Research for Coursework Part 4 including my Yarn Research File

[Edited 26/03/17 following tutor feedback. Now includes the Yarn Research File here instead of as a separate page. Please see the end of the article for the artist/designer research].

Yarn Research File

Yarn’s role within the textiles discipline is to provide spun fibres to knit, weave or felt into textiles, which may be used in diverse sectors of business and industry. The type of yarn must be appropriate and suited to its end use, for example:- colour, thickness, texture, strength, water-resistance, performance, ease of care, handle, and special properties may all be important factors.

Yarn Design

Sources for Fibres

  • Derived from Plants (Minimal Processing):-
    • Abaca
    • Cotton
    • Flax
    • Hemp
    • Kapok
    • Nettle
    • Ramie
    • Sisal
  • Derived from Plants (Chemical Processing):-
    • Bamboo
    • Ingeo
    • Rayon
    • Soy silk
  • Derived from Animals/Insects
    • Silk
    • Sheep
    • Alpaca
    • Llama
    • Camel
    • Mohair
    • Angora
    • Cashmere
    • Other, less frequently used fibres are obtained from: qiviut, guanaco, buffalo, pygora, vicuna, dog and cat
  • Synthetic/Other
    • Acrylic
    • Fibre Blends: any mixture of two or more types of fibre
    • Elastane: my previous research on this fibre.
    • Lurex® is the registered name of a fibre owned by the Lurex Company Limited. It licences the use of its product and name to manufacturers to use in their products. The product is very adaptable and new innovations include  fluorescent, glow in the dark, reflective, holographic, translucent and iridescent yarns. A video about the product can be found here.LUREX RAINBOW LIGHTSource:-
    • Microfibres (very fine fibres, used alone or in blends with other fibres)
    • Mylar
    • Nylon
    • Polyester
    • Synthetic Spider Silk
  • Protein/Cellulose-based Synthetic Fibres
    • Tencel (cellulose derived from wood pulp)
    • Viscose (can be from petro-chemicals or pine trees)
  • Suppliers of fibre/yarn for individual use

Issues and Considerations for Yarn Design and Manufacture

  • Ethical and Sustainability Issues (origin of the fibres, animal welfare, processing effects on the environment (pollution, water use, chemical use and disposal, deforestation etc), workers’ conditions, transportation, end of life recycling or disposal)
  • Properties/Capabilities (absorbent, breathable, durable or non-durable, conductive, insulating, waterproof, water repellent, coloured, drapable, easy to care for, colour-changing, recyclable, light- or heavy-weight)
  • Aesthetics (colour(s), method of combining, texture, repetition of pattern)
  • Application (surface decoration, knitted, woven, constructed textile)
  • Handle and Performance (softness, fullness, drape, movement, resillience – spring-back, affected by construction methods and finishes/treatments)
  • New Innovations (combinations of fibre with new technology, eg, electronics – sound, light, monitoring, communication, social interaction etc)

Yarn Manufacture

Fibres are cleaned and processed for spinning into yarns, then knitted or woven into textiles. Finishes (such as printing or water-proofing) can then be applied.

  • Spinners (link to article about the industrial spinning process, and its history) Link to further articles about industrial spinning. Link to hand spinning information and videos.
  • Worsted process – to make yarns with a smooth appearance, used for clothing such as suits, underwear, sportswear, etc. Long wool fibres from the back and sides of the sheep are used.
  • Woollen process – this system uses shorter fibres than the Worsted process, resulting in ‘hairier’ yarns, used in knitting wool and garments such as tweed jackets, fabrics for coats and Shetland jumpers.
  • New Innovations Nottingham Trent University (NTU) have an Advanced Textiles Research Group, whose aim is to “… improve knowledge and innovate in the science and engineering of fibre materials …”, which can then be marketed to industry. They have textile manufacturing and testing facilities and can call on a number of disciplines to inform their research. Increasingly, the integration of electronics is an important aspect of fibre technology. De Montfort University in Leicester has a similar department. Innovation in Textiles has up-to-date reporting about fibres and textiles.

