Last weekend, I was having dinner with some of my friends after we had visited the Estes Park Wool Market. 

I had just purchased a raw fleece, and three of us had recently been gifted with one raw fleece each. The eternal question came up - "Why bother with processing a fleece from start to finish when you can buy lots of really good fiber that's already cleaned and ready to spin?"

I was stumped, in part because I didn't have one answer. I had at least ten. There are lots of reasons to process your own fleece, from raw wool to finished yarn. Here are some of mine:

I tend to have a strong urge to try new things, especially when it comes to fiber arts. Sometimes, having tried a new skill, I can say, "been there, done that, what's next?" That was the urge behind buying my first fleece, and it's a perfectly valid reason to try it. If nothing else, you'll have gained (yet another) post-apocalyptic life skill!
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Wool is the original miracle fiber. It's warm, elastic, durable, resists staining (but takes dye beautifully), breathes well, and is fire resistant. I love the feel of it in my hands, whether it's when I'm spinning, knitting, weaving, felting, or rug hooking. When I buy a raw fleece, I get to extend my enjoyment of the process. 
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Every time I process another raw fleece, I learn something new about spinning. How does this sheep's​ wool behave? What will it look like as yarn? What uses would make it really shine?  It also makes me appreciate processes that were a normal part of life for people working with textiles in the pre-industrial era - and it makes me really appreciate my water heater!
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There are plenty of guides that tell you how to buy a fleece, but there's nothing like the experience of following all the advice and then using the wool to see if it's something you like. 

​The more fleeces you process, the easier it will be to look at a raw fleece and make a buying decision!

There is nothing in the world like fiber that has been hand combed or hand carded well. It is easier and fluffier to spin. You can easily create roving or combed top that fits your own hand, not a thickness that is optimized for industrial production. 

You can also experiment with combed vs. carded preparations. Some fibers are usually only available as one or the other. What would happen if you did it another way? Combing and carding yourself gives you the opportunity to experiment and see what you like best.
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This is a big one! When you buy a raw fleece from a shepherd, you are helping them offset the cost of raising sheep. If that shepherd is local to you, then you're also participating in your local fibershed - building communities, building soil, building local economies - all buy buying a raw fleece. 

That raw fleece I bought at Estes Park? It was from a sheep raised by a high school student. She was working in the booth, and she knew her stuff! She knew the qualities of each fleece, whether it would be best for spinning or felting, and much, much more. Did I need another fleece this year? Probably not. But I did fall in love with the fleeces she showed me, and I wanted to encourage her to continue to raise sheep. That's just not something we can do by ordering commercially processed spinning fiber online. 
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I'll be honest here, most of the fleeces I buy cost more per ounce than commercially processed fiber.  What's up with that? It's because of the "wool pool," which is meant to help shepherds sell their wool clips (even low grade wool) instead of composting, burning, or throwing it away. The trouble is that the prices shepherds get in wool pools are often so low, they don't recoup the cost of shearing. Then the fiber is all tumbled together by "class," and shipped to a mill that is often overseas, processed, and shipped back. The system is a high cost to the farmers and a high cost to the environment.

A fleece that costs a little bit more per pound than commercially processed fiber has a lot of value added to it. For one thing, you know your yarn is coming from one sheep that was carefully raised, rather than many nameless sheep. Often, the fleece has been coated to make your scouring, carding/combing, and spinning easier. And again, most importantly, you're helping to support a local farmer.

Sometimes, a free fleece comes my way, and then the dollar cost is definitely lower. These fleeces usually require a higher investment of time and energy to get ready for spinning, but can yield some amazing results. 
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Sometimes, it' really hard to find certain breeds of wool online. They are less populous, and less popular, than the wools that most dyers are selling. But you might be surprised by the variety of breeds you can find in fleece form in your local area. This is a great way to sample different types of wool. 
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When I scour fleece, and when I card/comb a clean fleece that still has lots of vegetable matter, I do it outside. My dog loves this, since he gets to sniff a stinky fleece, then run in circles in the backyard for hours on end. 

My neighbor also gets some amusement watching the dog, and I love showing her the difference between a clean and dirty fleece. I consider it a small bit of fiber education!
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Cleaning a fleece takes a lot of water. Luckily, it doesn't all have to go to waste. I usually fill a large container with about 20-30 gallons of cold water, and soak a fleece in that for a few hours. This releases a surprising amount of dirt, including poop. Then I remove the fleece, and have water and fertilizer for my plants. Since I live in the desert, this is an important way to help conserve water and take care of my yard at the same time. 
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There's nothing quite like a pile of clean wool drying in the sunshine! (This is the same fiber that is pictured as a dirty fleece at the beginning of this post!)

When you're a weaver, loom waste (sometimes called "thrums") is inevitable. When the warp is tied on to the loom at the beginning and the end, those areas can't be woven. If you're planning to incorporate fringe into your project, the beginning and end can become your fringe. Even then, you usually have to cut off some part of at least one end to even things up! 

​With my textured warp, there was a lot of loom waste. All the different warp yarns had a different amount of stretch to them, so before I tied on to the loom, I trimmed the longer bits to even things out. Then there was the fact that I had to cut the warp in half so it would fit on my loom - more places to tie on equaled more waste. 

At first I was disappointed because I was concerned that all that waste meant I wouldn't have as much fabric as I'd planned for. (I'm still worried about that, tbh.) But when I realized how much loom waste I had, I realized I could try something I'd been thinking about for a while.  

