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A few of my favorite strings

12/3/2015

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Because it is shopping season, and also because the new year approaches and many of us start to thing of the projects the next year will bring, I thought I would take the time right now to share some of my favorite fibers and yarn that work really well for SCA projects.

Fiber

While I definitely recommend the experience of working with raw wool and hand processing it, we often do not have time for that, and it can be very difficult for beginners.  There is one processed wool roving/top that I have regularly spin and that I recommend to spinners of any level.  That wool is naturally colored Shetland roving that you can buy from several vendors at Pennsic, including Brush Creek Woolworks and Minerva's Spindle.  This stuff drafts and spins very well.  It has lots of loft so you can make a thick wooly yarn, or you can spin it out exceptionally fine on Viking period spindles.

http://www.brushcreekwoolworks.com/collections/fibers/products/natural-morrit-brown-shetland-wool-roving

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Fine yarn spun from Shetland Moorit Top/Roving
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Shetland handspun used as weft.
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Both brown yarns are spun from Shetland Moorit Roving.

Yarn for Weaving

Harrisville Shetland Yarns

Harrisville makes two weights of Shetland wool yarn.  The Highland is heavier, and for SCA purposes I would reserve it for cloaks or functional textiles (or for something where you want a bit more warmth or bulk).  The Shetland yarn is a great weight for functional textiles (woven mittens, pouches, mats, possibly hoods or something like that).  I highly, and I mean HIGHLY, recommend this yarn purchased as UNWASHED cones for new weavers.  The unwashed yarn is smooth during weaving, which means the threads are less likely to hang up on their neighbors (which gives you a clean shed).  Both weights work exceptionally well in rigid heddle looms and I have crafted many projects from this wool.  The Shetland can be used for garments, but the resulting item would be much heavier, and have a much lower threadcount, than most of what we see in finds from the Viking era.

Another way to use this yarn as as an easy to manage warp for your own handspun weft.

My favorite vendor for hits is Halcyon Yarn.  https://halcyonyarn.com/yarn/009/harrisville-shetland-yarn-_-unwashed-cones
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Small pouch in Harrisville Shetland woven in a three shaft twill on a rigid heddle loom.
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Harrisville Shetland purse woven on a rigid heddle loom. I have been using this item for year and can attest to the fact that this yarn is long wearing!
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Unwashed Harrisville Shetland warp with handspun Icelandic weft.
PictureEPiC wool on the rigid heddle loom.
EPiC Wool Yarn

I discovered this yarn early last year and fell in love.  The problem is that the company disappeared before I could order enough to do a project with it.  Well, we are lucky that Timeless Textiles have purchased the business and are offering this amazing yarn again.

This two-ply lightweight yarn is a true worsted wool.  It is both smooth and strong and weaves very easily.  It worked well at a sett of 20 for tabby on the rigid heddle loom when I sampled (and made a thick, almost canvas-like cloth at 25 for tabby).  I also know many people who love this particular yarn for tablet weaving.

You can get more information in the company's Facebook page:  https://www.facebook.com/timeless.textiles.sb2ollc/?fref=ts



PictureHandwoven fabric using 6/1 Faro yarn as the warp and a mill-end single for the weft.
Swedish Yarns

Bockens and Borgs make wonderful yarns that are exceptional for weaving.  They come in array of rich colors and can be worked into a number of items for reenacting use (including garments).  The one issue you can run into is that often it can be difficult to get a large number of skeins on very short notice.  It is good to plan larger projects well in advance so that there is time to get it from Sweden if need be.

Borgs 6/1 Faro wool yarn is a single ply yarn that works well at a sett of 20 or slightly higher for a twill.  This is the yarn I used as the warp in my apron dress and I have played with it also as a brocading weft for tablet weaving.  It is also often used as a tapestry wool.  It can be a little sticky as warp, but I still consider it easy to use.

Borgs 20/2 Tuna wool yarn is both fine and strong.  It is not sticky and works well for both tablet weaving and traditional weaving.  I have only sampled with it (and used it for tablet weaving) but it would make a lovely fabric.  This might be a good option for garment yarn for those who feel they are not quite ready to try weaving with singles.

Bockens 8/2 Mobelatta is very strong and has a bit of a sheen.  It is great for functional textiles that will have a lot of wear and would also likely make a wonderful shawl or outer garment.

