We wanted to share some of our favourite travel-friendly crafts, along with a few tools you may want to pack so you are not left thinking, “I can’t believe I left that at home.”

At the end of this post, we will include a Travel Craft Checklist PDF for you. Just as each craft and each project requires different things, we may miss a few items. But hopefully the checklist will help you get started on your travel packing so you have everything you need to rest, relax, and reclaim your craft time.

Knitting & Crochet

The ultimate travel projects. You can fill a bag with scrap yarn to make various granny squares, and join them when you get home. Or a single skein of yarn can make a pair of hand-knit socks, a project small enough to bring along in most handbags. But before you walk out the door, grab a small notions pouch and pop in a few essentials.

Project Bags & Notions Pouches

Who doesn’t love a good project bag? We see so many beautiful options at yarn festivals, but you don’t need to buy one. There are plenty of free patterns and tutorials if you would like to make your own. Or simply use a tote or a ziplock bag. It doesn’t need to be fancy, although we do appreciate a bag that closes. It keeps everything contained, so if something tips over, your yarn and stitch markers haven’t escaped.

Accessories & Extra Yarn

What you bring will depend on your project, but a few basics go a long way. Stitch markers for keeping your place or marking rows/stitches, a darning needle for finishing, and a pair of scissors will cover most needs. Blocking can always wait until you return home. A small bottle of wool wash can also be helpful if you are travelling for a longer period and may need to wash your project along the way.

Usually, one of two things happens. You either work on your project during the travel time, then set it aside for the rest of the trip, or you finish it sooner than expected. That is why we like to pack an extra project, or at least an extra ball of yarn, just in case our hands get twitchy and are looking for something to do. And don’t forget to wind your yarn into a ball before you leave.

Spinning

There are so many ways we can take our spinning with us. Some spinning wheels can be folded down on a plane as overhead luggage, but not many. You could check it, but if you are like us, we prefer to keep our precious tools nearby and safe.

This is where spindles and e-Spinners shine. They are compact, easy to pack, and some e-spinners even fold down flat. But like any craft, a few thoughtful accessories can make all the difference.

Carrying Cases

A good carrying option makes travel much easier. Some e-Spinners, like the Ashford e-Spinner 3, come with a fully lined case that keeps everything secure, with space for a lazy kate, bobbins, and fibre. If your e-Spinner doesn’t come with a case, a simple tote bag works just as well.

And for spindles, we have seen everything from beautifully sewn spindle bags to practical solutions like wine boxes because their shape works surprisingly well. The dollar store also has some great storage boxes in a wide range of sizes. We like the box options because they are especially good at protecting the tips of the spindle. You can even line them with fibre for a bit of extra cushioning.

Accessories & Fibre

It may be worth packing an extra bobbin or two. Some e-Spinners come with collapsible bobbins. A quick Etsy search will show a range of makers offering 3D printed bobbins that can break down flat for most wheels on the market. And if you are a spindle spinner, a backup spindle is a great idea.

A few small extras can be very helpful. Waste yarn for a new leader, an orifice hook, and a kate with a niddy noddy if you plan to ply. If you would like to finish your yarn while away, a small amount of wool wash is useful as well.

You may also find yourself spinning more than expected, so tucking in an extra braid or two of fibre is always a good idea. Wool compresses easily, so it takes up very little space and can be fluffed back up with a quick couple of shakes.

Weaving

Bringing a floor loom on vacation is unlikely, but that doesn’t mean weaving is off the table. It simply means shifting the scale of your project.

Table and rigid heddle looms are excellent travel companions, and something like the Ashford Katie often fits in overhead storage. Smaller options are just as appealing. Tapestry looms, lap looms, pin looms, and inkle looms all make wonderful travel projects. If these smaller looms tend to sit unused at home, travel is a lovely opportunity to spend time with them.

Setting Up Before You Go

Because the range of weaving equipment varies so much, it is hard to narrow down all of the tools you may need. Setting up as much as possible before you leave means less to pack and more time to enjoy your project.

Dressing your loom ahead of time is a real time saver. It also reduces the number of tools you need to bring. The same applies to winding bobbins. Preparing yarn in advance removes an extra step and keeps your packing simple. If you can get your loom fully dressed and ready for your first pick, you are in a great place to start weaving when your vacation begins!

Accessories & Fixing Mistakes

It has happened to all of us. We are weaving along, and then we notice a threading error. Seriously, how did we not see that sooner?

Option one is to leave it. You are on vacation. If it took you that long to notice, chances are that no one else will either.

Option two is to fix it. If you choose to fix it, you may need to resley the reed or adjust heddles. Bringing a bit of seine twine or waste yarn allows you to make heddles if needed, which can save you from rethreading an entire section. But still a good idea to bring along a sleying hook, just to be safe!

It is also helpful to pack a few essentials. Scissors, a retractable measuring tape, and a darning needle are always useful. A T-pin can help repair a broken warp, while small weights with hooks can assist with uneven tension on warp ends. Extra warp yarn is also worth including, especially if it is different from your weft.

Resources

When you start a new craft, it is easy to become completely obsessed and want to bring it with you. Trust us, we get it! But what if you have never broken a warp end before or dropped a stitch? Having the right resources available to help you fix these issues is invaluable.

School of SweetGeorgia

The School of SweetGeorgia has over 120 video-based courses covering spinning, weaving, knitting, crocheting, dyeing, and more. Whether you are reviewing the basics or troubleshooting an issue, these resources help you move forward with confidence.

SweetGeorgia + Co

Having a space to ask questions and connect in real time is incredibly valuable. It is not just about sharing photos, but about building connections with like-minded makers. It is a place to exchange ideas, share knowledge, and offer support and encouragement. That sense of community can be just as important as the tools you bring with you. We hope you will join us at SweetGeorgia + Co.

Final Thoughts

We love bringing our crafts with us wherever we go. Whether it is having an afternoon of knitting on the beach, spinning in a quiet place in the woods, or weaving on a road trip, being able to carve out a bit of time each day to be creative feels essential in itself. While each project and craft has travel needs, we hope we covered some of the basics for you to get you and your projects out the door!

Travel Craft Checklist PDF

Here is the free PDF to download. There is no right or wrong way to fill out or what to check off. Feel free to add to it as well. We hope you join us at SweetGeorgia + Co and share additional tools you like to bring with you on your travels!

The post Pack Light, Pack Right: Travel-Friendly Crafts & Essential Tools appeared first on SweetGeorgia Yarns.

It looks familiar — soft, approachable, even ordinary — and yet the moment you sit down to spin it, everything shifts. Your hands have to soften, your rhythm changes and your expectations, especially if you’re coming from wool, need to be gently set aside. Cotton asks something different of us. And in return, it teaches us something new. 

This guide is an introduction to spinning cotton — not to achieve mastery, but as an invitation to get started. If you’ve ever been curious about spinning plant fibres, or if cotton has quietly intimidated you from the sidelines, this is a place to begin. And if you find yourself wanting to go deeper, to really understand the rhythm and technique behind it, that’s exactly what we explore in more detail inside the full course. 

A Fibre with a Long and Complicated Story

Cotton has been spun for thousands of years. Archaeological evidence places its use as far back as 7000 years ago in regions like the Indus Valley of modern-day Pakistan and parts of Central and South America. Over time, it spread across the globe, becoming one of the most widely used fibres in human history. 

But cotton’s story is not just one of beauty and utility. It is deeply tied to systems of industrialization, colonialism, and forced labour. As hand spinners and makers, engaging with cotton can also be an opportunity to reflect on where our materials come from — and how we choose to work with them moving forward. 

Holding that awareness alongside our practice deepens our practice and ties us to history. In the course, we spend a bit more time sitting with this history, because understanding cotton’s past can meaningfully shape how we approach it at the wheel. 

Understanding Cotton 

Before we spin cotton, it helps to understand what makes it so different. Because cotton is a pure form of cellulose, the nature of spinning it is very different from wool and other protein fibres.  

Cotton fibres are:

• Short-stapled (typically 1.5–3.5 cm).
• Very fine (comparable to cashmere or qiviut).
• Smooth (lacking the scales that help wool grip to itself).

Under a microscope, cotton fibres look like twisted ribbons, with natural convolutions along their length — part of what allows them to hold together when spun. Often, when watching cotton spinners spin the fibre, they draw out a length prior initially. With wool spinning, this would result in the fibres breaking, but cotton sticks to itself, so while smooth, it is able to remain intact as twist is being added. 

What this means in practice is:

• Cotton needs more twist than you think.
• It prefers to be spun fine (think about adding singles to plied yarns for thickness).
• It does not tolerate heavy drafting or thick singles well.

There are many products available on the market for cotton spinners (see chart), including raw cotton bolls, slivers, punis and more. Simple cotton hand cards (if possible, >108 TPI) can offer wonderful opportunities to prepare your own cotton for spinning. While many modern spinning wheels don’t have high enough ratios to spin cotton (although you can treadle more quickly to compensate), a simple metal-supported spindle called a Takhli can bridge the gap and offer a great spinning experience. If access to a Charkha is possible, I highly recommend spending some time spinning on it. They are wonderful tools.  

Cotton Species and Attributes

These are the kinds of small but important shifts that we work through slowly in the course — learning not just what to do, but why cotton behaves the way it does. 

Rethinking Your Spinning Approach

One of the biggest shifts when spinning cotton is this: you are no longer relying on the fibre to hold itself together — you are building that structure with twist.

This shows up in a few key ways: 

• Light Hands: cotton responds best when held gently. There’s very little pinching compared to wool.
• High Twist: cotton singles should feel almost over-twisted — even slightly prickly — before they are stable.
• Fine Singles: trying to spin cotton thickly often leads to weak yarns that pull apart.
• “Light Hands, Fast Feet”: more twist, less force. 

These ideas sound simple, but they take practice to feel in your hands. Think about running your fingers along your singles prior to winding the cotton onto your bobbin or Takhli, attempting to feel for that prickliness that is needed. Tug on each end of the singles to assess whether the cotton fibres are locked together – if they drift apart, more twist is needed. A friend once described cotton fibre as ‘eating up the twist’, and it’s an apt description of what happens in real-time! Tip: If the cotton singles are drifting apart while winding to the bobbin or spindle, there isn’t enough twist. 

Preparing Cotton for Spinning

Preparation is everything with cotton. Unlike wool, which often arrives ready to spin, cotton benefits from thoughtful preparation to make it manageable, even sliver bought from a reputable source. If you have the opportunity to work from raw cotton, consider a process called willowing, in which raw or ginned cotton can be fluffed and cleaned by gently opening the fibres and allowing debris to fall away.

Next, carding cotton takes a light hand: use fine cotton cards, working slowly, and avoid creating neps (those tiny knots caused by fibre damage). Unlike in wool combing, the goal is not to align fibres, but simply to open them. Load the card lightly because less fibre results in better preparation. When the card is overloaded, it can result in increased neps and fibre damage, particularly with very fine cotton. And lastly, stop carding immediately if neps begin to form. Continue to practice.  

Why Punis Matter

If there’s one preparation that changes everything for cotton spinning, it’s this: Cotton Punis. 

• Keep fibres organized
• Allow controlled drafting
• Release the fibre gradually while spinning

While rolags can be made, they tend to be less stable and harder to manage (experiment and report back – many in the Wool n’ Spinning community have had great results with cotton rolags). Punis create a much smoother spinning experience and are a central part of working with cotton successfully. It also allows the cotton to be stored well – they are compact and line up nicely, which prevents the cotton from becoming disorganized or damaged.  

In the course, we walk through making punis step-by-step — because once you have this preparation in your toolkit, cotton becomes far more approachable. 

Tools for Spinning Cotton

Cotton can be spun on both spindles and wheels, but setup matters. Already mentioned, think about investing in a Tahkli if you are struggling with your spinning wheel’s speed. The best approach for spinning cotton is fine, high-twist singles, and ply for strength and thickness. Fine spinning suits cotton naturally. 