While weaving the first piece, I put all the loom waste in a bag as it got cut off. Then I spent a couple of mornings going through the pile, knotting each end together to create six balls of yarn. Why six? I stopped when it felt like I had a shuttle's worth of yarn, but in reality, each ball is really enough for two shuttles.

Then I warped the loom again, this time with one type of wool yarn. Hopefully this means I won't have the same issues with excessive waste this time! 

The weave structure is plain weave, and there are two rows of thin yarn in between each row of thicker "waste" yarn. Initially, I'd planned to leave all the ends hanging out of the fabric like faux fur, but decided it looked too busy, so all the ends are woven in as I go. The weaving process is really enjoyable, and I can't wait to see what this fabric is like once it comes off the loom!

If you're looking for more ideas for what to do with waste yarn, check out my Pinterest board here - it's not just for weaving! There are ideas for knitters, spinners, crocheters, and sewers too!

Yesterday, I cut the second of two warps off my SAORI loom. I had the idea for this fabric back in February - a highly textured warp woven loosely with a plain weft. I also wanted lots of shades of a similar color. 

I found a couple of different textured yarns that I liked - Woolfolk's Flette and Plymouth Yarn's Arequipa aventura. I had two skeins of each, and each skein was a slightly different shade of gray. I set them aside to marinate for a while, and discovered I had lots of unplied CVM singles from the first fleece I'd ever bought. I went ahead a plied them to make some of the softest yarn I've ever felt. Then I did another stash dive and found some laceweight gray alpaca yarns - some dark gray and some a pale silver. I started warping and designing in the reed for a fabric the width of my Saori WX60  loom (60 centimeters, or about 23.5 inches). It was still missing something, so I hopped on over to Spun and picked up two skeins of HiKoo's SimpliNatural in a dark gray and light silver color.

Winding the warp for this fabric was no picnic. It wanted to tangle at every opportunity, and because many of the warp yarns were so thick, it wouldn't all fit on the warp beam - I had to cut off the last two yards and turn them into a separate warp.

There were also lots of different kinds of yarn in this fabric - some very stretchy wool, some a little stretchy, and some not-stretchy-at-all alpaca. This was challenging both in the warping and the weaving - keeping an even tension on all these yarns was difficult, and led to a higher-than-average amount of loom waste. 

Once I got the hang of it though, these pieces were quick and easy to weave. The weft is a wool/cashmere blend.

Above on the left, you can see the fabric as it comes right off the loom, and on the right, after wet finishing. The fabric is insanely soft and has the most fabulous drape. 

What will it become? I'd originally envisioned it as a throw blanket in three panels, but having to cut the warp in half may have thrown a wrench in that plan. So far,  only the smaller piece has been wet-finished. Once I wet-finish the larger piece, I'll know more about how much fabric there is to work with. 

I've been chugging away behind the scenes, dyeing up a storm of fiber for a shop update. There are plenty more braids coming, but the first is Monsoon Sunset. This is a handpainted braid available in my shop. It's inspired by those fiery sunsets full of saturated color after a thunderstorm, and moves in a subtle gradient from coral oranges, to pinks, to purple, to the inky color of a thundercloud still lingering on the horizon, and then reverses itself to go back through the sequence of colors a few more times.

This braid is comes as 6 ounces of Merino fiber (it's also available in BFL, merino/silk, and Falkland, you just have to ask!). I've always been a little frustrated that 4-ounce braids never seem to be quite enough for what I want to make, so I wanted to try a 6 ounce braid. Most of the bobbins on my spinning wheels can hold up to 4 ounces of fiber, but I have a few bobbins I use for plying that hold 6-8 ounces, so 6 ounces seemed like the perfect thing to try. 

You can see how the colors change in the loooong picture below - even braided it's a lot of fiber!

To spin this yarn, I separated the braid in the middle, between the two sections of gray. I spun two plies at about 40 wpi, then plied them together to get a skein that is pure magic.

This braid would also look really interesting spun end to end (it would have more color repeats), or as a fractal yarn. I can't wait to see what someone does with it!

Recently, I reorganized my bookshelves, which included a total overhaul of how I organize my fiber arts books. Previously, there were a couple of knitting shelves, a spinning shelf, a weaving shelf, and a bunch of other books crammed in wherever they could fit. Then there were even more books all over my house...what can I say? I like books!

Organizing reference books has always been a bit of a challenge for me, especially when it comes to textile books. I want to be able to quickly locate garment design books, for example, or my stranded colorwork books. Some books clearly fall into one category, while others could fit into two or even three categories. 

With my recent reorganization, I used new and bigger bookshelves (these), so there was space to split books up into the following categories and sub-categories:

• Spinning
• Books about wool and textiles (mostly books about fashion and/or shepherding)
• Felting
• Surface Design
• Knitting
  • General knitting techniques
  • Memoirs and other tidbits about knitting
  • Garment Design Books
  • Stitch Dictionaries
  • Stranded Colorwork
  • Lace
  • Machine Knitting
• Color Theory 
• Weaving
  • Band weaving
  • Rug and tapestry weaving
  • General weaving books
  • Saori weaving books
• Basketry
• Sewing
• Dyeing

And those are just the books! In the cabinets at the bottom, I've stored some of the more unruly-looking things, like magazines, binders, and notebooks. 

​So far I have been using this system for a couple of months, and it feels a lot easier to use. Not only are books easier to find, but they're more likely to get put away when I'm done with them. Plus, because there's a little bit more space than I need, it just feels more organized. And because the system is modular, it's possible to move, add, and adjust shelves over time. 

Do you have a ton of craft books? How do you organize them? Let me know in the comments!