Yarn Marketing

  • Cotton Incorporated is an organisation funded by US growers and importers of cotton and cotton textile products. Their aim is to increase demand for and profitability of cotton, through research and marketing activities. Their main areas of focus are:- cotton farming practices; fibre management (research into spinning, dyeing and finishing processes and product quality); testing raw materials and end products; developing ‘on trend’ products and communicating their knowledge and advice to mills, manufacturers and retailers in the cotton industry. They are aiming for “environmentally sustainable production” and have launched a program called “cotton LEADS™”to achieve this aspiration. It has some useful pages to consult about different types of textiles containing cotton and the benefits of using cotton.
  • INVISTA™ is a subsidiary of Koch Industries, Inc. (The parent company also sells beef, fertilizers, building materials, electronic components, fuel etc). It operates in 20+ countries throughout The Americas, Europe, and the Asia-Pacific region. It promotes the use of man-made fibres and end products, such as those made from nylon, spandex, polyester and other speciality materials. The full range of products can be found on this webpage. (Koch’s own products include: COOLMAX®, CORDURA® and THERMOLITE®).
  • The Campaign for Wool launched in London in October 2010, and now has events worldwide. It’s aim is to raise the profile of the variety of wool products available, with both retailers and the public, and to educate young designers about the benefits of using wool. The Prince of Wales is the patron. Their ‘About Wool‘ page lists the reasons why wool is such a versatile product: including:- its sustainability, biodegradability, insulating properties, resilience, etc. They also have a link to guidelines for wool-producing sheep welfare.
  • The Wool Lab This is a bi-annual brochure featuring a selection of the latest wool fabrics and yarns available. It presents samples of fabrics that tie into seasonal themes. The themes are informed by fashion, lifestyle requirements, pop culture trends, etc. A ‘mood board’ feel is created with colour charts and interesting images. The brochure is aimed at the textile industry (spinners, weavers, manufacturers), fashion professionals (designers) and retailers.The Woolmark Company which produces the publication is a subsidiary of Australian Wool Innovation, which represents the interests of sheep farmers in Australia. They promote Australian Merino wool.


  • Pitti Immagine Filati, Florence is a ‘trade only’ fair. Yarns are exhibited to fashion designers and buyers. Fashion At Work showcases exhibitors’ latest innovations in the fashion world (areas such as manufacturing, dyeing, finishing, notions and embellishments, style and trend consulting, etc). Knitclub features high quality knitting mills, where contacts can be made with firms for bespoke manufacturing. A short video gives a taste of what was on offer at the 2016 Show.
  • Yarn and Fabrics Sourcing Fair, Dhaka allows international manufacturers of yarn and clothing textiles to showcase their collections to the Bangladesh garment manufacturing trade.
  • Heimtextil International Trade Fair for Home and Contract Textiles, Frankfurt showcases the latest trends and products for interior textiles, interior design and interior trends. The exhibition halls are divided into sections for home textiles, household textiles products, and related services.
  • Spinexpo is a trade fair which will be exhibiting in shows in Paris, New York and Shanghai. This brochure features the latest collections of innovative yarns and shows an exciting way of presenting the products: with inspirational images, colour palettes with Pantone numbers, and close-up shots of the yarns and garments made from them, revealing the latest textures, colours and fibre blends.spinexplore_mag_september_2016-pdf-google-chrome-05012017-210350Source:-

Uses in Industry

  • Aerospace industry (uniforms, protective clothing, aeroplane furnishing/carpeting; safety belts, in development: electronic textiles that can monitor structural integrity of aircraft)
  • Agriculture/Gardening (specialist weed-suppressant/mulching textiles; anti-bird netting; sacks for protecting and transporting plants, string/twine)
  • Architecture (fibres and textiles with electronic capabilites to monitor structures; “Buildtech” textiles: strong textiles (incorporating fibres made from carbon, glass and resin) are building components (in place of wood, steel, concrete etc). Such textiles are strong, flexible and light. Specially coated textiles may used for sunlight deflection).
  • Automotive Industry (safety belts, carpeting, seating covers; also future developments where textiles are integral to the bodywork where structure monitoring can take place).
  • Engineering (link to the Journal of Textiles Science and Engineering).
  • Fashion and Accessories (sportswear, outdoor wear, fashion clothing, luminous textiles, headwear, footwear, bags, jewellery)
  • Fishing (nets, lines, protective clothing, rope, sails, ship and boat furnishing/accessories, safety equipment such as life jackets).
  • Interior Decoration and Furnishings (Design inspiration research, seating covers, cushions, decorative accessories and art, room dividers, curtains and blinds, carpets and rugs, lampshades, bed linen, table linen, household linen, storage containers, protective covers).
  • IT/Technical (wearable computers, and communications devices, electronic components are increasingly being integrated with fibres and textiles).
  • Medical (surgical uses, bandages, support garments, gauzes, mosquito netting, protective clothing, clothing which can monitor vital signs, heated gloves for people with Raynaud’s disease, synthetic spider silk that can have medicine particles attached to it for precise delivery).
  • Military (embroidered fabric antenna that can be integrated into clothing to monitor staff location – also useful for search and rescue teams; potential for vital sign monitoring, detection of harmful gases and radiation, communications etc).
  • Sport (sportswear, clothing which can monitor performance, heated gloves).

