My local art group doesn’t meet over the summer but we decided to do a collage challenge. The challenge was to create a collage every day using at most 3 pieces of paper and to only take 12 minutes to create the collage. I started the challenge on May 24th and reached my goal of 100 days on September 5th. The hardest issue I had with the challenge was the time restraint. Even with choosing my paper in advance, I had a hard time completing a collage in 12 minutes. So I ignored the time limit but tried to keep it under 30 minutes. No waffling around on how it went together.
Today, I’m showing you some of my favorite collages. There were some that turned out good and others, not so good. But it was a great way to work on color studies, composition and to do something creative to start out my day. If you would like to see all 100 collages, you can check them out on my Instagram account here:
In case you’re wondering, I have a huge plastic tub filled with paper that has been gelli printed, screen printed, hand painted, printed with block prints and whatever other techniques I have done in the past. So I have a wonderful source of papers to use for collage. If you are thinking of trying this challenge, you can use whatever paper sources you have. Many artists use magazine photos, open source online photos, wrapping papers, or whatever they have on hand.
So here are a few of my favorites. You can click on the photos to enlarge if you’d like to see them closer. I had a great time searching through my papers and creating a different collage every day.
Have you tried this type of daily challenge? We’d love to see your results and hear about the challenge. Let me know if you’d like to write a post about a challenge you have participated in.
And speaking of challenges, our third quarter challenge using botanicals as a theme is over at the end of this month. I think a few of my collages meet the guidelines! If you have something botanical to share for the challenge, please submit your photo here.
This is the fabric after I nuno felted it to black pre felt for the weeping birch piece. I had some red prefelt of the correct size so I decided to see what the fabric would look like with a red wool base.
Here is the piece after felting. It definitely has a different feel than with the black wool. Now to decide how I should move forward with this piece. What do you see? It’s always so interesting to hear what different people see in the same background.
This is the nuno background that I used for Summer Fireworks. It was felted on to white pre felt. Since I was already using the red prefelt, I decided to back the dyed silk from the same piece of fabric with red pre felt. How different would it look?
Here is the silk fabric nuno felted on to red wool. I see trees and bushes at the top of this with perhaps grasses or flowers at the bottom? Or maybe roots and the underground at the bottom? I will show you my progress as I get further along in the process.
I definitely enjoyed seeing the difference that the pre felt wool color makes in the end nuno felted result. I will have to try out more colors when I get the chance.
I am still all packed up so decided to do another small picture. This one is 3.5 x2.5 inches. I wanted to do a sunset. Step one google sunset pictures in the public domain. Well, that was disappointing. It seems that the popular configuration is oversaturated with the blinding sun dead center and if there is anything else in the picture it is a black silhouette. I was looking for something more subdued with lots of colour in the sky but with colour still in the landscape. I tried adding qualifying words to my google search but it didn’t help. I just kept scrolling and scrolling. The further away from the top hits the better it got. Sometimes page 5 has better pictures than the first page.
I started with this small piece of offcut from a long-ago project. I think it was a little bag.
I decided to go with my imagination rather than an actual picture. Drew in the horizon, the lake, the hill and an indication of trees. I knew the trees would disappear under the sky so not much point to that.
I added some sky using 2 shades of blue. I used 3 shades of orange and a little white to do some nice sunset-kissed streaky clouds in the sky.
The water was next. It is a combination of Prussian blue and navy.
I added the grass. It is antique, olive green and a puter/brown colour. I was thinking of late in the year when the grass turns golden. I carded the colours together but not too much so I would have some nice variation.
Then I added the cloud reflection in the water.
I wanted some trees on the ridge. I want the ridge to be in the distance with the trees striking up a little. I don’t like them. they look too much like they belong at a Christmas tree farm, so I took them off.
Next, I tried mixing some shades of green and then drafting it thin. I told it in my fingers to give it some cohesion and needled 3 trees on the ridge. I like these better but am still not sure. I think I probably just need to not look at them so closely. The thumbnails that show along the bottom of my photo editing software look better than the big picture but it’s twice as big as the actual picture so it shows too much detail. I would like to add more trees but not sure it won’t just end up looking like a green blob. I may leave it and more onto the flowers in the foreground. Any suggestions for the trees.
For the next one, I hope to go bigger. I always want to add too much detail and it’s just not possible with a small picture.
And one last thing, a cute thing. This is Storm. He was born on Saturday. we have no idea who his mom is. Perhaps the storm spooked her.