Supported Spindles (Tahkli) & Charkha

• Fast and efficient
• Ideal for fine yarns
• Designed specifically for cotton
• Cost effective

Spinning Wheels

To spin cotton successfully:

• Use a small whorl / high ratio
• Reduce take-up tension
• Increase speed (treadle faster)

These adjustments can feel subtle, but they completely change the spinning experience. Often, speed is the primary issue when spinning cotton. Run your fingers along the cotton fibres to assess for that prickly nature prior to winding on. 

Learning the “Dance” of Cotton

Spinning cotton is often described as a dance. The yarn forms right where twist meets the fibre supply — and that’s where your attention needs to be.

You draw out the fibre gently, allow the twist to travel forward, and watch closely as the fibres lock together. Without enough twist, the yarn simply won’t hold. Stop drafting as needed to allow the twist to build up before drafting backwards to allow more fibres to draft out. 

This rhythm takes time to learn. It’s one of the reasons cotton can feel frustrating at first — and incredibly satisfying once it clicks.

Remember to check whether the cotton is ‘twist locked’ by tugging on either end of the spun singles to ensure the singles won’t disintegrate and fall apart. Assess for that prickly surface between fingers. Over time, this becomes intuitive and stopping to check is no longer needed. 

A lot of fluff enters the air as cotton is spun. When spinning on a wheel, be sure to oil every 20 minutes or so to keep everything moving and clean (*Gaustad, 2014). Check your manufacturer’s notes about oiling both spinning wheels and charkhas. Enclosed bearings do not need to be oiled, but the surfaces can be wiped clean of cotton fluff.

Blending Cotton with Other Fibres

Once you’ve explored 100% cotton, blending opens up new possibilities. Cotton adds:

• Drape
• Softness
• A distinctly “planty” quality

But blending can be tricky. Work slowly to avoid stretching fibres and remember to load carding cloth (whether hand cards or drum carders) lightly. 

Porosity matters. Some wool fibres have an openness — a kind of internal space — that allows cotton to settle in and blend well. Others resist it entirely. Learning to recognize this is part of the experimentation. Spend time feeling fleeces and wool that you have access to – start with your stash – and see if you can feel ‘holes’ in the fibres as you lightly rub them between your fingers. Down and down-like wools are a great place to start due to their 3D crimp that gives the feeling of space or holes that allow other fibres to blend and fill in. This is generally fleece-to-fleece, rather than breed-specific or even within a flock. See if you can find those fleeces in your stash that have a slight resistance when pulling them apart – a slight tug. This will help you get started!

Blending Tips

• Match staple lengths when possible
• Start with 10–30% cotton
• Work in small preparations (punis again)
• Sample widely

Blending is one of the most exploratory parts of cotton spinning — and one of the most rewarding once you begin to see how different fibres interact. As your comfort increases and you’ve had good results, add in other fibres as well, such as silk, alpaca or cashmere. Try a myriad of fibres to see what you like and knit some swatches from those sample yarns to gain even more knowledge. 

Finishing Cotton Yarns

Cotton finishing is very different from wool. Yarns are typically:

• Simmered in hot water with detergent and washing soda.
• Processed for 30–45 minutes.
• Rinse in warm water until all detergents and sodas are removed, water runs clear.

This removes natural waxes, oils, dirt and debris, and allows the yarn to soften and become more workable.

You may notice changes in colour, especially with naturally coloured cottons — another reason sampling is so valuable. The colour changes are from the changes in the pH that are caused by the washing soda (if added) and are irreversible. 

We walk through this finishing process step by step in the course so you can approach it with confidence.

From Yarn to Fabric

Cotton yarns create fabrics that are:

• Breathable
• Structured
• Less elastic than wool

This can feel unfamiliar at first, especially for knitters used to wool’s elasticity. But cotton offers clarity, drape, and a different kind of beauty. They can be woven, knit or crocheted. 

Blends can help bridge that gap — combining elasticity with softness and breathability. Be sure to sample cotton yarns and blended yarns to evaluate choices made in spinning. Fabric hand and dynamics can be quite surprising when cotton is added!

An Invitation to Go Further

If this has sparked your curiosity, consider this your starting point. Try:

• Making a few punis.
• Spinning a small amount each day, either on your spinning wheel or Tahkli.
• Experimenting with different preparations.

And if you’d like guidance as you move through that process — with demonstrations, deeper explanations, and the opportunity to spin alongside — the full Spinning Cotton course was designed to support you in exactly that journey.

Find more of Rachel’s articles here>>

Find Rachel’s Spinning Cotton course here>>

*The Practical Spinner’s Guide – Cotton, Flax, Hemp, Stephenie Gaustad, 2014 (Krause Craft)

The post Spinning Cotton: A Quiet Shift in Your Practice appeared first on SweetGeorgia Yarns.

The X’s & O’s

First of all, we should say that most of the time, tying up your sheds the opposite way will not ruin your project. The opposite side of the cloth simply becomes the face of the fabric. However, there are a few structures where the correct side matters, such as certain inlay techniques. If you are weaving something straightforward, you will usually be fine.

The O’s / Rising Shed

Whenever you see an O, like in the example below, the draft is written for a rising shaft loom. These are also known as jack looms. When you press a treadle or use a lever, the shafts move upward.

All table looms are also rising shed looms. Of course, loom design may evolve in the future, but for now, table looms are jack looms.

The X’s / Sinking Shed

Whenever you see an X, the draft is written for a sinking shed loom. This includes counterbalance, countermarch, and the Louët David loom.*

This can feel a little confusing at first because when you press a treadle on these looms, some shafts move up while others move down. However, when you begin weaving, you will notice that the pattern appears opposite to what you would see on a rising shed loom. This happens because the sinking sheds are the ones that dominate what you see in the cloth.

*The Louët David loom does not move all the shafts like a counterbalance or countermarch loom. Instead, it lowers only the shafts tied to the treadles.

Here is a small trick to help remember:

Slashes and Blacked-Out Cells

Sometimes drafts use different symbols, such as slashes or blacked-out cells, instead of X’s and O’s. These appear in many patterns and in well-known weaving books, including Anne Dixon’s Handweaver’s Pattern Directory.

In these cases, it helps to read the introduction of the book or pattern. Most authors explain which loom type their drafts are written for. For example, Anne Dixon notes in her introduction that the drafts in her book are written for jack looms, or rising shed looms.

If you cannot find any information about the draft/loom recommended, it is always a good idea to reach out to the author, designer, or publisher. Patterns are written so others can successfully recreate them, and most designers are happy to clarify if something is missing.

A Few Examples

Let’s look at a few familiar books and see if they have O’s, X’s, or anything different in the drafts.

• Anne Dixon’s Handweaver’s Pattern Directory, the drafts use blacked-out cells intended for rising shed looms, as mentioned in the introduction.
• Marguerite Porter Davison’s A Handweaver’s Pattern Book, both green and orange versions, the drafts use X’s, indicating they are written for sinking shed looms such as counterbalance or countermarch looms.
• Carol Strickler’s 8-Shaft Patterns, the drafts use O’s, which indicates they are written for rising shed, or jack looms.

You may also see drafts like the ones Felicia Lo uses in her Weaving Waffle Weave course in the School of SweetGeorgia. In this example below, each symbol represents a single shaft, and multiple shafts are used at the same time. This type of draft is called a skeleton draft, and it works especially well for looms with individual shaft control, such as table looms with levers. In this case, you may want to read the full pattern to see what it was written for.

Final Thoughts

We hope this guide helps make reading weaving drafts a little easier to understand when you see an O, X, or something else.

And if you ever feel unsure, do not hesitate to ask for help. Many publishers list contact information if you cannot find the designer directly. You can also ask your local weaving guild or an online community such as SweetGeorgia + Co. Having a supportive weaving community makes learning so much easier!

Check out our Weaving Craft Guide for more helpful tips and tricks!

The post The X’s & O’s in Tie-Up Drafts & How They Translate to Our Looms appeared first on SweetGeorgia Yarns.

The Resin That Binds Everything We Do

If you have been to a fibre festival or trade show, chances are you have met Teresa. She decides which products get featured, and also helps at the booth, answering any questions you may have. And the same is true for yarn shops that carry SweetGeorgia yarns. Teresa is the contact for placing orders and helping shops stay stocked.

Teresa also sources all the SOS kits, creates promotions for make-alongs, and helps choose all our sample projects. She truly is a part of everything we do here at SweetGeorgia! 

A Quick Q&A with Teresa

What’s your role at SweetGeorgia?

• Sales Operations Manager

What fibre arts did you enjoy before joining us?

• Knitting and cross stitch

Which fibre arts do you do now that you are here?

• Knitting and weaving

What other hobbies do you enjoy?

• Cooking

Are there any tools, equipment, or accessories you’d recommend?

• Signature Knitting Needles

Which is your favourite fibre or yarn?

• SweetGeorgia Mohair Silk Sock

Fun fact:

• I drink bubble tea every week.

Places to Find Teresa

• At a fibre festival or trade show booth
• Around the SweetGeorgia studio

Many of the staff members get to enjoy bubble tea every week when Teresa brings homemade tapioca pearls to the studio. Thank you Teresa, for being such an important member of SweetGeorgia.

The post SweetGeorgia Team Spotlight: Teresa Mock appeared first on SweetGeorgia Yarns.

Jodi Brown and Tracie Millar are the creative force behind Grocery Girls, where they share their love of knitting through thoughtful pattern design, engaging content, and community-focused experiences. From weekly podcast episodes to workshops and retreats around the world, they create welcoming spaces for knitters to learn, connect, and feel inspired. 

Where to Find the Grocery Girls

• Grocery Girls Knit.com
• The Grocery Girls Youtube
• The Grocery Girls Instagram
• Frankie Grey Fibres

Thank You for Listening

Thank you for spending time with us in this episode! If you enjoyed it, we’d love for you to share it with your fellow fibre-loving friends. And if you’re enjoying the show, please consider leaving a rating and review on iTunes; it helps us reach more makers like you.

If you’d like to hear more, you can subscribe to our podcast and never miss an episode!

• Subscribe on iTunes
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We read every message, whether it’s on our Instagram, YouTube, or SweetGeorgia + Co.

Join Our Community!

• At the School of SweetGeorgia, we’ve built a vibrant and welcoming community of fibre-loving makers, passionate instructors, and dedicated staff. Whether you’re looking for guidance on a new technique or just need a little creative encouragement, we’re here to support you every step of the way.
• Not yet a member of the School? We invite you to come and see what it is all about! Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!
• We welcome you to join us at SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings! We discuss all things knitting, crocheting, spinning, weaving, machine knitting, and more! 
• Want to stay in the loop? Subscribe to our newsletter! It’s a simple way to stay updated on what’s new at SweetGeorgia and the School of SweetGeorgia, catch up on the latest articles, watch new SweetGeorgia YouTube videos, and be a part of our community without any pressure to post. We value your presence, no matter how you choose to connect with us!

The post The SweetGeorgia Show // S6 E9: The Grocery Girls appeared first on SweetGeorgia Yarns.

I started thinking about the act of intentionally using your handmade textiles—how this practice lets us enjoy them, notice which pieces we return to, and even identify what’s missing from our collection. A daily practice of wearing our Me-Made pieces with intention. A shelf in your closet full of your crocheted and hand-knit sweaters. A space to keep your handmade cowls and scarves within easy reach for a quick stroll. A drawer in your kitchen filled with handwoven towels.

Just as keeping our handmade pieces within reach makes them part of our daily wear, setting up spaces to craft and intentionally saving time in our days to make becomes a daily practice. If fibre prepping for your next spinning project makes your eyes sparkle. If you feel the needles in between your hands and see the sweater grow through little bits of time, and these acts fill your cup. If you plan and design your own tartan, you can weave towels that make you smile every time you use them. Join me as I muse about making with all your senses.