Uses in the Arts and Crafts

Links to my research on:-

contemporary knitting

knitted textiles research

contemporary embroidery

designer research (furnishing, home goods, audio tape clothing)

textile artists (Part 2 Research)

textile artists (Part 3 Research)

drawing (including fibre work) (Assignment 1 Research)

Making Space Exhibition, Macclesfield 2016

Edinburgh College of Art Degree Show, 2016

textile art at the Knitting & Stitching Show, Harrogate 2016

historical textiles and decorative arts at the National Museum of Scotland 2016

artists and designers using luminous textiles

American quilts (two book reviews)

textile jewellery

needlelace, felt pictures, performance costume (Embroiderers’ Guild talks)

Louise Bourgeois (Coursework Part 2 Research)

textile artist: Alison King lecture

performance costume: Alex Rigg exhibition

Pam Ducker exhibition (work of the late textile artist, working in patchwork, quilting and embroidery)

textile samples library (ongoing personal research into types of textiles)



Claydon, J. (2009) Spin, dye, stitch: How to create and use your own yarns. Cincinnati, OH: North Light Books.

Websites:- Accessed 06/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 05/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 06/01/17,66,-1,-1 Accessed 06/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 05/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 06/01/17 Accessed 06/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 06/01/17 Accessed 05/01/17 Accessed 06/01/17 Accessed 06/01/17 Accessed 04/01/17 Accessed 06/01/17 Accessed 05/01/17


Artist and Designer Research for Coursework Part 4

I visited Carlisle Library to see what I could find there on yarns and yarn manufacture. The following two books were available: Claydon, 2009 and Draper, 2013. Jennifer Claydon’s book focuses on traditional methods of spinning and dyeing different types of fibres, which will be useful if I decide to spin my own yarns in the future.

Jean Draper‘s book has some fine examples of linear media, showing knotting, binding, threading, dipping and embellishment.


Source: Draper, 2013 pp 32-38

Her textile art is mostly hand stitched and its method of creation involves forming structures and textures from linear media. Art work may be further developed by using earth to dye fabrics, and using clay slip, sanding and paint to emulate natural erosion. She is influenced by landscapes, plant life and the craft of people from SW America and Western Australia. Jean says, “My stitching is a form of drawing, an intensely physical activity; the actual process being as meaningful as the finished work.” I find that her process is very relevant to the work for this part of the course: drawing things that inspire and interest her, and translating those marks into stitch and both 2-D and 3-D forms. She discusses her work and process in more detail in an interview at, where photographs of her some of her art work can be seen.

What can I learn from this artist? 

  • draw whatever interests you
  • study traditional techniques for inspiration
  • take an experimental approach

Ella Robinson is an artist working with mixed media including linear media. She makes decorative objects and sculpture; collections of found and arranged objects; altered furniture (mixing embroidery stitch with wood); and overlapping, patterned pieces, featuring repeating shapes cut from fabric, cork and other materials.

The artist is influenced by the British coast, graffiti and street art. Her style is strikingly graphic, with a focus on colour, pattern and texture. In the art work below, Ella highlights the contrasts between the dull, eroded wooden surface (?masculine) and the ‘feminine’, colourful, shiny threads. The wood is drilled to add repeated elements to the design, and the threads follow the natural contours of the wood.

Ella Robinson Canoe Cocktail, 2009. Stranded cotton and driftwood. 15 x 8 x 2.5cm.