You can find these yarns at the following vendors (I use all of them and they are great):
Vavstuga Weaving School: http://vavstuga.com/
Glimakra USA (Borgs only): http://glimakrausa.com/
Loan Star Loom Room: http://www.lonestarloomroom.com


Mill Ends

Even with amazing yarns such as those I listed above, it can still be very difficult to find the correct yarns for imitating historic textiles.  Most garments in the Viking era were woven from singles.  Faro yarn is nice, but still thicker than much of what was used at the time.  Vendors who carry mill ends from the commercial weaving industry give us incredible access to exceptionally fine yarns.  The only warning I have with these sources is that they often have only what they have and will not get more in stock of an item.  I suggest ordering extra in the event you discover you need more later.

The weft in my handwoven aprondress was a large cone of mill end wool yarn that was gifted to me by a friend.  (It is the same wool I used for my Dublin scarves.)

I have resourced these types of wool from two sources.  One is WEBS (http://www.yarn.com/mill-end-weaving-yarns/). This vendor does not always stock yarns that meet our needs, but I purchased some there this fall that is exceptionally nice and will work very well for garments.  Look at the Yorkshire 30s yarn if it is still there (and then be in awe of the price, it is a fantastic deal). 

The other resource that I positively love is ColourMart in the UK.  This vendor carries a massive supply of yarn including some incredibly fine wools (and silks as well).  I highly recommend getting on the email list to be advised of sales.  And, if you are purchasing a large amount of yarn for weaving garments, make sure you change the items to larger cones at check-out, as you will save your self a good deal of money.  I have loved every yarn I have gotten there (especially the 1/13 wool and the 1/20 Merino/Cashmere).  http://www.colourmart2.com/products/rootProducts.php
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Because sharing is good

10/12/2015

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Mistress Oda Wlslagre dicta Widoeghe from Atlantia recently added a post to her blog (Medieval Threads) with tips about spinning singles for weaving.  It is a very informative post (especially if you are new to spinning or weaving) so I am sharing it here.  (She also has lots of other goodies on her site and in her documentation, so definitely worth checking it all out!)

Click her banner below to go to the post!

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It is begun

4/9/2015

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My Viking Swatch Project is officially started.  I tested out the 1/13 singles wool that I got and it is holding up quite nicely as warp.  Sett is 30 ends per inch (I will be washing a swatch soon to see what it ends up after wet finishing), but this yarn will give me a very nice start to the project.
My plan is to do each weave structure with 4 different wefts to demonstrate different things.
  1. 1/13 Z spun dark blue warp with 1/13 Z spun light blue weft: the purpose is to clearly show the weave structure.
  2. 1/13 Z spun dark blue warp with 1/13 Z spun dark blue weft: the majority of Viking textiles used the same color for warp and weft so this will give a good view of what typical fabric would look like.
  3. 1/13 Z spun dark blue warp and 1/13 S spun dark blue weft: There were period fabrics that used different spin direction in warp and weft and I hope to demonstrate how that looks compared to Z/Z with these samples.  (Eventually, I will also work on some spin patterned samples.)
  4. 1/13 Z spun dark blue warp with 1/6 Z spun dark blue weft:  Many of the extant textiles have a disparity in size of yarn between the warp and the weft (with the weft being thicker).  I have a skein of 1/6 Faro wool in a dark blue that is close too the blue of my warp to use for these.

Eventually the swatch book will be expanded to cover other textiles or styles that I want to demonstrate (some of the small scale plaids that were used, exceptionally fine textiles, spin-patterned fabrics, textured fabrics... the possibilities are endless).


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And it looks like it works: Z to S

4/1/2015

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One of the things I want to add to my swatch book is fabric with a Z spun warp and S spun weft.  However, finding yarn that is S spun is not easy... and finding yarn that has both Z and S in the same yarn?  Well, I have not yet found that at all.  So I had an idea that I thought I would test out and so far, it seems to work!  I took the cone of Z spun 10/1 wool singles yarn that I purchased for the start of this project and spun it in reverse.  My first test, which used the spinning wheel, failed because I was getting too much tug from the wheel and it was pulling apart before it could get enough reverse twist in it to stay together.  Works fantastically on the drop spindle though.  So, I will spin a bit more and wet-finish it and test it in a piece of weaving and see how it works up.  Looking forward to this (and especially looking forward to trying some spin-patterned weaving eventually)!

