’t likely to find much of this information on a yarn ball label, but knowing it will help you to be better informed when you pick up a skein of yarn that is wool-based. In general, using the simple pinch-and-pull test will allow you to determine if your yarn is strong enough for warp. Virtually any yarn can be used for weft. However, you still may want to consider how well it will wear over time and under the rigors of its intended use. When it comes to wool, for the most part, what you see is what you get. The trick is, you just have to train yourself to see. If the yarn looks smooth and has a lot of bounce, those same qualities will be imparted to your project if—and this is a big if—you sett it right. Sheep’s Wool There are many hundreds (debatably 1,000+) of wool breeds, and this diversity is showing up more in the marketplace. Some of these breeds had, in past years, fallen out of favor, as their fleeces are difficult to process commercially and they don’t suit consumers’ demand for soft, soft, soft. This demand is still very much in place, but soft can often be a trade-off for hard-wearing—something the weaver often desires in pillows, rugs, upholstery, and outerwear. Some labels do tell you exactly what kind of wool is being used to make its yarn, although most simply state, “wool” or perhaps “fine wool.” More weavers, knitters, spinners, and crocheters are now seeking out such breed-specific wools. How this plays out in the yarn world is that you need to match a yarn’s characteristics with its use. Longwools, such as Lincoln and Romney, are prized for being sleek, strong, hard-wearing, and are great for rugs, outerwear, and floor pillows. I call these “hearty” wools although it’s common to hear them referred to as “coarse”, which I think does not do them justice. Merino and cousins are prized for their softness used to create next-to-skin wear. Corriedale and similar breeds are loved for their in-betweenness and versatility. 44
Pooled and Breed-Specific Wool
When ranchers sell to the general wool pool, their fleeces are
batched by wool grade. Many of the yarns you see listed as “wool”
are drawn from this pool—a mix of many wool types, sharing simi-
lar characteristics and pooled together for processing. This makes
the yarn highly repeatable, a marvel of modern mill practices.
Some companies that sell to the yarn market pull from that pool
and some source their yarns from a variety of ranches directly to
create their own blend. Brown Sheep Yarn, a favorite such manufac-
turer of mine, describes its yarn source as: “Brown Sheep Company
buys the majority of their wool directly from the growers, who
have a variety of good wool breeds such as Corriedales, Ram-
bouillets, and Columbias.” The result is a beautiful medium
grade wool that is perfect for beginners—enough tooth to help
guide your hand, but enough softness to use for scarves and shawls
that touch the neck.
If looking for a breed-specific wool, find a maker who lists the exact
breed, or breeds, used to make up its yarn. Working with minimally
processed, breed-specific wools, created in small batches, is one of
my own personal joys.
A variety of yarns from some of
my favorite yarn makers: Brown
Sheep (mentioned above),
Cestari, and Mountain Meadow
Wool. Cestari makes yarns from
sheep they raise themselves as
well as source from other U.S.
ranchers. Mountain Meadow
Wool, is a mill that sits in the
heart of Wyoming Sheep Country.
They sell breed specific wool and
create a fine-grade wool, under
the name Mountain Merino that
includes Cormo, Rambouillet,
Targhee, and Merino they source
from regional ranches. You can
track many of their yarns back to
the ranch it came from.
45Beyond Sheep
Down Fibers
Many animals in extreme climates—high mountains, deserts
and arctic tundras—produce a fine undercoat to keep them
warm. Cashmere was once defined as the undercoat of many
animals that met a certain fineness criteria and crimp struc-
ture. Today, it is defined as the down fiber from a goat.
Although there is debate about the actual cashmere breed, many
different kinds of goats can produce fiber of cashmere quality. To
be considered cashmere, it must be finer than 20 microns.
Today’s weaver can find many luxury down fibers on the market,
including: yak, cashmere, camel, bison, and qiviut. The down is
extremely short-stapled with a micron count generally between
14–20, and sometimes finer. Good quality down-fiber yarn is har-
vested and processed so
all the hair is removed
from the down, leaving
only the short, fine down
itself. This is labor inten-
sive and each animal pro-
duces a relatively small
quantity, hence the hefty
price tag that often ac-
companies these yarns.
The resulting fiber devel-
ops a slight halo over time,
giving the surface of the
woven fabric a slightly
fuzzy appearance. Down
fibers have excellent ther-
mal properties. The same
properties that keep the
animals warm in extreme
climates will also do the A handspun, handwoven cowl made from goat
same for you. down I raised myself. Pattern based on the
Crepe Cowl Workbook, a Yarnworker pattern.
46They work best for accessories, such as shawls and scarves. Because
they are extremely warm, mixing them with other fibers may make
the garments more versatile. I use finely-spun down fibers as weft,
where I don’t have to worry about loom waste. They impart a softness
to the fabric you can both feel and see because of the halo.
Blends are also a great way to add a little bit of luxury to your proj-
ect. If using a blend, I recommend that you find a yarn with at least
10–15% down fiber included.
Geekery Note I’m using “down” here to refer to non-sheep animals
that produce a soft, fine undercoat. There is a family of sheep that
have a class of wool known as Down. These wool may be machine
washed and dried.
Angora
Angora fiber comes from some of the most adorable creatures you will
ever see, the Angora rabbit. These little cuddle bugs need regular
grooming, which draws out the lovely, usable fibers. (This fiber is
not to be confused with the fleece of the Angora goat, which we
will discuss in the next section. )
There are several types of Angora rabbits and each grows a slightly
different type of fiber, although all of them produce a very distinct
halo in the yarn that gives the cloth a soft, ethereal look. The fiber
has almost no elasticity, tends to
felt with daily wear, and has little
resistance to abrasion. It is not
a great choice for warp, but like
down fibers, a fabulous choice for
weft or for blending with other
fibers.
Mohair
The Angora or Mohair goat
produces mohair fiber in long,
lustrous, locks, prized by carpet
makers of East Asia and the
Middle East, and blanket makers
47everywhere. It has the look and sheen of silk, but is much thicker, between 25–45 microns, depending on the age of the animal. The younger the animal is, the finer the fleece. It felts less readily than wool, resists creasing, and takes dye beautifully. Mohair is often blended with other fibers to add toughness and sheen. It also has a distinct halo that can give the final fabric a gossamer look. For next-to-skin wear, look to kid mohair, while the more mature animal produces fibers good for blending, blankets, or rugs. One of the most popular ways weavers use mohair is in blankets, although great care is needed in its setting. Mohair is very sticky (see Fuzzy vs. Smooth on page 61), and you want an very open sett to keep it from grabbing onto its neighbors and giving you a messy shed. However, this same quality means that you can leave a lot of air between the threads and that the fabric will have integ- rity and hold together well. Once the fabric is removed from the loom, it can be brushed to bring out its nap. Mohair bouclé is also a popular choice for adding a bit of tex- ture to a garment. Just an end or two in the warp can add a lot of interest to the fabric. Place smooth warp ends between the novelty yarns to keep them from sticking together. Camelids Broadly speaking, the camelid cousins available to weavers, huacaya alpaca, suri alpaca, paco-vicuña, and llama pro- duce long, luxurious, soft fi- ber, with varying amounts of crimp and luster. The fiber di- ameter varies, depending on A mohair weft is used with a smooth, the quality and breeding of the fine wool blend warp in a mix of animal. Llama is the coarsest, bouquets and leno. This makes a great ranging from 15–45 microns throw or wrap fabric. 48
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