Ella Roinson Death By Jumbrella (detail), 2011. Five 2m poles wrapped with plastic lacing and tubing


Death By Jumbrella is a set of five decorated poles that can be displayed in a variety of ways, in a garden or park. The artist has played with the direction of wrapping, proportions of colour, placement of colour and a bright colour palette. The straight bands of colour stand out as manmade in a garden setting where more natural colours and organic shapes form a contrast. The use of colourful, smooth and shiny plastic materials contrasts with the texture of the wood, and is also appropriate to its end use of being displayed outdoors. To me, it evokes memories of deck chairs and the brightly coloured sweets I ate as a child – linking back to the seaside theme, although the title also suggests umbrellas. Not quite sure where the ‘death’ element comes in, unless it is in excess.

What can I learn from this artist?

  • use of contrasting materials
  • use of unusual materials (found objects, plastic, cork, wood etc)
  • use of a wide and varied colour palette
  • attention to direction of lines, proportions of colour and placement of colours

María Aparicio Puentes was born in, and works in Santiago, Chile. Her artwork involves stitching over images such as photographs after analysing them for “… geometries, rhythms, tensions … everything”. In an interview for Frankie Magazine, the artist describes using thread in this way as being very forgiving, as she can change her mind or overlay threads until she has the outcome she is aiming for, playing with the thickness of thread and density of stitch. She describes her interest in depicting:- “People and their relationship with the environment. Also working on the microscale of an object or clothing.”

Maria Aparicio Puentes, from the “Be Brilliant” series 2014, photographic paper and threads


Maria Aparicio Puentes, Collaboration for Stage Fashion Magazine. Paris, France.
Model: Jakub Nowocien. The Right Stuff Agency.
Photographs: Alessandra d’Urso.


The stitch gives a new dimension and layers of new meaning to the photographic image. In the image above, one can read the stitch as thoughts, music, aura, maybe even personality or actions.

What can I learn from this artist?

  • altering an existing object to give new depth and meaning
  • reacting to the qualities (such as pattern or form) of an image or object to be altered
  • sparing and focused use of stitch drawing attention to one area of interest in an image

Anton Alvarez is a Swedish-Chilean artist, currently based in Stockholm. His art is concerned with “… the design of systems and the creation of tools and processes for producing products, objects and architecture.”

This interview and video of his artistic process (including an amazing thread wrapping machine!) on Artsy show him and his assistant wrapping objects such as stools with brightly coloured bands of thread for his exhibition, Wrapsody. Visitors could view the creation of the objects, as well as the completed pieces. They could also contribute objects for wrapping. The machine adds glue with paint mixed in, as it wraps the pieces with thread.

Anton Alvarez, One of a series of objects illustrating ‘The Craft of Thread Wrapping


Anton Alvarez, The latest version of the thread wrapping machine, working on larger scale pieces


The artist seems to be particularly interested in the making process. The finished objects are visually interesting with their mixture of paint and thread on a 3-D object, sometimes these are recognisable pieces such as chairs, at other times, forms such as arches or blocks. In a Telegraph article he says: “I forced myself not to think about the outcome… It was important to me to maintain a level of abstraction, to not get too distracted by elements of functionality, beauty or tradition.” His interest, seems to me, to be questioning the need for a human hand in the making of art, and exploring the creation process as performance, as did the abstract expressionist work of Jackson Pollock. Anton’s more recent work is in ceramics, made automatically by an unattended machine that slowly extrudes clay through a template with holes in the shapes of letters. Although I don’t have a machine as exciting as these, I do have a new (second-hand) sewing machine that might be brought to use in the current coursework of making linear media. These are exciting art works to contemplate, but if the process eventually becomes fully automated, where is the hand of the artist? Having the idea, that is then manufactured harks back to Andy Warhol’s “Factory” method of production.

What can I learn from this artist?

  • experiment with scale
  • focus on the process as much as the final outcome
  • create an interesting story that will engage viewers and journalists

Raw Edges is a design company run by Yael Mer and Shay Alkalay. The pair met in Israel, studied at the Royal College of Art and now work in London. They have produced an interesting furniture line (amongst many other designs), The Coiling Collection out of thick felt, which has been coiled and telescoped to produce a bowl-like structure, which is mounted on wood, or has a wooden surface in the case of the tables. The felt is coated with silicone in places (adding strength, structure, cohesion and decoration). The rug consists of strips of felt placed in coiling parallel rows and set into silicone.