Presence and Space

As we live in a world full of distractions and stimuli, being present in the moment becomes a huge challenge for even the most disciplined of us. Having some routines to reclaim the space to be present becomes the most important way to protect what we want to achieve or work on. There are two rituals we follow as a family every morning after breakfast: Tea and Coffee times.

One is preparing tea with my youngest child. We keep a tray with our teacups and teapot, and every morning my husband and my son choose a tea to prepare, set the water boiler to the right temperature and prepare us all a small cup or two before filling my son’s tea thermos for his day at school. Usually, on warm days, a green tea will be chosen, while Pu’ers or ginseng will be the choice for cool days. The fact that we keep all equipment clean and ready to use on a handy tray makes our daily tea ritual an easy and seamless experience of our day-to-day.

After walking our kid to school, we come back to a quieter house, the perfect time to enjoy the first cup of coffee with my husband, while preparing for the day ahead. I keep a corner of my kitchen where I keep all my coffee prep tools, an easy space to access that lets me prepare and enjoy my daily house-brewed cup in my favourite cup.

Look around your living space. Could you create a space to practice presence for your craft? A basket with a spindle and fibre near the spot where you wait while the water boils can make space and presence for your craft. A corner of a kitchen island with a clamped lock pop and two containers, one with fibre to be processed and one with processed fibre, can create the space to be present in your fibre prep. A hand card clamped on a side table, a diz, a container with hand-dyed braid and a container to keep the dizzed top, by your e-Spinner can be the perfect space to fibre prep for your evening spinning. A blending board clamped on an unused corner of your table, an array of colours in fibre and a container for your prepped fibre hold space for your presence in the quiet time of your week, whether you Take Back Fridays or Wednesday evenings for your craft.

If you have your spinning and fibre prep tools at the ready, maybe what you need is to look at your calendar and schedule a date with yourself so you can hold the presence to hold your space.

Time

Often, even if you are holding the space for the things that you want to be part of your life, all the things that we need to do fill up the days and before we know it, we are too tired to even use the tools and beautiful materials we have at our reach.

Schedule it

Just as you make time to go for a walk with a friend, a lunch date with a partner or an ice cream date with a child (or yourself), I suggest you add your craft time to your schedule. Blocking time, at least once a week, to enjoy time on a craft that fills your soul will allow you to enjoy your present with the best present you can give yourself, time.

Make it a routine

If you know you get a lull of time when you get home, when the world seems a bit quieter, get into the habit of spending 10 or 20 min enjoying your craft. I am used to waking up very early for the gym, in my rest days, I love to use that time to do more of something I also love, some days is an extra cuddle time with one of my kids, other days, I brew a cup of tea while listening to some of my favourite music, a spindle on my kitchen table or my current knitting project are the perfect companion to that extra quiet time to start my day.

Celebrate it

You did it, you planned it, and you actually did it, and now, you have a colourful, in-progress project shining in the morning sun. Take the time to appreciate it before you step out back into the world. I love to take work-in-progress photos with my phone. When I look back at the photos, I see how often I get to enjoy these beautiful crafts that fill my years together with photos of places and people that fill my days with joy. I also love to take photos of my control cards, so if I misplace the real thing, I still have the notes to remember.

If you like bullet journals and calendars, I love adding an emoji heart to my day if I got some crafting (as well as a happy face if I got to exercise that day). Looking back at my calendar, I can see how many days I prioritize joy-filled activities in my week and my years.

Time to become proficient

If you would really like to advance into an aspect of your craft, prep your improving skills corner, and make a date with yourself, it could be something you do for 10 min every time you sit down with your craft to warm up, or maybe is something you work on a full weekend to really sink your teeth on it. Remember too that time spent in fibre preparation informs you on how to spin the fibre afterwards.

Your Senses

One of the favourite things I like about being a multicraftual is the opportunity to use all my senses when crafting.

Hands that feel fibre and fabric, that coordinate, thread, draft, select, and enjoy the materials and product of my labour.

Breathing, and my sense of smell from the woolly smell of the yarn, or the blocked fabric that I like to wash and add a drop or 2 of lavender oil. How my breathing changes to a slower rhythm when I have settled down, and I am in the middle of my craft.

My eyes that let me enjoy the changes of colours, as well as the subtle and evident changes of texture of my materials and my works-in-progress, that my other senses adapt to as needed.

My ears that can recognize the clean snap of a lock of fibre, or listen to my tools and spinning wheels noises, so I can coordinate my treadling so the yarn I am producing is as consistent as possible.

And finally, my sense of taste, which allows me to enjoy a hot drink when I take a break from my crafting to enjoy the place.

Materials

When starting a new craft, many times we source things that may not work for us, as we don’t always know if we are going to like those materials or not. With time, our stash of fibre may be so big, we may never be able to work with it all. Some of the materials, we realized, are not what we enjoy working with or may not be the quality you enjoy working with.

Make space. Getting rid of things we are not looking forward to working with will make space for things we are really excited about. Learning to discern what we want to work with from our stash, as well as selectively acquiring some things that fill in the gaps, will help us have a “breathing stash” that inspires us and stretches our skills.

When bringing craft materials to your space, choose materials that are good quality. This doesn’t necessarily mean expensive, but avoiding felted or weak fibres will make your time fibre prepping a pleasure instead of a chore.

Tools

Your most important tool is your hands; they help you discern felted fibres from beautiful locks, and everything in between. Remember to treat them well, and they will treat you well back. Now, once you have your hands ready to handle all the fibre tools, consider the points below.

As most tools are more expensive than a couple of braids of fibre, I would suggest you get the best quality you can afford. Whether a spindle, a spinning wheel or a pair of hand carders, the more you play with it, the better you will become to take advantage of its full potential. Explore different ways to use them up.

Hand Carders are a perfect example; you can do so much more than rolags on them. If you clamp a hand carded to a table, you can have a mini blending board, a wool locks opener, a fabulous surface to diz fibre off to make dizzed roving. As you progress in your fibre preparations, you may find some of the fibres you work with may benefit from a hand carder with more teeth per inch, or even cotton hand carders for short fibres. Then you may choose to save up for a second or third pair of them.

While having an arrangement of tools may enhance your fibre prep experience, the more time you spend with a tool will allow you to produce beautiful fibre prep faster.

I hope you get your presence, time, senses, materials and tools all in one place so you can have a satisfying and creative fibre prep experience next time.

If you want to learn more about fibre prep and tools, check out our Spinning courses in the School of SweetGeorgia. Please come share with us your fibre prep journey at the SweetGeorgia + Co, where we share and explore as multicraftual makers.

Check out more of Greta’s articles here>>

The post Me Made May: Making with Your Spinning Senses appeared first on SweetGeorgia Yarns.

THE OVERLANDER COLOUR STORY

In all my years, I had never heard of the term “overlanding” but this year, my family and I have been planning some travel and I stumbled on this wonderful concept. Overlanding is the idea of self-reliant travel to a remote destination, but focusing on the journey rather than the destination itself. It might involve off-road driving or camping, but the concept is really about an individual developing the resilience and skills necessary for surviving a physically intensive journey and the mindset to be able to pause, be present, and fully enjoy the process.

While I don’t foresee myself hopping in a truck and driving myself across Canada (just yet), I absolutely love this idea of the journey being equally significant to the destination. It exactly describes my interest in “process over product” and once I discovered the word for it, I’m obsessed with it.

Our “Overlander” colourway is meant to feature mossy, rustic greens and browns, like you’d find if you were wandering a boreal forest. My hope is that you’ll enjoy every stitch along the way as you create something with this gorgeous, earthy colourway.

PROJECT IDEAS

The yarn base featured for May 2026 is SweetGeorgia Mohair Silk Sock. This yarn is smooth, sleek, and built to be strong. We love it for socks, of course, but it works equally well for lace knitting and weaving. This yarn gives fine stitch definition in both knitting and crochet, and the drape created in handwoven projects is really soft and silky.

For this Club sample, we knit it into the Cherry Lane Cowl to show off its performance in lace knitting. Read more about these samples at the project page.

JOIN THE CLUB CONVERSATION

One of the fundamental beliefs we have at SweetGeorgia is that the colours we surround ourselves with can transform our experience of life. Whether you knit, crochet, weave, or something else, join us at our SweetGeorgia + Co Community. We’d love to hear your thoughts on our Overlander colourway and see what you make with it.

Thank you for following along with us for our colourful Secret Stash Club adventure. We’ll see you next month!

The post Secret Stash Club Reveal: Overlander appeared first on SweetGeorgia Yarns.

THE OVERLANDER CLUB COLOURWAY

Our “Overlander” colourway features mossy, rustic greens and browns, like you’d find if you were wandering a boreal forest. Inspired by the idea that the journey matters just as much as the destination, our hope is that you’ll enjoy every stitch along the way as you create something with this gorgeous, earthy colourway.

Hand dyed on the SweetGeorgia Mohair Silk Sock yarn base, read more about the inspiration behind this month’s Yarn Club at the colourway reveal post.

THE CHERRY LANE COWL PATTERN

The Cherry Lane Cowl by Felicia Lo features columns of rope-like twists that look like cables but are knit entirely with simple decreases and yarnovers. This cowl is a fun and engaging project, perfect for those special single skeins of yarn. The pattern was chose to highlight our Mohair Silk Sock yarn in an approachable lace project for advanced beginners.

This yarn base is smooth and sleek, and works up beautifully into hard-wearing socks. However, it also works well for weaving, crochet, or any project that requires beautiful stitch definition with a fabulous drape.

JOIN THE CLUB

We look forward to sharing more project inspiration with colourways we’ve concocted as part of our Secret Stash Club. Telling stories through our colours and sharing how we see the world, we hope you join us there!

Print

Cherry Lane Cowl in SweetGeorgia Mohair Silk Sock

A fun and quick project that features columns of beautiful lace details, perfect for adding a touch of colour and warmth to any outfit.

Craft Knitting

Maker Deborah Dar Woon

Designer Felicia Lo

Skill Level Intermediate

Equipment

• 1 Circular Knitting Needles in sizes US 5 / 3.75 mm, 24" long

Materials

• 1 skein SweetGeorgia Mohair Silk Sock in Overlander

Instructions

• To knit the Cherry Lane Cowl design, download a copy of the pattern from the SweetGeorgia shop.
• Once your gauge is determined, cast on the required number of stitches. Join to knit in the round, making sure that the cast-on edge is not twisted. Place a marker for the beginning of the round.
• Follow the pattern directions, knitting as instructed. Bind off.
• Weave in ends and wet block the cowl to open up the lace stitches. Enjoy!
  

Notes

Pattern information from Felicia Lo:

Cherry Lane features columns of rope-like twists that look like cables but are knit entirely with simple decreases and yarnovers! Easy to remember and surprisingly quick to knit.

 

 

The post Secret Stash Club Knitting: Cherry Lane Cowl appeared first on SweetGeorgia Yarns.

This livestream took place May 15, 2026 at 10:00 am PT. The video replay is now available below:

Thank you to everyone for joining us at our May Taking Back Friday Live. If you’re interested in catching up on previous livestreams, browse our past episodes at the blog.

Notes from the Livestream

• Recap of the 2026 h+h Americas event that was held in Rosemont, IL. Some of the items mentioned in the recap:
  • Felicia’s Dyeing to Spin & Knit book.
  • Andrea Lui on The SweetGeorgia Show podcast.
  • Silver Reed LK 150 knitting machine.
• Today, May 15th is moving day for the School of SweetGeorgia! Over the next 10 days, we are moving SOS subscriptions to the new SweetGeorgia + Co space. SOS members interested in learning more, click here.
• Secret Stash Club colourway for May 2026 is Overlander. Read more about the colourway story at the Blog. The deadline for our next (June) Secret Stash Club yarn and fibre parcels is today, May 15.
• Join us as we work on a fun project together this August at our Summer Spectra Knit-Along. We will be working on the Hebe Sunset Scarf pattern by Charlotte Lee.

