Spinner's Blending Board Bible

Debbie Held is a freelance writer and international fiber arts educator. She’s a recurring contributor to Spin Off magazine and its blog, PLY Magazine, the SweetGeorgia blog, and more, and she’s the writer behind the former Interweave column, Her Handspun Habit. She teaches courses online for the School of SweetGeorgia, as well as in person throughout the U.S. and abroad.Debbie lives on an urban farm in Atlanta, Georgia, with a Persian cat named Stanley. Both Debbie and Stanley enjoy watching the spinner’s flock of Shetland sheep roaming outside their windows.

• Table of ContentsAcknowledgmentsForeword (I will ask one or two friends who are extremely well known in the industry and who have published their own books to write my foreword.)IntroductionWhy the blending board is my go-to, “desert island” tool for fiber processingCostSpaceErgonomicsNearly limitless uses, includingRolags (smooth or textured)Roving (pulled or dizzed)BattsMore (thoughtful placement of color and texture, such as tweed)The board’s impact on final yarn in terms of color, scalability, and structureAdding a few inexpensive items you likely have at home opens a whole new world of possibilitiesReading this book will change the way you see and use your blending boardChapter I: Your blending board: the all-in-one fiber processing toolComparison, including photos, of fiber processing tools: drum carder, hand combs, hand cardsDrum carder [photos of a couple of models]Best suited for: Blending fibers (textures and colors) well; aeration and loft, great for batts; good for rolags; color play, repeatable resultsCons: expensive (anywhere from a few hundred to thousands of dollars); large footprint; requires mostly minor but ongoing maintenance; unless you have the most costly electric drum carder(s), ongoing use can lead to wear and tear on your spine/neck and shoulder; your blending is limited by the teeth per inch of the cloth on your drum [Graphic: illustration of teeth per inch]Hand combs and hackle [photos and examples]Portable; mobile; small footprintCan blend color and fibers, even repeatables, but only with smooth ingredientsRemoves second cuts and smaller pieces of the locks/fiber, then aligns the fiber strandsThe results are always smooth/worsted, especially when combined with a diz. Combed and dizzed top is the baseline preparation for a true worsted spinHigh-quality combs are costly, and you may require more than one set for the fibers you like to spinCombing fiber is time consumingThe repetitive movements can put strain on your jointsHand cards [photos and examples]Closest to the blending board, IMO, but much smaller. Low footprint, portable, and affordable, and may be used in many ways. Good for true woolen preparation (the only true woolen prep is a hand-carded rolag), and even for mimicking a combed preparation when the lock of fiber is flick-carded into alignmentYou could also card the fiber into alignment and then roll it sideways (cigar style) off the card, or diz a roving off of your hand card.Good for color blending and for combining textures and fibersGood for carding almost any fiber—cellulose or woolYou could make punis, puni-style rolags, and actual rolags (each yields a very different result)The small surface size means that the process can be time consuming, especially if you are working on a garment’s worth of fiber or other large spinBlending board [with photos]Affordable, portable, and easily stored in small spaces. Can be moved from area to area within your home with ease. With the adjustable keel attachment, you can adjust the board to the most comfortable angle and even from your most comfortable standing to sitting angle within seconds. The flat surface makes for easier scalable loading, for those who’d like to spin a good amount of fiber that works well togetherExcellent for releasing (and discovering) creativityHolds and blends as much as an average (7–8” wide drum) drum carderThe flat surface allows for intentional placement and loading of fibers and decorative elementsEasy on the bodyThe alignment of the teeth means that you can replicate a worsted result easily, but you could also card a true roving. With the extra knowledge gained in this book, you can card fiber through the entire spectrum of woolen to worsted prepGood for fiber play and experimentation, especially since you don’t have to load and entire board’s worth of fiber if you don’t want toCan replicate any preparation or blend as a drum carder, including gradients, placement of color/texture for a variegated result, true color blending, and moreWhile different TPI (teeth per inch) are available and are part of selecting the board that’s right for you (see Chapter II), the hidden blending power lies within the accessories you use with it. One board can help you do it allAccessories and additional tools are affordable and often found lying around the houseTurns fiber prep into fiber playMost people just don’t realize all the blending board can do, especially since spinners tend to focus more on combs and carders, and which of those they should get firstHow to choose the blending board that’s right for youTPI of clothDirectionality of the teeth/how this differs from drum carder clothSize of the carding clothDoes it have a keel?PriceHow to DIY your own board (see appendix A for supplies list, schematic and full directions)List and photos of board makers used in this book (will be using course 48 TPI, standard 72 TPI, 90 and 120 TPI and comparing results)Chapter 2: Industry secrets for unlocking the hidden powers of your blending boardBrushesAn assortment of brushes picked up around the house, at dollar stores, grocery stores, etc. and how these bristle types make all the difference in the blending/carding of the fibersVs. the brush(es) that typically arrive with your purchaseLoadingOrder of your fibers and mix-insImportance of building up the overhangBest staple lengthsHow much can it hold (and why you shouldn’t overload the board)?DowelsSize of typical dowelSize you should go have cut and the difference this makesSanding your dowels for best resultsDizStyles and materialsSizes to collectDIY and other optionsChapter 3: Carded rollups: rolags and battsThese preparations are excellent ways to become comfortable with your blending boardSupplies needed:WoolSilk, Tencel, bamboo or other shiniesAngelina and/or sparkle (optional)Scissors or snipsBits of fluffy handspun or yarnRandom wool locksSmoothTexturedHow-toGradientVariegatedRandomRolling off a battMake it a double (batt)Chapter 4: Roving vs. topWhat is roving?How to create itEasy way (from a rolag)From a roLOGFrom a battDizzing a rovingHow top differs from rovingReplicate a combed top using the blending board Chapter 5: Totally tweed and other textureTexture can be subtle or bold, and anywhere in-between1. Supplies needed:WoolSilk noilAngelina and/or sparkle (optional)Silk threadsAssortment of locksScissors or snips2. What is tweed?a. Example #1b. Example #2c. Example #33. Freeform textures for spinning a. Example #1b. Example #2 c. Example #3Chapter 6: Color play1. Create a fractal-style spin (3 different ways)2. Repeating stripes3. Variegated yarn4. Color blendingChapter 7: Scalable blending for large, multi-board projectsChapter 8: Going off boardOther uses you may never have considered1. Flick carding locks2. How to make a carded cloud 3. Batty bumps Chapter 9: Blended recipes and patterns (4 or 5 total)Ultimate sock yarn with pattern (top down)Cabled, tweed vest with patternWacky, woven scarf recipeGradient shawl patternTextured singles yarn with hat patternAppendicesDIY blending board (supplies needed, schematic, instructions)Comparison chart of all brands of blending boards used in this book (makers to include Ashford, Louet, Daisy, Majacraft, and possibly Clemes and Clemes)Resources (a list of makers for all items, including fibers, used in this book)

Encompassing both Debbie’s artistic creativity and logical, reasoned, technical information, this book fills a niche sorely lacking in the world of fiber arts. Prior to reading this book, I had never given the blending board much credit as a preparation tool, but since then I have been converted. The sheer versatility demonstrated is staggering both for initial preparation and blending. Almost no stone is left unturned as Debbie discusses various techniques ranging from fiber blending, add-ins, fleece preparation and more. I feel that this book would be an asset on the bookshelf of any fiber artist, whether they be experienced or beginner. It has certainly made me want to grab my blending board and start experimenting, and I have no doubt it will do the same to you!