Raw Edges, The Coiling Collection, 100% wool felt, wood, silicone.


The designers have a good sense of humour and inquisitiveness that shows in their work. The colour palette they have chosen for this collection includes bright, fun hues, in solid blocks or stripes, paired with the natural wood or the white of the silicone, this echoes the feeling of playfulness. These pieces remind me strongly of the standing wool rugs I have seen, and in fact have made some small versions as trivets and wall hangings. Also a technique that Australian textile artist, Louise Wells used in her piece made from coiled neck ties, Honouring Good Men. The materials used are appropriate to the meaning behind the art work.

Louise Wells, Honouring Good Men, 2014, 165 re-purposed neck ties


 What can I learn from these designers?

  • combining materials for functional and aesthetic reasons
  • playing with materials to come up with new forms
  • experimenting with scale

Michael Brennand-Wood is an artist working in textiles, with a particular focus on fusing inspiration from both historical and contemporary spheres, in particular 3-D line, structure and pattern. He has worked in areas often eschewed by contemporary textile artists, such as embroidery, lace and floral artworks, such as the piece below.

Wasn't born to follow

Michael Brennand-Wood, Wasn’t Born To Follow, 2004


Michael’s artworks such as the one above may include mixed media, eg, machine embroidery, acrylic paint, wood, glass and collage. Viewing the image one thinks of abundance, gardens, kaleidoscopic images (except that the image has variations rather than being perfectly symmetrical), spinning and twirling, perhaps with a link to childhood games and the remembered summers of youth.

21st Century Museum of Contemporary Art

Michael Brennand-Wood, Flower Head – Narcissistic Butterfly 60 dia x 40 cm, 2005


In this artwork, the artist has given fairly 2-D floral images a 3-D aspect by mounting them on ?wires above a bejewelled mirror. The pattern of arrangement echoing the form of a flower or seed head. I presume that anyone leaning over to examine the piece will find themselves reflected in the mirror, thus becoming the ‘narcissistic butterfly’ of the title.

Another piece by this artist, Little Black Egg, was illustrated in the coursework and shows a black and white striped cord (which reminds me of an old-fashioned electrical cord, such as those found on irons), arranged into a fairly 2-D, rough egg shape on a pedestal. The cord loops, overlaps, and changes direction like a fast scribble on a page, and I can imagine that this piece may have started life as such a drawing.

What can I learn from this artist?

  • study traditional techniques, but include modern advances and media in your artwork
  • pattern with variation is more visually arresting than pure repetition
  • consider secondary and tertiary levels of pattern within a design, ie, layers of interest

Vadis Turner is an American artist working with re-used textiles in a painterly fashion. Her artworks reference gender roles and what was traditionally women’s work from a modern angle.

Vadis Turner, Precipitation, 2013, 60in x 84in x 4in, (ribbon, dyed textiles, acrylic paint and mixed media)


Vadis Turner, Swamp, 2013, 7ft x 6ft x 6in, (fabric, ribbon, mixed media)


I admire the artist’s use of colour and descriptive line direction, with varied sizes of ‘mark’ in these artworks. The recycling of materials is also a pleasing aspect, that I try to include in my own work. With respect to my current coursework, her manipulation of media is relevant (eg, using paint or bleach to change the colour and texture of the textiles). Other pieces by Vadis include textiles combined with resin, ash and/or twigs to create different textures and effects).

What can I learn from this artist?

  • vary the lines (thickness, direction, type) to add movement and visual interest to a piece
  • alter materials to fit your requirements
  • combine unusual media with textiles

If you want something a bit different, Jane Bowler is the go-to designer for bridal wear. The bridal collection includes pieces in a traditional colour palette of white, but combined with gold and flesh tones. The dresses and headpieces again combine tradition (net tulle, macramé knotted textiles, lace) with contemporary materials and geometric grids of ‘chain mail’, metal connectors, PVC shapes, chains etc.

Jane Bowler, from Collection AW/13


The ‘armour’ of this headpiece is constructed from silver jumprings connecting soft PVC triangles. The connections allow the material to drape and move with the wearer. The effect is like a space-age warrior princess.

Jane Bowler, from Collection AW/16


This dress combines the flexible grid of PVC shapes with a macramé skirt featuring fringing and beads.