We Invite You to Connect with Us:

• Follow us at our SweetGeorgia YouTube channel and on Instagram for inspiration, how-to videos, podcasts, and more!
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs; you never miss what’s going on!
• We welcome you to join us in our SweetGeorgia + Co Community. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings.
• In the School of SweetGeorgia Forums. Our vibrant community is there to support you, with instructors and fellow members ready to answer questions and share guidance.
• Visit our SweetGeorgia Ravelry group, where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008.

The post May 2026 // Taking Back Friday Live appeared first on SweetGeorgia Yarns.

Most of these answers come down to recording your weaving projects. When you take the time to write down where you started, what you did along the way, and how everything finished, trends begin to emerge. Over time, your calculations become more reliable, and you gain the confidence to create the fabric you are hoping for.

In this post, we explore why it can be helpful to record different aspects of your handwoven projects. Not everyone tracks every detail, and that is completely fine. Even a few thoughtful notes here and there can make your weaving feel more predictable and lead to more satisfying results. We also link to many of our most popular weaving posts in each picture.

At the end of the post, you will find a printable Weaving Projects Record PDF to help you document these details in a way that works for you. Each month this year, we will share a new post with a PDF to support your multicraftual journey. From crochet to spinning, and even organizational tips for goals and tools, we are here to support you along the way.

Project Planning

Project planning is a natural place to begin. When you write out your goals, you may notice opportunities to refine your ideas and improve your chances of success. Throughout this post, we will use kitchen towels as an example. It is a familiar project for many weavers and a great one for beginners to connect with.

Project Purpose

This is simply where you note the purpose of your project. In this case, kitchen towels, perhaps intended as a Mother’s Day gift. It is also helpful to record your start date so you can see how long weaving the project takes from beginning to end.

Materials

Materials play an important role in the outcome. Since towels require frequent washing, something like cotton is often more practical. Some people find that unmercerized cotton absorbs water more readily, while mercerized cotton can offer greater durability over time.

Not all cotton yarns behave the same way. Even yarns labelled 8/2 or 2/8 cotton can differ. The amount of twist, how tightly the plies are spun, and the overall structure of the yarn can all vary between brands. These subtle differences can affect your final fabric. It is helpful to record not only the fibre type, but also the brand and yarn size.

Weave Structure & Draft

With so many options available, choosing a weave structure can feel exciting. Plain weave offers durability, while twill or crackle can be especially appealing for design options. It is worth remembering that some structures pair better with certain materials, which can alter your initial material choice. For example, waffle weave often works best with unmercerized cotton.

Once you have chosen your structure, you can begin working out a draft. This is often one of the more creative parts of the process, especially when exploring colour and treadling variations.

Choosing a Loom

The loom you choose can influence your project. While it is possible to weave twill and other structures on a rigid heddle loom, a four-shaft table or floor loom may be more comfortable for weaving a set of twill towels. Different looms also accommodate different warp lengths. 

Project Length & Width

Decide how long and how wide you would like your project to be. If each towel is 30” long and you plan to weave four towels, you will need at least 120” of warp length.

There are a few additional factors to consider, such as take-up and draw-in, loom waste, and how much the fabric may shrink after washing. It is also a good time to think about sampling. If you plan to sample, you may want to include extra warp length. 

It is also worth looking at this the opposite way. Let’s say you have a 20” wide loom and want 20” wide towels. That would be after the draw-in and shrinkage. You might need a loom that is around 22-24” wide to accommodate the width before this measurement.  

And how do we figure out all these variables? Well, by recording the projects as we make them. If you are following a pattern, most of this work is already done for you, which is a nice starting place as a beginner. We also have some helpful articles below!

Sett

Next comes determining the sett. Sampling is often helpful here, but a wraps-per-inch (WPI) test can give you a starting point. This is something spinners are very familiar with, and we have an article, How to Achieve Grist & Avoid Skewing Your Count, by Kim McKenna, that walks you through the process of determining your yarn’s WPI.

A common guideline is to divide the WPI number by two for plain weave, or use about two-thirds for twill. For something like a scarf, you might choose a more open sett to encourage drape, while towels may benefit from a slightly tighter sett for durability. When working with a new structure, sampling is always a valuable step.

Extras

This is a space for anything else that might support your process. You might note whether the fabric is intended to be balanced, weft- or warp-dominant. You could include observations from preparing the warp, details about sleying, or whether you will use floating selvedges. Anything that helps you understand or recreate the project is worth noting.

On the Loom

After completing your calculations, you can either begin weaving right away or start with a sample. Both approaches are fine, especially for towels. As you weave, there are a few details that are helpful to record along the way.

Sett / PPI / EPI

Now is a good time to check whether everything is progressing as expected. Using a ruler, measure your ends-per-inch (EPI) and picks-per-inch (PPI). If this feels difficult to see, place a ruler on the cloth, take a photo, and zoom in to see more clearly. A magnifying ruler or linen tester/pick glass is also useful.

Patterning / Balance / Angles

This relates directly to sett. Sometimes it is easier to observe the pattern as a whole rather than count individual threads. For instance, weaving plaid squares. They might look perfectly balanced on the loom, but may shift into rectangles after washing. Take-up, draw-in, wet-finishing, and material all play a role in the final result.

If you notice a consistent change, such as squares becoming rectangles, you can adjust your beat or sett in future projects to compensate. This idea applies across multiple structures, whether you are working with overshot (circles), twill (45° angles), or plain weave. Keep in mind, you do not need to weave to these “standards”. If you like the cloth you are making, and it performs as you hoped, that is all that matters!

Width

Measuring the width of your fabric on the loom helps you track draw-in. Taking these measurements at different stages may only show subtle changes at first, but the start and end width can reveal a 5-15% difference, even 30% for some structures after wet-finishing!

Extras

Use this space to note anything that comes up during weaving. You might record broken warp ends, changes to treadling or colour, or adjustments to the tie-up. These observations can be very helpful later on.

Off the Loom

Once your project is off the loom, it is worth taking a few more measurements before wet finishing.

• Check the sett again now that the fabric is no longer under tension. Even small differences can be interesting to observe.
• Measure the dimensions again. Without tension, the fabric may relax and shift slightly.
• Record how much loom waste was used for the front and back. This can vary between looms and is useful information for future planning.
• Take a moment to look under your loom as well. Is there a build-up of fluff or debris? Some yarns shed more than others, and this can be a helpful reminder to clean the area regularly.

After Wet Finishing

Once your project has been washed and pressed, you can take a closer look at the final results.

• Observe how the fabric looks and behaves now. This is where you can evaluate whether your sett and beat achieved the effect you were aiming for.
• Are the finished towels the size you expected? Comparing measurements from each stage helps you better understand take-up and shrinkage for future projects.
• Beyond appearance, consider how the fabric feels. If it seems too firm, you might choose a more open sett next time.
• Sometimes a project looks just right at first, but behaves differently over time. It can be helpful to revisit your notes and record how the fabric performs with use. If the piece was a gift, you might also ask for feedback from the recipient.
• You can note anything that stands out. Did the yarn dye bleed? Did the hems flare? Would you adjust your finishing technique next time? Recording these details helps you continue refining your weaving process. You may also wish to include the finishing date to track how long the project took overall.

Resources

This post covers the basics, though there is always more to explore when it comes to preparing the warp, dressing the loom, and finishing techniques. This is where books, courses, and community can offer valuable support.

School of SweetGeorgia

At the School of SweetGeorgia, we offer over 30 video-based courses focused on weaving. Here are a few to help you get started:

• Essential Weaving
• Rigid Heddle Weaving Basics
• Multi-Shaft Weaving Basics
• Weaving Twills on 4-Shafts
• The Intentional Weaver
• Magic in the Water
• Fundamentals of Weaving Series

SweetGeorgia + Co

Being part of a community can make a meaningful difference. Connecting with other makers allows you to share experiences, learn from one another, and find encouragement through both challenges and successes. We invite you to join us at SweetGeorgia + Co.

Final Thoughts

This may feel like a lot of information, and that is completely understandable. You do not need to record every detail or calculate everything. Starting with a pattern can make the process feel more approachable. From there, you can begin adding notes gradually. Over time, you will discover which details are most helpful for you to record.

Weaving Project Record PDF Download

Here is the weaving recording PDF for you to download and use. There is no single right way to approach it. Fill in what feels useful and leave the rest. It is simply a tool to support you in your weaving practice.

The post Record Your Weaving Projects to Help Create Fabric You Love appeared first on SweetGeorgia Yarns.

THE BEAUTY OF LACE KNITTING

Knitting lace makes you feel like a grown-up knitter. There’s something magical about how a few yarn overs and decreases can shift stitches left and right, transforming the fabric before your eyes.

Once you’ve knit one or two beginner lace patterns, how do you jump to a more complex lace pattern? A design where lace truly changes the shape and texture of the finished piece? One way to make that leap feel easier is to choose a thicker yarn with great stitch definition. That’s why we decided to update Felicia Lo’s beloved Twig shawl pattern, adding a fingering-weight version alongside the original laceweight design.

The shawl is worked from the top down, beginning with a clean, simple stockinette body. Then comes the delicate Twig lace border, where the pattern really shines. And whether you prefer charts or written instructions, you can follow along in the format that suits you best as both are included in the pattern.

For our studio samples, we chose two beautiful shades in our best-selling SweetGeorgia Tough Love Sock. This vibrantly coloured fingering-weight yarn creates a soft, drapey fabric that layers effortlessly over your favourite jacket. We honestly can’t decide which shawl we like best; both Mulberry and Lichen glow in this pattern.

EXPLORE LACE KNITTING AT THE SCHOOL

Looking to expand your current knitting skills and find inspiration for a range of other project ideas? Visit the School of SweetGeorgia (SOS) to explore our growing library of knitting, crochet, spinning, weaving, and dyeing courses. For lace knitting, we recommend checking out the Become a Lace Knitter course taught by Tabetha Hedrick.

Discover the courses and community of fibre arts makers at the School. Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!

Print

Revised Twig Shawl in SweetGeorgia Tough Love Sock

Craft Knitting

Maker Deborah Dar Woon & Irene Martin

Designer Felicia Lo

Skill Level Intermediate

Equipment

• 1 Circular Knitting Needles in size US 6 / 4 mm

Materials

• 1 skein SweetGeorgia Tough Love Sock in Mulberry or Lichen

Instructions

• To knit the Twig Shawl, download a copy of the pattern, available at the SweetGeorgia online shop.
• Once you’ve determined your gauge, cast on. Knit the Beginning Section in stockinette as written in the pattern.
• Work the 24 rows of the Twig Lace Pattern twice. Then work the Work the Border Section.
• Bind off loosely as instructed.
• Weave in ends and wet block opening up the lace pattern design. Let dry fully and enjoy!
  

Notes

From the pattern designer, Felicia Lo:

Delicate lace set against a backdrop of colour is like a dream, like the setting sun spreading its silky hues among the clouds. Light and soft, this lovely scarf is a dreamy accessory to knit and to wear.

 

We Invite You to Connect with Us:

• We welcome you to join us in our community space SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings.
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs; you never miss what’s going on!
• Follow us at our SweetGeorgia YouTube channel and on Instagram for inspiration, how-to videos, podcasts, and more.
• Visit the SweetGeorgia Ravelry group where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008.

The post One Pattern, Two Looks: The Twig Shawl in Laceweight and Fingering appeared first on SweetGeorgia Yarns.