We had a huge storm in Ontario it took out power to most of the south of the province. We were out for a little over a day. Many people are still out. You may not see Jan in 2 days. It hasn’t been like this since the Icestorm of 1998. At least the weather is better for this one.
here’s the outage map the darker green is the area the hydro company covers and all the dots are the numbers of outages in that area. London, Toronto, Hamilton and Ottawa have separate hydro companies but they all have huge outages too. if you follow the link you can zoom in and see different areas.
Recently we have acquired a new bookcase for our living room. It was actually made to fit in the space between the front wall and the door of the room. However it has a sort of lip around the top, the corner of which was banged by the glass of the open door if we were not careful.
Obviously we needed something to stop the door before it fully opened. After some thought I decided that it needed to be tall (so that we didn’t have to bend down too far to move it – the floor gets further away the older you get), but it needed to be thin too otherwise the door wouldn’t open far enough to let one of us safely into the room, especially with drinks in hand.
I wanted it to go with the colour of the carpet and I knew that I had somewhere in my stash a blue wool sweater that I had felted (on purpose) by putting it through the washing machine. I finally rooted it out and decided that I would use one of the sleeves, which had a pattern knitted into it.
Initially I thought that I would make a tall thin pyramid shape to fit in the gap between the side of the book case and the door. I sewed up the cuff of the sleeve and, to make sure it didn’t keep falling over, I begged a piece of flat lead sheet from my husband which I fitted into the bottom of the stuffed sleeve, and then sewed up what had been the shoulder to make the base.
Well it was ok, but I thought it needed a bit more interest and decided to turn the door stop into a cat.
Out came the felting needles and my scoured merino, which I use as core fibres. Then for the “top coat” I sorted through the blues in my stash – normally jealously guarded because I don’t have a lot now as I use them for sky in my pictures – and found some which almost matched the main blue of the sleeve. Obviously he wasn’t going to be a realistic cat so I tried to “cartoonise” his features, and rather than give him needle felted eyes as I might normally do I fished out some bright orange glass eyes from another stash which would go well with his dark blue face. I used some of the blue to make a wet felt sheet, out of which I cut his ears.
Having made his head, I attached it to the tall thin pyramid. It’s sewn as well as needled on, but even so I was concerned that if he was picked up by his head it might come off. I made a piece of blue cord and attached that as a loop behind his head so that he might be moved safely. And here we have him.
Not long after this, we acquired a new pinky-grey bathroom carpet and also new pink and grey towels to replace very tired old red ones. Until then we had been using the bathroom scales as a door stop – that door will slam very hard if the wind gets up when the window is open. So now I decided that we would need another door cat.
When we got the new carpet we did not change the basic colour scheme as we didn’t want the hassle of changing the suite (vintage Pampas) or the tiles. The colour scheme is essentially derived from the tiles, which are pink and grey with some crimson detailing. Originally we had a red-ish carpet and red and dark grey towels, but when I bought those towels I could not get a bath mat to match, so I made one by stitching two red hand towels back to back.
As the new carpet shed fibres quite a lot to begin with I thought of making the new door cat out of that fibre, but after a little more thought I realised that that would not be a good idea. We would keep falling over a camouflaged cat in the gloom of a late night visit!
So I thought I might find another felted sleeve, but couldn’t come up with something the right colour. Then, because we still had touches of red in the room, I decided that I would deconstruct the old red bath mat and use one of the pieces for the cat’s body. I had already given away the rest of the old towels to my friend for her dogs.
I felt that a “loaf cat” pose would be best, less likely to tip over if the wind caught the door, but I’d need too much lead sheet to make it a suitable weight. So I visited the garden and found a triangular(ish) shaped piece of rock, washed it and wrapped it in a couple of layers of non-woven cotton towels, secured with masking (painter’s) tape. I made myself a paper pattern of the body and cut out two body sides and a gusset for the base and chest. I cut out the pattern pieces from the towel and stitched it all up (first inserting the wrapped rock and stuffing it with polyester stuffing.
I had seen a cartoon of a smiling cat, which had enormous ears, which looked really cheeky. I thought I’d have a go at making one like that. I started with the core fibre again and got the head substantially how I’d like it and then thought about fibres for the coating.