What can I learn from this designer?

  • a simple colour palette can be brought to life by using a mixture of textures
  • connect pieces of harder material together with connectors that allow drape and movement
  • combine different scales of pattern within one piece
  • mix traditional media and techniques with modern ones

Working from Edinburgh, Hannah Camp‘s company, Trail of Yarn, produces simple, functional, contemporary Scottish textile designs.

Her werkstof collection of woven textiles designed for interiors was derived from a ‘library of textures’ inspired by art from Japan, Scandinavia, and from Bauhaus style. The colour palette is simple: blues, greys, and yellow.

The created sketches and images of textures are imported into software, where the designer can explore different colour arrangements, scales and pattern repeats before sending the finalised designs to a Jacquard loom for manufacture.


Hannah Camp, Trail of Yarn, from the werkstof collection



Hannah Camp, Trail of Yarn, from the 554 Collection, bow tie with inspirational drawings


The 554 is a collection of hand woven accessories in a palette of blues, greys and yellow to “…capture the urban textures of transport”.

I like the way in which the designer has displayed the finished piece with the inspirational images, and this will feed into the way I present my yarn samples for this coursework and assignment. I also admire her simplicity of design, enlivened by texture and touches of vibrant colour.

What can I learn from this designer?

  • take inspiration from everything and anything around you, including the work of other artists and other cultures
  • derive expressive and simple palettes from your inspirations
  • keep a library of inspirational images to inform artwork colour palettes and textures

French designers (and brothers), Ronan and Erwan Bouroullec design:- small objects, such as jewellery; make designs for interiors; architecture; drawings; videos; and photography. They stress the importance of experimental research and development for informing their work.

Studio Bouroullec, one of Seventeen Screens, 2016


The Seventeen Screens are made in a wide range of media encompassing:- textiles, ceramics, metal, wood, elastic etc. The screen shown in the image above is a simple grid, enlivened by repeated pattern in a striking, but limited, colour palette. Other pieces are made from embroidered textile or strung ceramic forms. Some screens are a single sheet of material, others are formed from many individual pieces hanging freely like a bead curtain; yet others are joined with cross pieces of cord or elastic to form a flexible grid; or metal dowels which allow for a geometric construction which could be configured in a number of ways. All of them form a functional room divider, with opaque and transparent areas.

Paul Tahon and R & E Bouroullec, Vegetal chair: Blooming, 2008


These gorgeous chairs show an updated tradition of basing chair designs on natural plant forms. Similar to the screens shown above, the formation of a structure from linear elements is of interest to me in part of the coursework. The chair seat is formed from a functional grid of lines of polyamide: they appear to cross and diverge like the branches of a tree.

What can I learn from these designers?

  • experiment with materials, combinations of materials, and configurations
  • pay attention to ways of joining materials – the join can be a design feature adding to the pattern
  • bring a contemporary slant to your work


This research highlights the importance in design of exploring:- contrasts; colour palettes; ways of joining different media; direction and ‘movement’ of line within the work; methods for altering materials; creating and layering patterns; scale; presentation; and the narrative behind the work.



Claydon, J. (2009) Spin, dye, stitch: How to create and use your own yarns. Cincinnati, OH: North Light Books.

Draper, J. (2013) Stitch and structure: Design and technique in two and three-dimensional textiles. London: Batsford.

Websites:- Accessed 11/01/17 Accessed 11/01/17 Accessed 13/01/17 Accessed 09/01/17 Accessed 10/01/17 Accessed 11/01/17 Accessed 15/01/17 Accessed 12/01/17 Accessed 10/01/17 Accessed 12/01/17 Accessed 12/01/17 Accessed 15/01/17 Accessed 11/01/17 Accessed 11/01/17 Accessed 08/01/17 Accessed 08/01/17 Accessed 15/01/17

9 thoughts on “Research for Coursework Part 4 including my Yarn Research File”

    1. I am working on the first exercise at the moment, and taking far too long on it – there are so many possibilities that I feel I could just keep going – also waiting on supplies to arrive by post – so frustrating!

      Liked by 1 person

      1. well – I too took very long on that specific exercise. I wouldn’t worry to much though. The next exercises build on the first (at least it did for me). And it is great to have a big yarn vocabulary for the future.

        Liked by 1 person

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