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Upcoming Classes

3/23/2015

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I will be teaching my Viking wool class at AEthelmearc War Practice and twice as Pennsic University.  The Pennsic classes will run 3 hours with the first two hours being discussion and demo, and the last hour will allow time for people to experiment with the tools if they would like to try things out.  More information on this class can be found under the CLASSES button at the top of this page.  Additionally, I am hoping to set up a gathering for the members of the Viking Era Textiles & Fiber Arts group from Facebook (https://www.facebook.com/groups/360623034123093/).  If that ends up being scheduled, I will be posting information both on the group and here. 

5/16/2015
AEthelmearc War Practice
10am-12pm, A&S Tent #1
Viking Era Wool: Its Production and Use

7/30/2015
 
Pennsic University

9am-12pm, A&S4
Viking Era Wool: Its Production and Use

8/4/2015
Pennsic University
9am-12pm, A&S4
Viking Era Wool: Its Production and Use
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Trying something new

1/12/2015

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Most of my costuming and fiber arts projects revolved around the periods I enjoy studying historically.  Focusing my efforts in that manner actually helps get more done by keeping me on track.  For this reason I do not typically do things like card wool.  Instead I comb the fiber as that is how it was done in the Viking era.  Likewise, I do a gentle wet finishing of a final woven good, and go out of my way to not felt or full the final fabric.

This weekend I chose to play around just a bit with both carding and fulling on extra fabric I had that I wove and the chaff that is left in the combs from the combing process.

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Detail of a miniature of Gaia Caecilia or Tanaquil, with a loom, and women spinning. By: Giovanni Boccaccio, 1440
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My carded Icelandic leftovers spun into yarn.
I got wool combs from an auction recently for only $10.  I dug out the boxes of wool fluff left from the combing process and decided to give it a try.  The white Icelandic spins decently after carding (some of that still has a staple of 2", though most is less than that), the moorit I have is full of lumps and noil (and has an average staple length of 1 inch) and works into a very unappealing yarn.  I will likely continue to process both and just save them to be added into a rug weft later.  Historically, I think that a Norse woman might have used the left over bits as stuffing for cushions or as insulation inside shoes.

I also took a length of cloth that I have woven on a rigid heddle loom out of leftover rug yarn and decided to full it in the washing machine just to see how it would come out.  It shrank over three inches in length, but the wool became exceptionally soft given that it was rug wool.  I thought it would compact more, and still be coarse and I had planned for using this as a rug, but now I think I might turn it into a warm hood (lined with linen) for winter camping if there is enough fabric.

For those unfamiliar with the process, fulling wool takes a finished piece of weaving and with hot water and agitation (and often use of detergent, urine or a mineral called Fullers Earth) it locks the wool fibers together, closes the gaps in the weaving and gives the resulting textile a better ability to shed water and insulate against the cold.  I merely tossed mine in the washing machine with hot water on the heavy cycle and then dried it in the dryer.  Historically the early Norse wove fine dense fabrics, with combed rather than carded fibers, and did not need to finish cloth in this manner before use.

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Wool cloth before fulling.
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Wool cloth after fulling.
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Fulled wool fabric.
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Viking Embellishment and Embroidery - Part 3

12/5/2014

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(The earlier segments of this article can be found here:  http://awanderingelf.weebly.com/blog-my-journey/viking-embellishment-and-embroidery-part-2  and here http://awanderingelf.weebly.com/blog-my-journey/viking-embellishment-and-embroidery-part-1 )

Embroidery, while evidenced, was not common, and often what we have is considered to be imported goods.

First, let me make a comment about how I differentiate types of embroidery that are often discussed among reenactors.  Often I see someone come onto a forum and ask about Viking embroidery.  Others quite often launch into long dissertations about how Vikings did not do embroidery.  What the poster sometimes means, however, is often not figurative, large-scale embroidery, but rather the seam embellishments that are frequently employed by reenactors.  For the purpose of this post I am going to categorize those three types differently as “seam embellishments”, "functional stitches" and “embroidery”.