I did not have exactly the right red, so had to blend a couple of pieces of pre-dyed merino tops which seemed to work ok. I did the same to make a pinky-grey blend for the chest, face and inside of the ears. I had decided that I would make the cat’s chest a similar colour to the carpet which meant that I had to make a wet felted sheet of the pinky-grey batt to cover the original red towelling. I cut the felt into the shape of the chest gusset, leaving enough for a pair of large ears.
I needled some of the red onto the back of the ears, and this resulted in a darker pink on the inside where the needles had pushed fibres right through, which was actually a benefit I think. I needled the blended red on to the back of the cat’s head and neck, and the pinky-grey onto the face, attached the ears and gave him a darker pink nose. I “shadowed” the smile and blinking eyes and I also gave him some laughter lines.
Then I stitched the head onto the neck, and the chest piece over his front, catching in the head at the neck. I covered the join with more needled fibres and, using another piece of towel, attached a handle to the back of his neck so that he could be moved without his head coming off.
My husband has already named him Yoda. We each confessed the other day that we both chat to him (in fact I pick him up and cuddle him too – he just fits into one arm)
What about the poor tatty sheep at the beginning of this post? Well, many years ago now, when I was a fairly new needle felter, I decided that I’d like to make myself a door stop for my bedroom door. I had acquired from our Guild a Jacob fleece, which, as it turned out, was ideal for needle felting. It certainly wasn’t a lot of good for wet felting – it wouldn’t, whatever I did to it. I suppose I must have had an old ram’s coarse and kempy fleece palmed off on me, when I was too naïve to know what I was getting – no wonder it was cheap!
Anyway, I got a body shaped pebble out of the garden, and washed it, wrapped it in some of the un- wetfelted fleece and started in with a No.36 felting needle (I only had 36 triangle and 38 star needles in those days- oh and a No.19 which was so thick it wouldn’t really go through anything I had with any ease). I bust quite a few needles before the pebble was covered. I added a neck to one end and then decided that my sheep would need eyes and a pair of horns. At that time I did not know that Jacob sheep often have 4 horns and wear them as if they had put them on in a hurry in the morning whilst still half asleep!
I made the horns and eyeballs using pipe cleaners and white Fimo polymer clay, baked and painted with acrylic paints. At that stage in my career I had not thought of using PVA glue on needled fleece to make horns. I needled a head shape around the horns and eyes, and then attached it to the neck. It did not occur to me to strengthen the neck with the ends of the pipe cleaners, I had cut these short and just put the horns on either end, and did the same with the eyes.
Well it all worked and for years he sat by my door, getting moved when necessary with my foot. Now he’s a sad old thing, but being sentimental I can’t bear to get rid of him, even though he’s lost a horn and is definitely the worse for wear. Perhaps I’ll give him a “makeover” sometime.
Having run out of already felted nuno backgrounds, I decided to try a large landscape and create it in a mosaic type of nuno process as opposed to one piece of dyed silk. I got out my remaining already dyed silks to see what was available. After looking at what I had, I decided on a sunrise or sunset with the sky being around two thirds of the landscape.
I started with a large piece of white prefelt, fluffed it up with a brush to make sure it would felt more easily. Then I added a very light layer of merino in the colors of the landscape. I used short fiber merino hoping it would help “glue” the small pieces of silk. I then wet down the wool before applying any silk.
I started with the sky and continued to wet down all the silk pieces as they were laid out.
I kept working my way down trying to make sure that there weren’t any completely straight edges on the silk. I did add bits of wool underneath the silk if there was more than one layer of silk. Once the sky was finished, it was on to the mountains and the foreground.
I added silk for the mountains and the foreground. I decided to add some green wool on top for some pine trees and to soften the edges between the foreground and the more distant mountains. Then on to felting.
Here’s the piece after it is partially felted. It did require a lot of careful rubbing but most of the silk stayed in place and adhered to the wool.
Here is the piece after being completely felted. I decided for now to call this piece Montana Sunrise. I am going to add stitching and more detail to the foreground but that’s for another post. The finished size of the piece is approximately 16″ x 30″.
I declare throwback Tuesday. I seem to have run out of time this week so I thought you might like to see this post from 2017. Jan posted some pictures in our guild group and it reminded me and I thought it was worth another look. I hope it and the links to the other 2 posts about it will give you lots of inspiration for your own work.