Daryl Lancaster is a renowned fibre artist, professional dressmaker, and educator who has shaped the connection between handweaving and garment construction since the 1970s. She was the Features Editor for Handwoven Magazine and has written over 100 articles, all focused on helping weavers wear what they make. Today, she shares her expertise through her YouTube channel, The Weaver Sews, and digital sewing patterns, supporting a global community in embracing slow fashion with handwoven cloth.

Where to Find Daryl

• Daryl Lancaster Website & Blog
• The Weavers Sews YouTube Channel
• Daryl’s Patterns Designed for Handwoven Cloth

Thank You for Listening

Thank you for spending time with us in this episode! If you enjoyed it, we’d love for you to share it with your fellow fibre-loving friends. And if you’re enjoying the show, please consider leaving a rating and review on iTunes; it helps us reach more makers like you.

If you’d like to hear more, you can subscribe to our podcast and never miss an episode!

• Subscribe on iTunes
• Subscribe on Spotify
• Subscribe on YouTube

We read every message, whether it’s on our Instagram, YouTube, SweetGeorgia + Co, or in our School of SweetGeorgia Community Forums, so we welcome you to share your thoughts with us.

Join Our Community!

• At the School of SweetGeorgia, we’ve built a vibrant and welcoming community of fibre-loving makers, passionate instructors, and dedicated staff. Whether you’re looking for guidance on a new technique or just need a little creative encouragement, we’re here to support you every step of the way.
• Not yet a member of the School? We invite you to come and see what it is all about! Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!
• We welcome you to join us at SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings! We discuss all things knitting, crocheting, spinning, weaving, machine knitting, and more! 
• Want to stay in the loop? Subscribe to our newsletter! It’s a simple way to stay updated on what’s new at SweetGeorgia and the School of SweetGeorgia, catch up on the latest articles, watch new SweetGeorgia YouTube videos, and be a part of our community without any pressure to post. We value your presence, no matter how you choose to connect with us!

The post The SweetGeorgia Show // S6 E8: Daryl Lancaster appeared first on SweetGeorgia Yarns.

While wandering the fabric store, I came across a thicker woven fabric, a beautiful green plaid. I almost cut it right there to wear it as a thick scarf or as a poncho. I took a picture of this fabric and saved it to my phone, as inspiration for a “one day” project.

Playing with Plaid

Fast forward to January 2025. The School of SweetGeorgia released a new course, Weaving Stripes, Plaids & Tartans, and it got me excited to make something plaid on my Leclerc floor loom. I searched my stash to find the right yarn. I had four cones of Gist Ode. While looking at this yarn, I remembered the picture I had taken as inspiration years previously. 

I went to my “tried and true” way of designing, Excel. It’s old, basic and simple, but it really does everything I’ve ever asked of it with all my woven projects to date. I opened up a new spreadsheet and started playing. In the course, Felicia had recommended Plaid Maker, so I also decided to give it a try, to see how the stripes and colour combinations looked as a repeating pattern. 

But because I had taken a weaving commission, I had to put this idea on the back burner for a few months. In September 2025, with my fellow Monday Crafternoon crew, we started an Epic Cloth Challenge, based on a workshop in the School of SweetGeorgia. I opened up my weaving notes for my plaid project and got started.

Researching Gist Ode

I originally wanted to design everything myself. But I didn’t know what sett Gist Ode could be woven at. After searching some Handwoven Magazines, I found an article in the November/December 2023 issue, Ode Alpaca Weaving Yarn: Pretty Inside and Out, written by Christine Jablonski. It had Gist Ode samples woven in plain, lace, and 2/2 twill. The article mentioned the Gist Ode woven fibre would bloom nicely and was nice with just a bit of fulling. Based on this article, I decided to choose plain weave for my plaid project.

Weaving Calculations

Oh, the maths. I knew I needed some guidance. I went in search of a written poncho pattern for reference. Luckily, I found the Cozy Alpaca Poncho, designed by Andrea Carpenter from the Gist website.  After seeing the garment’s dimensions, I knew I needed to make some adjustments for the size I wanted. First, I wanted to alter the length, since I am 5 ft 3”. I also wanted it to cover the full length of my arm, which meant the fabric would need to be a tad wider. 

Before I could start, I needed to figure out how much of each cone I needed. I took one plaid repeat to find the percentage of each colour used. From there, I could figure out how much yarn to order. I decided to use Basil as the main colour with small stripes of Fawn, Sunflower, and Shadow. I was excited to start the project. Unfortunately, the yarn was not available in the quantity I needed. I went back to the drawing board. I swapped all my Basil yarn for Fawn, and I was back in business!

Sampling & Weaving

I made sure to add extra warp length, so I could sample before weaving the entire project. The sample came off the loom, and I was very happy with how the fabric felt.

I began weaving and following the pattern rhythmically. I would weave one plaid pattern repeat each time I sat down, which helped to move it along. Once I got into a flow, I could happily spend an hour or two at the loom during each sitting. 

Some of the plaid stripes were very thin, with some only being two picks wide. Normally, I bring my weft end to the next pick’s shed to tuck it away. But this would be too apparent. After reaching out to the SweetGeorgia + Co community, we came up with a perfect solution. Using a darning needle, I took my weft end and sewed it back into the previous pick, all while still on the loom. Sewing each plaid colour in was the most tedious work of the whole project, but at least, like in knitting, if you weave in your ends as you go, then all those pesky ends are already taken care of.

Wet Finishing

I had pulled the woven fabric off the loom, laid both pieces side by side and saw they were different lengths. Maybe my beating wasn’t as consistent as I thought. But handmade fabric is never perfect, and variations will happen. 

I had remembered reading how the yarn could easily unwind, so I added knots to all my fringe before washing it. 348 ends multiplied by four, and a good amount of TV watching and it was all done (phew). 

Using the Handwoven article as a reference, I wet-finished my fabric with room-temperature water. I gave it a couple of washes, and during the final soak, I gently agitated the fabric in warm water for several minutes before pulling both woven pieces out to air-dry flat on my drying rack.

When the panels were dry, I laid them out again to match them up and begin sewing them together. That’s when I saw it…. 

Fixing Mistakes

Four full plaid repeats, one incomplete repeat, then another three full plaid repeats. I made the same mistake on each panel. Because I was so upset about the mistake, I didn’t look at it for an entire day. 

After some thought, I decided the best place for errors was where they would not be in plain sight: the shoulders. Most of the poncho would lie flat, making mistakes more visible. But when worn, the fabric tends to bunch at the shoulder. This was the perfect place to hide this weaving mistake, and no one would ever know (you won’t tell anyone, will you?). 

Final Thoughts

Everything you make teaches you something. For me, I need to be more careful when weaving pattern repeats, check my picks-per-inch more often for consistency, and make tighter knots on my fringe. What this project also taught me was that I can draft, calculate, and create any project I set my mind to!

Find more of Robyn’s articles here>>

The post An Ode to Gist Ode & the Cozy Alpaca Poncho! appeared first on SweetGeorgia Yarns.

The Materials

We’ve been loving our new yarn, SweetGeorgia Trifecta DK, and wanted to showcase how beautifully it highlights texture in knitted fabric. So we designed a cowl that uses the entire skein to create an accessory you’ll reach for again and again. 

The Horseshoe Bay Cowl

Whether you’re an experienced cable knitter or relatively new to cables, using removable stitch markers to keep track of your cable rows can help you remember exactly when it’s time to cable again.

We chose solid colours for both samples so the cables and bubble texture could really shine. We also enjoyed comparing the two cowls; each yarn base gives the cowl a slightly different feel. Best of all, both cowls still fit into our jacket pockets, making them excellent accessories to have on hand for a walk.

Greta shares from the pattern

“Knit from the bottom up and in the round, this easy-to-memorize cable pattern features a striking braid in the centre with columns of slanted cables on either side. The rest of the cowl is worked in a bubble stitch, which creates a very stretchy and textured fabric that feels incredibly cozy and squishy, making it an accessory you will reach for again and again.”

Explore Colour and Knitting at the School

Looking to expand your knitting skills and find inspiration for a range of other projects? Visit the School of SweetGeorgia to explore our growing library of knitting, crochet, spinning, weaving, and dyeing courses. There you can learn more from our Knitting with Hand-Dyed Colour and Colour Play courses, both taught by Felicia Lo. 

Explore our online courses and our community of fibre arts makers at the School of SweetGeorgia. Use the code EXPLORETHESCHOOL to save 15% on an All-Access monthly membership.

Print

Horseshoe Bay Cowl

Equipment

• 1 circular knitting needle, size US 3 / 3.25 mm, 16 in / 40 cm long for ribbing
• 1 circular knitting needle, size US 4 / 3.5 mm, 16 in / 40 cm long for the body of the cowl

Materials

• 1 skein SweetGeorgia Trifecta DK Winter Haven
• 1 skein SweetGeorgia Merino DK Blue Canoe

Instructions

• Download the pattern for the Horseshoe Bay Cowl from the SweetGeorgia shop.
• Determine your gauge, then cast on the required number of stitches and work the ribbing.
  
• Follow the pattern directions, changing needles as instructed, and establish both stitch patterns (use the charted or written instructions, as you prefer). Use removable markers on cable rows to help you keep track.
• Change needles and work the final ribbing. Bind off, then weave in the ends.
• Wet block the cowl to the finished measurements.
  

Notes

If you’re new to cable knitting, we recommend viewing our online knitting courses at the School of SweetGeorgia. 

We invite you to connect with us:

• In the School of SweetGeorgia Forums, our vibrant community, where instructors and fellow members are ready to answer questions and share guidance
• Visit our SweetGeorgia Ravelry group, where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008
• Follow us on Instagram and SweetGeorgia YouTube for inspiration, how-to videos, podcasts, and more
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs, so you never miss what’s going on

We’re happy to have you in the SweetGeorgia community. Happy knitting.

The post Knitting the Horseshoe Bay Cowl appeared first on SweetGeorgia Yarns.

Fibre Arts is Her Jam

Charlotte is an instructor at the School of SweetGeorgia, where she teaches the basics of crochet, dyeing, felting, and more. Charlotte spends most days in the dye studio, designing colourways. She also connects the makers with projects for our samples, and still finds time to design beautiful crochet and knit patterns for SweetGeorgia and the School of SweetGeorgia. 

Being the host for many in-person events at the studio, she is a friendly face to our fibre arts community. She spends a lot of her downtime knitting hats for charity. Personally, I love Charlotte’s kindness and am so impressed by how fast and efficiently she knits, crochets, and spins. It’s incredible! 

A Quick Q&A with Charlotte

What’s your role at SweetGeorgia?

• Assistant Production Manager

What fibre arts did you enjoy before joining us?

• Knitting, crochet, and felting

Which fibre arts do you do now that you are here?

• All of the above, plus dyeing, spinning, weaving, and needlework

What other hobbies do you enjoy?

• Music

Are there any tools, equipment, or accessories you’d recommend?

• A spinning wheel

Which is your favourite fibre or yarn?

• Anything with Mohair

Fun fact:

• I love singing and am a member of my church choir.

Places to Find Charlotte Lee:

• Charlotte Instagram
• Charlotte’s patterns at SweetGeorgia Yarns
• Explore Charlotte’s courses at the School of SweetGeorgia 

Thank you, Charlotte, for being part of SweetGeorgia + Co. We love seeing all the joy and beauty you bring to the world, and we appreciate all you do to support so many aspects of studio life and our community.

The post SweetGeorgia Team Spotlight: Charlotte Lee appeared first on SweetGeorgia Yarns.

HIGHLIGHTING HAND-DYED MINI-SKEINS

Looking for a project to showcase your hand-dyed mini-skein set? Jenn Starhunter’s Meraki cowl pattern fits the bill; it’s compact, satisfying to knit, and easy to pick up and put down whenever you have a few spare minutes.

We were smitten by the rhythmic colour changes in the original Meraki sample and we were excited to try it using a Mini Colour Fade set. This project is perfect for enjoying all the nuance of a subtle fade, where one shade melts into the next and reveals the full depth and beauty of a colour story. The Meraki cowl lets you appreciate both the smooth transitions and the striking contrast between the shades.