Seam embellishment, while (in my opinion) over done by reenactors (myself included), is at least plausible and in evidence in several places.  The Hedeby Harbor aprondress fragment had a braid applied over a dart.  There is also mention of embroidery covering a seam in one of the Oseberg scraps and some of the apron dresses from Birka had narrow cording sewn to the top edge of the garment.

Functional stitches, on the other hand, are exactly what they sound like.  They are stitches that serve a purpose (to create a seam or to hold open the seam allowance) but because part of the stitch rests on the surface of the cloth, it can be quite attractive when stitched in a different color of thread. (Even something as simple as unbleached linen thread against a dark blue dyed linen garment can be striking in its simplicity.)

(Note 9/22/15: I was rereading Hilde Thunem's excellent paper on aprondresses and am really thinking hard about a remark the author made "Inga Hägg comments that the hemming stitches would usually be invisible on wool, but would show up clearly on linen. She believes that the reason that the band has been placed lower on the linen smokkr could be to cover the stitches."  I need to go back and look at Hägg's comments and some other things as well.  I want to chart out the extant seams from various finds and see what I can figure out about the visibility of the stitching and the threads used.  It could well be that they Viking era Norse preferred a very clean look, with little in the way at all of stitches showing.)

Ideas for using seam embellishment and functional stitches to create a more accurate impression:
  • Dot not cover every inch of a garment with decorated seams.
  • Fine cord or braided string as an edging has ample evidence (on apron dresses a string, especially if it were linen or silk, at the top might serve a functional purpose in helping the top of the garment to not stretch as much with wear).
  • If the stitch serves a functional purpose, it actually makes more sense in use (example a running or overcast stitch on the surface that actually is part of a hem).  There is one example from the Hedeby Settlement (S 27) that uses buttonhole stitch to join two textiles.  Note though, that that was only one of several types of stitches used on that garment. (S 27 information added 9/30/15)
  • Keep stitches narrow and compact, there is no evidence of an inch wide herringbone stitch anywhere.
  • If you must add stitching, employ stitches that were used in period – examples of some stitches are running stitch, stem stitch, split stitch, herringbone, osenstitch (though most of the the extant examples of this are metalwork).  Note here that while we as reenactors love herringbone, evidence for its use in period is actually quite limited.  It was used on a pouch from York and on the INSIDE of a hem at Hedeby.  A stitch similar to herringbone was used on the Mammen cushion cover (decorative item rather than a garment) and on the collar of the Skjoldehamn tunic (which may or may not even be Viking), but it was not the sprawling herringbone seen in the reenactment community.  For a deeper look at Herringbone see my post HERE.


And now on to the controversial topic of larger, decorative embroidery. 

The examples that we have are often are thought to have been Saxon, Rus or Byzantine imports (the first is thought to be the case with the larger Oseberg pieces in particular).  It is very important to understand that some of these were also considered to likely be from decorative goods, rather than garments.  This proves that the technique of heavily filling an area with stitching existed at the time, it does not at all indicate that this was applied to garments in period.  Also worthy of note is that all of these items were very, very high status.

Mistress Þóra Sharptooth has a good article about extant embroidery here:  http://www.cs.vassar.edu/~capriest/vikembroid.html

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Embroidery found at Oseberg that is considered to be a Saxon import. (Osebergfunnet, bind iv)
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Valsgärde embroidery, 10th Century. This is worked in metal thread and is thought to have originally been part of an ecclesiastical garment.
Ideas for using embroidery to create a more accurate impression:
  • Use embroidery very, very sparingly.
  • Use appropriate stitches, threads and colors.
  • Only use embroideries for very wealthy personas of high status and use the embroidery only on textiles worthy of that class.  Look for high thread counts and a well-dyed cloth in period appropriate colors.
  • Be conscientious in your chose of patterns and motifs.  Celtic knotwork is always inappropriate for a Viking kit.  Yes, there is fabulous Jelling style knotwork that lends itself well to embroidery, but nothing has been found to support the notion that these motifs were replicated in textiles. 
  • Scale is very important.  Most of the extant pieces are quite small.
  • Consider using embroidery that uses only outline as some of the items from Mammen did. 
  • Or, consider researching Saxon, Rus or Byzantine embroidery, creating a piece and then cutting it down for use on a Viking kit (as if your persona had traded for the item and then re-purposed it as decoration).  Actually, that could be a pretty interesting project, maybe I will try that!