Line Dufour has been a practicing textile artist and tapestry weaver for the last 35 years. She is a graduate of the Ontario College of Art in Toronto Ontario and has always had her own studio. She taught weaving to adults for about twenty years, while at the same time doing art/craft shows and exhibitions. She is currently retired from teaching but continues her studio practice. At the moment, Line does not have a gallery that represents her, and if someone wants to purchase one of her pieces they contact her through her website or social media or other channels. Line’s website www.linedufour.com. You can find her cv on there as well. She is currently enrolled at the University of Gloucestershire in the UK and working on obtaining her Master’s in Creative Writing and Critical Thinking.
And now the project
Fundacion Pablo Achtugarry, Punta del Este, Uruguay 2017
Fate, Destiny and Self Determination  Le Sort, Destin, et l’auto-determination  Suerte, Destino y Auto-determinación  Los, Przeznaczenie i Wola  Das Schicksal, das Geschick und das Selbstbestimmungsrecht
 운명, 숙명 그리고 자기가 결정한 팔자. 팔자  Usud, sudbina i samoodređenje  Sorte,Destino,Auto Determinação  Öde, mål och självbestämmande  Fato, Destino e Autodeterminazione
Written by Line Dufour.
Fate is defined as a force, energy, principle, element or power that prescribes to each person a set of limits, boundaries and confines. In Islam it is called Kismet. The Greeks called Fate, Moira. Greek Mythology speaks of the three Fates: Clotho, Lachesis and Atropos who supposedly controlled each person’s fate. The youngest, Clotho, is a spinner and she determines the time of birth and spins the thread of life on her distaff. Lachesis measures the length of the thread to determine the length of one’s life; the time of death is decided by Atropos, who cuts the thread. Inherent in the idea of Fate, is that one has no influence over events and outcomes. Mythology and psychology distinguish between Fate and Destiny. Destiny is considered an expanding field of possibilities alluding to our potential to influence our Fate. This makes Destiny kinetic. “The lives we construct are an inextricably woven fabric of influences, possibilities and accumulated consequences of choices made.” (James Hollis)
The development of the COVID-19 has made all of us more aware of the impact of isolation on our well being. This sense of isolation forms the underpinnings of this installation launched in 2016. Fate, Destiny and Self Determination was created as social media driven initiative to reduce the isolation artists experienced in their artistic process through co-creating the installation, providing planned hands-on events and gathering them together to exhibit their collective efforts. Inclusiveness is the weft that weaves the installation together.
Fate, Destiny and Self-Determination is composed of three sections. The main tapestry woven panel (on the left) was created by Line Dufour, referencing the contemporary practice of tapestry where artist and weaver are one. The second panel on the right, was woven by visiting participants ranging from the inexperienced and amateur to the professional. This referenced traditional tapestry conventions in that many weavers work(ed) on the tapestry at the same time or at various stages and did not contribute to creating the tapestry designs.
The final section is composed of irregular shapes positioned at varying heights, between the 2 main panels, floating freely in space, as though the tapestry is pulling apart or coming together. As each shape arrives, Dufour photographs/documents it, posts it to the Facebook page for the project https://www.facebook.com/Fate-Destiny-and-Self-Determination-An-international-tapestry-project-194385150700425 as well as on Instagram@tapestryline and Twitter@tapestry_line. She also includes information about the participants such as their website if they have one, and other comments they have made about the project or about their work and/or life. Thus far, 864 shapes have been received from 43 countries, and a total of about 519 people have participated. The installation continues to expand as it accepts shapes on an ongoing basis. Part of the exhibition includes a list of all participant names. If a label cannot be displayed in the gallery, a QR code label is available so that the gallery viewer can access the web page with the names of all participants.
Each time Fate, Destiny and Self-Determination is installed the shapes are never placed in the same positions, making it interactive and spontaneous, and permits the curator(s) to be part of its creation. Conversely, the curator could also invite the gallery guest to position shapes on the wall between the two panels, having them re-create the installation.
The installation welcomes invitations to be exhibited around the world, and to that effect has been exhibited in the following venues:
Craft Ontario in Toronto, Canada
The Montreal Centre for Contemporary Textiles, Montreal, Quebec, Canada
The Doyle and Margaret Hartman Gallery, Regis University, Denver, Colorado USA
Craft Council of British Columbia, Canada
The San Jose Museum of Quilts and Textiles as part of the American Tapestry Alliance Biennial 11
Guan Shan Yue Art Museum, Shenzen, China. 9th From Lausanne To Beijing
The Centre D’Action Culturelle de la MLC de Papineau in Québec
World Textile Art Biennial at the Fundacion Pablo Achtugarry in Punta del Este Uruguay
World of Threads, Oakville, Ontario, Canada
Rosccommon County Council, Roscommon Ireland
Tuchmacher Museum, Bramsche, Germany
Tuch & Technik Textilmuseum, Neumunster, Germany
Anyone who wishes to do so, can create a shape using a textile/fibre related technique (tapestry, rug, weaving, felt, basketry, etc) or create a piece that references textiles with whatever materials they like. Any hue from the colour wheel is suggested. You can use more than one colour. There is no minimum or maximum size, but the average size is 10cm (4”) . There is no maximum on the number of pieces you can submit. A person can also weave (create) a shape of their country, state or province or any shape except not a square or rectangle. You can look at the Instagram @tapestryline page for the project to see how other people have created their shapes.