One Pattern, Two Mini-Skein Options

Knit in our beloved SweetGeorgia Tough Love Sock yarn, Meraki becomes a stylish accessory you can wear through all seasons, adding a splash of colour to any outfit. Choose your favourite 5- or 6-mini skein set; the revised pattern includes instructions for both options.

EXPLORE COLOUR & KNITTING AT THE SCHOOL

Looking to expand your current knitting skills plus find inspiration for a range of other project ideas? Visit the School of SweetGeorgia (SOS) to explore our growing library of knitting, crochet, spinning, weaving, and dyeing courses. There you can learn more about Knitting with Hand-Dyed Colour with Felicia Lo, Fundamentals to Finishing Knits with Holli Yeoh, and more.

Discover the courses and community of fibre arts makers at the School. Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!

Print

Meraki Cowl in SweetGeorgia Mini Colour Fade

Soft, cozy, and endlessly wearable, the Meraki cowl lets colour do the talking.

Craft Knitting

Maker Greta Cornejo

Designer Jenn Starhunter

Skill Level Beginner

Equipment

• 1 Circular Knitting Needles in size US 5 / 3.75 mm, 24” / 60 cm long

Materials

• 1 set SweetGeorgia Mini Colour Fade in Lush

Instructions

• To knit the Meraki cowl, download a copy of the pattern from the SweetGeorgia online shop.
• Colour test the order of your mini skeins as instructed in the pattern.
• Once your gauge is determined, cast on the required number of stitches. The cowl is knit flat, following the Slip Stitch Pattern details.
• Follow the pattern directions, changing colours as instructed. Bind off.
• Wet block the cowl to finished measurements.
• Using mattress stitch, seam the two short edges of the cowl together. Weave in ends and enjoy!

Notes

Pattern information from Jenn Starhunter:

A satisfying “potato-chip” knit that features texture and a gorgeous gradient? Count us in! Simple garter stitch paired with the ultra-easy slipped stitch technique makes this a cowl pattern for all levels of knitters.

 

We Invite You to Connect with Us:

• We welcome you to join us in our community space SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings.
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs; you never miss what’s going on!
• Follow us at our SweetGeorgia YouTube channel and on Instagram for inspiration, how-to videos, podcasts, and more.
• Visit the SweetGeorgia Ravelry group where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008.

The post Meraki Cowl, Revised: The Perfect Mini-Skein Fade Project appeared first on SweetGeorgia Yarns.

As a team of three, Melissa, her husband, and Emily can process around 20 pounds a day, one pound at a time. They bring in fleece all over Canada (and the world), making blends with a variety of natural fibres such as silk, alpaca, and even nettle.

Where to Find Melly

• Melly Knits
• Melly Knits Instagram
• Melly Knits YouTube

Thank You for Listening

Thank you for spending time with us in this episode! If you enjoyed it, we’d love for you to share it with your fellow fibre-loving friends. And if you’re enjoying the show, please consider leaving a rating and review on iTunes; it helps us reach more makers like you.

If you’d like to hear more, you can subscribe to our podcast and never miss an episode!

• Subscribe on iTunes
• Subscribe on Spotify
• Subscribe on YouTube

We read every message, whether it’s on our Instagram, YouTube, SweetGeorgia + Co, or in our School of SweetGeorgia Community Forums, so we welcome you to share your thoughts with us.

Join Our Community!

• At the School of SweetGeorgia, we’ve built a vibrant and welcoming community of fibre-loving makers, passionate instructors, and dedicated staff. Whether you’re looking for guidance on a new technique or just need a little creative encouragement, we’re here to support you every step of the way.
• Not yet a member of the School? We invite you to come and see what it is all about! Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!
• We welcome you to join us at SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings! We discuss all things knitting, crocheting, spinning, weaving, machine knitting, and more! 
• Want to stay in the loop? Subscribe to our newsletter! It’s a simple way to stay updated on what’s new at SweetGeorgia and the School of SweetGeorgia, catch up on the latest articles, watch new SweetGeorgia YouTube videos, and be a part of our community without any pressure to post. We value your presence, no matter how you choose to connect with us!

The post The SweetGeorgia Show // S6 E7: Melissa Goulet // Melly Knits appeared first on SweetGeorgia Yarns.

Over the years, I’ve collected braids that I wouldn’t necessarily choose today. Colours that no longer draw me in, fibres I’m less interested in spinning, or combinations I’m unsure how to approach. Rather than letting them sit, I’ve started turning to combo spinning as a way to work through them—bringing different braids together to create something new.

What I’ve found is that successful combo spins don’t rely on colour alone. They sit at the intersection of colour, fibre, and yarn structure, with each element influencing how the yarn comes together and how it behaves in the finished fabric. 

In this article, we’ll look at how these elements interact, and how you can begin to approach your own stash with a fresh perspective.

Colour Dynamics

Colour is often the first thing we think about when approaching a combo spin—and for good reason. It plays a significant role in how the finished yarn (and fabric) will feel. That said, colour doesn’t work alone. It interacts constantly with fibre and structure, so it’s helpful to think of it as one part of a larger system.

Same or Different Dyers

When I’m planning a combo spin, I’m often looking for a balance between cohesion and interest. One of the easiest ways to achieve cohesion is to work with braids from the same dyer. Most dyers develop their colourways from a consistent set of base dyes, which means colours across different braids tend to relate to one another naturally. A blue in one braid will often echo a blue in another, even if the overall colourways are quite different.

When combining braids from different dyers, things can become more complex—in a good way. Colours may not match as closely, which can introduce more variation and surface texture in the yarn. Rather than blending seamlessly, the colours may sit alongside one another, creating subtle shifts and visual movement as the yarn is spun and plied. This isn’t a drawback, but it does change the overall feel of the yarn.

Colours in the Fibre

For this project, I combined SweetGeorgia Yarn’s Patchwork Quilt, Stormchaser, and Snow Angel. What stood out immediately was how certain colours carried across the braids—the greys in Stormchaser and Snow Angel, and the purples in Patchwork Quilt and Snow Angel. Because these colours were so closely matched, they created a sense of continuity throughout the yarn, even as other colours shifted and blended around them.

Another thing I pay attention to is how many primary colours are present across the braids. When all three primaries are included—even indirectly through secondary colours—there is a greater chance for colours to soften or mute as they combine. You may notice this as a gentle greying or toning down in parts of the yarn. Sometimes this creates beautiful areas of rest in the fabric; other times, it may dull colours more than expected. Being aware of this ahead of time helps set expectations for the finished yarn.

The Focus

A question I often come back to is:
Do I want the yarn to be the focus, or the fabric?

Highly variegated or high-contrast combo spins can create a lot of visual movement. This can be wonderful, but it can also compete with more complex stitch patterns. In those cases, I often look for ways to soften the colour transitions—either by choosing braids with shared colours or by lightly blending the fibre during preparation. Even a single pass on the drum carder can shift the palette slightly, creating a more unified tone and giving the eye places to rest in the finished fabric. Combo spinning is not just about yarn — it’s about fabric. The more complex the yarn, the simpler the fabric often needs to be.

As you look through your own stash, notice which colours naturally relate to one another. You might find braids that share a common hue, or that sit comfortably together even if they aren’t exact matches. These relationships often become the foundation for a successful combo spin.

Fibre Content

While colour often takes centre stage in combo spinning, fibre content plays an equally important role in how the yarn behaves—both during spinning and in the finished fabric.

When combining braids, I tend to think about three things:

• How the fibres behave while drafting
• How they interact structurally in the yarn
• How they will respond during finishing

Fibre Behaviour

Different fibres bring different qualities to a yarn, and these become more noticeable when combined.

Wool is often the easiest place to start. Fine wools tend to be elastic, with strong memory and noticeable bloom after finishing. Medium wools are slightly more stable, often with a bit more structure, while longwools offer smooth drafting, strength, and lustre, but less elasticity.

When combining different wools, it can be helpful to choose fibres with similar characteristics—particularly in terms of crimp, bounce, and staple length. This helps the fibres draft more evenly and creates a more cohesive yarn.

Beyond wool, many braids include other protein fibres such as silk, alpaca, or llama. These fibres introduce qualities like drape, strength, and sheen, and can shift the overall feel of the yarn quite significantly. Silk, in particular, can enhance lustre and fluidity, while the camelids contribute warmth and softness, often with less elasticity.

These additions can be wonderful, but they do change how the yarn behaves. A blend that includes multiple fibre types may feel very different from a wool-only yarn, both at the wheel and in the finished fabric.

Staple Length

Staple length is one of the most practical considerations in combo spinning.

When fibres have very different staple lengths, drafting can become inconsistent. You may find yourself constantly adjusting your hand position or struggling to establish a steady rhythm. In some cases, this results in a yarn that is more uneven than intended.

If your goal is a smoother, more consistent yarn, it helps to choose fibres with similar staple lengths. A simple way to check is to pull small samples from each braid and compare them side by side.

If you’d like to include fibres with varying staple lengths, adjusting your drafting style can help. A more woollen-style draft, such as long draw, can accommodate a wider range of fibre lengths by allowing them to blend more freely during drafting.

Blending and Preparation

There are several ways to combine fibres, and each approach affects both colour and texture.

In traditional combo drafting, multiple strips of fibre are held together and drafted simultaneously. This preserves more of the original colour variation and can create lively, high-contrast yarns.

For this project, I chose to strip the braids into small sections and card them together with a single pass on the drum carder. This created cohesive nests of fibre with a slight degree of blending, softening the overall palette while still maintaining variation.

Alternatively, fibres can be spun separately and combined during plying. This approach offers more control during spinning and can be especially helpful when working with fibres that behave differently.

There is no single correct method—each approach offers a different balance between control and variation.

Fibre Compatibility

Not all fibres combine easily.

Some fibres resist blending, especially when their structures differ significantly. For example, very smooth fibres may not hold shorter or more textured fibres well, which can result in uneven distribution or fibres sitting on the surface of the yarn and fabric rather than integrating fully. Sometimes, for example, cotton can act this way. 

It’s also worth considering how fibres will behave in the finished fabric. Fibres with more elasticity and memory will respond differently from those with more drape. Combining these can create interesting effects, but may not always suit the intended project.

Finishing Considerations

Different fibres also require different finishing approaches.

Wool is generally forgiving, often requiring only a gentle wash to allow the fibres to bloom and settle. Other fibres, particularly plant fibres, may require more intensive processing, such as scouring or higher temperatures. Some fibres, like silk, can be sensitive to heat and agitation.

When combining fibres, it’s helpful to think ahead about how the yarn will be finished, and whether all included fibres will respond well to the same process.

For this combo spin, I chose to work with Corriedale—a versatile medium wool with a consistent staple length and balanced characteristics. It drafts easily, wears well, and produces a durable fabric, making it an ideal foundation for a multi-braid project.

Yarn Structure

The final element to consider in a combo spin is yarn structure. While colour and fibre often guide our initial choices, structure determines how those elements come together in the finished yarn—and ultimately, the fabric.

There is no single “best” structure for combo spinning. Instead, each choice shifts how colour appears, how the yarn wears, and how the fabric behaves.

One thing to keep in mind is that combo spins will almost always produce some degree of striping or colour variation, simply due to the changing colours in the fibre supply. Yarn structure determines how visible—or softened—those changes will be.

Singles

Singles yarns allow colour to remain the most intact. Without plying, there is less opportunity for colours to mix, which can result in clearer, more distinct colour transitions.

This can be especially effective when working with complex or highly variegated braids, as the colours remain closer to their original sequence. However, singles are less durable, more prone to pilling, and may bias in the finished fabric due to unbalanced twist.

Two-Ply

A 2-ply yarn offers a balance between structure and colour clarity.