The Argument

Often someone will have their heart set on embroidering a large scale, fantastical beast onto a garment and when looking for advice they are confronted with the facts that this style of decoration seemingly did not exist in our period.  The most common argument I have heard to defend their position is that that people had “all winter trapped indoors to work on these things”. 

Yes, there were long winters, but people were as busy then as they were at other times of the year.  Women were responsible for spinning, weaving and sewing garments for their entire family.  Yes, a wealthy woman might have had slaves or servants to help with these tasks, but that also means that those slaves and servants also needed to be clothed.

Let us look for a moment at the time involved in just these tasks.   In Tools for Textile Production by Eva Andersson, the author comments on experiments in which she took part that showed wool could be spun at 21 yards an hour while the experiments at Ribe show that an average of 61 yards of linen could be spun an hour.  (The difference in the two is that the combing included in the wool time from Andersson’s work, whereas the flax would have already been prepared before the spinning begins).  

If I need 3 yards of 50” wide fabric for a dress (that is roughly what I use for the tunic type gowns I wear under my aprondresses) and I want to craft a textile that is 25 ends per inch for the warp, I need 4200 yards for my warp.  If the weft was slightly thicker yarn (as was often the case) and set at 18 picks per inch, I would need 3478 yards of weft.  That is 7678 yards of yarn for one garment.  Based on the prep/combing/spinning time that Andersson lists you would need 365 hours to accomplish JUST the spinning portion of your garment creation.  If you work on this for ten hours a day, you are looking at over 36 days just spent spinning for a solitary garment.

(And because we are discussing embellishment, which is something reserved for higher classes, here is the calculation for a more finely crafted textile than the modest one mentioned above.  With a warp sett of 50 ends per inch (knowing that this is still not nearly as fine as some of the extant textiles), I would need 8400 yards of warp yarn and another 5799 yards of weft that would be set at 30 threads per inch.  676 hours of spinning.)

Both the experiments at Ribe and Andersson agree that setting up the loom takes 2 days of work (approximately 20 hours of time total).  Weaving was listed as 27-31 inches a day by Andersson.  That 25epi tunic I would make for myself would take me over 3 and a half days to weave if I spend 10 hours a day doing nothing but that. 

The result of all of those figures?  One dress of decent, but not exceptional cloth, takes approximately 43 days of work at 10 hour days.  And this does not include time spent cutting or sewing, this is merely time spent in textile production.  Consider then that I would likely also need a smokkr (aprondress) and possibly a new caftan or mantle.  And do not forget that one would also be crafting garments for a spouse and children. 

I simply find it implausible that there was much time to spare even when "trapped" indoors in the winter.

Assume now that when you are finished with the necessities to cloth your family or fill your house and that you do indeed have extra time.  Would you embellish your attire as befits your station?  Certainly!  I think, however, that would you would choose to add silk strips to your garments (which would provide a costly, but time effective embellishment), or use the thrums from weaving to decorate a seam, or make use of tablet weaving which is a technique that is already considered a status symbol in your community, as is evidenced by the number of wealthy finds that include tablet weaving.  Additionally, it is likely that there is a long tradition of this type of weaving in the Viking areas and this skill been passed down to you by your mother or grandmother.  There is far more logic and evidence to me to support the use of these techniques, rather than the assumption that someone would have chosen to employ elaborate embroidery (which they may indeed never have even seen in their life, which means essentially they would be inventing a new art form...). 

Understand that my goal with this article is not in anyway to stifle an individual’s creative spirit when it comes to embellishing their costume!  I enjoy seeing creative works and often compliment artisans on the skill it took to construct their elaborate garments.  Instead, I am giving my own personal reasoning based on my research as to what I think is realistic in terms of Viking embellishment and why some techniques might have been used more often than others.

And note also that I do not discount that someday we could find that even a farmer's wife did indeed own heavily embroidered clothing.  Personally, I would love to see that, and when it happens, I will happily revise my thoughts on this subject!  :-)


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Sheep Breeds - Gotland

11/25/2014

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The Gotland breed developed from the Gute sheep, a primitive breed descended from those brought to Sweden by the Vikings.  (Oklahoma State University, Breeds of Livestock Project)  The wool is typically gray but ranges from silver to near black, though white and brown do rarely occur. The wool from these animals can be spun quite fine, but resembles mohair more than any other of the short-tailed breeds. (Ekarius and Robson, 162)

While the older Gute (or Goth) sheep breed still exists on the island of Gotland today, the modern breed, which was started a hundred years ago by selecting for specific color and curl among Gute sheep, has had some additional improvements from Leicester, Texel and other stock.  The Gotland breed in the US is being built by artificial insemination to acceptable outcrosses to establish American Gotlands (acceptable outcrosses are Icelandic, Finn, Shetland and seven of the English longwool breeds).