I spun a single first, naturally. It took a little bit to get used to the silk. The silk is much harder to draft but mixed with the wool it wasn’t too bad. You have to accept you are not going to get a really smooth yarn. You are going to get a great texture.
Next, I did what is the most meditative part of spinning for me. I made a center-pull ball by hand. If you are in a hurry or you have lots to do then a ball winder is the way to go. But I really do enjoy this part. I use a little piece of painter’s tape to make sure I don’t lose the center yarn, while I am winding. Do you enjoy doing something that other people seem to dread doing?
Then the fastest part, plying.
It’s interesting that when it was a single I thought it was a bit dull and muddy but after plying it seems to be brighter and shinier. I really like it. It has lots of colour and so much texture. it will be great as an embellishment on my felt.
I haven’t decided if I will make it into a center-pull ball or a skein for storage.
Imagine this: you’ve planned that project in your head. You’ve gone through all the steps and know what needs doing. You have all the materials, and you’re getting ready to work on it. It’s going to be epic!
Except… something goes terribly wrong and the end result is nothing like what you expected.
I’m sure we’ve all been there. Craft long enough and, be it due to bad luck or simple statistics, something will go wrong.
The problem: The yarn above is a colourway of mine called Love Heart Meow. At first glance, it looks exactly as it should, except something went wrong during the dyeing process and the end result is “muddy.” You can’t really tell in the photo, but in real life I can definitely see it and it’s driving me mad.
The solution: I’m going to overdye it. I find that when things don’t go as planned, a blue overdye can save things around. Who knows, maybe I’ll create a new colourway?
(Shameless plugin moment: I’m getting back to blogging in my own website and I’ll be sharing the over dyeing process over there very soon! I’ll of course still be working on new content for our lovely blog here.)
A while back I was doing an exchange with a dyer friend of mine and decided to send her some hand dyed silk cocoons. Silk comes at a price for the poor silk worm, so I was very keen to “make it count” (yes, I’m the soppy type).
I carefully dyed each cocoon, making it so that the exterior and the interior were slightly different and adding variation in shade/colour. I was rather chuffed with the result.
Of course, I then proceeded to ruin things beautifully. I don’t know what happened in my brain but I decided to set the colours with more acid… by dunking the cocoons in hot water.
If you’ve ever dyed these precious things, you’ll know they need to be steam set if you want them to retain their shape. Hot water is most emphatically not the right thing to do, as I remembered even as I was dunking them in the H2O.
The problem: I had a hot mess in my hands, the cocoons all melted into each other, were soft and (to me, at the time) completely useless.
The temporary solution: Remove from water and back away from the project! Make some tea. Curse out loud. Come back later.
The real solution: After keeping whole thing away from sight a while, I looked at it again. It was a mess, but I could make it into something different. The colours were pretty. Then it hit me…
Tah-dah, wall art to the rescue. The colours are actually brighter in real life.
I sewed the Cocoon Combo to some black felt, added some beads and shiny embroidered stars in gold and silver. The shape of the thing was asking for an oval embroidery hoop, so I bought one in a suitable size and Bob’s your uncle.
It looks like something done on purpose, doesn’t it? It’ll be our secret.
Now, this wouldn’t be a post by yours truly if I didn’t add a little sewing, would it?
While perusing one of my usual fabric supply sites I stumbled upon the most fun cat fabric. As with most things in the crafty brain, I had the “button” sorted but not the “suit,” so to speak. I had to come up with something to create with that fabric!
I decided on the Metamorphic Dress by Sew Liberated because it looked comfy and, best of all, asked for two complementary fabrics (the cat fabric had a “friend” that I thought made the cats look even cuter. Aaand, I’ll stop using metaphors now.)