With two singles twisting together, some colour blending occurs, often creating subtle barber-pole effects or gentle marling. This adds visual interest without overwhelming the yarn.

For combo spins with multiple colours, a 2-ply can help maintain definition while still improving strength and usability compared to singles.

Three-Ply and Beyond

As more plies are added, the yarn becomes rounder, stronger, and more durable—but also more visually complex.

With three or more singles interacting, colours mix more frequently along the length of the yarn. This can create depth and richness, but may also increase contrast or visual busyness, depending on the colour combination.

For projects where durability and structure are important—such as garments or high-wear items—a 3-ply can be an excellent choice.

Beyond Traditional Structures

Combo spinning also lends itself well to more experimental yarn structures.

Cable yarns, crepe yarns, corespun, or mismatched plies (for example, combining thick and thin singles) can all create unique textures and colour effects. These approaches can be a way to explore fibre in new ways, especially when working through stash.

Blending to Eliminate Striping

If reducing striping is the goal, the fibre must be blended more thoroughly before spinning. Carding or combing the braids together until the colours are fully integrated will produce a more uniform yarn.

In this case, the yarn structure becomes less about managing colour and more about supporting the intended fabric—whether that’s strength, drape, or stitch definition.

Conclusion

There is no single right way to approach combo spinning. Instead, it offers a range of possibilities shaped by the choices we make around colour, fibre, and structure.

As you explore your stash, start with what draws your attention—whether that’s colour, fibre, or simply curiosity. From there, consider how those elements might work together: which colours relate, which fibres will draft well together, and what kind of yarn you’d like to create.

Working backwards from the intended fabric can be especially helpful. A soft, cohesive sweater yarn may call for closely related colours and balanced structure, while a more experimental yarn might embrace contrast, variation, and texture.

If you’re unsure, start small. Sampling allows you to test combinations, explore structure, and see how the yarn behaves in finishing before committing to a larger project.

Combo spinning is, at its core, an exploration. It offers a way to revisit fibres in your stash with a fresh perspective, to experiment with colour and structure, and to create something entirely new from what you already have.

The post Combo Spinning: A Different Way to Work Through Stash appeared first on SweetGeorgia Yarns.

CashSilk Fern Lace Scarf

The original scarf was designed by Felicia while travelling. She wanted something simple enough to pick up and set down at a moment’s notice, while still being engaging enough for long stretches on a plane. The result is a thoughtful and striking lace design that feels both relaxing and rewarding to knit.

We actually love this pattern so much that last year we knit it again, updating it from a lace-weight yarn to a fingering-weight! Shown below is the SweetGeorgia Trifecta in our Apple Picking Secret Stash limited colourway.

Machine Knitting: Lace

Barb Barone has been developing a growing collection of machine knitting courses in the School of SweetGeorgia, beginning with the basics, then moving into hat design, and now exploring lace. Lace is more than just creating eyelets in fabric. The choice of decreases creates direction and shapes the fabric, making pronounced lines and adding movement to the finished piece.

Fern Lace Scarf

Using Felicia’s original design as a starting point, Barb has thoughtfully adapted the scarf for machine knitting, which is why the name has shifted slightly. She also works with a different yarn weight, making the pattern more flexible across a wider range of yarns. In this course, Barb uses the scarf pattern to demonstrate how lace patterns can be translated for the LK 150, opening the door to many more possibilities on your knitting machine.

School of SweetGeorgia

At the School of SweetGeorgia, we continue to expand our machine knitting courses, with a socks course coming later this year. Alongside these, there are over 120 courses across the fibre arts, including knitting, spinning, weaving, dyeing, and more.

Members also enjoy access to a growing library of patterns, including both the hand-knit and machine-knit versions of this scarf. As part of your membership, you are also welcomed into SweetGeorgia + Co, where we host make-alongs, gather virtually, and connect with a community of fibre artists from around the world.

We would love to have you join us.

You can also purchase the pattern from the SweetGeorgia shop!

Print

Fern Lace Scarf

Equipment

• 1 Silver Reed LK 150 Knitting Machine

Materials

• 2 skeins SweetGeorgia Merino DK Camelia

Instructions

Setup

• Download the pattern from the School of SweetGeorgia.
• Knit a gauge swatch using your chosen yarn.
• Adjust your cariage stitch size as needed to achieve gauge, and swatch again if necessary.
  

Knitting

• Cast on using the e-wrap cast on.
• Follow the 12-row repeat to create the fern lace pattern.
• Continue until you reach your desired length.
• Bind off using the latch hook bind off.
  

Finishing

• Hand wash in cool water with a gentle wool wash.
• Roll in a towel to remove excess moisture, then lay flat to dry.
• Lightly block if desired to open the eyelets.
• Once dry, weave in your ends and enjoy wearing your new Fern Lace Scarf.
  

Join Our Community!

• At the School of SweetGeorgia, we’ve built a vibrant and welcoming community of fibre-loving makers, passionate instructors, and dedicated staff. Whether you’re looking for guidance on a new technique or just need a little creative encouragement, we’re here to support you every step of the way.
• Not yet a member of the School? We invite you to come and see what it is all about! Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!
• We welcome you to join us at SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings! We discuss all things knitting, crocheting, spinning, weaving, machine knitting, and more! 
• Want to stay in the loop? Subscribe to our newsletter! It’s a simple way to stay updated on what’s new at SweetGeorgia and the School of SweetGeorgia, catch up on the latest articles, watch new SweetGeorgia YouTube videos, and be a part of our community without any pressure to post. We value your presence, no matter how you choose to connect with us!

The post From Knitting Needles to Knitting Machine: The Fern Lace Scarf appeared first on SweetGeorgia Yarns.

We thought it would be helpful to share some of our favourite ways to keep tools organized, easy to find, and ready for use. But remember, there is no single perfect way to organize a craft space. The best system is simply the one that helps you find what you need when you need it,  allowing you to sit down and create when inspiration hits.

For the pictures in this post, we’ve included links to blog posts to highlight some of the most frequently used tools in our crafts that we may need to organize. Also, you will find a downloadable PDF at the end of this post, so you can record your tools and stash for quick reference. Throughout the year, we will share a free PDF each month to help you stay organized, whether that is for your goals, projects, or tools.

Boxes, Buckets & Bins

Making a box for each of your craft’s tools is a great way to stay organized. Of course, some tools are too big or too small. But keeping it all consolidated is key. If you have things scattered around your house, it will be hard to find them when you need them. Group things wherever possible.  

After you have gathered your tools in storage containers or boxes, store them together in one place, such as a shelf or cabinet, preferably in the same room. When everything has a home, it becomes much easier to start a new project and tidy up when you are finished.

Needles & Hooks

Interchangeable needle sets usually come with their own cases, which is wonderful. But what about single hooks or loose needles? A small shoe box can keep everything together. You might also sort hooks and needles into small bags inside the box.

Keeping a printed list of the sizes and styles you own inside the box can be very helpful. If you often have several projects on the go, you can note which hook or needle is currently in use. Think of it like a library card system where each tool is signed out to a project.

Skirting & Scouring

Skirting requires enough space to spread out the fleece so you can remove unwanted sections and divide the fibre into usable piles. If you have a backyard, this can be a great place to work. 

Paint pails are a great way to store your sorted fleece because they come in a variety of sizes, are inexpensive, air-tight, and stack well, making them great for staying organized. And when you are ready to scour, use paint pails not only to wash the fleece, but as storage containers for your scouring tools. 

Portable Fibre Prep Station

We love the idea of a portable fibre preparation station. This might include hand carders, combs, a flicker, dowels, and a diz. Since fibre prep can be a bit messy, especially working with fleece, having a drop cloth can catch loose fibre, vegetable matter and debris while you work. Alternatively, many people like to work outside on a balcony or in the backyard. This is why a bin is so helpful. You can move this station wherever you need it easily.

Jars, Vases & Plant Pots

Not everything needs to be hidden away. Some things can be hidden in plain sight as decor. Now, we still recommend keeping these “decor pieces” near your other tools for that craft. No sense keeping your spindles on display in a fancy jar in your bedroom when you keep all your tools in the dining room and do all your spinning in the living room. Projects can be brought into any room, but try to keep all tools in the same place. 

Daily Spinning Needs

Most of us do not move our spinning wheel from room to room. When we spin, we like to have a few small tools nearby, such as spinning oil, scissors, an orifice hook, and a wraps-per-inch tool. These items can easily be stored together in a small jar near your spinning wheel or e-spinner. If the wheel can accommodate it, some spinners use a small notions bag that hangs from the wheel.

Stylish Spindles

Spindles can quickly become a collection. Using a beautiful vase or even a fabric roll can keep them together and protected until you are ready to use them. You can also find some beautiful handmade stands at fibre festivals or on Etsy.

Weaving Tools with Height

Tools such as lease sticks, temples, pickup sticks, and stick shuttles can be quite long. A large plant pot or vase can be a fun and stylish way to store some of these tools upright. Some pots can also hold your boat shuttles!

Yarn, Fibre & Notions

Now, what about all the materials that get used up and need replenishing? Or the tiny notions that we always seem to lose. We have a few ideas for that too! 

Cones & Bobbins

Many weaving yarns come on cones, which makes them easy to stack and display. Storing yarns of the same size together helps you quickly see what colours are available. If you have leftover shuttle bobbins filled with yarn, you might store them in a small bag or jar alongside the cones so you can easily see what is already wound.

Yarn & Fibre Storage

This can easily be its own conversation. Some people organize their stash by colour, fibre type, or yarn weight. If you would like more ideas, we explored this topic in our article A Fresh Start in Stash Organization, where our team shared how they organize their yarn from digital records to physical storage.

Stitch Markers & Other Notions

If your couch has not eaten them all, you probably have quite a collection of stitch markers in different sizes and styles. Small tools such as row counters, cable needles, stitch holders, scissors, and gauge rulers are easy to misplace.

Taking an afternoon to sort them can be a lifesaver. Small jewellery bags work well, or you could use a compartment organizer, such as a pill box. And don’t forget, you can tuck these little bags away with the needles or hooks, keeping it all together!

A Few Extra Ideas

Many of these ideas we discuss can apply to a variety of fibre arts. Here are some ideas that work across a few hobbies, which is especially helpful if you are multicraftual!

Digital Resources

Using sites like Ravelry or simple spreadsheets to keep track of the tools you own, materials in your stash, and project notes. Digital organization can be just as important as physical storage. Taking the time to tag or organize your PDFs can also save a great deal of time when you need to reference a pattern or resource later.

Physical Books & Project Notes

Keeping books grouped by craft makes them easier to browse for inspiration. It can also be helpful to keep a binder or folder for printed patterns and any project notes or samples you have made with the books, making all your paper references easy to find in one place.

Wet Finishing Shelf

Blocking tools do not necessarily need to live with your knitting or crochet supplies. It can be helpful to store these tools in the laundry area instead. Keeping blocking mats, pins, wires, and wool wash together in a bag or on a shelf makes it easy to gather everything when finishing a project.

If you weave, you might add an iron and ironing board/press, fringe twisters, and finishing brushes to this shelf. Keeping these items together can simplify the final stage of weaving projects. Spinners may also find it helpful to keep a couple of bowls and wool wash nearby for wet finishing and setting the twist on yarn.

A Winding & Plying Station

If you have the space, keeping a yarn swift, nostepinne, and ball winder set up together can save time when starting a project. You might also keep a niddy noddy, scale, and notebook nearby so you can re-skein yarn and record yardage or leftovers from finished projects.

Many of the same tools are useful for spinning. You might add a lazy kate, wraps-per-inch tool, angle tool, and tags for recording yarn details. And for weaving, you could include a bobbin winder. This type of station can also support other crafts such as punch needle, machine or CSM knitting. 

If you have the space, a winding station can save time across multiple crafts.

