My preferred low-whorl spindle is the plainest possible—no hook or spiral at the tip to secure the yarn, no special or fancy wood, just a plain, workaday tool.

These spindles vary in size and shape across the world, depending greatly on what type of fiber and yarn they were made to spin.

After three summers of dyeing, researching, and experimenting with different parts of buckthorn shrubs, I was able to achieve a surprising range of colors on wool.

In India, the term charkha refers to spinning wheels large and small, and the term is now used more broadly to describe driven-spindle wheels from other regions as well.

Blending accessories include anything that helps you get the fiber onto the blending board and back off again.

Using a diz allowed me to visually assess how the accent colors would swirl with the base color before I even got to the spinning wheel.

Not only does this device work well, but it is easy and cheap to make. It can be easily adapted to the supplies at hand while you are traveling or fine-tuned for different spindles at home.

This “time between the years” was very special. Many German traditions were connected to this time of year: special breads, cakes, cookies, and meals; festive clothing; music and gatherings; charity work; and much more.

I’ve explored different papers over the years, some with more success than others. The length of the fibers in the paper, the thickness of the paper, and the intended purpose of the yarn all contribute to success . . . or . . . not so much.

Megi Burcl’s Beacon Shawl is made in separate sections rather than using an intarsia technique.