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Gotland Sheep by Malene Thyseen.
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Gotland sheep by Berit from Redhill Surrey, UK
Fiber Information:
  • Staple length:  3-7 inches, but can be much longer
  • Fiber description:  18-mid-20s in lambs and 27-34 in adults
  • Lanolin:  Fairly low lanolin
  • Fleece size:  5.5-11lbs
  • Animal size:  Medium – ewes weigh 120-155 and rams are 165-190
  • Notes:  This wool type is a longwool, with lovely wavy locks that curl at the tips.  It spins exceptionally well for me in to smooth, fine yarns.
  • Fleece type:  Ryder classifies them as Medium, Generalized Medium and Hairy Medium.  The more primitive Gute sheep is classified as true Hairy or Hairy Medium. (Ryder, Sheep & Man, 527)


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Gotland Sheep at the Maryland Sheep & Wool Festival, 2014.
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Gotland Sheep at the Maryland Sheep & Wool Festival, 2014.
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Resources:

Dýrmundsson, Ólafur and Niznikowski, Roman.  “North European short-tailed breeds of sheep : a review,” 59th Annual Meeting of the European Association for Animal Production.  2008

Ekarius, Carol and Robson, Deborah. The Fleece & Fiber Sourcebook: More Than 200 Fibers, from Animal to Spun Yarn (Storey Publishing, LLC), 2011.


Oklahoma State University. “Breeds of Livestock Project”. www.ansi.okstate.edu/breeds/sheep/‎

Ryder, M. L. Sheep & Man (Gerald Duckworth & Co.), 1983.

Ryder, M. L. "A Survey of European Primitive Breeds of Sheep," Annales de Génétique et de Sélection Animale. 13, no. 4: 381−418, 1981.
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Exciting New Tool!

11/24/2014

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I have mentioned before that I discovered that some spinning tools are fairly specialized, including those historic styles used for very, very fine spinning (you can read that post here).  After playing with the Pallia spindle that I very much like, I went in search of another tiny spindle for further experimentation.  I found one from MissingSpindle on Etsy (this is Mistress Rhiannon from AEthelmearc, for those who might have had her classes before).  I got from her the tiny, hand hewn spindle below.  Aside from being completely adorable, it is very functional.  I purchased with it three very small whorls of differing weights.  (The wool surrounding it was the protective package stuffing.  I was amused by it but it really does make sense and of course I will try to spin it!)
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I did test out the spindle with the lightest whorl tonight using some of my hand combed Icelandic tog.  The shaft weighs 3.8 grams and the whorl a mere 5.3.  You can see a short length of my Icelandic yarn below.  My yarn is the stretched out portion, and that towards the top of the spindle, the rest was wound on there when it arrived (such a tease to see that on there when the package arrived at my office - it really make me want to test it out immediately).  I hope to spin some very fine yarn this winter to test it out as warp for a sample piece of weaving.
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In the News - More on Lendbreen

11/24/2014

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The Lendbreen was an exceptionally exciting find a few years ago, and I am very looking forward to seeing the reconstructions mentioned in this article.  (This new piece has some nice info on the wool itself!)

http://www.medievalists.net/2014/11/24/early-medieval-tunic-recreated-norway/
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    Blogroll of SCA & Costume Bloggers

    Below is a collection of some of my favorite places online to look for SCA and historic costuming information.

    More Amie Sparrow - 16th Century German Costuming


    Gianetta Veronese - SCA and Costuming Blog

    Grazia Morgano - 16th Century A&S

    Mistress Sahra -Dress From Medieval Turku 

    Hibernaatiopesäke

    Loose Threads: Cathy's Costume Blog

    Mistress Mathilde Bourrette - By My Measure: 14th and 15th Century Costuming

    More than Cod: Exploring Medieval Norway

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