Mending Basket

A small mending basket can be very useful for handmade items that need care. Include a tapestry needle, a darning mushroom, and a few small bags for leftover yarn. After finishing a project, wind off a small amount of yarn and store it in a labelled bag with the project name. Having the original yarn makes future mending much easier.

You may also want to include tools such as a sweater shaver or de-pilling tool to help keep your garments looking their best.

Resources

Trust us when we say we do not have all the answers. Many times we try a storage idea, use it for a few years, and then try something new. We often find fresh ideas in courses, workshops, and within our community.

School of SweetGeorgia

In many of our courses at the School of SweetGeorgia, we do not just talk about materials and techniques. We also explore storage, maintenance, and care. With more than 120 video-based courses spanning the crafts mentioned here and more, there are plenty of opportunities to discover helpful organizational tips.

SweetGeorgia + Co

A creative community can be incredibly helpful when learning a new craft. Seeing how others organize their tools and workspaces often sparks new ideas. Organization is something many of us revisit again and again as our tools and interests grow. We invite you to join the conversation at SweetGeorgia + Co and share how you organize your space and tools.

Final Thoughts

Many of us dream of a dedicated craft studio filled with workstations and shelves of supplies. In reality, most of us are creating within the spaces of our homes. And it can feel overwhelming on where to start. Before diving in, here are a few questions:

• Do you have a free and open space to create a craft area? Starting from scratch means fewer limitations and can be exciting to make a space your own!
• What space feels only a little messy and is easy to use? Beginning with somewhat manageable spaces gives a sense of accomplishment, and it is easier to move up from there.
• Is there a space you can use, but avoid using because of the disorganization? It can be very satisfying to conquer a space that desperately needs your attention. 
• What projects can’t get started because you can’t access the tools? If a space is stopping you from crafting, getting past this hurdle can open your creative inspiration again by allowing you back to that craft.

With a bit of thoughtful organization, we can make these spaces more efficient and enjoyable to use. It helps us make the most of the tools and materials we already have. We can spend more time making and less time setting up, focusing on the things that bring us the most joy.

Download Our Organize Your Tools PDF

We have included a PDF with a few simple charts you can fill out for all your current tools and materials. This is a simple concept just to get you started. The more you use it, the more you will know what is important to you to record and what is not.

The post Organize Your Tools for a More Creative Space appeared first on SweetGeorgia Yarns.

THE INSPIRATION BEHIND SPRING MIX

We’ve seen spring time come early to the Pacific Northwest after our “pineapple express” weather this winter. At the end of February, we already had cherry blossom buds popping up on the neighbourhood trees!

We wanted to create a set of mini-skeins in a palette that would evoke the light, delicate colours of spring. The early crocus, lilacs, bluebells, and lily of the valley flowers that add a touch of colour to those early spring gardens.

Spring Mix is hand-dyed on a new-to-us yarn base that we are exploring. The wooly nature of this yarn base gives us the ability to work fine colourwork projects.

PROJECT IDEAS

In this palette, the purple, blue, and green are all light and clear tints that will provide a bit of hue contrast, but we suggest using them with the beige to generate the most contrast.

This yarn would be ideal for stranded colourwork projects that will be washed and steeked since the wool will full together and keep from unravelling. Another option is to combine these four mini-skeins with another skein of yarn to create a larger project — use these mini-skeins as accent colours!

For this month’s sample project, Charlotte Lee designed a couple of mug cozies using the “Basic Doodle Cup Cozy” pattern. She also created a crochet colourwork pattern using a few of the colours.

Read more about these samples at the project page.

JOIN THE CLUB CONVERSATION

One of the fundamental beliefs we have at SweetGeorgia is that the colours we surround ourselves with can transform our experience of life. Whether you knit, crochet, weave, or something else, join us at our SweetGeorgia + Co Community. We’d love to hear your thoughts on our Spring Mix yarns and see what you make with it.

Thank you for following along with us for our colourful Secret Stash Club adventure. We’ll see you next month!

The post Secret Stash Club Reveal: Spring Mix appeared first on SweetGeorgia Yarns.

THE SPRING MIX COLOUR STORY

For our April Secret Stash Club, we wanted to create a set of mini-skeins in a palette that would evoke the light, delicate colours of spring. The early crocus, lilacs, bluebells, and lily of the valley flowers that add a touch of colour to those early spring gardens. These colourways were then hand-dyed on a special yarn base: 100% Peruvian Fine wool.

Read the inspiration behind creating this month’s Club at the colour reveal post.

COLOURWORK AND A SOFT MUG COZY (OR TWO!)

For this month’s Club sample, Charlotte was inspired by colourwork, a perfect pairing for this Peruvian wool base. Using the Base Doodle Cup Cozy pattern by Jamie Lomax, Charlotte then selected a variety of colourwork motifs from Pacific Knit Co.’s Doodle Card Deck, Basic Core version.

The palette of airy mint, sky blue, lilac, and creamy neutrals stand out in the colourwork without feeling too loud. These shades blend into gentle, shifting shapes that stay interesting stitch after stitch. The softened tones give the project a light, spring feel while still creating enough contrast for the pattern to pop. It’s the kind of colour mix that feels instantly fun and calming to work with.

With the leftover yarn, Charlotte also created a crochet colourwork cloth with a fun floral pattern. The design is from a Japanese pattern book Complete Collection of Flower Bags and Pouches (Section 1, Nordic 2 & 3).

JOIN THE CLUB

We look forward to sharing more project inspiration with colourways we’ve concocted as part of our Secret Stash Club. Telling stories through our colours and sharing how we see the world, we hope you join us there!

Print

Base Doodle Cup Cozy Mug Cozy with our Spring

Have fun playing with soft, spring hand-dyed hues while creating a cute new mug cozy perfect for use all year round.

Craft Knitting

Maker Charlotte Lee

Designer Jamie Lomax

Skill Level Intermediate

Equipment

• 1 Knitting Needles in size US 2.5 / 3.0 mm

Materials

• 1 mini-skein set SweetGeorgia Peruvian Fine in Spring Mix

Instructions

• To knit your own mug cozy, download a copy of the pattern from Jamie Lomax—a free pattern download on Ravelry.
• Follow directions for casting on, knitting the lower ribbing section.
• Knit stripes, insert a colourwork design from a pre-designed source, or create your own colourwork section to knit throughout the stockinette section.
• Follow directions for knitting the top ribbing section.
• Weave in ends and wet block. Let dry fully and enjoy!

Notes

From the pattern designer, Jamie Lomax:

This simple cup cozy pattern is ideal for learning colorwork, gift knitting, or swatching your Doodle Charts in the round. Doodles by Pacific Knit Co. use modular patterns & whimsical colorwork motifs to inspire makers to design and knit their perfect project in an easy to follow structure.

 

We Invite You to Connect with Us:

• We welcome you to join us in our community space SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings.
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs; you never miss what’s going on!
• Follow us at our SweetGeorgia YouTube channel and on Instagram for inspiration, how-to videos, podcasts, and more.
• Visit the SweetGeorgia Ravelry group where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008.

The post Secret Stash Club Knitting: Spring Mug Cozy appeared first on SweetGeorgia Yarns.

Thank you to everyone who joined in this month’s premiere YouTube chat! If you’re interested in catching up on previous livestreams, browse our past episodes at the blog.

Notes from the Livestream

• Shop our new SweetGeorgia Trifecta DK yarn base at local yarn shops and at our online SweetGeorgia shop.
• Join in our fun fibre arts SweetGeorgia + Co community space. We love to see what you’re working on.
• Updated crochet pattern by Charlotte Lee, Starless Night shawl.
• Machine Knit Lace online course taught by Barb Barone at the School of SweetGeorgia, including the Fern Lace Scarf machine knitting pattern.
• Spinning Cotton Kit at the SweetGeorgia shop, in preparation for Rachel Smith’s Spinning Cotton course coming soon to the School.
• April 2026 Secret Stash Yarn Club is Spring Mix. Read about the colourway story and see what we made with these Peruvian Fine wool mini-skeins at the project page.
• Join us at the SweetGeorgia Studio for our upcoming Knit at Noon meetup and on Local Yarn Store Day 2026 April 25th. Learn more at our event calendar.

We Invite You to Connect with Us:

• Follow us at our SweetGeorgia YouTube channel and on Instagram for inspiration, how-to videos, podcasts, and more!
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs; you never miss what’s going on!
• We welcome you to join us in our SweetGeorgia + Co Community. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings.
• In the School of SweetGeorgia Forums. Our vibrant community is there to support you, with instructors and fellow members ready to answer questions and share guidance.
• Visit our SweetGeorgia Ravelry group, where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008.

The post April 2026 // Taking Back Friday Live appeared first on SweetGeorgia Yarns.

KNITTING THE TEXTURED TRINITY COWL

Designed by Tabetha Hedrick, this pattern produces a soft, squishy fabric in a vibrant pop of your favourite colour, nestled right next to your neck. The distinctive texture of the wrapped stitches stands out beautifully. Crafted by holding two strands of SweetGeorgia Merino Worsted together, it achieves a thick, squishy fabric that provides exceptional warmth and comfort.

The cowl is worked flat, sideways. While the pattern includes seaming instructions, you may prefer to use your favourite provisional cast-on and graft the ends together for a seamless finish.

Whether you’re drawn to light, luminous hues or crave the drama of deep, moody tones, SweetGeorgia Merino Worsted offers a unique journey through hand-dyed colour. We selected Sangria, a classic and elegant shade, for a cowl you’ll reach for again and again.

EXPLORE COLOUR & KNITTING AT THE SCHOOL

Looking to expand your current knitting skills plus find inspiration for a range of other project ideas? Visit the School of SweetGeorgia (SOS) to explore our growing library of knitting, crochet, spinning, weaving, and dyeing courses. There you can learn more about Knitting with Hand-Dyed Colour with Felicia Lo, Fundamentals to Finishing Knits with Holli Yeoh, and more.

Discover the courses and community of fibre arts makers at the School. Use the code: EXPLORETHESCHOOL to save 15% on an All-Access monthly membership!

Print

Textured Trinity Cowl in SweetGeorgia Merino Worsted

Enjoy the delightfully soft, squishy fabric of this fun cowl in a pop of your favourite colour!

Craft Knitting

Maker Anita Lee

Designer Tabetha Hedrick

Skill Level Intermediate

Equipment

• 1 Circular Knitting Needles in sizes US 11 / 8.0 mm

Materials

• 2 skeins SweetGeorgia Merino Worsted in Sangria

Instructions

• To knit the Textured Trinity cowl, download a copy of the pattern from the SweetGeorgia online shop.
• Once you’ve checked your gauge, with yarn held double, cast on the required number of stitches. Work the setup row as instructed.
• Work rows 1–22 of the Textured Wrap pattern six times, or to your desired length.
• Bind off loosely.
• Wet block the cowl.
• Seam the cast-on edge to the bind-off edge. Weave in ends and enjoy!
  

Notes

Pattern information from Tabetha Hedrick:

Decadent wrapped stitches pop off the fabric of this squishy cowl. With 2 strands of yarn held double, this accessory is a textural delight that works up quickly in a bulky-weight gauge.

 

We Invite You to Connect with Us:

• We welcome you to join us in our community space SweetGeorgia + Co. This is where we share projects that inspire, have fibre-filled conversations, host make-alongs, and participate in a variety of virtual meetings.
• Subscribe to our newsletter for the latest pattern releases, colourway announcements, and make-alongs; you never miss what’s going on!
• Follow us at our SweetGeorgia YouTube channel and on Instagram for inspiration, how-to videos, podcasts, and more.
• Visit the SweetGeorgia Ravelry group where we’ve been sharing yarn, fibre, patterns, and make-alongs since 2008.

The post Bold Texture, Beautiful Colour: The Quick-Knit Textured Trinity Cowl appeared first on SweetGeorgia Yarns.