رونوشت 🔗
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Spinning tips from a non-spinner? Absolutely.
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Making is making, and I believe that there's a lot that we as spinners can learn
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from artists who work with other media.
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Coming up, I'll break it down.
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Hello there, darling Sheepspotter. Welcome to episode 143 of the Sheepspot Podcast.
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I'm Sasha, and my job is to help you make more yarns you love.
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In today's episode, I'm going to take what I've learned from some abstract painting
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classes that I've been taking and suggest how we might use those lessons in our spinning practice.
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So last week, I talked about my still-absent spinning mojo and how I'm experimenting
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with a new medium, watercolor paints.
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And this has led me to Skillshare, where I have discovered an art teacher who
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works with a variety of media.
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Her work is all abstract. It's not representational.
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Her name is Denise Love, and she seems to have made dozens of classes on Skillshare.
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And I've got to say, I think I'm a little in love with her. I just find her
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exuberance and her excitement completely endearing.
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And I feel like she's the perfect teacher for me at this moment because she
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is all about experimentation and play.
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And that is what I've been craving in my own practice.
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So, I'm going to tell you today about five lessons that I have learned from Denise Love.
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And the first one is find ways to make getting started easy.
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So, Denise talks a lot in her classes about the problem of the blank page and
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ways to just get started.
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For example, and I love this idea, she suggests making a biggish painting.
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And remember, we're talking about abstract paintings.
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This, what I'm about to describe, wouldn't make much sense with more representational paintings.
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But so make a biggish painting and then you crop or cut it up into smaller ones.
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And what this makes possible is that you can just start putting marks on the
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page to begin with and then worry about composition or worry about the relations
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of the elements to each other,
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and to the frame later.
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Load full transcript
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And you can't get too precious about a painting if you know you're going to
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end up cutting it up into smaller pieces. So this approach also really lowers the stakes.
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So I've been thinking about whether there are any analogs to this approach in spinning.
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So just how can we make it easier to get started spinning a project?
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And I think there's one way that we don't talk about enough,
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and that is allowing ourselves time to really warm up and experiment at the beginning of a project.
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And I want to encourage you, and I'm also encouraging myself,
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to think about the first few yards of any project you spin as time to experiment
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with different tensions,
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diameters, and even drive ratios.
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Make a few plyback samples and see which ones you like best.
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I often start spinning something and then I just think that however I happen
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to start spinning it is just fated to be the way I spin for the rest of the project,
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when there are probably actually a range of good options, which I could discover
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if I just gave myself even 10 minutes to experiment.
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The second lesson that I've learned from Denise's painting classes is to make lots of things.
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And so another stakes-lowering thing that she teaches and demonstrates in her
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classes is how freeing it can be to make lots of different iterations of a thing.
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So in a painting session, she'll make eight or nine small paintings in which
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she explores similar ideas or techniques in slightly different ways.
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And this increases the likelihood that she'll end up with something she likes
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because she can stop doing things she doesn't like the look of and double down on what she does like.
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And so the iteration allows her to refine and make adjustments as she goes.
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So how can we translate this principle of making lots of slightly different
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versions of something to spinning?
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Say it with me. We can do it by sampling.
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And not just sampling different yarns, as I just talked about,
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but by incorporating sampling into different parts of the yarn-making process.
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When we're washing a fleece, we can wash a small sample first,
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see how it goes, and make tweaks before we wash pounds and pounds of wool.
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When we're deciding how to prepare a fleece, we can try using a variety of methods,
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spin samples, and see what we like best and most enjoy spinning.
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And when we're combining colorways in a combo spin or a combination drafting
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project, and I talk about the difference between those two techniques in episode 101,
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we can try several different versions to see which one we like best.
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Number three, use good materials. So I'm learning a lot from Denise about art supplies.
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She has a lot of them and usefully she's a big believer in using professional quality materials.
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When I first got started with watercolor, I was introduced to the distinction
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between craft, student, and professional grade paints, also brushes and paper.
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Turns out watercolor paper is a whole thing. I'm learning a lot about that lately.
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And I learned that the difference between grades of paint is in the quality
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and the amount of the pigment present, and also in how light fast the color is going to be.
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And I started with a student grade set of pan watercolors, which I'm actually
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really liking working with.
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I think they're the Da Vinci brand.
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And I'm but I'm working my way towards starting to experiment with more professional
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grade paints and papers and here the application to spinning is pretty obvious.
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I beg I beg of you use the best materials and the tools that you can afford
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because it will make a huge difference to your spinning experience right from the beginning.
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And for heaven's sake, stop accepting gifts, and I put that term in quotation
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marks, of free fleeces and then feeling that you're being wasteful if you don't spin every bit of it.
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There are watercolors for sale that aren't light fast, and there is wool so
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packed with VM that it is not worth your time.
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So be kind to yourself, honor your time and energy, and just work with good stuff.
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Spinning is supposed to be fun.
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Number four, recycle your leftovers.
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So the exercise of making a large painting and then cutting out the parts of
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it that you like is going to produce some scraps, right?
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And Denise reminds us that those scraps can be just the thing to add to a collage.
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I've been doing some collage as well, and having some bits of painting projects
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to put in collages can really liven things up by adding texture and color,
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and it's probably color you already like since you've already used it in a painting.
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Last week I compared art bats to collages, so here again the application of
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this idea to spinning is a pretty straightforward one.
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Just save those little bits of fiber and use them on your drum carder or blending
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board or even your hand cards.
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I sort mine by color and keep all those little bits in big bins in my studio,
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and they're a great way to create really rich, complex color in your yarns.
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And finally, number five, let yourself love what you make.
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The last lesson I learned from Denise can be good advice for any maker,
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and one of the reasons that I find watching her classes so much fun is that
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Denise herself is having so much fun.
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She'll make a mark on the page and burst out laughing or say,
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I love that, or isn't that just beautiful?
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She's from Atlanta, so she has a Southern accent, which I am not trying to reproduce
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for you, but just imagine it in your head.
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In other words, she really lets herself love what she makes.
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And I think that we can hesitate to let ourselves just fall head over heels
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in love with our own creations.
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I know I did for years. I didn't trust my own skills and instincts,
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and only if someone else told me that they liked something I made did I feel
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that I had the permission to like it too. And how messed up is that?
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And when I think back on that version of myself, it actually makes me really sad.
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I know now that if I love it, that's enough. I don't need others to affirm my aesthetic choices.
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So just decide today that you are going to let yourself love what you make.
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That doesn't mean that you have to love every little thing about every project
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or that you're going to stop striving to get better.
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It just means that you're going to allow yourself to fully take in the joy of creating stuff.
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So to sum up the five lessons I've learned from painting classes with Denise
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Love are find ways to make getting started easier, make lots of things and iterate as you go,
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use good materials,
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use your leftovers, and let yourself love what you make.
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I hope you found these lessons give you some food for thought and that you experiment
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with them in your own practice. If you think of any other ways to apply these
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lessons to spinning, I would love to hear about them.
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And you can add them to the dedicated discussion thread in the flock where you
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can comment on this episode and discuss it with me and other listeners.
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The link is in the show notes for this episode, which you'll find right inside your podcast app.
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So just open up the description for this episode, click the link,
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and you'll be taken right to the thread.
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Darling Sheepspotter, that is it for me this week.
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Thank you so much for listening. I will be back next week with our first episode in March.
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All the podcasts in March are going to be about the plying and yarn structure
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pillar from the Pillars of Skillful Spinning, and you definitely do not want to miss them.
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While you're waiting, spin something. It's good for the soul. I promise.