I love this dress. It works great on its own or as a top layer, making it good for more seasons. It’s meant to be reversible, but this one isn’t (there are reasons but I shan’t go into them).
One great thing about being short is, I never need as much fabric to make something as the pattern says I do. After careful calculations, I knew exactly how much to buy and order it I did.
The bad thing is, if you don’t have extra and make a mistake… well.
I was on the phone with my other half and got distracted. Instead of cutting the top layer a specific way, I did it wrongly. I immediately noticed the disaster, but it was too late. My soul hurt. I didn’t want to order more fabric because of this!
The problem: No extra fabric and the huge unwillingness to buy more. I was doomed.
The temporary solution: The same as with the cocoons! Back away from the project. Make some tea. Curse out loud. Come back later.
The real solution: I had a little extra of the gingham fabric. Patchwork to the saving.
I had only made a mistake with one half of the fabric, so that became the back. I cut that piece in two and added a strip of the under layer fabric to the middle. It almost looks like it’s a proper feature, at least to my eyes.
I’ll have to confess I felt rather smug after this. My solution worked, I didn’t have to buy extra fabric and my dress is perfectly wearable.
My smugness was somewhat abated after my mum saw the dress and said it looked like a maid’s apron, but that’s another story…
That’s it, three examples of things that didn’t go as planned but had a solution. If you let your brain think about it for a while in the background, I bet you’ll come up with alternative endings for your “mistakes.” Like the cliché goes, mistakes can be opportunities to do better later. Beats giving up, right?
Finally, the random photo of the day:
My lovely osteopath Jane went on holiday to the Shetland Islands and I asked her to send me some sheep pics. She obliged and I thought I’d share them with you.
So far you have seen the Poker Challenge offerings from Ann and Jan. We are all members of the same Guild. I accepted to do the spinning challenge only.
My cards were
Colour – pastels only
Fibre – must include mohair
Technique – lock spinning
Structure – lace weight
I had some really lovely, top quality, pink, super-fine merino, and some pale blue mohair locks. The merino spins into lace weight very easily, almost wanted to spin that way on its own. The thing I found most difficult was lock spinning.
Research online showed a whole range of techniques, so it dawned on me that lock spinning is what you make of it. The mohair was really slippery and a bit of a challenge to maintain control, but the results were a happy surprise. I decided to ply the mohair with the lace merino to give integrity to the yarn. Once plied the locks on the mohair opened, but were held in place with the merino and the end result was a luxurious, soft, lustrous yarn. Unfortunately, I am not the photographic genius that Jan is and even though I chastised my camera for not using a flash to show the gorgeous soft pink and sky blue of the final product, it ignored me.
So, I took it to the next step and did a purpose made yarn of my own design.
I ordered some wonderful dyed Teeswater first clip from my favourite wool dyer. It arrived all clean, soft, shiny and tangle free; this is a special treat that I allow myself every once in a while. I used this for the lace weight ply and used some of my own dyed mohair locks for the lock spun component. I have to say the Teeswater wool is exquisite. I flick card it open on both ends and remove any tangles by cutting the knots out. This gives me a staple of approximately 15 inches.
This was spun as close to lace weight as possible. And I know my wheel needs to be fixed, I’m trying to find a craftsman/woman who can do that, any ideas?? If you look closely at the first hook you will see the groove that is nearly cutting through the metal.
The mohair is not carded at all and only pulled apart a little bit to keep the lock integrity intact. Unfortunately, I have only a picture of similar locks. I used up all the others before remembering to take out my camera. The lustre of mohair is amazing and the softness of kid mohair is delicious. Adult mohair is not my favourite fibre because as the animal matures the fibre gets so coarse it can’t be used for next to skin projects and it loses its crimp and becomes a misery to spin.
The mohair was then plied with the lace weight Teeswater to give this yarn.
My plan, among several others I’ve discussed with you over the past few months, is to weave this into a winter stole or shawl. The Teeswater is long enough to take the abrasion of being in a warp, so to that end, I made the leftover laceweight into a fine three ply cable yarn. This keeps the colour grouping together. If I were to do this as a true three ply the colours would tend to get muddy and I wanted to avoid that. I think I have enough for the project.
There are eight skeins that weigh 645 gms. If not I can always spin more of the Teeswater and fiddle the design a bit. Motivation is now the issue. You all amaze me with the energy you have, the creativity you show and your unflagging drive, thank you for showing me a whole ‘other world of fibre art.